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So, this must go there... | 0:00:02 | 0:00:03 | |
This must be...there. | 0:00:03 | 0:00:07 | |
And this will be the last one, here. | 0:00:07 | 0:00:10 | |
Oh, no. | 0:00:12 | 0:00:14 | |
Who do you think that is? | 0:00:39 | 0:00:41 | |
I'll give you a clue - | 0:00:41 | 0:00:42 | |
it's a famous English king. | 0:00:42 | 0:00:45 | |
So, who is it? | 0:00:45 | 0:00:47 | |
MUSIC: Greensleeves | 0:00:47 | 0:00:49 | |
Come on! No googling. | 0:00:49 | 0:00:52 | |
Who is this stern and bony monarch? | 0:00:52 | 0:00:55 | |
Now, you smart people out there, | 0:00:57 | 0:00:59 | |
the ones who come here to the National Portrait Gallery, | 0:00:59 | 0:01:03 | |
you got it straightaway, I know. | 0:01:03 | 0:01:06 | |
The giveaway, of course, is the nose. | 0:01:06 | 0:01:10 | |
The way it's flattened. | 0:01:10 | 0:01:12 | |
There's something walrusy about it. | 0:01:12 | 0:01:15 | |
But some of you didn't get it, right? | 0:01:17 | 0:01:21 | |
And the reason you didn't recognise immediately that this is Henry VIII, | 0:01:21 | 0:01:27 | |
is because this isn't the Henry | 0:01:27 | 0:01:30 | |
we've all got up here in our imaginations. | 0:01:30 | 0:01:36 | |
The Henry who had six wives, who took on the Pope, | 0:01:36 | 0:01:41 | |
who destroyed the monasteries. | 0:01:41 | 0:01:44 | |
That Henry didn't look like this - he looked... | 0:01:48 | 0:01:52 | |
..like this. | 0:01:57 | 0:01:58 | |
Now, that's what you call Henry VIII. | 0:01:58 | 0:02:01 | |
Look at the way he stands, | 0:02:03 | 0:02:05 | |
like a Tudor gunslinger at Ye OK Corral. | 0:02:05 | 0:02:10 | |
The mighty torso, the sheer width of the man. | 0:02:10 | 0:02:15 | |
This is a king who could change history. | 0:02:16 | 0:02:19 | |
That's the Henry who lives up here in our thoughts. | 0:02:21 | 0:02:25 | |
Henry the Terrible, the widest king in Christendom. | 0:02:25 | 0:02:30 | |
And he is the creation of a particularly important artist - | 0:02:30 | 0:02:34 | |
an artist who I would argue didn't just record British history - | 0:02:34 | 0:02:39 | |
he actually changed it. | 0:02:39 | 0:02:43 | |
He was a funny little man, a German from Bavaria, | 0:02:44 | 0:02:49 | |
a genius who looked like a farmer - | 0:02:49 | 0:02:52 | |
called Johannes, or Hans, Holbein. | 0:02:52 | 0:02:56 | |
This is Holbein's great gift to the world. | 0:02:59 | 0:03:03 | |
The iconic image of Henry VIII, | 0:03:03 | 0:03:06 | |
which everyone recognises. | 0:03:06 | 0:03:09 | |
And Holbein didn't stop there. | 0:03:09 | 0:03:12 | |
How do we know what Sir Thomas More, | 0:03:14 | 0:03:17 | |
that conscious-full man for all seasons, | 0:03:17 | 0:03:20 | |
who stood up to Henry, looked like? | 0:03:20 | 0:03:24 | |
Because of Holbein. | 0:03:24 | 0:03:25 | |
How do we know what Henry's unfortunate queens looked like? | 0:03:27 | 0:03:33 | |
Because of Holbein. | 0:03:33 | 0:03:36 | |
And how do we know what Thomas Cromwell, | 0:03:36 | 0:03:40 | |
Henry's go-to man for destroying the monasteries, | 0:03:40 | 0:03:45 | |
really looked like? | 0:03:45 | 0:03:47 | |
Because of Holbein. | 0:03:47 | 0:03:49 | |
Holbein didn't just describe Tudor England - | 0:03:51 | 0:03:55 | |
he gave it an extraordinarily active presence, | 0:03:55 | 0:03:59 | |
made it feel REAL. | 0:03:59 | 0:04:02 | |
And by making Tudor England immortal, he changed history. | 0:04:02 | 0:04:07 | |
Because a slab of history we could envisage so clearly | 0:04:07 | 0:04:12 | |
will always trump all those other slabs of history | 0:04:12 | 0:04:16 | |
we can't envisage at all. | 0:04:16 | 0:04:18 | |
Why are we so obsessed with Henry VIII and his damned wives? | 0:04:20 | 0:04:25 | |
Because of Holbein. | 0:04:27 | 0:04:29 | |
Holbein was from here - | 0:04:34 | 0:04:37 | |
Augsburg in Bavaria, | 0:04:37 | 0:04:40 | |
where he was born in 1497. | 0:04:40 | 0:04:44 | |
DOOR CREAKS | 0:04:44 | 0:04:46 | |
His father was a painter, and a really good one - | 0:04:51 | 0:04:54 | |
Hans Holbein the Elder. | 0:04:54 | 0:04:57 | |
He painted religious pictures. | 0:04:57 | 0:04:59 | |
This is one of his. | 0:04:59 | 0:05:01 | |
He designed stained glass, as well. | 0:05:05 | 0:05:08 | |
So, his son, trained by his father, | 0:05:08 | 0:05:11 | |
would have imbibed all of these profound Catholic moods from birth. | 0:05:11 | 0:05:16 | |
Here at the museum in Augsburg | 0:05:22 | 0:05:24 | |
they've got one of Holbein the Elder's finest pictures. | 0:05:24 | 0:05:29 | |
This is the Basilica of St Paul, as it's called, | 0:05:29 | 0:05:33 | |
an altarpiece which tells St Paul's story. | 0:05:33 | 0:05:37 | |
Over here, | 0:05:39 | 0:05:41 | |
he's having his head cut off on the orders of the emperor, Nero. | 0:05:41 | 0:05:44 | |
Apparently, the head bounced three times when it hit the ground, | 0:05:46 | 0:05:51 | |
causing three miraculous fountains | 0:05:51 | 0:05:55 | |
to spurt from the earth. | 0:05:55 | 0:05:57 | |
But what I really want to show you is this scene on the left. | 0:05:59 | 0:06:03 | |
Because that old man, there, with the straggly beard, | 0:06:03 | 0:06:06 | |
that's actually Holbein the Elder, | 0:06:06 | 0:06:09 | |
and below him are his two sons - | 0:06:09 | 0:06:12 | |
Ambrosius, the older one, with the curly hair, | 0:06:12 | 0:06:16 | |
and next to him, little Hans Holbein, | 0:06:16 | 0:06:20 | |
future painter of Henry VIII. | 0:06:20 | 0:06:23 | |
So, the dad trains the son to be a painter. | 0:06:35 | 0:06:39 | |
And when the son is 17, he comes here, to Basel, | 0:06:40 | 0:06:45 | |
in modern Switzerland. | 0:06:45 | 0:06:47 | |
Basel was famous for its printing - the European capital of books. | 0:06:49 | 0:06:54 | |
And that must have been what brought the young Holbein here - | 0:06:54 | 0:06:57 | |
he was looking for work as a book illustrator. | 0:06:57 | 0:07:01 | |
Basel's greatest printer was a man called Johann Froben. | 0:07:04 | 0:07:09 | |
Froben was both a publisher and a scholar, | 0:07:10 | 0:07:14 | |
so he was adventurous and informed - | 0:07:14 | 0:07:17 | |
and Holbein was soon working for him. | 0:07:17 | 0:07:20 | |
Froben produced lots of important books, | 0:07:23 | 0:07:26 | |
but he's particularly well known for publishing the work | 0:07:26 | 0:07:29 | |
of that celebrated Dutch naysayer Erasmus of Rotterdam. | 0:07:29 | 0:07:34 | |
And, yes, Holbein painted Erasmus, too, | 0:07:38 | 0:07:43 | |
