All the cuts in the “Four Histories” are coarsely coloured. [Footnote IV-15: Camus calls it a “voiture,” but I question if such a carriage was known in 1462; and am inclined to think that he has converted a kind of light waggon into a modern “voiture.” A light sort of waggon, called by Stow a “Wherlicote,” was used in England by the mother of Richard the Second in the manner of a modern coach. I have noticed in an old wood-cut a light travelling waggon, drawn by what is called a “unicorn team” of three horses; that is, one as a “leader,” and two “wheelers,” with the driver riding on the “near side” wheeler. This cut is in the Bagford collection in the British Museum, and is one of a series of ninety subjects from the Old and New Testament which have been cut out of a book. A manuscript note in German states that they are by Michael Wolgemuth, and printed in 1491. In no wood-cut executed previous to 1500 have I seen a vehicle like a modern French voiture.] It is this work which Camus, in his title-page, professes to give an account of, although in his tract he describes the other two contained in the same volume with no less minuteness. He especially announced a notice of this work as “a book printed at Bamberg in 1462,” in consequence of its being the most important in the volume; for it contains not only the date and place, but also the printer’s name. In the book of Fables, printed with the same types at Bamberg in 1461, Pfister’s name does not appear. The text of the “Four Histories” ends at the fourth line on the recto of the sixtieth leaf; and after a blank space equal to that of a line, thirteen lines succeed, forming the colophon, and containing the place, date, and printer’s name. Although those lines run continuously on, occupying the full width of the page as in prose, yet they consist of couplets in German rhyme. The end of each verse is marked with a point, and the first word of the succeeding one begins with a capital. Camus has given a fac-simile of those lines, that he might at once present his readers with a specimen of the type and a copy of this colophon, so interesting to bibliographers as establishing the important fact in the history of printing, namely, that the art was practised beyond Mentz prior to 1462. The following copy, though not a fac-simile, is printed line for line from Camus.