There is a large tracing of the design in the Basel Gallery, which has evidently been taken from Holbein’s original drawing, and there are other copies, almost contemporary, of his original studies for portions of the work, one showing the lower part of the side wall with the horse and groom. The Berlin Print Room, as already noted, possesses the very beautiful drawing from Holbein’s own hand, which is the original study for the front façade, showing the musicians and three of the dancing couples of the “Bauerntanz,” with which the Basel tracing is in close agreement, while in the Amerbach Collection there is a slighter version, with certain variations, of the upper portion of the Berlin drawing, showing the balcony with figures. It is a chalk and pen drawing, touched with Indian ink.[264] Dr. Woltmann suggested that the man with the flat cap on the extreme left of the balcony in the Berlin drawing, who is looking down into the street, is intended for a portrait of Holbein himself. In addition, the Basel Gallery possesses good copies of the frieze with the dancers (No. 353),[265] and of the portion of the façade with the mounted figure of Marcus Curtius,[266] made by the glass-painter Niklaus Rippel in 1623 and 1590 respectively. Rippel was master of the Basel Painters’ Guild in 1587. The “Curtius” drawing is inscribed “in frontispicio domus,” and is evidently a faithful transcript of the original; so much so that by its means it is possible to obtain a very adequate idea of the grandeur of Holbein’s design, more particularly in the magnificent group of the horse and its armed rider, in which the Mantegnesque influence is unmistakable. Finally, there is in the same Gallery an excellent reconstruction of the whole frontage (No. 352), a water-colour drawing made by H. E. von Berlepsch in 1878, based upon the Berlin study and the sixteenth-century copies of Holbein’s sketches.[267]