DiscussionBetween “Muscovia” and the Western territories of “Slavia Orthodoxa”, a divergence can be pointed out. Guseva and Kamenieva (Moscow, 1976) highlighted: the books, printed in the Ukrainian territories, distinguished by their quality, engravings, also prefaces and afterwords. The Ukrainian academician and professor at the Harward U, Isaievych (“Voluntary Brotherhood”, Toronto, 2006) stated: the market-oriented “Western” typographies, managed by confraternities of laymen, were flexible, while the huge “Printing House” in Moscow was an unchangeable giant under the Tsarist control. Those typographies worked on the territory of the Polish-Lithuanian Commonwealth, acquired new European cultural trends, as impacts of the baroque. Prefaces evidenced new styles and ideas, accompanying the unchangeable liturgical texts of Byzantine Rite with “living” texts on the “Prosta mova” (the written public language, based on the vernacular and replacing the Church Slavonic, cf. Getka 2020); also illuminations, engravings contained symbols of Western Christianity even in the books for Byzantine Rite (e.g. “heart of Jesus”). The Greek Catholic (i.e., Uniate) typographies reflected the processes of the confessionalization, too, as Suprasľ, Pochaiv, Univ (Földvári, 2020: 231-32). This paper gives a survey about cultural contacts as reflected in the trade-relations and migration of books.