Most of the forty books of a later printer, Conrad Dinckmut (1482-96), have illustrations. His _Seelenwurzgarten_ (1483) appears at first sight to be a most liberally decorated book, crowded with full-page cuts, but of its 133 illustrations only seventeen are different, one, representing the tortures of the damned, being used as many as thirty-seven times, a deplorable waste of good paper, which the printer had the good sense to reduce in a later edition. Dinckmut's most famous book is a German edition of the _Eunuchus_ of Terence "ain maisterliche vnd wolgesetzte Comedia zelesen vnd zehoren lustig und kurtzwylig, die der Hochgelert vnd gross Maister und Poet Therencius gar subtill mit grosser Kunnst und hochem Flyss gesetzt hat." This has twenty-eight nearly full-page cuts in which the characters are well drawn, the setting for the most part showing the streets of a medieval town. A _Chronik_, by Thomas Lirer, issued about the same time, was begun to be illustrated on a generous scale with eighteen full-page cuts in the first twenty-eight leaves, but was hastily finished off with only three more cuts in the remaining thirty-six. They are less carefully executed than those of the _Eunuchus_, but show more variety, and are on the whole very pleasing. Another Ulm printer, who began work in 1482, Leonhard Holl, printed in that year a magnificent edition of Ptolemy's _Cosmographia_, with woodcut maps (one signed "Insculptum est per Iohann[=e] Schnitzer de Armszheim") and fine capitals. The first of these, a pictorial N, shows the editor, Nicolaus Germanus, presenting his book to the Pope. Of later Ulm books by far the most important are two by Gulielmus Caoursin, published by Johann Reger in 1496, and both concerned with the Knights of St. John of Jerusalem at Rhodes. One volume gives their _Stabilimenta_ or Constitution, the other _Obsidionis urbis Rhodiae descriptio_, an illustrated history of their defence of their island against the Turks and their subsequent dealings with the infidel, who at one time were so complaisant as to present them with no less valuable a relic than the arm of their patron, which was duly honoured with processions and sermons. Altogether the two books contain fifty-six full-page pictures, rather roughly cut, but full of vigour and bringing the course of the siege and the character of the wild Turkish horsemen very vividly before the reader. William Morris was even tempted to conjecture that the designs may have been made by Erhard Reuwich, the illustrator of the Mainz _Breidenbach_, of which we shall soon have to speak.