Zeuxis, and other famous painters of classical times, whom he is said in all ways to eclipse. Other verses in French were added, from the pen of Gilles Corrozet, which form more or less a rhyming paraphrase of Frellon’s address, in which the reader is exhorted to avoid seductive paintings of Venus, Diana, Helen, Dido, and other ladies celebrated in fable and poetry, and to turn instead to those sacred pictures taken from the Holy Scriptures, from the study of which far greater profit is to be obtained. Corrozet, no doubt, was also responsible for the French explanatory verse which, together with the appropriate Latin text, accompanied each woodcut, just as he was the author of the “descriptions severement rithmées” of the Dance of Death. There is no need to give a list of the later editions, which are almost as numerous as those of the Dance. An English edition was published in 1549, with the title—“The Images of the old Testament, lately expressed, set forthe in Ynglishe and Frenche with a playn and brief exposition. Printed at Lyons by Johin Frellon, the yere of our Lord God, 1549.” These illustrations were drawn on the blocks by Holbein at about the same date as the Dance of Death pictures. This is proved not only from the fact that a number of them were engraved by Lützelburger, and that in style and composition they closely resemble the “Todtentanz” and other Basel designs by Holbein before his departure for England in 1526, but also because copies of more than half of them are to be found in the Bible published by Froschover in Zürich in 1531, showing that at least proofs of them were well known among Swiss publishers long before they were issued in book form in Lyon. There is a proof impression of the whole series in the Basel Gallery, on sheets printed only on one side, which was probably struck off immediately after the blocks were completed. It begins with the very rare “Fall,” which otherwise only appears in Hugo a Porta’s Bible of 1538, being missing in all editions in which the pictures appear alone, its place being taken in the latter by the four introductory sheets borrowed from the Dance of Death. The two other woodcuts already noted as missing from the first edition (Nos. 40 and 72), and absent, too, from the Latin Bible, are also to be found among the Basel proof impressions. In one instance, the “David and Uriah” (No. 39) there are two versions among these proofs, in one of which a background of wall, window, and curtain is introduced, but so badly engraved that it was evidently decided to abandon or alter the block in favour of the second version, in which the two figures are shown against a plain, white surface.