At Mainz, which led the way so energetically in typography, book-illustration is not represented at all until 1479, and then almost accidentally in the _Meditationes_ of Cardinal Turrecremata, printed by Johann Neumeister "ciuem Moguntinensem," with thirty-four curious metal-cuts imitating on a smaller scale the woodcuts in the editions printed at Rome by Ulrich Han. Two years later these metal-cuts were used by Neumeister at Albi, and they are subsequently found at Lyon. That this book was printed at Mainz was made practically certain by the type appearing subsequently in the possession of Peter von Friedberg, but that the cuts were executed at Mainz seemed to me improbable until the publication of Dr. Schreibers work on German illustrated books acquainted me with the existence of an _Agenda Moguntinensis_ of 29 June, 1480, also attributed to Neumeister's press, with a metal-cut of S. Martin and the beggar, and the arms not only of Archbishop Diether and the province of Mainz, but of Canon Bernhard von Breidenbach, of whom we shall soon hear again. The _Agenda_ and its metal-cuts are thus firmly fixed as executed at Mainz, and the metal-cuts of the _Meditationes_ must therefore be regarded as Mainz work also. In 1486 Mainz atoned for her long delay in taking up illustrated work, with the _Peregrinationes in Montem Syon_ of the aforesaid Canon Bernhard von Breidenbach, printed with type of Schoeffer's, under the superintendence of Erhard Reuwich of Utrecht, the illustrator. The text of Breidenbach's book is full of interest, for he gives a vivid account of the voyage and of the hardships and extortions to which pilgrims were exposed. In his preface he states that Reuwich was expressly taken on the expedition to illustrate the narrative, and he certainly had ample skill to justify the engagement. Unfortunately, far too much of his labour was spent on great maps or views of Venice, Parenzo, Rhodes and other places passed on the way. These are certainly interesting, as they mark all the chief buildings and are very decoratively drawn. But in the text of the book there are just a few sketches from the life, Jewish moneylenders and groups of Saracens, Syrians (see Plate IX), Indians, etc., and these are so vivid and vigorous that we may well regret that the labour bestowed on the great maps left time for very few of them. They are interesting, moreover, not only as designs, but also for their cutting, as they introduce cross-hatching for the first time, and that very effectively, and are handled with equal firmness and freedom. At the end of the book is a jest, a full-page woodcut subscribed "Hec sunt animalia veraciter depicta sicut vidimus in terra sancta," among the animals thus certified as having been seen personally in the Holy Land being a unicorn and a creature (name unknown--_non constat de nomine_) with a great mane of hair and long tail, which might well serve for the missing link between a man and a gorilla.