The most interesting of these works is the _Speculum Humanæ Salvationis_, which in one of its four folio editions has the text partly in block, and thus forms a connecting link between Xylographic and Typographic printing. The whole of these four editions are thought by many to have been printed previous to Gutenberg’s first production at Mentz. They are attributed to Coster and his descendants solely on account of the obscure passage in reference to them which occurs in the narrative of Junius; and because of that reference, and their manifest superiority over others of the same class, all those which resemble them in general appearance and style of types, and that have neither initial, date, name or place, to indicate by whom and when and where they were printed, are in like manner claimed as the product of Coster’s Press, by every writer who from the days of Meerman to the present, has advocated the pretensions of Haarlem in opposition to those of Mentz to be the seat of the origin of the Typographic Art.[114] Of these four editions, the first and third, says Ottley, are those in the Latin language; the second and fourth those in Dutch. The engravings are the same in each; but differences exist in the texts; and it is on the assumption that the text was printed previous to taking the impressions of the cuts, that he deduces the order of the editions from the condition and appearance of the cuts. According to this arrangement, the text of the second edition is printed with the same type that was used in the first, with the exception of two pages containing cuts 45 and 56, the type of which is inferior to that of the rest of the book. In the third edition (the second Latin) twenty pages of the text are engraved on solid blocks. The types of the text of the fourth edition, although similar in appearance to those of the three preceding, are somewhat smaller and coarser.[115]