The sheet with the two unicorns[309] is much more elaborate in its architectural treatment, and is a design of great decorative effect. The two beasts stand on their hind-legs, and support with their forelegs an empty shield of Italian fashion. The animals themselves are realistically drawn, and are not treated merely as conventional heraldic beasts, the sense of reality being increased by the head of the one on the left, which is turned round over its back, so that the horns of both point in the same direction, but at different angles. They are placed beneath a very richly-decorated edifice which Holbein appears to have taken from one of the monumental tombs to be seen in many of the cities of Northern Italy. The principal feature is a barrel-shaped wooden roof, supported by a flattened arch and double pillars at the sides and in the centre. At either side of this roof-like structure rise short chimneys of Italian design, and above it is a deep frieze with Renaissance carvings supported by three short pillars. As Dr. Ganz points out,[310] the design has features in common with the fine tomb of Andrea Fusina, now in the Archæological Museum in Milan, while the three sculptured antique heads which crown the lower columns have their counterpart both in the Certosa of Pavia and the church of S. Maria delle Grazie in Milan. The whole design, in fact, so closely resembles in its elaborate architecture these Renaissance monuments, that it is impossible to believe that it was the result of Holbein’s imagination alone, but rather was due to personal knowledge and actual study. In the landscape background is seen a country château with a projecting tourelle. [Sidenote: FIGURES OF LANDSKNECHTE]