It is a matter of course that the names of the artists who designed these wood-blocks should not have been recorded, any more than those of the numberless illuminators of the lovely written books of the thirteenth and fourteenth centuries; the names under which the Ulm and Augsburg picture-books are known are all those of their printers. Of these by far the most distinguished are the kinsmen (their degree of kinship is not known), Gunther Zainer of Augsburg and John Zainer of Ulm. Nearly parallel with these in date are Ludwig Hohenwang and John Bämler of Augsburg, together with Pflanzmann of Augsburg, the printer of the first illustrated German Bible. Anthony Sorg, a little later than these, was a printer somewhat inferior, rather a reprinter in fact, but by dint of reusing the old blocks, or getting them recut and in some cases redesigned, not always to their disadvantage, produced some very beautiful books. Schoensperger, who printed right into the sixteenth century, used blocks which were ruder than the earlier ones, through carelessness, and I suppose probably because of the aim at cheapness; his books tend towards the chap-book kind. The earliest of these picture-books with a date is Gunther Zainer's Golden Legend, the first part of which was printed in 1471; but, as the most important from the artistic point of view, I should name: first, Gunther Zainer's Speculum Humanæ Salvationis (undated but probably of 1471); second, John Zainer's Boccaccio De Claris Mulieribus (dated in a cut, as well as in the colophon, 1473); third, the Æsop, printed by both the Zainers, but I do not know by which first, as it is undated; fourth, Gunther Zainer's Spiegel des Menschlichen lebens (undated but about 1475), with which must be taken his German Belial, the cuts of which are undoubtedly designed by the same artist, and cut by the same hand, that cut the best in the Spiegel above mentioned; fifth, a beautiful little book, the story of Sigismonda and Guiscard, by Gunther Zainer, undated; sixth, Tuberinus, die geschicht von Symon, which is the story of a late German Hugh of Lincoln, printed by G. Zainer about 1475; seventh, John Bämlers Das buch der Natur (1475), with many full-page cuts of much interest; eighth, by the same printer, Das buch von den 7 Todsünden und den 7 Tugenden (1474); ninth, Bämler's Sprenger's Rosencranz Bruderschaft, with only two cuts, but those most remarkable. To these may be added as transitional (in date at least), between the earlier and the later school next to be mentioned, two really characteristic books printed by Sorg: (a) Der Seusse, a book of mystical devotion, 1482, and (b) the Council of Constance, printed in 1483; the latter being, as far as its cuts are concerned, mainly heraldic.