being placed on the fourth, and that of M. Becker on the ninth. After an interval of seventeen years two more parts of the Latin edition (x. and xi.) were printed at Oppenheim "typis H. Galleri," and then an appendix to part xi. at Frankfort in 1620, where also were issued part xii. in 1624 and part xiii., edited by M. Merian, in 1634, this last being accompanied by an "Elenchus," or index-volume, to the whole series. Parallel with this Latin series ran a German one with about the same dates. One or two parts were also issued in French and at least one in English. There is also an appendix of "other voyages" usually added, mostly French, and issued at Amsterdam, and of nearly every volume of the whole series there were several issues and editions, all of them with differences in the plates. The "Petits voyages" followed a similar course, beginning in 1598 and ending in 1628. Although the engravings, many of which are placed unpretentiously amid the text, vary greatly alike in the interest of their subjects, the value of the original designs, and the skill of the engraving, taken as a whole they have given to these _Grands et petits voyages_ a unique position among books of travel, and a small literature has grown up round them to certify the collector as to the best state of each plate and what constitutes a complete set. While the illustrations to the Voyages formed their chief occupation, the De Brys found time to engrave many smaller plates for less important books. Thus in 1593 Theodor de Bry issued an emblem book _Emblemata nobilitati et vulgo scitu digna_ (text in Latin and German), in which each emblem is enclosed in an engraved border, mostly quite meaningless and bad as regards composition, but of a brilliancy in the "goldsmiths' style" which to lovers of bookplates will suggest the best work of Sherborn or French. The plates marked B and D, illustrating the lines "Musica mortales divosque oblectat et ornat" and "Cum Cerere et Baccho Veneri solemnia fiunt," are especially fine and the "emblems" themselves more pleasing than usual. In 1595 there was printed, again with Latin and German text, a _Noua Alphabeti effictio, historiis ad singulas literas correspondentibus_. The _motif_ is throughout scriptural. Thus for A Adam and Eve sit on the crossbar on each side of the letter, the serpent rests on its peak amid the foliage of the Tree of Knowledge. In B Abel, in C Cain is perched on a convenient part of the letter, and so on, while from one letter after another, fish, birds, fruit, flowers, and anything else which came into the designer's head hang dangling on cords from every possible point. Nothing could be more meaningless or lower in the scale of design, yet the brilliancy of the execution carries it off.