must be shown that the Netherlands imported the art from Cologne or some other German city, and this is lacking; indeed, the absence in early Flemish work of any trace of influence from the school of art which flourished at Cologne before the Van Eycks painted in the Netherlands, is strong negative evidence against such a supposition. On the other hand, it must be remembered that Germany produced the St. Christopher, and many other early prints. In some of the German block-books Heinecken recognized the modes of the German card-makers; but this may be explained otherwise than by supposing that the card-makers invented the art of block-printing. On the whole, the rudeness of early German block-books must be held to be a result of the unskilfulness and tastelessness of German workmen, rather than an indication that the art was discovered by them. The engraving of the Apocalypse, like all other German work, will bear no comparison with the Netherland engraving, either in refinement, vivacity, or skill.
The other block-books, many of which are in themselves interesting and curious, do not elucidate the history of the art, and therefore need not be discussed. It is sufficient to say that they are less valuable than those which have been described, and far ruder in design and execution. Some of them throw light upon the time. The Ars Memorandi, a series of designs meant to assist the memory in recalling the chapters of the Apocalypse, is a very curious monument of an age when such a device was useful; and the Ars Moriendi, or Art of Dying, in which were depicted frightful and eager devils about a dying man's couch, is a book which may stir our laughter, but was full of a different meaning for the poor sinner to whose bedside the pious monks
