Towards the end of his career in the collection of Chaucer's works (1526) and reprint of Lydgate's _Falles of Princes_ (1527), Pynson drew on his stock of miscellaneous blocks rather than allow works with which illustrations had become associated to go forth undecorated.[63] But with his purchase of the border-pieces from Froben in 1518, it would seem that he more or less definitely turned his back on pictorial illustration. Mr. Gordon Duff has shown that a change comes over the character of his books about this time, and has suggested that during the latter years of his life his business was to some extent in the hands of Thomas Berthelet, who succeeded him as King's Printer. Berthelet himself in the course of his long and prosperous career eschewed illustrations altogether, while he took some trouble to get good capitals and had a few ornamental borders. It is thus hardly too much to say that from 1518 for some forty years, until in 1559 John Day published Cunningham's _Cosmographicall Glasse_, book-illustration in England can only be found lurking here and there in holes and corners. In 1526 Peter Treveris issued the _Grete Herbal_ with numerous botanical figures; in 1529 John Rastell printed his own _Pastime of People_ with huge, semi-grotesque cuts of English kings; a few of Robert Copland's books and a few of Robert Wyer's have rough cuts of no importance. But when we think of Pynson's edition of Lord Berners' _Froissart_, of Berthelet's of Gower's _Confessio Amantis_, of Godfray's _Chaucer_, and of Grafton's edition of Halle's _Chronicle_, all illustratable books and all unillustrated, it is evident that educated book-buyers, wearied of rudely hacked blocks, often with no relevance to the book in which they were found, had told the printers that they might save the space occupied by these decorations, and that the reign of the primitive woodcut in English books, if it can be said ever to have reigned, was at an end.