In concluding this account of Dinteville’s connection with Holbein reference must be made to a portrait in the possession of Sir John Ramsden, Bt., of Bulstrode Park, Buckingham, recently published and described for the first time by Dr. Ganz in the _Burlington Magazine_,[101] which represents a man with a book of music and a lute (Pl. 10). This “Portrait of a Musician” he regards as an undoubted likeness of the Bailly of Troyes from Holbein’s brush. He describes it as follows: “The man is sitting behind a table, and holds in his right hand a roll of paper, in the left a guitar. Two books in red bindings with green ribbons are placed, one open, one closed, on the red tablecloth, and this group of colours forms the contrast to the green curtain of the background. The cap and the black coat with large facings and white shirt-ruffles hanging down are decorated with golden buttags of a longish form, after the French fashion of the time. The blue eyes, looking with a sharp and cold glance, give the impression of a man of great reflection and prudence; and the beautiful, carefully tended hands belong to a gentleman of the Court.... Round the neck he wears a small golden chain and a black silk ribbon, to which is attached an object of a very singular form, executed in gold and embellished with precious stones. This cannot be a simple jewel, intended merely to hang on the gold chain, but it seems to be a kind of whistle used in place of a tuning-fork.”[102] This portrait is said to represent Lord Vaux of Harrowden, from its supposed resemblance to the two drawings by Holbein of that personage at Windsor, but Dr. Ganz holds that it bears a much closer resemblance to Dinteville as he is shown in the “Ambassadors,” and still more so to the drawing found by Miss Hervey at Chantilly. He considers that the longer beard indicates that it was painted two years later than the National Gallery picture. “The technical execution,” he says, “confirms a later date of origin; the blending of the colours and the brilliancy are in the well-preserved parts like the finest enamel. The right hand, which has a smooth appearance, is retouched; but the extraordinary quality of Holbein’s art in modelling the flesh without any contrast is to be found in the face and in the execution of the left hand. His attention was not limited to creating a portrait with the exactness of a looking-glass; he tried to give the man in his intimacy by obtaining a spacious effect. He placed the figure between two objects and painted the shadows in their real values.” While admitting that the likeness between this Musician and Dinteville is a strong one, the present writer is of opinion that the picture at Bulstrode Park does not represent the French ambassador. As already pointed out,[103] Dinteville’s subsequent visits to England were all short ones, of only a few weeks’ duration, during which time there would be little opportunity