The volume described by Camus contains three different works; and although Pfister’s name, with the date 1462, appears in only one of them, the “Four Histories,” yet, as the type is the same in all, there can be no doubt of the other two being printed by the same person and about the same period. The following particulars respecting its contents are derived from the “Notice” of Camus. It is a small folio consisting altogether of a hundred and one leaves of paper of good quality, moderately thick and white, and in which the water-mark is an ox’s head. The text is printed in a large type, called missal-type; and though the characters are larger, and there is a trifling variation in three or four of the capitals, yet they evidently appear to have been copied from those of the Mazarine Bible. The first work is that which Heineken calls “une Allégorie sur la Mort;”[IV-13] but this title does not give a just idea of its contents. It is in fact a collection of accusations preferred against Death, with his answers to them. The object is to show that such complaints are unavailing, and that, instead of making them, people ought rather to employ themselves in endeavouring to live well. In this tract, which consists of twenty-four leaves, there are five wood-cuts, each occupying an entire page. The first represents Death seated on a throne. Before him there is a man with a child, who appears to accuse Death of having deprived him of his wife, who is seen on a tomb wrapped in a winding-sheet.--In the second cut, Death is also seen seated on a throne, with the same person apparently complaining against him, while a number of persons appear approaching sad and slow, to lay down the ensigns of their dignity at his feet.--In the third cut there are two figures of Death; one on foot mows down youths and maidens with a scythe, while another, mounted, is seen chasing a number of figures on horseback, at whom he at the same time discharges his arrows.--The fourth cut consists of two parts, the one above the other. In the upper part, Death appears seated on a throne, with a person before him in the act of complaining, as in the first and second cuts. In the lower part, to the left of the cut, is seen a convent, at the gate of which there are two persons in religious habits; to the right a garden is represented, in which are perceived a tree laden with fruit, a woman crowning an infant, and another woman conversing with a young man. In the space between the convent and the garden certain signs are engraved, which Camus thinks are intended to represent various branches of learning and science,--none of which can afford protection against death,--as they are treated of in the chapter which precedes the cut. In the fifth cut, Death and the Complainant are seen before Christ, who is seated on a throne with an angel on each side of him, under a canopy ornamented with stars. Although neither Heineken nor Camus give