Still further proof of Holbein’s fame as a limner or miniature painter is to be found in a manuscript written by Edward Norgate, called “Miniatura or the Art of Limning,” now among the Rawlinson MSS. in the Bodleian Library, dedicated to Henry Frederick, Earl of Arundel. Other versions of this treatise on the “Art of Limning” are in the British Museum (Harl. MSS., No. 6000); in the possession of the Royal Society, which came from the Arundel Collection; and elsewhere. Norgate based a considerable part of his treatise on the earlier one by Hilliard. “The incomparable H. Holbein,” he says, “who, in all his different and various methods of painting, either in oyle, distempre, lymning or crayon, was, it seems, so general an artist as never to imitate any man, nor ever was worthily imitated by any.”[484] Footnote 484: Quoted by Dallaway in his notes to Walpole, _Anecdotes_, &c., ed. Wornum, vol. i. pp. 111-2. For a full account of Hilliard’s treatise, and the various versions of Norgate’s work, see Dr. Philip Norman in the Walpole Society’s publication, mentioned above; also Mr. Martin Hardie in vol. ii. of Dr. G. C. Williamson’s _History of Portrait Miniatures_, 1904. Van Mander is, no doubt, correct in saying that Holbein received instruction in the art of miniature painting from Lucas Hornebolt, and that he had not practised it until he came to England; though Hornebolt had nothing to teach him but the practical use of a medium in which, as applied to portraiture, he had until then had very little experience. There is no evidence to show that he produced true miniatures while in Basel, though there is one attributed to him in the collection of the late Mr. J. Pierpont Morgan, a portrait of a Baseler, a certain Arnold Franz, described below, which affords possible proof that he did so. Such an isolated example as this, however, may have been painted during one of his later visits to Basel, or it may represent one of the members of the German colony in London. Several of his small circular oil paintings, almost the size of the true miniature, have been described in earlier chapters,[485] so that he was already skilled in working on a small scale, and within it of producing a life-like portrait, of the utmost delicacy and truth to nature, while his extraordinary skill and precision in rendering with most minute yet masterly touches of the brush all the details of the sitter’s costume, jewellery, and accessories, must have left him little to learn when he began to work in the new medium. It is evident that he soon set up a standard of excellence in this field which both his contemporaries and the miniaturists who came after him did their best to reach. Footnote 485: See Vol. i. pp. 180, 184-5; Vol. ii. pp. 14, 20, 70-1.