There is a very interesting drawing in coloured crayons by Holbein in the Basel Gallery,[354] which is described as a portrait of Edward VI, and bears considerable likeness to the various paintings and drawings in England. The face, however, is decidedly longer and more oval in shape than in the Windsor drawings; but much of the delicate modelling of the flesh has vanished during the passage of time, so that it is difficult to speak with absolute certainty as to the likeness. Most probably the attribution is the correct one. The boy, who appears to be about five years old, is dressed in a princely costume, and is holding a meerkat in the bend of his right arm, and stroking its back with his left hand. There is no portrait known which follows this drawing. Footnote 354: Woltmann, 30. Reproduced by Ganz, _Hdz. Schwz. Mstr._, ii. 37. Upon one of the leaves of Holbein’s sketch-book, preserved in the Basel Gallery, there is a delightful little circular drawing of Edward when a small child,[355] evidently of about the same date as the Hanover portrait. His costume is much the same as in the pictures described, and he is seated on a cushion on the grass, fondling a small dog with his left hand. The background on either side of him is filled in with branches of oak with acorns. It may have been the first study for a miniature, or possibly a design for a medallion or hat-badge to be carried out in gold-and-enamel by one of Holbein’s goldsmith friends. In spite of its small size the likeness is evident. Footnote 355: Woltmann, 110 (82). Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 46, and woodcut in Woltmann, i. p. 449. The scope of this book does not permit any attempt to give a detailed list of the numerous portraits of the young prince painted after the death of Holbein, in which he is represented at an age varying from about ten to sixteen, some of them being works of very considerable merit. In the days when it was believed that Holbein lived until 1554, all these portraits were attributed to him, whereas now some other authorship must be sought. It is known that Guillim Stretes, the Dutch painter, was responsible for at least two of these portraits of the young King. According to Strype,[356] in 1551 Stretes was paid by the Privy Council “fifty marks for recompence of three great tables, made by the said Guillim, whereof two were the pictures of his Highness sent to Sir Thomas Hoby and Sir John Mason (ambassadors abroad); the third a picture of the late Earl of Surrey, attainted, and by the council’s commandant fetched from the said Guillim’s house.” In 1553 “Gillam Strettes, Dutchman,” was the King’s painter, in receipt of the high salary of £62, 10_s._ a year, and he continued in favour during the reign of Queen Mary. Footnote 356: _Memorials_, &c., Vol. ii. p. 494. Quoted by Walpole, _Anecdotes_, ed. Wornum, i. p. 138. [Illustration: