In printed books, the first engraving we are acquainted with of a fool is in the border to the _Liber Biblie Moralis_ of 1475. In initial letters, as far as we have been able to ascertain, this subject was not used before 1480, when it is to be found in specimens both of Augsburg and of Strasburg. A remarkable portrait of a fool is contained in an O in Schott’s _Plenarium_, printed, as is stated in the colophon, at ‘Strospurg,’ in 1481. Knoblochtzer’s large S, for the _Dyalogus Solomonis et Marcolfi_, gives a fool with another personage at full length, and at last the typical fool, with a marotte and all other accoutrements, is met with in initials of different Psalters, being well seen in that of Fürter of Basle. Henceforth, with a face characterised by leering cunning, the type is to remain unchanged, and Brandt, Erasmus, and Holbein only add to its popularity, without modifying the general conception. There is a little pictorial initial by Quentell, in which the usual expression is replaced by one of extreme _finesse_, but coarser cunning is the rule, and it is under this aspect that the fool is depicted by Holbein in the R of the alphabet of Death. In the _Quadragesimale_ of Gritsch there is a similar border, but the fool is replaced by a personage with a doctor’s bonnet. The letters accompanying these borders belong to the alphabet, of which we give several reproductions, and which is the most frequently used in J. Zainer’s works.[15] [15] Reiber in his _Art pour Tous_ gives a similar alphabet of the Augsburg Zainer, which, he says, is copied from a manuscript of the tenth century. Another great work from the Ulm press is the _Cosmographia_ of Ptolemy, printed by Leonard Holl, in which there is an alphabet of initials not unlike those of Schönsperger already given. Those of L. Holl ought to have been preferred as illustrations, inasmuch as they are earlier than the others, 1482, but they are almost invariably painted and unfit for zincotype reproduction. The chief interest, moreover, in the book is in its two large historiated initials on the first two pages, the first showing the printer offering his book to the Pope, the second representing probably Ptolemy himself. Our last specimen of J. Zainer’s engraving is the F which begins the dedicatory epistle of the Latin Bible of 1480, and which is a curious example of the peregrinations of woodcuts through different workshops, and of the incongruous uses to which they were put.