Another purely heraldic drawing may be mentioned here, although not intended for reproduction as a glass painting. It contains the arms of a compatriot of Holbein’s, Petrus Fabrinus of Augsburg, who became Rector of Basel University.[325] It is painted in gouache on vellum, and was done for insertion in the Matriculation Book of the University in 1523. The arms are placed in front of a Renaissance portico, supported by two columns of green marble, and with a triangular pediment, over which is a flaming brazier, while two naked cupids are seated on the capitals of the columns. In the angles of the arch are two medallions with antique crowned heads. A yellow curtain hides the whole of the lower part of the background. The left half of the shield shows three roses on a blue ground, and the right three fishes on black. It is crowned with a helmet, from which springs the figure of a Moor in parti-coloured dress, who holds in either hand, attached to ribbons from his turban, the three roses and the three fish. Another heraldic drawing for glass-painting is of particular interest because it was designed by Holbein for Erasmus.[326] It represents the truncated form of the god Hermes as Terminus within an arch supported by single columns, standing in a wide, undulating landscape. The statue is turned three-quarters to the left, the head surrounded by rays, the eyes looking upwards. Over the head, suspended by ribbons from the arch, hangs a large wooden tablet for an inscription, placed slantwise, like the figure below it. The latter bears a considerable likeness to Erasmus himself. The setting is unusually simple, both pillars and arch being almost devoid of ornament, with the exception of a panel with roughly-indicated winged figures terminating in floriated scrolls, and two roundels with the customary heads in the angles of the arch. The background, which consists of some open fields, with a tree or two, one distant house, and hilly country beyond, the whole indicated with a few lines and touches of green colour, slight as it is, shows to advantage Holbein’s knowledge of landscape perspective. There is a freedom and simplicity in the drawing, a dignity of conception, and a fine sense of proportion, which indicate that it is one of the latest in date of his drawings for glass, and that it was most probably made shortly before his departure for England in 1526. Erasmus adopted Terminus, the god of boundaries and established ways, as his symbol after Alexander Stuart, Archbishop of St. Andrews, had presented him, when in Italy, with a gold ring set with a cornelian on which was engraved the figure of Hermes and the motto “CONCEDO NULLI”;[327] and this motto Holbein has placed in large letters across the sky of the drawing on either side of the head. Thus the design, by means of the symbols used, suggests the character of the philosopher himself, a man who in the opinions he held would yield