Holbein’s earliest design for this purpose, drawn in 1515, shortly after his arrival in Basel, and signed with the abbreviated name “Hans Holb.,” has been already described.[439] This title-page, with its nine little cupids, which has suffered from inferior cutting, but nevertheless has considerable charm, was first used by Froben in the winter of 1515, and appeared in a number of books issued during the next five years, including More’s _Utopia_, published by Froben in 1518. The first of his designs from ancient history formed the title-page to _Æneæ Platonici Christiani de immortalitate animæ_, issued by Froben in 1516, and also appeared in the Basel edition of the _Utopia_, and again in Erasmus’ _Praise of Matrimony_ in 1518. It represents the story of Mucius Scævola and Lars Porsena (Pl. 60),[440] but has been so badly cut that much of the dramatic force of Holbein’s composition has been lost. When Porsena, the Etruscan king, was blockading Rome, after his attempted entry into the city had been frustrated by the bravery of Horatius Cocles, Mucius, a young Roman nobleman, resolved to rid his country of the invader. In disguise he entered the hostile camp, and, approaching the tent in which Porsena sat, with his secretary, dressed in similar fashion to his master, by his side, plunged his dagger into the latter’s body, mistaking him for the king. He was seized by the guards, and condemned to death, but thrust his right hand into a fire which was already lighted for a sacrifice, and held it there without flinching, to show how little he heeded pain. Amazed at his bravery, Porsena allowed him to go free; and Mucius afterwards received the name of Scævola, or the left-handed, on account of his courage. Holbein has depicted the two chief incidents of this legendary story side by side across the bottom of the title-page. On the right is an open tent, in which Mucius is stabbing the secretary, who is seated at a table by the side of the king. On the left, Mucius, held by a guard, plunges his hand into the fire in the presence of Porsena and his courtiers. Over each of the principal characters is a label with his name, and in the background is a small walled city labelled “Roma.” The figures, which are clad in sixteenth-century costume, are short and stumpy, these faults, no doubt, being exaggerated by the inadequate rendering of the engraver. The sides of the page consist of two narrow panels of conventional foliated design, with small figures, springing from vases, while the upper border contains a group of naked children, blowing trumpets and dragging one of their number in triumph. A small shield in the middle of the left-hand border contains Holbein’s initials, “H.H.” VOL. I., PLATE 60. [Illustration: MUCIUS SCÆVOLA AND LARS PORSENA First used in 1516 _From a copy of More’s “Epigrams” in the British Museum_ ]