It seems certain that Holbein began his work in the interior of the house, and that he covered the walls of at least five rooms, chiefly on the third floor, with paintings. In 1825 many of them still remained in an excellent state of preservation. In contradistinction to those on the outer walls, they consisted of religious pictures, and scenes from ancient fables and from everyday life in which humour found a prominent place. The sacred decorations were in a large hall which served as the family chapel. One of them represented the legend of the fourteen saints who are said to have appeared to a shepherd in 1445 at a church in the neighbourhood of Bamberg. Holbein depicted them in an elaborate landscape, with mountains and a church in the background, grouped on their knees round the Infant Christ, with the shepherd, a striking figure, kneeling in adoration with his sheep round him. A second picture in this room contained portraits of Hertenstein, his wife, and three sons, very diminutive figures, kneeling before seven saints, among them St. Benedictus, the patron saint of Lucerne. A third picture showed a religious procession, with a bishop and other ecclesiastics, headed by banners, issuing from the walls of a town in a hilly country. In the large hall of the house, on the third floor, which at the time of the demolition was still in its original state, were a number of landscapes with hunting scenes, in one of which, a stag-hunt, the ancient castle of the Hertensteins on a hill by the lake of Lucerne was introduced. In these scenes portraits of the chief magistrate and members of his family were included. In one of them Hertenstein, his fourth wife, and two sons, Benedikt and Leodegar, all mounted, are hunting wild ducks by the side of the lake, accompanied by dogs. Husband and wife appear again in the painting representing a stag-hunt in the woodland below the castle at Weggis. In a third scene hares are being hunted with a pack of hounds over hilly country. Near the fireplace was a representation of a subject which was popular with German painters—the Fountain of Youth. In this a certain amount of latitude was permitted, and Holbein depicted some of the incidents with a rough, unrefined humour. Nude men and women are sitting crowded together in a small circular fountain, some still old, others already rejuvenated by its waters. In the centre of the basin rises a pillar with a banner bearing the arms of Hertenstein and his fourth wife. From all sides old people come crowding and hurrying up, some in carts, some on donkeys, one pushed in a wheelbarrow, and others carried in litters or on the backs of less feeble seekers after perpetual youth. In one instance an ugly old woman, seated in a basket slung on the back of a sturdy young man, holds in her arms an equally old and ugly dog, in order that it, too, may benefit from the bath. A second painting next to it continued the story. Other old men and women