13 16, 12 LXII, 3 in aquosa for inaquosa : omitted after inaquosa supplied corrected corrected : inserted after tibi & erased Of these 39 pages, there are only five (ff. 3, 4, 7, 7 v. and 8) which are exactly alike, that is to say, printed from the same composition, in all three copies. Two other pages (ff. I v. and 8 v.) are alike in the Althorp and British Museum copies, and thirty in the British Museum and Windsor copies. The text of f. 4 v. is alike in all three copies, as is also that of ff. 5 v. and 6 in the British Museum and Windsor copies, but the red-letter portion differs. In the 39 pages there are in the Althorp copy 137 errors, which may be classed thus: : 1. Omissions of the used to mark the pause in the middle of each verse ... ... 2. Insertions of the : in the wrong place 3. Errors due to negligence... ... 28 4. Errors of the text which occur in contemporary Psalters, e.g., in the Mentz Breviary printed by the Brothers of Common Life in 1474, distinguished in the above table by having an asterisk (*) prefixed to them ... 22 137 Twenty-five of these errors were corrected before these pages of the British Museum copy were printed, leaving 21 +47 +22+22= 112 errors; and four more before those of the Windsor copy were struck off, leaving 20+46+20 +22=108 errors. But in recomposing some of the pages, fresh mistakes were introduced, so that, in these pages, the British Museum copy has 24+49+26+22= 121 errors, and the Windsor copy 24+49+28+22=123 errors. Most of the pages in the volume have been entirely re-composed once, and many twice. All, however, commence with the same and always with an entire word in all three copies, and all the pages end with the same word, with the exception of f. 3 v., which in the Althorp copy, instead of being terminated by ab, has ab inimicis, the latter word being the first on f.4 in all three copies. It should be further noticed that the lines in the British Museum and Windsor copies are more equal in length than in the Althorp copy; this has been effected by varying the abbreviations and by the frequent suppression of the full stop at the end of each verse. I shall not attempt to give a list of the books in which this Psalter is noticed. It may be as well, however, to say that the earliest mention of it is in John Andrew Muller's notice of the Library of the Gymnasium at Freiburg (I, 129 and 130) published in 1653; the next, that in Lambecius's Commentaria de augustissima Bibliotheca Caesarea Vindobonensi (II, viii, 989) published at Vienna, 1665-79. From that time down to the present it is noticed in almost every work on the History of Printing. SCHELHORN, Anmerk. DIBDIN, I, 107-117. VON DER LINDE, 67–77. 2. Missale secundum ritum dominorum Ultramontanorum. 1480, 27 Augusti. Folio. Verone. The only edition of this use, and the only Missal printed at Verona. The volume is divided into five parts, and contains 358 (6, 186, 110, 40 and 16) ff., printed in red and black from type of two founts, in two columns of 29 lines each (Comp., 242 m.) to the full page, with blank spaces for the versal and initial letters of 8, 7, 6, 5, 2 or I line, and blank spaces for the musical notation. Without running title, signatures, or foliation, but with catchwords to every leaf in the first half of each quire, as also to the last leaf. The quires have 10 ff., excepting the first and last (thirty-sixth) which have 6 ff. each, and the eighth, eighteenth, and nineteenth, which have 12 ff. each. The text commences (11, f. 1, col. 1): Jncipit ordo missa- | lis secundum ritum | dominorum vltramon- | tanorum cum quibusdam | officiis nouis. Domini- | ca prima in aduentu | Jntroitus. The colophon (v, f. 16 v., col. 2, below 1. 26) runs thus: Jmpressus uerone ui- | gesima septima augusti | M. cccc. octogesimo | ASCU. achzymofa dies illa: que refurget ex favilla: indicandus bomo reus: buic ergo parce deus: ie iesu domie:dona eis requiem. Amen. Impreffus uczone ui The volume is adorned (II, f. 150 v.) with one full-page cut (H. 250 m. B. 167 m.) representing Christ on the Cross, with the B. Virgin and S. John, beneath a trifoliated arch; probably the work of a German artist, but showing in the figures the influence of Mantegna. (See the reduced facsimile on p. 46.) The Hungarian National Museum, Buda-Pest. H. 316m. B. 242 m. Wants II, f. 62, but has v, ff. 11 and 16 in duplicate, one copy of the latter leaf having a blank space in place of the colophon. A fine clean copy, without any additions by hand. Binding: Oak boards, covered with the original stamped brown leather. PRAY, 40; Index, 11, 116. 3. Missale Moguntinum. (DENIS, 120, 856. Kirchenschmuck, XXV, 34. PANZER, III, 503, In inclita civitate Maguntina per Petrum Schoffer de Gernszheym impressum. 1483, 24 Iulii. Folio. The third edition of the Mentz Missal, and also the first Missal to which Schoffer has subscribed his name. Two copies only known, both collated by me. The volume is divided into four parts, and contains 234 (6, 95, 6 and 127) ff., printed in red and black from type of three founts, in two columns of 38 lines each (Comp., 283.7 m.), or in 19 long lines to the full page, with blank spaces for the versal and initial letters of 9, 8, 7, 6, 5, 4, 3, 2 or 1 line. Without running title, signatures, foliation, or catchwords. The text commences (11, f. 1, col. 1): Dominica prima in aduentu domini. The colophon (IV, f. 127, col..1, below 1.15) runs thus: Presens missale Ad dei laudem | et honorem per petrum schoffer de | gernszheym Jn inclita ciuita- | te Maguntina huius artis im- | pressorie inuentrice : atque elima | trice prima glorioso deo fauen- | te suis consignando scutis. Jm- pressum et finitum Anno domini M.cccc lxxxiij. Jn vigilia san- cti Jacobi apostoli. Below this is Schoffer's device. (Reproduced in facsimile on p. 49.) The volume is adorned (III, f. 1 v.) with one full-page cut (H. 313 m. B. 208 m.) representing Christ on a tau-shaped Cross, with the B. Virgin and S. John. Additions by Earl Spencer, Althorp. H.385 m. B. 267 m. hand: Two versal letters in gold and colours; the remainder and the initials in colours. The cut coloured and gilt. To the lower margin of f. 5 of part III, is attached a miniature on vellum of S. Veronica holding a circular Vernacle in front of two cross |