smaller cuts which look as if they had been prepared for a Horae, and may indeed have been used for one now entirely lost. The "Ad te levavi" cut reappears in many of the later Missals of Du Pre, and subsequently of Wolfgang Hopyl. Du Pre's first secular book to be illustrated was an edition of Boccaccio's _De la ruine des nobles hommes_, completed 26 February, 1483-4, and of peculiar interest to English bookmen because the woodcuts were acquired by Richard Pynson, and used in his edition of Lydgate's _Falles of Princes_, an English verse-rendering of the same work. They are well designed and clearly cut, if rather hard, and till their French origin was discovered were justly praised as "some of the very best" English woodcuts of the fifteenth century. Only a few weeks later Jean Bonhomme (12 May, 1484) issued Maistre Jacques Millet's _L'Histoire de la destruction de Troye la Grant_, illustrated with a number of cuts rather neater and firmer, but of much the same kind, and possibly from the same workshop. They passed almost at once into the possession of Verard, and cuts from the series illustrating battles, landings, councils, audiences, and other romantic commonplaces are found in his _Vegece_ of 1488 and _Les Commentaires Iules Cesar_ of about the same date (see Macfarlane's _Antoine Verard_, cuts vi-ix). A new edition of Millet's book was printed by Jean Driard for Verard 8 May, 1498. Two of the best of the cuts are those of the lamentation over the dead body of Hector and the sacrifice of Polyxena on the tomb of Achilles. The only other illustrated book published by Jean Bonhomme was his edition of the _Livre des ruraulx prouffitz du labeur des champs_, a French version of Crescentius, with a frontispiece of the translator presenting his book to Charles VII (15 October, 1486). Meanwhile, a new publisher of illustrated books had arisen, Guyot Marchant, who in September, 1485, issued a _Danse macabre_ which went through several editions. Its grim fantastic pictures (executed with unusual skill and delicacy, see Plate XVIII) of Death as a grinning skeleton claiming his prey from every class of society seem to have become quickly popular, and additional cuts were made for later editions, including one in Latin (15 October, 1490), in which the Dance is called _Chorea ab eximio macabro versibus alemanicis edita_. A _Danse macabre des femmes_ followed (2 May, 1491), but the figures in this are mostly less good, as are those of a third part (the Debate between Soul and Body, and other pieces), despite the vivacity with which they represent the tortures of the damned. Akin to the _Danse Macabre_ is the _Compost et Kalendrier des Bergers_ (also of 1491), a medley of weather-lore, rules for health, and moral and religious instruction, liberally illustrated with cuts of shepherds, of Moses, Christ and the Apostles, and of the tortures of the damned. This in its turn was followed, in 1496, by a similar book for the