‘Das půch der natur’ of Konrad von Megenberg occupies a unique position in the history of botany, for it is the first work in which a wood-cut representing plants was used with the definite intention of illustrating the text, and not merely for a decorative purpose. It was first printed in Augsburg in 1475, and is thus several years older than the earliest printed edition of the ‘Herbarium’ of Apuleius Platonicus which we have just discussed. The single plant drawing, which illustrates it, is probably not of such great antiquity, however, as those of the ‘Herbarium,’ for its appearance suggests that it was probably executed from nature for this book, and not copied and recopied from one manuscript to another before it was engraved. The illustration in question is a full-page wood-cut, showing a number of plants, growing _in situ_ (Plate III). Several species (e.g. _Ranunculus acris_, the Meadow Buttercup, _Viola odorata_, the Sweet Violet, and _Convallaria majalis_, the Lily-of-the-Valley) are distinctly recognisable. It is noticeable that, in two cases in which a rosette of radical leaves is represented, the centre of the rosette is filled in in black, upon which the leaf-stalks appear in white. This use of the black background, which gives a rich and solid effect, was carried much further in later books, such as the ‘Ortus Sanitatis.’ [Illustration: Text-fig. 73. “Brionia” [Herbarius Moguntinus, 1484].] A wood-cut, somewhat similar in style to that just described, but more primitive, occurs in Trevisa’s version of the mediæval encyclopædia of Bartholomæus Anglicus, which was printed by Wynkyn de Worde before the end of the fifteenth century. It is probably the first botanical figure illustrating an English book. It is reproduced in Text-fig. 19. [Illustration: Text-fig. 74. “Ireos vel Iris” [Arnaldus de Villa Nova, Tractatus de virtutibus herbarum, 1499].] The illustrations to the Latin ‘Herbarius’ or ‘Herbarius Moguntinus,’ published at Mainz in 1484 (Text-figs. 3, 4, 5, 73), form the next group of botanical wood-cuts. The figures are much better than those of the ‘Herbarium’ of Apuleius, but at the same time they are, as a rule, formal and conventional, and often quite unrecognisable. The want of realism is very conspicuous in such a drawing as that of the Lily (Text-fig. 3), in which the leaves are represented as if they had no organic continuity with the stem. Some of the figures are wonderfully charming, and in their decorative effect recall the plant designs so often used in the Middle Ages to enrich the borders of illuminated manuscripts. This is particularly noticeable in the case of the Briony (Text-fig. 73). The conventional form of tendril here employed is also seen in other early work, such as the roof-painting of a Vine in the Chapel of St Andrew, Canterbury Cathedral, and some “Decorated” stained glass at Wells, both of which are considerably earlier in date than the ‘Herbarius Moguntinus.’