It represents the head and shoulders only, full-face, with grey beard and moustache. Henry wears a black cap trimmed with jewels, loops of pearls, and a white feather, a brown fur coat over a grey doublet embroidered with black, a narrow white collar, and a gold chain round his neck. There is no inscription on the blue background. It is 1¼ in. in diameter, and is still preserved within its original turned ivory box, ornamented at top and bottom with the Tudor rose, and covered with a piece of rock crystal. There is some resemblance between it and the crayon drawing of the King at Munich, and, in the details of the costume, to the large cartoon at Chatsworth and the full-face portrait in Windsor Castle, which has been considered by some critics to be a copy of a lost picture by Holbein, and by others as an original portrait by some such court painter as Lucas Hornebolt. The differences in the costume are slight, and the dress is in its main features the same. Fine as this miniature is, it is difficult to ascribe it to Holbein himself; it is more probably only an excellent old copy of a lost original, or the work of some capable miniaturist adapted from one of Holbein’s paintings. The miniature of Anne of Cleves, which is slightly larger than the one of Henry VIII, and is enclosed within a similar turned ivory box delicately carved to represent a Tudor rose, has been already described.[533] It is of the finest workmanship, and may be given to Holbein with little hesitation. It was included in the Burlington Club Exhibition, 1909 (Case B, 4), and the catalogue states that in all probability it was painted in July 1539, at Düren. Holbein’s visit to that place was of longer duration than was usual when he was sent to take likenesses of the ladies who were candidates for Henry’s hand.[534] As a rule, he only remained just long enough to make a study in coloured crayons, but he stayed at Düren for a week or two, and so may have had time to paint both the large portrait and the miniature, though it must be remembered that he also painted or drew the lady’s sister, the Princess Amelia. It is much more probable that the miniature was taken from the larger portrait, or that both were done from some lost crayon study, than that the Louvre picture should have been painted from the miniature. Footnote 533: See pp. 181-182. Footnote 534: See p. 176. [Sidenote: MINIATURES OF JANE SEYMOUR]