tucked up for winter in his study, busily writing. | 0:07:43 | 0:07:48 | |
Erasmus actually came to Basel specifically to work with Froben, | 0:07:53 | 0:07:58 | |
and it was Froben who published the best edition | 0:07:58 | 0:08:01 | |
of Erasmus's most celebrated work, | 0:08:01 | 0:08:05 | |
a hilarious send-up of the modern world | 0:08:05 | 0:08:09 | |
called In Praise Of Folly. | 0:08:09 | 0:08:12 | |
Just about everyone gets a kicking in In Praise Of Folly. | 0:08:13 | 0:08:17 | |
Young people... CHILD LAUGHS | 0:08:17 | 0:08:20 | |
..women... WOMAN GIGGLES | 0:08:20 | 0:08:23 | |
..gamblers... DICE RATTLE | 0:08:23 | 0:08:25 | |
..but Erasmus comes down particularly hard on the clergy... | 0:08:25 | 0:08:30 | |
BELL TOLLS | 0:08:30 | 0:08:31 | |
..the priests, | 0:08:31 | 0:08:33 | |
the bishops | 0:08:33 | 0:08:34 | |
and the friars. | 0:08:34 | 0:08:36 | |
Holbein was just 17 when he got hold of a copy of In Praise Of Folly, | 0:08:40 | 0:08:46 | |
and in the margins, he drew all these funny little drawings. | 0:08:46 | 0:08:51 | |
It's like something a naughty schoolboy might do - | 0:08:54 | 0:08:58 | |
draw all over a famous book. | 0:08:58 | 0:09:01 | |
This chap here is walking along the road, when he sees a beautiful woman. | 0:09:02 | 0:09:09 | |
And he's so busy staring at her, | 0:09:09 | 0:09:11 | |
he steps into a basket of eggs. | 0:09:11 | 0:09:15 | |
Eurgh! | 0:09:15 | 0:09:17 | |
And this is a monk who's taken the vow of poverty, | 0:09:19 | 0:09:23 | |
so he can only touch money with this weird money-touching implement. | 0:09:23 | 0:09:29 | |
However, with his other hand, he can touch whatever he wants. | 0:09:29 | 0:09:35 | |
As you can see. | 0:09:35 | 0:09:36 | |
It's impressively rude. | 0:09:40 | 0:09:42 | |
How can a 17-year-old boy know this much already about sex, greed, | 0:09:42 | 0:09:47 | |
human stupidity? | 0:09:47 | 0:09:50 | |
The Holbein who emerges here is an instinctive subversive - | 0:09:50 | 0:09:55 | |
a mickey-taker who sides with Erasmus to poke fun at the world around him. | 0:09:55 | 0:10:00 | |
So, a good question is, where did it all go? | 0:10:03 | 0:10:07 | |
Did Holbein suppress all this precocious knowledge of the dark | 0:10:08 | 0:10:13 | |
workings of men, | 0:10:13 | 0:10:15 | |
or did it sometimes poke out and reveal itself? | 0:10:15 | 0:10:19 | |
When you're as talented as this, | 0:10:22 | 0:10:25 | |
and you've got this much speed and inventiveness in your fingers, | 0:10:25 | 0:10:31 | |
people quickly notice, | 0:10:31 | 0:10:33 | |
so Holbein was soon busy. | 0:10:33 | 0:10:37 | |
CHOIR SINGS | 0:10:37 | 0:10:38 | |
The thing he was really good at was religious painting. | 0:10:40 | 0:10:44 | |
This is the dead Christ that the young Holbein painted | 0:10:46 | 0:10:50 | |
for the base of a Basel altarpiece. | 0:10:50 | 0:10:52 | |
It's a coruscating piece of religious realism. | 0:10:55 | 0:10:59 | |
But he could do Catholic fluffiness as well. | 0:11:01 | 0:11:04 | |
Like this gorgeous Madonna and child, standing in a niche in Darmstadt. | 0:11:06 | 0:11:11 | |
Look at the brilliant foreshortening of Jesus' hand. | 0:11:13 | 0:11:17 | |
Leonardo himself would have been proud of that. | 0:11:19 | 0:11:23 | |
So, it was all going spiffingly. | 0:11:27 | 0:11:29 | |
His religious art was in demand, the book trade was keeping him busy, | 0:11:29 | 0:11:34 | |
when along came Martin Luther and his Protestant Reformation. | 0:11:34 | 0:11:39 | |
Suddenly, everything changed. | 0:11:39 | 0:11:42 | |
MEN SHOUT | 0:11:42 | 0:11:43 | |
WEAPONS CLASH | 0:11:43 | 0:11:45 | |
In a Lutheran world, there was no longer much demand | 0:11:45 | 0:11:49 | |
for Catholic Madonnas standing ornately in golden niches. | 0:11:49 | 0:11:55 | |
The printing industry, too, began to flounder. | 0:11:58 | 0:12:02 | |
Who should it publish? | 0:12:02 | 0:12:04 | |
The Protestants...or the Catholics? | 0:12:04 | 0:12:08 | |
With the publishing world caught in this dangerous crossfire, | 0:12:12 | 0:12:15 | |
and the religious commissions drying up, | 0:12:15 | 0:12:18 | |
Holbein needed to find work somewhere else. | 0:12:18 | 0:12:23 | |
And that's where Erasmus made himself useful. | 0:12:23 | 0:12:26 | |
Erasmus had actually written In Praise Of Folly in England. | 0:12:29 | 0:12:35 | |
He'd spent several years there, teaching at Oxford and Cambridge. | 0:12:35 | 0:12:40 | |
And in 1526, Holbein, armed with a letter of introduction from Erasmus, | 0:12:42 | 0:12:50 | |
set off looking for work... | 0:12:50 | 0:12:52 | |
to England. | 0:12:52 | 0:12:54 | |
When he gets here to England, he's in his late 20s, | 0:12:56 | 0:12:59 | |
so, he's still a young artist, | 0:12:59 | 0:13:02 | |
but already very experienced. | 0:13:02 | 0:13:04 | |
The unexpected thing, though, | 0:13:04 | 0:13:06 | |
about Holbein's arrival | 0:13:06 | 0:13:08 | |
in Henry VIII's England | 0:13:08 | 0:13:10 | |
is that the one thing he didn't have much experience of | 0:13:10 | 0:13:14 | |
was painting portraits. | 0:13:14 | 0:13:16 | |
In Basel, Holbein had been known chiefly as a religious artist. | 0:13:19 | 0:13:24 | |
He'd painted one or two portraits, yes, and they were really good... | 0:13:26 | 0:13:31 | |
but they were exceptions in his output. | 0:13:31 | 0:13:34 | |
England, though, had never had much of an appetite | 0:13:36 | 0:13:39 | |
for Madonnas and Christs. | 0:13:39 | 0:13:42 | |
That kind of thing was best left to the Italians. | 0:13:42 | 0:13:46 | |
In England, the art form that was most esteemed, | 0:13:46 | 0:13:50 | |
and which seemed most in tune with the national psyche, | 0:13:50 | 0:13:54 | |
was portraiture. | 0:13:54 | 0:13:56 | |
The staircases of England were lined with ancestors | 0:13:58 | 0:14:03 | |
showing off their bloodlines. | 0:14:03 | 0:14:05 | |
To succeed in England, Holbein needed to change tack. | 0:14:07 | 0:14:13 | |
Erasmus had given him | 0:14:19 | 0:14:21 | |
an introduction to one of the most influential men at the court - | 0:14:21 | 0:14:26 | |
writer, statesman, theologian | 0:14:26 | 0:14:29 | |
and, as it later transpired, Catholic martyr, | 0:14:29 | 0:14:34 | |
Sir Thomas More. | 0:14:34 | 0:14:36 | |
Holbein seems to have spent most of his first year in England | 0:14:39 | 0:14:44 | |
living in More's house in Chelsea. | 0:14:44 | 0:14:47 | |
He was working on this - | 0:14:48 | 0:14:51 | |
