Queen Victoria the two volumes were broken up, and the drawings properly mounted and arranged. They are now kept in four portfolios. Footnote 569: See Vol. i. p. 309. Footnote 570: See Vol. i. pp. 336-7. Footnote 571: Walpole, _Anecdotes_, ed. Wornum, vol. i. p. 84 _note_. Footnote 572: _Ibid._, pp. 85-86. In Walpole’s day the collection consisted of eighty-nine sketches, but in more recent times two have been withdrawn, as the work of Jacob Binck. One of the two heads of Sir Thomas Wyat is only a good, careful copy of the other, in which the hair of the beard is drawn with great elaboration, from the hand of some follower or imitator of Holbein, and in one or two other cases the drawings are, perhaps, only copies of lost originals, or even original drawings by some other hand, such as the so-called “Melanchthon,” with its faltering line, which lacks much of Holbein’s customary strength and certitude. [Sidenote: THE METHOD OF THEIR EXECUTION] The drawings were executed in almost all cases in black and coloured chalks. During his first visit to England Holbein used, as a rule, white paper, the outlines being drawn in black and the features modelled in red chalk. The series of heads of members of Sir Thomas More’s family, and contemporary drawings such as the Warham and Guldeford, are done in this manner. Later on it was his custom to use a paper covered entirely with a ground of flesh or salmon colour, upon which the features were modelled in black chalk, and slight touches of red, after which the outlines were strengthened and the details of the hair, dress, and ornaments put in with pen or brush and Indian-ink. In some cases the whole face was completely modelled with the greatest delicacy, and as a rule the eyes, hair, and beard were drawn in with water-colour or coloured crayons in their natural hues. Upon a number of the drawings the colour and material of the costume worn by the sitter are indicated by notes in Holbein’s own handwriting, and in some of them details of the ornaments or embroideries have been drawn on the margin of the sheet with the brush with the sure and rapid hand of a master. In one instance—the portrait of John Godsalve—the drawing is entirely finished in water-colours, and the figure is shown against a blue background; and in one of the two heads of Sir Thomas More the holes with which it was pricked for tracing on the panel can still be seen. The earlier drawings are usually the largest, the one last-named being about 16 in. high by 12 in. wide. The Warham is 17 in. by 12 in., the Guldeford 15 in. by 11 in., and the Godsalve the same size. One of the largest of all is the Jane Seymour, which is 20½ in. by 11 in. [Sidenote: THE METHOD OF THEIR EXECUTION]