We have described in their proper places the Psalters of Ratdolt of 1499; of Furter of 1501-3; and of Knoblouch ten years later, all of them exactly uniform in size and arrangement, the two latter with German commentary framing the text. In all of these, ornamental initials are used occasionally, those in the two first-named volumes having exactly the same historiation, whilst in the Strasburg Psalter they are simply ornamental. The Psalter of Metz, printed by Caspar Hochffeder in 1513, is on the same general plan, but without any woodcut initials in the body of the volume; on the title-page, however, is the P given here, which is the only initial of this origin that we have been able to discover. The four initials, comprising an O with the portrait in costume of a young girl, an outline T representing a money-changer’s office, and two others, are from a Pogge by Knoblouch, who printed several works of this author. We have already had occasion to remark about the incongruity between certain books and the initials that embellish them, and the two D’s, one with a personage magnificently costumed, the other with a mandoline player, afford another example of this peculiarity. The volume from which they are taken is the Magdeburg Bible of 1542, printed by H. Walther. In this edition the different books of Scripture are preceded by initials of the same size as the reproductions, but nearly always with Biblical subjects corresponding to the text that is to follow. In Genesis, Adam and Eve are being chased by an angel with flaming sword from Paradise, and so on. The chapters of the books begin by smaller initials, with children romping and playing, in one letter torturing a cat, in another fighting a cock; whilst in a third a child is armed with a pewter squirt, apparently in no way different to the squirt of fifty years ago. Besides initials, this Bible is embellished with cuts, in some of which German castles of the fifteenth century serve as a background to Biblical scenes, and Jews and infidels sometimes wear costumes of the same period. Scheffer’s large ornamental letters have been mentioned at the beginning of this chapter. In 1518 he was using a small alphabet in some of his publications, and a few initials of intermediate size, four of which are given by Butsch. There is an A with a naked woman sitting on the ground, two C’s with children, and an S, also with children, one of whom is playing on a kind of horn. The B, reproduced in the same style, not given by Butsch, is less frequently met with, Latin paragraphs rarely beginning with this initial.