The other sheets with landsknechte were produced some few years after the Berne study, though, according to an old copy of one of them, not later than 1524. In most of them the motive consists of two warriors supporting an empty shield between them. It was first used by Holbein in 1517 in a glass painting for Hans Fleckenstein of Lucerne,[313] and was followed a year or two afterwards by the beautiful design in the Basel Gallery and the still later and equally beautiful study in the Berlin Print Room. The date of the last-named drawing can be fixed with some certainty from an old copy which is inscribed 1523. The example at Basel (Pl. 42 (1))[314] must have been done shortly after the completion of the wall-paintings of the Hertenstein house. In the decorative details of the architectural setting it bears a close resemblance to the glass design of the Madonna with the view of Lucerne in the background, of the year 1519, while the warrior on the right is seen again in an early glass design in the Bibliothèque Nationale in Paris.[315] The double columns carrying the arch in the Basel drawing are richly ornamented, and at the base are supported by a number of small nude sculptured figures. Festoons of laurel leaves and ribbons hang down from the arch—a feature to be found in many of these designs—and in the angles over the capitals are round medallions with antique heads, which was also a favourite decorative motive with Holbein, and, as already noted, is rarely missing from any of his Renaissance frameworks. The two landsknechte wear breastplates over their gay attire, and large slouched hats with many feathers. The one on the left, a bearded man, carries sword and dagger, and holds a battle-axe on his shoulder; the one on the right, clean shaven, leans upon the shaft of his lance. The two figures are splendidly conceived and drawn with the greatest force and truth; and the whole design affords proof of how considerable an effect his stay in Lucerne and his short visit to Northern Italy had upon his art, and of the extraordinarily rapid manner in which his genius for decorative design, and his delight in the invention of these settings of Renaissance architecture, developed under these new influences. The background of this particular design, which, according to Dr. Ganz, is strongly reminiscent of the country in the Vierwaldstättersee, shows the tall tower of some village church, the lower part of which is hidden by the beautifully-designed Italian shield which the two warriors support, situated in a hilly landscape, with the sharp peaks of a range of mountains in the distance. [Sidenote: FIGURES OF LANDSKNECHTE]