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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #54365 (https://www.gutenberg.org/ebooks/54365)
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-The Project Gutenberg EBook of A History of the Old English Letter
-Foundries, by Talbot Baines Reed
-
-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/license
-
-
-Title: A History of the Old English Letter Foundries
-       with Notes, Historical and Bibliographical, on the Rise
-       and Progress of English Typography.
-
-Author: Talbot Baines Reed
-
-Release Date: March 14, 2017 [EBook #54365]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE OLD ENGLISH ***
-
-
-
-
-Produced by Chris Curnow, RichardW, and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-
-
-A HISTORY OF THE OLD ENGLISH LETTER FOUNDRIES.
-
-[Illustration]
-
-[Illustration: _A_ true & exact _Repreſentation_ of the _Art_ of
-_Caſting_ & _Preparing_ Letters _for_ Printing.
-
-_Engrav’d for the Universal Magazine 1750 for I. Hinton at the Kings
-Arms in S^t. Pauls Church Yard LONDON._
-
-58. Interior of Caslon’s Foundry in 1750. From the _Universal
-Magazine_. (The mould is described, p. 108).]
-
-
-
-
- A HISTORY
- OF THE
- OLD ENGLISH LETTER FOUNDRIES,
-
- WITH NOTES,
- Historical and Bibliographical,
- ON THE
- RISE AND PROGRESS OF ENGLISH TYPOGRAPHY.
-
- BY
- TALBOT BAINES REED.
-
- LONDON:
- ELLIOT STOCK, 62, PATERNOSTER ROW, E.C.
- 1887.
-
- [Illustration]
-
-{v}
-
-
-
-
-PREFACE.
-
-
-In this age of progress, when the fine arts are rapidly becoming
-trades, and the machine is on every side superseding that labour of
-head and hand which our fathers called Handicraft, we are in danger of
-losing sight of, or, at least, of undervaluing the genius of those who,
-with none of our mechanical advantages, established and made famous in
-our land those arts and handicrafts of which we are now the heritors.
-
-The Art of Letter Founding hesitated long before yielding to the
-revolutionary impulses of modern progress. While kindred arts—and
-notably that art which preserves all others—were advancing by leaps and
-bounds, the founder, as late as half a century ago, was pursuing the
-even tenor of his ways by paths which had been trodden by De Worde and
-Day and Moxon. But the inevitable revolution came, and Letter Founding
-to-day bids fair to break all her old ties and take new departures
-undreamed of by those heroes of the punch and matrix and mould who made
-her what we found her.
-
-At such a time, it seems not undutiful to attempt to gather together
-into a connected form the numerous records of the Old English Letter
-Founders scattered throughout our literary and {vi} typographical
-history, with a view to preserve the memory of those to whose labours
-English Printing is indebted for so much of its glory.
-
-The present work represents the labour of several years in what may
-be considered some of the untrodden by-paths of English typographical
-history.
-
-The curious _Dissertation on English Typographical Founders and
-Founderies_ by the learned Edward Rowe Mores, published in 1778, is,
-in fact, the only work in the language purporting to treat of Letter
-Founding as distinct from the art which it fosters. This quaint and
-crabbed sketch, full of valuable but half-digested information, was
-intended to accompany a specimen of the types of John James, whose
-foundry had gradually absorbed all the minor English foundries, and,
-after the death of its owner, had become the property of Mores himself.
-The enthusiasm of the Oxford antiquary infused new life into the dry
-bones of this decayed collection. Working backwards, he restored
-in imagination the old foundries of the seventeenth and eighteenth
-centuries, as they had been before they became absorbed in his own. He
-tracked back a few famous historical types to their fountain-head, and
-even bridged over the mysterious gulf which divided the early sixteenth
-from the early seventeenth centuries of English letter-founding.
-
-Mores’ _Dissertation_ has necessarily formed the basis of my
-investigations, and is, indeed, almost wholly incorporated in the
-present volume. Of the additional and more anecdotal notes on the
-later founders, preserved by Nichols and Hansard, I have also freely
-made use; although in every case it has been my endeavour to take
-nothing on report which it has been possible to verify by reference to
-original sources. This effort has been rewarded by several interesting
-discoveries which it is hoped may be found to throw considerable fresh
-light on the history of our national typography.
-
-The first century of English letter-founding is a period of great
-obscurity, to master which it is absolutely essential to have {vii}
-unlimited access to all the works of all the printers whose books were
-the only type specimens of their day. Such access it has been beyond
-my power fully to secure, and in this portion of my work I am bound to
-admit that I can lay claim to little originality of research. I have,
-however, endeavoured to examine as many of the specimens of these early
-presses as possible, and to satisfy myself that the observations of
-others, of which I have availed myself, are such as I can assent to.
-
-In detailing the rise and progress of the various English Letter
-Foundries, it has been my endeavour to treat the subject, as far as
-possible, bibliographically—that is, to regard as type-specimens not
-merely the stated advertisements of the founder, but also the works for
-which his types were created and in which they were used. The _Catena
-on Job_, Walton’s _Polyglot_, Boyle’s _Irish Testament_, Bowyer’s
-_Selden_, thus rank as type specimens quite as interesting as, and
-far more valuable than, the ordinary letter founders’ catalogues.
-Proceeding on this principle, moreover, this History will be found
-to embody a pretty complete bibliography of works not only relating
-to, but illustrative of, English Letter Founding. At the same time,
-the particular bibliography of the subject has been kept distinct, by
-appending to each chapter a chronological list of the Specimen Books
-issued by the foundry to which it relates.
