Here Euryalus, no longer able to restrain himself from contacting the beautiful Lucretia, entrusts a letter to a procuress. Lucretia, seen at the end of the hall as if they inhabited the same palace, will claim to be offended and tear the letter into tiny pieces. As soon as the procuress leaves, however, she will reassemble the pieces and read the letter and enclosed sonnet with delight.

The play with bold black and white patterns is characteristic of Florentine woodcut illustrations, as is the shading accomplished through rows of parallel lines. The attraction between the lovers is suggested through the plunging perspective of the tiled hallway. Unlike Venetian woodcuts of the same period, which were carried out in pure outline and rarely contained areas of black, Florentine woodcuts were conceived as self-sufficient black and white designs and were almost never handcolored. Since Florentine illustrated books were directed to a broad and not particularly wealthy public, they lack the strong ties with the tradition of manuscript illumination that we find in Venice.

This illustration appears in the text near the account of the lovers' first clandestine meeting, which was interrupted by the untimely return of the old man to whom Lucretia was married. He did not catch them, for Lucretia cleverly hid Euryalus in a chest. The woodcut may represent the servant warning the two lovers of the approach of Menelaus. In fact, the image—charming as it is—does not seem to quite fit the story, and may have been reused from another publication.