later period than the painting, and the date of Wyat’s death is given wrongly. The head is in the same position as in the _Næniæ_ woodcut. On the back of this portrait was at one time another panel, which now hangs by it in Lady Romney’s collection, representing Wyat’s “Maze,” and painted as a record of an amusing incident in his diplomatic mission to Italy in 1527. In the centre of the maze is shown a falling centaur with the Pope’s triple crown on his head. There was a portrait of a Wyat in the Arundel collection (_il ritratto del Cavaglier Wyat_), but whether this was one of Sir Thomas, or the one of his father, now in the Louvre, is uncertain. Footnote 171: Reproduced in Mr. Cust’s illustrated catalogue of National Portrait Gallery, vol. i. p. 20. Footnote 172: Reproduced in _Burlington Magazine_, vol. xvi., December 1909, p. 155. There are two very similar circular portraits in existence of Wyat’s son, Sir Thomas Wyat, the younger, which bear so strong a likeness to the portraits of his father that at first sight they appear to have been painted from the same original. One of them was lent to the Burlington Fine Arts Club, 1909 (No. 48), by the Rt. Hon. Lewis Fry, and the other belongs to Lady Romney.[173] He is shown in profile, to the left, looking upwards, the neck cut off at the beginning of the shoulders, as in the portraits of his father, and wearing a slight, light brown moustache, pointed beard, and short hair. Lady Romney’s version is of the same size as the Cornelisz portrait, while Mr. Fry’s more nearly approaches that of the National Portrait Gallery and Oxford portraits of his father. Mr. Fry’s panel was once in the collection of Charles I, having his brand on the back, and it is possibly the portrait which was in the possession of John, Lord Lumley, in 1590. The “classical” treatment followed in the cutting short of the bare neck has led to the erroneous supposition that the portrait has reference to Wyat’s decapitation in 1554 for rebellion against Queen Mary. It is possible that these portraits of the younger Wyat are based on a lost original by Holbein. He was born in 1521, so that he would have been twenty-two at the time of Holbein’s death. Mr. Roger E. Fry sees in Mr. Lewis Fry’s version a predominant Flemish influence. “It remains,” he says, “one of the most inscrutable riddles of the exhibition. It is a work of such great technical excellence that its authorship ought to be discoverable. It seems probable that it was painted in England and from life.”[174] Footnote 173: Both reproduced in _Burlington Magazine_, vol. xvi., December 1909, p. 158; and the former in the illustrated edition of the Exhibition Catalogue, Pl. xvi. Footnote 174: _Burlington Magazine_, vol. xv., May 1909, p. 75.