Next a German who had established himself in Florence, Johannes, son of Peter of Mainz, printed Boccaccio’s ‘Filocolo’ in 1472, and afterwards joined the typographical society which took its name from the Dominican nunnery at Ripoli.[104] Its local habitation is still shown in one of the schoolrooms of the educational institute named after the same in the Via della Scala. From this establishment, founded by the spiritual directors of the convent and connected with a type-foundry, issued first, in 1476, some lauds and prayers, then the ‘Commentary of Donatus’ and the ‘Legend of S. Catherine of Siena,’ which, both in the common form and in copies with illuminated initials, obtained a great circulation. This printing establishment, in which many both of the clergy and laity had a share, and in which the nuns were employed as compositors, produced a great deal of work during its short existence of eight years. In 1477 printing was begun by Nicolaus of Breslau, already mentioned; in 1478 he brought out the ‘editio princeps’ of Celsus, and three years later Landino’s ‘Dante.’ In 1481, Antonio Miscomini printed Savonarola’s ‘Triumphus Crucis,’ a proof of the increasing notice attracted by the eloquent and learned Dominican. Next came Ficino’s ‘Platonic Theology,’ and translation of ‘Plotinus.’ In 1488 the series of Greek books issued in Florence opened brilliantly with the ‘Homer,’ dedicated to Lorenzo’s eldest son. Chalcondylas undertook the correction, the difficulty of which called forth his remark, in the preface, that the text had been so corrupted by the carelessness of copyists that it was, so to say, impossible to find it entire in any codex, however old. The expenses were borne by Bernardo and Neri, sons of Tanai de’ Nerli, a noble citizen. Lorenzo Alopa of Venice is said to have printed the beautiful volume, which was soon followed by numerous others. The most celebrated Florentine family of typographers, that of the Giunta, did not begin their labours till Lorenzo de’ Medici had long been in his grave.