Hollar. It is highly improbable, too, that after he had been so elaborately painted Dinteville would have sat again for his portrait a few years later, so that, all things considered, this attribution can only be accepted with caution. There is, however, an undoubted portrait of Dinteville at Chantilly, forming part of the collection of drawings of the ladies and gentlemen of the Court of Francis I, by Jean Clouet and his school, which was formerly at Castle Howard. This portrait was identified by Miss Hervey in 1904.[85] The likeness is very marked, though the drawing lacks the strength and fine draughtsmanship to be found in similar portrait-studies by Holbein, and it appears to have been done within a few years of the picture itself. Footnote 83: Woltmann, 345; Wornum, i. 12; Holmes, i. 52; engraved by Hollar, 1649 (Parthey, 1547). Reproduced by Miss Hervey, p. 110; Ganz, _Hdz. von H. H. dem Jüng._, No. 33; Mantz, p. 177. Hollar’s engraving reproduced by Ganz, _Holbein_, p. 199 (i.). Footnote 84: The drawing was conjectured at one time to represent Charles Brandon, Duke of Suffolk, and it has also been suggested that it is a likeness of Edward Stafford, Duke of Buckingham. It is described on p. 257. Footnote 85: _Burlington Magazine_, vol. v. No. xvi. (July 1904), where the drawing is reproduced. [Sidenote: “THE COURT OF FRANCIS II”] The picture was taken back to France by Dinteville, and remained at Polisy until the middle of the seventeenth century. By the marriage, in 1562, of Dinteville’s niece, Claude, with François de Cazillac, Baron de Cessac, the family estates, and with them the picture, passed into the possession of the latter house, a distinguished family in the south of France. In 1654 a later François de Cazillac sold Polisy, and permanently removed to the Château of Milhars in Languedoc, his chief residence. From the second document quoted above we learn that De Cessac removed the picture to his town house in Paris in 1653. This house was in the Rue du Four, St. Germain des Prez, behind the house known as Chapeaufort, in the parish of St. Sulpice.[86] From 1653 onwards there is no actual evidence as to the whereabouts of the picture until it turned up one hundred and twenty years later in the Beaujon sale in Paris in 1787. During his researches into its past history Mr. W. F. Dickes discovered this sale-catalogue in the Cabinet des Estampes in Paris.[87] Nicolas Beaujon, a rich financier and collector of pictures and objects of art, died without heirs in 1786, leaving all his money to charities. His pictures were sold in the following spring, and among them were two attributed to Holbein. These two works were not, apparently, part of Beaujon’s collection, but were put into the sale by some other person.[88] The first, which, according to the sale-catalogue, represented the Court of Francis II, has recently come to light again;[89] the second was the “Ambassadors” picture. The two