Adam Heinrich Hohn – whose initials we see inscribed into the casing of his pocket watch – was a merchant from Ljubljana who made his fortune in the retail sale of construction material, continuing his endeavors in bookbinding. He owned a house on Mestni Trg, opposite Town Hall. We know him as one of the city’s first patrons of the arts. The work before is a portrait in memoriam, which Hohn’s son Eduard Joseph commissioned from Langus, as is reported in the commemorative book, symbolically embellished with painted mementos. Hohn’s depiction is a stereotypical one, painted before a landscape background, a technique Langus regularly applied in his portraits during the 1830s. A middle-aged gentleman with a noble countenance and the finest attire poses from the waist up with Ljubljana’s downtown in the background. All of the city’s sites are included in the painting, from the becrossed dome and the outline of Šmarna gora (Mt. Saint Mary) on the left to the bell tower of the old Jesuit church beneath Castle Hill and the meandering Ljubljanica on the right. The viewer’s eye is drawn low, accentuating and broadening the landscape effect, and giving Hohn’s portrait a more monumental impression.