a hugely ambitious group portrait of More and his very large family. | 0:14:51 | 0:14:57 | |
Unfortunately, this is a copy... | 0:14:59 | 0:15:02 | |
and not a very good one. | 0:15:02 | 0:15:04 | |
The original was destroyed by a fire in the 18th century. | 0:15:05 | 0:15:09 | |
All that's left of the real Holbein | 0:15:11 | 0:15:14 | |
is a stack of these astonishingly vivid drawings. | 0:15:14 | 0:15:18 | |
Oh, and there is something else, of course. | 0:15:25 | 0:15:27 | |
This. | 0:15:28 | 0:15:30 | |
Holbein's great portrait of More, | 0:15:30 | 0:15:34 | |
which they have here at the Frick Collection, New York. | 0:15:34 | 0:15:38 | |
More was the man who famously stood up to Henry, | 0:15:41 | 0:15:46 | |
who refused to accept the king as the new head of the church. | 0:15:46 | 0:15:51 | |
So, Henry had him beheaded. | 0:15:51 | 0:15:54 | |
Now, I was brought up believing that Sir Thomas More | 0:15:57 | 0:16:00 | |
was a man of great principle. | 0:16:00 | 0:16:02 | |
That's why the Catholic Church made him a saint in 1935. | 0:16:02 | 0:16:07 | |
But, more recently, a different Thomas More has been proposed to us. | 0:16:10 | 0:16:16 | |
In today's histories, | 0:16:16 | 0:16:18 | |
he's often presented as a demented, religious bigot - | 0:16:18 | 0:16:23 | |
a cruel slayer of the heretics. | 0:16:23 | 0:16:27 | |
That's what modern novelists and playwrights have been making of More. | 0:16:29 | 0:16:34 | |
But it's not what Holbein makes of him. | 0:16:34 | 0:16:37 | |
And Holbein was there. | 0:16:37 | 0:16:39 | |
I know it's a cliche, and it's been said a thousand times, | 0:16:42 | 0:16:46 | |
but you really do feel he's standing there before you. | 0:16:46 | 0:16:51 | |
One of the most resolute presences in British art. | 0:16:52 | 0:16:57 | |
Just look at the details - the way the velvet has been painted, | 0:16:59 | 0:17:05 | |
or his perfectly-observed skin tones, | 0:17:05 | 0:17:09 | |
or that utterly convincing five o'clock shadow. | 0:17:09 | 0:17:13 | |
This sense of actuality is new. | 0:17:16 | 0:17:20 | |
Not just in British art, but anywhere. | 0:17:20 | 0:17:24 | |
These first English portraits of Holbein's | 0:17:27 | 0:17:31 | |
make Doctor Whos of us all. | 0:17:31 | 0:17:34 | |
Tardis-ing us back in time to meet a Tudor cast | 0:17:34 | 0:17:40 | |
that feels astonishingly present. | 0:17:40 | 0:17:43 | |
Just there, right in front of us. | 0:17:43 | 0:17:47 | |
BELLS CHIME | 0:17:50 | 0:17:51 | |
BICYCLE BELL RINGS | 0:17:51 | 0:17:52 | |
Holbein's first visit to England lasted just two years, | 0:17:53 | 0:18:00 | |
before the fates conspired to bring him home to Basel. | 0:18:00 | 0:18:05 | |
He was busy enough - that wasn't the issue. | 0:18:09 | 0:18:11 | |
But as a citizen of Basel, | 0:18:11 | 0:18:13 | |
he could only leave the city for a short time, | 0:18:13 | 0:18:16 | |
or he'd lose his citizenship. | 0:18:16 | 0:18:18 | |
So, in 1528 he had to come back. | 0:18:18 | 0:18:22 | |
It was probably now that he painted his wife and children. | 0:18:26 | 0:18:31 | |
He'd had to leave them behind when he left for England. | 0:18:31 | 0:18:36 | |
And, as you can see, he's made them into a holy family, hasn't he? | 0:18:36 | 0:18:42 | |
A suffering Madonna and her infants, | 0:18:43 | 0:18:47 | |
dreading what lies ahead. | 0:18:47 | 0:18:50 | |
Basel in 1528 was not a nice place to be | 0:18:53 | 0:18:58 | |
if you were a painter or a Catholic. | 0:18:58 | 0:19:01 | |
Holbein had seen the Protestant revolution arriving in Basel - | 0:19:02 | 0:19:07 | |
it was one of the reasons he'd left for England. | 0:19:07 | 0:19:10 | |
But in the time he was gone, it had all gotten so much worse. | 0:19:10 | 0:19:16 | |
MEN SHOUT | 0:19:16 | 0:19:19 | |
Basel officially became a Protestant city | 0:19:19 | 0:19:23 | |
in 1529. | 0:19:23 | 0:19:24 | |
To celebrate... WEAPONS CLASH | 0:19:26 | 0:19:28 | |
..gangs of rabid iconoclasts | 0:19:28 | 0:19:30 | |
rampaged through the churches | 0:19:30 | 0:19:33 | |
looking for Madonnas to trample | 0:19:33 | 0:19:36 | |
and Christs to smash. | 0:19:36 | 0:19:38 | |
FIRE CRACKLES | 0:19:40 | 0:19:41 | |
On the 9th of February, 1529, | 0:19:43 | 0:19:47 | |
a gang of some 200 angry Lutherans broke into here, | 0:19:47 | 0:19:52 | |
Basel Cathedral, | 0:19:52 | 0:19:54 | |
and began attacking the art. | 0:19:54 | 0:19:57 | |
Statues... | 0:19:58 | 0:19:59 | |
..crucifixes... | 0:20:00 | 0:20:03 | |
Holbein paintings. | 0:20:03 | 0:20:06 | |
And they didn't stop until all this "superstitious idolatry", | 0:20:06 | 0:20:11 | |
as they saw it, was destroyed. | 0:20:11 | 0:20:14 | |
There's no official record of Holbein's own religious views. | 0:20:19 | 0:20:24 | |
Not surprisingly, he kept them to himself. | 0:20:25 | 0:20:29 | |
But he was born a Catholic, in very Catholic Bavaria. | 0:20:31 | 0:20:36 | |
And my hunch, based on the odd visual clue here and there, | 0:20:37 | 0:20:42 | |
is that he never crossed over fully | 0:20:42 | 0:20:45 | |
to the Lutheran side. | 0:20:45 | 0:20:47 | |
What's definite is that work was now hard to come by. | 0:20:51 | 0:20:56 | |
The iconoclasts had seen to that. | 0:20:56 | 0:20:59 | |
In a world without images, there was no longer much need for a painter. | 0:20:59 | 0:21:03 | |
Holbein didn't leave immediately. | 0:21:07 | 0:21:09 | |
There was his wife and children to worry about. | 0:21:09 | 0:21:13 | |
But, in 1532, having put his affairs in order, he left Basel again | 0:21:14 | 0:21:21 | |
and set off once more for England. | 0:21:21 | 0:21:26 | |
And this time he'd be working not just in royal circles, | 0:21:26 | 0:21:32 | |
but for the king himself. | 0:21:32 | 0:21:35 | |
And what a king he was. | 0:21:35 | 0:21:38 | |
Holbein came to England because he was following the money, | 0:21:40 | 0:21:43 | |
as artists do. | 0:21:43 | 0:21:45 | |
Getting away from Basel, getting away from the iconoclasts, | 0:21:45 | 0:21:49 | |
he came here looking for prosperity and peace. | 0:21:49 | 0:21:54 | |
Instead, he found Henry VIII. | 0:21:54 | 0:21:57 | |
And for him to be here while Henry beheaded his wives, | 0:22:01 | 0:22:05 | |
took on the Pope, brutally enforced his new religion, | 0:22:05 | 0:22:11 | |
is so damn fortunate | 0:22:11 | 0:22:14 | |
it almost feels preordained. | 0:22:14 | 0:22:17 | |
Holbein didn't begin working for the king | 0:22:28 | 0:22:31 | |