-
-The introductory chapter on the Types and Type Founding of the First
-Printers may be considered somewhat foreign to the scope of this
-History. The importance, however, of a practical acquaintance with the
-processes and appliances of the Art of Letter Founding as a foundation
-to any complete study of typographical history—as well as the numerous
-misconceptions existing on the part even of accepted authorities on the
-subject—suggested the attempt to examine the various accounts of the
-Invention of Printing from a letter founder’s point of view, in the
-hope, if not of arriving at any very definite conclusions, at least of
-clearing the question of a few prevalent fallacies.
-
-The two chapters on Type Bodies and Type Faces, although also
-{viii} to some extent foreign, are considered important by way of
-introduction to the history of English Letter Founding in which the
-“foreign and learned” characters have so conspicuously figured.
-
-If this book—the imperfections of which are apparent to no one as
-painfully as they are to the writer—should in any way encourage the
-study of our national Typography, with a view to profit by the history
-of the past in an endeavour to promote its excellence in the future,
-the labour here concluded will be amply repaid.
-
-       *       *       *       *       *
-
-The agreeable task remains of thanking the numerous friends to whose
-aid and encouragement this book is indebted for much of whatever value
-it may possess.
-
-My foremost thanks are due to my honoured and valued friend, Mr.
-William Blades, to whom I am indebted for far more than unlimited
-access to his valuable typographical library, and the ungrudging
-use of his special knowledge on all subjects connected with English
-typography. These I have enjoyed, and what was of equal value his
-kindly advice and sympathy during the whole progress of a work which,
-but for his encouragement from the outset, might never have been
-completed.
-
-Another friend who, brief as was our acquaintance, had taken a genuine
-interest in the progress of this History, and had enriched it by more
-than one valuable communication, has been snatched away by the hand
-of Death before the thanks he never coveted but constantly incurred
-can reach him. In Henry Bradshaw the world of books has lost a
-distinguished ornament, and this little book has lost a hearty friend.
-
-To Mr. F. Madan, of the Bodleian Library, Oxford, I owe much valuable
-information as to early printing at that University; while to the
-kindness of Mr. Horace Hart, Controller of the University Press, I
-am indebted for full access to the highly interesting collection of
-typographical antiquities preserved at that Press, as well as for the
-specimens I am here enabled to show of some of the most interesting
-relics of the oldest Foundry in the country. {ix}
-
-Mr. T. W. Smith has kindly given me similar facilities as regards the
-archives and historical specimens of the venerable Caslon Foundry.
-
-Mr. Sam. Timmins most generously placed at my disposal much of the
-information embodied in my chapter on Baskerville, including the
-extracts from the letters forming part of his unique collection
-relating to that celebrated typographer.
-
-To Mr. James Figgins I am obliged for many particulars relating to
-the early association of founders at the commencement of the present
-century; also for a specimen of one of the most noted founts of his
-distinguished ancestor.
-
-Mr. Charles R. Rivington I have to thank for one or two valuable
-extracts from the _Minutes_ of the Court of the Stationers’ Company,
-relating to Letter Founders.
-
-To Messrs. Enschedé and Sons, of Haarlem, my thanks are also specially
-due for giving me specimens of some of their most curious and ancient
-types.
-
-It is also my pleasure, as well as my duty, to thank the Secretary of
-the American Antiquarian Society for information regarding specimens
-in his possession; my friend, Dr. Wright, of the British and Foreign
-Bible Society, for free access to the highly interesting Library under
-his care; Messrs. Tuer, Bremner, Gill, and others for the kind loan
-of Specimens; the Librarian of the London Institution for permission
-to facsimile portions of the rare specimen of James’ Foundry in that
-Library; and the numerous other friends, who, by reading proofs and in
-other ways, have generously assisted me in my labours.
-
-I also take this opportunity of thanking Mr. Prætorius and Mr. Manning
-for the care they have bestowed on the preparation of facsimiles for
-this work; and of expressing my obligations to the officials of the
-British Museum and Record Office for their invariable courtesy on all
-occasions on which their assistance has been invoked.
-
-LONDON, _January 1st, 1887_.
-
-{xi}
-
-
-
-
-CONTENTS.
-
-
- Introductory Chapter. THE TYPES AND TYPE FOUNDING OF THE
-   FIRST PRINTERS                                                        1
-
- Chap. 1. THE ENGLISH TYPE BODIES AND FACES                             31
-
- 〃  2.  THE LEARNED, FOREIGN AND PECULIAR CHARACTERS                   57
-
- 〃  3.  THE PRINTER LETTER-FOUNDERS, FROM CAXTON TO DAY                83
-
- 〃  4.  LETTER FOUNDING AS AN ENGLISH MECHANICAL TRADE                102
-
- 〃  5.  THE STATE CONTROL OF ENGLISH LETTER FOUNDING                  123
-
- 〃  6.  THE OXFORD UNIVERSITY FOUNDRY                                 137
-
- 〃  7.  THE STAR CHAMBER FOUNDERS, AND THE LONDON POLYGLOT            164
-
- 〃  8.  JOSEPH MOXON                                                  180
-
- 〃  9.  THE LATER FOUNDERS OF THE 17TH CENTURY                        193
-
- 〃  10.  THOMAS AND JOHN JAMES                                        212
-
- 〃  11.  WILLIAM CASLON                                               232
-
- 〃  12.  ALEXANDER WILSON                                             257
-
- 〃  13.  JOHN BASKERVILLE                                             268
-
- 〃  14.  THOMAS COTTRELL                                              288
-
- 〃  15.  JOSEPH AND EDMUND FRY                                        298
-
- 〃  16.  JOSEPH JACKSON                                               315
-
- 〃  17.  WILLIAM MARTIN                                               330
-
- 〃  18.  VINCENT FIGGINS                                              335
-
- 〃  19.  THE MINOR FOUNDERS OF THE 18TH CENTURY                       345
-
- 〃  20.  WILLIAM MILLER                                               355
-
- 〃  21.  THE MINOR FOUNDERS FROM 1800 TO 1830                         357
-
-{xiii}
-
-
-
-
-LIST OF ILLUSTRATIONS.
