Among the very last works from Holbein’s hand must have been the various miniature portraits of himself, dated 1543, described in the next chapter.[463] The self-portrait in the Uffizi Gallery, Florence,[464] which is evidently founded on one of them, or on one of the small oil-paintings, now lost, has few pretensions, in the writer’s opinion, to be regarded as an original work, though it is, of course, possible that beneath the brush-work of some later and inferior painter there may be an original work by Holbein now practically obliterated. It is only right, however, to point out that Dr. Ganz considers it to be an original though damaged drawing, and other writers are in agreement with him. It is in coloured crayons on a gold ground, and the comparatively modern inscription with the date 1543 has been painted over an earlier one, which can be still traced below. Dr. Ganz suggests that it is probably one of the two portraits which Van Mander saw in Amsterdam in 1604. Footnote 463: See pp. 230-231. Also Vol. i. pp. 27-8. Footnote 464: Woltmann, 150. Reproduced by Ganz, _Holbein_, p. 134, and elsewhere. Of far greater interest is the recently-discovered portrait, first published in 1912 by Dr. Ganz,[465] which he considers to be a genuine self-portrait by Holbein, hitherto unknown. The likeness both to the numerous miniatures and to the Uffizi portrait is so great that the attribution is most certainly the correct one. It is in all ways much more attractive than the last-named work, and has far greater vitality and a more subtle expression of character. It is a drawing of the head and shoulders only, turned slightly to the spectator’s right, and the painter is wearing a dark fur-lined cloak and black cap. Part of the left hand only is shown. It is a coloured-crayon drawing touched with water-colour, on white paper which has been covered with a flesh-coloured ground. The paper has a Zürich water-mark, and was only manufactured between 1536-1540, so that the date of the drawing can be fixed with some accuracy, and was very probably done in Basel during Holbein’s short visit home in the autumn of 1538. It has, unfortunately, suffered considerable damage, and here and there has been touched up with Indian-ink. On the top right-hand comer of the blue background is inscribed, in a later hand, “H. H. 15 ...” It was purchased in England in the summer of 1910, and is now in Basel in the collection of Dr. Rudolph Geigy-Schlumberger.[466] Footnote 465: Reproduced by Ganz, _Holbein_, p. 138. Footnote 466: See Ganz, _Holbein_, pp. xxxix. and 244. He suggests that this drawing is perhaps the “ritratto d’homo aquazzo” of the Arundel inventory.