[Footnote II-92: “For the law was given by Moses, but grace and truth came by Jesus Christ.”--St. John’s Gospel, chap. i. v. 17.] [Footnote II-93: “Forte tamen ea, quæ tintinnabulis haud videntur dissimilia, nummulariorum loculos et pecuniæ receptacula referunt.”--Schelhorn, Amœnit. Liter. tom. i. p. 10.] [Illustration] The above reduced copy of the cut will afford some idea of the manner in which the memory is to be assisted in recollecting the first six chapters of St. John. Those who wish to know more respecting this curious book are referred to Schelhorn’s Amœnitates Literariæ, tom. i. pp. 1-17; Heineken, Idée Générale, pp. 394, 395; and to Dr. Dibdin’s Bibliotheca Spenceriana, vol. i. p. 4, where a copy is given of the first cut relating to the Gospel of St. Matthew. [Footnote II-94: The following are the contents of the first page, descriptive of the cut: “Evangelium Johannis habet viginti unum capittula. Primum. In principio erat verbum de eternitate verbi et de trinitate. Secundum capittulum. Nupcie facte sunt in Chana Galilee et qualiter Christus subvertit mensas nummulariorum. Tertium capittulum. Erat antem homo ex Phariseis Nycodemus nomine. Quartum capittulum. Qualiter Ihesus peciit a muliere Samaritana bibere circum puteum Jacob et de regulo. Quintum capittulum. De probatica piscina ubi dixit Ihesus infirmo Tolle grabatum tuum & vade. Sextum capittulum. De refectione ex quinque panibus & duobus piscibus Et de ewkaristia.”--Schelhorn, Amœnit. Lit. tom. i. p. 9.] Block-books containing both text and figures were executed long after the introduction of typography, or printing by means of moveable types; but the cuts in such works are decidedly inferior to those executed at an earlier period. The book entitled “Die Kunst Cyromantia,”[II-95] which consists chiefly of text, is printed from wood-blocks on both sides of each leaf by means of a press. At the conclusion of the title is the date 1448; but this is generally considered to refer to the period when the book was written, and not the time when it was engraved. On the last page is the name: “+jorg schapff zu augspurg+.” If this George Schapff was a wood-engraver of Augsburg, the style of the cuts in the book sufficiently declares that he must have been one of the very lowest class. More wretched cuts were never chiselled out by a printer’s apprentice as a head-piece to a half-penny ballad. [Footnote II-95: This work on Palmistry was composed in German by a Doctor Hartlieb, as is expressed at the beginning: “Das nachgeschriben buch von der hand hätt zu teutsch gemacht Doctor Hartlieb.” Specimens of the first and the last pages, and of one of the cuts, are given in Heineken’s Idée Générale, plates 27 and 28.]