Both Hans and Ambrosius appear to have obtained regular employment from the Basel printers and publishers very shortly after their arrival in the town, but more particularly from Johann Froben, one of the best known of them all, who was then issuing, among many fine books, numerous works from the pen of Erasmus. The earliest work of this nature which Holbein produced was a title-page in the form of a Renaissance arch with a number of small cupids, one blowing a horn, others with spears, two holding the flat cartoon or roll of parchment in the centre reserved for the lettering of the title-page, and two others supporting a shield with Froben’s trade-mark, the caduceus (Pl. 11).[112] This appears to have been cut towards the end of 1515, and did service in several books issued by Froben during the next few years, including More’s _Utopia_ in 1518. Two small panels at the top contain the artist’s signature, “Hans Holb.” This interesting specimen of Holbein’s youthful skill in design and other examples of his earlier work for book illustrations are dealt with in a later chapter. Another design of the year 1515 formerly attributed to Hans, and afterwards to Ambrosius, was the coat of arms of Petrus Wenck, painted in gouache on parchment, in the Matriculation Book of the Basel University, of which Wenck was rector in that year. It represents a man in Roman armour holding a large shield with a coat of arms in each hand. It is reproduced by Dr. Willy Hes in his recent book on Ambrosius Holbein, Plate xxxviii., who shows that it is not the work of either brother.