Space allows only a brief glance at the typographical productions of the five most important of the seven Italian cities which possessed printing-presses by 1471—Bologna, Ferrara, Florence, Milan and Naples. Bologna, as might be expected in a university city, especially produces erudite books, particularly in philosophy, mathematics, and medicine. Petrarch and Boccaccio, however, relieve the general aridity, and there is a fair sprinkling of classics. Ferrara's taste lies much in the same direction, but it is remarkable for a school of Hebrew printing, and does itself honour by the _editio princeps_ of Seneca's tragedies, and even more so by that of Boccaccio's "Teseide," the first publication of an Italian epic poem other than the "Divina Commedia." Florence appears more tardy in developing the new art than might have been expected under Medicean rule; and her early productions would seem comparatively unimportant but for Bettini's "Monte Sancto di Dio" (1477), the first example of a printed book containing copperplate engraving, and the famous Dante of 1481, partly illustrated in the same manner. The artistic eminence of Florence renders the production of this work within her precincts especially significant; and in 1490 a school of wood-engraving arises which surpasses the Venetian, and often confers great artistic value upon typographical productions otherwise of little account. Another interesting feature of Florentine typography, from about 1480 until the end of the century, is the number of original publications by native men of letters, such as Politian, the Pulcis, and, in quite a different manner, Savonarola. Florence understood the duty of encouraging contemporary talent better than any other Italian city; yet, although she was the Athens of Italy, and possessed its Pericles, the comparison between the extent of her typographical production and that of Venice shows that the public is the better patron. When, at a much later period, wealth and public spirit departed from Venice to an extent which they never did from Florence, the lead passed to the latter city. Milan is, for the first few years, principally devoted to the classics, upon which law and theology gradually gain ground. Its great glory is the first book printed in Greek—Lascaris's Grammar, 1476. Simoneta's "History of Francesco Sforza," put forth by the authority of Lodovico Sforza about 1479, is also a memorable book. Naples, where printing was never very active, does little for classical literature, but produce numerous works by local writers of distinction, from Archbishop Caraccioli to the licentious Masuccio. The number of Hebrew books is a remarkable feature.