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diff --git a/20393-h/20393-h.htm b/20393-h/20393-h.htm new file mode 100644 index 0000000..7301ac9 --- /dev/null +++ b/20393-h/20393-h.htm @@ -0,0 +1,9924 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of A Short History of English Printing, by Henry R. Plomer. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + ul {list-style-type: none;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 1%; + font-size: smaller; + font-style: normal; + text-align: left; + color: gray; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + float: right; clear: right; margin-top: 1em; + font-size: smaller; color: black; background: #eeeeee; border: dashed 1px;} + + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 2px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .lowercase {text-transform: lowercase;} + .u {text-decoration: underline;} + .large {font-size: 200%;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + .poem span.i6 {display: block; margin-left: 6em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of A Short History of English Printing, +1476-1898, by Henry R. Plomer + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: A Short History of English Printing, 1476-1898 + +Author: Henry R. Plomer + +Editor: Alfred Pollard + +Release Date: January 18, 2007 [EBook #20393] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH PRINTING *** + + + + +Produced by Barbara Tozier, Bill Tozier, Taavi Kalju and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + + + +<hr style="width: 65%;" /> + +<div class="figcenter"> + <a id="image01" name="image01"> + <img src="images/01.jpg" + alt="William Morris" + title="William Morris" /></a><br /> + <span class="caption">William Morris<br />Printer 1891-1896.</span> +</div> + +<hr style="width: 65%;" /> + +<div class="figcenter"> + <img src="images/02.jpg" + alt="Title page" + title="Title page" /> +</div> + +<hr style="width: 65%;" /> + +<h4>EDITED BY<br /> +ALFRED POLLARD</h4> + +<hr style="width: 25%;" /> + +<h1>A SHORT HISTORY</h1> + +<h3>OF</h3> + +<h1>ENGLISH PRINTING</h1> + +<h3>1476-1898</h3> + +<h2>BY HENRY R. PLOMER</h2> + +<hr style="width: 45%;" /> + +<h4> +LONDON<br /> +KEGAN PAUL, TRENCH, TRÜBNER<br /> +AND COMPANY, LIMITED<br /> +1900</h4> + +<hr style="width: 25%;" /> + +<h3> +The English<br /> +Bookman's<br /> +Library</h3> + +<hr style="width: 45%;" /> + +<h5>Edinburgh: T. and A. <span class="smcap">Constable</span>, Printers to Her Majesty</h5> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> +<h2>EDITOR'S PREFACE</h2> + +<div class="figleft"> + <img src="images/03.jpg" + alt="W" + title="W" /> +</div> + +<p>hen Mr. Plomer consented at my request to write a short history of +English printing which should stop neither at the end of the fifteenth +century, nor at the end of the sixteenth century, nor at 1640, but +should come down, as best it could, to our own day, we were not without +apprehensions that the task might prove one of some difficulty. How +difficult it would be we had certainly no idea, or the book would never +have been begun, and now that it is finished I would bespeak the +reader's sympathies, on Mr. Plomer's behalf, that its inevitable +shortcomings may be the more generously forgiven. If we look at what has +already been written on the subject the difficulties will be more easily +appreciated. In England, as in other countries, the period in the +history of the press which is best known to us is, by the perversity of +antiquaries, that which is furthest removed from our own time. Of all +that can be learnt about Caxton the late Mr. William Blades set down in<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> +his monumental work nine-tenths, and the zeal of Henry Bradshaw, of Mr. +Gordon Duff, and of Mr. E. J. L. Scott, has added nearly all that was +lacking in this storehouse. Mr. Duff has extended his labours to the +other English printers of the 15th century, giving in his <i>Early English +Printing</i> (Kegan Paul, 1896) a conspectus, with facsimiles of their +types, and in his privately printed Sandars Lectures presenting a +detailed account of their work, based on the personal examination of +every book or fragment from their presses which his unwearied diligence +has been able to discover. Originality for this period being out of the +question, Mr. Plomer's task was to select, under a constant sense of +obligation, from the mass of details which have been brought together +for this short period, and to preserve due proportion in their +treatment.</p> + +<p>Of the work of the printers of the next half-century our knowledge is +much less detailed, and Mr. Plomer might fairly claim that he himself, +by the numerous documents which he has unearthed at the Record Office +and at Somerset House, has made some contributions to it of considerable +value and interest. It is to his credit, if I may say so, that so little +is written here of these discoveries. In a larger book the<span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span> story of the +brawl in which Pynson's head came so nigh to being broken, or of John +Rastell's suit against the theatrical costumier who impounded the +dresses used in his private theatre, would form pleasant digressions, +but in a sketch of a large subject there is no room for digressions, and +these personal incidents have been sternly ignored by their discoverer. +Even his first love, Robert Wyer, has been allotted not more than six +lines above the space which is due to him, and generally Mr. Plomer has +compressed the story told in the <i>Typographical Antiquities</i> of Ames, +Herbert, and Dibdin with much impartiality.</p> + +<p>When we pass beyond the year 1556, which witnessed the incorporation of +the Stationers' Company, Mr. Arber's <i>Transcripts</i> from the Company's +Registers become the chief source of information, and Mr. Plomer's pages +bear ample record of the use he has made of them, and of the numerous +documents printed by Mr. Arber in his prefaces. After 1603, the date at +which Mr. Arber discontinues, to the sorrow of all bibliographers, his +epitome of the annual output of the press, information is far less +abundant. After 1640 it becomes a matter of shreds and patches, with no +other continuous aid than Mr. Talbot<span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span> Reed's admirable work, <i>A History +of the Old English Letter Foundries</i>, written from a different +standpoint, to serve as a guide. His own researches at the Record Office +have enabled Mr. Plomer to enlarge considerably our knowledge of the +printers at work during the second half of the seventeenth century, but +when the State made up its mind to leave the printers alone, even this +source of information lapses, and the pioneer has to gather what he may +from the imprints in books which come under his hand, from notices of a +few individual printers, and stray anecdotes and memoranda. Through this +almost pathless forest Mr. Plomer has threaded his way, and though the +road he has made may be broken and imperfect, the fact that a road +exists, which they can widen and mend, will be of incalculable advantage +to all students of printing.</p> + +<p>Besides the indebtedness already stated to the works of Blades, Mr. +Gordon Duff, Mr. Arber, and Mr. Reed, acknowledgments are also due for +the help derived from Mr. Allnutt's papers on English Provincial +Printing (<i>Bibliographica</i>, vol. ii.) and Mr. Warren's history of the +Chiswick Press (<i>The Charles Whittinghams, Printers</i>; Grolier Club, +1896). Lest Mr. Plomer should<span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span> be made responsible for borrowed faults, +it must also be stated that the account of the Kelmscott Press is mainly +taken from an article contributed to <i>The Guardian</i> by the present +writer. The hearty thanks of both author and editor are due to Messrs. +Macmillan and Bowes for the use of two devices; to the Clarendon Press +for the three pages of specimens of the types given to the University of +Oxford by Fell and Junius; to the Chiswick Press for the examples of the +devices and ornamental initials which the second Whittingham +reintroduced, and for the type-facsimiles of the title-page of the book +with which he revived the use of old-faced letters; to Messrs. Macmillan +for the specimen of the Macmillan Greek type, and to the Trustees of Mr. +William Morris for their grant of the very exceptional privilege of +reproducing, with the skilful aid of Mr. Emery Walker, two pages of +books printed at the Kelmscott Press.</p> + +<p>That the illustrations are profuse at the beginning and end of the book +and scanty in the middle must be laid to the charge of the printers of +the seventeenth and eighteenth centuries, in whose work good ornament +finds no place. It was due to Caslon and Baskerville to insert their +portraits, though they can hardly<span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span> be called works of art. That of Roger +L'Estrange, which is also given, may suggest, by its more prosperous +look, that in the evil days of the English press its Censor was the +person who most throve by it.</p> + +<p><span class="smcap">Alfred W. Pollard</span>.</p> + +<div class="figcenter"> + <img src="images/04.jpg" + alt="Decorative" + title="Decorative" /> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p> +<h2>CONTENTS AND LIST OF PLATES</h2> + + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'></td> + <td align='right'>PAGE</td> +</tr> +<tr> + <td align='left'><span class="smcap">Editor's Preface</span>,</td> + <td align='right'><a href='#Page_vii'>vii</a></td> +</tr> +<tr> + <td align='center'>CHAPTER I</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Caxton and his Contemporaries,</td> + <td align='right'><a href='#Page_1'>1</a></td> +</tr> +<tr> + <td align='center'>CHAPTER II</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>From 1500 to the Death of Wynkyn de Worde,</td> + <td align='right'><a href='#Page_31'>31</a></td> +</tr> +<tr> + <td align='center'>CHAPTER III</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Thomas Berthelet to John Day,</td> + <td align='right'><a href='#Page_61'>61</a></td> +</tr> +<tr> + <td align='center'>CHAPTER IV</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>John Day,</td> + <td align='right'><a href='#Page_79'>79</a></td> +</tr> +<tr> + <td align='center'>CHAPTER V</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>John Day's Contemporaries,</td> + <td align='right'><a href='#Page_103'>103</a></td> +</tr> +<tr> + <td align='center'><span class='pagenum'><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>CHAPTER VI</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>Provincial Presses of the Sixteenth Century,</td> + <td align='right'><a href='#Page_122'>122</a></td> +</tr> +<tr> + <td align='center'>CHAPTER VII</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>The Stuart Period (1603-1640),</td> + <td align='right'><a href='#Page_154'>154</a></td> +</tr> +<tr> + <td align='center'>CHAPTER VIII</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>From 1640 to 1700,</td> + <td align='right'><a href='#Page_187'>187</a></td> +</tr> +<tr> + <td align='center'>CHAPTER IX</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>From 1700 to 1750,</td> + <td align='right'><a href='#Page_228'>228</a></td> +</tr> +<tr> + <td align='center'>CHAPTER X</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>From 1750 to 1800,</td> + <td align='right'><a href='#Page_261'>261</a></td> +</tr> +<tr> + <td align='center'>CHAPTER XI</td> + <td align='left'></td> +</tr> +<tr> + <td align='left'>The Present Century,</td> + <td align='right'><a href='#Page_282'>282</a></td> +</tr> +<tr> + <td align='left'><span class="smcap">Index</span>,</td> + <td align='right'><a href='#Page_323'>323</a></td> +</tr> +</table></div> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_xv" id="Page_xv">[Pg xv]</a></span></p> +<h2>LIST OF PLATES</h2> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'><a href="#image01">Portrait of William Morris</a>,</td> + <td align='right'><i>Frontispiece</i></td> +</tr> +<tr> + <td align='left'><a href="#image02">Portrait of Roger L'Estrange</a>,</td> + <td align='right'><i>at p.</i> 203</td> +</tr> +<tr> + <td align='left'><a href="#image03">Portrait of Caslon</a>,</td> + <td align='right'>" 239</td> +</tr> +<tr> + <td align='left'><a href="#image04">Portrait of Baskerville</a>,</td> + <td align='right'>" 265</td> +</tr> +</table></div> + +<hr style="width: 65%;" /> + +<div class="figcenter"> + <img src="images/05.jpg" + alt="Device of William Caxton." + title="Device of William Caxton." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 1.—Device of William Caxton.</span> +</div> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h2>CHAPTER I</h2> + +<h3>CAXTON AND HIS CONTEMPORARIES</h3> + +<div class="figleft"> + <img src="images/06.jpg" + alt="T" + title="T" /> +</div> + +<p>he art of printing had been known on the Continent for something over +twenty years, when William Caxton, a citizen and mercer of London, +introduced it into England.</p> + +<p>Such facts as are known of the life of England's first printer are few +and simple. He tells us himself that he was born in the Weald of Kent, +and he was probably educated in his native village. When old enough, he +was apprenticed to a well-to-do London mercer, Robert Large, who carried +on business in the Old Jewry. This was in 1438, and in 1441 his master +died, leaving, among other legacies, a sum of twenty marks to William +Caxton.</p> + +<p>In all probability Caxton, whose term of apprenticeship had not expired, +was transferred to some other master to serve the remainder of his term; +but all we know is that he shortly afterwards left England for the Low +Countries. In the prologue to the <i>Recuyell of the Historyes of<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span> Troye</i> +he tells us that, at the time he began the translation, he had been +living on the Continent for thirty years, in various places, Brabant, +Flanders, Holland, and Zealand, but the city of Bruges, one of the +largest centres of trade in Europe at that time, was his headquarters. +Caxton prospered in his business, and rose to be 'Governor to the +English Nation at Bruges,' a position of importance, and one that +brought him into contact with men of high rank.</p> + +<p>In the year 1468 Caxton appears to have had some leisure for literary +work, and began to translate a French book he had lately been reading, +Raoul Le Fevre's <i>Recueil des Histoires de Troyes</i>; but after writing a +few quires he threw down his pen in disgust at the feebleness of his +version.</p> + +<p>Very shortly after this he entered the service of Margaret, Duchess of +Burgundy, sister of Edward <span class="smcap lowercase">IV.</span> of England, either as secretary or +steward. The Duchess used to talk with him on literary matters, and he +told her of his attempt to translate the <i>Recueil</i>. She asked him to +show her what he had written, pointed out how he might amend his 'rude +English,' and encouraged him to continue his work. Caxton took up the +task again, and in spite of many interruptions, including journeys to +both Ghent and Cologne, he completed it, in the latter city, on the 19th +September 1471. All this he tells us in the<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> prologue, and at the end of +the second book he says:—</p> + +<p>'And for as moche as I suppose the said two bokes ben not had to fore +this tyme in oure English langage | therefore I had the better will to +accomplisshe this said werke | whiche werke was begonne in Brugis | and +contynued in Gaunt, and finyshed in Coleyn, ... the yere of our lord a +thousand four honderd lxxi.' He then goes on to speak of John Lydgate's +translation of the third book, as making it needless to translate it +into English, but continues:—</p> + +<p>'But yet for as moche as I am bounde to contemplate my fayd ladyes good +grace and also that his werke is in ryme | and as ferre as I knowe hit +is not had in prose in our tonge ... <i>and also because that I have now +god leyzer beying in Coleyn, and have none other thing to doo at this +tyme</i>, I have,' etc.</p> + +<p>Then at the end of the third book he says that, having become weary of +writing and yet having promised copies to divers gentlemen and +friends,—</p> + +<p>'Therfor I have practysed and lerned at my grete charge and dispense to +ordeyne this said book in prynte after the maner and forme as ye may +here see,' etc.</p> + +<p>The book when printed bore neither place of imprint, date of printing, +or name of printer. The late William Blades, in his <i>Life of Caxton</i> +(vol. i. chap. v. pp. 45-61), maintained that this<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> book, and all the +others printed with the same type, were printed at Bruges by Colard +Mansion, and that it was at Bruges, and in conjunction with Mansion, +that Caxton learned the art of printing. His principal reasons for +coming to this conclusion were: (1) That Caxton's stay in Cologne was +only for six months, long enough for him to have finished the +translation of the book, but too short a time in which to have printed +it. (2) That the type in which it was printed was Colard Mansion's. (3) +That the typographical features of the books printed in this type (No. +1) point to their having all of them come from the same printing office.</p> + +<p>Caxton's own statement in the epilogue to the third book certainly +appears to mean that during the course of the translation, in order to +fulfil his promise of multiplying copies, he had learned to print. He +might easily have done so in the six months during which he remained in +Cologne, or during his stay in Ghent. That it was in Cologne rather than +elsewhere, is confirmed by the oft-quoted stanza added by Wynkyn de +Worde as a colophon to the English edition of <i>Bartholomæus de +proprietatibus rerum</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'And also of your charyte call to remembraunce<br /></span> +<span class="i0">The soule of William Caxton, the first prynter of this boke,<br /></span> +<span class="i0">In laten tongue at Coleyn, hymself to avaunce<br /></span> +<span class="i0">That every well-disposed man may thereon loke.'<br /></span> +</div></div> + +<div class="figcenter"> + <img src="images/07.jpg" + alt="Part of Caxton's Preface to the 'Recuyell of the Histories of Troye.' (Type 1.)" + title="Part of Caxton's Preface to the 'Recuyell of the Histories of Troye.' (Type 1.)" /><br /> + <span class="caption"><span class="smcap">Fig</span>. 2.—Part of Caxton's Preface to the 'Recuyell of the Histories of Troye.' (Type 1.)</span> +</div> + +<p>If any one should have known the true facts of<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> the case it was surely +Caxton's own foreman, who almost certainly came over to England with +him. On the other hand, it cannot be denied that type No. 1 is totally +unlike any type that we know of as used by a Cologne printer, and, +moreover, Caxton's methods of working, and his late adoption of spacing +and signatures, point to his having learnt his art in a school of +printing less advanced than that of Cologne. In the face of the +statements of Caxton himself and Wynkyn de Worde, we seem bound to +believe that Caxton did study printing at Cologne, but the inexpertness +betrayed in his early books proves conclusively that his studies there +did not extend very far. In any case it must have been with the help of +Colard Mansion that he set up and printed the <i>Recuyell</i>, probably in +1472 or 1473. In addition to this book several others, printed in the +same type, and having other typographical features in common with it, +were printed in the next few years. These were:—</p> + +<p><i>The Game and Playe of the Chess Moralised</i>, translated by Caxton, a +small folio of 74 leaves.</p> + +<p><i>Le Recueil des Histoires de Troye</i>, a folio of 120 leaves.</p> + +<p><i>Les Fais et Prouesses du noble et vaillant chevalier Jason</i>, a folio of +134 leaves, printed, it is believed, by Mansion, after Caxton's removal +to England. And,</p> + +<p><i>Meditacions sur le sept Psaulmes Peniten<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>ciaulx</i>, a folio of 34 leaves, +also ascribed to Mansion's press, about the year 1478.</p> + +<p>About the latter half of 1476 Caxton must have left Bruges and come to +England, leaving type No. 1 in the hands of Mansion, and bringing with +him that picturesque secretary type, known as type 2. This, as Mr. +Blades has undoubtedly proved, had already been used by Caxton and +Mansion in printing at least two books: <i>Les quatre derrenieres choses</i>, +notable from the method of working the red ink, a method found in no +other book of Colard Mansion; and <i>Propositio Johannis Russell</i>, a tract +of four leaves, containing Russell's speech at the investiture of the +Duke of Burgundy with the order of the Garter in 1470.</p> + +<div class="figcenter"> + <img src="images/08.jpg" + alt="Part of Caxton's Epilogue to the 'Dictes and Sayinges of the Philosophers.' (Type 2.)" + title="Part of Caxton's Epilogue to the 'Dictes and Sayinges of the Philosophers.' (Type 2.)" /><br /> + <span class="caption"><span class="smcap">Fig</span>. 3.—Part of Caxton's Epilogue to the 'Dictes and Sayinges of the Philosophers.' (Type 2.)</span> +</div> + +<p>On his arrival in England, Caxton settled in Westminster, within the +precincts of the Abbey, at the sign of the Red Pale, and from thence, on +November 18th 1477, he issued <i>The Dictes and Sayinges of the +Philosophers</i>, the first book printed in England. It was a folio of 76 +leaves, without title-page, foliation, catchwords or signatures, in this +respect being identical with the books printed in conjunction with +Mansion. Type 2, in which it was printed, was a very different fount to +that which is seen in the <i>Recuyell</i> and its companion books. It was +undoubtedly modelled on the large Gros Batarde type of Colard Mansion, +and was in all probability cut by Mansion himself. The letters are<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> +bold, and angular, with a close resemblance to the manuscripts of the +time, the most notable being the lowercase 'w,' which is brought into +prominence by large loops over the top. The 'h's' and 'l's' are also +looped letters, the final 'm's' and 'n's' are finished with an angular +stroke, and the only letter at all akin to those in type No. 1 is the +final 'd,' which has the peculiar pump-handle finial seen in that fount. +<i>The Dictes and Sayinges</i> is printed throughout in black ink, in long +lines, twenty-nine to a page, with space left at the beginning of the +chapters for the insertion of initial letters. It has no colophon, but +at the end of the work is an Epilogue, which begins thus:—</p> + +<p>'Here endeth the book named the dictes or sayengis | of the +philosophers, enprynted, by me william | Caxton at Westmestre the yere +of our lord ·<span class="smcap lowercase">M</span>· | <span class="smcap">CCCC·LXXV</span>ij.'</p> + +<p>Caxton followed <i>The Dictes and Sayinges</i> with an edition of Chaucer's +<i>Canterbury Tales</i>, a folio of 372 leaves. The size of the book makes it +probable that it was put in hand simultaneously with its predecessor, +and that the chief work of the poet, to whom Caxton paid more than one +eloquent tribute, engaged his attention as soon as he set up his press +in England. He also printed in the same type a Sarum <i>Ordinale</i>, known +only by a fragment in the Bodleian, and a number of small quarto tracts, +such as <i>The Moral Proverbs<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> of Christyne</i>, which bears date the 20th of +February; a Latin school-book called <i>Stans Puer ad Mensam</i>; two +translations from the Distichs of Dionysius Cato, entitled respectively +<i>Parvus Catho</i> and <i>Magnus Catho</i>, of which a second edition was +speedily called for; Lydgate's fable of the <i>Chorl and the Bird</i>, a +quarto of 10 leaves, which also soon went to a second edition; Chaucer's +<i>Anelida and Arcite</i>, and two editions of Lydgate's <i>The Horse, the +Sheep, and the Goose</i>.</p> + +<p>During the first three years of Caxton's residence at Westminster he +printed at least thirty books. In 1479 he recast type 2 (cited in its +new form by Blades as type 2*), and this he continued to use until 1481. +But about the same time he cast two other founts, Nos. 3 and 4. The +first of these was a large black letter of Missal character, used +chiefly for printing service books, but appearing in the books printed +with type 2* for headlines. With it he printed <i>Cordyale, or the Four +Last Things</i>, a folio of 78 leaves, the work being a translation by Earl +Rivers of <i>Les Quatre Derrenieres Choses Advenir</i>, first printed in type +2 in the office of Colard Mansion. A second edition of <i>The Dictes and +Sayinges</i> was also printed in this type, while to the year 1478 or 1479 +must be ascribed the <i>Rhetorica Nova</i> of Friar Laurence of Savona, a +folio of 124 leaves, long attributed to the press of Cambridge.<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + +<p>After 1479 Caxton began to space out his lines and to use signatures, +customs that had been in vogue on the Continent for some years before he +left. In 1480 he brought the new type 4 into use. This was modelled on +type 2, but was much smaller, the body being most akin to modern +English. Although its appearance was not so striking as that of the +earlier fount, it was a much neater letter and more adapted to the +printing of Indulgences, and it has been suggested that it was the +arrival of John Lettou in London, and the neat look of his work, that +induced Caxton to cut the fount in question. The most noticeable feature +about it is the absence of the loop to the lowercase 'd,' so conspicuous +a feature of the No. 2 type. With this type No. 4 he printed Kendale's +indulgence and the first edition of <i>The Chronicles of England</i>, dated +the 10th June 1480, a folio of 152 leaves. In the same year he printed +with type 3 three service-books. Of one of these, the <i>Horæ</i>, William +Blades found a few leaves, all that are known to exist, in the covers of +a copy of <i>Boethius</i>, printed also by Caxton, which he discovered in a +deplorable state from damp, in a cupboard of the St. Albans Grammar +School. This was an uncut copy, in the original binding, and the covers +yielded as many as fifty-six half sheets of printed matter, fragments of +other books printed by Caxton. These proved the existence of three +hitherto unknown examples of<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> his press, the <i>Horæ</i> above noted, the +<i>Ordinale</i>, and the <i>Indulgence of Pope Sixtus IV.</i>, the remaining +fragments yielding leaves from the <i>History of Jason</i>, printed in type +2, the first edition of the <i>Chronicles</i>, the <i>Description of</i> +<i>Britain</i>; the second edition of the <i>Dictes and Sayinges</i>, the <i>De +Curia Sapientiæ</i>, Cicero's <i>De Senectute</i>, and the <i>Nativity of Our +Lady</i>, printed in the recast of type 4, known as type 4*.</p> + +<div class="figcenter"> + <img src="images/09.jpg" + alt="Caxton's earliest Woodcut. Headline in Type 3." + title="Caxton's earliest Woodcut. Headline in Type 3." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 4.—Caxton's earliest Woodcut. Headline in Type 3.</span> +</div> + +<p>The first book printed by Caxton with illus<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>trations was the third +edition of <i>Parvus</i> and <i>Magnus Chato</i>, printed without date, but +probably in 1481. It contained two woodcuts, one showing five pupils +kneeling before their tutor. These illustrations were very poor +specimens of the wood-cutter's art.</p> + +<p>To this period also belongs <i>The History of Reynard the Fox</i> and the +second edition of <i>The Game and Play of Chess</i>, printed with type 2*, +and distinguished from the earlier edition by the eight woodcuts, some +of which, according to the economical fashion of the day, were used more +than once.</p> + +<p>In type 4, Caxton printed (finishing it on the 20th November 1481) <i>The +History of Godfrey of Bologne; or, the Conquest of Jerusalem</i>, a folio +of 144 leaves. In the following year (1482) appeared the second edition +of the <i>Chronicles</i>, and another work of the same kind, the compilation +of Roger of Chester and Ralph Higden, called <i>Polychronicon</i>. This work +John of Trevisa had translated into English prose, bringing it down to +the year 1387. Caxton now added a further continuation to the year 1460, +the only original work ever undertaken by him. Another English author +whom Caxton printed at this time was John Gower, an edition in small +folio (222 leaves in double columns) of whose <i>Confessio Amantis</i> was +finished on the 2nd September 1483. In this we see the first use of type +4*, the two founts<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> being found in one instance on the same page. The +first edition of the <i>Golden Legend</i> also belongs to 1483, being +finished at Westminster on the 20th November. This was the largest book +that Caxton printed, there being no less than 449 leaves in double +columns, illustrated with as many as eighteen large and fifty-two small +woodcuts. The text was in type 4*, the headlines, etc., in type 3. For +the performance of this work Caxton received from the Earl of Arundel, +to whom the book was dedicated, the gift of a buck in summer and a doe +in winter, gifts probably exchanged for an annuity in money. Several +copies of this book are still in existence, its large size serving as a +safeguard against complete destruction, but none are perfect, most of +them being made up from copies of the second edition. The insertions may +be recognised by the type of the headlines, those in the second edition +being in type 5. Other books printed in type 4* were Chaucer's <i>Book of +Fame</i>, Chaucer's <i>Troylus</i>, the <i>Lyf of Our Ladye</i>, the <i>Life of Saint +Winifred</i>, and the <i>History of King Arthur</i>, this last, finished on July +31, 1485, being almost as large a book as the <i>Golden Legend</i>.</p> + +<div class="figcenter"> + <img src="images/10.jpg" + alt="From Caxton's 'Golden Legend.' (Types 4* and 5.)" + title="From Caxton's 'Golden Legend.' (Types 4* and 5.)" /><br /> + <span class="caption"><span class="smcap">Fig</span>. 5.—From Caxton's 'Golden Legend.' (Types 4* and 5.)</span> +</div> + +<p>No work dated 1486 has been traced to Caxton's press, but in 1487 he +brought into use type 5, a smaller form of the black letter fount known +as No. 3, with which he sometimes used a set of Lombardic capitals. With +this he printed, between<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> 1487 and 1489, several important books, among +them the <i>Royal Book</i>, a folio of 162 leaves, illustrated with six small +illustrations, the <i>Book of Good Manners</i>, the first edition of the +<i>Directorium Sacerdotum</i>, and the <i>Speculum Vitæ Christi</i>. During 1487 +also he had printed for him at Paris an edition of the <i>Sarum Missal</i>, +from the press of George Maynyal, the first book in which he used his +well-known device. The second edition of the <i>Golden Legend</i> is believed +to have been published in 1488, and to about the same time belongs the +Indulgence which Henry Bradshaw discovered in the University Library, +Cambridge, and which seems to have been struck off in a hurry on the +nearest piece of blank paper, which happened to be the last page of a +copy of the <i>Colloquium peccatoris et Crucifixi J. C.</i>, printed at +Antwerp. This was not the only remarkable find which that master of the +art of bibliography made in connection with Caxton. On a waste sheet of +a copy of the <i>Fifteen Oes</i>, he noticed what appeared to be a set off of +another book, and on closer inspection this turned out to be a page of a +Book of Hours, of which no copy has ever been found. It appeared to have +been printed in type 5, was surrounded by borders, and was no doubt the +edition which Wynkyn de Worde reprinted in 1494.</p> + +<p>In 1489 Caxton began to use another type known as No. 6, cast from the +matrices of No. 2<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> and 2*, but a shade smaller, and easily +distinguishable by the lowercase 'w,' which is entirely different in +character from that used in the earlier fount. With this he printed on +the 14th July 1489, the <i>Faytts of Armes and Chivalry</i>, and between that +date and the day of his death three romances, the <i>Foure Sons of Aymon</i>, +<i>Blanchardin</i>, and <i>Eneydos</i>; the second editions of <i>Reynard the Fox</i>, +the <i>Book of Courtesy</i>, the <i>Mirror of the World</i>, and the <i>Directorium +Sacerdotum</i>, and the third edition of the <i>Dictes and Sayinges</i>. To the +same period belong the editions of the <i>Art and Craft to Know Well to +Die</i>, the <i>Ars Moriendi</i>, and the <i>Vitas Patrum</i>.</p> + +<p>But in addition to type 6, which Blades believed to be the last used by +Caxton, there is evidence of his having possessed two other founts +during the latter part of his life. With one of them, type No. 7 (see E. +G. Duff, <i>Early English Printing</i>), somewhat resembling types Nos. 3 and +5, he printed two editions of the <i>Indulgence of Johannes de Gigliis</i> in +1489, and it was also used for the sidenotes to the <i>Speculum Vitæ +Christi</i>, printed in 1494 by Wynkyn de Worde. Type No. 8 was also a +black letter of the same character, smaller than No. 3, and +distinguished from any other of Caxton's founts by the short, rounded, +and tailless letter 'y' and the set of capitals with dots. He used it in +the <i>Liber<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> Festivalis</i>, the <i>Ars Moriendi</i>, and the <i>Fifteen Oes</i>, his +only extant book printed with borders, and it was afterwards used by +Wynkyn de Worde.</p> + +<p>Caxton died in the year 1491, after a long, busy, and useful life. His +record is indeed a noble one. After spending the greater part of his +life in following the trade to which he was apprenticed, with all its +active and onerous duties, he, at the time of life when most men begin +to think of rest and quiet, set to work to learn the art of printing +books. Nor was he content with this, but he devoted all the time that he +could spare to editing and translating for his press, and according to +Wynkyn de Worde it was 'at the laste daye of his lyff' that he finished +the version of the <i>Lives of the Fathers</i>, which De Worde issued in +1495. His work as an editor and translator shows him to have been a man +of extensive reading, fairly acquainted with the French and Dutch +languages, and to have possessed not only an earnest purpose, but with +it a quiet sense of humour, that crops up like ore in a vein of rock in +many of his prologues.</p> + +<div class="figcenter"> + <img src="images/11.jpg" + alt="From Caxton's 'Fifteen Oes.' (Type 6.)" + title="From Caxton's 'Fifteen Oes.' (Type 6.)" /><br /> + <span class="caption"><span class="smcap">Fig</span>. 6.—From Caxton's 'Fifteen Oes.' (Type 6.)</span> +</div> + +<p>Of his private life we know nothing, but the 'Mawde Caxston' who figures +in the churchwarden's accounts of St. Margaret's is generally believed +to have been his wife. His will has not yet been discovered, though it +very likely exists among the uncalendared documents at Westminster +Abbey, from which Mr. Scott has already<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> gleaned a few records relating +to him, though none of biographical interest. We know, however, from the +parish accounts of St. Margaret's, Westminster, that he left to that +church fifteen copies of the <i>Golden Legend</i>, twelve of which were sold +at prices varying between 6s. 8d. and 5s. 4d.</p> + +<p>Caxton used only one device, a simple square block with his initials W. +C. cut upon it, and certain hieroglyphics said to stand for the figures +74, with a border at the top and bottom. It was probably of English +workmanship, as those found in the books of foreign printers were much +more finely cut. This block, which Caxton did not begin to use until +1487, afterwards passed to his successor, who made it the basis of +several elaborate variations.</p> + +<p>Upon the death of Caxton in 1491, his business came into the hands of +his chief workman, Wynkyn de Worde. From the letters of naturalisation +which this printer took out in 1496, we learn that he was a native of +Lorraine. It was suggested by Herbert that he was one of Caxton's +original workmen, and came with him to England, and this has recently +been confirmed by the discovery of a document among the records at +Westminster, proving that his wife rented a house from the Abbey as +early as 1480. In any case there is little doubt that Wynkyn de Worde +had been in intimate association with Caxton during the greater part of +his career as a printer, and when<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span> Caxton died he seems to have taken +over the whole business just as it stood, continuing to live at the Red +Pale until 1500, and to use the types which Caxton had been using in his +latest books. This fact led Blades to ascribe several books to Caxton +which were probably not printed until after his death. These are <i>The +Chastising of Gods Children</i>, <i>The Book of Courtesye</i>, and the <i>Treatise +of Love</i>, printed with type No. 6; but, in addition to these, two other +books, probably in the press at the time of Caxton's death, were issued +from the Westminster office without a printer's name, but printed in a +type resembling type 4*. These are an edition of the <i>Golden Legend</i> and +the <i>Life of St. Catherine of Sienna</i>. Wynkyn de Worde's name is found +for the first time in the <i>Liber Festivalis</i>, printed in 1493. In the +following year was issued Walter Hylton's <i>Scala Perfectionis</i>, and a +reprint of Bonaventura's <i>Speculum Vite Christi</i>, the sidenotes to which +were printed in Caxton's type No. 7, which de Worde does not seem to +have used in any other book. Besides this, there was the <i>Sarum Horæ</i>, +no doubt a reprint of Caxton's edition now lost. He used for these books +Caxton's type No. 8, with the tailless 'y' and the dotted capitals. +Speaking of this type in his <i>Early Printed Books</i>, Mr. E. G. Duff +points out its close resemblance to that used by the Paris printers P. +Levet and Jean Higman in 1490, and<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> argues that it was either obtained +from them or from the type-cutter who cut their founts.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> + +<p>To the year 1495 belongs the <i>Vitas Patrum</i>, the book of which Caxton +had finished the translation on the day of his death, and beside this, +there were reprints of the <i>Polychronicon</i> and the <i>Directorium +Sacerdotum</i>. The reprint of the <i>Boke of St. Albans</i>, which was issued +in 1496, is noticeable as being printed in the type which De Worde +obtained from Godfried van Os, the Gouda printer. This broad square set +letter is not found in any other book of De Worde's, though he continued +to use a set of initial letters which he obtained from the same printer +for many years.</p> + +<p>Among other books printed in 1496, were <i>Dives and Pauper</i>, a folio, and +several quartos such as the <i>Abbey of the Holy Ghost</i>, the <i>Meditations +of St. Bernard</i>, and the <i>Liber Festialis</i>. In 1497 we find the +<i>Chronicles of England</i>, and in 1498 an edition of Chaucer's <i>Canterbury +Tales</i>, a second edition of the <i>Morte d'Arthur</i>, and another of the +<i>Golden Legend</i>, in fact nearly all De Worde's dated books up to 1500 +were reprints of works issued by Caxton. But amongst the undated books +we notice many new works, such as Lydgate's <i>Assembly of Gods</i>, and +<i>Sege of Thebes</i>, Skelton's <i>Bowghe of Court</i>, <i>The Three Kings of +Cologne</i>, and several school books.<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + +<p>In 1499 De Worde printed the <i>Liber Equivocorum</i> of Joannes de +Garlandia, using for it a very small Black Letter making nine and a half +lines to the inch, probably obtained from Paris. This type was generally +kept for scholastic books, and in addition to the book above noted, +Wynkyn de Worde printed with it, in the same year or the year following, +an <i>Ortus Vocabulorum</i>. From the time when he succeeded to Caxton's +business down to the year 1500, in which he left Westminster and settled +in Fleet Street, De Worde printed at least a hundred books, the bulk of +them undated.</p> + +<p>As will be seen, several printers from the Low Countries seem to have +come to England soon after Caxton. The year after he settled at +Westminster, a book was printed at Oxford without printer's name, and +with a misprint of the date, that has set bibliographers by the ears +ever since. This book was the <i>Exposicio sancti Jeromini us simbolum +apostolorum</i>, and the colophon ran, 'Impressa Oxonie et finita anno +domini M.cccc.lxviij., xvij. die decembris.' The facts that two other +books that are dated 1479 (the <i>Aegidius de originali peccato</i> and +<i>Sextus ethicorum Aristotelis</i>) have many points in common with the +<i>Exposicio</i>, that the <i>Exposicio</i> has been found bound with other books +of 1478, and that the dropping of an x from the date in a colophon is +not an uncommon misprint, have led to the conclusion<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> that the +<i>Exposicio</i> was printed in 1478 and not 1468. The printer of these first +Oxford books is believed to have been Theodoric Rood of Cologne, whose +name appeared in the colophon to the <i>De Anima</i> of Aristotle, printed at +Oxford in 1481. This was followed in 1482 by a <i>Commentary on the +Lamentation of Jeremiah</i>, by John Lattebury, and later editions of these +two books are distinguished by a handsome woodcut border printed round +the first page of the text.</p> + +<p>About 1483 Rood took as a partner Thomas Hunt, a stationer of Oxford, +and together they issued John Anwykyll's Latin Grammar, together with +the <i>Vulgaria Terencii</i>, Richard Rolle of Hampole's <i>Explanationes super +lectiones beati Job</i>, a sermon of Augustine's, of which the only known +copy is in the British Museum, a collection of treatises upon logic, one +of which is by Roger Swyneshede, the first edition of <i>Lyndewode's +Provincial Constitutions</i> (a large folio of 366 leaves with a woodcut, +the earliest example found in any Oxford book), and the <i>Epistles of +Phalaris</i>, with a lengthy colophon in Latin verse. The last book to +appear from the press was the <i>Liber Festivalis</i> by John Mirk, a folio +of 174 leaves, containing eleven large woodcuts and five smaller ones, +apparently meant for an edition of the <i>Golden Legend</i>, as they were cut +down to fit the <i>Festial</i>. After the appearance of this book, printing +at Oxford suddenly ceased, and it has been surmised that<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> Theodoric Rood +returned to Cologne. Altogether the Oxford press lasted for eight years, +and fifteen books remain to testify to its activity. In these, three +founts of type were used, the first two having all the characteristics +of the Cologne printers, while the third shows the influence of Rood's +residence in England. A full account of these will be found in Mr. +Falconer Madan's admirable work <i>The Early Oxford Press</i>.</p> + +<p>The St. Albans Press started in 1479. Only eight books are known with +this imprint, not all of them perfect, none give the name of the +printer, and only one has a device. Most of them are scholastic books, +printed for the use of the Grammar School. These included the <i>Augustini +Dati elegancie</i>, a quarto, dated 1480, the <i>Rhetorica Nova</i>, which +Caxton was printing at Westminster at the same time, and Antonius Andreæ +<i>super Logica Aristotelis</i>. But in addition to these, two other notable +works came from this press, the <i>Chronicles of England</i> and the <i>Book of +St. Albans</i>.</p> + +<p>Out of the four types which are found in these books, two at least were +Caxton's type No. 2 and type No. 3. There was plainly some connection +between the two offices, and as it was a frequent custom for monasteries +to subsidize printers to print their service books, it seems possible +that Caxton may have had some hand in establishing this press, and that +it was for St. Albans Abbey<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> that he cast type No. 3, which (putting +aside its subordinate employment for headlines) we find used exclusively +for service books.</p> + +<p>Three years after Caxton had settled at Westminster, viz. in 1480, an +<i>Indulgence</i> was issued by John Kendale, asking for aid against the +Turks. Caxton printed some copies of this, and others are found in a +small neat type, and are ascribed to the press of John Lettou. <i>Lettou</i> +is an old form of Lithuania, but whether John Lettou came from Lithuania +is not known.</p> + +<p>In this same year 1480, Lettou published the <i>Quæstiones Antonii Andreæ +super duodecim libros metaphysicæ Aristotelis</i>, a small folio of 106 +leaves, printed in double columns, of which only one perfect copy is +known, that in the Library of Sion College. The type is small, and +remarkable from its numerous abbreviations. Mr. E. G. Duff in his <i>Early +Printed Books</i>, p. 161, speaks of its great resemblance to those of +Matthias Moravus, a Naples printer, and suggests a common origin for +their types. In his <i>Early English Printing</i>, on the other hand, he +writes: 'There are very strong reasons for believing that he [Lettou] is +the same person as the Johannes Bremer, <i>alias</i> Bulle, who is mentioned +by Hain as having printed two books at Rome in 1478 and 1479. The type +which this printer used is identical (with the exception of one of the +capital letters) with<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> that used in the books printed by John Lettou in +London.'</p> + +<p>A few years later Lettou was joined by William de Machlinia. They were +chiefly associated in printing law-books, but whether they had any +patent from the king cannot be discovered. Only one of the five books +they are known to have printed, the <i>Tenores Novelli</i>, has any colophon, +and none of them has any date. The address they gave was 'juxta +ecclesiam omnium sanctorum,' but as there were several churches so +dedicated, the locality cannot be fixed.</p> + +<p>We next find Machlinia working alone, but out of the twenty-two books or +editions that have been traced to his press, only four contain his name, +and none have a date. All we can say is that he printed from two +addresses, 'in Holborn,' and 'By Flete-brigge.' Mr. Duff inclines to the +opinion that the 'Flete-brigge' is the earlier, but it seems almost +hopeless to attempt to place these books in any chronological order from +their typographical peculiarities.</p> + +<p>In the Fleet-Bridge type are two books by Albertus Magnus, the <i>Liber +aggregationis</i> and the <i>De Secretis Mulierum</i>. The type is of a black +letter character, not unlike that in which the <i>Nova Statuta</i> were +printed, and is distinguishable by the peculiar shape of the capital M. +In the same type we find the <i>Revelation of St. Nicholas to a Monk of +Evesham</i>, a reprint of the<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> <i>Tenores Novelli</i>, and some fragments of a +<i>Sarum Horæ</i> found in old bindings; a woodcut border was used in some +parts of it. Besides these Machlinia printed an edition of the <i>Vulgaria +Terentii</i>.</p> + +<p>A larger number of books is found in the Holborn types, the most +important being the <i>Chronicles of England</i>, of which only one perfect +copy is known.</p> + +<p>The <i>Speculum Christiani</i> is interesting as containing specimens of +early poetry, and <i>The Treatise on the Pestilence</i>, of Kamitus or +Canutus, bishop of Aarhus, ran to three editions, one of which contains +a title-page, and was therefore presumably printed late in Machlinia's +career, <i>i.e.</i> about 1490.</p> + +<p>In addition to these, there were three law-books, the <i>Statutes of +Richard III.</i>, and several theological and scholastic works. One of the +founts of type used by Machlinia is of peculiar interest, by reason of +its close resemblance to Caxton's type No. 2*, and its still greater +similarity to the type used by Jean Brito of Bruges.</p> + +<p>Machlinia's business seems to have been taken over by Richard Pynson. +There is no direct evidence of this, but like Machlinia he took up the +business of printing law-books (being the first printer in this country +to receive a royal patent); he is found using a woodcut border used in +Machlinia's <i>Horæ</i>; and, in addition to this, waste from Machlinia books +has been found in Pynson bindings.<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> + +<p>Richard Pynson was a native of Normandy. He had business relations with +Le Talleur, a printer of Rouen. His methods also were those of Rouen, +rather than of any English master. Wherever he came from, Richard Pynson +was the finest printer this country had yet seen, and no one, until the +appearance of John Day, approached him in excellence of work.</p> + +<div class="figcenter"> + <img src="images/12.jpg" + alt="Pynson's Mark." + title="Pynson's Mark." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 7.—Pynson's Mark.</span> +</div> + +<p>The earliest examples of his press appear to be a fragment of a +<i>Donatus</i> in the Bodleian and the <i>Canterbury Tales</i> of Chaucer. The +type he used for these was a bold, unevenly cast fount of black letter, +somewhat resembling that used by Machlinia at Fleet Bridge. The +<i>Chaucer</i>, however, contained a second fount of small sloping Gothic.</p> + +<p>The first book of Pynson found with a date is a <i>Doctrinale</i>, printed in +November 1492, now in the John Rylands Library. This was followed by the +<i>Dialogue of Dives and Pauper</i>, printed in 1493 with a new type, +distinguishable by the sharp angular finish to the letter 'h.' Several +quartos without date were printed in the same type.</p> + +<p>From this time till 1500, the majority of his<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> books were printed in the +small type of the <i>Chaucer</i>.</p> + +<p>Another printer who worked at this time was Julian Notary. He was +associated in the production of books with Jean Barbier, and another +whose initials, J. H., are believed to be those of J. Huvin, a printer +of Paris. They established themselves in London at the sign of St. +Thomas the Apostle, and their most important book was the <i>Questiones +Alberti de modis significandi</i>, which they followed up in 1497 with an +octavo edition of the <i>Horæ ad usum Sarum</i>. In 1498 Barbier and Notary +removed to King Street, Westminster, where they printed in folio a +<i>Missale ad usum Sarum</i>. Soon afterwards Notary was printing by himself, +his partner, Barbier, having returned to France. Two quartos, the <i>Liber +Festivalis</i> and <i>Quattuor Sermones</i>, are all that can be traced to his +press in 1499, and a small edition of the <i>Horæ ad usum Sarum</i> is the +sole record of this work in 1500.</p> + +<div class="figcenter"> + <img src="images/13.jpg" + alt="Notary's Mark." + title="Notary's Mark." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 8.—Notary's Mark.</span> +</div> + +<p>Notary was also a bookbinder, and some of his stamped bindings are still +met with.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> +<h2>CHAPTER II</h2> + +<h3>FROM 1500 TO THE DEATH OF WYNKYN DE WORDE</h3> + +<div class="figleft"> + <img src="images/14.jpg" + alt="I" + title="I" /> +</div> + +<p>n the year 1500 Wynkyn de Worde moved from Westminster to the 'Sunne' +in Fleet Street. His business had probably outgrown the limited +accommodation of the 'Red Pale,' and the change brought him nearer the +heart of the bookselling trade then, and for many years after, seated in +St. Paul's Churchyard and Fleet Street. He carried with him the black +letter type with which he had printed the <i>Liber Festivalis</i> in 1496, +and continued to use it until 1508 or 1509, when he seems to have sold +it to a printer in York, Hugo Goes. He brought with him also the +scholastic type in use in 1499.</p> + +<p>Besides these, we find, <i>e.g.</i> in the 1512 reprint of the <i>Golden +Legend</i>, two other founts of black letter. The larger of the two seems +to have been introduced about 1503, to print a Sarum <i>Horæ</i>. The smaller +fount came into use a few years later. It was somewhat larger, less +angular, and much more English in character, than that which the<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> +printer had brought with him from Westminster. The bulk of Wynkyn de +Worde's books to the day of his death were printed with these types. +They were, doubtless, recast from time to time, but a close examination +fails to detect any difference in size or form during the whole period.</p> + +<p>De Worde first began to use Roman type in 1520 for his scholastic books, +but he does not seem ever to have made any general use of it, remaining +faithful to English black letter to the end of his days. The only +exceptions are the educational books, which he invariably printed, as in +fact did all the other printers of the period, in a miniature fount of +gothic of a kind very popular on the Continent in the fifteenth and +sixteenth centuries, being used by the French and Italian printers as +well as those of the Low Countries. De Worde's, however, was an +exceptionally small fount. Those most generally in use averaged eight +full lines of a quarto page, set close, to the inch, whereas De Worde's +averaged nine lines to the inch. But in 1513 he procured another fount +of this type, in which he printed the <i>Flowers of Ovid</i>, quarto, and in +this the letters are of English character, as may be seen particularly +in the lowercase 'h.' This fount, which was slightly larger, averaging +only eight lines to the inch, he does not seem to have used very +frequently. As Julian Notary printed the <i>Sermones Discipuli</i> in 1510, +in the same type, it may have<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> been lent by one printer to the other. In +or about 1533 De Worde introduced the italic letter into some of his +scholastic books, and in Colet's <i>Grammar</i>, which was amongst the last +books he printed, we find it in combination with English black letter, +the small 'grammar type,' and Roman.</p> + +<p>In these various types, between the beginning of the century and his +death in 1534, Wynkyn de Worde printed upwards of five hundred books +which have come down to us, complete or in fragments. Thanks to the +indefatigable energy of Mr. Gordon Duff, we possess now a very full +record of his books, enabling us not only to estimate his merit as a +printer, but to see at a glance how consistently as a publisher he +maintained the entirely popular character which Caxton had given to his +press.</p> + +<p>As regards books which required a considerable outlay, he was far less +adventurous than Caxton, his large folios being confined almost entirely +to those in which his master had led the way, such as the <i>Golden +Legend</i>, of which he issued several editions, the <i>Speculum Vitæ +Christi</i>, the <i>Morte d'Arthur</i>, <i>Canterbury Tales</i>, <i>Polychronicon</i>, and +<i>Chronicles of England</i>. The <i>Vitas Patrum</i> of 1495 he could hardly help +printing, as Caxton had laboured on its translation in the last year of +his life, and it may have been respect for Caxton also which led to the<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> +publication of his finest book, the really splendid edition of +Bartholomæus' <i>De Proprietatibus Rerum</i>, issued towards the close of the +fifteenth century, from the colophon of which I have already quoted the +lines referring to Caxton's having worked at a Latin edition of it at +Cologne. The <i>Book of St. Albans</i> was another reprint to which the +probable connection of the Westminster and St. Albans presses gave a +Caxton flavour; and when we have enumerated these and the <i>Dives and +Pauper</i>, produced apparently out of rivalry with Pynson in 1496, and a +few devotional books such as the <i>Orcharde of Syon</i> and the <i>Flour of +the Commandments of God</i>, to which this form was given, very few Wynkyn +de Worde folios remain unmentioned.</p> + +<p>But to one book in folio, Wynkyn de Worde printed some five-and-twenty +in quarto, eschewing as a rule smaller forms, though now and again we +find a <i>Horæ</i>, or a <i>Manipulus Curatorum</i>, or a <i>Book of Good Manners +for Children</i> in eights or twelves.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> + +<p>He was in fact a popular printer who issued small works in a cheap form, +and without, it must be added, greatly concerning himself as to their +appearance. Popular books of devotion or of a moral character figure +most largely among the<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> books he printed; but students of our older +literature owe him gratitude for having preserved in their later forms +many old romances, and also a few plays, and he published every class of +book, including many educational works, for which a ready sale was +assured. The majority of these books were illustrated, if only with a +cut on the title-page of a schoolmaster with a birch-rod, or a knight on +horseback who did duty for many heroes in succession. When the +illustrations were more profuse, they were too often produced from worn +blocks, purchased from French publishers, or rudely copied from French +originals, and used again and again without a thought as to their +relevance to the text. It must also be owned that many of Wynkyn de +Worde's cheap books are badly set up and badly printed, and that +altogether his reputation stands rather higher than his work as a +printer really deserves. But he printed some fine books, and rescued +many popular works from destruction, and we need not grudge him the +honour he has received—an honour amply witnessed by the high prices +fetched by books from his press whenever they come into the market.</p> + +<div class="figcenter"> + <img src="images/15.jpg" + alt="De Worde's 'Sagittarius' Device." + title="De Worde's 'Sagittarius' Device." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 9.—De Worde's 'Sagittarius' Device.</span> +</div> + +<p>There was no originality about Wynkyn de Worde's devices, of which he +used no fewer than sixteen different varieties. The most familiar, as it +was the earliest of these, was Caxton's, and next to this must be placed +what is<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> usually described as the Sagittarius device. There were two +forms of this, a square and an oblong. It consisted of three divisions, +the upper part containing the sun and stars, the centre, the Caxton +device, and the lower part, a ribbon with his name, with a dog on one +side and<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> an archer on the other. There are three distinct stages of +this device, that used between 1506-1518 being replaced in 1519, and +again in 1528. This last is distinguished by having only ten small stars +to the left of the sun and ten to the right, whereas the two preceding +had eleven stars to the left of the sun and nine to the right. The +oblong block had the moon added in the top compartment, and in the +bottom division the sagittarius and dog are reversed. This block +continued in use from 1507 to 1529, and the stages in its dilapidation +are useful in dating the books in which it occurs. Besides these, and +some smaller forms, Wynkyn de Worde used a large architectural device, +sometimes enclosed with a border of four pieces, the upper and lower of +which seem to have afterwards come into the possession of John Skot.</p> + +<p>Wynkyn de Worde died in 1534, his will being proved on the 19th January +1535. His executors were John Byddell, who succeeded to his business, +and James Gaver, while three other London stationers, Henry Pepwell, +John Gough, and Robert Copland were made overseers of it, and received +legacies.</p> + +<p>Julian Notary remained at Westminster two years after the departure of +Wynkyn de Worde, when he too flitted eastwards, settling at the sign of +the Three Kings without Temple Bar, probably to be nearer De Worde. He +combined with his<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> trade of printer that of bookbinder, and probably +bound as well as printed many books for Wynkyn de Worde. His printing +lay principally in the direction of service books for the church, but he +printed both the <i>Golden Legend</i> and the <i>Chronicle of England</i> in +folio, one or two lives of saints, and a few small tracts of lighter +vein, such as 'How John Splynter made his testament,' and 'How a +serjeaunt wolde lerne to be a frere,' both in quarto without date.</p> + +<p>In the <i>Golden Legend</i> of 1503 and the <i>Chronicles of England</i> of 1515, +the black letter type used was identical in character with that of +Wynkyn de Worde.</p> + +<p>No book is found printed by Notary between the years 1510 and 1515. In +the former year he appears to have had a house in St. Paul's Churchyard, +as well as the Three Kings without Temple Bar. In 1515 he speaks only of +the sign of St. Mark in St. Paul's Churchyard, and three years later +this is altered to the sign of the Three Kings. It is just conceivable +that this last was a misprint, or that the St. Mark was a temporary +office used only while the Three Kings was under repair.</p> + +<p>In 1507 Notary exchanged the simple merchant's mark that had hitherto +served him as a device for one of a more elaborate character. This took +the form of a helmet over a shield with his mark upon it, with +decorative border, and<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> below all his name. From this a still larger +block was made in the same year, and this was strongly French in +character. It showed the smaller block affixed to a tree with bird and +flowers all round it, and two fabulous creatures on either side of the +base. The initials 'J. N.' are seen at the top. This he sometimes used +as a frontispiece, substituting for the centre piece a block of a +different character.