described in the British Museum Catalogue as an admirable example of Holbein’s earlier Basel period, but it is evidently of later date, and the costumes are undoubtedly English. It has been recently suggested by Mr. Peartree that the woman is “Mother Jack,” nurse to Prince Edward.[502] In features and costume she bears considerable likeness to the unnamed drawing in the Windsor Collection,[503] which is supposed to be a portrait of that nurse. If this supposition be correct, the baby would be the Prince of Wales, and the date of the drawing about 1537; but this fails to account for the three other children. Dr. Ganz considers it to be a group of members of the Brandon family,[504] and as far as the two boys are concerned, this suggestion has something in its favour. The lad on the right is by no means unlike Henry Brandon. The position of the head and the left arm are exactly the same as in the miniature, and the dress has many points of resemblance. The second boy, too, has some likeness to Charles, though he does not wear the velvet-braided costume of the miniature. Again, however, there is a stumbling-block to this theory in the presence of the two younger children, for the Duke’s family by his fourth wife consisted of the two boys only. By his second marriage with Anne, daughter of Sir Anthony Browne, he had two daughters, Anne, afterwards Lady Powys, and Mary, afterwards Lady Monteagle, and by his third wife, the King’s sister, he had two other daughters, Frances, afterwards Countess of Dorset, and Eleanor, afterwards Countess of Cumberland, but these ladies were all too old for one of them to have been the little girl represented in the drawing. Owing, no doubt, to the wrong date on the miniature of Henry Brandon, Dr. Ganz ascribes this drawing to the year 1535, and sees signs in the elder boy’s face of approaching illness, although no such illness is recorded until the sudden one in 1551, when he was nearly sixteen. Both explanations are ingenious, but neither is entirely satisfactory. On the margin of the drawing, in a later hand, is written—“exaltate Cedrus. H. Holbein,” which, apparently, is a reference to Ecclesiasticus xxiv. 17, “Quasi cedrus exaltata sum in Libano.” Footnote 497: Woltmann, 334; Wornum, ii. 21; Holmes, i. 26. Reproduced by Knackfuss, fig. 140; and Ganz, _Hdz. von H. H. dem Jüng._, Pl. 34. Footnote 498: Woltmann, 210. Footnote 499: Woltmann, 189. Footnote 500: 1905-6, No. 18. Footnote 501: _Hdz. von H. H. dem Jüng._, Pl. 35. Footnote 502: Vasari Society, Pt. i. No. 18 (1905-6), note by Mr. Campbell Dodgson. Footnote 503: Woltmann, 353; Wornum, ii. 14; Holmes, i. 10. Reproduced in _Drawings by Hans Holbein_ (Newnes), Pl. xxvi. Footnote 504: Ganz, _Hdz. von H. H. dem Jüng._, p. 56.