[Footnote IV-14: “Outre la lettre initiale, on remarque, dans le cours du chapitre, six lettres rouges non imprimées, mais peintes à la plaque, qui commencent six phrases diverses. Les lettres initiales des autres phrases du même chapitre sont imprimées en noir. Les lettres rouges sont IHESANW. Doit-on les assembler dans l’ordre où elles sont placées, ou bien doivent-elles recevoir un autre arrangement? Je ne prends pas sur moi de le décider.”--Camus, Notice, p. 6.] The German words “_Hoffmeister_” and “_Herzog_” appear extremely ridiculous in Camus’s French translation,--“le Maître-d’hôtel de la cour céleste,” and “le Grand-duc de l’armée céleste.” But this is clothing ancient and dignified German in modern French frippery. The word “Hoffmeister”--literally, “court-master or governor”--is used in modern German in nearly the same sense as the English word “steward;” and the governor or tutor of a young prince or nobleman is called by the same name. The word “Herzog”--the “Grand-duc” of Camus--in its original signification means the leader of a host or army. It is a German title of honour which defines its original meaning, and is in modern language synonymous with the English title “Duke.” The ancient German “Herzog” was a leader of hosts; the modern French “Grand-duc” is a clean-shaved gentleman in a court-dress, redolent of eau-de-Cologne, and bedizened with stars and strings. The two words are characteristic of the two languages. The second work in the volume is the Histories of Joseph, Daniel, Judith, and Esther. It has no general frontispiece nor title; but each separate history commences with the words: “Here begins the history of . . . .” in German. Each history forms a separate gathering, and the whole four are contained in sixty leaves, of which two, about the middle, are blank, although there is no appearance of any deficiency in the history. The text is accompanied with wood-cuts which are much less than those in the “Complaints against Death,” each occupying only the space of eleven lines in a page, which when full contains twenty-eight. The number of the cuts is sixty-one; but there are only fifty-five different subjects, four of them having been printed twice, and one thrice. Camus gives a specimen of one of the cuts, which represents the Jews of Bethuliah rejoicing and offering sacrifice on the return of Judith after she had cut off the head of Holofernes. It is certainly a very indifferent performance, both with respect to design and engraving; and from Camus’s remarks on the artist’s ignorance and want of taste it would appear that the others are no better. In one of them Haman is decorated with the collar of an order from which a cross is suspended; and in another Jacob is seen travelling to Egypt in a carriage[IV-15] drawn by two horses, which are harnessed according to the manner of the fifteenth century, and driven by a postilion seated on a saddle, and with his feet in stirrups.