second Latin edition; precisely like a German edition of the Biblia Pauperum, with the express date of 1470,—­which is also here.  The similarity is in the style of art and character of the type, which latter has much of a Bamberg cast about it.  But of the Latin Biblia Pauperum here is a copy of the first edition, very imperfect, and in wretched condition.  And thus much, or rather thus little, for Block Books.

A word or two now for the MANUSCRIPTS—­which, indeed, according to the order usually observed in these Letters, should have preceded the description of the printed books.  I will begin with a Psalter, in small folio, which I should have almost the hardihood to pronounce of the tenth—­but certainly of the early part of the eleventh—­century.  The text is executed in lower-case roman letters, large and round.  It abounds with illuminations, of about two inches in height, and six in length—­running horizontally, and embedded as it were in the text.  The figures are, therefore, necessarily small.  Most of these illuminations, have a greenish back-ground.  The armour is generally in the Roman fashion:  the helmets being of a low conical form, and the shields having a large knob in the centre.

Next comes an Evangelistarium “seculo undecimo aut circa annum 1100:—­pertinuit ad Monasterium Gengensbachense in Germania, ut legitur in margine primi folii.”  The preceding memorandum is written at the beginning of the volume, but the inscription to which it alludes has been partly destroyed—­owing to the tools of a modern book-binder.  The scription of this old MS. is in a thick, lower case, roman letter.  The illuminations are interesting:  especially that of the Scribe, at the beginning, who is represented in a white and delicately ornamented gown, or roquelaure, with gold, red, and blue borders, and a broad black border at bottom.  The robe should seem to be a monastic garment:  but the figure is probably that of St. Jerom.  It is standing before an opened book.  The head is shaved at top; an azure glory is round the head.  The back-ground of the whole is gold, with an arabesque border.  I wish I could have spared time to make a facsimile of it.  There are also figures of the four Evangelists, in the usual style of art of this period; the whole in fine preservation.  The capital initials are capricious, but tasteful.  We observe birds, beasts, dragons, &c. coiled up in a variety of whimsical forms.  The L. at the beginning of the “Liber Generationis,” is, as usual in highly executed works of art of this period, peculiarly elaborate and striking.