</p> + +<p>Richard Pynson also changed his address shortly after Wynkyn de Worde, +moving from outside Temple Bar to the George in Fleet Street, next to +St. Dunstan's Church. He also appears to have entirely given up the use +of Gothic type in favour of English black letter about this time. It is +not easy to form a conjecture as to the motive which led to the +abandonment of this type, and it is impossible to regard the step +without regret. Even in its rudest forms it was a striking type; in the +hands of a man like Pynson it was far more effective than the black +letter which took its place. With regard to this latter, there seems +reason to believe, from the great similarity both in size and form of +the fount in use by De Worde, Notary, and Pynson at this time, that it +was obtained by all the printers from one common foundry. Nor is it only +the letters which lead to this conclusion, but the common use of the +same ornaments points in the same direction. The only difference between +the black letter in use by<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> Pynson in the first years of the sixteenth +century and that of his contemporaries, is the occurrence of a lower +case 'w' of a different fount.</p> + +<p>In 1509 Pynson is believed to have introduced Roman type into England, +using it with his scholastic type to print the <i>Sermo Fratris Hieronymi +de Ferraria</i>. In the same year he also issued a very fine edition of +Alexander Barclay's translation of Brandt's <i>Shyp of Folys of the +Worlde</i>. In this, the Latin original and the English translation are set +side by side. The book was printed in folio in two founts, one of Roman +and one of black letter. It was profusely illustrated with woodcuts +copied from those in the German edition.</p> + +<p>About 1510 Pynson became the royal printer in the place of W. Faques, +and continued to hold the post until his death. At first he received a +salary of 40s. per annum (<i>see</i> L. and P. H. 8, vol. 1, p. 364), but +this was afterwards increased to £4 per annum (L. and P. H. 8, vol. 2, +p. 875). In this capacity he printed numbers of Proclamations, numerous +Year-books, and all the Statutes, and received large sums of money. In +1513 he printed <i>The Sege and Dystrucyon of Troye</i>, of which several +copies (some of them on vellum) are still in existence. Other books of +which he printed copies on vellum are the <i>Sarum Missal</i> of 1520, and +<i>Assertio Septem Sacramentorum</i> of 1521.<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> + +<p>Besides these and his official work, Pynson printed numbers of useful +books in all classes of literature. The works of Chaucer and Skelton and +Lydgate, the history of Froissart and the Chronicle of St. Albans; books +such as <i>Æsop's Fables</i> and <i>Reynard the Fox</i>, romances such as <i>Sir +Bevis of Hampton</i> are scattered freely amongst works of a more learned +character. On the whole he deserves a much higher place than De Worde. +It is rare, indeed, to find a carelessly printed book of Pynson's, +whilst such books as the Boccaccio of 1494, the Missal printed in 1500 +at the expense of Cardinal Morton, and known as the Morton Missal, and +the <i>Intrationum excellentissimus liber</i> of 1510 are certainly the +finest specimens of typographical art which had been produced in this +country.</p> + +<div class="figcenter"> + <img src="images/16.jpg" + alt="Richard Pynson's Device." + title="Richard Pynson's Device." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 10.—Richard Pynson's Device.</span> +</div> + +<p>Pynson's earliest device, as Mr. Duff has noted, resembled in many ways +that of Le Talleur, and consisted of his initials cut on wood. In 1496 +he used two new forms. One shows his mark upon a shield surmounted by a +helmet with a bird above it. Beneath is his name upon a ribbon, and the +whole is enclosed in a border of animals, birds, and flowers. The other +was a metal block of much the same character, having the shield with his +mark, and as supporters two naked figures. The border, which was +separate and in one piece, had crowned figures in it and a ribbon. The +bottom portion of this border began<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> to give way about 1500, was very +much out of shape in 1503, and finally broke entirely in 1513. This +border was sometimes placed the wrong way up, as in the British Museum +copy of <i>Mandeville's<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> Ways to Jerusalem</i> (G. 6713). It was succeeded by +a woodcut block of a much larger form, which may be seen in the +<i>Mirroure of Good Manners</i> (s.a., fol.). The block itself measures +5-5/8'' x 3-5/8'' and has no border. The initials print black on a white +ground. The figures supporting the shield have a much better pose, and +those of the king and queen differ materially. The bird on the shield is +much larger, and is more like a stork or heron.</p> + +<p>Pynson died in the year 1529, while passing through the press +<i>L'Esclarcissement de la Langue Francoyse</i>, which was finished by his +executor John Hawkins, of whom nothing else is definitely known.</p> + +<p>Whilst these three printers had been at work, many other stationers, +booksellers, and printers had settled in London. They seem to have +favoured St. Paul's Churchyard and Fleet Street; but they were also +scattered over various parts of the city and outlying districts, even as +far west as the suburb of Charing.</p> + +<p>In 1518, Henry Pepwell settled at the sign of the Trinity in St. Paul's +Churchyard, and used the device previously belonging to Jacobi and +Pelgrim, two stationers who imported books printed by Wolfgang and +Hopyl. His books fall into two classes—those printed between 1518-1523, +and those between 1531-1539. The first were printed entirely in a +black-letter fount<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> that appears to have belonged to Pynson. The second +series were printed entirely in Roman letter. A copy of his earliest +book, the <i>Castle of Pleasure</i>, 4to, 1518, is in the British Museum, as +well as the <i>Dietary of Ghostly Helthe</i>, 4to, 1521; <i>Exornatorium +Curatorum</i>, 4to, n.d.; Du Castel's <i>Citye of Ladyes</i>, 4to, 1521. His +edition of <i>Christiani hominis Institutum</i>, 4to, 1520, is only known +from a fragment in the Bodleian. Several books have been ascribed +wrongly to this printer (Duff, <i>Bibliographica</i>, vol. i. pp. 93, 175, +499).</p> + +<div class="figcenter"> + <img src="images/17.jpg" + alt="William Faques' Device." + title="William Faques' Device." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 11.—William Faques' Device.</span> +</div> + +<p>In the year 1504, a printer named William Faques had settled in Abchurch +Lane. He was a Norman by birth, and Ames suggested that he learnt his +art with John Le Bourgeois at Rouen, but this is unconfirmed. He styled +himself the king's printer. Of his books only some eight are in +existence, three with the date 1504, and the remainder undated. His +workmanship was excellent. The <i>Psalterium</i> which he printed in octavo +was in a large well cut English black letter, and each page was +surrounded by a chain border. The Statutes of Henry <span class="smcap lowercase">VII</span>. are also in the +same type with the same ornament, but the <i>Omelia Origenis</i>, one of the +undated books, is in the small foreign letter so much in vogue with the +printers of this time. His device has the double merit of beauty and +originality. It consisted of two triangles intersected with his +initials<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> in the centre and the word 'Guillam' beneath. His subsequent +career is totally unknown, but his type, ornaments, etc., passed into +the hands of Richard Fawkes or Faques, who printed at the sign of the +Maiden's Head, in St. Paul's Churchyard, in the year 1509, Guillame de +Saliceto's <i>Salus corporis Salus anime</i>, in folio. Not only is the type +used in this identical with that in the <i>Psalterium</i> of William Faques, +but the chain ornament is also found in it. After this we find no other +dated book by Richard Faques until 1523, when he printed Skelton's +<i>Goodly Garland</i> in quarto, in three founts of black letter, and a fount +of Roman, and a great primer for titles. Amongst his undated works is a +copy of the <i>Liber Festivalis</i>, believed<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> to have been printed in 1510, +and an <i>Horœ ad usum Sarum</i> printed for him in Paris by J. Bignon. +During the interval he had moved from the Maiden's Head in St. Paul's +Churchyard to another house in the same locality, with the sign of the +A. B. C, and he also had a second printing office in Durham Rents, +without<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> Temple Bar, that is in some house adjacent to Durham House in +the Strand. The earliest extant printed ballad was issued by Richard +Faques, the <i>Ballad of the Scottish King</i>, of which the only known copy +is in the British Museum, and amongst his undated books is one which he +printed for Robert Wyer, the Charing Cross printer, under the title of +<i>De Cursione Lunæ</i>. It was printed with the Gothic type, and the blocks +were supplied by Wyer. Richard Faques' device was a copy of that of the +Paris bookseller Thielmann Kerver, with an arrow substituted for the +tree, and the design on the shield altered. The custom of adapting other +men's devices was very common, and is one of the many evidences of +dearth of originality on the part of the early English printers.</p> + +<div class="figcenter"> + <img src="images/18.jpg" + alt="Richard Faques' Device." + title="Richard Faques' Device." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 12.—Richard Faques' Device.</span> +</div> + +<p>The latest date found in the books of this printer is 1530.</p> + +<p>Another prominent figure in the early years of the sixteenth century was +that of Robert Copland. He was a man of considerable ability, a good +French scholar, and a writer of mediocre verse. Apart from this, he was +also, in the truest sense of the word, a book lover, and used his +influence to produce books that were likely to be useful, or such as +were worth reading. In the prologue to the <i>Kalendar of Shepherdes</i>, +which Wynkyn de Worde printed in 1508, he described himself as servant +to that printer. This has been<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> taken to mean that he was one of De +Worde's apprentices. But in 1514, if not earlier, he had started in +business for himself as a stationer and printer, at the sign of the Rose +Garland in Fleet Street. Very few of the books that he printed now +exist, and this, taken in conjunction with the fact that he translated +and wrote prologues for so many books printed by De Worde, has led all +writers upon early English printing to conclude that he was an odd man +about De Worde's office, and that he was in fact subsidised by that +printer.<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> There is evidence, however, that many of the books printed by +De Worde, that have prologues by Robert Copland, were first printed by +him, and that in others he had a share in the copies.</p> + +<div class="figcenter"> + <img src="images/19.jpg" + alt="Robert Copland's Device." + title="Robert Copland's Device." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 13.—Robert Copland's Device.</span> +</div> + +<p>In the British Museum copy of the <i>Dyeynge Creature</i>, printed by De +Worde in 1514, it is noticeable that on the last leaf is the mark or +device of Robert Copland, not that of the printer, while in the copy now +in the University Library, Cambridge, De Worde's device is on the last +leaf.</p> + +<p>This would appear to indicate that both printers were associated in the +venture, though the work actually passed through De Worde's press, and +that those copies which Copland took and paid for were distinguished by +his device. Again, in several of these books, found with De Worde's +colophons, Copland speaks of himself as the 'printer,' or 'the buke +printer,' and the inference is that they were reprints of books which +Copland had previously printed. Indeed in one instance the evidence is +still stronger. In 1518, Henry Pepwell printed at the sign of the +Trinity the <i>Castell of Pleasure</i>. The prologue to this takes the form +of a dialogue in verse between Copland and the author, of which the +following lines are the most important:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Emprynt this boke, Copland, at my request<br /></span> +<span class="i0">And put it forth to every maner state.'<br /></span> +</div></div> + +<p><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span>To which Copland replies:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'At your instaunce I shall it gladly impresse<br /></span> +<span class="i0">But the utterance, I thynke, will be but small<br /></span> +<span class="i0">Bokes be not set by: there tymes is past, I gesse;<br /></span> +<span class="i0">The dyse and cardes, in drynkynge wyne and ale,<br /></span> +<span class="i0">Tables, cayles, and balles, they be now sette a sale<br /></span> +<span class="i0">Men lete theyr chyldren use all such harlotry<br /></span> +<span class="i0">That byenge of bokes they utterly deny.'<br /></span> +</div></div> + +<p>If this means anything, it is impossible to avoid the inference that +Robert Copland printed the first edition of this book. Amongst others +that he was in some way interested in may be noticed a curious book by +Alexander Barclay, <i>Of the Introductory to write French</i>, fol., 1521, of +which there is a copy in the Bodleian; <i>The Mirrour of the Church</i>, 4to, +1521, a devotional work, printed by Wynkyn de Worde, with a variety of +curious woodcuts; the <i>Rutter of the Sea</i>, the first English book on +navigation, translated from <i>Le Grande Routier</i> of Pierre Garcie; +Chaucer's <i>Assemble of Foules</i> and the <i>Questionary of Cyrurgyens</i>, +printed by Robert Wyer in 1541.</p> + +<p>Copland was also the author, and without doubt the printer, of two +humorous poems that are amongst the earliest known specimens of this +kind of writing. The one called <i>The Hye Way to the Spyttell hous</i> took +the form of a dialogue between Copland and the porter of St. +Bartholomew's, and turns upon the various kinds of beggars and +impostors, with a running com<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>mentary upon the vices and follies that +bring men to poverty. <i>Iyll of Brentford</i>, the second of these +compositions, is a somewhat different production. It recounts the +legacies left by a certain lady, but the humour, though to the taste of +the times, was excessively broad.</p> + +<p>In 1542 Dr. Andrew Borde spoke of his <i>Introduction of Knowledge</i> as +printing at 'old Robert Copland's, the eldest printer in England.' +Whether he meant the oldest in point of age or in his craft is not +clear; but it may well be that, seeing that De Worde, Pynson, and the +two Faques were dead, this printing house was the oldest then in London.</p> + +<p>John Rastell also began to print about the year 1514. He is believed to +have been educated at Oxford, and was trained for the law. In addition +to his legal business, he translated and compiled many law-books, the +most notable being the <i>Great Abridgement of the Statutes</i>. This book he +printed himself, and it is certainly one of the finest examples of +sixteenth century printing to be found. The work was divided into three +parts, each of which consisted of more than two hundred large folio +pages. When it is remembered that the method of printing books at this +period was slow, at the most only two folio pages being printed at a +pull, the time and capital employed upon the production of this book +must have been very great. The type was<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> the small secretary in use at +Rouen, and it is just possible the book was printed there and not in +England.</p> + +<p>John Rastell's first printing office in London was on the south side of +St. Paul's Churchyard. Williarn Bonham, the stationer with whom Rastell +was afterwards associated, had some premises there, and as late as the +seventeenth century there was a house in Sermon Lane, known as the +Mermaid, and it may be that in one or other of these Rastell printed the +undated edition of Linacre's <i>Grammar</i>, which bears the address, 'ye +sowth side of paulys.' But in 1520 he moved to 'the Mermayd at Powlys +gate next to chepe syde.' There he printed <i>The Pastyme of People</i>, and +Sir Thomas More's <i>Supplicacyon of Souls</i>, besides several interludes +and two remarkable jest-books, <i>The Twelve mery gestys of one called +Edith</i> and <i>A Hundred Mery Talys</i>. The last named became one of the most +popular books of the time, but only one perfect copy of it is now known, +and that, alas! is not in this country. Rastell was brother-in-law of +Sir Thomas More, and up to the year 1530 a zealous Roman Catholic. So +strong were his religious opinions that in that year he wrote and +printed a defence of the Roman Catholic doctrine of Purgatory, under the +title of the <i>New Boke of Purgatory</i>. This was answered by John Frith, +the Reformer, who is credited with having achieved<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> John Rastell's +conversion. By whatever means the change was brought about, John Rastell +did soon afterwards become a Protestant; but the change in his belief +made him many enemies. He was arrested for his opinions, and if he did +not die in prison, he was in prison just before his death, which took +place in 1536. During the last sixteen years of his life he does not +appear to have paid much attention to his business. A document now in +the Record Office shows that he was in the habit of locking up his +printing office in Cheapside, and going down into the country for months +at a time. But a part of the premises he sublet, and this was occupied +for various periods by several stationers—William Bonham, Thomas Kele, +John Heron, and John Gough, being particularly named. Like all his +predecessors, he dropped the use of the secretary type in favour of +black letter, and his books, as specimens of printing, greatly +deteriorated. Dibdin, in his reprint of <i>The Pastyme of the People</i>, was +very severe upon the careless printing of the original, but it is more +than likely that it was the work of one of Rastell's apprentices, rather +than his own. Amongst those whom he employed we find the names of +William Mayhewes, of whom nothing is known; Leonard Andrewe, who may +have been a relative of Laurence Andrewe, another English printer; and +one Guerin, a Norman.<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span></p> + +<p>John Rastell left two sons, William and John. The former became a +printer during his father's lifetime and succeeded him in business, but +his work lies outside the scope of the present chapter. The same remark +applies to William Bonham.</p> + +<p>John Gough began his career as a bookseller in Fleet Street in 1526. In +1528 he was suspected of dealing in prohibited books (see <i>Letters and +Papers of Henry VIII.</i>, vol. iv. pt. ii. art. 4004), but managed to +clear himself. In 1532 he moved to the 'Mermaid' in Cheapside, and in +the same year Wynkyn de Worde printed two books for him concerning the +coronation of Anne Boleyn. In 1536, whilst still living there, he issued +a very creditable Salisbury <i>Primer</i>. He calls himself the printer of +this, but it is extremely doubtful if this can be taken to mean anything +more than that he found the capital, and, perhaps, the material with +which it was printed. Wynkyn de Worde appointed John Gough one of the +overseers of his will. Of his subsequent career more will be said at a +later period.</p> + +<p>Another of the printers who worked for Wynkyn de Worde during the latter +part of his life was John Skot. In 1521, when we first meet with him, he +was living in St. Sepulchre's parish, without Newgate. In that year he +printed the <i>Body of Policie</i> and the <i>Justyces of Peas</i>, and in 1522 +<i>The Myrrour of Gold</i>; amongst his<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> undated books are, <i>Jacob and his +xii sons</i>, <i>Carta Feodi simplicis</i>, and the <i>Book of Maid Emlyn</i>, all +these being in quarto. His next dated book appeared in 1528, with the +colophon 'in Paule's Churchyard,' and here he appears to have remained +for some years. He is next found in Fauster Lane, St. Leonard's parish, +where he printed, amongst other books, the ballad of <i>The Nut Browne +Maid</i>. He also appears to have been at George Alley Gate, St. Botolph's +parish, where he printed, but without date, Stanbridge's <i>Accidence</i>. +His devices were three in number, and several of his border pieces were +obtained from Wynkyn de Worde.</p> + +<p>Richard Bankes began business at the long shop in the Poultry, next to +St. Mildred's church, and six doors from the Stockes or Stocks Market, +which at that time stood on the present site of the Mansion House. In +1523 he printed a very curious tract with the following title:—</p> + +<p>'Here begynneth a lytell newe treatyse or mater intytuled and called The +ix. Drunkardes, which tratythe of dyuerse and goodly storyes ryght +plesaunte and frutefull for all parsones to pastyme with.'</p> + +<p>It was printed in octavo, black letter, and the only known copy is in +the Douce collection at the Bodleian. Another equally rare piece of +Bankes' printing was the old English romance<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> of <i>Sir Eglamour</i>, known +only by a fragment of four leaves in the possession of Mr. Jenkinson of +the University Library, Cambridge. This was also somewhat roughly +printed in black letter. In 1525 he printed a medical tract called the +<i>Seynge of Uryns</i>, in quarto, and three years later was associated with +Robert Copland in the production of the <i>Rutter of the Sea</i>. He also +issued from this address <i>A Herball</i>, and another popular medical work +called the <i>Treasure of Pore Men</i>. Bankes is, however, best known as the +printer of the works of Richard Taverner, the Reformer, but this was +later, and will be noticed when we come to them.</p> + +<p>Peter Treveris, or Peter of Treves, was working at the sign of the +Wodows, in Southwark, between the years 1521 and 1533. He used as his +device the 'wild men,' first seen in the device of the Paris printer, P. +Pigouchet. The fact of his printing the <i>Opusculum Insolubilium</i>, to be +sold at Oxford 'apud J. T.', that is probably for John Thome the +bookseller, points to his being at work about the year 1520. In 1521 he +is believed to have issued an edition of Arnold's <i>Chronicles</i>, +translated by Laurence Andrewe. Two other books of his printing were the +<i>Handy Worke of Surgery</i>, in folio, 1525, a book notable for the many +anatomical diagrams with which it was illustrated, and as a companion to +that work, <i>The Great Herball</i> Treveris also shared with<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> Wynkyn de +Worde most of the printing of Richard Whittington's scholastic works, +all in quarto, and mostly without date.</p> + +<p>Laurence Andrewe, who lived for some years at Calais, translated one or +more books for John van Doesborch, the Antwerp printer, set up a press +in London about 1527, and printed a second edition of the <i>Handy Worke +of Surgery</i>, above noticed, a tract called <i>The Debate and Strife +betwene Somer and Winter</i>, to be sold by Robert Wyer at Charing Cross; +<i>The destillacyon of Waters</i>, in 1527; and a reprint of Caxton's edition +of the <i>Mirroure of the Worlde</i>, in folios, 1527. His printing calls for +no special notice, but Mr. Proctor, in his monograph on <i>Doesborgh</i>, +surmises that he learnt his art in an English printing house rather than +abroad, and the presence of a Leonarde Andrewe in the service of John +Rastell may mean that the two men were related and were both pupils of +the same master.</p> + +<p>Turning now westwards, we find 'in the Bishop of Norwiche's Rentes in +the felde besyde Charynge Cross,' that is near the present Villier +Street, a printer named Robert Wyer, the sign of whose house was that of +St. John the Evangelist. There are several early references to the house +as that of a bookseller's, but without any name mentioned. For instance, +Richard Pynson printed, without date, an edition of the curious tract of +<i>Solomon and Marcolphus</i>, to be sold at<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> the sign of St. John the +Evangelist beside Charing Cross; the <i>Debate between Somer and Winter</i>, +printed by Laurence Andrewe, has the same colophon, and the <i>De Cursione +Lune</i>, from the press of Richard Faques, has the same words, but not +Wyer's name. His first dated book was the <i>Golden Pystle</i>, printed in +1531. It was printed in a small secretary of Parisian character. His +great primer, for which he has been especially noted by some +bibliographers, was very probably that used by Richard Faques. He had +also a number of woodcut face initials similar to those used by Wynkyn +de Worde, and many of the small blocks found in his books were copies of +those belonging to Antoine Verard, the famous Paris publisher.</p> + +<div class="figcenter"> + <img src="images/20.jpg" + alt="Robert Wyer's Device." + title="Robert Wyer's Device." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 14.—Robert Wyer's Device.</span> +</div> + +<p>Robert Wyer was essentially a popular printer. Many of his publications +were mere tracts of a few leaves, abridgments of larger works, and the +subjects which they chiefly treated were theology and medicine. +Unfortunately, the great bulk of his work bears no date, but several +circumstances in his career, coupled with internal evidence gathered +from the books themselves, enable us to get very near their date of +issue. Like his contemporaries he abandoned the secretary type in favour +of black letter, but neither so readily nor so entirely as they did. His +first black letter, in use before 1536, was also a very well cut and +beautiful letter; with it he<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> printed the <i>Epistle</i> of Erasmus, in +octavo, and the <i>Book of Good Works</i>, of which the only copy known is in +the library of St. John's College, Oxford. But unquestionably the two +most important books known of this printer are William Marshall's +<i>Defence of Peace</i>, folio, 1535, printed in secretary, and the +<i>Questionary of Cyrurgyens</i>, which he printed for Henry Dabbe and R. +Bankes. In 1536 the house in which he was working changed hands, passing +into the pos<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span>session of the Duke of Suffolk, consequently all books +which have in the colophon 'in the Duke of Suffolkes Rentes,' or 'Beside +the Duke of Suffolkes Place,' were printed after that year. As Wyer +continued to print until 1555, this circumstance does not help us much; +it may, however, be taken as some further guide that all his later work +was done in black letter.</p> + +<p>Robert Wyer appears to have done a great deal of work for his +contemporaries, notably Richard Bankes, Richard Kele, and John Gough.</p> + +<p>Most of his books have woodcuts, the most profusely illustrated was his +translation of Christine de Pisan's <i>Hundred Histories of Troy</i>. This +book had been printed in Paris by Pigouchet, and the illustrations in +Wyer's edition are rude copies of those in the French edition. They are, +without doubt, wretched specimens of the woodcutter's art; but in this +respect they are no worse than the woodcuts found in other English books +at this date, and the number and variety of them speak well for the +printer's patience. Robert Wyer's device represented the Evangelist on +the Island of Patmos, with an eagle on his right hand holding an +inkhorn. With this he used a separate block with his name and mark. He +had also a smaller block of the Evangelist from which the eagle was +omitted. This is generally found on the title-page or in the front part +of his books.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> +<h2>CHAPTER III</h2> + +<h3>THOMAS BERTHELET TO JOHN DAY</h3> + +<div class="figleft"> + <img src="images/21.jpg" + alt="O" + title="O" /> +</div> + +<p>n the death of Pynson, in 1529, the office of royal printer was +conferred upon Thomas Berthelet, who was in business at the sign of the +Lucretia Romana in Fleet Street. Herbert gives the first book from his +press as an edition of the Statutes, printed in 1529; but there is some +evidence that he was at work two or three years, and perhaps more, +before this. Among the writings of Robert Copland, the printer-author, +was a humorous tract entitled <i>The Seuen sorowes that women have when +theyr husbandes be dead</i> (British Museum, C. 20, c. 42 (5)), which has +at the end this curious passage:—</p> + +<div class="poem"><div class="stanza"> +<span class="i6">'Go lytle quayr, god gyve the wel to sayle<br /></span> +<span class="i6">To that good sheppe, ycleped Bertelet.<br /></span> +</div><div class="stanza"> +<span class="i6">* * * * * *<br /></span> +</div><div class="stanza"> +<span class="i6">And from all nacyons, if that it be thy lot<br /></span> +<span class="i6">Lest thou be hurt, medle not with a Scot.'<br /></span> +</div></div> + +<p>This is, without doubt, an allusion to the two London printers, Thomas +Berthelet and John<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> Skot; and certain references in the prologue seem to +point to the printing of the first edition of the <i>Seuen Sorowes</i>, as a +year or two earlier than the date given by Herbert.</p> + +<div class="figcenter"> + <img src="images/22.jpg" + alt="Thomas Berthelet's Device." + title="Thomas Berthelet's Device." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 15.—Thomas Berthelet's Device.</span> +</div> + +<p><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span>There also seems to be conclusive evidence that Berthelet, or, as he was +sometimes called, Bartlett, was a native of Wales. He certainly held +land in the county of Hereford, and he was succeeded in business by a +nephew, Thomas Powell, a Welshman. Berthelet was one of the few English +printers of that period whose work is worth looking at. He had a varied +assortment of types, all of them good, and his workmanship was as a rule +excellent; and as very few of his books are illustrated, we may infer +that he was loth to spoil a good book with the rough and often unsightly +woodcuts of that time.</p> + +<p>Berthelet was also a bookbinder and bookseller, and some of his fine +bindings for Henry <span class="smcap lowercase">VIII.</span> and his successors are still to be seen. He was +apparently the first English binder to use gold tooling.</p> + +<p>Of his official work very little need be said. It consisted in printing +all Acts of Parliament, proclamations, injunctions, and other official +documents. In the second volume of the <i>Transcript</i> (pp. 50-60), +Professor Arber has printed three of Berthelet's yearly accounts, in +which the titles of the various documents are given, with the number of +copies of each that were struck off, and the nature and cost of their +bindings.</p> + +<p>In the year 1530 the divorce of Queen Katherine and the King's marriage +to Anne Boleyn filled the public mind, and in connection<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> with this +event he printed, both in Latin and English, a small octavo, with the +title:</p> + +<p><i>The determinations of the moste famous and moofte excellent +Vniversities of Italy and France that it is so unlefull for a man to +marie his brother's wyfe that the Pope hath no power to despense +therewith.</i></p> + +<p>Berthelet, in 1531, printed Sir Thomas Elyot's <i>Boke named the +Governour</i>, an octavo, in a large Gothic type, very bold and clear. This +type, however, is seen to much better advantage in the folio edition of +Gower's <i>Confessio Amantis</i>, which came from this press in 1532. In this +instance the title-page is striking, the title being enclosed within a +panel which gives it the appearance of a book cover. The text of the +work was printed in double columns of forty-eight lines each.</p> + +<p>In 1533 Berthelet appears to have purchased a new fount of this type, +with which he printed Erasmus's <i>De Immensa Dei Misericordia</i>. If +possible this new letter was more beautiful than the other, the +lowercase 'h' finishing in a bold outward curve, which was absent in the +earlier fount. These founts of Gothic closely resemble some in use in +Italy at this time.</p> + +<p>To the year 1534 belongs St. Cyprian's <i>Sermon</i> on the mortality of man, +translated by Sir Thomas Elyot, as well as a second edition of <i>The Boke +named the Governour</i>.<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span></p> + +<p>Berthelet also brought into use during this year a woodcut border of an +architectural character, with the date 1534 cut upon it. It was used +only in octavo books, and he continued to use it for some years without +erasing the date, a fact that has led to much confusion in the +classification of his books.</p> + +<p>We meet with the large Gothic type again in 1535, in an edition of the +<i>De Proprietatibus Rerum</i> of Bartholomæus Anglicus, which Berthelet +printed in that year. But his most notable undertaking during the next +few years was the book for regulating and settling nice points of +religious belief, which had been compiled by the bishops, and was issued +under the King's authority, with the title:—</p> + +<p><i>The Institution of a Christian Man conteyninge the Exposition or +Interpretation of the commune Crede, of the Seven sacraments, of the X +commandments, and of the Pater Noster, and the Ave Maria, Justyfication +& Purgatory.</i></p> + +<p>When the book was finished, Latimer, then Bishop of Worcester, suggested +to Cromwell that the printing should be given to Thomas Gibson. But +Latimer's recommendation was overlooked, and the work was given to +Berthelet. It would be interesting to know how many copies of the first +edition of this book he printed. It was issued both in quarto and octavo +form, the quarto printed in a very beautiful fount of English black<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> +letter, modelled on the lines of De Worde's founts. The opening lines of +the title were, however, printed in Roman of four founts, and the whole +page was enclosed within a woodcut border of children.</p> + +<p>The octavo editions of this notable book were printed in a smaller fount +of black letter, and the title-page was enclosed within the 1534 border. +Several editions were issued in 1537, and the book was afterwards +revised and reprinted under a new title.</p> + +<p>At the same time Berthelet was passing through the press Sir Thomas +Elyot's <i>Dictionary</i>, a work of no small labour, if one may judge from +the number of founts used in printing it. It was finished and issued in +1538.</p> + +<p>Berthelet, who, as befitted a royal printer, plainly took some pains to +keep himself clear of all controversies, did not stir in the matter of +Bible translation until the 1538 edition by Grafton and Whitchurch was +already in the market.</p> + +<p>In 1539, however, he published, but did not print, Taverner's edition of +the Bible, and in the following year an edition of Cranmer's Bible. That +of 1539 came from the press of John Byddell, and that of 1540 was +printed for him by Robert Redman and Thomas Petit.</p> + +<p>Among the Patent Rolls for the year 1543 (P. R. 36 Hen. 8. m. 12) is a +grant to Berthelet of certain crown lands in London and other parts of<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> +the country, in payment of a debt of £220. His office as royal printer +ceased upon the accession of Edward <span class="smcap lowercase">VI.</span>, and though many books are found +with the imprint, 'in aedibus Thomas Berthelet,' down to the time of his +death in 1556, he probably took very little active part in business +affairs after that time.</p> + +<p>Meanwhile Pynson's premises were taken by Robert Redman, who, from about +the year 1523, had been living just outside Temple Bar. No new facts +have come to light about Redman, and the reasons why he moved into +Pynson's house and continued to use his devices are as puzzling as ever. +He began as a printer of law books, and printed little else. In +conjunction with Petit he printed an edition of the Bible for Berthelet, +and among his other theological books was <i>A treatise concernynge the +division betwene the Spirytualtie and Temporaltie</i>, the date of which is +fixed by a note in the Letters and Papers of Henry <span class="smcap lowercase">VIII.</span> (vol. vi., p. +215), from which it appears that, in 1553, Redman entered into a bond of +500 marks not to sell this book or any other licensed by the King. +Redman was also the printer of Leonard Coxe's <i>Arte and Crafte of +Rhethoryke</i>, one of the earliest treatises on this subject published in +English. It has recently been republished by Professor Carpenter of +Chicago, with copious notes.</p> + +<p>Redman's work fell very much below that of<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> his predecessor. Much of his +type had been in use in Pynson's office for some years, and was badly +worn. He had, however, a good fount of Roman, seen in the <i>De Judiciis +et Praecognitionibus</i> of Edward Edguardus. The title of this book is +enclosed in a border, having at the top a dove, and at the bottom the +initials J. N.</p> + +<p>Redman's will was proved on the 4th November 1540. His widow, Elizabeth, +married again, but several books were printed with her name in the +interval. His son-in-law, Henry Smith, lived in St. Clement's parish +without Temple Bar, and printed law books in the years 1545 and 1546.</p> + +<p>Redman's successor at the George was William Middleton, who continued +the printing of law books, and brought out a folio edition of +Froissart's <i>Chronicles</i>, with Pynson's colophon and the date 1525, +which has led some to assume that this edition was printed by Pynson.</p> + +<p>Upon Middleton's death in 1547, his widow married William Powell, who +thereupon succeeded to the business.</p> + +<p>Among those for whom Wynkyn de Worde worked shortly before his death was +John Byddell, a stationer living at the sign of 'Our Lady of Pity,' next +Fleet Bridge, who for some reason spoke of himself under the name of +Salisbury. He used as his device a figure of Virtue, copied from one of +those in use by Jacques Sacon,<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> printer at Lyons between 1498 and 1522 +(see <i>Silvestre</i>, Nos. 548 and 912). The same design, only in a larger +form, was also in use in Italy at this time. In the collection of +title-pages in the British Museum (618, ll. 18, 19) is one enclosed +within a border found in books printed at Venice, on which the figure of +Virtue occurs. The only difference between it and the mark of Byddell +being that the two shields show the lion of St. Mark, and the whole +thing is much larger.</p> + +<p>Byddell had probably been established as a stationer some years before +the appearance of Erasmus's <i>Enchiridion Militis Christiani</i> from the +press of De Worde in 1533, with his name in the colophon. Another book +printed for him by De Worde, in the same year, was a quarto edition of +the <i>Life of Hyldebrand</i>. Both these works De Worde reprinted in 1534, +in addition to printing for him John Roberts' <i>A Mustre of scismatyke +Bysshoppes</i>. Byddell was appointed one of the executors to De Worde's +will, and very shortly after his death, <i>i.e.</i> in 1535, moved to De +Worde's premises, the 'Sun,' in Fleet Street.</p> + +<p>Most of Byddell's books were of a theological character. He printed a +quarto <i>Horae ad usum Sarum</i> in 1535, a small <i>Primer in English</i> in +1536, and a folio edition of Taverner's Bible in 1539 for Thomas +Berthelet.</p> + +<p>Among the miscellaneous books that came through his press, one or two +are especially<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> interesting. In 1538 we find him printing in quarto +Lindsay's <i>Complaynte and Testament of a Popinjay</i>, a work that had +first appeared in Scotland eight years before, and created considerable +stir. A quarto edition of William Turner's <i>Libellus de Re Herbaria</i> +bears the same date; while among the books of the year 1540 are +editions, in octavo, of <i>Tully's Offices</i> and <i>De Senectute</i>.</p> + +<p>The latest date found in any book of Byddell's printing is 1544, after +which Edward Whitchurch is found at the 'Sun,' in Fleet Street, whither +he moved after dissolving partnership with Richard Grafton.</p> + +<p>The early history of these two men has a powerful interest, not only for +students of early English printing, but for all English-speaking people. +To their enterprise and perseverance the nation was indebted for the +second English Bible.</p> + +<p>Some very interesting and highly valuable evidence respecting the +history of these men has been brought to light of recent years, perhaps +the most valuable being Mr. J. A. Kingdon's <i>Incidents in the Lives of +Thomas Poyntz and Richard Grafton</i>, privately printed in 1895.</p> + +<div class="figcenter"> + <img src="images/23.jpg" + alt="Richard Grafton's Device." + title="Richard Grafton's Device." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 16.—Richard Grafton's Device.</span> +</div> + +<p>From the affidavit of Emmanuel Demetrius [<i>i.e.</i> Van Meteren], +discovered in 1884 at the Dutch Church in Austin Friars,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> it seems +clear<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> that in 1535 Edward Whitchurch was working with Jacob van Metern +at Antwerp in printing Coverdale's translation of the Bible.</p> + +<p>Richard Grafton was the son of Nicholas Grafton of Shrewsbury. The first +record we have of him is his apprenticeship to John Blage, a grocer of +London, in 1526. He was admitted a freeman of the Company in 1534, and +at that time seems to have employed himself chiefly in furthering the +project of an English translation of the whole Bible. On the 13th August +1537, Grafton sent to Archbishop Cranmer a copy of the Bible printed +abroad. The text was a modification of Coverdale's translation +ostensibly by Thomas Mathew, but in reality by John Rogers the editor. +In 1538, Coverdale, Grafton, and Whitchurch were together in Paris, busy +upon a third edition of the Bible. In June of that year they sent two +specimens of the text to Cromwell, with a letter stating that they +followed the Hebrew text with Chaldee or Greek interpretations. The +printing was done at the press of Francis Regnault, but before many +sheets had been struck off, the University of Paris seized the press and +2000 copies of the printed sheets, while the promoters had to make a +hasty escape to this country. The presses and types were afterwards +bought by Cromwell, and the work was subsequently finished and published +in 1539. The work had an engraved title-page,<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> ascribed to Holbein, and +the price was fixed at ten shillings per copy unbound, and twelve +shillings bound.</p> + +<p>Before leaving Paris, Grafton and Whitchurch had issued an edition of +Coverdale's translation of the New Testament, giving as their reason +that James Nicholson of Southwark had printed a very imperfect version +of it.</p> + +<p>In 1540 Grafton and Whitchurch printed in 'the house late the graye +freers,' <i>The Prymer both in Englysshe and Latin</i>, to be sold at the +sign of the Bible in St. Paul's Churchyard. In the same year they +printed with a prologue by Cranmer, a second edition of the Great Bible, +half of which bore the name of Grafton and half of Whitchurch, and in +all probability the subsequent editions were published in the same way. +Two very good initial letters were used in the New Testament, and seem +to have been cut especially for Whitchurch. On the 28th January 1543-44 +Grafton and Whitchurch received an exclusive patent for printing church +service books (Rymer, <i>Fœdera</i>, xiv. 766), and a few years later they +are found with an exclusive right for printing primers in Latin and +English. Upon the accession of Edward <span class="smcap lowercase">VI</span>. Grafton became the royal +printer, but upon the king's death he printed the proclamation of Lady +Jane Grey, and was for that reason deprived of his office by Queen Mary. +The remainder of his life he spent in the com<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>pilation of English +<i>Chronicles</i> in keen rivalry with John Stow.</p> + +<p>Richard Grafton died in 1573. He was twice married. By his first wife, +Anne, daughter of —— Crome of Salisbury, he had four sons and one +daughter, Joan, who married Richard Tottell, the law printer. By his +second wife, Alice, he left one son, Nicholas.</p> + +<p>Grafton used as his device a tun with grafted fruit-tree growing through +it.</p> + +<p>Among the noted booksellers and printers in St. Paul's Churchyard at +this time must be mentioned William Bonham. As yet it is not clear +whether he belonged to the Essex family of that name, or to another +branch that is found in Kent.</p> + +<p>From a series of documents discovered at the Record Office relating to +John Rastell and his house called the Mermaid in Cheapside, it appears +that in the year 1520 William Bonham was working in London as a +bookseller, and on two different occasions was a sub-tenant of Rastell's +at the Mermaid. Yet not a single dated book with his name is found +before 1542, at which time he was living at the sign of the Red Lion in +St. Paul's Churchyard, and issued a folio edition of Fabyan's +<i>Chronicles</i>, besides having a share with his neighbour, Robert Toye, in +a folio edition of Chaucer. Even at this time William Bonham held some +sort of office in the Guild or Society of Stationers, for from a curious +letter<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> written by Abbot Stevenage to Cromwell in 1539, about a certain +book printed in St. Albans Abbey, he says he has sent the printer to +London with Harry Pepwell, Toy, and 'Bonere' (<i>Letters and Papers</i>, H. +8, vol. xiv. p. 2, No. 315), so that it would look as if they were +commissioned to hunt down popish heretical and seditious books. By the +marriage of his daughter, Joan, to William Norton, the bookseller, who +in turn named his son Bonham Norton, the history of the descendants of +William Bonham can be followed up for quite a century later.</p> + +<p>At the Long Shop in the Poultry we can see the press at work almost +without a break from the early years of the sixteenth century till the +close of the first quarter of the seventeenth. Upon the removal of +Richard Bankes into Fleet Street its next occupant seems to have been +one John Mychell, of whose work a solitary fragment, fortunately that +bearing the colophon, of an undated quarto edition of the <i>Life of St. +Margaret</i>, is now in the hands of Mr. F. Jenkinson of the University +Library, Cambridge. Whether this John Mychell is the same person as the +John Mychell found a few years later printing at Canterbury there is no +evidence to show. Nor do we know how long he occupied the Long Shop. In +1542 Richard Kele's name is found in a <i>Primer in Englysh</i>, which was +issued from this house. He may have been some relation<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> to the Thomas +Kele who, in 1526, had occupied John Rastell's house, the Mermaid, as +stated by Bonham in his evidence. During 1543, in company with Byddell, +Grafton, Middleton, Mayler, Petit, and Lant, Richard Kele was imprisoned +in the Poultry Compter for printing unlawful books (<i>Acts of Privy +Council</i>, New Series, vol. i. pp. 107, 117, 125). Most of the books that +bear his name came from the presses of William Seres, Robert Wyer, and +William Copland. Perhaps the most interesting of his publications next +to the edition of Chaucer, which he shared with Toye and Bonham, are the +series of poems by John Skelton, called <i>Why Come ye not to Courte?</i> +<i>Colin Clout</i>, and <i>The Boke of Phyllip Sparowe</i>. They were issued in +octavo form, and were evidently very hastily turned out from the press, +type, woodcuts, and workmanship being of the worst description. At the +end of <i>Colin Clout</i> is a woodcut of a figure at a desk, supposed to +represent the author, but it is doubtful whether it is anything more +than an old block with his name cut upon it.</p> + +<p>Looking back over the work done at this time, it is impossible to avoid +the conclusion that the art of printing in England had much deteriorated +since the days of Pynson, while the best of it, even that of Berthelet, +could not be compared with that of the continental presses of the same +period. There was an entire absence of origin<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span>ality among the English +printers. Types, woodcuts, initial letters, ornaments, and devices, were +obtained by the printers from abroad, and had seen some service before +their arrival in this country. But just at this time a printer came to +the front in this country, who for a few years placed the art on a +higher footing than any of his predecessors.</p> + + + +<hr style="width: 65%;" /> + +<div class="figcenter"> + <img src="images/24.jpg" + alt="John Day." + title="John Day." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 17.—John Day.</span> +</div> + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> +<h2>CHAPTER IV</h2> + +<h3>JOHN DAY</h3> + +<div class="figleft"> + <img src="images/25.jpg" + alt="J" + title="J" /> +</div> + +<p>ohn Day, one of the best and most enterprising of printers, was born in +the year 1522 at Dunwich, in Suffolk, a once flourishing town, now +buried beneath the sea.</p> + +<p>From the fact that Day was in possession of a device found in the books +of Thomas Gibson, the printer whom Latimer unsuccessfully recommended to +Cromwell, it has been supposed that it was from Gibson he learnt the +art. He may have done so; but whatever he learnt there or elsewhere, in +his 'prentice days, he later on threw aside, and by his own enterprise +and the excellence of his workmanship raised himself to the proud +position of the finest printer England had ever seen.</p> + +<p>In John Day's first books there was no sign of the skill he afterwards +manifested. These were published in conjunction with William Seres, of +whom we know little or nothing, outside his connection with Day. These +partners began work in the year 1546 at the sign of the<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> Resurrection on +Snow Hill, a little above Holborn Conduit, that is somewhere in the +neighbourhood of the present viaduct. They had also another shop in +Cheapside. Their first book, so far as we know, was Sir David Lindsay's +poem, '<i>The Tragical death, of David Beaton, Bishop of St. Andrews in +Scotland; Wherunto is joyned the martyrdom of maister G. Wyseharte ... +for whose sake the aforesayd bishoppe was not long after slayne</i>' (1546, +8vo).</p> + +<p>In the following year (1547) Day and Seres printed several other books +of a religious character, nearly all of them in octavo, including Cope's +<i>Godly Meditacion upon the psalms</i>, and Tyndale's <i>Parable of the Wicked +Mammon</i>.</p> + +<p>Their work in 1548 included a second edition of the <i>Consultation</i> of +Hermann, the bishop of Cologne, Robert Crowley's <i>Confutation of Myles +Hoggarde</i>, a sermon of Latimer's, a metrical dialogue aimed at the +priesthood and entitled <i>John Bon and Mast Person</i>, and, as a relief to +so much theological literature, the <i>Herbal</i> of William Turner.</p> + +<p>The types used in printing these books were not a whit better than +anybody else's, in fact if anything they were a shade worse. There was +the usual fount of large black letter, not by any means new, another +much smaller letter of the same character, and a fount of Roman +capitals, very bad indeed. Whether these types belonged<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span> to Day or to +Seres it is impossible to say, but I think the smaller of the two +belonged to Day, as it is sometimes found in his later books.</p> + +<p>The workmanship was no better than the types. There was no pagination in +these books, and no devices, and the setting of the letterpress was very +uneven.</p> + +<p>In 1548 Seres seems to have joined partnership with another London +printer, Anthony Scoloker, and to have moved to a house in St. Paul's +Churchyard, called Peter College; but his name still continued to appear +with Day's down to the year 1551, when the partnership was dissolved, +Day moving to Aldersgate, but retaining his shop in Cheapside.</p> + +<div class="figcenter"> + <img src="images/26.jpg" + alt="From a Bible printed by John Day. London, 1551. 4to." + title="From a Bible printed by John Day. London, 1551. 4to." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 18.—From a Bible printed by John Day. London, 1551. 4to.</span> +</div> + +<p>The most important undertaking of the partnership was a folio edition of +the Bible in 1549. This was printed in the smaller of the two founts of +black letter in double columns, with some good initials and a great<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> +many woodcuts that had evidently been used before, as they extend beyond +the letterpress. Another edition printed by Day alone appeared in 1551, +in which a good initial E, showing Edward <span class="smcap lowercase">VI</span>. on his throne, is found.</p> + +<p>On the accession of Queen Mary, Day went abroad and his press was silent +for several years; meanwhile the ancient brotherhood of Stationers was +incorporated by Royal Charter as the 'Worshipful Company of Stationers.' +The existence of the brotherhood has been traced to very early times, +and it is frequently mentioned in the wills of printers and booksellers +in the first half of the sixteenth century. By the Charter of 1556 it +now received the Royal authority to make its own laws for the regulation +of the trade, although, as Mr. Arber has pointed out, the charter +'rather confirmed existing customs than erected fresh powers.' There is +abundant evidence that the Queen's main reason for granting the charter +was the wish to keep the printing trade under closer control.</p> + +<p>The newly incorporated company included nearly all the men connected +with the book trade, not only printers, but booksellers, bookbinders, +and typefounders. There were some who, for some unexplained reason, were +not enrolled. On the other hand, two of those whose names appeared in +the charter died the year of its incorporation. These were Thomas +Berthelet, who was dead<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> before the 26th January 1556, and Robert Toy, +who died in February.</p> + +<p>In the registers of the Company were recorded the names of the wardens +and masters, the names of all apprentices, with the masters to whom they +were bound, and the names of those who took up their freedom. The titles +of all books were supposed to be entered by the printer or publisher, a +small fee being paid in each case. As a matter of fact many books were +not so entered. Entries of gifts to the Corporation, and of fines levied +on the members, also form part of the annual statements.</p> + +<p>Literary men of the eighteenth century were the first to discover and +make use of the wealth of information contained in the Registers of the +Stationers' Company; but it fell to the lot of Mr. Arber to give English +scholars a full transcript of the earlier registers. In order to make it +complete, he has supplemented the work with numerous valuable papers in +the Record Office and other archives, and a bibliographical list down to +the year 1603, which is of such immense value that it is impossible to +be content until it has been continued to the year 1640.</p> + +<p>The first master of the Company was Thomas Dockwray, Proctor of the +Court of Arches; and the wardens were John Cawood, the Queen's Printer, +and Henry Cooke.</p> + +<div class="figcenter"> + <img src="images/27.jpg" + alt="Heraldic Initial containing the Arms of Dudley, Earl of Leicester." + title="Heraldic Initial containing the Arms of Dudley, Earl of Leicester." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 19.—Heraldic Initial containing the Arms of Dudley, Earl of Leicester.</span> +</div> + +<p>It does not follow that because Day's name<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> occurs in the charter that +he was in England in 1556, but he certainly was so in the following +year, for there is a Sarum Missal of that date with his imprint, besides +several other books, including Thomas Tusser's <i>Hundred Points of Good +Husserye</i> (<i>i.e.</i> Housewifery); William Bullein's <i>Government of +Health</i>, and sundry proclamations. But it was not until 1559 that his +books began to show that excellence of workmanship that laid the +foundation of his fame. In that year he issued in folio <i>The +Cosmographicall Glasse</i> of William Cunningham, a physician of Norwich. +As a specimen of the printer's art this was far in advance of any of +Day's previous work, and, moreover, was in advance of anything seen in +England before that time. The text was printed in a large, flowing +italic letter of great beauty, further enhanced by several well-executed +woodcut initials. Amongst these was a letter 'D,' containing the arms of +the Earl of Leicester, to<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> whom the work was dedicated. There were also +scattered through the book several diagrams and maps, a fine portrait of +the author, and a plan of the city of Norwich. Some of these +illustrations and initials were signed J. B., others J. D. The +title-page was also engraved with allegorical figures of the arts and +sciences. There can be very little doubt that Day had spent his time +abroad in studying the best models in the typographical art.</p> + +<p>Students and lovers of good books may well pay a tribute to the memory +of that scholarly churchman, who rescued so many of the books that were +scattered at the dissolution of the monasteries, and enriched Cambridge +University and some of its colleges by his gifts of books and +manuscripts. But Matthew Parker did not stop short at book-collecting. +He believed that good books should be well printed, and on his accession +to power under Elizabeth, he encouraged John Day and others, both with +his authority and his purse, to cut new founts of type and to print +books in a worthy form.</p> + +<p>In 1560 Day began to print the collected works of Thomas Becon, the +reformer. The whole impression occupied three large folio volumes, and +was not completed until 1564. The founts chiefly used in this were black +letter of two sizes, supplemented with italic and Roman. The initials +used in the <i>Cosmographicall Glasse</i><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> appeared again in this, and the +title-page to each part was enclosed in an elaborate architectural +border, having in the bottom panel Day's small device, a block showing a +sleeper awakened, and the words, 'Arise, for it is Day.' At the end was +a fine portrait of the printer.</p> + +<p>Another important undertaking of the year 1560 was a folio edition of +the <i>Commentaries</i> of Joannes Philippson, otherwise Sleidanus. This Day +printed for Nicholas England, the fount of large italic being used in +conjunction with black letter.</p> + +<p>Sermons of Calvin, Bullinger, and Latimer are all that we have to +illustrate his work during the next two years. But in 1563 appeared a +handsome folio, the editio princeps of <i>Acts and Monumentes of these +latter and perillous Dayes, touching matters of the Church</i>, better +known as Foxe's Book of Martyrs.</p> + +<p>During Mary's reign Foxe had found a home on the Continent, and may +there have met with Day. In 1554, while at Strasburg, he had published, +through the press of Wendelin Richel, a Latin treatise on the +persecutions of the reformers, under the title of <i>Commentarii rerum in +Ecclesia gestarum maximarumque persecutionem a Vuiclevi temporibus +descriptio</i>. From Strasburg he removed to Basle, and from the press of +Oporinus, in 1559, appeared the Latin edition of the <i>Book of Martyrs</i>. +He did not<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> return to England until October of that year, when he +settled in Aldgate, and made weekly visits to the printing-house of John +Day, who was then busy on the English edition.</p> + +<div class="figcenter"> + <img src="images/28.jpg" + alt="From Foxe's 'Actes and Monumentes,' printed by John Day, 1576." + title="From Foxe's 'Actes and Monumentes,' printed by John Day, 1576." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 20.—From Foxe's 'Actes and Monumentes,' printed by John Day, 1576.</span> +</div> + +<p>Foxe's <i>Actes and Monumentes</i> is a work of 2008 folio pages, printed in +double columns, the<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> type used being a small English black letter, the +same which had been used in Becon's <i>Works</i>, supplemented with various +sizes of italic and Roman. It was illustrated throughout with woodcuts, +representing the tortures and deaths of the martyrs. A very handsome +initial letter E, showing Queen Elizabeth and her courtiers, is also +found in it. A Royal proclamation ordered that a copy of it should be +set up in every parish church. From this time Foxe appears to have +worked as translator and editor for John Day, and was for a while living +in the printer's house.</p> + +<p>Archbishop Parker meanwhile had induced Day to cast a fount of Saxon +types in metal. The first book in which these were used was Aelfric's +'Saxon Homily,' <i>i.e.