The same influence is to be seen in a second glass design at Basel, representing the Virgin with the Child in her arms and a kneeling donor on the left (Pl. 45),[334] in which the architectural setting is even more beautiful than in the one just described, of which it is a free variant. The Virgin stands, crowned, on a low sculptured pedestal in front of a shallow niche under a circular arch beneath a pointed vaulting, the filling in of which is carved like a scallop-shell, as in the “Meyer Madonna.” The pilasters which support it and the frieze of Renaissance ornamentation are flat, and the whole setting is admirable in its restraint and quiet beauty, and its well-balanced masses. The Virgin is surrounded with projecting rays from head to foot, a symbol of the Immaculate Conception, and the whole figure, like that in the foregoing design, is of tall, fine proportions, unlike so many of Holbein’s figures in his earlier drawings, and gives the impression of a carved wooden statue with rays of metal or gilded wood. The Child in her arms is kicking out his legs, and raises one chubby fist in the air, looking over his mother’s arm with a cross expression, as though angry at having been lifted from the ground. The armed, kneeling knight appears to be the same donor as in the other drawing, but is turned more towards the spectator, with hands uplifted as he gazes in adoration. This exceptionally beautiful and masterly design is said to have been reproduced on a considerably larger scale for a window of the church of St. Theodore in Little Basel. A fragment of the glass, containing the Madonna’s head, is preserved in the Historical Museum in Basel. VOL. I., PLATE 45. [Illustration: THE VIRGIN AND CHILD, WITH A KNEELING DONOR Design for painted glass BASEL GALLERY ]