1516. Gerardus Noviomagus, of Nimeguen, writing to Erasmus on November

12th of that year, says that his friend Theodoricus has undertaken to print it, and that Paludanus will show him “a cut of the island by a great artist,” in order that Erasmus may make any suggestions he may think necessary.[441] In Froben’s edition this “cut of the island” was drawn by Ambrosius Holbein, as also the charming little picture of Hythlodæus recounting his adventures in Utopia. As already stated, two of Hans Holbein’s designs were re-used for this work, the title-page with the children for the dedication to Ægidius, and the “Scævola” for More’s _Epigrams_, which were added to the volume, together with others by Erasmus, for which Urs Graf provided a title-page with the beheading of St. John the Baptist. The title-page to the book itself, with the story of Tarquin and Lucrece,[442] was designed by Ambrosius, who in this instance took a much more important share in the work of illustration than his brother, and he was possibly the “great artist” of whom Noviomagus spoke in his letter. [Sidenote: THE TABLE OF CEBES] The title-page for the Statute Book of Freiburg-im-Breisgau, published in 1520, with the beautiful design of the patron saints of that city on the back, has been already described.[443] It is more finely cut than most of these earlier book illustrations, as is also the title-page representing the “Table of Cebes” (Pl. 61), perhaps the most important work of the kind undertaken by Holbein before his connection with Lützelburger began.[444] The unknown cutter of this block has rendered Holbein’s design with considerable truth and artistic feeling. It is founded on the Πιναξ or “Table,” a philosophical work of Cebes of Thebes, the disciple and friend of Socrates, a book which enjoyed a great popularity. It gives an allegorical picture of human life, as explained by an old man to a circle of youths, and is intended to show that true happiness is only to be attained by the cultivation of the mind and the possession of real virtue. The “Picture” described in the book was shown to the sage in a temple of Chronos, and was a painting containing many figures, representing the progress of man towards the desired goal. Holbein has followed the text very closely. The whole picture is surrounded by a wall, which indicates the limits of human life. Outside this wall, at the bottom of the design, are groups of naked children, representing the souls of those who have not yet entered life. They are playing and fighting, and some are begging admittance of the old man, labelled “Genius,” who stands beneath the archway of the portal. On the right, within the first courtyard, is the winged, naked figure of Fortune on her rolling sphere, between two groups of people, on the one side those on whom she has smiled and on the other the unfortunate ones, who are railing at her; on the left is the seated figure of a woman, richly dressed, representing Seduction or Persuasion, with her attendant ladies as False Opinions. She holds out a gold cup to tempt the newcomer to life from the true path. Behind, gazing over the wall into the second courtyard, is the Traveller on life’s journey. He next encounters Avarice, Lust, Incontinence, and other pitfalls, all represented by small and characteristic groups of figures. Then, passing through a gate, he follows a winding road, encountering on the way Pain and Sorrow, the latter an old woman crouching in a ruined hut, who threatens him with a whip, until he is welcomed at a further gateway by Penitence, who holds out both hands in welcome. All danger, however, has not yet been overtaken, for within he meets with False Discipline, a grandly dressed lady and her attendants, but he gives her only a sidelong glance as he hastens forward. The road now becomes rougher and narrower, and he comes next upon a group of people engaged in the pursuit of all the arts and sciences, which they regard as the end of life. After this he has to clamber up steep rocks, which he does with the help of Fortitude and Courage, the latter holding a golden cup in either hand. Further on, at the entrance to the innermost enclosure, he kneels before True Discipline, who, in the guise of a saint, with a halo, stands on a small pedestal, attended by Truth and Conviction. From here he enters the Castle of True Happiness, and again kneels, this time to receive the laurel crown, the reward for his avoidance of all evil and error on his life’s journey, which is placed on his head by Happiness, who sits enthroned in the centre, in front of a castellated building. She wears a crown and holds a sceptre, and her head is surrounded by a halo of brilliant light. On either side are groups of the Virtues. Many of the small figures in this design have great charm, and the whole composition is well arranged and full of interest. Holbein has signed it on one of the stones of the wall in the lower left-hand corner with his initials in the form of a monogram, a small H within a larger one. This woodcut was first used in the edition of Tertullian published by Froben in 1521, and in the following year it formed the title-page of Erasmus’ Latin edition of the New Testament. It became very popular, and was frequently used for