Introduction
In 1538, the great German painter Hans Holbein the Younger created one of his most memorable portraits: a depiction of 16-year-old Christina of Denmark, a potential bride for King Henry VIII of England. The painting, which now hangs in the National Gallery in London, offers a fascinating glimpse into the world of Renaissance marriage politics and the artistic genius of Holbein himself.
Background: Henry VIII‘s Marital Woes
By 1538, Henry VIII was no stranger to the marriage market. He had already wed and discarded three wives in his quest for a male heir:
- Catherine of Aragon (marriage annulled in 1533)
- Anne Boleyn (executed in 1536)
- Jane Seymour (died in 1537 shortly after giving birth to Prince Edward)
Now on the hunt for a fourth queen, Henry cast a wide net across the courts of Europe. Christina of Denmark, the teenage widow of the Duke of Milan, was one of the candidates who caught his eye. As the youngest daughter of the deposed King Christian II of Denmark and Norway, she offered a prestigious bloodline and political connections.
Holbein‘s Mission
To assess Christina‘s suitability as a royal consort, Henry dispatched his court painter Holbein to Brussels, where the young duchess was living under the guardianship of her aunt, the Queen of Hungary. Holbein‘s task was to create a portrait that would allow Henry to evaluate Christina‘s appearance and character.
Holbein was the perfect choice for this delicate mission. Born in Augsburg in 1497 or 1498, he had trained with his father, Hans Holbein the Elder, before striking out on his own. By the time he entered Henry‘s service in 1536, Holbein had already made a name for himself as one of the foremost portraitists of the Northern Renaissance, known for his uncanny ability to capture the likeness and personality of his subjects.
The Portrait: A Masterpiece of Realism
Holbein‘s portrait of Christina is a stunning example of his skill. The painting, which measures 179.1 cm × 82.6 cm (70.5 in × 32.5 in), is unusual for its time in that it depicts the sitter in full length. This may have been at Henry‘s request; according to a letter from the king‘s agent, Henry specified that the portrait should show Christina‘s "stature and proportion of her body, specially of her face."[1]
Despite the somber black of her widow‘s weeds, Christina appears regal and self-possessed, her pale face and hands luminous against the dark fabric. Holbein‘s mastery of texture is on full display in the rendering of the fur lining her gown, the sheen of the satin, and the delicate wisps of hair escaping from her cap.
But it is Christina‘s expression that truly captivates. With her level gaze and enigmatic half-smile, she appears reserved yet quietly confident. Art historian Derek Wilson describes the portrait as "a study in poise and inner strength."[2]
The Sitting: A Whirlwind Process
Holbein‘s remarkable portrait is all the more impressive given the speed with which it was executed. According to a letter from the English ambassador in Brussels, Holbein‘s sitting with Christina lasted just three hours, from 1 pm to 4 pm on March 12, 1538.[3]
In that brief window, Holbein would have created numerous sketches, focusing on Christina‘s facial features, pose, and clothing. These drawings, none of which survive, would have served as the basis for the finished painting, which Holbein completed back in his studio.
This rapid-fire process was typical of Holbein, who was known for his quick and decisive work. His friend Erasmus of Rotterdam marveled at the painter‘s "happy ease" and the "felicity" of his brushstrokes, which allowed him to capture "the whole of a man…in a single day."[4]
The Aftermath: Christina‘s Refusal and Henry‘s Reaction
Though Henry was reportedly "in better humor than ever he was" upon receiving Holbein‘s portrait of Christina, the king‘s hopes were soon dashed.[5] When Henry‘s marriage proposal reached her, Christina is said to have replied tartly: "If I had two heads, one should be at the King of England‘s disposal."[6]
It was a bold move for a young woman in a precarious political position, but Christina stood firm. By January 1539, it was clear that she would not be persuaded, and Henry was forced to look elsewhere for a bride.
Undeterred, Christina went on to make a love match with Francis, Duke of Lorraine, whom she wed in 1541. After his death just four years later, she served as regent for their young son Charles III, steering Lorraine through the tumultuous early years of the French Wars of Religion. A savvy political operator, Christina earned the nickname "Madame la Cruelle" for her ruthless suppression of Protestant uprisings.[7]
The Legacy: Holbein, Christina, and the National Gallery
Though Christina of Denmark never became Queen of England, her likeness, as captured by Holbein, has endured as a masterpiece of Renaissance portraiture. Henry VIII kept the painting in his private collection until his death in 1547, after which it passed through various hands before ending up with the Dukes of Arundel.
In 1880, the 15th Duke of Arundel placed the portrait on long-term loan to the National Gallery in London. It was later purchased for the museum by an anonymous donor, securing its place in the Gallery‘s permanent collection.[8]
Today, Holbein‘s portrait of Christina hangs alongside other works by the artist, including his iconic painting The Ambassadors. It stands as a testament to both Holbein‘s genius and the enduring fascination of the woman who got away from Henry VIII.
Conclusion
Nearly five centuries after it was painted, Holbein‘s portrait of Christina of Denmark continues to captivate viewers with its technical brilliance and psychological depth. Through his brush, Holbein not only captured the likeness of a young noblewoman, but also offered a tantalizing glimpse into the high-stakes world of Renaissance marriage politics.
Though Christina‘s story is often overshadowed by those of Henry VIII‘s six wives, her portrait reminds us that there were many other women who played a role in the king‘s marital machinations. In refusing to become another of Henry‘s queens, Christina asserted her own agency and set the stage for a remarkable life as a duchess, regent, and power player in her own right.
As for Holbein, his portrait of Christina stands as a shining example of his prodigious talent and innovative approach to portraiture. With his unparalleled ability to convey both the physical appearance and inner character of his subjects, Holbein set a new standard for realism in painting, paving the way for future generations of artists.
In the end, the story of Holbein‘s portrait of Christina of Denmark is one of a brief encounter that left a lasting legacy. Though their paths crossed only briefly, the painter and his subject created a work of art that continues to inspire, intrigue, and illuminate the complex world of the Renaissance court.
References
[1] Starkey, D. (2008). Henry: Virtuous Prince. London: HarperPress, p. 288.[2] Wilson, D. (2006). Hans Holbein: Portrait of an Unknown Man. London: Pimlico, p. 201.
[3] Foister, S. (2006). Holbein in England. London: Tate Publishing, p. 94.
[4] Erasmus, D. (1523). Letter to William Pirckheimer, June 1523.
[5] Starkey, D. (2008), p. 289.
[6] Weir, A. (2002). Henry VIII: The King and His Court. New York: Ballantine Books, p. 388.
[7] Warnicke, R. (2000). The Marrying of Anne of Cleves: Royal Protocol in Early Modern England. Cambridge: Cambridge University Press, p. 101.
[8] National Gallery. (n.d.). Hans Holbein the Younger: Christina of Denmark, Duchess of Milan. Retrieved from https://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-christina-of-denmark-duchess-of-milan.
