Woltmann, 321; Wornum, ii. 30; Holmes, i. 24. Reproduced by Davies, p. 218; Ganz, _Holbein_, p. xxxvii.; and elsewhere. Footnote 193: See p. 257. See also pp. 52-53 with reference to the “Portrait of a Musician” at one time considered to represent Lord Vaux. [Illustration: VOL. II., PLATE 17 SIR NICHOLAS CAREW _Drawing in black and coloured chalks_ BASEL GALLERY ] [Sidenote: PORTRAIT OF SIR NICHOLAS CAREW] The portrait of Sir Nicholas Carew, Henry’s Master of the Horse, was probably painted during the earlier years of Holbein’s second residence in London. It could not have been done later than 1537, for in 1538 Carew was thrown into prison for supposed connection with the conspiracy of Cardinal Pole and the Marquis of Exeter, and was beheaded on March 3rd, 1539. There is a brilliant study for this portrait in the Basel Gallery (Pl. 17), a drawing in black and coloured chalks.[194] He is wearing body armour, and has a short beard and moustache; his hair is concealed by a close-fitting coif, and there are an octagonal medallion and a white feather in his black cap. It is one of the most masterly drawings Holbein ever made, searching in its truth, and of exact and delicate draughtsmanship.[195] As it was included among the collection of works by Holbein formed by his friend and admirer, Bonifacius Amerbach, it may have been presented to the latter by the artist himself when he was in Basel in 1538. Footnote 194: Woltmann, 31. Reproduced by Davies, p. 212; Ganz, _Hdz. Schwz. Mstr._, iii. 40, and _Holbein_, p. xxxiii. Dr. Ganz is of the opinion that this drawing is of Holbein’s first English period, and that the finished portrait was painted in 1527 or 1528. See _Holbein_, p. 238. Footnote 195: It has been suggested that the fine drawing of an English lady in the same collection is a portrait of Lady Carew, but it more probably represents Lady Guldeford. See Vol. i. p. 321.