Wynkyn de Worde inherited Caxton's stock of woodcuts, and early in his career used some of them again in reprints of the _Golden Legend_ and _Speculum Vitae Christi_, and in his larger Horae used the full set of cuts which, while in Caxton's hands, is only known from those which appear in the _Fifteen Oes_. About 1492 he purchased some ornamental capitals (Caxton had only used a single rather graceful rustic A) and one or more cuts from Govaert van Os of Gouda. In his 1494 edition of Walter Hylton's _Scala Perfectionis_ (the first book in which he put his name) he used a woodblock consisting of a picture of Christ suckled by His mother with a long woodcut inscription, part of which reads "Sit dulce nomen domini nostri ihesu christi et nomen genitricis virginis marie benedictum," the whole surrounded by a graceful floral border. In 1495 came Higden's _Polychronicon_ with a few woodcut musical notes, the "hystorye of the deuoute and right renommed lyues of holy faders lyuynge in deserte" (usually quoted as the _Vitas Patrum_), with one large cut used six times and forty small ones used as 155, and about the same time a handsome edition of Bartholomaeus Anglicus's _De proprietatibus rerum_, with large cuts (two-thirds of the folio page) prefixed to each of the twenty-two books, apparently copied partly from those in a Dutch edition printed at Haarlem in 1485, partly from the illustrations (themselves not original) in a French edition printed at Lyon, of which Caxton, who finished the translation on his death-bed, had made use. In 1496, in reprinting the _Book of St. Albans_ De Worde added a treatise on _Fishing with an angle_, to which he prefixed a cut of a happy angler hauling up a fish which will soon be placed in a well-filled tub which stands beside him on the bank. This is quite good primitive work and was sufficiently appreciated to be used for numerous later editions, but soon after this De Worde employed a cutter who served him very badly, mangling cruelly a set of rather ambitious designs for the _Morte d'Arthur_ of 1498 (several of them used again in the _Recuyell_ of 1503), and also some single cuts used in different books. For the next half-dozen years De Worde relied almost exclusively on old cuts, but at last found a competent craftsman who enabled him to bring out in January, 1505-6, an English version of the _Art de bien vivre et de bien mourir_ with quite neat reductions of the pictures in Verard's edition of 1492. It was, no doubt, the same workman who copied in 1506 the Verard-Pigouchet cuts in Pierre Gringore's _Chasteau de Labeur_ as translated by Alexander Barclay, but from the frequent omission of backgrounds it is obvious that in these he was hurried, and they are by no means so good as those in the 1505 edition by Pynson with which De Worde was enviously hastening to compete. The _Calendar of Shepherds_ was another translation from the French, illustrated with copies of