Only two or three of these designs, of which some thirty or more are in existence, are dated, and, with the exception of four or five made during his sojourn in Lucerne,[300] they were all produced between the years 1519 and 1525 or 1526. Among the earliest are eight panels of Saints at Basel (Nos. 333-40),[301] which were designed in pairs, and were to be placed side by side in the two divisions of a single window, the architectural framework and background in which the figures are set corresponding in almost all details in each pair of designs, so that it is evident that they were intended to be seen together, forming between them a complete picture. They were probably produced for the decoration of some large hall, or the aisle of a church. Two other drawings belonging to the same series are contemporary copies after Holbein from the hand of some follower, one of which bears the date 1520 and the coat of arms of the town of Basel, proving that the designs were made, most probably towards the close of 1519, shortly after his return from Lucerne. They appear to have been done for the cloisters at Wettingen. The first pair represent the Virgin standing with the Infant Jesus in her arms,[302] in the left division, and some prince of the Church in the robes of a bishop in the right.[303] This last figure has been described as that of St. Pantalus, the patron saint of Basel, but there is little resemblance in expression to the fine head of that bishop in Holbein’s design for the organ shutters in the minster. Here the face is full of arrogance, rather than piety, and the prelate bears himself proudly as though conscious of his exalted position. His mitre and ecclesiastical robes are richly embroidered and ornamented. A marked peculiarity in the drawing of all the figures in this series is their appearance of stumpiness, the legs being too short for the bodies. A similar defect is to be noted in some of Holbein’s earlier designs for book ornaments. In the case of these glass designs it may have been that they were to be enlarged afterwards by the glass-painter, and placed at some height from the floor, and that Holbein, therefore, attempted foreshortening. This, however, is not very probable, as all his designs for this purpose seem to have been intended for small paintings, to be placed near the eye, and it is much more likely that this characteristic of his figures was a fault, also to be noticed in his earlier woodcut designs, of which he afterwards broke himself. The two in question are placed in an architectural setting of a somewhat fantastic design, with large open arches through which an extensive mountainous landscape is seen. Below the hills, on the right of the bishop, are the houses of a village and a stone crucifix by the wayside, and on the left a torrent rushing down a mountain gorge crowned with trees, and forming a large waterfall under a bridge of one wide arch where the stream joins the plain.