Woltmann, too, was of opinion that this small panel was not an original work by Holbein. “We cannot find in the picture at Windsor,” he says “that freedom and bold masterly style which absolutely belong to a sketch from life, and which alone could have excited such lively admiration in John Hutton. The picture at Windsor is very pretty and graceful, but has something almost sober in its treatment. It can indeed be just as little a copy from the large painting. It exhibits some differences in the costume, for instance, a somewhat larger fur collar, and another position of the fingers, although the characteristic attitude of the hands is essentially the same. Christina also wears three rings instead of a single one; namely, a black widow’s ring on the little finger of the right hand, and on the next finger a gold hoop with a square black stone. We might, therefore, believe that this is a copy by another hand of the sketch Holbein painted from life. In favour of this opinion, we find the head, which the sketch naturally gave most distinctly, by far the best part of the painting, while the rest, which was only indicated in the sketch, appears far weaker.”[269] Footnote 269: Woltmann, 1st ed., English translation, pp. 426-7. Sir George Scharf describes with care the many small differences between the two works. In addition to the three rings instead of one, mentioned by Woltmann, the fur of the dress in the smaller picture is much deeper and has every appearance of being a wide fur collar separate from and placed over the black dress. In the larger portrait the fur is much narrower, and evidently forms the lining and collar of the outer robe, a narrow edging of it being shown down the front. In the National Gallery picture, too, this outer robe is open several inches in front, showing the under-dress of black and the knotted ribbon at the waist, all of which are missing in the Windsor panel. Again, though the hands holding the gloves have the same general position in both, the position of the fingers shows considerable variation. In the smaller portrait the two last fingers of the right hand and the two middle ones of the left are bent inwards; in the larger, the only bent fingers are the two last of the left hand. There are some other minor differences which need not be specified. Both pictures at one time belonged to Henry VIII, and are included in the inventory of that King’s “money, jewels, plate, utensils, apparel, wardrobe stuffs, goods and chattels, consigned to the care of Sir Anthony Denny at Westminster.” The volume, now in the Record Office, is dated April 24, 1542. They appear again in a similar inventory, made after Henry’s death, taken “by vertue of a Commission under the greate seale of England, bearing date at Westminster the viij day of September, in the first year of our Sovereyne Lord Edwarde the Sixte” (1547). In these, the smaller panel is described as “Item, a Table with a Picture of the Duchesse of Myllayne.”