you!” But they are by no means disproportionate—­and the extraordinary colour and quality of the vellum render them enchanting.  We come now to the ornaments.  These are clusters of small flowers, strung in a pearl-like manner, and formed or grouped into the most pleasing and tasteful shapes.  The figures are small, with a well indicated outline.  How pretty are the little subjects at the foot of each month of the Calendar!  And how totally different from the common-place stiffness, and notorious dullness, of the generality of Flemish pieces of this character!  This book has no superior of its kind in Europe; and is worthy, on a small scale, of what we see in the superb folios of Matthias Corvinus.[49]

A BOOK OF PRAYERS—­almost entirely spoilt by damp and rottenness within.  I should think, from the writing and illuminations, it was executed between the years 1450 and 1480.  The outside is here the principal attraction.  It is a very ancient massive binding, in silver.  On each side is a sacred subject; but on that, where the Crucifixion is represented, the figure to the right has considerable expression.  At the bottom of each compartment are the arms of Bavaria and of the Dukes of Milan.  This is a precious treasure in its way.

The present is probably the proper place to notice the principal gem—­in the department of illuminated books of devotion—­preserved in the Royal Library at Munich:—­I mean, what is called, ALBERT DURER’S PRAYER BOOK.  This consists merely of a set of marginal embellishments in a small folio volume, of which the text, written in a very large lower-case gothic letter, forms the central part.  These embellishments are said to be by the hand of ALBERT DURER:  although, if I mistake not, there is a similar production, or continuation, by LUCAS CRANACH.  They are executed in colours of bistre, green, purple, or pink; with a very small portion of shadow—­and apparently with a reed pen.  Nothing can exceed the spirit of their conception, the vigour of their touch, and the truth both of their drawing and execution.  They consist chiefly of capriccios, accompanied by the figure or figures of four Saints, &c.  They afford one addition to the very many proofs, which I have already seen, of the surprising talents of Albert Durer:  and, if I remember rightly; this very volume has been lithographised at Munich, and published in our own country.[50]

Descending lower in the chronological order of my researches, I now come to the notice of four very splendid and remarkable folio volumes, comprising only the text of the SEVEN PENITENTIAL PSALMS:  and which exhibit extraordinary proofs of the united skill of the Scribe, the Musician, the Painter, and the Book Binder—­all engaged in the execution of these volumes.  Of each of these artists, there is a PORTRAIT; but among them, none please my fancy so much as that of GASPAR RITTER, the book-binder.  All these portraits