In the exhibition held at the Burlington Fine Arts Club in 1909, Prince Frederick Duleep Singh lent a portrait (No. 30), also dated 1545, said to represent Edmund Butts, and attributed by the owner to Bettes. The armorial bearings on this picture indicate a member of the Butts family, but the person represented is certainly not the same as in the National Gallery portrait, nor do the two appear to be the work of the same painter. [Sidenote: PORTRAIT OF SIR WILLIAM BUTTS] Dr. Butts was in receipt of a salary of £100 a year from the King, and was the favourite physician about the Court. He was a native of Norfolk, and educated at Cambridge. Many prescriptions in his handwriting are preserved in the British Museum. He appears as one of the characters in Shakespeare’s _Henry VIII_ (Act v. sc. 2), and his name occurs in a number of contemporary letters. Thus, in 1537, the Earl of Shrewsbury wrote thanking Cromwell “for asking the King to licence Dr. Buttes to come to him”;[454] and on October 6, 1542, the Earl of Southampton wrote to Wriothesley from York, when upon the expedition against Scotland: “Recommend me to Butts, and thank him for his pills. I would not have foregone them at this time for all the good I have.”[455] In spite of the pills, however, the Earl died at Newcastle nine days later. Footnote 454: _C.L.P._, vol. xii. pt. i. 328. Footnote 455: _C.L.P._, vol. xvii. 912. A small half-length portrait of an Unknown Man in the Basel Collection (No. 327),[456] belongs to the later period of Holbein’s English residence. He is turned three-quarters to the left, and wears the customary dark fur-lined surcoat and black cap, and dark purple sleeves, and holds his gloves and a paper, upon which the inscription is now illegible, in his clasped hands. The beard, moustache, and hair are dark. This picture, which was purchased in Basel in 1862, has been more than once restored, so that Holbein’s handiwork has suffered considerably. Another small picture which is also now in a damaged state is the portrait of a young English lady in the collection of Count Lanckoronski in Vienna,[457] which was regarded by Woltmann as probably by Holbein, but when exhibited in the Dresden Exhibition of 1871 was declared by the critics to be a genuine work. It is similar in style to the small portrait of a Lady in the Vienna Gallery, and of about the same date. She is shown at half-length, turned a little to the spectator’s right, with clasped hands, and wearing a dark dress with red puffings and gold tags from shoulder to wrist, and a French hood with bands of gold ornaments and a black fall. Round her neck is a gold chain with a pendant with seven flat stones, a second gold chain, and a large brooch fastened at her breast with a cameo of a double head, a young man’s shown full-face, attached to one of a lady in profile. Across the plain green background, on either side of her head, is inscribed “ANNO