The two preceding subjects are impressed on the second leaf, in the order in which they are here represented, forming Nos. 3 and 4 in Mr. Ottley’s enumeration. They are reduced copies from the originals in the first edition, and afford a correct idea of a complete page.[II-45] [Footnote II-45: The copy from which the preceding specimens are given was formerly the property of the Rev. C. M. Cracherode, by whom it was left, with the rest of his valuable collection of books, to the British Museum.] On the scroll to the left, in the upper subject, the words are intended for--“_Trahe me, post te curremus in odore unguentorum tuorum_.” They are to be found in the 4th and 3rd verses of the 1st chapter of the Song of Solomon. In our Bible the phrases are translated as follows: “Draw me, we will run after thee, . . . [in] the savour of thy good ointments.” In the scroll to the right, the inscription is from the 14th verse of the IInd chapter: “_Sonet vox tua in auribus meis, vox enim tua dulcis et facies tua decora_:” which is thus rendered in our Bible: “Let me hear thy voice, for sweet is thy voice, and thy countenance is comely.” On the scroll to the left, in the lower compartment, is the following inscription, from verse 10th, chapter IInd: “_En dilectus meus loquitur mihi, Surge, propera, amica mea_:” in our Bible translated thus: “My beloved spake, and said unto me, Rise up, my love, my fair one, and come away.” The inscription on the scroll to the right is from 1st verse of chapter IVth: “_Quam pulchra es amica mea, quam pulchra es! Oculi tui columbarum, absque eo quod intrinsecus latet._” The translation of this passage in our Bible does not correspond with that of the Vulgate in the last clause: “Behold thou art fair, my love; behold thou art fair; thou hast doves’ eyes _within thy locks_.” The style in which the cuts of the History of the Virgin are engraved indicates a more advanced state of art than those in the Apocalypse. The field of each cut is altogether better filled, and the subjects contain more of what an engraver would term “work;” and shadowing, which is represented by courses of single lines, is also introduced. The back-grounds are better put in, and throughout the whole book may be observed several indications of a perception of natural beauty; such as the occasional introduction of trees, flowers, and animals. A vine-stock, with its trellis, is happily and tastefully introduced at folio 4 and folio 10; and at folio 12 a goat and two sheep, drawn and engraved with considerable ability, are perceived in the background. Several other instances of a similar kind might be pointed out as proofs that the artist, whoever he might be, was no unworthy precursor of Albert Durer.