[15] Heinecken, Lanzi, Mariette, Didot.
[16] Jackson and Chatto, “A Treatise on Wood-engraving.” London, 1839; p. 39.
[17] Meerman, “Orig. Typogr.” Hagæ, Comit., 1765.
[18] Hadriani Junii Batavia. Lugdunum Batavorum, 1588.
[19] S. Sotheby, “Principia Typographica.” The block-books issued in Holland, Flanders, and Germany during the 15th century. London, 1858; 3 vols.; vol. i., p. 179.
[20] Heinecken, “Idée Générale d’une Collection complette d’Estampes.” Leipsic et Vienne, 1771; p. 250.
[21] Those who are curious may consult on this print “Quelques Mots sur la Gravure au millésime de 1418,” par C. D. B. (M. de Brou). Bruxelles, 1846. “La Plus Ancienne Gravure connue avec une date,” Mémoire par M. le Baron de Reiffenberg. Bruxelles, 1845; also, in favor of the date, the works of Ruelens, Luthereau, Renouvier, Berjeau, and against it, the works of Passavant, LaCroix, and Chatto.
[22] This print is described by Ottley in his “Inquiry,” etc. London, 1863. There is another woodcut on the reverse side of the leaf, representing the Virgin holding the dead Christ, of which Ottley gives a fac-simile. The manuscript with these woodcuts is now in the possession of Professor Norton, of Harvard College.
[23] Many fine examples of these prints are reproduced, with their original colors, in Weigel and Zestermann’s “Die Anfänge der Drucker-Kunst in Bild und Schrift.” 2 Bände. Leipzig, 1866.
[24] Four schools of coloring are reckoned: the Suabian School (Augsburg and Ulm), marked by bright colors; the Franconian (Nuremberg and Nördlingen), marked by less lively colors; the Bavarian (Friesing, Tegernsee, Kaisersheim), marked by use of pure carmine and ochre; the Lower Rhine (Cologne, and towns of Burgundy), marked by pure colors in pale tints. See Willshire, vol. i., p. 175 et seq.