The earliest work of the new school of illustration is the magnificent cut of the Virgin in a mandorla appearing to S. Jacopone da Todi as he kneels in prayer. This, surrounded by the triple rule already mentioned, is prefixed to an edition of Jacopone's _Laude_ printed by Francesco Buonacorsi and dated 28 September, 1490. Apparently the earliest dated cut with a typical Florentine border is that to the _Lunare_ of Granollachs printed by Lor. Morgiani and Giovanni da Magonza in September, 1491. It measures more than 6 inches by 4, and is copied, and transfigured in the process, from the heavy cut in a Naples edition of 1485. Two months later the same firm issued the _Soliloqui_i of S. Augustine with an extraordinarily fine title-cut of the saint (the same picture did duty in 1493 for S. Antonino) writing at a desk in his cell. This has a border, but with a white ground instead of a black. On 1 January, 1491-2, still from the same firm, we have surely the prettiest Arithmetic ever printed, that of Filippo Calandri, with delightful little pictures and border pieces, cut in simple outline, in the Venetian rather than the Florentine manner. On 20 March, Morgiani and his partner produced a new edition of Bettini's _Monte Santo di Dio_ with the three copperplates of 1481 (see Chapter XV) skilfully translated into duly bordered woodcuts, the first two filling a folio page, the third somewhat shorter. A _Mandeville_ with a single cut followed in June, and in December the _Trattati_ of Ugo Pantiera, also with a single cut, perhaps by the designer of the Calandri, since it employs the same trick of representing a master on a much larger scale than a disciple as is found in the picture of Pythagoras in the earlier book.[32] One of the earliest (and also most delightful) of the title-cuts of another prolific publisher, the picture of a lecturer and his pupils in Antonio Miscomini's 1492 edition of Landini's _Formulario_,[33] measures about 6 inches by 4. But after this the period of experiment was at an end, and with very few exceptions the woodcuts in Florentine books for the rest of the century all measure either a little over or a little under 3 inches by 4, and are all surrounded by a narrow border with some simple design in white upon a black ground.