The plan of the Speculum is almost the same as that of the Poor Preachers’ Bible, and is equally as well entitled as the latter to be called “A History typical and anti-typical of the Old and New Testament.” Several of the subjects in the two books are treated nearly in the same manner, though in no single instance, so far as my observation goes, is the design precisely the same in both. In several of the cuts of the Speculum, in the same manner as in the Poor Preachers’ Bible, one compartment contains the supposed type or prefiguration, and the other its fulfilment; for instance: at No. 17 the appearance of the Lord to Moses in the burning bush is typical of the Annunciation; at No. 23 the brazen bath in the temple of Solomon is typical of baptism; at No. 31 the manna provided for the children of Israel in the Desert is typical of the Lord’s Supper; at No. 45 the Crucifixion is represented in one compartment, and in the other is Tubal-Cain, the inventor of iron-work, and consequently of the nails with which Christ was fixed to the cross; and at No. 53 the descent of Christ to Hades, and the liberation of the patriarchs and fathers, is typified by the escape of the children of Israel from Egypt. Though most of the subjects are from the Bible or the Apocrypha, yet there are two or three which the designer has borrowed from profane history: such as Semiramis contemplating the hanging gardens of Babylon; the Sibyl and Augustus; and Codrus king of Athens incurring death in order to secure victory to his people. The Speculum Salvationis, as printed in the editions previously noticed, is only a portion of a larger work with the same title, and ornamented with similar designs, which had been known long before in manuscript. Heineken says, at page 478 of his Idée Générale, that the oldest copy he ever saw was in the Imperial Library at Vienna; and, at page 468, he observes that it appeared to belong to the twelfth century. The manuscript work, when complete, consisted of forty-five chapters in rhyming Latin, to which was prefixed an introduction containing a list of them. Each of the first forty-two chapters contained four subjects, the first of which was the principal, and the other three illustrative of it. To each of these chapters were two drawings, every one of which, as in the printed copies of the work, consisted of two compartments. The last three chapters contained each eight subjects, and each subject was ornamented with a design.[II-75] The whole number of separate illustrations in the work was thus one hundred and ninety-two. The printed folio editions contain only fifty-eight cuts, or one hundred and sixteen separate illustrations. [Footnote II-75: Heineken, Idée Générale, p. 474.]