A second window design, also in the Amerbach Collection, dated 1518, and signed “H.H.,” represents the arms of State-councillor Holdermeier of Lucerne.[180] Under an open archway with pillars inlaid with marble stand three peasants with grotesque head-dresses, busily talking, conceived by the artist with considerable humour. One rests on his scythe, another carries a sack over his shoulder, while the one in the middle holds a basket of eggs. Over the centre of the arch is a small tablet with the date, and on either side of it, in the spandrils, peasants are shown at work in the fields, mowing and reaping. In the centre foreground is placed a shield with the Holdermeier arms. A third design for painted glass of this period with the arms of Hans Fleckenstein of Lucerne, and dated 1517, is in the Brunswick Gallery, and was lent to the Holbein Exhibition in Basel in 1897-8.[181] Two other existing designs appear to belong to Holbein’s Lucerne period. The first is the very beautiful drawing in the Basel Gallery of the Archangel Michael as the Weigher of Souls (Pl. 26).[182] It is evidently a drawing for a wooden statue. The Archangel Michael as the Soul Weigher was the patron saint of the cloisters of Beromünster, near Lucerne, and most probably, according to Dr. Ganz, this design was a commission from Holbein’s patrons, Peter and Jakob von Hertenstein. Jakob was feoffee of the cloisters, and Peter, canon of Basel, was from 1483 until his death in 1519 also canon of the minster. He had his own private chapel, to which he presented various works of art, including a window of painted glass with a representation of the Archangel, which is now in the Lucerne Museum.[183] The winged figure of the youthful saint stands erect upon a slight carved bracket, raising a great sword over his head with one hand, and with the other holding a large pair of scales just clear of the ground, in one of which is Satan, with wings and a long curled tail, and in the other a naked child with a nimbus, representing the soul. St. Michael, too, wears a nimbus above his masses of curled hair, and gazes down with a smile on the upturned face of the Evil One, whom he is about to strike with his sword. He is clad in clinging drapery, which leaves one leg bare, and a breastplate richly chased with a Renaissance flower-and-leaf design, a long cloak falling from his shoulders to the ground. The figure displays extraordinary grace and energy, and in the beauty of its conception and its draughtsmanship recalls the best work of the Italian painters, and was evidently accomplished immediately after his return from Lombardy, when the stimulus of that journey was still at its highest and strongest.