A third, and more important, publication of 1548, _Hall’s Chronicle_, contains a large folio woodcut representing King Henry VIII in Council,[167] which Woltmann regarded as undoubtedly of Holbein’s design. The scene takes place in a magnificent chamber hung with tapestries, with the King, his legs apart in his characteristic attitude, seated on a throne beneath a baldachin bearing his arms. He is surrounded by his councillors, twenty-seven in number, some listening, others lost in thought, and others again whispering among themselves. The cutting is excellent, and was probably done in Switzerland. The socle with the framework enclosing the inscription “King Henry the eyght,” and the two supporting sirens, are almost identical with the socle and supports in the beautiful woodcut of Erasmus with the figure of Terminus already described. These, with the small portraits of Wyat and Bourbon, and the “Charitas” device for Reinhold Wolfe, constitute almost the whole of Holbein’s work as a book-illustrator while in England. Footnote 167: Woltmann, 210. Reproduced by Dibdin, _Typographical Antiquities_, vol. iii. It bears the engraver’s initials, “I. F.,” possibly Faber. [Sidenote: PORTRAIT OF SIR THOMAS WYAT] There are several undated portraits and studies for portraits which must have been produced between the years 1535 and 1537, among them the likeness of Sir Thomas Wyat, the famous poet and courtier, whose father, Sir Henry Wyat, had been painted by Holbein during his first English visit. Wyat was about the Court during the period under discussion; a few years later he was often absent from England on foreign embassies. There is a study for his portrait among the Windsor drawings (Pl. 14)[168] which is one of the finest in the collection, though considerably rubbed and stained, and also a good, possibly contemporary, copy.[169] He is represented nearly full-face, wearing a cap, and with a long flowing beard, both hair and beard being modelled with the brush. The portrait which must have been painted from this singularly attractive study is not now known to exist; a small painting in oils corresponding to the drawing, but not by Holbein, was exhibited by Mr. Bruce at the National Portrait Exhibition in 1866. A second portrait of Sir Thomas was drawn by Holbein at a somewhat later date, which was reproduced as a woodcut, shortly after the poet’s death, in the little book entitled _Næniæ in Mortem Thomæ Viati Equitis Incomparabilis_, written by John Leland, the antiquary, in honour of his memory, and published in 1542. The portrait,[170] which is a small roundel in the style of the circular portraits in wax or boxwood which were at that time much in vogue, may have been drawn by Holbein himself on the block. The engraving itself is somewhat crudely done, but was, no doubt, the best that could be procured at that time in London; yet in spite of its roughness the little portrait is a true likeness, full of character,