According to Hadrian Junius, Laurent Janszoon Coster (the latter name signifying "the discoverer") published one of the celebrated series of works under the general title of _Speculum_ which was then so popular (the mystic style exercising so great an attraction on the people of the fifteenth century), the _Speculum Humanæ Salvationis_. Written before the middle of the fifteenth century, made popular by manuscripts, in spite of its fantastic Latinity and of its false quantities, this ascetic and crude poem was easy of access to the xylographists. Junius, as we see, attributes to Laurent Coster the first impression of the _Speculum_, no longer the purely xylographic impression of the _Donatus_ from an engraved block, but that of the more advanced manner in movable types. In point of fact, this book had at least four editions, similar in engravings and body of letters, but of different text. It must then be admitted that the fount was dispersed, and typography discovered, because the same cast of letters could not be adapted to different languages. On the other hand, the vignettes do not change, indicating sufficiently the mobility of the types. In comparison to what may be seen in later works, the illustrations of the _Speculum_ are by no means bad; they have the appearance, at once naïve and picturesque, of the works of Van Eyck, and not at all of the style of the German miniaturists; properly illuminated and gilded, they lent themselves to the illusion of being confounded with the _histoyres_, drawn by the hand, and this is what the publisher probably sought. All the xylographic works of the fifteenth century may be classed in two categories: the xylographs, rightly so called, or the block books, such as the _Donatus_, and the books with movable types, like the _Speculum_, of which we speak. This mystic and simple literature of pious works for the use of people of modest resources found in printing the means of more rapid reproduction. Then appeared the _Biblia Pauperum_, one of the most celebrated and the most often reproduced, and the _Ars Moriendi_, a kind of dialogue between an angel and a devil at the bedside of a dying person, which, inspired no doubt by older manuscripts, retained for a long time in successive editions the first tradition of its designs. On labels displayed among the figures are found inscribed the dialogue of the demons and angels seeking to attach to themselves the departing soul, the temptations of Satan on the subject of faith, and the responses of the angel on the same subject. [Illustration: Fig. 2.--Xylographic figure from the _Ars Moriendi_, copied in reverse in the _Art au Morier_.]