The same landscape is continued in the background of the panel of the Virgin and Child, the river wandering away through another gorge among the hills on the left. This view is strongly reminiscent of the St. Gotthard district and the Devil’s Bridge over the Reuss, and affords some slight additional proof of Holbein’s expedition across the Alps.[304] A second pair represent St. Anna with the Virgin and Child, and St. Barbara.[305] Here again the unusual shortness of the figures is very apparent. St. Barbara, who is dressed in the rich costume of a Basel lady of the sixteenth century, stands in the characteristic attitude, with the upper part of her body bent backwards, and the heavy dress held up in front by the hand, as is the case in each one of the series of studies of ladies’ costumes by Holbein to be described later, which thus appears to have been the customary habit of walking at that time. The setting is less fantastic and elaborate than in the two panels just described, and consists in each of an open arch supported by pillars, with sculptured figures above the capitals. Although the details of the ornamentation of the columns do not exactly agree in the two designs, they are evidently a pair. On the left-hand panel, as in the one on the same side in the preceding set, there is an empty shield for a coat of arms, and the background is also a mountainous landscape, though drawn in less detail. In the design of St. Catherine,[306] which forms one of a pair with St. John the Baptist, the background is almost entirely filled with a building with pointed arches supported by short pillars, but on the left a narrow strip of landscape is visible, with an archway or bridge across a road with a building on the far side of it, and distant mountains behind. The face of the saint is a very charming one, and her hair falls in elaborate ringlets down her back, and is surmounted with a jewelled crown. In the pair representing St. Andrew and St. Stephen, Dr. Ganz recognises, in the arcading with flat pilasters and shallow scallop-crowned niches in front of which the saints are standing, an architectural motive taken from the cathedral of Como.[307] There is no need to describe every figure in this series in detail, each one of which wears a halo, a symbol of which Holbein afterwards made very little use. [Sidenote: THE “PRODIGAL SON” WINDOW]