Several portraits by Holbein, which so far have not been traced, were etched by Hollar when they were in the Arundel Collection, and these prints, in the absence of the originals, form invaluable records for the use of students. Some few of them, however, though Hollar has placed Holbein’s name on them, cannot have been painted by him, as, for instance, the portrait of Thomas Chaloner,[467] which is dated 1548. All the more important of them are reproduced by Dr. Ganz in his _Holbein_ (1912),[468] and several have been already described in these pages. Among those remaining there is one of an unknown bearded man in a black cap,[469] and two of unnamed boys.[470] The second of these boys, whose head is turned three-quarters to the left, appears, from the details of the dress he is wearing, to be a Swiss. Holbein’s original silver-point study for the portrait from which the etching was taken is in the Louvre, and is dated 1520. The connection between the two was first pointed out by Dr. Ganz.[471] The circular portrait of Sir Anthony Denny is inscribed “ANNO 1541 ÆTATIS SVÆ 29.”[472] The original painting, a small roundel, descended, according to Mr. W. Barclay Squire, to the Howards of Greystoke Castle, and is now in the collection of Mr. J. Pierpont Morgan, junr. There is an old copy of it at Longford Castle.[473] The large print of an elderly, grey-bearded man, with fur coat, and cap with a feather,[474] is usually said to represent Charles Brandon, Duke of Suffolk, but though it bears considerable likeness to the authentic portraits of him, the attribution is doubtful. There are several portraits of English ladies among Hollar’s work. Of one, in which the sitter is turned to the right, and is wearing a round head-dress surmounted by a flat black cap with a large feather,[475] there is no study known, but for two others, which Hollar has reproduced as small roundels, the preliminary drawings are to be found in the Windsor Collection, one of them of an unknown lady, full-face, wearing the angular head-dress,[476] and the other the drawing inscribed “The Lady Mary after Queen.”[477] The profile portrait of a lady, which has been considered by some writers to represent Anne of Cleves,[478] does not appear to be after an original by Holbein, though Hollar has placed his name on it. It is possible, though not very probable, that some of these circular etchings were based on the drawings, and not on finished pictures. Footnote 467: Parthey, 1371. Footnote 468: pp. 196-200. Footnote 469: Parthey, 1544. Footnote 470: Parthey, 1551 and 1543. Footnote 471: See _Holbein_, p. 250. The drawing reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 9; and by Mantz, p. 34. Footnote 472: Parthey, 1387. Footnote 473: