Froben, on the recommendation of Erasmus, undertook the publication of Sir Thomas More’s Utopia in 1518, and the edition was lavishly ornamented with woodcuts, title-pages, and initials, in honour of the author. The book had been already published in Louvain in the winter of 1516. Gerardus Noviomagus, of Nimeguen, writing to Erasmus on November 12th of that year, says that his friend Theodoricus has undertaken to print it, and that Paludanus will show him “a cut of the island by a great artist,” in order that Erasmus may make any suggestions he may think necessary.[[441]] In Froben’s edition this “cut of the island” was drawn by Ambrosius Holbein, as also the charming little picture of Hythlodæus recounting his adventures in Utopia. As already stated, two of Hans Holbein’s designs were re-used for this work, the title-page with the children for the dedication to Ægidius, and the “Scævola” for More’s Epigrams, which were added to the volume, together with others by Erasmus, for which Urs Graf provided a title-page with the beheading of St. John the Baptist. The title-page to the book itself, with the story of Tarquin and Lucrece,[[442]] was designed by Ambrosius, who in this instance took a much more important share in the work of illustration than his brother, and he was possibly the “great artist” of whom Noviomagus spoke in his letter.
THE TABLE OF CEBES
The title-page for the Statute Book of Freiburg-im-Breisgau, published in 1520, with the beautiful design of the patron saints of that city on the back, has been already described.[[443]] It is more finely cut than most of these earlier book illustrations, as is also the title-page representing the “Table of Cebes” (Pl. [61]), perhaps the most important work of the kind undertaken by Holbein before his connection with Lützelburger began.[[444]] The unknown cutter of this block has rendered Holbein’s design with considerable truth and artistic feeling. It is founded on the Πιναξ or “Table,” a philosophical work of Cebes of Thebes, the disciple and friend of Socrates, a book which enjoyed a great popularity. It gives an allegorical picture of human life, as explained by an old man to a circle of youths, and is intended to show that true happiness is only to be attained by the cultivation of the mind and the possession of real virtue. The “Picture” described in the book was shown to the sage in a temple of Chronos, and was a painting containing many figures, representing the progress of man towards the desired goal. Holbein has followed the text very closely. The whole picture is surrounded by a wall, which indicates the limits of human life. Outside this wall, at the bottom of the design, are groups of naked children, representing the souls of those who have not yet entered life. They are playing and fighting, and some are begging admittance of the old man, labelled “Genius,” who stands beneath the archway of the portal. On the right, within the first courtyard, is the winged, naked 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.
“THE TABLE OF CEBES”
First used in 1521
From a copy of Perotto’s “Cornucopiæ” in the British Museum
LUTHER’S NEW TESTAMENT
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 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.
