Bold strokes, majestic letters, intertwined ornaments, are here multiplied. Three persons worked upon it for five years; these were, Peutinger says, Hans Leonard Schäufelein, the painter, Jost Necker, the engraver, and Schönsperger, the printer of Augsburg, who quitted his native city for Nuremberg. When they were able to take a proof, craftsmen were unwilling to believe it to be a book composed in movable characters; they were sure, on the contrary, that it was a true xylograph, cut in wood; and, in fact, from the title here reproduced, the error was excusable. This work, which is now called the _Theuerdanck_, from the name of the hero of the romance, is ornamented with a number of wood engravings, numbered by Arabic figures. We reproduce one of the last plates, in which Theuerdanck--Maximilian--is introduced to the Queen--Mary of Burgundy. The designs of Schäufelein recall very nearly the work of Albert Dürer, his master; but, as we said of him, these works, heavy and dull, although very clever, do not always suit as vignettes. Again, our criticism does not extend so much to the _Theuerdanck_, whose letters, excessively ornamented and much flattened, furnish a framework more suitable for the engravings than would a more slender character, which would be completely overshadowed by the German plate. When we have mentioned the _Passional Christi_ of Lucas Cranach, published by J. Grünenberg at Wittemberg in 1521--twenty-six mediocre wood engravings--we shall have cited the most important of the interesting and rare volumes published in Germany at the commencement of the sixteenth century. The Netherlands, Spain, and England were working, but without great success. In the Low Countries Plantin and his gigantic enterprises may be recalled. In Spain the taste had not yet developed itself; and although the drawing of illustrations may be careful enough, the wood-cutting is pitiable. We will mention the Seneca of Toledo in 1510, and the "Chronicle of Aragon" in 1523. Of England we will speak later.