But the succession of pilgrims, each decked with a huge string of praying-beads and mounted on a most ungainly horse, is grotesque in its cumulation of clumsiness, though when we find that the miller really has got a kind of bagpipe, we recognize that the illustrator had at least read his text. Apparently Caxton himself realized that these English-made woodcuts were a failure, for the only two important illustrated books which he issued after this, the _Speculum Vitae Christi_, printed about 1488 (see Plate XXIX), and the _Fifteen Oes_ of a year or two later, both seem to be decorated with cuts of Flemish origin. The _Fifteen Oes_ (a collection of fifteen prayers, each beginning with O), though I have called it important, is so mainly as proving that Caxton must have printed a Horae of the same measurements (of which it may, indeed, have formed a part), illustrated with a set of very spirited woodcuts, undoubtedly imported from Flanders and subsequently found in the possession of Wynkyn de Worde. That the cuts in the _Speculum Vitae Christi_ are also Flemish is a degree less certain, but only a degree. Some of these were used again in the _Royal Book_, the _Doctrinal of Sapience_, and the _Book of Divers Ghostly Matters_. But the seven books which we have named are the only ones for which Caxton troubled to procure sets of cuts, and of these seven sets, as we have seen, one was certainly and another probably imported, one certainly and another probably copied, and only three are of English origin, and these the rudest and clumsiest. While our chief native printer made this poor record his contemporaries did no better. Lettou and Machlinia used no woodcuts which have come down to us save a small border, which passed into the possession of Pynson; for use at Oxford two sets of cuts were imported from the Low Countries, one which Mr. Gordon Duff thinks was originally designed for a _Legenda Aurea_, the other clearly meant for a Horae. These were used together in the Oxford edition of Mirk's _Liber Festivalis_, and the cut of the author of the _Legenda Aurea_ (Jacobus de Voragine) is used for Lyndewood in an edition of his _Constitutions_. At St. Albans some poor little cuts were used in the _Chronicles of England_, but from the point of view of illustration the anonymous schoolmaster-printer is chiefly memorable for having printed some cuts of coat-armour in the "Book of St. Albans" (_The Boke of Haukyng, Huntyng and also of Cote-armuris_) in colours.