Wherever Holbein may have wandered in search of work, he was back again in Lucerne early in 1519. The town books contain records of payments made to him for the painting of certain banners and pennons in the spring of that year. It was a custom of the Lucernois to plant banners on the gables and summits of their street fountains, as a signal for assembly whenever there was question of war; and, in addition to this custom, small flags of painted cloth were usually to be seen hanging in such places.[178] On the 19th February 1519, Holbein was paid twelve schillings for two flags of this kind, which were hung near the cathedral, and on the 21st May of the same year he received one livre, one schilling, six heller for banners for the fountain near the convent of the Franciscans. It was round this fountain of the Cordeliers that the shoemakers and sellers of various merchandise had their stalls, and the neighbouring street was the quarter of the glass-painters. For these latter craftsmen Holbein made several designs. There is one of these in the Basel Gallery (No. 354), which, however, is not from Holbein’s own hand, but merely a good workshop copy. It represents the standing figure of the Virgin with the Child in her arms, under an arch with hanging garlands, supported by pillars and pilasters with Renaissance ornament in low relief, and appears to have been drawn in Lucerne, for the background consists of an admirable little landscape study with a view of the towers and roofs and the old covered bridge of that city, and cloud-capped mountains in the background.[179] It was, however, designed for some citizen of Basel, and may, therefore, have been done after he had left Lucerne, and the background sketched in from memory. It forms the left-hand half of a double window containing the patron saints of Basel, of which the right-hand half still exists in the original glass in the cloisters of Wettingen, representing the Emperor Heinrich II holding a model of the minster, and with a shield containing the arms of Basel at his feet. In its architectural details this window agrees with the “Virgin and Child” drawing in the Amerbach Collection, which is in pen and wash and lightly coloured.