In 1517 he left Basle for Lucerne, where, according to Dr. von Liebenau, his father was then residing. He was made a member of the recently-founded Painters’ Guild of St. Luke, and also joined a local company of archers. On December 10, 1517, he was in trouble with the magistrates, being fined for taking part in some street brawl, after which he appears to have left Lucerne for a time. He can be traced as far south as Altdorf by the remains of a few pictures. If he ever visited Italy it would be at this period. One or two writers hold that he made some such journey, and point to several paintings in the Basle Museum as proof that he must have had personal acquaintance with certain achievements of Leonardo and his school, which he could only have seen in Italy; but the influence of Mantegna and Da Vinci, which, though plainly detected in his early work, is by no means a predominant one, may be easily accounted for through the numerous Italian engravings then circulating throughout Europe, without any actual visit to Lombardy on the part of the artist. He was back in Lucerne in 1518, busily engaged upon the decoration of the house of the magistrate, Jacob von Hertenstein, which he covered with frescoes both inside and out. The remains of this great work were destroyed in 1824, when the house was demolished for street improvements, but not before the chief designs had been hastily copied by Schwegher, Ulrich von Eschenbach, and other Lucerne artists. This was by far the most important undertaking upon which Holbein had as yet been engaged, and it was the first of a splendid series of decorative works of which, unhappily, nothing remains but their fame and a few slight preliminary sketches or indifferent copies. No one north of the Alps came near to him in the fertility of design and beauty of execution and of colour displayed by him in this adaptation of a favourite method of Italian decoration which became popular in the sixteenth century in certain parts of Germany and Switzerland. Holbein was back in Basle in 1519. He joined the Painters’ Guild on September 25, and on July 3 in the following year paid his fees as a burgher of the city. One of the first portraits he now undertook was that of _Bonifacius Amerbach_, a brilliant young scholar and intimate friend of Erasmus and other learned men. Amerbach had the greatest admiration for Holbein’s genius, and missed no occasion of acquiring any of his works, and it is owing to his taste and liberal purse that so fine a collection of the painter’s productions can be studied to-day in the Basle Museum.