In Spain the dignity and severity which marks the work of the early printers were opposed to any save purely decorative initials, which, probably through the influence of the German printers in the Peninsula, came into use at an early date, and were often strikingly good. The one pictorial set I have found occurs in the 'Copilacion de Leyes,' promulgated in 1485, and printed by Centenera at Zamora, probably in the same year. Each of these initials, nine in number, is appropriate to the section of the book which it heads. Thus in an S two knights in combat herald the laws of chivalry; in an A a canonist and his scholar preside over those of matrimony; for commerce we have money-changers in a D, and so on. The initials are cut not in wood, but on soft metal, which unluckily did not yield at all a good impression, a fault by which the best Spanish decorative work is often marred.
In Italy pictorial initials do not make their appearance until quite late. Except at Venice, indeed, printed initials of any kind were in no high esteem, at Florence not coming into use until 1489. At Venice Ratdolt's decorative alphabets found several imitators before this date, and soon after 1490 we find alphabets of children on a black ground coming into favour. In a 'Donatus,' printed, according to Signor Ongania, in 1493, by Guilelmus Tridentis, we find an open-work P, within which a boy is bringing a book to his master, and, under the date 1494, we are shown a picture of Jacobus de Voragine at work under the shadow of the same letter. Towards the end of the fifteenth century and in the early years of the sixteenth the missals of Georgius Arrivabene and Lucantonio Giunta are crowded with pictorial initials of very varying value. That here shown (fig. 6), from the 'Missale Ordinis Vallisumbrosae,' printed by Giunta in 1503, is a good example of the heavier sort. The letter thus tricked out is a G, the initial of the 'Gaudeamus' with which the introit begins on the festival of the first Abbot of Vallisumbrosa, Johannes Gualbertus. Numerous other examples will be found figured in Ongania's 'Arte della Stampa,' though the careful student will soon discover that the initial letters with which its pages are crowded are usually fitted into any spaces which chance to be vacant, and often have no connection of any kind with the larger reproductions which they adjoin. Thus their source can seldom be traced with certainty.