The fine portrait of Anne of Cleves now in the Louvre (Pl. 24) is in all probability the picture which Holbein painted in Düren.[387] It is almost three-quarter length, less than life-size. She is shown standing, facing the spectator, her hands folded in front of her, and dressed in a very elaborate costume. Her sumptuous gown of red velvet with wide hanging sleeves has heavy bands of gold embroidered with pearls. The bodice is cut square, and is edged with a band of ornament decorated with jewels, and a similar one round the neck with a pendant jewelled cross. She also wears two gold chains, and several rings on her fingers. The open front of the dress is filled in with fine white linen with bands of embroidery. Her hair is covered with an almost transparent head-dress worked with an elaborate pattern and the motto “A BON FINE,” over which is a cap wrought all over with gold, pearls, and other jewels. Her lace cuffs are also gold-embroidered. The background is blue-green, without inscription. Her brown eyes look straight at the spectator. More than one writer, influenced no doubt by these stories of her lack of beauty, has described this portrait as the likeness of a heavy, expressionless, ill-favoured woman; but this is far from being the case. Without any pretensions to extraordinary good looks, the face is a pleasant one, and by no means as plain as it has been described; indeed, in many ways it compares favourably with that of Queen Jane Seymour. That it is a truthful representation is certain, for Holbein never failed in this respect. Nothing is known of the history of the picture, or how it came to find a home in France, except that it was at one time in the Earl of Arundel’s possession,[388] and afterwards in the collection of Louis XIV. Footnote 387: Woltmann, 228. Reproduced by Davies, p. 174; Knackfuss, fig. 131; A. F. Pollard, _Henry VIII_, p. 260; Ganz, _Holbein_, p. 124. Footnote 388: Entered in the 1655 inventory as “ritratto d’Anne de Cleves.”