Hans Holbein the younger . ivided in their opinions as to its authorship. Dr. Woltmannascribed it to Bartholomaus Bruyn, and several other names in placeof Holbeins have been suggested from time to time. His latestEnglish biographer, Mr. Gerald Davies, assigns it to a painter ofthe German school, who had probably seen and been deeply influencedby the grave and earnest works of Holbein at Basel. Neitheron the grounds of its design nor of its technique, he says, do I findmyself able to accept it as a work of Holbein, and he proceeds todraw attention to the angular and uncouth projection of the f
Hans Holbein the younger . ivided in their opinions as to its authorship. Dr. Woltmannascribed it to Bartholomaus Bruyn, and several other names in placeof Holbeins have been suggested from time to time. His latestEnglish biographer, Mr. Gerald Davies, assigns it to a painter ofthe German school, who had probably seen and been deeply influencedby the grave and earnest works of Holbein at Basel. Neitheron the grounds of its design nor of its technique, he says, do I findmyself able to accept it as a work of Holbein, and he proceeds todraw attention to the angular and uncouth projection of the forwardleg in the figure of our Lord, an exaggeration which is repeated witheven more unnatural emphasis in the distant figure of St. Peter ashe walks and gesticulates at the side of St. John. The action, more-over, of the hands of the chief figure, intended to be expressive of the 1 Knackfuss, p. 81. 43 !_ CO M ro WH ,, 3 •* T3 w bo H O < ^ U H o -4—» a W bfi o H S 5h c« <; K o £ •fcj w W U. NOLI ME TANGERE AT HAMPTON COURT 97 Noli Me Tangere, is somewhat exaggerated and Hecalls attention to other details which he thinks prove that the workcannot be from Holbeins brush. The type of the head, however,and the action of the hands, as well as the position of the feet, veryclosely resemble more than one of Holbeins small figures in his designsfor woodcuts, more particularly the Christ in one of the little pictureson the frontispiece to Coverdales Bible, in which the action isalmost identical, while other instances could be given. The picturehas suffered in the course of time, and, like the Basel altar-piece, hasnot escaped repainting in parts, but remains nevertheless an un-doubted example of Holbeins sacred art at, or shortly after, the periodwhen he had just settled down in Basel as a member of the Guild zumHimmel. Modern German criticism is agreed as to its Ganz places it at the end of Holbeins first visit to England. This picture has be
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyo, bookyear1913
