In addition to the Hardwick cartoon and the Munich drawing there is a third portrait of Henry existing which can be attributed almost certainly to Holbein’s hand. This is the beautiful little panel in Lord Spencer’s collection at Althorp (_frontispiece_),[237] which measures only 10½ in. × 7½ in. It is a half-length, three-quarters to the right. No hair is visible under the cap or beside the ears; the hairs of the close-cropped fair beard and moustache are drawn with minute care. The eyes are clear blue-grey. He wears a black cap trimmed with jewels and loops of pearls and a white feather falling to the left. His gown of cloth of gold is lined with brown fur, over a light grey doublet cut low at the neck, embroidered with an elaborate pattern in black, trimmed with jewels and slashed and puffed with white. The white shirt has a high collar fitting close round the neck, embroidered with a rich design in gold, and with a very small frill. On his breast is a round jewel suspended by a chain of spiral black and gold beads and H’s. The hands are shown in part, the left at his side, and the right holding a glove. The background is a plain bright blue. Footnote 237: Woltmann, 1. Reproduced (in colour) by the Medici Society; _Masterpieces of Holbein_ (Gowan’s Art Books, No. 13), p. 7; _Burlington Fine Arts Club Exhibition Catalogue_, Pl. x.; Ganz, _Holbein_, p. 120. [Sidenote: PORTRAIT OF HENRY VIII AT ALTHORP] It is a miniature painting of unusual size, and is drawn with extraordinary delicacy and truth, and there is an exquisite finish in all the details of the dress and ornaments, and a harmony in the colour, which no other painter then practising at the English court but Holbein was capable of producing. The first impression it gives is that, in spite of its beauty and brilliance, it yet displays certain differences from Holbein’s usual style which renders its attribution to him not absolutely certain; but repeated examination modifies this first impression, and it becomes impossible not to agree with such critics as Dr. Woltmann, Mr. Lionel Cust, and Dr. Ganz, who are emphatically of opinion that Holbein was the author of it. It is impossible, again, to find any other painter who could have produced so vivid and striking a portrait of the King, and so accomplished a work of art. Mr. Roger E. Fry describes it as one of Holbein’s most miraculous pieces of craftsmanship. “It is little more in scale than a large miniature, and Holbein has treated it with all the skill in minute delineation which he alone possessed, and that without losing for a moment unity of tone and breadth of feeling; but, wonderful as it is, it gives one scarcely any idea of an actual character. Holbein seems never to have read anything behind the expansive mask of his royal patron; whether he abstained out of discretion or failed from want of interest one can but guess.”[238] After examining the Munich head, however, it is difficult to agree with Mr.