Upon the death of Lord Lumley without issue, it is evident that the picture passed, with other portraits of the Fitz-Alan family, into the possession of Philip Howard, Earl of Arundel, son of Thomas, fourth Duke of Norfolk, and Lady Mary Fitz-Alan, younger daughter and co-heiress of Henry, Earl of Arundel. Philip Howard was father of Thomas Howard, Earl of Arundel, probably the greatest art-collector the world has ever known. When in the latter’s possession it was seen by Sandrart, in 1627, who mentions it as the portrait of the King’s “incomparable beloved one, a princess of Lorraine” (unvergleichlicher Liebstin, einer Prinzessin von Lothringen). It was entered in the Arundel inventory of 1655 as “Duchessa de Lorena grande del naturale.” From that time until 1909 it remained in the possession of the Howard family. Walpole adds to his _Anecdotes_ a note to the effect that “Vertue saw a whole length of this princess at Mr. Howard’s, in Soho Square.”[282] It was afterwards at Worksop Manor, then belonging to the Duke of Norfolk, and later on was removed to Arundel Castle, where it was described in the catalogue as “a very curious portrait of a Duchess of Milan.” It was included in the exhibition of Old Masters at Burlington House in 1880, and the Duke of Norfolk then lent it to the National Gallery, where it remained on loan for nearly thirty years. About 1908 the Duke informed the Trustees that he was receiving large offers for the picture, which he felt bound to consider, but that he was most anxious that, if possible, it should be secured for the nation; and he, therefore, gave an undertaking that before closing with any purchaser he would first offer it to the Gallery at the same price. Footnote 282: Walpole, _Anecdotes_, ed. Wornum, p. 72.