CHAPTER XXI.

THE MINOR FOUNDERS, 1800–1830.

G. W. BOWER, _circ._ 1810.

This foundry was begun in Sheffield about the beginning of the present century. In 1810, Mr. Bower issued a price list below those of the London founders, whose founts he succeeded occasionally in underselling. Hansard mentions the foundry in 1824, under the style of Bower, Bacon and Bower. No specimen is known with an earlier date than 1837, when the firm was G. W. Bower, late Bower and Bacon.

A later specimen bears the name of Mr. G. W. Bower alone, and in 1841 the firm was Bower Brothers, who published _Proposals for establishing a graduated scale of sizes for the bodies of Printing Types, and fixing their height-to-paper, based upon Pica as the common standard_.[743]

After the death of Mr. G. W. Bower, the foundry was continued by Mr. Henry Bower till his death about 1851, in September of which year the plant and stock were sold by auction and dispersed among the other founders. The Catalogue of this Sale contained about 50,000 punches and matrices; many of them, however, being obsolete or of small value. {358}

BROWN, 1810.—LYNCH, 1810.

These two individuals are included among the Letter Founders whose names are given in Mason’s _Printer’s Assistant_[744]—the former having had his place of business in Green Street, Blackfriars, and the latter in Featherstone Buildings. They do not appear to have continued long in business, and their names are not included in the list of Letter Founders given in Johnson’s _Typographia_ in 1824.

MATTHEWSON, _circ._ 1810.

This man was founding in Edinburgh in 1810, at which date he had some correspondence with the Associated Founders respecting prices. Hansard mentions him as an incipient founder even in 1825, and a competitor of Mr. Miller’s. Nothing is known of the fate of his foundry; nor has any Specimen of his types come under notice.

ANTHONY BESSEMER, 1813.

Anthony Bessemer was a man of remarkable inventive genius. In his twentieth year he distinguished himself by the erection at Haarlem in Holland of pumping-engines to drain the turf pits; and before he had attained the age of twenty-five, he was elected a member of the Académie at Paris for improvements in the microscope. He subsequently turned his attention to letter founding, and established a foundry at Charlton, near Hitchin. Of the exact date of this undertaking we are uncertain; but, as his son, the present Sir Henry Bessemer, was born at Charlton in 1813, it is evident that the father was already settled there at that date. Hansard states[745] that “Mr. Bessimer” cut the Caslon Diamond letter. If the person referred to is Mr. Anthony Bessemer, as is probable, it would appear that during the early years of his business as a founder, he placed his energies occasionally at the disposal of his brethren in the art.

In 1821 he issued a specimen of Modern-cut Printing Types, and shortly afterwards took into partnership Mr. J. J. Catherwood, formerly a partner of Mr. Henry Caslon II, who, since his retirement from that business, appears for a short time to have had a foundry of his own at Charles Street, Hoxton.[746] Messrs. Bessemer {359} and Catherwood issued a Specimen in 1825, on the title-page of which the new partner styles himself “late of the Chiswell Street Foundry, London.”

Bessemer’s Romans were, in conformity with the fashion of the day, somewhat heavy, but finely cut. His chief performance was a Diamond, which was, as Hansard informs us, cut to eclipse the famous Diamond of Henri Didot, of Paris, at that time the smallest known. The execution of this feat, particularly in the Italic, was highly successful. The partnership between Messrs. Bessemer and Catherwood was not of long duration, and terminated either by the death or the retirement of the latter prior to 1830. Mr. Bessemer then removed his foundry to London, and established it at 54, Red Lion Street, Clerkenwell, whence, in 1830, he issued his final specimen book, consisting almost entirely of Roman founts.

In 1832 he retired from the business, and his foundry was put up to auction and dispersed. The Catalogue of the Sale mentions that the 2,500 punches included in the plant had been collected at an expense of £4,000, and that not a single strike had been taken from them but for the proprietor’s own use. From a marked copy of the Catalogue in our possession, it appears that several of the lots of punches and matrices fetched high prices. The list of implements and utensils shows that the foundry employed about seven casters and an equal number of rubbers and dressers.

Mr. Bessemer’s son, Henry, appears to have been for some time in his father’s foundry, where he mastered the mechanics of the trade. In 1838, being then twenty-five years old, he took out a patent for improvements in type-founding machinery, embodying several ingenious contrivances, some of which have since been adopted.

SPECIMENS.

1821. Specimen of the last modern cut Printing Types by A. Bessemer, Letter Founder, Hitchin, Herts. 1821. 8vo. . . . . (Caxt. Cel., 4400.)

1825. Specimen of the last modern cut Printing Types by A. Bessemer & J. J. Catherwood, Letter Founders, Hitchin, Herts. (J. J. Catherwood, late of the Chiswell Street Foundry, London.) 1825. 8vo. . . . . (W. B.)

1830. Specimen of the last modern cut Printing Types by A. Bessemer, Letter Founder, 54, Red Lion Street, Clerkenwell, London. 1830. 8vo. . . . . (T. B. R.)

RICHARD AUSTIN, _circ._ 1815.

Richard Austin began business as a punch cutter in the employ of Messrs. S. and C. Stephenson of the British Type Foundry, about the year 1795. On the Title-page of the specimen issued by that foundry in 1796, his name is {360} mentioned as the cutter of the punches, and the excellent specimen itself is no mean testimony to his abilities.

The activity prevailing throughout the trade generally at that period, consequent on the transition of the Roman character from the old style to the modern, brought the punch cutter’s services into much request, and Hansard informs us that Mr. Austin executed most of the modern founts both for Messrs. Wilson of Glasgow and Mr. Miller of Edinburgh.

Prior to the year 1819 he began a foundry of his own at Worship Street, Finsbury, in which subsequently his son, George Austin, joined him; and, in the year 1824, succeeded to the business. This foundry was styled the Imperial Letter Foundry, and carried on under the style of Austin & Sons. The earliest known specimen was issued in 1827. This 8vo volume is prefaced by a somewhat lengthy address to the Trade, in which, after criticising the letter founding of the day, the proprietors boldly claim to be the only letter founders in London who cut their own punches, which they do in a peculiar manner so as to insure perfect sharpness in outline. They also announce that they cast their type in an extra hard metal.

Mr. Austin appears to have been a man of considerable force and independence of character. It is related of him that once, on receiving—what to any founder at that day must have been a momentous mandate—an intimation that _The Times_ wanted to see him, he replied, with an audacity which sends a shudder even through a later generation, “that if _The Times_ wanted to see him, he supposed it knew where to find him!”

On the death of Mr. Austin, his foundry was acquired by Mr. R. M. Wood, who subsequently, in partnership with Messrs. Samuel and Thomas Sharwood, transferred it to 120 Aldersgate Street, under the title of the Austin Letter Foundry. Messrs. Wood and Sharwoods’ first specimen was issued in 1839. In their preface, reference is again made to the late Mr. Austin’s hard metal, the superiority of which, it is stated, “was owing to one peculiar article being used in the mixture which is unknown to our brethren in the Art.”

Mr. Wood died in 1845, and the firm subsequently became S. and T. Sharwood, who, in 1854, published two specimens, one of Types, the other of Polytyped Metal Ornaments.

This latter collection had been begun more than twenty years previously by Vizitelly, Branston & Co.,[747] who, in 1832, had issued a specimen of Cast Metal {361} Ornaments, “produced by a new improved method.” This method appears to have consisted of the soldering of the casts on metal mounts—at that time a novelty. The Sharwoods subsequently acquired this collection of blocks and considerably increased it.

On the death of the two Sharwoods, which occurred about the same time in 1856, the Austin Foundry was thrown into Chancery and put up for auction, and its contents dispersed among the trade.

SPECIMENS.

1827. Specimens of Printing Types cast at Austin’s Imperial Letter Foundry, Worship Street, Shoreditch, London. 1827. 8vo. . . . . (Caxt. Cel., 4407.)

1839. A Specimen Book of the Types cast at the Austin Letter Foundry, by Wood & Sharwoods. No. 120, Aldersgate Street, London. 1839. 4to. . . . . (Caxt. Cel., 4429.)

* * * * *

1832. Specimen of Vizitelly, Branston & Co.’s Cast Metal Ornaments produced by a new and improved method, greater in number and variety, superior in design and execution, and considerably cheaper in price than any collection hitherto offered to the notice of printers. 76, Fleet Street, London, January 1832. 4to. . . . . (Caxt. Cel., 4416.)

LOUIS JOHN POUCHÉE, _circ._ 1815.

This Frenchman started a foundry in Great Wild Street, Lincoln’s Inn. He had probably been established a few years when his first specimen was issued in 1819, the most interesting portion of which was a somewhat lengthy address to the public, setting forth the principles on which his “New Foundry” was to be conducted. He mentions that “only four Type Foundries (exclusive of mine) are worked in London at this time,” and declares his intention of breaking down the monopoly they assumed. The specimen itself is not remarkable.

In 1823, he took out the patent for this country for Henri Didot’s system of polymatype[748] which consisted of a machine capable of casting from 150 to 200 types at each operation, each operation being repeated twice a minute. This result was to be obtained by means of a matrix bar which formed one side of a long trough mould into which the metal was poured; and, when opened, “the types are found adhering to the break bar like the teeth of a comb, when they are broken off and dressed in the usual way.” Pouchée became agent in England for this novel system of casting which, says the editor of the partial reprint of Hansard’s _Typographia_, writing in 1869, was still used successfully in France at that date. {362}

The attempt to introduce this system into England went far to ruin Pouchée; and, according to the above authority, “on his failure to sustain the competition of the associated founders,[749] Didot’s machine and valuable tools were purchased by them through their agent, Mr. Reed, Printer, King Street, Covent Garden, and destroyed on the premises of Messrs. Caslon and Livermore.”

Despite this unfortunate speculation, Pouchée (who appears for some time to have had a partner named Jennings),[750] issued another Specimen Book in 1827, dated from Little Queen Street, London, in the advertisement of which he again referred to the fact that there were still only four letter-foundries in London (exclusive of his own), and took credit to himself for bringing about a reduction of 12 per cent. in the prices of his opponents. The specimen, which shows Titlings, Roman and Italic, Egyptians, Blacks and Flowers, is of little merit and is marked by a great preponderance of heavy faces.

About the same time,[751] he issued a price list of all kinds of printers’ materials, styling himself “Type Founder and Stereotype Caster.” In the beginning of 1830 he abandoned the business, which was sold by auction. The Catalogue included a large quantity of stereotype ornaments, as well as 20,000 matrices and punches, moulds, presses, and 35 tons of Type. The lots were variously disposed of at low prices among the other founders.

SPECIMENS.

1819. Specimen of Printing Types by L. J. Pouchée, at the New Foundry, Great Wild Street, Lincoln’s Inn Fields, London. 1819. 8vo. . . . . (Caxt. Cel., 4397.)

1827. Specimens of Printing Types by Louis J. Pouchée, Little Queen Street, London. 1827. 8vo. . . . . (Ox. Univ. Pr.)

RICHARD WATTS, _circ._ 1815.

Richard Watts, a printer of Crown Court, Strand, who, from 1802–9, had held the office of printer to Cambridge University, distinguished himself towards the close of the first quarter of the present century as a cutter and founder of Oriental and foreign characters, of which he accumulated a considerable collection. His first printing office was at Broxbourne, whence in 1816 he removed to Crown Court, Temple Bar, and here, chiefly under the patronage of the Bible {363}

Society and the Mission Presses in India and elsewhere, he produced the punches of a large number of languages hitherto unknown to English typography. He received the assistance and advice of many eminent scholars in his work, some of whom personally superintended the execution of certain of the founts. His collection increased at a rapid rate, and at the time of his death included almost every Oriental language in which, at that time, the Scriptures had been printed. His death occurred in 1844 at Edmonton, in which place his foundry appears to have been for some time located.

He was succeeded in business by his son, Mr. William Mavor Watts, who printed a broadside specimen of the founts, numbering 67 languages and dialects, of which several were shown in different sizes of character. This number was largely augmented during the following years, and, in the specimen prepared by Mr. Watts for the Exhibition of 1862, nearly 150 versions were exhibited. To this specimen was prefixed an interesting note respecting the origin of many of the founts. The collection was subsequently acquired by Messrs. Gilbert and Rivington, in whose possession it still remains and increases.

HUGH HUGHES, 1824.

This artist, described as a very able engraver, was for some time in partnership with Robert Thorne at the Fann Street Foundry. In 1824, he commenced a foundry of his own in Dean Street, Fetter Lane, whence he published a specimen of Book and Newspaper type, without date, which, besides Romans, Scripts, and Egyptians, included also Saxon, Greek, Flowers, and Music.

He appears specially to have applied himself to the production of this last-named character, and attained the reputation of being the best music type cutter in the trade. Savage, in his _Dictionary of Printing_, shows a specimen of Hughes music, observing that “the English musical types have never to my knowledge undergone any improvement till within a few years, when Mr. Hughes cut two new founts,” (Nonpareil and Pearl), “which are looked upon as the best we have and the largest of which I have used for this article (‘Music’).” Hughes’ system appears to have been that originally introduced by Breitkopf in 1764, and the scheme of a pair of cases by which his specimen is accompanied shows that a complete fount comprised as many as 238 distinct characters. Besides music of the modern notation, Hughes had matrices for the Gregorian Plain Chant Music, of which a specimen is also shown by Savage.

After the death of Mr. Hughes, which took place before 1841, the punches and matrices of his different music founts, Gregorian and modern, were purchased by Mr. C. Hancock, of Middle Row, Holborn, by whom they were considerably {364} improved, and who, subsequently, after his removal to Gloucester Street, Queen Square, issued a specimen. Of the disposal of the other contents of Mr. Hughes’ foundry we have no information.

SPECIMENS.

No date. A Specimen of Book and Newspaper Printing Types by Hugh Hughes, Letter Cutter and Founder, 23 Dean Street, Fetter Lane. 8vo. . . . . (Caxt. Cel., 4398.)

No date. Specimen Sheet of Modern Music Types by H. Hughes, 23 Dean Street, Fetter Lane, together with a scheme of Music Cases. 8vo. . . . . (T. B. R.)

BARTON, 1824.

Hansard states that this founder was early initiated in mechanical science by Mr. Maudsley, the engineer; he was formerly in partnership with Mr. Harvey, an engraver, by whom his founts were principally cut. His foundry was in Stanhope Street, Clare Market, and is mentioned by Johnson as one of the nine foundries carried on in London in the year 1824. No Specimen has come under observation.

HEAPHY, 1825; SIMMONS, 1825; BLACK, 1825.

To complete the list of minor founders prior to 1830, should be added the names of these three individuals, who are mentioned by Hansard in his _Typographia_ as distinct London letter founders in 1825.

{365}

CHRONOLOGICAL TABLE OF ENGLISH LETTER-FOUNDERS’ SPECIMENS NOTED IN THIS WORK. 1665–1830. PAGE 1665. Nicholls 179 1669. Moxon 192 1693. Oxford 162 1695. Oxford 162 1706. Oxford 162 (1708?) Oxford 162 1734. Caslon 256 1749. Caslon 256 1749. Caslon and Son 256 1749. Caslon and Son 256 (1752?) Baskerville 287 1753. Anderton 350 (1756?) Baine 350 (1757?) Baskerville 287 (1758?) Baskerville 287 (1762?) Baskerville 287 (1760?) Cottrell 297 1763. Caslon and Son 256 1764. Caslon and Son 256 (1765?) Jackson 329 1766. Caslon 256 (1766?) Cottrell 313 1768. Moore (London) 313 1768. Fougt 351 1768–70. Oxford 163 1770. Caslon 256 1770. Caslon 256 1770. Cottrell 297 1770. Moore 313 1772. Wilson 266 (1778?) Oxford 163 1782. James 230 (1783?) Jackson 329 1783. Wilson 266 1784. Caslon and Son 256 1785. Caslon 256 1785. Caslon 256 1785. Caslon 297 (1785?) Cottrell 297 1785. Fry and Sons 313 1785. Fry and Sons 313 1786. Oxford 163 1786. Caslon 256 1786. Wilson 266 1786. Fry and Sons 313 1787. E. Fry and Co. 313 1787. Baine 350 1788. E. Fry and Co. 313 1789. Wilson 266 1789. Bell and Stephenson 354 1790. Fry and Co 313 (1792) Figgins 344 1793. E. Fry and Co. 314 (1793) Figgins 344 1794. Oxford 163 1794. Thorne 297 1794. Fry and Steele 314 1794. Fry and Steele 314 1794. Figgins 344 1795. Fry and Steele 314 1796. S. and C. Stephenson 354 1797. S. and C. Stephenson 354 1798. Thorne 297 (1798?) Jackson 329 1798. Caslon III 329 1798. Caslon III 329 1800. Fry, Steele, and Co. 314 1801. Fry, Steele, and Co. 314 1802. Figgins 344 (1802?) Figgins 344 1802. Swinney 353 1803. Fry, Steele, and Co. 314 1803. Thorne 297 1803. Caslon III and Son 329 1805. Caslon & Catherwood 256 1805. Fry and Steele 314 (1805?) Fry and Steele 314 1807. Caslon IV 329 1808. Caslon & Catherwood 256 1808. Fry and Steele 314 (1809) Miller 356 (1812?) Caslon and Catherwood 256 1812. Wilson 266 1813. Miller 356 1815. Wilson 266 1815. Figgins 344 1815. Miller 356 1816. Ed. Fry 314 1817. Figgins 344 (1819) Blake, Garnett 329 1819. Pouchée 362 1820. Ed. Fry and Son 314 1821. Thorowgood 297 1821. Figgins 344 1821. Bessemer 359 1822. Thorowgood 297 1822. Miller 356 1823. Wilson 266 1824. Ed. Fry 314 1824. Figgins 344 (1824?) Hughes 364 1825. Bessemer and Catherwood 359 1826. Blake, Garnett 329 1826. Figgins 344 1827. Fry 314 1827. Blake, Garnett 329 1827. Figgins 344 1827. Austin 361 1827. Pouchée 362 1828. Wilson 267 1828. Thorowgood 297 1828. Blake, Garnett 329 1830. Caslon and Livermore 256 1830. Thorowgood 297 1830. Thorowgood 297 1830. Blake and Stephenson 329 1830. Bessemer 359

{366}

LIST OF THE PRINCIPAL AUTHORITIES CONSULTED OR REFERRED TO.

AMES (JOSEPH), Typographical Antiquities; being an Historical Account of Printing in England. London, 1749, 4to.

AMES (JOSEPH), Typographical Antiquities; augmented by William Herbert. 3 vols. London, 1785–90, 4to.

AMMAN (JOST.), Eygentliche Beschreibung aller Stände und...Handwerker. Frankfurt, 1568, 4to.

ARBER (EDWARD), Transcripts of the Registers of the Stationers’ Company. London, 1875–77, 4 vols. 4to.

ASTLE (THOS.), The Origin and Progress of Writing. London, 1784, 4to.

BELOE (W.), Anecdotes of Literature and Scarce Books, 6 vols. London, 1807–12, 8vo.

BERJEAU, (J. PH.), Speculum Humanæ Salvationis: Reproduit en facsimile. Londres, 1861, 4to.

BERNARD (A. J.), Antoine Vitré et les Caractères orientaux de la Bible Polyglotte de Paris. Paris, 1857, 8vo.

BERNARD (A. J.), Les Estienne et les types grecs de Francis 1er. Paris, 1856, 8vo.

BERNARD (A. J.), De l’Origine et des Débuts de l’Imprimerie en Europe, 2 vols. Paris, 1853, 8vo.

BIBLIANDER (T.), In Commentatione de ratione communi omnium linguarum et literarum. Tiguri, 1548.

BIGMORE and WYMAN, A Bibliography of Printing, 3 vols. London, 1880–6, 4to.

BLADES (WILLIAM), Life and Typography of William Caxton, 2 vols. London, 1861–3, 4to.

BLADES (WILLIAM), Some Early Type Specimen Books of England, Holland, France, Italy and Germany. London, 1875, 8vo.

BODONI (G.), Manuale Tipografico, 2 vols. Parma, 1818, 4to.

BOWERS BROS., Proposals for Establishing a Graduated Scale of Sizes for the Bodies of Printing Types. Sheffield, 1841, 12mo.

BRITISH MUSEUM, Catalogue of Early English Books to 1640, 3 vols. London, 1884, 8vo.

BUTLER, (A. J.), Ancient Coptic Churches of Egypt, 2 vols. Oxford, 1884, 8vo.

CAILLE (J. DE LA), Histoire de l’Imprimerie et de la Libraire. Paris, 1689, 4to.

CAXTON CELEBRATION....Catalogue of the Loan Collection at South Kensington. London, 1877, 8vo.

CHALMERS (ALEX.), The General Biographical Dictionary, 32 vols. London, 1812–17, 8vo.

CHAMBERS (EPHRAIM), Cyclopœdia, 2 vols., 1728, folio (also editions, 1738 and 1784–6).

CHEVILLIER (A.), L’Origine de l’Imprimerie de Paris. Paris, 1694, 4to.

COTTON (HY.), A Typographical Gazetteer attempted. 1st series, 2nd ed., Oxford, 1831, 8vo; second series, 1866, 8vo.

D’ANVERS (Mrs.), Academia, or the Humours of the University of Oxford, 1691.

DAUNOU (P. C. F.), Analyse des opinions diverses sur l’Origine d l’Imprimerie. Paris, 1810, 8vo.

DE GEORGE (LÉON), La Maison Plantin à Anvers. 2nd ed. Bruxelles, 1878, 8vo.

DE VINNE (THEODORE), The Invention of Printing. New York, 1877, 8vo.

DIBDIN (T. F.), The Bibliographical Decameron, 3 vols. London, 1817, 8vo.

DIBDIN (T. F.), Introduction to the Knowledge of the rare and valuable Editions of the Classics. 4th ed., 2 vols. London, 1827, 8vo.

DICKSON (R.), The Introduction of the Art of Printing into Scotland. Aberdeen, 1885, 8vo.

DIDOT (PIERRE), Epitre sur les Progrès de l’Imprimerie. Paris, 1784, 8vo.

DUNTON (JNO.), The Life and Errors of. London, 1705, 8vo.

DUPONT (PAUL), Histoire de l’Imprimerie, 2 vols. Paris, 1854, 8vo.

DÜRER (ALB.), Unterweissung der Messung. Nuremburg, 1525, folio.

[DUVERGER (E.)], Histoire de l’invention de l’Imprimerie par les Monuments. Paris, 1840, folio.

EDWARDS (E.), Libraries and Founders of Libraries. London, 1865, 8vo.

[ENCYCLOPÆDIA], Article sur Fonderie en Caractères de l’Imprimerie. Paris, n. d., folio.

ENSCHEDÉ, Specimen de Caractères Typographiques Anciens. Harlem, 1867, 4to. {367}

ESSAY on the Original, Use, and Excellency of the Noble Art and Mystery of Printing. London, 1752, 8vo.

EVELYN (JNO.), Diary and Correspondence, 4 vols. London, 1850–2, 8vo.

FAULMAN (C.), Geschichte der Buchdruckerkunst. Vienna, 1882, 8vo.

FIGGINS (V.), Facsimile of Caxton’s Game of the Chesse; with remarks. London, 1855, folio.

FINESCHI (V.), Notizie Storiche sopra la Stamperia di Ripoli. Fiorenze, 1781, 8vo.

FISCHER (G.), Essai sur les Monumens typographiques de Jean Gutenberg. Mayence, 1802, 4to.

FOURNIER (P. S.), Manuel Typographique, utile aux gens de lettres, 2 vols. Paris, 1764–66, 8vo.

FRANKLIN (BENJ.), Works of, 2 vols., London, 1793, 8vo; also Bigelow’s edition, 3 vols. Philadelphia, 1875, 8vo.

FREEMASON’S MAGAZINE. London, 1796, 8vo.

FRY (EDMUND), Pantographia. London, 1799, 8vo.

GAELIC SOCIETY OF DUBLIN: Transactions of, Dublin, 1808, 8vo.

GAND (M. J.), Recherches Historiques et Critiques sur la Vie et les Editions de Thierry Martens. Alost, 1845, 8vo.

GED (WILLIAM), Biographical Memoirs of. London, 1781, 8vo.

GENTLEMAN’S MAGAZINE. Vols. for 1792, 1793, 1803, 1836.

GOUGH (R.), British Topography, 2 vols. London, 1780, 4to.

GRESWELL (W. P.), A View of the Early Parisian Greek Press, 2 vols. Oxford, 1838, 8vo.

GUIGNES (J. DE), Essai Historique sur la Typographie Orientale et Grecque de l’Imprimerie Royale. Paris, 1787, 4to.

GUTCH (JNO.), Collectanea Curiosa, 2 vols. Oxford, 1781, 8vo.

HANSARD (T. C.), Typographia. London, 1825, 8vo.

[HANSARD (T. C.), the Younger.] Treatises on Printing and Type-founding (from the Encycl. Britan.). Edinburgh, 1841, 8vo.

HARLEIAN MSS.—The Bagford Collections.

HARLEIAN MISCELLANY, 8 vols. Lond., 1744–46, 4to. Vol. 3.

HARWOOD (EDW.), A View of the Various Editions of the Greek and Roman Classics. Lond., 1775, 12mo.

HAWKINS (SIR JOHN), A General History of the Science and Practice of Music. London, 1776, 4to. Vol. 5.

HEARNE (THOS.), Reliquiæ Hernianæ. Oxford, 1869, 4to, Vol. 2.

HODGSON (T.), An Essay on the Origin and Progress of Stereotype Printing. Newcastle, 1820, 8vo.

IMPRIMERIE ROYALE (de Paris). Specimen: Ancienne Typographic. Paris, 1819, 4to.

JAMES (JOHN), Catalogue and Specimen of the large and extensive Printing Type Foundry of. London, 1782, 8vo.

LABORDE (LÉON), Débuts de l’Imprimerie â Strasbourg. Paris, 1840, 8vo.

LA CROIX, FOURNIER ET SERÉ, Histoire de l’Imprimerie, etc. Paris, 1852, 4to.

LAMBINET (PIERRE), Origine de l’Imprimerie, 2 vols. Paris, 1810, 8vo.

LANSDOWNE MSS., No. 231.

LATHAM (H.), Oxford Bibles and Printing in Oxford. Oxford, 1870, 8vo.

LAUD (Arch.), Works of, 7 vols. Oxford, 1847–60, 8vo. Vol. 5.

LEMOINE (HY.), Typographical Antiquities. London, 1797, 12mo.

LINDE (M. A. VAN DER), The Haarlem Legend of the Invention of Printing by L. J. Coster, critically examined. Lond., 1871, 8vo.

LOMÉNIE (L. DE), Beaumarchais et ses Temps. Edwards’ translation, 4 vols. London, 1856, 8vo. Vol. 3.

LONDON PRINTERS’ LAMENTATION. (London, 1660) 4to.

LONG (J. LE), Discours Historique sur les principales editions des Bibles Polyglottes. Paris, 1713, 12mo.

LUCE (L.), Essai d’une nouvelle typographie. Paris, 1771, 4to.

[LUCKOMBE (P.)], A Concise History of the Origin and Progress of Printing. London, 1770, 8vo.

MCCREERY (JNO.), The Press, a Poem. Published as a Specimen of Typography. Liverpool, 1803–27, 4to.

MADDEN (J. P. A.), Lettres d’un Bibliographe, 5 vols. Paris, 1868–78, 8vo.

MASON (MONCK), Life of William Bedell, D.D. London, 1843, 8vo.

MEERMAN (G.), Origines Typographicæ. 2 vols. Hagæ Com., 1765, 4to.

MILTON (JOHN), Areopagitica. (Arber’s Reprint.) London, 1868, 8vo.

MORES (E. ROWE), A Dissertation upon English Typographical Founders and Founderies. London, 1778, 8vo.

MOXON (JOSEPH), Regulæ Trium Ordinum Literarum Typographicarum. London, 1676, 4to.

MOXON (JOSEPH), Mechanick Exercises, or the Doctrine of Handy-Works, 2 vols. London, 1677–83, 4to.

MOXON (JOSEPH), Tutor to Astronomy and Geography, 4th ed. London, 1686, 4to.

NICHOLS (JNO.), Biographical and Literary Anecdotes of William Bowyer, Printer, F.S.A. London, 1782, 4to. {368}

NICHOLS (JNO.), Literary Anecdotes of the Eighteenth Century, 9 vols. London, 1812–15, 8vo.

NICHOLS (JNO.), Illustrations of the Literary History of the Eighteenth Century, 8 vols. London, 1817–58, 8vo.

NOBLE (MARK), Continuation of Granger’s Biographical History of England, 3 vols. London, 1806, 8vo.

OTTLEY (W. Y.), An Inquiry concerning the Invention of Printing. London, 1863, 4to.

OWEN (HUGH), Two Centuries of Ceramic Art in Bristol. 1873, 8vo.

PACIOLI (LUCA), De Divinâ Proportione. Venice, 1509, folio.

PALMER (SAM.), A General History of Printing. London, 1732, 4to.

PANIZZI (SIR A.), Chi era Francesco da Bologna? London, 1858, 16mo.

PANZER (G. W.), Annales Typographici, 11 vols. Nuremberg, 1793–1803, 4to.

PARR (RICHD.), The Life of James Usher, Archbishop of Armagh. London, 1686, folio.

PATENTS FOR INVENTIONS. Abridgments of Specifications relating to Printing (1617–1857). London, 1859, 8vo.

PATER (PAULUS), De Germaniæ miraculo, optimo, maximo, Typis Literarum . . Dissertatio. Lipsisæ, 1710, 4to.

PHILIPPE (J.), Origine de l’Imprimerie â Paris. Paris, 1885, 4to.

PRINTER’S ASSISTANT, The. London, 1810. 12mo.

PRINTER’S GRAMMAR, The. London, 1787, 8vo.

PSALMANAZAR (GEO.), Memoirs of. London, 1765, 8vo.

REID (JNO.), A Specimen of the Printing Types and Flowers belonging to. Edinburgh, 1768, 8vo.

RENOUARD (A.), Annales de l’Imprimerie des Alde. 3 vols. Paris, 1825, 8vo.

RENOUARD (A.), Catalogue de la Bibliotheque d’un Amateur. 4 vols. Paris, 1819, 8vo.

RICHARDSON (REV. J.), A History of the Attempts that have been made to convert the Popish Native of Ireland. 1712, 8vo.

RICHARDSON (WM.), A Specimen of a New Printing Type, in Imitation of the Law-hand. London, n.d. broadside.

RIVINGTON (C. R.), Records of the Company of Stationers. London, 1883, 8vo.

ROCCHA (ANGELO), Bibliotheca Apostolica Vaticana. Rome, 1591, 4to.

ROSSI (J. B. DE), De Hebraicæ Typographiæ Origine ac Primitiis. Parma, 1776, 4to.

RUSHWORTH’S Historical Collections, 8 vols. London, 1659–1701, folio. Vol. 2.

SARDINI (G.), Storia Critica di Nicolao Jenson, 3 vols. Lucca, 1796–98, folio.

SAVAGE (WM.), A Dictionary of the Art of Printing. London, 1841, 8vo.

SAVAGE (WM.), Practical Hints on Decorative Printing. London, 1822, 4to.

SCHOEPFLIN (J. D.), Vindicisæ Typographiæ. Argentorati, 1760, 4to.

SCHWAB (M.), Les Incunables Orientaux. Paris, 1883, 8vo.

