In the M, which is reproduced from a Vienna copy, there are some further modifications. The shield under the child’s left arm has been added, and there would appear to be a monogram between the pendent grapes and tassel not in the original. The five letters, C, E, I, M, and O, the last representing the Massacre of the Innocents, belong to a collection where they are classed as coming from the missal of Magdeburg, which we have not been able to verify. They are said to be the only ones in the volume of this size, and are accompanied by a small ornamental series in the style of Cranach, who may very likely have designed the larger letters. In the missal of Posen (_Posnaniense_) of 1524 there are only five ornamental letters, of which three are given, the T being a picture of the cathedral of the town as it was at the time. The two Apocalyptic initials are typical specimens of the style of Cranach, and come from the _Missale Evangeliare_ of Luther, printed by Lufft of Wittemberg in 1525. We have mentioned above the alphabet of Cranach which is given by Butsch in his _Bücher-Ornamentik_. There are several smaller alphabets in the same style, in one of which is an initial representing a donkey sitting up with spectacles, no doubt a satire on the doctors of the church with whom Cranach had often to do. Wittemberg was one of the chief centres of the Lutheran controversy, and inundated Europe with tracts on the subject. A great many of these have ornamental title-pages, many of which were designed by Cranach in a style quite different from his initials. Those with children, which equal anything of the period, are particularly charming. Nothing could be more fantastic than the subjects in the series of initials, seven or eight altogether, of which the C, L, and T are specimens. What, however, they mean exactly we do not pretend to say. In the T there are apparently two Satyrs dancing a saraband, but the personage in the C would appear rather to be one of those weird creations that grow out of foliage under the pencil of the artist. These letters are to be found no doubt in other publications of the same press, but those given here were taken from the _Elegantiae_ of Laurentius Valla, printed in 1522 by Lazarus Schurer of Schlestadt. The complete series is known as the alphabet of Pilgrim ‘le maître aux Bourdons,’ Waechstein. Besides the C, L, and the T there are seven others in the _Elegantiae_; an H with a lion’s head, an I, two winged children; P and Q each with a child, R and S in the same style as the C, the latter having the head of a fantastic animal. There is also a smaller D with an extraordinary kind of winged satyr, and a Q with a couple of children. Chronologically, we should have mentioned before the _Missale Pataviense_ of Vienna, printed by J. Winterberger in 1512, which has initials of several dimensions, but most of them too indistinct for reproduction. Those chosen, C, P, S, T, are the best of the smaller series.