We have before spoken, apropos of engraving by the burin in Italy, of the small share of Germany in the essay at illustration by that means, and we do not see a real and serious attempt in the two little coats of arms in copper plate in the _Missale Herbipolense_, printed in 1479. The Flemish had not taken any great flights in the midst of this almost European movement. The school of Burgundy, whose influence was felt in all the surrounding countries, had lost its authority in consequence of the progress realized at Mayence. Without doubt the great Flemish artists were there, but they were honoured painters, and their inclination did not descend to seeking the booksellers beyond making them offers of service. Besides, the first of these, officially established in Flanders, were two Germans, John of Westphalia and John Veldener, of Cologne, who established themselves in the university of Louvain in 1473, three years after the first Paris printers. John of Westphalia, who took his own portrait for his mark, edited the _Fasciculus Temporum_, a book which had enormous success in the fifteenth century. At Haarlem, in spite of the block books attributed to Laurent Coster, illustration was backward. About 1485, a Dutch translation of the _Malheurs de Troye_ of Le Fevre was put on sale. This French book was published at Cologne before France possessed the smallest typographical workshop. At Bruges Colard Mansion illuminated the cuts of his _Metamorphoses_ of Ovid in 1484. Simple engraving appeared to him far remote from manuscripts of which the vogue had not yet passed away. At Zwoll Peter van Os, the publisher, cut up and used the xylographic plates of the _Biblia Pauperum_, while the master _à la navette_, John of Cologne, an artist in the best sense of the word, was ornamenting certain popular publications with his designs. At Utrecht Veldener came from Louvain to establish a workshop. He published for the second time a _Fasciculus_ in 1480; he created a style of decoration with flowers and leaves, which shortly after developed into the trade of _Rahmenschneiders_. Antwerp had attracted Gerard de Leeu from Gouda, and he produced the romance of _Belle Vienne_. Schiedam had an inventive engraver who illustrated an edition of the _Chevalier Delibéré_ of Oliver de la Marche, in folio, with Gothic letters, after 1483, as we read in the colophon:-- "Cet traittié fut parfait l'an mil Quatre cens quatre vings et trois Ainsi que sur la fin d'avril Que l'yver est en son exil, Et que l'esté fait ses explois. Au bien soit pris en tous endrois De ceulx à qui il est offert Par celui qui _Tant a souffert_, La Marche."