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]