When Anne Boleyn had suffered the fullest possible penalty for marrying Henry VIII., Holbein painted her successor. He prepared a chalk drawing of the unfortunate Jane Seymour and painted two portraits from it, one being in Vienna and the other at Woburn Abbey; and he painted Henry himself for the Privy Chamber, which was burnt out in the closing years of the seventeenth century. The usual study in chalks was made for this picture, and is now in Munich. In the Bodleian Library there is a drawing by Holbein of his exquisite design for the gold cup that was made when Edward VI. was born; and as soon as Jane Seymour was dead the painter went to Milan to paint his striking portrait of the young Christina of Denmark, who was Duchess of Milan, and a widow at the early age of sixteen. She it is who is said to have declined the offer of King Henry's hand, on the ground that she had but one head and wished to keep it on her shoulders. So she became the Duchess of Lorraine instead--small blame to her. We have referred already to the portrait of Anne of Cleves, now in the Louvre; before that was painted Holbein had given the world what is often regarded as his greatest effort in portraiture, the portrait of the goldsmith Hubert Morett, now to be seen in the Dresden Gallery. For many years this picture was supposed to be the work of Leonardo da Vinci. It is one of the special functions of art criticism to give the credit of unknown pictures to Da Vinci or Giorgione--apparently to allow the next generation of criticism to take that credit away again. One may remark in passing that Leonardo da Vinci has fared very badly of late, but doubtless he will soon be restored to critical favour.