as soon as he returned to London. | 0:22:31 | 0:22:33 | |
His first patrons actually came from here. | 0:22:35 | 0:22:39 | |
It's changed a bit, of course, but in Tudor times, | 0:22:41 | 0:22:45 | |
this was a very important location for Holbein, | 0:22:45 | 0:22:49 | |
because where I'm standing now was the centre of a huge urban | 0:22:49 | 0:22:53 | |
complex called the German Steelyard. | 0:22:53 | 0:22:58 | |
The Steelyard wasn't a steelyard - | 0:23:00 | 0:23:05 | |
it was a city within a city. | 0:23:05 | 0:23:07 | |
A kind of German Hong Kong, | 0:23:07 | 0:23:10 | |
created by German merchants for the purposes of international trade. | 0:23:10 | 0:23:17 | |
It had been here since 1320, growing bigger and bigger, | 0:23:20 | 0:23:26 | |
and the German merchants in here - they didn't pay any tolls, | 0:23:26 | 0:23:30 | |
or customs. | 0:23:30 | 0:23:31 | |
They were privileged foreigners, | 0:23:31 | 0:23:33 | |
and inside this walled community of theirs, | 0:23:33 | 0:23:37 | |
they had warehouses, shops, offices, taverns. | 0:23:37 | 0:23:42 | |
So, this was a home from home for Holbein. | 0:23:44 | 0:23:48 | |
And when he returned to England in 1532, | 0:23:48 | 0:23:53 | |
the rich German merchants of the Steelyard were his fist customers. | 0:23:53 | 0:23:59 | |
This handsome young chap, who now hangs in Windsor Castle, | 0:24:03 | 0:24:08 | |
is Derich Born from Cologne, | 0:24:08 | 0:24:11 | |
who supplied the court of Henry VIII with military equipment for the Army. | 0:24:11 | 0:24:18 | |
In Holbein's time, just like today, | 0:24:18 | 0:24:21 | |
if you wanted precision, quality | 0:24:21 | 0:24:25 | |
and "Vorsprung durch Technik", | 0:24:25 | 0:24:28 | |
you bought German. | 0:24:28 | 0:24:30 | |
The paintings that Holbein made of the merchants of the German Steelyard | 0:24:34 | 0:24:39 | |
seemed to speak a different language than his other English pictures. | 0:24:39 | 0:24:43 | |
It's as if some of that different mind-set, | 0:24:43 | 0:24:47 | |
that had poked out in In Praise Of Folly, | 0:24:47 | 0:24:51 | |
pokes out here, as well. | 0:24:51 | 0:24:53 | |
This exceptionally fine fellow is Georg Giese, | 0:24:57 | 0:25:02 | |
a merchant from Danzig. | 0:25:02 | 0:25:05 | |
He's sitting in his office in the German Steelyard | 0:25:06 | 0:25:10 | |
surrounded by the accoutrements of his trade. | 0:25:10 | 0:25:14 | |
His pens, his documents, | 0:25:14 | 0:25:18 | |
the box in which he keeps his money. | 0:25:18 | 0:25:21 | |
All these details which had been described | 0:25:24 | 0:25:27 | |
so perfectly by Holbein have other meanings. | 0:25:27 | 0:25:31 | |
Secret little messages that have been smuggled into the picture. | 0:25:31 | 0:25:35 | |
In particular, notice the beautiful Venetian vase | 0:25:38 | 0:25:43 | |
with its fragile pink carnations. | 0:25:43 | 0:25:46 | |
How skilfully Holbein has painted the shifting reflections in the glass - | 0:25:47 | 0:25:54 | |
and how precariously the vase is balanced | 0:25:54 | 0:25:58 | |
on the edge of the table. | 0:25:58 | 0:26:00 | |
Whenever you see something... | 0:26:02 | 0:26:04 | |
..on the edge of a table in art, it always means the same thing. | 0:26:06 | 0:26:11 | |
"Isn't life precarious?" | 0:26:11 | 0:26:13 | |
It's the same with the money box. | 0:26:14 | 0:26:17 | |
How easily Georg Giese's stash of cash | 0:26:17 | 0:26:23 | |
could topple and fall. | 0:26:23 | 0:26:24 | |
The precarious vase, the lovely reflections | 0:26:30 | 0:26:35 | |
are all brilliant Holbeinian reminders of the shortness of life. | 0:26:35 | 0:26:41 | |
Just like the reflections in the glass, | 0:26:42 | 0:26:45 | |
all this can disappear in an instant. | 0:26:45 | 0:26:49 | |
It's a message that's always relevant. | 0:26:51 | 0:26:53 | |
But it was particularly relevant | 0:26:54 | 0:26:57 | |
in the shifting, fracturing England of Henry VIII. | 0:26:57 | 0:27:03 | |
CROW CAWS | 0:27:03 | 0:27:04 | |
Holbein obviously didn't know what he was letting himself in for | 0:27:08 | 0:27:14 | |
in Henry VIII's England. | 0:27:14 | 0:27:16 | |
Had he known, he would surely have turned tail and returned home. | 0:27:16 | 0:27:22 | |
You know, between the age of five and 11, | 0:27:25 | 0:27:28 | |
I used to walk down this road pretty much every day of my life. | 0:27:28 | 0:27:33 | |
We lived up there in Caversham, in Reading, | 0:27:33 | 0:27:36 | |
and this was my way to school. | 0:27:36 | 0:27:38 | |
Every day for six years. | 0:27:38 | 0:27:41 | |
And not once in that time did I ever consider | 0:27:41 | 0:27:45 | |
the significance of this road. | 0:27:45 | 0:27:47 | |
My school was down here, down the alley. | 0:27:53 | 0:27:56 | |
I used to love walking down here. | 0:27:56 | 0:27:58 | |
The school was a Catholic primary school run by nuns | 0:28:02 | 0:28:07 | |
called St Anne's. | 0:28:07 | 0:28:09 | |
A nice, friendly, ordinary school | 0:28:10 | 0:28:14 | |
next door to a church. | 0:28:14 | 0:28:16 | |
The church was also called St Anne's, | 0:28:18 | 0:28:21 | |
and back then, I didn't know what had actually happened here | 0:28:21 | 0:28:25 | |
in Holbein's time. | 0:28:25 | 0:28:27 | |
But I do now. | 0:28:27 | 0:28:28 | |
St Anne's, Caversham had a famous statue in it. | 0:28:31 | 0:28:36 | |
She was called Our Lady of Caversham, | 0:28:36 | 0:28:40 | |
and she was said to have miraculous powers. | 0:28:40 | 0:28:45 | |
The shrine of Our Lady of Caversham | 0:28:48 | 0:28:51 | |
was one of the most visited locations in Tudor England. | 0:28:51 | 0:28:56 | |
Pilgrims would travel hundreds of miles to pray to her for help. | 0:28:56 | 0:29:02 | |
One of them was the rightful queen of England, Catherine of Aragon, | 0:29:03 | 0:29:09 | |
who came here to Caversham on the 17th of July, 1532, | 0:29:09 | 0:29:17 | |
to pray for her husband, Henry VIII. | 0:29:17 | 0:29:21 | |
It was the Queen's final plea to her God, | 0:29:24 | 0:29:29 | |
begging him to intervene and stop Henry from divorcing her | 0:29:29 | 0:29:34 | |
and marrying Anne Boleyn. | 0:29:34 | 0:29:37 | |
Of course, it didn't work. | 0:29:39 | 0:29:41 | |
Henry went ahead with his divorce. | 0:29:41 | 0:29:43 | |
He married Anne Boleyn | 0:29:43 | 0:29:45 | |
and made himself the supreme head of a new English church. | 0:29:45 | 0:29:50 | |
And a few years later, he took his revenge on Our Lady of Caversham. | 0:29:51 | 0:29:57 | |
On the 14th of September, 1538, | 0:30:01 | 0:30:05 | |
