One of the most important of the few paintings by him which have been so far traced, is the portrait of an unknown young man in the Royal Hermitage Gallery in St. Petersburg (Pl. 21).[150] The sitter is turned three-quarters to the left, under a Renaissance arcading, and is wearing a green dress and white shirt ornamented with lace. On his black hat are the initials “F. G.” or “C. I. E.” (?). His right hand rests on the iron pommel of his sword. In the distance is a mountainous landscape with a palace or large building of elaborate Renaissance architecture, and on a column hangs a tablet with the inscription, “ETATIS. SVE. XX. M.D. XVIII.” From the arch above his head is suspended a garland of leaves bound round with ribbon, to which is attached a small cartouche with the monogram AHB, of which the H is the most distinct letter.[151] The drawing, mentioned above, signed and dated “1517 AH,” was considered by Woltmann to be a study for this portrait, and there is certainly a strong likeness between the two. The arrangement of the foreground architectural setting, and the position of the garland supporting the cartouche, of which only the left-hand loop is shown, prove that the picture formed one of a pair, the missing half in all probability containing a portrait of the young man’s wife. VOL. I., PLATE 19. [Illustration: PORTRAIT OF A YOUNG GIRL, “ANNE,” 1518 _Silver-point and red chalk drawing_ AMBROSIUS HOLBEIN BASEL GALLERY ] VOL. I., PLATE 20. [Illustration: THE FOUNDING OF BASEL Design for Painted Glass AMBROSIUS HOLBEIN BASEL GALLERY ] VOL. I., PLATE 21. [Illustration: PORTRAIT OF AN UNKNOWN YOUNG MAN 1518 AMBROSIUS HOLBEIN ROYAL HERMITAGE GALLERY, ST. PETERSBURG ] VOL. I., PLATE 22. [Illustration: ILLUSTRATION TO SIR THOMAS MORE’S “UTOPIA” AMBROSIUS HOLBEIN _From a woodcut in the British Museum_ ] [Sidenote: AMBROSIUS HOLBEIN]