It may be here observed that the Paris printers had quite a specialty for missals, and in some of them initial letters of the most varied origin are mixed together. In one of them, the _Missale ad consuetudinem insignis ecclesie Parisiensis_, by Wolfgang Hopyl, in 1504, the initials belong to different alphabets. The best are the A (Annunciation), the P (Nativity), another P (the Circumcision), an E (visit of the wise men), S (Pentecost), C (a priest saying mass), and when the proofs are perfect it would be difficult to imagine anything more effective. But the handsomest set is in the _Missale Leodiense_, also printed by Wolfgang Hopyl, in 1513. These initials are used in other missals, but are here in their best condition. Some of them are to be found in the 1526 edition of the Liége missal by Marnef and Hopyl, and again in the _Missel de Chartres_ of Kerver, 1529. In most works of this kind the subjects of the _histoires_ are of a Biblical nature, particularly incidents in the lives of the saints, although relieved sometimes by a touch of the grotesque. In other missals the grotesque reigns supreme, showing how intimately it was associated with the idea of Church Art, as is well seen in the beautiful Books of Hours by Philippe Pigouchet and others, in which the borders are a mixture of the grotesque and the macabre. One of the books most frequently reprinted at this period was the _Propriétaire_, the translation of the work of Bartolomæus de Glanville, _De proprietatibus rerum_, which was the book on which Caxton worked at Cologne. It is a kind of general encyclopædia, beginning with a disquisition on the Trinity, and ending with a chapter on Astrology. It is from this work that we have reproduced the twelve letters, amongst others the Q with a bagpiper, and an L representing a person in a fool’s cap giving a baby pap. These occur in a great many other works of Philippe Lenoir. In the treatise ‘On Men and Women,’ the different sections are preceded by initials which correspond to the signs of the Zodiac, as in the Lyons copy, of which we have given specimens. But in the Paris edition, curiously enough, the first two sections, Aries and Taurus, have no initials, although ornamental letters with a ram and bull respectively, and entirely inappropriate anywhere else, are to be found in other books published by this printer, such as the _Chroniques de France_ and the _Saint Graal_. The two large initials, one of them with a portrait, formed part of the alphabet of Vascosan, used in, amongst other books, the work of Oronce Fine, or Finée, as he is variously called. The vignette of the O is said to be his portrait. It is authenticated by the initials O. F.