A similar background is shown in the design in the Berlin Print Room,[316] though only the red roof of the church tower appears above the shield. This drawing has been touched with colour in places, the faces of the two landsknechte with red, and also the roofs of the houses of the village seen in the distance, the landscape with green and brown, while colour is also used in several of the decorative details, such as the festoons hanging from the wide flattened arch. The attitudes of the two shield-bearers are more natural and less forced than in the Basel sheet. They are dressed in the same fashion, the man on the right wearing his large feathered hat fastened to his back, and leaning on a large pike held with both hands. The soldier on the left, an exceedingly graceful figure, with a long lance placed point downwards, rests one hand on the shield, and with the other touches his sword hilt. The architectural setting is similar in general design to that of the Basel example, though here the arch is supported by pairs of short slender columns, with sculptured figures of Judith and Lucretia standing on the capitals, and above them Samson and Hercules, while a long frieze over the arch contains a battle of nude foot soldiers and horsemen, in the midst of a shallow stream. In another drawing in the Basel Gallery,[317] the shield, a fine heraldic design, completely fills the right-hand side of the sheet. It contains a coat of arms consisting of two pears hanging from a branch and a star on either side, and, surmounting the shield, a helmet with large upstanding wings, between which is placed a branch with a single pear, elaborate scroll-work falling on either side. On the left stands a fierce-looking landsknecht, with his plumed hat on his back, and a great two-handed sword upon his shoulder. Over the crown of the arch, but not forming part of the architectural design, is a battle scene with four men fighting, two with long lances and one with a gun. This drawing, which is a most effective one, is signed “H.H.” The design in the Bibliothèque Nationale, Paris,[318] appears to be one of the earliest of all, produced during his stay in Lucerne. It is evident, from the figure on the left-hand side, that it was ordered in celebration of a wedding, the richly-dressed young lady wearing a bridal crown being the newly-wedded wife of the landsknecht standing on the right. Each one supports a shield with a coat of arms, the woman’s consisting of three arrows, and the man’s of an anchor. The soldier, with long pike over his shoulder, has a strong facial likeness, as already mentioned, to the warrior on the right of the Basel design, while the face of his wife is of the same type as the head in the Louvre study for the Solothurn “Madonna.” In the background is a castle on a precipitous rock by the side of a lake, shut in by a mountain range. The framework consists of two columns with grotesque heads in the capitals, supporting some