30. Another page from the same book. The Resurrection, and the raising of Lazarus are the principal subjects. 31. Nominally an Italian woodcut; the book was printed at Milan, but this cut is probably of German design, if not execution. 32. From a very beautiful book in the Florentine style. One of the peculiarities is the copious use of white out of black. 33. Another from the same--"The Quatre reggio," 1508. 34. Another, very characteristic of the Florentine style, with its beautiful landscape background. 35. This is one in which the ornament has really got into the Renaissance style. It is a sort of "Lucky Book," with all sorts of ways of finding your fortune, discovering where your money has gone, who is your enemy, and so on. One of the Peschia books, actually printed at Milan, but of the Venetian school. 36. From a book of the Venetian style, about the same date. I show it as an example of the carefulness and beauty with which the artists of the time combined the border work with the pictures. There is something very satisfactory in the proportion of black and white in the whole page. Now you have seen my examples, I want once more to impress upon you the fact that these designs, one and all, while they perform their especial function--the office of telling a tale--never forget their other function of decorating the book of which they form a part; this is the essential difference between them and modern book illustrations, which I suppose make no pretence at decorating the pages of the book, but must be looked upon as black and white pictures which it is convenient to print and bind up along with the printed matter. The question, in fact, which I want to put to you is this, Whether we are to have books which are beautiful as books; books in which type, paper, woodcuts, and the due arrangement of all these are to be considered, and which are so treated as to produce a harmonious whole, something which will give a person with a sense of beauty real pleasure whenever and wherever the book is opened, even before he begins to look closely into the illustrations; or whether the beautiful and inventive illustrations are to be looked on as separate pictures imbedded in a piece of utilitarianism, which they cannot decorate because it cannot help them to do so. Take, as an example of the latter, Mr. Fred. Walker's illustrations to "Philip" in the "Cornhill Magazine," of the days when some of us were young, since I am inclined to think that they are about the best of such illustrations. Now they are part of Thackeray's story, and I don't want them to be in any way less a part of it, but they are in no respect a part of the tangible printed book, and I do want them to be that. As it is, the mass of utilitarian matter in which they are imbedded is absolutely helpless and dead. Why it is not even ugly--at least not vitally ugly.