The four chief subjects painted by Holbein in 1521-22 were—(1) Charondas of Catanea, the law-giver of the city of the Thurii, who had issued a decree forbidding the wearing of arms in the public assembly under pain of death, but himself inadvertently broke the law. Hurrying to the council chamber from a journey, he forgot to leave his weapons behind him; and on attention being called to this by one of his enemies, he immediately cried out, “By Zeus! the law shall be master,” and ran himself through with his sword. (2) Zaleucus of Locris, whose laws punished adultery by the loss of both eyes. His only son was found guilty of this crime, but the people begged him to show mercy, as the culprit was his heir, and their future ruler. Zaleucus resisted their entreaties for a long time, but in the end yielded to the extent of sacrificing one of his own eyes, and ordering only one of his son’s to be removed, thus upholding the majesty of the law. (3) Curius Dentatus, who, kneeling before his fire, preparing his modest meal, sends away the ambassadors of the Samnites, who have come with rich presents in order to persuade him to take no part in the war against them. (4) Sapor, king of Persia, who is making use of the body of the captive emperor Valerian as a step from which to mount his horse. Between these pictures were placed single figures of Christ, King David with the harp, Justice, Wisdom, and Temperance. The remaining large subjects, which were painted in 1530-31, were Rehoboam spurning the Elders of Israel, Saul rebuked by Samuel, and possibly Hezekiah breaking the Idols. In the picture of “Charondas” the action takes place in a lofty hall, its roof supported by richly-decorated columns, with long architraves covered with bands of sculptured figures and medallions. Charondas stands in front of the councillors in the act of plunging his sword into his breast, as with uplifted eyes he calls the gods to witness that he is prepared at all costs to uphold the laws. Some of the onlookers sit spell-bound, too overcome with surprise and agitation to attempt to stay his hand, while others are still disputing among themselves as to the necessity or justice of so severe a punishment for so trivial a fault. This is one of the frescoes which Hess copied in 1817,[280] and the Basel Gallery also possesses a contemporary copy of Holbein’s original design,[281] which was probably made by some pupil or assistant attached to his own workshop. When the two are compared, it becomes apparent that Holbein, when he came to paint the subject upon the wall, added considerably to its length. Hess’s copy is almost twice as long as it is high, and on either side three or four figures have been added to the group of councillors which do not appear in the copy of the first design, which is almost square in its proportions, and corresponds in size with Holbein’s original design for the “Sapor” subject.[282] [Sidenote: “THE BLINDING OF ZALEUCUS”]