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Amphoux (1801) did retain the gold color for the outer edges of the flesh-colored pages. From left to Right: La Papesse from the 1930 Marteau TdM digitally preserved in the Yale Library; Rochus Schär (1750) currently preserved in the Blumenstein Museum in Solothurn, Switzerland; Nicolas Conver 1760 TdM currently preserved in the Bibliothèque Nationale à Paris; 1801 Arnoux & Amphoux restitution deck by Yves Reynaud. Unlike the number of lines, which I believe is more likely to be random than a revelation, this seems to be a significant detail, but it leaves us with questions that have yet to be satisfactorily addressed. Going all the way back to Noblet, why would the book be so full of vitality when the reader of the book appears lifeless (all the blood drained from her face and hands)? How do we interpret this? If the book is full of life, then would not her close contact with it also reinvigorate La Papesse? Perhaps this is what Claude Rochias intended to convey when his Popess’s hands were made flesh-colored. It may be the vitality is moving up through her body and will eventually reach her face. (If that was his intent, I wish he would have made her neck at least partially flesh-colored as well, to strengthen the impression.) Nicolas Conver continued this stream, and we see it in the Arnoux & Amphoux as well (1801) though in the Bernadine Suzanna (1839), her hands are white, once again. …