burg, and Basle—and from the presses of these cities the greatest number of books with woodcuts were issued. This is one reason why the mastering influence from this time in Northern wood-engraving was German; why German taste, German rudeness, coarseness, and crudity became the main characteristics of wood-engraving in the latter half of the fifteenth century. The Germans had been, from the first, artisans rather than artists. They had produced many anonymous prints and block-books, but they had never attained to the power and elegance of the Flemish school. Now the quality of their work became even less excellent; for decline had set in, and the increasing popularity of the new art of copperplate-engraving combined with the unfavorable influences resulting from printing, which required cheap and rapid processes, to degrade the art still lower. The illustrations in the new books had ordinarily little art-value: they were often grotesque, stiff, ignorant in design, and careless or inexpert in execution; but they had nevertheless their use and their interest.
The German influence was made more powerful, too, by other causes than the foremost part taken by Germany in printing. The Low Countries, hitherto so civilized and prosperous, the home and cradle of early Northern art, the influence of which had spread abroad and become the most powerful even over the German painters themselves, were now involved in the turbulence and disaster of the great wars of Charles the Bold. They not only lost their honorable place at the head of Northern civilization, but on the marriage of their Duchess, Mary of Burgundy, the daughter of Charles the Bold, to the Emperor Maximilian, they yielded in great part to the German influence, and became more
