It is in the “Fountain of Life” (Pl. 4),[30] painted in 1519,[31] that the strongest proofs of the elder Holbein’s final surrender to the influences of the Italian Renaissance are to be discovered. This picture, like more than one other of his works, was formerly ascribed to the son. Nothing is known of its earlier history, but it is said[32] to have been taken from England to Portugal by Catherine of Braganza, daughter of John IV of Portugal, and wife of Charles II, when she returned home a widow after the king’s death in 1685, and that it was presented by her to the chapel of the castle of Bemposta, where it remained until removed to the royal palace in Lisbon forty or fifty years ago. It thus appears to have belonged to the royal collections of England in Charles II’s time, but no traces of it are to be found in any inventory. If the picture ever was in this country, it can have been only for a short time, for about the year 1628 it was in the collection of the Elector Maximilian I of Bavaria, and is very carefully described in a manuscript catalogue of his pictures of that date, with the measurements, the date, and the name of the artist—“von Hanns Holpain ao 1519 gemalt.”[33] It is signed “IOHANNES HOLBEIN FECIT 1519,” but from its present condition this signature seems to have been painted over an older one. Attention was first called to the picture by Pietro Guarienti, keeper of the Dresden Gallery, who was in Portugal from 1733 to 1736. He read the name as “Holtein,” and considered it to be the work of one of Holbein’s pupils. This would indicate that the signature was then becoming illegible, and that it was renovated some time after Guarienti saw it. On the inner edge of the circular fountain in the foreground there is also an inscription, “PVTEVS AQVARVM VIVENTIVM,” which has also been retouched by some clumsy hand, for the older writing, white on a brown ground, can still be seen beneath it.