[179] Ibid., viii. 30.
[180] British Museum, Additional Manuscripts, 5,498, f. 2; Calendar of State Papers, xiii. 1, 130.
[181] State Papers, Record Office, viii. 17-19.
[182] Holbein's portrait is described in the Catalogues of the King's pictures at Westminster in 1542 and 1547 as "No. 12. A greate Table with the picture of the Duchess of Myllane, being her whole stature." After Henry's death it passed into the hands of Fitzalan, Earl of Arundel, the King's Lord Chamberlain and godson, who married Lady Katherine Grey, and acquired the Palace of Nonsuch, with most of its contents. When he died, in 1580, it became the property, first of his elder daughter Jane, wife of Lord Lumley, and then of her great-nephew, Thomas Howard, Earl of Arundel. This great collector took the Duchess of Milan's portrait with him abroad during the Civil Wars, and after his death, in 1645, it hung, with many other Holbeins, in the house of his widow at Amsterdam. Lady Arundel left the whole collection to her son, Henry Howard, who became the sixth Duke of Norfolk, and Holbein's portrait remained in the family until, in 1909, it was acquired by the National Gallery for the sum of £72,000. A second portrait of the Duchess of Milan, a half-length, is mentioned in Henry VIII.'s Catalogues ("No. 138. A Table with a picture of the Duchess of Myllane"), and was discovered by Sir George Scharf in a waiting-room near the private chapel at Windsor. This is probably the portrait by Van Orley which Hutton sent to England before Holbein's arrival at Brussels. The attitude of the sitter, her dress and features, are the same as in Holbein's picture, but the face is less finely modelled and lacks charm and expression. The hands are in a slightly different position, and instead of one big ruby ring she wears three rings—a cameo and a gold ring on the right hand, and a black ring, the badge of widowhood, on the third finger of the left hand. This curious and interesting portrait is plainly the work of an inferior artist, and, as the Ambassador justly remarked, bears no comparison with Holbein's Duchess—"surely," in the words of his biographer, "one of the most precious pictures in the world" (Wornum's "Life of Holbein," p. 322; L. Cust in the Burlington Magazine, August, 1911, p. 278; and Sir G. Scharf in "Archæologia," xl. 205).
[183] Calendar of Spanish State Papers, v. 2, 523.
[184] State Papers, Record Office, viii. 21.
[185] State Papers, Record Office, viii. 30.
[186] Calendar of State Papers, xiii. 1, 263.
[187] Kaulek, 29, 33, 35.
[188] Calendar of Spanish State Papers, v. 2, 524.