in 1564. The method here shown is, probably, the method in general use in 1440, for the coloring of playing cards and image prints. We see the bowls that contain different colors, with their proper brushes, on top of the chest. The colorer is sweeping the brush over the perforated metal plate, and 
The Print Colorer.
[From Jost Amman]filling up the outlines of the print. The neat pile of sheets before him and near his right hand shows that he is working with precision and with system. Stencil painting was work of care and neatness, but it was so simple that we can clearly understand that it could have been done by women in Nuremberg as effectively as it is done now.[1]
The illustration of the engraver on wood which appears in the same Book of Trades puts before us a man in a richer dress, plainly a workman of higher grade than the stencil painter. He seems to be tracing outlines on the block. The technical accessories about this engraver are the same as those in use at this day—the graver, the whetstone, and, possibly, a water globe lens in the corner near the window casement.[2]
- ↑ Breitkopf says that the stencil painting of prints was done with great rapidity by the medieval colorist. He alludes to an old German saying of "painting the twelve apostles with one stroke," which, no doubt, refers to the expeditious painting of a once popular image print, of which there is now no fragment in existence.
- ↑ Some antiquarians say that this print is a representation of Amman.
