The smallest series is from a volume of Decretals by Ulric Scinzenzeller. At Florence printing was introduced in 1471 by Bernardo Cennini, who commenced at once the composition of the Commentaries of Servius on Virgil, which was published the following year. To Giovanni Tedesco we are indebted for editions of the _Philocolo_ of Boccaccio and the _Trionfi_ of Petrarch. But the most celebrated Florence printer of the fifteenth century was Nicolo di Lorenzo (Nicolaus Laurentii) of Breslau, the publisher of the celebrated Dante with engravings of 1481. Books printed at Verona at the beginning of the sixteenth century are not common, and woodcut initials are even more seldom met with, but we have been able to find one or two in a tract printed by Lucas Antonius, or Luc Antonio Giunta, of Florence, in 1504, which is extremely curious in many ways. The text on the title-page is arranged in the form of a cross, and runs as follows: _Delitiosam explicationem de sensibilibus deliciis paradisi a D. Celso Mapheo Veronense Canonico regulari editam hoc libello lector agnoscere poteris et ipsa plurimum oblectari valebis._ On the verso of the last page is a very fine mark of Lucas Antonius. The ornamentation of the book is completed by numerous woodcut initials of various sizes, but mostly as badly cut as printed. There are several letters of an interlaced pattern, but the two we have selected are the most interesting, the C with the gladiator and lion occurring at the beginning of the first chapter, the Q being repeated twice. There is also a historiated P with a child, a little smaller. Books of the beginning of the fifteenth century published at Brescia have a few good initials, more or less in the Venetian style. An S, with a winged child with bow and arrows, probably a Cupid, is to be met with in several impressions. The P, with a saint in the same style, and a somewhat larger P, prolonged as a border, have the same origin. The very wide C, with a monk at a latticed window, is from a volume of Brescia, in which there are also three or four insignificant floral initials in the style of Grüninger’s least interesting letters, an engraved title-page with the portraits of celebrated men in compartments, and on the verso of the last page a Virgin and child with irradiating flames. The title, _Theophrasti Natalii Cychuthoe Teutonici Invectivae_, _Maxima cum diligentia Brixiae impressum_, it is said, but without giving the printer’s name.