To most readers the explanatory text is undecipherable. The obscurity is not only that of a dead language: a trained Latin scholar will always grope and often stumble in attempting to make a translation. All the letters are carelessly drawn and cut; the words are badly spaced, and are deformed with abbreviations. These faults appear more noticeable when the letters are contrasted with the designs. Whoever designed the figures on the wood drew with the bold and free hand of an artist who had proper confidence in his ability. Whoever engraved the figures cut the clean firm line that can be made only by an expert. But the cutting of the letters, although probably done by the engraver of the figures, is really barbarous. It is obvious that the designer, skillful as he was with figures, had no experience in drawing letters, and that the engraver was equally unsuccessful at a new kind of work. The text and translation appended are the version of Dr. Horne, author of the _Introduction to the Study of Bibliography_, who has corrected the contractions of the original Latin. It is copied from the _Typographia_ of Hansard. Each page contains four busts—two at the top, and two lower down; together with three historical subjects. The two upper busts represent certain prophets, or other eminent persons, whose names are [p201] added beneath them. Of the three historical subjects, the _chief type_, or principal piece, is taken from the New Testament, and occupies the centre of the page, between the two _antitypes_, or subordinate subjects, which are allusive to it. The two busts, placed in the middle of the upper part of the page, represent David and Isaiah between two texts of the Bible, with brief explanations. The former of these, on the left of the Prophets, is from the Song of Solomon, Chapter iv, 7: ‹f›Legitur in Cantico Canticorum, quarto capite, quod sponsus alloquitur sponsam, et eam sumendo dixit: Tota pulchra es, amica mea, et macula non est in te. Veni, amica mea, veni, coronabere. Sponsus verus iste est Christus, qui in assumendo eam sponsam, quæ est anima sine macula omnis peccati, et introducit eam in requiem æternam; et coronat cum corona immortalitatis.‹/f› In the fourth chapter of the Song of Solomon it is read, That the bridegroom addresses the bride, and receiving her, says, Thou art all fair, my love, and in thee is no spot. Come, my love; come, thou shalt be crowned. The real bridegroom is Christ, who, in receiving the bride, which is the soul without spot of sin, also conducts her to eternal rest, and crowns her with the crown of immortality. The second passage, on the right of David and Isaiah, is partly taken from the Book of Revelation, and runs thus: