The frontispiece of the book, on the other hand, is a striking design of a woman (symbolizing the city of Mainz?) standing on a pedestal surrounded with the arms of Breidenbach and the two friends who went with him, decoratively treated, while above her is a canopy of trelliswork amid which children are joyously climbing. With the Mainz _Breidenbach_ we feel that we have passed away from the naive craftsmanship of the earliest illustrated books into a region of conscious art. Naturally craftsmanship was not extinguished by the arrival of a single artist. We find it at work again in the charming and little known cut to a Leipzig edition of the Eclogues of Theodulus, printed in 1491, which the delight of recent discovery tempts me to show here (see Plate X), and at Mainz itself in the simple cuts to the _Hortus Sanitatis_, printed by Meidenbach, also in 1491, though here again there is an advance, as instead of plants and animals drawn out of the illustrator's head merely for decorative effect we find in many of the cuts fairly careful copies made from the life. In Conrad Botho's _Cronecken der Sassen_, printed by Schoeffer the following year, most of the armorial illustrations and pictures of the foundation of towns are merely decoratively treated, but in one cut in which a rather wild-looking Charlemagne with lean legs is shown seated in a chair of state surmounted by an eagle, an idol crushed under his feet, the designer has given free play to his imagination. [Illustration: X. LEIPZIG, CONRAD KACHELOFEN, 1489 THEODULUS. EGLOGA (I^b)]