There is a very beautiful costume study in the Library at Dessau,[356] which is closely allied to the Basel series. It is an exceedingly graceful rendering of a fair lady in an elaborate dress with long hanging sleeves, and a close-fitting cap over her curled hair. The body is slightly inclined, and with her right hand she holds up her dress, and from the other, which is stretched out, hangs a bridle and harness. There is much elegance and grace of movement in the figure, which Holbein has set down with a light and flowing touch. It is doubtful what character the model is intended to represent. Dr. Ganz calls her “Die schöne Phyllis,” and, from the bridle she is holding, it is very possible that Holbein intended her for that fair Phyllis who made the learned Aristotle serve her as a horse; or she may represent Nemesis, the driver of mankind, whom Holbein introduced into his Steelyard wall-painting of “The Triumph of Riches,” flying through the sky with somewhat similar attributes in her hands. Such a representation of Nemesis or Fortune was not unusual, and occurs in more than one drawing of the period. There is one in the Basel Gallery of “Frau Venus” by Niklaus Manuel Deutsch, and Dürer also makes use of the bridle in his “Great Fortune.” The beautiful study of “St. Adrian” in the Louvre,[357] a pen and wash drawing, touched with white, on grey paper, is probably the preliminary design for the outer side of the shutter of an altar-piece, to be carried out in grisaille. The saint is represented in full armour, with a long cloak, holding the sword and anvil, symbols of his martyrdom, in either hand, and a lion crouching at his feet. He stands on a stone parapet, in front of which is an empty shield. The figure has much in common with that of St. Ursus in the Solothurn Madonna picture, and there is a still closer resemblance in face to the “St. George” in the Karlsruhe panel, both of the year 1522. Holbein evidently made use of the same model both for the “St. Adrian” and the “St. George,” for the facial likeness is very close, and both wear the same bushy, curling hair. It is, therefore, safe, following Dr. Ganz, to date the Louvre drawing as of the same year, 1522. It was formerly catalogued as of the North Italian School.