Nothing is known of its history, or as to the date of its acquisition, but it did not belong to the Crown in Tudor or Stuart days. Dr. Ganz describes it as badly over-painted, and possibly only a copy. Doubts have been thrown from time to time on its right to be called a portrait of Catherine Howard. Mr. Ernest Law considers the attribution to be “very problematical indeed,” and states that it “does not at all accord with the Holbein drawing inscribed as ‘Queen Katherine Howard.’”[408] In this he follows earlier writers. Nichols says that though the position and head-dress of the drawing agree with the miniature, “the features do not appear to correspond.”[409] It is difficult, however, to agree with them in this, for a careful comparison of the two makes it quite evident that they represent the same lady. The version belonging to the Duke of Buccleuch is almost identical with the Windsor miniature, but is a better work and slightly smaller, being only two inches in diameter. It was last publicly exhibited at the Burlington Fine Arts Club, in 1909.[410] It was formerly in the collection of the Earl of Arundel, and when there was etched by Hollar in 1646. It was afterwards owned by Jonathan Richardson the younger (1694-1771), and subsequently by Horace Walpole. Walpole describes it as: “Catherine Howard, a miniature, damaged, it was Richardson’s, who bought it out of the Arundelian collection. It is engraved among the Illustrious Heads [of Houbraken]; and by Hollar, who called it Mary, Queen of France, wife of Charles Brandon, Duke of Suffolk.”[411] In this he is wrong, for no name is attached to it in Hollar’s etching, and it was first identified as Catherine Howard by Mr. Cust. In his _Description of Strawberry Hill_, however, Walpole calls it merely “a lady painted by Holbein,” and says that it is “probably Mary Tudor, Queen of France, sister of Henry VIII, but among the Illustrious Heads called Catherine Howard.” According to Granger, it was Vertue who first named it Mary, Queen of France. The Duke of Buccleuch also possesses a small oil painting on panel, 5⅜ in. × 4½ in., which was likewise at the Burlington Fine Arts Club (Case C, 24). It is inscribed, by a hand later than that of the painter of the portrait, “Catherine Howard Henry VIII.” According to Scharf, this is “apparently a French work, and, indeed, thoroughly so in personal characteristics.”[412] It is in the style of Clouet, and the compilers of the Burlington Fine Arts Club catalogue suggest that it may represent Anne de Pisseleu, Duchesse d’Estampes. Footnote 408: Law, _Holbein’s Pictures_, &c., p. 24. This was before Mr. Cust’s discovery of the larger portrait. Footnote 409: _Archæologia_, vol. xl. p. 78. Footnote 410: Case C, 4. Reproduced in _Burlington Fine Arts Club Exhibition Catalogue_, Pl. xxxiii.; Ganz, _Holbein_, p. 148 (4); and Cust, _Burlington Magazine_, July 1910, p. 195. Only a part of one hand is shown. Footnote 411: