in a monogram, probably the initials of a third owner of the design.[290] VOL. I., PLATE 41. [Illustration: SAPOR AND VALERIAN Design for one of the wall-paintings in the Basel Town Hall _Pen and water-colour drawing_ BASEL GALLERY ] [Sidenote: COMPLETION OF TWO OF THE WALLS] The five single figures in painted niches which filled in the smaller spaces on the walls had each an appropriate inscription in Latin. The Basel Gallery possesses copies of Holbein’s preliminary studies for each one of them, which, like the similar copies of the Charondas and Zaleucus designs, are drawn on paper made in Basel with a water-mark which was not used after 1524, thus showing that they must be contemporary, and, as already suggested, very possibly done by some one in Holbein’s own studio.[291] Christ[292] is represented holding a long tablet with the words: “Quod tibi non vis fieri alteri non facias” (“What thou dost not wish to be done to thee, that do to no other”). In the band of ornament at his feet is a small tablet with the date 1523. King David[293] is shown with his harp, and a scroll over his head with “Juste judicate filii hominum” (“Judge justly, ye sons of men”). Justice,[294] crowned, stands beneath an open arch behind a balustrade, with her balance at her feet. With her sword, grasped in her right hand, and with the forefinger of her left, she is pointing to a large tablet suspended from the top of the arch, which contains the inscription: “O vos reigentes obliti privatorum publica curate” (“O ye rulers, forget your private affairs, and care for those of the public”). Wisdom[295] is shown in a shell-crowned niche. She has a double face, and her long hair falls below her waist. In her left hand she holds a torch, and in her right a book with the inscription, “Inicium sapiencie timor domini” (“The fear of the Lord is the beginning of wisdom”). A scroll over the torch bears the words, “Experiri prius consilio quam armis prestat” (“It is better to try by counsel than by arms”). Finally, Moderation[296] is represented as a young woman with long, clinging garments, in the act of pouring wine from a large vessel of blown glass into a small flagon. The admonition in her case runs, “Qui sibi plus licere vult quam deceat sue studet ruine” (“He who wishes to enjoy more than is his due, acts to his own destruction”). Other inscriptions quoted by Tonjola appear to refer to further paintings, possibly single figures only, of which, however, no traces remain. The compositions on the “back wall,” with subjects from the Old Testament, painted some eight years afterwards, are described in a later chapter.[297] While Holbein was carrying out the earlier paintings, the sculptor Martin Lepzelter was also at work in the Council Chamber. He carved two half-length figures of prophets and four coats of arms for the pillars which supported the ceiling, for which he was paid eight Basel pounds on August 3, 1521.[298]