The Ambassadors Secret: Holbein
and the World of the Renaissance
by John North
Hambledon and London, London and New York, 2002
346 pp., illus. b/w, col.
ISBN: 1-85285-330-1.
Reviewed by David Topper
University of Winnipeg
Winnipeg, MB R3B 2E9 Canada.
David.Topper@ds1.uwinnipeg.ca
I am skeptical of many things: one being the apparently endless proliferation
of article and books by authors supposedly discovering secret geometrical
patterns in artpictures, sculpture, and architecture (especially
popular is the Golden Section). It seems to me that almost any given
number of geometrical forms and patterns can be "found" in
most images. So it was with some apprehension that I opened this book.
Yet, in any case, I had to read it because Holbeins painting has
been part of a research project of mine and I try to read virtually
everything written on it, and as well I have great respect for John
Norths work in the history of science (especially, on astronomy).
The book is a tour-de-force of scholarship on seemingly everything about
the picture and its interpretation. Commencing with the life of Holbein
and the sitters, then moving to Holbeins relationship with possible
intellectual collaborators at the English court, with even an exposition
on the ambassadors style of dressthe book is so engaging
that I was quickly hooked. So by page 73, when North raises the matter
of patterns in picture ("Art historians are rightly suspicious
of those who superimpose lines on paintings
"), I was, despite
my qualms, already drawn in enough at least to listen willingly to his
argument. His case for proceeding with the search for an underlying
geometry seemed reasonable, being based on a refutation of a critique
of such procedures: North asserts that a weak argument against such
procedures "is that since it is possible to superimpose composition-lines
on a painting in many different ways none can be acceptable." The
refuted critique is (of course) my critique. North is right: there may,
indeed, be a secret underlying formif importantly the artist intended
one, and if we can still find it.
Norths exposition is the most thorough analysis of Holbeins
painting to date. He explains and interprets in detail the nature and
meaning of every object and form in the picture: all of the astronomical
instruments and other secular objects, the religious artifacts and their
symbolism, the geometrical patterns on the floor, and (perhaps the most
widely studied feature) the anamorphic skull slicing diagonally across
the bottom foreground. North deduces that the painting is meant to be
dated April 11, 1533 (Good Friday) at 4:00pm. He then interprets the
picture in light of this date and the crucifixion story. He finds, for
example, two key lines of sight. Others who have analyzed the anamorphic
skull have shown that it is properly viewed from a point to the right
of the picture, below the mid-point, and slightly off the picture frame.
North shows that the angle from this point to the skull is 27degrees
below a horizontal, but he also discloses another line, 27degree above
the horizontal and terminating on the cross partially hidden on the
curtain on the upper left corner. The angle of the Sun on the day and
time of the painting was 27degree above the horizon. Indubitably, 3
x 3 x 3 = 27 recalls the Christian Trinity. Jesus died at age 33; so
the painting was to be dated 1500 years after the crucifixion. North
also finds two hexagrams and a horoscope square in the picture, which
contain the number 27. He even finds a connection (too good to be accidental)
to Chaucers Canterbury Tales. "What at first
sight is no more than a series of tricks played on the senses turns
out in the end to be a solemn religious statement. It is as though Holbein
is telling us to correct our moral judgment by reference to Christs,
in the way that we correct the distortion of the skull" (p. 265).
Even a confirmed skeptic like me was converted; in this case at least
I believe that a scholar has indeed found secret patterns and forms.
But there is more, so much more in this amazingly fascinating and captivating
book. Without a doubt it will be the definitive text on Holbeins
famous painting for some time to come.