One other point to be mentioned is that many of the full-page Venetian illustrations, both in quartos and folios, have quasi-architectural borders to them, the footpiece being sometimes filled with children riding griffins or other grotesques, while school-books were often made more attractive to young readers by a border in which a master is flogging a boy duly horsed for the purpose on the back of a schoolfellow. In two of the most graceful of Venetian borders, those to the _Herodotus_ of 1494 (and also in the 1497 edition of S. Jerome's Epistles) and Johann Muller's epitome of Ptolemy's _Almagest_ (of 1496), the design is picked out in white on a black ground. A few Florentine woodcut illustrations have borders of the kind just mentioned in which the design stands out in white on a black ground. In one of these borders there are rather ugly candelabra at the sides, at the top two lovers facing each other in a circle supported by Cupids, at the foot a shield supported by boys standing on the backs of couchant stags. Another has mermen at the top, a shield within a wreath supported by eagles at the foot, and floral ornaments and armour at the sides. In a third on either side of the shield in the footpiece boys are tilting at each other mounted on boars. In a fourth are shown saints and some of the emblems of the Passion, supported by angels. But as a rule, while nearly all Florentine woodcuts have borders these are only from an eighth to three-sixteenths of an inch in depth, and the pattern on them is a leaf or flower or some conventional design of the simplest possible kind. A very few cuts have only a rule round them, one of the largest a triple rule. A rude cut of the Crucifixion is found in Francesco di Dino's 1490 edition of Cavalca's _Specchio di Croce_ surrounded by a rope-work border two-fifths of an inch deep, and this border, partly broken away, also surrounds a really beautiful Pieta (Christ standing in a tomb, His cross behind Him, His hands upheld by angels) in Miscomini's 1492 edition of Savonarola's _Trattato dell' Umilta_. When the same publisher used Dino's Crucifixion cut, also in 1492, for Savonarola's _Tractato dell' Amore di Gesu_, he left it without either border or rule round it, the only instance of a Florentine cut so treated in the fifteenth century. Dr. Paul Kristeller, whose richly illustrated monograph on _Early Florentine Woodcuts_ (Kegan Paul, 1897) is the standard work on the subject, suggests with much plausibility that these two cuts, of the Crucifixion and the Pieta, were originally made for earlier books now lost, and belong to an older school of wood-cutting, more akin to that which produced the few extant Florentine single prints.