The two curious L’s are from the title-page and from the beginning of one of the chapters of a Lyons _Proprietaire_, wanting the last page, but of which we have not seen any other copy. The L with a profile and crowned lion is from the title-page. The other letters, D, H, M, are from the treatise on men and women at the end of the volume, arranged according to the signs of the Zodiac. The M shows the author meditating the effect of his opening remarks. The D and the H are at the beginning of a paragraph referring to Virgo and the Gemini respectively. The two large letters C and D, representing the Viaticum and the Nativity, with the seven smaller ones, are to be found in an edition of the _Regimen Sanitatis_, with comments by Magnini, attributed by Claudin, on the strength of an initial on the title-page with a bird, to Fradin, 1505. This is no doubt correct, for the large C (a priest carrying the host), with several of the smaller letters, is to be found in an undoubted edition by that printer of Platina’s _De Honestate Voluptate_ of 1505.[32] [32] The G, C, and I, with profiles and grotesques, were used two years before in a Lyons edition of the _Rommant de la Rose_, by G. Balsarin, 1503. From a technical point of view, from the elegance of the design and the delicacy of the execution, the series taken from works by Blanchard and others, with masters and scholars in costumes of the time of Louis XII., is particularly interesting, the S with pope and cardinals being quite remarkable. The children’s alphabet was used by Fradin and four or five different printers, perhaps by more. A certain number of children’s letters, but enlarged to the size of the initials of Cologne of Albert Dürer, are in the _Graduale Viennense_ of 1534. One of them, the R, is a coarse copy of the same Dürer letter, and has been given under Cologne for the sake of comparison. The others, eleven in number, although not exact copies of the smaller letters, are very much like our smaller reproductions and are treated in the same manner, but the best proofs we have seen of the specimens we give are in a copy on vellum of the Narbonne Missal of Fradin of 1528, from which the P with the Nativity, the smaller P with a saint about to be beheaded, and the R with Death, are also taken. There is a very similar set in the German Psalter of Nuremberg, printed by J. Petreius in 1525. The F with a portrait of St. Ambrose is from a translation of St. Jerome by Erasmus, of whom an excellent portrait is also seen in another initial. Two of the most characteristic sets of Lyons letters are those taken from the _Biblia cum Summariis et cum Concordantiis_, printed by John Moylin for Stephen Gueynard in 1516, and from the _Catalogus Sanctorum_ of Saccon of 1514. The Bible letters represent necessarily scenes in Scripture history, often being inspired by the initials in the Bibles of Nuremberg and Augsburg.