The jewels actually executed from these designs were probably the work of Hans of Antwerp, known as John Anwarpe.[136] He was a friend of Holbein, and one of the witnesses of his will; and his portrait, painted by Holbein, is now at Windsor. Hans of Antwerp appears to have settled in London about 1514, having perhaps been induced to do so by Thomas Cromwell, who in early life resided for a time in Antwerp as secretary to the English merchants there. It was presumably Cromwell who, as "Master of the King's Jewel House," was instrumental in procuring for him the post of the King's goldsmith. His name occurs several times in Cromwell's accounts, and it was in accordance with the latter's "ryght hartye commendations" that he obtained the freedom of the Goldsmiths' Company of London. The chief duty of the King's goldsmith was to supply the New Year's gifts (_estrennes_), so popular at that time. These usually took the form of personal ornaments, and it seems likely that Holbein's famous sketches were specially designed for this purpose. [136] His family name was Van der Gow or Van der Goes. See L. Cust, _Burlington Magazine_, VIII, p. 356. ELIZABETH--MARY STUART However remarkable the Court of Henry VIII was for its profusion of jewellery, that of Queen Elizabeth, who inherited the Tudor love for display, was still more extravagant. Throughout her reign--a period marked also upon the Continent for its prolific production of jewellery--the fashion set by the jewel-loving Queen for a superabundance of finery maintained its sway. The country suddenly becoming wealthy, was tempted, like one not born to riches, to use the whole in outward show, and this display was rendered comparatively easy by the influx of gold and precious stones after the Spanish conquests in America. Numerous portraits of courtiers and court ladies afford ample evidence of the prevailing fashions in jewellery, while the portraits of the Queen herself, all overburdened with ornaments, are too well known to need detailed description.[137] "There is not a single portrait of her," says Walpole, "that one can call beautiful. The profusion of ornaments with which they are loaded are marks of her continual fondness for dress, while they entirely exclude all grace, and leave no more room for a painter's genius than if he had been employed to copy an Indian idol, totally composed of hands and necklaces. A pale Roman nose, a head of hair loaded with crowns and powdered with diamonds, a vast ruff, a vaster fardingale, a bushel of pearls, are features by which every body knows at once the pictures of Queen Elizabeth." [137] An enormous number of these exist. A catalogue of them has been drawn up by Mr. F. M. O'Donoghue, of the British Museum.