In the portraits, which were painted and framed as a diptych, Meyer and his wife are shown at half-length and three-quarters face, turned towards one another. Meyer is wearing a black dress, open at the front to show his white, gold-embroidered shirt, and a scarlet cap on his bushy, curly brown hair, which covers his ears. He is clean-shaven, and holds in his left hand a coin, which is introduced to indicate his calling as a money-changer, and also, it is supposed, to commemorate the charter granted to the Baselers in January 1516 for the mintage of gold coins. On the same hand he wears several heavy gold rings. His eyes are dark brown, and his complexion of a ruddy hue, and his face shows shrewdness and strength of character, while the eyes are intelligent and determined. His wife wears a red dress, fronted and edged with a broad band of black velvet across the breast, embroidered with circles of gold ornamentation. The dress is cut low, to show a white under-bodice worked in elaborate designs, with hanging tassels and a band of gold embroidery of a heart-shaped pattern. Her hair and ears are covered with a large white cap of thin linen decorated with bands of gold of a checked design, of the hooded shape common in Switzerland at that period, with a long white fall which is brought over the right shoulder and reaches the waist. Round her neck hang two thin chains, one of gold and one of pearls, the ends of which are hidden beneath the bodice. Her hands are not shown. Though not strikingly handsome, she has youth and good looks in her favour. The two portraits are placed against one continuous architectural background, seen in rather strong perspective. In the centre an elaborate gilt frieze of Renaissance ornamentation is supported by short pillars of red marble, and on either side larger columns, also decorated with gilded carving, form the supports of two arches. Through these the blue sky is seen, against which the wife’s head stands out in strong colour contrast. Owing to the perspective arrangement, the opening is smaller in the portrait of Meyer, but part of his red cap is placed against the blue sky with equally striking effect. The signature, “H.H.,” and the date, “1516,” are placed on a small shield in the entablature over Meyer’s head.[126]