of Craton, of Saurias, or of the daughter of Dibutades, who invented design by tracing on a wall the silhouette of her lover.” [Illustration: FIG 2.--St. Christopher, 1423. From Ottley’s “Inquiry into the Origin and Early History of Engraving upon Copper and in Wood.”] The first fact known with certainty in the history of wood-engraving is, that in the first quarter of the fifteenth century there were scattered abroad in Northern Europe rude prints, representing scenes from the Scriptures and the lives of the saints. These pictures were on single leaves of paper; the outlines were printed from engraved wood-blocks, but occasionally, it is believed, from metal plates cut in relief; they were taken off in a pale, brownish ink by rubbing on the back of the paper with a burnisher, and sometimes in black ink and with a press; they were then colored, either by hand or by means of a stencil plate, in order to make them more attractive to the people. The earliest of these prints which bears an unquestionable date is the famous St. Christopher (Fig. 2) of 1423, found by Heinecken,[20] in the middle of the last century, pasted inside the cover of a manuscript in the library of the convent of Buxheim, in Suabia. It represents St. Christopher, according to a favorite legend of the Middle Ages, fording a river with the infant Christ upon his shoulders; opposite, on the right bank, a hermit holds a lantern before his cell; on the left a peasant, with a bag on his back, climbs the steep ascent from his mill to the cottage high up on the cliff, where no swelling of the stream will reach it. The attitude of the two heads is expressive, and the folds of the saint’s robes are well cast about the shoulders; in other respects the cut has little artistic merit, but the attempt to mark shadows by a greater or less width of line is noticeable, and the lines in general are much more varied than is usual in early work. It was printed in black ink, and with a press. There are two other early prints, the dates of which are uncertain, but still sufficiently probable to deserve mention--the warmly controverted Brussels print[21] of 1418, which represents the Virgin and Child, surrounded by four saints, in an enclosed garden, in the style of the Van Eycks, and with more artistic merit than the St. Christopher in design, drawing, and execution; and, secondly, the St. Sebastian of 1437, at Vienna. The former was discovered in 1844, in a bad condition, and the latter in 1779; both are taken off in pale ink, and with a rubber. There are numerous other prints of this kind, which have been described in detail and have had conjectural dates assigned to them, fruitful of much antiquarian dispute. One of these (Fig. 3) is here reproduced for the first time; it was found stitched into a manuscript of 1445, and is unquestionably as old as the manuscript; it represents a Crucifixion, with the Virgin and Longinus at the left, and St.