-
-
-                                                                     PAGE
- 1.—Types cast from leaden matrices, _circ._ 1500                     16
-
- 2.—Specimen illustrating the variations in the face of type,
- produced by bad casting                                              18
-
- 3.—Type mould of Claude Garamond. Paris, 1540. From Duverger         23
-
- 4.—Profile tracings from M. Claudin’s 15th century types             21
-
- 5.—A 15th century type. From M. Madden’s _Lettres d’un
- Bibliographe_                                                        24
-
- 6.—A 15th century type. From _Liber de Laudibus...Mariæ_,
- _circ._ 1468                                                         24
-
- 7.—Roman letter. From the _Sophologium_, Wiedenbach? 1465–70?        42
-
- 8.—Roman and Black letter intermixed. From Traheron’s
- _Exposition of St. John_, 1552                                       45
-
- 9.—Robijn Italic, cut by Chr. van Dijk. From the original
- matrices                                                             52
-
- 10.—Gothic Type or Lettre de Forme, _circ._ 1480. From the
- original matrices                                                    53
-
- 11.—Philosophie Flamand engraved by Fleischman, 1743. From
- the original matrices                                                54
-
- 12.—Lettre de Civilité, cut by Ameet Tavernier for Plantin,
- _circ._ 1570. From the original matrices                             56
-
- 13.—Blooming Initials. Oxford, _circ._ 1700                          80
-
- 14.—Pierced Initial. Oxford, _ante_ 1700                             81
-
- 15.—Caxton’s Advertisement, in his Type 3                     _face_ 88
-
- 16.—Caxton’s Type 4.* From the _Golden Legend_                _face_ 88
-
- 17.—Black letter, supposed to be De Worde’s. From
- Palmer’s _History of Printing_                                       90
-
- 18.—Pynson’s Roman letter. From the _Oratio in Pace
- Nuperrimâ_, 1518                                                     92
-
- 18_a_.—Berthelet’s Black letter and Secretary type. From
- the _Boke named the Governour_, 1531                                 95
-
- 19.—Portrait of John Day, 1562. From Peter Martir’s
- _Commentaries_, 1568                                                 99
-
- 20, 21, 22.—Day’s Saxon, Roman, and Italic. From the
- _Ælfredi Res Gestæ_, 1574                                     _face_ 96
-
- 23.—Letter Founding in Frankfort in 1568. From Jost
- Amman’s _Stände und Handwerker_                                     104
-
- 24.—Letter Founding and Printing _circ._ 1548. From the
- Harleian MSS.                                                       105
-
- 25.—Letter Founding in 1683. From Moxon’s _Mechanick
- Exercises_                                                          109
-
- 26.—Letter Founding in France in 1718. From Thiboust’s
- _Typographiæ Excellentia_                                           115
-
- 27.—Colophon of the _Lyndewode_, Oxford, _n.d._ Showing
- types [c], [d], [e], [f]                                     _face_ 138
-
- 28.—Greek fount of the Eton _Chrysostom_, 1613               _face_ 140
-
- 29.—Greeks, Roman and Italic. From the _Catena on Job_,
- 1637                                                         _face_ 140
-
- 30.—The Sheldonian Theatre, Oxford. From an old wood-block          153
-
- 31.—The Clarendon Press, Oxford. From an old wood-block             156
-
- 32.—Pica Roman and Italic, presented to Oxford by Dr.
- Fell, 1667                                                          152
-
- 33.—Pica Roman and Italic, bought by Oxford University in
- 1692                                                                152
-
- 34, 35, 36, 37, 38.—Hebrew, large and small, Coptic,
- Arabic, and Syriac, presented to Oxford by Dr. Fell, 1667.
- From the original matrices                                          147
-
- 39.—Ethiopic, bought by Oxford University in 1692. From
- the original matrices                                               154
-
- 40.—Ethiopic of Walton’s _Polyglot_, 1657. From the
- original matrices                                                   174
-
- 41.—Syriac of Walton’s _Polyglot_, 1657. From the
- original matrices                                                   174
-
- 42.—Samaritan of Walton’s _Polyglot_, 1657. From the
- original matrices                                                   174
-
- 43.—Specimen of Nicholas Nicholls, 1665. From the
- original                                                     _face_ 178
-
- 44.—Portrait of Joseph Moxon. From the _Tutor to
- Astronomy and Geography_, 4th ed., 1686,                     _face_ 180
-
- 45.—Moxon’s Irish type, 1680. From the original matrices            189
-
- 46.—Dutch Initial Letters. From the original matrices                80
-
- 47.—Nonpareil Rabbinical Hebrew in Andrews’ Foundry. From
- the original matrices                                               194
-
- 48.—Saxon, cut by R. Andrews for Miss Elstob’s _Grammar_,
- 1715. From the original matrices                                    196
-
- 49.—Old Dutch Blacks in R. Andrews’ Foundry. From the
- original matrices                                                   194
-
- 50.—Alexandrian Greek in Grover’s Foundry. From the
- Catalogue of James’ Sale, 1782                                      200
-
- 51.—Scriptorial in Grover’s Foundry. From the original
- matrices                                                            204
-
- 52.—Court Hand in Grover’s Foundry. From the original
- matrices                                                            204
-
- 53.—Union Pearl in Grover’s Foundry. From the original
- matrices                                                            204
-
- 54.—Walpergen’s Music type. Oxford, _circ._ 1675. From
- the original matrices                                               208
-
- 55.—Pictorial pierced Initial. From an 18th century
- newspaper                                                            81
-
- 56.—Title-page of the Catalogue and Specimen of
- James’ Foundry, 1782. From the original                             226
-
- 57.—Portrait of William Caslon. From Hansard                 _face_ 232
-
- 58.—View of the Interior of Caslon’s Foundry in 1750.
