The third great work in which these two masters collaborated was the series of woodcut illustrations to the Old Testament,[485] first published, like the Dance of Death, at Lyon by the brothers Trechsel, and in the same year, 1538. The total number of these woodcuts is ninety-one, but the whole of them are not included in the earlier editions. The first issue (1538) contains eighty-eight of them, the rare “Fall” (1), “Nathan rebuking David” (40), and “Isaiah lamenting over Jerusalem” (72) being absent. In the second edition (1539) only the first of the series, “The Fall” is missing. In addition to these illustrations, the first four woodcuts of the “Dance of Death”—the Creation, the Temptation, the Expulsion, and Adam tilling the Ground—were borrowed from that publication, and placed at the beginning of the new one. The Bible cuts, which vary slightly in their dimensions, are of different form, being oblong and almost double the size of those of the Dance. They were issued as a small quarto picture-book, instead of being included, as was probably the artist’s or the engraver’s original intention, as illustrations to an edition of the Bible. In the same year, however, as the first issue of the book, they were used for the latter purpose, the complete set of ninety-one appearing in a Latin edition of the Bible produced by another Lyon printer, Hugo a Porta, though with the imprint of the Trechsels. The title of the first edition is as follows: “Historiarum veteris Instrumenti Icones ad vivum expressæ. Una cum brevi sed quoad fieri potuit, dilucida earundem expositione. Lugduni, sub scuto Coloniensi. M.D.XXXVIII.” The title-page contains an emblematic cut almost exactly similar to the one in the Dance, and with the same motto, “Usus me genuit.” The imprint at the end is also the same, with the names of Melchior and Gaspar Trechsel, and the date. The address to the reader is signed “Franciscus Frellæus” in the first two editions, but in subsequent issues the surname was given as “Frellonius.” This seems to indicate that the Frellons were already associated with the Trechsels in the business, of which they shortly afterwards obtained full control, the third edition (1543) of the Old Testament illustrations being published in their name, “apud Joannem et Franciscum Frellonios fratres,” and from the same address, “sub scuto Coloniensi.” Chatto[486] suggests that they were the actual publishers of the first editions of both the Bible cuts and the Dance, but for reasons of policy, connected with the satirical nature of the subject-matter of the designs, their names were withheld until the success of the two publications was assured. There is no mention of Holbein’s name in the first edition, but a year later, in the second, the publisher’s address is followed by a set of Latin verses by Holbein’s friend, Nicolas Bourbon, the French poet, in which the artist’s name, as the author of these designs, is coupled with Apelles,