Norfolk in England.” There is every reason to suppose that among the latter the Holbein book was included. Footnote 566: See p. 219. This manuscript is Norgate’s final version of the “discours,” written some twenty years or so later than the British Museum manuscript, which was his first compilation. Footnote 567: Quoted by Dallaway, in his notes to Walpole’s _Anecdotes_, vol. i. p. 84; and by Wornum, p. 398. Footnote 568: See Cust, _Burlington Magazine_, vol. xviii., February 1911, p. 269. [Sidenote: LATER HISTORY OF THE DRAWINGS] It should be noted that, according to Charles I’s catalogue, the number of drawings was only fifty-four. Van der Doort may have made a mistake in the entry, putting a 5 instead of an 8, otherwise it must be supposed that Lord Arundel already possessed some thirty of these “heads,” which he added to the book after Lord Pembroke had given it to him. The collection as it now exists does not contain the whole of the portrait-drawings of Holbein’s English period. The fine head of Lord Abergavenny at Wilton appears to have been kept back, or to have been accidentally retained, by Lord Pembroke when he parted with the remainder of the collection, and there are several others in continental museums and elsewhere, some of which are known to have once formed part of the Arundel Collection. At Basel there are Sir Nicholas Carew, an unknown English lady, and a second English lady and her husband; at Dresden the Count Moretta; at Munich the head of Henry VIII; at Berlin a fine head of an unknown Englishman; in the Salting Collection the magnificent study of a lady already described;[569] and the two heads in the Duke of Devonshire’s Collection at Chatsworth.[570] If, therefore, Van der Doort is correct in stating that there were only fifty-four drawings in the book when it was in his keeping, the one person in England most likely to have added so considerably to their number was the Earl of Arundel, who was unceasing in his search for original works from Holbein’s hand. There is no record to show at what time the book returned to the royal collections, though the tradition noted by Dallaway, in his edition of Walpole’s _Anecdotes_, that they were purchased for James II at the sale of the possessions of Henry, Duke of Norfolk, in 1686, is no doubt the correct one.[571] A list of the drawings was included in James II’s catalogue, which was published by Bathoe in 1758. After this the drawings themselves were laid aside and forgotten, and it was not until early in the reign of George II that they were rediscovered by Queen Caroline hidden away in a folio in an old bureau in Kensington Palace, together with a volume of equal importance containing the drawings of Leonardo da Vinci, which now form so valuable a part of the royal collection at Windsor. Queen Caroline had them framed and glazed, and for many years they decorated her own apartments, first at Richmond, and afterwards in Kensington Palace.