The two almost similar miniatures of Catherine Howard, at Windsor Castle (Pl. 31 (4)) and Montagu House, have been already described;[490] both are beautiful examples, and each one is almost certainly from Holbein’s own hand, though the former has suffered from restoration. In the royal collection at Windsor there are three other miniatures which also can be given to him without any hesitation, all three being masterpieces of the art of the limner; these are the portraits of Lady Audley and the two Brandon boys. The miniature of Lady Audley (Pl. 31 (3)),[491] is of extraordinary delicacy in handling and colour, and bears the stamp of Holbein in every minute and unerring touch. As Mr. Law says, “there was no other artist at the court of Henry VIII, or indeed in Northern Europe, who could have produced so exquisite a work of art.”[492] She is shown to the waist, turned to the right, with hands folded in front of her. Her richly-brocaded dress is of pale crimson, with under-sleeves of dark grey and white ruffles, and she wears a French hood trimmed with pearls, and a black fall over her fair hair. Her double necklace is of almost the same pattern as the one worn by Catherine Howard. There is no inscription on the plain, deep blue background. It is 2½ in. in diameter, and is painted on the back of the two of hearts. The identity of the sitter is placed beyond doubt by the fine drawing, inscribed “The Lady Audley,” in the Windsor Collection (Pl. 37 (1)),[493] in which the position and features of the sitter, the costume and ornaments, are almost exactly the same, while the colour of the dress in the miniature agrees with the note in Holbein’s handwriting on the drawing—“damast rot.” This drawing is one of the finest and most delicate among the heads of women in the Windsor Collection—a long, handsome face, with pointed chin and sharp nose, and very expressive eyes. Holbein has carefully indicated the details of the ornaments she is wearing. Her necklace is of elaborate workmanship, apparently a band of alternate links of enamel and pearls arranged as flowers, with a large pendant with inset facetted jewels and three hanging pearls. At her breast is a large circular ornament of a somewhat similar design. The oil painting for which the preliminary study was made, and from which the miniature was possibly taken, is now lost. Elizabeth, Lady Audley, was the eldest daughter of one who must have been in constant touch with Holbein—Sir Bryan Tuke, the Treasurer of the Chamber, whose portrait by him has been already described, and from whose hands he received his salary. She married John Touchet, ninth Lord Audley. Footnote 490: See pp. 192-193. Footnote 491: Woltmann, 270. Reproduced by Law, Pl. vii.; Williamson, _History of Portrait Miniatures_, Pl. ii. fig. 3; Ganz, _Holbein_, p. 149 (3). Painted at about the same time as the “Catherine Howard.” Footnote 492: Law, _Holbein’s Portraits at Windsor Castle_, p. 25. Footnote 493: