In the last map,--of Loraine,--in an edition of Ptolemy, in folio, printed at Strasburg in 1513, by John Schott, the attempt to print in colours, in the manner of chiaro-scuro wood engravings, is carried yet further. The hills and woods are printed green; the indications of towns and cities, and the names of the most considerable places, are red; while the names of the smaller places are black. For this map, executed in three colours, green, red, and black, there would be required two wood engravings and two forms of type, each of which would have to be separately printed. The arms which form a border to the map are printed in their proper heraldic colours.[IV-48] The only other specimen of armorial bearings printed in colours from wood-blocks, that I am aware of, is Earl Spencer’s arms in the first part of Savage’s Hints on Decorative Printing, which was published in 1818, upwards of three hundred years after the first essay. [Footnote IV-48: I regret that I have not had an opportunity of personally examining this map. There is a copy of Schott’s edition in the British Museum; but all the maps, except one of the sphere, are taken out. The above account of the map of Loraine is from Breitkopf’s interesting essay “Ueber den Druck der Geographischen Charten,” S. 7. 4to. Leipzig, 1777.] At a later period a new method was adopted by which the wood engraver was spared the trouble of cutting the letters, while the printer was enabled to obtain a perfect copy of each map by a single impression. The mode in which this was effected was as follows. The indications of mountains, rivers, cities, and villages were engraved on the wood as before, and blank spaces were left for the names. Those spaces were afterwards cut out by means of a chisel or drill, piercing quite through the block: and the names of the places being inserted in type, the whole constituted only one “form,” from which an impression both of the cut and the letters could be obtained by its being passed once through the press. Sebastian Munster’s Cosmography, folio, printed at Basle in 1554, by Henry Petri, affords several examples of maps executed in this manner. This may be considered as one of the last efforts of the old wood engravers and printers to secure to themselves a share of the business of map-engraving. Their endeavours, however, were unavailing; for within twenty years of that date, this branch of art was almost exclusively in the hands of the copper-plate engravers. From the date of the maps of Ortelius, Antwerp, 1570, engraved on copper by Ægidius Diest, maps engraved on wood are rarely to be seen. The practice of engraving the outlines and rivers on wood, and then piercing the block and inserting the names of the places in type has, however, lately been revived; and where publishers are obliged either to print maps with the type or to give none at all, this mode may answer very well, more