The book had an almost instantaneous success, and new editions followed in the course of a few years. The second edition was issued in 1542 from the same address, but by the brothers Frellon—“A Lyon, A lescu de Coloigne, chez Jan et François Frellon, freres”—and it has been assumed that the new publishers had acquired the business of the Trechsels. The latter were Germans who had settled in Lyon, the father, Johann Trechsel, having started business there as a printer in 1487. The Frellons were equally well known in the town as publishers, and it is probable that they had become the proprietors of the rival establishment by 1538, and that the Trechsels were then only conducting the printing under their orders, for the preface to the Old Testament pictures, first published in that year, is signed by Franciscus “Frelläus,” and subsequent editions of both publications bore the name of this firm. A third edition, in Latin, was published in the same year, 1542, with the title “Imagines de morte et epigrammata e Gallico idiomate in Latinum translata,” &c. The fourth appeared in 1545, with the title, “Imagines Mortis,” &c., in which Corrozet’s French verses under the cuts were translated into Latin by George œmmel or Æmilius, Luther’s brother-in-law. The only addition to the illustrations was a cut representing a lame beggar, introduced as a tail-piece to one of the discourses on death at the end of the book, but so poorly engraved that it is difficult to trace Holbein’s hand in the design. A fifth edition was issued in the same year, 1545, also under the title “Imagines Mortis,” in which eleven new cuts were added to those which had appeared in earlier editions, or twelve, counting the one of the “Lame Beggar.” These new subjects were, “The Soldier,” “The Gamblers,” “The Drunkards,” “The Fool,” “The Robber,” “The Blind Man,” “The Waggoner,” and four subjects with naked children, in one of which they are represented as hunters, in another they lead a horse upon which one of them is mounted, bearing a standard, while in a third they are engaged in carrying one of their comrades in triumph. These latter cuts have no real connection with the subject-matter of the book, although French verses and Latin texts were added to them in an endeavour to find one, however far-fetched, but the designs are undoubtedly Holbein’s, and must have been drawn by him on the blocks and cut by Lützelburger. It may be conjectured that after the engraver’s death they were sent to Lyon with other unfinished blocks which the Trechsels had ordered from him. Three more editions were issued in 1547, the third of them with the title, “Les Images de la Mort,” and the original French verses of the first edition; and in 1549 a version was published with Italian title and text. In the preface to the latter, Jehan Frellon, who was the sole publisher from 1547 onwards, makes complaint of a pirated edition which had been printed in Venice two years previously.