for sitting for his portrait, nor is it very probable that he would want a second likeness of himself so shortly after the big work was finished. Little is known of the history of Sir John Ramsden’s picture, but it is probably the _ritratto d’un Musico_ of the Arundel inventory. It is said to have been purchased in 1860 from a sale in Scotland. Either this picture, or a replica of it, was in the Ralph Bernal sale, 1855, when it was sold to Mr. Morant for one hundred guineas. It was described in the sale catalogue as: “Portrait of Nicholas, Lord Vaux, the poet and musician, in a black dress and cap, seated at a table, an open book before him, he holds a viol de gambe in his left hand, green drapery behind, 17½ × 17, a most beautiful portrait of the highest interest.” Footnote 101: Vol. xx., October 1911, pp. 31-2. Also reproduced in _Holbein_, p. 137. Footnote 102: This object is in reality “a penknife containing also tooth-picks and ear-spoons or other little instruments such as tweezers or awls.” See letter from Mr. Sydney J. A. Churchill in _Burlington Magazine_, vol. xx., January 1912, p. 239, who calls attention to a similar penknife in the Figdor Collection, and to an engraving by Aldegrever of a like object dated 1539. Footnote 103: See above, p. 44. ------------------------------------------------------------------------ CHAPTER XVIII PORTRAITS OF 1533-1536 Portraits of Robert Cheseman—Thomas Cromwell—Lord Abergavenny—Charles de Solier, Sieur de Morette—The Earl of Arundel’s collection of pictures—Roundels of a man and his wife at Vienna—Portraits of members of the Poyntz family—Nicolas Bourbon—His verses in praise of Holbein—Design for the title-page of Coverdale’s Bible—Other woodcut designs produced in England—Hall’s Chronicle—Portraits of Sir Thomas Wyat—Margaret Wyat, Lady Lee—Sir Richard Southwell—Sir Thomas le Strange—Lady Vaux—Sir Nicholas Carew.