supposition that More was fifty in that year. The sketch was badly engraved by Nicolas Cochin in the _Tabellæ Selectæ_ of Caroline Patin, published in 1691, and on this engraving no date is given. Von Mechel engraved it in 1794 in his _œuvres de Jean Holbein_, with the date 1530, so that it was added to the drawing between these two dates. Von Mechel gives both a facsimile of the original sketch and an engraving which he inscribes “Ex tabula Joh. Holbenii in Anglia adservata”; but none of the alterations which Holbein, according to his written notes on the sketch, proposed to carry out in the finished picture, are shown in this engraving, which proves that it was not copied from any original painting. Dr. Woltmann discovered Mechel’s model in a sepia drawing in the Gothic House at Wörlitz, which is evidently a copy of the original Basel design, executed long after Holbein’s time, and bearing some written notices in Lavater’s hand.[667] A careful description is given by Mr. Wornum[668] of the various versions of the picture still in existence, all of which are based on the Nostell Priory example. Two of them were originally of the same size as the latter, which is 8 ft. 4 in. high by 11 ft. 8 in. wide. One of these in Walpole’s time was at Barnborough in Yorkshire, the seat of the Cresacres, and in 1867 in the possession of Mr. Charles John Eyston of East Hendred, Berkshire; and the other, a similar work, was formerly at Heron in Essex, the seat of Sir John Tyrrell, and afterwards in the collection of Lord Petre at Thorndon, near Brentford. [Sidenote: THE BURFORD PRIORY VERSION]