dictionaries, lexicons, and similar publications during the next sixty years, being copied and imitated by numerous printers. VOL. I., PLATE 61. [Illustration: “THE TABLE OF CEBES” First used in 1521 _From a copy of Perotto’s “Cornucopiæ” in the British Museum_ ] [Sidenote: LUTHER’S NEW TESTAMENT] The first fruits of the collaboration of Holbein and Lützelburger appeared in an edition of Luther’s German translation of the New Testament, which was issued by Adam Petri in Basel in December 1522. For this Holbein drew a very beautiful title-page,[445] which, although it bears no name or initials, is unmistakable in its authorship (Pl. 62). The sides of the design are occupied with niches within which stand St. Peter and St. Paul, grandly conceived figures of great nobility and dignity. St. Peter, on the left, has a great key in one hand, and an open book in the other, from which, with head and eyes cast down, he is reading. On the right is St. Paul, with a long, flowing beard, holding a sword across the open volume of his gospel. The architectural background is simple, with shell ornamentation behind the heads of the two saints. In the four corners of the page are the symbols of the four Evangelists—the Angel, Eagle, Lion, and Bull—which serve as heraldic supporters to the volumes of the gospels. In the centre at the top are the arms of Basel, with the motto “INCLYTA BASILEA,” and at the bottom is placed the printer’s mark, a naked child riding on a harnessed lion, and bearing a standard with Petri’s monogram, and antedated 1523, the background filled in with roses, a very fine design. A second edition of this folio volume was published in March 1523, and at the same time one in octavo. In the latter the title-page[446] closely follows the one in the folio edition, and the book is also embellished with other woodcuts of Holbein’s designing. On the first page of each gospel is a cut of the figure of the Evangelist enclosed within a framework of Renaissance design (Pl. 63).[447] The first three are each shown within a room, on the wall of which is a framed picture illustrating that part of the career of Christ most fully treated by the respective writers. St. Matthew looks up from his writing, and listens to the kneeling Angel, who raises a finger in admonition. The picture on the wall represents Christ in the manger, with Mary kneeling, and Joseph kindling a fire. St. Mark is seen from behind, deep in thought, the Lion crouching by his side. The picture hanging above him is of Christ rising from the Tomb. St. Luke, busily writing, wears a high cap, the Bull standing at the back of the desk. Christ on the Cross forms the subject of the picture on the wall. In each of these three pictures the Evangelist’s desk or writing-table and seat form an interesting feature, as each one is of a different design, and illustrates the furniture of Holbein’s own day. St. John is represented in the wilderness, seated among rocks, writing his gospel, his candle sheltered from the wind by stones, and the Eagle looking down upon it. Christ appears in glory in the sky over the distant mountains, and the saint is gazing up at the vision. This woodcut is without an ornamental framework. Four other designs by Holbein are included in the volume.[448] At the head of the Acts of the Apostles is a representation of the Outpouring of the Holy Spirit. The Epistle to the Romans is headed by the figure of St. Paul, preaching, his sword under his arm, beneath a richly-decorated portal. The other two represent the Conversion of Saul and St. Peter’s Vision of the Unclean Beasts, and there are also a number of initial letters (Pl. 63). The beautiful engraving of the title-page and many of the woodcuts points to the hand of Lützelburger, though none of them are signed by him. Another fine woodcut with the figure of St. Paul, with sword and book, standing within an architectural niche, is to be found in the Greek New Testament issued by T. Platter of Basel in 1540.[449] VOL. I., PLATE 62. [Illustration: TITLE-PAGE TO LUTHER’S “NEW TESTAMENT” First used in 1522 _From a copy in the British Museum_ ] VOL. I., PLATE 63. [Illustration: THE FOUR EVANGELISTS Woodcuts, and Initial Letters used on the first page of each gospel, in the 1523 edition of Luther’s New Testament S D _From a copy in the British Museum_ ] [Illustration: THE FOUR EVANGELISTS Woodcuts, and Initial Letters used on the first page of each gospel, in the 1523 edition of Luther’s New Testament D I _From a copy in the British Museum_ ] In the same year, 1523, a second Basel publisher, Thomas Wolff, issued a quarto edition of Luther’s translation of the New Testament, in the decoration of which both Holbein and Lützelburger were employed. The title-page[450] shows Holbein’s fertility of invention, his power of dramatic representation, and his sense of style to the greatest advantage. In the centre of the upper border St. John is baptizing the Saviour in the river Jordan, the angel standing on the bank with his garments, and on either side are the symbols of the four Evangelists. The lower border contains Wolff’s device, a philosopher in a niche enjoining silence, his monogram, and the motto, “Digito Compesce Labellum,” and on either side of it the Vision of St. Peter