The Germans introduced into their colophons some vainglorious notices. Arnold Ther Hoernen, already mentioned, who printed the _Theutonista_ at Cologne in 1477, boasted in it of having corrected it all with his own hands. Jean Treschel, established at Lyons in 1493, proclaims himself a German, because the Germans were the inventors of an art that he himself possessed to an eminent degree. He prided himself on being what we may call a skilled typographer; "virum hujus artis solertissimum," he writes without false modesty. At times, in the colophons of his books, he attempted Latin verse, the Sapphic verse of Horace, of a playful turn, to say that his work was perfected in 1494. "Arte et expensis vigilique cura Treschel explevit opus hoc Joannes, Mille quingentos ubi Christus annos Sex minus egit. Jamque Lugduni juvenes, senesque, Martias nonas celebres agebant Magna Reginæ quia prepotenti Festa parabant." [Illustration: Fig. 35.--Frontispiece to Terence, published by Treschel at Lyons in 1493. The author writing his book.] The portrait is another element of illustration, the figure of the author prefixed to his work. It had already been a custom in the manuscripts to paint on the first leaf of the work the likeness of him who composed it, frequently in the act of presenting his book to some noble patron; and in this way is often preserved the only known portrait of either patron or author. Printing and engraving rendered these effigies more common, the portraits of one often served for another, and the booksellers used them without very much scruple. As we shall see later, this became in the sixteenth century a means of illustrating a book plainly, but only at the time when the portrait, drawn or painted, commenced to be more widely used. Previously the _clichés_ of which we speak went everywhere, from the Italians to the French, from Æsop to Accursius; these uncertain physiognomies began with the manuscript romances of chivalry, from whence they were servilely copied in typography. From the first the Italians mixed the ancient and the modern. Thus in a _Breviarium_, printed in 1478, there is an engraved portrait of Paul Florentin. On the same principle, the portrait of Burchiello, an early Italian poet, was later reproduced in England as a likeness of William Caxton. In France the author is often represented writing, and it was so up to the middle of the sixteenth century. In an edition of _Des Cas des Nobles Hommes_, by Jean Dupré, in 1483, Boccaccio is represented seated, having before him his French translator, Laurent de Premierfait. This plate is one of the oldest representations of authors in French books. In the _Roman de la Rose_, first edition of Paris and Lyons, in folio, probably published by William Leroy about 1485, William de Lorris, the author, is shown in his bed:-- "Une nuyt comme je songeoye, Et de fait dormir me convient, En dormant un songe m'advint...."