The little roundel in the Basel Gallery (No. 324) (Pl. 58 (1)),[413] which is about four inches in diameter, forms part of the Amerbach Collection, and, no doubt, came into the possession of Bonifacius on the death of Erasmus. It agrees in all respects with the Greystoke portrait, though only the head and shoulders are shown, and it is not quite so masterly in its execution. It is very possibly the original study made by Holbein in Freiburg, upon which the Greystoke and other portraits were based. It has a plain blue-green background, and is perhaps not quite in its original state. There is a third “Erasmus” at Basel, the small panel in the Faesch Collection (No. 356),[414] a good old copy of the roundel in the Amerbach Collection. All three are mentioned by Patin. It would serve no useful purpose to enumerate and describe the many other versions of the roundel, the Greystoke, and the Longford portraits, which exist in various European collections at St. Petersburg,[415] Cassel, Karlsruhe, Vienna, Turin,[416] Rotterdam, Lausanne,[417] and elsewhere. As already stated, they were in great demand among the admirers of Erasmus, so that numerous copies must have been made. In the lifetime of Amerbach’s son Basilius there were no less than five in Basel, and when Richard Strein of Vienna wrote to him asking him to procure him a portrait of the great humanist, Amerbach, in reply, wanted to know which of the five he would like copied. The copy by Pencz, already described, may have been taken from one of these later portraits rather than from the Longford portrait of 1523. The copy at Rotterdam is said to have been presented by the Basel Council to the Rotterdam Council in 1532. [Sidenote: WOODCUTS PORTRAIT OF ERASMUS] Two other portraits of Erasmus by Holbein cannot be overlooked. These are the two beautiful woodcuts from his designs, which, from the fineness and accuracy of their execution, must have been cut by Hans Lützelburger. The first is a small round portrait,[418] showing the head and shoulders only, in profile, turned to the spectator’s right, seen against a plain background, and inscribed round the plain circular framework “Erasmus Roterodam.” It is evidently of about the same date as the Louvre portrait, and may have been one of the first of Holbein’s designs engraved by Lützelburger, who settled in Basel about 1523. The delicate and rather emaciated features of the scholar have been reproduced with wonderful skill. It was first used on the back of the title-page of the _Adagiorum opus Des. Erasmi Roterodami_, published by Froben in 1533, and again in _Des. Erasmi Rot. Ecclesiastæ sive de ratione concionandi libri quatuor_ (1535).