In spite of the conclusive proof brought forward by Miss Hervey, Mr. W. F. Dickes, in his book devoted to the unriddling of the “Ambassadors,” refused to abandon his theory of the Nuremberg Treaty, and still pinned his faith to his Princes Palatine Otto Henry and Philipp. It is essential to his theory that Holbein should be proved to have been absent from England in 1533, and he, therefore, gives it as his opinion that the Steelyard portraits of that year, and the Cheseman portrait,[91] were most probably painted abroad. He cites, as actual proof that Holbein was in Basel in 1533, in addition to the extract from the “Banner Book” referred to in the preceding chapter,[92] the “Wheel of Fortune” picture in distemper at Chatsworth, which is dated 1533, with the arms of Basel on the post supporting the wheel. “No one can doubt,” he says, “that it was painted by Holbein at Basel in 1533;”[93] but, as a matter of fact, it is not by Holbein at all, being far too poor a work to be from his hand, but by Hans Schaeufelin, and the initials “H. H.” on it are of later date. The monogram and the well-known mark, in the form of a shovel, of the latter painter, which have been tampered with, are still clearly discernible beneath the letters.[94] Footnote 91: See pp. 54-56. Footnote 92: Page 32. See also pp. 157-178. Footnote 93: Dickes, p. 6. Footnote 94: As pointed out by Mr. S. Arthur Strong in his preface to _The Masterpieces of the Duke of Devonshire’s Collection of Pictures_, 1901, and republished in _Critical Studies and Fragments_, 1905, p. 92, and Pl. viii. 1.