In the specimen which he gives, rivers are represented by minute parallel lines, which are shorter or longer as the river contracts or expands; and the junction of the separate pieces may be distinctly perceived. For hills and trees there are distinct characters representing those objects. Towns and large villages are distinguished by a small church, and small villages by a small circle. Roads are indicated by dotted parallel lines. For the title of the map large capitals are used. The name of the city of LEIPSIC is in small capitals. The names of towns and villages are in _Italic_; and of woods, rivers, and hills, in Roman type. The general appearance of the map is unpleasing to the eye. Breitkopf has displayed his ingenuity by producing such a typographic curiosity, and his good sense in abandoning his invention when he found that he could not render it useful. Mr. Ottley, at page 755 of the second volume of his Inquiry, makes the following remarks on the subject of cross-hatching in wood engravings:--“It appears anciently to have been the practice of those masters who furnished designs for the wood engravers to work from, carefully to avoid all cross-hatchings, which, it is probable, were considered beyond the power of the Xylographist to represent. Wolgemuth perceived that, though difficult, this was not impossible; and in the cuts of the Nuremberg Chronicle, the execution of which, (besides furnishing the designs,) he doubtless superintended, a successful attempt was first made to imitate the bold hatchings of a pen-drawing, crossing each other, as occasion prompted the designer, in various directions: to him belongs the praise of having been the first who duly appreciated the powers of this art.” Although it is true that cross-hatchings are not to be found in the earliest wood engravings, yet Mr. Ottley is wrong in assigning this material improvement in the art to Michael Wolgemuth; for cross-hatching is introduced in the beautiful cut forming the frontispiece to the Latin edition of Breydenbach’s Travels, folio, first printed at Mentz, by Erhard Reuwich, in 1486,[IV-50] seven years before the Nuremberg Chronicle appeared. The cut in the following page is a reduced but accurate copy of Breydenbach’s frontispiece, which is not only the finest wood engraving which had appeared up to that date, 1486, but is in point of design and execution as superior to the best cuts in the Nuremberg Chronicle, as the designs of Albert Durer are to the cuts in the oldest editions of the “Poor Preachers’ Bible.” [Footnote IV-50: An edition of this work in German, with the same cuts, was printed by Reuwich in 1488. Within ten years, at least six different editions of this work were printed in Germany. It was also translated into Low Dutch, and printed in Holland.] [Illustration: Philippus de bicken miles]