Shepherdesses, of which a new edition appeared in 1499, with added pastoral cuts, some of which have unusual charm. Besides Guyot Marchant, Pierre Levet began book-illustration in 1485, but most of his work was done for Verard. His earliest venture, an _Exposition de la salutation angelique_, has a cut of the Annunciation, the shading in which suggests that he may have imported a cutter from Lyon. [Illustration: XVIII. PARIS, MARCHAND, 1491 DANSE MACABRE (5^a). DEATH AND THE ARCHBISHOP. (REDUCED)] In 1486 Jean Du Pre was very busy. At Paris he completed in June a _Vie des anciens Saintz Peres_, with a large cut of S. Jerome writing in a stall and the holy fathers passing before him, also numerous very neat column-cuts and capital letters. Meanwhile, at Abbeville Du Pre was helping Pierre Gerard to produce one of the finest French books of the fifteenth century, the magnificent edition of S. Augustine's _Cite de Dieu_. Early in 1486 Gerard had already printed there an edition of _La somme rurale_, but this had only a single woodcut, and it was probably mainly in connection with the illustrations that he now enlisted the help of Du Pre. In the first volume of the _Cite de Dieu_ (finished 24 November, 1486) there are eleven woodcuts, in the second (finished 12 April, 1486-7) twelve, i.e. a woodcut at the beginning of each of the twenty-two books and a frontispiece of S. Augustine writing, and the translator, Raoul de Preules, presenting his book to the King of France. The subjects and general design of the cuts correspond with greater or less closeness to those in Royal MS. 14 D. 1 at the British Museum (Books I-XI only), so that the same original was probably followed by both. One of the most effective pictures is that to Book XIV, which shows a man seated in a tree, offered a crown by an angel and a money-chest by a devil, while Death is sawing the tree asunder, and two dragons wait at its foot. Another shows S. Augustine writing, while five devils play with his books, and an angel protects his mitre. The cutting throughout is excellent, and the pictures, though sometimes fantastic, are very effectively drawn. There can be little doubt that they were the work of Paris craftsmen. As for Pierre Gerard, in 1487 he printed by himself, still at Abbeville, an edition of _Le Triomphe des Neuf Preux_, with rather childishly conventional cuts of the legendary heroes, but for Bertrand Du Guesclin a portrait which at least faithfully reproduces his bullet head. We find Du Pre forming a similar alliance two years later with Jean Le Bourgeois of Rouen, for whom he completed at Paris the second volume of a _Roman des Chevaliers de la Table ronde_, 16 September, 1488, while Le Bourgeois was still struggling at Rouen with Vol. I, which ultimately got finished 24 November. This has some large cuts of the Feast at the Round Table, etc. In 1489 Du Pre produced a _Legende doree_, a companion volume to his _Vie des Saintz Peres_ of 1486.