- From the _Universal Magazine_                            _Frontispiece_
-
- 59.—Pica Roman and Italic, cut by Caslon, 1720. From the
- original matrices                                                   236
-
- 60.—Black letter, cut by Caslon. From the original
- matrices                                                            239
-
- 61.—Arabic, cut by Caslon, 1720. From the original
- matrices                                                            235
-
- 62.—Coptic, cut by Caslon, _ante_ 1731. From the original
- matrices                                                            236
-
- 63.—Armenian, cut by Caslon, _ante_ 1736. From the
- original matrices                                                   239
-
- 64.—Etruscan, cut by Caslon, 1738. From the original
- matrices                                                            240
-
- 65.—Gothic, cut by Caslon, _ante_ 1734. From the original
- matrices                                                            239
-
- 66.—Ethiopic, cut by Caslon. From the original matrices             240
-
- 67.—Syriac, cut by Caslon II, _circ._ 1768. From the
- original matrices                                                   246
-
- 68.—Portrait of Alexander Wilson. From Hansard               _face_ 258
-
- 69.—Greek, cut by Alex. Wilson, _ante_ 1768. From the
- Glasgow _Homer_, 1768                                               262
-
- 70.—Portrait of John Baskerville. From Hansard               _face_ 268
-
- 71.—Greek, cut by Baskerville for Oxford. From the Oxford
- _Specimen_, 1768–70                                          _face_ 274
-
- 72.—Roman and Italic, cut by Baskerville, 1758. From the
- _Milton_, Birmingham, 1758                                   _face_ 276
-
- 73.—Engrossing, cut by Cottrell, _circ._ 1768. From the
- original matrices                                                   289
-
- 73a.—Silhouette Portraits of Joseph and Edmund Fry. From
- the originals                                                _face_ 298
-
- 74.—Alexandrian Greek (formerly Grover’s), rejustified by
- Dr. Fry. From the original matrices                                 304
-
- 74a.—Hebrew, cut by Dr. Fry, _circ._ 1785. From the
- original matrices                                                   304
-
- 75.—Portrait of Joseph Jackson. From Nichols’ _Literary
- Anecdotes_                                                   _face_ 316
-
- 76.—Portrait of William Caslon III. From Hansard             _face_ 326
-
- 77.—Two-line English Roman, cut by Vincent Figgins, 1792.
- From the original matrices                                          337
-
- 78.—Samaritan, cut by Dummers for Caslon, _circ._ 1734.
- From the original matrices                                          345
-
-[Illustration]
-
-{1}
-
-[Illustration]
-
-
-
-
-INTRODUCTORY CHAPTER
-
-THE TYPES AND TYPEFOUNDING OF THE FIRST PRINTERS.
-
-
-For four centuries the noise of controversy has raged round the cradle
-of Typography. Volumes have been written, lives have been spent,
-fortunes have been wasted, communities have been stirred, societies
-have been organised, a literature has been developed, to find an answer
-to the famous triple question: “When, where, and by whom was found out
-the unspeakably useful art of printing books?” And yet the world to-day
-is little nearer a finite answer to the question than it was when Ulric
-Zel indited his memorable narrative to the _Cologne Chronicle_ in 1499.
-Indeed, the dust of battle has added to, rather than diminished, the
-mysterious clouds which envelope the problem, and we are tempted to
-seek refuge in an agnosticism which almost refuses to believe that
-printing ever had an inventor.
-
-It would be neither suitable nor profitable to encumber an
-investigation of that part of the History of Typography which relates
-to the types and type-making of the fifteenth century by any attempt
-to discuss the vexed question of the Invention of the Art. The man
-who invented Typography was doubtless the man who invented movable
-types. Where the one is discovered, we have also found the other. But,
-meanwhile, it is possible to avail ourselves of whatever evidence
-exists as to the nature of the types he and his successors used, and as
-to the methods by which those types were produced, and possibly to {2}
-arrive at some conclusions respecting the earliest practices of the
-Art of Typefounding in the land and in the age in which it first saw
-the light.
-
-No one has done more to clear the way for a free investigation of all
-questions relating to the origin of printing than Dr. Van der Linde,
-in his able essay, _The Haarlem Legend_,[1] which, while disposing
-ruthlessly of the fiction of Coster’s invention, lays down the
-important principle, too often neglected by writers on the subject,
-that the essence of Typography consists in the mobility of the types,
-and that, therefore, it is not a development of the long practised art
-of printing from fixed blocks, but an entirely distinct invention.
-
-The principle is so important, and Dr. Van der Linde’s words are so
-emphatic, that we make no apology for quoting them:―
-
-“I cannot repeat often enough that, when we speak of Typography and
-its invention, nothing is meant, or rather nothing must be meant, but
-printing with _loose_ (separate, moveable) types (be they letters,
-musical notes, or other figures), which therefore, in distinction
-from letters cut on wooden or metal plates, may be put together or
-separated according to inclination. One thing therefore is certain:
-he who did not invent printing with moveable types, did, as far as
-Typography goes, invent nothing. What material was used first of all
-in this invention; of what metal the first letters, the patrices
-(engraved punches) and matrices were made; by whom and when the leaden
-matrices and brass patrices were replaced by brass matrices and steel
-patrices; . . . . . all this belongs to the secondary question of the
-technical execution of the principal idea: multiplication of books by
-means of multiplication of letters, multiplication of letters by means
-of their durability, and repeated use of the same letters, _i.e._,
-by means of the independence (looseness) of each individual letter
-(moveableness).”—P. 19.
-
-If this principle be adopted—and we can hardly imagine it questioned—it
-will be obvious that a large class of works which usually occupy a
-prominent place in inquiries into the origin of Printing, have but
-slight bearing on the history of Typography. The block books of the
-fifteenth century had little direct connection with the art that
-followed and eclipsed them.[2] In the one respect of marking the early
-use of printing for the instruction of mankind, the block books and
-the first works of Typography proper claim an equal interest; but, as
-regards their mechanical production, the one feature they possess in
-common is a quality shared also by the playing-cards, pictures, seals,
-stamps, {3} brands, and all the other applications of the principle
-of impression which had existed in one form or another from time
-immemorial.
-
-It is reasonable to suppose that the first idea of movable type may
-have been suggested to the mind of the inventor by a study of the
-works of a xylographic printer, and an observation of the cumbrous and
-wearisome method by which his books were produced. The toil involved
-in first painfully tracing the characters and figures, reversed, on
-the wood, then of engraving them, and, finally, of printing them with
-the frotton, would appear—in the case, at any rate, of the small
-school-books, for the production of which this process was largely
-resorted to—scarcely less tedious than copying the required number
-by the deft pen of a scribe. And even if, at a later period, the
-bookmakers so far facilitated their labours as to write their text in
-the ordinary manner on prepared paper, or with prepared ink, and so
-transfer their copy, after the manner of the Chinese, on to the wood,
-the labour expended in proportion to the result, and the uselessness
-of the blocks when once their work was done, would doubtless impress
-an inventive genius with a sense of dissatisfaction and impatience.
-We can imagine him examining the first page of an _Abecedarium_, on
-which would be engraved, in three lines, with a clear space between
-each character, the letters of the alphabet, and speculating, as Cicero
-had speculated centuries before,[3] on the possibilities presented by
-the combination in indefinite variety of those twenty-five symbols.
-Being a practical man as well as a theorist, we may suppose he would
-attempt to experiment on the little wood block in his hand, and by
-sawing off first the lines, and then some of the letters in the lines,
-attempt to arrange his little types into a few short words. A momentous
-experiment, and fraught with the greatest revolution the world has ever
-known!
-
-       *       *       *       *       *
-
-No question has aroused more interest, or excited keener discussion in
-the history of printing, than that of the use of movable wooden types
-as a first stage in the passage from Xylography to Typography. Those
-who write on the affirmative side of the question profess to see in the
-earlier typographical works, as well as in the historical statements
-handed down by the old authorities, the {4} clearest evidence that
-wooden types were used, and that several of the most famous works of
-the first printers were executed by their means.
-
-As regards the latter source of their confidence, it is at least
-remarkable that no single writer of the fifteenth century makes the
-slightest allusion to the use of wooden types. Indeed, it was not
-till Bibliander, in 1548,[4] first mentioned and described them, that
-anything professing to be a record on the subject existed. “First they
-cut their letters,” he says, “on wood blocks the size of an entire
-page, but because the labour and cost of that way was so great, they
-devised movable wooden types, perforated and joined one to the other by
-a thread.”
-
-The legend, once started, found no lack of sponsors, and the
-typographical histories of the sixteenth century and onward abound with
-testimonies confirmatory more or less of Bibliander’s statement. Of
-these testimonies, those only are worthy of attention which profess to
-be based on actual inspection of the alleged perforated wooden types.
-Specklin[5] (who died in 1589) asserts that he saw some of these relics
-at Strasburg. Angelo Roccha,[6] in 1591, vouches for the existence
-of similar letters (though he does not say whether wood or metal) at
-Venice. Paulus Pater,[7] in 1710, stated that he had once seen some
-belonging to Fust at Mentz; Bodman, as late as 1781, saw the same types
-in a worm-eaten condition at Mentz; while Fischer,[8] in 1802, stated
-that these precious relics were used as a sort of token of honour to be
-bestowed on worthy apprentices on the occasion of their finishing their
-term.
-
-This testimony proves nothing beyond the fact that at Strasburg,
-Venice, and Mentz there existed at some time or other certain
-perforated wooden types which tradition ascribed to the first printers.
-But on the question whether any book was ever printed with such type,
-it is wholly inconclusive. It is possible to believe that certain early
-printers, uninitiated into the mystery of the punch and matrix, may
-have attempted to cut themselves wooden types, which, when they proved
-untractable under the press, they perforated and strung together in
-lines; {5} but it is beyond credit that any such rude experiment ever
-resulted in the production of a work like the _Speculum_.
-
-It is true that many writers have asserted it was so. Fournier, a
-practical typographer, insists upon it from the fact that the letters
-vary among themselves in a manner which would not be the case had they
-been cast from a matrix in a mould. But, to be consistent, Fournier
-is compelled (as Bernard points out) to postpone the use of cast type
-till after the Gutenberg _Bible_ and Mentz _Psalter_, both of which
-works display the same irregularities. And as the latest edition of
-the _Psalter_, printed in the old types, appeared in 1516, it would
-be necessary to suppose that movable wood type was in vogue up to
-that date. No one has yet demonstrated, or attempted seriously to
-demonstrate, the possibility of printing a book like the _Speculum_
-in movable wooden type. All the experiments hitherto made, even by
-the most ardent supporters of the theory, have been woful failures.