and the Conversion of St. Paul, who, dressed in German costume, is flung from his horse. On the right-hand border St. Paul is shown on the island of Melita, shaking off the viper from his hand into the fire, and in the background the wreck of the ship; on the left-hand border is a representation of the Baptism of the Treasurer of the King of Ethiopia by St. Philip, while in the distance is depicted the journey of the same eunuch along a hilly road shaded by trees. He is riding in a small four-wheeled carriage, drawn by two horses tandem fashion, with the driver mounted on the after one—one of the methods of travelling in Holbein’s own day. This title-page is a masterpiece of the engraver’s art, and is signed “H.L.FVR.” on the footstool on which St. Paul is kneeling, in the lower border. Holbein also furnished twenty-one illustrations to the Revelation of St. John for the same edition,[451] which, however, for the most part were very badly cut, so that Lützelburger cannot have been the engraver of them. They were used again in Adam Petri’s folio New Testament of the same year. They are particularly interesting as representing the same subjects as those treated by Dürer in his first important work, which must have been known to Holbein, who, however, has borrowed very little in his rendering of the Visions. He shows less imagination and grandeur of conception than Dürer, but follows the text with even closer fidelity, and treats each subject with greater simplicity and clearness.[452] The last one of the series, the Angel showing the Saint the New Jerusalem (Pl. 70 (3)), contains a view of Lucerne with its covered bridge. [Sidenote: THE “CREATION OF EVE”] For Adam Petri’s reprint of Luther’s translation of the Old Testament, published in December 1523, for which a title-page was provided by Urs Graf, Holbein, in addition to numerous initial letters, was the designer of the large woodcut which was placed at the head of the first chapter of Genesis, representing the Creation of Eve,[453] a very beautiful conception, in which God the Father is uplifting Eve from the side of Adam, while a small angel tugs at his mantle. The earlier days of the Creation are also represented—the Earth as a small island with various animals upon it, surrounded by a strip of water containing fish, and round this again a ring of clouds and stars, and a final circle of angels, above whom the Almighty is shown again, blessing his work. In the four corners are placed the heads of the four winds. Several other illustrations were drawn by Holbein for this edition, but in most instances they are marred by bad cutting. One of the finest of his designs for woodcuts is the one representing the Death of Cleopatra and the Sacrileges of Dionysius of Syracuse (Pl. 64),[454] first used by Froben in 1523 as the title-page for several works by Erasmus. The framework, in the form of a sculptured monument in the Italian style, is exceptional among Holbein’s work as a book-illustrator, being shown in marked perspective as though seen from the right. At the foot, beneath an arch, the dying Cleopatra, at full length on the ground, holds an asp in each hand. On either side is represented an act of sacrilege on the part of the Tyrant of Syracuse. On the right he is reaching up to pluck off the golden beard from the statue of Æsculapius, and on the left he is robbing the statue of Jupiter of its golden mantle and ornaments. Above the frieze on the top are Cupids riding on dolphins. The figures throughout are finely conceived, and the Italian influence is marked. Another fine title-page of his designing was cut for Bugenhagen’s _Interpretation of the Psalms_, published by Petri in March 1524, and afterwards used in Münster’s _Cosmography_, and elsewhere, in which the principal subject is David dancing before the Ark;[455] and there are others of which the scope of this book does not permit any description. Two important woodcuts, “Christ the True Light,” and “The Sale of Indulgences” (Pl. 65),[456] from their oblong shape were probably intended to be placed at the head of some broadsheet written by a supporter of the Reformation. In these designs, in which Lützelburger’s extraordinary skill in delicate and at the same time forcible use of the cutter’s knife has rendered with the utmost fidelity the beauty of Holbein’s line, the artist shows himself to have been in close sympathy with the new movement, in defence of which he brings to bear considerable powers of ridicule and satire. The rarity of these two prints is owing, no doubt, to the fact that the Basel Council maintained at that time a very severe censorship over all theological controversies, and strictly prohibited every publication or picture dealing with such debatable topics. These two woodcuts, therefore, attacking with merciless scorn the clergy, ecclesiastical abuses, and superstitions, would come under the ban of the Council, and, at the same time, every copy falling into the hands of the clerical party would be destroyed. Hence only three or four copies of each are known. VOL. I., PLATE 64. [Illustration: THE CLEOPATRA TITLE-PAGE First used in 1523 _From a copy of Erasmus’ “Christiani Matrimonii Institutio” in the British Museum_ ] VOL. I., PLATE 65. [Illustration: