We have not seen any references to Cocksperger in modern works, but Dibdin in one of his books quotes Papillon’s account of him. It would be curious to know whether there was really a family of this name in Mayence at the date Papillon gives, and whether there is any trace there of such a tradition. Besides the initials used in the different editions of the Psalter, and in some other publications such as the _Rationale Durandi_, which has the same subscription as the Psalter, but with the date changed to 1459, Scheffer had a splendid bichrome T for the _Canon of the Mass_, considered by many as quite equal to the B of the Psalter. Later in the century polychrome initials, as these letters in two colours are somewhat incorrectly termed, are said to have been used in early Dutch impressions. Humphreys in his _History of Printing_ gives the reproduction of a Q in two colours from the _Dyalogus Creaturarum_, printed at Gouda in 1480 by Gerard Leeu, which he supposes to be printed, and which he considers, as we think erroneously, to be quite equal to Scheffer’s B. Initials printed in one colour are not uncommon. They are to be found, for instance, in the _Etymologicum Magnum_ of Callierges, and sometimes in missals, such as the Missale Olumucense of Bamberg and the Rouen Missal, ‘ad usum insignis ecclesie Atrebatensis.’ It has been said that the Psalter letters ceased to be used in 1462. Whatever may have been the reason for this, and it is possible after all that it was simply from motives of economy, Scheffer’s example, as regards the suppression of ornament, was followed by the other printers, and with the exception of Pfister, whose impressions from movable characters have every appearance of xylographic productions, for some years no books were issued with typographical embellishments. It is probable that, for the two years during which he flourished, Pfister’s illustrated publications were tolerated because they were generally supposed to be block-books, and that he was compelled to stop operations by the Guilds, as soon as they found out that he was in reality one of the hated printers. For it was not only as craftsmen that the Formschneiders were hostile to the members of the new trade. The engravers had become the printers of the xylographic books, then a new and profitable industry, and they were afraid of the sale of their own productions being interfered with by the illustrated works of the type-printers. From the point of view of ornamental initials there is little to say about the xylographic impressions.