-Laborde[9] admits that to cut the 3,000 separate letters required for
-the _Letters of Indulgence_, engraved by him, would cost 450 francs;
-and even he, with the aid of modern tools to cut up his wooden cubes,
-can only show four widely spaced lines. Wetter[10] shows a page printed
-from perforated and threaded wooden types[11]; but these, though of
-large size, only prove by their {6} “naughty caprioles” the absurdity
-of supposing that the “unleaded” _Speculum_, a quarternion of which
-would require 40,000 distinct letters, could have been produced in 1440
-by a method which even the modern cutting and modern presswork of 1836
-failed to adapt to a single page of large-sized print.
-
-John Enschedé, the famous Haarlem typefounder, though a strong
-adherent to the Coster legend, was compelled to admit the practical
-impossibility, in his day at any rate, of producing a single wood type
-which would stand the test of being mathematically square; nor would it
-be possible to square it after being cut. “No engraver,” he remarks,
-“is able to cut separate letters in wood in such a manner that they
-retain their quadrature (for that is the main thing of the line in
-type-casting).”[12] Admitting for a moment that some printer may have
-succeeded in putting together a page of these wooden types, without the
-aid of leads, into a chase: how can it be supposed that after their
-exposure to the warping influences of the sloppy ink and tight pressure
-during the impression, they could ever have survived to be distributed
-and recomposed into another forme?[13]
-
-The claims set up on behalf of movable wood types as the means by which
-the _Speculum_ or any other of the earliest books was printed, are
-not only historically unsupported, but the whole weight of practical
-evidence rejects them.
-
-Dismissing them, therefore, from our consideration, a new theory
-confronts us, which at first blush seems to supply, if not a more
-probable, certainly a more possible, stepping-stone between Xylography
-and Typography. We refer to what Meerman, the great champion of this
-theory, calls the “sculpto-fusi” {7} characters: types, that is, the
-shanks of which have been cast in a quadrilateral mould, and the
-“faces” engraved by hand afterwards.
-
-Meerman and those who agree with him engage a large array of testimony
-on their side. In the reference of Celtis, in 1502, to Mentz as the
-city “quæ prima sculpsit solidos ære characteres,” they see a clear
-confirmation of their theory; as also in the frequent recurrence of the
-same word “sculptus” in the colophons of the early printers. Meerman,
-indeed, goes so far as to ingeniously explain the famous account of
-the invention given by Trithemius in 1514,[14] in the light of his
-theory, to mean that, after the rejection of the first wooden types,
-“the inventors found out a method of casting the bodies only (fundendi
-formas) of all the letters of the Latin alphabet from what they
-called matrices, on which they cut the face of each letter; and from
-the same kind of matrices a method was in time discovered of casting
-the complete letters (æneos sive stanneos characteres) of sufficient
-hardness for the pressure they had to bear, which letters before—that
-is, when the bodies only were cast—they were obliged to cut.”[15]
-
-After this bold flight of translation, it is not surprising to find
-that Meerman claims that the _Speculum_ was printed in “sculpto-fusi”
-types, although in the one page of which he gives a facsimile there are
-nearly 1,700 separate types, of which 250 alone are _e_’s.
-
-Schoepflin, claiming the same invention for the Strasburg printers,
-believes that all the earliest books printed there were produced by
-this means; and both Meerman and Schoepflin agree that engraved metal
-types were in use for many years after the invention of the punch and
-matrix, mentioning, among others so printed, the Mentz _Psalter_,
-the _Catholicon_ of 1460, the Eggestein _Bible_ of 1468, and even
-the _Nideri Præceptorium_, printed at Strasburg as late as 1476, as
-“literis in ære sculptis.”
-
-Almost the whole historical claim of the engraved metal types, indeed,
-turns on the recurrence of the term “sculptus” in the colophons of the
-early printers. Jenson, in 1471, calls himself a “cutter of books”
-(librorum exsculptor). Sensenschmid, in 1475, says that the _Codex
-Justinianus_ is “cut” (insculptus), and that he has “cut” (sculpsit)
-the work of _Lombardus in Psalterium_. Husner of Strasburg, in 1472,
-applies the term “printed with letters cut of metal” (exsculptis {8}
-ære litteris) to the _Speculum Durandi_; and of the _Præceptorium
-Nideri_, printed in 1476, he says it is “printed in letters cut of
-metal by a very ingenious effort” (litteris exsculptis artificiali
-certe conatu ex ære). As Dr. Van der Linde points out, the use of the
-term in reference to all these books can mean nothing else than a
-figurative allusion to the first process towards producing the types,
-namely, the cutting of the punch[16]; just as when Schoeffer, in 1466,
-makes his _Grammatica Vetus Rhythmica_ say, “I am cast at Mentz” (At
-Moguntia sum fusus in urbe libellus), he means nothing more than a
-figurative allusion to the casting of the types.
-
-The theory of the sculpto-fusi types appears to have sprung up on no
-firmer foundation than the difficulty of accounting for the marked
-irregularities in the letters of the earliest printed books, and the
-lack of a theory more feasible than that of movable wood type to
-account for it. The method suggested by Meerman seemed to meet the
-requirements of the case, and with the aid of the very free translation
-of Trithemius’ story, and the very literal translation of certain
-colophons, it managed to get a footing on the typographical records.
-
-Mr. Skeen seriously applies himself to demonstrate how the shanks could
-be cast in clay moulds stamped with a number of trough-like matrices
-representing the various widths of the blanks required, and calculates
-that at the rate of four a day, 6,000 of these blanks could be engraved
-on the end by one man in five years, the whole weighing 100 lb. when
-finished! “No wonder,” Mr. Skeen naïvely observes, “that Fust at last
-grew impatient.” We must confess that there seems less ground for
-believing in the use of “sculpto-fusi” types as the means by which any
-of the early books were produced, than in the perforated wood types.
-The enormous labour involved, in itself renders the idea improbable.
