A third MISSAL, of the same beautiful character, is of an octavo form.  The two first illuminations are not to be exceeded, of their kind.  The borders, throughout, are arabesque, relieved by cameo gris,—­with heads, historical subjects, and every thing to enchant the eye and warm the heart of a tasteful antiquary.  The writing is a black, large, gothic letter, not unlike the larger gothic font used by Ratdolt.  The vellum is beautiful.  The binding is in the Grolier style.

The last and not the least, in the estimation of a competent judge of MSS.,—­is, a German version of the HORTULUS ANIMAE of S. Brant.  The volume in question is undoubtedly among the loveliest books in the Imperial Library.  The character, or style of art, is not uncommon; but such a series of sweetly drawn, and highly finished subjects, is hardly any where to be seen—­and certainly no where to be eclipsed.  I should say the art was rather Parisian than Flemish.  The first in the series, is the following; executed for me by M. Fendi.  It occurs where the illuminations usually commence, at the foot of the first page of the first Psalm.  Observe, I beseech you, how tranquilly the boat glides along, and how comfortable the party appears.  It is a hot day, and they have cut down some branches from the trees to fasten in the sides of the boat—­in order to screen them from the heat of the sun.  The flagon of wine is half merged in the cooling stream—­so that, when they drink, their thirst will be more effectually quenched.  There are viands, in the basket, beside the rower; and the mingled sounds of the flageolets and guitar seem to steal upon your ear as you gaze at the happy party—­and, perhaps, long to be one of them!

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A hundred similar sweet things catch the eye as one turns over the spotless leaves of this snow-white book.  But the very impressive scene of Christ asleep, watched by angels—­(with certain musical instruments in their hands, of which M. Kopitar could not tell me the names,) together with another illumination of Mary, and Joseph in the distance, can hardly be described with justice.  The Apostles and Saints are large half lengths.  St. Anthony, with the devil in the shape of a black pig beneath his garment, is cleverly managed; but the head is too large.  Among the female figures, what think you of MARY MAGDALENE—­as here represented?  And where will you find female penance put to a severer trial?  I apprehend the box, in front of her, to be a pix, containing the consecrated elements.

[Illustration]

I now proceed to give you some account of MSS. of a different character:  classical, historical, and appertaining to Romance—­which seemed to me to have more particular claims upon the attention of the curious.  The famous Greek DIOSCORIDES shall lead the way.  This celebrated MS. is a large, thick, imperial quarto; measuring nearly fifteen inches by twelve.  The vellum is thin, and of a silky and beautiful texture.  The colours in the earlier illuminations are thickly coated and glazed, but very much rubbed; and the faces are sometimes hardly distinguishable.  The supposed portrait of Dioscorides (engraved—­as well as a dozen other of these illuminations—­in Lambecius, &c.) is the most perfect.