The two small roundels, which hitherto have always been regarded as likenesses of Holbein himself, undoubtedly represent, as Dr. Ganz has recently pointed out, the same individual as the sitter in the Windsor picture, who, until his identity is finally settled, it is most convenient to call Hans of Antwerp. The first is the beautiful little painting on oak in the Salting collection,[32] in which the sitter is shown in full-face, with a flat black cap, a gown lined with light-coloured fur, and a dark under-coat or vest, cut straight across the top, as in most of Holbein’s other Steelyard portraits. The left hand only is shown, with a ring on the first finger. On the background on either side of the head is the faded inscription “ETATIS SVÆ 35.” It was possibly painted a year or two later than the Windsor portrait, to which the likeness is very marked. If, however, the sitter really represents Hans of Antwerp, and he was painted a second time by Holbein about 1534-5, when 35 years of age, he must have been only a boy when he settled in London in 1515. The second roundel is in Lord Spencer’s collection at Althorp,[33] and this, too, has always been regarded as a portrait of Holbein by himself. Here again the likeness to the Windsor picture is a strong one, though the opposite side of the face is seen, as he is shown in three-quarters profile to the spectator’s left. There are slight variations in the dress, the undervest being lower, and disclosing more of the white shirt. Some critics regard it as a genuine work by Holbein, but Dr. Ganz places it among the doubtful and wrongly-attributed pictures. He suggests that it is probably one of the two roundels considered to be self-portraits by Holbein which C. van Mander saw in Amsterdam in 1604, and was engraved by A. Stock as such in 1612 and published by H. Hondius. There is a replica of it in the Provinzial Museum in Hanover.[34] All three works evidently represent the same man, and at about the same age. Footnote 32: Exhibited Burlington Fine Arts Club, 1909, Case D, No. 1, and reproduced in the Catalogue, Pl. xxxiv.; also by Ganz, _Holbein_, p. 114. Footnote 33: Reproduced by Ganz, _Holbein_, p. 226. Footnote 34: See Ganz, _Holbein_, p. 253. In the same year, 1532, he painted another goldsmith, Hans von Zürich, but the picture has disappeared, and is now only known from the engraving Hollar made of it in 1647, when it was in the Arundel collection. In the engraving he is shown at half-length, full-face, the body turned slightly to the left, and is a thin man, with a pleasant expression. It is inscribed on the top: “Hans von Zürch, Goltshmidt. Hans Holbein, 1532,” and below, “W. Hollar fecit, 1647, ex collectione Arundeliana,” and has a dedication by the publisher, H. Vander Borcht, to Matthäus Merian.[35] The date indicates that Hans von Zürich must have been living in London at that time, though his name does not occur in the State Papers. Footnote 35: