VII. "Simolachri historie, e figure de la morte. La medicina de l'anima. Il modo, e la via di consolar gl'infermi. Un sermone di San Cipriano, de la mortalità. Due orationi, l'un a Dio, e l'altra à Christo. Un sermone di S. Giovan. Chrisostomo, che ci essorta à patienza. Aiuntovi di nuovo molte figure mai piu stampate. In Lyone appresso Giovan Frellone MDXLIX." 12mo. With the device of the crab and butterfly. At the end, the same device on a larger scale in a circle. Fifty-three cuts. The scriptural passages are in Latin. To this edition Frellon has prefixed a preface, in which he complains of a pirated copy of the work in Italian by a printer at Venice, which will be more particularly noticed hereafter. He maintains that the cuts in this spurious edition are far less beautiful than the _French_ ones, and this passage goes very far in aid of the argument that they are not of German origin. Frellon, by way of revenge, and to save the trouble of making a new translation of the articles that compose the volume, makes use of that of his Italian competitor. VIII. "Icones Mortis. Duodecim Imaginibus præter priores, totidemque inscriptionibus, præter epigrammata è Gallicis à Georgio Æmylio in Latinum versa, cumulatæ. Quæ his addita sunt, sequens pagina commonstrabit. Basileæ, 1554. 12mo." With fifty-three cuts. It would not be very easy to account for the absence of the name of the Basle printer. IX. "Les Images de la Mort, auxquelles sont adjoustees dix sept figures. Davantage, la medecine de l'ame. La consolation des malades. Un sermon de mortalité, par Saint Cyprian. Un sermon de patience, par Saint Jehan Chrysostome. A Lyon, par Jehan Frellon, 1562." With the device of the crab and butterfly. At the end, "A Lyon, par Symphorien Barbier," 12mo. This edition has five additional cuts, viz. 1. A group of boys, as a triumphal procession, with military trophies. 2. The bride; the husband plays on a lute, whilst Death leads the wife in tears. 3. The bridegroom led by Death blowing a trumpet. Both these subjects are appropriately described in the verses below. 4. A group of boy warriors, one on horseback with a standard. 5. Another group of boys with drums, horns, and trumpets. These additional cuts are designed and engraved in the same masterly style as the others, but it is now impossible to ascertain the artists who have executed them. From the decorations to several books published at Lyons it is very clear that there were persons in that city capable of the task. Holbein had been dead eight years, after a long residence in London. Du Verdier, in his Bibliothèque Françoise, mentions this edition, and adds that it was translated from the French into Latin, Italian, Spanish, German, and English;[113] a statement that stands greatly in need of confirmation as to the last three languages, but this writer, on too many occasions, deserves but small compliment for his accuracy.