[31] Renouvier, “Origine,” etc., p. 91; and Berjeau’s preface to the Fac-simile Reproduction of the _Speculum_. The claims of the Brotherhood are supported most fully by Harzen in “Archiv für die Zeichnenden Künste.” Leipsig, 1855. [32] Didot, “Essai Typographique et Bibliographique sur l’Histoire de la Gravure sur Bois,” col. 205. Paris, 1863. [33] Renouvier, “Des Gravures sur Bois dans les Livres de Simon Vostre.” Paris, 1862. [34] See Duplessis on the works of Simon Vostre, and Brunet’s “Manuel du Libraire,” tom v., at the end, for farther information on the devotional books of the French printers. [35] _Ante_, p. 18. [36] _Vide_ Renouvier, Didot, Passavant. [37] Vespas. Fior., p. 129. Quoted in Burckhardt, “The Civilization of the Period of the Renaissance in Italy.” Translated by S. G. C. Middlemore. Vol. i., p. 271. London, 1878. [38] _The Academy_, October 15, 1872, pp. 383 _et seq._ _Vide_, also, Albert Ilg, “Ueber den Kunsthistorischen Werth der Hypnerotomachia Poliphili, ein Beitrag zur Geschichte der Kunstliteratur in der Renaissance.” Wien, 1872. The original edition of the Dream of Poliphilo is rare and costly. It was re-issued in Venice, in 1545, and in Paris, with some variations (of which some account is given on a later page), in 1546. There is an abridged translation in French by Legrand, without cuts, printed by Didot in 1804. [39] “Le Triomphe de l’Empereur Maximilien. Vienne, 1796.” [40] “La Mare au Diable, par George Sand,” pp. 5-7. Paris, 1869. End of the Project Gutenberg EBook of A History of Wood-Engraving, by George Edward Woodberry