During the years 1517 and 1518, editions of Burley on _Aristotle_, Burley’s _Principia_, and three or four other books were printed in Oxford by Johannes Scolar and Carolus Kyrfoth. These were evidently Germans, and were probably from Cologne. Three of the works were issued _cum privilegio_. After 1518, printing ceases in Oxford for nearly forty years.[62] =Later English Presses.=--The third place in England in which a printing-press was established was the Abbey of St. Albans, an abbey which during the manuscript period had had a long and honourable association with literary activity. The first book issued from the St. Albans Press, the _Exempla Sacræ Scripturæ_, bears date 1481. The type is from the same font, or from a precisely similar font, as that used in the Caxton volumes of this year, and Humphreys is of opinion that Caxton was concerned in this St. Albans undertaking. The most famous publication of the St. Albans Press, which is also printed in what may be described as a Caxton font of type, is _The Bokys of Haukyng and Huntyng and also of Cootarmuris_, by Dame Juliana Berners, who was Prioress of Sopwell Nunnery near St. Albans. This work was printed in 1486, and is frequently referred to as _The Book of St. Albans_. The beginning of printing in the University of Cambridge was delayed until about 1520. This was nearly fifty years later than the establishment of the printing concerns connected with the University of Paris, and twenty-five years later than the beginning of the series of editions of the classics issued from the Aldine Press of Venice, which may properly also be described as the Press of the University of Padua. The first publication of importance bearing the imprint of Cambridge University was an edition of Bulloc’s translation of _Lucian_, issued in 1521. The business of printing in London took a great development when De Worde associated with him in the management of the Caxton Press his assistant Richard Pynson, who had been one of Caxton’s apprentices. These printers made a large use in their volumes of engraved illustrations, the blocks for which were in great part imported from the Continent. Many of these engravings had evidently been prepared originally for Flemish or German books, and, having been purchased at second hand, were frequently introduced into English books, without any regard to their fitness in character, or to any relation to the text. They were apparently, in fact, utilised not as illustrations but simply as adornments. This practice of importing illustrations from the Continent and of scattering them miscellaneously through texts with which they have no relation, is not unknown among English publishers of the nineteenth century.