It should be said, moreover, that the greater number of what may be termed representative alphabets--those that occur most frequently in the publications of the time--have been already reproduced in works on Renaissance book ornamentation, whereas our initials have been selected because less generally met with, and consequently less known. We have already given specimens of initials printed in red, which nearly always are found in missals; the three following are taken from the Missal of Spires, printed at the expense of that honest ‘dominus Peter Drach,’ and dated 1500. In the copy of the _Bibliothèque Nationale_ there is a fine engraving, before the Canon, of the Crucifixion with the date 1516, but these pictures were often added afterwards. Although a comparatively small town, Hagenau towards the end of the first quarter of the sixteenth century had become an important printing centre, two printers at least making use of typographical ornaments. Those used by Heinrich Gran are not of the very first merit, as can be seen by reference to Butsch, who reproduces one of his title-pages. Thomas Anselm de Bade, on the contrary, has title-pages and initials from two different sources of the very greatest interest, as our reproductions show. The nine very large letters, with the very much smaller E, are met with in several missals published after 1518, the most important of which is known as the Benedictine Missal, the _Missale Bursfeldense. Missale denuo diligentissime castigatum et revisum ordinis sancti Benedicti reformatorum nigrorum Monachorum Bursfeldensium._ As the reader can see, they differ in character from those found in any other missal, and have been attributed to Hans Baldung Grün, who also designed Anselm’s printer’s mark. Nothing can be more charming than the little E with the children which commences so appropriately the verse beginning _Ex ore infantium_, and which gives still another example of the alliance so frequently met with between the serious and the grotesque. There is another set of initials in the same style, slightly smaller, in which the incidents on the T are reversed, the sacrifice of Abraham being on the left. They are to be found in the Strasburg Missal of Hagenau of 1518. Another very good Hagenau series is the children’s alphabet used by the same Thomas Anselm in his _Plinius_ of 1520, and said by Weigel in his _Altdeutsches Holzschnittalphabet_ to have been designed by the elder Heinrich Vogtherr. It is on a somewhat smaller scale than the Dürer alphabet, and about the same size as that of Urs Graf. Artistically it occupies a middle place between the two. These letters, which nearly form a complete series, were almost at once copied by Franc Birckmann of Cologne, the only difference being that the M and the R are on a black instead of a white ground, as in the Hagenau original. Some of the letters were used in books published by Lucas Alantius of Vienna.