No medieval form of writing has come down to us more abundantly in manuscripts; and none is more abundantly available in print. In addition to the collections of letters by famous men, or included with them, are many form-letters preserved as models.[2] Medieval epistolary habits are thus amply exemplified as the most widespread applications of the study of style. As a fine art medieval diplomatic correspondence is seen at its finest in the letters of John of Salisbury. The expertness that illuminated even routine affairs and determined the direction of great ones was recognized in his own day. The Archbishop of Rheims, writing to the Pope concerning the exile of the Archbishop of Canterbury, leaves the form of his letter to John.[3] At an earlier crisis of that exile, when Becket cried out against Henry’s influence at Rome, the indignation of the great prelate was submitted to the great secretary; and he was too faithful a friend to forget his art. On reading the letter that you have decided to send to the lord William of Pavia, though I dare not judge its intention, I cannot approve its literary conception.... If the items of your letter are thus brought up one by one, your reply will seem to have proceeded rather from bitterness and rancor than from the singleness of charity. _Ep._ 220; PL 199: 246. Having shown a list of grievances to be ineffective as composition, he adds immediately that accusations are dangerous as style. But not stopping with criticism, he took the great hazard upon himself in the following letter to the same Cardinal.