Still later than the Otto prints, and greatly inferior to them in execution, are the three illustrations for _Il Monte Sancto di Dio_, of 1477; and the nineteen engravings for Dante’s _Divina Commedia_, with Landino’s Commentary, of 1481. _Il Monte Sancto di Dio_ is the first book in Italy or in Germany in which there appear illustrations from engraved plates printed on the text page. This entailed much additional labor, and was soon discontinued in favor of the wood-block, which could be printed simultaneously with the letterpress, and was not taken up again until nearly the end of the sixteenth century. Alike by tradition and internal evidence, Botticelli is unquestionably the author of the Dante designs; but no artist has been suggested as the probable designer of the three illustrations for _Il Monte Sancto di Dio_. In the first illustration the costume and general attitude of the young gallant to the left are strongly reminiscent of the Otto prints. The lower portion of the plate shows all the characteristics of the Fine Manner, but the angel heads are treated in a simpler and more open linear method. _The Christian’s Ascent to the Glory of Paradise_ is allegorically represented by a ladder placed firmly in the ground of widespread Knowledge and Humility, and reaching up to the triple mountain of Faith, Hope, and Charity, on the summit of which stands the Saviour. This ladder is called Perseverance, one of its sides being Prayer, the other Sacrament. It has eleven steps: Prudence, Temperance, Fortitude, Justice, etc. [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. THE CHRISTIAN’S ASCENT TO THE GLORY OF PARADISE. FROM “IL MONTE SANCTO DI DIO,” FLORENCE, 1477 Size of the original engraving, 9⅞ × 7 inches In the Fogg Art Museum, Harvard University] [Illustration: ANONYMOUS FLORENTINE, XV CENTURY. DANTE AND VIRGIL WITH THE VISION OF BEATRICE. FROM THE “DIVINA COMMEDIA,” FLORENCE, 1481 Size of the original engraving, 3½ × 6⅞ inches In the Museum of Fine Arts, Boston] The second illustration depicts the glory of Paradise; the third the punishment of Hell, the main motives of the last-named being adapted from the fresco attributed to Orcagna, in the Campo Santo at Pisa.