lectual life, too—faint and feeble, no doubt—was nevertheless beginning to show signs of its presence there, where in after-times great thinkers were to find a harbor of refuge, and the most heroic struggle of freedom was to be fought out against Spain and Rome. This comparatively high state of civilization, the activity of men's minds, the variety of mechanical pursuits, the excellence of the goldsmiths' art, the number and character of the early prints undoubtedly issued there, the mention of incorporated guilds of printers at Antwerp as early as 1417, and again in 1440, and at Bruges in 1454, make it probable that the invention of wood-engraving was due to the Netherlands, and perhaps the invention of typography also. Whether this were the case or not, it is certain that the artists of the Netherlands carried the art of engraving in wood to its highest point of excellence during its first period.
Antiquarians have not been contented to show that the best of the block-books came from the Netherlands; they have attempted to discover the names of the composer of the Speculum, the engraver of its designs, and its printer. But their conjectures[1] are so doubtful that it is unnecessary to examine them, with the exception of the ascription of the printing of the Speculum to the Brothers of the Com-
- ↑ The composition of the poem which forms the text of the Speculum has been attributed to Vincent de Beauvais, who could not have written it, and to Conrad d'Altzheim, who might have written it; the designs have been attributed to various artists, particularly to Steurbout, but on the slightest grounds; the printing has been assigned to Lawrence Coster, in whose doubtful if not fabulous name no confidence can be placed, and to Veldener, Faust and Scheffer, Thierry Martens d'Alost, and other early German and Flemish printers.
