See Cust, _Burlington Magazine_, vol. xvii., July 1910, pp. 193-9, reproduced, frontispiece; and by Ganz, _Holbein_, p. 126. Henry’s fifth Queen is shown seated, at a little more than half length, turned to the left. The hands are in the same position as in the miniature, though the fingers are more closely interlaced. Her hair is auburn, parted in the middle, and the eyes are blue-grey. She wears, too, a costume of a similar fashion, though of different materials. The circular French hood, with its heavy band of gold ornament and black fall, appears to be the same, but the dress is of black satin, with a square black velvet yoke across the bosom, open at the neck and turned back to show the white lining. A band or piping of gold ornament elaborately pierced, with pairs of gold tags at intervals, runs along the outer seam of the sleeves from shoulder to wrist, and the white ruffles are embroidered all over with a floral design in black. The ornaments she wears are of exceptional interest, as they afford actual evidence that Holbein not only painted portraits of royal ladies, but also designed their jewellery. Round her neck is a small necklace, set with pearls and diamonds, less heavy and elaborate than the one represented in the miniatures, and of greater beauty and delicacy of design, to which a large pendant jewel is attached. At her breast is a brooch from which hangs a circular jewel or medallion of chased gold work, with a large oblong diamond in the centre, on which is represented the story of Lot’s wife and the flight from Sodom. This jewel was designed for Catherine by Holbein. It corresponds exactly, as Mr. Cust points out, with a most characteristic study, a small roundel placed within an octagon, among the wonderful series of Holbein’s original drawings for jewellery in the Print Room of the British Museum,[416] and thus gives particular interest to a portrait which in all ways forms a very important addition to the master’s work, both on account of the brilliance of its execution and of its value as an historical document. Suspended from a chain round her waist hangs a still larger circular jewel, only the upper part of which is seen. That portion of the subject which is visible represents two angels with hands raised in adoration on either side of a crowned and bearded figure, most possibly the Almighty. The background of the portrait is a plain one, of Holbein’s favourite blue, across which is inscribed, as in the National Portrait Gallery copy, “ETATIS SVÆ 21,” on either side of the head. It is on an oak panel 29 inches high by 20 inches wide. It must have been painted between August 1540, the date of her marriage, and November 1541, when she was deprived of her dignity as Queen, and forbidden to wear jewels; most probably in the latter year, according to Mr. Cust, which would correspond with her accepted age at the time of her marriage. Its importance and its genuineness have been accepted by such leading