-As M. Bernard says, “How can we suppose that intelligent men like
-the first printers would not at once find out that they could easily
-cast the face and body of their types together?”[17] But admitting
-the possibility of producing type in this manner, and the possible
-obtuseness which could allow an inventor of printing to spend five
-years in laboriously engraving “shanks” enough for a single forme, the
-lack of any satisfactory evidence that such types were ever used, even
-experimentally, inclines us to deny them any place in the history of
-the origin of typography.
-
-       *       *       *       *       *
-
-Putting aside, therefore, as improbable, and not proved, the two
-theories of {9} engraved movable types, the question arises, Did
-typography, like her patron goddess, spring fully armed from the brain
-of her inventor? in other words, did men pass at a single stride from
-xylography to the perfect typography of the punch, the matrix, and the
-mould? or are we still to seek for an intermediate stage in some ruder
-and more primitive process of production? To this question we cannot
-offer a better reply than that contained in the following passage from
-Mr. Blades’s admirable life of Caxton.[18] “The examination of many
-specimens,” he observes, “has led me to conclude that two schools of
-typography existed together . . . The ruder consisted of those printers
-who practised their art in Holland and the Low Countries, . . . and
-who, by degrees only, adopted the better and more perfect methods of
-the . . . school founded in Germany by the celebrated trio, Gutenberg,
-Fust, and Schoeffer.”
-
-It is impossible, we think, to resist the conclusion that all the
-earlier works of typography were the impression of cast metal types;
-but that the methods of casting employed were not always those of
-matured letter-founding, seems to us not only probable, but evident,
-from a study of the works themselves.
-
-Mr. Theo. De Vinne, in his able treatise on the invention of
-printing,[19] speaking with the authority of a practical typographer,
-insists that the key to that invention is to be found, not in the press
-nor in the movable types, but in the adjustable type-mould, upon which,
-he argues, the existence of typography depends. While not prepared to
-go as far as Mr. De Vinne on this point, and still content to regard
-the invention of movable types as the real key to the invention of
-typography proper, we find in the mould not only the culminating
-achievement of the inventor, but also the key to the distinction
-between the two schools of early typography to which we have alluded.
-
-The adjustable mould was undoubtedly the goal of the discovery, and
-those who reached it at once were the advanced typographers of the
-Mentz press. Those who groped after it through clumsy and tedious
-by-ways were the rude artists of the _Donatus_ and _Speculum_.
-
-In considering the primitive modes of type-casting, it must be frankly
-admitted that the inquirer stands in a field of pure conjecture. He
-has only negative evidence to assure him that such primitive modes
-undoubtedly did exist, and he searches in vain for any direct clue as
-to the nature and details of those methods.
-
-We shall briefly refer to one or two theories which have been
-propounded, all with more or less of plausibility.
-
-Casting in sand was an art not unknown to the silversmiths and {10}
-trinket-makers of the fifteenth century, and several writers have
-suggested that some of the early printers applied this process to
-typefounding. M. Bernard[20] considers that the types of the _Speculum_
-were sand-cast, and accounts for the varieties observable in the shapes
-of various letters, by explaining that several models would probably be
-made of each letter, and that the types when cast would, as is usual
-after sand-casting, require some touching up or finishing by hand. He
-shows a specimen of a word cast by himself by this process, which, as
-far as it goes, is a satisfactory proof of the possibility of casting
-letters in this way.[21] There are, indeed, many points in this theory
-which satisfactorily account for peculiarities in the appearance of
-books printed by the earliest rude Dutch School. Not only are the
-irregularities of the letters in body and line intelligible, but the
-specks between the lines, so frequently observable, would be accounted
-for by the roughness on the “shoulders” of the sand-cast bodies.[22]
-
-An important difficulty to be overcome in type cast by this or any
-other primitive method would be the absence of uniformity in what
-letter founders term “height to paper.” Some types would stand higher
-than others, and the low ones, unless raised, would not only miss the
-ink, but would not appear at all in the impression. The comparative
-rarity of faults of this kind in the _Speculum_, leads one to suppose
-that if a process of sand-casting had been adopted, the difficulty
-of uneven heights had been surmounted either by locking up the forme
-face downwards, or by perforating the types either at the time of or
-after casting, and by means of a thread or wire holding them in their
-places. The uneven length of the lines favours such a supposition, and
-to the same cause Mr. Ottley[23] attributes the numerous misprints of
-the _Speculum_, to correct which in the type would have involved the
-unthreading of every line in which an error occurred. And as a still
-more striking proof that the lines were put into the forme one by one,
-in a piece, he shows a curious printer’s blunder at the end of one
-page, where the whole of the last reference-line is put in upside down,
-thus:―
-
-[Illustration]
-
-{11}
-
-A “turn” of this magnitude could hardly have occurred if the letters
-had been set in the forme type by type.
-
-Another suggested mode is that of casting in clay moulds, by a method
-very similar to that used in the sand process, and resulting in similar
-peculiarities and variations in the types. Mr. Ottley, who is the chief
-exponent of this theory, suggests that the types were made by pouring
-melted lead or other soft metal, into moulds of earth or plaster,
-formed, while the earth or plaster was in a moist state, upon letters
-cut by hand in wood or metal; in the ordinary manner used from time
-immemorial in casting statues of bronze and other articles of metal,
-whether for use or ornament. The mould thus formed could not be of long
-duration; indeed, it could scarcely avail for a second casting, as it
-would be scarcely possible to extract the type after casting without
-breaking the clay, and even if that could be done, the shrinking of the
-metal in cooling would be apt to warp the mould beyond the possibility
-of further use.
-
-Mr. Ottley thinks that the constant renewal of the moulds could be
-effected by using old types cast out of them, after being touched up
-by the graver, as models. And this he considers will account for the
-varieties observable in the different letters.
