Amongst the more important creations of Holbein's later time we should note his "Duke of Norfolk" at Windsor, the hands of which are so perfectly preserved as to compensate for the shrivel that now disfigures the head. Two other portraits of 1541 (Berlin and Vienna), the Falconer at the Hague, and John Chambers at Vienna (1542), are noble specimens of portrait art; most interesting and of the same year are the likenesses of Holbein himself, of which several examples are extant--one particularly good at Fahna, the seat of the Stackelberg family near Riga, and another at the Uffizi in Florence. Here Holbein appears to us as a man of regular features, with hair just turning grey, but healthy in colour and shape, and evidently well to do in the world. Yet a few months only separated him then from his death-bed. He was busy painting a picture of Henry the VIII. confirming the Privileges of the Barber Surgeons (Lincoln's Inn Fields), when he sickened of the plague and died after making a will about November 1543. His loss must have been seriously felt in England. Had he lived his last years in Germany, he would not have changed the current which decided the fate of painting in that country; he would but have shared the fate of Durer and others who merely prolonged the agony of art amidst the troubles of the Reformation. (J. A. C.) The early authorities are Karel Van Mander's _Het Schilder Boek_ (1604), and J. von Sandrart, _Accademia Todesca_ (1675). See also R. N. Wornum, _Life and Work of Holbein_ (1867); H. Knackfuss, _Holbein_ (1899); G. S. Davies, _Holbein_ (1903); A. F. G. A. Woltmann, _Holbein und seine Zeit_ (1876).