As examples of later styles, though not very beautiful in themselves, we add here the rather clumsy woodcut of S. Nicholas adopted by Niccolò d'Aristotele da Ferrara, called 'il Zoppino,' who printed at Venice from 1508 to about 1536, and the very florid device of Hieronymus Francisci Baldassaris, a printer at Perugia from about 1526 to 1550. The arms there shown are those of the city of Perugia, while the F. and the cross above it reproduce the mark used by the printer's father, Francesco, the founder of the firm. The Aldine anchor and the fleur-de-lys of Lucantonio Giunta and his successors are too well known to need reproduction or comment, though both stand rather apart from the ordinary run of Italian marks.
[12] This, and nearly all the Florentine illustrations mentioned here, will be found reproduced in Dr. Paul Kristeller's Early Florentine Woodcuts, published in 1897, after this chapter was written.
[13] There are two variants of this cut, the smaller introducing a little landscape background.
[14] There is yet a third variant, which may be recognised by the angel appearing on the right, but showing his whole body, not the hands only, as in the 1492 cut.
[15] A reprint was issued in 1515.
[16] In contrast to the prevailing anthropomorphism of the time, the First Person of the Trinity is represented by a 'loco tondo et vacuo,' a blank circle, with a halo of angels round it. On either side of this circle stand Christ and the Blessed Virgin.
[17] El Contrasto di Carnesciale e la Quaresima; El Contrasto degli Huomini e delle Donne; El Contrasto del Vivo e del Morto; El Contrasto della Bianca e della Brunetta; La Contenzione della Poverta contra la Richezza, &c.