There is, however, one other portrait in addition to the Louvre panel which is a contemporary likeness of Anne of Cleves, though not by Holbein. This is the small picture in St. John’s College, Oxford, a fine work by some unknown painter of the Flemish School. It is a half-length, standing three-quarters to the left, behind a parapet upon which lie an orange and a pair of jewelled gloves. The head-dress is of cloth of gold and white gauze, the latter worked with the motto, “A BON FINE,” as in the Louvre picture. She is wearing a low-cut dress of striped gold and black, filled in with white with embroidered bands, gold and jewelled necklaces, and a pendant cross, and several rings on her fingers. Her left hand is placed against her waistbelt, and in her right she holds three carnations. The background is dark, with a small canopy or curtain over her head. It is on panel with arched top, 19¾ in. by 14¼ in. The costume is of the same style and period as the Louvre portrait, though it differs in numerous small details, more particularly in the colours of the materials, the shape of the sleeves, and the jewelled bands of the head-dress. The general tone of colour is golden, and there is excellent painting in all the details of the elaborate costume. It was included in the Oxford Exhibition of Historical Portraits in 1904 (No. 30), and was one of the most interesting pictures in the collection.[395] As a likeness it bears a strong resemblance to Holbein’s portrait, and if not of Anne may well be of her sister. The suggestion may be hazarded that it is one of the two portraits, painted six months before Holbein and Beard were in Düren, which Olisleger had promised to procure for Henry VIII’s ambassadors, portraits which Beard, apparently, took with him to London early in July 1539. Footnote 395: Reproduced in the Oxford Catalogue, p. 24; _Burlington Magazine_, vol. v., May 1904, p. 214. A very similar picture was lent by Dr. Wickham Flower to the New Gallery Winter Exhibition, 1899-1900, No. 44, as a work of the Early Flemish School. It was described in the catalogue as: “Half-length, turned towards left, habited in a rich Flemish costume of gold tissue covered with jewellery; head-dress ornamented with pearls, and inscribed with the motto ‘A bon fine’; in her right hand she holds a red carnation; flat green background. Painted on vellum and strained on fine canvas, 15 in. × 14 in. This portrait is supposed to have been executed by a Flemish painter a year or two previous to Anne’s marriage in 1540.” There is no need even to touch upon the concluding stages of this miserable story, with which Holbein had nothing to do. Henry married Anne at Greenwich on January 6, 1540, and finally divorced her on July 12 in the same year. She settled at Richmond in the enjoyment of the rank of a princess and a pension of £3000 a year, and survived the King by ten years, dying in 1557.