In 1533 Holbein produced his most important work still in this country, the picture familiarly known as _The Ambassadors_ (_see illustration, and p. 47_), representing Jean de Dinteville, French Ambassador at the English Court, and his friend George de Selve, Bishop of Lavaur. Another magnificent portrait of an Ambassador was painted about this time, probably in 1534, the famous one in the Dresden Gallery, for many years said to be a masterpiece of Leonardo da Vinci, and a portrait of Ludovico Sforza, and still called in the Dresden catalogue _Hubert Morett, Goldsmith to Henry VIII_. It really represents _Charles de Solier, Comte de Morette_, who was in England more than once, and succeeded Dinteville as resident Ambassador in 1534. His clients, however, were not only foreigners; he constantly painted Englishmen of all ranks and classes. In 1533 he produced the fine portrait of _Robert Cheseman, of Dormanswell_ (Hague), with his hawk on his wrist, erroneously called _The King’s Falconer_ (_see illustration, and p. 56_), and the equally fine one of a man in black (Berlin), supposed to be a member of the Trelawney family. The latter’s brother he had painted in the previous year (Count Schönborn’s Collection, Vienna). In 1534 we have the portrait of that “hammer of the monks,” Thomas Cromwell, when only Master of the Jewel House. It is not until 1536 that we get any actual proof that Holbein was in the King’s service. In that year he painted the new Queen, Jane Seymour (Vienna and Woburn Abbey). It seems certain, however, that Henry must have been well aware of his artistic capacity before this date. A number of artists, both foreign and native, all greatly inferior to Holbein, were then employed by the King, and professional jealousy may have had some share in retarding his entry into the royal service. During Holbein’s first visit to England John Browne was sergeant-painter to the King, holding the office for more than twenty years. He was succeeded by another Englishman, Andrew Wright, who in his turn was followed by an Italian, Antonio Toto; but, next to Holbein, the leading painter in England, and a man of real ability, was Lucas Horembault, or Hornebolt, of Ghent, who had settled here with his father Gerard and his sister Susannah, both of them artists. The salary that Hornebolt received from the King was always larger than that paid to Holbein.