The impressions when collected into a volume faced each other, so that the first and last pages were blank. [Footnote II-36: Idée Générale, pp. 334-370.] The edition of the Apocalypse to which I shall now refer is that described by Heineken, at page 364, as the fifth; and the copy is that mentioned by him, at page 367, as then being in the collection of M. de Gaignat, and as wanting two cuts, Nos. 36 and 37. It is at present in the King’s Library at the British Museum. [Illustration] It is a thin folio in modern red morocco binding, and has, when perfect, consisted of fifty wood engravings, with their explanatory text also cut in wood, generally within an oblong border of a single line, within the _field_ of the engraving, and not added underneath, as in the Speculum Salvationis, nor in detached compartments, both above and below, as in the Biblia Pauperum. The paper, which is somewhat of a cream colour, is stout, with rather a coarse surface, and such as we find the most ancient books printed on. As each leaf has been pasted down on another of modern paper, in order to preserve it, the marks of the rubber at the back of each impression, as described by Heineken, cannot be seen. The annexed outline is a reduced copy of a paper-mark, which may be perceived on some of the leaves. It is very like that numbered “vii.” at p. 224, vol. i. of Mr. Ottley’s Inquiry, and which he says occurs in the edition called the first Latin of the Speculum Salvationis. It is nearly the same as that which is to be seen in Earl Spencer’s “Historia Virginis;” and Santander states that he has noticed a similar mark in books printed at Cologne by Ulric Zell, and Bart. de Unkel; at Louvain by John Veldener and Conrad Braen; and in books printed at Utrecht by Nic. Ketelaer and Gerard de Leempt.