Of the other works, known or supposed to be by Cousin, the Book of Perspective, published in 1560, is the most remarkable, because in its designs considerable difficulties are overcome, and greater power of relief is shown than in any previous French wood-engraving. This book was a treatise, similar to those by Dürer and Leonardo da Vinci upon the laws of art, and its dedication is noticeable because of the light it throws on Cousin’s spirit--“neither to kings nor princes, as is customary,” he says, “but to the public.” The Bible, usually called Le Clerc’s, which contains two hundred and eighty-seven woodcuts, is said to be by Cousin, but of this there is no direct evidence; and to him is ascribed the Triumphal Entry of Charles IX., published in 1572, and supposed by some to have been designed by the engraver Olivier Codoré; many other works are also added to his list, but they were inferior in value to those which have been described, and were unmarked by any special interest. In consequence of the fineness and number of his productions Cousin must be considered the principal French engraver of the century; and he undoubtedly deserves a high rank among the artists of talent, in distinction from the artists of genius, who have practised wood-engraving. About Cousin there were a number of other designers who gave attention to the art and left works of value; but these works bear so much resemblance to one another that it is frequently impossible to recognize in them the hand of any individual of the school--a difficulty by which Cousin’s reputation has profited, because of the eagerness of his admirers to ascribe to him any excellent work in his style which is not definitely known to belong to some one of his contemporaries. These lesser artists were Jean Goujon (c. 1550), who made some excellent cuts for a Vitruvius of 1547, and is believed by some authorities to have designed the reproduction of the Dream of Poliphilo; Pierre Woeiriot (b. 1532), whose biblical cuts inserted in a Josephus of 1566 have much merit; Jean Tortorel (b. 1540?) and Jacques Périssin (b. 1530?), who designed some interesting illustrations of the Huguenot wars; and Philibert de Lorme (c. 1570) and Jean Le Clerc (1580-1620), whose productions are of comparatively little interest. The works of all these artists lacked that intimate relation with the life of the people which made the engravings of the lesser German designers valuable, and have importance only as illustrations of the development of French art in the Renaissance.