The year after this had appeared Theodor de Bry engraved a series of emblems conceived by Denis Le Bey de Batilly and drawn by J. J. Boissard. The designs themselves are poor enough, but the book has a pretty architectural titlepage, and this is followed by a portrait of Le Bey set in an ornamental border of bees, flowers, horses, and other incongruities, portrait and border alike engraved with the most brilliant delicacy (see Plate XXXVII). In the following year, again, 1597, the two younger De Brys illustrated with line engravings the _Acta Mechmeti Saracenorum principis_, and (at the end of these) the _Vaticinia Severi et Leonis_ as to the fate of the Turks, also the _David_ of Arias Montanus. The plates are fairly interesting, but in technical execution fall far below those of their father. [Illustration: XXXVII. FRANKFORT, DE BRY, 1596 LE BEY. EMBLEMATA. PORTRAIT OF AUTHOR BY T. DE BRY, AFTER J. J. BOISSARD] Turning now to England, we find engraving in use surprisingly early in some figures of unborn babies in _The Birth of Mankind_, translated from the Latin of Roesslin by Richard Jonas and printed in 1540 by Thomas Raynold, a physician, who five years later issued a new edition revised by himself, again with engravings. In 1545 there appeared a much more important medical work, a _Compendiosa totius anatomie delineatio_ professedly by Thomas Geminus, a Flemish surgeon and engraver attached to the English Court. In reality this was a rather shameless adaptation of the _De Fabrica Humani Corporis_ of Vesalius (Basel, 1543), with engravings copied by Geminus from the woodcuts of his original. For us its chief interest lies in an elaborate engraved titlepage showing the royal arms surrounded by a wealth of architectural and strapwork ornament in the style, if not actually the work, of Peter Cock of Alost, as has been shown by Sir Sidney Colvin in the invaluable introduction to his _Early Engravings and Engravers in England_ (1905). In 1553 an English translation of the anatomy was published by Nicholas Hyll, and in a second edition of this, printed in 1559, a rather heavy and stiff portrait of Elizabeth replaces the royal arms, which were burnished out to make room for it. Geminus subsequently produced a much larger portrait of the Queen, set in an architectural frame studded with emblematical figures, and a royal proclamation forbidding unauthorized "Paynters, Printers, and Gravers" to meddle with so great a subject seems to have been provoked by his handiwork.