The study of William Parr, Marquis of Northampton (Pl. 34 (2)),[580] is one of the few in which the hands are shown. The head, with close-cropped hair and short, round beard, has suffered from rubbing, but remains a fine and strongly individualised study of character. The dress and jewellery are indicated with some elaboration, to which are added notes in Holbein’s handwriting, and detailed sketches of his hat ornaments and other jewellery are drawn in the margin. The medallion he wears appears to be of open-work with a figure of St. George, and one of the links of his chain is inscribed with the word “MORS.” In the Thomas Boleyn,[581] also, the right hand is shown, and the dress is drawn with much more detail than in most of the companion drawings, while the face is one of the most carefully elaborated in the whole series, the individual hairs of the beard and moustache being indicated with minute precision. Equally careful drawing of the hair is to be seen in the head of Lord Stanley,[582] with its expressive face and fine eyes. Another very powerful drawing is the full-face portrait of Lord Cobham,[583] with open doublet showing his bare chest, a head of most striking individuality. One of the most beautiful among the more finished studies is that of Lord Vaux (Pl. 35),[584] in which the hair, cut straight across the forehead, and the beard and moustache are put in with almost microscopic detail, as well as the design upon the white collar with its strings of black and white cord. There is a second study of Lord Vaux[585] in the collection. It is, of course, impossible to give even a short description of the whole of the drawings, but among the numerous studies of “unknown men” two in particular cannot be overlooked. The one is the head of a handsome young man with a long, sharp nose,[586] thin whiskers, and a small beard, the head turned slightly to the right, and both eyes shown (Pl. 34 (1)). He wears large ostrich feathers in his black hat, which has a medallion, the design not indicated, and gold tags. The dress, very roughly sketched in, is badly rubbed. The drawing is one of great beauty, very delicate and refined in its treatment and feeling. The second, to which reference has been already made, is the very striking likeness of a man with a flat, broad nose, bushy, curly beard, and hair falling over the ears, his eyes cast slightly downwards, one of the most powerful drawings in the Windsor Collection, which Miss Hervey suggests is possibly a study for a second portrait of Jean de Dinteville (Pl. 36# (1)).[587] Dr. Paul Ganz considers the sitter to be a man of pronounced southern French type, and probably a member of the French embassy which was in London in 1533.[588] It is just as probable, however, that this unknown nobleman was English, for the type, though unusual, is to be met with occasionally. Footnote 580: Woltmann, 316; Wornum, ii. 5; Holmes, i. 15. Footnote 581: Woltmann, 288; Wornum, i. 21; Holmes, i. 16.