Camus considers that the tracts unquestionably printed by Pfister throw considerable light on the question as to whom this Bible is to be ascribed. There are two specimens of this Bible, the one given by Masch in his Bibliotheca Sacra, and the other by Schelhorn, in a dissertation prefixed to Quirini’s account of the principal works printed at Rome. Camus, on comparing these specimens with the text of Pfister’s tracts, immediately perceived the most perfect resemblance between the characters; and on applying a tracing of the last thirteen lines of the “Four Histories” to the corresponding letters in Schelhorn’s specimen, he found that the characters exactly corresponded. This perfect identity induced him to believe that the Bible described by Schelhorn was printed with Pfister’s types. A correspondent in Meusel’s Magazine, No. VII. 1794, had previously advanced the same opinion; and he moreover thought that the Bible had been printed previous to the Fables dated 1461, because the characters of the Bible are cleaner, and appear as if they had been impressed from newer types than those of the Fables.[IV-21] In support of this opinion an extract is given, in the same magazine, from a curious manuscript of the date of 1459, and preserved in the library of Cracow. This manuscript is a kind of dictionary of arts and sciences, composed by Paul of Prague, doctor of medicine and philosophy, who, in his definition of the word “Libripagus,” gives a curious piece of information to the following effect. The barbarous Latin of the original passage, to which I shall have occasion to refer, will be found in the subjoined note.[IV-22] “He is an artist who dexterously cuts figures, letters, and whatever he pleases on plates of copper, of iron, of solid blocks of wood, and other materials, that he may print upon paper, on a wall, or on a clean board. He cuts whatever he pleases; and he proceeds in this manner with respect to pictures. In my time somebody of Bamberg cut the entire Bible upon plates; in four weeks he impressed the whole Bible, thus sculptured, upon thin parchment.” [Footnote IV-21: Dr. Dibdin says that a copy of this Bible, which formerly belonged to the Earl of Oxford, and is now in the Royal Library at Paris, contains “an undoubted coeval MS. date, in red ink, of 1461.”--Bibliog. Tour, vol. ii p. 108. Second edition.] [Footnote IV-22: “Libripagus est artifex sculpens subtiliter in laminibus æreis, ferreis, ac ligneis solidi ligni, atque aliis, imagines, scripturam et omne quodlibet, ut prius imprimat papyro aut parieti aut asseri mundo. Scindit omne quod cupit, et est homo faciens talia cum picturis; et tempore mei Bambergæ quidam sculpsit integram bibliam super lamellas, et in quatuor septimanis totam bibliam in pergameno subtili præsignavit sculpturam.”]