There are three preliminary studies for the picture in the Basel Gallery, portrait heads of the ex-burgomaster, his wife, and their daughter.[494] All three are drawn in his customary manner in black chalk, with spare use of coloured chalks and water-colour here and there. The head of Meyer (Pl. 72 (1)),[495] in black and red, is in the same position as in the picture, and placed against a greenish background. His wife (Pl. 72 (2))[496] is also taken in the position she occupies in the finished work, but her head-dress is a different one, and the chin and the greater part of the mouth are hidden by a linen band similar to the one worn by the unknown kneeling woman. Red is used in the face, and brown for the hair, which is seen through the muslin cap, and for the fur lining to the collar of her gown. The daughter, Anna,[497] is shown almost at three-quarter length, with the arms and hands visible. She wears the same dress with embroidered bands as in the picture, but her hair, instead of being almost hidden by the elaborate cap, hangs down straightly below her waist. More colour is used in this drawing than in the others, the face being worked in flesh tints, the hair of a golden-brown colour, the girdle red, and the ornaments of the collar in yellow, while the background is washed with pale green. The effect produced is very delicate and beautiful, and the portrait is perhaps finer and more natural than in the picture itself. These drawings closely resemble in style those which Holbein produced shortly afterwards in England, and approach them very nearly in their complete mastery of expressive line. [Sidenote: THE BATTLE OF THE PICTURES]