Some among the late block-books are of interest as having been produced by men who were at the same time printers in the ordinary sense of the word. There is part of a _Donatus_ in the Bodleian, with a colophon stating it to be the work of Conrad Dinckmut, a printer at Ulm from 1482 to 1496. In the British Museum is a German almanac of about 1490 produced by Conrad Kacheloffen, who printed a number of books, many with illustrations, at Leipzig. For a book so small as the _Donatus_, a book which was always in demand, it would be almost as economical to cut blocks as to keep type standing, and we consequently find a number of such xylographic editions produced at the very end of the fifteenth century. In the Bibliothèque Nationale are two original blocks, bought by Foucault, the minister of Louis XIV., in Germany, and probably cut about 1500 or shortly before. The letters are cut in exact imitation of type, and with such regularity that a print from the block might almost pass for a print from ordinary type, did not the bases and tops of a few letters overlap. The latest block-book of any size was printed at Venice. It is the _Figure del Testamento Vecchio_, printed about 1510 by Giovanni Andrea Vavassore. In the library at Lambeth Palace are two curious block-printed leaves of early English work. Each leaf contains an indulgence printed four times, consisting of a figure of Saint Cornelius and five lines of text. ‘The hole indulgence of pardon granted to blessed S. Cornelis is vi score years, vi score lentes, ii M ix C and xx dais of pardon for evermore to endure.’ It shows us very clearly the cheapness with which such work could be produced; for, in order to save the time which would be occupied in taking impressions singly from one block, two blocks have been used almost exactly the same, so that two impressions could be taken off at once. This was usually done in printing indulgences from movable type, for there the trouble of setting up twice was very small compared to the gain in the time and labour which resulted from it. There still remains to be noticed the one specimen of xylography produced in France. This is known as _Les Neuf Preux_. It consists of three sheets of paper, each of which contains an impression from a block containing three figures. They are printed by means of the frotton in light-coloured ink, and have been coloured by hand. The first sheet contains pictures of the three champions of classical times, Hector, Alexander, and Julius Cæsar; the second, the three champions of the Old Testament, Joshua, David, and Judas Maccabæus; the third, the three champions of mediæval history, Arthur, Charlemagne, and Godfrey of Boulogne. Under each picture is a stanza of six lines, all rhyming, cut in a bold type.