Mr. Dickes, who does not hesitate to suggest that a date has been tampered with if it suits his argument to do so, regards this picture as “an unmistakable portrait of the second person” in the “Ambassadors” picture, such person being, in his opinion Philipp, Count Palatine. This picture, he says, “has a damaged date, catalogued as 1533, and a more clear “ætatis 34,” which is no doubt correct, for the moustache shows five years’ more growth” (_i.e._ than in the “Ambassadors”). “No one who compares the two faces can doubt the identity, or that if of Philipp—born November 12, 1503, as indicated in our picture—its correct date is 1538.” It requires a very vivid imagination to see a likeness between Wedigh and the portrait of the Bishop of Lavaur in the National Gallery group; but Mr. Dickes sees Philipp and Otto Henry in so many portraits scattered about Europe, having but the faintest resemblance to one another, and gives to Holbein so many pictures he never painted, and takes from him at least one of his finest works (the Morette in Dresden, which he calls Otto Henry and attributes to Amberger) that his attribution with regard to the Wedigh portrait is not worth serious consideration. The date upon it is plainly enough 1533. At the time he was writing his book the age of the sitter appeared to be “34,” but recent cleaning shows it to be “39.” (Dickes, _Holbein’s “Ambassadors” Unriddled_, p. 81.) Three other portraits of Steelyard merchants bear the date 1533: Derich Born at Windsor, Derich Tybis at Vienna, and Cyriacus Fallen at Brunswick. The portrait of Derich Born (Pl. 4 (1)),[40] in the royal collection at Windsor Castle, painted when he was twenty-three, is, after the “Gisze” and “Hermann Wedigh” portraits, perhaps the most attractive of the Steelyard series. It is slightly under life-size, the figure shown nearly to the waist, turned to the right, and the head, upon which the light falls strongly from above on the right, nearly in full-face. His right elbow rests on a stone ledge or parapet which runs across the picture, the left hand placed across the right wrist, and a gold signet-ring with a coat of arms on his forefinger. He wears a flat black cap, black silk dress, and a white shirt with a collar of so-called Spanish work of black silk thread, very delicately painted. He is beardless, and has chestnut-brown hair, cut straight across the forehead and hiding the ears in the customary fashion. Footnote 40: Woltmann, 266. Reproduced by Law, Pl. 3; Davies, p. 154; Ganz, _Holbein_, p. 100; Cust, _Royal Collection of Paintings, Windsor Castle_, 1906, No. 45. On the flat stonework below the ledge on which his arm rests is inscribed, in large Roman letters as though cut in the stone, the following Latin couplet: “Derichvs si vocem addas ipsissimvs hic sit Hvnc dvbites pictor fecerit an genitor.”