the claim of Lawrence Coster to the invention of printing with movable types, relying on the authority of Junius,[1] who wrote from tradition more than a century after the facts, makes Coster the first printer of woodcuts. Some writers accept this story; but in spite of them, and of the well-developed genealogical tree with which Meerman provided his hero, and even of Mr. Sotheby's[2] supposed discovery of Coster's portrait, his very existence is doubted. The charming scene in which the idea of the new art first occurred to Coster, as he was walking after dinner in his garden, and cutting letters from beech-tree bark with which to print moral sentences for his grandchildren—the old man surrounded by the childish group in the well-ordered Haarlem garden—is probably, after all, little more than a play of antiquarian fancy. These stories have slight historic weight; they are, to use M. Renouvier's simile, "a group of legends about the cradle of modern art, like those recounted of ancient art, the history of Craton, of Saurias, or of the daughter of Dibutades, who invented design by tracing on a wall the silhouette of her lover."
The first fact known with certainty in the history of wood-engraving is, that in the first quarter of the fifteenth century there were scattered abroad in Northern Europe rude prints, representing scenes from the Scriptures and the lives of the saints. These pictures were on single leaves of paper; the outlines were printed from engraved wood-blocks, but occasionally, it is believed, from metal plates cut