</i> the Sermon of the Paschal Lamb, appointed by the +Saxon bishop to be read at Easter before the Sacrament, an Epistle of +Aelfric to Wulfsine, the Lord's Prayer, the Creed, and the Ten +Commandments, all of which were included in the general title of <i>A +Testimonye of Antiquity</i>, 'shewing the auncient fayth in the Church of +England touching the Sacrament of the body and bloude of the Lord here +publykely preached and also receaved in the Saxons tyme, above 600 +yeares agoe.'</p> + +<p>Speaking of Day's Saxon fount, the late Mr. Talbot Reed, in his <i>Old +English Letter Foundries</i> (p. 96), says:<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span>—</p> + +<div class="blockquot"><p>'The Saxon fount ... is an English in body, very clear and bold. Of +the capitals eight only, including two diphthongs are distinctively +Saxon, the remaining eighteen letters being ordinary Roman; while +in the lowercase there are twelve Saxon letters, as against fifteen +of the Roman. The accuracy and regularity with which this fount was +cut and cast is highly creditable to Day's excellence as a +founder.'</p></div> + +<p>Although this book (an octavo) bore no date, the names of the +subscribing bishops fix it as 1566 or 1567. In the latter year appeared +the Archbishop's metrical version of the <i>Psalter</i>, which he had +compiled during his enforced exile under Mary. In connection with this +it may be well to point out that Day printed many editions of the +<i>Psalter</i> with musical notes. In 1568 he used the Saxon types again to +print William Lambard's <i>Archaionomia</i>, a book of Saxon laws. Amongst +his other productions of that year must be mentioned the folio edition +of Peter Martyr's <i>Commentary on the Epistle to the Romans</i>; Gildas the +historian's <i>De excidio et conquestu Britanniæ</i>, 1568, 8vo; and a French +version of Vandernoot's <i>Theatre for Worldlings</i>, 'Le Theatre auquel +sont exposés et monstrés les inconveniens et misères qui suivent les +mondains et vicieux, ensemble les plaisirs et contentements dont les +fidèles jouissent.' There is a copy of this very rare book in the +Grenville collection. The <i>Theatre for Worldlings</i> was translated into +English the following year, and contained verses from the pen of Edmund +Spenser, then a<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> boy of sixteen. But Day's press played little part in +the spread of the romantic literature with which the name of Spenser is +so closely linked. Day's work was with the Reformation and the religious +questions of the time. Nevertheless, that he felt the influence of the +coming change is shown from a publication that issued from his press in +1570. This was the authorised version of a play which had been acted +nine years before by the gentlemen of the Inner Temple before Her +Majesty. It had shortly afterwards been published by William Griffith of +Fleet Street as:—</p> + +<p>'The Tragedy of Gorboduc, whereof Three Actes were wrytten by Thomas +Norton and the two last by Thomas Sackvyle. Set forth as the same was +shewed before the Queenes most excellent Maiestie in her highnes Court +of Whitehall, the xviii day of January Anno Domini 1561, By the +gentlemen of Thynner Temple in London.' Day's edition was entitled:—</p> + +<p>'The Tragidie of Ferrex and Porrex, set forth without addition or +alteration, but altogether as the same was showed on stage before the +Queens Maiestie about nine yeares past, viz. the xviii day of Januarie +1561, by the gentlemen of the Inner Temple.'</p> + +<p>Another important work of this year (1570) was Roger Ascham's +<i>Scholemaster</i>, in quarto. In 1571 Day was busy with Church matters. +There was just then much talk of Church disci<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span>pline, and it shows itself +in the <i>Reformatio Legum Ecclesiasticarum</i>, a quarto of some 300 pages, +published by him this year. In this book we find a new device used by +Day. It represents two hands holding a slab upon which is a crucible +with a heart in it, surrounded by flames, the word 'Christus' being on +the slab. From the wrists hangs a chain, and in the centre of this is +suspended a globe, and beneath that again is a representation of the +sun. Round the chain is a ribbon with the words '<i>Horum Charitas</i>.' This +device was placed on the title-page, which was surrounded by a neat +border of printers' ornaments.</p> + +<p>The <i>Booke of certaine Canons</i>, 4to, was another publication of this +year for the due ordering of the Church. This, like most public +documents, was in a large black letter. There were also 'Articles of the +London Synod of 1562.' As a specimen of the religious sermons or +discourses of the time, we have a very good example in another of Day's +publications in 1571, a reprint of <i>The Poore Mans Librarie</i>, a +discourse by George Alley, Bishop of Exeter, upon the First Epistle of +St. Peter, which made up a very respectable folio, printed in Day's best +manner, and with a great number of founts.</p> + +<p>But Day's prosperity roused the envy of his fellow-stationers, and they +tried their best to hinder the sale of his books and cause him<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> +annoyance. This opposition took a violent form in 1572, when Day, whose +premises at Aldersgate had become too small to carry on his growing +business, his stock being valued at that time between £2000 and £3000, +obtained the leave of the Dean and Chapter of St. Paul's to set up a +little shop in St. Paul's Churchyard for the sale of his books. The +booksellers appealed to the Lord Mayor, who was prevailed upon to stop +Day's proceedings, and it required all the power and influence of +Archbishop Parker, backed by an order of the Privy Council, to enable +the printer to carry out his project.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p> + +<p>The Archbishop meanwhile had been busy furnishing replies to Nicholas +Sanders' book <i>De Visibili Monarchia</i>, and amongst those whom he +selected for the work was Dr. Clerke of Cambridge, who accordingly wrote +a Latin treatise entitled <i>Fidelis Servi subdito infideli Responsio</i>. +From a letter written by the Archbishop to Lord Burleigh at this time, +we learn that John Day had cast a special fount of Italian letter for +this book at a cost of forty marks.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p> + +<p>By Italian letter is here meant Roman, and not Italic, as Mr. Reed +supposes, for the <i>Responsio</i> was printed in a new fount of that type, +clear, even, and free from abbreviations.</p> + +<p>In the same year (1572) Day printed at the<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> Archbishop's private press +at Lambeth his great work <i>De Antiquitate Britannicae Ecclesiae</i> in +folio, in a new fount of Italic, with preface in Roman, and the titles +and sub-titles in the larger Italic of the <i>Cosmographicall Glasse</i>. It +was a special feature of Day's letter-founding that he cut the Roman and +Italic letters to the same size. Before his time there was no +uniformity; the separate founts mixed badly, and spoilt the appearance +of many books that would otherwise have been well printed.</p> + +<p>The <i>De Antiquitate</i> is believed to have been the first book printed at +a private press in England. The issue was limited to fifty copies, and +the majority of them were in the Archbishop's possession at the time of +his death.</p> + +<p>But while he encouraged printing in one direction, Matthew Parker +rigorously persecuted it in another. Just at this time there was much +division among Protestants on matters of doctrine and ceremonial, and +one Thomas Cartwright published, in 1572, a book entitled <i>A Second +Admonition to the Parliament</i>, in which he defended those who had been +imprisoned for airing their opinions in the first <i>Admonition</i>. This +book, like many others of the time, was printed secretly, and strenuous +search was made by the Wardens of the Stationers' Company, Day being +one, to discover the hidden press. The search was successful, but +unpleasant conse<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>quences followed for John Day. One of the printers of +the prohibited book turned out to be an apprentice of his own, named +Asplyn. He was released after examination, and again taken into service +by his late master. But the following year the Archbishop reported to +the Council that this man Asplyn had tried to kill both Day and his +wife.</p> + +<p>Day's work in 1573 included a folio edition of the whole works of +William Tyndale, John Frith, and Doctor Barnes, in two volumes. This was +printed in two columns, with type of the same size and character as that +used in the 'Works' of Becon, some of the initial letters closely +resembling those found in books printed by Reginald Wolfe. In the same +year Day issued a life of Bishop Jewel, for which he cut in wood a +number of Hebrew words.</p> + +<p>In 1574 we reach the summit of excellence in Day's work. It was in that +year that he printed for Archbishop Parker Asser's Life of Alfred the +Great (<i>Aelfredi Regis Res Gestæ</i>) in folio. In this the Saxon type cast +for the Saxon Homily in 1567 was again used in conjunction with the +magnificent founts of double pica Roman and Italic. With it is usually +bound Walsingham's <i>Ypodigme Neustria</i> and <i>Historia Brevis</i>, the first +printed by Day, and the second by Bynneman, who unquestionably used the +same types, so that it may be inferred that the fount was at the<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> +disposal of the Archbishop, at whose expense all three books were +issued.</p> + +<p>Another series of publications that came from the press of John Day, in +1574, were the writings of John Caius on the history and antiquities of +the two Universities. They are generally found bound together in the +following order:—</p> + +<p>1. De Antiquitate Cantabrigiensis Academiæ.</p> + +<p>2. Assertio Antiquitatis Oxoniensis Academiæ.</p> + +<p>3. Historia Cantabrigiensis Academiæ.</p> + +<p>4. Johannis Caii Angli De Pronunciatione Græcæ et Latinæ linguæ cum +scriptione noua libellus.</p> + +<p>The 'Antiquities' and 'History' of Cambridge were both books of +considerable size, the first having 268 pages, without counting +prefatory matter and indexes. The other two were little better than +tracts, the one having only 27 and the other 23 pages. Some editions of +the <i>De Antiquitate</i> are found with a map of Cambridge, while the +'History' contained plates showing the arms of the various colleges. All +four were printed in quarto. The type used for the text was in each case +an Italic of English size, with a small Roman for indexes. The +title-page was enclosed in a border of printers' ornaments, and the +printer's device of the Heart was on the last leaf of two out of the +four.<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> + +<p>Matthew Parker died in 1575, and the art of printing, as well as every +other art and science, lost a generous patron. But Day's work was not +yet done, though he printed few large books after this date. A very +curious folio, written by John Dee, the famous astronomer, entitled +<i>General and Rare Memorials concerning Navigation</i>, came from his press +in 1577. This work had an elaborate allegorical title-page, by no means +a bad specimen of wood-engraving. It was a history in itself, the +central object being a ship with the Queen seated in the after part.</p> + +<p>In 1578 Day printed a book in Greek and Latin for the use of scholars, +<i>Christianæ pietatis prima institutio</i>, the Greek type being a great +improvement on any that had previously appeared. Indeed, it has been +considered equal to those in use by the Estiennes of Paris.</p> + +<p>The year 1580 saw Day Master of the Stationers' Company. Two years later +he was engaged in a series of law-suits about his <i>A B C and litell +Catechism</i>, a book for which he had obtained a patent in the days of +Edward <span class="smcap lowercase">VI.</span></p> + +<p>As we have already noted, the aim of the Corporation of the Stationers' +Company was not primarily the promotion of good printing or literature. +Printers were looked upon by the authorities as dangerous persons whom +it was necessary to watch closely. Only six years after coming to the +throne, Elizabeth signed a decree<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span> passed by the Star Chamber, requiring +every printer to enter into substantial recognisances for his good +behaviour. No books were to be printed or imported without the sanction +of a Special Commission of Ecclesiastical Authorities, under a penalty +of three months' imprisonment and the forfeiture of all right to carry +on business as a master printer or bookseller in future, while the +officers of the Company were instructed to carry out strict search for +all prohibited books.</p> + +<p>On the other hand, while thus retaining a tight rein on the printing +trade, the Queen, no doubt for monetary considerations, granted special +patents for the sole printing of certain classes of books to individual +master printers, and threatened pains and penalties upon any other +member of the craft who should print any such books. In this way all the +best-paying work in the trade became the property of some dozen or so of +printers. Master Tottell was allowed the sole printing of Law Books, +Master Jugge the sole printing of Bibles, James Roberts and Richard +Watkins the sole printing of Almanacs; Thomas Vautrollier, a stranger, +was allowed to print all Latin books except the Grammars, which were +given to Thomas Marsh, and John Day had received the right of printing +and selling the <i>A B C and Litell Catechism</i>, a book largely bought for +schools, and which Christopher Barker, in his Complaint, declared was +once<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> 'the onelye reliefe of the porest sort of that Company.' On every +side the best work was seized and monopolised. Nor did the evil cease +there. These patents were invariably granted for life with reversion to +a successor, and they were bought and sold freely. Hence the poorer +members of the Company daily found it harder to live. There was very +little light literature, and what there was had few readers. Their +appeals for redress of grievances, whether addressed to the State or to +the Company, which pretended to look after their welfare, were alike in +vain, and at length they rose in open revolt. Half a dozen of them, +headed by Roger Ward and John Wolf, boldly printed the books owned by +the patentees. Roger Ward seized upon this <i>A B C</i> of Day's, and at a +secret press, with type supplied to him by a workman of Thomas Purfoot, +printed many thousand copies of the work with Day's mark. Hence the +proceedings in the Star Chamber. They did very little good. Ward defied +imprisonment; and the agitators would undoubtedly have gained more than +they did, and might even have saved the art of printing from falling +into the hopeless state it afterwards reached, had it not been for the +desertion of John Wolf, who, after declaring that he would work a +reformation in the printing trade similar to that which Luther had +worked in religion, quietly allowed himself to be bought over, and died +in eminent respec<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span>tability as Printer to the City of London, leaving +Ward and others to carry on the war. This they did with such effect, +that, forced to find a remedy, the patentees of the Company at length +agreed to relax their grasp of some of the books that they<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> had laid +their hands upon. Day is said to have been most generous, relinquishing +no less than fifty-three, and this number is in itself a commentary on +the magnitude of the monopolies.</p> + +<div class="figcenter"> + <img src="images/29.jpg" + alt="Day's large Device." + title="Day's large Device." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 21.—Day's large Device.</span> +</div> + +<p>John Day died at Walden, in Essex, on the 23rd July 1584, at the age of +sixty-two, and was buried at Bradley Parva, where there is a fair tomb +and a lengthy poetical epitaph on his virtues and abilities. He was +twice married, and is said to have had twenty-six children, of whom one +son, Richard, was for a short time a printer, and another, John, took +Orders, and became rector of Little Thurlow, in Suffolk.</p> + +<p>John Day had three devices. His earliest, and perhaps his best, was a +large block of a skeleton lying on an elaborately chased bier, with a +tree at the back, and two figures, an old man and a young, standing +beside it. This may have been typical of the Resurrection, the sign of +the house in which he began business. Then we find the device of the +Heart in his later books, and finally there is the block of the Sleeper +Awakened, but this almost always formed part of the title-page.</p> + +<hr style="width: 35%;" /><p><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p> +<h3>APPENDIX</h3> + +<h4>LIST OF PRINTERS AND STATIONERS ENROLLED IN THE CHARTER</h4> + +<ul> +<li>Alday, John.</li> +</ul> +<ul> +<li>Baldwyn, Richard.</li> +<li>Baldwyn, William.</li> +<li>Blythe, Robert.</li> +<li>Bonham, John.</li> +<li>Bonham, William.</li> +<li>Bourman, Nicholas.</li> +<li>Boyden, Thomas.</li> +<li>Brodehead, Gregory.</li> +<li>Broke, Robert.</li> +<li>Browne, Edward.</li> +<li>Burtoft, John.</li> +<li>Bylton, Thomas.</li> +</ul> +<ul> +<li>Case, John.</li> +<li>Cater, Edward.</li> +<li>Cawood, John.</li> +<li>Clarke, John.</li> +<li>Cleston, Nicholas.</li> +<li>Cooke, Henry.</li> +<li>Cooke, William.</li> +<li>Copland, William.</li> +<li>Cottesford, Hugh.</li> +<li>Coston, Simon.</li> +<li>Croke, Adam.</li> +<li>Crosse, Richard.</li> +<li>Crost, Anthony.</li> +</ul> +<ul> +<li>Day, John.</li> +<li>Devell, Thomas.</li> +<li>Dockwray, Thomas.</li> +<li>Duxwell, Thos.</li> +</ul> +<ul> +<li>Fayreberne, John.</li> +<li>Fox, John.</li> +<li>Frenche, Peter.</li> +</ul> +<ul> +<li>Gamlyn <i>or</i> Gammon, Allen.</li> +<li>Gee, Thomas.</li> +<li>Gonneld, James.</li> +<li>Gough, John.</li> +<li>Greffen <i>or</i> Griffith, William.</li> +<li>Grene, Richard.</li> +</ul> +<ul> +<li>Harryson, Richard.</li> +<li>Harvey, Richard.</li> +<li>Hester, Andrew.</li> +<li>Hyll, John.</li> +<li>Hyll, Richard.</li> +<li>Hyll, William.</li> +<li>Holder, Robert.</li> +<li>Holyland, James.</li> +<li>Huke, Gyles.</li> +</ul> +<ul> +<li>Ireland, Roger.</li> +</ul> +<ul> +<li><span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>Jaques, John.</li> +<li>Judson, John.</li> +<li>Jugge, Richard.</li> +</ul> +<ul> +<li>Kele, John.</li> +<li>Keball, John.</li> +<li>Kevall, junior, Richard.</li> +<li>Kevall, Stephen.</li> +<li>Kyng, John.</li> +</ul> +<ul> +<li>Lant, Richard.</li> +<li>Lobel, Michael.</li> +</ul> +<ul> +<li>Marten, Will.</li> +<li>Marsh, Thos.</li> +<li>Markall, Thomas.</li> +</ul> +<ul> +<li>Norton, Henry.</li> +<li>Norton, William.</li> +</ul> +<ul> +<li>Paget, Richard.</li> +<li>Parker, Thomas.</li> +<li>Pattinson, Thomas.</li> +<li>Pickering, William.</li> +<li>Powell, Humphrey.</li> +<li>Powell, Thomas.</li> +<li>Powell, William.</li> +<li>Purfoot, Thomas.</li> +</ul> +<ul> +<li>Radborne, Robert.</li> +<li>Richardson, Richard.</li> +<li>Rogers, John.</li> +<li>Rogers, Owen.</li> +<li>Ryddall, Will.</li> +</ul> +<ul> +<li>Sawyer, Thomas.</li> +<li>Seres, William.</li> +<li>Shereman, John.</li> +<li>Sherewe, Thomas.</li> +<li>Smyth, Anthony.</li> +<li>Spylman, Simon.</li> +<li>Steward, William.</li> +<li>Sutton, Edward.</li> +<li>Sutton, Henry.</li> +</ul> +<ul> +<li>Taverner, Nicholas.</li> +<li>Tottle, Richard.</li> +<li>Turke, John.</li> +<li>Tyer, Randolph.</li> +<li>Tysdale, John.</li> +</ul> +<ul> +<li>Walley, Charles.</li> +<li>Walley, John.</li> +<li>Wallys, Richard.</li> +<li>Way, Richard.</li> +<li>Whitney, John.</li> +<li>Wolfe, Reginald.</li> +</ul> + +<p>Amongst the men whose names were not included in the charter were:—</p> + +<ul> +<li>Baker, John, made free 24th Oct. 1555.</li> +<li>Caley, Robert.</li> +<li>Chandeler, Giles, made free 24 Oct. 1555.</li> +<li>Charlewood, John.</li> +<li>Hacket, Thomas.</li> +<li>Singleton, Hugh.</li> +<li>Wayland, John</li> +<li>Wyer, Robert.</li> +</ul> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p> +<h2>CHAPTER V</h2> + +<h3>JOHN DAY'S CONTEMPORARIES</h3> + +<div class="figleft"> + <img src="images/30.jpg" + alt="M" + title="M" /> +</div> + +<p>ost notable of all the men who lived and worked with Day, was Reginald +or Reyner Wolfe, of the Brazen Serpent in St. Paul's Churchyard. Much as +we have to regret the scantiness of all material for a study of the +lives of the early English printers, it is doubly felt in the case of +Reginald Wolfe. The little that is made known to us is just sufficient +to whet the appetite and kindle the curiosity. It reveals to us an +active business man, evidently with large capital behind him, setting up +as a bookseller, under the shadow of the great Cathedral, and rapidly +becoming known to the learned and the rich. We see him passing backwards +and forwards between this country and the book-fair at Frankfort, +executing commissions for great nobles, and at the same time acting as +the King's courier. Later on we find him adding the trade of printer to +that of bookseller, and I have very little doubt that it was partly to +the advice and influence of Reginald<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> Wolfe that we owe the improvement +that took place in John Day's printing after his return from abroad. As +a printer he stands beside Day in the excellence of his workmanship, and +he was the first in England who possessed any large stock of Greek type.</p> + +<p>Reyner Wolfe was a native of Dretunhe(?), in Gelderland, as shown by the +letters of denization which he took out on the 2nd January 1533-4. +(State Papers, Hen. 8. vol. 6. No. 105.) He had been established in +Saint Paul's Churchyard some years before this, however, as in a letter +from Thomas Tebold to the Earl of Wiltshire, dated the 4th April 1530, +he says he has arrived at Frankfort, and hopes to hear from his lordship +through 'Reygnard Wolf, bookseller, of St. Pauls Churchyard, London, who +will be here in two days.'</p> + +<p>Again, in 1539, in the same series of <i>Letters and Papers</i> (vol. xiv. +pt. 2. No. 781), is an entry of the payment of 100s. to 'Rayner Wolf' +for conveying the King's letters to Christopher Mounte, his Grace's +agent in 'High Almayne'. But it was not until 1542 that he began to +print. The British Museum fortunately possesses copies of all his early +works as a printer, which began with several of the writings of John +Leland the antiquary. The first was <i>Naeniae in mortem T. Viati, Equitis +incomparabilis, Joanne Lelando, antiquario, authore</i>, a quarto, printed +in a well-<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span>cut fount of Roman. This was followed in the same year by +<i>Genethliacon</i>, a work specially written by Leland for Prince Edward, +with a dedication to Prince Henry, the first part being printed in +Italic and the second in Roman type. On the verso of the last leaf is +the printer's very beautiful device of children throwing at an +apple-tree, certainly one of the most artistic devices in use amongst +the printers of that time.</p> + +<div class="figcenter"> + <img src="images/31.jpg" + alt="Wolfe's Device." + title="Wolfe's Device." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 22.—Wolfe's Device.</span> +</div> + +<p>To this work succeeded, in 1543, the <i>Homilies</i> of Saint Chrysostom, of +which John Cheke, Pro<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>fessor in Greek at Cambridge University, was +editor. The whole of the first part of the work, with the exception of +the dedication, was in Greek letter, making thirty lines to the quarto +page. The second part, which had a separate title-page, was printed with +the Italic, and the supplementary parts with the Roman types. Some very +fine pictorial initial letters were used throughout the work, and the +larger form of the apple-tree device occurs on the last leaf, with a +Greek and Latin motto.</p> + +<p>A very rare specimen of Wolfe's work in 1543 is Robert Recorde's <i>The +groūd of artes teachyng the worke and practise of Arithmetike moch +necessary for all states of men</i>, a small octavo printed in black +letter, but of no particular merit. In the same type and form he issued +in the following year a tract entitled <i>The late expedicion in +Scotlande</i>, etc. Chrysostom's <i>De Providentia Dei</i> and <i>Laudatio Pacis</i> +were printed in the Roman and Italic founts during 1545 and 1546, and +are the only record we have left of Wolfe's work as a printer during +those years. In 1547 he was appointed the king's printer in Latin, +Greek, and Hebrew, and was granted an annuity of twenty-six shillings +and eightpence during his life (Pat. Rol. 19 April 1547).</p> + +<p>In 1553 trouble arose between Wolfe and Day as to their respective +rights of printing Edward the Sixth's catechism. The matter was<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> settled +by Wolfe having the privilege for printing the Latin version, and Day +that in English, but neither party reaped much benefit, as upon the +king's death the book was called in, having only been in circulation a +few months. During Mary's reign the only important work that seems to +have come from Wolfe's press was Recorde's <i>Castle of Knowledge</i>, a +folio, with an elaborately designed title-page, and a dedication to +Cardinal Pole. In 1560 Wolfe became Master of the Company of Stationers, +a position to which he was elected on three subsequent occasions, in +1564, 1567, and 1572. His patents were renewed to him under Elizabeth, +and he came in for his share of the patronage of Matthew Parker, whose +edition of Jewel's <i>Apologia</i> he printed in quarto form in 1562. In 1563 +appeared from his press the <i>Commonplaces of Scripture</i>, by Wolfgang +Musculus, a folio, chiefly notable for a very fine pictorial initial +'I,' measuring nearly 3-1/2 inches square, and representing the +Creation, which had obviously formed part of the opening chapter of +Genesis in some early edition of the Bible. It was certainly used again +in the 1577 edition of Holinshed's <i>Chronicle</i>.</p> + +<p>Almost his last work was Matthew Paris's <i>Historia Major</i>, edited by +Matthew Parker, a handsome folio with an engraved title-page, several +good pictorial initials, and his large device of the apple-tree, printed +in 1571. Without doubt<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> the printer was greatly interested in this work. +He had himself collected materials for a chronicle of his adopted +country, which he amused himself with in his spare time. But he did not +live to print it, his death taking place late in the year 1573. His will +was short, and mentioned none of his children by name. His property in +St. Paul's Churchyard, which included the Chapel or Charnel House on the +north side, which he had purchased of King Henry <span class="smcap lowercase">VIII.</span>, he left to his +wife, and the witnesses to his will were George Bishop, Raphael +Holinshed, John Hunn, and John Shepparde.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> His wife, Joan Wolfe, only +survived him a few months, her will, which is also preserved in the +Prerogative Court of Canterbury,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> being proved on the 20th July 1574. +In it occurs the following passage:</p> + +<div class="blockquot"><p>'I will that Raphell Hollingshed shall have and enjoye all such +benefit, proffit, and commoditie as was promised unto him by my +said late husbande Reginald Wolfe, for or concerning the +translating and prynting of a certain crownacle which my said +husband before his decease did prepare and intende to have +prynted.'</p></div> + +<p>She further mentioned in her will a son Robert, a son Henry, and a +daughter Mary, the wife of John Harrison, citizen and stationer, as well +as Luke Harrison, a citizen and stationer, while among the witnesses to +it was Gabriel<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> Cawood, the son of John Cawood, who lived hard by at the +sign of the Holy Ghost, next to 'Powles Gate.'</p> + +<p>From a document in the Heralds' College (W. Grafton, vi., A. B. C., +Lond.), it appears that John Cawood, who began to print about the same +time as Day, came from a Yorkshire family of good standing. He was +apprenticed to John Reynes, a bookseller and bookbinder, who at that +time, about 1542, worked at the George Inn in this locality. Cawood +greatly respected his master, and in aftertimes, when he had become a +prosperous man, placed a window in Stationers' Hall to the memory of +John Reynes. Reynes died in 1543, but there is no mention of Cawood in +his will, perhaps because Cawood was no longer in his service; but in +that of his widow, Lucy Reynes, there was a legacy to John Cawood's +daughter.</p> + +<p>Cawood began to print in the year 1546, the first specimen of his press +work being a little octavo, entitled <i>The Decree for Tythes to be payed +in the Citye of London</i>.</p> + +<p>With few exceptions the printers of this period easily enough conformed +to the religious factions of the day. Thus Cawood prints Protestant +books under Edward <span class="smcap lowercase">VI.</span>, Catholic books under Mary, and again Protestant +books under Elizabeth. Upon the accession of Mary he was appointed royal +printer in the place of Grafton,<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> who had dared to print the +proclamation of Lady Jane Grey (Rymer's <i>Fœdera</i>, vol. xv., p. 125). +He also received the reversion of Wolfe's patent for printing Latin, +Greek, and Hebrew books, as well as all statute books, acts, +proclamations, and other official documents, with a salary of £6, 13s. +4d. The British Museum possesses a volume (505. g. 14) containing the +statutes of the reign of Queen Mary, printed in small folio by Cawood. +From these it will be seen that he used some very artistic woodcut +borders for his title-pages, notably one with bacchanalian figures in +the lower panel signed 'A. S.' in monogram, evidently the same artist +that cut the woodcut initials seen in these and other books printed by +this printer, and who is believed to have been Anton Sylvius, an Antwerp +engraver. Cawood was one of the first wardens of the Stationers' Company +in 1554, and again served from 1555-7, and continued to take great +interest in its welfare throughout his life. In 1557, Cawood, in company +with John Waley and Richard Tottell, published the Works of Sir Thomas +More in a large and handsome folio. The editor was William Rastell, +Chief Justice of the Queen's Bench, son of John Rastell the printer, and +nephew of the great chancellor.</p> + +<p>The book was printed at the Hand and Star in Fleet Street by Tottell, +but the woodcut initials were certainly supplied by Cawood, and perhaps<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> +some of the type. On the accession of Elizabeth, he again received a +patent as royal printer, but jointly with Richard Jugge, whose name is +always found first. Nevertheless, Cawood printed at least two editions +of the Bible in quarto, with his name alone on the title-page. They were +very poor productions, the text being printed in the diminutive +semi-gothic type that had done duty since the days of Caxton, and the +woodcut borders being made up of odds and ends that happened to be +handy. His rapidly increasing business had already compelled him to +lease from the Dean and Chapter of St. Paul's a vault under the +churchyard, and two sheds adjoining the church, and in addition to this +he now took a room at Stationers' Hall at a rental of 20s. per year.</p> + +<p>In conjunction with Jugge he printed many editions of the <i>Book of +Common Prayer</i> in all sizes. He also reprinted in 1570 Barclay's <i>Ship +of Fools</i> with the original illustrations. Cawood was three times Master +of the Company of Stationers, in 1561, 1562, and 1566. In 1564 he was +appointed by Elizabeth Toye, the widow of Robert Toye, one of the +overseers to her will, and his partner Jugge was one of the witnesses to +the document (P. C. C, 25 Morrison). His death took place in 1572, and +from his epitaph it appeared that he was three times married, and by his +first wife, Joan, had three sons and four daughters. His eldest son, +John, was bachelor of<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> laws and fellow of New College, Oxford, and died +in 1570; Gabriel, the second son, succeeded to his father's business, +and the third son died young. His eldest daughter, Mary, married George +Bishop, one of the deputies to Christopher Barker; a second, Isabel, +married Thomas Woodcock, a stationer; Susannah was the wife of Robert +Bullock, and Barbara married Mark Norton.</p> + +<p>Richard Jugge was another of those who owed much to the patronage and +encouragement of Archbishop Parker. He is believed to have been born at +Waterbeach in Cambridgeshire, and was educated, first at Eton, and +afterwards at Cambridge. He set up at the sign of The Bible in 1548, and +used as his device a pelican plucking at her breast to feed her young +who are clamouring around her. In 1550 he obtained a licence to print +the New Testament, and in 1556 books of Common Law. Under Elizabeth in +1560 he was made senior Queen's Printer. When the new edition of the +Bible was about to be issued in 1569, Archbishop Parker wrote to Cecil, +asking that Jugge might be entrusted with the printing, as there were +few men who could do it better. In this way he became the printer of the +first edition of the 'Bishops' Bible,' a second edition coming from his +press the year following. In this work he used several large decorative +initial letters, with the arms of the several patrons of the work, as +well as a finely designed<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> engraved title-page, with a portrait of the +Queen, and other portraits of Burleigh and Leicester. In his edition of +the New Testament were numerous large cuts, evidently of foreign +workmanship, some of them signed with the initials 'E. B.' Richard Jugge +died in 1577.</p> + +<p>Another of Day's contemporaries, whose name is remembered by all +students of English literature, was Richard Tottell, who lived at the +Hand and Star in Fleet Street, and printed there the collection of +poetry known as Tottell's Miscellany.</p> + +<p>There is reason to believe that Richard Tottell was the third son of +Henry Tottell, a famous citizen of Exeter. The name was spelt in a great +variety of ways, such as Tothill, Tuthill, Tottle, Tathyll, and Tottell. +Richard Tottell at the time of his death held lands in Devon, and some +of the same lands that belonged to the Tothill family of Exeter. +Moreover, his coat of arms was the same as theirs. But before 1552 he +was in London, for in that year he received a patent for the printing of +law books, and was generally known as Richard Tottell of London, +gentleman. He appears to have married Joan, a sister of Richard Grafton, +and in this way became possessed of considerable land in the county of +Bucks. From this we may assume that he had business relations with +Richard Grafton, and it becomes only natural that he should have +printed<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> various editions of Grafton's <i>Chronicle</i>, and come into +possession of some of his finest woodcut borders.</p> + +<div class="figcenter"> + <img src="images/32.jpg" + alt="Richard Tottell's Device." + title="Richard Tottell's Device." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 23.—Richard Tottell's Device.</span> +</div> + +<p>It was in June 1557 that he printed his 'Miscellany,' an unpretentious +quarto, with the title: <i>Songes and Sonnettes, written by the Ryght +Honorable Lorde Henry Hawarde, late Earl of<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span> Surrey and other</i>. Before +the 31st July a second edition became necessary, and several new poems +were added. The third edition appeared in 1559, the fourth in 1565, and +before the end of the sixteenth century, four more editions were called +for. Another of Tottell's works was Gerard Legh's <i>Accedens of Armory</i>, +an octavo, printed throughout in italic type, with a curiously engraved +title-page, besides numerous illustrations of coats of arms, and several +full-page illustrations. It was printed in 1562, and again in 1576 and +1591.</p> + +<p>The best of Tottell's work as a printer is to be found in the law-books, +for which he was a patentee. In these he used several handsome borders +to title-pages, one of an architectural character with his initials R. +T. at the two lower corners, another, evidently Grafton's, with a view +of the King and Parliament in the top panel, and Grafton's punning +device in the centre of the bottom panel.</p> + +<p>In 1573 Richard Tottell tried to establish a paper mill in England. He +wrote to Cecil, pointing out that nearly all paper came from France, and +undertaking to establish a mill in England if the Government would give +him the necessary land and the sole privilege of making paper for thirty +years (Arber, i. 242). But as nothing was ever done in the matter, the +Government evidently did not entertain the proposal.<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> Tottell was Master +of the Company of Stationers in 1579 and 1584. During the latter part of +his life he withdrew from business, and lived at Wiston, in +Pembrokeshire, where he died in 1593. He left several children, of whom +the eldest, William Tottell, succeeded to his estates.</p> + +<p>In the precincts of the Blackfriars, Thomas Vautrollier, a foreigner, +was at work as a printer in 1566, having been admitted a 'brother' of +the Company of Stationers on the 2nd October 1564. He soon afterwards +received a patent for the printing of certain Latin books, and +Christopher Barker, in a report to Lord Burghley in 1582, says:—</p> + +<div class="blockquot"><p>'He has the printing of Tullie, Ovid, and diverse other great +workes in Latin. He doth yet, neither great good nor great harme +withall.... He hath other small thinges wherewith he keepeth his +presses on work, and also worketh for bookesellers of the Companye, +who kepe no presses.'</p></div> + +<p>In 1580, on the invitation of the General Assembly, Vautrollier visited +Scotland, taking with him a stock of books, but no press, and in 1584 he +again went north, and set up a press at Edinburgh, still keeping on his +business in London. The venture does not seem to have turned out a +success, for Vautrollier returned to London in 1586, taking with him a +<span class="smcap lowercase">MS.</span> of John Knox's <i>History of the Reformation</i>, but the work was seized +while it was in the press (<i>Works of John Knox</i>, vol. i. p. 32).<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span></p> + +<p>As a printer Vautrollier ranks far above most of the men around him, +both for the beauty of his types and the excellence of his presswork. +The bulk of his books were printed in Roman and Italic, of which he had +several well-cut founts. He had also some good initials, ornaments, and +borders. In the folio edition of Plutarch's <i>Lives</i>, which he printed in +1579, each life is preceded by a medallion portrait, enclosed in a frame +of geometrical pattern; some of these, notably the first, and also those +shown on a white background, are very effective. His device was an +anchor held by a hand issuing from clouds, with two sprigs of laurel, +and the motto 'Anchora Spei,' the whole enclosed in an oval frame.</p> + +<p>Vautrollier was succeeded in business by his son-in-law, Richard Field, +another case of the apprentice marrying his master's daughter. Field was +a native of Stratford-on-Avon, and therefore a fellow-townsman of +Shakespeare's, whose first poem, <i>Venus and Adonis</i>, he printed for +Harrison in 1593. But we have no knowledge of any intercourse between +them.</p> + +<p>Field succeeded to the stock of his predecessor, and his work is free +from the haste and slovenly appearance so general at that time. Another +work from his press was Puttenham's <i>Arte of English Poesy</i>, 1589, 4to. +The first edition, of which there is a copy in the British Museum, had +no author's name, but was dedicated by the printer<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> to Lord Burghley. In +the second book, four pages were suppressed. They are inserted in the +copy under notice, but are not paged. This edition also contained as a +frontispiece a portrait of the Queen. Another notable work of Field's +was Sir John Harington's translation of <i>Orlando Furioso</i> (1591, fol.). +This book had an elaborate frontispiece, with a portrait of the +translator, and thirty-six engraved illustrations, that make up in +vigour of treatment, and breadth of imagination, for shortcomings in the +matter of draughtsmanship. The text was printed in double columns, and +each verse of the Argument was enclosed in a border of printers' +ornaments. A second edition, alike in almost every respect, passed +through the same press in 1607. In 1594 Field printed a second edition +of <i>Venus and Adonis</i>, and the first edition of <i>Lucrece</i>. His later +work included David Hume's <i>Daphne-Amaryllis</i>, 1605, 4to; Chapman's +translation of the <i>Odyssey</i> (1614, folio); and an edition of <i>Virgil</i> +in quarto in 1620.</p> + +<p>Foremost among the later men of this century stands Christopher Barker, +the Queen's printer, who was born about 1529, and is said to have been +grand-nephew to Sir Christopher Barker, Garter King-at-Arms. Originally +a member of the Drapers' Company, he began to publish books in 1569 +(Arber, i. p. 398), and to print in 1576, and purchased from Sir Thomas<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> +Wilkes his patent to print the Old and New Testament in English. Barker +issued in 1578 a circular offering his large Bible to the London +Companies at the rate of 24s. each bound, and 20s. unbound, the clerks +of the various Companies to receive 4d. apiece for every Bible sold, and +the hall of each Company that took £40 worth to receive a presentation +copy (Lemon's <i>Catal. of Broadsides</i>).</p> + +<div class="figcenter"> + <img src="images/33.jpg" + alt="Christopher Barker's Device." + title="Christopher Barker's Device." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 24.—Christopher Barker's Device..</span> +</div> + +<p><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span>In 1582 Barker sent to Lord Burghley an account of the various printing +monopolies granted since the beginning of the reign, and expresses +himself freely on them. He also attempted to suppress the printers in +Cambridge University. In and after 1588 he carried on his business by +deputies, George Bishop and Ralph Newbery, and in the following year, on +the disgrace of Sir Thomas Wilkes, he obtained an exclusive patent for +himself and his son to print all official documents, as well as Bibles +and Testaments. At one time Barker had no fewer than five presses, and +between 1575 and 1585 he printed as many as thirty-eight editions of the +Scriptures, an almost equal number being printed by his deputies before +1600. Christopher Barker died in 1599, and was succeeded in his post of +royal printer by Robert Barker, his eldest son.</p> + +<p>On the 23rd June 1586 was issued <i>The Newe Decrees of the Starre Chamber +for orders in Printing</i>, which is reprinted in full in the second volume +of Arber's <i>Transcripts</i>, pp. 807-812. It was the most important +enactment concerning printing of Queen Elizabeth's reign, and formed the +model upon which all subsequent 'whips and scorpions' for the printers +were manufactured. Its chief clauses were these: It restricted all +printing to London and the two Universities. The number of presses then +in London was to be reduced to such proportions as the Archbishop of<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> +Canterbury and the Bishop of London should think sufficient. No books +were to be printed without being licensed, and the wardens were given +the right to search all premises on suspicion. The penalties were +imprisonment and defacement of stock.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span></p> +<h2>CHAPTER VI</h2> + +<h3>PROVINCIAL PRESSES OF THE SIXTEENTH CENTURY<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></h3> + +<div class="figleft"> + <img src="images/34.jpg" + alt="I" + title="I" /> +</div> + +<p>n the first half of the sixteenth century, before the incorporation of +the Stationers' Company and the subsequent restriction of printing to +London and the Universities, there were ten places in England where the +art was carried on. Taking them chronologically, the earliest was the +city of York. Mr. Davies, in his <i>Memoirs of the York Press</i>, claims +that Frederick Freez, a book-printer, was at work there in 1497; but Mr. +Allnutt has clearly shown that there is no evidence in support of this, +no specimen of his printing being in existence. The first printer in the +city of York who can be traced with certainty was Hugo Goez, said to +have been the son of Matthias van der Goez, an Antwerp printer. Two +school-books, a <i>Donatus Minor</i> and an <i>Accidence</i>, as well as<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> the +<i>Directorium Sacerdotum</i>, dated in the colophon February 18th, 1509, +were printed by him, and it is believed that he was for a time in +partnership in London with a bookseller named Henry Watson (E. G. Duff, +<i>Early Printed Books</i>). Ames, in his <i>Typographical Antiquities</i>, +mentions a broadside 'containing a wooden cut of a man on horseback with +a spear in his right hand, and a shield of the arms of France in his +left. "Emprynted at Beverley in the Hyegate by me Hewe Goes," with his +mark, or rebus, of a great H and a goose.' But this cannot now be +traced.</p> + +<p>Another printer in York, of whom it is possible to speak with certainty, +was Ursyn Milner, who printed a <i>Festum visitationis Beate Marie +Virginis</i>, without date, and a Latin syntax by Robert Whitinton, +entitled <i>Editio de concinnitate grammatices et constructione noviter +impressa</i>, with the date December 20th, 1516, and a woodcut that had +belonged to Wynkyn de Worde.</p> + +<p>The second Oxford press began about 1517. In that year there appeared, +<i>Tractatus expositorius super libros posteriorum Aristotelis</i>, by Walter +Burley, bearing the date December 4th, 1517, without printer's name, but +ascribed from the appearance of the types to the press of John Scolar, +whose name is found in some of the similar tracts that appeared the +following year. These included <i>Questiones moralissime super<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span> libros +ethicorum</i>, by John Dedicus, dated May 15, 1518. On June 5th was issued +<i>Compendium questionum de luce et lumine</i>, on June 7th Walter Burley's +<i>Tractatus perbrevis de materia et forma</i>, on June 27th Whitinton's <i>De +Heteroclitis nominibus</i>. The latest book, dated 5th February 1519, +<i>Compotus manualis ad usum Oxoniensium</i>, bore the name of Charles +Kyrfoth, but nothing further is known of any such printer.</p> + +<p>No more is heard of a press at Oxford until nearly the close of the +sixteenth century, a gap of nearly seventy years, and a strange and +unaccountable interval. At any rate, the next Oxford printed book, so +far as is at present known, was John Case's <i>Speculum Moralium +quaestionum in universam ethicen Aristotelis</i>, with the colophon, +'Oxoniæ ex officina typographica Josephi Barnesii Celeberrimae Academiae +Oxoniensis Typographi. Anno 1585.'</p> + +<p>Joseph Barnes, the printer, had been admitted a bookseller in 1573, and +on August 15th, 1584, the University lent him £100 with which to start a +press. During the time that he remained printer to the University, his +press was actively employed, no less than three hundred books, many of +them in Greek and Latin, being traced to it. In 1595 appeared the first +Welsh book printed at the University, a translation into Welsh by Hugh +Lewis of O. Wermueller's <i>Spiritual and Most Precious Pearl</i>, and in +1596 two founts of<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> Hebrew letter were used by Barnes, but the stock of +this letter was small.</p> + +<p>In 1528, John Scolar, no doubt the same with the Oxford printer, is +found at Abingdon, where he printed a <i>Breviary</i> for the use of the +abbey there; only one copy has survived, and is now at Emmanuel College, +Cambridge.</p> + +<div class="figcenter"> + <img src="images/35.jpg" + alt="Device of Joseph Barnes." + title="Device of Joseph Barnes." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 25.—Device of Joseph Barnes.</span> +</div> + +<p>The first Cambridge printer was John Siberch, whose history, like that +of so many other early<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> printers, is totally unknown. Nine specimens of +his printing during the years 1521-22 are extant. The first is the +<i>Oratio</i> of Henry Bullock, a tract of eight quarto leaves, with a +dedication dated February 13, 1521, and the date of the imprint February +1521, so that it probably appeared between the 13th and 28th of that +month. The type used was a new fount of Roman. The book had no +ornamentation of any kind, neither device nor initial letters. A +facsimile of this book, with an introduction and bibliographical study +of Siberch's productions, was issued by the late Henry Bradshaw in 1886. +The title-page of the second book, <i>Cuiusdam fidelis Christiani epistola +ad Christianos omnes</i>, by Augustine, shows the title between two upright +woodcuts, each containing scenes from the Last Judgment. The third book, +an edition of Lucian, has a very ugly architectural border. The fifth +book from Siberch's press, the <i>Libellus de Conscribendis epistolis, +autore D. Erasmo</i>, printed between the 22nd and 31st of October 1521, +contains the privilege which, it is believed, he obtained from Bishop +Fisher.</p> + +<p>In the far west of England a press was established in the monastery of +Tavistock, in Devon, of which two curious examples are preserved. The +first is <i>The Boke of Comfort, called in laten Boetius de Consolatione +philosophie. Translated into English tonge ... Enprented in the exempt<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> +monastery of Tauestock in Den̅shyre, By me Dan Thomas Rycharde, monke +of the sayde monastery, To the instant desyre of the ryght worshypful +esquyer Mayster Robert Langdon. Anno d.' M.Dxxv.</i>, 4to. The Bodleian +Library at Oxford has two imperfect copies of this book, and a third, +also imperfect, is in the library of Exeter College, Oxford. The latter +college is also fortunate in possessing the only known copy of the +second book, which has this title:—</p> + +<p><i>Here foloweth the confirmation of the Charter perteynynge to all the +tynners wythyn the Coūty of devonshyre, with there Statutes also made +at Crockeryntorre</i>.</p> + +<p><i>Imprented at Tavystoke ye xx day of August the yere of the reygne off +our souerayne Lord Kyng Henry ye viii the xxvi yere</i>, i.e. 1534.</p> + +<p>To this same year, 1534, belongs the first dated book of John Herford, +the St. Albans printer. It seems probable that he was established there +some years earlier, but this is the first certain date we have. In that +year appeared a small quarto, with the title, <i>Here begynnethe ye +glorious lyfe and passion of Seint Albon prothomartyr of Englande, and +also the lyfe and passion of Saint Amphabel, whiche conuerted saint +Albon to the fayth of Christe</i>, of which John Lydgate was the author. It +was printed at the request of Robert Catton, abbot of the monastery, and +it would seem as if Herford's press was situated within<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span> the abbey +precincts. The next book, <i>The confutacyon of the first parte of Frythes +boke ... put forth by John Gwynneth clerk</i>, 1536, 8vo, was the work of +one of the monks of the abbey, who in the previous year had signed a +petition to Sir Francis Brian on the state of the monastery (<i>Letters +and Papers, Henry VIII.</i>, vol. ix. p. 394). Another of the signatories +to that petition was Richard Stevenage, who was at that time chamberer +of the abbey, and was created abbot on the deprivation of Robert Catton +in 1538. Of the three books which Herford printed in that year, two were +expressly printed for Richard Stevenage. These were <i>A Godly disputation +betweene Justus and Peccator and Senex and Juvenis</i>, and <i>An Epistle +agaynste the enemies of poore people</i>, both octavos, of which no copies +are now known. In some of Herford's books is a curious device with the +letters R. S. intertwined on it, which undoubtedly stand for Richard +Stevenage. His reign as abbot was a short one, for on 5th December 1539 +he delivered the abbey over to Henry <span class="smcap lowercase">VIII</span>'s commissioners. Just before +that event, on the 12th October, he wrote a letter to Cromwell in which +the following passage occurs:—</p> + +<div class="blockquot"><p>'Sent John Pryntare to London with Harry Pepwell, Bonere and Tabbe, +of Powlles churchyard stationers, to order him at your pleasure. +Never heard of the little book of detestable heresies till the +stationers showed it me.'—(<i>Letters and Papers, Hen. VIII.</i>, Vol. +xiv., Pt. 2, No. 315.)</p></div><p><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span></p> + +<p>The 'John Pryntare' can be none other than John Herford. 'Bonere' was a +misreading for <i>Bonham</i>, and these three, Pepwell, Tab, and Bonham, all +of them printers or booksellers in St. Paul's Churchyard, were evidently +sent down especially to inquire into the matter.</p> + +<p>We next hear of John Herford as in London in 1542, but meanwhile a +modification of Stevenage's device was used by a London printer named +Bourman. From the <i>Letters and Papers of Henry VIII.</i>, vol. xv. pp. 115, +etc., it appears that after his retirement from the abbey, Richard +Stevenage went by the name of Boreman. He is invariably spoken of as +'Stevenage <i>alias</i> Boreman,' so that the Nicholas Bourman, the London +printer, was perhaps a relative.</p> + +<p>The Rev. S. Sayers in his <i>Memoirs of Bristol</i>, 1823, vol. ii. p. 228, +states, on the authority of documents in the city archives, that a press +was at work in the castle in the year 1546. Of this press, if it ever +existed, not so much as a leaf remains.</p> + +<p>In 1547 Anthony Scoloker was established as a printer at Ipswich. In +that year he printed <i>The just reckenyng or accompt of the whole nomber +of yeares, from the beginnynge of the world, vnto this present yeare of +1547. Translated out of Germaine tonge by Anthony Scoloker the 6 daye of +July 1547</i>. He was chiefly concerned with the movements of the +Reformation, and his publica<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span>tions were mostly small octavos, the +writings of Luther, Zwingli, and Ochino, printed in type of a German +character and of no great merit. In 1548 he moved to London, where for a +time he was in partnership with William Seres. The adjoining cut, the +earliest English representation of a printing press, is taken from the +<i>Ordinarye of Christians</i>, printed by Scoloker after he had settled in +London.</p> + +<div class="figcenter"> + <img src="images/36.jpg" + alt="From the Ordinarye of Christians, c. 1550." + title="From the Ordinarye of Christians, c. 1550." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 26.—From the <i>Ordinarye of Christians</i>, c. 1550.</span> +</div> + +<p>A second printer in Ipswich is believed to have been John Overton, who +in 1548 printed there two sheets of Bale's <i>Illustrium maioris Britanniæ +scriptorum summarium</i>, the remainder of which was printed at Wesel. +Nothing else of his appears to be known.<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p> + +<p>The third printer at Ipswich was John Oswen, who was also established +there in 1548. Nine books can be traced to his press there. The first +was <i>The Mynde of the Godly and excellent lerned man M. Jhon Caluyne +what a Faithful man, whiche is instructe in the Worde of God ought to +do, dwellinge amongest the Papistes. Imprinted at Ippyswiche by me John +Oswen</i>. 8vo. This was followed by Calvin's <i>Brief declaration of the +fained sacrament commonly called the extreame unction</i>. The remainder of +his books were of a theological character. He left Ipswich about +Christmas 1548, and is next found at Worcester, where, on the 30th +January 1549, he printed <i>A Consultarie for all Christians most godly +and ernestly warnying al people to beware least they beare the name of +Christians in vayne. Now first imprinted the xxx day of Januarie Anno M. +D. xlix. At Worceter by John Oswen. Cum priuilegio Regali ad imprimendum +solum. Per septennium</i>. The privilege, which was dated January 6th, +1548-9, authorised Oswen to print all sorts of service or prayer-books +and other works relating to the scriptures 'within our Principalitie of +Wales and Marches of the same.'<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p> + +<p>Oswen followed this by another edition of the <i>Domestycal or Household +Sermons</i> of Christopher<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span> Hegendorff, which was printed on the last day +of February 1549.</p> + +<p>Then came his first important undertaking, a quarto edition of <i>The boke +of common praier</i>. Imprinted the xxiv day of May Anno <span class="smcap lowercase">MDXLIX</span>. The folio +edition appeared in July of the same year. Two months later he printed +an edition of the <i>Psalter or Psalmes of David</i>, 4to. On January 12, +1550, appeared a quarto edition of the <i>New Testament</i>, of which there +is a copy in Balliol College Library, and this was followed in the same +year by Zwingli's <i>Short Pathwaye</i>, translated by John Veron; by a +translation by Edward Aglionby of Mathew Gribalde's <i>Notable and +marveilous epistle</i>, and the <i>Godly sayings of the old auncient +fathers</i>, compiled by John Veron. Two or three books of the same kind +were issued in 1551, and in 1552 he issued another edition of the Book +of Common Prayer. The last we hear of him is in 1553, when he printed an +edition of the Statutes of 6th Edward <span class="smcap lowercase">VI.</span>, and <i>An Homelye to read in +the tyme of pestylence</i>. What became of Oswen is not known. He very +likely went abroad on the accession of Queen Mary.</p> + +<p>In Kent there was a press at Canterbury, from which eleven books are +known to have been printed between 1549 and 1556.</p> + +<p>John Mychell, the printer of these, began work in London at the Long +Shop in the Poultry,<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span> some time between the departure of Richard Banckes +in 1539 and the tenancy of Richard Kele in 1542. In 1549 he appears to +have moved to Canterbury, where he printed a quarto edition of the +Psalms, with the colophon, 'Printed at Canterbury in Saynt Paules +paryshe by John Mychell.' In 1552 he issued <i>A Breuiat Cronicle +contayninge all the Kynges from Brute to this daye</i>, and in 1556, the +<i>Articles of Cardinal Pole's Visitation</i>. He also issued several minor +theological tracts without dates.</p> + +<p>The Norwich press began about 1566, when Anthony de Solemne, or +Solempne, set up a press among the refugees who had fled from the +Netherlands and taken refuge in that city. Most of his books were +printed in Dutch, and all of them are excessively rare. The earliest +was:—</p> + +<p><i>Der Siecken Troost, Onderwijsinghe on gewillichlick te steruen. +Troostinghe | on den siecken totte rechten gheloue ende betrouwen in +Christo te onderwijsen. Ghemeyn bekenisse der sonden | met | scoon +gebeden. Ghedruct in Jaer ons Heeren. Anno 1566</i>. The only known copy of +the book is in Trinity College Library, Dublin.</p> + +<p>The Psalms of David in Dutch appeared in 1568, and the New Testament in +the same year.</p> + +<p>He was also the printer of certain Tables concerning God's word, by +Antonius Corranus, pastor of the Spanish Protestant congregation at<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> +Antwerp. It was printed in four languages, Latin, French, Dutch, and +English.</p> + +<p>The only known specimen of Solempne's printing in the English language +is a broadside now in the Bodleian:—</p> + +<p><i>Certayne versis | written by Thomas Brooke Gētleman | in the tyme of +his imprysōment | the daye before his deathe | who sufferyd at +Norwich the 30 of August 1570. Imprynted at Norwiche in the Paryshe of +Saynct Andrewe | by Anthony de Solempne 1570.</i></p> + +<p>In this year Solempne also printed <i>Eenen Calendier Historiael | +eewelick gheduerende</i>, 8vo, a tract of eight leaves printed in black and +red, of which there are copies in the library of Trinity College, +Dublin, and the Bodleian.</p> + +<p>There is then a gap of eight years in his work, the next book found +being a sermon, printed in 1578, <i>Het tweede boeck vande sermoenen des +wel vermaerden Predicant B. Cornelis Adriaensen van Dordrecht +minrebroeder tot Brugges</i>. Of this there are two copies known, one in +the library of Trinity College, Dublin.</p> + +<p>The last book traced to Solempne's press is <i>Chronyc. Historie der +Nederlandtscher Oorlogen. Gedruct tot Norrtwitz na de copie van Basel, +Anno 1579</i>, 8vo, of which there remain copies in the Bodleian, +University Library, Cambridge, and in the private collection of Lord +Amherst.<span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> + +<p>In 1583, after an interval similar to that at Oxford, another press was +started at Cambridge, when, on May 3rd of that year, Thomas Thomas was +appointed University printer. His career was marked by many +difficulties. The Company of Stationers at once seized his press as an +infringement of their privileges, and this in the face of the fact that +for many years the University had possessed the royal licence, though +hitherto it had not been used. The Bishop of London, writing to +Burghley, declared on hearsay evidence that Thomas was a man 'vtterlie +ignoraunte in printinge.' The University protested, and as it was +clearly shown that they held the royal privilege, the Company were +obliged to submit, but they did the Cambridge printer all the injury +they could by freely printing books that were his sole copyright +(Arber's <i>Transcripts</i>, vol. ii. pp. 782, 813, 819-20). He printed for +the use of scholars small editions of classical works. In 1585 he issued +in octavo the Latin Grammar of Peter Ramus, and in 1587 the Latin +Grammar of James Carmichael in quarto (Hazlitt, <i>Collections and Notes</i>, +3rd series, p. 17). He was also the compiler of a Dictionary, first +printed about 1588, of which five editions were called for before the +end of the century.