Another class book, a Latin verse primer, entitled _Sequentiarum et hymnorum Expositio_, etc. etc., printed by Herman Bumgart de Ketwyck in 1501, has the strangest initials that can be conceived. The book was a very well known one, and other editions exist with a similar cut on the title-page, representing a master at his desk surrounded by scholars. But Cologne, like other German towns, was now to feel the influence of the Renaissance, and adopt for book ornamentation such artists as Albert Dürer, Holbein, and Anton von Worms. In the case of Holbein, such ornamental letters as appeared in Cologne books were copied from models that had been used previously at Basle, in the same way that the letters of other artists were copied from books of Hagenau and elsewhere, but Dürer and Anton von Worms’s designs were printed first in works of Cologne. Of the initials attributed to Albert Dürer, the finest are those comprising the alphabet used by Eucharius Hirtzhorn, who latinised his name to Cervicornus. These initials, which are the largest of their kind, represent children playing and romping sometimes with animals, such as horses and monkeys, and make up a very remarkable set. It is highly probable that Albert Dürer, as is generally admitted, was the designer of this alphabet, but there is no positive proof, and a writer on this special question in _Le Livre_, M. Glucq, gives it as his opinion that these letters were designed by Hans Burgkmair, and instances the treatment of the horses’ heads in borders by the latter as being identical with the heads in some of the letters. This alphabet was often copied by printers of other towns, particularly Lyons, and by Hubert de Crooce of Bruges, but the copies are always greatly inferior in execution, and can be distinguished also by having a wavy linear, or _criblé_, groundwork instead of a black one. The reader can compare the initials given here, which comprise the most interesting of the set, with those by H. Weiditz, described in the chapter on Augsburg. For comparison between the Cervicorn initials and the borders alluded to, reference can be made to the _Bücherornamentik_ of Butsch. The smallest of the Cologne children’s alphabets is to be found almost complete in different works by J. Gymnicus, and was designed by the painter Anton von Worms. The C with a child playing with a snake is an example. The D and O, from a somewhat larger alphabet, are principally found in the works of Melchior Novesianus, as are also those imitated from Holbein’s alphabet of Death. The largest Q, the S with the bishop and the symbols of the Apostles in the corners, also by Anton von Worms, and the Q with the death’s head, all come from volumes by Quentell. The three smallest letters belong to an alphabet used by Melchior Novesianus.