At Barcelona several illustrated books were printed by Juan Rosenbach, one of the earliest of them, the _Carcel d'Amor_ of Diego de San Pedro (1493), having sixteen original cuts, characteristically Spanish in tone and showing good craftsmanship. In or about the same year Friedrich Biel of Basel (usually quoted as Fadrique de Basilea, or Fadrique Aleman) headed an edition of the _Passion de Christo_ with a striking metal-cut of Christ standing upright in the tomb, watched by the B. Virgin and S. John. For his Spanish _Aesop_ of 1496 he presumably copied the German cuts, and he certainly did so for his _Exemplario contra enganos_ of 1498, the 116 cuts of which are all careless copies of those in Pruss's edition of the _Directorium humanae vitae._ Even when in (or about) the next year he was issuing the first edition of the _Celestina_ or _Tragicomedia de Calisto y Melibea_, he could not do so without German models, and based his sixteen little pictures on some of those in Gruninger's _Terence_, while for his _Stultiferae naues_ of Badius Ascensius he went, of course, to the charming French cuts of De Marnef. As a rule, these Spanish versions of foreign cuts have the interest which always attaches to a free rehandling by a craftsman with a characteristic touch and style of his own. None the less it is refreshing to turn to more original work, and at least a little of this (though some one with wider knowledge than myself may further minimize the statement) is to be found at Seville. Here in 1494 Ungut and Stanislaus Polonus issued a _Regimiento de los principes_, translated from the Latin of Aegidius Columna, with a fine title-cut of a young prince (his hair is long) seated in a chair of state, holding a sword and royal orb. The same partners were responsible for another striking titlepage in 1495, that of the _Lilio de Medicina_, Bernardus de Gordonio, where two angels are seen upholding seven lilies in a pot; they also issued in the same year the _Contemplaciones sobre el Rosario de Nuestra Senora_, a fine and typically Spanish book, printed in red and black, with good capitals, two large cuts and fifteen smaller ones, enclosed in borders of white tracery on a black ground. In the last year of the century they issued an _Improbatio Alcorani_ with a swart picture of a disputation on the titlepage, not easily forgotten (see Plate XXII). It was at Seville also that in 1498 Pedro Brun printed in quarto the romance of the Emperor Vespasian, illustrated with fourteen excellent cuts, some of them full of life and movement; but for these a foreign model is quite likely some day to be discovered. On the other hand, at Valentia also there was at least a little work indisputably of native origin, as in the case of the title-cut to the _De regimine domus_ of S. Bernard, printed by Nic. Spindeler about 1498, and (less certainly) another to the _Obra allaors de S. Christofol_, issued by Peter Trincher in the same year.