</p> + +<p>Thomas died in August 1588, and the University, on the 2nd November, +appointed John Legate his successor, as 'he is reported to be<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span> skilful +in the art of printing books.' On the 26th April 1589 he received as an +apprentice Cantrell Legge, who afterwards succeeded him. From 1590 to +1609 he appears in the parish books of St. Mary the Great, Cambridge, as +paying 5s. a year for the rent of a shop. He had the exclusive right of +printing Thomas's Dictionary, and he printed most of the books of +William Perkins. He subsequently left Cambridge and settled in London.</p> + +<div class="figcenter"> + <img src="images/37.jpg" + alt="Device used by John Legate." + title="Device used by John Legate." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 27.—Device used by John Legate.</span> +</div> + +<p>The books printed by these two Cambridge printers show that they had a +good variety of Roman and Italic, very regularly cast, besides some neat +ornaments and initials. Whether<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span> these founts belonged to the +University, or to Thomas in the first place, is not clear. Nor do these +books bear out the Bishop of London's statement as to Thomas being +ignorant of printing; on the contrary, the presswork was such as could +only have been done by a skilled workman.</p> + +<p>In addition to the foregoing, there were several secret presses at work +in various parts of the country during the second half of the century. +The Cartwright controversy, which began in 1572 with the publication of +a tract entitled <i>An Admonition to the Parliament</i>, was carried out by +means of a secret press at which John Stroud is believed to have worked, +and had as assistants two men named Lacy and Asplyn. The Stationers' +Company employed Toy and Day to hunt it out, with the result that it was +seized at Hempstead, probably Hemel Hempstead, Herts, or Hempstead near +Saffron Walden, Essex. The type was handed over to Bynneman, who used it +in printing an answer to Cartwright's book. It was in consequence of his +action in this matter that John Day was in danger of being killed by +Asplyn.</p> + +<p>A few years later books by Jesuit authors were printed from a secret +press which, from some notes written by F. Parsons in 1598, and now +preserved in the library of Stonyhurst College, we know began work at +Greenstreet House, East Ham, but<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> was afterwards removed to Stonor Park. +The overseer of this press was Stephen Brinckley, who had several men +under him, and the most noted book issued from it was Campion's +<i>Rationes Decem</i>, with the colophon, 'Cosmopoli 1581.'</p> + +<p>Finally, there was the Marprelate press, of which Robert Waldegrave was +the chief printer. He was the son of a Worcestershire yeoman, and put +himself apprentice to William Griffith, from the 24th June 1568, for +eight years. He was therefore out of his time in 1576, and in 1578 there +is entered to him a book entitled <i>A Castell for the Soul</i>. His +subsequent publications were of the same character, including, in 1581, +<i>The Confession and Declaration of John Knox</i>, <i>The Confession of the +Protestants of Scotland</i>, and a sermon of Luther's. It was not, however, +until the 7th April 1588 that he got into trouble. In that year he +printed a tract of John Udall's, entitled <i>The State of the Church of +England</i>. His press was seized and his type defaced, but he succeeded in +carrying off some of it to the house of a Mrs. Crane at East Molesey, +where he printed another of Udall's tracts, and the first of the +Marprelate series: <i>O read over D. John Bridges for it is a worthye +work. Printed oversea in Europe within two furlongs of a Bounsing +Priest, at the cost and charges of M. Marprelate, gentleman</i>.</p> + +<p>From East Molesey the press was afterwards<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span> removed to Fawsley, near +Daventry, and from thence to Coventry. But the hue and cry after the +hidden press was so keen that another shift was made to Wolston Priory, +the seat of Sir R. Knightley, and finally Waldegrave fled over sea, +taking with him his black-letter type. He went first to Rochelle, and +thence to Edinburgh, where in 1590 he was appointed King's printer.</p> + +<p>The Marprelate press was afterwards carried on by Samuel Hoskins or +Hodgkys, who had as his workmen Valentine Symmes and Arthur Thomlyn. The +last of the Marprelate tracts, <i>The Protestacyon of Martin Marprelate</i>, +was printed at Haseley, near Warwick, about September 1589.</p> + +<hr style="width: 35%;" /> + +<h4>PRINTING IN SCOTLAND AND IRELAND DURING THE SIXTEENTH CENTURY<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></h4> + +<p>On the 15th September 1507, King James IV. of Scotland granted to his +faithful subjects, Walter Chepman and Androw Myllar, burgesses of +Edinburgh, leave to import a printing-press and letter, and gave them +licence to print law books, breviaries, and so forth, more particularly +the Breviary of William, Bishop of Aberdeen. Walter Chepman was a +general merchant, and probably his<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> chief part in the undertaking at the +outset was of a financial character. Andrew Myllar had for some years +carried on the business of a bookseller in Edinburgh, and books were +printed for him in Rouen by Pierre Violette. There is, moreover, +evidence that Myllar himself learnt the art of printing in that city.</p> + +<p>The printing-house of the firm in Edinburgh was in the Southgait (now +the Cowgate), and they lost no time in setting to work, devoting +themselves chiefly to printing some of the popular metrical tales of +England and Scotland. A volume containing eleven such pieces, most of +them printed in 1508, is preserved in the Advocates' Library, Edinburgh.</p> + +<p>Among the pieces found in it are—<i>Sir Eglamoure of Artoys</i>, <i>Maying or +desport of Chaucer</i>, <i>Buke of Gude Counsale to the Kyng</i>, <i>Flytting of +Dunbar & Kennedy</i>, and <i>Twa Marrit Wemen and the wedo</i>.</p> + +<p>Three founts of black letter, somewhat resembling in size and shape +those of Wynkyn de Worde, were used in printing these books, and the +devices of both men are found in them. That of Chepman was a copy of the +device of the Paris printer, Pigouchet, while Myllar adopted the punning +device of a windmill with a miller bearing sacks into the mill, with a +small shield charged with three fleur-de-lys in each of the upper +corners.<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span></p> + +<div class="figcenter"> + <img src="images/38.jpg" + alt="Device of Andrew Miller." + title="Device of Andrew Miller." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 28.—Device of Andrew Miller.</span> +</div> + +<p>After printing the above-mentioned works, Myllar disappears, and the +famous <i>Breviarium Aberdonense</i>, the work for which the King had mainly +granted the license, was finished in 1509-10 by Chepman alone. It is an +unpre<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span>tentious little octavo, printed in double columns, in red and +black, as became a breviary, but with no special marks of typographical +beauty. Four copies of it are known to exist, but none of these are +perfect. Chepman then disappears as mysteriously as his partner. In the +Glamis copy of the <i>Bremarium</i>, Dr. David Laing discovered a single +sheet of eight leaves of a book with the imprint: <i>Impressū Edinburgi +per Johane Story nomine & mandato Karoli Stule</i>. Nothing more, however, +is known of this John Story.</p> + +<p>In 1541-2 another printer, Thomas Davidson, is found printing <i>The New +Actis and Constitutionis of Parliament maid Be the Rycht Excellent +Prince James the Fift King of Scottis</i>, 1540. Davidson's press, which +was situated 'above the nether bow, on the north syde of the gait,' was +also very short-lived, and very few examples of it are now in existence; +one of these, a quarto of four leaves, with the title <i>Ad Serenissimum +Scotorum Regem Jacobum Quintum de suscepto Regni Regimine a diis +feliciter ominato Strena</i>, is the earliest instance of the use of Roman +type in Scotland. His most important undertaking, besides the Acts of +Parliament, was a Scottish history, printed about 1542.</p> + +<p>The next printer we hear of is John Scot or Skot. There was a printer of +this name in London between 1521 and 1537, but whether he is to be +identified with this slightly later Scottish<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span> printer is not known. +Between 1552 and 1571 Scot printed a great many books, most of them of a +theological character. Among them was Ninian Winziet's <i>Certane +tractatis for Reformatioune of Doctryne and Maneris</i>, a quarto, printed +on the 21st May 1562, and the same author's <i>Last Blast of the Trumpet</i>. +For these he was arrested and thrown into prison, and his printing +materials were handed over to Thomas Bassandyne. In 1568 he was at +liberty again and printed for Henry Charteris, <i>The Warkes of the famous +& vorthie Knicht Schir David Lyndesay</i>; while among his numerous undated +books is found Lyndsay's <i>Ane Dialog betwix Experience and Ane +Courtier</i>, of which he printed two editions, the second containing +several other poems by the same author.</p> + +<p>Scot was succeeded by Robert Lekpreuik, who began to print, in 1561, his +first dated book, a small black-letter octavo of twenty-four pages, +called <i>The Confessione of the fayght and doctrin beleued and professed +by the Protestantes of the Realme of Scotland. Imprinted at Edinburgh be +Robert Lekpreuik, Cum privilegio</i>, 1561.</p> + +<p>In the following year the Kirk lent him £200 with which to print the +Psalms. The copy now in the Advocates' Library, Edinburgh, bound with +the <i>Book of Common Order</i> printed by Lekpreuik in the same year, +probably belongs to this edition.<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span></p> + +<p>Two years later, in 1564-5, he obtained a license under the Privy Seal +to print the Acts of Parliament of Queen Mary and the Psalms of David in +Scottish metre. Of this edition of the Psalms there is a perfect copy in +the library of Corpus Christi College, Oxford. Again, in 1567, Lekpreuik +obtained the royal license as king's printer for twenty years, during +which time he was to have the monopoly of printing <i>Donatus pro pueris</i>, +<i>Rudimentis of Pelisso</i>, <i>Acts of Parliament</i>, <i>Chronicles of the +Realm</i>, the book called <i>Regia Majestas</i>, the <i>Psalms</i>, the <i>Homelies</i>, +and <i>Rudimenta Artis Grammaticae</i>.</p> + +<p>Among his other work of that year may be noticed a ballad entitled <i>The +testament and tragedie of vmquhile King Henry Stewart of gude memory</i>, a +broadside of sixteen twelve-line stanzas, from the pen of Robert Sempil. +A copy of this is in the British Museum (Cott. Caligula, C. i. fol. 17). +In 1568 there was danger of plague in Edinburgh, and Lekpreuik printed a +small octavo of twenty-four leaves, in Roman type, with the title, <i>Ane +breve description of the Pest, Quhair in the Cavsis signes and sum +speciall preservatiovn and cvre thairof ar contenit. Set furth be +Maister Gilbert Skeyne, Doctoure in Medicine</i>.</p> + +<p>In 1570 he printed for Henry Charteris a quarto edition of the <i>Actis +and Deides of Sir William Wallace</i>, and in 1571 <i>The Actis and Lyfe of +Robert<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span> Bruce</i>. This was printed early in the year, as on the 14th April +Secretary Maitland made a raid upon Lekpreuik's premises, under the +belief that he was the printer of Buchanan's <i>Chameleon</i>. The printer, +however, had received timely warning and retired to Stirling, where, +before the 6th of August, he printed Buchanan's <i>Admonition</i>, and also a +letter from John Knox 'To his loving Brethren.' His sojourn there was +very short, as on the 4th September Stirling was attacked and Lekpreuik +thereupon withdrew to St. Andrews, where his press was active throughout +the year 1572 and part of 1573. In the month of April 1573 Lekpreuik +returned to Edinburgh and printed Sir William Drury's <i>Regulations</i> for +the army under his command. But in January 1573-74 he was thrown into +prison and his press and property confiscated. How long he remained a +prisoner is not clear, but in all probability until after the execution +of the Regent Morton in 1581. In that year he printed the following +books—Patrick Adamson's <i>Catechismus Latino Carmine Redditus et in +libros quatuor digestus</i>, a small octavo of forty leaves, printed in +Roman type; Fowler's <i>Answer to John Hamilton</i>, a quarto of twenty-eight +leaves; and a <i>Declaration</i> without place or printer's name, but +attributed to his press: after this nothing more is heard of him.</p> + +<p>Contemporary with Lekpreuik was Thomas<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> Bassandyne, who is believed to +have worked both in Paris and Leyden before setting up as a printer in +Edinburgh.</p> + +<p>His first appearance, in 1568, was not a very creditable one. An order +of the General Assembly, on the 1st July of that year, directs +Bassandyne to call in a book entitled <i>The Fall of the Roman Kirk</i>, in +which the king was called 'supreme head of the Primitive Church,' and +also orders him to delete an obscene song called <i>Welcome Fortune</i> which +he had printed at the end of a psalm-book. The Assembly appointed Mr. +Alexander Arbuthnot to revise these things.</p> + +<p>In 1574 Bassandyne printed a quarto edition of Sir David Lindsay's +<i>Works</i>, of which he had 510 copies in stock at the time of his death.</p> + +<div class="figcenter"> + <img src="images/39.jpg" + alt="Device of Alexander Arbuthnot." + title="Device of Alexander Arbuthnot." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 29.—Device of Alexander Arbuthnot.</span> +</div> + +<p>On the 7th March 1574-75, in partnership with Alexander Arbuthnot (who +was not the same as the Alexander Arbuthnot who had been appointed to +exercise a supervision of Bassandyne's books in 1568), Bassandyne laid +proposals before the General Assembly for printing an edition of the +Bible, the first ever printed in Scotland. The General Assembly gave him +hearty support, and required every parish to provide itself with one of +the new Bibles as soon as they were printed. On the other hand, the +printers were to deliver a certain number of copies before the last of +March 1576, and the cost of it was to be £5. The terms of this agreement +were not carried out by the<span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> printers. The New Testament only was +completed and issued in 1576, with the name of Thomas Bassandyne as the +printer. The whole Bible was not finished until the close of the<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> year +1579, and Bassandyne did not live to see its completion, his death +taking place on the 18th October 1577.</p> + +<p>Like most of his predecessors, Bassandyne was a bookseller; and on pp. +292-304 of their work <i>Annals of Scottish Printing</i>, Messrs. Dickson and +Edmond have printed the Inventory of the goods he possessed, including +the whole of his stock of books, which is of the greatest interest and +value. Unfortunately such inventories are not to be met with in the case +of English printers.</p> + +<p>Bassandyne used as his device a modification of the serpent and anchor +mark of John Crespin of Geneva.</p> + +<p>Arbuthnot was now left to carry on the business alone, and was made +King's printer in 1579. But he was a slow, slovenly, and ignorant +workman, and the General Assembly were so disgusted with the delivery of +the Bible and the wretched appearance of his work, that, on the 13th +February 1579-80, they decided to accept the offer of Thomas +Vautrollier, a London printer, to establish a press in Edinburgh.</p> + +<p>Arbuthnot died on September 1st, 1585. His device was a copy of that of +Richard Jugge of London, and is believed to have been the work of a +Flemish artist, Assuerus vol Londersel.</p> + +<p>Another printer in Edinburgh between 1574-80 was John Ross. He worked +chiefly for Henry<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span> Charteris, for whom he printed the <i>Catechisme</i> in +1574, and a metrical version of the Psalms in 1578. For the same +bookseller he also printed a poem, <i>The seuin Seages, Translatit out of +prois in Scottis meter be Johne Rolland in Dalkeith</i>, a quarto, now so +rare that only one copy is now known, that in the Britwell Library.</p> + +<p>In 1579 Ross printed <i>Ad virulentum Archbaldi Hamiltonii Apostatæ +dialogum, de confusione Calvinianæ Sectæ apud Scotos, impie conscriptum, +orthodoxa responsio, Thoma Smetonio Scoto anctore</i>, a quarto, printed in +Roman letter, and followed it up with two editions of Buchanan's <i>De +Jure Regni apud Scotos dialogus</i>.</p> + +<p>Ross used a device showing Truth with an open book in her right hand, a +lighted candle in her left, surrounded with the motto 'Vincet tandem +veritas.' This device was afterwards used by both Charteris and +Waldegrave. Ross died in 1580, when his stock passed into the hands of +Henry Charteris, who began printing in the following year. As we have +seen, he employed Scot, Lekpreuik, and Ross to print for him. Up to 1581 +he confined himself to bookselling. His printing was confined to various +editions of Sir David Lindsay's <i>Works</i> and theological tracts. He used +two devices, that of Ross, and another emblematical of Justice and +Religion, with his initials. He died on the 9th August 1599.<span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span></p> + +<p>In 1580, at the express invitation of the General Assembly, Thomas +Vautrollier visited Edinburgh, and set up as a bookseller, no doubt with +the view of seeing what scope there was likely to be for a printer with +a good stock of type. The Treasurer's accounts for this period show that +he received royal patronage.</p> + +<p>On his second visit, a year or two later, he went armed with a letter to +George Buchanan from Daniel Rodgers, and set up a press in Edinburgh. +But in spite of the support of the Assembly and the patronage that an +introduction to Buchanan must have brought him, he evidently soon found +there was not enough business in Edinburgh to support a printer, for he +remained there little more than a year, when he again returned to +London. During his short career as a printer in Edinburgh he printed at +least eight books, of which the most important were Henry Balnave's +<i>Confession of Faith</i>, 1584, 8vo, and King James's <i>Essayes of a +Prentice in the Divine Art of Poesie</i>, 4to.</p> + +<p>Scotland's next important printer was Robert Waldegrave, who, after his +adventures as a secret printer in England, set up a press in Edinburgh +in 1590, and continued printing there till the close of the century.</p> + +<p>One of his first works was a quarto in Roman type entitled <i>The +Confession of Faith, Subscribed by the Kingis Maiestie and his +householde: Togither<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span> with the Copie of the Bande, maid touching the +maintenaunce of the true Religion</i>. Among his other work, which was +chiefly theological, may be mentioned King James's <i>Demonologie</i>, 1597, +4to, and the first edition of the <i>Basilikon Doron</i>, in quarto, of which +it is said only seven copies were printed.</p> + +<p>Contemporary with him was a Robert Smyth, who married the widow of +Thomas Bassandyne, and who in 1599 received license to print the +following books:—'The double and single catechism, the plane Donet, the +haill four pairtes of grammar according to Sebastian, the Dialauges of +Corderius, the celect and familiar Epistles of Cicero, the buik callit +Sevin Seages, the Ballat buik, the Secund rudimentis of Dunbar, the +Psalmes of Buchanan and Psalme buik.'</p> + +<p>The only known copy of Smyth's edition of Holland's <i>Seven Sages</i> is +that in the British Museum.</p> + +<p>The last of the Scottish printers of the sixteenth century was Robert +Charteris, the son and successor of Henry Charteris, but he did not +succeed to the business until 1599, and his work lies chiefly in the +succeeding century.</p> + +<p>It may safely be said that the earliest press in Ireland of which there +is any authentic notice was that of Humphrey Powell, of which there is +the following note in the <i>Act Books of the Privy<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span> Council</i> (New Series, +vol. iii. p. 84), under date 18th July 1550:—</p> + +<div class="blockquot"><p>'A warrant to ——, to deliver xx<sup>li</sup> unto Powell the printer, +given him by the Kinges Majestie towarde his setting up in +Ireland.'</p></div> + +<p>Nothing is known of Humphrey Powell's work in England beyond several +small theological works issued between 1548 and 1549 from a shop in +Holborn above the Conduit.</p> + +<p>On his arrival in Ireland he set up his press in Dublin, and printed +there the Prayer Book of Edward <span class="smcap lowercase">VI.</span> with the colophon:—</p> + +<div class="blockquot"><p>'Imprinted by Humphrey Powell, printer to the Kynges Maieste, in +his Highnesse realme of Ireland dwellynge in the citie of Dublin in +the great toure by the Crane Cum Privelegio ad imprimendum solum. +Anno Domini, M.D.L.I.'</p></div> + +<p>Timperley, in his <i>Encyclopædia</i> (p. 314), says that Powell continued +printing in Dublin for fifteen years, and removed to the southern side +of the river to St. Nicholas Street.</p> + +<p>In 1571 the first fount of Irish type was presented by Queen Elizabeth +to John O'Kearney, treasurer of St. Patrick's, to print the <i>Catechism</i> +which appeared in that year from the press of John Franckton. (Reed, +<i>Old English Letter Foundries</i>, pp. 75, 186-7.) It was not a Pure Irish +character, but a hybrid fount consisting for the most part of Roman and +Italic letters, with the seven distinctly Irish sorts added. A<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span> copy of +the <i>Catechism</i> is exhibited in the King's Library, British Museum, and +in the Library of Corpus Christi College, Cambridge, is a copy of a +broadside <i>Poem on the last Judgement</i>, sent over to the Archbishop of +Canterbury as a specimen.</p> + +<p>This type was afterwards used to print William O'Donnell's, or Daniel's, +Irish Testament in 1602.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p> +<h2>CHAPTER VII</h2> + +<h3>THE STUART PERIOD</h3> + +<h3>1603-1640</h3> + +<div class="figleft"> + <img src="images/40.jpg" + alt="O" + title="O" /> +</div> + +<p>ne of the first acts of King James on his accession to the English +throne was to strengthen the hands of the already powerful Company of +Stationers. Hitherto all Primers and Psalters had been the exclusive +privilege of the successors of Day and Seres, while Almanacs and +Prognostications, another large and profitable source of revenue, had +been the property of James Roberts and Richard Watkins. But now, by the +royal authority, these two valuable patents were turned over to the +Stationers to form part of their English stock. At the same time, the +privileges of Robert Barker, son and successor to Christopher Barker, +and king's printer by reversion, were increased by grants for printing +all statutes, hitherto the monopoly of other printers. On the other +hand, Robert Barker did not retain the sole possession of the royal +business as men like Berthelet and<span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span> Pynson had been wont to do, but had +joined with him in the patent John Norton, who had a special grant for +printing all books in Latin, Greek, and Hebrew, and John Bill, who +probably obtained his share by purchase. These three men were thus the +chief printers during the early part of this reign.</p> + +<p>Robert Barker had been made free of the Stationers' Company in 1589, +when he joined his father's assigns, George Bishop and Ralph Newbery, in +the management of the business. He was admitted to the livery of the +Company in 1592, and upon his father's death succeeded to the office of +King's printer by reversion. In 1601-2 he was warden of the Company, and +filled the office of Master in 1605. Some time before 1618 he sold his +moiety of the business to Bonham Norton and John Bill, and this +arrangement was confirmed by Royal Charter in 1627.</p> + +<p>Upon the death of Bonham Norton, Barker's name again appears in the +imprint of the firm, and he continued printing until about 1645. It is +said by Ames (vol. ii. p. 1091), and has been repeated by all writers +since his day, that Robert Barker was committed to the King's Bench +Prison in 1635, and that he remained a prisoner there until his death in +1645. No confirmation of this can be found in the State Papers; indeed +the fact that he accompanied Charles <span class="smcap lowercase">I.</span> to Newcastle in 1636, and was +printing in other parts of<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> England until 1640, proves that he could not +have been in prison the whole of the time from 1635 to 1645.</p> + +<p>Robert Barker's work was almost entirely of an official character, the +printing of the Scriptures, Book of Common Prayer, Statutes and +Proclamations.</p> + +<p>His work was very unequal, and his type, mostly of black letter, was not +of the best.</p> + +<p>His most important undertaking was the so-called 'authorised version' of +the Bible in 1611. As a matter of fact it never was authorised in any +official sense. The undertaking was proposed at a conference of divines, +held at Hampton Court in 1604. The King manifested great interest in the +scheme, but did not put his hand in his pocket towards the expenses, and +the divines who undertook the translation obtained little except fame +for their labours, while the whole cost of printing was borne by Robert +Barker. Like all previous editions of the Scriptures in folio, this +Bible of 1611 was printed in great primer black letter. It was preceded +by an elaborately engraved title-page, the work of C. Boel of Richmond, +and had also an engraved map of Canaan, partly the work of John Speed.</p> + +<p>The type and ornaments were the same as had been used to print the first +edition of the 'Bishops' Bible,' the initial letter to the Psalms +containing the arms of Whittingham and Cecil.<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span></p> + +<div class="figcenter"> + <img src="images/41.jpg" + alt="From the Bible of 1611." + title="From the Bible of 1611." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 30.—From the Bible of 1611.</span> +</div> + +<p><span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span>Barker also possessed the handsome pictorial initial letters which had +been used by John Day, and many of the ornaments and initials previously +in the office of Henry Bynneman.</p> + +<p>John Norton was the son of Richard Norton, a yeoman of Billingsley, +county Shropshire; he was nephew of William Norton, and cousin of Bonham +Norton, and was thus connected by marriage with the sixteenth century +bookseller, William Bonham. He was three times Master of the Stationers' +Company, in 1607, 1610, and 1612. On his death, in 1612, he left £1000 +to the Company of Stationers, not as is generally stated as a legacy of +his own, but rather as trustee of the bequest of his uncle, William +Norton. The bulk of his property he left to his cousin, Bonham Norton +(P. C. C. 5 Capell).</p> + +<p>His press will always be remembered for the magnificent edition of the +<i>Works of St. Chrysostom</i>, in eight folio volumes, printed at Eton in +1610, at the charge of Sir Henry Savile, the editor. The late T. B. +Reed, in his <i>History of the Old English Letter Foundries</i> (p. 140), +speaks of this edition as 'one of the most splendid examples of Greek +printing in this country,' and further describes the types with which it +was printed as 'a great primer body, very elegantly and regularly cast, +with the usual numerous ligatures and abbreviations which characterised +the Greek typography of that period' (p. 141).<span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p> + +<div class="figcenter"> + <img src="images/42.jpg" + alt="Dedication of Savile's St. Chrysostom. Eton, 1610." + title="Dedication of Savile's St. Chrysostom. Eton, 1610." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 31.—Dedication of Savile's <i>St. Chrysostom</i>. Eton, 1610.</span> +</div> + +<p><span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span>The work is said to have cost its promoter £8000.</p> + +<p>The title-page to the first volume was handsomely engraved, and a highly +ornamental series of initial letters were used in it.</p> + +<p>Another Greek work that Norton completed at Eton in the same year was +the <i>Sancti Gregorii Nazianzeni in Julianum Invectivae duae</i>, in quarto.</p> + +<p>In addition to his patent for printing Greek and Latin books, Norton +also acquired from Francis Rea his patent for printing grammars, and by +his will he directed a sum of money to be paid out of the profits of +this patent to his wife Joyce.</p> + +<p>John Bill was the son of Walter Bill, husbandman, of Wenlock, county +Salop, and on the 25th July 1592 he apprenticed himself to John Norton. +In 1601 he was admitted a freeman of the Company.</p> + +<p>He appears to have been a man of shrewd business ability and some +scholarship, as we find him writing in Latin to Dr. Wideman of Augsburg +on the subject of books. He was also looked upon by the Government as an +authority on matters concerning his business. Under his partnership with +Bonham Norton, he secured a large share in the Royal business. John +Norton bequeathed him a legacy of £10, and a similar sum to his wife.<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span></p> + +<p>John Bill died in 1632, and on the 26th August of that year the whole of +his stock was assigned to Mistress Joyce Norton, the widow of John +Norton, and Master Whittaker. The list fills upwards of two pages of +Arber's <i>Transcripts</i> (vol. iv. pp. 283-285), and includes the following +notable works:—</p> + +<p>Beza's <i>Testament</i> in Latin, Camden's <i>Britannia</i>, Comines' <i>History</i>, +Cornelius Tacitus, Du Moulin's <i>Defence of the Catholique Faith</i>, +Gerard's <i>Herball</i>, Goodwin's <i>History of Henry VIII.</i>, Plutarch's +<i>Works</i>, Rider's <i>Dictionary</i>, Spalato's <i>Sermons</i>, Usher's <i>Gravissimæ +questiones</i>, Verstegan's <i>Restitution of Decayed Intelligence</i>.</p> + +<p>The reversion of John Norton's patent for Greek and Latin books had been +granted in 1604 to Robert Barker (Dom. S. P. 1604), but the year +following Norton's death it was granted to Bonham Norton for thirty +years (Dom. S. P. I., vol. 72, No. 5), and he also seems to have +acquired the patent for printing grammars.</p> + +<p>Bonham Norton was the only son of William Norton, stationer of London, +who died in 1593, by his wife Joan, the daughter of William Bonham. He +took up his freedom on the 4th February 1594, and was Master of the +Stationers' Company in the years 1613, 1626, and 1629, and must have +been one of the richest men in the trade. He was joined with Thomas +Wight in a patent for printing <i>Abridgements of the Statutes</i><span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> in 1599, +and later with John Bill in a share of the Royal printing-house. He is +frequently mentioned in wills and other documents of this period. At the +time of John Norton's death Bonham had a family of five sons and four +daughters. He died intestate on the 5th April 1635, and administration +of his estate was granted to his son John on the 28th May 1636 (Admon, +Act Book 1636).</p> + +<p>On the 9th May 1615 an order was made by the Court of the Stationers' +Company, upon complaint made by the master printers of the number of +presses then at work, that only nineteen printers, exclusive of the +patentees, <i>i.e.</i> Robert Barker, John Bill, and Bonham Norton, should +exercise the craft of printing in the city of London. There is nothing +in the work of these men, judged as specimens of the printer's art, to +interest us, but there were some whose work was of very much better +character than others.</p> + +<p>Richard Field, the successor of Thomas Vautrollier, and a +fellow-townsman of Shakespeare, has already been spoken of in an earlier +chapter. He printed many important books between 1601-1624, had two +presses at work in 1615, and was Master of the Company in 1620. He +maintained the high character that Vautrollier had given to the +productions of his press.</p> + +<p>Felix Kingston was the son of John Kingston of Paternoster Row, and was +admitted a freeman of the Stationers' Company on the<span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span> 25th of June 1597, +being translated from the Company of Grocers. Throughout the first half +of the seventeenth century his press was never idle. He was Master of +the Company in 1637.</p> + +<p>Edward Aide was the son of John Aide of the Long Shop in the Poultry. He +had two presses, and printed very largely for other men, but his type +and workmanship were poor.</p> + +<p>William and Isaac Jaggard are best known as the printers of the works of +Shakespeare. They were associated in the production of the first folio +in 1623, which came from the press of Isaac Jaggard and Edward Blount, +at the charges of William Jaggard, Edward Blount, J. Smethwicke, and +William Aspley; the editors being the poet's friends, J. Heminge and H. +Condell.</p> + +<p>In addition to being the first collected edition of Shakespeare's works, +this was in many respects a remarkable volume. The best copies measure +13-1/2 x 8-1/2''. The title-page bears the portrait of the poet by +Droeshout. The dedicatory epistle is in large italic type, and is +followed by a second epistle, 'To the Readers,' in Roman. The verses in +praise of the author, by Ben Jonson and others, are printed in a second +fount of italic, and the Contents in a still smaller fount of the same +letter. The text, printed in double columns, is in Roman and Italic, +each page being enclosed within printer's rules. Of these various +types,<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> the best is the large italic, which somewhat resembles Day's +fount of the same letter. That of the text is exceedingly poor, while +the setting of the type and rules leaves much to be desired. The +arrangement and pagination are erratic. The book, like many other +folios, was made up in sixes, and the first alphabet of signatures is +correct and complete, while the second runs on regularly to the +completion of the Comedies on cc.2. The Histories follow with a fresh +alphabet, which the printer began as 'aa,' and continued as 'a' until he +got to 'g,' when he inserted a 'gg' of eight leaves, and then continued +from 'i' to 'x' in sixes to the end of the Histories. The Tragedies +begin with <i>Troilus and Cresside</i>, the insertion of which was evidently +an afterthought, as there is no mention of it in the 'Contents' of the +volume, and the signatures of the sheets are ¶ followed by ¶¶ six leaves +each. Then they start afresh with 'aa' and proceed regularly to 'hh,' +the end of the <i>Macbeth</i>, the following signature being 'kk,' thus +omitting the remainder of signature 'hh' and the whole of 'ii.' In a +series of interesting letters communicated to <i>Notes and Queries</i> (8 S. +vol. viii. pp. 306, 353, 429), the make up of this volume is explained +very plausibly. The copyright of <i>Troilus and Cresside</i> belonged to R. +Bonian and H. Walley, who apparently refused at first to give their +sanction to its publication. But by that time it had been printed,<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> and +the sheets signed for it to follow <i>Macbeth</i>, so that it had to be taken +out. Arrangements having at last been made for its insertion in the +work, it was reprinted and inserted where it is now found. It is also +surmised that the original intention was to publish the work in three +parts, and to this theory the repetition of the signatures lends colour.</p> + +<p>One of the most interesting presses of the early Stuart period, both for +the excellence of its work and the nature of the books that came from +it, was that of William Stansby. This printer took up his freedom on the +7th January 1597, after serving a seven years' apprenticeship with John +Windet. The following April he registered a book entitled <i>The Polycie +of the Turkishe Empire</i>. This little quarto was, however, printed for +him by his old master, John Windet, and there is no further entry in the +registers until 1611, or fourteen years after the date at which he took +up his freedom.</p> + +<p>It would appear that Stansby began to print in 1609 with an edition of +Greene's <i>Pandosto</i>, which was not registered. In 1611 he purchased the +copyright in the books of John Windet for 13s. 40d., but three of them +the Company added to its stock, with the undertaking that Stansby should +always have the printing of them. One of these books was <i>The Assize of +Bread</i>. On the 23rd February 1625 the whole of William<span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span> East's copies, +including music, was assigned over to him. This list of books is the +longest to be found in the registers, and covers every branch of +literature.</p> + +<p>About this time Stansby got into trouble with the Company for printing a +seditious book, and his premises were nailed up, but eventually they +were restored to him, and he continued in business until 1639, when his +stock was transferred to Richard Bishop, and eventually came into the +hands of John Haviland and partners.</p> + +<p>Among his more important works may be mentioned the second and +subsequent editions of Hooker's <i>Ecclesiastical Politie</i>, in folio; the +<i>Works</i> of Ben Jonson, 1616, folio; Eadmer's <i>Historia Novorum</i>,1623, +folio; Selden's <i>Mare Clausum</i>, 1635, folio; Blundeville's <i>Exercises</i>, +1622, quarto; Coryate's <i>Crudities</i>,1611, quarto.</p> + +<p>He possessed a considerable stock of type, most of it good. Some of the +ornamental headbands and initial letters that he used were of an +artistic character, and were used with good effect. An instance of this +may be seen in his edition of Hooker, 1611, which has an engraved +title-page by William Hole, showing a view of St. Paul's. The page of +Contents is surrounded on three sides by a border made up of odds and +ends of printers' ornaments, yet, in spite of its miscellaneous +character, the effect is by no means bad. The border to the title-page +of the fifth book<span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span> was one of a series that formed part of the stock of +the Company, and were lent out to any who required them. Stansby's +presswork was uniformly good, and in this respect alone he may be ranked +among the best printers of his time.</p> + +<p>Another of the printers referred to in the list was somewhat of a +refractory character, a printer of popular books at the risk of +imprisonment, a class of men who were to figure largely in the events of +the next few years. Nicholas Okes is known best, perhaps, as the printer +of some of the writings of Dekker, Greene, and Heywood; but in 1621 he +printed, without license, <i>Wither's Motto</i>, a tract from the pen of +George Wither, which had been published by John Marriot a short time +before. This satire aroused the ire of the Government, and all connected +with it at once made the acquaintance of the nearest jail. In the State +Papers for that year are preserved the examination of the author, the +booksellers, and the printer, Nicholas Okes. One of the witnesses +declared that Okes told him that he had printed the book with the +consent of the Company, and that the Master (Humphrey Lownes) had +declared that if he was committed they would get him discharged. Another +declared that Okes had printed two impressions of 3000 each, using the +same title-page as that to the first edition, and that one of the +wardens of the Company (Matthew Lownes) continued to<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> sell the book, and +called for more copies. The only defence Okes made was that he believed +the book to be duly licensed, and when challenged as to why he printed +Marriot's name on the title-page, declared he simply printed the book as +he found it. (S. P. Dom. James <span class="smcap lowercase">I.</span>, vol. cxxii. Nos. 12 <i>et seq.</i>)</p> + +<p>On the 10th December 1623 an end was put for the time to the disputes +that had for so long a period been raised by the Stationers' Company to +the rights of the printers of the University of Cambridge.</p> + +<p>The Company's last attempt to suppress Cantrell Legg, and prevent him +from printing grammars and prayer-books, led to an appeal to the King, +who made short work of the matter by ordering the two parties to come to +an agreement. The terms of the settlement were:—</p> + +<p>1. That all books should be sold at reasonable prices.</p> + +<p>2. That the University should be allowed to print, conjointly with the +London stationers, all books except the Bible, Book of Common Prayer, +grammar, psalms, psalters, primers, etc., but they were only to employ +one press upon privileged books.</p> + +<p>3. That the University should print no almanacs then belonging to the +Stationers, but they might print prognostications brought to them +first.<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span></p> + +<p>4. That the Stationers should not hinder the sale of University books.</p> + +<p>5. That the University printer should be at liberty to sell all grammars +and psalms that he had already printed, and such as had been seized by +the Company were to be restored.</p> + +<p>To the last clause a note was added to the effect that Bonham Norton was +prepared to buy them at reasonable prices.</p> + +<p>On the accession of Charles <span class="smcap lowercase">I.</span> plague paralysed trade and made gaps in +the ranks of the Stationers' Company. During the autumn of 1624 and the +following year several noted printers died, probably from this cause. +Chief among these were George Eld, Edward Aide, and Thomas Snodham. Eld +was succeeded by his partner, Miles Flessher or Fletcher, and Aide by +his widow, Elizabeth. Thomas Snodham had inherited the business of +Thomas East. The copyright in these passed to William Stansby, one of +his executors; but the materials of the office, that is the types, +woodcut letters, and ornaments, and the presses, were sold to William +Lee for £165, and shortly afterwards passed into the possession of +Thomas Harper. They included a fount of black letter, and several founts +of Roman and Italic of all sizes, and one of Greek letter, all of which +had belonged to Thomas East, and were by this time the worse for wear.</p> + +<p>But the plague was at the worst only a tem<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span>porary hindrance; the +censorship of the press the printers had always with them, and this, +which had been comparatively mildly used during the late reign, was now +in the hands of men who wielded it with severity. During the next +fifteen years the printers, publishers, and booksellers of London were +subjected to a persecution hitherto unknown. During that time there were +few printers who did not know the inside of the Gatehouse or the +Compter, or who were not subjected to heavy fines. For the literature of +that age was chiefly of a religious character, and its tone mainly +antagonistic to Laud and his party. All other subjects, whether +philosophical, scientific, or dramatic, were sorely neglected. The later +works of Bacon, the plays of Shirley and Shakerley Marmion, and a few +classics, most of which came from the University presses, are sparsely +scattered amongst the flood of theological discussion. The history of +the best work in the trade in London is practically the history of three +men—John Haviland, Miles Fletcher, and Robert Young, who joined +partnership and, in addition to a share in the Royal printing-house, +obtained by purchase the right of printing the <i>Abridgements to the +Statutes</i>, and bought up several large and old-established +printing-houses, such as those of George Purslowe, Edward Griffin, and +William Stansby. Bernard Alsop and Thomas Fawcett were also among the +large capitalists of this time,<span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span> while Nathaniel Butter, Nicholas +Bourne, and Thomas Archer were also interested in several businesses +beside their own. From the press of Haviland came editions of Bacon's +<i>Essays</i>, in quarto, in 1625, 1629, 1632; of his <i>Apophthegmes</i>, in +octavo, in 1625; of his <i>Miscellanies</i>, an edition in quarto, in 1629, +and his <i>Opera Moralia</i> in 1638. From the press of Fletcher came the +<i>Divine Poems</i> of Francis Quarles, in 1633, 1634, and 1638, and the +<i>Hieroglyphikes of the life of Man</i>, by the same author, in 1638; while +amongst Young's publications, editions of <i>Hamlet</i> and <i>Romeo and +Juliet</i> appeared in 1637. Bernard Alsop and his partner printed the +plays of Beaumont and Fletcher, Decker, Greene, Lodge, and Shirley, the +poems of Brathwait, Breton, and Crashaw, and the writings of Fuller and +More.</p> + +<p>But the most notable books of this period were not those enumerated +above, but rather those which brought their authors, printers, and +publishers within the clutches of the law, and the story of the struggle +for freedom of speech is one of the most interesting in the history of +English printing. Three men—Henry Burton, rector of St. Matthews, +Friday Street; William Prynne, barrister of Lincoln's Inn; and John +Bastwick, surgeon, are generally looked upon as the chief of the +opposition to Laud and his party; but there were a number of other +writers on the<span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span> same subject, whose works brought them into the Court of +High Commission. Thus, on the 15th February 1626, Benjamin Fisher, +bookseller, John Okes, Bernard Alsop, and Thomas Fawcett, printers, were +examined concerning a book which they had caused to be printed and sold, +called <i>A Short View of the Long Life and reign of Henry the Third</i>, of +which Sir Robert Cotton was the author. Fisher stated in his evidence +that five sheets of this book were printed by John Okes, and one other +by Alsop and Fawcett, which in itself is an indication of the immense +difficulty that must have attended the discovery of the printers of +forbidden books. The manuscript Fisher declared he had bought from +Alsop, who, in his turn, said that he bought it of one Ferdinando Ely, +'a broker in books,' for the sum of twelvepence, and printed what was +equivalent to a thousand copies of the one sheet delivered to him, +'besides waste.' Nicholas Okes declared that his son John had printed +the book without his knowledge and while he (Nicholas) was a prisoner in +the Compter. Ferdinando Ely was a second-hand bookseller in Little +Britain.</p> + +<p>No very serious consequences seem to have followed in this instance; but +in the following year (1628), Henry Burton was charged by the same +authorities with being the author of certain unlicensed books, <i>The +Baiting of the Pope's Bull</i>, <i>Israel's Fast</i>, <i>Trial of Private +Devotions</i>, <i>Con<span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span>flicts and Comforts of Conscience</i>, <i>A Plea to an +Appeal</i>, and <i>Seven Vials</i>. The first of these was licensed, but the +remainder were not. They were said to have been printed by Michael +Sparke and William Jones; Sparke was a bookseller, carrying on business +at the sign of the Blue Bible, in Green Arbour, in little Old Bayley, +and he employed William Jones to print for him. The parties were then +warned to be careful, but on 2nd April 1629 Sparke was arrested and +thrown into the Fleet, and with him, at the same time, were charged +William Jones, Augustine Mathewes, printers, and Nathaniel Butter, +printer and publisher. Butter's offence was the issuing of a newspaper +or pamphlet called <i>The Reconciler</i>; Sparke was charged with causing to +be printed another of Burton's works, entitled <i>Babel no Bethel</i>, and +Spencer's <i>Musquil Unmasked</i>; while Augustine Mathewes was accused of +printing, for Sparke, William Prynne's <i>Antithesis of the Church of +England</i>. Each party put in an answer, and of these, Michael Sparke's is +the most interesting. He declared that the decree of 1586 was contrary +to Magna Charta, and an infringement of the liberties of the subject, +and he refused to say who, beside Mathewes, had printed Prynne's book; +it afterwards turned out to be William Turner of Oxford, who confessed +to printing several other unlicensed books. A short term of imprisonment +appears to have<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span> been the punishment inflicted on the parties in this +instance.</p> + +<p>Both in 1630 and 1631 several other printers suffered imprisonment from +the same cause, and Michael Sparke, who appears to have given out the +work in most cases, was declared to be more refractory and offensive +than ever.</p> + +<p>In 1632 appeared William Prynne's noted book, <i>The Histrio-Mastix</i>, <i>The +Player's Scourge or Actor's Tragedie</i>, a thick quarto of over one +thousand closely printed pages, which bore on the title-page the +imprint, '<i>printed by E. A. and W. J. for Michael Sparke</i>.' This book, +as its title implies, was an attack on stage-plays and acting. There was +nothing in it to alarm the most sensitive Government, and even the +licenser, though he afterwards declared that the book was altered after +it left his hands, could find nothing in it to condemn. But, as it +happened, there was a passage concerning the presence of ladies at +stage-plays, and as the Queen had shortly before attended a masque, the +passage in question was held to allude to her, and accordingly Prynne, +Sparke, and the printers—one of whom was William Jones—were thrown +into prison, and in 1633 were brought to trial before the Star Chamber. +The printers appear to have escaped punishment; but Prynne was condemned +to pay a fine of £1000, to be degraded from his degree, to have both his +ears cropped in the pillory, and<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> to spend the rest of his days in +prison; while Sparke was fined £500, and condemned to stand in the +pillory, but without other degradation.</p> + +<p>During this year John Bastwick also issued two books directed against +Episcopacy, both of which are now scarce. One was entitled <i>Elenchus +Religionis Papisticæ</i>, and the other <i>Flagellum Pontificis</i>. They were +printed abroad, and as a punishment their author was condemned to +undergo a sentence little less severe than that passed upon Prynne, who, +in spite of his captivity, continued to write and publish a great number +of pamphlets. Amongst these was one entitled <i>Instructions to Church +Wardens</i>, printed in 1635. In the course of the evidence concerning this +book, mention was made of a special initial letter C, which was said to +represent a pope's head when turned one way, and an army of soldiers +when turned the other, and to be unlike any other letter in use by +London printers at that time.</p> + +<p>For printing this and other books, Thomas Purslowe, Gregory Dexter, and +William Taylor of Christchurch were struck from the list of master +printers.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> + +<p>In 1637 appeared Prynne's other notorious tract, <i>Newes from Ipswich</i>, a +quarto of six leaves, for which he was fined by the Star Chamber a +further sum of £5000, and condemned to lose the rest of his ears, and to +be branded on the cheek with<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span> the letters S. L. (<i>i.e.</i> scurrilous +libeller), a sentence that was carried out on the 30th June of this year +with great barbarity. The imprint to this tract ran 'Printed at +Ipswich,' but its real place of printing was London, and perhaps the +name of Robert Raworth, which occurs in the indictment, may stand for +Richard Raworth, the printer whom Sir John Lambe declared to be 'an +arrant knave.' Or the printer may have been William Jones,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> who about +this time was fined £1000 for printing seditious books.</p> + +<p>In 1634 the King wrote to Archbishop Laud to the effect that Doctor +Patrick Young, keeper of the King's library, who had lately published +the <i>Clementis ad Corinthios Epistola prior</i> in Greek and Latin, and in +conjunction with Bishop Lindsell of Peterborough, now proposed to make +ready for the press one or more Greek copies every year, if Greek types, +matrices, and money were forthcoming. The King expressed his desire to +encourage the work, and therefore commanded the Archbishop that the fine +of £300, which had been inflicted upon Robert Barker and Martin Lucas in +the preceding year, for what was described as a base and corrupt +printing of the Bible in 1631 (the omission of the word 'not' from the +seventh commandment, which has earned for the edition the name of the +<i>Wicked</i> Bible), should be converted to the buying of Greek letters. The +King<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> further ordered that Barker and Lucas should print one work every +year at their own cost of ink, paper, and workmanship, and as many +copies as the Archbishop should think fit to authorise. The Archbishop +thereupon wrote to the printers, who expressed their willingness to fall +in with the scheme, and a press, furnished with a very good fount of +Greek letter, was established at Blackfriars. But the result was not +what might have been expected. Partly owing to the political troubles +that followed its foundation, and partly perhaps to delay on the part of +the printers, the only important works that came from this press were +Dr. Patrick Young's translation of the book of Job, from the Codex +Alexandrinus, a folio printed in 1637, and an edition in Greek of the +Epistles of St. Paul, with a commentary by the Bishop of Peterborough, +also a folio, which came from the same press in 1636. The Greek letter +used in this office cannot be compared for beauty or delicacy of outline +with that which Norton had used in the <i>Chrysostom</i> of 1610.</p> + +<p>On the 11th July 1637 was published another Star Chamber Decree +concerning printers. Professor Arber, in his fourth volume (p. 528), +states that the appearance of a tract entitled <i>The Holy Table, Name and +Thing</i> must ever be associated with this decree; but it may be doubted +whether it was not rather to general causes, such as the growing power +of the press, the long-continued attack<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span> upon the Prelacy by +pamphleteers, which no fear of mutilation or imprisonment could stop, +than any one particular tract, which led to that severe and crushing +edict.</p> + +<p>This act, which was published on the 11th July 1637, consisted of +thirty-three clauses, and after reciting former ordinances, and the +number of 'libellous, seditious, and mutinous' books that were then +daily published, decreed that all books were to be licensed: law books +by the Lord Chief Justices and the Lord Chief Baron; books dealing with +history, by the principal Secretaries of State; books on heraldry, by +the Earl Marshal; and on all other subjects, by the Archbishop of +Canterbury, the Bishop of London, or the Chancellors or Vice-Chancellors +of the two Universities. Two copies of every book submitted for +publication were to be handed to the licensee, one of which he was to +keep for future reference. Catalogues of books imported into the country +were to be sent to the Archbishop of Canterbury or Bishop of London, and +no consignments were to be opened until the representatives of one of +these dignitaries and of the Stationers' Company were present. The name +of the printer, the author, and the publisher was to be placed in every +book, and, with a view to encouraging English printing, it was decreed +further that no merchant or bookseller should import any English book +printed abroad. No person was to erect a printing-press, or to let any<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> +premises for the purpose of carrying on printing, without first giving +notice to the Company, and no joiner or carpenter was to make a press +without similar notice.</p> + +<p>The number of master printers was limited by this decree to twenty, and +those chosen were:—</p> + +<ul> +<li>Felix Kingston.</li> +<li>Adam Islip.</li> +<li>Thomas Purfoote.</li> +<li>Miles Fletcher.</li> +<li>Thomas Harper.</li> +<li>John Beale.</li> +<li>John Raworth.</li> +<li>John Legate.</li> +<li>Robert Young.</li> +<li>John Haviland.</li> +<li>George Miller.</li> +<li>Richard Badger.</li> +<li>Thomas Cotes.</li> +<li>Marmaduke Parsons.</li> +<li>Bernard Alsop.</li> +<li>Richard Bishop.</li> +<li>Edward Griffin.</li> +<li>Thomas Purslowe.</li> +<li>Rich. Hodgkinsonne.</li> +<li>John Dawson.</li> +</ul> + +<p>Each of these was to be bound in sureties of £300 to good behaviour. No +printer was allowed to have more than two presses unless he were a +Master or Warden of the Company, when he might have three. A Master or +Warden might keep three apprentices but no more, a master printer on the +livery might have two, and the rest one only; but every printer was +expected to give work to journeyman printers when required to do so, +because it was stated that it was they who were mainly responsible for +the publication of the libellous, seditious, and mutinous books referred +to. All reprints of books were to be licensed in<span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span> the same way as first +editions. The Company were to have the right of search, and four +typefounders, John Grismand, Thomas Wright, Arthur Nichols, and +Alexander Fifield were considered sufficient for the whole trade. +Finally, a copy of every book printed was to be sent to the Bodleian +Library at Oxford. The penalties for breaking this decree included +imprisonment, destruction of stock, and a whipping at the cart's tail.</p> + +<p>The twenty printers appointed by this decree were the subject of much +investigation by Sir John Lamb, whose numerous notes and lists +concerning them, as reprinted in the third volume of Professor Arber's +transcripts from documents at the Record Office, are an invaluable +acquisition to the history of the English press. It will be seen that +four of the chief offenders of the previous ten or eleven years, namely +William Jones, Nicholas Okes, Augustine Mathewes, and Robert or Richard +Raworth, were absolutely excluded, their places being taken by Marmaduke +Parsons, Thomas Paine, and a new man, Thomas Purslowe, probably the son +of Widow Purslowe. Conscious perhaps that their positions were in +jeopardy, all four petitioned the Archbishop to be placed among the +number, but in vain, and another man who was excluded at the same time +was John Norton, a descendant of a long family of printers of that name, +and who had served his apprenticeship in the King's printing-house. Only +one of those<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span> who had at times come before the High Commission Court was +pardoned, and allowed to retain his place. This was Bernard Alsop.</p> + +<p>The clause requiring all reprints to be licensed caused a good deal of +murmuring, as did also that which forbade haberdashers, and others who +were not legitimate booksellers, to sell books.</p> + +<p>The small number of type-founders allowed to the trade has also been a +subject of much comment by writers on this subject; but judging from the +evidence of Arthur Nicholls, one of the four appointed, the number was +quite sufficient. Nicholls was the founder of the Greek type used in the +new office of Blackfriars, and his experience was certainly not likely +to encourage other men to set up in the same trade. At the time when he +was appointed one of the four founders under the decree, he could not +make a living by his trade, and though he does not expressly state the +fact, his evidence seems to imply that English printers at that time +obtained most of their type from abroad, and it is beyond question that +they had long since ceased to cast their own letter.</p> + +<p>Drastic as this decree was, it practically remained a dead letter, for +the reason that in the troublous times that followed within the next +five years, the Government had their hands full in other directions, and +were obliged to let the printers alone.<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span></p> + +<p>Between this date and the year 1640, there was very little either of +interest or value that came from the English press. The memory of rare +Ben Jonson induced Henry Seile, of the Tiger's Head in Fleet Street, to +publish in 1638 a quarto with the title <i>Jonsonus Virbius: or the Memory +of Ben Jonson. Revived by the friends of the Muses</i>, and among the +contributors were Lord Falkland, Sir John Beaumont the younger, Sir +Thomas Hawkins, Henry King, Edmund Waller, Shackerley Marmion, and +several others. The printer's initials are given as E. P., but these do +not suit any of those who were authorised under the decree of the year +before, and they may refer to Elizabeth Purslowe. That there was a +considerable number of persons who, in spite of the Puritan tendencies +of the age, loved a good play, is clearly seen from the number turned +out during the years 1638, 1639, and 1640 by Thomas Nabbes, Henry +Glapthorne, James Shirley, and Richard Brome. These of course were +mostly quartos, very poorly printed, and chiefly from the presses of +Richard Oulton, John Okes, and Thomas Cotes. Of collected works, there +came out in small octavo form the <i>Poems</i> of Thomas Carew from the press +of John Dawson in 1640, and a collection of Shakespeare's Poems from the +press of Thomas Cotes in the same year. There were also published in +1640 from the press of Richard Bishop, who had succeeded to the business +of William<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span> Stansby, Selden's <i>De Jure Naturali et Gentium juxta +disciplinam Ebræorum</i>, in folio, and William Somner's <i>Antiquities of +Canterbury</i>, one of the earliest and best of the contributions to county +bibliography.