But by this time he was already producing Horae, which will be spoken of later on, and Horae and Missals were his main occupations for the rest of his career, though he produced a fine edition of the allegorical romance _Le Chevalier Delibere_ by Olivier de la Marche, Bonnor's _Arbre des Batailles_ (in which he used some of the same cuts), 1493, _Les vigilles du roi Charles VII_ and some other secular books. The great Paris publisher Antoine Verard started on his busy career in 1485, and the history of book-illustration at Paris is soon immensely complicated by his doings. Many of the printers at Paris printed for him; illustrations originally made for other men gravitated into his possession and were used occasionally for new editions of the book for which they had been made, much more often as stock cuts in books with which they had nothing to do; while if another firm brought out a successful picture-book, Verard imitated the cuts in it with unscrupulous and unblushing closeness. The monograph of my late friend and colleague John Macfarlane[38] describes some 280 books published by Verard between 1485 and 1512, and like most bibliographical work done at first hand by personal examination of the books themselves gets at the root of the matter, although the absence of information as to Verard's predecessors and contemporaries, such as has since been supplied by M. Claudin, prevented the author from pressing home some of his points. Thus in his estimate that sets of blocks had been "expressly cut to adorn some thirty editions," Macfarlane did not make sufficient allowance for the cases in which these apparent sets were themselves not original, having been acquired by Verard from earlier owners. Nevertheless, he had no difficulty in finding support for his contention that "the illustrations in Verard's books, when closely examined, hardly bear out their reputation." Thus he showed that "besides being repeatedly used in book after book, it not uncommonly happens that the same cut is used again and again in the same book," and gave as an extreme instance of this the repetition no fewer than twenty times of the same cut in the _Merlin_ of 1498.[39] He pointed out, moreover, that some far-fetched plea is nearly always needed to justify the presence of a cut in any but the work it was designed for. "For instance, in the _Josephus_ of 1492 the spoliation of a country is represented by the burial of a woman, the death of Samson by a picture of the Temple, and the Sacrifice of Isaac helps the reader to conceive the execution of a malefactor, while a mention of the sea brings out a cut of Noah's Ark." However crowded a book may be with cuts, if the cuts are mostly irrelevant it cannot truly be said to be illustrated, and the number of Verard's books which a rigorous application of this principle would condemn is very large. An explanation of at least some of these incongruities may be found in Verard's early training as an illuminator,