placed the coats of arms of Hertenstein and his four wives, within arched openings with hanging wreaths. Between the windows of the third storey and those of the floor above it, there ran a long triumphal procession from right to left, broken up into groups by pilasters placed at intervals, giving the effect of an open arcading through which the passing show was seen. This design was borrowed in its main details and arrangement from Andrea Mantegna’s engraved “Triumph of Caesar.” In this he followed his original so closely as to clothe the figures in antique costumes, whereas in the pictures drawn from classical sources painted on other parts of the building, he made use of the costumes of his own day. On the topmost storey five pictures were placed between the windows reaching up to the cornice of the roof. These, too, were chosen from classical literature, apparently for the purpose of providing moral lessons, not only for the members of Hertenstein’s own family, but for all the citizens of Lucerne who paused to admire their mayor’s new residence. They included the stories of the treacherous schoolmaster who attempted to betray the town of Falerii to Camillus, Tarquin and Lucretia, the self-sacrifice of Marcus Curtius, Mucius Scævola before Porsenna, and Leæna, who bit off her tongue rather than betray her lover Aristogiton to the judges after the murder of Hipparchus. The only original study for these painted stories now remaining is the one for the last-named subject, which is preserved in the Basel Gallery (Pl. 23 (1)).[158] It is a washed monochrome drawing, in which Leæna, in the costume of Holbein’s own day, stands before her two judges, her hand lifted to her tongue in sign of her determination to keep silence. The story is told with the aid of but few figures. A gaoler stands near Leæna, and behind the two judges are two other seated men. The scene takes place in a vaulted hall with open archways at the back, and has been cleverly arranged to fill in the irregular spaces between the brackets supporting the cornice. This study is of great interest, as it marks a great advance in Holbein’s power of drawing the human figure when compared with the schoolmaster’s sign-board of the previous year, and shows much greater freedom of draughtsmanship. The heads of one or two of the figures still retain something of the grotesqueness of type which characterises those of the early Passion series of pictures, but the figure of Leæna is a graceful one, and the judge in the centre, in a furred robe and cap, with one finger lifted in admonition and a rod of justice or sword grasped in his left hand, is natural and dignified. The only fragment of the actual wall-painting itself which now remains is a small portion of the Tarquin and Lucretia fresco,[159] showing the latter’s hand grasping the dagger, the figure of her husband before whom she is about to kill herself, the right arm of a woman attendant who