Pictorial title-cuts are not so common in Spanish books as in those of other countries, because of the Spanish fondness for filling the titlepage with an elaborate coat of arms. But nearly all their early bookwork is strong and effective, and the printer who placed a cut on a titlepage nearly always secured a good one. Is it too much to hope that Dr. Conrad Haebler, who has already done such admirable work in recording Spanish incunabula and printing facsimiles of their types, will some day complete his task by publishing a similar volume of facsimiles of Spanish cuts? FOOTNOTES: [37] Similar spaces were left in the typographically anonymous French version of Valerius Maximus, printed about the same date. [38] _Antoine Verard._ By John Macfarlane. Illustrated monographs published by the Bibliographical Society. No. VII. Printed at the Chiswick Press, September, 1900. [39] So in the _Lucain Suetonne et Saluste_ of 1490, five cuts of battle-scenes, all borrowed from the _Mer des Histoires_, printed by Lerouge in 1488, are made to do duty sixty-four times. [40] In 1491 these are found at Saragossa in an edition printed by Hurus. [41] It has also been attributed to Jean Croquet at Geneva, but there is only a typographical argument for this ascription, whereas on the side of Lyon, in addition to (rather weaker) typographical arguments, we have to reckon with Lyonnese paper, the similarity of the illustrations to those of a cutter employed by Martin Huss, and the fact that the book was copied in two editions undoubtedly Lyonnese. See F. W. Bourdillon's _The Early Editions of the Roman de la Rose_ (1906). [42] Only a few of the cuts in this were specially designed for it, all the later ones being taken from stock in Verard's most haphazard fashion. CHAPTER X LATER FOREIGN BOOKS