a gang of government agents arrived at St Anne's | 0:30:05 | 0:30:09 | |
and closed down the famous shrine. | 0:30:09 | 0:30:12 | |
Our Lady of Caversham was bundled into a cart and taken to London. | 0:30:14 | 0:30:20 | |
The gold and the silver in which the statue was covered | 0:30:25 | 0:30:28 | |
was stripped off and sent to the king, | 0:30:28 | 0:30:31 | |
and the actual wooden statue - | 0:30:31 | 0:30:33 | |
well, that was burned. | 0:30:33 | 0:30:35 | |
The man who organised all this destruction, | 0:30:38 | 0:30:41 | |
and who jotted off a quick note to his agents | 0:30:41 | 0:30:44 | |
to congratulate them on a job well done, | 0:30:44 | 0:30:48 | |
was, of course, Cromwell. | 0:30:48 | 0:30:52 | |
Thomas Cromwell. | 0:30:52 | 0:30:54 | |
I bet you were wondering when we'd get to him. | 0:30:55 | 0:30:58 | |
Now, when I was at school, | 0:31:02 | 0:31:03 | |
Cromwell was recognised by everyone as a terrible man - | 0:31:03 | 0:31:08 | |
Henry VIII's enforcer, | 0:31:08 | 0:31:10 | |
the destroyer of the monasteries. | 0:31:10 | 0:31:13 | |
In recent years, though, there's been this big reassessment, | 0:31:13 | 0:31:18 | |
and the modern image of him, | 0:31:18 | 0:31:20 | |
the one you find today in plays and books, | 0:31:20 | 0:31:23 | |
is of a decent and brilliant man | 0:31:23 | 0:31:26 | |
who's trapped in a difficult situation. | 0:31:26 | 0:31:30 | |
Cromwell, we're now told, | 0:31:32 | 0:31:34 | |
was an early civil servant | 0:31:34 | 0:31:37 | |
who channelled power away from the monarchy, | 0:31:37 | 0:31:41 | |
and who invented the modern bureaucratic state. | 0:31:41 | 0:31:46 | |
These days, we're encouraged to see Thomas Cromwell as a good guy. | 0:31:49 | 0:31:55 | |
But in this film, I'm not going to do that - | 0:31:55 | 0:31:58 | |
for two important reasons. | 0:31:58 | 0:32:01 | |
This is one of them. | 0:32:01 | 0:32:03 | |
What Cromwell did to Our Lady of Caversham, | 0:32:06 | 0:32:10 | |
the ruination he visited upon England's artistic past, | 0:32:10 | 0:32:16 | |
is unforgivable. | 0:32:16 | 0:32:18 | |
And the second reason for not whitewashing Thomas Cromwell | 0:32:20 | 0:32:25 | |
is this... | 0:32:25 | 0:32:28 | |
Holbein's portrait of him. | 0:32:28 | 0:32:31 | |
Just look at him. | 0:32:35 | 0:32:37 | |
What a hard and charmless presence. | 0:32:37 | 0:32:40 | |
Those piggy eyes, that blank expression. | 0:32:40 | 0:32:45 | |
Cromwell is surely the least attractive sitter | 0:32:45 | 0:32:49 | |
in the whole of Holbein's art. | 0:32:49 | 0:32:52 | |
This was painted at the outset of Cromwell's campaign | 0:32:54 | 0:32:58 | |
against the monasteries, in 1533. | 0:32:58 | 0:33:03 | |
It shows him in his office with his quills and his documents, | 0:33:04 | 0:33:10 | |
inventing the modern bureaucratic state. | 0:33:10 | 0:33:14 | |
According to various conspiratorial whispers doing the rounds, | 0:33:16 | 0:33:21 | |
Cromwell actually used Holbein | 0:33:21 | 0:33:23 | |
to spy on the German community in the Steelyard. | 0:33:23 | 0:33:28 | |
That's how Holbein ended up working for the English court. | 0:33:28 | 0:33:33 | |
It's certainly true that Cromwell had spies everywhere. | 0:33:35 | 0:33:39 | |
But is Holbein really thanking him for his assistance | 0:33:41 | 0:33:45 | |
in this grim portrayal? | 0:33:45 | 0:33:47 | |
Was he really the good guy? | 0:33:47 | 0:33:51 | |
And was Thomas More, over here, | 0:33:51 | 0:33:54 | |
really the bad guy? | 0:33:54 | 0:33:57 | |
Fortunately, because of Holbein, who was actually there, | 0:33:59 | 0:34:05 | |
who knew them both, | 0:34:05 | 0:34:07 | |
who happened to be the greatest portraitist of his times, | 0:34:07 | 0:34:11 | |
here at the Frick Collection in New York, | 0:34:11 | 0:34:15 | |
we are in a perfect position to decide. | 0:34:15 | 0:34:19 | |
So, who is the goody here, | 0:34:21 | 0:34:24 | |
and who's the baddie? | 0:34:24 | 0:34:26 | |
Where Holbein stands on the matter is surely pretty obvious. | 0:34:27 | 0:34:34 | |
Holbein officially entered the service of the king in 1535. | 0:34:40 | 0:34:47 | |
He was paid £30 per year - | 0:34:48 | 0:34:51 | |
which, even in those days, | 0:34:51 | 0:34:53 | |
wasn't very much. | 0:34:53 | 0:34:56 | |
And since this was the court of Henry VIII, | 0:34:57 | 0:35:00 | |
there were, immediately, problems. | 0:35:00 | 0:35:03 | |
Holbein's first supporter in England, Sir Thomas More, | 0:35:03 | 0:35:07 | |
had risen to the rank of Lord Chancellor, | 0:35:07 | 0:35:10 | |
but he refused to accept the king's new position | 0:35:10 | 0:35:13 | |
as head of the church, so Henry had him beheaded. | 0:35:13 | 0:35:17 | |
MUSIC: The Old Year Now Away Is Fled | 0:35:17 | 0:35:19 | |
Poor Holbein had no choice, really, | 0:35:19 | 0:35:23 | |
but to disassociate himself from his first supporter. | 0:35:23 | 0:35:27 | |
He needed a new patron, and at some point, | 0:35:31 | 0:35:35 | |
probably with the connivance of Cromwell, he managed to get... | 0:35:35 | 0:35:39 | |
..on the good side ... | 0:35:41 | 0:35:43 | |
..of Anne Boleyn. | 0:35:44 | 0:35:46 | |
How did he do that? | 0:35:48 | 0:35:51 | |
With his art, of course. | 0:35:51 | 0:35:54 | |
There's a drawing in the Basel Museum | 0:35:54 | 0:35:58 | |
of a magnificent gold table fountain he designed | 0:35:58 | 0:36:02 | |
for the king's new wife. | 0:36:02 | 0:36:04 | |
It would have been covered in pearls and rubies, | 0:36:05 | 0:36:10 | |
and the water would have flowed from the breasts of the women below. | 0:36:10 | 0:36:15 | |
So, he wasn't just the court portraitist - | 0:36:19 | 0:36:21 | |
to earn his £30 a year, Holbein had lots of duties at the court. | 0:36:21 | 0:36:27 | |
He designed the royal jewellery and the royal pendants, | 0:36:29 | 0:36:35 | |
the royal cutlery and the royal daggers. | 0:36:35 | 0:36:40 | |
He even designed the royal fireplace. | 0:36:41 | 0:36:45 | |
But his chief duty, the one we all know him for today, | 0:36:52 | 0:36:56 | |
was to invent a look for Henry VIII that was instantly recognisable. | 0:36:56 | 0:37:02 | |
Henry needed portraits of himself to hand out to passing dignitaries, | 0:37:06 | 0:37:11 | |
people he was trying to impress. | 0:37:11 | 0:37:14 | |
So, this wasn't portraiture as a record of how he actually looked - | 0:37:14 | 0:37:19 | |
this was portraiture as a weapon of propaganda. | 0:37:19 | 0:37:24 | |
