to no man, and yet in his writings confined himself to established ways, and broke few boundaries. This drawing is in the Amerbach Collection. In the British Museum there is a glass design representing a Wild Man of the Woods, drawn with the brush and washed with Indian ink and a slight colour wash.[328] It represents a naked bearded man, with a defiant look, his head and loins girt with forest leaves, holding an uprooted sapling in his hands, and with feet planted apart. He stands on a stone ledge forming the sill of a window, decorated with pilasters and garlands in the Renaissance style and opening upon a hollow among mountains covered with pines. It was purchased in 1895 with the Malcolm Collection, and is an exceedingly fine drawing. Sandrart appears to have possessed a copy of it. [Sidenote: “CHRIST ON THE CROSS”] Two glass designs, one in the Basel Gallery and the other in Paris, show that though Holbein at this period of his life was strongly influenced by North Italian art, yet the earlier influence of such German painters as Grünewald and Hans Baldung Grien, gained through a study of their great altar-pieces, had by no means been completely overshadowed. For some years at least after he had become a citizen of Basel these two divergent forces in his development both made themselves felt in varying degrees in much of his work, so that it is not at all easy to arrange in chronological order the large number of decorative designs and other works he produced at this time. This double influence can be easily traced in these “scheibenrisse” of “Christ on the Cross between the Virgin and St. John,” and “The Annunciation.” In the former[329] the influence of Grünewald is to be seen in the two standing figures, in both of which, and more particularly in that of St. John, the acute grief which overpowers them as they gaze on the crucified Christ is strongly, even violently, depicted. St. John, by the agitated movements of his whole body, his extended fingers, and his open mouth, shows how passionately he is suffering. The framework which surrounds them is over-decorated with a conglomeration of Renaissance motives. The side columns are covered, and their form almost hidden, by masses of plastic ornament, writhing snakes round the bases, and above them grotesque heads with long tassels hanging from their mouths; and, higher up, sculptured figures of a sphinx-like nature. In contrast to this, the background is filled with one of his naturally-treated landscape scenes, with a high rock on the right behind St. John, from which a tree is growing, and on the left a glimpse of a town by a lake, with mountains beyond and a cloudy sky overhead.