onal Gallery.
(A double portrait, life size. Formerly supposed to be Sir Thomas
Wyatt and a scholar; now officially held to be Jean de Dinteville,
Bailli de Troyes, and George de Selve, Bishop of Lavaur. As stated
in the text, the present writer differs from any identification of
either figure yet published, but is not prepared to put forward her
own views for the present.)

Nicholas Bourbon de Vandoeuvre, scholar and poet.
Chalk Drawing. Windsor Castle.
(An intimate friend of Holbein, Kratzer, and their circle. Recently
identified as the man in the scholar's gown, in "The Ambassadors,"
and so given by Mr. Lionel Cust, in the _Dictionary of National
Biography_, in his article upon Holbein.)

**The Morett Portrait. [Plate 29.]
Oils. Dresden Gallery.
(Long believed to be a triumph of Leonardo da Vinci's art, and the
portrait of Ludovico Sforza, "Il Moro." At one time held to be Henry
Brandon, Duke of Suffolk. Afterwards "established" and catalogued as
Hubert Morett, goldsmith to King Henry VIII. Following M. Larpent's
suggestion, however, it is now supposed to be the portrait of Charles
Solier, Sieur de Morette. But as to this the last word may yet remain
to be said. The drawing which the majority of authorities hold to be
the study for this painting now hangs near it.)

Thomas Cromwell.
Oils. Tittenhanger.

** Miniature portrait of Henry Brandon, son of the Duke of Suffolk.
Windsor Castle.

Title-page used in Coverdale's Bible. Woodcut.

Q. Jane Seymour. [Plate 30.]
Oils. Imperial Gallery, Vienna.

** Portrait of Erasmus, full length, in scholar's robes, with his hand
on the head of the god Terminus. Woodcut.
Frontispiece to Hieronymus Froben's edition of Erasmus's
Works, published in 1540.
(Commonly known as "Erasmus in a surround," or niche.)

Fragment of the Cartoon [Plate 31] used for the four royal portraits
in the wall-painting at Whitehall. The fragment shows only the figures
of King Henry VIII. and his father. Hardwick Hall.
(Remigius van Leemput's copy of the wall-painting shows that the
position of the King's head was changed, in the completed work, to the
full-face view so familiar in the oil-painting at Windsor Castle. The
latter is one of the many copies of Holbein's original portrait of
Henry VIII. which long passed muster as genuine _Holbeins_.)

** Portrait study of the face