Footnote 582: Woltmann, 310; Wornum, i. 16; Holmes, i. 18. Footnote 583: Woltmann, 315; Wornum, i. 44; Holmes, i. 19. Footnote 584: Woltmann, 320; Wornum, i. 26; Holmes, i. 23. Footnote 585: Woltmann, 322; Wornum, i. 41; Holmes, i. 31. Footnote 586: Woltmann, 346; Wornum, i. 25; Holmes, i. 51. Footnote 587: Woltmann, 345; Wornum, i. 12; Holmes, i. 52. See p. 44. Footnote 588: _Hdz. von H. H. dem Jüng._, p. 54. [Illustration: VOL. II., PLATE 35 THOMAS, LORD VAUX _Drawing in black and coloured chalks_ WINDSOR CASTLE ] * * * * * [Illustration: VOL. II., PLATE 36A UNKNOWN MAN (said to be Jean de Dinteville) _Drawing in black and coloured chalks_ WINDSOR CASTLE ] * * * * * [Illustration: VOL. II., PLATE 36B MARY ZOUCH _Drawning in black and coloured chalks_ WINDSOR CASTLE ] * * * * * [Illustration: VOL. II., PLATE 37A LADY AUDLEY _Drawing in black and coloured chalks_ WINDSOR CASTLE ] * * * * * [Illustration: VOL. II., PLATE 37B LADY MEWTAS _Drawing in black and coloured chalks_ WINDSOR CASTLE ] * * * * * [Illustration: VOL. II., PLATE 38 “THE LADY HENEGHAM” (Possibly Margaret Roper) _Drawing in black and coloured chalks_ WINDSOR CASTLE ] Among the portraits of ladies it is unfortunate that several of the finest have suffered from bad rubbing. Such an one is the head of Mary, daughter of the Duke of Norfolk, and wife of the King’s natural son, Henry, Duke of Richmond, which has been already described.[589] The fine head of Lady Mewtas (Pl. 37# (2)),[590] the face a strong one, is very delicately modelled, and unspoilt by the presence of too forcible outlines. Her jewelled ornaments include a circular pendant with five dark table stones and three hanging pearls, suspended from a thin chain, with beads round the neck, a circular medallion at the breast with a figure subject now almost obliterated, and across the top of the bodice a band of pearls set in groups of five like flowers. The incorrectly-named “Lady Mary, after Queen,”[591] whom it certainly does not represent, is another fine drawing which has suffered considerable damage. It has been gone over with the tracing point for transference to panel, but no painting after it is now known to exist. The same is the case with the head of the Marchioness of Dorset,[592] the daughter of Charles Brandon and the King’s sister, Mary, which also shows indications of tracing. This is a good example of a drawing in which the fine modelling of the face has now almost disappeared, so that the darker lines stand out too insistently. There is most brilliant and subtle drawing of the eyes, nose, and mouth in the very expressive and beautiful head of the so-called Lady Henegham (Pl. 38),[593] wife of Sir