When it was decided to change the position of the face, it became necessary for the King to give the painter another sitting, and the full-face drawing now in the Munich Gallery[218] is, no doubt, the very study Holbein made for the purpose. This is not only evident from its agreement with Van Leemput’s copy, but also from its dimensions. It is life-size, and thus considerably bigger than any other preliminary portrait-study by Holbein which has survived. It is in black and red chalks, on paper prepared with body-colour in the manner practised by the painter at that period. The study is of the face alone, part of the hat, the collar, and a small portion of fur on the shoulders being roughly indicated. The short, scanty beard and the still scantier whiskers do not conceal the shape of the massive, almost square face, with its thin eyebrows, fat, heavy cheeks, which from their size make the mouth look small. He gazes in front of him, his eyes unconscious of the spectator, as though the thoughts of the sitter were entirely given to himself. The modelling is masterly, and is obtained by the simplest means; but the sketch, simple as it appears to be, produces a wonderful effect of perfect truth to life. Here is the King exactly as he was, as none other but Holbein could have drawn him. He has given not only an absolutely faithful rendering of the face itself, but has laid bare much of the complex character which lurked behind it, and the drawing must always remain both one of the artist’s very finest portrait-studies and also a living document of the utmost value in the history of Tudor England. How this drawing came to be in Munich is not known. It was discovered among a number of other drawings, put aside as of no particular value, by Herr J. H. von Hefner-Alteneck when he was keeper of the Print Room. It does not appear to have ever formed a part of the Windsor series of drawings. Footnote 218: Woltmann, 221. Reproduced by Davies, p. 166; Knackfuss, fig. 125; A. F. Pollard, _Henry VIII_, p. 220. The Whitehall painting became the prototype of nine-tenths of the very numerous portraits of Henry which were produced during his reign and for some little time afterwards. With one possible exception, these works are not from Holbein’s own hand; they were all the work of the less important artists attached to the English court. These, again, are of very varying degrees of skill, some being but coarse and common productions, while others have considerable artistic merits. There is great probability that some of the best of them were from the workshop of Gerard and Lucas Hornebolt, more particularly those half-lengths of which the portrait in Warwick Castle is perhaps the finest example. All, however, had their real origin in the Whitehall painting; in every one of them the King is shown full-face, and in the same characteristic attitude. [Sidenote: OTHER PORTRAITS OF THE KING]