Of far greater importance and undisputed authenticity is the _Portrait
of Anne of Cleves, Fourth Wife of Henry VIII._ (No. 2718). No
credence is to be attached to the legend invented by Bishop Burnet
more than a century after that ill-treated lady’s death, according to
which Holbein’s flattering portrait was instrumental in “bluff King
Hal’s” choice of his fourth spouse and responsible for the king’s
disappointment at setting eyes upon Anne. The picture, which was
painted in 1539, seven years after Holbein’s definite return to England
and to the service of Henry VIII., has not only that air of inevitable
truthfulness which distinguishes all Holbein’s portraiture, but tallies
to a remarkable degree with the descriptions sent to Henry VIII. by his
agents. Whilst not exactly unpleasant to behold, the features are those
of a spiritless, dull woman—an impression which is intensified by the
absence of life and character in the hands, which Holbein invariably
studied as closely as the face. The painting of the richly embroidered
and jewelled costume, the stately symmetry of the design, and the
beautiful scheme of colour are really the chief attractions of this
picture.
The _Adoration of the Magi_ (No. 2711A), which was at one time
attributed to the elder, and subsequently to the younger, Holbein, is
now rightly given to the latter’s contemporary and compatriot Gumpold
Giltlinger, an Augsburg painter of no particular distinction.