The “Sale of Indulgences” is divided into two parts. On the right is shown the interior of a church, with the Pope enthroned, and surrounded by his cardinals. In the decorations of the building the arms of the Medici occur many times. Leo X is handing a letter of indulgence to a kneeling Dominican. In the choir-stalls on either side are seated a number of Church dignitaries. On the right, one of them rests his hand on the head of a kneeling youth and with a stick points to a large iron-bound chest for the money-offerings, into which a woman is putting her contribution. At a table on the left various Dominicans are preparing and selling indulgences. One of them repulses a beggar, who has nothing to give in exchange for the remission of his sins, while another is carefully checking the money which a suppliant is counting out on the table, and holding back the letter until the full amount has been received. The small figures are very lifelike, and the whole composition is a bitter satire upon the traffic of the Church. The left-hand half of the picture shows a landscape in which three true penitents are beseeching forgiveness from God the Father, who appears with outstretched arms in the clouds above them. Over the head of each figure is a label inscribed, “K. David,” “Manasses,” and “Offen-Synder,” respectively. The first-named kneels, with his harp by his side on the ground; the others stand with clasped hands and bowed heads. The second sheet, called in the Amerbach inventory “Christus vera lux, philosophi et papa in foveam cadentes,” is divided into two halves by a magnificent candlestick which rises in the centre, the flame surmounted by a large halo of light. The stem contains sculptured figures of the four Evangelists, and the base is supported by their four symbols. On the left, Christ, a finely-conceived figure, points to the light with uplifted hand, and addresses a group of citizens, peasants, beggars, and other simple folk, who listen eagerly to his words. On the right, a procession of the clergy and learned men turn their backs upon the true light, and wander forth into the wilderness, led by Plato and Aristotle, the first of whom has stumbled into a deep pit, while the second is about to fall after him. They are followed by the Pope, a bishop, canons, and other churchmen, and monks of various orders, and a figure which appears to represent Erasmus. Behind them rise lofty snow mountains, while a distant city is seen across the plain in the centre, and trees on the left. This woodcut bears witness to the rapidly growing change in the point of view of the Reformers, who were already parting company with their former allies, the humanists and scholars. Holbein in this design gives expression to the popular feeling of his day in Basel, which was beginning to regard classical learning with suspicion as a supporter of the theology to which it was opposed. This woodcut was used