The Rudimenta itself was one of the great picture-books at the end of the fifteenth century, and as in the Nuremberg Chronicle, the same cuts often did duty for more than one subject. On the verso of p. 404 is a picture representing a few buildings with a windlass behind a wall, with a gate in it from which a man is emerging; and in the foreground an imposing draped figure giving directions to three little fellows, who are severally trundling a wheelbarrow, carrying a flask, and flourishing an adze. This is at the beginning of the chapter ‘Turris confusionis Babel.’ On p. 107 the same cut is the foundation of the kingdom of Assyria. On p. 117 it serves for the Constructio Treveri, and successively for Spires, Lüneburg, and Wismaria. Athenodorus and Philo Judaeus have the same cut, and the same counterfeit presentment does for Demosthenes, Pericles, Parmenides, Aristides, and Xenophon. Another series represents indifferently Crato, Cicero, Cato, Virgil, Simonides, Plotinus, Theophrastus, Menander, Paulus, and Archephilus. The little D would appear to be a first attempt at book ornamentation, and was used at the beginning of the _Leben des heil. Hieronymus_ by Bartholomew Ghotan in 1486. Our other Lübeck initials are taken from the 1493 edition of the Meditations of St. Bridget by the same printer, in which there are altogether ten or a dozen different ornamental letters, one of them being repeated twice, another three or four times. This book is chiefly esteemed on account of the engravings, representing the miracles of the saint, some of which are full-page size. Like all works of the kind, it was very popular in its day and went through many editions, but the Lübeck impression is the most rare, most of the copies having been destroyed by accident before the book was published. _Bamberg._--Independently of accessory ornamentation, the missals printed at Bamberg by J. Sensenschmidt, either by himself or with a partner, have always been considered by bibliographers as models of beautiful letterpress. Lippmann gives amongst his reproductions of early typographical monuments a page of the _Missale Olumucense_ with one of the large red initials used only in these Bamberg missals. The first in which they occur is the _Missale Freysingense_, printed in 1487 by Sensenschmidt and Heinrich Pelgensteiner; here the initials would seem to be slightly smaller than in the succeeding volumes.