SHENSTONE (WM.), Works in Verse and Prose, 3 vols. London, 1791, 12mo.

SKEEN (W.), Early Typography. Colombo, 1872, 8vo.

SMITH (JNO.), The Printer’s Grammar. London, 1755, 8vo.

SMITH (THOS.), Vitæ quorundam eruditissimorum et illustrium Virorum. London, 1707, 4to.

STAR-CHAMBER. A Decree of Starre Chambre concerning Printing (11 June, 1637). London, 1637, 4to.

STATE PAPERS, Domestic, Calendars of, Various years.

STOWER (C.), The Printer’s Grammar. London, 1808, 8vo.

STRYPE (JNO.), Life and Acts of Matthew Parker. London, 1711, folio.

THIBOUST (C. L.), De Typographiæ Excellentiâ; Carmen. Paris, 1718, 8vo.

THOMAS (ISAIAH), The History of Printing in America, (2nd ed.), 2 vols., Albany, 1874, 8vo.

TIMPERLEY (C.), Encyclopædia of Literary and Typographical Anecdote. London, 1842, 8vo.

TIMPERLEY (C.), Songs of the Press, London, 1833, 8vo.

TODD (H. J.), Memoirs of the Life and Writings of the Rt. Rev. Brian Walton, D.D., 2 vols. London, 1821, 8vo.

TORY (GEOFROY), Champ-Fleury. Paris, 1529, sm. folio.

TRITHEMIUS (JOH.), Annales Hirsaugienses, 2 vols. St. Gall, 1690, 4to.

TWYN (JNO.), An Exact Narrative of the Tryal and Condemnation of. Lond., 1664, 4to.

UNIVERSAL MAGAZINE, London, 1750, 8vo.

[WATSON (JAMES)], The History of the Art of Printing. Edinburgh, 1713, 8vo.

WETTER (JOH.), Kritische Geschichte der Erfindung der Buchdruckerkunst. Mainz, 1836, 8vo., and atlas of plates.

WILLEMS (A.), Les Elzevier; Histoire et Annales Typographiques. Bruxelles, 1880.

WILKINS (DAVID), Concilia Magnæ Britanniæ et Hiberniæ. London, 1737, folio. Vol. 4.

WOOD (ANTHONY À), Athenæ Oxonienses, 2 vols. Lond., 1791–2, folio.

YCAIR (J. DE), Orthographia Practica. Caragoça, 1548, 4to.

{369}

INDEX.

_Acta Apostolorum, Gr., Lat. (Laud. Codex)_, Oxford 1715; 321

_Acta Sanctorum Hiberniæ_, Louvain, 1645; 75

Adams (Geo.), successor to Moxon, 192

Advertisement of Caxton, 49, 87

_Ælfredi Res Gestæ_, Lond. 1574; 73, 95, 96, 98, 144, 176

_Ælfric’s Paschal Homily_, Lond. 1567; 73, 95: Lond. 1623; 73

_Æneas Silvius_, Louvain, 1483; 43

_Æsop’s Fables_, Milan, 1480; 57: Louvain, 1513; 59

Aldus Manutius, Specimen, 49, 169; ‘Silver type’, 106; Greek, 58; Hebrew, 62; Initials, 80; Italic, 50; Ornaments, 82; Roman, 41

Alexandrian Greek, matrices, Grover, 198, 204, 321; James, 228, 303, 321; Fry, 303, 304, 311, 321; Jackson, 321, 322

_Alfieri, Works of_, Kehl, 1786–1809; 286

_Alphabet Irlandais_, Paris, 1804; 76, 191

_Alphabetarium Runic-Swed._, Stockholm, 1611; 72

_Alphabetum, Heb., Gr._, Paris 1507; 62: Paris 1516; 63

Amerbach, Roman type of, 43

America, first letter-founders in, 350

Ames (Jos.) on Caxton’s types, 84, 242; on Caslon’s, 242; inaccuracy of, 349

Amharic, same as Ethiopic, 69, 177; Castell’s, 177; Oxford, 177; Fry, 309, 311

Amman (Jost), _Book of Trades_, 104

ANDERTON (GEO.) founder, 246, 350; specimen of, 350

ANDREWS (ROB.) 157, 166, 194–197; succeeds Moxon, 194; punches cut by, 74, 157, 196; summary of foundry, 195; foundry sold, 197

——— Matrices: Anglo-Norman, 196; Arabic, 195; Blacks, 194, 196, 312; Ethiopic, 194, 193; Greek, 195, 197; Hebrew, 194, 195; Irish, 194, 196; Music, 77, 196; Roman and Italic, 195, 197; Samaritan, 70, 195; Saxon, 74, 157, 196; Secretary, 196; Signs, etc., 196; Syriac, 195, 241

ANDREWS (SYL.) son of above, 149, 195, 209; supplies Baskett, 210; foundry sold, 211; epitaph, 211

ANDREWS (SYL.) Matrices: Hebrew, 209; Roman and Italic, 209, 210

‘ANONYMOUS FOUNDRY,’ 206

——— Matrices: Anglo-Norman, 207; Arabic, 207; Black, 207; Ethiopic, 207; Gothic, 207; Greek, 207; Roman, 207

Anglo-Norman Matrices: Andrews, 196; ‘Anon,’, 207; James, 223, 228

Anglo-Saxon; _see_ Saxon

_Anthologia, Gr._, Florence 1494; 57

Antimony, discovered, 20; use of in type metal, 20, 117; prices of, 118

Antiqua, German name for Roman, 42; Italian ditto, 42

_Antiques linguæ Brit, rudimenta_, Lond. 1621; 64

Applegarth (A.) type-casting machine of, 121

Apprentice-founders, regulation of, 130, 133; in France, 129

_Aquinas (St. Th.) Summa_, 1462; 54

Arabic, first types of, 65; printed in Black or Hebrew, 65; early in Italy, 65, 66; Paris, 65; Leyden, 65, 141, 144; Upsala, 66

——— in England, first types, 66; printed in Italic, 66; written by hand, 66; De Worde’s, 66, 91; Bedwell’s, 66, 145; none at Oxford, 1639, 66: Flesher’s, 66

——— Matrices: Oxford, 66, 147, 148, 155, 161; Polyglot, 66, 173, 174, 177, 198; Andrews, 195; Grover, 198, 235; ‘Anon,’ 207; James, 67, 223, 228, 303; Caslon, 67, 235, 240, 247, 254; Fry, 67, 303, 309, 311; Caslon III, 326

——— Punches: James, 229

_Arabian Trudgman_, Lond. 1615; 66

_Arba Turim_, Pheibia, 1475; 62

Arber (E.) on early English printers, 125

_Archaionomia_, Lond. 1568; 95

_Areopagitica_ of Milton, 130

_Aristotle_, Venice, 1495; 58

Armenian, first types, 68; at Rome, 68; Paris, 68; Amsterdam, 68; Marseilles, 68; Constantinople, 68

——— Matrices: Oxford, 62, 148, 153, 161; Caslon, 69, 239, 240, 247, 254; Caslon III, 326

Aspinwall (T.) type-casting machine of, 122

Astle (T.) on early type ‘bills,’ 28; on Day’s Saxon, 96

Atanasia, Spanish type body, 37

Athias (Jos.) Dutch founder, 114, 215; Hebrew type of, 64, 215, 238, 264

_Attempts to convert the Native Irish_, Lond., _n.d._, 190

Augustin, a type body, 32, 37

_Augustini, De Civitate Dei_, Rome, 1474; 37: Basle, 1506; 37

AUSTIN (RICHD.) letter founder, 359; cuts punches for Stephenson, 353, 359; Wilson, 360; and Miller, 355, 360; starts a foundry, 360; specimen and advertisement, 360; anecdote of, 360; his successors, 360

——— Matrices, Roman and Italic, 360

Baber (H. H.) facs. of Alexandrian _Codex_, 322

Badius Ascensius, French printer, 20; device, 106; Greek, 58; Hebrew, 63; Roman, 43

Bagford (Jno.) notes on printing, 84, 139, 140, 144, 146, 165; on Oxford Specimen, 154; on Oxford Printing House, 156

Bagster (S.), Polyglot _Bible_ of, 65, 308, 311, 341; Hebrew, cut for, 65, 341; Syriac, 308, 311, 342

BAINE (JNO.) partner with Wilson, 239, 260; begins a foundry in London, 349; in Edinburgh, 349; specimens, 263, 349, 350

Barclay (R.) patent punches of, 119

Barker (Chr.) report on printers, 1582: 126

Barker (F.) printer of ‘Wicked’ _Bible_, 142, 143

Barnes (Jos.) Oxford printer, 140

BARTON—letter founder, 364

Base-Secretary, peculiar type, 55, 56, 289

BASKERVILLE (JNO.) 268–87; early training, 268; first types cut by, 268, 269, 275; letters to Dodsley, 270–2; _Virgil_, 1757, 271, 272, 273; specimens, 271, 276, 277, 287; preface to _Milton_, 275; tribute to Caslon, 243, 275; employed by Oxford Press, 160, 273, 274; dazzling impressions of, 275, 279; relics of, at Oxford, 160, 162, 274; privilege from Cambridge, 276, 278; type bodies, 276; punch-cutters for, 269, 277, 353; letter to H. Walpole, 278; prejudice against, 278, 279, 280, 284; folio _Bible_, 1763, 279; tries to sell business, 278, 281, 284; correspondence with Franklin, 280, 281; various tributes to, 263, 272, 277, 280, 284; retires from printing, 281, resumes 281; death, 281; personal notices of, 282; epitaph and burial, 282, 283; portrait, 283; his influence on English typography, 284, 299, 305, 310, 332, 333; destination of his types, 287, 286

——— Matrices: Roman, 47, 48, 263, 270, 271, 275, 276, 277, 279, 280, 284; Greek, 61, 160, 273, 274; Initials, 81, 270

Bakerville (Mrs.) notice of, 282, 283; her advertisements, 283; book printed by, 238

Baskett (Jno.) printer at Oxford, 210; his ‘Vinegar’ _Bible_, 1717–16, 210; inventory of his types, 210; ‘silver initials’ of, 107, 211

Batarde, a class of type, 36, 53, 55

Bay (Jno.) early American founder, 350

Beaumarchais, purchases Baskerville’s foundry, 284; typographical establishment at Kehl, 285; editions of _Voltaire_, 285, 286

_Beauties of the Poets_, Lond. 1788; 306

Bebel, Hebrew type of, 63

_Bede’s Works_, Camb. 1644; 74

Bedell (Bp.) _A B C. or Catechism_, Dublin, 1631, 188; Irish _Old Testament_, Lond. 1685; 188

Bedwell (Wm.) buys Arabic abroad, 66, 145

BELL and STEPHENSON, letter founders, 353

_Bellows’ French Dictionary_, Edinburgh, 1873; 356

Bengalee matrices, Jackson, 317, 318; Wilkins, 318

Bensley (T.) printer, employs Figgins, 336

Bernard (A.) on sculpto-fusi types, 8; sand-cast type, 10, 12; ‘getté en molle,’ 13; on early founts, 27

Berte (A. F.) type-casting machine of, 119, 120

Berthelet (T.) types of, 94; _Boke named the Governour_, 94

BESLEY (ROBT.) partner of Thorowgood, 296

BESSEMER (ANT.) letter founder, 254, 265, 358; starts at Charlton, 358; joined, by J. J. Catherwood, 358; removes to London, 359; minute types cut by, 358, 359; foundry sold, 359; specimens, 358, 359

——— Matrices:—Roman and Italic, 359

Bessemer (H.) son of above, type casting machine of, 265, 359

Bettenham (Jas.) printer, 234; assists Caslon, 234

Bewick (T.) wood-engraver, 306, 330, 331

_Bible_ (_Polyglot_), Complutum, 1514–17; 59, 63, 169, 170; Antwerp, 1569–72; 51, 59, 64, 169, 170; Heidelberg, 1586; 170; Hamburg, 1596; 170; Nuremburg, 1599; 170: Paris, 1645; 66, 67, 70, 169, 170, 171; London, 1657; 47, 66, 68, 69, 70, 98, 136; account of, 168–176; London, 1817–28, &c., 65, 68, 308, 341

——— (_Hebrew_) Soncino, 1488; 62; Basle, 1534: 63; Hamburg, 1587 and 1603; 63, 247; Amsterdam, 1639; 64; Amsterdam, 1667; 64, 215; Amsterdam, 1705; 64

_Bible_, (_Greek_) Alexandrian Codex, Lond. 1816–21; 322

——— (_Latin_) Mentz _n.d._, 26, 27, 53

——— (_English_) Lond. 1539 (Grafton’s) 124; Edinburgh 1576 (Bassendyne) 46; Lond. 1631 (Barker) 142, 198; Lond. 1653 (Field) 47; Oxford, 1717–16 (Baskett) 210; Cambridge 1763 (Baskerville) 279; Lond. 1774–6 (Moore) 301; Bristol, 1774 (Pine) 301; Lond. 1776 (Pasham) 324; Lond. 1777 (Fry) 302; Lond. 1800 (Macklin) 323, 336

——— (_Armenian_) Amsterdam, 1666; 68

——— (_Irish_) Lond. 1685; 75, 190; Lond. 1690; 190

——— (_Russian_) Prague, 1517–19; 71

——— (_Sclavonic_) Ostrog, 1581; 71: Moscow, 1663; 71

——— (_Syriac_) Lond. 1829; 68

Bible-height at Oxford, 155

Bible-printing, complaints of, 232

Bibliander, on wooden types, 4

_Bibliotheca Apostolica Vaticana_, Rome, 1591; 65, 67, 68

‘Bill’ of early founders, 28

Bill (Jno.) Hebrew type of, 64

Binneman (H.) types of, 96

BLACK, a founder, 364

Black letter, early use of in England, 54, 97; Caxton’s, 53, 87, 88, 89, 312, 343; De Worde’s, 53, 89, 90, 91, 197, 199, 225, 239; Faques’, 93; fashions in, 54; semi-gothic, 55, 94; mixed with Roman, 45, 80

——— Matrices:—Oxford, 148, 161; Polyglot, 173, 177; Andrews, 196, 312; Grover, 197, 199, 225; Head, 206, 241; Mitchell, 206, 241; ‘Anon.’, 207; James, 54, 214, 217, 223, 228, 303; Caslon, 54, 239, 240, 248, 254; Wilson, 264; Fry, 303, 310, 311, 334; Thorne, 295; Caslon III, 326; Figgins, 340, 343

Blades (Wm.) on early schools of typography, 9; on page by page printing, 26; _Life of Caxton_, 83; on early letter-founding, 102

BLAKE, GARNETT & CO., purchase Caslon IV’s foundry, 327; specimen, 328; Orientals, 328

Blind type: Haüy’s, 78; Lucas, 79; Frere, 79; Moon, 79; Braille, 79; Carton, 79; Alston, 78, 79, 309; Fry, 78, 79, 308, 309

Block books, not typographical, 2; latest printed, 2

Block-printing, _see_ Stereotype

Bodies, _see_ Type-bodies

Bodman on wooden types, 4

Bodoni (G. B.) notice of, 251, 252; specimens, 50, 252; influence on English typography, 251, 331; _Manuale Tipografico_, 72, 252; Etruscan letter of, 72; Greek, 61, 252, 332; Roman, 48, 251; Russian, 72

_Boëthius de Consolatione_, Oxon. 1698; 151

_Boke named the Governour_, Lond. 1531; 94

Bolts (W.) Bengalee type cut for, 317, 318, 319

Bomberg, Hebrew type of, 62

Bourgeoise, a class of type, 32

Bourgeois, an English type-body, 33, 39

Bourgeois (J. de) Rouen printer, 103

BOWER (G. W.) Sheffield founder, 357; specimen, 357; partners of, 357; attempt to regulate type bodies, 35, 357; foundry sold, 357

Bowyer (Wm.) printer, account of, 234; Saxon type used by, 74, 157, 289; fire of his office, 157, 197, 205, 234; his aid to Caslon, 234, 236, 238, 316

Bowyer (Wm. II) his aid to Jackson, 315, 316, 323

Boydell (Jno.) founder of the Shakespeare press, 330

Boyle (R.) Irish type cut for, 189

Bradshaw (Henry) on the type of the _Mentz Psalter_, 11; on the first Oxford types, 138

Branston, engraver and maker of cast ornaments, 360; his stereoplates for music, 360

Breaking off, process in founding, 111, 115, 116, 117, 131

‘Breaks’ of early types, 22

Breitkopf (J. G.) Leipzig founder, 296; German type of, 296; Map type, 296; Music, 78, 296; Russian, 71, 72, 296

Brèves (Sav. de) Arabic cut for, 66; Syriac, 67

_Breviary_ (_Icelandic_), Hoolum, 1531; 73

Brevier, a type body, 32; English, 32, 33, 39, 129; German, 38

Brilliant, an English type body, 356

_British Theatre_, Lond. 1791–2; 52

Brotherly Meeting of Printers, 165, 166, 171, 178, 193, 194, 197, 205

BROWN, letter-founder, 358

Browne (J.) Hebrew used by, 64

Bruce (D.) type-casting machine of, 122

Buchanan (Cl.) Syriac cut for, 342

Buck (T.) Cambridge printer, 141

Buel (Abel) early American founder, 350

_Bullock’s Oratio_, Camb. 1521; 141

Bulmer (W.) fine printer, 330, 331, 333; employs Birmingham cutters, 284, 331; prints for Roxburghe club, 312, 334

Burghers (M.) Oxford University engraver, 151, 210

Bus (J.) Dutch founder, 114, 215

_Cædmon’s Paraphrase of Genesis_, Amsterdam, 1655; 74

_Calasio Concordantiæ_, Lond. 1747; 346

Cambridge University, early printing at, 139, 141; offer to buy the Paris Greek, 61, 141; Greek types at, 60, 141; borrow type from Oxford, 61, 141; Saxon types of, 74; privilege to Ged for stereotype, 219; to Baskerville, 276, 278; Orientals, cut by Fry for, 308

_Cambro-brytannicæ . . lingua Institutiones_, Lond. 1592; 64

Canon, a type body, 32, 36; Tory’s definition of, 32

_Carmen Tograi_, Oxon. 1661; 66, 68

Cartlitch (Miss), married Caslon II, 248

CASLON (WM.) the First, 233–246; gunsmith’s apprentice, 233; first attempts at typography, 233–6; first foundry, 234; early patrons, 234; Palmer’s conduct to, 235, 238; early difficulties, 237; offers for Grover’s foundry, 237; reputation of, 237; first specimen, 240, 290; view of his foundry, 108, 116, 243, 288, 316; specimens, 241, 242, 280; various tributes to, 158, 241, 242, 243, 275; wager with Ged, 219, 238; rival to James, 219, 222, 238; buys half Mitchell’s foundry, 206, 221, 241; made a Justice, 243; his workmen, 243, 288, 290, 315, 316, 350, 351; family, 245, 246; retires, 244; anecdote of private life, 245; dies, 246; influence on English typography, 47, 249, 284, 301, 303, 305

——— Matrices: Armenian, 69, 239, 240, 247, 254; Arabic, 67, 235, 240, 247, 254, 311; Black, 54, 239, 240, 241, 248, 254; Coptic, 70, 236, 237, 240, 234; Ethiopic, 69, 240, 254; Etruscan, 72, 239, 240, 247,254; Flowers, 222, 240, 241, 248; Gothic, 73, 239, 240, 248, 254; Greek, 240, 241, 247, 254; Hebrew, 65, 236, 240, 247, 254; Initials, 81; Music, 254; Roman and Italic, 47, 48, 52, 159, 197, 236, 240, 247, 254, 284; Samaritan, 70, 240, 241, 247, 254; Saxon, 74, 240, 248, 254; Syriac, 68, 240, 241, 247, 254

CASLON (WM.) the Second, son of above, enters business, 241; specimens, 246; Mores’ prejudice against, 244, 247; anecdote of, 316; dies, 248; wife and family of, 248

——— Matrices: Black, 248; Greek, 247; Hebrew, 247; Music, 248; ‘Proscription-type,’ 248; Saxon, 74, 248; Syriac, 246

CASLON (MRS. W.) wife of above, formerly Miss Cartlitch, 248; manages for her husband, 248; succeeds to the business in 1792, 250; member of trade Association, 250; death, 251; tributes to, 251; decline in value of foundry under, 251

CASLON (WM.) the Third, son of W. Caslon II, succeeds to the business, 248; specimens, 248, 249, 250; founder to His Majesty, 249; altercation with Frys, 249, 303, 304; large sand cast type of, 250; cast ornaments, 254, 326; leaves Chiswell Street, 250; relations with Jackson, 317, 325

——— Matrices (Chiswell Street): Script, 249

——— Buys Jackson’s foundry, 325; uses Chiswell Street Orientals and Cast Ornaments, 325, 326; specimens, 325, 326; retirement and character, 326, 327

——— Matrices (Salisbury Square): Arabic, 326; Armenian, 326; Black, 326; Greek, 326; Hebrew, 326; Samaritan, 326; Saxon, 326; Syriac, 326

CASLON (HENRY) the First, son of W. Caslon II, 248; joint heir to foundry, 248; wife of, 250; death, 250

CASLON (Mrs. HENRY) wife of above, formerly Miss Rowe, 200, 250; joint proprietor of foundry, 251, 252; sole proprietor, 251; regenerates foundry, 251; cuts new founts, 251; her partner, 252; marries Mr. Strong, 252; illness and death, 252; specimen, 252

——— Matrices: Roman and Italic, 251, 252, 253

CASLON (HENRY) the Second, son of above, 250; infant proprietor of foundry, 251; sole proprietor, 253; partners of, 253, 254; additions to foundry, 253, 254, 334; state of foundry in 1825, 234; revives the Old Style, 255; death, 255

——— Matrices: German, 254; Greek, 254; Persian, 254; Diamond Roman, 358; Sanscrit, 254

CASLON (HY. WM.) son and partner of above, 235; unites Glasgow and Caslon foundries, 253, 263; offers foundry for sale, 255; dies, the last of his name, 255

CASLON (WM.) the Fourth, son and partner of Wm. Caslon III, 326; succeeds to Salisbury Square Foundry, 327; improved types, 120, 327; ‘Sanspareil’ matrices, 327; sells foundry to Blake, 327; character, 328

Caslon (Saml.) mould-maker, brother to Wm. Caslon I. 246, 350

Caslon (Thos.) bookseller, son of Wm. Caslon I, 246

Caslon Foundry, type bodies in 1841, 34; changes in the value of, 251, 255; relics preserved at, 245

Cast Ornaments, introduced by W. Caslon III, 250, 326; Fry’s, 306; Vizitelly, Branston’s, 360, 361

Castell (E.) his _Heptaglot Lexicon_, 176, 177

Casting, primitive methods of, 9; early irregularity of, 18, 25; in sand, 9, 10, 12; in clay, 11, 12; Moxon’s account of, 111; improvements in, 119–22

_Castle of Otranto_, Parma, 1791; 251

_Catechism and Articles in Irish_, Dublin, 1571; 75, 187

_Catechism in Irish_, Lond. 1680?; 189

_Catena on Job_, Lond. 1637; 98, 144, 176, 198, 201, 228

CATHERWOOD (NATL.) partner of Mrs. H. Caslon, 252

CATHERWOOD (J. J.) brother to above, 253; partner of Hy. Caslon II, 253; leaves Chiswell Street, 254; notice of, by Johnson, 254; starts a foundry, 254, 358; joins A. Bessemer, 358; retires, 359

_Catholicon_, Mentz, 1460; 16

Caxton (Wm.) first English printer, 84; early training, 84, 85; probable methods of type founding, 85, 86, 343; type cast by, 84, 85, 102; mould of, 88; types of, 86–9; Black, 53, 87, 88; Secretary, 55, 86, 87, 88; Initials, 79; type ornaments, 82; first books of, 86; his advertisement, 49, 87; printed page by page, 26; translation of _Ovid’s Metamorphoses_, by, 312; employs a foreign printer, 91; facsimiles of his types, 343, 344

Celtis, his reference to cut types, 7

Certificate, letter founders’, form of, 135

‘Chalcographia,’ derivation of, 15

_Champfleury_, Paris, 1529; 32, 183

Chapel (a founders’), account of, 112, 166, 186

Chapman, prints with Baskerville’s types, 283

Charles II and the _London Polyglot_, 176; on the Alexandrian _Codex_ facsimile, 203

Chevillier (A.) on the _London Polyglot_, 172

Chinese type cast in plaster moulds, 15

_Christian Doctrine_, Dublin 1652; 75, 188

_Christianæ Pietatis prima Institutio_, Lond. 1578; 98

_Chronological account of Irish writers_, Dublin 1820; 190

_Chrysostomi Homiliæ_, Lond. 1543; 60, 95: _Opera_, Oxon. 1586; 60, 140; _Translations from_, Oxon. 1602; 64: _Opera_, Eton 1610–12; 60, 140

Church (W.) Type casting machine of, 121

Cicero’s suggestion of mobile types, 3

Cicero, a type body, 32, 38

_Cicero de Officiis_, Mentz 1465; 38, 57; Rome 1469; 38

——— _de Oratore_, Rome 1465; 40

Civilité, Lettre de, a French cursive, 56; Plantin’s, 56

Clarendon Printing House, Oxford, 156

Clarke (S.) Oxford architypographus, 146

Classical ‘height-to-paper’ at Oxford, 155, 274

Claudin (A.) old Lyonnaise types of, 20; on early type markets, 103

Clayton (Robt.) patent matrices, 16, 121

_Clemens Romanus ad Corinthios_, Oxon. 1633; 143, 201

_Codex Alexandrinus_, history of, 200; attempts to facsimile, 200–5, 321

_Codex Bezæ_, facsimile of, Camb. 1793; 322

_Collection of Hymns_, Bristol 1769; 299

Colonel, a Dutch and German type body, 39

_Commentary on the Pentateuch_, Reggio 1475; 62

_Common Prayer_, Lond. 1550; 77: Cambridge 1760–2; 279

——— (_Irish_) Dublin 1608; 75, 187; Lond. 1712; 190

Complutensian _Polyglot_, types of, 59, 63, 169

Copland (R.) printer, types of, 94

Coptic types of the Propaganda, 69; Voskens, 70; Fournier, 70

——— Matrices: Oxford, 70, 147, 148, 153, 155, 161; Grover, ‘new-hand,’ 198, 200; Caslon, 70, 236, 237, 240, 247, 254

Cornish (J. D.) his specimen of Caslon’s types, 246

Corpus, a German type body, 39

Coster legend disposed of by Van der Linde, 2

COTTRELL (THOS.) 221, 288–92; apprentice to Caslon, 243, 288, 290, 316; starts a foundry, 288, 316; his tribute to Caslon, 244, 290; specimens, 290, 291, 292; repairs the Elstob Saxon, 158, 289; Fournier’s notice of, 290; private in the Guards, 290, 316; Nichols’ notice of, 291; his foundry, 292

——— Matrices: Domesday, 74, 291, 292, 294, 320; Engrossing, 56, 289, 290, 291, 292, 295; Flowers, 290, 291, 292; “Proscription,” 291, 292, 317; Roman and Italic, 48, 289, 290, 291, 292; Russian, 72, 291

Court Hand, early English, 55, 289

——— Matrices: Grover, 199, 204; James, 228, 303; Fry, 303

Cromwell (Oliver), his aid to the London _Polyglot_, 172, 175

Cupi, a Dutch punch cutter, 114, 215, 216

Cursiv, a German name for Italic, 51

‘Cut matrices,’ a misnomer, 8

_Cyclopædia_, E. Chambers, Lond. 1728; 38: Lond. 1738; 241: Lond. 1784–6; 250, 203

Danish type at Oxford, 73, 151

Dawks (I.) Script type of, 173

Day (Jno.) printer, account of, 95–101; a letter-founder, 96; his Star Chamber case _v._ Ward, 124. His types: Greek, 98; Hebrew, 64, 98; Italic, 51, 96, 97, 98, 144; Music, 77, 98; Roman, 47, 96, 97, 98, 144; Saxon, 73, 96

_De Antiquitate Britannicæ Ecclesiæ_, Lond. 1572; 97

_De Arte Supputandi_, Lond. 1522; 92

_De Divinâ Proportione_, Venice, 1509; 183

_De Emendatâ Structurâ_, Lond. 1524; 60, 93

_De Linguæ Arabicæ Utilitate_, Oxon, 1639; 66

_De Linguâ Etruriæ_, Oxon. 1735; 239

_De Siglis Arabum_, Lond. 1648; 66

De Vinne (Theo.) on early type moulds, 9, 17

_De Visibili Romanarchiâ_, Lond. 1573; 97

De Worde. _See_ Worde (W. de)

Demetrius of Crete, Greek types of, 57, 58

_Demetrius Phalereus_: Glasgow, 1743; 261

Descendiaen, a Dutch type body, 38

Deva Nagari matrices: Jackson, 319; Wilkins, 318

Diamond, an English type body, 40; a Dutch body, 40, 304; matrices in Grover’s foundry, 197, 199; founts cut in by Wilson, 264; Fry, 304; Bessemer, 358, 359

_Diary of Lady Willoughby_, Lond. 1844; 255

Dibdin (T. F.) on Black letter fashions, 54; on Caxton’s types, 84; Bibliographical Works of, 333

_Dictes and Sayings of the Philosophers_, Westminster, 1477; 86

Didot (A. F.) improved Script type, 56, 120, 308, 312.

Didot (F.) on Polytype printing, 13, 220

Didot (F. A.) typographical points of, 35; Roman type of, 48

Didot (H.) Semi-Nonpareil cut by, 40; Diamond, 359; Patent type-casting machine, 121, 361

_Dilworth’s Spelling Book_, Lond. _n.d._ 306

_Dives et Pauper_, Lond. 1493; 91

_Diurnale Gr. Arab._ Fano, 1514; 65

_Doctrinale_, ‘getté en molle,’ 13

Domesday matrices:—Cottrell, 74, 291, 292, 294, 320; Jackson, 74, 291, 320, 321, 340; Figgins, 339, 340, 343

_Domesday Book_, Lond. 1783; 74, 320, 321, 340

_Domesday Book Illustrated_, Lond. 1788; 321

_Donlevey’s Irish Catechism_, Paris, 1742; 75

Double Pica, an English type body, 33, 36

Dressing, an operation in founding, 111, 115, 116

Drury (J. I.) letter cutter to Mrs. H. Caslon, 251

_Ductor in Linguas_, Lond. 1617; 64, 73, 171

DUMMERS, a letter founder, 345; Samaritan type cut for Caslon, 70, 241, 345

Dürer (A.) on the shape of letters, 32, 183

Dutch Founders, notices of, 113, 213–217; type of, in England, 46, 51, 61, 80, 114, 210, 233; in Scotland, 257, 238; cessation of trade with, 237, 249

Dutch ‘Bloomers,’ 80, 258

Duverger (E.) on early type moulds, 23

East (T.) Music type of, 77

East India Company, types cut for, 318, 319, 339

_Elementa Linguæ Persicæ_, Lond. 1649; 66

Elstob (Eliz.) Saxon works of, 74, 157; account of her, 157, 158: her _Saxon Grammar_, 157, 158

Elzevirs, types of: Greek, 264; Hebrew, 64; Orientals, 66, 141; Roman, 44, 263

Emerald, an English type body, 34

English, an English type body, 32, 33, 37; a name for Black Letter, 37, 53

English Two-line, an English type body, 36

_English-Saxon Homily on St. Gregory’s Day_, Lond. 1709; 74, 156

Engrossing matrices; Cottrell, 56, 289, 290, 291, 292, 295

Enschedés, Dutch letter founders, 215; leaden matrices in their foundry, 15; specimens of their old Italic, 52; Gothic, 53; Flamand, 54; Civilité, 56; Initials, 80

Enschedé (J.) on wooden types, 6

Erasmus at Cambridge, 141

Erpenius, Oriental matrices and types of, 65, 69, 144

_Essai sur l’Education des Aveugles_, Paris, 1786; 78

_Essay on the Original, Use and Excellency of Printing_, Lond. 1752; 242

_Essay towards a Real Character_, Lond. 1668; 191

_Essay on Melody of Speech_, Lond. 1775; 323

Estienne (H.) Greek types of, 58; flowers, 82

Estienne (P.) his compliment to Norton, 140

Estienne (R.) type of, Greek (Royal), 58, 262; Hebrew, 63; Initials, 80

Ethiopic, early founts at Rome, 69, 174; Leyden, 69; Frankfort, 69; Amsterdam, 69

——— Matrices: Oxford, 69, 151, 154, 155, 161; Polyglot, 69, 173, 174, 177, 195; Andrews, 198; ‘Anon.’, 69, 207; James, 228, 303; Caslon, 69, 240, 247, 254; Fry, 303, 309, 311

——— Punches: James, 229

Eton, Greek printing at, 60, 140

Etruscan type at Rome, 72, Parma, 72

——— Matrices: Caslon, 72, 239, 240, 247

_Eusebii Præparatio_, Venice, 1470; 41

_Eusebius_, Paris, 1544; 59

Everingham (R.) printer in Irish, 189, 190; works printed by his widow, 190

_Exposicio Simboli_, Oxon. ‘1468’; 137, 138

_Exposition on St. John_, Wesel? 1557; 45

Facsimile types, the earliest, 200, 204

Faques (W.) printer, trained at Rouen, 93, 103; types of, 93; used by De Worde, 94

Fann Street Foundry, 294, 295, 313

Farley (Abr.) Domesday type cut for, 320

Fell (Jno.) his services to Oxford Press, 146, 150; gift of matrices, &c., 148; report on Oxford printing, 149; his printing house, 150; Moxon’s compliment to, 150, 183

Fenner (W.) partner of Ged, 218, 219

FENWICK (Jos.) founder, account of, 351

——— Matrices:—Scriptorial, 351

Fergusson’s proposal for regulating type bodies, 35, 357

_Fidelis Servi Responsio_, Lond. 1573; 97

FIFIELD (Alex.) founder, nominated, 130, 165; account of, 166

_Fifteen O’s_, Westminster, 1490; 82, 85

FIGGINS (VINCENT) the First, apprentice and foreman to Jackson, 324, 335, 338; fails to succeed to that foundry, 325, 335; Nichols’ aid to, 335, 336; his first foundry, 336, 341; facsimile Romans cut by, 336, 337; employed by Oxford Press, 338; cuts type for the Record Commission, 339, 340; for Bagster, 341; various tributes to, 340, 342, 343.

——— Matrices:—Black, 340, 343; Domesday, 339, 340, 343; German Text, 340, 342, 343; Greek, 338, 343; Hebrew, 65, 341, 342, 343; Irish, 76, 342, 343; Persian, 339, 343; Roman and Italic, 48, 336, 337, 340; Saxon, 74, 343; Syriac, 68, 342, 343; Télegú, 339, 343

FIGGINS (VINCENT) the Second, son of above, enters business, 343; his anecdote of a punch-cutter, 338; his facsimile of Caxton’s type, 87, 343; body-standards in his foundry in 1841, 34

FIGGINS (JAMES) the First, son of V. Figgins I, 343

FIGGINS (JAMES) the Second, son of above, 343

Filosofia, an Italian type body, 38

Finance (Lettre de) a Script letter, 56

Fischer (G.) on wooden types, 4

Flamand, a Dutch Black-letter, 54

Flemish school of typography, 102

Flesher (Jas.) printer, 171, 178; Arabic type of, 66; Polyglot specimen of, 171

Flesher (Miles) printer, Arabic type of, 66

Flowers, early type-, 82; H. Estienne’s, 82; Day’s, 98

——— Matrices:—Oxford, 148; Grover, 199; James, 222, 303; Caslon, 222, 240; Cottrell, 290, 291, 292; Thorne, 293, 295; Fry, 303, 307

Forme, (Lettre de) Black-letter, 36, 53, 87, 88

FOUGT (H.) Founder of music type, 78, 350; Specimen, 350

——— Matrices:—Music, 350

Foulis (R. and A.) Scotch printers, 261; to Glasgow University, 261; employ Wilson, 261; their Glasgow _Homer_, 261, 262; beautiful impressions of, 261; the poet Gray’s tribute to, 263

Foulis (Andrew), son of above Robert, 261; his patent for stereotype, 230, 261

Founts of early printers, size of, 26, 27

Fournier, (P. S.), on wooden types, 5; typographical points of, 35; notes on English founders, 242, 290; account of founding in France, 117; his types; Coptic, 70; Etruscan, 72; Irish, 75, 191; Music, 78; Roman, 48; Russian, 72

FOX (BENJ.) partner in Fann Street Foundry, 296

Fractur, a German Black-letter, 54

France, first Gothic type in, 53; Letter Founding in, 114, 116; control of founders in, 129; typographical superiority of, 124

Francesco da Bologna, cut Aldine punches, 51

Frankfort, Letter founding at, in 1568, 105, 106

Franklin (Benj.), a journeyman in London, 218, 233, 235; experiments in casting, 15; letters to Baskerville, 280, 281; starts foundry in America, 350

Frères de la Vie Commune, Roman type of, 41, 42

Froben (J.) his supposed acquaintance with Pynson, 91; his types; Greek, 59; Hebrew, 63; Initials, 80; Roman, 43

Froschouer (Chr.) Roman type of, 43;

Froschouer (Jno.) Music type of, 76

FRY (JOSEPH) begins a foundry in Bristol, 298; imitates Baskerville’s Romans, 284, 299, 305, 310; first specimens, 299; removes to London, 299; _Bibles_ printed by, 301, 302; his partners, 299, 300, 302; adopts Caslon models, 284, 301, 305, 310; purchases at James’ sale, 230, 302, 303; quarrel with Caslon III, 249, 304; retirement and death, 304, 305

——— Matrices: Roman, 48, 284, 299, 300, 301, 310

FRY (EDMUND) son and partner of above, 302; philological talents, 302; specimens, 305, 306, 307, 308, 313; removes foundry to Type Street, 305; his types used by Millar Ritchie, 306; his _Pantographia_, 306, 307; his partners, 306, 307, 308; new Romans of, 307, 310; dislike to ornamented type, 307 310; letter founder to the King, 307; cuts Orientals for Cambridge, 308; contents of foundry, 309; retires, 310; his Address to the Public, 310; sells foundry to Thorowgood, 296, 313

FRY (EDMUND) Matrices: Alexandrian Greek, 303, 304, 309, 311; Amharic, 309, 311; Arabic, 303, 309, 311; Black, 303, 310, 311; Blind, 78, 79, 308, 309; Cast Ornaments, 306; Ethiopic, 303, 309, 311; Flowers, 303, 307; German, 309, 312; Greek, 303, 309, 311; Guzerattee, 309, 311; Hebrew, 303, 304, 309, 311; Irish, 76, 303, 306, 309, 312; Malabaric, 309, 311; Music, 78, 310; Roman, 303, 305, 306, 307, 310; Russian, 72, 309, 312; Samaritan, 70, 303, 309, 311; Saxon, 74, 309, 312; Script, 308, 312; Syriac, 68, 303, 308, 310, 311, 342

FRY (HENRY) brother and partner of above, 302; becomes a printer, 306

FRY (WINDOVER) son and partner of Edmund Fry, 308

Fust and Schoeffer, music types of, 76; Initials, 79, 80

‘Fusus,’ use of word in colophons, 8

Fyner (C.), Hebrew type of, 62

Gaillarde, a French type-body, 39

_Galenus de Temperamentis_, Camb. 1521; 141

_Gallicantus_, Lond. 1498; 92

Gallie (Jno.) manager to Wilson, 266; partner with Dr. Marr, 266

_Game and Play of the Chesse_ (facs.), Lond. 1855; 87, 343

Garamond (Cl.) mould of, 23; Roman cut by, 44; Greek, 58

Garmond, a foreign type body, 39

Ged (Wm.) inventor of Stereotype, 218, 219, 258; misfortunes and failure of, 219, 238; _Biographical Memoirs of_, 219

Gem, an English type body, 356

Gering, first Paris printer, Greek type of, 58; Roman, 43

German matrices: Caslon, 254; Thorne, 295; Thorowgood, 296; Fry, 309, 312

German-Text matrices: Figgins, 340, 342, 343

Geschreven Schrift, a German Script, 56

‘Getté en molle’, signification of, 13, 14

Glasgow University; fine printing at, 261

Glosa, a class of type, 32

Glosilla, a Spanish type body, 32, 39

Goes (H.) York printer, used De Worde’s types, 89

_Golden Legend_, Westminster, _n. d._; 88

_Goldsmith and Parnell_, Lond. 1795; 331

GORING (THOS.) letter-founder, 193; nominated 133, 193; notice of, 166

Gothic letter, origin of, 53; Petrarch’s aversion to, 53; Prevost’s eulogy of, 53

Gothic language; types of at Amsterdam, 73

——— Matrices: Oxford, 73, 150, 151, 155, 161; ‘Anon.’, 207; James, 73, 225, 228; Caslon, 73, 239, 240, 248, 254

Gough (Jno.) his anecdotes of Jackson, 321, 323; of Ilive, 348

Gourmont (G. de) Greek type of, 58; Hebrew, 62, 63

Graff (Baltus de), partner of Cottrell, 288

Grafton (Rd.) Bible printed by, 124; Music type of, 77; Dibdin’s tribute to, 101

_Grammar of the Bengal Language_, Hoogly, 1778; 318

_Grammar of the Sanskrita Language_, Lond. 1808; 319

Granjon (N.) French, letter-cutter, Greek types of, 59; Music, 77; “Civilité”, 56

_Gray’s Poems_, Glasgow, 1768; 263: Parma, 1793; 251

_Great Charter_, Oxford, 1759: 159

Great Primer, an English type body, 33, 37, 86

Greek: earliest, Schoeffer’s, 57; early founts, Italy, 57, 58; France, 58, 59, 60, 61; Netherlands, 59, 61; Spain, 59; Germany, 60; Switzerland, 59; Lascaris “litteræ majusculæ,” 57; French “Characteres Regii,” 59, 60, 61, 141, 262

——— In England: De Worde’s, 60, 91; Siberch’s, 60, 141; Pynson’s, 60, 93; Day’s, 98; Wolfe’s, 60, 95; Mierdman’s, 60; Oxford, 60, 140, 141; Eton, 60, 140, 145; Royal founts, 60, 142, 144, 167, 201, 202; borrowed by Cambridge from Oxford, 60, 141; Dutch founts in England, 61; Cambridge offers for Paris Greek, 61, 141; large number of ligatures, 61; minute sizes, 61, 62, 254; fashions in, 61, 274; Porson’s improvement in, 62, 342

——— Matrices: Oxford, 61, 148, 160, 161, 273, 274; Polyglot, 173, 174; Andrews, 61, 195, 197; Grover, 61, 198, 200; Head, 206; Mitchell, 206, 241; “Anon.”, 207: James, 195, 197, 213, 214, 217, 221, 223, 228, 303; Caslon, 240, 241, 247, 254; Wilson, 61, 261, 262, 263, 264, 265; Baskerville, 61, 160, 273, 274; Thorowgood, 296; Fry, 303, 307, 309, 311; Jackson, 61, 311, 317, 321, 322; Caslon III, 326; Martin, 61, 332; Figgins, 338, 343; Ilive, 347

——— Punches: James, 229

Greek, Alexandrian; _see_ Alexandrian Greek

Grierson (G.) Irish printer, his patent, 260; establishes letter-founding, 261

Grierson (Boulter), son of above, his petition, 260

GRISMAND (JOHN) Star Chamber founder, 130, 165; notices of, 165, 166

Gromors, Arabic types of, 65

Gros Bâtarde, a French Secretary type, 55; Colard Mansion’s, 55, 86, 87

Gros Romain, a French type body, 37

GROVER (JAS.) letter-founder, 166, 197

GROVER (THOS.) son of above, letter-founder, 157, 166, 197–205; Royal founts in his foundry, 197, 203; Caslon offers for foundry, 205, 237; disposal of it, 205

——— Matrices: Alexandrian Greek, 198–205; Arabic, 198; Blacks, 197, 109, 225; Cursives, 199; Greek, 198; Hebrew, 198; Music, 77, 199; Roman and Italic, 197, 198, 199; Samaritan, 70, 198; Saxon, 199; Scriptorials, 199; Signs, 199; Syriac, 198, 241

Gutenberg’s types, migrations of, 28

Guzerattee matrices: Fry, 309, 311

Hahn (Ul.) Roman type of, 41; his _Cicero_, 38; his _St. Augustine_, 37

Halhed (N. B.) his _Bengal Grammar_, 318; his account of C. Wilkins, 318

Hanbey (Mr.) son-in-law of Caslon I, 246

Hancock (C.) buys Hughes’ Music matrices, 363

Handy (J.) a punch-cutter employed by Baskerville, 269, 353

Hansard (T. C.) on type fashions, 48; notices of founders from his _Typographia_, 251, 253, 254, 258, 264, 296, 309, 310, 312, 326, 328, 332, 336, 342, 343, 352, 355, 361, 364

Hare (Bp.) transactions with Caslon, 238

Harris (Messrs.) use Baskerville’s types, 286

Hautin, Music type of, 77

Haüy, Blind type of, 78

Hawkins (Sir J.) his anecdote of Caslon, 245

Hazard, Bath printer, notice of, 307

HEAD (GODFREY) letter founder, 133, 166, 205

——— Matrices: Black, 206; Greek, 206

HEAPHY, letter founder, 364

Hebrew type, first use of, 62; early founts in Italy, 62; France, 62, 63; Spain, 63; Germany, 63; Netherlands, 63, 64, 65

——— in England: De Worde’s, 64, 91; Day’s, 64, 98; at Oxford, 64; London, 64

——— Matrices: Oxford, 64, 147, 148, 154, 160, 161; Polyglot, 64, 171, 173, 174, 177, 194; Andrews, 195; Grover, 198; James, 64, 65, 223, 227, 303; Caslon, 65, 236, 238, 240, 246, 247, 254; Wilson, 264, 265; Fry, 303, 304, 309, 311; Jackson, 317; Caslon III, 326; Figgins, 65, 341, 342, 343; Thorowgood, 296; Jalleson, 346

_Hebrew Dictionary_, Louvain, 1520? 63

_Hebrew Grammar_, Paris, 1508; 63; Leipsic, 1520, 63; Paris, 1520; 63: Louvain, 1528; 63

Height-to-paper of sand-cast types, 10; of old Lyons types, 21; of old Cologne types, 25; varieties of at Oxford, 155

Heilman, Gros Bâtarde type of, 55

Henfrey (J.) type-casting machine of, 121

Herbert (W.) his account of Caxton’s types, 84; on early use of Roman and Italic, 91, 97

_Herodotus_, Oxford, 1590; 60, 140

Hibernian type, _see_ Irish

_Hickes’ Thesaurus_, Oxon. 1703–5; 72, 73, 74, 150, 156

——— _Saxon Grammar_, Oxon. 1711; 74

_History of England_ (Hume’s) Lond. 1806; 323, 336

Hogarth and Baskerville’s types, 47

_Homeri Opera_, Florence, 1488; 58: Glasgow, 1756–58; 62, 261, 262: Parma, 1808; 251: Lond. 1831; 62, 254

——— _Batrachomyomachia_, Venice, 1486; 58: Paris, 1507; 58

Hooght (Van der) Hebrew types of, 64

_Horæ_ (_Greek_), Louvain, 1516; 59

_Horatii Opera_, Sedan, 1627; 46: Glasgow, 1744; 261: Birmingham, 1762; 277

Horman (W.) his indenture with Pynson, 92

Hostingue, a Rouen printer, 103

HUGHES (HUGH) partner with Thorne, 294, 363; starts a foundry, 363; specimen, 363; his music type, 363

——— Matrices: music, 78, 363

Hunte (Thos.) early Oxford printer, 137, 138

Hutter, curious Hebrew type of, 63, 247; his Polyglot _Bible_, 170

_Iberno-Celtic Society’s Transactions_, Dublin, 1820; 190

Iceland, early printing in, 73

Icelandic matrices at Oxford, 73, 151, 155

ILIVE (JACOB) letter founder, 346–9; his eccentricities, 347, 348; forged _Book of Jasher_, 348; heads schism in Stationers’ Company, 348; his foundry bought by James, 221, 347

——— Matrices: Greek, 221, 347; Roman, 347

IMISSON, letter founder, 352

Imprimerie Royale, Paris, establishment of, 58; Greek type of, 58, 59, 60, 61; Roman, 44, 48

Initials of Mentz _Psalter_, 79; early cutters of, 79, 80; Caxton’s, 79; Day’s, 98; ‘Two-line letters,’ 80; Pictorial, 80; Dutch, 80; Bible, 80; Armorial, 80; pierced, 81; Oxford copperplate, 80, 159; fashions in, 81; Baskett’s ‘Silver initials,’ 107, 211

_Introductio ad Lectionem Ling. Oriental._ London, 1655; 172

Ireland, letter foundry in, 260, 265; printing patent for, 260; Scotch and English type supplied to, 260, 265. Vernacular printing in, 75, 76, 186, 187, 188

Irish type in Dublin, 75, 186, 187; Antwerp, 75; Louvain, 75, 188, 191; Rome, 75, 191; Paris, 75, 76, 191; revival of Irish printing, 76, 191

——— Matrices: Moxon, 75, 76, 155, 186, 189, 190, 194, 306; Andrews, 194, 196; James, 229, 303; Fry, 229, 303, 306, 309, 312; Figgins, 342, 343

——— Punches: James, 229

Iron, an ingredient in type metal, 21, 112

Irregular type bodies, origin of, 33

Isla (Lord) patron of Wilson, 258

Italic, first cut by Aldus, 50; early foreign founts, 51; Van Dijk’s, 52; various uses for, 52

——— In England, fashions in, 52; De Worde’s, 52, 91; Day, 52, 96, 97, 98, 144, 176; Vautrollier, 51, 98; James, 214, 217; Caslon, 52; Baskerville, 275

——— See also _s.v._ Roman and Italic

Italy, first Roman type in, 40; first Gothic type in, 53

JACKSON (JOS.) apprentice to Caslon I, 243, 288, 315; first punch cut by, 315; dismissed, 243, 288, 316; partner with Cottrell, 288, 291, 316; goes to sea, 289, 316; starts a foundry, 291, 316; first specimens, 316, 317; Bowyer’s aid to 317, 323; removes to Salisbury Square, 317; makes a hollow square, 317; his foundry, 317; employed by Nichols, 320, 321; Bensley, 323; Oxford Press, 338; fire of foundry, 324; elegy on, 324; death and tributes to, 324, 325; portraits of, 288, 316, 325

——— Matrices: Alexandrian Greek, 321; Bengalee, 317; Black, 317; Codex-Bezæ Greek, 322; Deva Nagari, 319; Domesday, 74, 320, 321, 340; Greek, 61, 311, 317, 323; Hebrew, 317; Music symbols, 323; Persian, 317; ‘Proscription’ letter, 317; Roman, 48, 317, 323; Script, 56, 317

JALLESON, letter founder, 346; his system of type bodies, 346; Hebrew type, 346

JAMES (THOS.) letter founder, 157, 212–220; his family, 212; apprentice to R. Andrews, 196, 212; his letters from Holland, 113, 213–17; his foundry, 217; buys Greek of Grover, 195, 197; rivalry with Caslon, 218, 220; transactions with Ged, 218, 219; second visit to Holland, 219; decline of his business, 220; buys Andrews’ foundry, 197, 211, 220; death, 220; advertisement by his widow, 220

JAMES (THOS.) Matrices: Black, 214, 217; Greek, 213, 214, 217: Roman and Italic, 46, 213, 214, 217

JAMES (JNO.) son and successor of above, 220; buys half Mitchell’s foundry, 206, 221; Ilive’s, 221, 347; Grover’s, 205, 221; his projected specimen, 222, 224; dies, 222; last of the Old English Founders, 221, 230

——— Matrices and Punches: Anglo-Norman, 228; Arabic, 67, 228, 229, 303; Black, 91, 228. 303; Court Hand, 228, 303; Ethiopic, 228, 229, 303; Flowers, 229, 303; Gothic, 73, 228; Greek, 220, 228, 229, 303; Hebrew, 65, 220, 227, 303; Irish, 229, 303; Runic, 72, 228; Samaritan, 70, 227, 229, 303; Saxon, 220, 228; 229; Scriptorial, 228, 303; Secretary, 228; Syriac, 228, 229, 241

James (Dr. T.) first Bodleian Librarian, 212

James (Elianor) aunt of Thos. James the founder, 212

James (George) son of above, City Printer, 212

James (Jno.) architect, brother of Thos. James the founder, 212; partner with Ged, 218

James’ Foundry acquired by Mores, 222; arranged for sale, 223; catalogue and specimen, 226–30, 303; matrices lost,223, 227, 228; punches lost, 229; obsolete founts, 224, 225; leaden matrices, 16, 228; moulds, &c., 229, 230; sale of, 230, 302

Jannon, Sedan printer, Roman type of, 46, Greek, 61

Jansson, Hebrew type of, 64, 65

_Jasher, Book of_, Lond. 1751; 348

_Jason_, Westminster (1477), 86

Jenson, Greek type of, 58; Roman, 41

Jerome’s suggestion of mobile types, 3

Joly, a Dutch type body, 40

Journeyman founders, regulation of, 131, 133

Jungfer, a German type body, 39

Junius (Fr.) his gift to Oxford, 150, 151; Dr. Nicholson’s note on, 151; portrait of, 151

Junius (Pat.) _see_ Young (Pat.)

Jurisson, _see_ Imisson

Justifying of matrices, 10, 111, 186; a secret operation, 117

_Justinian_, Mentz, 1468; 49

Kehl, typographical establishment at, 285, 286; _Voltaire’s Works_, printed at, 285, 286; Works by _Alfieri_ at, 286

Kerning, a process in founding, 22, 111

‘King’s House,’ Roman types, 197, 199, 203

Kipling (T.) his facsimile of _Codex Bezæ_, 322

Kirkpatrick (W.) Sanscrit type cut for, 319

KNOWLES (G.) a partner of Ed. Fry, 307

_Koran_, Venice, 1518; 65

Laborde (Leon) on wooden types, 5

Lackington (Jas.) bookseller, 325

_Lactantius_, Subiaco, 1465; 40, 57

_La Lèpre morale_, Cologne, 1476; 24

Lambinet (P.) on early polytype printing, 12

_Lascaris Anthologia_ (in Greek Capitals), Florence, 1494; 57: _Greek Grammar_, Milan, 1476; 57

_Last Judgment_, Irish poem on, Dublin, 1571; 187

Laud (Archbp.) his services to Oxford press, 142–5, 166; letter to, from King Charles I, 143

Le Bé (G.) cuts punches for Plantin, 107; his Arabic, 64; Hebrew, 59; Music, 77

LEE (JOS.) letter founder, 166, 193

Lee (Dr. S.) Orientals cut for by Dr. Fry, 308

L’Estrange (R.) Surveyor of Imprimery, 132

Le Tailleur, Rouen printer for Pynson, 92

Letter-cutting by eye, not by rule, 184

Letter Founders, one named in 1597, 128, 164; regulations of, in 1622, 129, 164; in 1637, 130; in 1662, 132; in 1674, 133; in 1693, 134; called to account, 133, 134, 193, 205; petition and ‘Cause of Complaint’ of one, in 1637, 167; To His Majesty, 178, 249, 296, 307, 329, 356; limited number of, 118, 134; Association of, 118, 250, 352, 353, 358

Letter Founding of the first printers, 9, 12, 14, 18; early secrecy of, 28; spread of, 28

——— In France: State control of, 129; Thiboust’s account of, 114; views of in _Encyclopædia_, 116; Fournier’s account of, 117

——— In Germany: at Frankfort, in 1568, 105

——— In Netherlands: Plantin’s Foundry, 106; James’ account of Dutch founders, 113, 213–7

——— In England: came after printing, 84; earliest record of, 93; early practice of, 103; curious cut in the Bagford MSS., 105; divorce from printing, 164; practised by Day, 96; early unlicensed, 128; the London _Polyglot_ a land-mark of, 175; Moxon’s account of, 1683, 107–13, 183–6; at Oxford, in 1695, 113; custom of lending casters and matrices, 113, 216; division of trades in, 114, 184; trade jealousies in, 114, 118; _Universal Magazine_, 1750, account in, 108, 116; secret operations in, 117, 288, 315, 338; rules of Thorne’s Foundry, 1806, 117, 294; conservatism of, 118; competition in, 118; State-control of, 123–136; liberty of, 134; final emancipation of, 135

Lettres Tourneures, initials, 79

Lettres de Forme, 36, 53, 87, 88

Lettres de Somme, 53, 54

Lettou and Machlinia, types of, 89

Leusden, simplified Greek types of, 61

Lever-mould, introduced, 120

_Lexicon Heptaglotton_, Lond. 1669; 176

_Liber de laudibus Mariæ_, Cologne? 1478? 24

_Life of Jewell_, Lond. 1573; 64, 98

Ligatures in old founts, 10, 27, 41, 50, 224

_Liguarum XII AIphabeta_, Paris, 1538; 67

Linde (A. Van der) on the essence of typography, 2; on ‘getté en molle,’ 13

Literæ Florentes, initials, 79

_Littleton Tenures_ (Pynson’s), Lond. 1527; 93; (Redman’s), Lond. _n. d._, 94

LIVERMORE (MARTIN) partner to Henry Caslon II, 254; retires from Chiswell Street, 255

_Logique d’Okam_, 1488, contractions in, 51

_London Printer’s Lamentation_, 1660: 127, 130, 165

Long Primer, an English type-body, 32, 33, 38

Long ſ, disappearance of, 52

Louvain, Irish type at, 75, 188, 191

Lübeck, leaden matrices at, 16

Lucas (M.) printer of the ‘Wicked’ _Bible_, 142, 143

Luce (L.) Roman type of, 40, 48

_Lucerna Fidelium_, Rome, 1676; 75

Luckombe (P.) his _History of Printing_, Lond. 1770; 246, 291, 301

Ludolf, Ethiopic type used by, 69

_Ludolph’s Grammatica Russica_, Oxon. 1696; 71

LYNCH, letter founder, 358

_Lyndewode Constitutiones_, Oxon. _n.d._; 139

Lyons, early printing at, 20; fifteenth century types at, 20; nicks used at, 120

Lyons (Israel) Hebrew type cut for, 247

_McCuirtin’s Irish Dictionary_, Paris, 1732; 75

McCreery (J.) prints with Martin’s types, 333, his poem on _The Press_, 277, 333

Machine for type casting, first, 122, 265

Machlinia and Lettou, types of, 89

McPHAIL, letter founder, 351

Madden (J. P. A.) on 15th Century type, 24; on the Wiedenbach typographers, 41

Malabaric matrices:—Fry, 309, 311

Mansion (Colard) Caxton’s master, 84, 85, 86, 87, Gros Bâtarde type of, 55, 86, 87

Marcel (J. J.) his _Oratio Dominica_, 72, 76; his _Alphabet Irlandais_, 76, 191; Russian type of, 72; Irish, 76

_Marprelate Tracts_, types of, 127

MARR (DR. J.) acquires part of Glasgow Foundry, 266

Martens (Th.) Greek type of, 59; Hebrew, 63

Martin (Robert) agent and manager for Baskerville, 281, 330; works printed by, 281

MARTIN (WM.) brother to above, 330; cuts punches in London, 330; starts foundry, 330; employed by Shakespeare Press, 331–3; tributes to, 331, 332, 333; supplies McCreery, 333; foundry sold to Caslon, 254, 334; Orientals of, 332

——— Matrices:—Greek, 332; Roman and Italic, 332, 333

Mascall (W.) proposal to register founders, 134

Mathematical signs in type, 98, 148, 191, 196, 199, 217, 342

Matrices, early forms of, 14; of lead, 14, 15, 16, 228; of clay, 15; of wood, 16, 121; justification of, 16; struck inverted, 204; without sides, 208; of steel, 312; ‘Sanspareil,’ 327

MATTHEWSON, letter founder in Edinburgh, 358

Maynyal, Paris printer for Caxton, 91

Mediaan, a Dutch type body, 38

Meerman on sculpto-fusi types, 7

Mentelin, Roman type of, 42

Mentz, Sack of, 28; school of typography of, 9

Meres (Jno.) son-in-law of T. Grover, 205

Metals used in type alloy, 19, 106, 112, 121; softness of, in early types, 26; Moxon’s directions for mixing, 112

Meurs (Dr. Van) on ‘getté en molle,’ 13

Mierdman, Greek types of, 60

Miller (Peter) American printer, anecdote of, 17

MILLER (WM.) manager for Wilson, 264, 355; starts foundry, 355; his early founts, 355; employed by the _Times_, 356; specimens, 355, 356; partner and successors of, 356

——— Matrices:—Roman and Italic, 355, 356

MILNE & Co., founders, 266

Milton (Jno.) _Areopagitica_, 130; _Works_, Birmingham, 1758; 275; Lond. 1794–7; 331; _Paradise Lost_, Lond. 1796; 337, 338

Minion, an English type body, 33, 39, 210; a foreign body, 39

Minsheu’s _Ductor in Linguas_, Lond. 1617; 64, 73, 171

Missal, a German type body, 36

_Missal_, printed at Lyons, 1485; 76

MITCHELL (ROBT.) founder, 206; partition of his foundry, 206, 221, 241

——— Matrices; Black, 206, 241; Greek, 206, 241; Music, 78, 206, 241; Roman and Italic, 206; Signs, 206

Mitchelson, first American founder, 350

Mittel, a German type body, 37

Model types for clay or sand moulds, 11; as punches for lead or clay matrices, 15, 16

Moderne, Italian name for Black letter, 43

Molloy’s _Lucerna Fidelium_, Rome, 1676; 75: _Irish Grammar_, Rome, 1677; 75

_Monasticon_, Lond. 1655; 74

MOORE (ISAAC) manager and partner of Fry and Pine, 299; specimens of, 299; inventions of, 300; retires, 302

Moreau, Script type of, 56

Mores (Ed. Rowe) account of, 222; possessor of James’ foundry, 222, 223; his _Dissertation_, 222, 223; account of early printers by, 84, 90, 92, 94; of Miss Elstob, 157; his correspondence as to her Saxon matrices, 158, 159; his account of James’ foundry, 223; strictures on Oxford specimen, 160; allusion to Coster, 225; prejudice against Caslon II; 244, 247; against Baskerville, 274, 280; notice of Fry’s specimen, 300; as a compositor, 347

Morton (Dr.) Domesday type cut for, 291, 320

_Moses Choronensis_, Lond. 1736; 69, 239

Motteroz (M.) ideal Roman letter of, 48

Mould, _see_ Type-mould

MOXON (JOS.) letter founder, 180–192; specimen, 181; a printer, 182; his offices, 181, 182; his _Regulæ Trium Ordinum_, 182; his _Mechanick Exercises_, 107–112, 183–186; his standards of type bodies, 33, 34; employed by Boyle, 189

——— Matrices: Irish, 75, 76, 186–191; Roman and Italic, 47, 181

_Musæus, Hero and Leander_, Lond. 1797; 332

Music; De Worde’s, 76,91; early printing abroad, 76, 77; improvements in, 78; Grafton’s, 77; Day’s, 77, 98; Vautrollier’s, 77; East’s, 77; ‘new-tyed note’, 77; at Aberdeen, 77

——— Matrices: Oxford, 77, 148, 161; Walpergen, 77, 148, 153, 208; Andrews, 77, 196; Grover, 77, 199; Mitchell, 78, 206, 241; Caslon, 77, 241, 248; Fry, 78, 310, 312; Fougt, 78, 350; Branston’s (stereo), 360; Hughes, 78, 363; Jackson’s symbols, 323

Myllar (A.) Scotch printer, types of, 103

Negus (S.) list of printers by, 346

_Neilson’s Irish Grammar_, Dublin, 1808; 76, 191

_New Testament_ (_Greek_), Basle, 1516; 59: Sedan, 1628; 61: Cambridge, 1632; 60, 141: Oxford, 1763; 61, 160, 273, 274: Lond. 1786 (_Codex Alex._); 321

——— (_Latin_), Lond. 1574; 46, 51

——— (_Arabic_), Lond. 1727; 67, 235

——— (_Coptic_), Oxon. 1716; 70, 237

——— (_Ethiopic_), Rome, 1548; 69: Lond. 1826 (_Gospels_); 69

——— (_Irish_), Dublin, 1602; 75, 187; Lond. 1681; 75, 189

——— (_Russian_), St. Petersburg, 1819–23; 72

——— (_Saxon_), Lond. 1571 (Gospels), 95

——— (_Sclavonic_), Ugrovallachia, 1512 (_Gospels_), 71: Moscow, 1564 (_Acts and Epistles_), 71

——— (_Syriac_), Paris, 1539; 67: Vienna, 1555; 67: Cothon, 1621; 67: Hamburg, 1663; 67: Lond. 1816; 68, 342

——— (_Tamulic_), Tranquebar, 1714–19; 234

NICHOLLS (ARTHUR) letter founder, nominated, 130, 165; petition to Archbishop Laud, 166, 167; ‘Cause of Complaint,’ 167

NICHOLLS (NICHOLAS) son of above, letter founder, 166, 177; his father’s account of, 168; his petition to the king, 178; his specimen, 178, 181; letter founder to the king, 178

NICHOLS, an Oxford letter founder, 148, 178

Nichols (Jno.) his _Anecdotes of Bowyer_, 233; _Domesday_, facsimile of, 320, 321; assists Figgins, 335, 336

Nicholson (W.) patent for type casting, 119, 327

Nicks, origin of, 120; early substitutes for, 22

Nicol (Geo.) founder of the Shakespeare Press, 330; employs W. Martin, 330

Nicol (W.) son of above, succeeds to the Shakespeare Press, 330

_Nomenclator Syriacus_, Rome, 1622; 67

Nonpareil, an English type body, 32, 33, 39, 129; a foreign body, 39

Norfolk (Duke of) employs Jackson, 317

Norton (J.) printer of the Eton _Chrysostom_, 60, 140; distinctions conferred on, 140

Nutt (Richd.) successor to Grover’s foundry, 203

_O’Brien’s Irish Dictionary_, Paris, 1768; 75

Ogilby (Jno.) Roman letter of, 47

_O’Hussey’s Irish Catechism_, Antwerp, 1611; 75: Rome; 1707, 75

_O’Kearney’s Irish Catechism_, Dublin; 1571; 75, 187

Oporinus, Greek type of, 59

_Opusculum Musices_, Bologna, 1487; 76

_Oratio Dominica_, Lond. 1700; 64, 66, 68, 69, 70, 71, 73, 74, 154, 177, 190: Lond. 1713; 69, 155, 177, 190: Amsterdam, 1715; 69, 71, 73, 74, 154, 236: Paris, 1805; 72, 76: Parma; 1806, 72

_Oratio in pace nuperrimâ_, Lond. 1518; 44, 92

_Oratio trium linguarum_, Lond. 1524; 51, 64, 66, 91

_Oriental Collections_, Lond. 1797–1800; 339

Ornamental type, introduced, 307, 310

Ornaments, _see_ Type ornaments

_Orthographia Practica_, Saragossa, 1548; 32, 183

Orwin, Arabic type of, 64

Ottley (W. Y.) on early clay moulds, 11

Ouseley (Sir W.) Persian type cut for, 339

_Ovid’s Metamorphoses_, Lond. 1819; 312

Oxford University Press, first printing at 137–9; types of the early press, 55, 137, 138; Scolar’s press, 139; revival of printing, 140; early Greek founts, 60, 61, 140, 141, 145; lends Greek type to Cambridge, 141; Laud’s services to, 142–5, 166; charter in 1632, 142; early Oriental types, 64, 66, 144: Archi-typographus appointed, 146; Fell’s services to, 146–150; loyalty of, 146; large purchases in 1672, 149; Junius’ gift to, 150, 151; fine printing at, 159

——— Foundry established, 153; state of, in 1665, 113; matrices lost at, 151; removed to Sheldonian Theatre, 153; first specimen, 153; types used in the _Oratio Dominica_, 1700, 154; heights to paper in, 155; removed to Clarendon Building, 156; gift of Elstob Saxon to, 158, 159; Greek cut for, by Baskerville, 160, 273, 274; specimens, 160, 162; types cut for, by Caslon, 160, 161, 246; by Figgins, 338; inventory of, in 1794, 161, 162; relics at, 150, 159, 160, 162, 274

——— Matrices: Amharic, 177; Arabic, 66, 147, 148, 155, 161; Armenian, 69, 148, 153, 161; Coptic, 70, 147, 148, 149, 153, 155, 161; Danish, 73, 151; Ethiopic, 69, 151, 154, 155, 161, 177; Gothic, 73, 151, 155, 161; Greek, 148, 160, 161, 273, 274, 338; Hebrew, 64, 147, 148, 154, 161; Icelandic, 73, 151, 155; Initials, 80; Music, 77, 148, 153, 154, 161, 209; Roman and Italic, 150, 152, 179; Runic, 72, 151, 155, 161; Russian, 71; Samaritan, 70, 148, 154, 161; Saxon, 74, 151, 161; Sclavonic, 71, 148, 153, 155, 161; Swedish, 73, 151; Syriac, 68, 147, 148, 155, 161

Pacioli (L.) on the shape of letters, 183

Palmer (S.) his note on De Worde, 90; his printing-house, 217; _History of Printing_, 90, 235, 236; projected account of letter-founding, 114; discreditable conduct to Caslon, 235, 238

_Pantographia_, Lond. 1799; 72, 76, 306, 307, 308

_Paradigmata de IV Linguis_, Paris, 1596; 67

Paragon, an English Type body, 33, 36, 86, 343; a foreign body, 36

Parker (Archp. M.) patron of Day, 95; Saxon cut for, 95; Roman and Italic for, 96, 97, 98

Patents relating to letter-founding, 119–122

Pater (Paulus) on wooden types, 4

Paterson, the auctioneer, notice of, 230, 311

_Pauli de Middleburgo Epistola_, Louvain, 1488; 63

Pearl an English type body, 33, 40

Peek (Jno.) type-casting machine of, 120

_Pentateuch_ (Polyglot) Constantinople, 1546; 170

——— (_Coptic_) Lond. 1731; 70, 237

——— (_Irish_) Lond. 1819 (_Gen. and Exod._), 312

Perforated wooden types, 4, 5; sand-cast types, 10; mould-cast types, 22, 25

Perle, a French type body, 40

Persian Matrices: Caslon, 254; Jackson, 317; Figgins, 339, 343

_Persian Moonshee_, Lond. 1801; 339

Petit, a French and German type body, 39

Petit Romain, a French type body, 38

Petrucci, music type of, 77

_Phalaridis Epistolæ_, Oxon. 1485; 137, 138

Philosophie, a French type body, 32, 38

Pica, an English type body, 32, 33, 38

_Picas_ or _Pies_, of the early Church, 38, 87

Pickering (W.) minute Greek used by, 62, 254; book printed for, in Baskerville’s types, 286

PINE (WM.) Bristol printer and founder; partner with Fry, 298; his inventions, 300; _Bible_ printed by, 301; retires from founding, 302

Plantin (Chr.) his foundry, 106; supposed silver type of, 106; Types: Greek, 59; Hebrew, 64; Italic, 51; Lettre de Civilité, 56; Roman, 43; Syriac, 67

_Plinii Secundi Epistolæ_, Lond. 1790; 306

Ploos van Amstel, Dutch founders, 215

_Polychronicon_, Westminster, 1495; 76, 91

Polyglot _Bibles_, account of, 169

——— the London, _see Bible_ (_Polyglot_) Lond. 1657

POLYGLOT FOUNDRY Matrices: Arabic, 66, 173, 177; Black, 173, 177; Ethiopic, 69, 173, 174, 177; Greek, 173, 174; Hebrew, 64, 173, 177; Roman and Italic, 173, 176; Samaritan, 70, 173, 174, 177; Syriac, 68, 173, 174, 177, 241

Polytype, supposed early system of, 12; later attempts at, 122, 220

Porson’s improvement in Greek letter, 62, 342

Postel’s _Arabic Grammar_, Paris 1539–40, 65; Syriac type used by, 67

POUCHEE (L. J.) Letter Founder, starts a foundry, 361; agent for Didot’s ‘polymatype,’ 121, 361; specimen, 362; abandons business, 362; dispersion of his foundry, 362

_Practical Sermons_ (Irish) Lond. 1711; 190

_Press, The, a Poem_; Liverpool, 1803; 277, 333

Primer, an English type body, 32, 34; derivation of, 37

_Primers_ of the Early Church, 37, 38

Printing, invention of, 1; degeneration of, in England, 44, 136, 232, 269; comprehensiveness of the early trade of, 123; statutes relating to, 124–136; rise of fine printing, 269, 272

Printers, their own founders, 88, 102, 103, 123, 125; number of, in London, 126, 130, 132, 133, 134

_Prodromus Coptus_, Rome, 1636; 67, 69, 236

Propaganda Press, specimens, 66, 67, 69, 70; Types of:—Arabic, 66; Coptic, 69; Ethiopic, 69; Irish, 75, 191; Samaritan, 70; Sclavonic, 71; Syriac, 67

‘Proscription’ letter, Matrices:—Caslon, 248; Cottrell, 291, 292, 317; Thorne, 292, 293; Jackson, 317

_Prosodia Rationalis_, Lond. 1779; 323

Psalmanazar (G.) anecdotes of Palmer by, 114, 238

_Psalms_ (_Polyglot_) Paris, 1513; 82: Genoa, 1516; 63, 65, 170: Cologne, 1518; 69, 170

——— (_Hebrew_) Tübingen, 1512, (_Septem pœnit._), 63

——— (_Heb. Lat._) Lond. 1736; 238, 239

——— (_Greek_) Milan, 1481; 58: Venice, 1486, 58: Lond. 1812 (_Cod. Alex._) 322

——— (_Latin_) Mentz, 1457; 11, 13, 53: Mentz, 1490; 76

_Psalms_ (_Arabic_) Rome, 1614; 66: Lond. 1725; 67, 235

——— (_Armenian_) Rome, 1565; 68

——— (_Ethiopic_) Rome, 1513; 69: Frankfort, 1701; 69

——— (_Saxon_) Lond. 1640; 73

——— (_Sclavonic_) Cracow, 1491; 71

——— (_Syriac-Lat._) Paris, 1625; 67

Pump for type-casting machine, 119

Punches, probable earliest, 14; of copper, 15, 16; of wood, 14, 15, 16; small value put on, 113, 209, 225, 229; defects of French, 116; Barclay’s patent, 119

Punch-cutting, account of, 108, 185; a distinct trade in Holland, 114; independent artists in England, 117, 338, 358, 360; secrecy of 117, 243, 288, 315, 338

Pynson (R.) servant to Caxton, 91; correspondence with Rouen printers, 91, 92, 103; types of, 91, 92, 93; his Roman, the first in England, 37, 44, 92; his indenture with Horman, 37, 92; Greek types cast by, 93; apology for, 93

Quatremère, Coptic type used by, 70

Quintilian’s suggestion of mobile types, 3

‘Quousque tandem,’ formula for type specimens, 49, 52

Rabbinical Hebrew, Matrices:—Andrews, 194, 195; James, 65, 227, 303; Fry, 303

Raphelengius, Arabic type of, 66, 145

Ratdolt, initials of, 79

_Rasselas_, Banbury, 1804; 119

Rastell (W.) types of, 94

_Rastell’s Grete Abridgement_, Lond. 1534; 94

_Readings on Jonah_, Lond. 1579; 64, 98

Record Commission, types cut for, 339, 340

——— _Reports_, Lond. 1800–19; 339: Edinburgh, 1811–16; 340

‘Real Character,’ Moxon’s, cut for Wilkins, 191, 196, 310

_Recuyell of the Histories of Troye_, Bruges, 1474; 86

Redman (R.) Pynson’s quarrel with, 93; types of, 94

REED (CHARLES) partner in the Fann Street Foundry, 296

Registration of founders, 133, 135

_Regulæ Trium Ordinum_, Lond. 1676; 182, 185

_Reliques of Irish Poetry_, Dublin, 1789; 191

RICHARD (MR.) partner of Mr. Miller, 356

RICHARD (J. M.) son of above, 356; ‘Brilliant’ type of, 356; ‘Gem’ type of 356

RICHARD (W. M.) brother of above, 356

RICHARDS (T.) a letter founder, 351

Richardson (Rev. J.) Irish works of, 190

Richardson (W.) Engrossing type cut for, 289, 290

Ripoli Press, metals used in the foundry of, 19; matrices bought by, 28

Ritchie (Millar), fine printer, 306

Robijn, a Dutch type body, 40, 52

Roccha (Ang.) on early perforated types, 4; his _Bibliotheca Apostolica Vaticana_, 65, 67, 68

Rolij (or Rolu), Dutch letter cutter, 114, 215, 216

Roman letter, origin of, 40; early founts in Italy, 40, 41; Germany, 42; France, 43, 44; Netherlands, 43, 44, 47; Switzerland, 44

Roman letter, in England: introduction of, 44, 91; Pynson’s, 44; 92; De Worde’s, 91; Redman’s, 94; Day’s, 47, 96, 97, 98, 144; Vautrollier’s, 46, 98; degeneration of, 44, 232; called ‘White letter,’ 91; mixed with Black, 45, 97; followed Dutch models, 46; first _Bible_ in, 46; in Scotland, 46; Roycroft’s, 47, 173, 176; Ogilby’s, 47; Field’s, 47; Moxon’s rules for, 47, 182, 184, 185; Caslon’s influence on, 47, 249, 284, 301, 303, 305; narrow faces, 46; Baskerville’s influence on, 47, 284, 299, 305, 332, 333; French influence on, 48; Bodoni’s influence on, 48, 331; revolutions in, 48, 251, 253, 301, 328, 332, 340; French obligations to, 48; heavy faced, 48; revival of the Old Face, 49; Rusher’s improved, 119; Motteroz ideal, 48

——— and Italic matrices: Oxford, 148, 152; Polyglot, 173, 176; Moxon, 181; Andrews, 195; Grover, 198, 199; Mitchell, 206; ‘Anon,’ 207; James, 213, 214, 217, 223; Caslon, 47, 159, 235, 240, 247, 251, 252, 253; Wilson, 48, 260, 263, 264, 265; Baskerville, 47, 48, 263, 270, 271, 275, 276, 277, 279, 280, 284; Cottrell, 48, 289, 290, 291, 292; Fry, 48, 299, 300, 301, 303, 305, 306, 310; Jackson, 48, 317, 323; Figgins, 48, 336, 337, 340; Thorne, 291, 293, 295; Thorowgood, 295; Martin, 332, 333; Ilive, 347; Stephenson (S. and C.), 353; Miller, 355, 356

Rood (Theo.) Oxford printer, 137, 138

Rosart, music type of, 78

Rouen, an early type market, 91, 93, 103

Rowe (Sir T.) family of, 200

Rowe (Eliz.) married H. Caslon, 200, 250

Roxburghe Club, works printed for, 312, 334

Royal Typography in England, proposal for a, 263

Roycroft (Thos.) printer of the London _Polyglot_, 171, 172; distinction conferred on, 176; printing house of, 217; fire of his office, 177; epitaph, 176; types used by, 47, 64, 66, 173–177

Rubbing, a process in founding, 111, 116, 117

Ruby, an English type body, 34

Runic, early foreign founts of, 72

——— Matrices: Oxford, 72, 150, 151, 155, 161; James, 72, 225, 228

Running Secretary, a French Cursiv, 56

Rusher (Ph.) his improved types, 119; his _Rasselas_, 119

Russian type, chief foreign founts, 71, 72; none in England in 1778; 72

——— Matrices: Cottrell, 72, 291; Fry, 72, 309, 312; Thorowgood, 72, 296

St. Alban’s, printing at, 89, 139

St. Augustin, a French type body, 32, 37

_Sallust_, Edinburgh, 1739; 219

Samaritan type, chief founts abroad, 70, 174

——— Matrices: Oxford, 70, 148, 154, 161; Polyglot, 70, 173, 174, 177, 198; Andrews, 70, 195; Grover, 70, 198; James, 70, 223, 225, 227, 303; Caslon, 70, 240, 241, 247, 254; Caslon III, 326; Fry, 70, 303, 309, 311; Dummers, 70, 241, 345

——— Punches: James, 229 Sand moulds, early use of, 16

Sanscrit matrices: Caslon, 254; Jackson, 319; Wilkins, 318, 319

‘Sanspareil’ matrices invented, 327

Savile (Sir H.) his Eton _Chrysostom_, 60, 140

Saxon, early types of, in England, 73, 74; in Amsterdam, 74

——— Matrices: Day, 73, 95, 96; Oxford, 74, 150, 151, 158, 161; Andrews (for Elstob), 74, 156, 157, 158, 196, 289; Grover, 199; James, 223, 228; Caslon, 74, 240, 248; Caslon III, 326; Wilson, 74, 264; Fry, 74, 309, 312; Figgins, 74, 343

——— Punches: James, 229

Schoeffer (P.) advertisement of, 28, 49; his Lettre de Somme, 54; Greek, 57; Initials, 79

Schoepflin on sculpto-fusi types, 7

_Schola Syriaca_, Utrecht, 1672; 70, 174

_Scholar’s Instructor_, Camb. 1735; 247

Sclavonic, various founts abroad, 71

——— Matrices: Oxford, 71, 148, 153, 155, 161

——— modern: _see_ Russian

Scolar (J.) early Oxford printer, 139

Scoloker, Ipswich printer, device of, 106

Scotland, first types in, 103; early use of Dutch types in, 46, 257, 258; condition of printing in, before 1720, 257; no foundry in 1725, 218, 257, 258

Script type, origin of, 56, 204; Dutch, 56; French and German, 56; Moreau’s, 56; Didot’s, 56, 120, 308, 312; Dawks’, 173

——— Matrices: Caslon, 249; Cottrell, 56, 290, 292; Fry, 308, 312; Jackson, 56, 317; Thorne, 293, 294, 295

Scriptorial matrices: Grover, 199, 204; James, 228, 303; Fry, 303; Fenwick, 351

‘Sculpto-fusi’ types, theory of, 7, 8

‘Sculptus,’ use of the word in colophons, 7

Secretary type, early, at Paris, 55; Rouen, 55, 92; Caxton’s, 55, 86, 87, 88; Berthelet’s, 94, 95; variations of, 55; disappearance, 55, 94, 95

Secretary matrices: Andrews, 196; Grover, 199; James, 228

Sedan, small Roman type at, 40, 46; small Greek, 61, 254

Sedan, a French type body, 35

_Seldeni Opera Omnia_, Lond. 1726; 236

Semi-Nonpareil, a French type body, 40

Set-Court, _see_ Court Hand

Setting-up, an operation in founding, 111, 114, 116, 117

_Shakespeare_, Lond. 1792–1802; 330, 331

Shakespeare Press, established, 331; works issued by, 331–3

Sheldonian Theatre, Oxford, 153

Shewell (Mr.) son-in-law of Caslon I, 246

Siberch (Jno.) first Cambridge printer, 141; Greek types of, 60, 141

Signs cut by Moxon, 191

Silver, alleged use of for type metal, 40, 106, 140

SIMMONS, a letter founder, 364

SINCLAIR (DUNCAN) manager for Wilson, 266; starts a foundry in Edinburgh, 266

SINCLAIR (JNO.) son of above; manager for Wilson, 265; joins his father, 266

Skeen (W.) on wooden types, 6; on sculpto-fusi types, 8; on ‘getté en molle,’ 14

SKINNER, a letter founder, 345

Small Pica, an English type-body, 33, 38

Smart (W.) purchased Baskerville remainders, 281

Smith (Jno.) his tribute to Caslon, 243; body-standards given by, 34

Smith, (Dr. T.) his tribute to Laud, 145; note by, on the Alexandrian _Codex_, 201, 203

Smith (T. W.) manager to H. W. Caslon, 255

Society for Promoting Christian Knowledge, notice of, 234; their press at Tranquebar, 234; their Arabic _Psalms and Testament_, 235

Somme, Lettre de, 54

Soncino, Hebrew type at, 62

_Sophologium_ (Wiedenbach? 1465?) 42

Sower (Chr.) early American founder, 350

Spaces, early contrivances for, 21

Specimens, _see_ Type-specimens

Specklin on wooden types, 4

_Speculum_, not printed with wood type, 4, 5, 6; nor with sculpto-fusi types, 6; possible sand-cast types of, 10; curious ‘turn’ in 10; possible clay-cast types of, 11; quantity of types and contractions in, 27

Star Chamber; case of Day _v._ Ward, 124; decrees affecting printers and founders, 126, 130, 167; abolished, 131

Starr (E.) Type-casting machine of, 122

_Statham’s Abridgments_, Rouen, _n.d._, 92

Stationers, early brotherhood of, 124

Stationers’ Company, incorporation of, 124; powers against printers, 127, 128, 129; minutes relating to founders, 128, 129, 133, 134, 164, 165, 193; schism in, 348

Statutes affecting printers and founders, 124, 130, 131, 132, 133, 134

STEELE (ISAAC) partner of Edmund Fry, 306, 307

STEPHENSON (S. and C.) London founders, 353; first foundry, 353; specimens, 353, 354; punch-cutter for, 353, 359; foundry sold, 354

——— Matrices:—Roman and Italic, 353; Ornaments, 353

STEPHENSON (HENRY) Sheffield founder, 329

Stereotype, early suggestion of, 13; first attempts at, 218; history of Ged’s invention, 218; re-invention by Tilloch, 220, 261; perfected by Wilson and Lord Stanhope, 220; Didot’s method of, 220

Strong (Mr.) married Mrs. H. Caslon, 252

Strype’s note on Day, 98; on early types, 97

Subiaco, Roman type at, 40; Greek, 57

Swedish Matrices:—Oxford, 73, 151

SWINNEY (MYLES) Birmingham founder, 269, 352; specimen of, 352, 353; poetical tribute to, 353

Swynheim and Pannartz, Roman types of, 40, 41; Greek, 57

SYMPSON (BENJ.) the first recorded English letter-founder, 128, 164

Syriac, chief founts abroad, 67; printed in Hebrew, 67; Usher’s attempt to procure types of, 67, 68

——— Matrices: Oxford, 68, 147, 148, 155, 160, 161; Polyglot, 68, 173, 174, 177, 198, 241; Andrews, 195, 241; Grover, 198, 241; James, 228, 241; Caslon, 160, 240, 241, 246, 247, 254; Fry, 68, 303, 308, 309, 311, 342; Caslon III, 326; Figgins 68, 342, 343; Watts, 68

——— Punches:—James, 229

Télegú matrices: Figgins, 339, 343

Tertia, a German type body, 37

Teste, a size of type, 32

Testo, a Spanish type body, 32, 37

Thiboust (C. L.) his account of French founding, 114, 115; his _Typographiæ Excellentia_, 115

Thomas (Isaiah) his _Printing in America_, 17; note on the first American founders, 350

Thomson (Jas.) his patent for type-casting, 12, 122

_Thomson’s Seasons_, Parma, 1794: 251: Lond. 1799: 336

THORNE (ROBT.) apprentice and successor to Cottrell, 292; removes to Barbican, 292; and to Fann Street, 294; regulations of his foundry, 117, 294; specimens, 292, 293, 294; new fashions of Roman, 293; sale of his foundry, 295

——— Matrices: Blacks, 295; Engrossing, 295; Flowers, 293, 295; German, 295; Ornamented, 295; ‘Proscription,’ 292, 294; Roman and Italic, 292, 293, 295; Script, 293, 294, 295; Shaded, 293, 295

THOROWGOOD (WM.) purchases Thorne’s foundry, 295; specimens, 295, 296; purchases Dr. Fry’s foundry, 296, 313; successors, 296; standards of type bodies in 1841, 34

——— Matrices: German, 296; Greek, 296; Hebrew, 296; Roman and Italic, 295; Russian, 72, 296

Tilloch’s patent for stereotype, 220, 261

Timmins (S.) Baskerville relics of, 268, 269, 271, 279

Tonson (J.) buys type in Holland, 216, 217, 233

Tory (Geof.) on shapes of types, 32, 53, 183; his _Champfleury_, 32, 183; Greek type of, 58; Initials, 80; Roman, 44

_Tractatus contra Judæos_, Esslingen, 1475 62

Trafalgar, an English type body, 34

Tranquebar, Scriptures printed at, 1714–19; 234

_Treatise of Love_, Westminster, 1491 ?; 89

_Treatyse of Fysshynge with an Angle_, Lond. 1827; 286

Trithemius on the Invention of Printing, 7

_Turner’s Herbal_, Lond. 1551; 60

Turner, a dishonest Oxford printer, 145

Two-line letters, early mention of, 32; use of, 80, 129

_Twyn’s Tryal and Condemnation_, Lond. 1664; 132

Types, early; first suggestion of mobile, 3; wooden, 3; perforated, 4; Wetter’s specimen of, 5; Laborde’s specimen, 5; ‘sculpto-fusi,’ 7; sand-cast, 10; clay-cast, 11; irregularities in, 18; 15th century types at Lyons, 20–23; and at Cologne, 24–26; ligatures and contractions, 22, 27; quantities of, in founts, 26, 27; one size only in a book, 126; markets for, 20, 28, 90, 103; trade in, 103, 123; early control over, 126

Type-bodies, origin of, 31, 32; names of early, 32–40; irregular, 33; standards of 33, 34; attempts to regulate, 35, 357; names of foreign, 35

Type-casting, Moxon’s account of, 111; machine for, origin of, 122; patents for, 119–22; early machines, 265, 356

Type-ornaments, first at Subiaco, 82; Aldus’, 82; Caxton’s, 82; H. Estienne’s, 82; used in combination, 82

Type patented, Rusher’s, 119; Caslon III, 120, 327

Type-mould, invention of, 9; of sand, 10; clay, 11, plaster, 15; earliest adjustable, 14; in four pieces, 17, 120; peculiarities of early, 23, 105; Garamond’s, 23; Dutch, of brass, 113, 216; ‘drags’ in 26; Moxon’s description of, 108, 186; abandonment of hand, 119; lever introduced, 120, 186

Type-specimens, English, 49, 50; Dibdin on, 49; Bodoni’s, 50, 251

Type Street Foundry established, 305

‘Typi tornatissimi,’ initials, 79

_Typographical Antiquities_, Lond. 1749; 52, 242

_Typographiæ Excellentia, Carmen_, Paris, 1718; 115

Typography, essence of, 2; and xylography, 2; two early schools of, 9; a mathematical science, 184

Union-Pearl matrices: Grover, 199, 204; James, 228, 303; Fry, 303

_Universal Magazine_, 1750: account of letter-founding in, 108, 116, 243, 288, 316

_Unterweissung der Messung_, Nuremburg, 1525; 32, 183

Usher’s attempt to procure Oriental types, 67, 69, 141

Van Dijk (Chr.) Dutch letter cutter, 114, 215; Moxon’s praise of, 182, 184; Roman letter of, 40, 44, 47, 182, 184; Italic, 52; Black, 47

Vatican Press, Oriental types of, 65, 67, 69

Vautrollier (Th.) Roman type of, 46, 98; Italic, 51; Music, 77

_Virgil_, Paris, 1648; 56: Lond. (Ogilby’s) 47: Florence, 1741; 204: Birmingham, 1757; 272, 273

Vitré, French printer, Arabic types of, 66; Samaritan, 70; Syriac, 67

Vizitelly, Branston and Co.’s cast ornaments, 360

_Vocabularia_, St. Petersburg, 1786–9; 72

_Vocabulary_ (_Arabic_), Granada, 1505; 65

_Vocabulary, Persian, Arabic and English_, Lond. 1785; 319

_Voltaire, Œuvres de_, Kehl, 1784–9; 286

Voskens (Dirk) Dutch founder, 114, 215, 216, 290

——— Matrices of: Coptic, 70; Runic, 72; Russian, 71; Samaritan, 70; Saxon, 74; Sclavonic, 71

Wages in Caslon’s foundry, dispute concerning in, 1757; 243: in Thorne’s foundry, 1806; 118

Waldegrave (R.) a disorderly printer, 127

WALPERGEN (P.) Oxford founder, 149, 207; book printed by, at Batavia, 207; his Music type, 77, 148, 153, 162, 208, 209; inventory of his chattels, 209; small value of his punches, 209

Walpole (Horace) Baskerville’s letter to, 278

_Walsingham, Historia Brevis_, Lond. 1574; 95, 96

Walton (Brian) editor of the London _Polyglot_, 170; his Proposals and Specimen, 170; his _Introductio ad lectionem_, 172; timeservice of, 175; rewards to, 176; note by, on the Alexandrian _Codex_ facsimile, 201

Wanley (Humphrey) designs Saxon letter for Miss Elstob, 157

Ward (Roger) a disorderly printer, 125, 127

Watson (Jas.) Scotch printer, 257; his _History of Printing_, 257; Specimen, 46, 49, 258; his Dutch Initials, 80, 258

WATTS (RICHARD) Cambridge University printer, 362; printer and founder in London, 362; Oriental types of, 363; specimen by his successors, 363

——— Matrices: Syriac, 68

Watts (Jno.) printer, assists Caslon, 233, 234; Franklin his apprentice, 233, 235

Wechels, Frankfort printers, Greek types of, 58, 60, 140; Hebrew, 63

Wertheimer (Jno.) Hebrew type cut for, 264

Weston, _see_ Wetstein

Westfalia (Jno. de) Roman type of, 43

Wetstein, Dutch founders, 346, 349; Greek types of, 61

Wetter’s unhistorical wooden types, 5

White (Elihu) type-casting machine of, 120

White (Thos.) printer, uses Baskerville’s types, 286

‘White letter,’ a name for Roman, 91

Whittaker (Jno.) Caxtonian restorations by, 344

Whittingham (C.) printer, revives the Old Style Roman, 255

_Whitintoni Grammatices_, Lond. 1519; 60, 91: _De heteroclytis nominibus_, Lond. 1523; 91: _Lucubrationes_, Lond. 1527; 91

Wiedenbach, typographical school at, 41, 42; Roman type at, 42

Wilkins (Dr. C.) Librarian to East India Company, 318; typographical achievements of, 318, 319; Bengal type cut by, 319; Deva Nagari cut by, 319, 320; fire at his office, 319; Sanscrit cut for, 254

Wilkins (Dr. D.) notice of, 236; Coptic works of, 236

Wilkins (Dr. Jno.) Philosophical or Real character of, 191, 196, 310

WILSON (ALEX.) the First; begins as a doctor’s assistant in London, 258; patronised by Lord Isla, 258; starts a foundry, 259; his partner Baine, 259, 260; attempts new method of founding, 259; earliest founts of, 260; settles at St. Andrew’s, 260; Irish and foreign business, 260, 264; removes to Camlachie, 260; casts types for the Foulis, 261; the Glasgow _Homer_ Greek type, 262; retires, 262; tributes to, 262, 263; specimens, 263; foundry removed to Glasgow, 263

——— Matrices: Black, 264; Greek, 61, 261, 262, 264, 265; Hebrew, 261, 265; Roman and Italic, 48, 260, 263, 264, 265; Saxon, 74, 264

WILSON (ANDREW) son of above; assists and succeeds his father, 264; state of the foundry in 1825; 264

——— Matrices: Greek, 264; Roman, 264, 355

WILSON (ALEX.) the Second, son of above, joins his father, 264; succeeds to the foundry, 264; establishes branches at Edinburgh, 264, London, 265, and Two Waters, 265; type casting machine of, 122, 265; fails in business, 265; sells foundry, 265; joins Mr. Caslon, 255, 265

WILSON (PATRICK) brother and partner of above, 264

Wilson Foundry, type standards in 1841; 34: division and dispersion of, 255, 265

Woide (Dr.) his facsimile of the Alexandrian _Codex_, 311, 321

Wolfe (Jno.) disorderly City printer, 125

Wolfe (Rey.) types of, 95; Greek of, 60

Wolsey (Cardinal) his influence on printing, 139

Women, employment of, in foundries, 117

WOOD AND SHARWOODS, founders, successors to Austin, 360; Cast Ornaments of, 360

Wooden types, the legend of, 3–6; Specimens of at Oxford, 6; used in England, 129

Worde (Wynkyn de) account of, 89–91; used Caxton’s types, 87, 89; and Faques’, 94; bought type abroad, 103; employed a Paris printer, 91; his own letter founder, 89, 90, 103; types of: Arabic, 66, 91; Black, 53, 89, 90, 91, 197, 199, 225, 239; Greek, 60, 91; Hebrew, 64, 91; Italic, 51, 91; Music, 76, 91; Roman, 91

WRIGHT (THOS.) Star Chamber Founder, 165, 166; nominated, 130, 165

Wyer (R.) types of, 94

_Xenophon’s Anabasis_, Glasgow, 1783; 220

Xylography, a distinct art from Typography, 6; extinction of, 2

Ycair on the shapes of letters, 32, 53; his _Orthographia Practica_, 32, 53, 183

York, early printing at, 89, 139

Young (Patrick) Royal Librarian, 143, 167; his _Catena on Job_, 98, 144, 176, 198, 201, 228; his facsimile from the Alexandrian _Codex_, 201, 321

Zainer (Gunther) Roman type of, 42

Zell (Ulric) his narrative of the invention of printing, 1

ENDNOTES:

[1] _The Haarlem Legend of the Invention of Printing by Lourens Janszoon Coster, critically examined._ From the Dutch by J. H. Hessels, with an introduction and classified list of the Costerian Incunabula. London, 1871. 8vo.

[2] Xylography did not become extinct for more than half a century after the invention of Typography. The last block book known was printed in Venice in 1510.

[3] “Hic ego non mirer esse quemquam qui sibi persuadeat . . . . mundum effici . . . . ex concursione fortuitâ! Hoc qui existimet fieri potuisse, non intelligo cur non idem putet si innumerabiles unius et viginti formæ litterarum, vel aureæ, vel qualeslibet, aliquò conjiciantur, posse ex his in terram excussis, annales Ennii, ut deinceps legi possint, effici” (_De Nat. Deor._, lib. ii). Cicero was not the only ancient writer who entertained the idea of mobile letters. Quintilian suggests the use of ivory letters for teaching children to read while playing: “Eburneas litterarum formas in ludum offere” (_Inst. Orat._, i, cap. 1); and Jerome, writing to Læta, propounds the same idea: “Fiant ei (Paulæ) litteræ vel buxeæ vel eburneæ, et suis nominibus appellentur. Ludat in eis ut et lusus ipse eruditio fiat.”

[4] _In Commentatione de ratione communi omnium linguarum et literarum._ Tiguri, 1548, p. 80.

[5] In _Chronico Argentoratensi_, _m.s._ ed. Jo. Schilterus, p. 442. “Ich habe die erste press, auch die buchstaben gesehen, waren von holtz geschnitten, auch gäntze wörter und syllaben, hatten löchle, und fasst man an ein schnur nacheinander mit einer nadel, zoge sie darnach den zeilen in die länge,” etc.

[6] _De Bibliothecâ Vaticanâ._ Romæ, 1591, p. 412. “Characteres enim a primis illis inventoribus non ita eleganter et expedite, ut a nostris fieri solet, sed filo in litterarum foramen immisso connectebantur, sicut Venetiis id genus typos me vidisse memini.”

[7] _De Germaniæ Miraculo_, etc. Lipsiæ, 1710, p. 10. “ . . . . ligneos typos, ex buxi frutice, perforatos in medio, ut zonâ colligari unâ jungique commode possint, ex Fausti officina reliquos, Moguntiæ aliquando me conspexisse memini.”

[8] _Essai sur les Monumens Typographiques de Jean Gutenburg._ Mayence, an 10, 1802, p. 39.

[9] _Débuts de l’ Imprimerie à Strasbourg._ Paris, 1840, p. 72.

[10] _Erfindung der Buchdruckerkunst._ Mainz, 1836. Album, tab. ii.

[11] The history of these “fatal, unhistorical wooden types” is worth recording for the warning of the over-credulous typographical antiquary. Wetter, writing his book in 1836, and desirous to illustrate the feasibility of the theory, “spent,” so Dr. Van der Linde writes, “really the amount of ten shillings on having a number of letters made of the wood of a pear-tree, only to please Trithemius, Bergellanus, and Faust of Aschaffenburg. . . . His letters, although tied with string, did not remain in the line, but made naughty caprioles. The supposition—that by these few dancing lines the possibility is demonstrated of printing with 40,000 wooden letters, necessary to the printing of a quarternion, a whole folio book—is dreadfully silly. The demonstrating facsimile demonstrates already the contrary. Wetter’s letters not only declined to have themselves regularly printed, but they also retained their pear-tree-wood-like impatience afterwards.” The specimen of these types may be seen in the _Album_ of plates accompanying Wetter’s work, where they occupy the first place, the matter chosen being the first few verses of the Bible, occupying nineteen lines, and the type being about two-line English in body. M. Wetter stated in his work that he had deposited the original types in the Town Library of Mentz, where they might be inspected by anyone wishing to do so. From this repository they appear ultimately to have returned to the hands of M. Wetter’s printer. M. Bernard, passing through Mentz in 1850, asked M. Wetter for a sight of them, and was conducted to the printing office for that purpose, when it was discovered that they had been stolen; whereupon M. Bernard remarks, prophetically, “Peutêtre un jour quelque naïf Allemand, les trouvant parmi les reliques du voleur, nous les donnera pour les caractères de Gutenberg. Voilà comment s’établissent trop souvent les traditions.” This prediction, with the one exception of the nationality of the victim, was literally fulfilled when an English clergyman, some years afterwards, discovered these identical types in the shop of a curiosity-dealer at Mayence, and purchased them as apparently veritable relics of the infancy of printing. After being offered to the authorities at the British Museum and declined, they were presented in 1869 to the Bodleian Library at Oxford, where they remain to this day, treasured in a box, and accompanied by a learned memorandum setting forth the circumstances of their discovery, and citing the testimony of Roccha and other writers as to the existence and use of perforated types by the early printers. The lines (which we have inspected) remain threaded and locked in forme exactly as they appear in Wetter’s specimen. It is due to the present authorities of the Bodleian to say that they preserve these precious “relics,” without prejudice, as curiosities merely, with no insistence on their historic pretensions.

[12] Van der Linde, _Haarlem Legend_. Lond., p. 72.

[13] Skeen, in his _Early Typography_, Colombo, 1872, takes up the challenge thrown down by Dr. Van der Linde on the strength of Enschedé’s opinion, and shows a specimen of three letters cut in boxwood, pica size, one of which he exhibits again at the close of the book after 1,500 impressions. But the value of Skeen’s arguments and experiments is destroyed when he sums up with this absurd dictum: “Three letters are as good as 3,000 or 30,000 or 300,000 to demonstrate the fact that words are and can be, and that therefore pages and whole books may be (and therefore also that they may have been) printed from such separable wooden types.”—P. 424.

[14] _Annales Hirsaugienses_, ii, p. 421: “Post hæc inventis successerunt subtiliora, inveneruntque modum fundendi formas omnium Latini Alphabeti literarum quas ipsi matrices nominabant; ex quibus rursum æneos sive stanneos characteres fundebant, ad omnem pressuram sufficientes, quos prius manibus sculpebant.” Trithemius’ statement, as every student of typographical history is aware, has been made to fit every theory that has been propounded, but it is doubtful whether any other writer has stretched it quite as severely as Meerman in the above rendering of these few Latin lines.

[15] _Origines Typographicæ_, Gerardo Meerman auctore. Hagæ Com., 1765. Append., p. 47.

[16] The constant recurrence in more modern typographical history of the expression “to cut matrices,” meaning of course to cut the punches necessary to form the matrices, bears out the same conclusion.

[17] _Origine et Débuts de l’Imprimerie en Europe._ Paris, 1853, 8vo, i, 38.

[18] _Life and Typography of William Caxton._ London, 1861–3, 2 vols, 4to, ii, xxiv.

[19] _The Invention of Printing._ New York, 1876. 8vo.

[20] _Origine de l’Imprimerie_, i, 40.

[21] Mr. Blades points out that there are no overhanging letters in the specimen. The necessity for such letters would be, we imagine, entirely obviated by the numerous combinations with which the type of the printers of the school abounded. The body is almost always large enough to carry ascending and descending sorts, and in width, a sort which would naturally overhang, is invariably covered by its following letter cast on the same piece.

[22] It is well known that until comparatively recently the large “proscription letters” of our foundries, from three-line pica and upwards, were cast in sand. The practice died out at the close of last century.

[23] _An Enquiry Concerning the Invention of Printing._ London, 1863, 4to, p. 265.

[24] In a recent paper, read by the late Mr. Bradshaw of Cambridge, before the Library Association, he points out a curious shrinkage both as to face and body in the re-casting of the types of the Mentz _Psalter_, necessary to complete the printing of that work. The shrinking properties of clay and plaster are well known, and, assuming the new type to have been cast in moulds of one of these substances formed upon a set of the original types, the uniform contraction of body and face might be accounted for. If, on the other hand, we hold that the types of this grand work were the product of the finished school of typographers, the probability is that the new matrices (of the face of the letter only) were formed in clay, as suggested at p. 15, and that the adjustable mould was either purposely or inadvertently shifted in body to accommodate the new casting.

[25] In connection with the suggested primitive modes of casting, the patent of James Thomson in 1831 (see Chap. iv, _post_), for casting by a very similar method, is interesting.

[26] _Origine de l’Imprimerie._ Paris, 1810, 2 vols., 8vo, i, 97.

[27] _Origine de l’Imprimerie_, i, 99, etc. The following are the citations:—“_Escriture en molle_,” used in the letters of naturalisation to the first Paris printers, 1474. “_Escrits en moule_,” applied to two Horæ in vellum, bought by the Duke of Orleans, 1496. “_Mettre en molle_,” applied to the printing of Savonarola’s sermons, 1498. “_Tant en parchemin que en papier, à la main et en molle_,” applied to the books in a library, 1498. “_Mettre en molle_,” applied to the printing of a book by Marchand, 1499. “_En molle et à la main_,” applied to printed books and manuscripts in the Duke of Bourbon’s library, 1523. “_Pièces officielles moulées par ordre de l’Assemblée._” Procès verbaux des Etats Généraux, 1593.

[28] _Coster Legend_, p. 6.

[29] _Ibid._, p. viii.

[30] A calculation given in the _Magazin Encyclopédique_ of 1806, i, 299, shows that from such matrices 120 to 150 letters can be cast before they are rendered useless, and from 50 to 60 letters before any marked deterioration is apparent in the fine strokes of the types.

[31] Several writers account for the alleged perforated wooden and metal types reputed to have been used by the first printers, and described by Specklin, Pater, Roccha and others, by supposing that they were model types used for forming matrices, and threaded together for safety and convenience of storage.

[32] _Works of the late Dr. Benjamin Franklin, consisting of his Life, written by himself_, in 2 vols. London, 1793, 8vo, i, 143. It is a very singular fact that in a later corrected edition of the same work, edited by John Bigelow, and published in Philadelphia in 1875, the passage above quoted reads as follows: “I contrived a mould, made use of the letters we had as puncheons, struck the _matrices in lead_, and thus supplied in a pretty tolerable way all deficiencies.” Whichever reading be correct, the illustration is apt, as proving the possibility of producing type from matrices either of clay or lead in a makeshift mould.

[33] _Origine de l’Imprimerie_, i, 144.

[34] From this method of forming the matrices (says a note to the Enschedé specimen) has arisen the name Chalcographia, which Bergellanus, among others, applies to printing.

[35] _Printer’s Grammar._ Lond., 1755, p. 10.

[36] It has been suggested by some that wood could be _struck_ into lead or pewter; but the possibility of producing a successful matrix in this manner is, we consider, out of the question. In 1816 Robert Clayton proposed to cast types in metal out of _wooden_ matrices punched in wood with a cross grain, which has been previously slightly charred or baked.

[37] In the specimen of “_Ancienne Typographie_” of the Imprimerie Royale of Paris, 1819, several of the old oriental founts are thus noted: “les poinçons sont en cuivre.”

[38] In the 2nd edition of Isaiah Thomas’ _History of Printing in America_, Albany, 1874, i, 288, an anecdote is given of Peter Miller, the German who printed at Ephrata in the United States in 1749, which we think is suggestive of the possible expedients of the first printers with regard to the mould. During the time that a certain work of Miller was in the press, says Francis Bailey, a former apprentice of Miller’s, “particular sorts of the fonts of type on which it was printed ran short. To overcome this difficulty, one of the workmen constructed a mold that could be moved so as to suit the body of any type not smaller than brevier nor larger than double-pica. The mold consisted of four quadrangular pieces of brass, two of them with mortices to shift to a suitable body, and secured by screws. The best type they could select from the sort wanted was then placed in the mold, and after a slight corrosion of the surface of the letter with aquafortis to prevent soldering or adhesion, a leaden matrix was cast on the face of the type, from which, after a slight stroke of a hammer on the type in the matrix, we cast the letters which were wanted. Types thus cast answer tolerably well. I have often adopted a method somewhat like this to obtain sorts which were short; but instead of four pieces of brass, made use of an even and accurate composing-stick, and one piece of iron or copper having an even surface on the sides; and instead of a leaden matrix, have substituted one of clay, especially for letters with a bold face.” De Vinne describes an old mould preserved among the relics in Bruce’s foundry at New York, composed (with the matrix) of four pieces, and adjustable both as to body and thickness. Bernard also mentions a similar mould in use in 1853.

[39] A curious instance of this occurs in the battered text of the _De Laudibus Mariæ_, shown at p. 24, where the rubricator has added his red dashes to capital letters at the beginning, middle and end of a palpably illegible passage.

[40] _Notizie storiche sopra la Stamperia di Ripoli._ Firenze, 1781, p. 49. _Prezzi de’ generi riguardanti la Getteria (letter foundry)._

_s._ _d._ Acciaio (steel) liv. 2 8 0 la lib. ( = 9 0 per lb.) Metallo (type-metal?) 〃 0 11 0 〃 ( = 2 0 3/4 〃 ) Ottone (brass) 〃 0 12 0 〃 ( = 2 3 〃 ) Rame (copper) 〃 0 6 8 〃 ( = 1 3 〃 ) Stagno (tin) 〃 0 8 0 〃 ( = 1 6 〃 ) Piombo (lead) 〃 0 2 4 〃 ( = 0 5 1/4 〃 ) Filo di ferro (iron wire) 〃 0 8 0 〃 ( = 1 6 〃 )

[41] It would be more correct to say the discovery of the properties of antimony, which were first described by Basil Valentin about the end of the 15th century, in a treatise entitled _Currus triumphalis Antimonii_.

[42] Printing was practised at Lyons in 1473, three years only later than at Paris. From the year 1476 the art extended rapidly in the city. Panzer mentions some 250 works printed here during the 15th century by nearly forty printers, among whom was Badius Ascensius. The earlier Lyons printers are supposed to have had their type from Basle, and their city shortly became a depôt for the supply of type to the printers of Southern France and Spain.

[43] _Histoire de l’Invention de l’Imprimerie par les Monuments._ Paris, 1840, fol., p. 12.

[44] _Lettres d’un Bibliographe._ Paris, 1875, 8vo, Ser. iv, letter 16.

[45] Begins “_Incipit Liber de Laudibus ac Festis Gloriose Virginis Matris Marie alias Marionale Dictus per Doctores eximeos editus et compilatus_”; at end, “_Explicit Petrus Damasceni de laudibus gloriose Virginis Marie_.” The book is mentioned in Hain, 5918. The drawn-up type occurs on the top of folio b 4 verso.

[46] It will be understood that in each case the outline of the types being merely a depressed edge in the original, the black outline of the facsimiles represents shadow only, and not, as might appear at first glance, inked surface. M. Madden’s facsimile is apparently drawn. In the photograph facsimile of the “_De laudibus_” type, the distribution of black represents the distribution of shadow caused by the somewhat uneven or tilted indentation of the side of the type in the paper.

[47] Such projections or “drags” in the mould are not unknown in modern typefounding, where they are purposely inserted so as to leave the newly cast type, on the opening of the mould, always adhering to one particular side.

[48] _Life of Caxton_, i, 39. Later on (p 52), Mr. Blades points out, as an argument against the supposed typographical connection between Caxton and Zel of Cologne, that the latter, from an early period, printed two pages at a time.

[49] _Haarlem Legend_, p. xxiii.

[50] Mr. Skeen (_Early Typography_, p. 299) speaks of 300 matrices as constituting a complete fount; he appears accidentally, in calculating for two pages instead of one, to have assumed that a double number of matrices would be requisite for the double quantity of type.

[51] _Origin and Progress of Writing._ London, 1803. 4to. Chapter ix.

[52] The cost-book of the Ripoli press contains several entries pointing to an early trade in type and matrices. In 1477 the directors paid ten florins of gold to one John of Mentz, for a set of Roman matrices. At another time they paid 110 livres for two founts of Roman and one of Gothic: and further, purchased of the goldsmith, Banco of Florence, 100 little initials, three large initials, three copper vignettes, and the copper for an entire set of Greek matrices.

[53]

“Natio quæque suum poterit reperire caragma Secum nempe stilo præminet omnigeno.”

[54] _Unterweisung der Messung._ Nuremberg, 1525. Fo.

[55] _Champfleury._ Paris, 1529. 8vo.

[56] _Orthographia Practica._ Caragoça, 1548. 4to.

[57] Both _Testo_ and _Glosilla_ subsequently became the names of Spanish type-bodies, the former being approximately equivalent to our Great Primer, and the latter to our Minion.

[58] _Dissertation upon English Typographical Founders and Founderies._ London, 1778. 8vo.

[59] See _post_, chap. v.

[60] See _post_, chap. v.

[61] Hansard’s _Typographia_. London, 1825, 8vo, p. 388.

[62] See _post_, chap. xxi.

[63] In several of the German specimens thus examined, not only do the bodies of one founder differ widely from those of others, but the variations of each body in the same foundry are often extraordinary. Faulman, in his _Geschichte der Buchdruckerkunst_, Vienna, 1882, 8vo, p. 488, has a table, professing to give the actual equivalents of each body to a fraction; but we conceive that, in the absence of a fixed national standard, such an attempt is futile.

[64] Two-line English, Mores points out, was originally a primitive, and not a derivative body, corresponding to the old German Prima.

[65] Henry VIII, in 1545, allowed his subjects to use an English Form of Public Prayer, and ordered one to be printed for their use, entitled _The Primer_. It contained, besides prayers, several psalms, lessons and anthems. _Primers_ of the English Church before the Reformation were printed as early as 1490 in Paris, and in England in 1537.

[66] We have nowhere met with the suggestion that Primer may be connected with the Latin “premere,” a word familiar in typography, and naturalized with us in the old word “imprimery.” Great Primer might thus merely mean the large print letter.

[67] The religious origin of the names of types is in harmony with the occurrence in typographical phraseology of such words as _chapel_, _devil_, _justify_, _hell_ (the waste type-pot), _friars_ and _monks_ (white and black blotches caused by uneven inking), etc.

[68] Ulric Hahn’s _St. Augustini De Civitate Dei_, Rome, 1474, is printed in a letter almost exactly this body. Others derive the name from the great edition of _St. Augustine_ printed by Amerbach at Basle in 1506.

[69] “Liber presens, directorium sacerdotum, quem _pica_ Sarum vulgo vocitat clerus,” etc., is the commencement of a work printed by Pynson in 1497.

[70] Both the _Cicero_ of Fust and Schoeffer at Mentz, 1466, and of Hahn at Rome, 1469, were in type of about this size.

[71] _This Prymer of Salysbury use, is set out a long, wout ony serchyng_, etc. Paris, 1532. 16mo. Many editions were printed in England and abroad.

[72] Fournier (ii, 144) shows a specimen of the lettre de Somme with exactly a Bourgeois face.

[73] The first of the family of Paris printers of this name, mentioned by De la Caille, flourished in 1615.

[74] The German Brevier, corresponding to our Small Pica, is of more frequent occurrence in these works.

[75] _De Germaniæ Miraculo._ Lipsiæ, 1710, 4to, p. 37.

[76] The _Lactantius_, published the same year, and usually claimed as the first book printed in Italy, appears, according to a note of M. Madden’s (_Lettres d’un Bibliographe_, iv, 281), not to have been completed for a month after the _Cicero de Oratore_.

[77] “Il (Jenson) forma un caractère composé des capitales latines, qui servirent de majuscules; les minuscules furent prises d’autres lettres latines, ainsi que des espagnoles, lombardes, saxones, françoises ou carolines.” (_Man. Typ._, ii, 261.)

[78] M. Philippe, in his _Origine de l’Imprimerie à Paris_, Paris, 1885, 4to, p. 219, mentions two books printed in this fount, which contain MS. notes of having been purchased in the years 1464 and 1467 respectively.

[79] _Lettres d’un Bibliographe_, iv, 60.

[80] For a full account and analysis of Jenson’s Roman and other type, the reader is referred to Sardini’s _Storia Critica di Nic. Jenson_. Lucca, 1796–8, 3 parts, fol.

[81] _Annales de l’Imprimerie des Alde._ Paris, 1803–12, 3 vols., 8vo.

[82] Sardini (iii, 82) cites an interesting document wherein Zarot, in forming a typographical partnership with certain citizens of Milan, covenants to provide “tutte le Lettere Latine, e Greche, antique, e moderne.” Bernard points out that “antique” undoubtedly means Roman type, the traditional character of the Italians, while “moderne” applies to the Gothic, which was at that time coming into vogue as a novelty among Italian printers.

[83] Renouard and others claim that these famous characters were cut by the French artists Garamond and Sanlecques. This legend is, however, disposed of by Mr. Willems, in his work, _Les Elzevier_. Brussels, 1880, 8vo.

[84] Pynson was the first to introduce diphthongs into the typographical alphabet.

[85] Garamond’s Roman was cut for Francis I. The Roman character was an object of considerable royal interest in France during its career. In 1694, on the re-organisation of the press at the Louvre under Louis XIV, arbitrary alterations were made in the recognised form of several of the “lower-case” letters, to distinguish the “_Romain du Roi_” from all others, and protect it from imitations. The deformity of the letters thus tampered with was their best protection.

[86] Amongst which should be named Vautrollier’s edition of Beza’s _New Testament_ in 1574, which, both in point of type and workmanship, is an admirable piece of typography. The small italic is specially beautiful. Renouard says this type was cut by Garamond of Paris.

[87] _History of the Art of Printing._ Edinburgh, 1713. 8vo.

[88] The _Horace_, printed in 1627, may be mentioned as one of the most interesting of these little typographical curiosities. The type is exactly the modern pearl body. The text is 2 5/6 inches in depth, and 1 1/2 inch wide.

[89] _The Holy Bible, containing the Old and New Testaments._ London, printed by John Field, 1653, 32mo. The inexperience of English compositors and correctors in dealing with this minute type is illustrated by the fact that Field’s Pearl Bibles are crowded with errors, one edition, so it is said, containing 6,000 faults.

[90] In one of the Bagford MSS. (Harl. 5915) appear, with the title “Mr. Ogilby’s Letters,” the drawings and proofs of this alphabet in capital and lower-case.

[91] See Specimen No. 21, _post_.

[92] Tradition has asserted that Hogarth designed Baskerville’s types.

[93] In recent years a French typographer, M. Motteroz, has attempted to combine the excellences of the Elzevir and modern Roman, with a view to arrive at an ideally legible type. The experiment is curious but disappointing. For though the new “typographie” of M. Motteroz justifies its claim to legibility, the combination of two wholly unsympathetic forms of letter destroys almost completely the beauty of each.

[94] _Specimen Bibliorum Editionis Hebr. Gr. Lat._ (folio sheet); no date.

[95] _Bibliographical Decameron_, ii, 381–2.

[96] _Origine de l’Imprimerie de Paris_, Paris, 1694, 4to, p. 110. Chevillier gives a curious instance of this tendency of the old printers to contract their words. The example is taken from _La Logique d’Okam_, 1488, fol., a work in which there scarcely occurs a single word not abbreviated. “Sic̃ hic ẽ faɫ s̃m q̃d ad simpɫr a ẽ [*pro]ducibile a Deo g̃ a ẽ & sir hic a ñ ẽ g̃ a ñ ẽ [*pro]ducibile a Do,”-which means: “Sicut hic est fallacia secundum quid ad simpliciter; A est producibile a Deo; ergo A est. Et similiter hic. A non est; ergo A non est producibile a Deo.”

[97] Sir A. Panizzi, in his tract, _Chi era Francesco da Bologna ?_ London, 1858, 16mo, shows that this artist was the same as the great Italian painter, Francesco Francia.

[98] The German practice of inserting proper names and quotations, occurring in a German book, in Roman type, probably suggested a similar use of the Italic in books printed in the Roman letter.

[99] This reform, which was an incident in the general typographical revolution at the close of last century, is usually credited to John Bell, who discarded the long ſ in his _British Theatre_, about 1791. Long before Bell’s time, however, in 1749, Ames had done the same thing in his _Typographical Antiquities_, and was noted as an eccentric in consequence. Hansard notes the retention of the long ſ in books printed at the Oxford University press as late as 1824.

[100] The suggestion that _Lettres de Forme_ may have meant merely letters commonly used in print (adopting the early printers’ use of the word _forma_ as type), appears to be somewhat far-fetched. The term, though apparently distinctly typographical, was used both by Tory and Ycair to denote a class of letter which the former denominated _Canon_, or cut according to rule, as opposed to the more fanciful _lettres bâtardes_.

[101] Petrarch expressed a strong aversion to the character; but some Italian and French printers adopted it, to the exclusion of the Roman, and, like Nicholas Prevost in 1525, boasted of it as the type “most beautiful and most becoming for polite literature.” Gothic printing began in Italy about 1475 and in France in 1473.

[102] See specimen No. 15, _post_.

[103] See specimen No. 49, _post_.

[104] _Bibliographical Decameron_, ii, 407.

[105] The first part of this work is without date or printer’s name; but the types are those of the 1462 Bible. The _Secunda Secundæ_ was printed by Schoeffer at Mentz in 1467, in the types of the _Rationale_.

[106] See specimens Nos. 5 and 6, _ante_, and 18A, _post_.

[107] See specimen No. 27, _post_.

[108] See specimen No. 52, _post_.

[109] See specimen No. 73, _post_.

[110] See specimen No. 51, _post_.

[111] Thus, Ὁτι ἶσα τὰ ἁμαρτήματα appears Oτίcaτaaκaρτηaκaτa.

[112] Lascaris caused to be printed at Florence, in 1494, an _Anthologia Græca_, and several other works wholly in Greek capitals, “litteris majusculis.” In the preface to the _Anthologia_ he vindicates his use of these characters, which he says he has designed after the genuine models of antiquity to be found in the inscriptions on medals, marbles, etc.

[113] Robert Estienne was not the first to hold this title, Conrad Néobar, his predecessor, having enjoyed it from 1538–40. In some of his early impressions before 1543, Estienne used occasionally Greek types, apparently the same as those of Badius.

[114] The Imprimerie Royale at the Louvre, of which the present Imprimerie Nationale is the direct successor, was not founded till 1640, by Louis XIII. Francis I granted the letters patent in 1538, whereby Néobar and his successors received the title of Royal Printers, but did not create a royal printing establishment.

[115] Renouard states that the last of the Greek founts of the Aldine press was without doubt designed from Garamond’s models.

[116] Gresswell mentions an _Alphabetum Græcum_, published in 1543, as a preliminary specimen.

[117] The history of these famous types, the matrices of which for some years lay in pawn at Geneva, whence they were released at a cost of 3,000 livres in 1619, may be read in M. Bernard’s _Les Estienne et les types grecs de François I^{er}_. Paris, 1856. 8vo.

[118] Greek printing did not become common in Spain till a later period. A book printed at Oriola in 1603 contains an apology for the want of Greek types.

[119] See specimen No. 28, _post_.

[120] See specimen No. 29, _post_.

[121] See specimen No. 69, _post_.

[122] See specimen No. 71, _post_.

[123] _De Hebraicæ typographiæ origine._ Parma, 1776. 4to.

[124] _Les Incunables Orientaux._ Paris, 1883. 8vo.

[125] _Recherches . . sur la Vie et les Editions de Thierry Martens._ Alost, 1845. 8vo.

[126] See specimens Nos. 34 and 35, _post_.

[127] See specimen No. 47, _post_.

[128] The English were in negotiation for the founts when Vitré received his orders to purchase.

[129] See _Calendar State Papers_, 1637–8, p. 245. Raphlengius died in 1597. Among Laud’s MSS. at the Bodleian is a printed work by Bedwell, entitled _The Arabian Trudgman_, London, 1615, 4to, but no Arabic type is used in it. An attempt to buy the Oriental matrices of Erpenius for Cambridge, in 1626, was forestalled by the Elzevirs, who secured them for their own press.

[130] See specimen No 37, _post_.

[131] See specimen No. 61, _post_.

[132] Parr’s _Life and Letters of Usher_. London, 1686, fol., p. 488.

[133] See specimen No. 38, _post_.

[134] See specimen No. 41, _post_.

[135] See specimen No. 63, _post_.

[136] See specimen No. 39, _post_.

[137] See specimen No. 66, _post_.

[138] See specimen No. 40, _post_.

[139] See specimen No. 36, _post_.

[140] See specimen No. 62, _post_.

[141] See specimen No. 42, _post_.

[142] See specimen No. 78, _post_.

[143] James’s foundry also had a set of punches in Long Primer, but these appear never to have been struck.

[144] See specimen No. 64, _post_.

[145] See specimen No. 65, _post_.

[146] See facsimile No. 20, _post_.

[147] See specimen No. 48, _post_.

[148] See specimen No. 45, _post_.

[149] Music engraved on wood was used as late as 1845, in Oakley’s _Laudes Diurnæ_.

[150] See specimen No. 54, _post_.

[151] _Essai sur l’Education des Aveugles._ Dedié au Roi. À Paris. Imprimé par les Enfants Aveugles. 1786. 4to. The work is printed in the large script letter of the press, but not in relief. Appended are specimens of circulars, addresses, etc., printed in ordinary type, for the use of the public.

[152] A curious collection of these may be seen in the _Quincuplex Psalterium_, printed by Henri Estienne I, at Paris, in 1513.

[153] _The Life and Typography of William Caxton, England’s first Printer._ 2 vols. London, 1861–3. 4to.

[154] Mr. Figgins, apparently misled by the irregularities in form consequent on the touching-up of Type No. 2, concluded that the whole of the types in which this book was printed were cut separately by hand.

[155] _The General History of Printing._ London, 1732, 4to, p. 343.

[156] Among the rubbish of James’s foundry, Mores, who evidently credited the legend, states that he discovered some of the punches from which the two-line Great Primer matrices had been struck. “They are,” he observed, “truly _vetustate formâque et squalore venerabiles_, and we would not give a lower-case letter in exchange for all the leaden cups of Haerlem” (_Dissertation_, p. 76). Hansard, in 1825, appears also to have believed in the survival of De Worde’s punches, the form of which he professed to recognise among the Black-letter shown in Caslon’s specimen-book of 1785.

[157] The first Roman, or (as it was sometimes called) White-letter, noticed by Herbert in any of De Worde’s books was in the _Whitintoni de heteroclytis nominbus_, 1523.

[158] _Roberti Wakefeldi . . . oratio de laudibus et utilitate trium linguarum Arabice, Chaldaicæ et Hebraice atque idiomatibus Hebraicis quæ in utroque testamento inveniuntur. Londini apud Winandum de Vorde_ (1524). 4to.

[159] This is probably the first appearance of Italic type in England.

[160] Pynson was not the first English printer who “put out” his work to foreign typographers. Caxton, in 1487, employed W. Maynyal of Paris to print a Sarum _Missal_ for him; and one book, at least, is known to have been printed for De Worde by a Parisian printer.

[161] _Oratio in Pace nuperrimâ, etc. Impressa Londini, Anno Verbi incarnati_ MDXVIII _per Richardum Pynson, Regium Impressorem_. 4to.

[162] _Thomæ Linacri de emendatâ structurâ Latini sermonis. Londini, apud Richardum Pinsonum._ 1524. 4to.

[163] _i.e._, “Greeting to the Reader: Of thy candour, reader, excuse it if any of the letters in the Greek quotations are lacking either in accents, breathings or proper marks. The printer was not sufficiently furnished with them, since Greek types have been but lately cast by him; nor had he the supply prepared necessary for the completion of this work.”

[164] Redman, who began to print about 1525, in Pynson’s old house, is supposed to have succeeded to the types of his predecessor. His edition of _Littleton’s Tenures_ (no date) shows the Roman letter in Long Primer body.

[165] _D. Joannis Chrysostomi homiliæ duæ, nunc primum in lucem æditæ_ (Greek and Latin) _a Joanne Cheko. Londini_ 1543. 4to.

[166] _Ælfredi Regis Res Gestæ_ (without imprint or date), fol. The work was bound up and published with Walsingham’s _Historia Brevis_, printed by Binneman, and his _Ypodigma Neustriæ_, printed by Day, both in 1574. The text of the _Ælfredi_, though in Saxon characters, is in the Latin language.

[167] _i.e._, “And inasmuch as Day, the printer, is the first (and, indeed, as far as I know, the only one) who has cut these letters in metal; what things have been written in Saxon characters will be easily published in the same type.”

[168] Astle, in his _History of Writing_, p. 224, remarks: “Day’s Saxon types far excel in neatness and beauty any which have since been made, not excepting the neat types cast for F. Junius at Dort, which were given to the University of Oxford.”

[169] Parker, who, according to Strype (_Life of Parker_, London, 1711, fol., p. 278), extended his patronage to Binneman as well as to Day, and at whose expense the _Historia_ was published, may possibly have claimed the disposal of founts specially cut for his own use, and in this manner secured for Binneman founts cast from Day’s matrices. Binneman is described as a diligent printer, who applied through Parker for the privilege of printing certain Latin authors, accompanying his petition by a small specimen of his typography, “which the Archbishop sent to the Secretary to see the order of his print. The Archbishop said he thought he might do this amply enough, and better cheap than they might be brought from beyond the seas, standing the paper and goodness of his print. Adding, that it were not amiss to set our own countrymen on work, so they would be diligent, and take good characters.”

[170] Timperley, _Encyclopædia_, p. 381.

[171] _Life of Parker_, pp. 382, 541.

[172] _Typographical Antiquities_, i, 656.

[173] _Fidelis servi, subdito infideli Responsio. Lond._ 1573. 4to.

[174] _De Visibili Romanarchia. Londini, apud J. Dayum._ 1572. 4to.

[175] _De Antiquitate Britannicæ Ecclesiæ. Londini in ædibus Johannis Daij._ 1572. Fol.

[176] An illustration of this maybe seen in Vautrollier’s Latin Testaments, where both Roman and Italic are exquisitely cut founts, but not being of uniform gauge, mix badly in the same line.

[177] _Introduction of the Art of Printing into Scotland._ By R. Dickson. Aberdeen, 1885. 8vo. Appendix.

[178] _Eygentliche Beschreibung aller Stände und . . . Handwerker. Frankfurt_, 1568. 4to. _Der Schrifftgiesser._

[179] _Harleian MS._ 5915, No. 201. The cut is undated. The following sentence from Mr. T. C. Hansard’s _Treatises on Printing and Typefounding_, Edinburgh, 1841, 8vo, p. 223, may possibly refer to the same device. “This evidence” (of the process employed by the early letter-founders) “is afforded us by the device of Badius Ascensius, an eminent printer of Paris and Lyon, in the beginning of the sixteenth century, and also by that of an English printer, Anthony Scoloker of Ippeswych, who modified and adopted the device of Ascensius, as indeed did many other printers of various countries. This curious design exhibits in one apartment the various processes of printing, the foreground presenting a press in full work, the background on the left the cases and the compositor, and on the right the foundery; the matrix and other appliances bearing a precise resemblance to those at present in use.” If the above be a description of the block here shown (in which case Mr. Hansard has confused the matrix with the mould), we are able to fix the date approximately at 1548, in which year Scoloker printed at Ipswich.

[180] A description of this interesting establishment will be found in M. De George’s _La Maison Plantin à Anvers_. 2nd ed. Brussels, 1878, 8vo.

[181] The legend of the silver types has been a favourite one in the romance of typography. Giucciardini states that Aldus Manutius used them; and Hulsemann describes the Bible printed by Robert Estienne in 1557 as “typis argenteis sanè elegantissimis.” The same extravagance was attributed to Plantin. Possibly the famous productions of these great artists impressed their readers with the notion that their beautiful and luxurious typography was the result of rare and costly material; and, ignoring the fact that silver type would not endure the press, they credited them with the absurdity of casting their letters in that costly material. It is difficult to believe that any practical printer, however magnificent, would make even his matrices of silver, when copper would be equally good and more durable. Didot was said, as late as 1820, to have cast his new Script from steel matrices inlaid with silver. The use of the term “silver” as a figurative mode of describing beautiful typography is not uncommon. Sir Henry Savile’s Greek types, says Bagford, “on account of their beauty were called the Silver types.” Field’s Pearl Bible in 1653 has been spoken of as printed in silver types. Smith, in 1755, referred to the fiction, still credited, that “the Dutch print with silver types.” On the other hand, we have the distinct mention in the inventory of John Baskett’s printing-office at Oxford, in 1720, of “a sett of Silver Initiall Letters,” which we can hardly believe to be a purely poetic description, and probably referred to the coating of the face of the letter with a silver wash. It should be stated here that Ratdolt, the Venetian printer, in 1482 was reported to have printed one work in types of gold!

[182] Among the itinerant punch-cutters of Plantin’s day was the famous French artist Le Bé who came to Antwerp to strike the punches for the Antwerp _Polyglot_.

[183] _Mechanick Exercises, or the Doctrine of Handy-Works applied to the Art of Printing._ The Second Volume. London, 1683. 4to.

[184] The index-letters following each part refer to Moxon’s illustration of a mould in the _Mechanick Exercises_, a reduced copy of which is placed by the artist of the _Universal Magazine_, 1750, at the foot of his View of the Interior of Caslon’s Foundry, of which we give a facsimile in the frontispiece.

[185] Iron does not appear to have continued much longer as a staple ingredient of English type-metal. There was, however, no rule as to the composition of the alloy. The French type-metal at the beginning of the eighteenth century was notoriously bad, and drove many printers to Frankfort for their types, where they used a very hard composition of steel, iron, copper, brass, tin and lead.

[186] See _post_, chapter ix.

[187] See _post_, chapter x.

[188] Psalmanazar, in referring to Samuel Palmer’s projected second part to his _History of Printing_, which should describe all the branches of the trade, says that this project, “though but then as it were in embryo, met with such early and strenuous opposition from the respective bodies of letter-founders, printers and bookbinders, under an ill-grounded apprehension that the discovery of the mystery of those arts, especially the two first, would render them cheap and contemptible . . . that he was forced to set it aside” (_Timperley_, p. 647).

[189] _Typographiæ Excellentia. Carmen notis Gallicis illustratum à C. L. Thiboust, Fusore-Typographo-Bibliopôlâ._ Paris, 1718. 8vo.

[190] “LIQUATOR.

“Ecce Liquator adest; en crebris ignibus ardet Ejus materies; præbet Cochleare, Catillum Et Formas queis mixto ex ære fideliter omnes Conflat Litterulas; Hic paret sponte Peritis, Sive Latina velint conscribere, Græcáve dicta; Sive suam exoptent Hebræâ dicere mentem Linguâ, seu cupiant Germanica verba referre, Cunctas ille suâ fabricabitur arte figuras. Cernis quâ fiat cum dexteritate character Singulus Archetypo, quod format splendida signa, Cum mollis fuerit solers industria scalpri. Illum opus est fusi digito resecare metalli Quod superest, Ferulisque Typos componere lêves, Ut queat exæquans illos Runcina parare. Sed solet esse gravis nimiis ardoribus æstus.”

[191] _Fonderie en caractères de l’Imprimerie._ 4 pp., and 4 pp. of plates. Fol. No date.

[192] Smith (_Printers’ Grammar_, p. 8) blames the French founders of his day for the shallow cut of their punches, which being naturally reproduced in the types, was the cause of much bad printing. Some sorts, he said, as late as 1755, only stood in relief to the thickness of an ordinary sheet of paper. He contrasts English punch-cutting favourably with French in this particular.

[193] _Manuel Typographique, utile aux gens de lettres._ 2 tom. Paris, 1764–6. 8vo.

[194] _Patents for Inventions.—Abridgments of Specifications relating to Printing_ (1617 to 1857). London, 1859. 8vo.

[195] This misguided reformer lived at Banbury, where, in 1804, he printed an edition of _Rasselas_, 8vo, in his “improved” types. The result is more curious than beautiful, and the public remained loyal still to the alphabets of Aldus, Elzevir, Caslon, Baskerville, and Bodoni. Nevertheless, Rusher’s edition of _Rasselas_, “printed with patent types in a manner never before attempted,” will always claim a place among typographical curiosities.

[196] This is apparently the first suggestion in England of the “hand-pump,” which was subsequently adopted by all the founders, and formed, in combination with the lever-mould, the intermediate stage between hand and machine casting.

[197] The origin of type-nicks is doubtful. Some have considered them to have resulted from a modification of the old alleged system of perforation, and to have been intended as a receptacle for the wire or string used to bind the lines together. The types of the first printers were certainly without them, and as late as 1540 French moulds had none. A nick forms part of Moxon’s moulds in 1683. In French founding the nick is at the back of the type, while in England it is always on the front. In Fournier’s day the Lyonnaise types were an exception to the general French rule, and had the nick on the front, as also did the types of Germany, Holland and Flanders. Some of the old founts procured abroad by English founders were struck in the copper inverted, so that when cast in English moulds they have always had the nick at the back.

[198] The lever mould was first used in America about 1800.

[199] Clayton issued a pamphlet printed from plates produced by this process.

[200] It was calculated that 75,000 types could be produced by two men in an hour.

[201] See _post_, chap. xxi. Prior to Pouchée’s introduction of this system of casting into England, Hansard informs us, Henry Caslon made trial of it, but it was not found eligible to pursue it.

[202] The type-casting machine, of which this is the first patented attempt in England, was not generally adopted till after the International Exhibition of 1851, at which the hand-mould alone was shown. The model generally adopted was the machine patented in America in 1838, by David Bruce, which Alexander Wilson introduced in this country about 1853. Previous to David Bruce’s machine, a machine invented by Edwin Starr had been introduced at Boston in 1826, and tried for five years.

[203] The reader is referred to the concise summary given under the title “Parliamentary Papers,” in Bigmore and Wyman’s _Bibliography of Printing_, also to the _Abridgments of Specifications relating to Printing_, 1617 to 1857, published by the Commissioners of Patents in 1859, and for more minute particulars to Mr. Arber’s _Transcript of the Registers of the Stationers’ Company_, and the _Calendars of Domestic State Papers_.

[204] Notwithstanding this flattering announcement, we find that five years later Grafton and Whitchurch, who held the King’s Bible patent, received the royal permission to print the revised edition of Matthews’s Bible in Paris, “because at that time there were in France better printers and paper than could be had here in England.” The project, as history records, was cut short by the Inquisition; but the presses, types, and workmen were with great difficulty brought over from Paris to London, where the Bible was finished in 1539.

[205] A brotherhood of Stationers, consisting of “writers of text letter,” “lymners of bokes,” and subsequently admitting printers to its fellowship, had existed since 1403. The term Stationer, at the time of the incorporation, included booksellers, printers, bookbinders, publishers, type-founders, makers of writing-tables, and other trades, amongst which were “joiners and chandlers.”

[206] Arber’s _Transcripts_, ii, 753–69.

[207] This unruly printer troubled the Company’s peace for eleven years, and demonstrated, by his persistent defiance of their authority, the insufficiency of their powers to execute the control they nominally possessed. John Wolfe, the City printer, distinguished himself in a similar way.

[208] Arber’s _Transcripts_, ii, 22.

[209] A commission appointed to inquire into the disputes at that time agitating the Company, gave as one of its chief reasons why the monopolies should be sustained, that if anyone were to print any book he chose, this inconvenience would follow, viz., “want of provisions of good letters,” in other words, the quality both of type and printing would degenerate.

[210] Arber’s _Transcripts_, i, 114, 144.

[211] A return of presses and printers made in the same year to the Master and Wardens of the Company after the publication of the decree, shows that this provision had reduced the number to twenty-five printers, with fifty-three presses. A list of these is given in Mr. C. R. Rivington’s _Records of the Company of Stationers_ (London, 1883, 8vo), p. 28.

[212] The provisions of this decree were commended in The _London Printer his Lamentation_, published in 1660, and reprinted in the third volume of the _Harleian Miscellany_. The writer contrasts it favourably with subsequent decrees.

[213] Arber’s _Transcripts_, ii, 816.

[214] A licensed stationer might, with the leave of the Company, employ an unlicensed stationer to reprint a work of his own, on payment of a fine. (_Ibid._, ii, 19.)

[215] In France, as early as 1539, typefounding had been legally recognised as a distinct trade. The edict of 1539 contains the following clause, applying the provisions and penalties of the decree to typefounders: “Et pour ce que le métier des fondeurs de lettres est connexe à l’art de l’imprimeur, et que les fondeurs ne se disent imprimeurs, ne les imprimeurs ne se disent fondeurs, lesdicts articles et ordonnances auront lieu . . . aux compagnons et apprentifs fondeurs, ainsi qu’en compagnons et apprentifs imprimeurs, lesquels oultre les choses dessus dictes seront tenus d’achever la fonte des lettres par eux commencée et les rendre bonnes et valables.” The whole decree is in curious contrast with the Acts regulating English printing and founding. The French “compagnons” are forbidden to band together for military, festive, or religious purposes, to carry arms, to beat and neglect their apprentices, to leave any work incomplete, to use any printer’s marks but their own; and so great is the fatherly solicitude of the Crown for the honour of the press, that printers are made amenable to law for typographical errors in their books. (Lacroix, _Histoire de l’Imprimerie_. Paris, 8vo, pp. 124–8.)

[216] In 1635 the journeymen printers presented a petition to the Stationers’ Company respecting certain abuses which they desired to have reformed. The report of the referees appointed to inquire into the matter, with their recommendations, is still preserved. Amongst other things is a provision against standing formes; also that no books printed in Nonpareil should exceed 5,000 copies, in Brevier 3,000 (except the privileged books); and further, that compositors should keep their cases clean, and dispose of “all wooden letters, and two-line letters, and keep their letter whole while work is doing, and after bind it up in good order.” The Company approved of the report, and ordered it to be entered on the books. (_Calendar of State Papers, Domestic_, 1635. London, 8vo, 1865, p. 484.)

[217] _A Decree of Starre-Chamber, concerning Printing. Made the eleventh day of July last past, 1637._ London, 1637, 4to. The “London Printer,” previously quoted, writing in 1660, styles this decree “the best and most exquisite form and constitution for the good government and regulation of the press that ever was pronounced, or can reasonably be contrived to keep it in due order and regular exercise.” It was the lapse of its authority in 1640 which led to the abuses over which he lamented.

[218] This famous speech has been reprinted by Mr. Arber among his _English Reprints_, together with a verbatim copy of the decrees which evoked it. London, 1868, 12mo.

[219] That is, the Master and Wardens are obliged to find employment for all honest journeymen out of work, the master-printers and founders being bound to give work to anyone thus brought to them. Masters requiring additional hands can compel the services of any journeyman out of work, who can only refuse the summons at his peril.

[220] In a rare tract entitled _An Exact Narrative of the Tryal and Condemnation of John Twyn, for Printing and Dispersing of a Treasonable Book, etc._ (London, 1664, 4to), several curious particulars are given as to the operation and enforcement of this Act as regards printers. But although a bookseller and bookbinder were arraigned at the same time, no reference was made to the founder of the types, who was apparently not held responsible for a share in the offence. In the evidence given by L’Estrange, however, as to Dover, one of the prisoners, we have a curious glimpse of the technical duties devolving on the Surveyor of the Imprimery and Printing Presses under this Act. He states, “I was at his (Dover’s) house to compare a _Flower_ which I found in the _Panther_ (a dangerous Pamphlet), that flower, that is, the very same _border_, I found in his house, the same mixture of Letter, great and small in the same Case; and I took a Copy off the Press.” The sentence passed upon the unfortunate John Twyn gives a vivid idea of the amenities of a printer at that period: “That you be led back to the place from whence you came, and from thence to be drawn upon an Hurdle to the place of Execution, and there you shall be hanged by the Neck, and being alive shall be cut down, and your privy Members shall be cut off, your Entrails shall be taken out of your body, and you living, the same to be burnt before your eyes: your head to be cut off, your body to be divided into four quarters, and your head and quarters to be disposed of at the pleasure of the King’s Majesty. And the Lord have mercy upon your soul.”

[221] Printers were ordered to enter into a bond of £300 to the Crown not to misconduct themselves, but no bond appears to have been exacted by this Act from letter-founders.

[222] The Act of 1662 was a probationary Act for two years. In 1664 it was continued till the end of the next session, and again until the end of the session following; and in 1666 again until the end of the first session of the next Parliament. In 1685 it was revived for seven years, at the end of which, in 1692, it was continued for one year more, after which it dropped. According to this account, it must have been dormant at any rate between 1679 and 1685.

[223] In 1724, according to the list presented by Samuel Negus to Lord Townsend, the number of printers in London had increased to seventy-five, and in the provinces to twenty-eight. There were also at that time eighteen newspapers.

[224] _A Proposal for Restraining the great Licentiousness of the Press throughout Great Britain, etc._ No date.

[225] _An Act for the more effectual Suppression of Societies established for Seditious and Treasonable Purposes; and for better preventing Treasonable and Seditious Practices._ [12 July, 1799.]

[226] “VI. FORM _of Notice to the Clerk of the Peace that any person carries on the Business of a Letter Founder, or Maker or Seller of Types for Printing, or of Printing Presses_.—To the Clerk of the Peace for (_as the case may be_) or his Deputy.—I, A. B., of ———— do hereby declare, That I intend to carry on the Business of a Letter Founder, or Maker or Seller of Types for Printing, _or_ of Printing Presses (_as the case may be_), at ———— and I hereby require this Notice to be entered in pursuance of an Act passed in the 39th Year of the Reign of His Majesty, King _George_ the Third.”

[227] “VII. FORM _of Certificate that the above Notice has been given_.—I, G. H., Clerk (or Deputy Clerk) of the Peace for ———— do hereby certify that A. B. of ———— hath delivered to me a Notice in Writing, appearing to be signed by him, and attested by E. F. as a Witness to his signing the same, that he intends to carry on the Business of a Letter Founder, or Maker or Seller of Types for Printing or of Printing Presses, at ———— and which Notice he has required to be entered in pursuance of an Act of the 39th Year of His Majesty, King _George_ the Third.”

[228] The clauses relating to printers and typefounders were repealed by the 32 and 33 Vict., cap. 24: _An Act to Repeal certain enactments relating to Newspapers, Pamphlets, and other Publications, and to Printers, Type-founders, and Reading Rooms_. [12 July, 1869.]

[229]

“Now register’d—now ticketed we move, Our slightest works the double label prove.”

(McCreery, _The Press_, p. 25.)

[230]

. . . . . “O Veneti, Que fuerat vobis ars primum nota Latini, Est eadem nobis ipsa reperta premens.”

[231] In the following observations on the first Oxford types we are mainly indebted, in common with all students of the subject, to the careful researches and notes of the late Mr. Henry Bradshaw of Cambridge.

[232] Bagford attributes this general cessation of printing in Oxford, Cambridge, York, Tavistock, St. Albans, Canterbury and Worcester to Cardinal Wolsey’s interference while legate.

[233] _S. Joannis Chrysostomi opera Græce, octo voluminibus. Etonæ, in Collegio Regali, Excudebat Joannes Norton, in Græcis &c. Regius Typographus._ 1610–13. Fol.

[234] Sir Henry Savile (who is not to be confounded with his kinsman and namesake, Long Harry Savile, Camden’s friend) was formerly Greek tutor to Queen Elizabeth. In 1585 he was made Warden of Merton, and in 1596 became Provost of Eton College, where he died in 1621, ætat. 72.

[235] _Anecdotes of Literature and Scarce Books._ London, 1807–12. 6 vols., 8vo, v, 111, 122.

[236] The passage referred to is the following vague reply to an inquiry addressed by Sir Henry Savile to Casaubon: “De characteribus Stephanicis longa historia, longæ ambages. Itaque melius ista coram.”

[237] Dupont, _Histoire de l’Imprimerie_. Paris, 1854. 2 vols., 8vo, i, 488.

[238] _Diary and Correspondence._ London, 1850–2. 4 vols. 8vo, iii, 300.

[239] Printing was introduced into Cambridge in 1521, when John Siberch printed Bullock’s _Oratio_ and seven other works. He styled himself the first printer in Greek in England, although none of his works were wholly printed in that language. The fount used for the quotations in the _Galeni de Temperamentis_ was probably procured from abroad. The residence of Erasmus at Cambridge lent undoubted impetus to the art, which progressed actively while the Oxford press was idle. The first University printers, three in number, were appointed in 1534, by virtue of a charter granted by Henry VIII, in terms considerably more liberal than those first granted to Oxford. At no period of its career has the Cambridge press boasted of a type-foundry. In 1626 Archbishop Usher made an effort to procure from Leyden, for the use of the press, matrices of Syriac, Arabic, Ethiopic and Samaritan letters, which, had he been successful, might have formed the nucleus of a foundry. Unfortunately, the Archbishop was forestalled by the Elzevirs, who secured the matrices for their own press (Parr’s _Life of Usher_. London, 1686, fol., p. 342–3). The University made an effort in 1700 to enrich their press by the purchase of a fount of the famous Paris Greek types of Francis I, known as the King’s Greek. But as the French Academy insisted, as a condition of the purchase, that all works printed in these characters should bear the imprint “characteribus Græcis e Typographeo regio Parisiensi,” the Cambridge Syndics, unable to accede to the terms, withdrew from the negotiations (Gresswell’s _Early Parisian Greek Press_. Oxford, 1833, i, 411; and De Guignes’ _Typographie Orientale et Grecque de l’Imprimerie Royale_. Paris, 1787, p. 85).

[240] _Novum Testamentum. Cantabrigiæ. Apud Tho. Buck._ 1632. 8vo.

[241] _Anecdotes_, i, 119. Elsewhere (v, 111) Beloe asserts that the type thus used was the Greek of Sir Henry Savile. Although the same size, and in many points closely resembling this letter, it differs from it materially in other respects. This may possibly be accounted for on the supposition that some of the Savile characters having been lost, they had been replaced either by new matrices, or by the addition of letters from some other fount. Buck discarded many of the cumbrous abbreviations used in the _Chrysostom_, greatly to the advantage of his text (see _4th Report Historical MSS. Commission_, p. 464).

[242] _Rushworth’s Collections_, ii, 74.

[243] _Works of Laud._ Oxford, 1847–60. 7 vols., 8vo, v, 80.

[244] _The Holy Bible, containing the Old Testament and the New, etc. Printed at London by Robert Barker . . . and by the Assignes of John Bill._ _Anno_ 1631. 8vo.

[245] Bagford and others erroneously mention the fine as £3,000.

[246] _Clementis ad Corinthios Epistola prior._ 4to. Oxonii, 1633.

[247] Augustin Linsdell.

[248] _Wilkins (D.) Concilia_, iv, 485.

[249] According to documents in the Record Office, the fine was entered Feb. 18, 163 3/4, “Fined for errors in printing the Bible, Barker £200, Lucas £100.” It was allowed to stand over from time to time, “to see whether they would set up their press for the printing of Greek.” On June 23, 1635, it was ordered that all Bibles now in Stationers’ Hall which had been erroneously printed should be redelivered to them “with charge to see all the gross faults amended before they vent the same.”

[250] _Catena Græcorum Patrum in Beatum Job . . . operâ et studio Patricii Junii, Bibliothecarii Regii, etc. Londini, ex Typographio Regio._ 1637. Fol. In his dedication to the Archbishop, Young thus refers to the care taken by Laud in the purchase of the type: “Quod quidem si eâ fronte acceperis . . . quâ Britanniam denique characterum elegantiâ in omni linguarum genere locupletas, ac vicinis gentibus, non minus pulchrâ, quam politâ et accuratâ veterum scriptorum editione, invidendam reddis, etc.”

[251] The matrices of this fount, as will be seen hereafter, passed into Grover’s foundry, and were sold at the dispersion of James’s foundry in 1782.

[252] _State Papers, Domestic_, 1637–8. No. 75.

[253] Probably from the Elzevirs, who in 1626 (as noticed p. 66, _note_) had succeeded in outbidding the representatives of Cambridge University for the Oriental press and matrices of Erpenius.

[254] Thomas Smith at a later date referred to the same gift:—“Circa id temporis . . . D. Guilielmus Laudus . . . postquam ingentem Codicum omne genus manu exaratorum molem pecuniis largissime effusis, ubi ubi merx ista literaria erat reperienda, conquisivisset, elegantissimos typos, omnium ferè linguarum, quæ hodie obtinent, efformari procuravit” (_Vitæ, quorundam Virorum . . . Patricii Junii_, London, 1707, 4to., p. 27).

[255] _Works of Laud_, v. 168.

[256] _Ibid._, v, 236.

[257] Latham’s _Oxford Bibles and Printing in Oxford_. 1870, p. 46.

[258] The University supplied a press and type to King Charles I during the Civil War (Gutch, _Collectanea Curiosa_. Oxford, 1781. 2 vols., 8vo., i, 281).

[259] Lemoine, _Typographical Antiquities_. London, 1797. 8vo, p. 87. The office of Archi-typographus had been instituted by Laud, about 1637.

[260] He it was on whom Tom Brown wrote his famous epigram:―

“I do not love thee, Doctor Fell, The reason why, I cannot tell; But this alone I know full well, I do not love thee, Doctor Fell.”

[261] Bagford (_Harl. MS._ 5901, fo. 89) mentions that Dr. Fell encouraged the fitting-up of a paper mill at Wolvercote, by Mr. George Edwards, “who was a cutter in wood of the great letters, and engraved many other things made use of in the printing of books, and had a talent in maps, although done with his left hand.” Of this mill, Hearne wrote in 1728, “Some of the best paper made in England is made at Wolvercote Mill” (_Reliq._, ii, 85, ed. 1869).

[262] This list, which was appended to the specimen of 1695, doubtless includes a few items acquired by the Press since Dr. Fell’s death. (_Harl. MSS._ 5901, 5929.)

[263] The Coptic fount included in his gift is said to have been cut, not only at his expense, but under his personal supervision, from a character (Mores states) delineated by Mr. Wheeler, rector of St. Ebbe’s, in Oxford.

[264] _Harl. MS._ 5901, fol. 85.

[265] Gutch, _Collect._, i, 271.

[266] _Athenæ Oxonienses._ London, 1691–2. 2 vols., fol., ii, 604. Wood, in speaking of Mill’s _Greek Testament_, begun in 1681, says that the first sheets were begun at his Lordship’s cost, “at his Lordship’s printing house, _near the Theater_” (_Fasti Oxon._, 3rd ed., ii, 381). This was probably the hired house occupied by the University press prior to its removal to the Theatre, concerning the site of which Hearne remarks (_Reliq._, i, 254), “One part of the wall, being a sort of bastion, is now to be seen, just as we enter into the Theater-yard, at the west corner of the north side of the Schools, viz., where the late printing-house of Bp. Fell stood.” Moxon, in 1683, recognised the Bishop’s “ardent affections to promote Typographie” in England, by dedicating to him the second volume of his _Mechanick Exercises_, the first practical work on printing written by an Englishman.

[267] A copy of this letter may be seen in the preface to Hickes’ _Thesaurus_, 1705, p. xliii.

[268] The Gothic and Runic punches, and the punches and matrices of the Saxon, formed part of the interesting exhibit of the Oxford University Press at the Caxton Exhibition in 1877.

[269] Nichols, _Literary Anecdotes_, iv, 147.

[270] The Oxford Ethiopic types appear to have gone astray, if not at this period, shortly afterwards; for Dr. Mawer, writing to the Archbishop of Canterbury in 1759 respecting his proposed Supplement to Walton’s _Polyglot_, says that the use of the University types had been offered him (in 1743) for printing a specimen of his work, “but,” he adds, “an obstruction was here thrown in my way by reason of the Ethiopic types being most of them lost, and incapable of printing half a page.” (Todd’s _Life of Walton_, London, 1821, i, 332.)

[271] Nichols, _Lit. Anec._, iv., 146. One of the first works printed in the recovered types was King Alfred’s Saxon version of Boethius’ _Consolationis Philosophiæ Libri_. Oxford, 1698, 8vo. It was edited by Mr. Christopher Rawlinson, from a transcript by Francis Junius among the MSS. at Oxford. Opposite the title is a head of Junius by Burghers, from a sketch by Van Dyck, in the Picture Gallery.

[272] A. J. Butler, _Ancient Coptic Churches of Egypt._ Oxford, 1884. 2 vols., 8vo, ii, 257.

[273] These additions duly appeared in the second Oxford specimen of 1695, from which the inventory at p. 148 is quoted.

[274] There is an amusing account of a visit to the University Press in 1682 in Mrs. D’Anvers’ _Academia: or the Humours of the University of Oxford, in Burlesque verse_ (1691), pp. 25–27.

[275] _Harl. MS. 5901_, fo. 4. The _Specimen_ is given in 5929.

[276] _Oratio Dominica_, πολύγλωττος πολύμορφος, _nimirum, plus centum Linguis, Versionibus, aut Characteribus reddita et expressa_. _Londini_, 1700, 4to. 76 pp. The editor was B. M(otte). Typogr. Lond.

[277] This circumstance is thus frankly noted in the preface: “Porrò, ne Characterum alienorum copiâ me jactitare videar, scias velim, schedas duas, Linguas Hebraicam, et cæteras usque ad Slavonicam complexas, in Typographéo instructissimo inclytæ Academiæ Oxoniensis excusas esse, cui faustissima quæque comprecator quisquis est qui patriam amat, et bonam mentem colit.”

[278] These include the Malabaric, Brahman, Chinese, Georgian, Sclavonic (Hieronymian), Syriac (Estrangelo), and Armenian. The Anglo-Saxon versions are from type, as is also the Irish, which is Moxon’s fount cut for Boyle.

[279] A second edition appeared in 1713. In 1715 a similar work was published by Chamberlayne in Amsterdam, entitled _Oratio Dominica in diversas omnium fere gentium linguas versa et propriis cujusque linguæ characteribus expressa_. _Amstelodami_ 1715. 4to, with dissertations by Dr. Wilkins and others. This production is superior in general appearance to the English book, but the Oriental and other foreign characters being almost entirely copperplate, its typographical value is decidedly inferior.

[280] The Bible-side height is slightly above the ordinary English height. The Learned-side height is about the same as the French height. Ancient jealousies between the two rival “Sides” have much to answer for in the growth of this anomaly. Happily, the difference of “height” is now the only difference between the Bible and the Learned Presses.

[281] Writing in 1714, Bagford boasted that the Sheldonian Theatre, Plantin’s Office at Antwerp, the King’s Office in Paris, the King of Spain’s Printing House, (Plantin’s Office at Leyden—since Elzevir’s—is a sorry shed), Janson’s in Amsterdam, and that of the Jews in the same city, were not to compare with the Oxford House (_Harl. MS. 5901_). The imprint, _E Theatro Sheldoniano_, was continued on Oxford books till 1743.

[282] _Linguarum Vett. Septentrionalium Thesaurus Grammatico-Criticus et Archæologicus._ _Oxon._ 1703–5. Fol., 3 vols.

[283] This learned lady, mistress of eight languages besides her own, was the daughter of Ralph Elstob, a Newcastle merchant, and was born in 1683. Besides making the English translation which accompanies her brother’s Latin version of the _Homily on St. Gregory’s Day_, she transcribed and translated many Saxon works at an early age. “Miss Elstob,” says Rowe Mores, “was a northern lady of ancient family and a genteel fortune. But she pursued too much the drug called learning, and in that pursuit failed of being careful of an one thing necessary. In her latter years she was tutoress in the family of the Duke of Portland, where we have visited her in her sleeping-room at Bulstrode, surrounded with books and dirtiness, the usual appendages of folk of learning. But if any one desires to see her as she was when she was the favourite of Dr. Hudson and the Oxonians, they may view her pourtraiture in the initial G of the _English-Saxon Homily on the Birthday of St. Gregory_” (_Dissertation_, p. 29). Miss Elstob died in 1756, and was buried at St. Margaret’s, Westminster.

[284] It is interesting to note that among the money contributors on this occasion (a list of whom is preserved in Nichols’ _Anecdotes of Bowyer_, pp. 496–7), Robert Andrews and Thomas James, the letter-founders, appear as donors of five guineas each, and Thomas Grover of two guineas.

[285] Humphrey Wanley, son of Nathaniel Wanley, was secretary to the Society for Promoting Christian Knowledge, and afterwards librarian to the Earl of Oxford. He was an adept in the Saxon antiquities and calligraphy, and was an important contributor to Hickes’ _Thesaurus_, for which work he compiled the historical and critical catalogue of Saxon and other MSS. He died in 1726, aged fifty-four. Much of his correspondence is preserved among the Harleian MSS.

[286] Nichols’ _Anecdotes of William Bowyer_. London, 1782, 4to., p. 498.

[287] _The Rudiments of Grammar for the English Saxon Tongue._ London, 1715. 4to. A specimen of the letter is given in chapter ix, post.

[288] “This type Miss Elstob used in her _Grammar_, and in her _Grammar_ only. In her capital undertaking, the publication of the _Saxon Homilies_, begun and left unfinished, whether because the type was thought unsightly to politer eyes, or whether because the University of Oxford had cast a new letter that she might print the work with them, or whether (as she expresses herself in a letter to her uncle, Dr. Elstob), because ‘women are allowed the privilege of appearing in a richer garb and finer ornaments than men,’ she used a Saxon of the modern garb. But not one of these reasons is of any weight with an antiquary, who will always prefer the natural face to ‘richer garb and finer ornaments.’ And on his side is reason uncontrovertible.” (Rowe Mores, _Dissert._, p. 29.)

[289] _i.e._, William Caslon.

[290] Nichols’ _Anecdotes of Bowyer_, p. 319. _Literary Anecdotes_, ii, 361, etc.

[291] _Dissertation_, p. 28.

[292] A few of the punches and matrices were shown in the Caxton Exhibition of 1877.

[293] _The Great Charter and Charter of the Forest._ Oxford, at the Clarendon Press, 1759, 4to. This fine work is printed in Caslon’s Great Primer Roman. The copperplate initials and vignettes are very fine, the former containing views of several of the different colleges and public buildings at Oxford.

[294] _Novum Testamentum, juxta exemplar Millianum. Typis Joannis Baskerville. Oxonii e Typographeo Clarendoniano 1763. Sumptibus Academiæ_, 4to & 8vo. (See also _post_, chap. xiii). The Baskerville Greek punches, matrices and types still preserved at Oxford, are supposed to be the only relics in this country of the famous Birmingham foundry.

[295] Though dated 1768 on the title, this specimen appears not to have been completed for two years, as it bears the date Sept. 29, 1770, on the last page, and includes specimens of purchases made in that year.

[296] _Dissertation_, p. 45. These strictures we cannot but regard as somewhat hypercritical. It was no uncommon thing to cast a small face of letter on a body larger than its own; and in the case of Hebrew and other Orientals, where detached points were cast to work over the letter, it was by no means unusual at that time, and till a later period, to designate the latter by the name of the body which it and the point in combination collectively formed. With regard to the gradual lapse of obsolete and superannuated founts from the specimen, Mr. Mores’ antiquarian zeal appears to have blinded him to the fact that the Oxford press may have issued their specimens as an advertisement of their present resources, rather than as an historical collection of their typographical curiosities.

[297] _Harl. Miscell._, Lond., 1745, 4to, iii, 277. The full title and description of this curious tract is as follows:—“_The London Printer, his Lamentation; or the Press oppressed, or over-pressed. September 1660. Quarto, containing 8 pages. In this sheet of Paper is contained, first, a short account of Printing in general, as its Usefulness, where and by whom invented; and then a Declaration of its Esteem and Promotion in England by the several Kings and Queens since its first Arrival in this Nation; together with the Methods taken by the Crown for its better Regulation and Government till the year 1640; when, says the Author, this Trade, Art and Mystery was prostituted to every vile Purpose both in Church and State; where he bitterly inveighs against Christopher Barker, John Bill, Thomas Newcomb, John Field and Henry Hills as Interlopers, and, under the King’s Patent, were the only instruments of inflaming the People against the King and his Friends, etc._”

[298] Mores makes a serious mistake in calling this founder Arthur Nicholas.

[299] In the British Museum _Catalogue of Early English Books to 1640_, the name of John Grismand appears as publisher of twenty-four books between 1597 and 1636. It is probable that the earlier of these, at any rate, were issued by the father of our founder. The name of one Thomas Wright also occurs as a publisher in 1610.

[300] _Harl. MS. 5910_, pt. i, p. 148.

[301] Moxon, in his account of the Customs of the Chapel (_Mechanick Exercises_, ii, 363), gives a full description of this yearly Feast, which, he says, “is made by Four Stewards, _viz._, two Masters and two Journey-men; which Stewards, with the Collection of half a Crown apiece of every Guest, defray the Charges of the whole Feast.” The List of Stewards, above referred to, contains, among others, the names of nearly all the seventeenth century letter-founders. Seventy feasts were held between 1621 and 1681, the first few probably being half-yearly. Three or four Stewards officiated at each. The names of the founders occurring in the list are as follows, the figures appended to each indicating the number of the feast at which each served his stewardship, with the approximate date:

(24) Thomas Wright (1635). (26) Arthur Nichols (1637). (31) Alexander Fifield (1642). (42) Nicholas Nichols (1653). (61) James Grover (1672). (63) Thomas Grover (1674). (64) Joseph Leigh (Lee?) (1675). (66) Godfrey Head (1677). (67) Thos. Goring (1678). (69) Robert Andrews (1680).

[302] Arber’s _Transcripts_, iii, 363–8.

[303] _Calendar of State Papers, Domestic_, 1649, pp. 362, 523. Among the entries of admission to Merchant Taylors’ School occurs: “Johannes Grismond, filius unicus Johannes Grismond, Typographi, natus Londini, in parœciâ de Giles, Cripplegate, Aprilis 1, 1647: an. agens 8. Admissus est Aprilis 3, 1654.”

[304] _Domestic_, 1637–8. Vol. 376, Nos. 13 and 14.

[305] The list of matrices is given on p. 173, _post_.

[306] _Dissertation_, p. 40.

[307] The first project of a Polyglot Bible is due to Aldus Manutius, who, probably between 1498 and 1501, issued a specimen-page containing the first fifteen verses of Genesis, in collateral columns of Hebrew, Greek and Latin. The typographical execution is admirable. A facsimile is shown in Renouard’s _Annales de l’Imprimerie des Aldes_, 2nd and 3rd editions.

[308] It was begun in 1502; completed in 1517, but not published till 1522.

[309] In addition to the four great _Bibles_, the following polyglot versions had also appeared before 1657:―

1516. _Psalter_ in Hebrew, Arabic, Chaldee, Greek and Latin, published by Porrus at Genoa.

1518. _Psalter_ in Hebrew, Greek, Latin and Ethiopic, published by Potken at Cologne.

1546. _Pentateuch_ in Hebrew, Chaldee, Persian and Arabic, published at Constantinople (but all in Hebrew type).

1547. _Pentateuch_ in Hebrew, Spanish and modern Greek, published at Constantinople.

1586. _Bible_ in Hebrew, Greek and Latin (two versions), published at Heidelberg.

1596. _Bible_ in Greek, Latin and German, published by Wolder at Hamburg.

1599. _Bible_ (portions) in Hebrew, Chaldee, Greek, Latin, German, Sclavonic, etc., published by Hutterus at Nuremberg.

[310] These _Proposals_ were printed by R. Norton for Timothy Garthwaite at the lesser North Gate of St. Paul’s Church, London, 1652.

[311] It is described by the Rev. H. J. Todd in his _Memoirs of the Life and Writings of the Right Rev. Brian Walton, D.D._ London, 2 vols., 8vo, 1821. Mr. Todd’s work contains much valuable information respecting the _Polyglot_.

[312] Among the MSS. in Sydney College is a letter written by Abraham Wheelock to the Vice-Chancellor of Cambridge, dated Jan. 5, 1652, in which, referring to the specimen, he says: “When the sheete, here sent, was printed off, I corrected at least 80 errata in it. It as yet serves to show what letters Mr. Flesher, an eminent printer, my friend and printer of my booke, hath” (Todd’s _Memoirs_, i, 56). James Flesher, son (?) of Miles Flesher (one of the twelve Star Chamber printers named in the Act of 1637), entered into a bond of £300 to the Stationers’ Company in 1649, and held the office of City printer in 1657. His name occurs in the list of the _Brotherly Meeting of Printers_ as Steward at the 42nd Feast. In 1664 he served, together with Roycroft, on the jury at the trial of John Twyn; see _ante_, p. 132.

[313] Walton’s _Polyglot_ is supposed to be the second book printed by subscription in England. In 1617, Minsheu’s _Dictionary in Eleven Languages_ was published by subscription, the names of those who took a copy of the work being printed. Minsheu’s venture, however, turned out a failure. In Dr. Walton’s case this mode of publication was, owing to the energy of the promoter and the number of his friends, successful. The subscription was £10 per copy, or £50 for six copies. The estimated cost of the first volume was £1,500, and of succeeding volumes £1,200 each. Towards this, £9,000 was subscribed four months before the first volume was put to press.

[314] Parr’s _Life and Letters of Usher_. Lond., 1686, fol., p. 590. Dr. Walton received the Protector’s permission to import the paper for his work, duty free.

[315] _Origine de l’Imprimerie de Paris._ Paris, 1694, 4to, p. 59.

[316] _Discours Historique sur les principales editions des Bibles Polyglottes._ Paris, 1713, 12mo, p. 209.

[317] This useful little tract was reprinted with improvements in the following year, entitled: “_Introductio ad lectionem linguarum Orientalium, Hebraicæ, Chaldaicæ, Samaritanæ, Syriacæ, Arabicæ, Persicæ, Æthiopicæ, Armenæ, Coptæ . . . in usum tyronum . . . præcipuè eorum qui sumptus ad Biblia Polyglotta (jam sub prelo) imprimenda contulerunt. Londini. Imprimebat Tho. Roycroft_, 1655. 18mo.” Republished at Deventer in 1658. The Armenian and Coptic alphabets were cut in wood, and reappeared in the Prolegomena of the _Polyglot_.

[318] “The latter part,” says Bowyer, “is much more incorrectly printed than the former, probably owing to the editor’s absence from the press, or to his being over-fatigued by the work. The Hebrew text suffered much in several places by the rapidity of the publication.”

[319] Rev. Mr. Twells, author of _Life of Dr. Pocock_.

[320] _Biblia Sacra Polyglotta, complectentia Textus Originales, Hebraicum cum Pentateucho Samaritano, Chaldaicum, Græcum; Versionumque antiquarum, Samaritanæ Græcæ LXX Interpr. Chaldaicæ, Syriacæ, Arabicæ, Æthiopicæ, Persicæ, Vulg. Lat. Quicquid comparari poterat. Cum Textuum et Versionum Orientalium Translationibus Latinis . . . Omnia eo ordine disposita, ut Textus cum Versionibus uno intuitu conferri possint. Cum Apparatu, etc. etc. . . . Edidit Brianus Waltonus, S.T.D. Londini. Imprimebat Thomas Roycroft_, 1657. 6 vols., fol.

[321] One of the compositors employed on the work was Ichabod Dawks (grandfather to Wm. Bowyer), of whose son and his curious script type, see _The Tatler_, No. 178, etc.

[322] See _ante_, p. 98.

[323] In some cases a few of the matrices have undergone renovation in the hands of their successive owners.

[324] “The Æthiopic of the Congregation,” _i.e._, of the Propaganda at Rome, “is not to be compared with ours. And Ludolphus, whose abode was at Gotha, sent his Lexicon to be published at London, where it was printed by Mr. Roycroft upon the type of the English _Polyglot_” (Mores, p. 12).

[325] “The elegant face of the Samaritan is justly attributed by Cellarius to the English, for it was first used in our _Polyglot_. It differs widely from the type used by Scaliger in his _Emend. Temp._, and by Leusden at the end of his _Scholæ Syriacæ_, and from another used in an encomiastic of Abr. Ecchelensis upon F. Kircher, which type belonged to the Congregation at Rome; and which was afterwards more neatly cut by Voskens” (_ibid._, p. 13).

[326] In his “loyal” dedication, Walton asserts that from the outset he had intended to dedicate the work to Charles II, and that Cromwell’s patronage of the work had been offered only as the price of a public compliment for himself (Todd, i, 82 _et seq._).

[327] “The first view of this dedication,” he says, “will prove it to have been printed with different and inferior types, the hasty produce of a courteous after thought” (_Introd. Classics_, i, 27).

[328] “Thomas Roycroft died August 10, 1677. In 1675 he was master of the Stationers’ Company, and in 1677 he gave to them two silver mugs, weight 27 ozs. 3 dwts. In the rear of the altar at St. Bartholemew’s the Great is this epitaph:—‘M.S. Hic juxta situs est Thomas Roycroft, armiger, linguis Orientalibus Typographus Regius, placidissimis moribus et antiquâ probitate ac fide memorandus, quorum gratiâ optimi civis famam jure merito adeptus est. Militiæ civicæ Vicetribunus. Nec minus apud exteros notus ob libros elegantissimis suis typis editos, inter quos sanctissimum illud _Bibliorum Polyglottorum_, opus quam maxime eminet. Obiit die 10 Augusti, ann. Reparatæ Sal. MDCLXXVII, postquam LVI ætatis suæ annum implevisset. Parenti optimè merito, Samuel Roycroft, filius unicus, hoc monumentum pie posuit.’ ”

[329] _Lexicon Heptaglotton_, _Hebraicum_, _Chaldaicum_, _Syriacum_, _Samaritanum_, _Æthiopicum_, _Arabicum_, conjunctim; _et Persicum_ separatim, _etc._, _etc._ _Authore Edmundo Castello, S.T.D._, _etc._ _Londini, Imprimebat Thomas Roycroft, L.L._ _Orientalium Typographus Regius, 1669_. Two vols., fol.

[330] _State Papers, Domestic_, 1665. Vol. 142, No. 174.

[331] _State Papers, Domestic_, 1667. _Ent. Book 23_, p. 337.

[332] In the List of Stewards of the _Brotherly Meeting_ of printers referred to p. 166, Nicholas Nicholls’ name occurs with James Flesher’s as a Steward at the 42nd Feast.

[333] _Dissertation_, p. 46.

[334] See _ante_, p. 148.

[335] Nicholas Nicholls’ tiny specimen, printed four years earlier, exhibited only a few lines specially cut, and dedicated privately to the King.

[336] In 1677 he published _Geometrical Operations_, London, 4to, translated by himself from Dutch into English.

[337] _Regulæ Trium Ordinum Literarum Typographicarum; or the Rules of the Three Orders of Print Letters, viz.: the Roman, Italick, English,—Capitals and Small; showing how they are compounded of Geometrick Figures and mostly made by Rule and Compass. Useful for Writing Masters, Painters, Carvers, Masons and others that are Lovers of Curiosity; by Joseph Moxon, Hydrographer to the King’s Most Excellent Majesty. London. Printed for Joseph Moxon on Ludgate Hill at the Sign of Atlas._ 1676. 4to. (Dedicated to Sir Christopher Wren.)

[338] The theory of the proportion of letters had been dealt with by several foreign authors in the sixteenth century. In 1509 Fra Luca Pacioli’s book, entitled _De Divinâ Proportione_, was printed at Venice, containing woodcut illustrations of the various letters of the alphabet. In 1525 Albert Dürer published in Nuremberg his _Unterweisung der Messung mit dem Zirkel und Richtscheit_, reducing all letters to a combination of circles and straight lines. In 1529 Geofroy Tory’s _Champfleury_ appeared at Paris, an extraordinary treatise, deriving every letter of the Latin alphabet from the goddess IO, of the letters of whose name every other letter is formed; and proportioning each to the human body and countenance in their various poses and aspects. Fantastic as his work was, it is credited with having revolutionised the form of the Roman letter in France. Like Moxon, Tory sub-divided the square of each letter into a number of minute squares, in which he constructed his model letters. A somewhat similar work was published at Saragossa, in Spain, in 1548, by Ycair, entitled _Orthographia Practica_, containing specimens of alphabets, and intended, like all of the above-named works, more for the use of the caligrapher and sculptor than for the printer.

[339] _Mechanick Exercises, or the Doctrine of Handy-Works. Began Jan. 1, 1677. And intended to be Monthly continued. By Joseph Moxon, Hydrographer to the King’s Most Excellent Majesty. London. Printed for Joseph Moxon on Ludgate Hill at the Sign of the Atlas._ Two vols., 4to.

Vol. I (14 numbers). _The Smiths, the Joyners, the Carpenters, and the Turner’s Trades._ 1677–80.

Vol. II (24 numbers). _Applied to the Art of Printing_, 1683–6. (Dedicated to Dr. Fell, Bishop of Oxford.)

[340] Mores says that before Moxon’s time letter-cutters worked by eye and hand only, and practised their art by guess-work (_Dissert._, p. 43).

[341] See chap. iv.

[342] Or rather a hair space, of which seven go to the body; so that one such space divided by six would give a 42nd part!

[343] See _ante_, p. 109.

[344] Of the eighteen letters of the alphabet, the b, c, h, l, m, n, o, s, u, are in Roman, the _a_ and _e_ in Italic.

[345] A copy of this rare broadside is in the Library of Corpus Christi College, Cambridge.

[346] The full title of this rare little tract, consisting of eight leaves only, is translated as follows:—_Aibidil Gaoidheilge Caiticiosma, etc._ (_The Irish Alphabet and Catechism, precept or instruction of a Christian, together with certain articles of a Christian faith which are proper for everyone to adopt who would be submissive to the ordinance of God and the Queen of this Kingdom. Translated from Latin and English into Irish by John O’Kearney . . Printed in the town of the Ford of Hurdles, (Dublin), at the cost of Master John Ussher, Alderman, at the head of the Bridge, the 20th of June 1571, with the privilege of the great Queen._ 1571.) 8vo.

[347] _Tiomna Nuadh, etc._ (_The New Testament of our Lord and Saviour Jesus Christ, faithfully translated from the Greek into the Irish by William O’Donnell._) _Séon Francke: a mBaile athá Cliath_ (_Dublin_), 1602. Fol. This work was printed in the house of Sir William Ussher, Clerk of the Council.

[348] _Leabhar na nurnaightheadh gcomhchoidchiond agus mheinisdraldachda na Sacrameinteadh, etc._ (Translated from the English by W. Daniel, Archbishop of Tuam), _a dtigh Shéon Francke, alias Franckton, a Mbaile athá Cliath_ (_Dublin_), 1608. Fol. Not published till 1609. In his dedication, Daniel says that, “having translated the book, I followed it to the presse with jealousy and daiely attendance, to see it perfected; payned as a woman in travell desirous to be delivered.”

[349] _A B C_, _or the_ _Institution of a Christian_. _Printed by the Company of Stationers_. Dublin, 1631. 8vo.

[350] _The Catechism, with the Six points of W. Perkins_, _translated into Irish by Godfrey Daniel_. Dublin, 1652. 8vo.

[351] “The publication of everything valuable in this language by the fathers of Donegal was unfortunately prevented by the troubles of the time of Charles I, by Cromwell’s usurpation. These fathers had procured a fount for this purpose, which, when forced to fly, they carried with them to Louvain, where some fragments of this fount are yet to be found” (_Theoph. O’Flanagan on the Ancient Language of Ireland. Transac. of the Gaelic Soc._ 8vo, Dublin, 1808, p. 212). Others stated that the fount had been removed to Douay, and there used to print several Catholic tracts. No Irish work whatever is known to have been printed at Douay. Respecting the various foreign Irish founts, the reader is referred to the account given in chapter ii, p. 75.

[352] _Life of William Bedell, D.D._, by H. J. Monck Mason. Lond., 8vo, 1843, p. 287.

[353] In addition to the _A B C_ _and_ _Catechism_, already referred to as published by Bedell in 1631, some of his biographers record that he had printed a later edition about 1641, and at the same time the following tracts in Irish, viz.: Some forms of prayer, a selection of passages from Scripture, the first three of Chrysostom’s Homilies on the rich man and Lazarus, and some sermons by Leo. Copies of these have not been seen.

[354] Most of the copies were stated to have been bought up, like the type, by Roman ecclesiastics.

[355] Of this work a copy has not yet been seen.

[356] _Tiomna Nuadh._ (_The New Testament of our Lord and Saviour Jesus Christ, faithfully translated from the Greek into the Irish by William O’Donnell_). London. Robert Everingham. 1681. 4to.

[357] “Mr. Everingham and Mr. Whiteledge,” says Dunton (_Life_, p. 331), “were two partners in the trade; I employ’d ’em very much, and look’d upon ’em to be honest and thriving men. Had they confin’d ’emselves a little sooner to Household Love, they might possibly have kept upon their own Bottom; however, so it happen’d, that they lov’d themselves into Two Journey-men Printers again.” Everingham was the printer, in 1680, of a _Weekly Advertisement of Books_ for some London publishers.

[358] Writing to Dr. Marsh of Dublin, Jan. 17th, 1681–2, Boyle refers to a projected Irish Grammar, and offers the use of his type. “I am glad that so useful a designe as that of frameing a compendious Irish Grammar has been conceived by one that is so able to execute it well; but I presume you will want letters for many of the Irish words; in which case you may please to consider what use may be made of those I have already, that may be consistent with the printing of the Old Testament in the language they relate to; for all the designe I had in having them cut off was, that they might be in a readiness to print useful bookes in Irish, whether there or here” (Mason’s _Life of Bedell_, p. 301).

[359] Leabhuir na Seintiomna, etc. (_The Books of the Old Testament translated into Irish by Dr. William Bedell, late Bishop of Kilmore._ _London._) 1685. 4to.

[360] _An Biobla Naomhtha._ (_W. Bedell’s and W. O’Donnell’s Irish Bible, revised, and printed at London by R. Everingham._) 1690. 8vo.

[361] Mason’s _Life of Bedell_, p. 305.

[362] _The Book of Common Prayer, Irish and English, with the Elements of the Irish Language_, by John Richardson. London, 1712. 8vo.

[363] _Practical Sermons._ London, 1711.

[364] _Dissertation_, p. 33. It is worthy of note that at the date when Mores wrote an almost universal cessation in Irish printing was taking place at home and abroad. At Louvain no work had appeared since 1663, at Rome since 1707, or at Paris (with the exception of the specimen in Fournier’s _Manuale Typographique_, 1764), since 1742. In the few Irish works issued at home during this period (with the notable exception of Miss Brooke’s _Reliques of Irish Poetry_, printed by Bonham of Dublin in 1789, in a new fount, apparently privately cut) the Irish character is generally rendered in copperplate, or in Roman type. It was not till Marcel published his _Alphabet Irlandais_, at Paris in 1804, and Neilson his _Irish Grammar_, at Dublin in 1808, that a revival of Irish typography took place, both abroad and at home.

[365] _An Essay towards a Real Character and a Philosophical Language, by John Wilkins, D.D., Dean of Ripon. London, printed . . . for the Royal Society._ 1668. Fol.

[366] _Dissertation_, p. 43. Mores mentions a James Moxon who in 1677 lived near Charing Cross, and sold Joseph Moxon’s books at his house (p. 44).

[367] Joseph Leigh (_sic_) served at the sixty-fourth Feast (_i.e._, about 1675), and Thos. Goring at the sixty-seventh (1678). In the same List occurs the name of John Goring, probably a relative of Thomas Goring, at the forty-sixth Feast (1657).

[368] His name occurs in the list of Masters and Workmen Printers, as having served as Steward at the sixty-ninth Feast (1680).

[369] Mores’ _Dissert._, p. 13.

[370] See _ante_, p. 157.

[371] The names of both occur among the stewards who had served office at the annual Brotherly Meetings of Masters and Workmen Printers; James Grover at the sixty-first Feast (1672), and Thomas Grover at the sixty-third (1674).

[372] See _ante_, p. 96.

[373] See _ante_, p. 90.

[374] See _ante_, p. 144.

[375] “The Arabic (of the _Polyglot_) is Great Primer, in our (_i.e._, James’s) foundery; and it came from Mr. Grover” (Mores’ _Dissert._, p. 13; and again, p. 63). Mores, however, only mentions an imperfect set of Double Pica matrices in the summary of this foundry, whereas Andrews possessed a complete fount of Great Primer. A few odd punches of the _Polyglot_ Arabic are still in existence.

[376] Mores’ _Dissert._, p. 46.

[377] _Ibid._, p. 67.

[378] This distinguished ambassador belonged to an honourable family, of whom by no means the least worthy member was Miss Elizabeth Rowe, who in 1785 married Henry Caslon, and subsequently—first with her mother-in-law, and afterwards by her own exertions—ably conducted the affairs of the Chiswell Street foundry. See _post_, chap. xi.

[379] See _ante_, p. 144.

[380] _Gent. Magaz._, vol. 56, p. 497. Nichols’ _Lit. Anec._, ix, 9.

[381] Proposuit quidem D. Junius multis antehac annis MS. hoc typis evulgare, cujus etiam specimen impressum vidi; sed consilium illius, multis viris doctis merito improbatum, ejus progressum retardavit; dum multa pro arbitrio ex MS. detruncaret et mutaret, idque cùm nulla premebat necessitas, prout ex Catalogo satis magno vocabulorum per pauca _Geneseos_ capita, quæ ipse mutaverat et expunxerat (quem mihi ostendit Typographus) constat (_Proleg._, sec. ix, § 34).

[382] _Vitæ quorundam eruditissimorum et illustrium Virorum.—Patricii Junii. Lond._, 1707. 4to. “Utcunque futuri operis specimen, quod jam præ oculis meis habeo, primum nimirum caput libri _Geneseos_, una cum doctissimis Scholiis, edere placuit. Omnes illud certamen arripiunt, avidisque oculis legunt perleguntque, ac optimâ spe de promissâ editione, quam cum maximo et vix continendo affectu exspectant efflagitantque, conceptâ, quasi moram pertæsi, Orbem Christianum hoc eximio thesauro, quod dudum fuisset locupletandus, nimium diu hactenus caruisse amicè queruntur” (p. 32).

[383] Parr’s _Life of Usher_, 1686, p. 621. Usher to Boate, June 1651: “ . . . the Alexandrian copy (in the Library of St. James) which he intendeth shortly to make publick, Mr. Selden and myself every day pressing him to the work.”

[384] Wood, _Athen. Ox._, 1691, i, 796; also Edwards, _Libraries and Founders of Libraries_, Lond., 1865, 8vo, p. 168.

[385] _Lansd. MSS._, No. 231, fo. 169.

[386] See _post_, chap. xvi.

[387] The matrices of all these curious founts have survived to the present day, and, indeed, lie before us as we write. They bear strong evidence of having been justified and finished by the same hand.

[388] From this assertion we except, of course, the letter of the first printers, which, if not imitating the actual handwriting of one particular scribe, was a copy of the conventional book-writing hand of the period. Some of the earliest scripts, italics and cursives are also reputed to have been modelled on the handwriting of some famous caligrapher or artist. One of the first instances of printing with facsimile types was the copy of the famous Medicean _Virgil_, produced at Florence in 1741. The types are for the most part ordinary Roman capital letters with a certain number of “discrepants” or peculiar characters. The title of this fine work is:—_P. VergiliI Maronis Codex Antiquissimus . . qui nunc Florentiæ in Bibliotheca Mediceo-Laurentiana adservatur. Bono publico Typis descriptus Anno MDCCXLI. Florentiæ. Typis Mannianis._ 8vo.

