The eventual re-introduction, however, of these Fables of Æsop to their high place in the general literature of Christendom, is to be looked for in the West rather than in the East. The calamities gradually thickening round the Eastern Empire, and the fall of Constantinople, 1453 A.D. combined with other events to promote the rapid restoration of learning in Italy; and with that recovery of learning the revival of an interest in the Fables of Æsop is closely identified. These fables, indeed, were among the first writings of an earlier antiquity that attracted attention. They took their place beside the Holy Scriptures and the ancient classic authors, in the minds of the great students of that day. Lorenzo Valla, one of the most famous promoters of Italian learning, not only translated into Latin the Iliad of Homer and the Histories of Herodotus and Thucydides, but also the Fables of Æsop. These fables, again, were among the books brought into an extended circulation by the agency of the printing press. Bonus Accursius, as early as 1475–1480, printed the collection of these fables, made by Planudes, which, within five years afterwards, Caxton translated into English, and printed at his press in Westminster Abbey, 1485.[10] It must be mentioned also that the learning of this age has left permanent traces of its influence on these fables,[11] by causing the interpolation with them (as a κτῆμα εἰς ἰει) of some of those amusing stories which were so frequently introduced into the public discourses of the great preachers of those days, and of which specimens are yet to be found in the extant sermons of Jean Raulin, Meffreth, and Gabriel Barlette.[12] The publication of this era which most probably has influenced these fables, is the “Liber Facetiarum,”[13] a book consisting of a hundred jests and stories, by the celebrated Poggio Bracciolini, published A.D. 1471, from which the two fables of the “Miller, his Son, and the Ass,” and the “Fox and the Woodcutter,” are undoubtedly selected.