Last of all, before coming to prose fiction, a vast if not very interesting class of miscellaneous prose work must be mentioned. The word class has been used, but perhaps improperly, for classification is almost impossible. Books of accounts and domestic economy of all sorts (generally called _livres de raison_) were very common; treatises of all kinds of more general character on household management abounded. We have a _Menagier de Paris_, a _Viandier de Paris_, both of the fourteenth century. But much earlier the orderly and symmetrical spirit which has always distinguished the French makes itself apparent in literature. The _Livre des Metiers de Paris_ of Etienne Boileau, dating from the thirteenth century, gives a complete idea of the organisation of guilds and trades at that time. An innumerable multitude of treatises on the minor morals, on love, on manners, exists in manuscript, and in rare instances in print. The _Tresors_, or compendious encyclopaedias, which have already been noticed in verse, began in the thirteenth century to be composed in prose, the most remarkable being that of Brunetto Latini, the master of Dante, who avowedly used French as his vehicle of composition, because it was the most commonly read of European languages. This book was written apparently about or before 1270. Nor did the separate arts lack illustration in prose. Medicine and alchemy, astronomy and poetry, war and chess, had their treatises, while Bestiaries and Lapidaries are almost as numerous in prose as in verse. Finally, there is the important category of books of travel. There are a certain number of voyages to the Holy Land[143]; some miscellaneous travels mostly, though not universally, translated from the Latin; and last, but not least, the great book of Marco Polo, which seems to have been written originally in French, the author, when in captivity at Genoa, having dictated it to Rusticien of Pisa, who also figures as a compiler of late versions of the Arthurian legend, and who thus had some skill in French composition. [Sidenote: Fiction] The prose fiction of the period has been kept to the last, because it expresses a different order of literary endeavour from those divisions which have hitherto been treated. The language of the middle ages was ill-suited for work other than narrative; for narrative work it was supremely well adapted. Yet the prose fiction which we have is not on the whole equal in merit to the poetry, though in one or two instances it is of great value. The medium of communication was not generally known or used until the period of decadence had been reached, and the peculiar defects of mediaeval literature, prolixity and verbiage, show themselves more conspicuously and more annoyingly in prose than in verse. We have, however, some remarkable work of the later periods, and in the latest of all we have one writer, Antoine de la Salle, who deserves to rank with the great chroniclers as a fashioner of French prose.