Chapter XX: Section II: Printed Books Illustrated with Engravings by Tory or His (4)

The ninth bears the Lorraine cross. In the midst of this series, on leaf 21, is a piece which does not belong to the series; it represents a dog lying on a cushion.[442] After this series come various engravings which we find in Maurice de Seve's 'Saulsaye' (octavo, Lyon, 1547), in Ovid's 'Metamorphoses,' and the 'Hymnes du Temps' of Guillaume Gueroult, which were printed subsequently; then 11 plates bearing two figures facing each other, taken from a work on Chiromancy and Physiognomy, by Indagine (octavo, Lyon, 1549); 5 engravings from the edition of Petrarch issued by the first Jean in 1545; and 9 small miscellaneous subjects.[443] The Cabinet des Estampes also contains one leaf of a folio specimen of the woodcuts of the de Tournes, in which we find again the plates of the Petrarch. It lacks, however, the Lac d'Amour, which is on folio 5 of the collection we are describing, and is altogether in the manner of the seven epitaphs published by Tory in 1530.[444]

I will not enumerate here the other books with engravings, of later date, published by the second Jean de Tournes, because there is nothing to justify me in attributing them to Tory's workshop; but one may conclude from what I have said heretofore, that many engravings of the printers of Lyon, hitherto attributed to Salomon Bernard, called Le Petit Bernard, came from Tory's establishment. Indeed, we may well wish that Le Petit Bernard might be relieved of the enormous mass of engravings which have been attributed to him for lack of information concerning them, but which render uncertain the attribution of those which most certainly belong to him.[445]

Our list includes only engravings on wood; but I have no doubt that Tory engraved also on metal, and not alone letters, which we should naturally expect from Garamond's master, but plates as well. Now that the eyes of collectors are about to be opened, I should not be surprised if some one should discover one marked with his cross.[446] To forward such discovery I will insert the estimate of Tory's draughtsmanship formed by M. Renouvier, who is so competent a judge of such matters.

'The plates of "Champ fleury," the first of which is dated 1526, have an Italian after-taste, which manifests itself by the correctness of the figures, and by their costumes; but the delicacy of expression, the fineness of line, distinguish them clearly from the Venetian vignettes. The vignettes of the Hours published between 1524 and 1543, varying in execution, always delicate and with little shading, exhibit a degree of taste which the Parmesan School sometimes achieves; but by the delicacy of their execution they deserve the praise bestowed upon them by Dibdin. Even if the figures are slightly confused in their attitudes and in their draperies, or defective at some of the extremities, still, the spirited drawing of the heads, and the arrangement of the scenes, amid charming architectural designs, or in very restricted fields, show that our engravers of vignettes lost nothing of their talent in passing from gothic to italic letters, and, despite the name of the latter, it is certain that Italy never produced any like them. Simplicity took the place of Gothic _goguenarderie_; their expression is in the most refined French sentiment of the period.[447]

'I seem to recognize Geofroy Tory's style in the "Tableau de Cèbes," published by Denis Janot and Gilles Corrozet in 1543, the vignettes of which are often attributed to Jean Cousin. As for Tory's drawing, I should recognize it through several layers of wood, by the delicately drawn heads, the slender figures, the split extremities, to say nothing of the floriated letters and the borders, in which the Italian grotesques are mingled with natural vegetations, and in which he has often engraved his name, his Pot Cassé and his mottoes. In Tory's vignettes there are doubtless qualities that are more subtle than great, but they are our qualities.'

FOOTNOTES:

[Footnote 319: See Part 1, Biography, supra, p. 7.]

[Footnote 320: This plate was reproduced by MM. Alexis Socard and Alexandre Assier in their work entitled: _Livres liturgiques du diocèse de Troyes_, 8vo, 1863.]

[Footnote 321: See what I have to say on this subject in § III, under the word 'Colines' (infra, p. 268).]

[Footnote 322: See what I have to say of this book in the _Bulletin du Bouquiniste_, 1860, p. 101.]

[Footnote 323: If necessary, four workmen would have sufficed,--two compositors and two pressmen--Lefèvre d'Etaples being abundantly able to perform the duties of corrector.]

[Footnote 324: [An office-book formerly in use, containing the antiphones called 'graduals,' as well as introits and other antiphones, etc., of the mass. Also called the 'Cantatory' or 'Cantatorium.'--CENTURY DICT.]]

[Footnote 325: Bibliothèque Nationale.]

[Footnote 326: Bibliothèque de l'Arsenal.]

[Footnote 327: An additional proof in confirmation of what I have already said as to the unscrupulous way in which artists copied one another. (See page 149 note 1.)]

[Footnote 328: This design is based upon a legend concerning Virgil, which had some vogue in the Middle Ages]

[Footnote 329: See pp. 101-129, supra.]

[Footnote 330: _Revue universelle des Arts_, September, 1857 (vol. v, no. 6, p. 513).]

[Footnote 331:

In his game-bag we see that he hath rats,
Which are detestable, and gnawing vermin
Making shocking wounds in his vitals.
From his breast cometh a keen, darting flame,
Which burneth heart and lips and body.
]

[Footnote 332: In an imperfect copy of this book, on parchment, which I have seen at the shop of M. Potier, and which is illuminated, the artist has erased Tory's mark, for what purpose I have no idea.]

[Footnote 333: It seems that the Parliament proposed at first to prohibit the publication of this book; but evidently it did not persist in its opposition, for, besides the four quarto editions, I have seen four others in octavo, which, however, are without interest for us. See Brunet's _Manuel du Libraire_, under 'Gringoire.']

[Footnote 334: This deplorable practice of removing the text from engravings, which was once rigourously followed in the Cabinet des Estampes at the Bibliothèque Nationale, injured the collection materially. There are many pieces of which neither the origin nor the meaning is known, because of the removal of the legends which formerly accompanied them.]

[Footnote 335: _Number_ 3.

Hell he defies (to him no arduous task),
And the dog Cerberus, him with the three heads;
He seeks the infernal regions, fighting hand to hand,
To set at liberty Theseus his good friend.

_Number_ 9.

The raging bulls (most marvellous to see)
With his two sinewy hands he masters easily,
Compels them by main force to bend the knee,
Albeit they were deemed unconquerable.

_Number_ 10.

A boar with frothing lips and long sharp tusks,
Who, in his rage, despoiled men, fields and vineyards,
And by whom the whole world was ravaged,
He, by his courage, all alone, did slay.
]

[Footnote 336: On March 4, 1858, at the Lassus sale, I saw a complete set of the Labours of Hercules, without the verses.]

[Footnote 337: The earliest book in which I have seen it, excluding the _Thesaurus latinæ linguæ_ of 1536, and the _Dictionarium Latino-Gallicum_ of 1538, which was a sequel to the first, and in which it was necessarily used (I saw these two books at M. Didot's), is a quarto pamphlet, published in 1537, on the occasion of the discussions between François I and Charles V, entitled: _Exemplaria litterarum_, etc.]

[Footnote 338: Later, Estienne had other floriated letters engraved at Tory's establishment, carried on by his widow. But the G was not then chosen to receive the artist's mark. See infra, under 1551.]

[Footnote 339: [These letters and friezes appear in the Works of Justin Martyr printed by Estienne in 1541, from which they are reproduced for this volume--some of the letters on pp. 190 and 191, and the friezes at the beginning of the Printers' Preface, and of the three sections of the Iconography.]]

[Footnote 340: Papillon, who saw Woeiriot everywhere, says on page 509 of the additions to his first volume: '_Champ fleury_ is filled with woodcuts by Woeiriot,--among others several capital letters with nude human figures for their limbs, and several vignettes about three inches by two and a half, simply in outline, with the cross of Lorraine in every corner.' As a matter of fact there are very few Lorraine crosses on the engravings of _Champ fleury_.]

[Footnote 341: [Reproduced on the title-page of the present volume.]]

[Footnote 342: [See supra, p. 45, no. 4.]]

[Footnote 343: [See supra, p. 100.]]

[Footnote 344: See supra, p. 1. Neither this engraving nor those last mentioned are found in the octavo edition of _Champ fleury_.]

[Footnote 345: See the reproduction of this cut on p. 141, supra.]

[Footnote 346: In the octavo edition it was found to be impossible to have the two parts face each other, so that Apollo's chariot is cut in two.]

[Footnote 347: [Reproduced on pp. 50 and 51 supra.]]

[Footnote 348: [Reproduced on p. 48, supra.]]

[Footnote 349: This cut does not appear in the octavo edition. It is reproduced on p. 21, supra [where it is said to be on 43 recto].]

[Footnote 350: [One of these is reproduced on this page.]]

[Footnote 351: [Reproduced on p. 152, supra.]]

[Footnote 352: [Reproduced on the following page.]]

[Footnote 353: These letters do not appear in the octavo edition. [Reproduced on p. 195, infra.]]

[Footnote 354: This alphabet, which Tory used in several of the books printed by him, as I have already stated, was replaced by a different one in the octavo edition of _Champ fleury_.]

[Footnote 355: Not in the octavo edition. [Reproduced on p. 49, supra.]]

[Footnote 356: [See supra, pp. 120-122].]

[Footnote 357: [See supra, pp. 122-124].]

[Footnote 358: _Lutetiæ, sumptibus Ægidii Gormontii, studio Joannis Cheradami, labore et industria Petri Vidovœi._]

[Footnote 359: This engraving was used later as a model for a magnificent plate placed at the beginning of the _Tableaux des arts libéraux de Christophe de Savigny_, published in 1587, in folio, by Jean and François de Gourmont, sons of Gilles. See my _Les Estienne_, p. 63, note.]

[Footnote 360: For the family of Gourmont, see my _Les Estienne_, pp. 62 and 63, notes.]

[Footnote 361: Not all of the engravings are signed; but, as I have not been able to inspect the volume, which was a part of the Boorluut library of Noortdonck, sold at Ghent in April, 1858, I am obliged to resort to the words of the compiler of the catalogue of that sale, my confrère M. Vander-Meersch, who has kindly furnished me since with some more detailed information (albeit less complete than I could have wished), after the volume was sent to England. M. Boorluut had paid 1 franc 50 centimes for the volume, which was sold to a London bookseller, Mr. Toovey, on April 19, 1858, for 270 francs. I wrote to him asking for details concerning it; but, in accordance with the not over-courteous English custom, he did not choose to tell me for whom he had purchased the book, so that I have been unable to obtain more ample information.]

[Footnote 362: I am not informed whether these cuts appear in _Hore Marie Virginis ad usum Sarum_, 1532, or in _The Prymer of Salisbury_, 1534, both of which were printed at the same establishment.]

[Footnote 363: [See p. 125, supra].]

[Footnote 364: See what I have heretofore said of this book, pp. 85-87 supra.]

[Footnote 365: [See pp. 126-128, supra].]

[Footnote 366: See what I have had to say of this book, pp. 128-129, supra; also, p. 218, infra, under the Hours of 1541, where we find these same borders, called 'à la moderne,' together with the plates of the Hours of 1529, described on p. 125, supra; which leads me to think that these same plates appeared in the octavo edition now under consideration. See also no. 1 of the year 1536 (p. 208, infra), which is a sort of link between the editions of 1531 and 1541.]

[Footnote 367: [See p. 136, supra.]]

[Footnote 368: _Revue Universelle des Arts_, Sept. 1857 (vol. v, no. 3, p. 517).]

[Footnote 369: I saw this volume at M. Potier's book-shop in 1865; it is a 16mo, illustrated with a large number of fascinating engravings which would assuredly do much honour to Tory. I freely admit that François Gryphe was a pupil of our artist, but that is all. I do not understand why M. Renouvier attributes to Tory a small plate of no interest, when the privileges expressly attribute all the engravings to Gryphe.]

[Footnote 370: Brunet, _Manuel du Libraire_, 5th edition, vol. v, col. 1660, no. 328. The line engravings are doubtless those of the 16mo Hours of 1529 (see p. 125 supra). As for the borders, which M. Brunet does not mention, I imagine that they are the same that I spoke of on p. 128. But see no. III, under the year 1541 (infra, p. 218).]

[Footnote 371: _Thesaurus antiquitatum romanarum_, etc., a J. C. Grævio; folio, Utrecht, 1697. M. Olivier Barbier, sub-manager of the Bibliothèque Nationale, owns the copy of the original edition which was used for this reprint. It contains not only the additions that were made, but also directions, in Dutch, concerning the size of the copper-plates, etc.]

[Footnote 372: See vol. vi, col. 562.]

[Footnote 373: Another edition of this book was published by the same printers and with the same woodcuts, in 1545.]

[Footnote 374: Sometimes, too, the colourist has substituted for the printed date that at which he did his work. I have seen several cases of such substitution.]

[Footnote 375: Bibliothèque de l'Arsenal.]

[Footnote 376: See pp. 149 and 205, supra.]

[Footnote 377: The title-page of this rare volume reads: _Missale ecclesie Parisiensis denuo ab aliquot ejusdem ecclesie canonicis ac doctoribus theologis ad id a reverendiss. do. Joan. de Bellayo ... delegatis...._ Then follows Merlin's mark, signed with the Lorraine cross. In addition to 8 preliminary leaves this volume contains: _Calendarium temporale_, signatures _a_ to _v_; _Sanctorale_, A to M; _Commun._, A to E, gothic; etc. The first page of the text is in a border which has the Eternal Father at the top, four popes at the sides, and at the foot the mark of the widow Iolande Bonhomme, with the unicorns. The volume was probably published about 1540.]

[Footnote 378: See p. 204, supra. A copy of this frieze--a slavish imitation--in which even the Lorraine cross is reproduced, appears in a Flemish Bible, folio, printed at Antwerp in 1556 (Bibliothèque Nationale).]

[Footnote 379: _Annales des Estienne_, 3d edition, p. 49.]

[Footnote 380: The cross is not very distinct on the copies of 1540, but, strangely enough, it is perfectly clear on those of 1546.--These engravings, like the frieze on the title-page, have been copied by other printers. Such copies may be found in a Bible published at Lyon in 1550, by Sébastien Honorat, and in another published in 1554 by Jean de Tournes. We find them also in a Bible published at Paris in 1586 by Sébastien Nivelle and Gabriel Buon, etc., etc.]

[Footnote 381: See concerning this book, the _Revue des Sociétés Savantes_, vol. v, pp. 624 ff. The author's name was Milles. Some information concerning him is given in the _Revue_.]

[Footnote 382: [See p. 229, infra].]

[Footnote 383: I have seen it bound with a book of Hours published by Kerver in 1556: M. Portalis's copy.]

[Footnote 384: It has since been sold at auction.]

[Footnote 385: [See p. 115 supra.]]

[Footnote 386: See what I have had to say concerning this book, pp. 88-91, supra.]

[Footnote 387: Renouvier, _Des Types_, etc., 16th century, p. 168.]

[Footnote 388: The _Bibliophile Français_ (April 15, 1865) mentions an edition of this book, with the date of 1557. I regret that I was not aware of it before the above paragraph was _printed_, as I should have cited that edition in preference to that of 1575. However, it is unimportant, as the two editions are identical except in the order of the plates, which differs slightly.]

[Footnote 389: Neither the edition of 1557 nor that of 1575 was known to M. Choulant, who published a curious monograph concerning works with anatomical figures. (_Geschichte ... der anatomischen abbildung_; quarto, Leipzig, 1852.)]

[Footnote 390: These explanations are printed, in movable type, in cartouches inserted for that purpose. The type is different in all four of the editions known to me.]

[Footnote 391: See p. 41, supra.]

[Footnote 392: I have seen this engraving in a fragment of a book of Hours, printed in Roman type at a date which I cannot fix although it was contemporaneous. This fragment consists of signatures _Aa_ and _Bb_ (a half-signature), that is, 12 leaves, numbered 185 to 196. Signature _Aa_ begins (folio 185) with a title-page printed in red, in these words: 'Die dominica ad vesperas. Psalmus.' The engraving in question is below them. The last page of _Bb_ ends with the word 'finis,' which proves that the book had but 25 signatures.]

[Footnote 393: Or, better, Purgatory. In an octavo collection at the Bibliothèque Mazarine, there is a little book entitled: 'Le Purgatoire prouvé par la parole de Dieu' (octavo; Paris, Denis Basset, 1600), in which this engraving, signed with the Lorraine cross, appears twice; it represents a nude man standing in the flames, with this legend in a scroll: 'Constitvas mihi tenrvs' (tempvs?) 'in qvo recorderis mei.']

[Footnote 394: Such is my opinion; but I am bound to say that M. Achille Devéria, formerly Conservator of the Department of Engravings, was of the opposite opinion. According to him the unsigned engravings were copies of the others. It seems to me that the dates of printing confirm my theory. For we find the unsigned engravings in an edition of 1522; so that we must refer those with the cross to an earlier date; but this seems hardly probable, since Louis Royer (to whom they are attributed, as we shall see, because he was the first to use them) succeeded Jean de Brie, who did not die until about 1522.]

[Footnote 395: _Manuel du Libraire_, 5th edition, vol. v, col. 1672, no. 366 _bis_.]

[Footnote 396: See supra, p. 168.]

[Footnote 397: [Jean Cousin was born in 1501, and died at Sens about 1590.]]

[Footnote 398: Renouvier, _Des Types_, etc., _Seizième siècle_, p. 162.]

[Footnote 399: [See supra, p. 211.]]

[Footnote 400: That is, having immediate reference to the bearer's name.]

[Footnote 401: [Reproduced on the opposite page.]]

[Footnote 402: This engraving had previously appeared in 'Amadis de Gaule': see supra, p. 216.]

[Footnote 403: Bibliothèque Nationale.]

[Footnote 404: The copies in Sertenas's name bear a very curious mark, which is reproduced in M. Silvestre's book, nos. 221 and 714.]

[Footnote 405: [Supra, p. 149.]]

[Footnote 406: See under that date for details (supra, p. 218).]

[Footnote 407: This portrait was engraved on copper, in 1556, by Woeiriot, printed separately, and pasted on the recto of the second leaf of Le Duaren's works, printed at Lyon in 1558 by Guillaume Rouille, in folio; on some copies Woeiriot's engraving of Le Duaren's portrait is replaced by the one engraved by Georges Ghisy, called the Mantuan. See _Robert-Dumesnil, Peintre-graveur français_, vol. vii, p. 109, no. 282.]

[Footnote 408: See, too, the article on Le Duaren in the _Biographie Universelle_.]

[Footnote 409: Supra, p. 189, note 3.]

[Footnote 410: These letters had already appeared in a book published by Robert Estienne in 1549.]

[Footnote 411: This frieze in 1561 came into the possession of the second Robert Estienne, who used it in a book entitled: _Ordonnances de M. le duc de Bouillon pour le règlement de la justice de ses terres_. Small folio, 1568.]

[Footnote 412: Page 271.]

[Footnote 413: Bibliothèque Nationale.]