</p> + +<p>Having now brought the record of the London press down to the time when +it became engulphed in the chaos of civil war, it is time to turn to the +University presses of Oxford and Cambridge.</p> + +<p>Since the year 1585, these were the only provincial presses allowed by +law, and removed as they were from the turmoil of conflicting parties, +and the severity of trade competition, in which the London printers +lived, their work showed more uniformity of excellence, and on the whole +surpassed that of the London printers.</p> + +<p>Down to the year 1617 Oxford appears to have had but one printer, John +Barnes; but in that year we find two at work, John Lichfield and William +Wrench, the latter giving place the following year to James Short. In +1624 the two Oxford printers were John Lichfield and William Turner—the +second, as we have seen, being notorious as the printer of unlicensed +pamphlets for Michael Sparke the London publisher; but in spite of this +we find him holding his position until 1640, though in the meantime John +Lichfield had been succeeded in business<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span> by his son, Leonard. In the +introduction to his bibliography of the Oxford Press, Mr. Falconer Madan +has given a list of the most important books printed at Oxford between +1585 and 1640, which we venture to reprint here with a few additions:—</p> + +<ul> +<li>1599. Richard de Bury's <i>Philobiblon</i>.</li> +<li>1608. Wycliff's <i>Treatises</i>.</li> +<li>1612. Captain John Smith's <i>Map of Virginia</i>.</li> +<li>1621. Burton's <i>Anatomy of Melancholy</i>.</li> +<li>1628. Field <i>On the Church</i>.</li> +<li>1633. Sandys' <i>Ovid</i>.</li> +<li>1634. <i>The University Statutes</i>.</li> +<li>1635. Chaucer's <i>Troilus and Cressida</i> in English and Latin.</li> +<li>1638. Chillingworth's <i>Religion of Protestants</i>.</li> +<li>1640. Bacon's <i>Advancement and Proficience of Learning</i>.</li> +</ul> + +<p>As we have noted, the University of Cambridge had after a long struggle +established its claim to print editions of the Scriptures and other +works, and like its sister University turned out some of the best work +of that period.</p> + +<p>A notable book from this press was Phineas Fletcher's <i>Purple Island</i>, a +quarto published in 1633. The title-page was printed in red and black, +in well-cut Roman of four founts, with the lozenge-shaped device of the +University in the<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span> centre, the whole being surrounded by a neat border +of printers' ornaments. Each page of the book was enclosed within rules, +which seems to have been the universal fashion of the trade at this +period, and at the end of each canto the device seen on the title-page +was repeated. The Eclogues and Poems had each a separate title-page, and +two well-executed copper-plate engravings occur in the volumes.</p> + +<p>We must not close this chapter without noting that in 1639 printing +began in the New England across the sea. The records of Harvard College +tell us that the Rev. Joseph Glover 'gave to the College a font of +printing letters, and some gentlemen of Amsterdam gave towards +furnishing of a printing-press with letters forty-nine pounds, and +something more.' Glover himself died on the voyage out from England, but +Stephen Day, the printer whom he was bringing with him, arrived in +safety and was installed at Harvard College. The first production of his +press was the <i>Freeman's Oath</i>, the second an Almanac, the third, +published in 1640, <i>The Psalms in Metre, Faithfully translated for the +Use, Edification, and Comfort of the Saints in Publick and Private, +especially in New England</i>. This, the first book printed in North +America, was an octavo of three hundred pages, of passably good +workmanship, and is commonly known as the Bay Psalter—Cambridge, the +home of Harvard College, lying<span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span> near Massachusetts Bay. Stephen Day +continued to print at Cambridge till 1648 or 1649, when he was succeeded +in the charge of the press by Samuel Green, whose work will be mentioned +at the end of our next chapter.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span></p> +<h2>CHAPTER VIII</h2> + +<h3>FROM 1640 TO 1700</h3> + +<div class="figleft"> + <img src="images/43.jpg" + alt="H" + title="H" /> +</div> + +<p>aving at length reached what is without doubt the darkest and the most +wretched period in the history of English printing, it may be well +before passing a severe condemnation on those who represented the trade +at that time, to remind ourselves of the difficulties against which they +had to contend.</p> + +<p>The art of printing in England had never at any time reached such a +point of excellence as in Paris under the Estiennes, in Antwerp under +Plantin, or in Venice under the Aldi. So great was the competition +between the printers, and so heavy the restrictions placed upon them, +that profit rather than beauty or workmanship was their first +consideration; and when to these drawbacks was added the general +disorganisation of trade consequent upon the outbreak of civil war, it +is not surprising that English work failed to maintain its already low +standard of excellence. Literature, other than that which chronicled<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span> +the fortunes of the opposing factions, was almost totally neglected. +Writers, even had they found printers willing to support them, would +have found no readers. On the other hand, such was the feverish anxiety +manifested in the struggle, that it was scarcely possible to publish the +Diurnals and Mercuries which contained the latest news fast enough, and +the press was unequal to the strain, although the number of printers in +London during this period was three times larger than that allowed by +the decree of 1637. Professor Arber, in his <i>Transcript</i>, says that this +increase in the number of printers was due to the removal of the gag by +the Long Parliament. There is no proof that the Long Parliament ever +intended to remove the gag; but having its hands full with other and +weightier matters it could find no time to deal with the printers, and +doubtless, in the heat of the fight, it was only too thankful to avail +itself of the pens of those who replied to the attacks of the Royalist +press. The best evidence of this is, that as soon as opportunity +offered, and in spite of the warning of the greatest literary man of +that day, who was on their own side, the Long Parliament reimposed the +gag with as much severity as the hierarchy which it had deposed.</p> + +<p>For the publication of the news of the day, each party had its own +organs. On the side of the Parliament the principal journals were<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span> <i>The +Kingdoms Weekly Intelligencer</i>, printed and published by Nathaniel +Butter, and <i>Mercurius Britannicus</i>, edited by Marchmont Nedham; while +<i>Mercurius Aulicus</i>, edited by clever John Birkenhead, represented the +Royalists, and was ably seconded by the <i>Perfect Occurrences</i>, printed +by John Clowes and Robert Ibbitson.</p> + +<p>These sheets, which usually consisted of from four to eight quarto +pages, contained news of the movements and actions of the opposing +armies, and the proceedings of the Parliament at Westminster, or of the +King's Council at Oxford or wherever he happened to be. They were +published sometimes twice and even three times a week. The political +pamphlets were bitter and scurrilous attacks by each party against the +other, or the hare-brained prophecies of so-called astrologers, such as +William Lilly, George Wharton, and John Gadbury. These two classes +formed more than half the printed literature of those unhappy times, and +the remainder of the output of the press was pretty well filled up with +sermons, exhortations, and other religious writings. The rapidity with +which the literature was turned out accounts for the wretched and +slipshod appearance it presents. Any old types or blocks were brought +into use, and there is evidence of blocks and initial letters which had +formed part of the stock of the printers of a century earlier being +brought to light again at this time. Unfortunately the<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span> evil did not +stop here, for careless workmanship, indifference, and want of +enterprise, are the leading characteristics of the printing trade during +the latter half of the seventeenth century. But as, even in this darkest +hour of the nation's fortunes, the soul of literature was not crushed, +and the voice of the poet could still make itself heard, so it is a +great mistake to suppose that there were no good printers during the +period covered by the Civil Wars and the Commonwealth.</p> + +<p>Take as an example the little duodecimo entitled <i>Instructions for +Forreine Travell</i>, which came from the pen of James Howell, and was +printed by T. B., no doubt Thomas Brudnell, for Humphrey Moseley. Some +of the founts, especially the larger Roman, are very unevenly and badly +cast, but on the whole the presswork was carefully done. The same may +also be said of the folio edition of Sir R. Baker's <i>Chronicle</i>, +published in 1643. In this case we do not know who was the printer; but +the ornaments and initials lead us to suppose that it was the work of +William Stansby's successor. The prose tracts again that Milton wrote +between 1641-45 are certainly far better printed than many of their +contemporaries, and prove that Matthew Simmons, who printed most of +them, and who was one of the Commonwealth men, deserved the position he +afterwards obtained. The first collected edition of Milton's poems was +published<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span> by Humphrey Moseley in 1645. This was a small octavo, in two +parts, with separate title-pages, and a portrait of the author by +William Marshall, and came from the press of Ruth Raworth. In 1646 there +appeared <i>A Collection of all the Incomparable Peeces written by Sir +John Suckling and published by a freend to perpetuate his memory</i>. This +came from the press of Thomas Walkley, who had issued the first edition +of <i>Aglaura</i> and the later plays of the same writer. Walkley also +printed in small octavo, for Moseley, the <i>Poems</i> of Edmond Waller, but +his work was none of the best.</p> + +<p>A printer of considerable note at this time was William Dugard, who in +1644 was chosen headmaster of Merchant Taylors' School, and set up a +printing-press there. In January 1649 he printed the first edition of +the famous book <i>Eikon Basilike</i>, and followed it up by a translation of +Salmasius' <i>Defensio Regia</i>, for which the Council of State immediately +ordered his arrest, seized his presses, and wrote to the Governors of +the school, ordering them to elect a new schoolmaster, 'Mr. Dugard +having shewn himself an enemy to the state by printing seditious and +scandalous pamphlets, and therefore unfit to have charge of the +education of youths' (<i>Dom. S. P. Interregnum</i>, pp. 578-583). Sir James +Harrington, member of the Council of State, and author of <i>Oceana</i>, who +seems to have known some<span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span>thing about Dugard, interceded with the Council +on his behalf, and at the same time persuaded him to give up the +Royalist cause. So his presses were restored to him, and henceforward he +appears to have devoted himself with equal zeal to his new masters.</p> + +<p>He was the printer of Milton's answer to Salmasius, published by the +Council's command, of a book entitled <i>Mare Clausum</i>, also published by +authority, of the <i>Catechesis Ecclesiarum</i>, a book which the Council +found to contain dangerous opinions and ordered to be burnt, and of a +tract written by Milton's nephew, John Phillips, entitled <i>Responsio ad +apologiam</i>. His initials are also met with in many other books of that +time.</p> + +<p>His press was furnished with a good assortment of type, and his +press-work was much above the average of that period.</p> + +<p>Among other books that came from the London press during this troubled +time, we may single out three which have found a lasting place in +English literature. The first is Robert Herrick's <i>Hesperides</i>, printed +in the years 1647-48; the second a volume of verse, by Richard Lovelace, +entitled <i>Lucasta, Epodes, Odes, Sonnets, Songs</i>, etc., printed in 1649 +by Thomas Harper; the last Izaak Walton's <i>Complete Angler</i>, which came +from the press of John Maxey in 1653. All were small octavos, +indifferently printed with<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span> poor type, and no pretensions to artistic +workmanship.</p> + +<p>In 1649, the year of Charles <span class="smcap lowercase">I.</span>'s execution, the Council of State, in +consequence of the number of 'scandalous and seditious pamphlets' which +were constantly appearing, in spite of all decrees and acts to the +contrary, ordered certain printers to enter into recognizances in two +sureties of £300, and their own bond for a similar amount, not to print +any such books, or allow their presses to be used for that purpose. +Accordingly, in the <i>Calendar of State Papers</i> for the year 1649-50 (pp. +522, 523), we find a list of no less than sixty printers in London and +the two Universities who entered into such sureties. In almost every +case the address is given in full, in itself a gain, at a time when the +printer's name rarely appeared in the imprint of a book. This list has +already been printed in <i>Bibliographica</i> (vol. ii. pp. 225-26), but as +it is of the greatest interest for the history of printing during the +remainder of the century, it is inserted here (see Appendix No. 1.).</p> + +<p>While it does not include all the printers having presses at that time, +yet, if we remember that under the Star Chamber decree of 1637 the +number in London was strictly limited to twenty, it shows how rapid the +growth of the trade was in those twelve years. Of the original twenty, +only three seem to have survived the troubles and dangers of the Civil +Wars—Bernard<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span> Alsop, Richard Bishop, and Thomas Harper, though the +places of three more were filled by their survivors—Elizabeth Purslowe +standing in the place of her husband, Thomas Purslowe; Gertrude Dawson +succeeding her husband, John Dawson; and James Flesher or Fletcher in +the room of his father, Miles Flesher. John Gresmond and James Moxon +were type-founders, Henry Hills and John Field were appointed printers +to the State under Cromwell, and Thomas Newcomb was also largely +employed, and shared with the other two the privilege of Bible printing. +Roger Norton was the direct descendant of old John Norton, who died in +1590. Of Roycroft and Simmons we shall hear a good deal later on, as +indeed we shall of many others in this list. The only names that hardly +seem to warrant insertion in the list as printers are those of John and +Richard Royston. Although they were for many years stationers to King +Charles II., we cannot hear of any printing-presses in their possession.</p> + +<p>With the quieter time of the Commonwealth, several notable works were +produced, though the annual output of books was much below the average +of the seven years preceding. Foremost among the publications of that +time must be placed Sir William Dugdale's <i>Monasticon Anglicanum</i>, the +first volume of which appeared in 1655.</p> + +<p>As a monument of study and research this<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> book will always remain a +standard work of English topography; and it was not unworthily printed. +The preparation of the numerous plates for the illustrations, and the +setting up of so much intricate letterpress, must have been a very +onerous work. This first volume, a large and handsome folio, came from +the press of Richard Hodgkinson, and was printed in pica Roman in double +columns, with a great deal of italic and black letter intermixed. The +types were as good as any to be found in England at that time, and the +press-work was carefully done. The engravings were chiefly the work of +Hollar, aided by Edward Mascall and Daniel King, and are excellently +reproduced. The whole work occupied eighteen years in publication, the +second volume being printed by Alice Warren, the widow of Thomas Warren, +in 1661, and the third and last by Thomas Newcomb in 1673; but these +later volumes differed very little in appearance from the first, the +same method of setting and the same mixture of founts being adhered to.</p> + +<p>Sir William Dugdale followed this up in 1656 by publishing, through the +press of Thomas Warren, his <i>Antiquities of Warwickshire</i>, a folio of +826 pages. On the title-page is seen the device of old John Wolfe, the +City printer. The dedication of this book was printed in great primer; +but the look of the text was marred by a bad fount of black letter which +did not print<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span> well. Like the <i>Monasticon</i>, this work was illustrated +with maps and portraits by Hollar and Vaughan.</p> + +<p>Another considerable undertaking was the <i>Historical Collections</i> of +John Rushworth, in eight folio volumes, of which the first was printed +by Newcomb in 1659, the others between 1680 and 1701.</p> + +<p>But the great typographical achievement of the century was the Polyglott +Bible, edited by Brian Walton. It was the fourth great Bible of the kind +which had been published. The earliest was the Complutensian, printed at +Alcala in 1517, with Hebrew, Latin, Greek, and Chaldean texts. Next came +the Antwerp Polyglott, printed at the Plantin Press in 1572, which, in +addition to the texts above mentioned, gave the Syriac version. This was +followed in 1645 by the Paris Polyglott, which added Arabic and +Samaritan, was in ten folio volumes, and took seventeen years to +complete.</p> + +<p>The London Polyglott of 1657, which exceeded all these in the number of +texts, was mainly due to the enterprise and industry of Brian Walton, +Bishop of Chester. This famous scholar and divine was born at Cleveland, +in Yorkshire, in 1600. He was educated at Cambridge, and after serving +as curate in All Hallows, in Bread Street, became rector of St. Martin's +Orgar and of St. Giles in the Fields. He was sequestered from<span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span> his +living at St. Martin's during the troubles of the Revolution, and fled +to Oxford, and it was while there that he is said to have formed the +idea of the Polyglott Bible.</p> + +<p>The first announcement of the great undertaking was made in 1652, when a +type specimen sheet, believed to be still in existence, was printed by +James Flesher or Fletcher of Little Britain, and issued with the +prospectus, which was printed by Roger Norton of Blackfriars for Timothy +Garthwaite. Walton's Polyglott was the second book printed by +subscription in England, Minsheu's <i>Dictionary in Eleven Languages</i> +having been published in this manner in 1617. The terms were £10 per +copy, or £50 for six copies. The estimated cost of the first volume was +£1500, and of succeeding volumes £1200, and such was the spirit with +which the work was taken up that £9000 was subscribed before the first +volume was put to press.</p> + +<p>To the texts which had appeared in previous Polyglotts, Persian and +Ethiopic were added, so that in all nine languages were included in the +work—that is, Hebrew, Latin, Greek, Chaldean, Syriac, Arabic, +Samaritan, Persian, and Ethiopic—besides much additional matter in the +form of tables, lexicons, and grammars. No single book was printed in +all of these, only the Greek, Latin, Syriac, and Arabic running +throughout the work, while the Hebrew appears in the Old Testament,<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span> the +Psalms in Ethiopic, and the New Testament has, in addition to the four +principal texts, the Ethiopic and Persian.</p> + +<p>The whole work occupied six folio volumes, measuring 16 x 10-3/4, and +was printed by Thomas Roycroft from types supplied by the four +recognised typefounders. At the commencement of the first volume is a +portrait of Walton by Bombert, followed by an elaborately engraved +title-page, the work of Wenceslaus Hollar, an architectural design +adorned with scenes from Scripture history. The second title-page was +printed in red ink, and the text was so arranged that each double page, +when open, showed all the versions of the same passage. The types used +in this work have been described in detail by Rowe Mores in his +<i>Dissertations upon English Founders</i>, and by Talbot Baines Reed in his +work upon the <i>Old English Letter Foundries</i> (Chap. vii. pp. 164, <i>et +seqq.</i>). Speaking of the English founts, the last-named writer points +out that the double pica, Roman and italic, seen in the Dedication, is +the same fount that was cut by the sixteenth-century printer, John Day, +and used by him to print the <i>Life of Alfred the Great</i>. Mr. Reed adds +that, in spite of a certain want of uniformity in the bodies, the +Ethiopic and Samaritan were especially good, and the Syriac and Arabic +boldly cut.</p> + +<p>But it was not only for its typographic ex<span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span>cellence that the book was +remarkable. The rapidity with which this great undertaking passed +through the press is no less astonishing. All six volumes were printed +within four years, the first appearing in September 1654, the second in +1655, the third in 1656, and the last three in 1657. Looking at the +labour involved by such an undertaking, it has been rightly described by +Mr. T. B. Reed as a lasting glory to the typography of the seventeenth +century.</p> + +<p>Oliver Cromwell, under whose government this noble work was +accomplished, had assisted, as far as lay in his power, by permitting +the importation of the paper free of duty; and in the first editions +this assistance was gracefully acknowledged by the editor, but on the +Restoration those passages were altered or omitted to make room for +compliments to Charles <span class="smcap lowercase">II</span>.</p> + +<p>Amongst those who ably assisted Walton in his labours was Dr. Edmund +Castell, who prepared a <i>Heptaglott Lexicon</i> for the better study of the +various languages used in the Polyglott. This work received the support +of all the learned men of the time, but the undertaking was the ruin of +its author, and a great part of the impression perished in the +destruction of Roycroft's premises in the Great Fire of 1666.</p> + +<p>The Restoration brought with it little change in the conditions under +which printing was carried on in England, or in the lot of the printers +them<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span>selves. There is still preserved in the Public Record Office a +document which throws considerable light on this matter, and is believed +to have been drawn up either in 1660 or in 1661. This is a petition +signed by eleven of the leading London printers, for the incorporation +of the printers into a body distinct from the Company of Stationers, and +appended to it are the 'reasons' for the proposed change, which occupy +four or five closely written folio sheets. The men who put forward this +petition were:—</p> + +<ul> +<li><span class="smcap">Richard Hodgkinson</span>,</li> +<li><span class="smcap">John Grismond</span>,</li> +<li><span class="smcap">Robert Ibbotson</span>,</li> +<li><span class="smcap">Thomas Mabb</span>,</li> +<li><span class="smcap">Da[niel?] Maxwell</span>,</li> +<li><span class="smcap">Thomas Roycroft</span>,</li> +<li><span class="smcap">William Godbid</span>,</li> +<li><span class="smcap">Jo[hn] Streator</span>,</li> +<li><span class="smcap">James Cottrel</span>,</li> +<li><span class="smcap">John Hayes</span>, and</li> +<li><span class="smcap">John Brudenell</span>;</li> +</ul> + + +<p>and it was undoubtedly this band of men, some of them the biggest men in +the trade, who formed the 'Companie of Printers,' for whom in 1663 a +pamphlet was issued, entitled <i>A Brief Discourse concerning Printers and +Printing</i>. For the printed pamphlet embodies the same views put forward +in the petition, only backed up with fresh evidence and terse arguments. +The claim<span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span> of the printers amounted to this, that the Company of +Stationers had become mainly a Company of Booksellers, that in order to +cheapen printing they had admitted a great many more printers than were +necessary, and from this cause arose the great quantity of 'scandalous +and seditious' books that were constantly being published. They go on to +say that the condition of the great body of printers was deplorable, +'they can hardly subsist in credit to maintain their families ... When +an ancient printer died, and his copies were exposed to sale, few or +none of the young ones were of ability to deal for them, nor indeed for +any other, so that the Booksellers have engross'd almost all.' The +petitioners show also that the Company of Stationers was grown so large +that none could be Master or Warden until he was well advanced in life, +and therefore unable to keep a vigilant eye on the trade, while a +printer did not become Master once in ten or twenty years. They argue +that the best expedient for checking these disorders and ensuring lawful +printing, would be to incorporate the printers into a distinct body, and +they advocate the registration of presses, the right of search, and the +enforcement of sureties. Finally, they claim that this plan would also +do much to improve printing as an art, as under the existing conditions +there was no encouragement to the printers to produce good work.<span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span></p> + +<p>This petition, though it does not seem to have received any official +reply, was noticed by Sir Roger L'Estrange in the Proposals which he +laid before the House of Parliament, and which undoubtedly formed the +basis of the Act of 1662. Sir Roger L'Estrange had been an active +adherent of the Royal cause, and soon after the Restoration, on the 22nd +February 1661-2, he was granted a warrant to search for and seize +unlicensed presses and seditious books (<i>State Papers</i>, Charles <span class="smcap lowercase">II</span>. Vol. +li. No. 6). A list is still extant of books which he had seized at the +office of John Hayes, one of the signatories of the above petition. So +that although the office of Surveyor of the Press was not officially +created until 1663, it is clear from the issue of the warrant, and also +from the fact of L'Estrange having been directed to draw up proposals +for the regulation of the Press, that he was acting in that capacity +more than a twelvemonth earlier. His proposals were, in 1663, printed in +pamphlet form with the title, <i>Considerations and Proposals in order to +the Regulation of the Press</i>, and were dedicated to the King, and also +to the House of Lords; and they contain much that is interesting. He +states that hundreds of thousands of seditious papers had been allowed +to go abroad since the King's return, and that there had been printed +ten or twelve impressions of <i>Farewell Sermons</i>, to the number of thirty +thousand, since the Act of<span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span> Uniformity, adding that the very persons +who had the care of the Press (<i>i.e.</i> the Company of Stationers) had +connived at its abuse. In support of this statement he pointed out that +Presbyterian pamphlets were rarely suppressed, that rich offenders were +passed over, and scarcely any of those who were caught were ever brought +to justice. He gives the number of printers then at work in London as +sixty, the number of apprentices about a hundred and sixty, besides a +large number of journeymen; and he proposed at once to reduce the number +of printers to twenty, with a corresponding reduction of apprentices and +journeymen. As this would throw a large number of men out of work, he +further proposed a scheme for the relief of necessitous and +supernumerary printers. He calculated that the twelve impressions of the +<i>Farewell Sermons</i>, allowing a thousand copies to each impression, had +yielded a profit, 'beside the charge of paper and printing,' of £3300, +and he advised that this sum should be levied as a fine upon those +booksellers who had sold the book, and be placed to a fund for the +benefit of the suppressed printers, the balance of the sum required to +be levied on other seditious publications!</p> + +<div class="figcenter"> + <a id="image02" name="image02"> + <img src="images/44.jpg" + alt="SIR ROGER L'ESTRANGE." + title="SIR ROGER L'ESTRANGE." /></a><br /> + <span class="caption">SIR ROGER L'ESTRANGE.</span> +</div> + +<p>In this pamphlet L'Estrange gave the titles of most of the pamphlets to +which he objected, with brief extracts from them, and the names of<span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span> the +printers and publishers, amongst whom were Thomas Brewster, Giles +Calvert, Simon Dover, and one other, whose name is not mentioned, but +who is referred to as holding a highly profitable office. The reference +may be to Thomas Newcomb.</p> + +<p>At pages 26 and 27 L'Estrange notices the petition of certain of the +printers to be incorporated as a separate body. He says 'that it were a +hard matter to pick out twenty master printers, who are both free of the +trade, of ability to manage it, and of integrity to be entrusted with +it, most of the honester sort being impoverished by the late times, and +the great business of the press being engross'd by Oliver's creatures.' +He admits that the Company of Stationers and Booksellers are largely +responsible for the great increase of presses, being anxious to have +their books printed as cheaply as possible, but thinks that there would +be as much abuse of power among incorporated printers as among the +Company of Stationers.</p> + +<p>The Act of 1662, which was mainly based on L'Estrange's report, was in a +large measure a re-enactment of the Star Chamber decree of 1637. The +number of printers in London was limited to twenty, the type-founders to +four, and the other clauses of the earlier decree were reinforced, but +with one notable concession. Hitherto printing outside London had been +restricted to<span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span> the two Universities, but in the new Act the city of York +was expressly mentioned as a place where printing might be carried on.</p> + +<p>This new Act was enforced for a time with greater severity than the old +one, and under it, for the first time in English history, a printer +suffered the penalty of death for the liberty of the press.</p> + +<p>The story of the trial and condemnation of John Twyn is told in vol. 6 +of Cobbett's <i>State Trials</i>, and was also published in pamphlet form +with the title, <i>An exact narrative of the Tryal and condemnation of +John Twyn, for Printing and Dispersing of a Treasonable Book, With the +Tryals of Thomas Brewster, bookseller, Simon Dover, printer, Nathan +Brooks, bookseller ... in the Old Bayly, London, the 20th and 22nd +February 166-3/4</i>.</p> + +<p>John Twyn was a small printer in Cloth Fair, and his crime was that of +printing a pamphlet entitled <i>A Treatise of the Execution of Justice</i>, +in which, as it was alleged, there were several passages aimed at the +King's life and the overthrow of the Government. It was further stated +by the prosecution that the pamphlet was part of a plot for a general +rebellion that was to have taken effect on the 12th October 1662. The +chief witnesses against Twyn were Joseph Walker, his apprentice, Sir +Roger L'Estrange, and Thomas Mabb, a printer. Their evidence<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span> went to +show that Twyn had two presses; that he composed part of the book, +printed some of the sheets, and corrected the proofs, the work being +done secretly at night-time. On entering the premises it was found that +the forme of type had been broken up, only one corner of it remaining +standing, and that the printed sheets had been hurriedly thrown down +some stairs. In defence Twyn declared that he had received the copy from +Widow Calvert's maid, and had received 40s. on account, with more to +follow on completion, and he stoutly asserted that he did not know the +nature of the work. The jury, amongst whom were Richard Royston and +Simon Waterson, booksellers, and James Fletcher and Thomas Roycroft, +printers, returned a verdict of Guilty, and Twyn was condemned to death +and executed at Tyburn.</p> + +<p>The charge against Simon Dover was of printing the pamphlet entitled +<i>The Speeches of some of the late King's Justices</i>, which we have +already seen that Roger L'Estrange had seized in John Hayes' premises, +while Thomas Brewster was accused of causing this and another pamphlet, +entitled <i>The Phœnix of the Solemn League and Covenant</i>, to be +printed. In defence, Thomas Brewster declared that booksellers did not +read the books they sold; so long as they could earn a penny they were +satisfied—an argument that had been used more than a century before by +old<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span> Robert Copland as an excuse for indifferent printing. Both Dover +and Brewster were condemned to pay a fine of 100 marks, to stand in the +pillory, and to remain prisoners during the King's pleasure. Sir Roger +L'Estrange, as a reward for his services, was appointed Surveyor of the +Press, with permission to publish a news-sheet of his own, and liberty +to harass the printers as much as possible.</p> + +<p>But far greater calamities than the malice of Sir Roger L'Estrange could +devise fell upon the printing trade by the outbreak of the Plague in +1665, and the subsequent Fire of London. In a letter written by +L'Estrange to Lord Arlington, and dated 16th October 1665, he stated +that eighty of the printers had died of the Plague (<i>Cal. of S. P.</i> +1665-6, p. 20), in which total he evidently included workmen as well as +masters. The loss occasioned by the stoppage of trade and flight of the +citizens must have been enormous, and yet it may have been slight in +comparison to that occasioned by the Great Fire. Curiously enough, +however, there are very few records showing the effect of this second +disaster upon the printing trade. We find a petition by Christopher +Barker, the King's printer, to be allowed to import paper free of charge +in consequence of his loss by the Fire, and the same indulgence is +granted to the Stationers' Company as a body and the Universities; but +there are no notes of individual<span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span> losses, and only one or two references +to <span class="smcap lowercase">MSS</span>. that were destroyed in it. There is, however, one very eloquent +testimony to the ruin it caused in this, as in other trades. The +coercive Act of 1662, which had been renewed with unfailing regularity +from session to session down to the year 1665, was not renewed during +the remainder of the reign of Charles <span class="smcap lowercase">II</span>. On the 24th of July 1668 a +return was made of all the printing-houses in London, which shows at a +glance who had survived and who had suffered by that terrible calamity +(see Appendix II.).</p> + +<p>Comparing this list with that of 1649, we find that no inconsiderable +number of the printers there mentioned had survived the thinning-out +process, as well as imprisonment, death, and fire. In fact, only eight +London printers were actually ruined by the Fire, and among them we find +both John Hayes and John Brudenell, and also Alice Warren.</p> + +<p>But another paper, written in the same year, and preserved in the same +volume of State Papers,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> is even more interesting, for it shows the +position of every man in the trade. This is headed—</p> + +<p><i>A Survey of the Printing Presses with the names and numbers of +Apprentices, Officers, and Workemen belonging to every particular press. +Taken 29 July 1668</i>. (See Appendix III.).<span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span></p> + +<p>From this we learn that the largest employer in the trade at that time +was James Fletcher, who kept five presses, and employed thirteen workmen +and two apprentices. Next to him came Thomas Newcomb, with three presses +and a proof press, twelve workmen and one apprentice; John Maycocke, +with three presses, ten workmen and three apprentices; and then +Roycroft, with four presses, ten workmen and two apprentices; while at +the other end of the scale was Thomas Leach, with one press, not his +own, and one workman.</p> + +<p>Whether L'Estrange carried out his threat of prosecuting the three men +who had set up since the Act, we do not know, but this is certain, that +one of their number, John Darby, continued to work for many years after +this, and was the printer of Andrew Marvell's <i>Rehearsal Transposed</i>, +and a good deal else that galled the Government very much. In fact, the +Act of 1662 was openly ignored, and new men set up presses every year.</p> + +<p>But of all this work it is almost impossible to trace what was done by +individual printers. The bulk of the publications of the time bore the +bookseller's name only, and it is very rarely indeed that the printer is +revealed. Newcomb had the printing of the <i>Gazette</i>, and also printed +most of Dryden's works that were published by Herringman; while +Roycroft, we know, was employed<span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span> by all those who wanted the best +possible work, such men as John Ogilby, for instance, for whom he +printed several works. Milton's <i>Paradise Lost</i> came from the press of +Peter Parker; but the printer of Bunyan's <i>Pilgrim's Progress</i> is +unknown to us.</p> + +<p>As it happens, there is not much lost by remaining in ignorance on this +point. For no change whatever took place in the character of printing as +a trade during the second half of the seventeenth century. There were +only three foundries of note in London during that time, and none of +them is considered to have produced anything particularly good. Indeed, +one has only to glance at even the best work of that time to see how +wretchedly the majority of the type was cast. The first of the three was +the celebrated Joseph Moxon, who, in 1659, added type-founding to his +other callings of mathematician and hydrographer. Having spent some +years in Holland, he was very much enamoured of the Dutch types, and in +1676 he wrote a book entitled <i>Regulæ Trium Ordinum Literarum +Typographicarum</i>, in which he endeavoured to prove that each letter +should be cast in exact mathematical proportion, and illustrated his +theory by several letters cast in that manner. Similar theories had been +propounded in earlier days by Albert Durer and the French printer, +Geoffrey Tory, but no improvement in printing ever resulted from them.<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span></p> + +<p>Moxon's foundry was fitted with a large assortment of letter, but his +work, judging from the examples left to us, was certainly not up to the +theory which he put forward, and he is best remembered for his useful +work on printing, which formed the second part of his <i>Mechanick +Exercises</i>, and was published in 1683. In this he showed an intimate +knowledge of every branch of printing and type-founding, and his book is +still a standard work on both these subjects. Moxon retired from +business some years before his death, and was succeeded in 1683 by +Joseph and Robert Andrews, who, in addition to Moxon's founts, had a +large assortment of others. Their foundry was particularly rich in Roman +and Italic, and the learned founts, and they also had matrices of +Anglo-Saxon and Irish. But their work was not by any means good.</p> + +<p>The third of these letter foundries was that of James and Thomas Grover +in Angel Alley, Aldersgate Street, who after Moxon's retirement shared +with Andrews the whole of the English trade. The most notable founts in +their possession were, a pica and longprimer Roman, from the Royal Press +at Blackfriars, Day's double pica Roman and Italic, and two good founts +of black letter, reputed to have formed part of the stock of Wynkyn de +Worde. They also had the English Samaritan matrices from which the type +for Walton's Polyglott in 1657 had been cast.<span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span></p> + +<p>Among the types belonging to this foundry was one which, in the +inventory, was returned as New Coptic, but which was in reality a Greek +uncial fount, cut for the specimen of the <i>Codex Alexandrinus</i> which +Patrick Young proposed to print, but did not live to accomplish. The +specimen was printed in 1643 and consisted of the first chapter of +Genesis. It is supposed that this fount remained unknown, under the +title of New Coptic, until 1758, when the Grover foundry passed into the +hands of John James. On the death of Thomas Grover, the foundry remained +in possession of his daughters, who endeavoured to sell it, but without +success, and it remained locked up for many years in the premises of +Richard Nutt, a printer, until 1758 (Reed, <i>Old English Letter +Foundries</i>, p. 205).</p> + +<p>After a lapse of twenty years, the Act of 1662 was renewed by the first +parliament of James II. (1685) for a period of seven years, and at the +expiration of that time, <i>i.e.</i> in 1692, it was renewed for another +twelvemonth, after which we hear no more of it. There is no evidence +that it had been very strictly enforced during its short revival; in +fact it is clear, from the number of presses found in various parts of +the country during the last five and twenty years of the century, that +it had remained practically a dead letter from the time of the Great +Fire.</p> + +<div class="figcenter"> + <img src="images/45.jpg" + alt="'Fell' Types." + title="'Fell' Types." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 32.—'Fell' Types.</span> +</div> + +<p>The troubles of the Civil War had suspended<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span> for a time all progress in +printing at Oxford. But on the Restoration it made even greater advances +than it had done at an earlier period of its history. Archbishop Laud +had a worthy successor in Dr. John Fell, who in 1667 enriched the +University by a gift of a complete type-foundry, consisting of punches, +matrices, and founts of Roman, Italic, Orientals, 'Saxons,' and black +letter, besides moulds and other necessary appliances for the production +of type. Dr. Fell also introduced a skilled letter-founder from Holland. +For a couple of years the foundry and printing office were carried on in +private premises hired by Fell, but upon the completion of the +Sheldonian Theatre the printing office was removed to the basement of +that building, the first book bearing the Theatre imprint being <i>An Ode +in praise of the Theatre and its Founder</i>, printed in 1669.</p> + +<p>Another scholarly benefactor, Francis Junius, presented the University +in 1677 with a splendid collection of type, consisting of Runic, Gothic, +'Saxon,' 'Islandic,' Danish, and 'Swedish,' as well as founts of Roman, +Italic, and other sorts. By the kindness of Mr. Horace Hart, the +Controller of the Clarendon Press, we are able to give here examples of +several of the founts, both of Fell and Junius, in most cases from +surviving specimens of the types themselves.</p> + +<div class="figcenter"> + <img src="images/46.jpg" + alt="'Fell' Types." + title="'Fell' Types." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 33.—'Fell' Types.</span> +</div> + +<p>Very little use seems to have been made of these gifts before the +commencement of the<span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span> succeeding century. The first Bible printed at +Oxford was that of 1674, and no important editions of the classics +issued from the University press of this period.</p> + +<p>It was left to Cambridge to issue the best works of this class, for +which that University borrowed the Oxford types, having no type-foundry +of its own. These editions, chiefly in quarto, came from the press of +Thomas Buck, who had succeeded Roger Daniel as printer to the +University. Buck was in turn succeeded by John Field, who turned out +some very creditable work, notably the folio Bible of 1660. John Hayes, +the next of the Cambridge printers, issued some notable books, such as +Robertson's <i>Thesaurus</i>,1676, 4to, and Barnes's <i>History of Edward +III.</i>, 1688, 4to, but the bulk of the work that came from the Cambridge +press at this date was of a theological character, and was none too well +printed.</p> + +<p>The history of other provincial presses of this period is very meagre. +Mr. Allnutt, to whose valuable papers in the second volume of +<i>Bibliographica</i> I am indebted for the following notes, expresses the +belief that in several cases local knowledge would show that presses +were at work some years earlier than the dates he has given.</p> + +<div class="figcenter"> + <img src="images/47.jpg" + alt="'Junius' Types." + title="'Junius' Types." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 34.—'Junius' Types.</span> +</div> + +<p>At the time of the Civil War, Robert Barker, the King's printer, had in +1639 been commanded<span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span> to attend His Majesty in his march against the +Scots, and printed several proclamations, news-sheets, etc., at +Newcastle-on-Tyne in that year. He is next found at York, where some +thirty-nine different sheets, etc., have been traced from his press, and +in 1642 a second press was at work in the same city, that of Stephen +Bulkeley. When York fell into the hands of the Parliament, Bulkeley's +press was silent for a while, and his place was taken by Thomas Broad, +who printed there from 1644 to 1660, and was succeeded by his widow, +Alice, who disappears in 1667. After the Restoration, Bulkeley again set +up his press at York, where he continued down to 1680. Barker in 1642 +had been summoned to attend the King at Nottingham, but no specimen of +his work bearing that imprint is known, and the next heard of him is at +Bristol, some time in 1643, Mr. Allnutt mentioning ten pieces from his +press at this place.</p> + +<p>In 1645 Thomas Fuller issued in small duodecimo, a collection of pious +thoughts, which he aptly termed <i>Good Thoughts in Bad Times</i>, and in the +Dedication to it expressly stated that it was 'the first fruits of the +Exeter presse.' There was no printer's name in the volume, and no other +work printed in Exeter at that time is known. In 1688, however, another +press was started there, and printed several political broadsides +relative to the Prince of Orange. A new<span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span> start was made in 1698, when a +small pamphlet was printed in this city.</p> + +<p>Stephen Bulkeley, the York printer, appears to have gone from that city +to Newcastle in 1646, and continued printing there until 1652. He then +removed to Gateshead, where he remained until after the Restoration, +subsequently returning to Newcastle, and so back to York. No more is +heard of printing in Newcastle until the opening of the eighteenth +century.</p> + +<p>A press was established in Bristol in the year 1695 and in Plymouth and +Shrewsbury in the year 1696.</p> + +<p>In America the progress of printing was very slow throughout the +seventeenth century. Until 1660, Samuel Green, at Cambridge, +Massachusetts, remained the only printer in the colony. But in that year +the Corporation for the propagation of the Gospel in New England among +the Indians sent over from London another press, a large supply of good +letter, and a printer named Marmaduke Johnson, for the purpose of +printing an edition of the Bible in the Indian tongue. This press was +set up in the same building as that in which Green was already at work, +and the two printers seem to have worked together at the production of +the Bible, which appeared in quarto form in 1663, the New Testament +having been published two years earlier. Johnson died in the year 1675, +but Samuel Green continued to print<span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span> until 1702. After his death the +press at Cambridge was silent for some years.</p> + +<p>In 1675 a press was established at Boston by John Foster, a graduate of +Harvard College, under a licence from the College. Besides the official +work of the colony and theological literature, he printed several +pamphlets on the war between the English and the Indians. He died in +1681, when he was succeeded by Samuel Green, junior, who continued +printing there until 1690. In the following year three printers' names +are found in the imprints of books: R. Pierce, Benjamin Harris, and John +Allen. Benjamin Harris is afterwards called 'Printer to his Excellency, +the Governor and Council,' but in 1693 Harris removed from 'over against +the Old Meeting House,' to 'the Bible over against the Blew Anchor,' and +another printer, Bartholomew Green, seems to have shared with him the +official work.</p> + +<p>Pennsylvania was the next of the colonies to establish a press; its +first printer, William Bradford, setting up there in 1685, in which year +he printed <i>Kalendarium Pennsilvaniense, or, America's Messinger, Being +an Almanack for the Year of Grace 1686</i>.</p> + +<p>In 1688 Bradford issued proposals for printing a large Bible (Hildeburn, +<i>Issues of the Pennsylvania Press</i>, vol. i. p. 9), but they came to +nothing. In 1692 he printed several pamphlets for George Keith, the +leader of the schism among<span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span> the Quakers, and for this he was imprisoned. +On his release he removed to New York. A press was also set up in +Virginia in 1682, but was suppressed, and no printing allowed there +until 1729. The name of the printer is not known, but is believed to +have been William Nuthead, who set up a press in Maryland in 1689 with a +similar result.</p> + +<p>The first printer in New York was William Bradford, who began work there +on the 10th April 1693. Among his most famous publications before the +close of the seventeenth century was Keith's <i>Truth Advanced</i>, a quarto +of 224 pages, printed on paper manufactured at his own mill and issued +in 1694; in the same year he also printed <i>The Laws and Acts of the +General Assembly</i>.</p> + +<hr style="width: 35%;" /> + +<h3>APPENDIX No. I</h3> + +<h4>LIST OF ENGLISH PRINTERS 1649-50</h4> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='center'>NAME OF PRINTER</td> + <td align='left'></td> + <td align='left'><span style="margin-left: 2em;">ADDRESS</span></td> +</tr> +<tr> + <td align='left'>Alsop, Bernard,</td> + <td align='left'></td> + <td align='left'>Grub Street.</td> +</tr> +<tr> + <td align='left'>Austin, Robert,</td> + <td align='left'></td> + <td align='left'>Addlehill.</td> +</tr> +<tr> + <td align='left'>Bell, Jane,</td> + <td align='left'></td> + <td align='left'>Christchurch.</td> +</tr> +<tr> + <td align='left'>Bentley, William,</td> + <td align='left'></td> + <td align='left'>Finsbury.</td> +</tr> +<tr> + <td align='left'>Bishop, Richard,</td> + <td align='left'></td> + <td align='left'>St. Peter Paul's Wharf.</td> +</tr> +<tr> + <td align='left'>Broad, Thomas,</td> + <td align='left'></td> + <td align='left'>City of York.</td> +</tr> +<tr> + <td align='left'><span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span>Brudenell, Thomas,</td> + <td align='left'></td> + <td align='left'>Newgate Market.</td> +</tr> +<tr> + <td align='left'>Buck, John,</td> + <td align='left'></td> + <td align='left'>Cambridge.</td> +</tr> +<tr> + <td align='left'>Buck, or Bucks, Thomas,</td> + <td align='left'></td> + <td align='left'>Cambridge.</td> +</tr> +<tr> + <td align='left'>Clowes, John,</td> + <td align='left'></td> + <td align='left'>Grub Street.</td> +</tr> +<tr> + <td align='left'>Coe, Andrew,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Cole, Peter,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Coles, Amos,</td> + <td align='left'></td> + <td align='left'>Ivy Lane.</td> +</tr> +<tr> + <td align='left'>Constable, Richard,</td> + <td align='left'></td> + <td align='left'>Smithfield.</td> +</tr> +<tr> + <td align='left'>Cotes, or Coates, Richard,</td> + <td align='left'></td> + <td align='left'>Aldersgate Street.</td> +</tr> +<tr> + <td align='left'>Cottrell, James,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Crouch, Edward,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Crouch, John,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Dawson, Gertrude,</td> + <td align='left'></td> + <td align='left'>Aldersgate Street.</td> +</tr> +<tr> + <td align='left'>Dugard, William,</td> + <td align='left'></td> + <td align='left'>Merchant Taylors' School.</td> +</tr> +<tr> + <td align='left'>Ellis, William,</td> + <td align='left'></td> + <td align='left'>Thames Street.</td> +</tr> +<tr> + <td align='left'>Field, John,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Fletcher, or Flesher, James,</td> + <td align='left'></td> + <td align='left'>Little Britain.</td> +</tr> +<tr> + <td align='left'>Griffith, or Griffin, Edward,</td> + <td align='left'></td> + <td align='left'>Old Bailey.</td> +</tr> +<tr> + <td align='left'>Grismond, John,</td> + <td align='left'></td> + <td align='left'>Ivy Lane.</td> +</tr> +<tr> + <td align='left'>Hall, Henry,</td> + <td align='left'></td> + <td align='left'>Oxford.</td> +</tr> +<tr> + <td align='left'>Hare, Adam,</td> + <td align='left'></td> + <td align='left'>Red Cross Street.</td> +</tr> +<tr> + <td align='left'>Harper, Thomas,</td> + <td align='left'></td> + <td align='left'>Little Britain.</td> +</tr> +<tr> + <td align='left'>Harrison, Martha,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Heldersham, Francis,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Hills, Henry,</td> + <td align='left'></td> + <td align='left'>Southwark.</td> +</tr> +<tr> + <td align='left'>Hunscott, Joseph,</td> + <td align='left'></td> + <td align='left'>Stationers' Hall.</td> +</tr> +<tr> + <td align='left'>Hunt, William,</td> + <td align='left'></td> + <td align='left'>Pie Corner.</td> +</tr> +<tr> + <td align='left'>Husbands, Edward,</td> + <td align='left'></td> + <td align='left'>Golden Dragon, Fleet Street.</td> +</tr> +<tr> + <td align='left'>Ibbitson, Robert,</td> + <td align='left'></td> + <td align='left'>Smithfield.</td> +</tr> +<tr> + <td align='left'>Lee, William,</td> + <td align='left'></td> + <td align='left'>Fleet Street.</td> +</tr> +<tr> + <td align='left'>Leyborne, Robert,</td> + <td align='left'></td> + <td align='left'>Mugwell Street.</td> +</tr> +<tr> + <td align='left'><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span>Litchfield, Leonard,</td> + <td align='left'></td> + <td align='left'>Oxford.</td> +</tr> +<tr> + <td align='left'>Mabb, Thomas,</td> + <td align='left'></td> + <td align='left'>Ivy Lane.</td> +</tr> +<tr> + <td align='left'>Maxey, Thomas,</td> + <td align='left'></td> + <td align='left'>Bennett Paul's Wharf.</td> +</tr> +<tr> + <td align='left'>Maycock, John,</td> + <td align='left'></td> + <td align='left'>Addlehill.</td> +</tr> +<tr> + <td align='left'>Meredith, Christopher,</td> + <td align='left'></td> + <td align='left'>St. Paul's Churchyard.</td> +</tr> +<tr> + <td align='left'>Miller, Abraham,</td> + <td align='left'></td> + <td align='left'>Blackfriars.</td> +</tr> +<tr> + <td align='left'>Mottershead, Edward,</td> + <td align='left'></td> + <td align='left'>Doctors' Commons.</td> +</tr> +<tr> + <td align='left'>Moxon, James,</td> + <td align='left'></td> + <td align='left'>Houndsditch.</td> +</tr> +<tr> + <td align='left'>Neale, Francis,</td> + <td align='left'></td> + <td align='left'>Aldersgate Street.</td> +</tr> +<tr> + <td align='left'>Newcombe, Thomas,</td> + <td align='left'></td> + <td align='left'>Bennett Paul's Wharf, near Baynards Castle.</td> +</tr> +<tr> + <td align='left'>Norton, Roger,</td> + <td align='left'></td> + <td align='left'>Blackfriars.</td> +</tr> +<tr> + <td align='left'>Partridge, John,</td> + <td align='left'></td> + <td align='left'>Blackfriars.</td> +</tr> +<tr> + <td align='left'>Payne, or Paine, Thomas,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Playford, John,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Purslowe, Elizabeth,</td> + <td align='left'></td> + <td align='left'>Little Old Bailey.</td> +</tr> +<tr> + <td align='left'>Ratcliffe, Thomas,</td> + <td align='left'></td> + <td align='left'>Doctors' Commons.</td> +</tr> +<tr> + <td align='left'>Raworth, Ruth,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Ross, Thomas,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Rothwell, John,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Royston, John,</td> + <td align='center' rowspan="2" class="large">} </td> + <td align='left' rowspan="2">...</td> +</tr> +<tr> + <td align='left'>Royston, Richard,</td> +</tr> +<tr> + <td align='left'>Roycroft, Thomas,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Simmons, Matthew,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Thompson, George,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Tyton, Francis,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Walkeley, Thomas</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Warren, Thomas,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Wilson, William,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Wright, John,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +<tr> + <td align='left'>Wright, William,</td> + <td align='left'></td> + <td align='left'>...</td> +</tr> +</table></div> + + +<hr style="width: 35%;" /><p><span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span></p> + +<h3>APPENDIX No. II</h3> + +<p>List of severall printing houses taken y<sup>e</sup> 24th July 1668:—</p> + +<p>The Kings printing office in English.</p> + +<p>The Kings printing office in Hebrew, Greek, and Latine. Roger Norton.</p> + +<p>The Kings printer in y<sup>e</sup> Oriental tongues. Thomas Roycroft.</p> + +<p>Collonell John Streater by an especial provisoe in y<sup>e</sup> Act. [The same +who in 1653 had been committed to the Gatehouse for printing seditious +pamphlets.]</p> + +<p>The other Masters are</p> + +<ul> +<li>Mr. Evan Tyler.</li> +<li><span style="margin-left: 0.5em;">" Robert White.</span></li> +<li><span style="margin-left: 0.5em;">" James Flesher.</span></li> +<li><span style="margin-left: 0.5em;">" Richard Hodgkinson.</span></li> +<li><span style="margin-left: 0.5em;">" Thomas Ratliffe.</span></li> +<li><span style="margin-left: 0.5em;">" John Maycocke.</span></li> +<li><span style="margin-left: 0.5em;">" John Field.</span></li> +<li><span style="margin-left: 0.5em;">" Thomas Newcomb.</span></li> +<li><span style="margin-left: 0.5em;">" William Godbid.</span></li> +<li><span style="margin-left: 0.5em;">" John Redman.</span></li> +<li><span style="margin-left: 0.5em;">" Thomas Johnson.</span></li> +<li><span style="margin-left: 0.5em;">" Nath Crouch.</span></li> +<li><span style="margin-left: 0.5em;">" Thomas Purslowe.</span></li> +<li><span style="margin-left: 0.5em;">" Peter Lillicrapp.</span></li> +<li><span style="margin-left: 0.5em;">" Thomas Leach.</span></li> +<li><span style="margin-left: 0.5em;">" Henry Lloyd.</span></li> +<li><span style="margin-left: 0.5em;">" Thomas Milbourne.</span></li> +<li><span style="margin-left: 0.5em;">" James Cottrell.</span></li> +<li><span style="margin-left: 0.5em;">" Andrew Coe.</span></li> +<li><span style="margin-left: 0.5em;">" Henry Bridges.</span></li> +</ul> + +<p>Widdowes of printers:—</p> + +<ul> +<li>Mrs. Sarah Gryffyth.</li> +<li><span style="margin-left: 1em;">" Cotes.</span></li> +<li><span style="margin-left: 1em;">" Simmons.</span></li> +<li><span style="margin-left: 1em;">" Anne Maxwell.</span></li> +</ul> + +<p>Custome house printer.</p> + +<p><span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span>Printers y<sup>t</sup> were Masters at y<sup>e</sup> passeing of y<sup>e</sup> Act w<sup>ch</sup> are +disabled by y<sup>e</sup> fire:—</p> + +<ul> +<li>Mr. John Brudenall.</li> +<li><span style="margin-left: 0.5em;">" Hayes.</span></li> +<li><span style="margin-left: 0.5em;">" Child.</span></li> +<li><span style="margin-left: 0.5em;">" Warren.</span></li> +<li><span style="margin-left: 0.5em;">" Leybourne.</span></li> +<li><span style="margin-left: 0.5em;">" Wood.</span></li> +<li><span style="margin-left: 0.5em;">" Vaughan.</span></li> +<li><span style="margin-left: 0.5em;">" Ouseley.</span></li> +</ul> + +<p>Printers set up since y<sup>e</sup> Act and contrary to it:—</p> + +<ul> +<li>Mr. William Rawlins.</li> +<li><span style="margin-left: 0.5em;">" John Winter</span></li> +<li><span style="margin-left: 0.5em;">" John Darby.</span></li> +<li><span style="margin-left: 0.5em;">" Edward Oakes.</span></li> +</ul> + +<p>(<i>Dom. S. P. Chas. II</i>., vol. 243, No. 126.)</p> + +<hr style="width: 35%;" /> + +<h3>APPENDIX No. III</h3> + +<h4>NUMBER OF PRESSES AND WORKMEN EMPLOYED IN THE PRINTING-HOUSES OF LONDON +IN 1668</h4> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'>At the King's House,</td> + <td align='left'></td> + <td align='left'>6 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>8 Compositors.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>10 Pressmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Tyler's,</td> + <td align='left'></td> + <td align='left'>3 Presses and a Proofe Press.