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.