The Gothic framework of the cut is evidently borrowed from church ornament. The expression of the faces in the crowd of visitors is far in advance of anything we have seen hitherto in the German cuts; and the engraving, which was probably on metal, is evidently facsimile of the drawing and is remarkably well executed. The narrow border on the right of the cut is from an illuminated manuscript. In another of Vostre's Missals we find a copy of an engraving after the German painter, Martin Schongauer, 'Christ bearing the Cross,' enclosed in a French Renaissance frame. In the sky there is a good example of the criblé work of which we have spoken. The towers of Jerusalem in the background must have been evolved from the artist's inner consciousness: he certainly never saw the Holy City.
Antoine Verard also published many 'Livres d'Heures,'[[5]] very much like Vostre's. We are told that he frequently printed a few copies on the finest vellum and had them coloured in exact imitation of the illuminated Missals. One of Verard's patrons was the Duc d'Angoulême, a noted bibliophile, who commissioned him to print on vellum the romance of 'Tristan,' the 'Book of Consolation' of Boethius, the 'Ordinaire du Chrétien,' and the 'Heures en François,' all with illuminated borders and handsome bindings. For this great amount of work Verard received about 240l., then equivalent perhaps to 1,000l. of the present day. We give an outline copy of one of the pages of the romance of 'Tristan,' which will repay much attention both for the principal subject, the King's Banquet, and the tapestry on the wall, which ought to be coloured to be properly appreciated. This famous publisher issued also a huge chronicle in five folio volumes, the 'Miroir Historical,' profusely illustrated with good wood engravings; the first volume in 1495, the last in 1496.
Thielman Kerver, the German, also brought out many 'Books of Hours,' copying those issued by Simon Vostre in a most barefaced way; indeed, piracy of this kind was rampant all over Europe, and but little regarded. We give
a reduced copy of Kerver's book-mark; in the original it will be seen that the background is criblé, thus suggesting that it was cut on metal.
