In 1454 the art of printing in movable types and with a press had been perfected in Germany; soon afterward the art of block-printing, although it continued to be practised until the end of the century, began to fall into decay, and the ancient block-books, in which the text had been subsidiary to the colored engravings, speedily gave place to the modern printed book, in which the engravings were subsidiary to the text. This change did not come about without a struggle between the rival arts. In all the great cities of Germany and the Low Countries, the block-printers and wood-engravers had long been organized into strong and compact guilds, enforcing their rights with strict jealousy, and privileged from the first to make use of movable types and the press; the new printers, on the other hand, were comparatively few in number, disunited and scattered, accustomed to go from one town to another, and every attempt by them to insert woodcuts into their books was looked upon and resented as an encroachment on the art of the block-printers and the wood-engravers. At first the new printers closely imitated the manuscripts of their time. They used woodcuts to take the place of the miniatures with which the manuscripts were embellished. They copied directly the handwriting of the scribes in the forms of their type, and were thus led to the use of ornamental initial letters like those which had long been designed by the scribes and illuminated by the rubricators; such are the beautiful initial letters in the Psalter of Faust and Scheffer, published at Mayence in 1457, which are the earliest wood-engravings in a dated book, and are designed and executed with a skill which has rarely been surpassed. It was by such attempts that the new printers incurred the hostility of the wood-engravers, which was soon actively shown. Even as late as 1477, the guild at Augsburg, which was then the most numerous and best-skilled in Germany, opposed the admission of Gunther Zainer, who had just set up a printing-press there, to the rights of citizenship, and he owed his freedom from molestation to the interference of the friendly abbot, Melchior de Stamham. The guild succeeded in obtaining an ordinance forbidding Zainer to insert woodcuts or initials engraved on wood into his books--a prohibition which remained in force until he came to an understanding with them, by agreeing to use only such woodcuts and initials as should be engraved by them. In this, or similar ways, as in every displacement of labor by mechanical improvements, after a short struggle the cheaper and more rapid art prevailed; the wood-engravers gave up to the printers the principal part in the making of books, and became their servants.