The claim made in the last paragraph must be understood as applying only to books honestly illustrated with blocks specially made for them. Books decorated with a job lot of cuts, as was often the case, especially after about 1495, may accidentally be delightful and often possess some of the charm of a scrapbook. It is good sport, for instance, to take one of Verard's later books and trace the origin of the cuts with which that cheaply liberal publisher made his wares attractive. But the incongruity is mostly manifest, and collectors might well be more fastidious than they show themselves and refuse to waste the price of a good book with homogeneous illustrations in buying half a dozen dull little volumes with an old Horae cut at the beginning and the end of each. A second exception must be recognized in the books illustrated by untrained wood-cutters. In Germany and the Low Countries few, if any, quite untrained wood-cutters were employed, and this is true also of Paris and Florence. But at Lyon and other provincial towns in France (the Abbeville cutters, who probably came from Paris, are strikingly good), in a few books printed at Rome and Venice, here and there in Spain, and in one or two of Caxton's and several of Wynkyn de Worde's books in England, the cutting is so bad that, though it is possible sometimes to see that excellent designs underlie it, the effect is either ludicrous or repellent. Only fanatics could admire such pictures as we find in the early Lyonnese _Quatre fils d'Aymon_ (_s.n._, but about 1480), in the _Opuscula_ of Philippus de Barberiis printed by Joannes de Lignamine (Rome, 1481), in a large number of the cuts of the Malermi Bible of 1490 (Venice, G. Ragazzo for L. A. Giunta, 1490), in _Los doze trabajos de Ercules_ (Zamora, 1483), in Caxton's _Aesop_ or in Wynkyn de Worde's _Morte d'Arthur_ (1527). Books such as these (the Malermi Bible is on a different footing from the rest owing to the wonderful excellence of the good cuts) may be bought as curiosities, or for the light they throw on the state of the book trade when such work could be put on the market, but no artistic merit can be claimed for them.