It is not until we come to the portrait of Queen Jane Seymour in the Imperial Gallery, Vienna (No. 1481) (Pl. 20),[246] that we are on certain ground. This is a genuine work of Holbein of very fine quality. She is shown almost to the knees, the body and head turned slightly to the left, and her hands clasped in front of her. She is dressed in red velvet, with hanging sleeves covered with gold embroidery, and under-sleeves of lilac-grey watered silk with an elaborate pattern, worked with seed pearls, and slashed and puffed with white. The cuffs have a deep border of wonderfully painted black Spanish work. She wears two heavy necklaces, of jewels and pearls, and a band of similar ornament along the edge of her square-cut bodice, and an ornament at the breast composed of the initials I.H.S. and three pendant pearls. Her head-dress is of the angular English pattern. The inner cap, which completely hides her hair, is of brown silk with a black stripe, and the jewelled band or framework is of the same pattern as the border of the dress. The body of the head-dress is cloth of gold, with the customary black fall. The background is of dark grey-blue without inscription. The colour scheme is rich and harmonious, but delicate and pearly in tone, and a considerable amount of gold has been used in the painting of the jewels, and the gold tissue and embroidery of the cap. Once again the extraordinarily fine painting of the hands has to be recorded; they are full of expression and character. There is less expression in the face. She has no great pretensions to beauty, and her complexion is pale, thus agreeing with all contemporary accounts of her appearance. In a singularly frank letter from Chapuys to Antoine Perrenot, dated London, 18th May 1536, which was intended for the Emperor’s ears, the Spanish ambassador says: “She is sister to one Edward Semel, of middle stature, and no great beauty, so fair that one would call her rather pale than otherwise.... The said Semel is not a woman of great wit, but she may have good understanding. It is said she inclines to be proud and haughty. She bears great love and reverence to the Princess (_i.e._ Mary). I know not if honors will make her change hereafter.”[247] He then proceeds to throw doubts upon the lady’s virtue, and to speak in coarse innuendo of Henry’s matrimonial ventures. The panel, which is probably the one which was in the Arundel Collection, measures 65 cm. by 48 cm., and is of the same size as the portrait of Dr. John Chamber; they are the largest of Holbein’s works in the Vienna Gallery. This portrait was evidently the one seen by Van Mander in Amsterdam in 1604. He says: “There was, at Amsterdam, in the Warmoesstraat, a portrait of a Queen of England, admirably executed, and very pretty and nice; she was attired in silver brocade, which appears to be genuine silver with some admixture, and it was depicted so transparently, curiously, and exquisitely, that a white foil seemed to lie beneath.”[248]