Holbein painted Henry on various occasions. | 0:37:26 | 0:37:31 | |
Henry VIII, the extra-wide monarch, | 0:37:32 | 0:37:36 | |
ruler of all he surveys. | 0:37:36 | 0:37:39 | |
They're splendid, of course - jewel-like and perfect... | 0:37:41 | 0:37:45 | |
..but they're not exactly revealing, are they? | 0:37:46 | 0:37:50 | |
This is the most celebrated of them - | 0:37:54 | 0:37:56 | |
Henry in the classic Henry pose. | 0:37:56 | 0:38:01 | |
And this is actually a cartoon, or preparatory drawing, | 0:38:01 | 0:38:05 | |
for a life-sized mural | 0:38:05 | 0:38:08 | |
that Holbein painted in Whitehall Palace. | 0:38:08 | 0:38:11 | |
There's a copy of it in Hampton Court - | 0:38:14 | 0:38:17 | |
Henry and his parents welcoming visitors to his Privy chamber. | 0:38:17 | 0:38:23 | |
Imagine walking into a room and being confronted by this lot - | 0:38:24 | 0:38:30 | |
life-sized. | 0:38:30 | 0:38:32 | |
The actual painting, the Holbein mural, | 0:38:34 | 0:38:37 | |
was destroyed by a fire in the 17th century. | 0:38:37 | 0:38:40 | |
There's just this drawing left. | 0:38:40 | 0:38:43 | |
But one thing you do get from this is a sense of scale. | 0:38:43 | 0:38:48 | |
Look how big the king is. | 0:38:48 | 0:38:52 | |
Holbein was no longer in the business of telling the truth. | 0:38:55 | 0:38:59 | |
Instead, he's invented a Henry VIII | 0:39:01 | 0:39:05 | |
so imposing and wide | 0:39:05 | 0:39:08 | |
that no-one dared argue with him. | 0:39:08 | 0:39:11 | |
It was a task accomplished in the Mao Tse-tung manner, | 0:39:13 | 0:39:17 | |
with constant repetition, | 0:39:17 | 0:39:20 | |
and huge exaggerations of scale. | 0:39:20 | 0:39:24 | |
By the time the Whitehall mural was painted in 1537, | 0:39:33 | 0:39:39 | |
Anne Boleyn had had the Henry treatment. | 0:39:39 | 0:39:43 | |
Accused, on trumped-up charges, | 0:39:45 | 0:39:47 | |
of incest, adultery and witchcraft, | 0:39:47 | 0:39:53 | |
she was beheaded on the 19th of May, 1536... | 0:39:53 | 0:39:58 | |
while Cromwell watched from the wings. | 0:39:58 | 0:40:02 | |
The next day, Henry was betrothed to one of her maids-in-waiting - | 0:40:04 | 0:40:11 | |
the pale and placid Jane Seymour. | 0:40:11 | 0:40:15 | |
Jane Seymour would actually be standing about here | 0:40:17 | 0:40:22 | |
in the Whitehall mural, in the bit that's missing. | 0:40:22 | 0:40:26 | |
Don't worry, we know exactly what she looked like, | 0:40:26 | 0:40:29 | |
because Holbein has also left us a portrait of her. | 0:40:29 | 0:40:34 | |
It's a lovely thing, and hangs now in Vienna, | 0:40:37 | 0:40:41 | |
in the Kunsthistorisches Museum. | 0:40:41 | 0:40:44 | |
But here, too, there's a distance, | 0:40:44 | 0:40:47 | |
a lack of touchable humanity. | 0:40:47 | 0:40:50 | |
A beautiful queen in beautiful clothes, | 0:40:52 | 0:40:56 | |
she's like one of those precious pendants | 0:40:56 | 0:40:58 | |
that Holbein designed for the court. | 0:40:58 | 0:41:01 | |
A human jewel. | 0:41:02 | 0:41:04 | |
Jane Seymour didn't last long - just one year. | 0:41:10 | 0:41:14 | |
Having given birth to the male heir that Henry craved so desperately, | 0:41:14 | 0:41:19 | |
she died, tragically, | 0:41:19 | 0:41:21 | |
from complications brought on by the royal birth. | 0:41:21 | 0:41:24 | |
The son she bore, | 0:41:27 | 0:41:29 | |
the future Edward VI, | 0:41:29 | 0:41:31 | |
was also painted by Holbein, | 0:41:31 | 0:41:34 | |
in this fiercely frontal image. | 0:41:34 | 0:41:37 | |
He's got Henry's cheeks, that's for sure. | 0:41:38 | 0:41:41 | |
But his real face is hiding in the middle. | 0:41:42 | 0:41:45 | |
With the death of Jane Seymour, | 0:41:51 | 0:41:53 | |
that was three wives down and three to go for Henry. | 0:41:53 | 0:41:57 | |
But having run out of maids-in-waiting at court, | 0:41:57 | 0:42:01 | |
he widened the search for wife number four by assembling a new list | 0:42:01 | 0:42:07 | |
of the best European princesses. | 0:42:07 | 0:42:09 | |
Poor Holbein found himself involved intimately in this hunt | 0:42:11 | 0:42:18 | |
when he was sent across the Channel to paint portraits | 0:42:18 | 0:42:21 | |
of Henry's prospective brides... | 0:42:21 | 0:42:24 | |
..so the king could choose the prettiest. | 0:42:25 | 0:42:28 | |
Welcome to the Hans Holbein Dating Agency. | 0:42:30 | 0:42:34 | |
The first princess, Christina of Denmark, | 0:42:37 | 0:42:41 | |
was just 16 when Henry approached her. | 0:42:41 | 0:42:45 | |
Christina was famously beautiful. | 0:42:45 | 0:42:48 | |
Just how beautiful you can see immediately | 0:42:50 | 0:42:54 | |
from Holbein's superb full-length portrait of her. | 0:42:54 | 0:42:59 | |
Although she was so young, Christina was already a widow, | 0:43:03 | 0:43:07 | |
having been married briefly to the Duke of Mantua. | 0:43:07 | 0:43:13 | |
That's why she's wearing black in Holbein's towering likeness. | 0:43:13 | 0:43:18 | |
Apparently, Holbein had just one sitting with Christina in Brussels, | 0:43:21 | 0:43:25 | |
which lasted three hours. | 0:43:25 | 0:43:28 | |
The drawing he produced in those three hours, | 0:43:28 | 0:43:31 | |
with those lightning-fast fingers of his, | 0:43:31 | 0:43:34 | |
was all he needed to paint this. | 0:43:34 | 0:43:37 | |
It's his finest and most ambitious female portrait. | 0:43:40 | 0:43:44 | |
Not surprisingly, | 0:43:45 | 0:43:47 | |
Henry wanted immediately to marry Christina of Denmark - | 0:43:47 | 0:43:53 | |
who wouldn't? | 0:43:53 | 0:43:54 | |
But Christina was lucky. | 0:43:56 | 0:43:58 | |
She turned him down. | 0:43:58 | 0:44:00 | |
So, Holbein was sent back across the Channel | 0:44:02 | 0:44:06 | |
to search further for prospective brides. | 0:44:06 | 0:44:10 | |
And this time, it was a French princess, Anne of Cleves, | 0:44:12 | 0:44:17 | |
who needed to be examined. | 0:44:17 | 0:44:19 | |
Interestingly, Anne of Cleves was painted on paper - | 0:44:22 | 0:44:26 | |
presumably so the picture could be rolled up more easily | 0:44:26 | 0:44:30 | |
and taken back to England. | 0:44:30 | 0:44:32 | |
And it was painted with egg tempera, | 0:44:32 | 0:44:35 | |
which dries much more quickly than oil paints. | 0:44:35 | 0:44:39 | |
So, this was done in a hurry. | 0:44:39 | 0:44:41 | |
It's a peculiar picture. | 0:44:44 | 0:44:47 | |
Look how she stares straight out at us. | 0:44:47 | 0:44:50 | |
You can't look natural, staring like that. | 0:44:50 | 0:44:54 | |
