The Hanover picture[340] is a life-size, half-length figure, facing the spectator. The child is dressed in a red velvet coat trimmed with gold, and sleeves of gold brocade. A red hat, with gold tags and a large ostrich feather, tied under the chin, surmounts the closely-fitting cap, from beneath which his fair hair falls over his forehead. His right hand is held out with open palm, and in his left he grasps a gold rattle. In front of him is a stone or panel on which eight lines of Latin verse from the pen of Sir Richard Morysin are inscribed, exhorting the Prince to imitate his wonderful father. “Little one, imitate your father,” the lines run, “and be the heir of his virtue, the world contains nothing greater—Heaven and Nature could scarcely give a son whose glory should surpass that of such a father. You only equal the acts of your parent, the wishes of men cannot go beyond this. Surpass him, and you have surpassed all the kings the world ever worshipped, and none will ever surpass you.”[341] The head stands out well against the sky-blue background. The round, chubby face, and small fat hands, are most truthfully and delightfully rendered, while the colour scheme is very harmonious. It is, indeed, in all ways, a most sympathetic and delightful study of childhood. Footnote 340: Woltmann, 165. Reproduced by Knackfuss, fig. 130; Pollard, _Henry VIII_, p. 242; Ganz, _Holbein_, p. 122. Footnote 341: Wornum, p. 324, note. The almost equally charming little work in the Earl of Yarborough’s collection (Pl. 22)[342] is practically a replica of the one in the Hanover Museum. According to Wornum, it was at one time in the Arundel Collection, at Stafford House, and was sold in 1720, subsequently passing into the possession of Sir Richard Worsley, of Appuldurcombe, Isle of Wight, and afterwards to the present owner. The same writer notes some few peculiarities in its execution—“some defects in the right hand, and a certain want of transparency, or a mealyness in the colouring, that are not entirely consistent with Holbein’s practice.”[343] It is most probably an old and careful copy after the original at Hanover. It was in the Tudor Exhibition, 1890 (No. 174), and the Burlington Fine Arts Club, 1909 (No. 62). Footnote 342: Reproduced in the Catalogue of the Tudor Exhibition, 1890, p. 80; and _Burlington Fine Arts Club Exhibition Catalogue_, 1909, Pl. xxi. Footnote 343: Wornum, p. 323.