The Book rose under Simon Vostre and Philip Pigouchet to the culminating point of ornamentation. Here design and engraving improve and sustain each other. It is not only the stippled backgrounds of the borders that please the eye. And who was this unknown designer, this painter of bold conceptions, whose work is complete in little nothings? However, the large full-page figures have not always an originality of their own, nor the French touch of the borders. Thus that of the Passion here reproduced is inspired line for line by the German, Martin Schongauer. Are we to suppose, that duplicates of blocks passed between France and Germany, or was a copy made by a French designer? It is difficult to say. Still the coincidence is not common to all the missals of the great Parisian bookseller. The Death of the Virgin here reproduced is an evident proof of it. It forms part of the 1488 book, and is a truly French work. [Illustration: Fig. 26.--Plate copied from Schongauer's Carrying of the Cross, taken from the _Heures_ of Simon Vostre.] [Illustration: Fig. 27.--The Death of the Virgin, plate taken from the _Heures_ of Simon Vostre, printed in 1488. The border is separate.] It may be said that from the artistic association of Philip Pigouchet and Simon Vostre was born the art of illustration of the Book in France; they worked together for eighteen years, in steady collaboration, and, as far as we know, without a cloud. At Vostre's commencement in 1488 he lived in the Rue Neuve Notre Dame, at the sign of "St. Jean l'Evangeliste;" and in 1520 he was still there, having published more than three hundred editions of the Missal, according to the use of the several cities. Contemporary with Simon Vostre, another publisher was giving a singular impulse to the Book by his extreme energy, true taste, and the aid of first-class artists. Antony Verard, the most illustrious of the old French booksellers, was a writer, printer, illuminator, and dealer. Born in the second half of the fifteenth century, he established himself in Paris on the Pont Notre Dame, both sides of which were then covered with shops, and about 1485 commenced his fine editions with a "Decameron" in French by Laurent de Premierfait. M. Renouvier remarks in his notice of Verard that his first books were not good, the plates were often unskilful, and were probably borrowed or bought from others; this may be very well understood in a beginner whose modest resources did not permit bold enterprises; the figures were in most cases groundworks for miniatures, outlines and sketches rather than vignettes. [Illustration: Fig. 28.--Border of the _Grandes Heures_ of Antony Verard: Paris, 1498 (?).]