[Footnote 15: Always with the exception of exceptions, the Bishop’s Bible.] [Footnote 16: Mr. P. A. Daniel, in his edition of Painter’s “Romeo and Juliet,” in the New Shakespere Society’s _Originals and Analogues_, i., 1876, gives the few passages in which Painter has misunderstood Boaistuau. For lexicographical use, however, it would be well to consult Painter’s original for any very striking peculiarities of his vocabulary.] Painter’s volume is practically the earliest volume of prose translations from a modern language into English in the true Elizabethan period after the influence of Caxton in literary importation had died away with Bourchier the translator of Froissart and of Huon of Bordeaux. It set the ball rolling in this direction, and found many followers, some of whom may be referred to as having had an influence only second to that of Painter in providing plots for the Elizabethan Drama. There can be little doubt that it was Painter set the fashion, and one of his chief followers recognised this, as we shall see, on his title page. The year in which Painter’s Second Tome appeared saw George (afterwards Sir George) Fenton’s _Certaine Tragicall Discourses writtene oute of Frenche and Latine_ containing fourteen “histories.” As four of these are identical with tales contained in Painter’s Second Tome it is probable that Fenton worked independently, though it was doubtless the success of the “Palace of Pleasure” that induced Thomas Marshe, Painter’s printer, to undertake a similar volume from Fenton. The _Tragicall Discourses_ ran into a second edition in 1569. T. Fortescue’s _Foreste or Collection of Histories ... dooen oute of Frenche_ appeared in 1571 and reached a second edition in 1576. In the latter year appeared a work of G. Pettie that bore on its title page--_A Petite Palace of Pettie his Pleasure_--a clear reference to Painter’s book. Notwithstanding Anthony à Wood’s contemptuous judgment of his great-uncle’s book it ran through no less than six editions between 1576 and 1613.[17] The year after Pettie’s first edition appeared R. Smyth’s _Stravnge and Tragicall histories Translated out of French_. In 1576 was also published the first of George Whetstone’s collections of tales, the four parts of _The Rocke of Regard_, in which he told over again in verse several stories already better told by Painter. In the same year, 1576, appeared G. Turberville’s _Tragical Tales, translated out of sundrie Italians_--ten tales in verse, chiefly from Boccaccio. Whetstone’s _Heptameron of Ciuill Discourses_ in 1582 was however a more important contribution to the English _Novella_, and it ran through two further editions by 1593.[18] Thus in the quarter of a century 1565-1590 no less than eight collections, most of them running into a second edition, made their appearance in England. Painter’s work contains more than all the rest put together, and its success was the cause of the whole movement.