We have now seen the history of the Book and its decoration in the sixteenth century in France: at first French epics in Italy, books of hours, romances of chivalry; then about 1550, with the reign of Henri II., the religious pamphlets commenced, bookselling spread itself; the strife between illustrations on metal plates and those in relief assumed shape, it continued under Henri III., and terminated abruptly by the victory of the first at the extreme end of the century. With political passions, printing had become a weapon of warfare, which it will never cease to be. They knew in the sixteenth century what perfidious accusations or excessive praises were worth. The Book followed the fate of its author. If the writer was burned, so was his book. Witness the _Christianismi Restitutio_ of the Catholic Servetus, printed at Vienne, in Dauphiné, and consigned to the flames with its author at Geneva in 1553. A single copy was saved from the fire, and is now preserved in the Bibliothèque Nationale; it is the identical copy annotated by Colladon, the accuser of the unhappy Servetus, and still bears traces of fire on its leaves. Typography and the illustration of the Book in England in the sixteenth century did not make the same progress as in France and Italy. Much good work was done, but it was mostly with foreign material. Type was obtained from French and Dutch founders, and most of the woodcuts had the same origin. In the early part of the century most of the publications were translations of popular foreign books, such as Voragine's "Golden Legend," Caxton's translations of Cicero, Boetius, etc. Too many restrictions and privileges obtained to encourage or allow of the establishment of an English school, which was to come later with the spread of wealth and education. Books were mostly printed in Gothic type, or "black letter," and the woodcuts were of the coarsest kind. An exception was the beautiful Prayer-book of John Day, 1578, known as Queen Elizabeth's Prayer-book, from the fine portrait of the Queen, which we reproduce, on the previous page; but in this the woodcuts were designed by Albert Dürer and Hans Holbein. Pynson was the first to use Roman type in England, in the _Oratio in pace nuperrimâ_, 1518, quarto; and the first English Bible in Roman type was printed at Edinburgh in 1576. It is thought that until about 1600 printers were their own type-founders, as no record exists of founding as a separate trade until that time. [Illustration: Fig. 66.--Portrait of Queen Elizabeth from the "Book of Christian Praiers," printed by John Day, 1578.]