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536 typographers to make emphatic the superiority of their branch. Wood-cuts were freely used by typographers in the heart of Germany and in the Netherlands, the districts where we find the earliest notices of block-printing, but they are generally of a low order. Many of them are barbarous, as faulty in cutting as in drawing, and pleasing only to uncultivated tastes. It is probable that, about this time, many of the more skillful engravers and designers abandoned the practice of xylography, attracted, no doubt, by the superior advantages offered by the newly invented art of copper-plate printing. The art of engraving on wood, although it afterward enlisted the services of artists like Durer and Holbein, could not compete with this formidable rival. It suffered a long eclipse, from which it did not emerge until the days of Bewick.

The quality of the paper in early books is as unequal as the printing. In the Bible of 36 lines, the paper is thick and strong, of coarse fibre, yellowish, apparently made from sun-bleached flax; in the books of Schœffer, and of the later German printers, the paper is thinner, but dingy and harsh; in the books of the Venetian printers, it is often very thin, usually of smooth surface and a creamy white tint that seems to have been unchanged by time. Different qualities are often noticeable in the same book. There were many paper-mills from which the printers drew their supplies, and every mill made different qualities. Blades says that it was the practice to sort the paper before printing, separating the rough from the smooth, and the thin from the thick, and to print and bind together sheets of similar quality. The sizes required by printers were small. The books first made were printed on sheets about 16 by 21 inches, one leaf of which was as large as could be printed by one pull of the press. The sizes 15 by 20, 14 by 18 and 12 by 15 inches were common, and