with a headline over them and a quatrain in italics beneath, the whole enclosed in an ornamental frame. The little cuts have the faults inevitable in emblems, and some of them are poorly cut, but the best of them are not only wonderfully delicate, but show a sense of movement and a skill in the manipulation of drapery never reached in the fifteenth century. [Illustration: XXVI. PARIS, J. LOYS FOR V. SERTENAS, 1545 HOMER. L'ILIADE EN VERS FRANCOIS. (TITLE-CUT)] In 1543 appeared, again from the press of Denis Janot, "imprimeur du Roy en langue francoise," another emblem book, _Le Tableau de Cebes de Thebes, ancien philosophe & disciple de Socrate: auquel est paincte de ses couleurs, la uraye image de la vie humaine, & quelle uoye l'homme doit elire, pour peruenir a vertu & perfaicte science. Premierem[=e]t escript en Grec & maintenant expose en Ryme Francoyse_. The French rhymester was again the author of the _Hecatongraphie_, and the imprint, "A Paris On les uend en la grand [_sic_] salle du Palais en la boutique de Gilles Corrozet," shows that he not only wrote the verses and perhaps inspired the illustrations, but sold the books as well. In 1545 we find this same style of design and cutting on a larger scale in _Les dix premiers livres de l'Iliade d'Homere, Prince des Poetes, traduictz en vers Francois, par M. Hugues Salel_, and printed by Iehan Loys for Vincent Sertenas. The cuts are in two sizes, the smaller being surrounded with Toryesque borders. It is difficult to pass any judgment other than one of praise on such delicate work. Nevertheless, just as the _fanfare_ style of binding used by Nicolas Eve, with its profuse repetition of small tools, is much more effective on a small book cover than on a large, so here we may well feel that some bolder and clearer design would be better suited to the illustration of a folio. In the title-cut here shown (Plate XXVI) a rather larger style is attempted with good results. The year after the Homer there appeared at Paris from the press of Jacques Kerver a French translation of the _Hypnerotomachia_ by Jean Martin. This is one of the most interesting cases of the rehandling of woodcuts, the arrangement of the original designs being closely followed, while the tone is completely changed by the substitution of the tall rather thin figures which had become fashionable in French woodcuts for the short and rather plump ones of the Venetian edition, and by similar changes in the treatment of landscape. In the second half of the century at Paris excellent woodcut portraits, mostly in an oval frame, are sometimes found on titlepages, and in other cases decoration is supplied by a neatly cut device. Where illustrations are needed for the explanation of works on hunting or any other subjects they are mostly well drawn and cut. But the use of woodcuts in books of imaginative literature became more and more rare.