are crowded into a long cart drawn by four horses, into the back of which a lame man has scrambled, while a second limps painfully after it. In other rooms the decorations were so dilapidated and damaged that it was impossible to make copies of them; but they included battle scenes, and various Renaissance ornaments and devices. In one of these latter rooms occurred the date 1517 under the family shield.[163] In one of the chambers was a wooden pillar, carved with the likeness of Heini von Uri, court fool of Duke Leopold of Austria, for which Holbein appears to have supplied the design from which the carver worked. Hollar made an etching from this drawing, or from a woodcut of it, as he has inscribed it, “H. Holbein incidit in lignum,” when it was in the Arundel Collection, in 1647.[164] In carrying out this monumental work, Holbein, in addition to possible help from his brother, must have employed more than one assistant. He made, no doubt, designs for every part of it, and painted the principal pictures himself, but much of the remainder was very probably done by others under his personal direction. North of the Alps such work was not particularly well paid, nor was great care displayed in carrying it out. Both artist and employer were satisfied if a good decorative effect in design and colour was produced; the former, considering the large amount of surface to be covered, could not waste much time over the careful painting of details, nor was the latter prepared to pay more than a very moderate price for it. There is no doubt, however, that Holbein’s work in this field was far in advance of anything hitherto carried out in Switzerland, more particularly in the elaborate architectural settings in which he placed his wall pictures, and in the use made of perspective, so that the scenes depicted appeared to be taking place within the rooms of the house itself, and the eye was deceived into supposing that a building of somewhat plain design was in reality a mansion erected in the richest style of the Italian Renaissance. [Sidenote: DESTRUCTION OF WALL-PAINTINGS]