The _Laborintus_[18] is at once briefer and more inclusive. Opening with rueful mock-heroic on the lot of a schoolmaster, it glances through the seven arts in a series of allusions, and expands upon _grammatica_. Thus poetry is reached by the traditional approach.[19] Most space, however (269-598), is given to exemplifying rhetorical ornament, especially figures. Though the list, as usual, is long, the manufactured or borrowed examples are short. Évrard’s plan of tucking away each within a closed hexameter-pentameter couplet is carried out with some ingenuity. Though he has to take more room for _demonstratio_ (573-594), he generally abjures Geoffrey’s dilating upon dilation. His examples are rather mnemonics than exhibitions. The fourth section (599-686) is a list of authors for school reading.[20] The order, though not obviously progressive, suggests: (1) certain brief moralizing works for elementary study, i.e., a “Cathonet” (the so-called “Distichs of Cato”), a “Théodolet,” or “Theudlet” (the allegorical verse dialogue entitled _Theodulus_),[21] an “Ysopet,” or collection of fables;[22] (2) the classics and their imitators, with Vergil applied as the exemplar of all “three styles”;[23] (3) the Latin summaries of the Trojan war, Dares and the _Ilias latina_, (4) Sidonius and the earlier Christian poets, Alain’s _Anticlaudianus_, and Matthew’s _Tobias_; (5) a group of works on style, i.e., Geoffrey’s _Poetria_; the _Doctrinale_ and _Græcismus_, Matthew’s _Ars versificatoria_, Martianus Capella, and Bernard Silvester.[24] The section on metric (687-834) exemplifies the leonine verses repudiated by Matthew,[25] the handling of phrases and clauses—even to such ingenuities as reversible lines, several patterns of internal rime in the hexameter,[26] and typical faults. After lamenting a schoolmaster’s hardships (835-990), Évrard concludes (991-end) with classified specimens of _rhythmi_. There is a noticeable preponderance of trochaic measures.[27] The final group of quatrains in a measure common both in hymns and in Goliardic use is clearly a school exercise in framing a stanza to end upon a familiar quotation. 4. Johannes de Garlandia, _Poetria_ (probably before mid-Thirteenth Century).