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Holbein's 'The Ambassadors' of 1533 is arguably his masterpiece, and one of the most important and most popular paintings in the National Gallery. In order to allow visitors an improved and more accurate viewing of this unique painting, the National Gallery will be re-positioning and re-hanging the picture this autumn.
The picture shows two richly dressed Frenchmen, Jean de Dinteville and Georges de Selve, standing on either side of shelves which display a number of intriguing objects, from globes and books to musical and astronomical instruments. There are further mysteries: half-hidden behind a green curtain, top left, is a silver crucifix; and in front is a long whiteish object. Viewed from one side its distorted perspective corrects itself, and it can be seen as a skull, a sign of mortality.
In 1997-8, the National Gallery held a highly successful exhibition around Holbein's painting explaining its mysteries: the reasons for Jean de Dinteville's commission during his stay in London as French ambassador, the significance of the various objects, and the way in which the distorted skull may have been created, as well as the way in which it was intended to be viewed.
During the cleaning and restoration of the painting prior to the exhibition, it was possible to undertake extensive research into the depiction of the skull, an undertaking bringing together curators, conservators and members of the Scientific Department skilled in digital imaging. It was discovered that the skull was constructed in such a way as to produce an optimum viewing point to the right of the picture, which easily coincided with a position which an adult could take up standing at right-angles to the wall on which the picture was hung, provided this was at a relatively low height. In the exhibition it was possible to hang the picture low, mark the spot on the wall and provide the ideal viewing conditions to make Holbein's great feat of perspective visible.
Following the closure of the exhibition, the painting returned to its normal place in Room 4. In this position, consistent with the hanging of the pictures in the rest of the Gallery, it is placed behind a barrier which prevents visitors from taking up the optimum position next to the wall, and at a height enforced by the existence of the skirting above which all the paintings hang. Although the picture's label explains the feat of perspective concerning the skull, visitors are effectively prevented from taking up the best position in which to view it.
The Gallery has made significant improvements to the positioning of Holbein's 'Ambassadors', to enable visitors to have an unobstructed view of the skull similar to that enjoyed by those at the 1997-8 exhibition. This involves constructing an extension to the wall on which the painting hangs, which will bring the picture both forward and lower as well as dispensing with the skirting, allowing visitors to place themselves at the correct angle to the picture. The result will be a unique and accurate enhancement of the Room 4 display.
For further information:
Tel: 020 7747 2865 (General Press Enquiries) Tel: 020 7747 2512 (Press Photographs)
For public enquiries please quote General Information Tel: 020 7747 2885
July 2001
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