[Illustration: Text-fig. 75. “Capillus Veneris” = Maidenhair Fern [Arnaldus de Villa Nova, Tractatus de virtutibus herbarum, 1499].] A more interesting series of figures, also illustrating the text of the Latin ‘Herbarius,’ was published in Italy a little later. The wood-cuts are believed to be mostly derived from German originals. Text-figs. 6, 57, 65, 74, 75 and 76 are taken from a Venetian edition of 1499. These drawings are more ambitious than those in the original German issue, and, on the whole, the results are more naturalistic. The fern called “Capillus Veneris,” which is probably intended for the Maidenhair, is represented hanging from rocks over water, just as it does in Devonshire caves to-day (Text-fig. 75). Another delightful wood-cut, almost in the Japanese style, is that of an Iris growing at the margin of a stream, from which a graceful bird is drinking (Text-fig. 74). [Illustration: Text-fig. 76. “Cuscuta” = Dodder [Arnaldus de Villa Nova, Tractatus de virtutibus herbarum, 1499].] In the very symmetrical drawing of the Peony (Text-fig. 57) there is an attempt to represent the tuberous roots, which are indicated in solid black. The no less symmetrical Waterlily (Text-fig. 65) is remarkable for its rhizome, on which the scars of the leaf bases are faithfully represented. This drawing is of interest, also, on account of its frank disregard of proportion. The flower stalks are drawn not more than twice as long as the breadth of the leaf! We may, I think, safely conclude that the draughtsman knew quite well that he was not representing the plant as it was, and that he intentionally gave a conventional rendering, which did not profess to be more than an indication of certain distinctive features of the plant. This attitude of the artist to his work, which is so different from that of the scientific draughtsman of the present day, is seen with great clearness in many of the drawings in mediæval manuscripts. For instance, a plant such as the Houseleek may be represented growing on the roof of a house—the plant being about three times the size of the building. No one would imagine that the artist was under the delusion that these proportions held good in nature. The little house was merely introduced in order to convey graphic information as to the habitat of the plant concerned, and the scale on which it was depicted was simply a matter of convenience. Before an art can be appreciated, its conventions must be accepted. It would be as absurd to quarrel with the illustrations we have just described, on account of their lack of proportion, as to condemn grand opera because, in real life, men and women do not converse in song. The idea of naturalistic drawings, in which the size of the parts should be shown in their true relations, was of comparatively late growth.