In 1548 we come across a definitely illustrated book, Cranmer's _Catechism_, published by Walter Lynne, with a delicately cut titlepage[64] showing figures of Justice, Prudence, and Victory, and also the royal arms, and in the text numerous small Biblical pictures, two of which are signed "Hans Holbein," while others have been rashly attributed to Bernard Salomon. In 1556 we find Heywood's _Spider and the Fly_ illustrated not only with various woodcuts of spiders' webs, but with a portrait of the author stiff and ungainly enough in all conscience, but carrying with it an impression of lank veracity (see Plate XXXII). About this time, moreover, William Copland was issuing folio and quarto editions of some of the poems and romances which had pleased the readers of the first quarter of the century, and some of these had the old cuts in them. It is evident that illustrations would have come back in any case--book-buyers can never abstain from them for long together. But it is only fair to connect this return with the name of John Day, who made a strenuous effort, which only just failed of success, to bring up book-illustration to the high level at which he was aiming in printing. Day had issued a few books during the reign of Edward VI, notably a Bible with an excellent pictorial capital showing the promoter of the edition, Edmund Becke, presenting a copy of it to the King. As a staunch Protestant he had been in some danger under Queen Mary, but with the accession of Elizabeth he came quickly to the front, thanks to the help of Archbishop Parker, and the edition of _The Cosmographicall Glasse_ of William Cunningham, which he issued in 1559, is thus, as we have already suggested, a real landmark in English book-production. In addition to its fine types, this book is notable for its woodcut diagrams and pictorial capitals, ornamental titlepage, large map of Norwich and, most important of all, a strong and vigorous portrait of the author, his right hand on a globe, a _Dioscorides_ with a diagram of a rose lying open before him, and a wooded landscape being seen in the distance. The whole is enclosed in an oval frame, round which runs a Greek motto cut in majuscules, [Greek: E MEGALE EUDAIMONIE OUDENI PHTHONEIN] ("the great happiness is to envy no man"), with the author's age, "AETATIS 28" at the foot. The portrait measures about 6 inches by 4(1/2), and occupies the whole folio page. It is only too probable that it was the work not of a native Englishman, but of some Dutch refugee, but here at last in an English book was a piece of living portraiture adequately cut on wood, and with better luck it should have been the first of a long series. John Day himself did his best to promote a fashion by prefixing a small portrait of Becon to that author's _Pomander of Prayer_, 1561, and having a much larger one of himself cut the next year, "AETATIS SVAE XXXX," as the inscription tells us, adding also his motto, "LIEFE IS DEATHE AND DEATH IS LIEFE", the