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