Interesting as the subject is, the scope of this book does not permit any attempt to describe, or even to compile a list of, all the portraits of Henry VIII still remaining in England. A few of the principal ones may be mentioned briefly. Several of them are full-lengths. Among these one of the most interesting is in Belvoir Castle.[219] It was purchased by the fourth Duke of Rutland at Lord Torrington’s sale in 1787 for £211. Except in some minor details of the dress, it follows the Whitehall painting very closely. The King is wearing “white hose, with the Garter on his left leg; a gold chain round his neck with the letter H, with a pendant circular gold case without any device; another gold chain or collar across the shoulder over the surcoat is mounted in jewels set in gold-and-enamel. The whole of the dress and ornaments is most elaborately painted and gilded, and in excellent effect of light and colour, being in an absolutely perfect state of preservation.”[220] The copyist has made the face younger and more handsome, and much more lacking in expression than the Munich sketch. The background is a curtain with an elaborate design in panels, each one surmounted by a crown. Dr. Waagen thought it to be a genuine work by Holbein. “Although painted on canvas,” he says, “the picture is of such truth, delicacy, and transparency, that I consider it an original.” A similar whole-length on wood, belonging to the Seymour family, is described by Dr. Woltmann, who regarded it as an excellently painted contemporary copy, which very possibly came into the possession of that family through their connection with Jane Seymour.[221] There is a far finer example at Petworth, much more transparent and delicate in its tones, which Wornum describes as “really magnificent.”[222] This work is by no means an exact copy; it differs in various details, more particularly in the dress, which is of silver brocade with a blue mantle lined with ermine. It is possibly the work of a Fleming. The background is architectural. There is another full-length version at St. Bartholomew’s Hospital, with a further variation of the background and the floor. Other repetitions are at Chatsworth,[223] Trinity College, Cambridge, and in the possession of Viscount Dillon at Ditchley, Enstone.[224] Footnote 219: Reproduced in _The Connoisseur_, vol. vi. No. 22, June 1903, frontispiece. Footnote 220: _The Connoisseur_, vol. vi. No. 22, June 1903, p. 68 (quotation from Radford’s catalogue of the collection). Footnote 221: Woltmann, ii. 20. Footnote 222: Wornum, p. 308. Footnote 223: