British Museum, to which they were bequeathed by Sir Hans Sloane in
1753. There are 179 separate pieces, usually pen-and-ink sketches. The
execution of the jewels from these designs is believed to have been
mainly done by Hans of Antwerp, known as Hans Anwarpe, a friend of
Holbein, who settled in London in 1514, and was appointed goldsmith to
King Henry VIII, for whom he produced many jewels for New Year's
gifts.[23]

[Footnote 23: H. Clifford Smith, "Jewellery", London [1908], pp. 211,
213.]

In judging of the jewels figured in portraits we must remember that
the artist has often modified them to bring them into greater harmony
with their immediate surroundings. This, in some cases, may lead him
to make of a somewhat inartistically designed jewel a beautifully
proportioned one. Again, he may be led to exaggerate the size of the
precious stones or pearls, and to intensify or deepen their colors. A
recent instance regards a portrait of the former queen of Spain by one
of the foremost Spanish artists of our day. The royal lady was
depicted wearing an enormous pearl; however, the artist informed the
author that the real pearl was much smaller than the painted one, but
that, in portraying it, a better decorative effect was obtained by
increasing its size. Whether Holbein (1497-1543), with his Dutch
exactness of portrayal, was led into any similar exaggerations we can
never tell, as little as we can know anything definite regarding the
true size of the jewels shown in the portraits by the Italian Zucchero
(1529-1566), the Fleming Lucas de Heere (1524-1584), or by any other
of the portrait painters of Elizabeth's time.

In a very modest way the addition of gilded scarf-pins, brooches,