There was, however, a French painter, Pierre Quesnel, who may possibly have been attached to Madame de Longueville’s court at the time of Mewtas’ visit; in any case, he accompanied her to Edinburgh two months later, and entered the service of James V. He came of a family of portrait painters, and also practised historical painting. His works are now unknown, but he returned to France in 1557, and designed a painted window for the Augustins of Paris. He had three sons, François, Nicolas, and Jacques. François,[292] who was born in Holyrood about 1543 and died in 1619, was a portrait-painter of exceptional ability, as may be seen from the fine portrait of “Mary Ann Walker” belonging to Lord Spencer at Althorp Park, of which an excellent reproduction in colour has been issued by the Medici Society in their National Portrait Series. It is signed “F. Q.” in monogram, and dated 1572. This picture was brought from France about one hundred years ago, and was obtained from a descendant of the lady’s family. In this connection it may be suggested that the double portrait of “James V and Marie of Lorraine,”[293] in the collection of the Duke of Devonshire at Hardwick, may possibly have been, in its original state, the production of the elder Quesnel’s brush.[294] It must be noted, in conclusion, that there is no record in the English State Papers of the result of Mewtas’ mission, and so it is doubtful if Henry VIII ever possessed a portrait of the lady, whether by Quesnel, or Holbein, or any other painter, such as Hornebolt, in the King’s pay. Footnote 292: See Dimier, _French Painting in the Sixteenth Century_, pp. 191 and 289. Footnote 293: Reproduced in the _Burlington Magazine_, Oct. 1906, p. 41, in an article on “The Portraits of Mary Queen of Scots,” by Mr. Lionel Cust and Miss K. Martin. Footnote 294: This picture was exhibited at the Golden Fleece Exhibition at Bruges in 1907 (No. 130), as the work of an unknown Scottish painter.