Callot also made another set of emblems on the life of the Virgin Mary, and published in 1620 a series of prints in quarto for the tragedy of _Soliman_ of Bonarelli, for the account of Cecconnelli. France imposed herself on fallen Italy, she got her works dispersed there, and if an engraver arose there, he did not disdain to consecrate himself to France. Witness Della Bella, who went from Italy to France, where he was taken under the protection of Cardinal Richelieu. It was about the time of the establishment of the Royal Printing House, and it was expected that employment would be found at once for him. Callot was the model chosen by the young Italian artist, and this choice might have been less happy. Della Bella took from his master the philosophic vein, the drollery of design, which he exercised at first in humorous frontispieces, among others that of Scarron's works, where nine fish-women, taking the place of the Muses, dance around the poet. But he passed from gay and pleasant to severe, and made large pages of architecture for serious titles. In 1649 he designed the plates for the large and undigested volume of Valdor on Louis XIII., published by Antoine Estienne at the Royal Printing House. His success was not there; Della Bella was a painter of groups, of ornaments, of subjects somewhat heavy and overdrawn, but which, after numerous transformations, opened a new way to the vignettists of the eighteenth century. [Illustration: Fig. 75.--Title of the _Manière Universelle_, by Desargues, in 1643, by Abraham Bosse.] With Abraham Bosse the decoration of the Book took a considerable extension. Numerous and charming ornamented letters, heads of pages, and tailpieces appear. There are few artists that have done so much as he for graceful illustration and harmony between the vignette and the printed page. His prodigious fecundity made him attempt every style; and after the gaieties of the print in which he laughed with his contemporaries, he adopted a grave air to trace more severe subjects on copper. However, the book entitled _La Manière Universelle_, by Desargues, with numerous geometrical figures and an agreeable frontispiece, bearing the dedication to the Seigneur de Noyers, superintendent of the Royal Printing House, was a critical work, in which Bosse, under a serious standard, did not spare an enemy. We do not bear ill-will to the artist, however, for the following year he published fourteen plates for the Suetonius printed at the Louvre. He successively designed plates for the _Histoire de St. Louis_, numerous vignettes for pious books, figures for the _Pucelle_ of Chapelain and for the _Larcins de la Fortune_. He was always himself, refined and ingenious, whether in the most barren or the most complicated subjects. [Illustration: Fig. 76.--Print by Abraham Bosse representing the booksellers of the Palace under Louis XIII.]