[Footnote 414: [Supra, p. 218.]]

[Footnote 415: [The author forgets that he has listed two engravings on folio 59, one on each side of the leaf.]]

[Footnote 416: Bibliothèque Nationale.]

[Footnote 417: [The inscription would seem to prove, on the contrary, that the engraving was made] two years earlier, or in 1551.]

[Footnote 418: Vol. ii, folios 936 recto, 948 verso, and 994 recto. This work of Thevet's must not be confounded with that geographer's _Cosmographie du Levant_, the fruit of an earlier journey, two editions of which had been published at Lyon, in 1554 and 1556, by Jean de Tournes, in quarto, with engravings in the text.]

[Footnote 419: See the details of this voyage of Thevet given by M. Ferdinand Denis in a letter printed at the beginning of a work by M. Demersay, entitled: _Études économiques sur l'Amérique_; 8vo, 1851.]

[Footnote 420: We shall see in the next paragraph that a reprint of it was issued in April, 1558.]

[Footnote 421: See what has been said concerning this volume, on pages 223 and following, supra.]

[Footnote 422: This sign was retained by Thomas Perier, Charles's son. See Silvestre, _Marques Typographiques_, no. 386.]

[Footnote 423: _Péché_ [sin].]

[Footnote 424: I have previously had occasion to comment upon the extraordinary custom that formerly prevailed in the Cabinet des Estampes of removing from engravings, etc., every sort of extraneous matter. It is impossible to measure the extent to which this custom has impaired the value of the collection. Unfortunately it is followed by most collectors of prints, who sometimes destroy a very valuable and unique volume for no other purpose than to preserve an engraving unaccompanied by text.]

[Footnote 425: We find some features of it in the frieze engraved by Tory for the Bible published by Robert Estienne in 1532. See p. 202, supra.]

[Footnote 426: This collection was sold in January, 1846, and the plate in question was purchased, for about 2000 francs, for M. Cambacérès, Grand Master of Ceremonies in the Imperial household, who now owns it [1857]. This is what M. Baron says of it in his sale catalogue, no. 445: 'This important piece, in the most perfect preservation, merits the attention of collectors by virtue of its value and its rarity.' There is a copy also in the Cabinet of Geneva.]

[Footnote 427: According to the catalogue quoted in the last note, the reverse of the plate also is embellished with arabesques.]

[Footnote 428: Brother of the first-named Jean.]

[Footnote 429: [See p. 169, supra.]]

[Footnote 430: And not August 20, as it has sometimes been printed.]

[Footnote 431: The 'Avis au lecteur' is by him.]

[Footnote 432: [According to the list there are 11.]]

[Footnote 433: [According to the list only 14.]]

[Footnote 434: See what I have said on this subject on p. 173, supra.]

[Footnote 435: See infra, § III, 'Le Coq.']

[Footnote 436: These engravings are, as is well known to-day, by Luczelburger, of Basle, Holbein's regular engraver.]

[Footnote 437: These pages were intended to be used as an album. I have seen a very valuable copy at M. Potier's bookshop; he bought it of M. Gaullieur, who has described it in his _Études sur l'imprimerie de Genève_, p. 207. This copy, which was arranged by Durand the bookseller, who emigrated to Geneva for religious reasons, has no title-page and contains only the empty pages, that is to say those with borders alone, within which Durand's friends, the most illustrious leaders of the Reformation--de Bèze, Goulard, etc.--have inscribed each some sentence. In some verses which come first, and which are admirably engrossed on parchment, Durand tells us that he wrote them in 1583, without spectacles, notwithstanding his great age and 'the gout in his fingers.']

[Footnote 438: Bibliothèque Nationale.]

