The portrait of Hans of Antwerp, in Windsor Castle (Pl. 2),[16] belongs to the summer of the same year, 1532, and was one of the earliest of the Steelyard series. It is in oil on panel, and has darkened with age, and has suffered to some extent from repaintings. It represents the half-length figure of a middle-aged man, about three-quarters the size of life. He is turned to the right, seated at a table, upon which his elbows rest, and he is about to cut the string of a letter with a long knife. He has thick bushy hair and beard, brown in colour, and brown eyes, and is wearing a dark overcoat, which may have been originally dark green in colour, edged with a broad band of brown fur, and beneath it a brown dress and a white shirt with the collar embroidered with black Spanish work. On his head is a flat black cap. The table is covered with a dark green cloth, and upon it, in front of him, are placed a pad of paper with a quill pen resting on it, some coins and a seal engraved with the letter W. The head, strongly lightened, stands out against a background of grey-brown wall, with a strip of darker colour on the right-hand side of the panel. He wears a signet ring on the first finger of his left hand, and a smaller ring on the little finger of the right. Footnote 16: Woltmann, 265. Reproduced by Law, _Holbein’s Pictures at Windsor Castle_, Pl. ii.; Davies, p. 30; Knackfuss, fig. 119; Cust, _Royal Collection of Paintings, Windsor Castle_, 1906, Pl. 46; Ganz, _Holbein_, p. 96. The letter which he holds in his hand has a superscription in crabbed Teutonic writing, which Woltmann, after careful examination, deciphered as follows:— “_Dem ersamen H[a]nnsen Von Anwerpen ... lo [....] vpn Stallhoff zv h[anden]._” The parts in brackets are hidden in the original by the knife, and have been added conjecturally by him, so that the whole inscription would run in English: “To the honourable Hans of Antwerp in London, in the Steelyard, these to hand.” The words “ersamen” and “Stallhoff” are distinct, but the “Anwerpen” is less clear, and only the first letter of the Christian name is certain. The brown under-dress the sitter is wearing certainly has some appearance of the leather apron worn by goldsmiths which Woltmann declared it to be;[17] and this, together with the gold coins on the table, such as goldsmiths were in the habit of exhibiting in their shops, he regarded as additional proof that the portrait represents the goldsmith, Hans of Antwerp, Holbein’s close friend and one of his executors.[18] There is considerable probability that this ascription is correct, though it is by no means absolutely certain. On the paper-pad lying on the table there is an inscription, evidently in the sitter’s handwriting, giving his age and the date. Even this inscription is not absolutely clear. Woltmann reads it:— Footnote 17: