[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:--