The discovery of printing, therefore, is doubtless a result of the example of relief engraving, and there is no doubt either that the first attempts at printing with type originated in Holland. Whilst Coster, or the predecessor of Gutenberg, whoever he was, was somewhat feebly preparing the way for typographical industry, painting and the arts of design generally had in the Low Countries attained a degree of development which they had not before reached, except in Italy. Amongst the German contemporaries of Hubert and John van Eyck, what rival was there to compare with these two masters?--what teacher with so notable an influence, or so fertile a teaching? Whilst, on the banks of the Rhine, artists unworthy of the name and painters destitute of talent were continuing the Gothic traditions and the formulæ of their predecessors, the school of Bruges was renewing, or rather founding, a national art. By the beginning of the fifteenth century the revolution was accomplished in this school, which was already distinguished by the Van Eycks, and to which Memling was about to add fresh lustre. Germany, too, in a few years was to glory in a like success; but the movement did not set in till after the second half of the century. Till then everything remained dead, everything betrayed an extreme poverty of method and doctrine. If we judge the German art of the time by such work, for instance, as the "St. Christopher," engraved in 1423, a single glance is sufficient to reveal the marked superiority of the contemporary Flemings. It is, then, far from unnatural that, at a time when painters, goldsmiths, and all other artists in Flanders were so plainly superior in skill to their co-workers in Germany, the Flemish engravers should likewise have led the van of progress, and taken their places as the first in the history of their art. [Illustration: FIG. 5.--THE INFANT JESUS. Flemish Wood Engraving. (Fifteenth Century.)] [Illustration: FIG. 6.--JESUS, SAVIOUR OF THE WORLD. German Wood Engraving. (Fifteenth Century.)] [Illustration: FIG. 7.--THE CRUCIFIXION. German Wood Engraving. (Fifteenth Century.)] It may be said that the proofs are insufficient. Be it so. We shall not look for them in the "Virgin" on wood, belonging to the Brussels Library, and bearing the date 1418, as the authenticity of this date, to our thinking perfectly genuine, has been disputed; nor shall we seek for them in the anonymous examples which it seems to us but just to ascribe to the old school of the Low Countries.[8] [Illustration: FIG. 8.--THE APOCALYPSE OF ST. JOHN. Dutch Wood Engraving. (Fifteenth Century.)]