There is a magnificent drawing, one of the most powerful studies Holbein ever accomplished, in the collection of the Earl of Pembroke and Montgomery at Wilton House,[130] which until recently has been generally regarded as a portrait of the Lord Privy Seal—though it bears little likeness to the Tyttenhanger panel—because the words “Lord Cromwell” and “Holbein” have been inscribed in the bottom corners by a later hand than the painter’s. It is in black and red chalk on paper tinted pink, with slight touches of colour on the fur of the gown and the jewel in the cap. The outlines of the features have been reinforced in ink, but this, in contradistinction to some of the drawings in the Windsor collection, where such retouching is evidently from a later hand, has been carried out with such power combined with delicacy that it seems certain that it was done by Holbein himself. The drawing evidently at one time formed part of the Windsor series, at the date when the latter was given by Charles I to an earlier Earl of Pembroke in exchange for the little “St. George” by Raphael, which is now in the Hermitage. This book of drawings was afterwards given by Pembroke to the Earl of Arundel, and it is most probable that the so-called “Cromwell” drawing remained behind, perhaps by accident. Quite recently it has been definitely identified as the portrait of George Nevill, third Lord Abergavenny, by means of a miniature in the possession of the Duke of Buccleuch, in water-colours, on a playing card, which is based on Holbein’s drawing, and is inscribed “G. Abergaveny.”[131] It bears a very strong likeness to the drawing, and is attributed to Holbein himself. Further proof of identity is obtained from a picture, which agrees with the miniature but does not show the hands, in the collection of the Marquis of Abergavenny at Edridge Castle, Kent. Both the Wilton drawing and the miniature were included in the Burlington Fine Arts Club Exhibition, 1909 (No. 70 and Case C. No. 22), and the former was in the Tudor Exhibition, 1890 (No. 1414). Footnote 130: Woltmann, 263. Reproduced by Davies, p. 162; Vasari Society, pt. v. No. 28; _Catalogue of Burlington Fine Arts Club Exhibition_, 1909, Pl. xxviii. Footnote 131: Reproduced in _The Connoisseur_, vol. xviii. No. 71, July 1907, frontispiece (in colour); and in the _Illustrated Catalogue of the Burlington Fine Arts Exhibition_, Pl. xxxiii. [Sidenote: PORTRAIT OF MORETTE]