The “Annunciation” drawing, in the collection of M. Léon Bonnat, Paris,[330] shows so many points in common with Grünewald’s altar-piece at Isenheim, not only in the general arrangement of the figures, but in numerous details, that it seems evident that Holbein must have been well acquainted with it.[331] As his father was working at Isenheim for some considerable time, it is exceedingly probable that his sons, even if they did not accompany him directly there from Augsburg, as the first stage on their journey to Basel, paid him one or more visits, for the distance between the two places was not great. Holbein has placed the kneeling Mary on one side of a wooden chest on which rests a cushion with her book; on the other side the Angel of the Annunciation has just alighted, an imposing winged figure, very richly and elaborately dressed, holding a long sceptre in one hand, and the other outstretched towards the Virgin. The latter is by no means one of Holbein’s most pleasing representations of the Mother of our Lord; it is to the angel the eye turns as the centre of interest. The Romanesque pillar and frieze behind the Virgin is a motive taken from the crypt of the Minster of Basel, while the wooden barrel roof of the chamber at the back, in which the Virgin’s bed is placed, was common in Holbein’s day throughout Switzerland in council chambers, courts of justice, and other large rooms.[332] The architectural framework resembles that of the “Crucifixion” drawing in the lavishness of its somewhat incongruous ornamental details. The bases of the columns are sheathed with grotesque heads from which spring large foliated scrolls, supporting wicker baskets filled with fruit and leaves. Dr. Ganz gives the date of the drawing as about 1521 or 1522. VOL. I., PLATE 44. [Illustration: ST. ELIZABETH, WITH KNEELING KNIGHT AND BEGGAR Design for painted glass BASEL GALLERY ]