77ie Dance of Death.
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Due orationi, Tun a Dio, e Paltra a Christo. Un sermonedi S. Giovan. Chrisostomo, che ci essorta a patienza.Aiuntovi di nuovo molte figure mai piu stampate. InLyone appresso Giovan Frellone mdxlix." i2mo. Withthe device of the crab and butterfly. At the end, the samedevice on a larger scale in a circle. Fifty-three cuts. Thescriptural passages are in Latin. To this edition Frellonhas prefixed a preface, in which he complains of a piratedcopy of the work in Italian by a printer at Venice, whichwill be more particularly noticed hereafter. He maintainsthat the cuts in this spurious edition are far less beautifulthan the French ones, and this passage goes very far in aidof the argument that they are not of German origin.Frellon, by way of revenge, and to save the trouble ofmaking a new translation of the articles that compose thevolume, makes use of that of his Italian competitor.
VIII. " Icones Mortis. Duodecim Imaginibus prseterpriores, totidemque inscriptionibus, prseter epigrammata eGallicis a Georgio ^Emylio in Latinum versa, cumulatae.Quae his addita sunt, sequens pagina commonstrabit.Basileae, 1554. i2mo." With fifty-three cuts. It wouldnot be very easy to account for the absence of the name ofthe Basle printer.
IX. " Les Images de la Mort, auxquelles sont adjousteesdix sept figures. Davantage, la medecine de Fame. Laconsolation des malades. Un sermon de mortalite, parSaint Cyprian. Un sermon de patience, par Saint JehanChrysostome. A Lyon, par Jehan Frellon, 1562." Withthe device of the crab and butterfly. At the end, " ALyon, par Symphorien Barbier." 12mo. This edition hasfive additional cuts, viz. 1. A group of boys, as a triumphalprocession, with military trophies. 2. The bride ; thehusband plays on a lute, whilst Death leads the wifein tears. 3. The bridegroom led by Death blowing atrumpet. Both these subjects are appropriately describedin the verses below. 4. A group of boy warriors, one onhorseback with a standard. 5. Another group of boys, withdrums, horns, and trumpets. These additional cuts aredesigned and engraved in the same masterly style as theothers, but it is now impossible to ascertain the artists whohave executed them. From the decorations to several