Hans Holbein le plus jeune . trois goldenball. Dans sa main gauche, il tient son personnel pastoral, et avec les autres alms dans un bol tenu par un mendiant à genoux à ses pieds. Le visage sans barbe est raffiné et délicat, et son caractère spirituel est inmarqué contraste avec l'expression vigoureuse et maniaque du chevalier qui se tient face à lui. Seule la face à l'étalage du mendiant, et la main qui tient le bol à l'almes, sont illustrées. Hesemble comme l'un des attributs du saint, et l'artiste a onlyindiqué assez de sa forme pour le rendre clair ; sinon il se cache presque entièrement
1355 x 1843 px | 22,9 x 31,2 cm | 9 x 12,3 inches | 150dpi
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Hans Holbein the younger . three goldenballs. In his left hand he holds his pastoral staff, and with the otherdrops alms into a bowl held up by a kneeling beggar at his feet. Thebeardless face is refined and delicate, and its spiritual character is inmarked contrast to the vigorous and manly expression of the knightlysaint who stands facing him. Only the uplifted face of the beggar, and the one hand which holds the alms-bowl, are shown. Heappears as one of the attributes of the saint, and the artist has onlyindicated enough of his form to make this clear ; otherwise he isalmost entirely concealed behind the Virgins voluminous mantle.There is nothing here of the painful realism of poverty and diseasesuch as is shown in the kneeling figures in the St. Elizabeth ofHungary wing of the St. Sebastian altar-piece of the elderHolbein at Munich, or in the sons earlier Passion pictures in Basel. 1 Holbein, p. 234. I 1 toV .! 8 I Vol. I., Plate 36 THE VIRGIN AND CHILD, WITH ST. URSUS AND A HOLY BISHOP 522 Solothurn Gallery. THE SOLOTHURN MADONNA 105 Holbeins art had reached a point in its development when suchrealistic methods of bringing home to the spectator the lessons hispictures were intended to convey were discarded A peculiarity of the picture is the exceedingly simple setting inwhich the figures are placed ; whereas Holbeins usual practice at thisperiod of his life was to make an almost lavish use of architecturalornamentation in his backgrounds. In the Solothurn Madonna itconsists of a perfectly plain round archway of stone, quite free fromsculptured decoration, across which two thick iron bars are placed, fixed into the stonework as though to strengthen it, with uprightcross bars running to the crown of the arch. It has been suggestedthat the vaulting of the church for which the picture was intendedwas supported and strengthened in the same way, and that Holbeinintroduced it into his altar-piece in order that it might be in perfectharmony with its surroundings ; but th
