The L with two peasants looking at an angel in the clouds is to be found in a Bible and on the title-page of a _Liber Cathonis_. An amusing little set comes from a printer whose name is unknown to us, the book being entitled _Morale Reductorium Petri Berthorii_. The C is probably a convent cellarer, whilst the N is a study in contemporary costume, and remarkable for the number of details that have been condensed into so small a space. The C with the Crucifixion is an example of the extraordinary incongruity that is sometimes seen between ornaments and text. In a book of devotions we sometimes meet with the most scabrous subjects; here the reverse is the case, this reproduction, whatever may have been its origin, being taken from a military treatise published by Jacques Modernes, _Vallo, Du Faict de la Guerre et Art militaire_. The other letters in the work are from worn-out blocks from the stock of Saccon. Although of later date than the majority of our reproductions, our remaining initials are so frequently found in Lyons books that they are representative, as it were, of Lyons ornamentation. There are several different-sized alphabets of philosophers, but the one given is by far the best in execution. Our reproductions are as good as possible, but the proofs in the original are of a greyish colour which, taken together with the clear way in which they are printed, is most ornamental. The mythological letters are from a book of Italian poetry, ‘Stampato in Lione, per Jacopo Fabio. Appresso Bastiano di Bartholomeo Honorati, 1556,’ and, with the exception of the S, which is signed with the initials H F (Hans Frank), the other letters are attributed to the Petit Bernard. The three large _lettres parlantes_, D for Diana, etc., are from Lyons impressions of about the same time. CHAPTER XI PARIS As with Lyons, the material upon which one could draw for Paris is almost inexhaustible. Dibdin considers the initials of this town to be the finest that can be found, and gives the letters of Josse Bade with branches growing out of the heads of the personages as examples. As regards book illustration, however, Paris was behind Lyons, where the earliest attempts at decoration were made in 1478. The first book printed in Paris with ornamental letters was the _Vies des Anciens Sainctz Pères of Dupré_, which appeared in 1486, that is to say, eight years later. Mr. Pollard thinks that these initials, of which there are only eight, five of which we reproduce, afforded the first hint for the first calligraphic initials used for title-pages, of which several have been given under Lyons. Dupré was one of the printers who worked for Vérard, who was chiefly a publisher. An alphabet of small calligraphic initials was frequently used in the volumes printed for him by the Lerouges of Paris and Troyes, and is to be found complete in the _Jardin de Santé_. Pen-letters, as they are called, of this type, are of frequent occurrence in manuscripts.