such unity as can be traced in these Florentine cuts to their having all come from one large wood-cutter's shop, without attempting to trace them back to a single designer. In the year 1492, when the form of the Florentine woodcuts had become fairly fixed, Savonarola was called to the death-bed of Lorenzo the Magnificent, only to refuse him absolution. His _Amore di Gesu_ and _Trattato dell' Umilta_ were printed in June of that year by Miscomini, each decorated with a single cut. During the six years ending with his execution in May, 1498, some twenty-three different tracts from his pen, illustrated with one or more woodcuts, were printed at Florence, most of them in several different editions. In the _De Simplicitate Christianae vitae_ (1496) a friar is shown writing in his cell; in other cuts we see a friar preaching, or visiting the convent of the "Murate" or Recluses of Florence, or talking with seven Florentines under a tree, but in no case has any attempt been made at portraiture. This is true also of the _Compendio di Revelatione_ (1495), in which there are some charming cuts showing Savonarola escorted by four holy women representing Simplicity, Prayer, Patience, and Faith, on an embassy to the Blessed Virgin. In the first of these they meet the devil attired as a hermit; in the second they arrive at the gate of the celestial city of which the wall is crowded with saints and angels; in the third they are ushered forth by S. Peter. A tract by Domenico Benivieni in defence of Savonarola, besides a cut of the usual size representing Benivieni arguing with his opponents, has a full-page one of the river of blood flowing from Christ's wounds and sinners cleansing themselves in it and marking their foreheads with the sign of the cross. One of the finest cuts in the Savonarola series represents a citizen of Florence in prayer before a crucifix. But almost all of them are good.