Editing Hans Holbein the Younger (section)

=== Designs ===
[[File:Chimney-piece design, by Hans Holbein the Younger.jpg|thumb|upright|Design for a chimney-piece, {{circa|1538}}–40. Pen and black ink with grey, blue, and red wash on paper, [[British Museum]], London.]]

Throughout his life, Holbein designed both large-scale decorative works such as murals and smaller objects, including plate and jewellery. In many cases, his designs, or copies of them, are the sole evidence for such works. For example, his murals for the Hertenstein House in Lucerne and for the House of the Dance in Basel are known only through his designs. As his career progressed, he added Italian Renaissance motifs to his Gothic vocabulary.

Many of the intricate designs etched into suits of [[Greenwich armour]], including King Henry's own personal tournament harnesses, were based on designs by Holbein. His style continued to influence the unique form of English armour for nearly half a century after his death.

Holbein's cartoon for part of the dynastic Tudor wall painting at Whitehall reveals how he prepared for a large mural. It was made of 25 pieces of paper, each figure cut out and pasted onto the background.<ref>Foister, 95; Rowlands, 113.</ref> Many of Holbein's designs for glass painting, metalwork, jewellery, and weapons also survive. All demonstrate the precision and fluidity of his draughtsmanship. In the view of art historian Susan Foister, "These qualities so animate his decorative designs, whether individual motifs, such as his favoured serpentine mermen and women, or the larger shapes of cups, frames, and fountains, that they scintillate on paper even before their transformation into precious metal and stone".<ref name="Foister15" />

Holbein's way of designing objects was to sketch preliminary ideas and then draw successive versions with increasing precision. His final draft was a presentation version. He often used traditional patterns for ornamental details such as foliage and branches. When designing precious objects, Holbein worked closely with craftsmen such as goldsmiths including [[Cornelis Hayes]]. His design work, suggests art historian John North, "gave him an unparalleled feel for the textures of materials of all kinds, and it also gave him the habit of relating physical accessories to face and personality in his portraiture".<ref>North, 31.</ref> Although little is known of Holbein's workshop, scholars assume that his drawings were partly intended as sources for his assistants.
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