III. "Imagines Mortis. His accesserunt, Epigrammata, è Gallico idiomate à Georgio Æmylio in Latinum translata. Ad hæc, Medicina animæ, tam iis qui firma, quàm qui adversa corporis valetudine præditi sunt, maximè necessaria. Ratio consolandi ob morbi gravitatem periculosè decumbentes. Quæ his addita sunt, sequens pagina commonstrabit. Lugduni, sub scuto Coloniensi, 1545." With the device of the crab and the butterfly. At the end, "Lugduni Excudebant Joannes et Franciscus Frellonii fratres," 1545, 12mo. The whole of the text is in Latin, and translated, except the scriptural passages, from the French, by George Æmylius, as he also states in some verses at the beginning; but several of the mottoes at bottom are different and enlarged. It has forty-two cuts, the additional one, probably not by the former artist, being that of the beggar sitting on the ground before an arched gate: extremely fine, particularly the beggar's head. This subject has no connection with the Dance of Death, and is placed in another part of the volume, though in subsequent editions incorporated with the other prints. The "Medicina animæ" is very different from the French one. There is some reason for supposing that the Frellons had already printed an edition with Æmylius's text in 1542. This person was an eminent German divine of Mansfelt, and the author of many pious works. In the present edition the first cut of the creation exhibits a crack in the block from the top to the bottom, but it had been in that state in 1543, as appears from an impression of it in Holbein's Bible of that date. It is found so in all the subsequent editions of the present work, with the exception of those in Italian of 1549 and in the Bible of 1549, in which the crack appears to have been closed, probably by cramping; but the block again separated afterwards. This edition is of some importance with respect to the question as to the priority of the publication of the work in France or Germany, or, in other words, whether at Lyons or Basle. It is accompanied by some lines addressed to the reader, which begin in the following manner: Accipe jucundo præsentia carmina vultu, Seu Germane legis, sive ea Galle legis: In quibus extremæ qualis sit mortis imago Reddidit imparibus Musa Latina modis _Gallia quæ dederat lepidis epigrammata verbis Teutona convertens est imitata manus._ Da veniam nobis doctissime Galle, videbis Versibus appositis reddita si qua parum. Now, had the work been originally published in the German language, Æmylius, himself a German, would, as already observed, scarcely have preferred a French text for his Latin version. This circumstance furnishes likewise, an argument against the supposed existence of German verses at the bottom of the early impressions of the cuts already mentioned.