The French language, bright and harmonious, thus found hospitality in other countries. For many examples of French books published abroad, we cannot cite one German work printed in France. Spreading from the north to the south, typography had from 1490 its two principal centres at Paris and Lyons. After the success of the three Germans at the Sorbonne, events took their own course. In 1474 Peter Cæsaris and John Stol, two students who had been instructed by Gering and Krantz, founded the second establishment in Paris, at the sign of the "Soufflet Vert;" and they printed classical works. Ten years later appeared Antony Vérard, Simon Vostre, and Pigouchet, the first of whom gave to French bookselling an impulse that it has not since lost; but before them Pasquier-Bonhomme published his _Grandes Chroniques_ in 1476, three volumes folio, the oldest in date of books printed at Paris in French. The French school of illustration was at its most flourishing point at the end of the fifteenth century, but solely in miniature and ornamentation by the pencil. The charming figures of the manuscripts had at this time a Flemish and naturalistic tendency. The most celebrated of the great artists in manuscripts, John Foucquet, could not deny the source of his talent nor the influence of the Van Eyck school, yet the touch remained distinctly personal. He had travelled, and was not confined to the art circles of a single city, as were so many of the earliest painters of Flanders. He had gone through Italy, and from thence he transported architectural subjects for his curious designs in the _Heures_ of Etienne Chevalier, now at Frankfort; a precious fragment of it is preserved in the National Library of Paris. Side by side with this undoubted master, whose works are happily known, lived a more modest artist: John Perréal, called John of Paris, painter to Charles VIII., Louis XII., and Anne of Brittany.