(“If you were to add a voice this would be Derich, his very self; and you would doubt whether a painter or a parent had produced him.”) Below this runs, in slightly smaller letters of the same type: “DER. BORN ETATIS SVÆ 23 ANNO 1533.” The background is of a dark greenish blue against which stand out some branches and leaves of a vine or fig tree. It is painted in cool and delicate tones, with flesh tints of a pale brown, in which it bears a close resemblance to the portrait of Georg Gisze. It is marked, too, by the same simplicity and restraint, and air of quiet and dignified repose, and searching truth and insight in the rendering of what must have been a very attractive nature, qualities which make Holbein’s portraiture so great. [Illustration: VOL. II., PLATE 3 HERMANN HILLEBRANDT WEDIG KAISER FRIEDRICH MUSEUM, BERLIN ] * * * * * [Illustration: VOL. II., PLATE 4A DERICH BORN 1533 WINDSOR CASTLE ] [Sidenote: PORTRAIT OF DERICH BORN] This is the only one of several portraits of the series without letters or papers bearing the name and address of the sitter which can be said with absolute certainty to represent one of the London Steelyard merchants. Mr. W. F. Dickes suggests that it represents the eldest son and successor of Theodorichus de Born, the printer, of Deventer and Nimeguen, who issued the Netherland New Testament in 1532, and he quotes a reference to a Theodorichus de Born de Novimagio acting as Secretary to the Faculty of Arts at Cologne University, and also to a Derichus de Born who had a licence to preach. “Remembering,” he says, “that Erasmus spent his schooldays at Deventer, and that Holbein owed to him several of his introductions, I think my suggestion deserves to be considered. At any rate, there is no necessity to assume, as is done without a tittle of evidence, that this young scholar was a member of the Stahlhof! Nor does the presence of this portrait at Windsor prove that it was painted in England.”[41] Footnote 41: Dickes, _Holbein_, &c., p. 6.