Printing had been established about twenty years in Paris when Philip Pigouchet, printer and engraver on wood, began to exercise his trade for himself or on account of other publishers. Formerly bookseller in the University, he transported his presses to the Rue de la Harpe, and took for his mark the curious figure here reproduced. At this moment a veritable merchant, Simon Vostre, conceived the idea of putting forth Books of Hours, until then disdained in France, and of publishing them in fine editions with figures, borders, ornaments, large separate plates, and all the resources of typography. The trials made at Venice and Naples between 1473 and 1476 warranted the enterprise. Entering into partnership with Pigouchet, the two were able on the 17th of April, 1488, to place on sale the _Heures à l'Usaige de Rome_, octavo, with varied ornaments and figures. The operation having succeeded beyond their hopes, thanks to the combination of the subjects of the borders, subjects that could be turned and re-turned in all ways so as to obtain the greatest variety, Simon Vostre reapplied himself to the work, and ordered new cuts to augment the number of his decorations. Passavant's idea is commonly received that the engraving was in relief on metal; the line in it is very fine, the background stippled, and the borders without scratches. Wood could not have resisted the force of the press; the reliefs would have been crushed, the borders rubbed and broken. In all the successive editions hard work and wear are not remarked, and we are forced to admit the use of a harder material than the pear or box-wood of ordinary blocks. According to his wants, Simon Vostre designed new series of ornaments. Among them were histories of the saints, Biblical figures, even caricatures against Churchmen, after the manner of the old sculptors, who thought that sin was rendered more horrible in the garb of a monk. Then there were the Dance of Death and sibyls, allying sacred with profane, even the trades, all forming a medley of little figures in the margins, in the borders, nestled among acanthus leaves, distorted men, fantastic animals, and saints piously praying. The Middle Ages live again in these bright and charming books, French in their style, imbued with good sense and perfect toleration. [Illustration: Fig. 25.--Border in four separate blocks in the _Heures à l'Usaige de Rome_, by Pigouchet, for Simon Vostre, in 1488. Small figures from the "Dance of Death."]