Holbein's art was beginning to stiffen. | 0:44:56 | 0:45:00 | |
The king didn't mind. | 0:45:02 | 0:45:04 | |
He liked Holbein's portrait of Anne so much he married her. | 0:45:04 | 0:45:09 | |
But the marriage was a famous disaster. | 0:45:09 | 0:45:14 | |
When Henry saw what she really looked like in the flesh, | 0:45:14 | 0:45:18 | |
rather than in Holbein's portrait of her, | 0:45:18 | 0:45:20 | |
he found her... | 0:45:20 | 0:45:22 | |
and this is his word, not mine, | 0:45:22 | 0:45:24 | |
"repulsive". | 0:45:24 | 0:45:26 | |
So, the marriage was never consummated, and quickly annulled. | 0:45:26 | 0:45:32 | |
But at least Anne of Cleves got out of it alive. | 0:45:32 | 0:45:36 | |
FLY BUZZES | 0:45:38 | 0:45:40 | |
Not everyone was as fortunate. | 0:45:40 | 0:45:43 | |
Cromwell, who'd sent Holbein to Europe to paint Anne, | 0:45:43 | 0:45:48 | |
was blamed for the mistake, | 0:45:48 | 0:45:51 | |
and a few weeks after the wedding, | 0:45:51 | 0:45:54 | |
he was accused of treason and beheaded. | 0:45:54 | 0:45:58 | |
Holbein had fetched up in a historical nightmare. | 0:46:01 | 0:46:05 | |
This is Catherine Howard, wife number five. | 0:46:06 | 0:46:10 | |
She lasted just over a year before Henry got crazily jealous again, | 0:46:12 | 0:46:19 | |
and she, too, was beheaded. | 0:46:19 | 0:46:22 | |
As for wife number six, Catherine Parr, | 0:46:24 | 0:46:29 | |
there is no Holbein portrait of her, | 0:46:29 | 0:46:32 | |
so we have no idea what she looked like. | 0:46:32 | 0:46:35 | |
So, that's, "One generation goeth, and another generation cometh, | 0:46:38 | 0:46:44 | |
"and the earth abideth for ever." | 0:46:44 | 0:46:47 | |
Ecclesiastes. | 0:46:48 | 0:46:49 | |
Holbein's most famous painting, in the National Gallery in London, | 0:46:54 | 0:46:59 | |
is usually called The Ambassadors. | 0:46:59 | 0:47:03 | |
But that's just its modern name. | 0:47:03 | 0:47:06 | |
It's only been called that since the end of the 19th century. | 0:47:09 | 0:47:13 | |
A more revealing and more accurate name would be something like | 0:47:13 | 0:47:18 | |
Don't Worry, It'll Soon Be Over. | 0:47:18 | 0:47:21 | |
The Ambassadors shows two of Holbein's most suave sitters. | 0:47:24 | 0:47:28 | |
He is Jean de Dinteville, | 0:47:29 | 0:47:32 | |
French ambassador to the court of Henry VIII. | 0:47:32 | 0:47:36 | |
And this is his French friend, Georges de Selve, | 0:47:37 | 0:47:42 | |
Bishop of Lavaur. | 0:47:42 | 0:47:44 | |
These two commissioned the picture, | 0:47:47 | 0:47:50 | |
and now they're standing there leaning casually on this shelf, here, | 0:47:50 | 0:47:55 | |
packed with all these symbols. | 0:47:55 | 0:47:58 | |
Interestingly, very relevantly, we know exactly how old they are, | 0:48:00 | 0:48:05 | |
because Holbein's put it in the picture. | 0:48:05 | 0:48:08 | |
Over here, on de Dinteville's dagger, it says, "Aet suae 29", | 0:48:08 | 0:48:14 | |
"He is 29" in Latin. | 0:48:14 | 0:48:17 | |
And up here, on this book on which de Selve is leaning, | 0:48:17 | 0:48:20 | |
"Aetatis suae 25", "He is 25". | 0:48:20 | 0:48:24 | |
So, an ambassador who's 29 and a bishop who's 25. | 0:48:26 | 0:48:32 | |
Now, that's young, isn't it? | 0:48:32 | 0:48:34 | |
So, that goes there... | 0:48:36 | 0:48:38 | |
'Lots of complex meanings have been proposed for The Ambassadors. | 0:48:38 | 0:48:43 | |
'Trying to understand the picture has become a mini industry.' | 0:48:45 | 0:48:50 | |
Most of the mystery has centred on this thing here, | 0:48:53 | 0:48:58 | |
the famous Holbein skull, | 0:48:58 | 0:49:02 | |
which is distorted so heavily you can only see it from the side, | 0:49:02 | 0:49:07 | |
from over here, and from pretty high up. | 0:49:07 | 0:49:10 | |
CAMERA CLICKS | 0:49:12 | 0:49:14 | |
Why the skull is distorted is pretty obvious, | 0:49:16 | 0:49:20 | |
as I'll be showing you in a moment. | 0:49:20 | 0:49:22 | |
Why it's in the picture, what it's doing here, | 0:49:24 | 0:49:27 | |
is more than obvious. | 0:49:27 | 0:49:29 | |
It's completely unmissable. | 0:49:30 | 0:49:33 | |
Here, I'll show you. | 0:49:35 | 0:49:37 | |
Oh! | 0:49:39 | 0:49:40 | |
And you also need to notice that crucifix | 0:49:41 | 0:49:45 | |
hidden behind the curtain at the top, | 0:49:45 | 0:49:48 | |
because that is the most important symbol in the picture. | 0:49:48 | 0:49:52 | |
This is by Harmen Steenwyck - painted much later, | 0:49:57 | 0:50:02 | |
but as you can see, it's got another skull in it - | 0:50:02 | 0:50:06 | |
and this messy heap of objects, just like The Ambassadors. | 0:50:06 | 0:50:12 | |
It's what's called a "vanitas" picture. | 0:50:14 | 0:50:18 | |
Vanitases appeared in Northern Renaissance art in the 15th century. | 0:50:18 | 0:50:24 | |
This word "vanitas" comes from here - from the Bible, | 0:50:26 | 0:50:30 | |
and the Book of Ecclesiastes. | 0:50:30 | 0:50:32 | |
There's a wonderful doomy passage right at the beginning | 0:50:32 | 0:50:36 | |
which goes, in Latin, "Vanitas vanitatum, omnia vanitas." | 0:50:36 | 0:50:42 | |
"Vanity of vanities, all is vanity." | 0:50:42 | 0:50:47 | |
This, though, isn't about vanity in the modern sense - | 0:50:51 | 0:50:55 | |
all those TV presenters looking at themselves in the mirror - | 0:50:55 | 0:50:59 | |
this is biblical vanity, | 0:50:59 | 0:51:04 | |
where nothing lasts for ever. | 0:51:04 | 0:51:07 | |
So, what this picture's doing is reminding us all | 0:51:09 | 0:51:12 | |
of the ultimate uselessness of life. | 0:51:12 | 0:51:15 | |
And all this stuff in here, the flute, the books, | 0:51:15 | 0:51:20 | |
that beautiful Japanese sword, | 0:51:20 | 0:51:23 | |
all that is here today, gone tomorrow. | 0:51:23 | 0:51:28 | |
Because what awaits us all, where we're all heading, | 0:51:28 | 0:51:33 | |
is here. | 0:51:33 | 0:51:34 | |
You can see the same meaning in another famous | 0:51:38 | 0:51:41 | |
picture at the National Gallery | 0:51:41 | 0:51:44 | |
by Frans Hals. | 0:51:44 | 0:51:46 | |
In the Frans Hals, a young man is looking at a skull | 0:51:47 | 0:51:51 | |
because that's his future. | 0:51:51 | 0:51:53 | |
However young you are, this is where it'll end. | 0:51:53 | 0:51:57 | |
So, back at the Holbein... | 0:51:57 | 0:52:00 | |
..all this stuff here, the things on the shelves, | 0:52:04 | 0:52:07 | |
are like the objects piled up in the Steenwyck. | 0:52:07 | 0:52:11 | |
Earthly goodies - wonderful while you're here, | 0:52:11 | 0:52:16 | |
