It is probable that during this year Holbein painted Sir William Fitzwilliam, created Earl of Southampton in 1538, who died at Newcastle in 1543. There is a fine drawing of the head in the Windsor Collection,[434] turned three-quarters to the right, wearing a black cap with a medallion, and ear-flaps, or a coif, tied under the chin; slight whiskers are indicated on the cheek-bones. It is a face of strong individuality, with a big nose, finely and boldly drawn, the dress only roughly indicated. There is a full-length portrait of the Earl, 6 ft. × 3 ft. 3 in., in the Fitzwilliam Museum, Cambridge (No. ii. 164),[435] which is described in the catalogue as probably a copy of the original picture by Holbein which, in 1793, was destroyed by fire at Cowdray House, the estate purchased by the Earl in 1528. He is represented standing to the right, and wearing a black cap tied under the chin as in the Windsor drawing, a long black cloak with fur collar reaching to the knees, dark hose and shoes, and the collar and jewel of the Garter round his neck. He grasps a gold-headed staff in both hands, and stands on a terrace with a low parapet and a pavement of black and red tiles, overlooking a distant landscape consisting of wooded country and a land-locked harbour or estuary of a river with ships. His coat of arms is in the top left-hand corner, and in the right an inscription giving his titles and offices, as Lord Privy Seal and Chancellor of the Duchy of Lancaster, and the date 1542. The supposition that this picture is a copy after a lost original by Holbein is probably correct; it is quite in his manner, though in workmanship it in no way reaches to his mastery, the landscape background in particular showing an indecisive touch quite unlike his firm handling. A copy of the head, evidently taken from this picture, a small panel, 13⅛ in. × 9¾ in., was lent to the Burlington Fine Arts Club Exhibition, 1909 (No. 34),[436] by the Duke of Devonshire, which is inscribed across the brown background, in an eighteenth-century hand, “SIR THOMAS MOORE.” The compilers of the Burlington Club catalogue do not accept the Cambridge portrait on which it is based as a copy after Holbein, but as an original work, and clearly by the same hand as the Earl of Surrey at Knole, the full-length of a young man in Hampton Court Palace, and the Sir Thomas Gresham in Mercers’ Hall, with which the name of Guillim Stretes has been connected, though on somewhat flimsy foundations.[437] The Windsor head, however, is in such close accord with the Fitzwilliam Museum picture that it seems reasonable to suppose that the latter was based on it, or, rather, upon some painting of Holbein’s for which it formed the preliminary study. There were two portraits of the Earl in the Arundel Collection, both attributed to Holbein.[438] Footnote 434: Woltmann, 291; Wornum, i. 5; Holmes, i. 17. Reproduced in _Drawings of Hans Holbein_ (Newnes), Pl. xl. Footnote 435: