Koberger employed for a time the services of Albrecht Dürer, the famous engraver, not only for the illustration of books but also for expert oversight of the typographical form. Typography in its golden age was rightly regarded not as a mere mechanical trade but as an art of design, a design in black upon white, in which the just proportion of columns and margins and titles and initials was quite as important as the illustrations. Perhaps Koberger found Dürer too independent or too expensive for his taste, for we find him in his later illustrated works employing engravers more prolific than expert. Such were Michael Wolgemut and Wilhelm Pleydenwurff, who drew and engraved the two thousand illustrations in the famous Nuremberg Chronicle published by Koberger in 1493. This remarkable work was compiled by Doctor Hartman Schedel, of Nuremberg. It is a history of the world from the creation down to 1493, with a supplement containing a full illustrated account of the end of the world, the Millennium, and the last judgment. This is by no means all. There is combined with this outline of history, not less ambitious though perhaps not more eccentric than H. G. Wells's latest book, a gazetteer of the world in general and of Europe in particular, a portrait gallery of all distinguished men from Adam and Methuselah down to the reigning emperor, kings, and pope of 1493, with many intimate studies of the devil, and a large variety of rather substantial and Teutonic angels. Every city in Europe is shown in a front elevation in which the perspective reminds one of Japanese art, and the castle-towers and bridges and river-boats all bear a strong family resemblance. The book is full of curious material, quite apart from the quaint illustrations. In the midst of grave affairs of state we run across a plague of locusts, an eclipse of the sun, or a pair of lovers who died for love. Scandalous anecdotes of kings and priests jostle the fiercest denunciations of heretics and reformers. A page is devoted to the heresies of Wyclif and Huss. Anti-Semitism runs rampant through its pages. Various detailed accounts are given of the torture and murder of Christian boys by Jews, followed by the capture and burning alive of the conspirators. Superstition and intolerance stand side by side with a naive mystical piety and engaging stories of the saints and martyrs. Of all the vast transformation in human thought that was then taking form in Italy, of all the forward-looking signs of the times, there is little trace. From 1493 to the last dim ages of the expiring world, the downfall of Antichrist and the setting up of the final kingdom of heaven upon earth, seemed but a little way to Hartman Schedel, when he wrote with much complacence the colophon to this strange volume. He left three blank leaves between 1493 and the Day of Judgment whereon the reader might record what remained of human history. It is indeed rather the last voice of the middle ages than the first voice of the Renaissance that speaks to us out of these clear, black, handsome pages that were pulled damp from the press four hundred and twenty-eight years ago on the fourth of last June. At first reading one is moved to mirth, then to wonder, then perhaps to disgust, but last of all to the haunting melancholy of Omar the tent-maker when he sings