The identity of the sitter was established beyond all possibility of doubt in 1903 by the late Mr. Max Rosenheim’s discovery of a fine contemporary medallion portrait of the same personage, carved in boxwood, with his name and titles in full, and on the back his device of a seaport, a horse, and a dolphin.[147] Charles de Solier was born in 1480, and was fifty-four years old when resident ambassador in England in 1534, the year in which Holbein painted him. He represented him life-size and half-length, standing facing the spectator, dressed in a doublet of black satin, the sleeves of which, from the elbow downwards, are slashed with white silk. His surcoat is of the same black material, with a heavy collar and lining of fur. Both dress and black cap are decorated with gold tags, and in the latter he wears a circular gold enseigne with a figure of Fortune. Round his neck hangs a gold chain to which is suspended a medallion or watch-case of open-work. In his right hand he holds a glove, and his left, which is gloved, grasps the gilt and elaborately chased sheath of a dagger, suspended from his girdle by a chain with a large tassel, such as the one worn by Dinteville. His long beard of a reddish colour is touched here and there with grey. The background consists of a curtain of green damask. It is about 3 ft. 1 in. high by 2 ft. 6½ in. wide. Footnote 147: See _Burlington Magazine_, vol. ii., August 1903, p. 369. The medallion is in the Salting Collection, and the costume is the same as in the picture. The inscription runs: “CAROLVS · DE · SOLARIO · DNS · MORETY · ANNO · AGENS · L.” Holbein’s art, both in the subtle insight it displays into character and in its technical achievement, is seen in its highest manifestation in this superb and nobly-dignified portrait, which bears the stamp of truth in every touch. The handling is both brilliant and delicate in all the accessories, in the fine modelling of the flesh, and in the wonderful draughtsmanship of the right hand grasping the glove. As a likeness of a living man and as an expression of the most intimate traits of his character, it holds its own with any piece of portraiture in the world, and is, indeed, complete in every respect, displaying the finest taste in conception combined with consummate skill and unerring accuracy in execution, and most harmonious colour. The original study for it, which, no doubt, once formed a part of the Windsor collection, and now hangs by the side of the picture in Dresden, is unsurpassed for its truth and force, and the subtlety with which the likeness is expressed by the simplest means, eye and hand acting in perfect accord and allowing nothing essential to escape them. [Sidenote: ROUNDELS OF ENGLISHMAN AND WIFE]