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8. that this is the portrait of Sir Thomas More, mentioned by Baldanucci, and bought from him for the Palazzo Crescenzi. Wornum goes on to say, that for the sake of identity, it may be taken that this is the portrait of Sir Thomas More, bought by Louis XIV and which is now in the Louvre. But Wornum wrote at the time (1867) when this particular portrait was thought to be of Sir Thomas More, Wottman who published in 1872 his work on Holbein, proved that is was not, but of Sir Henry Wyatt. The portrait therefore in the Palazzo Crescenzi which was one of More could not have been bought by Louis XIV but passed into some other collection. In the catalogue by Dubois de St. Gelais of 1727 of the pictures in the Palais Royal, belonging to the Duke of Orleans, there is a portrait by Holbein of Sir Thomas More. Paul Gantz refers to it saying that according to this, this picture must have been in that collection, and it probably was. Walpole also mentions a portrait of him in the same collection. It was one of the most famous in Europe at the time, having been formed by Phillip the Regent in the early part of the 18th century, and was composed of the finest examples of the Italian, French, Dutch and German schools. He bought many collections in whole, notably the one in Rome formerly owned by the ex-Queen Christina of Sweden, and at the time belonging to the Duke of Bracciano. Thus it may be that from Rome he bought the portrait of Sir Thomas More by Holbein, known to have been in his collection. In 1792 when the French Revolution broke out, the then Duke of Orleans, known as Phillip Egalite, who was greatly

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