Then notable illustrated books were published at Ulm and Lubeck, and from Nuremberg we have the great “Nuremberg Chronicle,” full of woodcuts, the best of which are cut by Wilhelm Pleydenwurff and Michael Wohlgemuth. The work in this book gets away from the mere outline, and we find much clever hatching and shading, but there is much coarseness. From Basle came Seb. Brant’s celebrated “Narrenschiff,” one of the most popular books ever written, and illustrated with most amusing cuts of the various follies of the various sorts of fools described. Albrecht Dürer did a few illustrations for books towards the end of the fifteenth and beginning of the sixteenth centuries. Several more illustrated wood books were issued from Nuremberg, Basle and Zurich, and some of the printers’ devices were designed by Holbein. During the seventeenth century a lull occurred in the production of German books illustrated with woodcuts; but the art has always been popular in Germany, and it never quite died out. The very decorative “Triumph of the Emperor Maximilian,” with large woodcuts, designed by Hans Burgkmeier of Augsburg in the early sixteenth century, was published in 1796. German wood engraving for books revived in the nineteenth century, and became of high excellence. German wood engravings have had a certain strength and vigour all their own from the time of the “Nuremberg Chronicle” until modern times. Artists, moreover, have not been wanting; the quite delightful vignettes of A. Schrödter, L. Richter, G. Osterwald, R. Jordan and others, have received adequate and sympathetic treatment at the hands of engravers who are second to none. Nuzelmann, E. Kretschmar, A. Vogel, Beneworth, Joch, and the Leipzig firms of Allanson and Sears, Nicholls and Bosse, and Peupin, some of whom were foreigners. Line engraving on a small scale plays an important part in book illustration. It is the simplest, and yet requires the most technical skill of all the methods of marking metal surfaces for the purpose of making prints. The engraver cuts out a thread of metal, producing a little track on the surface, and to do this properly requires the utmost skill. It has been held for a long time that prints from engraved metal plates owe their existence to the proofs in sulphur which were taken from time to time from engravings intended to be filled with niello. In the museum at Berlin there is a print on paper from an engraved metal plate, representing the Flagellation of Christ. It is German work and dated 1446. The lettering shows rightly on the print, so the engraving was made with the intent that prints should be made from it.