Of the forty-eight cuts[II-38] contained in the Museum copy, the greater number are divided by a horizontal line, nearly in the middle, and thus each consists of two compartments; of the remainder, each is occupied by a single subject, which fills the whole page. In some, the explanatory text consists only of two or three lines; and in others it occupies so large a space, that if it were set up in moderately sized type, it would be sufficient to fill a duodecimo page. The characters are different from those in the History of the Virgin and the Biblia Pauperum, and are smaller than those of the former, and generally larger and more distinctly cut than those of the latter; and although, as well as in the two last-named books, the words are much abbreviated, yet they are more easy to be made out than the text of either of the others. The impressions on the whole are better taken than those of the Biblia Pauperum, though in lighter-coloured ink, something like a greyish sepia, and apparently of a thinner body. It does not appear to have contained any oil, and is more like distemper or water-colour than printer’s ink. From the manner in which the lines are indented in the paper, in several of the cuts, it is evident that they must either have been subjected to a considerable degree of pressure or have been very hard rubbed. [Footnote II-38: The two which are wanting are those numbered 36 and 37--that is, the second +s+, and the first +t+--in Heineken’s collation. Although there is a memorandum at the commencement of the book that those cuts are wanting, yet the person who has put in the numbers, in manuscript, at the foot of each, has not noticed the omission, but has continued the numbers consecutively, marking that 36 which in a perfect copy is 38, and so on to the rest. A reference to Heineken from those manuscript numbers subsequent to the thirty-fifth cut would lead to error.] Although some of the figures bear a considerable degree of likeness to others of the same kind in the Biblia Pauperum, I cannot think that the designs for both books were made by the same person. The figures in the different works which most resemble each other are those of saints and angels, whose form and expression have been represented according to a conventional standard, to which most of the artists of the period conformed, in the same manner as in representing the Almighty and Christ, whether they were painters, glass-stainers, carvers, or wood-engravers. In many of the figures the drapery is broken into easy and natural folds by means of single lines; and if this were admitted as a ground for assigning the cut of the Annunciation to Italy, with much greater reason might the Apocalypse be ascribed to the same country.