The wonderful portrait of Morette in the Dresden Gallery (Pl. 12)[133] must certainly have been painted during the period under discussion. Charles de Solier, Sieur de Morette, a well-known French diplomatist and fighting man of his day, who had paid more than one earlier visit to England, in each case of short duration, arrived in London as French resident ambassador in place of Castillon, on Good Friday, April 3rd, 1534, and returned to France on July 26th, 1535. This was his last and longest sojourn in this country, and Holbein must have painted him between these two dates. Even though the painter may have paid a visit to Basel as suggested, it would still leave ample time for the portrait to have been taken in the summer of either year. Probably Holbein’s introduction to Morette was brought about through the good offices of Jean de Dinteville. Though the Bailly of Troyes had left England in the previous November, Morette may have seen the “Ambassadors” picture in France in the interval, or have heard of it from Castillon, who succeeded Dinteville in London. In any case, Morette, who was one of the special ambassadors who came over for the signing of the treaty in the spring of 1528, was acquainted with at least one work of Holbein, the “Battle of Spurs,” in the temporary banqueting-hall at Greenwich, to which the King had drawn the particular notice of the envoys. Footnote 133: Woltmann, 145. Reproduced by Davies, p. 156; Knackfuss, fig. 128; Ganz, _Holbein_, p. 116. [Sidenote: THE ARUNDEL COLLECTION]