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Apprentice.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>6 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. White's,</td> + <td align='left'></td> + <td align='left'>3 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>3 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>7 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Flesher's,</td> + <td align='left'></td> + <td align='left'>5 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>13 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Norton's,</td> + <td align='left'></td> + <td align='left'>3 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Apprentice.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>7 Workmen.</td> +</tr> +<tr> + <td align='left'><span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span>At Mr. Rycroft's [Roycroft's]</td> + <td align='left'></td> + <td align='left'>4 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>10 Workmen [three of whom were not free of the Company.]</td> +</tr> +<tr> + <td align='left'>At Mr. Ratcliffe's,</td> + <td align='left'></td> + <td align='left'>2 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>7 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Maycock's,</td> + <td align='left'></td> + <td align='left'>3 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>3 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>10 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Newcombe's,</td> + <td align='left'></td> + <td align='left'>3 Presses and a Proof Press.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Apprentice.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>7 Compositors.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>5 Pressmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Godbidd's,</td> + <td align='left'></td> + <td align='left'>3 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>5 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Streater's,</td> + <td align='left'></td> + <td align='left'>5 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>6 Compositors.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Pressmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Milbourne's,</td> + <td align='left'></td> + <td align='left'>2 Presses,</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>0 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Catterell's [Cottrell?],</td> + <td align='left'></td> + <td align='left'>2 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>0 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Compositors.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Pressman.</td> +</tr> +<tr> + <td align='left'>At Mrs. Symond's,</td> + <td align='left'></td> + <td align='left'>2 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Apprentice.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>5 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mrs. Cotes,</td> + <td align='left'></td> + <td align='left'>3 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>9 Pressmen.</td> +</tr> +<tr> + <td align='left'><span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span>At Mrs. Griffin's,</td> + <td align='left'></td> + <td align='left'>2 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Apprentice.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>6 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Leach's,</td> + <td align='left'></td> + <td align='left'>1 Press and no more provided by Mr. Graydon.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Workman.</td> +</tr> +<tr> + <td align='left'>At Mr. Maxwell's,</td> + <td align='left'></td> + <td align='left'>2 Presses,</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>0 Apprentice.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>3 Compositors.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>3 Pressmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Lillicropp's,</td> + <td align='left'></td> + <td align='left'>1 Press.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Apprentice,</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Compositor.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Pressman.</td> +</tr> +<tr> + <td align='left'>At Mr. Redman's,</td> + <td align='left'></td> + <td align='left'>2 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Apprentice.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>4 Compositors.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Pressmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Cowes [Coe's?],</td> + <td align='left'></td> + <td align='left'>1 Press.</td> +</tr> +<tr> + <td align='left'>At Mr. Lloyd's,</td> + <td align='left'></td> + <td align='left'>1 Press.</td> +</tr> +<tr> + <td align='left'>At Mr. Oake's,</td> + <td align='left'></td> + <td align='left'>2 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>0 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>2 Workmen.</td> +</tr> +<tr> + <td align='left'>At Mr. Purslowe's,</td> + <td align='left'></td> + <td align='left'>1 Press.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>0 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Workman.</td> +</tr> +<tr> + <td align='left'>At Mr. Johnson's,</td> + <td align='left'></td> + <td align='left'>2 Presses.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>0 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>3 Workmen.</td> +</tr> +<tr> + <td align='left'>Mr. Darby,</td> + <td align='center' class="large" rowspan="3">}</td> + <td align='left' rowspan="3">These three printers are to be indicted at y<sup>e</sup> next session.</td> +</tr> +<tr> + <td align='left'>Mr. Winter,</td> +</tr> +<tr> + <td align='left'>Mr. Rawlyns,</td> +</tr> +<tr> + <td align='left'>At Mr. Crouch's,</td> + <td align='left'></td> + <td align='left'>1 Press.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>0 Apprentices.</td> +</tr> +<tr> + <td align='left'></td> + <td align='left'></td> + <td align='left'>1 Workman.</td> +</tr> +</table></div> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span></p> +<h2>CHAPTER IX</h2> + +<h3>1700-1750</h3> + +<div class="figleft"> + <img src="images/48.jpg" + alt="H" + title="H" /> +</div> + +<p>aving to some extent shaken itself free from the cramping influences of +monopolies and State interference, the output of the English printing +press at the commencement of the eighteenth century had almost doubled +that of thirty or forty years before, and presses were now at work in +various parts of the kingdom. But the long period of thraldom had +resulted in completely destroying all originality amongst the printers, +and almost in the destruction of the art of letter-founding. In fact, so +far as printing with English types was concerned, the first twenty years +of the eighteenth century was the worst period in the history of +printing in this country. With the exception of the University of +Oxford, which, owing to the generous bequests of Bishop Fell and others, +was well supplied with good founts, the printers of this country were +compelled to obtain their type<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> from Holland, and all the best and most +important books published in Queen Anne's days were printed with Dutch +letter, as it was called. Jacob Tonson is said to have spent some £300 +in obtaining this foreign letter, and one important English foundry, +that of Thomas James, was almost wholly stocked with these foreign +founts. Yet this Dutch letter was by no means easy to get, and the +experience of James, who in 1710 went to Holland for the purpose, bore +out what Moxon had said in his <i>Mechanick Exercises</i>, that the art of +letter-cutting was jealously guarded by those who practised it. Some of +the Dutch typefounders refused to sell him types on any terms, and it +was only by getting hold of a man who was more fond of his liquor than +his trade, that James was able to get matrices, for even this individual +refused to sell his punches. Nor was the vendor in any hurry to part +with the matrices, and it cost James much money, time, and patience +before he was able to secure them. Writing from Rotterdam on the 27th +July in that year, he says:—</p> + +<div class="blockquot"><p>'The beauty of letters, like that of faces, is as people opine, ... +All the Romans excel what we have in England, in my opinion, and I +hope, being well wrought, I mean cast, will gain the approbation of +very handsome letters. The Italic I do not look upon to be +unhandsome, though the Dutch are never very extraordinary in them.'</p></div> + +<p>James returned to England with 3500 matrices<span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span> of various founts of Roman +and Italics, as well as sets of Greek and some black letter. He set up +his foundry in a part of the buildings belonging to the Priory of St. +Bartholomew, in Smithfield, and it continued to be the most important in +London until the days of Caslon. The proportion of Dutch to English +types in the printing offices at that time is well illustrated by the +valuable list of the types possessed by John Baskett, the Royal printer +at Oxford, in the year 1718. The Royal printing-house was perhaps the +largest and most lucrative office in the kingdom. For upwards of a +century it had been owned by the descendants of Christopher Barker, the +last of whom, Robert Barker, had died in 1645, after assigning his +business to Messrs. Newcomb, Hill, Mearne, and others. From these the +patent was bought in 1709 by John Baskett, of whose antecedents nothing +whatever is known. In addition to the business at Blackfriars, Baskett, +in conjunction with John Williams and Samuel Ashurst, obtained a lease +from the Chancellor, Masters, and Scholars of Oxford University of their +privilege of printing for twenty-one years. From an indenture in the +possession of Mr. J. H. Round, the substance of which he communicated to +the <i>Athenæum</i> of September 5th, 1885, it appears that on the 24th +December 1718 Baskett gave a bond to James Brooks, stationer of London, +for a loan of £4000, and for security mortgaged<span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span> his stock, which was +set out in a schedule as follows:—</p> + +<div class="blockquot"><p>'An Account of the Letter, Presses, and other Stock and Implements +of and in the Printing house at Oxford, belonging to John Baskett, +citizen and stationer of London.'</p> + +<p>1. A large ffount of Perle letter cast by M<sup>r</sup> Andrews.</p> + +<p>2. A large ffount of Nonp<sup>l</sup> Letter new cast by ditto.</p> + +<p>3. Another ffount of Nonp<sup>l</sup> Letter, old, the which standing and +sett up in a Com'on prayer in 24<sup>mo</sup> compleat.</p> + +<p>4. A large ffount of Min<sup>n</sup> Letter new cast by M<sup>r</sup> Andrews.</p> + +<p>5. Another large ffount of Min<sup>n</sup> Letter, new cast in Holland.</p> + +<p>6. The whole Testament standing in Brev<sup>r</sup> and Min<sup>n</sup> Letter, +old.</p> + +<p>7. A large ffount of Brev<sup>r</sup> Letter, new cast in Holland.</p> + +<p>8. A very large ffount of Lo: Primer Letter, new cast by M<sup>r</sup> +Andrew.</p> + +<p>9. A large ffount of pica Letter very good, cast by ditto.</p> + +<p>10. Another large ffount of ditto, never used, cast in Holland.</p> + +<p>11. A small quantity of English, new cast by M<sup>r</sup> Andrews.</p> + +<p>12. A small quantity of Great Prim<sup>r</sup> new cast by ditto.</p> + +<p>13. A very large ffount of Double Pica, new, the largest in +England.</p> + +<p>14. A quantity of two-line English letters.</p> + +<p>15. A quantity of French Cannon, two-line letters of all sorts, and +a set of silver initial letters. Cases, stands, etc. Five printing +presses very good.</p></div> + +<p>John Baskett is chiefly remembered for the magnificent edition of the +Bible which he printed in 1716-1717, in two volumes imperial folio, and +which from an error in the headline of the 20th chapter of St. Luke, +where the parable of the Vineyard was rendered as the 'parable of the +Vinegar,' has ever since been known as the<span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span> 'Vinegar Bible.' This slip +was only one of many faults in the edition, which earned for it the +title of 'A Baskett-full of printer's errors.' But apart from these +errors, the book was a very splendid specimen of the printer's art, and +has been described as the most magnificent of the Oxford Bibles. The +type, double pica Roman and Italic, was beautifully cut, and was that +which is described in the above list as the 'largest in England.' It was +clearly not one of the founts belonging to the University, for, had it +been, Baskett would have had no power to mortgage it. It is also +noticeable that it was not described as 'cast in Holland,' as many of +the others were, so we may infer that it was cast in England, and an +interesting question arises, by whom? Clearly it was not cast by Mr. +Andrews, or Baskett would have said so.</p> + +<p>During a great part of his life, Baskett was engaged in litigation over +his monopoly of Bible printing, and in spite of the large profits +attached to it, he became bankrupt in 1732. Further trouble fell upon +him in 1738 by the destruction of his office by fire. He died on June +22nd, 1742. At one period he had been in danger of losing his patent +altogether, for Queen Anne was induced by Lord Bolingbroke and others to +constitute Benjamin Tooke and John Barber to be Royal printers in +reversion, in anticipation of the ending of Baskett's lease in 1739; but +Baskett<span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span> purchased this reversion from Barber, and afterwards obtained a +renewal of his patent for sixty years, the last thirty of which were +subsequently acquired by Charles Eyre for £10,000.</p> + +<p>John Barber, who for a time held the reversion of Baskett's patent, was +the only printer who has ever held the high office of Lord Mayor of +London, and for this reason among others he deserves a brief notice. He +was born of poor parents in 1675, and according to one account was +greatly helped in early life by Nathaniel Settle, the city poet.</p> + +<p>He was apprenticed to Mrs. Clark, a printer in Thames Street, and +proving himself a steady and good workman, was able to set up for +himself in 1700. His first printing-house was in Queen's Head Alley, +whence he soon afterwards moved to Lambeth Hill, near Old Fish Street.</p> + +<p>Accounts differ as to his first work. Curll, in his <i>Impartial History +of the Life, Character, etc., of Mr. John Barber</i> (London, 1741), says +that the alderman himself admitted that the first fifty pounds he could +call his own were earned by printing a pamphlet written by Charles +D'Avenant; while in the <i>Life and Character</i>, another pamphlet printed +in the same year for T. Cooper, it is said that it was Defoe's <i>Diet of +Poland</i> which brought him the first money he laid up. It is also said +that he was greatly indebted to Dean Swift for his rapid advancement.<span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span></p> + +<p>By whatever means it was accomplished, Barber was introduced to Henry +St. John, afterwards Lord Bolingbroke, and was engaged as printer to the +Ministry, his printing-house becoming the meeting-place of the +statesmen, poets, and wits of the day. Barber was himself a genial +companion and hard drinker, who spent his money freely, and in this way +made many friends. He printed for Dean Swift, for Pope, Matthew Prior, +and Dr. King, and was also the printer of nearly all the writings of the +versatile and unhappy Mrs. Manley. The story of her connection with +Barber is sufficiently well known.</p> + +<p>At the time of the South Sea scheme Barber took large shares, and, it is +said, amassed a considerable fortune before the bubble burst. But he was +indebted mainly to the patronage of Lord Bolingbroke for his success as +a printer. Through that statesman he obtained the contract for printing +the votes of the House of Commons, and by the same influence he became +printer of the <i>London Gazette</i>, <i>The Examiner</i>, and <i>Mercator</i>, printer +to the City of London, and finally received from the Queen the reversion +of the office of Royal Printer, which he soon after relinquished to +Baskett for £1500.</p> + +<p>Elected as alderman of Baynard Castle ward, Barber filled the office of +Sheriff, and in 1733 became Lord Mayor of the City of London. As Lord +Mayor, he gained great popularity from his<span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span> opposition to the Excise +Bill, and by permitting persons tried and acquitted at the Old Bailey to +be discharged without any fees. He died on the 22nd January 1740.</p> + +<p>Much amusement, not altogether unmixed with uneasiness, was caused in +the printing trade between 1727 and 1740 by a futile attempt to +introduce stereotyping. A Scotch printer having complained to a +goldsmith in Edinburgh of the vexatious delays and inconvenience of +having to send to London or Holland for type, it occurred to William +Ged, the goldsmith in question, that, to use the words of Timperley (p. +584), the transition from founding single letters to founding whole +pages, 'should be no difficult matter.' He made several experiments, and +at length satisfied himself that his scheme was practicable. +Accordingly, in 1727, he entered into a contract with an Edinburgh +printer to carry out the invention, but after two years his partner +withdrew, being alarmed at the probable cost. Ged then entered into +partnership with William Fenner, a stationer in London, by whom he was +introduced to Thomas James, the founder, and a company was formed to +work the scheme. But James, perhaps influenced by the representations of +his 'compositors,' whom the new invention threatened with the loss of +work, instead of helping, did his utmost to ruin the undertaking and its +inventor. Instead of supplying the best and<span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span> newest type from which the +matrices might be made, he furnished the worst, whilst his workmen +damaged the formes. Much the same happened at Cambridge, where Ged was +for a time installed as printer to the University. He struggled against +the opposition so far as to produce two Prayer Books, but such was the +animosity shown to the new invention, that the books were suppressed by +authority, and the plates broken up. To add further to his troubles, +dissension broke out between James and Fenner, neither of whom had any +cause to be proud of their action towards Ged, who, disheartened and +ruined, returned to Edinburgh. There another attempt was made by the +friends of the inventor to produce a book, but no compositor could be +found to set up the type, and it was only by Ged's son working at night +that the edition of <i>Sallust</i>, and a few theological books, were +finished and printed at Newcastle. Ged died in 1749, and his sons +subsequently emigrated to the West Indies.</p> + +<p>Next to the King's printing-house, the press of which we have the most +accurate knowledge at this time was that of William Bowyer, the elder +and the younger. The seven volumes of Nichols's <i>Literary Anecdotes</i> +give a complete record of the work of this printing-house, and from them +the following brief account has been taken. William Bowyer, the elder, +had been<span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span> apprentice to Miles Flesher, and was admitted to the freedom +of the Company of Stationers on October 4th, 1686. He started business +on his own account in Little Britain in 1699, with a pamphlet of +ninety-six pages on the <i>Eikon Basilike</i> controversy. He afterwards +moved into White Friars, where, on the night of January 29th, 1712, his +printing office was burnt to the ground; among the works that perished +in the flames being almost the whole impression of Atkyn's <i>History of +Gloucestershire</i>, Sir Roger L'Estrange's <i>Josephus</i>, 'printed with a +fine Elzevir letter never used before'; the fifteenth volume of Rymer's +<i>Fœdera</i>; Thoresby's <i>Ducatus Leodiensis</i>, and an old book, <i>of +Monarchy</i>, by Sir John Fortescue, in 'Saxon,' with notes upon it, +printed on an 'extraordinary paper' (Nichols's <i>Literary Anecdotes</i>, +vol. i. p. 56). This short list of notable works proves that Bowyer had +a flourishing business at the time of the catastrophe. A subscription +was at once raised for his relief, and £1162 subscribed by the +booksellers and printers in a very short time. A royal brief was also +granted to him for the same purposes, and by this he received £1377, +making a grand total of £2539, with which he began business anew. In +remembrance of his misfortune, Bowyer had several tail-pieces and +devices engraved, representing a phoenix rising from the flames.</p> + +<p>In 1715 Bowyer the elder printed Miss<span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span> Elstob's <i>Anglo-Saxon Grammar</i>. +The types for this were cut by Robert Andrews from drawings made by +Humphrey Wanley, and were given to the printer by Lord Chief-Justice +Parker. But these types were very indifferently cut. Wanley himself said +'when the alphabet came into the hands of the workman (who was but a +blunderer) he could not imitate the fine and regular stroke of the pen; +so that the letters are not only clumsy, but unlike those that I drew.'</p> + +<p>In 1721 Bowyer printed an edition of Bishop Bull's Latin works in folio, +but lost £200 by the impression. The following year his son, William +Bowyer the younger, joined him in the business.</p> + +<p>The younger Bowyer had received an University education, though he never +succeeded in taking a degree. He was, however, a highly cultivated man, +and employed his pen in many of the controversies of the time, writing +<i>Remarks on Mr. Bowman's Visitation Sermon</i> in 1731, and on Stephen's +<i>Thesaurus</i> in 1733, and in 1744 a pamphlet on the <i>Present State of +Europe</i>. But at the beginning of his connection with the printing-house, +he was mainly concerned in reading the proofs of the learned works +entrusted to his father for printing, and though towards the latter end +of the elder Bowyer's days the son may have taken a more active part in +the practical work, as we read of his appointment as printer of the +votes in the House of Commons in 1729, and<span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span> as printer to the Society +of Antiquaries in 1736, it was not until his father's death, in 1737, +that the sole management of the business devolved upon him.</p> + +<div class="figcenter"> + <a id="image03" name="image03"> + <img src="images/49.jpg" + alt="William Caslon" + title="William Caslon" /></a> +</div> + +<p>One of the earliest works upon which the younger Bowyer was employed as +'reader' was Dr. Wilkins's edition of Selden's Works, printed by Bowyer +the elder in six folio volumes in 1722. The publication of this book +marks an era in the history of English printing, for the types with +which it was printed were cut by William Caslon.</p> + +<p>This famous type-founder, who by his skill raised the art of printing to +a higher level than it had reached since the days of John Day, was born +at Cradley, near Hales Owen in Shropshire. We are indebted for his +biography partly to Bowyer and partly to Nichols, but it must be +confessed that the earlier part of it is vague and unconvincing. +According to this oft-quoted story, Caslon began life as an engraver of +gun-locks, and made blocking tools for binders. This was somewhere about +1716, in which year it is said John Watts, the printer, became his +patron, and employed him to cut type punches. Bowyer became acquainted +with him from seeing some specimen of his lettering on a book, and took +him to the foundry of James, in Bartholomew Close. Bowyer next advanced +him some money, as also did Watts, and with these loans he set up for +himself, his<span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span> first essay in type-founding being a fount of Arabic for +the Psalter published by the Society for the Promotion of Christian +Knowledge. When he had finished the Arabic, <i>i.e.</i> somewhere about 1724 +or 1725, he cut his own name in Roman type and placed it at the foot of +the specimen. This attracted the notice of Samuel Palmer, the author of +a very unreliable <i>History of Printing</i>, and with Palmer, Caslon worked +for some time, but at length transferred his services to William Bowyer, +for whom he cut the types of the 'Selden.'</p> + +<p>It is almost impossible to place any reliance upon so vague and +inconclusive a biography as this. There was a belief in the Caslon +family that he began letter-cutting before 1720, and the equally vague +traditions which point to a later date need not make us treat this as +impossible.</p> + +<p>Was his the unknown hand that cut the double pica type which Baskett +used in printing the 'Vinegar' Bible? A close examination of the types +used in that Bible, those used in printing the folio edition of Pope's +<i>Iliad</i>, and those of the 'Selden,' reveals a striking resemblance, +especially in the form of the italic letter, and at least makes it clear +that if the two first-mentioned works were printed with Dutch letter, +then it was on the best form of that letter that Caslon modelled his +types.</p> + +<p>The charm of Caslon's Roman letter lay in<span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span> its wonderful regularity as +well as in the shape and proportion of the letters. In this respect it +was a worthy successor to the best Aldine founts of the sixteenth +century. The italic was also noticeable for its beauty and regularity.</p> + +<p>Caslon's superiority over all other letter-cutters, English or Dutch, +was quickly recognised, and from this time forward until the close of +the century all the best and most important books were printed with +Caslon's letter; the old letter-founders, such as James and Grover, +being entirely neglected, and even such a powerful rival as John +Baskerville being unable to compete with him.</p> + +<p>In addition to the printers in London already noticed, there were two +others who must not be forgotten. Samuel Richardson, author of <i>Pamela</i>, +<i>Clarissa Harlowe</i>, and <i>Sir Charles Grandison</i>, was by trade a printer. +Born in Derbyshire, of humble parents, in 1689, he was apprenticed to +Mr. John Wilde, a printer in London, whom he served for seven years. He +took up his freedom in 1706, and started business for himself in +Salisbury Court, Fleet Street. Among his earliest patrons were the Duke +of Wharton, for whom he printed some six numbers of a paper called the +<i>True Briton</i>, and the Right Hon. Arthur Onslow, by whose interest he +obtained the printing of the Journals of the House of Commons. But he +did some better work than this, as in 1732 he printed<span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span> for Andrew Millar +a good edition in folio of <i>Churchill's Voyages</i>, and in 1733 the second +volume of De Thou's <i>History</i>, a work in seven folio volumes, edited by +Samuel Buckley, his share in which reflects credit on Richardson as a +printer. Between 1736-37 he printed <i>The Daily Journal</i>, and in 1738 the +<i>Daily Gazeteer</i>, and in 1740 the newly-formed Society for the +Encouragement of Learning entrusted to him the printing of the first +volume of <i>The Negociations of Sir Thomas Roe</i>, in folio. In this the +text was printed in the same type as the De Thou, but the dedication was +in a fount of double pica Roman. This work, which was intended to have +been in six volumes, was never completed.</p> + +<p>Richardson's work as an author began in 1741 with the publication of +<i>Pamela</i>, in four volumes, duodecimo, printed at his own press. +<i>Clarissa Harlowe</i> appeared in 1747-48, and in 1753 his final novel, +<i>Sir Charles Grandison</i>. Through the treachery of one of his workmen in +the printing office, the Dublin booksellers were enabled to issue an +edition of <i>Sir Charles Grandison</i> before the work had left Richardson's +press. He vented his aggrieved feelings by printing a pamphlet, <i>The +Case of Samuel Richardson of London, Printer</i>.</p> + +<p>In 1755 Richardson rebuilt his premises, and in 1760 he bought half the +patent of law printing, which he shared with Catherine Lintot. His<span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span> +death took place on the 4th July 1761, his business being afterwards +carried on by his nephew, William Richardson.</p> + +<p>The other press to which reference has been made was that of Henry +Woodfall. In the first series of <i>Notes and Queries</i> (vol. xi. pp. 377, +418) an anonymous contributor supplied some very interesting and +valuable notes drawn from the ledgers of that printer between the years +1734 and 1747. Such a record is the most valuable material for a history +of printing, but unfortunately this is the only known instance in which +it is available. It supplies us with the most useful information, the +numbers of copies that went to make up an edition, the quality and cost +of the paper and the number of sheets contained in each volume, with +many other interesting particulars, which it is impossible to get from +any other source. While recognising the value of these extracts from +Woodfall's ledger, the writer hardly seems to have made the most of his +opportunity. In many instances he gives only the title of the work and +the number of copies printed, omitting all particulars as regards the +cost of printing. But even as it stands this series of papers throws +much interesting light upon the publication of some of the notable works +of that period.</p> + +<p>Woodfall's printing was broadly divided into two classes, 'gentlemen's +work' and 'booksellers'<span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span> work,' and the second is naturally the more +interesting.</p> + +<p>Among those for whom he printed were Bernard and Henry Lintot, Robert +Dodsley, Andrew Millar, and Lawton Gilliver. Against Bernard Lintot is +the following entry:—</p> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'>Decr. 15th, 1735—</td> +</tr> +<tr> + <td align='left'>Printing the first volume of Mr. Pope's Works,<br /> +<span style="margin-left: 1em;">Cr., Long Primer, 8vo, 3000 (and 75 fine), @</span><br /> +<span style="margin-left: 1em;">£2, 2s. per sheet, 14 sheets and a half,</span></td> + <td align='right' valign='bottom'>30.</td> + <td align='right' valign='bottom'>09.</td> + <td align='right' valign='bottom'>0</td> +</tr> +<tr> + <td align='left'>Title in red and black,</td> + <td align='right'>1.</td> + <td align='right'>1</td> + <td align='right'></td> +</tr> +<tr> + <td align='left'>Paid for 2 reams and 1/4 of writing demy,</td> + <td align='right'>2.</td> + <td align='right'>16.</td> + <td align='right'>3</td> +</tr> +</table></div> + +<p>On May 15, 1736, Woodfall enters to Henry Lintot—</p> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'>The <i>Iliad of Homer</i> by Mr. Pope, demy,<br /> +<span style="margin-left: 1em;">Long Primer and Brevier. No. 2000 in</span><br /> +<span style="margin-left: 1em;">6 vols, 68 sheets and 1/2 @ £2, 2s. per sheet,</span></td> + <td align='left' valign='bottom'>£143. 17</td> +</tr> +</table></div> + +<p>Under Dodsley's account is entered on 12th May 1737—</p> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'>Printing the <i>first Epistle of the Second Book</i><br /> +<span style="margin-left: 1em;"><i>of Horace Imitated</i>, folio, double size, Poetry,</span><br /> +<span style="margin-left: 1em;">No. 2000, and 150 fine, [seven] shts., at</span><br /> +<span style="margin-left: 1em;">27s. per sht.,</span></td> + <td align='right' valign='bottom'>9.</td> + <td align='right' valign='bottom'>09.</td> + <td align='right' valign='bottom'>0</td> +</tr> +<tr> + <td align='left'>May 18, 1737. 150 fol. titles, <i>Second Book of</i><br /> +<span style="margin-left: 1em;"><i>Epistles</i>,</span></td> + <td align='left'></td> + <td align='right' valign='bottom'>4.</td> + <td align='right' valign='bottom'>0</td> +</tr> +</table></div> + +<p>A few weeks later Woodfall received an order from Lawton Gilliver for +1500 crown octavo copies of <i>Epistles of Horace</i>, and 100 fine or large +paper copies. The second edition of Pope's Works was also printed by +Woodfall for Henry Lintot, the order being for 2000.<span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span></p> + +<p>For Andrew Millar Woodfall printed the following works of Thomson the +poet—</p> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'>Oct. 14th 1734. Spring, a poem, 8vo, 250<br /> +<span style="margin-left: 1em;">copies.</span></td> +</tr> +<tr> + <td align='left'>Jan. 8th 173-4/5. Liberty, a poem, 1st part<br /> +<span style="margin-left: 1em;">cr. 8vo, No. 3000, and 250 fine copies.</span></td> +</tr> +</table></div> + +<p>Of the 4th and 6th parts only 1250 copies were printed.</p> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr> + <td align='left'>June 6th, 1738, Mr. Thomson's Works. Vol. I.<br /> +<span style="margin-left: 1em;">No. 1000, 8vo.</span></td> +</tr> +</table></div> + +<p>With the issue of the second volume the number was increased to 1500.</p> + +<p><i>The Seasons</i> were printed on June 19th, 1744, in octavo. There were +1500 errata in the work, and a special charge of £2, 4s. was made for +'divers and repeated alterations.'</p> + +<p>Among the miscellaneous writers whose works were passed through the +elder Woodfall's press was the Rev. John Peters, against whom he entered +an account, dated July 17th, 1735, for printing <i>Thoughts concerning +Religion</i>, 4to, 16 sheets. This gentleman was a literary shark, ready to +devour any unprotected morsel that came in his way. The work above +mentioned, and another printed by Woodfall in 1732, called <i>A Letter to +a Bishop</i>, were afterwards discovered to be from the pen of Duncan +Forbes, and were published in an edition of his works printed in +Edinburgh and London in 1751. A lawsuit was<span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span> at once commenced by George +Woodfall and John Peters against the publishers of Forbes' works, the +name of Messrs. Rivington being prominently mentioned, and the +defendants, in their answer, stated that the two works in question were +well known to have been written by Duncan Forbes, and that the <span class="smcap lowercase">MS</span>. was +in the possession of his family.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></p> + +<p>This little incident, taken in conjunction with Henry Woodfall's +connection with E. Curll and the letters of Pope, and the story told by +Thomas Gent of the printing of <i>The Bishop of Rochester's Effigy</i>, shows +that he was a worthy disciple of Iago in the matter of +money-getting.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> + +<p>Mention of Thomas Gent leads naturally to a study of the provincial +press of this period. This is a much more difficult matter than it has +been hitherto, as presses were established not in three or four places +only, but in almost every town of any size. The history of provincial +printing has never yet been written, and the task of tracing out the +various printers and their work would be long and arduous. All that is +attempted here is to give a sketch of the earlier and more important +presses, adding in an appendix a chronological list of the places in +which printing was carried on before 1750.</p> + +<p>In the previous chapter it has been shown<span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span> how the munificence of Bishop +Fell and Francis Junius furnished the University of Oxford with an +unusually large stock of excellent letter of all descriptions, so that +it was in a position to do better work than any other house in the +kingdom. Its productions, during the first twenty years of the +eighteenth century, were in every way worthy of its reputation, and some +of them deserve special mention.</p> + +<p>In 1705 Hickes's <i>Linguarum Vett. Septentrionalium Thesaurus</i> was issued +in three large folio volumes of great beauty. The work required many +unusual founts, and these were mainly furnished from the bequest of +Junius.</p> + +<p>In 1707 the University published Mill's <i>Greek Testament</i>, which Wood in +his <i>Athenæ Oxonienses</i> (vol. ii. p. 604) says had been begun in 1681 at +Bishop Fell's printing-house near the theatre. The double pica italic +used in this was a grand letter. Both the foregoing works were +ornamented with handsome initial letters, and head and tail pieces +engraved by M. Burghers, probably the first engraver of the day in this +country. Many classical works were also produced in the same sumptuous +manner, notably Hudson's edition of the <i>Works of Dionysius</i>,1704, which +it is difficult to praise too highly. The copies measured nearly +eighteen inches in height, the paper was thick and good; the Greek and +Latin texts were printed side by side, with notes at the foot, yet +ample<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span> margins were left. In fact it is one of the finest examples of +English printing of this period to be met with.</p> + +<p>Cambridge was sadly behind her sister University. Neither Reed in his +<i>Old English Letter Foundries</i>, nor Mr. Allnutt in his valuable articles +on Provincial Presses, has anything to say of it. Cornelius Crowndale +was the University printer at this time, but beyond an edition of +<i>Eusebius</i> in three folio volumes, issued in 1720, no notable book came +from his press, little in fact beyond reprints in octavo and duodecimo +of classical works for the use of the scholars, and repeated editions of +the Bible and Book of Common Prayer, full of errors, and so badly +printed that the less said about them the better. We may notice, +however, an edition of Butler's <i>Hudibras</i>, edited by Zachary Grey, in +two octavo volumes, with Hogarth's plates, and two books by Conyers +Middleton, <i>Bibliothecæ Cantabrigiensis ordinandæ methodus</i>, 1723, and +<i>A Dissertation concerning the Origin of Printing in England,</i> 1735, +both in quarto.</p> + +<p>Among the earliest provincial presses at work in the beginning of the +eighteenth century was that at Norwich, where Francis Burges was +established in the year 1701. Thomas Tanner, afterwards Bishop of St. +Asaph, sent John Bagford a broadside, printed by that printer, a list of +the clergy that were to preach in the cathedral at Norfolk<span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span> from +November 1st, 1701, until Trinity Sunday following. In a <span class="smcap lowercase">MS</span>. note at the +foot Tanner says:—</p> + +<div class="blockquot"><p>'<span class="smcap">Dr. Bagford</span>,—When you were at Cambridge, I thought you would have +come to Norwich. I send this to put among your other collections of +printers. It is the first thing that was ever printed here.'<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></p></div> + +<p>In this statement, however, Tanner was wrong, unless we suppose this +broadside to have been printed nearly five weeks in advance, as there +had appeared, on September 27th, 1701, <i>Some Observations on the Use and +Original of the Noble Art and Mystery of Printing</i>, by Francis Burges, +which is also claimed as the first book printed at Norwich since the +sixteenth century. There is also evidence that Burges began to issue a +newspaper called <i>The Norwich Post</i> early in September. Among his other +work of that year were sermons by John Jeffery and John Graile, and +Humphrey Prideaux's <i>Directions to Churchwardens for the Faithfull +Discharge of their Offices. For the Use of the Archdeaconry of Suffolk</i>. +(Norwich 1701, quarto.) Francis Burges died in January 1706, leaving the +business to his widow, who in the following year printed and published a +little tract of eight quarto pages, with the title, <i>A true description +of the City of Norwich both in its ancient and modern state</i>.</p> + +<p>Meanwhile, in November of the preceding<span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span> year, a second press was +started in the town by Henry Crossgrove, who began to issue a paper +called the <i>Norwich Gazette</i>.</p> + +<p>Burges's business seems to have been taken by Freeman Collins, who +printed from the same address, in 1713, Robert Pate's <i>Complete Syntax</i>. +He in his turn was succeeded by Benjamin Lyon, who in 1718 reprinted the +<i>True Description</i>, as <i>The History of the City of Norwich ... To which +is added Norfolk's Furies: or a view of Kett's Camp</i>. (Norwich. Printed +by Benj. Lyon near the Red-well, for Robert Allen and Nich. Lemon. 1718. +8vo. pp. 40.) He added to this some useful lists of bishops, etc., and a +'Chronological Account of Remarkable Accidents and Occurrences, to +date,' in which the following entries occur:—</p> + +<div class="blockquot"><p>'1701. The first printing office was set up in Norwich, near the +Red-well, by Francis Surges.</p> + +<p>'1706. Sam. Hashart a distiller, set up a Printing Office, in +Magdalen St., and sent for Henry Cross-grove from London to be his +journeyman.'</p></div> + +<p>Crossgrove appears to have continued work till 1739, being succeeded by +William Chase, who had been printing since 1711, and who established the +<i>Norwich Mercury</i> in 1727.</p> + +<p>At Bristol the press that William Bonny had established in 1695 +continued to flourish until 1713. About November 1702 he began to issue +a weekly paper called the <i>Bristol Post-Boy</i>, which<span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span> ran until 1712, +when it was either replaced or supplanted by Samuel Farley's <i>Bristol +Postman</i>.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p> + +<p>The Parleys were noted printers in the West of England at this time, and +the above-named Samuel must not be confounded with Samuel Farley the +Exeter printer.</p> + +<p>In Cirencester printing began in 1718, in which year Thomas Hinton +brought out the first number of the <i>Cirencester Post</i>, and the +<i>Gloucester Journal</i> was printed in that city by R. Raikes and W. Dicey +on April 9, 172-1/2. Robert Raikes continued printing there till 1750, +and was succeeded by his son Robert, the founder of Sunday Schools.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p> + +<p>In the neighbouring county of Devon the Exeter press, finally +established after many vicissitudes in 1698 by Samuel Darker, is found +busily at work in 1701, Darker having been joined by Samuel Farley, +whose relation to the Samuel Farley of Bristol offers an opportunity to +some cunning genealogist to reap distinction. In 1701 Farley issued by +himself John Prince's <i>Danmonii Orientales Illustres; or The Worthies of +Devon</i>, a work of 600 folio pages, with coats of arms. It was certainly +one of the largest works printed at that time by any provincial press +outside the Universities. In point of workmanship all that can be said +for it is that it was no worse than the<span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span> bulk of the work turned out by +provincial presses; and it furnishes its own criticism in a list of +errata on the last page, which closes with the words, 'with many others +too tedious to insert.' Thomas Tanner, writing to Browne Willis in 1706, +says that he has heard of a bi-weekly paper printing at Exeter. No copy +of an Exeter paper of so early a date is known.</p> + +<p>In 1705 Farley was joined by Joseph Bliss, and jointly they issued +several books; but the partnership lasted a very short time, as by 1708 +Joseph Bliss had set up for himself in the Exchange.</p> + +<p>On September 24, 1714, Samuel Farley issued the first number of <i>The +Exeter Mercury; or Weekly Intelligence of News</i>, which in the next year +he transferred to Philip Bishop. In 1715 also Joseph Bliss started a +rival sheet called the <i>Protestant Mercury, or The Exeter Post-Boy</i>, +from his new printing-house near the London Inn. Meanwhile Farley +appears to have left Exeter, for on September 27, 1715, he published the +first number of the <i>Salisbury Post-Man</i>. In 1717 Andrew Brice, the most +important of Exeter printers, began to print, his address then being 'At +the Head of the Serge Market in Southgate Street,' from which he issued, +some time in 1718, a paper called the <i>Post-Master, or the Loyal +Mercury</i>. The history of this printer is too lengthy to be told here, +and has already been<span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span> ably written by Dr. T. N. Brushfield (<i>The Life +and Bibliography of Andrew Brice</i>). Farley's name occurs again in 1723, +when he returned to Exeter and started <i>Farley's Exeter Journal</i>. In +November 1727 the burial of Samuel Farley is recorded in the registers +at St. Paul's, Exeter. He was succeeded in business by an Edward Farley.</p> + +<p>Another provincial press that revived very early in the eighteenth +century was that of Worcester. It had been silent for upwards of a +century and a half; but in June 1709 a printer from London, named +Stephen Bryan, set up a press, and started a newspaper called the +<i>Worcester Postman</i>. In 1722 the title was altered to the <i>Worcester +Post, or Western Journal</i>. Bryan died in 1748, but just previous to his +death he assigned his paper to Mr. H. Berrow, who then gave it the name +it has ever since borne, that of <i>Berrow's Worcester Journal</i>.</p> + +<p>Hazlitt, in his <i>Collections and Notes</i> (3rd Series, p. 282), mentions a +book entitled <i>Tunbridgialia, or ye pleasures of Tunbridge, a poem</i>, as +printed 'at Mount Sion at ye end of ye Upper Walk at Tunbridge Wells,' +1705.</p> + +<p>At Canterbury printing was revived in 1717, and a very interesting +record of it is in the British Museum in the form of a broadside with +the following title:—</p> + +<p>'A List of the names of the Mayor, Recorder, Aldermen & Common Council +of the City of<span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span> Canterbury Who (In the year of our Lord 1717) promoted +and encouraged the noble Art and Mystery of Printing in this City and +County.' Canterbury, Printed by J. Abree for T. James, S. Palmer, and W. +Hunter, 1718.' This John Abree died in 1765 at the age of seventy-seven.</p> + +<p>Turning northward, the most important presses were those of York and +Newcastle.</p> + +<p>At York John White, who had settled in the city in 1680, was actively +engaged in business in 1701, and he remained the sole printer there +until his death in the year 1715. By his will, dated 31st July 1714, he +gave his wife Grace White the use of one full half of his printing tools +and presses, etc., for her life; and after her death he gave the same to +his grandson, Charles Bourne, to whom he bequeathed the remaining half +of his printing implements immediately upon his death. To John White, +his son, he devised his real estate.</p> + +<p>On the 23rd February 1718-19 Grace White issued the first York +newspaper, <i>The York Mercury</i>. Upon her death in 1721 the printing-house +was carried on by Charles Bourne until 1724, when he was in turn +succeeded by Thomas Gent, who had served under John White in 1714-15, +and married the widow of Charles Bourne. Davies in his <i>Memoirs of the +York Press</i> (pp. 144 <i>et seq.</i>) gives a detailed and interesting +biography of this printer, who, he says, has obtained a wider cele<span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span>brity +than any other York typographer. Gent was an engraver as well as +printer, and was the author of a <i>History of York</i>, and other works. As +a printer his work was wretched; there is little to be said for him as +an engraver; while as an author he was below mediocrity. Nevertheless, +he deserves credit for the interest he took in the history of York. His +history of that city was published in small octavo in 1730, and he +followed it up in 1735 with <i>Annales Regioduni Hullini, or The History +of the Royal and Beautiful town of Kingston upon Hull</i>, also an octavo.</p> + +<p>These works were quickly overshadowed by Drake's <i>History</i>, and from +this time forward Gent's fortunes began to decline. He made an enemy of +John White, the son of his old employer, with the result that White set +up a press at York in 1725, and issued the first number of <i>The York +Courant</i>, a weekly paper, but sold it and the business to Alexander +Staples ten years later. Staples in turn was succeeded by Cæsar Ward and +Richard Chandler—the first a bookseller in York, the second in London; +but Chandler committed suicide in 1744, and left Ward to carry on the +business alone. John Gilfillan was another printer at work in the city +during this period. Thomas Gent lived to the age of eighty-seven, his +death taking place on the 19th May 1778.<span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span></p> + +<p>In Newcastle, John White, the son of the York printer of that name, +began printing in 1708. He started the <i>Newcastle Courant</i>, the first +number of which appeared in 1711. In 1761 the firm became John White and +Co., and in 1763 John White and T. Saint. White died in 1769, when he is +said to have been the oldest printer in the kingdom. As has been noted, +from 1725 to 1735 he had carried on a press at York in opposition to T. +Gent. One or two other printers are found here for short periods, but +little is known about them.</p> + +<p>Among other towns possessing presses early in this century +were—Nottingham, 1711; Chester, 1711; Liverpool, 1712; and Birmingham, +1716.</p> + +<p>In America the number of printing presses increased but slowly during +the first half of the eighteenth century. William Bradford in New York +continued the only printer in that province for thirty years. He died on +the 23rd May 1752, at the age of ninety-two. For fifty years he had been +printer to the Government, and among the numerous books that came +through his press were the Book of Common Prayer in quarto, in 1709, the +only issue in America before the Revolution, a venture by which he is +said to have lost heavily. He also printed a Mohawk Prayer-book in +quarto; this was issued in 1715. On the 16th October 1725 he began to +publish a weekly paper called <i>The New York Gazette</i>,<span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span> and continued it +until his retirement from business.</p> + +<p>In 1726 a German named John Peter Zenger set up as a printer in New +York. He is chiefly remembered as the printer of the second New York +newspaper, the <i>New York Weekly Journal</i>, the first number of which was +wrongly dated October 5th, 1733, instead of November 5th. The paper +involved the printer in several actions for libel, and led to some +lively passages with William Bradford. He is believed to have died about +1746. Bradford was succeeded as printer to the Government by James +Parker, one of his apprentices, who is described as a neat workman. He +continued the <i>New York Gazette</i>, with the alternative title, <i>or Weekly +Post Boy</i>. He also issued in 1767 an edition of the Psalms in metre, one +of the earliest books printed from type cast in America.</p> + +<p>In 1753 Parker took into partnership William Weyman, but the connection +lasted but a short time, Weyman setting up for himself in 1759. Parker +also established presses at New Haven and Woodbridge in New Jersey. +Among the later printers in New York were Hugh Guine (1750-1800); John +Holt (1750-1784), printer to the State during the war; Robert Hodge +(1770-1813); and Frederick Shober (1772-1806).</p> + +<p>Philadelphia possessed only one printer until 1723—Andrew Bradford, son +of William Bradford,<span class='pagenum'><a name="Page_258" id="Page_258">[Pg 258]</a></span> of New York. In 1723 Samuel Keimer set up near the +Market House. It was this printer whom Benjamin Franklin worked for in +his early days. Bradford started the <i>American Weekly Mercury</i> on +Tuesday, November 22nd, 1719; and the <i>Pennsylvania Gazette</i>, afterwards +carried on by Franklin and Meredith, was first printed by Keimer. Andrew +Bradford died in 1742. Perhaps the most notable of Keimer's books was +the folio edition of Sewell's <i>History of the Quakers</i>, which he began +in 1725. It was a work of upwards of seven hundred pages and Keimer soon +found that he had taken the contract at a ruinous rate. It was only by +the help of Franklin and Meredith that he was enabled to finish it in +1728.</p> + +<p>Benjamin Franklin's history hardly needs retelling. His career as a +printer began in the shop of his brother James at Boston in 1717. +Differences arose between them which ended in Franklin's setting out for +New York. Work was not to be had there, and by the advice of William +Bradford he moved on to Philadelphia. There for some months he worked +for Samuel Keimer until, deluded by the promises of Governor Keith, he +took ship for England with a view of obtaining materials for a printing +office. While in England he worked for James Watts in Bartholomew Close, +and James Palmer. On his return to America he once more entered Keimer's +office as a journeyman. But after a short time,<span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span> in company with Hugh +Meredith, he set up in business for himself. He was the proprietor and +printer of <i>Poor Richard's Almanack</i>, which became celebrated, and also +of the <i>Pennsylvania Gazette</i>. After a long and prosperous career +Franklin died, on April 19th, 1790, at the age of eighty-five.</p> + +<p>Boston was the home of more printers than any other place in America +during the eighteenth century. To give anything like a history of even a +few of them would be beyond the limits of this work. Only one or two of +the more important can be even noticed.</p> + +<p>Thomas Fleet arrived in Boston in 1712, set up as a printer, and for +nearly fifty years carried on business there. His issues were +principally pamphlets for booksellers, small books for children, and +ballads. He was also the proprietor of a newspaper called the <i>Weekly +Rehearsal</i>, first begun in September 1731. At his death in July 1758, he +left three sons, two of whom succeeded him in business.</p> + +<p>In 1718 Samuel Kneeland set up in Prison Lane, and his printing house +continued for eighty years. He was one of the printers of the <i>Boston +Gazette</i>, and he started besides several other journals. Thomas in his +history (vol. i. p. 207) says that Kneeland, in company with Bartholomew +Green, printed a small quarto edition of the English Bible with Mark +Baskett's<span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span> imprint, but this is not confirmed. Kneeland died on December +14th, 1769. Another celebrated printer in the city of Boston was +Gamaliel Rogers, who began business about 1729. In 1742 he entered into +partnership with Daniel Fowle. In the following year they issued the +first numbers of the <i>American Magazine</i>, and in 1748 started the +<i>Independent Advertiser</i>. The partnership with Fowle was dissolved in +1750. Rogers subsequently moved to the western part of the town, but +suffered from a fire, which destroyed his plant. He died in 1775.</p> + +<p>Daniel Fowle, on the dissolution of his partnership with Rogers, set up +for himself. He was arrested in 1754 for printing a pamphlet reflecting +on some members of the House of Representatives, and was thrown into +prison for several days. Upon his release, he at once left the town and +set up in Portsmouth, New Hampshire, where he started the <i>New Hampshire +Gazette</i>. He was succeeded in his Boston business by his brother +Zachariah Fowle, who continued printing there until the Revolution, when +he also retired to New Hampshire, where he died in 1776.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span></p> +<h2>CHAPTER X</h2> + +<h3>1750-1800</h3> + +<div class="figleft"> + <img src="images/50.jpg" + alt="T" + title="T" /> +</div> + +<p>he improvement in printing which Caslon had begun quickly spread to +other parts of the kingdom, even as far north as Scotland, where, before +the middle of the century, there was established at Glasgow a press that +became notable for the beauty of its productions.</p> + +<p>Robert and Andrew Foulis, the founders of this press, were the sons of +Andrew Faulls and Marion Paterson, Robert being born at Glasgow on April +20th, 1707, and his brother on November 23rd, 1712.</p> + +<p>Robert Foulis was apprenticed to a barber, but his love for literature +led him to study at the University, where he attended the moral +philosophy lectures of Francis Hutcheson, who advised him to become a +bookseller and printer. His brother, Andrew, entered the University at a +later date, destined for the ministry, and<span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span> during their vacations they +travelled throughout England and on the Continent. In the course of +these travels they sought for and brought back with them many rare and +beautiful books, and gained a wide knowledge of the book trade.</p> + +<p>At length, in 1741, Robert Foulis set up as a bookseller in Glasgow. In +some of his earlier publications will be found lists of books printed +and sold by him, which are very interesting. One of these, which +enumerates fifteen books, includes a Greek Testament, Buchanan's edition +of the Psalms, Burnet's <i>Life of the Earl of Rochester</i>, seven or eight +classics, among which were a Cicero, Juvenal, Cornelius Nepos, Phædrus, +and Terence, and two of Tasso's works. The Terence was printed for him +by Robert Urie, and shows some excellent founts of small italic and +Roman. Robert Foulis seems to have begun printing on his own account in +1742, and among his earliest patrons was Professor Hutcheson, for whom +he printed a treatise entitled <i>Metaphysicæ Synopsis</i>, a duodecimo of +ninety pages, and a work on Moral Philosophy of three hundred and thirty +pages. He also printed in the same year the second and third editions of +a sermon preached by William Leechman before the Synod of Glasgow and +Ayr, <i>The Meditations of the Emperor Marcus Aurelius Antoninus</i>, and +editions of Cicero and Phædrus. All these were in duodecimo or small +octavo, printed in a clear<span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span> readable type, that probably came from +Urie's foundry. On the 31st March 1743, Robert Foulis was appointed +printer to the University of Glasgow, and published <i>Demetrius Phalerus +de Elocutione</i> in two sizes, quarto and octavo. This was the first book +printed at Glasgow in Greek type, the Greek and Latin renderings being +printed on opposite pages—the Latin in a fount of English Roman that +cannot be distinguished from Caslon's letter, while the italic also has +a strong resemblance to that of the English founder. Among other +productions of the year 1743 was a specimen of another Glasgow man's +work, Bishop Burnet's translation of Sir Thomas More's <i>Utopia</i>, to +which was prefixed Holbein's portrait of the great Chancellor.</p> + +<p>In 1744 Dr. Andrew Wilson, who for some years had been furnishing Scotch +and Irish printers with types from his foundry, moved to Camlachie, a +spot within a mile of Glasgow, and at once began to furnish letter for +Robert Foulis. In the same year Robert took his brother Andrew into +partnership, and the firm quickly became famous for the beauty and +correctness of their classics, beginning with the edition of Horace, +which, from the fact of its having only six errors in the text, was +christened the immaculate. Other attractive books were the Sophocles of +1745, quarto; Cicero in twenty volumes, small octavo; the small folio +edition of Callimachus, which took<span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> the silver medal offered in +Edinburgh for the finest book of not fewer than ten sheets; the +magnificent Homer, which Reed in his <i>Old English Letter Foundries</i> +describes as 'for accuracy and splendour the finest monument of the +Foulis press.' But the Foulis press did not confine itself to classics +only. It published several fine editions of English authors, among them +a folio edition of Milton's <i>Paradise Lost</i>, and editions of the poems +of Gray and Pope. In 1775 Andrew Foulis died suddenly. The blow was very +severely felt by his brother, and coming as it did upon the failure of +his Academy of Arts, completely crushed him. He removed his art +collection to London for sale; but here another disappointment awaited +him—the sum realised after paying expenses being fifteen shillings. He +returned to Edinburgh, and was on the point of starting for Glasgow when +he died on the 2nd June 1776. The Foulis press was carried on by the +younger Andrew Foulis until the end of the century.</p> + +<p>In England, the chief event of this period was the appearance of John +Baskerville at Birmingham.</p> + +<p>No satisfactory biography of Baskerville has yet been written, but the +best sketches of his life are those by the late T. B. Reed in his +<i>History of the Old English Letter Foundries</i> (chap, xiii.), which +contains some highly interesting and valuable correspondence between +Baskerville and his<span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span> publisher, R. Dodsley, and the more recent +article in the <i>Dictionary of National Biography</i>, from the pen of Mr. +Tedder.</p> + +<div class="figcenter"> + <a id="image04" name="image04"> + <img src="images/51.jpg" + alt="JOHN THOMAS BASKERVILLE." + title="JOHN THOMAS BASKERVILLE." /></a><br /> + <span class="caption">JOHN THOMAS BASKERVILLE.</span> +</div> + +<p>John Baskerville was born in 1706 at Wolverley, a village in +Worcestershire. No one has discovered where he was educated: yet this is +one of the points upon which we should like to know something, because +it is generally admitted that he was a very beautiful writer; indeed, it +was to his love of calligraphy that we owe the regular and +well-proportioned letters associated with his name. For some time he +earned his living as a writing-master; after which he appears to have +gone into the japanning trade, and in 1750 embarked some capital in a +letter foundry. Another point upon which his biographers are silent is +the place where he learnt the art of printing. For we know that the +punches of his foundry were not cut by himself, and that he was not in +any sense a practical printer; yet he must have obtained some knowledge +of the rudiments of the art before taking over the responsibilities of a +foundry of his own. Baskerville appears to have employed the most +skilled artists he could obtain, and it is said that he spent upwards of +£600—some say £800—before he obtained a fount to suit him. His letters +to Dodsley show how anxious he was to attain perfection. The result of +all this care and labour was shown in the quarto edition of <i>Virgil</i> +which appeared in 1757,<span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span> and was followed by quarto editions of Milton's +<i>Paradise Lost</i> and <i>Paradise Regained</i>.