attention to detail. Also of note is the landscape, which demonstrates his leanings towards more romantic views with expansive hills. During the 1520s Mostaert was also influenced by Joachim Patinir's take on landscapes. Mostaert's St. Christopher, a painting with a landscape that features a river receding into an expansive and hilly background, was once even attributed to Patinir. Mostaert's portrait work of this earlier period includes a piece entitled Portrait of Abel van den Coulster (c. 1500–10), in which an elegant, thin-faced man is situated in equally elegant surroundings. This painting also contains one of Mostaert's favorite themes, i.e. the Vision of Augustus and the Tiburtine Sibyl. The scene appears in the courtyard in the background of the Portrait of Abel van den Coulster. Another version can be seen in the grisaille reliefs on the pillar and architrave of the gate in his Adoration of the Magi (c. 1520–25, Rijksmuseum). Mostaert was known for copying original portraits for some of his courtly commissions but, as is the case with the Portrait of Abel, he also painted figures from life and added aristocratic touches. He was known for presenting his portrait sitters in three-quarter-length and placing their hands on cushions. Being an accomplished court painter allowed for Mostaert to make a living off his art and to gain a steady patronage. The last documented reference to him is in 1549 when he petitioned the Haarlem town council for permission to live in Hoorn so that he could complete an altarpiece there. As was common practice in 15th and 16th century Netherlands, Mostaert frequently reproduced portraits of political figures based on original models. In 1521, Mostaert gave Margaret a portrait of her third husband, Duke Philibert of Savoy, as a New Year's present. The portrait was made sixteen years after Duke Philibert's death. Portrait of an African Man Mostaert painted The Portrait of an African Man, which is one of the earliest and the only individual portrait of a black African that has survived. Painted around 1525–30 the work is in the collection of the Rijksmuseum. It is not known exactly who this man was but there are indications that he was either associated with Margaret's court or was an attendant of her nephew, Charles V, who had a black archer, Christophle le More, among his bodyguards. The man wears rich clothes, gloves, and holds a sword, all indicative of his important