Nicolaus Philippi and Marcus Reinhart in 1482 illustrated a _Mirouer de la vie humaine_ (from the Latin of Rodericus Zamorensis) with Augsburg cuts purchased from the stock of Gunther Zainer[40], and copied a Paris edition in their _Vie des Saintz peres hermites_ and German originals in their _Mandeville_ and _Aesop_. Their edition of the _Postilla Guillermi_ (_c._ 1482) has rather a fine Crucifixion and some primitive but vigorous illustrations of the gospels. Martin Huss issued an undated _Exposition de la Bible_ with rude cuts and a French _Belial_ (version of Pierre Ferget), first printed in November, 1481, and at least five times subsequently. After his death in 1482 his business was carried on by a kinsman, Mathieu Huss, who became a prolific publisher of illustrated books, with cuts of very varying merit. Two of his earliest ventures were the _Proprietaire des Choses_ (2 November, 1482), a French version of the _De proprietatibus rerum_ of Bartholomaeus Anglicus, and a _Fasciculus temporum_ (1483), both with very rude cuts. During a partnership with Johann Schabeler he issued (about 1484) a French version of Boccaccio's _De casibus illustrium virorum_, the pictures in which are hard, stiff, and a little grotesque, but not without character. Of his later books several are illustrated with cuts borrowed or copied from other editions; but beyond a _Legende doree_ with shaded column-cuts, frequently reprinted, he does not seem to have commissioned any important illustrated book. While the pictorial work of the Lyonnese presses was thus largely imitative, at least two very important books were first illustrated there. The earlier of these was the _Roman de la Rose_, of which the first printed edition, decorated with eighty-six cuts mostly small and rudely executed, but which at least have the merit of intelligently following the text, is now attributed to the press of Ortuin and Schenck at Lyon about 1481.[41] These primitive pictures were quickly copied by a cutter of somewhat greater skill but much less intelligence, who "improved" the original designs without troubling to understand them. This new set of cuts was used twice at Lyon, by Jean Syber (about 1485) and by Leroy (about 1487), and was then acquired (less one of the two larger cuts) by Jean Du Pre of Paris, who issued an edition about 1494. About 1497, and again a few years later, new editions were issued in which most of the same cuts reappear, Jean Petit having a share in both editions and Verard in the first, despite the fact that he had issued a rival edition about 1495.[42] [Illustration: XXI. LYON, TRECHSEL, 1493 TERENCE (SIG. A 7 VERSO)]