[Footnote 439: It may be that this fragment belongs to a collection cited by M. Brunet (_Manuel du Libraire_, vol. iv, col. 850), under the title, _Pourtraictz divers_, small octavo, Lyon, Jean de Tournes, 1557, as containing 63 plates, including the title-page. M. Brunet then gives a description of this collection, which cannot possibly fit it. 'These plates represent factories, animals, scenes of divers sorts, mythological subjects, and architectural designs.' This description evidently belongs to the volume of 1556 mentioned on the next page.]

[Footnote 440: These portraits and many other woodcuts of the de Tournes, which are still preserved in the Fick Press, at Geneva, have lately been reproduced in a sumptuous publication entitled: _Anciens bois de l'imprimerie Fick_, folio, Geneva, 1864. It contains many engravings of Petit Bernard.]

[Footnote 441: I have already cited (page 259), on the authority of M. Didot, an edition of this book under the date of 1551, but I doubt its existence.]

[Footnote 442: The first 24 pages of this collection are bound with an edition of Claude Paradin's _Quadrins historiques_, published by Jean de Tournes, in 1558.]

[Footnote 443: This book was reprinted in 1557, with the title _Pourtraictz Divers_; see p. 260, note 1.]

[Footnote 444: [See pp. 201-202, supra.]]

[Footnote 445: For instance, the anonymous author of a book entitled _Notice sur les Graveurs_, printed at Besançon in 1807 (2 vols., octavo), attributes to Salomon Bernard, whose period of activity he places between 1550 and 1580 (vol. i, p. 63 ), the engravings of Petrarch's _Triumphs_, which appear in an edition of 1545, and a _Resurrection of the Dead_, dated 1547 (vol. i, p. 64), which dates are inconsistent with those mentioned above; he also attributes to him (vol. i, p. 65) the theatrical scenes which we have with good reason ascribed to Tory, whose cross appears on one of them; and, lastly, he attributes to him the story of Psyche, in 32 duodecimo cuts, and the medallions of Jacques Strada's _Epitome des Antiquités_ (Lyon, 1553), his authorship of which is very doubtful. But there is no question at all concerning the following pieces, which certainly belong to Salomon Bernard:--

I. The figures of the Bible, to the number of 251, reprinted very frequently after 1553. In an edition of 1680, printed by Samuel de Tournes, at Geneva, whither the second Jean withdrew about 1580, because of his religion, is the following note: 'The figures that we offer you here are from the hand of an excellent craftsman, known in his day under the name of Salomon Bernard, called Le Petit Bernard, and have always been held in esteem by those who are learned in works of this sort.'

II. Claude Paradin's _Devises héroiques_, containing 184 engravings, besides a border on the title-page. Large octavo, Jean de Tournes, 1557 ( Bibliothèque Nationale). The license at the end of the volume discloses the titles of several other volumes which Jean de Tournes was then intending to publish, particularly the two following, which appeared the same year.

III. The Metamorphoses of Ovid; octavo, 1557; 178 engravings.

IV. _L'Astronomique Discours_, by Jacques Bassentin; folio, 1557; with a large number of astronomical plates.

V. _Hymnes du temps_, by Guillaume Gueroult; quarto, 1560; 88 pages, with borders and drawings. In the _avis au lecteur_ we read: 'I hope that you will find some pleasure herein, for that the whole is the work of a goodly hand; for the invention [of the engravings] is of M. Bernard Salomon, an excellent painter as there has ever been in our hemisphere.'

VI. Virgil's Æneid, French translation; quarto, 1560; with 12 vignettes.

VII. A book of _Thermes_, in eighteen orders; printed at Lyon in 1572, by Jean Marcorelle.--At the tenth _therme_ is a genie carving on a shield the letter S, the initial of Bernard's baptismal name.

A large number of vignettes, and of letters in grisaille, used by the printers of Lyon, are also attributed to this artist.]

[Footnote 446: See what I have had to say on this subject apropos of Baïf's _Annotations_, supra, p. 208.]

[Footnote 447: _Des Types et des Manières des maîtres graveurs_, etc., 16th century, pp. 167, 168.]