In most of the xylographic books, indeed, the first page is quite without ornamentation. There are neither chapter-headings nor ornamental capitals; the blank space seems to await the hand of the illuminator, who should step in to finish the work of the printer, and complete the resemblance between the printed books and the manuscript. Gutenberg followed; and even he, although less closely an imitator of caligraphy, did not himself disdain at first to practise some deception as to the nature of his method. It is said that the Bible he printed at Mayence was sold as manuscript; and the letterpress is certainly not accompanied by any technical explanation, or by any note of the printer's name or the mode of fabrication. Not till somewhat later, when he published the "Catholicon," did Gutenberg avow that he had printed this book "without the help of reed, quill, or stylus, but by means of a marvellous array of moulds and punches." Even in this specimen of a process already settled and finally disclosed to the public, the capital letters were left blank in the printing, and were afterwards filled in with brush or pen. It was a farewell salutation to the past, and the latest appearance of that old art which was now doomed to pass away before the new, and to leave the field to the products of the press. Did the inventor of the art of printing from plates cut in intaglio, like the inventor of the art of typography, only wish at first to extend to a larger public what had hitherto been reserved for the favoured few? Was early engraving but a weapon turned against the monopoly of the miniature painter? We might be tempted to think so, from the number of manuscripts belonging to the second half of the fifteenth century, in which coloured prints, surrounded by borders also coloured, are set opposite a printed text, apparently in order to imitate as nearly as possible the familiar aspect of illuminated books. Next in turn came printed books with illustrations, and loose sheets published separately for every-day use. The Italian engravers, even before they began to adorn with the burin those works which have been the most frequently illustrated--such, for instance, as the religious handbooks and the poem of Dante--employed the new process from as early as 1465, to assure their calendars a wider publicity. But let us return to the time when engraving was yet in its early stages, and when--by chance, by force of original genius, or by the mere completion of what had been begun by other hands--a Florentine goldsmith, one Maso Finiguerra, succeeded in fixing on paper the impression of a silver plate on which lines had been engraved in intaglio and filled with black.