which they used for tracing their designs; they would, too, have been aided in their art, merely as goldsmiths, could they have tested their engraving from time to time by taking an impression from it in its various stages. It is not unlikely, therefore, that the art of taking impressions from engraved work was found out, or at least was first extensively applied, in their workshops, where it could hardly have failed to be discovered ultimately, as paper came into use more generally and for more various purposes. If this were the case, metal-engraving preceded wood-engraving, but only by a brief space of time, because, as soon as the idea of the new art was fully grasped, wood must have been almost immediately employed in preference to metal, on account of the greater ease and speed of working in wood, and of the less injury done to the paper in printing from it.
Some support for this view, that the art of printing from engraved metal plates was discovered by the goldsmiths, and preceded and suggested wood-engraving, is derived from the peculiar prints in the manière criblée, or the dotted style, of which over three hundred are known. They were produced by a mixed process of engraving in relief and in intaglio, usually upon a metal plate, but sometimes upon wood. The effects are given by dots and lines relieved in white upon a black ground, assisted by dots and lines relieved in black upon a white ground. These prints have afforded much material for dispute and controversy, both as to their process and their date; the mode in which the metal plates from which they were printed were engraved, particularly the punching out small holes in the metal, which appear usually as white dots, and give the name to the prints, is the same
