History of mediæval art . n effect upon the art of illumination. Berthold Furt-meyer of Ratisbon (d. after 1501) was an important artist, uncon-nected with any school; he is not, however, to be compared toFouquet. The influence of the Netherlands was less felt in Ger-many than in France. The slight attention devoted by the Germansto miniature painting may have been in great measure due to theprogress made in printing, in the second half of the fifteenth centu-ry, through the Rhenish invention which lessened the demand forwritten manuscripts. The inferiority of Germany in this branch, however,
History of mediæval art . n effect upon the art of illumination. Berthold Furt-meyer of Ratisbon (d. after 1501) was an important artist, uncon-nected with any school; he is not, however, to be compared toFouquet. The influence of the Netherlands was less felt in Ger-many than in France. The slight attention devoted by the Germansto miniature painting may have been in great measure due to theprogress made in printing, in the second half of the fifteenth centu-ry, through the Rhenish invention which lessened the demand forwritten manuscripts. The inferiority of Germany in this branch, however, was more 696 PAINTING OF THE GOTHIC EPOCH. than outbalanced by the important advance early made in the artsof reproduction,—the finest result of German illumination.* Sometime before Gutenberg gave to the world the art of typography,which superseded the writing of manuscripts, the printing of pict-ures from wood-cuts had been developed from pen-drawing. Thebeginning seems to have been made in the printing of stuffs by a. Fig. 419.—The Annunciation. Miniature from the Breviary of the Archbishop Ernstof Prague. Bohemian Museum of that Town. kind of stamp, first in the repetition of a small pattern, and later inthe representations of figures, as a substitute for embroidery in one * T. O. Weigel und A. Zestermann, Die Anfange der Druckkunst in Schrift und , 1866.—F. Lippmann, Ueber die Anfange der Formschneidekunst und des Bild-druckes. Repertorium fur Kunstwissenschaft I. Stuttgart, 1876. — R. Muther, DeutscheBucherillustration der Gothik und Friihrenaissance. Munchen, 1884. GERMANY. 697 or more colors. The printed linen tapestry of Sitten, probably ofItalian workmanship, appears to be as early as the fourteenth cen-tury ; impressions in black upon paper, however, are not attestedbefore the beginning of the fifteenth. These latter were chiefly pro-duced in Ulm, and were much in vogue throughout Germany dur-ing the sixteenth century. The effect was heightened b
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