</p> + +<p>The appearance of Baskerville's publications gave rise to no little +controversy. By some they were hailed with unstinted praise; while +others, such as Mores and Dr. Bedford, looked upon them with something +little short of contempt. Yet it is difficult to understand the grounds +of these adverse criticisms. As regards type, there is very little to +choose between Caslon's Roman and that of Baskerville, while the italic +of Baskerville was unquestionably the most beautiful type that had ever +been seen in England; and the ridiculous criticism passed on it that its +very fineness was injurious to the eyesight, was shown to be utterly +worthless by Franklin's letter to the printer, which is printed in +Reed's <i>Old English Letter Foundries</i>. But there are also other features +of excellence about these books of Baskerville's. They are simplicity +itself. There is not a single ornament or tail-piece introduced into +them to divide the attention. The books were printed with deep and wide +margins, and the lines were spaced out with the very best effect.</p> + +<p>The first public body to recognise Baskerville's ability was the +University of Oxford, which in July 1758 empowered him to cut a fount of +Greek types for 200 guineas. This order proved to be beyond his power. +It is generally admitted that his Greek type was a failure, and he +wisely<span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span> made no further attempts at cutting learned characters. Some of +the punches of Baskerville's Greek types are still preserved at Oxford, +and are the only specimens of his foundry that we have.</p> + +<p>In his Preface to <i>Paradise Lost</i>, Baskerville stated that the extent of +his ambition was to print an octavo Prayer Book and a folio Bible. In +connection with this ambition, he applied to the University of Cambridge +for appointment as their printer, a privilege which was granted to him, +but at the cost of such a heavy premium that he obtained no pecuniary +profit from it. The Prayer Book printed in two forms appeared in 1760, +and the same year saw the prospectus and specimen of the Bible issued, +the Bible itself appearing in 1763 in imperial folio. Both are beautiful +specimens of the printer's art.</p> + +<p>But Baskerville soon became disgusted with the ill-natured criticism to +which he was subjected, coupled with the failure of booksellers to +support him, and was anxious to have done with the business. The year +before the publication of the Bible, he wrote to Horace Walpole a letter +given by Reed (p. 278) in which he says that he is sending specimens of +his foundry to foreign courts in the hope of finding among them a +purchaser for the whole concern, and during the next few years he was in +correspondence with Franklin with the same object. Fortunately for his +country, these attempts were unsuccessful<span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span> during his life-time, and +between the years 1760-1773 he produced not only several editions of the +Bible and Common Prayer, but the works of Addison, 4 vols. 1761, 4to; +the works of Congreve, 3 vols. 1761, 8vo; <i>Æsop's Fables</i>; and in 1772 a +series of the classics in quarto, which, Reed says, 'suffice, had he +printed nothing else, to distinguish him as the first typographer of his +time' (p. 281).</p> + +<p>Baskerville died on January 8th, 1775, and for a few years his widow +carried on the foundry; but at the same time endeavoured to dispose of +it. Both our Universities refused it, and no London foundry would touch +it, because the booksellers would have nothing but the types of Caslon +and Jackson. The type was eventually sold in 1779 to the Société +Littéraire-typographique of France for £3700, and was used in a +sumptuous edition of the works of Voltaire.</p> + +<p>Yet one firm was found bold enough to model its letter on that of +Baskerville. In 1764 Joseph Fry, a native of Bristol, began +letter-founding in that city. He took as a partner William Pine, +proprietor of the <i>Bristol Gazette</i>, but the business was not carried on +in their name but in that of Isaac Moore, their manager. In 1768 they +removed the foundry to London, and issued a prospectus. But so strong +was the prejudice against Baskerville's letter—or, perhaps, it would be +better to say, so strong was the hold which<span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span> Caslon's foundry had +obtained—that they were compelled to recast the whole of their stock. +This took them several years; meanwhile, they issued one or two editions +of the Bible in their first fount. In 1776 Isaac Moore severed his +connection with the firm. In 1782 Mr. Pine also withdrew, and Joseph Fry +admitted his two sons, Edmund and Henry, into partnership. At length in +1785 appeared the first specimen-book of Fry's foundry, and it was +frankly admitted in the preface that the founts of Roman and italic were +modelled on those of Caslon.</p> + +<p>Joseph Fry retired from the business in 1787. Amongst the books printed +with his later type may be mentioned the quarto edition of the classics +edited by Dr. Homer.</p> + +<p>Caslon the First died at Bethnal Green on January 23rd, 1766. His son, +Caslon the Second, died intestate on the 17th August 1778, when the +business came to his son, William Caslon the Third. In the same year +that Joseph Fry published his Specimen of Types, Caslon the Third also +published a specimen-book of sixty-two sheets, in every way worthy of +the reputation the firm had established. It included, besides Romans and +italics of great beauty and regularity, every variety of oriental and +learned founts, and several sheets of ornaments and flowers, arranged in +various designs. This book was dedicated to the king, and contained an +address to the reader in<span class='pagenum'><a name="Page_270" id="Page_270">[Pg 270]</a></span> which, after reviewing the establishment of +the foundry, Caslon referred bitterly to the eager rivalry of other +printers and their open avowal of imitation. In 1793 Caslon the Third +disposed of his share in the Chiswell Street business to his mother and +his brother Henry's widow.</p> + +<p>Mrs. William Caslon, senior, died in October 1795, when the business was +sold by auction and bought by Mrs. Henry Caslon for £520.</p> + +<p>Joseph Jackson, who shared with the Caslons the favour of the London +booksellers, was one of two apprentices formerly in the employ of +William Caslon <span class="smcap lowercase">II</span>. Some dispute arose in the foundry about the price of +certain work, and Joseph Jackson and Thomas Cottrell, having acted as +ringleaders in the movement, were dismissed, and being thrown on their +own resources, set up a foundry of their own in Nevil's Court, Fetter +Lane. Of the two Jackson proved far the more skilful, but seems to have +been of a roving disposition. After working for a year or two with +Cottrell he went to sea, leaving Cottrell to carry on the business +alone. This he did with a fair measure of success, though his foundry +was never at any time a large one. After a few years' absence Jackson +returned to England in 1763, and again turned his attention to +letter-cutting, serving for a time under his old partner Cottrell; but +having obtained the services and, what was of more value, the pecuniary +help of two of<span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span> Cottrell's workmen, he set up for himself, and quickly +took a foremost place in the trade. Among his most successful work was a +fount of English 'Domesday,' for the Domesday Book published by order of +Parliament in 1783, which was preferred to that cut by Cottrell for the +same purpose. Jackson also cut a fount for Dr. Woide's facsimile of the +Alexandrian Codex with great success. But perhaps his most successful +effort was the two-line English which he cut for Macklin's edition of +the Bible, begun in 1789. At the time of his death in 1792 he was at +work upon a fount of double pica for Bowyer's edition of Hume's <i>History +of England</i>. After his death his foundry was purchased by William Caslon +<span class="smcap lowercase">III</span>.</p> + +<p>Both Macklin's Bible and Hume's <i>History</i> were printed at the press of +Thomas Bensley in Bolt Court, Fleet Street. As a printer of sumptuous +books Bensley had only one rival, William Bulmer, who is generally +accorded the first place. But Bensley was certainly earlier in the +field. His work was quite equal to that of Bulmer, and, apart from this, +the world owes more to his enterprise than it has ever yet acknowledged.</p> + +<p>Thomas Bensley was the son of a printer in the Strand, and in 1783 he +succeeded to the business of Edward Allen in Bolt Court, a house +adjoining that in which Johnson had lived. He at once turned his +attention to printing as a fine<span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span> art. Dibdin, in his <i>Bibliographical +Decameron</i> (vol. ii. p. 397, etc.), gives a list of the works printed by +Bensley, and says that he began with a quarto edition of Lavater's +<i>Physiognomy</i> in 1789, following this up with an octavo edition of Allan +Ramsay's <i>Gentle Shepherd</i> in 1790. In this list, however, Dibdin has +omitted the folio edition of Bürger's poem <i>Leonora</i>, printed by Bensley +in 1796, with designs by Lady Diana Beauclerc. In 1797 he printed a very +beautiful edition of Thomson's <i>Seasons</i>, in royal folio, with +engravings by Bartolozzi and P. W. Tomkins from pictures by W. Hamilton.</p> + +<p>But the chief glories of his press are the Bible and Hume's <i>History</i>. +The first was begun in 1789; but Jackson's death caused some delay when +the Book of Numbers had been reached, owing to more type being required. +For some reason, not clearly shown, Bensley would not employ Caslon, but +applied to Vincent Figgins, who for ten years had been in the service of +Jackson, to complete the type. Figgins' foundry was in Swan Yard, +Holborn, where he had established himself after Jackson's death in 1792. +He succeeded with the task set him, and his type, which was an exact +facsimile of Jackson's, was brought into use in the Book of Deuteronomy. +The whole work was completed in seven volumes, in the year 1800, and +this date appears on the title-page; but the dedication to the king was<span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span> +dated 1791, and the plates, which were the work of Loutherbourg, West, +Hamilton, and others, were variously dated between those years. The text +was printed in double columns, in a handsome two-line English, with the +headings to chapters in Roman capitals, no italic type being used, and +no marginalia.</p> + +<p>Robert Bowyer's edition of <i>Hume</i> was in the press at the time of +Jackson's death, but was not completed until 1806. The type used in this +is a double pica, and the founder, it is said, declared that it should +'be the most exquisite performance of the kind in this or any other +country.' He died before its completion, and the work was completed by +Figgins; but the book is a lasting memorial to the skill both of the +founder and the printer.</p> + +<p>In January 1791 appeared the first number of Boydell's Shakespeare. The +history of this notorious undertaking was briefly this. Boydell was an +art publisher in Pall Mall, where he had established a gallery and +filled it with the work of Sir Joshua Reynolds, Benjamin West, Opie, and +Northcote, chiefly in Shakesperian subjects. George Nicol the bookseller +proposed to the Boydells that William Martin, brother of Robert Martin +of Birmingham, should be employed to cut a set of types with which to +print an edition of Shakespeare's works, to be illustrated with the +drawings then in Boydell's gallery. This William<span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span> Martin had learnt his +art in the foundry of Baskerville; and such is the irony of fate, that +less than twenty years after the death of that eminent founder, his +work, scorned by the booksellers of London in his own day, was imitated +in what was certainly one of the most pretentious books that had ever +come from the English press. The printer selected for the work was +William Bulmer, a native of Newcastle-upon-Tyne, where he was +apprenticed to Mr. Thomson, the printer, of Burnt House Entry, St. +Nicholas Churchyard. At that time he formed a friendship with Thomas +Bewick, the engraver, who in his <i>Memoir</i> tells us that Bulmer used to +'prove' his cuts for him.</p> + +<p>After serving his time, Bulmer came to London and entered the +printing-office of John Bell, who was then issuing a miniature edition +of the poets. A fortunate accident won him his acquaintance with Boydell +and Nicol, and so led to his subsequent employment at the Shakespeare +press.</p> + +<p>The Shakespeare was followed by the works of Milton in three volumes +folio in 1794-5-7, and again in 1795 by the Poems of Goldsmith and +Parnell in quarto. In the advertisement to this work, Bulmer pointed out +how much had been done by English printers within the last few years to +raise the art of printing from the low depth to which it had fallen—a +work in which the Shakespeare press had borne no little part. He went on +to say that much pains had been taken<span class='pagenum'><a name="Page_275" id="Page_275">[Pg 275]</a></span> with this edition of Goldsmith to +make it a complete specimen of the arts of type and block printing. The +types were Martin's, the woodcuts Bewick's, and the paper Whatman's. One +copy of this book was printed on white satin, and three on English +vellum.</p> + +<p>Among the books that appeared within the last five years of the century +was an edition of <i>Lucretius</i> in three volumes large quarto, which +certainly ranks for beauty of type and regularity of printing with any +book of that period. Like most of the works of Baskerville, this book +was quite free from ornament, and claims admiration only from the +excellence of the press-work. The notes were printed in double columns +in small pica, the text itself in double pica. In the whole three +volumes not a dozen printer's errors have been found. This work came +from the press of Archibald Hamilton.</p> + +<p>Time has not dealt kindly with some of these specimens of what was +called 'fine' printing. After the lapse of a century, we begin to see +that though the type and press-work were all that could be desired, and +placed the English printers on a level with the best of those on the +Continent, there was something radically wrong with the production of +illustrated books. Whether it was due to the ink, or to the paper, or, +as some suppose, to insufficient drying, in all these sumptuous volumes +the oil has worked out of the illustra<span class='pagenum'><a name="Page_276" id="Page_276">[Pg 276]</a></span>tions, leaving an ugly brown +stain on the opposite pages, and totally destroying the appearance of +the books. This applies not only to large and small illustrations, but +in many cases to the ornamental wood blocks used for head and tail +pieces. In Macklin's Bible, and in the 'Milton' printed at the +Shakespeare press, this discoloration has completely ruined what were +undoubtedly, when they came from the press, extremely beautiful works.</p> + +<p>Before leaving the work of the eighteenth century, a word or two must be +said about the private presses that were at work during that time. The +first place must, of course, be given to that at Strawberry Hill. None +of the curious hobbies ridden by Horace Walpole became him better, or +was more useful, than his fancy for running a printing-press. He was not +devoid of taste, and though no doubt he might have done it better, he +carried this idea out very well. The productions of his press are very +good examples of printing, and are far above any of the other private +press work of the eighteenth century. His type was a neat and clear one, +though somewhat small, and the ornaments and initial letters introduced +into his books were simple and in keeping with the general character of +the types, without being in any sense works of art. The following brief +account of the Strawberry Hill press is compiled from Mr. H. B. +Wheatley's<span class='pagenum'><a name="Page_277" id="Page_277">[Pg 277]</a></span> article in <i>Bibliographica</i>, and from Austin Dobson's +delightful <i>Horace Walpole, a Memoir</i>, 1893.</p> + +<p>The press was started in August 1757 with the publication, for R. +Dodsley, of two 'Odes' by Gray. 'I am turned printer, and have converted +a little cottage into a printing office,' he tells one friend; and to +another he writes, 'Elzevir, Aldus, and Stephens are the freshest +persons in my memory'; and referring to the 'Odes,' he writes to John +Chute in July 1757, 'I found him [Gray] in town last week; he had +brought his two Odes to be printed. I snatched them out of Dodsley's +hands.'</p> + +<p>Walpole's first printer was William Robinson, an Irishman, who remained +with him for two years. The Odes were followed by Paul Hentzner's <i>A +Journey into England</i>, of which only 220 copies were printed. In April +1758 came the two volumes of Walpole's <i>Catalogue of Royal and Noble +Authors</i>, of which 300 copies were printed and sold so rapidly, that a +second edition—<i>not</i> printed at Strawberry Hill—was called for before +the end of the year.</p> + +<p>In 1760 Walpole wrote to Zouch, in reference to an edition of Lucan, +'Lucan is in poor forwardness. I have been plagued with a succession of +bad printers, and am not got beyond the fourth book.' It was published +in January 1761, and in the following year appeared the first and +second<span class='pagenum'><a name="Page_278" id="Page_278">[Pg 278]</a></span> volumes of <i>Anecdotes of Painting in England</i>, with plates and +portraits, and having the imprint, 'Printed by Thomas Farmer at +Strawberry Hill, <span class="smcap lowercase">MD.CCLXII</span>.' Then another difficulty appears to have +arisen with the printers, and the third volume, published in 1763, had +no printer's name in the imprint. The fourth volume, not issued till +1780, bears the name of Thomas Kirgate, who seems to have been taken on +in 1772, and held his post until Walpole's death. Between 1764 and 1768 +the Strawberry Hill press was idle, but in the latter year Walpole +printed in octavo 200 copies of a French play entitled <i>Cornélie +Vestale, Tragédie</i>, and from that time down to 1789 it continued at work +at intervals, its chief productions being <i>Mémoires du Comte de +Grammont</i>, 1772, 4to, of which only 100 copies were printed, twenty-five +of which went to Paris; <i>The Sleep Walker</i>, a comedy in two acts, 1778, +8vo; <i>A description of the villa of Mr. Horace Walpole</i>, 1784, 4to, of +which 200 copies were printed; and <i>Hieroglyphic Tales</i>, 1785, 8vo.</p> + +<p>Next to the press of Horace Walpole, that of George Allan, M. P. for +Durham, at the Grange, Darlington, must be noticed. The owner was an +enthusiastic antiquary, and he used his press chiefly for printing +fugitive pieces relating to the history of the county of Durham. The +first piece with a date was <i>Collections relating to St. Edmunds +Hospital</i>, printed in 1769, and the<span class='pagenum'><a name="Page_279" id="Page_279">[Pg 279]</a></span> last a tract which he printed for +his friend Thomas Pennant in 1788, entitled <i>Of the Patagonians</i>, of +which only 40 copies were worked off.</p> + +<p>The productions of his press were very numerous, but of no great merit. +Allan was his own compositor, and gave much time to his hobby; but his +printer appears to have been a dissolute and dirty workman, who caused +him much annoyance and trouble. Altogether it may safely be said that +Allan's press cost him a great deal more than it was worth.</p> + +<p>Another of those who tried their hand at amateur printing was Francis +Blomefield, the historian of Norfolk, who started a press at his rectory +at Fersfield. Here he printed the first volume of his <i>History</i> in 1736, +and also the <i>History of Thetford</i>, a thin quarto volume, in 1739. But +the result was an utter failure. The type was bad to begin with, and the +attempt to use red ink on the title-pages only made matters worse. The +press-work was carelessly done; and it is not surprising to find that +the second volume of the <i>History</i>, published in 1745, was entrusted to +a Norwich printer.</p> + +<p>The celebrated John Wilkes also carried on a private printing-office at +his house in Great George Street, Westminster. Three specimens of its +work have been identified: <i>An Essay on Woman</i>, 1763, 8vo, of which only +twelve copies<span class='pagenum'><a name="Page_280" id="Page_280">[Pg 280]</a></span> are said to have been printed<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>; a few copies of the +third volume of the <i>North Briton</i>; and <i>Recherches sur l'Origine du +Despotisme Orientale</i>, Ouvrage posthume de M. Boulanger, 1763, 12mo. A +note in a copy of this volume states that it was printed by Thomas +Farmer, who had also assisted Horace Walpole at the Strawberry Hill +press.</p> + +<p>During the last four years of the century the Rev. John Fawcett, a +Baptist minister of some repute, established a press in his house at +Brearley Hall, near Halifax, which he afterwards removed to Ewood Hall. +He used it chiefly for printing his own sermons and writings, among the +most important issue's being <i>The Life of Oliver Heywood</i>, 1796, pp. +216; <i>Miscellanea Sacra</i>, 1797; <i>A Summary of the Evidences of +Christianity</i>, 1797, pp. 100; <i>Constitution and Order of a Gospel +Church</i>, 1797, pp. 58; <i>The History of John Wise</i>, 1798; Gouge's <i>Sure +Way of Thriving</i>; Watson's <i>Treatise on Christian Contentment</i>; and Dr. +Williams's <i>Christian Preacher</i>. Most of these were in duodecimo.</p> + +<p>The type used in this press was a very good one, and the press-work was +done with care. Owing to his growing infirmities Fawcett was obliged to +dispose of the press in 1800. There is reason to believe that the above +list might be considerably increased.<span class='pagenum'><a name="Page_281" id="Page_281">[Pg 281]</a></span></p> + +<p>At Bishopstone, in Sussex, the Rev. James Hurdis printed several works +at his own press, the most important being a series of lectures on +poetry, printed in 1797, a quarto of three hundred and thirty pages, and +a poem called <i>The Favorite Village</i>, in 1800, a quarto of two hundred +and ten pages.</p> + +<p>To these must be added a press at Lustleigh, in Devon, made and worked +by the Rev. William Davy, and at which was printed some thirty copies of +his <i>System of Divinity</i>, 26 vols. 1795, 8vo, a copy of which remarkable +work is now in the British Museum, and is considered one of its +curiosities; a press at Glynde, in Sussex, the seat of Lord Hampden, +from which at least one work can be traced; and a press at Madeley, in +Shropshire, from which several religious tracts were printed in 1774 by +the Rev. John Fletcher, and in 1792 a work entitled <i>Alexander's Feast</i>, +by Dr. Beddoes.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_282" id="Page_282">[Pg 282]</a></span></p> +<h2>CHAPTER XI</h2> + +<h3>THE PRESENT CENTURY</h3> + +<div class="figleft"> + <img src="images/52.jpg" + alt="I" + title="I" /> +</div> + +<p>t has been said that printing sprang into the world fully armed. At +least this is certain, that for nearly four centuries after its birth +the printing-press in use in all printing-houses remained the same in +form as that which Caxton's workmen had used in the Red Pale at +Westminster. There had been some unimportant alterations made in it by +an Amsterdam printer in the seventeenth century; but until the year 1800 +no important change in the form or mechanism of the printing-press had +ever been introduced. Some such change was sorely needed. The productive +powers of the old press were quite unable to keep pace with the +ever-increasing demand for books and newspapers that a quickened +intelligence and national anxiety had awakened. Up to 1815 England was +constantly at war, and men and women alike were eager for news from +abroad. In 1800 Charles Mahon, third Earl Stanhope, invented a new +printing-press.</p> + +<p>The Stanhope press substituted an iron frame<span class='pagenum'><a name="Page_283" id="Page_283">[Pg 283]</a></span>work for the wooden body of +the old press, thus giving greater solidity. The platen was double the +size of that previously in use, thus allowing a larger sheet to be +printed, and a system of levers was adopted in place of the cumbersome +handlebar and screw used in the wooden press. The chief merits of the +new invention were increased speed, ease to the workman, evenness of +impression, and durability. Further improvements in the mechanism of +hand machines were secured in the Columbian press, an American +invention, brought to this country in 1818, and later in the Albion +press, invented by R. W. Cope of London, and since that time by many +others. Yet even with the best of these improved presses no more than +250 or 300 impressions per hour could be worked off, and the daily +output of the most important paper only averaged three or four thousand +copies. But a great and wonderful change was at hand.</p> + +<p>In 1806 Frederick Kœnig, the son of a small farmer at Eisleben in +Saxon Prussia, came to England with a project for a steam printing +press. The idea was not a new one, for sixteen years before an +Englishman, named William Nicholson, took out a patent for a machine for +printing, which foreshadowed nearly every fundamental improvement even +in the most advanced machines of the present day. But from want of +means, or some other cause, Nicholson never<span class='pagenum'><a name="Page_284" id="Page_284">[Pg 284]</a></span> actually made a machine. +Nor did Kœnig's project meet with much encouragement until he walked +into the printing-house of Thomas Bensley of Bolt Court, who encouraged +the inventor to proceed, and supplied him with the necessary funds. +There is reason to believe that Kœnig made himself acquainted with the +details of Nicholson's patent during the time that his machine was +building. He also obtained the assistance of Andrew F. Bauer, an +ingenious German mechanic. His first patent was taken out on the 29th +March 1810, a second in 1812, a third in 1814, and a fourth in 1816. The +first machine is said to have taken three years to build, and upon its +completion was erected in Bensley's office in Bolt Court. There seems to +be considerable uncertainty as to what was the first publication printed +on it. Some say it was set to work on the <i>Annual Register</i>, one +writer<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> asserting that in April 1811, 3000 sheets of that publication +were printed on it; but Mr. Southward, in his monograph <i>Modern +Printing</i>, confines himself to the statement that two sheets of a book +were printed on the machine in 1812. Curiously enough neither Bensley's +publication, the <i>Annual Register</i>, nor the <i>Gentleman's Magazine</i> takes +any notice of the new invention, although in the <i>Gentleman's Magazine</i> +for 1811 there is a notice<span class='pagenum'><a name="Page_285" id="Page_285">[Pg 285]</a></span> of a printing machine invented at +Philadelphia, which apparently embodied all the same principles as +Kœnig's (<i>Gent. Mag.</i>, vol. lxxxi. p. 576).</p> + +<p>In 1814 John Walter, the second proprietor of the <i>Times</i>, saw Kœnig's +machine, and ordered one to be supplied to the <i>Times</i> office, the first +number printed by steam being that of the 28th November 1814. This +machine was a double cylinder, which printed simultaneously two copies +of a forme of the newspaper on one side only. But it was a cumbersome +and complicated affair, and its greatest output 1800 impressions per +hour.</p> + +<p>In 1818 Edward Cowper, a printer of Nelson Square, patented certain +improvements in printing, these improvements consisting of a better +distribution of the ink and a better plan for conveying the sheets from +the cylinders. Having joined his brother-in-law, Augustus Applegarth, +they proceeded to make certain alterations in Kœnig's machine in +Bensley's office which at one stroke removed forty wheels, and greatly +simplified the inking arrangements. In 1827 they jointly invented a +four-cylinder machine, which Applegarth erected for the <i>Times</i>. The +distinctive features of this machine were its ability to print both +sides of a sheet at once, its admirable inking apparatus, and great +acceleration of speed, the new machine being capable of printing five +thousand copies per hour.<span class='pagenum'><a name="Page_286" id="Page_286">[Pg 286]</a></span></p> + +<p>These machines at once superseded the Kœnig, and were to be found in +use in all parts of the country for printing newspapers until quite +lately. In 1848 the same firm constructed an eight-cylinder vertical +machine, which was one of the sights of the Great Exhibition of 1851. +Shortly afterwards Messrs. Hoe, of New York, made further improvements +in the mechanism, raising the output to 20,000 per hour. All these +machines had to be fed with paper by hand, but in 1869 it occurred to +Mr. J. C. Macdonald, the manager of the <i>Times</i>, and Mr. J. C. +Calverley, the chief engineer of the same office, that much saving of +labour would result if paper could be manufactured in continuous rolls; +and the result of their experiments was the rotary press, which was +named after Mr. John Walter, the fourth of that name, then at the head +of the <i>Times</i> proprietorship. Since then the improvement in printing +machines has steadily continued, and may be said to have culminated in +the Hoe 'double supplement' press in use at the present day in many +newspaper offices, which is capable of printing, cutting, and folding +24,000 copies per hour of a full-sized newspaper.</p> + +<p>These great changes in presses and press-work have occasioned similar +changes in type-founding.</p> + +<p>At the beginning of the century, the firm of Caslon had been given a new +lease of life by the energy of Mrs. Henry Caslon, who in 1799 had<span class='pagenum'><a name="Page_287" id="Page_287">[Pg 287]</a></span> +purchased the foundry, a third share in which a few years earlier had +been worth £3000, for the paltry sum of £520. She at once set to work to +have new founts of type cut, and was ably helped by Mr. John Isaac +Drury. The pica then produced was an improvement in the style of Bodoni, +and quickly raised the foundry to its old position. Mrs. Caslon took +into partnership Nathaniel Catherwood, but both died in the course of +the year 1809. The business then came into the hands of Henry Caslon +II., who was joined by John James Catherwood. Other notable firms were +those already noticed in the last chapter—Mrs. Fry, Figgins, Martin, +and Jackson. One and all of these suffered severely from the change in +the fashion of types at the beginning of the century, the ugly form of +type, known as fat-faced letters, then introduced, remaining in vogue +until the revival of Caslon's old-faced type by the younger Whittingham.</p> + +<p>Upon the advent of machinery and cylinder printing, the use of movable +type for printing from was supplemented by quicker and more durable +methods, and William Ged's long-despised discovery of stereotyping is +now an absolutely necessary adjunct of modern press-work. This, again, +was in some measure due to Earl Stanhope, who in 1800 went to Andrew +Tilloch, and Foulis, the Glasgow printer, both of whom had taken out a +patent for the invention, and learnt<span class='pagenum'><a name="Page_288" id="Page_288">[Pg 288]</a></span> from them the process. He +afterwards associated himself with Andrew Wilson, a London printer, and +in 1802 the plaster process, as it was called, was perfected. This +remained in use until 1846, when a system of forming moulds in <i>papier +mâché</i> was introduced, and this was succeeded by the adaptation of the +stereo-plates to the rotary machines.</p> + +<p>It would be foreign to the purpose of this work, which is concerned with +printing as applied to books, to attempt to describe the Linotype and +its rival processes which have been recently introduced to further +facilitate newspaper printing. We must, therefore, return to our +book-printers, and note first that the Shakespeare Press of William +Bulmer, for which Martin the type-founder was almost exclusively +employed, continued to turn out beautiful examples of typographic work +during the early years of the nineteenth century. A list of the works +issued from this press up to 1817 is given by Dibdin in his notes to the +second volume of his <i>Decameron</i>, pp. 384-395. Some of the chief items +were <i>The Arabian Nights Entertainments</i>, 5 vols. 1802, 8vo; <i>The Book +of Common Prayer</i>, with an introduction by John Reeves, 1802, 8vo; <i>The +Itinerary of Archbishop Baldwin through Wales</i>, translated by Sir R. C. +Hoare, 2 vols. 1806, 4to; Richardson's <i>Dictionary of the Arabic and +Persian Languages</i>, 2 vols. 1806-10, 4to; Hoare's<span class='pagenum'><a name="Page_289" id="Page_289">[Pg 289]</a></span> <i>History of +Wiltshire</i>, 1812, folio; Dibdin's <i>Typographical Antiquities</i>, 4 vols. +1812, 4to; and the same author's <i>Bibliotheca Spenceriana</i>, 4 vols. +1814-15, 8vo, and <i>Bibliographical Decameron</i>, 3 vols. 1817, 8vo. These +three last are considered to be some of the best work of this press, +which also turned out many books for private circulation only. William +Bulmer died on September 9th, 1830, after a long and active life, and +was succeeded by his partner Mr. William Nichol.</p> + +<p>Nor had Thomas Bensley slackened anything of his enthusiasm for fine +printing. Twice during the first twenty years of the century he suffered +severely by fire: the first time in 1807, when a quarto edition of +Thomson's <i>Seasons</i>, an edition of the <i>Works</i> of Pope, and many other +books were destroyed; the second in 1819, on June 26th, when the +premises were totally burnt down. This was followed by the death of his +son, and shortly afterwards he retired from business, and died on +September 11th, 1835. Not only was he an excellent printer, but he did +more than any other man of his time to introduce the improved printing +machine into this country.</p> + +<p>John Nichols was another of the great printers of his day, and he too +was burnt out on the night of February 8th, 1808. No better account of +the magnitude of his undertakings at that time could be found than his +own description of the disaster,<span class='pagenum'><a name="Page_290" id="Page_290">[Pg 290]</a></span> which he contributed to the +<i>Gentleman's Magazine</i> in the following March:—</p> + +<p>'Amongst the books destroyed are many of very great value, and some that +can never be replaced. Not to mention a large quantity of handsome +quarto Bibles, the works of Swift, Pope, Young, Thomson, Johnson, etc. +etc., the <i>Annals of Commerce</i>, and other works which may still be +elsewhere purchased, there are several consumed which cannot now be +obtained at any price. The unsold copies of the introduction to the +second volume of the <i>Sepulchral Monuments</i>; Hutchins' <i>Dorsetshire</i>; +Bigland's <i>Gloucestershire</i>; Hutchinson's <i>Durham</i>; Thorpe's <i>Registrum</i> +and <i>Custumale Roffense</i>; the few numbers that remained of the +<i>Bibliotheca Topographica</i>; the third volume of <i>Elizabethan +Progresses</i>; the <i>Illustrations of Ancient Manners</i>; Mr. Gough's +<i>History of Pleshy</i>, and his valuable account of the <i>Coins of the +Seleucidæ</i>, engraved by Bartolozzi; Colonel de la Motte's <i>Allusive +Arms</i>; Bishop Atterbury's <i>Epistolary Correspondence</i>; and last, not +least, the whole of six portions of Mr. Nichols' <i>Leicestershire</i>, and +the entire stock of the <i>Gentleman's Magazine</i> from 1782 to 1807, are +irrecoverably lost.'</p> + +<p>'Of those in the press, the most important were the concluding portion +of Hutchins' <i>Dorsetshire</i> (nearly finished); a second volume of Manning +and Bray's <i>Surrey</i> (about half printed);<span class='pagenum'><a name="Page_291" id="Page_291">[Pg 291]</a></span> Mr. Bawdwin's translation of +<i>Domesday for Yorkshire</i> (nearly finished); a new edition of Dr. +Whitaker's <i>History of Craven</i>; Mr. Gough's <i>British Topography</i> (nearly +one volume); the sixth volume of <i>Biographia Britannica</i> (ready for +publishing); Dr. Kelly's <i>Dictionary of the Manx Language</i>; Mr. Neild's +<i>History of Prisons</i>; a genuine unpublished comedy by Sir Richard +Steele; Mr. Joseph Reid's unpublished tragedy of <i>Dido</i>; four volumes of +the <i>British Essayists</i>; Mr. Taylor Combe's <i>Appendix to Dr. Hunter's +Coins</i>; part of Dr. Hawes' annual report for 1808; a part of the +<i>Biographical Anecdotes of Hogarth</i>; two entire volumes, and the half of +two other volumes of a new edition of the anecdotes of Mr. Bowyer,' etc.</p> + +<p>Writing to Bishop Percy in July of that year, Nichols stated that he had +lost £10,000 beyond his insurance in this outbreak.</p> + +<p>John Nichols died on the 26th November 1826, after a long and laborious +life. He was a born antiquary, and a voluminous author, his chief works +being <i>The History and Antiquities of the Town and County of Leicester</i>, +completed in 1815 in eight folio volumes, and <i>Literary Anecdotes of the +Eighteenth Century</i>, 1812-15, an expansion of the <i>Biographical and +Literary Anecdotes of William Bowyer</i>, which had been printed in 1782. +This work was afterwards supplemented by <i>Illustrations of the Literary +History of the Eighteenth<span class='pagenum'><a name="Page_292" id="Page_292">[Pg 292]</a></span> Century</i>, 6 vols. 1817-31, to which his son +afterwards added two additional volumes. John Nichols was Common +Councillor for the ward of Farringdon Without from 1784 to 1786, and +again from 1787 to 1811. In 1804 he was Master of the Stationers' +Company. He was succeeded in business by his son John Bowyer Nichols, +and the firm subsequently became J. Nichols, Son, and Bentley. Like his +father, John Bowyer Nichols was editor and author of many books, and was +appointed Printer to the Society of Antiquaries in 1824. He died at +Haling on October 16th, 1863, leaving seven children, of whom the +eldest, John Gough Nichols, born on 22nd May 1806, became the head of +the printing-house, and editor of the <i>Gentleman's Magazine</i>, as his +father and grandfather had been before him. He was one of the founders +of the Camden Society (1838), and edited many of its publications. He +was the promoter and editor of <i>The Herald and Genealogist</i>, and his +researches in this direction were of great importance. The <i>Dictionary +of National Biography</i> enumerates thirty-four works from his pen, most +of which it would be safe to say were also printed by him. He died on +14th November 1873.</p> + +<p>Another press of importance in the first half of the nineteenth century +was that of Thomas Davison. He was the printer of most of Byron's works, +and many of those of Campbell, Moore<span class='pagenum'><a name="Page_293" id="Page_293">[Pg 293]</a></span> and Wordsworth; but his chief +claim to notice rests upon the magnificent edition of Whitaker's +<i>History of Rickmondshire</i> in two large folio volumes, printed in 1823, +and upon that of Dugdale's <i>Monasticon</i>, in eight folio volumes, issued +between 1817 and 1830, an undertaking of great magnitude. In Timperley's +<i>Encyclopædia</i> it is stated that Davison made important improvements in +the manufacture of printing ink, and that few of his competitors could +approach him in excellence of work.</p> + +<p>The story of the firm of Eyre and Spottiswoode would, if material were +available, form an interesting chapter in the history of English +printing. It is the direct descendant in the royal line of Pynson, +Berthelet, the Barkers, and finally of John and Robert Baskett, the last +of whom assigned the patent to John Eyre of Landford House, Wilts, whose +son, Charles Eyre, the great-grandfather of the present George Edward +Briscoe Eyre, succeeded to the business in 1770. During the seventeenth +century, the work of the Government and the sovereign had been divided +among several firms, but in the eighteenth century it was again given to +one man, John Baskett. In the printing of the Bible and Book of Common +Prayer the Universities of Oxford and Cambridge have also a share; but +all the other Government work is done by Messrs. Eyre and Spottiswoode.<span class='pagenum'><a name="Page_294" id="Page_294">[Pg 294]</a></span></p> + +<p>Charles Eyre, not being a practical printer, obtained the co-operation +of William Strahan. On the renewal of the patent in 1798, the name of +John Reeves was inserted, but Mr. Strahan purchased his interest. In +1829, the patent was again renewed to George Eyre, the son of Charles, +John Reeves, and Andrew Strahan. George Edward Eyre, son of George +William Strahan, was born at Edinburgh in April 1715, and, after serving +his apprenticeship in Edinburgh, took his way to London, where, it is +believed, he found a post in the office of Andrew Miller. In 1770 the +printing-house was removed from Blackfriars to New Street, near Gough +Square, Fleet Street. William Strahan was intimately associated with the +best literature of his time, among those for whom he published being Dr. +Johnson, Hume, Adam Smith, Robertson, and many other eminent writers. In +1774 he was Master of the Stationers' Company, Member of Parliament for +Malmesbury, and sat for Wootton Bassett in the next Parliament. Among +his greatest friends was Benjamin Franklin, who kept up a correspondence +with him in spite of the strong political differences between them. +Strahan died at New Street on July 9th 1785, leaving three sons and two +daughters. The youngest son, Andrew, succeeded his father in the Royal +Printing House, and one of the daughters married John Spottiswoode of +Spottiswoode, whose son, Andrew, afterwards entered the firm.<span class='pagenum'><a name="Page_295" id="Page_295">[Pg 295]</a></span> Andrew +Strahan was noted for his benevolence, and on his death in 1831 he left +handsome bequests to the Literary Fund and the Company of Stationers.</p> + +<p>Andrew Spottiswoode, who died in 1866 at the ripe age of seventy-nine, +had a large printing business apart from the office of Queen's Printer, +and his imprint will be found in much of the lighter literature of the +period. His son, William Spottiswoode, after a distinguished career at +Oxford, ultimately attained high rank as a mathematician, and in 1865 +became President of the Mathematical Section of the British Association. +He was elected a Fellow of the Royal Society in 1853, and became its +President on 30th November 1878. He died on 27th June 1883.</p> + +<p>Equally renowned is the firm of Gilbert and Rivington. Early in the +second half of the eighteenth century (the exact date is not known) John +Rivington, the fourth son of John Rivington the publisher, and direct +descendant of Charles Rivington of the Bible and Crown in Paternoster +Row, succeeded to the business of James Emonson, printer, of St. John's +Square, Clerkenwell. John Rivington died in 1785, and was succeeded by +his widow, who in 1786 took as partner John Marshall. A series of +classical works, of which they were the printers, was very favourably +received. These included the Greek Testament,<span class='pagenum'><a name="Page_296" id="Page_296">[Pg 296]</a></span> Livy, and Sophocles, as +well as a series of Latin poets and authors, edited by Michael +Maittaire. The business next passed into the hands of Deodatus Bye. He +in turn admitted Henry Law as partner, and the firm became successively +Law and Gilbert and Robert and Richard Gilbert. The partnership being +dissolved early in the present century by the death of Robert Gilbert, +Richard carried on the business alone until 1830, when he took into +partnership Mr. William Rivington, a great-grandson of the first Charles +Rivington, and from that day the firm has gone by the name of Gilbert +and Rivington. Richard Gilbert died in 1852, and for eleven years after +his death the printing business was carried on by Mr. William Rivington, +who issued many valuable and standard works on subjects of classical and +ecclesiological interest.</p> + +<p>William Rivington retired from business in 1868, being succeeded by his +son, William John Rivington, and his nephew, Alexander. The business +increased largely in their hands; one of their first undertakings being +the purchase in 1870 of the plant of the late Mr. William Mavor Watts, +by which they secured a large addition to their collection of Oriental +types. In 1875 Mr. E. Mosley entered the firm, and Mr. William John +Rivington left it to join the publishing house of Sampson Low, Marston +and Searle. Mr. Alexander Rivington retired from the firm<span class='pagenum'><a name="Page_297" id="Page_297">[Pg 297]</a></span> in 1878, +being thus the last Rivington connected with the house, which shortly +afterwards was turned into a limited liability company.</p> + +<p>Messrs. Gilbert and Rivington's collection of Oriental and other foreign +types enables them to print in every known language, their specimen +books embracing 267 distinct tongues. They are Oriental printers to the +British Museum, India Office, British and Foreign Bible Society. +Speaking of the Oriental work, the most striking feature in the firm's +business, a correspondent to the <i>British Printer</i> (March-April 1895), +says:</p> + +<div class="blockquot"><p>'Most of the type faces noticed were on English bodies, and the +composition is somewhat similar. Arabic is composed just as with +English. Sanskrit possesses some little features of accents and +kerned sections, which render justification quite a fine art, +accents on varying bodies needing to be utilised.... The firm does +much Hindustani work, and possesses seven sizes of type in this +language. Amongst the curiosities are the cuneiform types, the +wedge-like series of faces in which old Persian, Median, and +Assyrian inscriptions are written; and last, but by no means least +in interest, the odd-looking hieroglyphic type faces, which are on +bodies ranging from half nonpareil to three nonpareils, and some +idea of their extent may be derived by noting that this type +occupies fourteen cases of one hundred boxes each.'</p></div> + +<p>To the firm of Messrs. Clowes of Stamford Street belongs the credit of +being the first to print cheap periodical literature. William Clowes the +elder, a native of Chichester, born in 1779, was apprenticed to a +printer of that town, and coming to London in 1802 commenced business on +his<span class='pagenum'><a name="Page_298" id="Page_298">[Pg 298]</a></span> own account in the following year 1803. By marriage with the +daughter of Mr. Winchester of the Strand, he obtained a share of the +Government printing work. On moving to Stamford Street, Blackfriars +Road, he was chosen to print the <i>Penny Magazine</i>, edited by Charles +Knight, the first attempt to provide the public with good literature in +a cheap periodical form. The work was illustrated with woodcuts, and so +great was its success that from No. 1 to No. 106 there were sold twenty +million copies; but the undertaking was heavily handicapped by the paper +tax of threepence per pound (see <i>The Struggles of a Book</i>, C. Knight, +1850, 8vo). In 1840 an article appeared in the <i>Quarterly Review</i>, +written, it is said, by Sir F. B. Head, but which is more in the style +of T. F. Dibdin, on the Clowes printing-office. Even at that time there +were no less than nineteen of Applegarth and Cowper's machines at work +there, with a daily average of one thousand per hour each. Besides these +there were twenty-three hand presses and five hydraulic presses. The +foundry employed thirty hands, and the compositors numbered one hundred +and sixty.</p> + +<p>In 1851 Messrs. Clowes printed the official catalogues of the Great +Exhibition, for which they specially cast 58,520 lbs. of type. They +subsequently printed the catalogues of the Exhibitions of 1883-1886, and +the Royal Academy catalogues, and have been connected from their<span class='pagenum'><a name="Page_299" id="Page_299">[Pg 299]</a></span> +inception with two works of a very different character, <i>Hymns Ancient +and Modern</i>—the circulation of which has to be reckoned in +millions—and the great <i>General Catalogue</i> of the Library of the +British Museum, for their excellent printing of which all 'readers' are +indebted to them. William Clowes the elder died in 1847. He was +succeeded by his son, William, who died in 1883; and a third William, a +grandson, is one of the managing directors of the firm which in 1881 was +turned into a limited liability company.</p> + +<p>But the chief honours of book production in London during the present +century have been rightly awarded to the Chiswick Press.</p> + +<p>Charles Whittingham the elder was born at Calledon, near Coventry, in +1767, and was apprenticed to a printer of that city. As soon as his time +was out he came to London, and set up a press in Fetter Lane, his chief +customers being Willis, a bookseller of Stationers' Court, Jordan of +Fleet Street, and Symonds of Paternoster Row. His beginning was humble +enough, his chief work lying in the direction of stationery, cards, and +small bills. His first important publisher was a certain Heptinstall, +who set him to print new editions of Boswell's <i>Johnson</i>, Robertson's +<i>America</i>, and other important works. This was enough to set him going, +and in 1797 he moved to larger premises in Dean Street, Fetter Lane,<span class='pagenum'><a name="Page_300" id="Page_300">[Pg 300]</a></span> +and then began to issue illustrated books. In 1803 he took a second +workshop at 10 Union Buildings, Leather Lane, and again in 1807 he moved +to Goswell Street. In 1811 he took his foreman Robert Rowland into +partnership, and shortly afterwards left him to manage the city +business, while he himself set up a press at Chiswick and took up his +abode at College House. Here he continued to work until his death in +1840. For a short time, from 1824 to 1828, he was joined with his nephew +Charles, to whom at his death he left the Chiswick business.</p> + +<p>There is not much to be said of the work of the elder Whittingham. He +confined his attention to the issue of small books, such as the <i>British +Classics</i>, which he began to print in 1803. His books are chiefly +notable for the printing of the woodcuts, which by the process known as +overlaying, he brought to great perfection. His relations with the +publishers were, however, none of the best. They accused him of piracy, +and considered it to be against the best interests of the trade to issue +small and cheap books. The productions of the elder Whittingham's press +have, moreover, been largely overshadowed by those of his nephew.</p> + +<p>Charles Whittingham the younger was a genuine artist in printing. He +loved books to begin with, and thought no pains too great to bestow upon +their production. Born at Mitcham,<span class='pagenum'><a name="Page_301" id="Page_301">[Pg 301]</a></span> on October 30th, 1795, he was +apprenticed to his uncle in 1810. In 1824 he was taken into partnership, +but this lasted only four years, and he then set up for himself at 21 +Took's Court, Chancery Lane. A near neighbour of his at that time was +the publisher William Pickering, who since 1820 had been putting in the +hands of the public some excellently printed and dainty volumes. It is +stated in the <i>Dictionary of National Biography</i> that the series known +as the <i>Diamond Classics</i> was printed for Pickering at the Chiswick +Press. But this was not the case. He had no dealings whatever with the +Whittinghams or the Chiswick Press before his introduction to Charles +Whittingham the younger in 1829. The <i>Diamond Classics</i>, which he began +to issue while he was living in Lincoln's Inn Fields in 1822, were +printed by C. Corrall of Charing Cross, and the <i>Oxford English +Classics</i>, in large octavo, chiefly by Talboys and Wheeler of Oxford, +while most of his other work, amongst it the first eleven volumes of the +works of Bacon, was done by Thomas White, who is first found at Bear +Alley, and subsequently at Johnson Court and Crane Court in Fleet +Street.</p> + +<div class="figcenter"> + <img src="images/53.jpg" + alt="Old-faced Type." + title="Old-faced Type." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 35.—Old-faced Type.</span> +</div> + +<p>Few of these early books of Pickering's had any kind of decoration +beyond a device on the title-page. Simplicity, combined with what was +best in type and paper, seem to have been the publisher's chief aim at +that time; but in some<span class='pagenum'><a name="Page_303" id="Page_303">[Pg 303]</a></span> of the <i>Diamond Classics</i> will be found the +small and artistic border-pieces which he afterwards used frequently.</p> + +<p>The first of Pickering's books in which anything of a very ornamental +character occurs is <i>The Bijou, or Annual of Literature</i>, a publication +which fixes very clearly his association with Whittingham. <i>The Bijou</i> +first appeared in 1828, printed by Thomas White, with one or two +charming head-pieces designed by Stothard. The volume for 1829 was also +printed by White, and is noticeable as having the publisher's Aldine +device, showing that this came into use during the year 1828. The volume +for 1830 was printed by C. Whittingham of Took's Court. The meeting +between the two men had been brought about by Basil Montagu in the +summer of 1829. They found themselves kindred spirits on the subject of +the artistic treatment of books, and a friendship sprang up between +them, that ceased only with Pickering's death in 1854, and was +productive of some of the most beautiful books that had ever come from +an English press. Mr. Arthur Warren in his book, <i>The Charles +Whittinghams, Printers</i> (p. 203), tells us: 'The two men met frequently +for consultation, and whenever the bookseller visited the press, which +he often did, there were brave experiments toward. The printer would +produce something new in title-pages, or in colour work, or ornament,<span class='pagenum'><a name="Page_305" id="Page_305">[Pg 305]</a></span> +and the bookseller would propound some new venture in the reproduction +of an ancient volume.... They made it a point, moreover, to pass their +Sundays together, either at the printer's house or at Pickering's.'</p> + +<div class="figcenter"> + <img src="images/54.jpg" + alt="Early Chiswick Press Initials." + title="Early Chiswick Press Initials." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 36.—Early Chiswick Press Initials.</span> +</div> + +<p>In the artistic production of books they were ably assisted by +Whittingham's eldest daughter Charlotte, and Mary Byfield. The former +designed the blocks, many of which were copied from the best French and +Italian work of the sixteenth century, and the latter engraved them.</p> + +<p>Among the notable books produced by these means were the <i>Aldine Poets</i>, +editions of Milton, Bacon, Isaak Walton's <i>Complete Angler</i>, the works +of George Peele, reprints of Caxton's books, and many Prayer-books. In +1844 Pickering and Whittingham were in consultation as to the production +of an edition of <i>Juvenal</i> to be printed in old-face great primer, and +the foundry of the latest descendant of the Caslons was ransacked to +supply the fount. The edition was to be rubricated and otherwise +decorated, and this, or the printer's stock trouble, 'lack of paper,' +occasioning some delay, the revived type first appeared in a fiction +entitled <i>Lady Willoughby's Diary</i>, to which it gave a pleasantly +old-world look in keeping with the period of which the story treats. By +the kindness of Mr. Jacobi, the present manager of the Chiswick Press, +an exact copy of the title-page of this book is here given, and<span class='pagenum'><a name="Page_307" id="Page_307">[Pg 307]</a></span> with +it, examples of the decorative initials and devices, in the revival of +which also the Chiswick Press led the way.</p> + +<div class="figcenter"> + <img src="images/55.jpg" + alt="Early Chiswick Press Devices." + title="Early Chiswick Press Devices." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 37.—Early Chiswick Press Devices.</span> +</div> + +<p>Pickering died in 1854, and though Charles Whittingham the younger lived +to the age of eighty-one, his death not taking place till 1876, he had +retired from business in 1860. The business was afterwards acquired by +Mr. George Bell.</p> + +<p>In the English provinces Messrs. Clay, of Bungay, in Suffolk, have made +for themselves a reputation both as general printers and more +particularly for the careful production of old English texts; and +Messrs. Austin, of Hertford, are well known for their Oriental work. But +the pre-eminence certainly rests with the Clarendon Press at Oxford, +whose work, whether in its innumerable editions of the Bible and +Prayer-book, its classical books, or its great dictionaries, is +probably, alike in accuracy of composition, in excellence of spacing and +press-work, and in clearness of type, the most flawless that has ever +been produced. Book-lovers have been known to complain of it as so good +as to be uninteresting, but it certainly possesses all the distinctive +virtues of a University Press.</p> + +<p>If England has no lack of good printers at the present day, in Scotland +they are, at least, equally plentiful.</p> + +<p>The Ballantyne Press was founded by James<span class='pagenum'><a name="Page_308" id="Page_308">[Pg 308]</a></span> Ballantyne, a solicitor in +Kelso, with the aid of Sir Walter Scott. Ballantyne and Scott had been +school-fellows and chums, and an incident in their school life recorded +by Ballantyne aptly illustrates the characters of the two men. +Ballantyne was studious but not quick, and often when he was bothered +with his lessons, Scott would whisper to him, 'Come, slink over beside +me, Jamie, and I'll tell you a story.' Although their roads lay apart +for some years, while Scott was studying in Edinburgh and Ballantyne was +carrying on the Kelso <i>Mail</i>, they met and renewed their friendship in +the stage coach that ran between Kelso and Glasgow. Shortly afterwards, +Ballantyne called on Scott, and begged him to supply a few paragraphs on +legal questions of the day to the Kelso <i>Mail</i>. This Scott readily +undertook to do, and when the manuscript was ready he took it himself to +the printing-office, and with it some of the ballads destined for +Lewis's collection then publishing in Edinburgh. Before he left he +suggested that Ballantyne should print a few copies of the ballads, so +that he might show his friends in Edinburgh what Ballantyne could do. +Twelve copies were accordingly printed, with the title of <i>Apologies for +Tales of Terror</i>. These were published in 1799, and Scott was so pleased +with their appearance that he promised Ballantyne that he should be the +printer of a selection of Border ballads that he was then making. This<span class='pagenum'><a name="Page_309" id="Page_309">[Pg 309]</a></span> +selection was given the title of <i>Minstrelsy of the Scottish Border</i>, +and formed two small octavo volumes, with the imprint, 'Kelso, 1802.'</p> + +<p>Ballantyne's work, as shown in these volumes, was equal in every way to +the best work done by Bensley and Bulmer at this time. Good type and +good paper, combined with accuracy and clearness, at once raised +Ballantyne's reputation. Longman and Rees, the publishers, declared +themselves delighted with the printing, and Scott urged his friend to +remove his press to Edinburgh, where he assured him he would find enough +work to repay him for the removal. After some hesitation Ballantyne +acquiesced in the proposal, and having found suitable premises in the +neighbourhood of Holyrood House, set up 'two presses and a proof one,' +and shortly afterwards, in April 1803, printed there the third volume of +the <i>Minstrelsy of the Scottish Border.</i> From this time forward Scott +made it a point that whatever he wrote or edited should be printed at +the Ballantyne Press. The first quarto, the <i>Lay of the Last Minstrel</i>, +was published in January 1805. The poem was printed in a somewhat +heavy-faced type; but in other respects the typography left nothing to +be desired. In the same year Ballantyne and Scott entered into +partnership, Scott taking a third of the profits of the printing-office. +So rapidly did James Ballantyne extend his business that in 1819 Scott, +in a<span class='pagenum'><a name="Page_310" id="Page_310">[Pg 310]</a></span> letter to Constable, says that the Ballantyne Press 'has sixteen +presses, of which only twelve are at present employed.' In 1826 the firm +became involved in the bankruptcy of the publishers Messrs. Constable. +After this Ballantyne was employed as editor of the <i>Weekly Journal</i>, +and the literary management of the printing-house. He died on the 17th +January 1833. The firm is now known as Ballantyne, Hanson and Co., and +admirably sustains its old traditions.</p> + +<p>Another great Scottish printing-house, that of T. and A. Constable, was +founded by Thomas Constable, the fourth son of Archibald Constable the +publisher. He learned his art in London under Mr. Charles Richards, and +on returning to Edinburgh, in 1833, he founded the present +printing-house in Thistle Street. Shortly afterwards he was appointed +Queen's Printer for Scotland, and the patent was afterwards extended to +his son Archibald, the present titular head of the house. Some years +later he received the appointment of Printer to the University of +Edinburgh. Thomas Constable inherited and incorporated with his own firm +the printing business of his maternal grandfather, David Willison, a +business founded in the eighteenth century. The firm has always been +noted for its scholarly reading and the beauty of its workmanship; and +only the fact that this volume is being printed by it prevents a longer +eulogy.