[389] This is possibly the printer respecting whom Nichols (_Illust. Lit._, viii, 464) notes that on Nov. 20, 1732, John Mears, bookseller, was taken into custody for publishing a _Philosophical Dissertation on Death_ . . . Meares succeeded to the business of Richard Nutt, and printed the _Historical Register_. Among the Bagford Collections (_Harl. MS._ No. 5915) is a _Specimen by H. Meere, printer, at the Black Fryar, in Blackfriars, London_. No date.

[390] Richard Nutt, printer in the Savoy, died March 11, 1780, aged 80 years.

[391] Grover contributed £2 2_s._ in 1712 towards defraying the loss incurred by the elder Bowyer on the occasion of the fire at his printing-house.

[392] His name occurs in the List of Masters and Workmen Printers in 1681; see _ante_, p. 166.

[393] See _ante_, p. 149.

[394] Cotton’s _Typographical Gazetteer_. Second Series, 1866, p. 17.

[395] Vol. ii, p. 120.

[396] Some of the matrices are without sides, which were probably supplied by a peculiar adaptation of the mould.

[397] Bagford (writing in 1714) states that Walpergen “was succeeded by his son, who has long since been succeeded by Mr. Andrews.” If this be the case, the Peter Walpergen whose death occurred in 1714 was probably the son, of whom nothing is known as distinguished from his father.

[398] We are indebted to the kindness of Mr. F. Madan, of the Bodleian Library, for our transcript.

[399] _The Holy Bible, containing the Old Testament and the New, etc. Oxford, Printed by John Baskett, Printer to the King’s Most Excellent Majesty, for Great Britain; and to the University_, 1717, 1716. 2 vols., folio. The running title of Luke xx reads, “_The parable of the vinegar_.”

[400] This, in all probability, was the fount used for printing the “Vinegar” _Bible_.

[401] The contents of this very interesting document were communicated to the _Athenæum_ of September 5, 1885, by Mr. J. H. Round, in whose possession the original is.

[402] Timperley’s _Songs of the Press_. London, 1833, 8vo, p. 85.

[403] Nichols’ note on the James family (_Anecdotes of Mr. Bowyer_, pp. 585, 609) is at variance with the account given by Rowe Mores. According to the former, Thomas, John and George James were all brothers, and sons of the notorious half-crazy Elianor James, whose husband, Thomas James, the printer, was a large benefactor to Sion College, and died in 1711. On this point, however, Mores, whose relations with the family gave him special opportunities for information, may be considered as more correct in representing Thomas and John as sons of the Rev. John James. George James, the son of Thomas and Elianor, was City Printer in 1724. His office was in Little Britain, where he wrote and printed the _Post Boy_. He was Common Councilman for the Ward of Aldersgate Without, and died in 1735. His greatgrandfather, Dr. Thomas James, Dean of Wells, was the first Keeper of Bodley’s Library at Oxford in 1605. Portraits of this Dr. Thomas James, and of Thomas and Elianor, the parents of George James, are preserved in Sion College, as is also a portrait of Elizabeth, their daughter, who married Jacob Ilive, the printer, and who was herself a benefactor to the College. Nichols mentions another member of the family, one Harris James, who, he says, was originally a letter-founder, and “formerly of Covent Garden Theatre, where he represented fops and footmen.”

[404] _Dissertation_, p. 51, _et seq._

[405] Rabbi Joseph Athias, son of Tobias Athias, who printed a Spanish Bible for the use of the Jews, was a printer, publisher and typefounder in Amsterdam. He succeeded to the Elzevir foundry as improved and added to by Van Dijk. In 1662–3 he issued an edition of the _Old Testament_ printed in Hebrew type, specially cut by Van Dijk, for the accuracy and beauty of which he received great renown; and in 1667, when a new edition of the _Bible_ was published, the Government of the United Provinces signified their satisfaction by presenting him with a gold medal and a massive gold chain. He is said to have printed a great number of English Bibles. Van Dijk, whose models were so warmly applauded by Moxon, was a letter-cutter only, and worked for various foundries. His founder was John Bus, who cast in Athias’ house, as the title of the following specimen-sheet, issued about 1700, indicates:—_Proeven van Letteren die gesneden zijn door Wylen Christoffel van Dijck, welke gegoten werden by Jan Bus, ten huyse van Sr. Joseph Athias woonst in de Swanenburg Street, tot Amsterdam_. Demy broadside (showing five Titlings, sixteen Roman and Italic, eight Black and two Music). After passing through several hands, Athias’ foundry was purchased by John Enschedé of Haerlem in 1767, in whose family it still remains.

[406] This should be Dirk Voskens of Amsterdam, who bought the foundry of Bleau in 1677, and was the first Dutch founder who kept types for the Oriental and recondite languages. Like Athias and others, he was a founder only, his punches and matrices being cut and sunk by Rolij. The foundry descended to his great-grandson, and was ultimately put up to auction in 1780, and purchased by the brothers Ploos Van Amstel, and subsequently became absorbed by the Enschedé foundry.

[407] Rolij seems to be Rowe Mores’ way of spelling Rolu, of whose types the following specimen-sheet exists:—_Proeven van Letteren dewelcke gegooten worden by Mr. Johannes Rolu, Letter-Snyder woonende tot Amsterdam in de laetste Lelydwars-streat_, _c._ 1710 (probably the specimen referred to by James further on).

[408] Voskens.

[409] “The matter was first composed in the usual way, then the form was affused with some sort of _gypsum_, which after it was indurated, became a complication of matrices for casting the whole page in a single piece” (_Mores_, p. 59). As early as the year 1705 a Dutchman, named J. Van der Mey, had, with the assistance of Johann Muller, a German clergyman, devised a method of soldering together the bottoms of common types imposed in a forme, so as to form solid blocks of each page. By this method, two Bibles, a Greek Testament and a Syriac Testament with Lexicon were produced, the plates of all of which, except the last named, were preserved in 1801. See T. Hodgson’s _Essay on the Origin and Progress of Stereotype Printing_, Newcastle, 1820, 8vo.

[410] “Being called into our company,” says Ged, in his _Narrative_, “he bragged much of his great skill and knowledge in all the parts of mechanism, and particularly vaunted, that he, and hundreds besides himself, could make plates to as great perfection as I could: which occasioned some heat in our conversation.”

[411] Hansard (_Typog._ p. 823), shows an impression of two pages of a _Prayer Book_, from plates which had escaped “Caslon’s cormorant crucible.”

[412] _C. Crispi Sallustii Belli Catilinarii et Jugurthini Historiæ. Edinburgi; Guilielmus Ged, Aurifaber Edinensis, non typis mobilibus, ut vulgo fieri solet, sed tabellis seu laminis fusis, excudebat._ 1739, 8vo (reprinted 1744). According to the account given by Ged’s daughter in the narrative above referred to, the _Sallust_ was completed in 1736. No copy of that date is, however, known. Some of the plates of the work are still in existence.

[413] The story may be read in detail in _Biographical Memoirs of William Ged, including a particular account of his progress in the art of Block printing_. London, 1781, 8vo. Fenner died insolvent about the year 1735. James Ged, after working for some time with his father, engaged in the rebellion of 1745, and narrowly escaped execution. He ultimately went to Jamaica, a year before his father’s death.

[414] Despite Mores’ prophecy that Ged’s invention, even if at first successful, would soon have sunk under its own burden, the method was successfully revived, or rather re-invented, about the year 1781 by Dr. Tilloch of Edinburgh, in conjunction with Mr. Foulis, printer to the University of Glasgow, at whose press were printed a stereotype edition of _Xenophon’s Anabasis_ in 1783, and several chap-books. Messrs. Tilloch and Foulis did not persevere with their venture, which was about the year 1800 successfully revived and perfected by Mr. Wilson, a London printer, aided by Earl Stanhope. In France, Firmin Didot, in 1795, attempted a method similar to that of Van de Mey in 1705; but abandoning this, succeeded in 1798 in producing good stereo plates by a system of _polytypage_, as described _ante_, p. 13. The reader is referred to Hodgson’s _Essay_ for specimens and particulars of the successive efforts to perfect the stereotype process at home and abroad.

[415] Mores contradicts himself as to this date, giving it as 1738 in one place, and 1736 in another. As, however, he is particular to mention that John James, in 1736, _after his father’s death_, commenced his specimen of the foundry, the earlier date may be assumed to be correct.

[416] Timperley, who quotes this document (_Encycl._ p. 655), gives no particulars as to the letter in which it is printed.

[417] See _ante_, p. 206.

[418] See _ante_, p. 205.

[419] The Oxford University foundry must, of course, be included as a fourth foundry existing at this time, but does not rank as a trading establishment. Cottrell’s foundry was also started in 1757, but it is doubtful whether he had yet finished cutting his punches. Smith, in _The Printer’s Grammar_, 1755, in comparing the standard bodies in use at that time in England, names Caslon and James as the only English founders.

[420] Smith’s _Printer’s Grammar_, 1755, in referring to the use of flowers in typography, makes mention of “the considerable augmentation which Mr. Caslon has made here in flowers, and in which Mr. James likewise has so far proceeded that we may soon expect a specimen of them” (p. 137).

[421] Nichols, _Illust. Lit._, viii, 450.

[422] Edward Rowe Mores was born about the year 1729, at Tunstall in Kent, of which place his father was rector. He was educated at Merchant Taylors’ School and Queen’s College, Oxford, and being originally intended for holy orders, took his M.A. degree. He did not, however, enter the Church, but devoted himself to literary and antiquarian pursuits. Besides his _Dissertation upon English Typographical Founders_, he spent some time in correcting Ames, and in other investigations into the early history of printing. On one occasion, as he himself narrates, he assisted Ilive in correcting the Hebrew proofs of _Calasio’s Concordance_ for the press. His latter life was marred by habits of negligence and intemperance, which hastened his death in 1778 at Low Leyton. His valuable library of books and MSS. was sold by auction by Paterson in August 1779, on which occasion the eighty copies of the _Dissertation_, being the entire impression, were bought up by Mr. Nichols and given to the public with a short Appendix.

[423] _A Dissertation upon English Typographical Founders and Founderies, by Edward Rowe Mores, A.M. and A.S.S._ (London) 1778. 8vo (only 80 copies printed).

[424] Consisting of eight founts of Hebrew, four of Samaritan, three of Arabic, four of Greek, five of Roman or Italic, three of Saxon, one of Anglo-Norman, and four of Black.

[425] “Such as those which being uniques cannot be perfected without new punches, and if they were made complete, it would be no more than _oleum et operam, etc._, because they are either out of use or the times afford better, as the Antique Hebrew (spec. 7); Leusden’s Samaritan (spec. 27); 2-line Great Primer Hebrew (spec. 38); the Runic, Gothic, and some other recondites, the matrices for which are incomplete or useless. But of the founts which are in daily use the imperfects will continue, as they mutually aid and help out one another. For the same reason also will continue those which have been cast aside (not by their owner) under the name of _waste_.”

[426] In another place Mr. Mores states that the “waste and pye” of the foundry contained upwards of 6,000 matrices.

[427] This is the old Black from Grover’s foundry; see _ante_, p. 199.

[428] This sly allusion leaves little doubt as to the light in which Mr. Mores viewed the Coster legend so industriously defended by such writers of his own day as Meerman, Bowyer and Nichols.

[429] “Excusatos nos habeant eruditi quibus obvenerit typorum _Jamesianorum_ specimen accuratis perlustrare oculis, quod minus quam expetendum esset, in linguis præsertim reconditoribus, elimatum prodeat; in animo erat de dedisse emendatissimum et si sat se fecisse existiment opifices, si, posthabitis preli, ceterisque maculis, ostendatur literarum facies—limæ non defuit labor,—at cessante Fusore cessavit Fornax et defuerunt fusi ad emaculandum typi.”—_Preface to the Specimen._

[430] _i.e._, [P.] Polyglot, [A.] Andrews, [G.] Grover, [R.] Rolij, [N.] Nicholls, [S.A.] Sylvester Andrews, [Anon.] “Anonymous.” Of founts marked *, punches or matrices still exist.

[431] Two sets of Small Pica and two sets of Pearl not shown in Specimen, were also sold. A Canon, 2-line Great Primer, three Great Primers, an English, Pica, and Bourgeois, had been lost.

[432] It is to be borne in mind that Andrews’ foundry included that of Moxon, from whom many of his oldest founts doubtless came.

[433] A Great Primer, Pica, Small Pica and Long Primer had been lost, but the Long Primer punches remained.

[434] A 2-line English, Double Pica and Pica had been lost.

[435] There were also, not in Specimen, a 2-line Great Primer, Double Pica, Pica, two Small Picas and a set of 2-line Nonpareil Capitals. A Paragon, Bourgeois and two sets of Nonpareil had been lost.

[436] This was the fount used in the _Catena on Job_, 1637.

[437] “Remarkably beautifully cut and justified.”

[438] A Double Pica, Pica and Long Primer had been lost.

[439] A 2-line English had been lost.

[440] Also a Double Pica not in specimen.

[441] _i.e._, Black—of which the following sets, not in Specimen, were also sold:—Double Pica, two Great Primers, two English, four Small Picas, Long Primer, three Breviers and Nonpareil. A 2-line Great Primer, Double Pica, Long Primer and Bourgeois had been lost.

[442] Of these, one was a 4-line, to which belonged a set of “leaden” lower-case matrices.

[443] There is more difficulty in tracing these to their original sources than in the case of the matrices, as not only are the numbers not given, but the bodies named may very likely vary from the actual bodies to which the matrices were justified.

[444] See p. 191. Though the matrices of this fount do not appear in the Catalogue, they were evidently in James’s foundry, as they are mentioned in the list drawn up by James in 1767, and are not specified among the matrices lost. They were acquired at the sale of Dr. Fry, and may possibly have been included with the Saxons, or with the imperfect lots.

[445] _Lit. Anec._, iii, 438.

[446] See our facsimiles from the Specimen at pages 200 and 204, _ante_.

[447] In 1703, in the Convocation of Clergy in the Lower House, a complaint was exhibited against the printers of the _Bible_ for the careless and defective way in which it was printed by the patentees. The editions specially complained of were those printed by Hayes, of Cambridge, in 1677 and 1678, and an edition in folio printed in London in 1701. The printers continued, however, to print the _Bible_ carelessly, with a defective type, on bad paper; and when printed, to sell copies at an exorbitant price.

[448] The following sketch of William Caslon is mainly taken, and in parts quoted, from the interesting particulars of his career preserved in Nichols’ _Anecdotes of Bowyer_ and the larger work into which that was subsequently expanded. The elder Bowyer’s intimate connection with Caslon’s first ventures in letter-founding give Nichols’ work a special authority in the matter. At the same time there exists a certain confusion in the earlier part of the narrative which it is difficult completely to harmonise.

[449] John Watts, a printer of first-rate eminence, for some time partner with Jacob Tonson II in Covent Garden. It was in Watts’ printing office in Great Queen Street, Lincoln’s Inn, that Benjamin Franklin worked as journeyman in 1725. Watts died in 1763, aged 85.

[450] William Bowyer, the elder, regarded as one of the foremost printers of his time, was born in 1663. In 1699 he had his office in Dogwell Court, Whitefriars. His premises were burnt in 1713, and in the conflagration he lost all his types and presses. By the liberality of his fellow-printers, however, this loss (estimated at over £5,000) was partly made good, and he was enabled to start again and rise once more to a foremost place in his profession. For all particulars respecting Mr. Bowyer and his learned son, see Nichols’ _Anecdotes of William Bowyer_, London, 1782, 4to, and _Literary Anecdotes of the 18th Century_, London 1812–15, 9 vols., 8vo, a work the foundation of which is a bibliography of the productions of this celebrated press. See also _ante_, p. 157.

[451] James Bettenham, husband of the elder Bowyer’s step-daughter, was born 1683. He printed in St. John’s Lane, and attained to considerable eminence as a printer, although after sixty years’ labour he left behind him only £400. “He died,” says Rowe Mores, “in 1774, _ferè centenarius sanæque mentis et memoriæ_.”

[452] _Anecdotes of Bowyer_, p. 585.

[453] A tradition in the Caslon family that William Caslon began his career as a letter-founder in 1716, induced the late Mr. H. W. Caslon to adopt this as the date of the establishment of the Foundry. In the absence, however, of any testimony in support of the statement, and in the face of the clear announcement by Caslon himself that his Foundry was begun in the year 1720, there seems to be no ground for attaching any importance to the use of this earlier date.

[454] This Society, which was established in 1698, had already displayed considerable activity in the introduction of printing into the distant fields of its missionary effort. In 1711 it sent out to the missionaries of Tranquebar, on the Coromandel Coast, a printing press furnished with Portuguese types, paper, etc., which, after an adventurous voyage, in which the vessel was plundered by the French of all her other cargo, reached its destination and enabled the missionaries to commence the printing of a Tamulic _New Testament_, of which the _Gospels_ appeared in 1714, with the imprint “_Tranquebariæ in littore Coromandelino, typis Malabaricis impressit G. Adler_, 1714.” It is related that the publication of the remainder of the work was delayed from a scarcity of paper, their types being very large; till at length the expedient was adopted of casting a new fount of letter from the leaden covers of some Cheshire cheeses, which had been sent out to the missionaries by the Society. The attempt succeeded, and with these new and smaller types the remainder of the _Testament_ was printed, the whole being published together in 1719. (Cotton, _Typographical Gazetteer_, 2nd edit., p. 289.)

[455] _Liber Psalmorum . . una cum decem Præceptis . . et Oratione Dominicâ . . Arabicè; sumptibus Societatis de Propagandâ Cognitione Christi apud Exteros._ London, 1725. 8vo.

[456] _Novum Testamentum, Arabicè. Londini. Sumptibus Societatis de Propagandâ Cognitione Christi apud Exteros._ 1727. 4to.

[457] “This circumstance,” says Nichols (_Anec. Bowyer_, p. 317) “has lately been verified by the American, Dr. Franklin, who was at that time a journeyman under Mr. Watts, the first printer that employed Mr. Caslon.”

[458] Dibdin, in repeating this anecdote, uses rather stronger language. “Caslon,” he says, “after giving (I would hope) that wretched pilferer and driveller Samuel Palmer (whose _History of Printing_ is only fit for chincampane paper) half a dozen good canings for his dishonesty, betook himself to Mr. Bowyer.” (_Bibl. Decam. II._, 379.)

[459] _Joannis Seldeni Jurisconsulti Opera Omnia, tam edita quam inedita. In tribus voluminibus. Colligit ac recensuit . . . David Wilkins, S.T.P. . . . Londini, Typis Guil. Bowyer._ 1726. Fol. (Begun in 1722.)

[460] Dr. David Wilkins, F.S.A., was Keeper of the Lambeth Library under Archbishop Wake, and drew up a Catalogue of all the MSS. and books there in his time. Besides editing the _Selden_ and the _Coptic Testament_ and _Pentateuch_, he published some important works in Anglo-Saxon Literature, and edited the learned Prolegomena to Chamberlayne’s _Oratio Dominica_ in 1715. He died in 1740. Rowe Mores considers that in his Coptic studies Dr. Wilkins was indebted to Kircher, the Jesuit, whose _Prodromus Coptus_, published in Rome in 1636, the Doctor had severely handled.

[461] _Quinque Libri Moysis Prophetæ in Linguâ Ægyptiâ. Ex M.S.S. . . . descripsit ac Latine vertit Dav. Wilkins. Londini_ 1731. 4to. Only 200 copies were printed.

[462] See _ante_, p. 147. Nichols, writing about 1813, mentioned that the Coptic fount, having escaped the conflagration of his printing office in 1808, was still in his possession.

[463] _Typographia_, p. 349.

[464] See _ante_, p. 205.

[465] See _ante_, p. 218.

[466] _Anec. Bowyer_, p. 537.

[467] See _ante_, p. 215.

[468] _Psalmorum Liber. (Heb. et Lat.) in Versiculos metrice divisus, etc. Londini_ 1736. 2 vols., 8vo.

[469] _Moses Choronensis Historiæ Armeniacæ Libri iii. Armeniacè ediderunt, Latinè verterunt notisq: illustr. Guil. et Geo. Whistoni. London_, 1736. 4to.

[470] _De Linguâ Etruriæ. J. Swinton. Oxon._, 1738.

[471] This fount may be seen also in Nichols’ Appendix to Rowe Mores’ _Dissertation_, p. 96, and in _Ames’ Typographical Antiquities_, 1st edit., p. 571.

[472] If these were the matrices which Mores, in his summary of the Polyglot Foundry (p. 172, _ante_), described as Great Primer, it is difficult—unless they were duplicates—to determine through whose foundry they passed into Caslon’s hands. Andrews had a Great Primer, and Grover a Double Pica and Pica; but all these came to James, in whose foundry they remained when Mores wrote in 1778.

[473] _Cyclopædia, or an Universal Dictionary of the Arts and Sciences, etc._, by E. Chambers, F.R.S., London, 1738. 2 vols., fol. (Caslon’s Specimen faces the article “Letter.”) The first edition of this valuable work—the first repertory of general knowledge published in Britain—appeared in 1728. It subsequently formed the basis of Rees’ _Encyclopædia_.

[474] See _ante_, p. 206.

[475] Rowe Mores’ account of the Caslon foundry in 1778, wherein he attributes several of the founts which originally appeared in the 1734 Specimen to Mitchell, might suggest at first sight that Caslon had acquired Mitchell’s foundry prior to 1739. Mores is, however, particular to give the exact date of the purchase, 26th July 1739. It seems more probable that, finding the bodies in Caslon’s Specimen corresponding generally with the description of the matrices he was known to have bought from Mitchell, he concluded hastily that the founts shown were Mitchell’s, whereas a reference to the Specimen would have proved that Caslon preferred his own original faces, in most cases, to those he had bought. See also our notes, _post_, pp. 247, 248.

[476] _Anec. Bowyer_, p. 317.

[477] _Anec. Bowyer_, p. 586.

[478] “Les caractères de Caslon ont été gravés, pour la plus grande partie, par Caslon fils, avec beaucoup d’adresse et de propreté. Les epreuves qui on out été publiées en 1749 contiennent beaucoup de sortes différentes de caractères” (_Man. Typog._, II, xxxviii).

[479] _Typographical Antiquities._ London, 1749, 4to, p. 571. The names of William Caslon, sen., and William Caslon, jun., letter-founders, figure among the subscribers to the work; and the plate of facsimiles of Caxton’s types is dedicated “to Mr. Wm. Caslon, a good promoter of this work, and as suitable to the principal Letter Founder.”

[480] _An Essay on the Original, Use, and Excellency of the Noble Art and Mystery of Printing._ London, 1752. 8vo. The work is of little interest apart from the references to the Caslons, and a curious poem at the end.

[481] See _post_, chap. xiii.

[482] _The Universal Magazine of Knowledge and Pleasure._ London. Vol. vi. June 1750, p. 274.

[483] See _post_, chap. xvi.

[484] A copy of this Specimen, dated 1763, evidently an advance copy, is in the library of the American Antiquarian Society, the gift of Isaiah Thomas, the printer, and is, as far as is known, the only copy in existence bearing this date. Copies of the 1764 Specimen occur in 8vo and 4to.

[485] Forty-four new founts appear in all, viz.: 2 Titlings, 15 Romans, 4 Greeks, 9 Hebrews, 1 Ethiopic, 1 Etruscan, 2 Saxons, 8 Blacks, and 2 Music, while the Flowers now number 63 varieties.

[486] “ ‘This New Foundery was begun in the year 1720 and finished 1763.’ So we are told by a note at the end of their Specimen published in 1764, although the same note tells us that though it was finished, yet it was not finished, ‘but would (with God’s leave) be carried on, etc.’ Amen!” (_Dissert._, p. 80.)

[487] Among the relics of the Caslon Foundry is a copy of the 1764 specimen book presented by Mr. Caslon to his friend Phil. Thicknesse the poet. At the end of the book appears Mr. Thicknesse’s letter of thanks to the donor, execrably printed by the poet himself, in type given him by Mr. Caslon.

[488] This Concert Room remains at Chiswell Street in pretty much its old form, and is now the repository of the interesting collection of portraits and relics, still preserved, of this venerable Foundry.

[489] _A General History of the Science and Practice of Music._ London. 1776. 4to. Vol. v, 127.

[490] The Rev. Dr. Lyttelton writes to Ames, April 25, 1744, “Some unforeseen business prevents Dr. Pococke and myself dining with Mr. Caslon to-morrow. I give you this notice that you may defer your visit till some day next week, when we will endeavour to meet there.”—_Nichol’s Illustrations of Literature_, iv, 231.

[491] Copies of which he continued to circulate, erasing with pen and ink the words “and Son” from the title-page and advertisement.

[492] _A Concise History of the Origin and Progress of Printing, etc._ London, 1770. 8vo. Reprinted in the following year with the title:—_The History of the Art of Printing, in two Parts, etc., J. P. Luckombe, M.T.A._ London, 1771. 8vo.

[493] _Dissertation_, p. 81.

[494] Mores calls this “excavated” or “Hutter’s leading-string” Hebrew. A specimen may be seen in _The Scholars Instructor_. _An Hebrew Grammar of Israel Lyons_, Cambridge, 1735, 8vo. The open Hebrew is here used to distinguish the servile from the radical letters. Lyons in his preface deprecates Hutter’s method of printing the entire _Bible_ in this character, thereby keeping the learners “too long in leading-strings” (see also _ante_, p. 63).

[495] Mores omits a Small Pica Hebrew, which is the same as the Brevier shown in the sheet of 1734.

[496] These founts are not Head’s or Mitchell’s, as Mores states, but were cut by Caslon I, and shown on the 1734 sheet.

[497] The Pica Greek shown on the 1734 sheet was discarded in favour of this fount.

[498] “But,” adds Mores, “Mr. Caslon is cutting a _Patagonian_ which will lick up all these diminutives as the ox licketh up the grass of the field.”

[499] “Supported by arches.” Doubtless cast in sand.

[500] These were not cut, as Mores states, by Caslon II, but by Caslon I, and appeared on the sheet of 1734, when Caslon II was but 14 years of age.

[501] “These,” says Mores, “are one and the same. The Acts of Parliament are printed in them, therefore we call them as Dr. Ducarel and the Act call them, ‘the common legible hand and character.’ ”

[502] Mores omits here the Pica Black, cut by Caslon I, and shown on the sheet of 1734.

[503] Not Cartledge, as erroneously given by Nichols. This lady was the only child of Mr. Cartlitch, an eminent refiner in Foster Lane, Cheapside, and was born May 31, 1730.

[504] With the addition of the Long Primer Syriac cut for Oxford University, the “learned” founts in the 1785 Specimen are precisely the same as those which appeared in the book of 1764.

[505] The address is a literary curiosity: “The acknowledged excellence of this Foundry, with its rapid success, as well as its unexampled Productions having gained universal Ecomiums on its ingenious Improver and Perfecter (whose uncommon Genius transferred the Letter Foundry Business from HOLLAND to ENGLAND, which, for above Sixty years, has received, for its beauty and Symmetry, the unbounded praises of the Literati, and the liberal encouragement of all the Master Printers and Booksellers, not only in this Country but of all EUROPE and AMERICA) has excited the Jealousy of the Envious and the Desires of the enterprising, to become Partakers of the Reward due to the Descendants of the Improver of this most useful and important Art.

“They endeavour, by every method to withdraw, from this Foundry, that which they silently acknowledge is its indisputable Right: Which is conspicuous by their very Address to the Public, wherein they promise (in Order to induce Attention and Encouragement) that they will use their utmost Endeavours to IMITATE the Productions of this Foundry; which assertion, on inspection, will be found impracticable, as the Imperfections cannot correspond in size.

“The Proprietor of this Foundry, ever desirous of retaining the decisive Superiority in his Favour, and full of the sincerest Gratitude for the distinguished Honour, by every Work of Reputation being printed from the elegant Types of the Chiswell Street Manufactory, hopes, by every Improvement, to retain and merit a Continuance of their established Approbation, which, in all Quarters of the Globe, has given it so acknowledged an Ascendency over that of his Opponents.”

The address prefixed to the 1785 Specimen Book of the Worship Street Foundry had evidently been the inspiration of this tirade, which in turn evoked a spirited reply from the Frys in the following year. See _post_, chap. xv.

[506] The sheets appear (along with some of Fry & Son’s and Wilson’s) in _Chambers’ Cyclopædia—incorporated in one Alphabet by Abraham Rees, London_, 1784–86. 4 vols. folio.

[507] These are sometimes (as in the case of the British Museum copy) bound up with the 1785 8vo specimen book as folding plates.

[508] See _ante_, p. 200. Hansard observes that besides Queen Elizabeth’s Ambassador, the same family had produced Sir Henry Rowe, a Lord Mayor of London; and Owen Rowe, the Regicide.

[509] This celebrated typographer was born at Saluzzo, in the Sardinian States, in 1740. At an early age he visited Rome, and obtained a situation in the printing office of the Propaganda, where he gained great credit for his printing. In 1768 he settled at Parma, where he published many famous works, and established a European reputation. His _Homer_ in 3 vols. folio, published in 1808, is his most famous work. He never visited England, although one or two works were printed by him in our language, viz., Lord Orford’s _Castle of Otranto_, 1791, 8vo, _Gray’s Poems_, 1793, 4to, _Thomson’s Seasons_, 1794, folio and quarto. He died in 1813, and his widow finished and published in 1818 the _Manuale Tipografico_, 2 vols., royal 4to, a most sumptuous work, containing upwards of 250 exquisite specimens of type and ornaments. A monument was erected to him in Saluzzo in 1872. Of Bodoni’s office at Parma the following interesting particulars are preserved in Dr. Smith’s _Tour on the Continent_, 2nd edit., vol. iii: “A very great curiosity in its way, is the Parma printing-office, carried on under the direction of M. Bodoni, who has brought that art to a degree of perfection hardly known before him. Nothing could exceed his civility in showing us numbers of the beautiful productions of his press, of which he gave us some specimens, as well as the operations of casting and finishing the letters. The materials of his type are antimony and lead, as in other places, but he showed us some of steel. He has sets of all the known alphabets, with diphthongs, accents, and other peculiarities in the greatest perfection. His Greek types are peculiarly beautiful, though of a different kind of beauty from those of old Stephens, and perhaps less free and flowing in their forms.”

[510] _Typographia_, p. 352.

[511]

2-line Gt. Primer—1803 Great Primer—May, 1802 English 1—August, 1802 English 2—April, 1805 Pica 2 and 3—March, 1805 Small Pica 1, 2, and 3—July, 1804 Long Primer 1, 2, and 3—July, 1804. Bourgeois 1 and 2—July, 1802 Brevier 1 and 2—May, 1805 Minion—May, 1805 Nonpareil 1, 2—October, 1803.

[512] _The Printers’ Grammar, etc., by C. Stower, Printer._ London, 1808. 8vo. The following note is prefixed to the specimen: “A 4-line Pica, Canon and Double Pica of a bold and elegant shape, were not quite ready to introduce with these specimens.”

[513] Savage, in his _Hints on Decorative Printing_, London, 1822, 4to,