We will, though somewhat earlier than the exact date, continue the subject of Bible-Figure Emblem-books by alluding to the _Quadrins historiques de la Bible_,—“Historic Picture-frames of the Bible,”—for the most part engraved by “Le Petit Bernard,” _alias_ Solomon Bernard, who was born at Lyons in 1512. Of these works in French, English, Spanish, Italian, Latin, Flemish, and German, there were twenty-two editions printed between 1553 and 1583. Their general nature may be known from the fact that to each Scripture subject there is a device, in design and execution equally good, and that it is followed or accompanied by a Latin, Italian, &c. stanza, as the case may be. In the Italian version, Lyons, 1554, the Old Testament is illustrated by 222 engravings, and the New by ninety-five. The first of the series appears to be _Quadrins historiques du Genèse_, Lyons, 1553; followed in the same year by _Quadrins historiques de l’Exode_. There is also of the same date (see Brunet, iv. c. 996), “The true and lyuely historyke Pvrtreatures of the woll Bible (with the arguments of eache figure, translated into english metre by Peter Derendel): Lyons; by Jean of Tournes.” To conclude, there were _Figures of the Bible_, illustrated by French stanzas, and also by Italian and by German; published at Lyons and at Venice between 1564 and 1582. (See Brunet’s _Manuel_, ii. c. 1255.) Also Jost Amman, at Francfort, in 1564; and Virgil Solis, from 1560 to 1568, contributed to German works of the same character. Two names of note among emblematists crown the years 1539 and 1540, both in Paris: they are William de la Perrière, and Giles Corrozet; of the former we know little more than that he was a native of Toulouse, and dedicated his chief work to “Margaret of France, Queen of Navarre, the only sister of the very Christian King of France;” and of the latter, that, born in Paris in 1510, and dying there in 1568, he was a successful printer and bookseller, and distinguished (see Brunet’s _Manuel_, ii. cc. 299–308) for a large number of works on History, Antiquities, and kindred subjects. La Perrière’s chief Emblem-work is _Le Theatre des bons Engins, auquel sont contenus cent Emblemes_: Paris, 8vo, 1539. There are 110 leaves and really 101 emblems, each device having a pretty border. His other Emblem-works are—_The Hundred Thoughts of Love_, 1543, with woodcuts to each page; _Thoughts on the Four Worlds_, “namely, the divine, the angelic, the heavenly, and the sensible,” Lyons, 1552; and “LA MOROSOPHIE,”—_The Wisdom of Folly_,—containing a hundred moral emblems, illustrated by a hundred stanzas of four lines, both in Latin and in French.