The beautiful miniature of Sir Thomas More, rediscovered by Dr. Williamson when in the Godolphin-Quicke Collection, and first published by him in his _History of Portrait Miniatures_, which is in the late Mr. J. Pierpont Morgan’s collection, has been already described when speaking of the portraits of Sir Thomas.[486] A second miniature of More, in the collection of the Duke of Buccleuch at Montagu House, was first reproduced by Mr. Dudley Heath in _The Connoisseur_.”[487] This, though based, like the Pierpont Morgan miniature, on the Huth portrait, shows some differences from both. It is smaller than the other miniature, and the sitter appears to be some years older. The eyes are more downcast and the head slightly bent, while the scanty beard is whiter. In other respects the dress, consisting of black cap and furred gown, and collar of SS with the Tudor rose, is the same. Another interesting point about it is that it is painted, not in water-colours, but in oil on a gesso ground, upon a metal plaque which appears to be silver. It has, unfortunately, suffered to some extent in the course of time, and has been retouched here and there, but it is a fine example, very possibly by Holbein, showing, according to Mr. Heath, “that vivid realism, yet reserve of expression, that sensitive modulation of the tones and contours, that insistent yet flexible drawing of the features, which constitute the sign-manual of the great portrait painter.” Nothing seems to be known of the history of this miniature, which was exhibited at South Kensington in 1862 (No. 2061), in the Royal Academy Winter Exhibition in 1879 (Case L, 4), and at the Burlington Fine Arts Club in 1909 (Case C, 17). These miniatures of More would seem to suggest that Holbein’s earlier biographers were wrong in stating that he did not begin to practise in this branch of art until after he had entered Henry VIII’s service. It has been generally supposed that when he returned to England a second time he saw little or nothing of the Chancellor, and if that is so, these miniatures must have been painted between 1526 and 1528, when he was at work on the big group of his first English patron’s family. At that time, however, Holbein had no official connection with the court, and was possibly not yet on terms of intimacy with the Hornebolts, so that it seems more probable that any miniatures of More from his hand were done between 1532, the date of Holbein’s return to London, and 1534, when the ex-Chancellor was imprisoned in the Tower. Another possible solution is that they were painted after More’s death for friends or relations who desired a memorial of him, and were done from the oil painting or from the preliminary drawings still in the painter’s possession. Footnote 486: See Vol. i. pp. 306-7. Footnote 487: _The Connoisseur_, vol. xviii. No. 71, July 1907, frontispiece (in colour.) Also reproduced in _Burlington Fine Arts Club Exhibition Catalogue_, Pl. xxxiii.