Vienna), a commission for Ferdinand II, Archduke of Austria. He added illuminations throughout the missal, which consists of 658 vellum folios. His decorations include nature imagery and grotesque borders. The calendar pages are illuminated with small gaming-boards, instruments and animals linked by strapwork. The images carry emblematic content, typically related to the particular religious text it accompanies or to the patron. Schriftmusterbuch At the request of Emperor Rudolf II Hoefnagel added in the period 1591-1594 miniatures to a manuscript, referred to as Schriftmusterbuch (now in the Kunsthistorisches Museum, Vienna). The Schriftmusterbuch had been created by court calligrapher Georg Bocskay in 1571-1573 for Emperor Maximilian II. The book consists of 127 pages (of which 119 with text) on parchment. Hoefnagel added miniature illuminations to the original text using watercolour and body color in silver with gold highlights, sometimes with traces of silverpoint for the preparatory drawing. Hoefnagel also added eight sheets, which are entirely by his hand. Hoefnagel used diverse imagery such as flora and fauna, mythology, portraits, city views and battle scenes. The aim was to glorify the Emperor as the supreme terrestrial power and the protector of the Catholic faith. Mira calligraphiae monumenta Hoefnagel was also commissioned by Emperor Rudolf II to illustrate the Mira calligraphiae monumenta (the Model Book of Calligraphy) (now in the Getty Museum). He began the work around 1590, more than 15 years after the death of the calligrapher, Georg Bocskay. Like the Musterbuch, this book was originally made by Bocskay to illustrate various calligraphic scripts and also included a constructed alphabet. When the book had come in the possession of Emperor Rudolf II, Hoefnagel added illuminations primarily of plants, fruit and flowers but also included small animals and insects and city views. His illustrations thus provided a survey of the natural world. He further illustrated the minuscule letters of the constructed alphabet with hybrid creatures and fanciful masks. Using his extensive resources of pictorial illusionism, Hoefnagel aimed to demonstrate with his illustrations the superior affective power of images over the written word. It thus argued the superiority of one art form over another. The book is one of the last important examples of European manuscript illumination, produced at a time when printed books had virtually replaced manuscripts. Hoefnagel's miniature illuminations are regarded as situating themselves in the earlier Flemish miniature tradition and, in particular, the Ghent-Bruges manuscript illuminations of the 15th and 16th century.