Many of the best of the quartos and all the illustrated folios were financed by a publisher, Ser Piero Pacini of Pescia, who was succeeded early in the sixteenth century by his son Bernardo. Pacini in 1495 began his career with a very ambitious venture, a folio edition of the _Epistole et Evangelii et Lectioni_ as they were read in the Mass throughout the year. This has a decorative frontispiece, in the centre of which stand SS. Peter and Paul, while small cuts of the four evangelists are placed in the corners. The text is illustrated with 144 different woodcuts, besides numerous fancy portraits of evangelists, prophets, etc. A few of the cuts are taken from the _Meditationes_ of S. Bonaventura, and one or two, perhaps, from other books already published; but the enormous majority are new, and from the consistency of the portrait-types of Christ, S. Peter, S. John, etc., appear all to have been designed by the same man. Some are less successful than others, but the average is exceptionally high, and the best cuts are full of movement and life. An _Aesop_ followed in 1496, Pulci's _Morgante Maggiore_ in 1500, and the _Quatriregio_, a dull poem in imitation of Dante by Bishop Frezzi, in 1508. It has been conjectured, however, that an earlier edition of the _Quatriregio_ may have been printed in the fifteenth century with the same illustrations, and there is considerable reason to doubt whether any fresh cuts in the old style were made at Florence after the temporary cessation of publishing brought about by the political troubles of 1501. On the other hand, the old cuts went on being used, sometimes in the originals, sometimes in copies, throughout the greater part of the sixteenth century, and it is only in these reprints that many of them are known to survive.