stands behind her, and part of the architectural background. This fragment was built into the wall of the house which replaced the older one, and can still be seen on the upper floor of the façade. It is insignificant enough in itself, and has greatly darkened with age and exposure, but it is of value as the only actual evidence of the broad and vigorous manner in which the whole façade was painted.[160] VOL. I., PLATE 23. [Illustration] [Illustration: DESIGNS FOR THE WALL-PAINTINGS OF THE HERTENSTEIN HOUSE 1. Leaena and the Judges 2. Architectural Decoration of the Ground Floor BASEL GALLERY ] A second original drawing by Holbein in the Basel Gallery is a study for a part of the ground-floor façade of this house (Pl. 23 (2)).[161] It is a pen and wash drawing slightly touched with colour. Groups of pillars support a frieze with flat carving in the Gothic manner. Above the pointed doorway on the left he has thrown a circular arch, round which the pattern of the frieze is continued, filled in with grotesque sculptured figures supporting a tablet for a date. On the right he has placed an open loggia, to which a flight of stone steps descends, with square pillars, inlaid with marble panels, on either side supporting a wide, flattened arch richly ornamented. The space over the frieze on the right is filled in with a procession of naked boys, some dragged along by their comrades, and others carried on litters, and above this again, hanging garlands of leaves with swinging putti, one blowing a trumpet. According to Dr. Ganz, this last motive, as well as other parts of the architectural design, are reminiscent of details to be seen in the cloisters and on the façade of the Certosa of Pavia, and suggest that Holbein must have taken them directly from that building.[162] If this be so, it proves that a part at least of the wall decoration of the Hertenstein house was not finished until after Holbein’s visit to Lombardy. [Sidenote: PAINTINGS OF HERTENSTEIN HOUSE]