</p> + +<p>Among other Scottish firms who are doing<span class='pagenum'><a name="Page_311" id="Page_311">[Pg 311]</a></span> excellent work mention may be +made also of Messrs. R. and R. Clark of Edinburgh, who tread very +closely on the heels of the Clarendon Press, and Messrs. Maclehose, the +printers to the University of Glasgow. In America also there is much +good work being done, that of Mr. De Vinne and of the Riverside Press, +Cambridge, being of the very highest excellence.</p> + +<p>In the history of English printing, the close of the nineteenth century +will always be memorable for the brilliant but short-lived career of the +Kelmscott Press.</p> + +<p>In May 1891 Mr. William Morris, whose poems and romances had delighted +many readers, issued a small quarto book entitled <i>The Story of the +Glittering Plain</i>, which had been printed at a press that he had set up +in the Upper Mall, Hammersmith.</p> + +<p>Lovers of old books could recognise at once that in its arrangement, +and, to some extent, in its types, this first-fruit of the Kelmscott +Press went straight back to the fifteenth century, resembling most +nearly the quartos printed at Venice about 1490. Until within a few +years of that date printed books, like the old manuscripts, had +dispensed altogether with a title-page. Their first few pages might be +occupied with a prologue or a table of contents, and though, when the +text was reached, it was usual to herald it with an <i>Incipit</i> or +<i>Incomincia</i>, followed by the title of the work, the information as to +date of issue, printer<span class='pagenum'><a name="Page_312" id="Page_312">[Pg 312]</a></span> or publisher, and place of imprint or sale, +which we look to find in the title-page, was only given in a crowning +paragraph or colophon at the end of the book, save for one or two +accidental instances. The full title-page, as we know it, is not found +before about 1520, and did not come into general use, so as to supersede +the colophon, until many years after that date. But about 1480 the +advantage of getting the short title of the book clearly stated at its +outset was becoming pretty generally recognised, and from this date +onwards what may be called the label title-page—that is, a first page +containing the title and nothing else—is very frequently found. Ten +years later a practice occasionally adopted elsewhere became common at +Venice, and the first page of the text of a book was decorated with an +ornamental border, and occasionally with a little picture as well. It +was this temporary fashion which commended itself to Mr. Morris, and +<i>The Story of the Glittering Plain</i> was issued with one of these label +title-pages and with the first page of the story surrounded by a very +beautiful border cut on wood from a design by Mr. Morris himself, here +reproduced by the kind permission of his executors. It contained also a +number of decorative initial letters, to use the clumsy phrase which the +misappropriation of the word capitals to stand for ordinary majuscules, +or 'upper case' letters, makes inevitable. Mr. Morris's initials were, +of course,<span class='pagenum'><a name="Page_314" id="Page_314">[Pg 314]</a></span> true capitals—<i>i.e.</i> they were used to mark the beginnings +of chapters, and the only fault that could be found with them was that +they were a little too large for the quarto page. These also were from +Mr. Morris's own designs, ideas in one or two cases having been borrowed +from a set used by Sweynheym and Pannartz, the Germans who introduced +printing into Italy; but the borrowing, as always with Mr. Morris, being +absolutely free. As for the type, it was clear that it bore some +resemblance to that used by Nicolas Jenson, the Frenchman who began +printing in Venice in 1470, and whose finer books, especially those on +vellum, are generally recognised as the supreme examples of that +perfection to which the art of printing attained in its earliest +infancy. Mr. Morris's type was as rich as Jenson's at its best, and +showed its authorship by not being quite rigidly Roman, some of the +letters betraying a leaning to the 'Gothic' or 'black-letter' forms, +which had found favour with the majority of the mediæval scribes. At the +end of the book came the colophon in due fifteenth-century style, with +information as to when and where it was printed. The ornamental design +bearing the word 'Kelmscott,' by way of the device or trade-mark without +which no fifteenth-century printer thought his office properly equipped, +was not used in this book, but speedily made its appearance.</p> + +<div class="figcenter"> + <img src="images/56.jpg" + alt="The first page of The Story of the Glittering Plain." + title="The first page of The Story of the Glittering Plain." /><br /> + <span class="caption"><span class="smcap">Fig.</span> 38.—The first page of <i>The Story of the Glittering Plain</i>.</span> +</div> + +<p>Pretty as was this edition of the <i>The Story of<span class='pagenum'><a name="Page_315" id="Page_315">[Pg 315]</a></span> the Glittering Plain</i>, +it yet raised a doubt—the doubt as to whether there was any real life +in this effort to start afresh from old models, or whether it was a mere +antiquarian revival and nothing more. The history of printing—or rather +of the handwriting which the first printers took as their +models—recorded, at least, one instance in which an antiquarian revival +had been of permanent service; for the <i>Roman letter</i>, which the +printers have used now for four centuries, was itself a happy reversion +on the part of the fifteenth-century scribes to the Caroline minuscules +of 600 years earlier, which had gradually been debased past recognition. +There was no room for a second such sweeping reform as this, but those +who compared the best modern printing with the masterpieces of the craft +in its early days knew that the modern books by the side of the old ones +looked flat and grey; and the new <i>Glittering Plain</i>, though not +entirely satisfactory, was certainly free from these faults. A few +months later the appearance of the three-volume reprint of Caxton's +version of the <i>Golden Legend</i> of Jacobus de Voragine, sufficed to show +that the Kelmscott Press was capable of turning out a book large enough +to tax the resources of a printing-office, and the new book was not only +larger but better than its predecessor. It became known that this, but +for an accident, should have been the first book issued from the new +press; and it was<span class='pagenum'><a name="Page_316" id="Page_316">[Pg 316]</a></span> evident that the initial letters were exactly right +for this larger page, while the splendid woodcuts from the designs of +Sir Edward Burne-Jones revived the old glories of book-illustration. In +the <i>Golden Legend</i> also appeared the first of those woodcut +frontispiece titles which formed, as far as we know, an entirely new +departure, and confer on the Kelmscott books one of their chief +distinctions. Printed sometimes in white letters on a background of dark +scrollery, sometimes in black letters on a lighter ground, these titles +are always surrounded by a border harmonising with that on the first +page of text, which they face. They thus carry out Mr. Morris's cardinal +principle, that the unit, both for arrangement of type and for +decoration, is always the double page. How persistently even the best +printers in the trade ignore this principle is known to any one who has +asked for a specimen of how a book is to be printed, it being almost +impossible to get more than a single page set up. If a double page is +insisted on, the craftsman, ingenious in avoiding trouble, will print +the same page twice over, thus confusing the eye by the exact +parallelism of line with line and paragraph with paragraph. But Mr. +Morris, who had all the capacity of genius for taking pains, understood +that, when a book lies open before us, though we only read one page at a +time, we see two, and in the selection of the type, the adjustment of +letterpress and<span class='pagenum'><a name="Page_317" id="Page_317">[Pg 317]</a></span> margins, and finally in the pursuit of a decorative +beginning, either to the book itself, or to its sections, he never +arranged a single page except in relation to the one which it was to +face.</p> + +<p>As far as permanent influence is concerned Mr. Morris's Roman letter, +the 'Golden type,' as it was dubbed, from its use in the <i>Golden +Legend</i>, is the most important of the three founts which he employed. +His own sympathies, however, were too pronouncedly mediæval for him to +be satisfied with it, and for the next large book which he took in hand, +a reprint of Caxton's <i>Recuyell of the Histories of Troy</i>, the first +work printed in the English tongue, he designed a much larger and bolder +type, an improvement on one of the 'Gothic' founts used by Anton +Koberger at Nuremberg in the fifteenth century. This 'Troy' type was +subsequently recut in a smaller size for the double-columned Chaucer, +and in both its forms is a very handsome fount, while the characters are +so clearly and legibly shaped that, despite its antique origin, any +child who knows his letters can learn to read it in a few minutes. With +these three founts the Kelmscott Press was thoroughly equipped with +type; but until his final illness took firm hold on him Mr. Morris was +never tired of designing new initials, border-pieces, and decorative +titles with a profusion which the old printers, who were parsimonious in +these matters, would have thought<span class='pagenum'><a name="Page_319" id="Page_319">[Pg 319]</a></span> extravagantly lavish. Including +those completed by his executors after his death, he printed in all +fifty-three books in sixty-five volumes, and this annual output of nine +or ten volumes of all sizes, save the duodecimo, which he refused to +recognise, gave his work a cumulative force which greatly increased its +influence. Had he printed only a few books his press might have been +regarded as a rich man's toy, an outbreak of æstheticism in a new place, +of no more permanent interest than the cult of the sunflower and the +lily in the 'eighties. Even the great Chaucer by itself might not have +sufficed to take his press out of the category of experiments. But when +folio, quarto, octavo, and sexto-decimo appeared in quick succession, +each with its appropriate decorations, and challenging and defying +comparison with the best work of the best printers of the past, the +experimental stage was left far behind, and publishers and printers +awoke to the fact that a model had been set them which they would do +well to imitate.</p> + +<div class="figcenter"> + <img src="images/57.jpg" + alt="The Kelmscott 'Troy' Type." + title="The Kelmscott 'Troy' Type." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 39.—The Kelmscott 'Troy' Type.</span> +</div> + +<p>As to what will be the permanent result of Mr. Morris's efforts to +reform modern printing it is too soon as yet to speak, but signs of +their influence are already abundantly visible. The books issued from +the 'Vale Press' of Messrs. Ricketts and Shannon have their admirers; +but they have that rather irritating degree of likeness which makes +every difference—and the differences<span class='pagenum'><a name="Page_321" id="Page_321">[Pg 321]</a></span> are numerous—appear a wilful +and regrettable divergence.</p> + +<div class="figcenter"> + <img src="images/58.jpg" + alt="The Macmillan Greek Type." + title="The Macmillan Greek Type." /><br /> + <span class="caption"><span class="smcap">Fig</span>. 40.—The Macmillan Greek Type.</span> +</div> + +<p>The 'Macmillan Greek type,' designed by Mr. Selwyn Image, which has now +been in use for some time, may be regarded as another offshoot of Mr. +Morris's theories, and deserves all the praise due to a brave +experiment. By permission of the Messrs. Macmillan a page of it, taken +from their 'Parnassus' <i>Homer</i>, is here shown, and few modern types will +bear comparison with it. That it is not wholly and entirely successful +is due to the fact that for so many centuries Greek types have been +dominated by the models set by Aldus and the other printers of the early +sixteenth century, who tried to imitate the rapid cursive hand of the +Greek scholars of their day. Had the introduction of printing been +preceded by a revival of the beautiful Greek book-hand of the eleventh +century, similar to the revival of the Caroline minuscules, all would +have been well. But in going back himself to the eleventh century Mr. +Image was obliged perpetually to conciliate eyes used to the later +cursive forms, and the result is too obviously eclectic. The mere fact, +however, that such an effort has been made is full of promise for the +future, for it is only by new effort, joined with constant reference to +old models, that types can be improved.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_323" id="Page_323">[Pg 323]</a></span></p> +<h2><span class="smcap">INDEX OF PRINTERS, TYPEFOUNDERS, Etc.</span></h2> + + +<ul> +<li>Abree, J., <a href='#Page_253'>253</a>.</li> + +<li>Alday. <i>See</i> Alde.</li> + +<li>Alde, Edward, <a href='#Page_163'><b>163</b></a>, <a href='#Page_169'>169</a>.</li> + +<li>Alde, Elizabeth, <a href='#Page_169'>169</a>.</li> + +<li>Alde, John, <a href='#Page_101'>101</a>, <a href='#Page_163'>163</a>.</li> + +<li>Allen, Edward, <a href='#Page_271'>271</a>.</li> + +<li>Allen, John, <a href='#Page_220'>220</a>.</li> + +<li>Alsop, Bernard, <a href='#Page_171'>171</a>, <a href='#Page_172'>172</a>, <a href='#Page_179'>179</a>, <a href='#Page_181'>181</a>, <a href='#Page_194'>194</a>, <a href='#Page_221'>221</a>.</li> + +<li>Andrewe, Laurence, <a href='#Page_53'><b>53</b></a>, <a href='#Page_57'>57</a>, <a href='#Page_58'>58</a>.</li> + +<li>Andrews, J. and R., <a href='#Page_210'>210</a>.</li> + +<li>Arbuthnot, A., <a href='#Page_146'>146</a> <i>sq.</i></li> + +<li>Archer, T., <a href='#Page_171'>171</a>.</li> + +<li>Aspley, W., <a href='#Page_163'>163</a>.</li> + +<li>Asplyn, ——, <a href='#Page_137'>137</a>.</li> + +<li>Austin, Messrs., <a href='#Page_307'>307</a>.</li> + +<li>Austin, R., <a href='#Page_221'>221</a>.</li> +</ul> +<ul> +<li>B. T., <i>i.e.</i> Brudnell, T., <a href='#Page_190'>190</a>.</li> + +<li>Badger, R., <a href='#Page_179'>179</a>.</li> + +<li>Baker, J., <a href='#Page_102'>102</a>.</li> + +<li>Baldwyn, Richard, <a href='#Page_101'>101</a>.</li> + +<li>Baldwyn, W., <a href='#Page_101'>101</a>.</li> + +<li>Ballantyne, Hanson and Co., <a href='#Page_309'>309</a>.</li> + +<li>Ballantyne, James, <a href='#Page_307'>307</a> <i>sq.</i></li> + +<li>Bankes, Richard, <a href='#Page_55'><b>55</b></a>, <a href='#Page_59'>59</a>, <a href='#Page_60'>60</a>, <a href='#Page_133'>133</a>.</li> + +<li>Barber, John, <a href='#Page_233'>233</a>, <i>sq.</i></li> + +<li>Barbier, Jean, <a href='#Page_30'>30</a>.</li> + +<li>Barker, Christopher, <a href='#Page_97'>97</a>, <a href='#Page_118'><b>118</b></a> <i>sq.</i>,154, <a href='#Page_208'>208</a>, <a href='#Page_230'>230</a>.</li> + +<li>Barker, Robert, <a href='#Page_154'><b>154</b></a> <i>sq.</i>, <a href='#Page_176'>176</a>, <a href='#Page_216'>216</a>, <a href='#Page_218'>218</a>, <a href='#Page_230'>230</a>.</li> + +<li>Barnes, Joseph, <a href='#Page_124'><b>124</b></a>, <a href='#Page_183'>183</a>.</li> + +<li>Baskerville, John, <a href='#Page_xiii'>xiii</a>, <a href='#Page_265'>265</a> <i>sq.</i>, <a href='#Page_274'>274</a>.</li> + +<li>Baskett, John, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'>231</a>, <a href='#Page_232'>232</a>.</li> + +<li>Bassandyne, T., <a href='#Page_146'>146</a> <i>sq.</i></li> + +<li>Beale, John, <a href='#Page_179'>179</a>.</li> + +<li>Bell, Jane, <a href='#Page_221'>221</a>.</li> + +<li>Bensley, Thomas, <a href='#Page_271'><b>271</b></a> <i>sq.</i>, <a href='#Page_284'>284</a>, <a href='#Page_289'>289</a>.</li> + +<li>Bentley, W., <a href='#Page_221'>221</a>.</li> + +<li>Berthelet, Thomas, <a href='#Page_61'><b>61</b></a> <i>sq.</i>, <a href='#Page_69'>69</a>, <a href='#Page_82'>82</a>.</li> + +<li>Bignon, J., <a href='#Page_41'>41</a>.</li> + +<li>Bill, John, <a href='#Page_155'>155</a>, <a href='#Page_160'><b>160</b></a>.</li> + +<li>Bishop, George, <a href='#Page_112'>112</a>, <a href='#Page_120'>120</a>, <a href='#Page_155'>155</a>.</li> + +<li>Bishop, Richard, <a href='#Page_166'>166</a>, <a href='#Page_179'>179</a>, <a href='#Page_183'>183</a>, <a href='#Page_194'>194</a>, <a href='#Page_221'>221</a>.</li> + +<li>Bliss, Joseph, <a href='#Page_251'>251</a>, <a href='#Page_252'>252</a>.</li> + +<li>Blomefield, F. (private press), <a href='#Page_279'>279</a>.</li> + +<li>Blount, Edward, <a href='#Page_163'>163</a>.</li> + +<li>Blythe, Robert, <a href='#Page_101'>101</a>.</li> + +<li>'Bonere.' <i>See</i> Bonham, W.</li> + +<li>Bonham, John, <a href='#Page_101'>101</a>.</li> + +<li>Bonham, William, <a href='#Page_52'>52</a>, <a href='#Page_53'>53</a>, <a href='#Page_74'><b>74</b></a>, <a href='#Page_75'>75</a>, <a href='#Page_76'>76</a>, <a href='#Page_101'>101</a>, <a href='#Page_129'>129</a>.</li> + +<li>Bonny, W., <a href='#Page_250'>250</a>.</li> + +<li>Bourgeois, Jean le, <a href='#Page_44'>44</a>.</li> + +<li>Bourman, N., <a href='#Page_101'>101</a>, <a href='#Page_129'>129</a>.</li> + +<li>Bourne, C., <a href='#Page_254'>254</a>.</li> + +<li>Bourne, N., <a href='#Page_171'>171</a>.</li> + +<li>Bowyer, William, the elder, <a href='#Page_236'>236</a> <i>sq.</i></li> + +<li>Bowyer, William, the younger, <a href='#Page_238'>238</a> <i>sq.</i></li> + +<li>Boyden, Thomas, <a href='#Page_101'>101</a>.</li> + +<li>Bradford, Andrew, <a href='#Page_257'><b>257</b></a>, <a href='#Page_258'>258</a>.</li> + +<li>Bradford, W., <a href='#Page_220'><b>220</b></a>, <a href='#Page_221'>221</a>, <a href='#Page_256'>256</a>.</li> + +<li>Bremer, <i>alias</i> Bulle. <i>See</i> Bulle J.</li> + +<li>Brice, Andrew, <a href='#Page_252'><b>252</b></a>, <a href='#Page_253'>253</a>.</li> + +<li>Bridges, H., <a href='#Page_224'>224</a>.</li> + +<li>Broad, Alice, <a href='#Page_218'>218</a>.</li> + +<li>Broad, T., <a href='#Page_218'><b>218</b></a>, <a href='#Page_221'>221</a>.</li> + +<li>Brodehead, G., <a href='#Page_101'>101</a>.</li> + +<li>Broke, R., <a href='#Page_101'>101</a>.</li> + +<li>Browne, E., <a href='#Page_101'>101</a>.</li> + +<li><span class='pagenum'><a name="Page_324" id="Page_324">[Pg 324]</a></span>Brudenell, J., <a href='#Page_201'>201</a>, <a href='#Page_208'>208</a>, <a href='#Page_225'>225</a>.</li> + +<li>Brudenell, T., <a href='#Page_190'>190</a>, <a href='#Page_222'>222</a>.</li> + +<li>Bryan, S., <a href='#Page_253'>253</a>.</li> + +<li>Buck, J., <a href='#Page_222'>222</a>.</li> + +<li>Buck, T., <a href='#Page_216'>216</a>, <a href='#Page_222'>222</a>.</li> + +<li>Bucks. <i>See</i> Buck, T.</li> + +<li>Bulkeley, S., <a href='#Page_218'><b>218</b></a>, <a href='#Page_219'>219</a>.</li> + +<li>Bulle, <i>alias</i> Bremer, J., <a href='#Page_26'>26</a>.</li> + +<li>Bullock, R., <a href='#Page_112'>112</a>.</li> + +<li>Bulmer, William, <a href='#Page_271'>271</a>, <a href='#Page_274'><b>274</b></a>, <a href='#Page_288'><b>288</b></a>, <a href='#Page_289'>289</a>.</li> + +<li>Burges, F., <a href='#Page_248'><b>248</b></a>, <a href='#Page_249'>249</a>;</li> +<li><span style="margin-left: 1em;">his widow, <a href='#Page_249'>249</a>.</span></li> + +<li>Burtoft, J., <a href='#Page_101'>101</a>.</li> + +<li>Butter, N., <a href='#Page_171'>171</a>, <a href='#Page_173'>173</a>, <a href='#Page_189'>189</a>.</li> + +<li>Byddell, John, <a href='#Page_37'>37</a>, <a href='#Page_66'>66</a>, <a href='#Page_68'><b>68</b></a> <i>sq.</i>, <a href='#Page_76'>76</a>.</li> + +<li>Bye, Deodatus, <a href='#Page_296'>296</a>.</li> + +<li>Bylton, T., <a href='#Page_101'>101</a>.</li> + +<li>Bynneman, H., <a href='#Page_137'>137</a>.</li> +</ul> +<ul> +<li>Caley, R., <a href='#Page_102'>102</a>.</li> + +<li>Case, J., <a href='#Page_101'>101</a>.</li> + +<li>Caslon I., letterfounder, <a href='#Page_xiii'>xiii</a>, <a href='#Page_239'><b>239</b></a> <i>sq.</i>, <a href='#Page_269'>269</a>;</li> +<li><span style="margin-left: 1em;">his widow, <a href='#Page_270'>270</a>.</span></li> + +<li>Caslon II., letterfounder, <a href='#Page_269'><b>269</b></a>, <a href='#Page_287'>287</a>;</li> +<li><span style="margin-left: 1em;">his widow, <a href='#Page_270'>270</a>, <a href='#Page_287'><b>287</b></a>.</span></li> + +<li>Caslon III., letterfounder, <a href='#Page_269'>269</a>.</li> + +<li>Cater, E., <a href='#Page_101'>101</a>.</li> + +<li>Catherwood, N., typefounder, <a href='#Page_287'>287</a>.</li> + +<li>Cawood, Gabriel, <a href='#Page_112'>112</a>.</li> + +<li>Cawood, John, <a href='#Page_83'>83</a>, <a href='#Page_101'>101</a>, <a href='#Page_109'><b>109</b></a> <i>sq.</i></li> + +<li>Caxton, William, <a href='#Page_ix'>ix</a>, <a href='#Page_1'><b>1</b></a> <i>sq.</i>, <a href='#Page_33'>33</a>, <a href='#Page_57'>57</a>.</li> + +<li>Chandeler, G., <a href='#Page_102'>102</a>.</li> + +<li>Chandler, R., <a href='#Page_255'>255</a>.</li> + +<li>Charlewood, J., <a href='#Page_102'>102</a>.</li> + +<li>Charteris, H., <a href='#Page_144'>144</a>, <a href='#Page_149'><b>149</b></a> <i>sq.</i></li> + +<li>Charteris, Robert, <a href='#Page_151'>151</a>.</li> + +<li>Chase, W., <a href='#Page_250'>250</a>.</li> + +<li>Chepman, Walter, <a href='#Page_139'>139</a> <i>sq.</i></li> + +<li>Child, Mr., <a href='#Page_225'>225</a>.</li> + +<li>Chiswick Press, <a href='#Page_xii'>xii</a>, <a href='#Page_xiii'>xiii</a>, <a href='#Page_300'>300</a>.</li> + +<li>Clarendon Press, <a href='#Page_xiii'>xiii</a>, <a href='#Page_214'>214</a>, <a href='#Page_307'>307</a>.</li> + +<li>Clark, Messrs. R. and R., <a href='#Page_311'>311</a>.</li> + +<li>Clarke, J., <a href='#Page_101'>101</a>.</li> + +<li>Clarke, Mrs., <a href='#Page_233'>233</a>.</li> + +<li>Clay, Messrs., <a href='#Page_307'>307</a>.</li> + +<li>Cleston, N., <a href='#Page_101'>101</a>.</li> + +<li>Clowes, John, <a href='#Page_189'>189</a>, <a href='#Page_222'>222</a>.</li> + +<li>Clowes, William, <a href='#Page_297'>297</a> <i>sq.</i></li> + +<li>Coates. <i>See</i> Cotes, R.</li> + +<li>Coe, A., <a href='#Page_222'>222</a>, <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li>Cole, P., <a href='#Page_222'>222</a>.</li> + +<li>Coles, A., <a href='#Page_222'>222</a>.</li> + +<li>Collins, Freeman, <a href='#Page_250'>250</a>.</li> + +<li>Constable, R., <a href='#Page_222'>222</a>.</li> + +<li>Constable, T., <a href='#Page_310'>310</a>.</li> + +<li>Cooke, Henry, <a href='#Page_83'>83</a>, <a href='#Page_101'>101</a>.</li> + +<li>Cooke, W., <a href='#Page_101'>101</a>.</li> + +<li>Copland, Robert, <a href='#Page_37'>37</a>, <a href='#Page_47'><b>47</b></a> <i>sq.</i>, <a href='#Page_61'>61</a></li> + +<li>Copland, William, <a href='#Page_76'>76</a>, <a href='#Page_101'>101</a>.</li> + +<li>Corrall, C., <a href='#Page_301'>301</a>.</li> + +<li>Coston, S., <a href='#Page_101'>101</a>.</li> + +<li>Cotes, R., <a href='#Page_222'>222</a>.</li> + +<li>Cotes, T., <a href='#Page_179'>179</a>, <a href='#Page_182'>182</a>.</li> + +<li>Cotes, Mrs., <a href='#Page_224'>224</a>, <a href='#Page_226'>226</a>.</li> + +<li>Cottesford, H., <a href='#Page_101'>101</a>.</li> + +<li>Cottrel, J., <a href='#Page_200'>200</a>, <a href='#Page_222'>222</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Cottrell, Thomas, typefounder, <a href='#Page_270'>270</a>.</li> + +<li>Cowper, E., <a href='#Page_285'>285</a>.</li> + +<li>Crespin, J., <a href='#Page_147'>147</a>.</li> + +<li>Croke, A., <a href='#Page_101'>101</a>.</li> + +<li>Crosse, R., <a href='#Page_101'>101</a>.</li> + +<li>Crossgrove, H., <a href='#Page_250'>250</a>.</li> + +<li>Crost, A., <a href='#Page_101'>101</a>.</li> + +<li>Crouch, E., <a href='#Page_222'>222</a>.</li> + +<li>Crouch, J., <a href='#Page_222'>222</a>.</li> + +<li>Crouch, N., <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li>Crowndale, C., <a href='#Page_248'>248</a>.</li> +</ul> +<ul> +<li>Dabbe, H. <i>See</i> Tab, H.</li> + +<li>Daniel, R., <a href='#Page_216'>216</a>.</li> + +<li>Darby, J., <a href='#Page_209'>209</a>, <a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>.</li> + +<li>Darker, S., <a href='#Page_251'>251</a>.</li> + +<li>Davidson, T., <a href='#Page_142'>142</a>.</li> + +<li>Davison, T., <a href='#Page_292'><b>292</b></a>, <a href='#Page_293'>293</a>.</li> + +<li>Davy, Rev. William (private press), <a href='#Page_281'>281</a>.</li> + +<li><span class='pagenum'><a name="Page_325" id="Page_325">[Pg 325]</a></span>Dawson, Gertrude, <a href='#Page_194'>194</a>, <a href='#Page_222'>222</a>.</li> + +<li>Dawson, J., <a href='#Page_179'>179</a>, <a href='#Page_194'>194</a>.</li> + +<li>Day, John, <a href='#Page_29'>29</a>, <a href='#Page_79'><b>79</b></a> <i>sq.</i>, <a href='#Page_101'>101</a>, <a href='#Page_106'>106</a>, <a href='#Page_137'>137</a>, <a href='#Page_154'>154</a>, <a href='#Page_158'>158</a>, <a href='#Page_198'>198</a>, <a href='#Page_211'>211</a>.</li> + +<li>Day, Stephen, <a href='#Page_185'>185</a>.</li> + +<li>Devell, T., <a href='#Page_101'>101</a>.</li> + +<li>De Vinne, F., <a href='#Page_311'>311</a>.</li> + +<li>Dexter, Gregory, <a href='#Page_175'>175</a>.</li> + +<li>Dicey, W., <a href='#Page_251'>251</a>.</li> + +<li>Dockwray, T., <a href='#Page_101'>101</a>.</li> + +<li>Doesborch, J. van, <a href='#Page_57'>57</a>.</li> + +<li>Dover, Simon, <a href='#Page_206'>206</a>.</li> + +<li>Drury, J., typefounder, <a href='#Page_287'>287</a>.</li> + +<li>Dugard, William, <a href='#Page_191'><b>191</b></a>, <a href='#Page_222'>222</a>.</li> + +<li>Duxwell, T., <a href='#Page_101'>101</a>.</li> +</ul> +<ul> +<li>East, T., <a href='#Page_165'><b>165</b></a>, <a href='#Page_169'>169</a>.</li> + +<li>Eld, George, <a href='#Page_169'>169</a>.</li> + +<li>Ellis, W., <a href='#Page_222'>222</a>.</li> + +<li>Eyre, Charles, <a href='#Page_294'>294</a>.</li> + +<li>Eyre and Spottiswoode, <a href='#Page_293'>293</a>.</li> +</ul> +<ul> +<li>Faques, R. <i>See</i> Fawkes, R.</li> + +<li>Faques, W., <a href='#Page_40'>40</a>, <a href='#Page_44'><b>44</b></a>.</li> + +<li>Farley, Edward, <a href='#Page_253'>253</a>.</li> + +<li>Farley, Samuel, of Bristol, <a href='#Page_251'>251</a>;</li> +<li><span style="margin-left: 1em;">of Exeter, <a href='#Page_251'>251</a> <i>sq.</i></span></li> + +<li>Farmer, Thomas, <a href='#Page_278'><b>278</b></a>, <a href='#Page_280'>280</a>.</li> + +<li>Fawcett, Rev. John (private press), <a href='#Page_280'>280</a>.</li> + +<li>Fawcett, T., <a href='#Page_172'>172</a>.</li> + +<li>Fawkes, R., <a href='#Page_45'><b>45</b></a>, <a href='#Page_58'>58</a>.</li> + +<li>Fayreberne, J., <a href='#Page_101'>101</a>.</li> + +<li>Field, John, <a href='#Page_194'>194</a>, <a href='#Page_222'>222</a>, <a href='#Page_224'>224</a>.</li> + +<li>Field, Richard, <a href='#Page_117'><b>117</b></a> <i>sq.</i>, <a href='#Page_162'>162</a>.</li> + +<li>Fifield, Alexander, typefounder, <a href='#Page_180'>180</a>.</li> + +<li>Figgins, V., typefounder, <a href='#Page_272'>272</a>.</li> + +<li>Fleet, Thomas, <a href='#Page_259'>259</a>.</li> + +<li>Flessher. <i>See</i> Fletcher.</li> + +<li>Fletcher, James, <a href='#Page_194'>194</a>, <a href='#Page_197'>197</a>, <a href='#Page_206'>206</a>, <a href='#Page_209'>209</a>, <a href='#Page_222'>222</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Fletcher, Rev. John (private press), <a href='#Page_281'>281</a>.</li> + +<li>Fletcher, Miles, <a href='#Page_169'>169</a>, <a href='#Page_170'>170</a>, <a href='#Page_179'>179</a>, <a href='#Page_194'>194</a>, <a href='#Page_237'>237</a>.</li> + +<li>Foster, John, <a href='#Page_220'>220</a>.</li> + +<li>Foulis, A. and R., <a href='#Page_261'>261</a> <i>sq.</i></li> + +<li>Fowle, D., <a href='#Page_260'>260</a>.</li> + +<li>Fox, John, <a href='#Page_101'>101</a>.</li> + +<li>Franklin, B., <a href='#Page_258'>258</a>.</li> + +<li>Franckton, J., <a href='#Page_152'>152</a>.</li> + +<li>Freez, F., <a href='#Page_122'>122</a>.</li> + +<li>Frenche, P., <a href='#Page_101'>101</a>.</li> + +<li>Fry, Edmund, Henry, and Joseph, typefounders, <a href='#Page_268'>268</a> <i>sq.</i></li> +</ul> +<ul> +<li>Gamlyn or Gammon, A., <a href='#Page_101'>101</a>.</li> + +<li>Gammon. <i>See</i> Gamlyn.</li> + +<li>Ged, William, stereotype founder, <a href='#Page_235'>235</a>.</li> + +<li>Gee, Thomas, <a href='#Page_101'>101</a>.</li> + +<li>Gent, Thomas, <a href='#Page_246'>246</a>, <a href='#Page_254'><b>254</b></a> <i>sq.</i></li> + +<li>Gibson, Thomas, <a href='#Page_65'>65</a>, <a href='#Page_79'>79</a>.</li> + +<li>Gilbert, Richard and Robert, <a href='#Page_296'>296</a>.</li> + +<li>Gilbert and Rivington, <a href='#Page_295'>295</a>.</li> + +<li>Gilfillan, J., <a href='#Page_255'>255</a>.</li> + +<li>Glover, Joseph, <a href='#Page_185'>185</a>.</li> + +<li>Godbid, William, <a href='#Page_200'>200</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Goez, H., <a href='#Page_122'>122</a>.</li> + +<li>Goez, M. van der, <a href='#Page_122'>122</a>.</li> + +<li>Gonneld, James, <a href='#Page_101'>101</a>.</li> + +<li>Gough, John, <a href='#Page_37'>37</a>, <a href='#Page_53'>53</a>, <a href='#Page_54'><b>54</b></a> <i>sq.</i>, <a href='#Page_60'>60</a>, <a href='#Page_101'>101</a>.</li> + +<li>Grafton, Richard, <a href='#Page_66'>66</a>, <a href='#Page_70'><b>70</b></a> <i>sq.</i>, <a href='#Page_73'>73</a>, <a href='#Page_76'>76</a>, <a href='#Page_113'>113</a>.</li> + +<li>Green, S., <a href='#Page_219'>219</a>.</li> + +<li>Green, S., the younger, <a href='#Page_220'>220</a>.</li> + +<li>Grene, R., <a href='#Page_101'>101</a>.</li> + +<li>Griffin. <i>See</i> Griffith, E.</li> + +<li>Griffith, E., <a href='#Page_170'>170</a>, <a href='#Page_179'>179</a>, <a href='#Page_222'>222</a>.</li> + +<li>Griffith, W., <a href='#Page_90'>90</a>, <a href='#Page_101'>101</a>, <a href='#Page_138'>138</a>.</li> + +<li>Grismand, J., typefounder, <a href='#Page_180'>180</a>, <a href='#Page_194'>194</a>, <a href='#Page_200'>200</a>, <a href='#Page_222'>222</a>.</li> + +<li>Grismond. <i>See</i> Grismand.</li> + +<li>Grover, James, <a href='#Page_211'>211</a>.</li> + +<li>Grover, T., <a href='#Page_211'>211</a>, <a href='#Page_212'>212</a>.</li> + +<li>Gryffyth, Sarah, <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li><span class='pagenum'><a name="Page_326" id="Page_326">[Pg 326]</a></span>Guine, H., <a href='#Page_257'>257</a>.</li> +</ul> +<ul> +<li>Hacket, Thomas, <a href='#Page_102'>102</a>.</li> + +<li>Hall, H., <a href='#Page_222'>222</a>.</li> + +<li>Hamilton, A., <a href='#Page_275'>275</a>.</li> + +<li>Hare, A., <a href='#Page_222'>222</a>.</li> + +<li>Harper, Thomas, <a href='#Page_169'>169</a>, <a href='#Page_179'>179</a>, <a href='#Page_192'>192</a>, <a href='#Page_194'>194</a>, <a href='#Page_222'>222</a>.</li> + +<li>Harris, B., <a href='#Page_220'>220</a>.</li> + +<li>Harrison, John, <a href='#Page_108'>108</a>.</li> + +<li>Harrison, Luke, <a href='#Page_108'>108</a>.</li> + +<li>Harrison, Martha, <a href='#Page_222'>222</a>.</li> + +<li>Harrison, R., <a href='#Page_101'>101</a>.</li> + +<li>Harvey, R., <a href='#Page_101'>101</a>.</li> + +<li>Haviland, John, <a href='#Page_166'>166</a>, <a href='#Page_170'>170</a>, <a href='#Page_179'>179</a>.</li> + +<li>Hayes, J., <a href='#Page_200'>200</a>, <a href='#Page_202'>202</a>, <a href='#Page_208'>208</a>.</li> + +<li>Hayes, Mr., <a href='#Page_225'>225</a>.</li> + +<li>Heldersham, F., <a href='#Page_222'>222</a>.</li> + +<li>Herford, John, <a href='#Page_127'>127</a> <i>sq.</i></li> + +<li>Heron, John, <a href='#Page_53'>53</a>.</li> + +<li>Hester, Andrew, <a href='#Page_101'>101</a>.</li> + +<li>Hills, Henry, <a href='#Page_194'>194</a>, <a href='#Page_222'>222</a>.</li> + +<li>Hinton, Thomas, <a href='#Page_251'>251</a>.</li> + +<li>Hodge, Robert, <a href='#Page_257'>257</a>.</li> + +<li>Hodgkinson, R., <a href='#Page_179'>179</a>, <a href='#Page_195'><b>195</b></a>, <a href='#Page_200'>200</a>, <a href='#Page_224'>224</a>.</li> + +<li>Hodgkys. <i>See</i> Hoskins.</li> + +<li>Holder, R., <a href='#Page_101'>101</a>.</li> + +<li>Holt, J., <a href='#Page_257'>257</a>.</li> + +<li>Holyland, J., <a href='#Page_101'>101</a>.</li> + +<li>Hopyl, W., <a href='#Page_43'>43</a>.</li> + +<li>Hoskins or Hodgkys, <a href='#Page_139'>139</a>.</li> + +<li>Hostingue, L., <a href='#Page_140'>140</a>.</li> + +<li>Huke, G., <a href='#Page_101'>101</a>.</li> + +<li>Hunscott, J., <a href='#Page_222'>222</a>.</li> + +<li>Hunt, J., <a href='#Page_222'>222</a>.</li> + +<li>Hunt, T., <a href='#Page_24'>24</a>.</li> + +<li>Hurdis, Rev. J. (private press), <a href='#Page_281'>281</a>.</li> + +<li>Husbands, E., <a href='#Page_222'>222</a>.</li> + +<li>Huvin, J., <a href='#Page_30'>30</a>.</li> + +<li>Hyll, J., <a href='#Page_101'>101</a>.</li> + +<li>Hyll, R., <a href='#Page_101'>101</a>.</li> + +<li>Hyll, W., <a href='#Page_101'>101</a>.</li> +</ul> +<ul> +<li>Ibbitson, Robert, <a href='#Page_189'>189</a>, <a href='#Page_200'>200</a>, <a href='#Page_222'>222</a>.</li> + +<li>Ireland, R., <a href='#Page_101'>101</a>.</li> + +<li>Islip, A., <a href='#Page_179'>179</a>.</li> +</ul> +<ul> +<li>Jackson, Joseph, typefounder, <a href='#Page_270'>270</a> <i>sq.</i></li> + +<li>Jacobi, T., <a href='#Page_43'>43</a>.</li> + +<li>Jaggard, Isaac, <a href='#Page_163'>163</a>.</li> + +<li>Jaggard, William, <a href='#Page_163'>163</a>.</li> + +<li>James, J., <a href='#Page_212'>212</a>.</li> + +<li>James, T., letterfounder, <a href='#Page_229'><b>229</b></a> <i>sq.</i>, <a href='#Page_235'>235</a>, <a href='#Page_239'>239</a>.</li> + +<li>Jaques, J., <a href='#Page_102'>102</a>.</li> + +<li>Johnson, M., <a href='#Page_219'>219</a>.</li> + +<li>Johnson, T., <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li>Jones, William, <a href='#Page_173'><b>173</b></a> <i>sq.</i>, <a href='#Page_180'>180</a>.</li> + +<li>Judson, J., <a href='#Page_102'>102</a>.</li> + +<li>Jugge, Richard, <a href='#Page_97'>97</a>, <a href='#Page_102'>102</a>, <a href='#Page_111'>111</a>, <a href='#Page_112'><b>112</b></a> <i>sq.</i>, <a href='#Page_147'>147</a>.</li> +</ul> +<ul> +<li>Keball, J., <a href='#Page_102'>102</a>.</li> + +<li>Keimer, S., <a href='#Page_258'>258</a>.</li> + +<li>Kele, John, <a href='#Page_102'>102</a>.</li> + +<li>Kele, Richard, <a href='#Page_60'>60</a>, <a href='#Page_75'><b>75</b></a>, <a href='#Page_133'>133</a>.</li> + +<li>Kele, Thomas, <a href='#Page_53'>53</a>, <a href='#Page_76'>76</a>.</li> + +<li>Kelmscott Press, <a href='#Page_xiii'>xiii</a>, <a href='#Page_311'><b>311</b></a> <i>sq.</i></li> + +<li>Kerver, Theilman, <a href='#Page_47'>47</a>.</li> + +<li>Kevall, R., <a href='#Page_102'>102</a>.</li> + +<li>Kevall, Stephen, <a href='#Page_102'>102</a>.</li> + +<li>Kingston, Felix, <a href='#Page_162'>162</a>, <a href='#Page_179'>179</a>.</li> + +<li>Kirgate, Thomas, <a href='#Page_278'>278</a>.</li> + +<li>Kneeland, S., <a href='#Page_259'>259</a>.</li> + +<li>Kyng, J., <a href='#Page_102'>102</a>.</li> + +<li>Kyrforth, C, <a href='#Page_124'>124</a>.</li> +</ul> +<ul> +<li>Lacy, ——, <a href='#Page_137'>137</a>.</li> + +<li>Lant, R., <a href='#Page_76'>76</a>, <a href='#Page_102'>102</a>.</li> + +<li>Law, Henry, <a href='#Page_296'>296</a>.</li> + +<li>Leach, Thomas, <a href='#Page_209'>209</a>, <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li>Lee, W., <a href='#Page_222'>222</a>.</li> + +<li>Legate, John, <a href='#Page_135'><b>135</b></a> <i>sq.</i>, <a href='#Page_179'>179</a>.</li> + +<li>Legg. <i>See</i> Legge, C.</li> + +<li>Legge, Cantrell, <a href='#Page_136'><b>136</b></a>, <a href='#Page_168'>168</a>.</li> + +<li>Lekpreuik, R., <a href='#Page_143'>143</a> <i>sq.</i></li> + +<li>Lettou, John, <a href='#Page_11'>11</a>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_27'>27</a>.</li> + +<li><span class='pagenum'><a name="Page_327" id="Page_327">[Pg 327]</a></span>Leyborne, R., <a href='#Page_222'>222</a>, <a href='#Page_225'>225</a>.</li> + +<li>Leybourne. <i>See</i> Leyborne, R.</li> + +<li>Lichfield, John, <a href='#Page_183'>183</a>.</li> + +<li>Lichfield, Leonard, <a href='#Page_184'><b>184</b></a>, <a href='#Page_223'>223</a>.</li> + +<li>Lillicrapp, P., <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li>Lillicropp. <i>See</i> Lillicrapp.</li> + +<li>Lloyd, H., <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li>Lobel, M., <a href='#Page_102'>102</a>.</li> + +<li>Lownes, H., <a href='#Page_167'>167</a>.</li> + +<li>Lownes, M., <a href='#Page_167'>167</a>.</li> + +<li>Lucas, M., <a href='#Page_176'>176</a>.</li> + +<li>Lyon, B., <a href='#Page_250'>250</a>.</li> +</ul> +<ul> +<li>Mabb, Thomas, <a href='#Page_200'>200</a>, <a href='#Page_205'>205</a>, <a href='#Page_223'>223</a>.</li> + +<li>Maclehose, Messrs., <a href='#Page_311'>311</a>.</li> + +<li>Machlinia, W. de, <a href='#Page_27'><b>27</b></a>, <a href='#Page_29'>29</a>.</li> + +<li>Macmillan, Messrs., <a href='#Page_xiii'>xiii</a>.</li> + +<li>Mansion, Colard, <a href='#Page_4'>4</a>, <a href='#Page_6'>6</a>, <a href='#Page_10'>10</a>.</li> + +<li>Markall, T., <a href='#Page_102'>102</a>.</li> + +<li>Marsh, Thomas, <a href='#Page_97'>97</a>, <a href='#Page_102'>102</a>.</li> + +<li>Marshall, John, <a href='#Page_295'>295</a>.</li> + +<li>Marten, W., <a href='#Page_102'>102</a>.</li> + +<li>Martin, William, typefounder, <a href='#Page_273'>273</a>.</li> + +<li>Mathewes, Augustine, <a href='#Page_173'>173</a>, <a href='#Page_180'>180</a>.</li> + +<li>Maxey, John, <a href='#Page_192'>192</a>.</li> + +<li>Maxey, T., <a href='#Page_223'>223</a>.</li> + +<li>Maxwell, Mr., <a href='#Page_227'>227</a>.</li> + +<li>Maxwell, Anne, <a href='#Page_224'>224</a>.</li> + +<li>Maxwell, D., <a href='#Page_200'>200</a>.</li> + +<li>Maycock, J., <a href='#Page_209'>209</a>, <a href='#Page_223'>223</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Mayhewes, W., <a href='#Page_53'>53</a>.</li> + +<li>Mayler, J., <a href='#Page_76'>76</a>.</li> + +<li>Maynyal, George, <a href='#Page_16'>16</a>.</li> + +<li>Meredith, C., <a href='#Page_223'>223</a>.</li> + +<li>Meredith, H., <a href='#Page_258'>258</a>.</li> + +<li>Meteren, J. van, <a href='#Page_72'>72</a>.</li> + +<li>Middleton, ——, <a href='#Page_76'>76</a>.</li> + +<li>Middleton, W., <a href='#Page_68'>68</a>.</li> + +<li>Milbourne, T., <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Miller, A., <a href='#Page_223'>223</a>.</li> + +<li>Miller, G., <a href='#Page_179'>179</a>.</li> + +<li>Milner, Ursyn, <a href='#Page_123'>123</a>.</li> + +<li>Moravus, Matthew, <a href='#Page_26'>26</a>.</li> + +<li>Mosley, E., <a href='#Page_296'>296</a>.</li> + +<li>Mottershead, E., <a href='#Page_223'>223</a>.</li> + +<li>Moxon, James, typefounder, <a href='#Page_194'>194</a>.</li> + +<li>Moxon, Joseph, typefounder, <a href='#Page_210'>210</a>, <a href='#Page_223'>223</a>.</li> + +<li>Mychell, John, <a href='#Page_75'>75</a>, <a href='#Page_132'>132</a>.</li> + +<li>Myllar, A., <a href='#Page_139'>139</a> <i>sq.</i></li> +</ul> +<ul> +<li>Neale, F., <a href='#Page_223'>223</a>.</li> + +<li>Newbery, R., <a href='#Page_120'>120</a>, <a href='#Page_155'>155</a>.</li> + +<li>Newcomb, T., <a href='#Page_194'><b>194</b></a> <i>sq.</i>, <a href='#Page_209'>209</a>, <a href='#Page_223'>223</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Nichols, Arthur, typefounder, <a href='#Page_180'>180</a>.</li> + +<li>Nichols, John, <a href='#Page_289'>289</a> <i>sq.</i></li> + +<li>Nichols, J. Bowyer, <a href='#Page_292'>292</a>.</li> + +<li>Nichols, J. Gough, <a href='#Page_292'>292</a>.</li> + +<li>Norton, Bonham, <a href='#Page_75'>75</a>, <a href='#Page_155'>155</a>, <a href='#Page_161'><b>161</b></a> <i>sq.</i>, <a href='#Page_169'>169</a>.</li> + +<li>Norton, H., <a href='#Page_102'>102</a>.</li> + +<li>Norton, John, <a href='#Page_155'>155</a>, <a href='#Page_158'><b>158</b></a> <i>sq.</i>, <a href='#Page_180'>180</a>, <a href='#Page_194'>194</a>.</li> + +<li>Norton, Mark, <a href='#Page_112'>112</a>.</li> + +<li>Norton, Roger, <a href='#Page_194'>194</a>, <a href='#Page_197'>197</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Norton, William, <a href='#Page_75'>75</a>, <a href='#Page_102'>102</a>.</li> + +<li>Notary, Julian, <a href='#Page_30'><b>30</b></a>, <a href='#Page_32'>32</a>, <a href='#Page_37'><b>37</b></a>.</li> + +<li>Nuthead, W., <a href='#Page_221'>221</a>.</li> + +<li>Nutt, R., <a href='#Page_212'>212</a>.</li> +</ul> +<ul> +<li>Oakes, E., <a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>.</li> + +<li>Okes, J., <a href='#Page_172'>172</a>, <a href='#Page_182'>182</a>.</li> + +<li>Okes, Nicholas, <a href='#Page_167'>167</a>, <a href='#Page_172'>172</a>, <a href='#Page_180'>180</a></li> + +<li>Oporinus, ——, <a href='#Page_86'>86</a>.</li> + +<li>Os, Godfried van, <a href='#Page_22'>22</a>.</li> + +<li>Oswen, John, <a href='#Page_131'>131</a> <i>sq.</i></li> + +<li>Oulton, Richard, <a href='#Page_182'>182</a>.</li> + +<li>Ouseley, Mr., <a href='#Page_225'>225</a>.</li> + +<li>Overton, J., <a href='#Page_130'>130</a>.</li> +</ul> +<ul> +<li>Paget, R., <a href='#Page_102'>102</a>.</li> + +<li>Paine. <i>See</i> Payne, T.</li> + +<li>Palmer, Samuel, <a href='#Page_240'>240</a>.</li> + +<li>Parker, J., <a href='#Page_257'>257</a>.</li> + +<li>Parker, P., <a href='#Page_210'>210</a>.</li> + +<li>Parker, Thomas, <a href='#Page_102'>102</a>.</li> + +<li>Parsons, M., <a href='#Page_179'>179</a>, <a href='#Page_180'>180</a>.</li> + +<li>Partridge, J., <a href='#Page_223'>223</a>.</li> + +<li>Pattenson, Thomas, <a href='#Page_102'>102</a>.</li> + +<li><span class='pagenum'><a name="Page_328" id="Page_328">[Pg 328]</a></span>Payne, T., <a href='#Page_223'>223</a>.</li> + +<li>Pelgrim, J., <a href='#Page_43'>43</a>.</li> + +<li>Pepwell, Henry, <a href='#Page_37'>37</a>, <a href='#Page_43'><b>43</b></a>, <a href='#Page_49'>49</a>, <a href='#Page_75'>75</a>, <a href='#Page_129'>129</a>.</li> + +<li>Petit, T., <a href='#Page_66'>66</a>, <a href='#Page_76'>76</a>.</li> + +<li>Pickering, W., <a href='#Page_102'>102</a>.</li> + +<li>Pierce, R., <a href='#Page_220'>220</a>.</li> + +<li>Pigouchet, F., <a href='#Page_60'>60</a>, <a href='#Page_140'>140</a>.</li> + +<li>Playford, J., <a href='#Page_223'>223</a>.</li> + +<li>Powell, H., <a href='#Page_102'>102</a>, <a href='#Page_151'><b>151</b></a> <i>sq.</i></li> + +<li>Powell, Thomas, <a href='#Page_63'>63</a>, <a href='#Page_102'>102</a>.</li> + +<li>Powell, W., <a href='#Page_68'>68</a>, <a href='#Page_102'>102</a>.</li> + +<li>Purfoot, T., <a href='#Page_98'>98</a>, <a href='#Page_102'>102</a>, <a href='#Page_179'>179</a>.</li> + +<li>Purslowe, Elizabeth, <a href='#Page_182'>182</a>, <a href='#Page_194'>194</a>, <a href='#Page_223'>223</a>, <a href='#Page_227'>227</a>.</li> + +<li>Purslowe, G., <a href='#Page_170'>170</a>, <a href='#Page_179'>179</a>.</li> + +<li>Purslowe, Thomas, <a href='#Page_175'>175</a>, <a href='#Page_179'>179</a>, <a href='#Page_180'>180</a>, <a href='#Page_194'>194</a>, <a href='#Page_224'>224</a>.</li> + +<li>Pynson, Richard, <a href='#Page_xi'>xi</a>, <a href='#Page_28'><b>28</b></a> <i>sq.</i>, <a href='#Page_39'><b>39</b></a> <i>sq.</i>, <a href='#Page_57'>57</a>, <a href='#Page_68'>68</a>.</li> +</ul> +<ul> +<li>Radborne, R., <a href='#Page_102'>102</a>.</li> + +<li>Raikes, Robert, <a href='#Page_251'>251</a>.</li> + +<li>Rastell, John, <a href='#Page_xi'>xi</a>, <a href='#Page_51'><b>51</b></a> <i>sq.</i>, <a href='#Page_74'>74</a>, <a href='#Page_76'>76</a>.</li> + +<li>Rastell, W., <a href='#Page_110'>110</a>.</li> + +<li>Ratcliffe, T., <a href='#Page_223'>223</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Rawlins, William, <a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>.</li> + +<li>Raworth, John, <a href='#Page_179'>179</a>.</li> + +<li>Raworth, Richard, <a href='#Page_176'>176</a>, <a href='#Page_180'>180</a>.</li> + +<li>Raworth, Ruth, <a href='#Page_176'>176</a>, <a href='#Page_191'>191</a>, <a href='#Page_223'>223</a>.</li> + +<li>Redman, Elizabeth, <a href='#Page_68'>68</a>.</li> + +<li>Redman, John, <a href='#Page_224'>224</a>, <a href='#Page_227'>227</a>.</li> + +<li>Redman, Robert, <a href='#Page_66'>66</a>, <a href='#Page_67'><b>67</b></a> <i>sq.</i></li> + +<li>Regnault, F., <a href='#Page_72'>72</a>.</li> + +<li>Reynes, John, <a href='#Page_109'>109</a>.</li> + +<li>Reynes, Lucy, <a href='#Page_109'>109</a>.</li> + +<li>Richardson, R., <a href='#Page_102'>102</a>.</li> + +<li>Richardson, Samuel, <a href='#Page_241'>241</a> <i>sq.</i></li> + +<li>Richel, Wendelin, <a href='#Page_86'>86</a>.</li> + +<li>Riverside Press, <a href='#Page_311'>311</a>.</li> + +<li>Rivington, Messrs., <a href='#Page_246'>246</a>, <a href='#Page_295'>295</a> <i>sq.</i></li> + +<li>Roberts, J., <a href='#Page_97'>97</a>, <a href='#Page_154'>154</a>.</li> + +<li>Robinson, William, <a href='#Page_277'>277</a>.</li> + +<li>Roger, G., <a href='#Page_260'>260</a>.</li> + +<li>Rogers, J., <a href='#Page_102'>102</a>.</li> + +<li>Rogers, O., <a href='#Page_102'>102</a>.</li> + +<li>Rood, Theodoric, <a href='#Page_24'>24</a>.</li> + +<li>Ross, J., <a href='#Page_148'>148</a>.</li> + +<li>Ross, T., <a href='#Page_223'>223</a>.</li> + +<li>Rothwell, J., <a href='#Page_223'>223</a>.</li> + +<li>Roycroft, Thomas, <a href='#Page_194'>194</a>, <a href='#Page_198'><b>198</b></a>, <a href='#Page_200'>200</a>, <a href='#Page_206'>206</a>, <a href='#Page_209'>209</a>, <a href='#Page_223'>223</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Royston, J., <a href='#Page_223'>223</a>.</li> + +<li>Royston, R., <a href='#Page_223'>223</a>.</li> + +<li>Rycharde, Dan Thomas, <a href='#Page_127'>127</a>.</li> + +<li>Ryddall, W., <a href='#Page_102'>102</a>.</li> +</ul> +<ul> +<li>Sawyer, T., <a href='#Page_102'>102</a>.</li> + +<li>Scolar, J., <a href='#Page_123'>123</a>, <a href='#Page_125'>125</a>.</li> + +<li>Scoloker, A., <a href='#Page_81'>81</a>, <a href='#Page_129'>129</a> <i>sq.</i></li> + +<li>Scot or Skot, John, <a href='#Page_142'>142</a> <i>sq.</i></li> + +<li>Seres, William, <a href='#Page_76'>76</a>, <a href='#Page_79'><b>79</b></a> <i>sq.</i>, <a href='#Page_102'>102</a>, <a href='#Page_130'>130</a>, <a href='#Page_154'>154</a>.</li> + +<li>Shereman, J., <a href='#Page_102'>102</a>.</li> + +<li>Sherewe, J., <a href='#Page_102'>102</a>.</li> + +<li>Shober, F., <a href='#Page_257'>257</a>.</li> + +<li>Short, J., <a href='#Page_183'>183</a>.</li> + +<li>Siberch, J., <a href='#Page_125'>125</a> <i>sq.</i></li> + +<li>Simmes, V., <a href='#Page_139'>139</a>.</li> + +<li>Simmons, Mathew, <a href='#Page_190'>190</a>, <a href='#Page_194'>194</a>, <a href='#Page_223'>223</a>, <a href='#Page_224'>224</a>, <a href='#Page_226'>226</a>.</li> + +<li>Singleton, H., <a href='#Page_102'>102</a>.</li> + +<li>Skot. <i>See</i> Scot, J.</li> + +<li>Skot, John, <a href='#Page_54'><b>54</b></a>, <a href='#Page_62'>62</a>.</li> + +<li>Smethwicke, J., <a href='#Page_163'>163</a>.</li> + +<li>Smith, H., <a href='#Page_68'>68</a>.</li> + +<li>Smyth, A., <a href='#Page_102'>102</a>.</li> + +<li>Smyth, R., <a href='#Page_151'>151</a>.</li> + +<li>Snodham, T., <a href='#Page_169'>169</a>.</li> + +<li>Solemne or Solempne, A. de, <a href='#Page_133'>133</a> <i>sq.</i></li> + +<li>Solempne. <i>See</i> Solemne, A.</li> + +<li>Sparke, Michael, <a href='#Page_173'>173</a>, <a href='#Page_174'>174</a>.</li> + +<li>Spottiswoode, A., <a href='#Page_295'>295</a>.</li> + +<li>Spylman, S., <a href='#Page_102'>102</a>.</li> + +<li>Stansby, W., <a href='#Page_165'><b>165</b></a>, <a href='#Page_170'>170</a>.</li> + +<li>Staples, A., <a href='#Page_255'>255</a>.</li> + +<li>Steward, W., <a href='#Page_102'>102</a>.</li> + +<li>Strahan, W., <a href='#Page_294'>294</a>.</li> + +<li><span class='pagenum'><a name="Page_329" id="Page_329">[Pg 329]</a></span>Streator, J., <a href='#Page_200'>200</a>, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Stroud, J., <a href='#Page_137'>137</a>.</li> + +<li>Sutton, E., <a href='#Page_102'>102</a>.</li> + +<li>Sutton, H., <a href='#Page_102'>102</a>.</li> + +<li>Symonds. <i>See</i> Simmons.</li> +</ul> +<ul> +<li>Tab, Henry, <a href='#Page_59'>59</a>.</li> + +<li>Tab, J., <a href='#Page_129'>129</a>.</li> + +<li>Talboys and Wheeler, <a href='#Page_301'>301</a>.</li> + +<li>Talleur, Le, <a href='#Page_29'>29</a>, <a href='#Page_41'>41</a>.</li> + +<li>Taverner, N., <a href='#Page_102'>102</a>.</li> + +<li>Taylor, William, <a href='#Page_175'>175</a>.</li> + +<li>Thomas, T., <a href='#Page_135'>135</a>.</li> + +<li>Thomlyn, A., <a href='#Page_139'>139</a>.</li> + +<li>Thompson, G., <a href='#Page_223'>223</a>.</li> + +<li>Tottell, Richard, <a href='#Page_97'>97</a>, <a href='#Page_102'>102</a>, <a href='#Page_110'>110</a>, <a href='#Page_113'><b>113</b></a> <i>sq.</i></li> + +<li>Tottell, W., <a href='#Page_116'>116</a>.</li> + +<li>Toye, Elizabeth, <a href='#Page_111'>111</a>.</li> + +<li>Toye, Robert, <a href='#Page_74'>74</a> <i>sq.</i>, <a href='#Page_83'>83</a>, <a href='#Page_111'>111</a>.</li> + +<li>Treveris, Peter, <a href='#Page_56'>56</a>.</li> + +<li>Turke, J., <a href='#Page_102'>102</a>.</li> + +<li>Turner, William, <a href='#Page_173'>173</a>, <a href='#Page_183'><b>183</b></a>.</li> + +<li>Twyn, John, <a href='#Page_205'>205</a>.</li> + +<li>Tyer, R., <a href='#Page_102'>102</a>.</li> + +<li>Tyler, E., <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>Tysdale, J., <a href='#Page_102'>102</a>.</li> + +<li>Tyton, F., <a href='#Page_223'>223</a>.</li> +</ul> +<ul> +<li>Urie, Robert, typefounder, <a href='#Page_262'>262</a>.</li> +</ul> +<ul> +<li>Vaughan, Mr., <a href='#Page_225'>225</a>.</li> + +<li>Vautrollier, Thomas, <a href='#Page_97'>97</a>, <a href='#Page_116'><b>116</b></a> <i>sq.</i>, <a href='#Page_150'>150</a>.</li> +</ul> +<ul> +<li>Waldegrave, Robert, <a href='#Page_138'>138</a>, <a href='#Page_149'>149</a>, <a href='#Page_150'><b>150</b></a>.</li> + +<li>Waley or Walley, C., <a href='#Page_102'>102</a>.</li> + +<li>Waley, J., <a href='#Page_102'>102</a>, <a href='#Page_110'>110</a>.</li> + +<li>Walkley, T., <a href='#Page_191'><b>191</b></a>, <a href='#Page_223'>223</a>.</li> + +<li>Wallys, R., <a href='#Page_102'>102</a>.</li> + +<li>Ward, Cæsar, <a href='#Page_255'>255</a>.</li> + +<li>Ward, Roger, <a href='#Page_98'>98</a>.</li> + +<li>Warren, Alice, <a href='#Page_195'>195</a>, <a href='#Page_200'>200</a>.</li> + +<li>Warren, Thomas, <a href='#Page_195'>195</a>, <a href='#Page_223'>223</a>.</li> + +<li>Warren, Mr., <a href='#Page_225'>225</a>.</li> + +<li>Watkins, Richard, <a href='#Page_97'>97</a>, <a href='#Page_154'>154</a>.</li> + +<li>Watts, J., <a href='#Page_239'>239</a>.</li> + +<li>Watts, W. M., <a href='#Page_296'>296</a>.</li> + +<li>Way, R., <a href='#Page_102'>102</a>.</li> + +<li>Wayland, John, <a href='#Page_102'>102</a>.</li> + +<li>Weyman, William, <a href='#Page_257'>257</a>.</li> + +<li>Whitchurch, Edward, <a href='#Page_70'>70</a>, <a href='#Page_73'>73</a>.</li> + +<li>White, Grace, <a href='#Page_254'>254</a>.</li> + +<li>White, John, <a href='#Page_254'><b>254</b></a>, <a href='#Page_255'>255</a>.</li> + +<li>White, John, jun., <a href='#Page_254'><b>254</b></a>, <a href='#Page_256'>256</a>.</li> + +<li>White, Robert, <a href='#Page_224'>224</a>, <a href='#Page_225'>225</a>.</li> + +<li>White, Thomas, <a href='#Page_301'>301</a>, <a href='#Page_303'>303</a>.</li> + +<li>Whitney, J., <a href='#Page_102'>102</a>.</li> + +<li>Whittingham, Charles, the elder, <a href='#Page_299'><b>299</b></a>, <a href='#Page_300'>300</a>.</li> + +<li>Whittingham, Charles, the younger, <a href='#Page_300'>300</a> <i>sq.</i></li> + +<li>Wilde, J., <a href='#Page_241'>241</a>.</li> + +<li>Wilkes, John (private press), <a href='#Page_279'>279</a>.</li> + +<li>Willison, D., <a href='#Page_310'>310</a>.</li> + +<li>Wilson, Dr. A., typefounder, <a href='#Page_263'>263</a>.</li> + +<li>Wilson, W., <a href='#Page_223'>223</a>.</li> + +<li>Windet, J., <a href='#Page_165'>165</a>.</li> + +<li>Winter, John, <a href='#Page_225'>225</a>, <a href='#Page_227'>227</a>.</li> + +<li>Wolfe, John, <a href='#Page_98'>98</a>, <a href='#Page_195'>195</a>.</li> + +<li>Wolfe, Reginald or Reyner, <a href='#Page_102'>102</a>, <a href='#Page_103'><b>103</b></a> <i>sq.</i></li> + +<li>Wolfgang, <a href='#Page_43'>43</a>.</li> + +<li>Wood, Mr., <a href='#Page_225'>225</a></li> + +<li>Woodcock, T., <a href='#Page_112'>112</a>.</li> + +<li>Woodfall, Henry, <a href='#Page_243'>243</a> <i>sq.</i></li> + +<li>Worde, Wynkyn de. <i>See</i> Wynkyn, Jan, de Worde.</li> + +<li>Wrench, W., <a href='#Page_183'>183</a>.</li> + +<li>Wright, J., <a href='#Page_223'>223</a>.</li> + +<li>Wright, Thomas, typefounder, <a href='#Page_180'>180</a>.</li> + +<li>Wright, W., <a href='#Page_223'>223</a>.</li> + +<li>Wyer, Robert, <a href='#Page_xi'>xi</a>, <a href='#Page_47'>47</a>, <a href='#Page_57'><b>57</b></a> <i>sq.</i>, <a href='#Page_76'>76</a>, <a href='#Page_102'>102</a>.</li> + +<li>Wynkyn, Jan, de Worde, <a href='#Page_4'>4</a>, <a href='#Page_16'>16</a>, <a href='#Page_17'>17</a>, <a href='#Page_18'>18</a>, <a href='#Page_20'><b>20</b></a> <i>sq.</i>, <a href='#Page_31'><b>31</b></a> <i>sq.</i>, <a href='#Page_47'>47</a>, <a href='#Page_54'>54</a>, <a href='#Page_68'>68</a>, <a href='#Page_69'>69</a>, <a href='#Page_140'>140</a>, <a href='#Page_211'>211</a>.</li> +</ul> +<ul> +<li>Young, R., <a href='#Page_170'>170</a>.</li> +</ul> +<ul> +<li>Zenger, J. P., <a href='#Page_257'>257</a>.</li> +</ul> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_330" id="Page_330">[Pg 330]</a></span></p> +<h2>INDEX TO PLACES</h2> + + +<ul> +<li>Abingdon, <a href='#Page_125'>125</a>.</li> + +<li>America, <a href='#Page_219'><b>219</b></a> <i>sq.</i>, <a href='#Page_256'><b>256</b></a>, <a href='#Page_311'><b>311</b></a>.</li> + +<li>Antwerp, <a href='#Page_16'>16</a>, <a href='#Page_57'>57</a>, <a href='#Page_72'>72</a>, <a href='#Page_122'>122</a>.</li> +</ul> +<ul> +<li>Basle, <a href='#Page_86'>86</a>.</li> + +<li>Birmingham, <a href='#Page_256'>256</a>.</li> + +<li>Bishopstone, Sussex, <a href='#Page_281'>281</a>.</li> + +<li>Boston, Mass., <a href='#Page_220'>220</a>, <a href='#Page_259'>259</a>.</li> + +<li>Brearley Hall, <a href='#Page_280'>280</a>.</li> + +<li>Bristol, <a href='#Page_129'>129</a>, <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a>, <a href='#Page_250'>250</a>, <a href='#Page_268'>268</a>.</li> + +<li>Bruges, <a href='#Page_4'>4</a>, <a href='#Page_7'>7</a>.</li> + +<li>Bungay, co. Suffolk, <a href='#Page_307'>307</a>.</li> +</ul> +<ul> +<li>Cambridge, <a href='#Page_10'>10</a>, <a href='#Page_125'><b>125</b></a> <i>sq.</i>, <a href='#Page_135'><b>135</b></a> <i>sq.</i>, <a href='#Page_216'>216</a>, <a href='#Page_222'>222</a>, <a href='#Page_236'>236</a>, <a href='#Page_248'><b>248</b></a>.</li> + +<li>Cambridge, Mass., <a href='#Page_219'>219</a>, <a href='#Page_311'>311</a>.</li> + +<li>Canterbury, <a href='#Page_75'>75</a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_253'>253</a>.</li> + +<li>Chester, <a href='#Page_256'>256</a>.</li> + +<li>Cirencester, <a href='#Page_251'>251</a>.</li> + +<li>Cologne, <a href='#Page_4'>4</a>, <a href='#Page_6'>6</a>, <a href='#Page_24'>24</a>, <a href='#Page_25'>25</a>.</li> + +<li>Coventry, <a href='#Page_139'>139</a>.</li> +</ul> +<ul> +<li>Darlington, <a href='#Page_278'>278</a> <i>sq.</i></li> + +<li>Dublin, <a href='#Page_152'>152</a>.</li> +</ul> +<ul> +<li>Edinburgh, <a href='#Page_139'><b>139</b></a> <i>sq.</i>, <a href='#Page_309'>309</a>.</li> + +<li>Ewood Hall, <a href='#Page_280'>280</a>.</li> + +<li>Exeter, <a href='#Page_218'>218</a>, <a href='#Page_251'>251</a>.</li> +</ul> +<ul> +<li>Fawsley, near Daventry, <a href='#Page_139'>139</a>.</li> + +<li>Fersfield, co. Norfolk, <a href='#Page_279'>279</a>.</li> +</ul> +<ul> +<li>Gateshead, <a href='#Page_219'>219</a>.</li> + +<li>Geneva, <a href='#Page_147'>147</a>.</li> + +<li>Glasgow, <a href='#Page_261'><b>261</b></a> <i>sq.</i>, <a href='#Page_311'>311</a>.</li> + +<li>Glynde, Sussex, <a href='#Page_281'>281</a>.</li> + +<li>Gouda, <a href='#Page_22'>22</a>.</li> +</ul> +<ul> +<li>Ham, East, <a href='#Page_137'>137</a>.</li> + +<li>Haseley, near Warwick, <a href='#Page_139'>139</a>.</li> + +<li>Hemel Hempstead, <a href='#Page_137'>137</a>.</li> + +<li>Hempstead. <i>See</i> Hemel Hempstead.</li> + +<li>Hertford, <a href='#Page_307'>307</a>.</li> +</ul> +<ul> +<li>Ipswich, <a href='#Page_129'>129</a> <i>sq.</i></li> + +<li>Ireland, <a href='#Page_151'>151</a> <i>sq.</i></li> +</ul> +<ul> +<li>Kelso, <a href='#Page_308'>308</a>, <a href='#Page_309'>309</a>.</li> +</ul> +<ul> +<li>Liverpool, <a href='#Page_256'>256</a>.</li> + +<li>Lustleigh, co. Devon, <a href='#Page_281'>281</a>.</li> +</ul> +<ul> +<li>Madeley, Shropshire, <a href='#Page_281'>281</a>.</li> + +<li>Molesey, East, <a href='#Page_138'>138</a>.</li> +</ul> +<ul> +<li>Naples, <a href='#Page_26'>26</a>.</li> + +<li>Newcastle, <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a>, <a href='#Page_236'>236</a>, <a href='#Page_256'>256</a>.</li> + +<li>New England, <a href='#Page_185'>185</a> <i>sq.</i></li> + +<li>New Haven, Conn., <a href='#Page_257'>257</a>.</li> + +<li>New York, <a href='#Page_220'><b>220</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_256'><b>256</b></a>, <a href='#Page_257'>257</a>.</li> + +<li>Norwich, <a href='#Page_133'>133</a>, <a href='#Page_248'><b>248</b></a> <i>sq.</i></li> + +<li>Nottingham, <a href='#Page_256'>256</a>.</li> +</ul> +<ul> +<li>Oxford, <a href='#Page_23'><b>23</b></a>, <a href='#Page_24'>24</a>, <a href='#Page_123'><b>123</b></a> <i>sq.</i>, <a href='#Page_183'><b>183</b></a> <i>sq.</i>, <a href='#Page_214'>214</a>, <a href='#Page_222'>222</a>, <a href='#Page_223'>223</a>, <a href='#Page_228'>228</a>, <a href='#Page_247'><b>247</b></a> <i>sq.</i>, <a href='#Page_301'>301</a>, <a href='#Page_307'>307</a>.</li> +</ul> +<ul> +<li>Paris, <a href='#Page_16'>16</a>, <a href='#Page_30'>30</a>, <a href='#Page_46'>46</a>, <a href='#Page_47'>47</a>, <a href='#Page_60'>60</a>, <a href='#Page_72'>72</a>.</li> + +<li>Pennsylvania, <a href='#Page_220'>220</a>.</li> + +<li>Philadelphia, <a href='#Page_257'>257</a>.</li> + +<li>Plymouth, <a href='#Page_219'>219</a>.</li> + +<li>Portsmouth (N. H.), <a href='#Page_260'>260</a>.</li> +</ul> +<ul> +<li>Rome, <a href='#Page_26'>26</a>.</li> + +<li>Rouen, <a href='#Page_29'>29</a>, <a href='#Page_44'>44</a>, <a href='#Page_140'>140</a>.</li> +</ul> +<ul> +<li>St. Albans, <a href='#Page_25'>25</a>, <a href='#Page_127'>127</a>.</li> + +<li>Scotland, <a href='#Page_139'>139</a> <i>sq.</i></li> + +<li>Shrewsbury, <a href='#Page_219'>219</a>.</li> + +<li>Southwark, <a href='#Page_56'>56</a>, <a href='#Page_222'>222</a>.</li> + +<li>Stonor Park, <a href='#Page_138'>138</a>.</li> + +<li>Strasburg, <a href='#Page_86'>86</a>.</li> + +<li>Strawberry Hill, <a href='#Page_276'>276</a>.</li> +</ul> +<ul> +<li>Tavistock, <a href='#Page_126'>126</a>.</li> + +<li>Tunbridge Wells, <a href='#Page_253'>253</a>.</li> +</ul> +<ul> +<li>Virginia, <a href='#Page_221'>221</a>.</li> +</ul> +<ul> +<li>Westminster, <a href='#Page_7'>7</a>, <a href='#Page_10'>10</a>, <a href='#Page_14'>14</a>, <a href='#Page_30'>30</a>.</li> + +<li>Wolston Priory, <a href='#Page_139'>139</a>.</li> + +<li>Woodbridge (N. J.), <a href='#Page_257'>257</a>.</li> + +<li>Worcester, <a href='#Page_131'>131</a>, <a href='#Page_253'>253</a>.</li> +</ul> +<ul> +<li>York, <a href='#Page_122'><b>122</b></a> <i>sq.</i>, <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a>, <a href='#Page_254'>254</a>.</li> +</ul> + + +<h5>Edinburgh: T. and A. <span class="smcap">Constable</span>, Printers to Her Majesty</h5> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> E. G. Duff, <i>Early Printed Books</i>, pp. 84 and 139.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> It is rather remarkable that of the eight books dated 1534 +six are in octavo. Readers of the works of Erasmus, Colet, and Lily seem +to have shown a preference for this form, which is used most frequently +for the works of these friendly authors.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The <i>Registers of the Dutch Church, Austin Friars</i>, edited +by W. J. C. Moens (Introduction, pp. xiii.-xiv.).</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See Strype's <i>Life of Parker</i>, p. 541. Arber's Transcript, +vol. ii.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Strype's <i>Life of Parker</i>, pp. 382, 541.</p></div> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> P. C. C., 1 Martyn.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> P. C. C., 32 Martyn.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> For the materials of this chapter free use has been made of +Mr. Allnutt's series of papers contributed to the second volume of +<i>Bibliographica</i>, to whom my thanks are due.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Forty-second Report of the Worcester Diocesan Arch, and +Archæological Society. Paper by Rev. J. R. Burton on 'Early +Worcestershire Printers and Books.'</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> For the material of this chapter I am chiefly indebted to +the valuable work of Messrs. Dickson and Edmond, <i>Annals of Scottish +Printing</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>Domestic State Papers</i>, vol. 357, No. 172, 173; vol. 371, +No. 102.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> <i>Domestic State Papers</i>, vol. 354, No. 180.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <i>Dom. S. P., Chas. II.</i>, vol. 243, p. 181.</p></div> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Chancery Proceedings, 1753 (Record Office).</p></div> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> <i>Notes and Queries</i>, First Series, vol. xii. p. 197.</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Harl. <span class="smcap lowercase">MS</span>. 5906.</p></div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Hyett and Bazeley, <i>Bibliog. Man. of Glouc. Literature</i>, +vol. iii. p. 339.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Allnutt, <i>Bibliographica</i>, vol. ii. p. 302.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Chalmers' <i>Life of Wilkes</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> <i>The History of Printing</i>. London: Printed for the Society +for Promoting Christian Knowledge, 1855, 8vo.</p></div> + +</div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of A Short History of English Printing, +1476-1898, by Henry R. 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