Anthony Hemingham or Heveningham, of Ketteringham in Norfolk, which remains in very excellent condition. She wears a small pendant ornament with one hanging pearl at her neck, and on the breast an upright oval medallion with a figure within a Renaissance framework. It has been suggested that this fine head really represents Margaret Roper, and the features are not unlike those of several members of the More family; but against this attribution must be placed the fact that the drawing, unlike all the other studies for the family picture, is not on white paper. Among the best of the other heads of women are Lady Parker,[594] Lady Lister,[595] Lady Rich,[596] Lady Elyot,[597] Lady Audley, already described (Pl. 37 (1)), an unknown lady, wearing a white cap or bonnet covering the hair and ears and reaching to the chin[598]—a large drawing on white paper, something of the type of the More family, but rather more freely drawn—and Mary Zouch (Pl. 36 (2)).[599] The last-named is one of the most attractive of the whole series. The face, seen in full, is modelled with extreme delicacy and expression. She wears a French circular hood with bands of ornament over her smooth, yellow hair, parted in the middle and covering the ears. Her dress is of black velvet, as noted in Holbein’s handwriting, and the medallion at her breast, surrounded with a Renaissance framework, has an almost obliterated subject, apparently a female figure with flying draperies seated on a rock, possibly Perseus and Andromeda. This drawing is inscribed “M. Souch,” and Sir Richard Holmes, following Wornum, suggests that the drawing represents Joan, wife of Richard Zouch, son of Lord Zouch of Haringworth. It is, however, more probably Mary Zouch, a member of the same family, who was a maid of honour to Jane Seymour, and, after the Queen’s death, received an annuity of £10 on April 6th, 1542, in recognition of her services, which was to be continued until she “was married or otherwise provided for.”[600] Footnote 589: Woltmann, 324; Wornum, ii. 17; Holmes, ii. 23. See pp. 110-111. Footnote 590: Woltmann, 339; Wornum, ii. 20; Holmes, ii. 16. Footnote 591: Woltmann, 331; Wornum, ii. 39; Holmes, ii. 15. Etched by Hollar (Parthey, 1465); the etching reproduced by Ganz, _Holbein_, p. 199 (3). Footnote 592: Woltmann, 332; Wornum, ii. 16; Holmes, ii. 14. Footnote 593: Woltmann, 333; Wornum, ii. 25; Holmes, ii. 12. Footnote 594: Woltmann, 338; Wornum, ii. 28; Holmes, i. 27. Footnote 595: Woltmann, 336; Wornum, ii. 26; Holmes, i. 28. Footnote 596: Woltmann, 319; Wornum, ii. 37; Holmes, ii. 10. Footnote 597: Woltmann, 285; Wornum, ii. 19; Holmes, i. 39. Footnote 598: Woltmann, 350; Wornum, ii. 13; Holmes, ii. 11. Footnote 599: Woltmann, 344; Wornum, ii. 27; Holmes, i. 30. Footnote 600: _C.L.P._, vol. xvii. 283 (28). (April 6, 1542.) [Sidenote: STUDIES IN BERLIN AND BASEL]