writer, there is a faint resemblance to Hans the Younger. But this cannot be so if the picture was painted in 1501, when Hans was only four. The same figure of St. John occurs also in the “Death of Mary,”[82] on one of the panels of the Kaisheimer altar-piece at Munich. We have thus, in these drawings, together with the “Basilica of St. Paul” picture of 1504, portraits of Ambrosius Holbein at the ages of eight, ten, fourteen, and seventeen respectively, and of Hans when five, seven, and fourteen,[83] and also, if the likeness in the Indian-ink drawing of 1508 be allowed, at the age of eleven as well. VOL. I., PLATE 6. [Illustration: AMBROSIUS AND HANS HOLBEIN 1511 _Silver-point drawing_ HANS HOLBEIN THE ELDER ROYAL PRINT ROOM, BERLIN ] Further evidence as to his birth-date is afforded by two engravings, by Vorsterman and Hollar respectively, and several miniatures of Holbein by himself, some of the latter being only early copies, all of which are dated 1543, and give the age as forty-five. Vorsterman’s print, which is 4¾ inches in diameter, shows no date on the background, but round the outside is engraved “Ioannes Holbenius Pictor Regis Magnæ Britanniæ Sui Cæculi Celeberrimus Anno 1543 Ætat: 45.” Hollar’s etching is also circular. There is no lettering round the rim, but across the background is inscribed: “HH. Æ. 45—AN^o 1543.” Below is the legend—“Vera Effigies Johannis Holbeinii Basiliensis Pictoris et Deliniatoris rarissimi. Ipse Holbeinius pinxit, Wenceslaus Hollar aqua forti æri insculpsit. Ex Collec: Arundel: 1647.”[84] The original paintings from which these two engravings were taken have not been discovered, but they were, no doubt, two small roundels in oils.[85] In Carel van Mander’s time two such portraits were in existence. He says, when speaking of Holbein’s works then in Amsterdam: “At the house of Jacques Razet, the fine arts amateur, I saw Holbein’s portrait, painted by himself very prettily and neatly, in miniature, with a small margin round it; and in the possession of Bartholomäus Ferreris, I saw a second, about the size of the palm of my hand, excellently and neatly executed in flesh tints.”[86] Sandrart, who was in Amsterdam between 1639 and 1645, gave to the collector Le Blond a small round portrait of Holbein, and this is probably identical with the one which Van Mander saw in the possession of Razet. From Le Blond, who acted as agent for the Earl, it may well have passed into the Arundel Collection before 1647, in which year Hollar etched it. Vorsterman’s engraving is not dated, but it is evidently taken from the same or an almost similar original, and this artist engraved other pictures in the Arundel collection. According to Walpole, the picture in the Earl’s possession was dated. He says, quoting from one of the pocket-books of Richard Symonds:—“In the Arundelian collection was a head of Holbein, in oil, by himself, most