The inception of a new style must certainly be connected with the name of Geoffroi Tory, whose best work is to be found in his Books of Hours, which have already been described in an earlier chapter. Its predominant note is a rather thin elegance of outline, in which the height of the figures is usually somewhat exaggerated. Tory is supposed to have brought home this style after his visit to Italy, but its application to bookwork appears to have been his own idea. There is, indeed, a striking resemblance between the little cuts of Tory's third Horae set, dated 8 February, 1529, and those in an Aldine Horae of October of the same year, but to the best of my belief Tory reckoned his year from 1 January, not in the old French style from Easter, and if so it was Tory who supplied the Aldine artist with a model, which indeed is a logical continuation of his editions of 1525 and 1527. It is greatly to be regretted that his own _Champfleury_ of 1527 is so slightly illustrated. The little picture of Hercules Gallicus which comes in it is quite delightful. If any guide were in existence to the illustrated French books of the thirties in the sixteenth century it would probably be possible to trace the spread of Tory's influence. In 1530 Simon Colines illustrated Jean Ruel's _Veterinaria Medicina_ with a good enough cut in the old French style slightly modified. For the same author's _De Natura Stirpium_ of 1536 he provided a woodcut, of an alcove scene in a garden, the tone of which is quite new. It is evident that French publishers were waking up to new possibilities and sending their artists to foreign models, as a _Perceforest_ printed for Gilles Gourmont in 1531 and a _Meliadus de Leonnoys_ for Denis Janot in 1532, have both of them elaborate title borders in the style which the Holbeins had made popular at Basel. The latter is signed .F., a signature found in several later books in the new style. In 1534 we find Wechel issuing a _Valturius_ with neat adaptations of the old Verona illustrations. Doubtless there were many other interesting books, with cuts original or copied of this decade, but the only one of which I have a note is the _L'amant mal traicte de sa mye_ (translated from the Spanish of Diego de San Pedro), printed by Denis Janot for V. Sertenas in 1539, in which the title is enclosed in a delicately cut border, the footpiece of which shows the lovers in a garden. Not long after this Janot printed (without putting his name or a date) _La touche Naifue pour esprouver Lamy and le Flateur_ of Antoine Du Saix, in which the rules enclosing the title cut into a pretty oval design of flowers and ribbons. In 1540 we find the new style fully established in the _Hecatongraphie Cest a dire les descriptions de cent figures & hystoires_, a book of emblems, by Gilles Corrozet, printed by Denis Janot, which I only know in the third edition, that of 1543. Here we find little vignettes, much smaller than those in the Malermi Bible,