Only one other picture bears Holbein’s signature and the date 1522. This is the full-length representation of “St. Ursula,”[250] which with its companion, “St. George,” is in the Karlsruhe Gallery. They evidently formed the wings of an altar-piece, the central panel of which is missing. St. Ursula, who carries a number of long arrows in her arms, symbols of her martyrdom, is clad in the fashion of the rich citizen’s wife of Holbein’s day, as seen in the set of his costume studies in the Basel Gallery, and wears a golden crown and a nimbus with a band of Renaissance ornamentation. Behind her, the branches of a fig-tree stand out against the blue sky, and low down on the horizon is a landscape with a tower. Her necklace, with an openwork medallion containing the cross of St. Anthony, closely resembles the one in the Louvre sketch of Holbein’s wife as a young woman. In the companion panel, St. George,[251] with his flag grasped in his left hand, stands over the prostrate dragon, which he has transfixed with his spear. Here again the background consists chiefly of blue sky with a distant hilly landscape. The types of the two heads are not unlike the “Adam and Eve” study of 1517, while the St. Ursula also recalls the Solothurn Madonna, though the face is less idealised. It is possible that his wife also sat for this picture. The costume of St. George, who is crowned with a nimbus containing his name, is very similar to that of the Archangel Michael in the beautiful study in the Basel Gallery already described.[252] The “St. Ursula” is signed and dated “HANS HOLBEIN MDXXII.” [Sidenote: ORGAN-CASE DOORS IN BASEL MINSTER] These two panels have been renovated and retouched, and, in consequence, much of Holbein’s original brushwork has vanished. For this reason they have been regarded by some writers as merely works of the Holbein school. They are accepted as genuine, however, by such modern critics as Dr. Ganz and Herr Knackfuss, while Woltmann,[253] who speaks of the face and bust of St. Ursula as delicately finished in Holbein’s happiest manner, though the lower part of her figure and that of St. George are so inferior as to suggest a less skilful hand, conjectured that they were probably designed, and in part painted, by the master himself, and executed under his direction, but without very careful supervision. It has also been suggested that they were the result of a poorly-paid commission for some village church, and that Holbein, in consequence, did not take much trouble over them; but such a supposition has little probability, for Holbein was never satisfied with inferior work, but always gave of his best, both in great things and small. Mr. Gerald Davies refuses to accept “these weak and slightly affected figures” as possible work of the painter who in the same year produced so great a picture as the Solothurn Madonna.[254] There can be little doubt however, that, though damaged, they are from the hand of the master himself.