It has been generally supposed that on the death of Prince Henry, two years after they were presented to him, the pictures passed into the possession of Charles I; and as they were not included among the pictures of that King’s collection sold by order of the Commonwealth in 1648-53, Dr. Lappenberg concluded that they must have remained at Whitehall until destroyed in the fire at that palace in 1698. Further evidence, however, appears to contradict this conclusion. In Van der Doort’s carefully-prepared catalogue of Charles I’s collection, although several less important works by Holbein are included, among them two miniatures, these two celebrated pictures are not mentioned. Again, Sandrart, in his autobiography, describes the two compositions in some detail, after seeing them in 1627 in the Earl of Arundel’s possession, in the long garden gallery in Arundel House. He does not say whether they were pictures or drawings, so that they may have been only the original designs; it is much more probable, however, that they were the large paintings, as Sandrart speaks of them first of all, as the chief of Holbein’s works belonging to the Earl, and afterwards describes three of his best known portraits, hanging in the same gallery, those of Erasmus, Sir Thomas More, and a “Princess of Lorraine” (the Duchess of Milan), which seems to indicate that Lord Arundel possessed the large works. It has been suggested that they may have been presented by Charles I to the Earl; but it is more likely that they were obtained by exchange with that monarch. Later on they were taken abroad with the rest of the collection by the Countess of Arundel, and were in Amsterdam at the time of her death in 1654. In the inventory then drawn up they are merely described as “Triumpho della Richezza” and “Triumpho della Poverta.” Probably they were among the pictures hastily sold by Lord Stafford in that town immediately after his mother’s decease.[52] The last trace of their history to be found is in a paragraph in Félibien’s _Entretiens sur les Vies et sur les Ouvrages des plus excellents Peintres anciens et modernes_, published in 1666, in which he speaks of them as having been brought from Flanders to Paris: “Il y avait encore dans la maison des Ostrelins, dans la salle du Convive, deux tableaux à détrempe, qu’on a veûs icy depuis quelques années, et qu’on avait envoyez de Flandres.”[53] Footnote 52: See _Burlington Magazine_, August 1911, vol. xix. pp. 282-6. Footnote 53: Quoted by Woltmann, i. p. 382. If Félibien is correct, the pictures had once more come into the possession of the Hanseatic League. They were, no doubt, purchased in Amsterdam by that body, and forwarded to Paris. No further record of them has been discovered, and as they were already in a damaged state when presented to the Prince of Wales, the probability is that they have perished. [Illustration: