A passage in the French preface is of considerable interest, as it relates to the engraver of the woodcuts. This preface is dedicated “A moult reverende Abbesse de religieux Couuent S. Pierre de Lyon, Madame Jehanne de Touszele, Salut dun vray Zele.” The convent of Saint Pierre les Nonnains, of which Madame Jehanne was abbess, was a religious house of long standing, among its inmates being many noble and wealthy ladies. The author of this preface, who only signs it with his motto, “D’un vray zelle,” was Jean de Vauzelles, Pastor of St. Romain and Prior of Montrottier, poet and scholar, one of three famous brothers who took a leading part in the literary life of Lyon. The passage referred to may be translated as follows: “But to return to our figured representations of Death, we have greatly to regret the death of him who has imagined (_imaginé_) such elegant figures as are herein contained, as much excelling all those heretofore printed (_patronées_) as the pictures of Apelles or of Zeuxis surpass those of modern times; for his funereal histories, with their gravely versified descriptions, excite such admiration in beholders, that the figures of Death appear to them most lifelike, while those of the living are the very pictures of mortality. It therefore seems to me that Death, fearing that this excellent painter (_painctre_) would paint him in a manner so lively, that he should be no longer feared as Death, and apprehensive that the artist would thus become immortal, determined to shorten his days, and thus prevent him finishing other subjects which he had already drawn. Among these is one of a waggoner, knocked down and crushed under his broken waggon, the wheels and horses of which appear so frightfully shattered and maimed that it is as fearful to see their overthrow as it is amusing to behold the liquorishness of a figure of Death, who is perceived roguishly sucking the wine out of a broken cask, by means of a reed. To such imperfect subjects, as to the inimitable heavenly bow named Iris, no one has ventured to put the last hand, on account of the bold drawing, perspectives, and shadows contained in this inimitable chef d’œuvre, there so gracefully delineated, that from it we may derive a pleasing sadness and a melancholy pleasure, as in a thing mournfully delightful.”[478] [Sidenote: VAUZELLES’ PREFACE TO THE BOOK]