Since the earliest of those I have to show is probably not earlier in date than about 1420, and almost all are more than fifty years later than that, it is clear that they belong to the latest period of Mediæval art, and one or two must formally be referred to the earliest days of the Renaissance, though in spirit they are still Gothic. In fact, it is curious to note the suddenness of the supplanting of the Gothic by the neo-classical style in some instances, especially in Germany: e.g., the later books published by the great Nuremberg printer, Koburger, in the fourteen-nineties, books like the "Nuremberg Chronicle," and the "Schatzbehalter," show no sign of the coming change, but ten years worn, and hey, presto, not a particle of Gothic ornament can be found in any German printed book, though, as I think, the figure-works of one great man, Albert Dürer, were Gothic in essence.
The most part of these books, in fact all of them in the earlier days (the exceptions being mainly certain splendidly ornamented French books, including the sumptuous books of "Hours"), were meant for popular books: the great theological folios, the law books, the decretals, and such like of the earlier German printers, though miracles of typographical beauty, if ornamented at all, were ornamented by the illuminator, with the single exception of Gutenberg's splendid "Psalter," which gives us at once the first and best piece of ornamental colour-printing yet achieved. Again, the dainty and perfect volumes of the classics produced by the earlier Roman and Venetian printers disdained the help of wood blocks, though they were often beautifully illuminated, and it was not till after the days of Jenson, the Frenchman who brought the Roman letter to perfection, it was not till Italian typography began to decline, that illustration by reproducible methods became usual; and we know that these illustrated books were looked upon as inferior wares, and were sold far cheaper than the unadorned pages of the great printers. It must be noted in confirmation of the view that the woodcut books were cheap books, that in most cases they were vernacular editions of books already printed in Latin.
The work, then, which I am about to show you has first the disadvantage of the rudeness likely to disfigure cheap forms of art in a time that lacked the resource of slippery plausibility which helps out cheap art at the present day. And secondly, the disadvantage of belonging to the old age rather than the youth or vigorous manhood of the Middle Ages. On the other hand, it is art, and not a mere trade "article;" and though it was produced by the dying Middle Ages, they were not yet dead when it was current, so that it yet retains much of the qualities of the more hopeful period; and in addition, the necessity of adapting the current design to a new material and method gave it a special life, which is full of interest and instruction for artists of all times who are able to keep their eyes open.