For his Missals and Breviaries as for his Horae Plantin sometimes used woodcuts, sometimes copperplates. For his editions of the works of S. Augustine and S. Jerome (1577) he caused really fine portrait frontispieces to be engraved by J. Sadeler from the designs of Crispin van den Broeck. As regards his miscellaneous secular books he was by no means given to superfluous illustrations, and, as we have seen, continued to use woodcuts contemporaneously with plates. Probably his earliest secular engravings (published in 1566, but prepared some years earlier) are the anatomical diagrams in imitation of those in the Roman edition of _Valverde_ mentioned below, to which he prefixed a better frontispiece than that of his model. In 1574 he produced a fine book of portraits of physicians and philosophers, _Icones veterum aliquot ac recentium medicorum philosophorumque_, in sixty-eight plates, with letterpress by J. Sambucus. The next year he issued another illustrated book, the _De rerum usu et abusu_ of Bernardus Furmerius, sharing the expense of it with Ph. Gallus, a print-seller, for whom later on he published several books on commission. From 1578 onwards he printed for Ortelius, the great cosmographer. In 1582 he published the _Pegasides_ of Y. B. Houwaert, in 1584 Waghenaer's _Spieghel der Zeevaerdt_, and other illustrated books followed. But none of them, little indeed that Plantin ever produced, now excite much desire on the part of collectors. Of what took place in other countries and cities in the absence of even tentative lists of the books printed after 1535 anywhere except in England it is difficult to say. In 1560 an anatomical book translated from the Spanish of Juan de Valverde was published at Rome with engraved diagrams of some artistic merit and a rather poorly executed frontispiece. In 1566 "in Venetia appresso Rampazetto," a very fine book of impresas, or emblematical personal badges, made its appearance under the title _Le Imprese Illustre con espositioni et discorsi del S^or Ieronimo Ruscelli_, dedicated "al serenissimo et sempre felicissimo re catolico Filippo d'Austria." This has over a hundred engraved _Imprese_ of three sizes, double-page for the Emperor (signed G. P. F.), full-pagers for kings and other princely personages, half-pagers for ordinary folk (if any owner of an _impresa_ may be thus designated), and all these are printed with letterpress beneath, or on the back of them, and very well printed too. In another book of _Imprese_, published in this same year 1566, the text, consisting of sonnets by Lodovico Dolce, as well as the pictures, is engraved, or rather etched. This is the _Imprese di diuersi principi, duchi, signori, etc., di Batt^a Pittoni Pittore Vicentino_. It exists in a bewildering variety of states, partly due to reprinting, partly apparently to the desire to dedicate it to several different people, one of the British Museum copies being dedicated by Pittoni to the Earl of Arundel and having a printed