At Milan the _Theorica Musicae_ of Franchino Gafori, printed in 1492 by Philippus Mantegatius, has a title-cut of a man playing the organ, and four coarsely cut pictures, together occupying a page, showing primitive musical experiments. Four years later the same author's _Practica Musicae_ was issued by another printer, Guillaume Le Signerre, with a title-cut illustrating the different measures and the Muses and signs of the Zodiac to which they belong, and with two fine woodcut borders surrounding the opening pages of Books I and III, and II and IV. In 1498 Le Signerre produced two much more profusely illustrated books, the _Specchio dell' Anima_ of Ludovicus Besalii and an _Aesop_, some of the cuts of the former being used again in 1499 in the _Tesoro Spirituale_ of Johannes Petrus de Ferrariis. After this he migrated to Saluzzo, and in 1503 produced there a fine edition of the _De Veritate Contritionis_ of Vivaldus, with a frontispiece of S. Jerome in the desert. At Modena in 1490 Dominicus Rocociola printed a _Legenda Sanctorum Trium Regum_, with a rather pleasing cut of their Adoration of the Holy Child; and two years later, at the same place, the _Prognosticatio_ of Johann Lichtenberger, printed by Pierre Maufer, was illustrated with three full-page quarto cuts and forty-two half-page ones, careful directions for each picture being supplied in the text, but the cuts being modelled on those in the German editions at Ulm and Mainz. At Aquila in 1493 an _Aesop_ was produced, copied from the Naples edition of 1485. At Pavia in 1505 the _Sanctuarium_ of Jacobus Gualla was illustrated with seventy woodcuts and some excellent initials. At Saluzzo in 1508 another work by Vivaldus, printed by Jacobus de Circis and Sixtus de Somachis, was decorated with three large woodcuts of very exceptional merit: a portrait of the Marquis Ludovico II (almost too striking for a book-illustration), a picture of S. Thomas Aquinas in his cell, and another of S. Louis of France. The treatise of Paulus de Middelburgo on the date of Easter, printed by Petruzzi at Fossombrone in 1513, contains some very fine borders, and the _Decachordum Christianum_ of Marcus Vigerius, printed at Fano in 1507 by Hieronymus Soncinus, has ten cuts by Florio Vavassore, surrounded with good arabesque borders. To multiply isolated examples such as these would turn our text into a catalogue. Here and there special care was taken over the decoration of a book, and worthy results produced. But throughout Italy the best period of illustration had come to an end when the sixteenth century was only a few years old. FOOTNOTES: