The Psalter of 1499, _Psalterium cum apparatu vulgari familiariter impresso--Lateinisch Psalter mit dem teutschen nutzlichen dabey gedruckt_, has not the imposing appearance of the earlier folio volume, but like all Ratdolt’s work is well printed. This would appear to have been taken as a model for Psalters in the Vulgate. There are several editions of different towns with the text framed, as it were, by a translation in the vernacular in smaller type. The Psalter of Furter has the same disposition, the initial letters, although different in treatment, corresponding almost exactly with those of Ratdolt’s Psalter. Knoblouch has a similar Psalter, but with non-historiated initials. In the Metz Psalter of Hochffeder, otherwise on the same plan, the only initial is on the title-page. In the Missal of Frisingen of 1492 there are no historiated letters, and the ornamental initials in the Venetian style are unfortunately most outrageously coloured in the only copy we have seen. Amongst other letters there is in it an extremely curiously designed S which is difficult to describe, but which we would recommend to students of lettering. In the D, which is in the shape of a Gothic German Q reversed, and the P, there is a branch-work pattern starting tangentially from a central circle and ending in trifoliated ornaments altogether graceful and harmonious. Ratdolt’s mark is on the last page, and above it: ‘Erhardi Ratdolt felicia conspice signa, Testata artificem qua valet ipse manum.’ Ratdolt continued to print liturgical works for some part of the sixteenth century, but the only other volume of the kind that we have had at our disposal is the _Pars Aestivalis_ of the _Breviarium Constantiense_. Ratdolt, Aug Vindel, 1516. In this book there are four pages with borders, one of which is reproduced, and on the opposite sides are full-page engravings. There are eight initials, which we reproduce, and which are also, we believe, to be found in his Ratisbon Breviary. Hitherto, with the exception of the last-mentioned work, we have had to do with what may be called the first style of engraving, in which designs and pictures drawn by the artist were executed by the wood-cutter in linear reproduction only. With Albert Dürer, however, came a new epoch, and it became the custom for artists not only to design but also to engrave their own work. This practice, which was commenced by Dürer, who served a long apprenticeship to the celebrated Wohlgemuth, was continued by most of his pupils, and new technical methods were naturally the consequence. Henceforth the more liberal use of shading, and the invention of cross-hatching, enabled effects to be produced which had been before impossible.