Another fine title-page of his designing was cut for Bugenhagen’s _Interpretation of the Psalms_, published by Petri in March 1524, and afterwards used in Münster’s _Cosmography_, and elsewhere, in which the principal subject is David dancing before the Ark;[455] and there are others of which the scope of this book does not permit any description. Two important woodcuts, “Christ the True Light,” and “The Sale of Indulgences” (Pl. 65),[456] from their oblong shape were probably intended to be placed at the head of some broadsheet written by a supporter of the Reformation. In these designs, in which Lützelburger’s extraordinary skill in delicate and at the same time forcible use of the cutter’s knife has rendered with the utmost fidelity the beauty of Holbein’s line, the artist shows himself to have been in close sympathy with the new movement, in defence of which he brings to bear considerable powers of ridicule and satire. The rarity of these two prints is owing, no doubt, to the fact that the Basel Council maintained at that time a very severe censorship over all theological controversies, and strictly prohibited every publication or picture dealing with such debatable topics. These two woodcuts, therefore, attacking with merciless scorn the clergy, ecclesiastical abuses, and superstitions, would come under the ban of the Council, and, at the same time, every copy falling into the hands of the clerical party would be destroyed. Hence only three or four copies of each are known. VOL. I., PLATE 64. [Illustration: THE CLEOPATRA TITLE-PAGE First used in 1523 _From a copy of Erasmus’ “Christiani Matrimonii Institutio” in the British Museum_ ] VOL. I., PLATE 65. [Illustration: 1. CHRIST THE TRUE LIGHT _From proofs in the British Museum_ ] [Illustration: 2. THE SALE OF INDULGENCES _From proofs in the British Museum_ ] [Sidenote: THE “SALE OF INDULGENCES”]