Some of the fine borders to these early Italian wood-engravings owe their distinctive character to earlier work of {47} engravers on metal. Thus the borders round the illustrations of the Venice folio of 1491 of the TRIUMPHS OF PETRARCH seem to be direct copies of engravings in metal by Filippo Lippi. The masses of white on a black background are very effective, and the strength of the colour increases the effect of the picture which the border surrounds. Between 1474 and 1512 Aldus printed for the first time the works of thirty-three Greek authors. The works of Aristotle, brought out in four volumes, occupied three years. A learned Greek, Musurus of Crete, corrected the proofs, in which Aldus himself assisted. The workmen were nearly all Greeks. The Greek type was copied from the handwriting of Musurus, and the Italian, known as the Aldine, from the writings of Petrarch; this was cut by the celebrated artist-goldsmith, Francia of Bologna. The Aldine edition of Virgil (1501), now exceedingly rare, was the first book printed in this Italic type. Notwithstanding all his learning, energy, and philanthropy, Aldus did not succeed in his business. Many of his books were pirated, wars and insurrections interrupted him, the League of Cambray caused him to close his works from 1506 to 1510, and he sold his books at a rate too cheap to be remunerative. The first printed edition of ÆSOP'S FABLES, which appeared at Verona as early as 1481, and was reprinted at Venice in 1491, contains many excellent engravings inclosed in ornamental borders, thoroughly Italian in character. The figures are not unlike those in the 'Hypnerotomachia,' and we can readily imagine that they were drawn by the same artist, who has given us little more than outlines, which the engraver has well cut in facsimile. The fable of 'The Jackdaw and the Peacock' is particularly well done. An edition of OVID'S METAMORPHOSES appeared also at this time with tolerably good illustrations not so well engraved. There are some curious little cuts in the EPISTOLE DI SAN HIERONYMO VOLGARE, published in Ferrara in 1497, which {48} are more valuable for their originality than their beauty, either of drawing or engraving. The book was evidently intended for the use of the illiterate, to whom the quality of the pictures laid before them was of little consequence if they told the story that was meant for them to read with their eyes. The homely scene of Christ appearing like a Gardener with a hoe on His shoulder, addressing Mary Magdalene in an Italian _pergola_, would appeal to their feelings much more directly than the Transfiguration of Raphael. [Illustration: A BOOTMAKER'S SHOP _From the 'Decameron,' printed in Venice in 1492_]