such as no one in England but Holbein could have produced. Wyat is represented almost in profile to the right, with a long beard and a high bare forehead, bearing out Leland’s description in his panegyric that “nature had given the youth dark auburn hair, but this gradually disappeared and left him bald, but the thick forest of his flowing beard increased more and more.” The neck is bare, and bounded by a slight drapery in the classical manner, giving it the appearance of a medallion. Underneath the woodcut, which is printed on the reverse of the title, are the following lines in praise of both painter and poet: Footnote 168: Woltmann, 289; Wornum, i. 18; Holmes, i. 32. Reproduced by Knackfuss fig. 139, and elsewhere. Footnote 169: Woltmann, 290; Wornum, i. 40; Holmes, not numbered. Footnote 170: Woltmann, 209; reproduced by him, i. 364. “_In Effigiem Thomæ Viati._ “Holbenus nitida pingendi Maximus arte Effigiem expressit graphice; sed nullus Apelles Exprimet ingenium felix animumque Viati.” (Holbein, the greatest in the magnificent art of painting, has sketched this portrait, yet no Apelles can express in painting Wyat’s mind and happy genius.) [Illustration: VOL. II., PLATE 14 SIR THOMAS WYAT _Drawing in black and coloured chalks_ WINDSOR CASTLE ] [Sidenote: PORTRAIT OF SIR THOMAS WYAT] The drawing, no doubt, was made by Holbein on purpose for the book, but whether it was an original study from memory, or was based on a portrait of Wyat he had painted some little time previously, is uncertain. Several circular oil paintings exist which are either founded upon the _Næniæ_ woodcut, or are contemporary copies of a portrait by Holbein which cannot now be traced. The latter is the more probable supposition, as in all the paintings the head is turned to the left, whereas in the woodcut it faces to the right, not having been reversed when drawn on the block. One of these versions, formerly in the collection of the Marquis of Hastings, who lent it to the National Portrait Exhibition, 1866, is now in the National Portrait Gallery (No. 1035);[171] a second, apparently a copy from the former, is in the Bodleian Library at Oxford. This latter was in the Tudor Exhibition, 1890 (No. 169), the Oxford Exhibition of Historical Portraits, 1904 (No. 24), and the Burlington Fine Arts Club Exhibition, 1909 (No. 50). It is a bust, three-quarters to left, with dark hair, beard, and moustache, and bald forehead, red drapery round the shoulders, and a plain brown background; and is inscribed “SYR·THOMAS·WYAT.” A smaller circular portrait, also on an oak panel, belonging to the Countess of Romney, showing Wyat in the same position, but dressed in the costume of his day, with a black coat lined with white fur, is attributed to Lucas Cornelisz.[172] It is inscribed, “Sir Thomas Wiat. B.1503. D.1541. Lucas Cornelii,” but this is of a