After the publication of the Edict of Worms, Duke George of Saxony took ground against the Reformers and forbade the printing and the distribution of their literature. The authority of the Duke was sufficient to put a stop to the larger portion of the printing that had been carried on in Leipzig for the Reform writers, but Wittenberg was outside of the Duke’s domain, and the Elector Ernest and his successor Frederick, were both friendly to the Lutheran cause. As a result of the restrictions in Leipzig, a number of the exiled printers made their way to Wittenberg, and the presses of Wittenberg became busier than ever. The printing of the German New Testament, begun in April, 1522, was completed on the 22d of September of the same year, the first edition comprising five thousand copies. By the end of July, Luther reports that three presses were at work upon the book. This first edition was printed in folio, and with the simple title, _Das Neue Testament, Deutsch, Vuittenberg_. Neither the translator nor the printer is specified, and the title-page bears no date. The volume was published at one and a half guilders, the equivalent of twenty-five marks of to-day, or $6.25. The edition was exhausted within three months after publication. The German edition of the Old Testament appeared in divisions; the Pentateuch was issued in January, 1523, and by the end of 1524 had been published all but the Books of the Prophets. There was then a long gap in the publication, the work being finally brought to completion in 1534, in which year appeared the first edition of the entire Scriptures in one volume. In 1524, the artist, Lucas Cranach, an old friend of Luther, instituted, in company with a goldsmith named Döring, a new printing-office, to which was afterwards confided a large proportion of the work of Luther. Cranach appears to have been a man of varied activities. The portraits from his brush that have been preserved give evidence of continuous work in his studio during this period, while in addition to the printing-office above referred to, he carried on a paper-warehouse and a book-shop. His several portraits of Luther are the chief authority for the Reformer’s personal appearance. In 1534, the Cranach-Döring printing establishment was transferred to three new partners, Goltz, Schramm, and Vogel, who had secured from the Elector Johann Friedrich a privilege covering the complete Bible. They purchased the woodcuts that had been prepared from Cranach’s designs for the Apocalypse, and they appear to have continued to utilise the co-operation of Melchior Lotter (the younger).