During the first two decades of the sixteenth century there is the same dearth of anything like ornament in Mayence books, but towards 1520 John, the grandson of the first Peter Scheffer, has several alphabets, one of very large letters with arabesques of flowers, foliage, and birds, used first in his Livy of 1518, published under the patronage of Brandeburg, Archbishop of Magdeburg and Mayence. There is also a smaller one with the most varied subjects, besides a few letters with children on a black ground, and one or two linear initials also with children, copied from Venetian models. CHAPTER II AUGSBURG From what has been already said, it seems evident that the aim of the first printers was to produce by the new art as perfect as possible an imitation of the manuscript. Scheffer printed books with ornamental letters in the manuscript style. The other printers left them to be added by hand, which produced the same effect. It was not until the beginning of the seventies that the printed book assumed its definite form, and that it was recognised that new methods and new processes were necessary. The printed book was henceforth to be a printed book, and not an imitation manuscript. It was no longer to pass, for accessory embellishment, through a number of successive hands, but to be finished at a single impression. It would not be exact to say that it was Günther Zainer who relinquished the fiction of a printed manuscript, and who recognised that, in virtue of the economic principle of which the press itself is a manifestation, text and ornamental embellishments should be produced as simply as possible. The alteration was brought about by the Augsburg printers generally, rather than by any one in particular, and was a matter of evolution rather than of sudden change. It was hindered, too, to a great extent by the opposition of the Guild of Engravers, who saw in the innovation a menace to their privileges, and who brought an action against Zainer and Schussler in 1471 to prevent them using wood-engraving in their books, and even opposed their admission as burgesses. It was only at the intervention of Melchior Stanheim, Abbot of St. Ulrich, that the matter was arranged, on the understanding that they should insert in their books neither woodcut pictures nor letters, a prohibition that was only withdrawn after a new arrangement which bound the printers to employ only recognised members of the Formschneider Guild. As an example of the jealousy with which these privileges of corporations were maintained, it may be mentioned that Albert Dürer was compelled to pay four florins to the Society of Painters of Venice for working at his profession during his stay in that city. Günther Zainer’s first woodcut initials, if they can be called ‘woodcuts,’ are merely outline letters without any kind of ornament. They were intended simply as a guide to the rubricator.