Because of its extremely small parcel, which was two meters short on the narrowest side facing the Square, but on the other side extended over a total of three cantilevered floors and ended with a very pointed roof. It was not only an attractive sight but was often seen as the epitome of the Gothic house. However, the half-timbering uncovered a progressive, in no detail really medieval construction on the building. This was made clear by two fully trained male figures in the half-timbering, which was only be present in half-timbered buildings from the second half of the 16th century. Because of the conservative citizenry and the associated very long finale of the late Gothic in Frankfurt, the construction can be dated but almost certainly at least in the first half of the 17th century. On the other hand, the ground floor showed some peculiarities: it was not massive, but largely made of wood, apart from an approximately knee-high stone base. The dowel ceiling, which is visible from the outside between the ground floor and the first floor, is a further indication that a new building from the 17th century only extended to the upper floors but retained a ground floor from at least the first half of the 15th century. All in all, the house was an interesting hybrid of medieval and modern carpentry. His loss due to the war is also extremely unfortunate from an engineering point of view, as modern investigation methods could certainly have provided valuable information about the specific development of the half-timbered building in Alt-Frankfurt. The corner house between Drachengässchen and Goldhutgasse was called "Zur wilden Frau" (English: House of the Wild Woman) and had a thematic painting that was reminiscent of a dragon . There was hardly a larger side to the square than the neighbouring Haus zum Widder, but in depth it took up almost half of the block that extended to the market. Apart from the narrow side, the house with its mansard roof and baroque windows looked like a product from the late 17th or 18th centuries, but here too the 1930s exposure brought unexpected details to light. They uncovered massive Gothic corner stands on the ground floor, so that here too it can be assumed that the building altered into a baroque with a core building from the late Middle Ages. However, as photos from the early 1940s showed, the decision was made not to expose the original half-timbering, probably because, as so often, it was completely spoiled by the subsequent changes.