In the first decades of printing, medieval romances were edited and printed en masse, sometimes in luxurious in-folio formats. Sixteenth-century works of long prose narrative also drew on Classical epic and the dialogue. Notwithstanding these significant classical and medieval influences, there was no formal theorization of the novel in the sixteenth century—and indeed no single term to designate 'the novel' in this period. This absence of rigorous theorization and terminology contributed to making the period's vernacular prose narrative a privileged medium for literary experimentation: Rabelais's works were of course experimental in the highest sense, but other forms were also forged and promoted: in particular, sentimental and pastoral forms as well as the humanist model of the Greek novel based on Heliodorus. This period also forged new devices such as suspense and serialization, which would become signature features of the novel in the nineteenth century. Through all its incarnations and in the midst of formal experimentation, long prose narrative in this period opened a new horizon for reading: as a hobby, a pleasurable activity to fill the idle moments of life.