Death’s-head and bones already referred to in speaking of Ambrosius Holbein; a picture of gamblers or people playing games (“un quadretto con divers figure Jocatori, &c.”); another with the title “Legge Vecchio & Nove” (ancient and modern law); and the Arms of England in water-colours. Before his relations could interfere Lord Stafford had sold a number of pictures to the Spanish Ambassador in London, to Eberhard Jabach, of Cologne, and to the agent of the Archduke Leopold, and this may account for the fact that certain of them remained abroad, such as the Jane Seymour and Dr. Chamber in Vienna, and the Thomas and John Godsalve in Dresden. Footnote 134: Vol. xix., August and September 1911, and vol. xx., January 1912, from which the above facts are taken. Footnote 135: See Vol. i. p. 106. Footnote 136: See above, p. 52. In a letter from Turin, dated November 26th, 1628, from Sir Isaac Wake to William Boswell, the former states: “The picture after which you do seem to inquire was made by Hans Holbein in the time of Henry VIII, and is of a Count of Moretta. My Lord of Arundel doth desire it, and if I can get it at any reasonable price he must and shall have it.”[137] The picture was evidently then in the market, under the true names of both sitter and painter, but apparently the price was too high, and so Arundel, who possessed the original drawing for it, was not able to secure it. It was eventually bought by the Marquis Massimiliano Montecucculi, ambassador of the house of Este at Parma and Rome, and presented by him to the Duke Francesco d’Este, and so passed into the Modena gallery. According to Venturi, the portrait was at that time attributed by the Marquis Montecucculi to “Gio. Olben.” Some thirty years after the date of Wake’s letter, Scannelli, in his _Microcosmo_,[138] describes, under the name of “Olbeno,” a picture in the Modena collection which can be no other than the “Morette.” He says: “There was also lately among ultramontane painters a certain Olbeno, a highly qualified master, and in painting individual portraits verily stupendous. It is true in his execution there is something of that native hardness which belongs to his country in other respects; yet through his extreme diligence and truthful fidelity to nature it shows a high degree of perfection. As we see, for example, in the already noticed gallery of H.S.H. the Duke of Modena, where there is a half-length portrait by him which in its exact imitation of nature is quite wonderful.” Footnote 137: For this and other letters see Sainsbury, _Original Unpublished Papers_, &c., 1859, Appendix, Nos. 44, 53, 55, 57. See also Appendix (K). Footnote 138: Ed. 1657, Vol. ii. p. 265. See also Vol. i. p. 306. [Sidenote: PORTRAIT OF MORETTE]