In 1487, Caxton tried a new venture, and had printed for him at Paris, by George Maynyal, an edition of the _Sarum Missal_. Only one copy is known, slightly imperfect, which is in private hands. In this book, for the first time, Caxton used his well-known device, probably for the purpose of emphasising what might easily have been overlooked,—that the book was printed at his expense. So much has been written on Caxton’s device, and such extraordinary theories made about its hidden meanings, that it may be as well to point out that it consists simply of his mark standing between his initials, with a certain amount of unmeaning ornament. It was probably cut in England, being coarsely executed, while those used in France at the same time are well cut and artistic. About 1487-88 we find two more books ornamented with woodcuts, the _Royal Book_ and the _Speculum Vite Christi_. The _Speculum_ contains a number of well-executed cuts, the _Royal Book_ only seven, six of which had appeared in the _Speculum_. About 1488 a second edition of the _Golden Legend_ was issued, almost exactly the same as the first, but with the life of St. Erasmus added, so that this edition does not end, like the first, with a blank leaf. At the time of Caxton’s death, he seems to have had a large stock of this book still on his hands, for he left fifteen copies to the Church of St. Margaret, and a large number of copies to his daughter Elizabeth, the wife of Gerard Croppe, a tailor in Westminster. It is hard to understand how, with this large stock still for sale, Wynkyn de Worde could afford to print a new edition in 1493 and another in 1498; for even at the latter date copies of Caxton’s edition were, as we happen to know, still to be obtained. To about this time may be ascribed the curious _Image of Pity_ in the University Library, Cambridge. It is not printed on a separate piece of paper, but is a sort of proof struck off on the blank last page of a book with which the indulgence has nothing to do. The book is a copy of the _Colloquium peccatoris et Crucifixi J. C._, printed at Antwerp by Mathias van der Goes about 1487, which must have been accidentally lying near when the printer wanted something to take an impression upon.[32] [32] For a detailed account of this and other English _Images of Pity_, see a paper by Henry Bradshaw, reprinted as No. 9 in his _Collected Papers_, p. 135.