Described by Mr. S. Arthur Strong as “one of the best of the royal effigies that are all probably based in common upon the Hardwick cartoon. The artist, whoever he was, had a manner of his own, and was more than a mere copyist. The cold grey scheme of colour is a contrast to the depth and richness at which Holbein aimed, and is more akin to what we afterwards appreciate as characteristic in Honthorst and Mytens.”—_Critical Studies and Fragments_, p. 91. The figure is evidently copied directly from the wall-painting. The position and the details of the dress agree exactly with the Hardwick cartoon. It is reproduced by Dr. Ganz, _Holbein_, p. 181. Footnote 224: Reproduced by A. F. Pollard, _Henry VIII_, p. 150. The half-length and three-quarter-length versions, of which the portraits at Rome and in Warwick Castle are, perhaps, the most important, are still more numerous. In these the King is shown in the same position, and apparently several years older, the cheeks fatter and more shapeless, and with greyer beard, while in a number of them, instead of holding his dagger, he has a stick in his left hand. The Warwick picture, which is life-size, to the knees, and full-front, was considered by Dr. Waagen to be a genuine work by Holbein of about the date 1530, but more recent criticism has shown him to be wrong in both these assertions. “The square face is so fat,” he says, “that the several parts are quite indistinct. There is in these features a brutal egotism, an obstinacy, and a harshness of feeling, such as I have never yet seen in any human countenance. In the eyes, too, there is the suspicious watchfulness of a wild beast, so that I became quite uncomfortable from looking at it a long time; for the picture, a masterpiece of Holbein, is as true in the smallest details as if the king himself stood before you. In the very splendid dress much gold is employed. The under-sleeves are of gold, with brown shadows; the hands most strikingly true to nature; in the left he has a cane, and in the right a pair of gloves; on his head a small cap. The background is bright green. The want of simplicity of the forms, the little rounding of the whole, notwithstanding the wonderful modelling of all the details, the brownish red local tone of the flesh, the grey of the shadows, and the very light general effect, show this picture to be a transition from the second to the third manner of Holbein, and that it may have been painted about 1530.”[225] Footnote 225: Waagen, _Treasures of Art in Great Britain_, iii. p. 215.