be practiced, sometimes at a very skilled level, until the 19th century—elements of the official British Ordnance Survey maps were hand-colored by boys until 1875. Early European printed books often left spaces for initials, rubrics and other elements to be added by hand, just as they had been in manuscripts, and a few early printed books had elaborate borders and miniatures added. However this became much rarer after about 1500. East Asia Traditional East Asian printing of both text and images used woodblock printing, effectively the same technique as woodcut in the West, and printing in a number of colors by using multiple blocks, each inked in a different color, was known from early on. China British art historian Michael Sullivan writes that "the earliest color printing known in China, and indeed in the whole world, is a two-color frontispiece to a Buddhist sutra scroll, dated 1346". Color prints were also used later in the Ming Dynasty. In Chinese woodblock printing, early color woodcuts mostly occur in luxury books about art, especially the more prestigious medium of painting. The first known example is a book on ink-cakes printed in 1606, and color technique reached its height in books on painting published in the seventeenth century. Notable examples are Ming-era Chinese painter Hu Zhengyan's Treatise on the Paintings and Writings of the Ten Bamboo Studio of 1633, and the Manual of the Mustard Seed Garden published in 1679 and 1701, and printed in five colors. Japan In Japan, color woodcuts were used for both sheet prints and book illustrations, though these techniques are better known within the history of prints. The "full-color" technique, called nishiki-e in its fully developed form, spread rapidly, and was used widely for sheet prints from the 1760s on. Text was nearly always monochrome, and many books continued to be published with monochrome illustrations sumizuri-e, but the growth of the popularity of ukiyo-e brought with it demand for ever increasing numbers of colors and complexity of techniques. By the nineteenth century most artists designed prints that would be published in color. Major stages of this development were: Sumizuri-e (墨摺り絵, "ink printed pictures") - monochrome printing using only black ink Tan-e (丹絵) - monochrome sumizuri-e prints with handcoloring; distinguished by use of orange highlights using a red pigment called tan "Beni-e" (紅絵, "red pictures") - monochrome sumizuri-e prints with handcoloring; distinguished by use of red ink details or