A few books printed or published by less prolific firms remain to be noticed before we speak of the Horae which form so important a section among Paris illustrated books as to require separate treatment. One of Verard's printers was Pierre Le Rouge, a member of a family which worked also at Chablis and at Troyes. In July, 1488, and February, 1488-9, Le Rouge printed "pour Vincent Commin Marchand libraire" _La mer des histoires_ in two great folios with large cuts of the kind Verard subsequently used in his _Chroniques de France_, and on the titlepage a particularly fine capital L. Philippe Pigouchet, mainly a printer of Horae, produced in 1499 for his usual publisher, Simon Vostre, a charmingly illustrated edition of a dull poem, _Le Chasteau de Labeur_, attributed to the playwright of Victor Hugo's _Notre Dame de Paris_, Pierre Gringore. Wolfgang Hopyl printed some fine Missals, mostly after 1500; Le Petit Laurens, besides working for Verard, printed for G. Marnef _La nef des folles_, with a few cuts by one of the most skilled of Paris craftsmen, and these were rivalled by Jean Treperel in an undated _Paris et Vienne_; Gillet Couteau and Jean Menard printed a _Danse Macabre_ in 1492 (not so good as Gui Marchant's) and a new version of the _Biblia Pauperum_ entitled _Les figures du vieil testament et du nouveau;_ Jean Lambert, in 1497, produced _La nef des folz du monde_, with cuts imitating those in the Basel editions. It would be easy to mention other books, but not without turning our pages into a catalogue. We must turn now to the Paris Horae. As already noted, among the pictures in Jean Du Pre's Verdun Missal of November, 1481, there are a set of cuts which seem to have been designed for a Horae, though if they were even put to this use no copy of the edition in which they appeared has been recorded. The earliest illustrated Horae of which copies exist are three editions published by Verard, in February 1485-6, August 1486, and July 1487, all of them small and with insignificant cuts, and all known only from single copies, of which that of the earliest edition (in private hands) is imperfect, while the woodcuts in the other two, both at the Bibliotheque Nationale, are heavily coloured.