[Illustration: Fig. 57.--Page of the "Metamorphoses" of Ovid, by Petit Bernard. Edition of 1564.]
His book of "Emblems" had a vogue that lasted until the seventeenth century, and repetitions were infinitely multiplied: at Paris by Wechel in 1534; at Lyons by Hans de Tornes, of Suabia, one of the greatest Lyons publishers; by Roville, also one of the first Lyons publishers, and by Bonhomme; at Venice by the Alduses; in fact, everywhere, translated into French, Spanish, and Italian.
Bernard Salomon, called _le Petit Bernard_, born at Lyons, was one of the designers of the school of Fontainebleau--that is to say, of the Franco-Italian school of which we have spoken above--who furnished many of the engravings for books printed at Lyons. He illustrated the edition of Alciati's "Emblems" published by Bonhomme in 1560; and designed skilful little plates, which, with the text, were surrounded by a border from the workshop of Geoffroy Tory, for Ovid's "Metamorphoses," published by Hans de Tornes in 1564. Bernard had all the defects and all the qualities of those of his time, from John Cousin to the least of them; he was a Primaticcio on a small scale, but agreeably so. His designs for the New Testament were also very careful, but in them more than elsewhere the manner and the affectation of the school of Fontainebleau are apparent.
[Illustration: Fig. 58.--Portraits of Madeleine, Queen of Scotland, and of Marguerite, Duchess of Savoy, after the originals of Cornelis of Lyons.]
[Illustration: Fig. 59.--Portraits of Francis, dauphin, and of Charles, Duke of Angoûleme, after the originals of Cornelis of Lyons. Woodcuts taken from Roville's _Promptuaire des Médailles_.]
The workshops of the second city of France, we see, had at this time attained considerable importance; but before the books of which we shall speak, Roville published two anonymous books, one _L'Entrée du Roi Henri II. à Lyon_, in 1549, ornamented with very graceful woodcuts, the other the _Promptuaire des Médailles_, comprising a series of charming portraits under the pretence of reproductions from the antique. The designs of the _Entrée_ are often attributed to John Cousin, as it is a rule with certain amateurs to give a known name to a work; but it must be remembered that Lyons then had celebrated artists, Petit-Bernard, alluded to above, and Cornelis de la Haye, of whom we have more to say; and it is not necessary to go to Paris or to Rome to find the author of these illustrations.