At Naples, Sixtus Riessinger printed Boccaccio's _Libro di Florio et di Bianzefiore chiamato Filicolo_ in 1478, and also (without date) an Italian version of Ovid's _Heroides_, both with numerous cuts, some of them by no means devoid of charm. In 1485 an illustrated _Aesop_ was produced at the expense of a book-loving jurist, Francesco Tuppo, probably from the press of certain "fidelissimi Germani." The cuts in this, which are hard and heavy but of considerable merit (see Plate XIV), may possibly be due to a mixture of Italian and German influences, but are more probably the work of a Spanish wood-cutter. A picture of an astronomer engaged on his calculations found in the _Arte di Astrologia_ of Granollachs, probably also printed in 1485, may be from the same hand. In the _Aesop_ each picture is placed in an architectural frame, in the upper sections of which there are representations sometimes of Hercules and a lion, sometimes of his wrestle with Antaeus, sometimes of a battle of mounted pygmies. The first page of text also has a fine decorative border, the design being in white on a black ground. At Florence an ornamental capital in a _Psalter_ printed in 1489 is the earliest woodcut in any extant dated book. But engravings on copper had been employed as early as 1477 for three pictures in Bettini's _Monte Santo di Dio,_ and in 1481 for nineteen in a _Divina Commedia_; as to these something will be said in Chapter XV. Two books printed at Milan in 1479 contain illustrations, the _Summula di pacifica conscientia_ of Fra Pacifico di Novara, being ornamented with three engravings; two of the degrees of consanguinity and the third of a crown bearing the names of the virtues of the Madonna, while the _Breuiarium totius juris canonici_ of Paolo Attavanti printed by Pachel and Scinzenzeler has a little woodcut, which purports to be a portrait of the author.