useless when you're not. | 0:52:16 | 0:52:19 | |
The top shelf is packed with scientific instruments | 0:52:21 | 0:52:25 | |
for working out the time. | 0:52:25 | 0:52:28 | |
Sundials... | 0:52:28 | 0:52:31 | |
clocks... | 0:52:31 | 0:52:32 | |
celestial globes. | 0:52:32 | 0:52:34 | |
"The sun riseth", says Ecclesiastes, doomily, | 0:52:35 | 0:52:39 | |
"and the sun goeth down, and hasteth to the place where he ariseth." | 0:52:39 | 0:52:47 | |
So, all these beautiful instruments for working out the time, | 0:52:50 | 0:52:54 | |
all this knowledge, is basically useless. | 0:52:54 | 0:52:59 | |
Just a heap of stuff. | 0:52:59 | 0:53:01 | |
The bottom shelf, meanwhile, is full of earthly pleasures, | 0:53:02 | 0:53:06 | |
things we enjoy. | 0:53:06 | 0:53:08 | |
A lute for playing music, | 0:53:08 | 0:53:11 | |
this bag of flutes over here, | 0:53:11 | 0:53:14 | |
and look - a book of hymns... | 0:53:14 | 0:53:19 | |
by Martin Luther. | 0:53:19 | 0:53:21 | |
And this is where the picture gets sneaky. | 0:53:25 | 0:53:29 | |
Very sneaky. | 0:53:29 | 0:53:32 | |
Look again at that lute. | 0:53:32 | 0:53:34 | |
Look really carefully. | 0:53:34 | 0:53:37 | |
See? | 0:53:37 | 0:53:39 | |
One of the strings is broken. | 0:53:39 | 0:53:43 | |
And, traditionally, a broken string is a symbol of discord. | 0:53:43 | 0:53:50 | |
Something's gone wrong. | 0:53:50 | 0:53:52 | |
What's gone wrong is Luther. | 0:53:55 | 0:53:58 | |
It's no accident that the Lutheran hymn book | 0:53:58 | 0:54:02 | |
is directly below the lute with the broken string. | 0:54:02 | 0:54:06 | |
That is a deliberate piece of vanitas symbolism. | 0:54:06 | 0:54:11 | |
Remember, when this picture was painted in 1533, | 0:54:13 | 0:54:18 | |
no-one was sure yet | 0:54:18 | 0:54:20 | |
that the Protestant revolution was going to succeed. | 0:54:20 | 0:54:24 | |
How could they have known that? It hadn't happened yet. | 0:54:24 | 0:54:29 | |
So, what a lot of people would have assumed, | 0:54:31 | 0:54:33 | |
particularly a Catholic bishop | 0:54:33 | 0:54:36 | |
and a French Catholic ambassador, | 0:54:36 | 0:54:39 | |
is that Luther's revolt was just a flash in the pan. | 0:54:39 | 0:54:44 | |
That is where the skull comes in. | 0:54:45 | 0:54:49 | |
The skull, right at the front of the picture, | 0:54:51 | 0:54:54 | |
is so big it trumps everything else. | 0:54:54 | 0:54:58 | |
Compared with this big skull, | 0:54:58 | 0:55:00 | |
this little bit of discord, here, is nothing. | 0:55:00 | 0:55:04 | |
So, why is this skull so distorted? | 0:55:04 | 0:55:08 | |
Ah! | 0:55:08 | 0:55:10 | |
That's where it gets clever. | 0:55:10 | 0:55:11 | |
This is Boy Bitten By A Lizard, by Caravaggio. | 0:55:16 | 0:55:20 | |
So, it's another young man, | 0:55:20 | 0:55:22 | |
and the lizard is biting him, | 0:55:22 | 0:55:25 | |
because the lizard in art is traditionally a symbol of old age. | 0:55:25 | 0:55:29 | |
And to amplify that meaning, that life is short - very short - | 0:55:32 | 0:55:37 | |
Caravaggio's also included this beautiful reflection in the vase. | 0:55:37 | 0:55:43 | |
The reflection, | 0:55:48 | 0:55:50 | |
like youth itself, | 0:55:50 | 0:55:52 | |
will only last a moment. | 0:55:52 | 0:55:56 | |
It's another vanitas symbol. | 0:55:56 | 0:55:58 | |
So, in the Holbein... | 0:56:01 | 0:56:03 | |
..the skull is like the reflection. | 0:56:07 | 0:56:10 | |
It can only be seen for a moment, and only... | 0:56:10 | 0:56:14 | |
..if you're over here. | 0:56:16 | 0:56:18 | |
I reckon this must have been hanging in a room | 0:56:22 | 0:56:25 | |
that you entered from the side, from over here, | 0:56:25 | 0:56:27 | |
and when you looked over, you saw the skull, | 0:56:27 | 0:56:31 | |
and that was a shock. | 0:56:31 | 0:56:33 | |
But then, when you saw the picture from the front, | 0:56:33 | 0:56:37 | |
the skull wasn't there any more. | 0:56:37 | 0:56:40 | |
It was gone, | 0:56:40 | 0:56:41 | |
because the skull - death itself - | 0:56:41 | 0:56:45 | |
is just another vanity. | 0:56:45 | 0:56:48 | |
Like the Lutheran hymn book, like the broken string, | 0:56:51 | 0:56:56 | |
like the lifetimes of the bishop and the ambassador, | 0:56:56 | 0:57:00 | |
death means nothing in the end - | 0:57:00 | 0:57:04 | |
it's just another illusion. | 0:57:04 | 0:57:07 | |
All that really matters - | 0:57:07 | 0:57:09 | |
and I told you the crucifix was important - | 0:57:09 | 0:57:12 | |
is the eternal truth hidden behind the curtain. | 0:57:12 | 0:57:17 | |
In this great and sneaky masterpiece, | 0:57:19 | 0:57:23 | |
Holbein is reminding us that the world of Henry VIII... | 0:57:23 | 0:57:27 | |
WEAPONS CLASH ..all that discord, all that death, | 0:57:27 | 0:57:32 | |
is just like everything else - | 0:57:32 | 0:57:36 | |
here today, gone tomorrow. | 0:57:36 | 0:57:39 | |
Holbein himself didn't last long. | 0:57:51 | 0:57:54 | |
He died in 1543, from what they called "the sweating sickness" - | 0:57:54 | 0:58:01 | |
the plague. | 0:58:01 | 0:58:03 | |
He was 45. | 0:58:03 | 0:58:06 | |
He left behind some of the greatest portraiture of the Renaissance. | 0:58:07 | 0:58:12 | |
A Tudor cast so vivid you can feel their breath on your cheek. | 0:58:14 | 0:58:20 | |
If Holbein hadn't fetched up in England when he did, | 0:58:25 | 0:58:28 | |
I'm absolutely certain | 0:58:28 | 0:58:30 | |
that we wouldn't be as obsessed with the Tudors as we are. | 0:58:30 | 0:58:34 | |
By making the age of Henry VIII so damn tangible, | 0:58:34 | 0:58:40 | |
Holbein forced it into our thoughts for ever. | 0:58:40 | 0:58:44 | |
But, you know, when I flick through this, | 0:58:46 | 0:58:50 | |
that marvellous folly book he drew when he was a boy, | 0:58:50 | 0:58:54 | |
I can't help wondering | 0:58:54 | 0:58:57 | |
how much more there could have been. | 0:58:57 | 0:59:00 | |
When you remember the coruscating realism of his religious art, | 0:59:02 | 0:59:08 | |
or the pathos and sadness he found in the face of his own wife... | 0:59:08 | 0:59:14 | |
..when you consider the devious complexity of The Ambassadors... | 0:59:15 | 0:59:20 | |
..that's a lot of might-have-beens. | 0:59:21 | 0:59:24 | |
It wasn't just Anne Boleyn... | 0:59:26 | 0:59:30 | |
or Anne of Cleves... | 0:59:30 | 0:59:32 | |
or Sir Thomas More... | 0:59:32 | 0:59:35 | |
whose misfortune it was to encounter Henry the Terrible. | 0:59:35 | 0:59:41 | |
That was Holbein's misfortune, too. | 0:59:41 | 0:59:44 |