The two small roundels, about six inches in diameter, portraits of a man, probably an Englishman, and his wife, in the Vienna Gallery[148] (Nos. 1482, 1484), formerly in the Schloss Ambras collection, are dated 1534. They are fine works, almost in miniature, though they do not show Holbein at his highest point of achievement. The man, who has a dark-brown beard, wears a black cap and a scarlet surcoat on which the letters H. & R. are embroidered in black and gold, indicating that he was in the service of Henry VIII. Across the background is inscribed: “ETATIS SVÆ 30. ANNO 1534.” The woman, of a very homely type of face, is wearing a dark-brown and black dress, and a white head-dress, which hides her hair and falls on her shoulders in the form of a cape. This head-dress is identical with the one worn by the unknown lady in the Windsor collection (Holmes No. 10), which Sir Richard Holmes thought might be a portrait of “Mother Jack,” nurse to Edward VI. It is inscribed: “ETATIS SVÆ 28. ANNO 1534.” Both portraits have now a very dark blue-green background with a small circular ring of gold round the outer edge. The two are evidently husband and wife, and the latter has more the appearance of a German than an Englishwoman. It may be suggested, therefore, though with diffidence, that it is not impossible that these two small portraits represent Susanna Hornebolt and her husband, John Parker, the King’s bowman and a yeoman of the robes. Dürer speaks of Susanna as being “about eighteen” in 1521, which does not quite tally with the age of the sitter in the Vienna roundel, who was twenty-eight in 1834, but it is again not impossible that Dürer imagined the young lady to be two or three years older than she was in reality. Dr. Ganz draws attention to the close likeness between this portrait and the one of an unknown man, also a small roundel, in the possession of Herr F. Engel-Gros, at Château de Ripaille near Thonon,[149] which he reproduces for the first time. The sitter is clean-shaven, facing three-quarters to the right, with a small flat red cap, elaborate black and white Spanish work on his shirt collar, and a red livery coat, lined with blue, with black bands and the initials “H. R.” embroidered on it. He considers him to be either a Netherlander or a German, and suggests that he was possibly a painter in Henry VIII’s service. It may be permitted to go a step further and to suggest that we have here a portrait of Susanna’s brother, Lucas Hornebolt. It was first exhibited in Basel in 1891, and nothing of its earlier history is known. It bears no signature or date, but is evidently of the same period as the two Vienna roundels. There is an excellent old copy on copper of this roundel in the Fitzwilliam Museum, Cambridge (No. 537),[150] in which, however, the cap and coat are black, while no trace of the royal initials on the latter can be discerned. Footnote 148: