without any case.'[39]

It is notable that not one of Sir Thomas's sons-in-law is in this
picture, neither is there a grandchild, though one or more is known to
have been born at the date.

The miniature of Anne of Cleves, if it ever existed, is lost; it is
probable that what was really referred to was the portrait of Anne by
Holbein in the Louvre, where she appears 'as a kindly and comely woman
in spite of her broad nose and swarthy complexion, but by no means such
a painted Venus as might have deceived King Hal.'[40]

A well-known portrait by Holbein is that of a 'Cornish Gentleman,' with
reddish hair and beard. I saw this portrait not long ago, as it was
exhibited among the works of the Old Masters, and so much did it look
as though the figure would step from the frame, that it was hard to
believe that more than three hundred years had passed since the original
walked the earth.[41]

Doubtless the last of Holbein's portrait pieces, which it is reported he
left uncompleted when he died, is that of the 'Barber Surgeons,' painted
on the occasion of the united company receiving their charter from the
king, and including the king's portrait. This picture still hangs in the
old company's hall.

I have only to say a few more words of those sketches which survive the
destruction of the picture--Holbein's allegory of the 'Triumph of
Riches,' and the 'Triumph of Poverty,' and of his portrait sketches. In
the 'Triumph of Riches,' Plutus, an old man bent double, drives in a
car, drawn by four white horses; before him, Fortune, blind, scatters
money. The car is followed by Croesus, Midas, and other noted misers and
spendthrifts--for Cleopatra, the only woman present, is included in the
group. In the 'Triumph of Poverty,' Poverty is an old woman in squalor
and rags, who is seated in a shattered vehicle, drawn by asses and oxen,
and guided by Hope and Diligence. The designs are large and bold. In the
first, a resemblance to Henry VIII, is found in Croesus. If the
resemblance were intentional on Holbein's part, it showed the same want
of tact and feeling which the painter early betrayed in his caricature
of Erasmus.

But the best of Holbein's drawings are his portrait sketches with
chalks, on flesh-tinted paper. These sketches have a history of their
own, subsequent to their execution by Holbein. After being in the
possession of the art-loving Earl of Arundel, and carried to France,
they were lost sight of altogether for the