[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._ [25] Merlin, “Origine des Cartes à Jouer, Recherches nouvelles,” etc. Paris, 1869. [26] Printed in Ottley, “An Inquiry,” etc., vol. i., p. 47. [27] “Nam quod legentibus Scriptura, hoc idiotis præstat pictura cernentibus, quia in ipsa etiam ignorantes vident quid sequi debeant, in ipsa legunt qui litteras nesciunt; unde et præcipue gentibus pro lectione pictura est.” Patrologiæ Cursus Completus, Accurante, J. P. Migne, tom. lxxvii. Sancti Gregorii Magni, tom, iii., liber xi., epis. xiii., col. 1128. _Vide_, also, idem, liber ix., epis. cv., col. 1027. [28] “Biblia Pauperum.” Reproduced in fac-simile, from one of the copies in the British Museum, with an historical and bibliographical introduction by J. Ph. Berjeau. London, 1859. [29] “Speculum Humanæ Salvationis.” Le Plus Ancien Monument de la Xylographie et de la Typographie réunies. Reproduit en fac-simile, avec introduction Historique et Bibliographique, par J. Ph. Berjeau. Londres, 1861. [30] The composition of the poem which forms the text of the _Speculum_ has been attributed to Vincent de Beauvais, who could not have written it, and to Conrad d’Altzheim, who might have written it; the designs have been attributed to various artists, particularly to Steurbout, but on the slightest grounds; the printing has been assigned to Lawrence Coster, in whose doubtful if not fabulous name no confidence can be placed, and to Veldener, Faust and Scheffer, Thierry Martens d’Alost, and other early German and Flemish printers.