This picture was traditionally said to have been begun in France by Janet (Clouet), and Vertue thought it might have been retouched by Holbein, “as it was probably painted for his patron, the Duke of Norfolk, from whom it descended immediately to the Earl of Arundel, out of whose collection the father of the present possessor (Colonel Sotheby) purchased it.” (See Walpole, _Anecdotes_, ed. Wornum, i. p. 95.) It was lent to the Tudor Exhibition, 1890, by Major-Gen. F. E. Sotheby, No. 145. The only entry in the Arundel inventory which it is just possible might refer to this picture is “Un quadretto con diverse figure Jocatori, etc.,” which is given to Holbein. ------------------------------------------------------------------------ CHAPTER XXV HOLBEIN AS A MINIATURE PAINTER Early references to Holbein as a miniature painter—Receives instruction from Lucas Hornebolt—Rareness of genuine miniatures by him—Sir Thomas More—Lord Abergavenny—Lady Audley—Henry and Charles Brandon—Drawing in the British Museum of a lady and children on a bench—Miniature of Mrs. Robert Pemberton—Unknown youth in the Queen of Holland’s Collection—Miniature paintings of Holbein himself—Thomas Cromwell—Anne of Cleves—Jane Seymour—Edward VI—Livina Teerlinc—Miniatures of the Holbein school—Miniature of an unknown man, possibly the painter Harry Maynert, at Munich. The old tradition that Holbein did not practise miniature painting until after he had settled in England is probably true. Van Mander says that it was only at a late period, after he had entered the King’s service, that he, who knew how to adapt himself almost to everything, took up the art of miniature painting, in which he had before done nothing. At that time he met at the Court a very famous master in this art, named Master Lukas. “With Lukas he kept up mutual acquaintance and intercourse, and learned from him the art of miniature painting, which, since then, he pursued to such an extent, that in a short time he as far excelled Lukas in drawing, arrangement, understanding, and execution, as the sun surpasses the moon in brightness.”[482] Seventy years later Sandrart repeated this statement, which he evidently took from Van Mander’s book. The Master Lukas in question was undoubtedly Lucas Hornebolt, who was in the employment of the King throughout the whole period of Holbein’s residence in England. So far, the only pictures extant which have been attributed with some certainty to the studio of Lucas and Gerard Hornebolt are the portraits of Henry VIII, of the type of the Warwick Castle portrait, when that monarch was drawing towards the end of his life; but the sister, Susanna, wife of John Parker, Yeoman of the Robes, and one of the King’s bowmen, was well known in her day as an excellent miniaturist, while Guicciardini speaks of Lucas as not only a very great