At Jena and Frankfort-on-the-Main were prosperous printing houses, but engravings and ornamentation were neglected. Frankfort employed the frontispiece in the _Traité du Commerce_ of Sigismond Scaccia, published by Zuner in 1648; it was divided into compartments, in which the Bourse, the Exchange, and the port of the city were represented.
It is scarcely necessary to mention the Italian cities which followed the movement. Venice from the middle of the sixteenth century had used engraved frontispieces, among which was that of Domenic Zenoi for the _Portraits des Hommes Illustres_ of Nicholas Valegio. In the same city James Piccini worked for account of Sgava in 1648, but he was equally at the service of Roman publishers, for whom he designed a number of titles. Along with him Frederic Greuter adorned the publications of Alexander Zanetti, not without talent, but without individuality. Bologna, Brescia, Florence, and Naples, had no original sentiment; they followed indifferently the manner of the day.
In Holland, artists were rather numerous. The family of the Passes designed vignettes for books, and engraved frontispieces, admirably studied and composed. The clear and truly personal style of their works places their illustrations in the first rank among those of their time. They had, at the same time, the genius that created and the intelligent burin that faithfully translated an idea. They imagined with art the scenes that they depicted without at all copying their predecessors. From 1599, the date of the publication of the _Hortus Deliciarum_, one of their best works, up to about 1623, they were in Holland, at Arnheim and at Amsterdam. In 1623 we find one of them, the most celebrated, Crispin the younger, designing figures for the _Manège Royal_ of Pluvinel, published by Angelier in Paris, and for another edition, with folding plates, in 1624 for William Lenoir, at the sign of the "White Rose Crowned." This magnificent work, in which the King, Louis XIII., is represented receiving lessons from the rider Pluvinel, had a third and more complete reimpression in 1625 with another publisher, Michael Nivelle. Here we see the Dutch accredited in France, in Paris, in the city then the most ready to understand and pay for the works of eminent artists. In 1624 Gombauld published an _Endymion_--Boileau later associated Gombauld with other poets to declare him a maker of pitiable sonnets--Nicholas Buon, the bookseller named above, undertook the publication, and employed Pass, Leonard Gaultier, and J. Picart to furnish plates in octavo size. Heavy and black as were these vignettes, they do not the less make a good appearance in the edition of the forgotten poet; and it is due to truth to recognise how much Pass was above his collaborators. The following year, 1625, he engraved the _Dionysiaques_ of Nonus, for Robert Fouet, and the _Roman des Romans_ of Du Verdier, comprising more than ten engravings, in a very free and bold manner. The _Berger Extravagant_ and the _Académie de l'Espée_ came in 1628, among numerous others.