sarcenet; and “The Kynge’s Majesty, the whole stature, stayned upon clothe” (_i.e._ canvas), with a curtain of green sarcenet. The first named was not included in the earlier list of King Henry’s pictures drawn up in 1542, but the latter is in that inventory, and so must have been painted before 1542, and thus represented Edward as a little child. The third portrait is merely described as “The Kynge’s Majestie.” This may have been the curious “perspective” portrait of the young Prince, now in the National Portrait Gallery (No. 1300),[364] a head within a circle surrounded by a well-painted landscape, done in 1546, which has been attributed to Stretes. According to Walpole,[365] who considered it to be the work of Marc Willems, “Gulielmus pinxit” was written on the frame. It formed part of the Royal collections from the time it was painted, but was sold by the Commonwealth in 1650 for £2. It was seen in Whitehall and described by the German traveller, Paul Hentzner, in 1598. Two miniatures of Edward were lent to the Burlington Fine Arts Club Exhibition (Case C, 13 and 19) by the Duke of Buccleuch, but these are not by Holbein. Footnote 357: _Burlington Magazine_, vol. xv., May 1909, p. 75. Reproduced by Miss Hervey, “Notes on some Portraits of Tudor Times,” _Burlington Magazine_, vol. xv., June 1909, p. 155. Footnote 358: See pp. 104 and 112. Footnote 359: Burlington Fine Arts Club, 1909, No. 68. Footnote 360: Wornum, p. 326. Footnote 361: Reproduced by Cust, _Royal Collection of Paintings, Windsor Castle_, Pl. 50; and Ganz, _Holbein_, p. 223. Footnote 362: Walpole, _Anecdotes_, ed. Wornum, i. p. 88. Footnote 363: Vol. xxxix. p. 20. Footnote 364: Reproduced in the Illustrated Catalogue, National Portrait Gallery, vol. i. p. 27. Footnote 365: Walpole, _Anecdotes_, &c., ed. Wornum, i. p. 135. ------------------------------------------------------------------------ CHAPTER XXIII ANNE OF CLEVES: 1539 Henry VIII’s fresh matrimonial negotiations with Protestant Germany—Christopher Mont sent to the Court of the Duke of Saxony with reference to a political alliance and the King’s marriage—Anne of Cleves and her sister—Portraits of them by Lucas Cranach—Difficulties in obtaining portraits of the ladies—Richard Beard and Holbein go over to Düren for that purpose—The written descriptions of Anne—The legend woven round Holbein’s portrait of her—Henry’s disappointment on Anne’s arrival in England—Description of the portrait in the Louvre—Miniature in the Salting Collection—Drawing at Windsor—Portrait in St. John’s College, Oxford.