from all the Catholic states of Europe attended this council.”[IV-33] [Footnote IV-32: Von Murr says that the person who engraved the cuts for this book also engraved the cuts in a German edition of the Speculum without date, but printed at Augsburg, and dedicated to John [von Giltingen] abbot of the monastery of St. Ulric and St. Afra, who was chosen to that office in 1482. Heineken supposed that the person to whom the book was dedicated was John von Hohenstein, but he resigned the office of abbot in 1459; and the book was certainly not printed at that period.--See Heineken, Idée Gén. p. 466; and Von Murr, Journal, 2 Theil, S. 145.] [Footnote IV-33: L. A. Gebhard, Genealogische Geschichte, 1 Theil, Vorrede, S. 11. Cited by Veith in his “Diatribe,” prefixed to Zapf’s “Annales Typographiæ Augustanæ.”] The practice of introducing wood-cuts became in a few years general throughout Germany. In 1473, John Zainer of Reutlingen, who is said to have been the brother of Gunther, printed an edition of Boccacio’s work “De mulieribus claris,” with wood-cuts, at Ulm. In 1474 the first edition of Werner Rolewinck de Laer’s chronicle, entitled “Fasciculus Temporum,” was printed with wood-cuts by Arnold Ther-Hoernen at Cologne; and in 1476 an edition of the same work, also with wood-cuts, was printed at Louvain by John Veldener, who previously had been a printer at Cologne. In another edition of the same work printed by Veldener at Utrecht in 1480, the first page is surrounded with a border of foliage and flowers cut on wood; and another page, about the middle of the volume, is ornamented in a similar manner. These are the earliest instances of ornamental borders from wood-blocks which I have observed. About the beginning of the sixteenth century title-pages surrounded with ornamental borders are frequent. From the name of those borders, _Rahmen_, the German wood engravers of that period are sometimes called _Rahmenschneiders_. Prosper Marchand, in his “Dictionnaire Historique,” tom. ii. p. 156, has stated that Erhard Ratdolt, a native of Augsburg, who began to print at Venice about 1475, was the first printer who introduced flowered initial letters, and vignettes--meaning by the latter term wood-cuts; but his information is scarcely correct. Wood-cuts--without reference to Pfister’s tracts, which were not known when Marchand wrote--were introduced at Augsburg six years before Ratdolt and his partners[IV-34] printed at Venice in 1476 the “Calendarium Joannis Regiomontani,” the work to which Marchand alludes. It may be true that he introduced a new kind of initial letters ornamented with flowers in this work, but much more beautiful initial letters had appeared long before in the Psalter, in the “Durandi Rationale,” and the “Donatus” printed by Faust and Scheffer. The first person who mentions Ratdolt as the inventor of “florentes litteræ,” so