influence both Jewish and then Christian interpretations of scripture. The doctrinal bias against women so initiated then continued into Renaissance times. Bishop Jean Olivier's long Latin poem Pandora drew on the Classical account as well as the Biblical to demonstrate that woman is the means of drawing men to sin. Originally appearing in 1541 and republished thereafter, it was soon followed by two separate French translations in 1542 and 1548. At the same period appeared a 5-act tragedy by the Protestant theologian Leonhard Culmann (1498-1568) titled Ein schön weltlich Spiel von der schönen Pandora (1544), similarly drawing on Hesiod in order to teach conventional Christian morality. The equation of the two also occurs in the 1550 allegorical painting by Jean Cousin the Elder, Eva Prima Pandora (Eve the first Pandora), in which a naked woman reclines in a grotto. Her right elbow rests on a skull, indicating the bringing of death, and she holds an apple branch in that hand – both attributes of Eve. Her left arm is wreathed by a snake (another reference to the temptation of Eve) and that hand rests on an unstopped jar, Pandora's attribute. Above hangs the sign from which the painting gains its name and beneath it is a closed jar, perhaps the counterpart of the other in Olympus, containing blessings. In Juan de Horozco's Spanish emblem book, Emblemas morales (1589), a motive is given for Pandora's action. Accompanying an illustration of her opening the lid of an urn from which demons and angels emerge is a commentary that condemns “female curiosity and the desire to learn by which the very first woman was deceived”. In the succeeding century that desire to learn was equated with the female demand to share the male prerogative of education. In Nicolas Regnier’s painting “The Allegory of Vanity” (1626), subtitled “Pandora”, it is typified by her curiosity about the contents of the urn that she has just unstopped and is compared to the other attributes of vanity surrounding her (fine clothes, jewellery, a pot of gold coins). Again, Pietro Paolini’s lively Pandora of about 1632 seems more aware of the effect that her pearls and fashionable headgear is making than of the evils escaping from the jar she holds. There is a social message carried by these paintings too, for education, no less than expensive adornment, is only available to those who can afford it. But an