At Louvain in 1487 Egidius van der Heerstraten issued the _De praeclaris mulieribus_ of Boccaccio with copies of the cuts of the Ulm edition of great interest for the differences in handling revealed when the two are compared. A little later than this another Louvain printer, Ludovicus de Ravescot, published the _De anno die et feria Dominicae Passionis_ of Petrus de Rivo, with a title-cut of the author kneeling before the Virgin and Child, and three large cuts of the Last Supper, Crucifixion, and Resurrection, somewhat in the temper of the illustrations in the Cologne Bibles, but with characteristic Low Country touches. Lastly, mention must be made of the clumsy outline cuts in the Bruges edition of Ovid's _Metamorphoses_, issued in 1484 by Caxton's partner Colard Mansion. Mansion certainly, and possibly Caxton also, were among the early experimenters with copperplate illustration, but the story of these will be told in Chapter XV. FOOTNOTES: [29] Dr. Schreiber, in the introduction to Tome V of his _Manuel de l'amateur de la gravure sur bois au xv^e siecle_, dealing with German book-illustrations, shows that some little difficulty was found at first in effecting this. In Boner's _Edelstein_ (Bamberg, 1461), probably the first illustrated book printed in Germany, the cuts were printed after the text. In Zainer's _Heiligenleben_, the first illustrated book printed at Augsburg, the cuts must have been printed first, as part of the text is sometimes printed over them. [30] A set of proofs of cuts to this book, previously in the possession of the Marquis of Blandford and Mr. Perkins, was among the favourite possessions of William Morris, and is now owned by Mr. Morgan. An illustrated _Plenarium_, assigned by Dr. Copinger to Richel, appears to be a "ghost," due to some confusion with this _Spiegel_. CHAPTER VIII EARLY ITALIAN ILLUSTRATED BOOKS