The Berlin Print Room possesses a remarkably fine portrait-drawing of an unknown Englishman,[601] with deep blue eyes, straight brown hair, a scanty beard, and a thoughtful, expressive face, slightly turned to the left. He wears a small flat cap, unornamented, and the usual gown with heavy fur collar. Only slight touches of colour have been used on the eyes, hair, and lips, and the paper has been covered with a pale red wash. Footnote 601: Woltmann, 120. Reproduced by Ganz, _Hdz. von H. H. dem Jüng._, Pl. 36; Davies, p. 224. Among the portrait-drawings in the Basel Gallery, some fourteen in all, most of which have been already described, the finest is perhaps that of an unknown young man in a large, broad-brimmed black hat,[602] which is certainly one of the most beautiful of his drawings now existing (Pl. 39). The sitter, a handsome and dignified man, with a large, straight nose, and refined features—evidently a man of culture of the type of Bonifacius Amerbach—is turned to the left, the face seen almost in profile, though both eyes are shown. The lips of the mobile mouth are slightly parted, and the expressive eyes gaze into the distance, as though he were lost in thought. The brown, bushy hair, which covers the ears and falls over the forehead, is drawn with rapid, masterly touches, and the profile of the face stands out with great effect against the dark background formed by the underside of his large hat. The flesh tints are suggested with simple but subtle touches of the chalk. The dress is merely sketched in with a few lines, though the brown fur collar of his coat is sufficiently indicated just where it comes under the beardless chin. This superb drawing, in which the artist has seized upon and set down with unerring insight the finest traits of the sitter’s character, is in black and coloured chalks. The type of face, in the opinion of Woltmann and Dr. Ganz, is distinctly German. From its technique, which, on the one hand, has much in common with the later studies of the Meyer family made for the Darmstadt “Madonna,” and on the other with the drawings for the More Family Group, it may be surmised that this study was made in Basel shortly before Holbein left for his first visit to England. It has much in common, too, with the coloured drawing in Basel of Holbein himself, and it may be noted, as a small point, that the hat the unknown youth is wearing is similar to the one the artist wears, though rather larger, and is of a different fashion from the black head-gear worn by Holbein’s English sitters. Footnote 602: Woltmann, 38. Reproduced by Ganz, _Hdz. Schwz. Mstr._, i. 54, and _Holbein_, p. xxxi.; Knackfuss, fig. 106.