An important example of this type of the portraits of Henry VIII is the three-quarter length belonging to St. Bartholomew’s Hospital, London, which was last exhibited at the Burlington Fine Arts Club in 1909 (No. 23). The dress is very similar to the Warwick portrait. The King is grasping in his left hand a black staff mounted in gold. The background is dark, and on it is inscribed: “ANNO [~D][~N]I 1544. ÆTATIS SVÆ 55,” which is incorrect, as Henry did not enter his fifty-fifth year until 1545.[228] The portrait in Windsor Castle,[229] which, as Mr. Ernest Law points out, is the only contemporary likeness of Henry in the whole of the royal collections which has anything of an Holbeinesque character, was evidently copied from the Whitehall fresco. In the attitude and in the details of the dress it follows the original with considerable closeness, though slight differences are to be noted, as in the position of the right hand, which is here placed over the sword-belt, instead of below it as in Van Leemput’s copy. Its agreement with the Rome portrait has been already pointed out. The face, however, more closely resembles the Warwick portrait. Mr. Ernest Law suggests that it was executed several years later than the Holbein prototype, by some pupil or imitator, such as Guillim Stretes, after the master’s death,[230] the general attitude, pose, dress, and accessories of the original being carefully adhered to, but the features modified, and the beard shown as thinner and turning grey, to suit his added years, though in outline they still closely resemble Holbein’s drawing at Munich. The size of the panel is 3 ft. 3¾ in. high × 2 ft. 5½ in. wide. It may be the picture which was No. 866 in James II’s catalogue: “King Henry VIII at half-length, with gloves in his right hand”; though this description suits equally well the smaller portrait (18 in. × 16 in.) at Hampton Court, No. 606. Footnote 228: There is another version of this portrait with the black staff in the left hand at Chatsworth, in which, Mr. S. Arthur Strong says, “the drawing of the features is masterly, and the detail is minute and searching without being petty; but here again the effect is flat, and we feel that Holbein himself would have better conveyed the sense of roundness and depth.... On the whole, there is a French rather than a German look about this picture, which suggests the possibility that it may have been painted at the time of the Field of the Cloth of Gold.”—_Critical Studies and Fragments_, p. 91, and Pl. ix. i. Footnote 229: Reproduced by Law, _Holbein’s Pictures_, &c., Pl. v.; Davies, p. 165; Knackfuss, fig. 126; Pollard, _Henry VIII_, frontispiece (in colour); Cust, _Royal Collection of Paintings, Windsor Castle_, Pl. 49; Ganz, _Holbein_, p. 222. Footnote 230: _Holbein’s Pictures_, &c., p. 13.