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86 patron saints. It was an age of great disbelief, and the image prints were of service as reminders of religious duty.

There is no evidence that these prints were made by the monks themselves. There is a statement current in German books of bibliography that one Luger, a Franciscan monk in Nordlingen, engraved on wood at the end of the fourteenth century. But this statement needs verification. It is not at all certain that the word which is here translated engraver on wood was written with clear intention to convey this meaning. The earliest typographers were not monks, nor were they favored with the patronage of the church. It is not probable that any monk who had been educated for the work of a copyist or an illuminator, would forsake his profession for the practice of engraving on wood or printing. Prints, as then made, were coarse, mechanical copies of meritorious originals. The artistic scribe rightfully felt that engraving was beneath him. He must have looked on the people who bought image prints with the same pitying scorn that a true artist feels for the uneducated taste of those who now buy glaring lithographs of sacred personages, and he must have felt as little inducement to engage in their manufacture.

And yet the multitude received them gladly. Wealthy laymen who could afford to buy gorgeous missals, and priests who daily saw and handled manuscript works of art, might put the prints aside as rubbish; but poor men and women, whose work-day lives were unceasing rounds of poverty and drudgery, unrelieved by art, ideality or sentiment, must have hailed with gladness the images in their own houses which shadowed ever so dimly the glories of the church and the rewards of the righteous. The putting-up of the image print on the wall of the hut or the cabin was the first step toward