This is another work which has undergone more than one transformation in the course of its records. As late as 1657 it was correctly ascribed to Holbein in the Modena Collection. But the first syllable of the sitter's name has been its only constant. In time Morett slipped into Moretta, and then--like _Meier_ in the Madonna picture--into Morus. So far it seems to have clung to some English tradition. But when Morus got changed to Moro it was but natural for an Italian to think of Ludovico Sforza, "Il Moro." Long before this Holbein had become Olbeno; and thereafter a puzzle. When the portrait was labelled Sforza, however, who could its obviously great painter be but Leonardo? _Et voila!_ Thus the work passed to the Gallery and Catalogue of the Royal Collection at Dresden. And thus it long remained, as if to attest the true level of Holbein's genius. But when the Gallery also acquired the drawing of the Arundel Collection, labelled "Mr. Morett" in Hollar's engraving from it, the painting was held to be unquestionably identified by it as Hubert Morett, goldsmith to Henry VIII. Nor is there anything incongruous in this belief. Such a master goldsmith was no tradesman, in our sense of the word. He was often much more like one of our merchant princes. The merchants of the Steelyard were frequently the royal bankers, and many times were employed on high and delicate diplomatic missions to other courts. Neither is there anything in the sitter's dress to forbid it to a man of this stamp, even after the sumptuary laws of Henry VIII. were passed; while there is much, very much, to suggest an English origin. On the other hand, M. Larpent has now shown that the Arundel drawing was down in a catalogue of 1746-7 as: "One Holbein, Sieur de Moret, one of the French hostage in England"; and also that a "Chas. sieur de Morette" is recorded among the four French hostages sent to England in 1519. It would thus appear that the painting is a portrait of Charles de Solier, seigneur de Morette; an eminent soldier and diplomatist of France; born in 1480, Ambassador to England more than once, and finally, in 1534. Besides all the portraits of Holbein's English period, many of them scattered throughout the collections of all Europe, and many others now lost, it must not be forgotten that he was at the same time pouring forth miniature paintings, designs for engraving, designs for the goldsmith, and conceptions of every sort--from a carved chimney-piece to a woman's jewelled trinket; and all designed with the same exquisite precision and felicity. In the British Museum as on the Continent these drawings are an education in themselves. And besides the portrait studies in the Windsor Collection there is a sketch for a large painting which, if ever executed, is lost: "The Queen of Sheba visiting King Solomon." CHAPTER IV PAINTER ROYAL 1536-1543