The case of Holland is somewhat similar to that of Germany. In the last decade of the fifteenth century, the Dutch woodcutters imitated closely, or directly borrowed, from the French 'Horae,' but the best work, which is also the earliest, was entirely original.
In the sixteenth century the popular printers, like John of Doesborgh, no doubt obtained their haphazard illustrations whence and how they could. In the editions of 'Le Chevalier Délibéré,' by Olivier de la Marche, printed at Antwerp in French and Spanish, in 1547, etc., I thought, at first, that I had found an instance of artistic copying of a very interesting nature, for there is a close connection in design between these highly-finished cuts and the rude yet striking work in the edition printed at Gouda, by Gottfried van Os, shortly after 1486. Inasmuch, however, as La Marche had given elaborate directions for the illumination of his poem, it is obvious that by following these directions any two designers would obtain fairly similar results, without any direct imitation of one by the other.
As far as my own information goes, the French wood-cutters trusted almost entirely to their own imagination during the fifteenth century, and, when they took to borrowing for their 'Horae,' borrowed outright without any attempt at adaptation. One famous example of copying of a later date deserves mention. In 1545 the younger Aldus printed at Venice a second edition of the famous 'Hypnerotomachia,' and either this or the original of 1499 attracted the attention of Gohorry, who made a translation which was revised by Jean Martin and printed by Jacques Kerver in 1546. The cuts to this translation have been variously attributed to Jean Goujon and Jean Cousin, but a moment's glance at the book will show that they are not all by the same hand. The majority of the illustrations show wretched work, and are very clumsily cut, but those at the beginning and a few in the latter part of the volume are fine examples of artistic translation into a different manner. I give here the scene of Poliphilo by the river bank from both the original and the copy, and old favourite as the Venetian cut justly is, I think that the French cut attains almost equal excellence in another style. No finer example of free adaptation could easily be found.