We come now to Gerard Leeu, who on 3 June, 1480, issued at Gouda the first completely illustrated book from a Dutch press, the _Dialogus creaturarum moralisatus_, a glorified version of the old bestiaries, full of wonderful stories of animals. This was illustrated with 121 specially designed cuts (mostly about four inches by two), and Leeu's liberality was rewarded by the book passing through nine editions, six in Latin and three in Dutch, in eleven years. The first page is decorated with a picture of the Sun and Moon, a large capital, and an ornamental border of foliage, but the merit of the book lies in the simple skill with which the craftsman, working entirely in outline, has reproduced the humour of the text. To the same hand are attributed ten cuts for Leeu's vernacular _Gesta Romanorum_ (30 April, 1481), four for an undated _Historia Septem Sapientum_, and four others, of the Four Last Things, which, to our puzzlement, appear first in a French edition printed by Arend de Keysere at Audenarde, and then (23 August, 1482) in a Dutch one of Leeu's. In the previous month he had brought out a _Liden ende passie ons Heeren_ with thirty-two quarto cuts, part of a set of sixty-eight made for editions of the _Devote Ghetiden_ or Dutch version of the _Horae_, the first of which (unless a Gouda one has perished) appeared after his removal to Antwerp. During the following nine years he made good use of his old blocks. For his Dutch _Aesop_ of October, 1485, and Latin edition of September, 1486, he used cuts copied from the original Ulm and Augsburg set. These he bought from Knoblochtzer of Strassburg and sold to Koelhoff of Cologne. In 1487 he issued an illustrated _Reynard the Fox_, of which only a fragment survives, and the pleasant romance of _Paris and Vienne_, with twenty-five fairly successful cuts, with the help of which five editions were sold, the first in French, the next three in Dutch, and the last (23 June, 1492) in English. According to Sir W. M. Conway these _Paris and Vienne_ cuts were the work of a Haarlem craftsman, who from 1483 to 1486 had worked for Jacob Bellaert, whose press was intimately connected with Leeu's, type and cuts passing freely from one to the other. Bellaert had begun by using some of Leeu's Passion cuts for a _Liden ons Heeren_, but seems soon to have discovered his Haarlem wood-cutter, with whose aid he produced (15 February, 1484) _Der Sonderen troest_, The Sinners' Trust, a Dutch version of that remarkable work the _Belial_ or _Consolatio peccatorum_ of Jacobus de Theramo, of which the Augsburg edition has already been mentioned. This begins with a full folio-page cut combining in one panorama the Fall of Angels and of Adam and Eve, the Flood, the Egyptians overtaken in the Red Sea, and the Baptism of Christ. Six of the other cuts fill half-pages and show the Harrowing of Hell (here reproduced, Plate XII), Devils in consultation, Satan kneeling before