Two editions of Dante's _Divina Commedia_, both published in 1491, one by Bernardinus Benalius and Matheo Codeca in March, the other by Pietro Cremonese in November, must be grouped with the books just mentioned, as they are also illustrated with small cuts (though those in the November edition are a good deal larger than the usual column-cuts), and these are signed in some cases with the letter .b. which appears in the Malermi Bible of 1490. Neither designer has triumphed over the monotonous effect produced by the continual reappearance of the figures of Dante and his guide, and the little cuts in the March edition are far from impressive. On the other hand it has a good frontispiece, in which, after the medieval habit, the successive incidents of the first canto of the _Inferno_ are all crowded into the same picture. Popular as were the little vignettes, they were far from exhausting the energies of the Venetian illustrators of this decade. At the opposite pole from them are the four full-page pictures in the 1493 and later editions of the _Fascicolo de Medicina_ of Joannes Ketham. These represent a physician lecturing, a consultation, a dissection, and a visit of a doctor to an infectious patient, whom he views by the light of two flambeaux held by pages, while he smells his pouncet-box. This picture (in the foreground of which sits a cat, afterwards cut out to reduce the size of the block) is perhaps the finest of the four, but that of the Dissection has the interest of being printed in several colours. Erhard Ratdolt had made some experiments in colour-printing in the astronomical books which he printed at Venice, and at Augsburg completed the crucifixion cut in some of his missals partly by printed colours, partly by hand. In 1490 a Venetian printer, Johann Herzog, had illustrated the _De Heredibus_ of Johannes Crispus de Montibus with a genealogical tree growing out of a recumbent human figure, and had printed this in brown, green, and red. But the dissection in the _Fascicolo di Medicina_ was the most elaborate of the Venetian experiments in colour-printing and apparently also the last. With the illustrations to the Ketham may be mentioned for its large pictorial effect, though it comes in a quarto, the fine cut of the author in the _Doctrina della vita monastica_ of San Lorenzo Giustiniano, first patriarch of Venice. The figure of San Lorenzo as he walks with a book under his arm and a hand held up in benediction is imitated from that in a picture by Gentile Bellini, but he is here shown (Plate XV) preceded by a charming little crucifer, whose childish face enhances by contrast the austerer benignity of the saint. [Illustration: XV. VENICE, ANONYMOUS PRESS, 1494 LORENZO GIUSTINIANO. DELLA VITA RELIGIOSA PORTRAIT OF THE AUTHOR]