-
-In this last conjecture we think Mr. Ottley goes out of his way to
-suggest an unnecessary difficulty. If, as he contends, the _Speculum_
-was printed two pages at a time, with soft types cast by the clay
-process and renewed from time to time by castings from fresh moulds
-formed upon the old letters touched up by the graver, we should
-witness a gradual deterioration and attenuation in the type, as the
-work progressed, which would leave the face of the letter, at the end,
-unrecognisable as that with which it began. It would be more reasonable
-to suppose that one set of models would be reserved for the periodical
-renewal of the moulds all through the work, and that the variations
-in the types would be due, not to the gradual paring of the faces of
-the models, but to the different skill and exactness with which the
-successive moulds would be taken.[24] {12}
-
-The chief objection urged against both the clay and sand methods as
-above described is their tediousness. The time occupied after the first
-engraving of the models in forming, drying and clearing the mould, in
-casting, extracting, touching up, and possibly perforating, the types
-would be little short of the expeditious performance of a practised
-xylographer. Still there would be a clear gain in the possession of a
-fount of movable types, which, even if the metal in which they were
-cast were only soft lead or pewter, might yet do duty in more than
-one forme, under a rough press, roughly handled. On the xylographic
-block, moreover, only one hand, and that a skilled one, could labour.
-Of the moulding and casting of these rude types, many hands could make
-light work. M. Bernard states that the artist who produced for him
-the few sand-cast types shown in his work, assured him that a workman
-could easily produce a thousand of such letters a day. He also states
-that though each letter required squaring after casting, there was no
-need in any instance to touch up the faces. M. Bernard’s experience
-may have been a specially fortunate one; still, making allowance for
-the superior workmanship and expedition of a modern artist, it must
-be admitted that, in point of time, cost and utility, a printer who
-succeeded in furnishing himself with these primitive cast types was as
-far ahead of the old engraver as the discoverer of the adjustable mould
-was in his turn ahead of him.[25]
-
-There remains yet another suggestion as to the method in which the
-types of the rude school were produced. This may be described as a
-system of what the founders of sixty years ago called “polytype.”
-Lambinet, who is responsible for the suggestion, under cover of a new
-translation of Trithemius’s wonderful narrative, explains this to mean
-nothing less than an early adoption of stereotype. He imagines[26] that
-the first printers may have discovered a way of moulding a page of some
-work—an _Abecedarium_—in cooling metal, so as to get a matrix-plate
-impression of the whole page. Upon this matrix they would pour a liquid
-metal, and by the aid of a roller or cylinder, press the fused matter
-evenly, so as to penetrate into all the hollows and corners of the
-letters. This tablet of tin or lead, being easily lifted and detached
-from the matrix, would then appear as a surface of metal in which the
-letters of the alphabet stood out reversed and in relief. These letters
-could easily be detached and rendered mobile by a knife or other sharp
-instrument; and the operation could be repeated a hundred times a day.
-The metal faces so produced would be fixed on wooden shanks, type high;
-and the fount would then be complete. {13}
-
-Such is Lambinet’s hypothesis. Were it not for the fact that it was
-endorsed by the authority of M. Firmin Didot, the renowned typefounder
-and printer of Lambinet’s day, we should hardly be disposed to admit
-its claim to serious attention. The supposition that the Mentz
-_Psalter_, which these writers point to as a specimen of this mode of
-execution, is the impression, not of type at all, but of a collection
-of “casts” mounted on wood, is too fanciful. M. Didot, it must be
-remembered, was the enthusiastic French improver of Stereotype, and
-his enthusiasm appears to have led him to see in his method not only a
-revolution in the art of printing as it existed in his day, but also a
-solution of the mystery which had shrouded the early history of that
-art for upwards of three centuries.
-
-It may be well, before quitting this subject, to take note of a certain
-phrase which has given rise to a considerable amount of conjecture and
-controversy in connection with the early methods of typography. The
-expression “_getté en molle_” occurred as early as the year 1446, in a
-record kept by Jean le Robert of Cambray, who stated that in January
-of that year he paid 20 sous for a printed _Doctrinale_, “_getté en
-molle_.” Bernard has assumed this expression to refer to the use of
-types cast from a mould, and cites a large number of instances where,
-being used in contradistinction to writing by hand, it is taken to
-signify typography.[27]
-
-Dr. Van der Linde,[28] on the other hand, considers the term to
-mean, printed from a wooden form, _i.e._, a xylographic production,
-and nothing more, quoting similar instances of the use of the words
-to support his opinion; and Dr. Van Meurs, whose remarks are quoted
-in full in Mr. Hessel’s introduction to Dr. Van der Linde’s _Coster
-Legend_,[29] declines to apply the phrase to the methods by which the
-_Doctrinale_ was printed at all; but dwelling on the distinction drawn
-in various documents between “en molle” and “en papier,” concludes that
-the reference is to the binding of the book, and nothing more; a bound
-book being “brought together in a form or binding,” while an unbound
-one is “in paper.” {14}
-
-It is difficult to reconcile these conflicting interpretations,
-to which may be added as a fourth that of Mr. Skeen, who considers
-the phrase to refer to the indented appearance of the paper of a
-book after being printed. In the three last cases the expression is
-valueless as regards our present inquiry; but if we accept M. Bernard’s
-interpretation, which seems at least to have the weight of simplicity
-and reasonable testimony on its side, then it would be necessary to
-conclude that type-casting, either by a primitive or a finished process
-(but having regard to the date and the place, almost certainly the
-former), was practised in Flanders prior to January 1446. None of the
-illustrations, however, which M. Bernard cites points definitely to
-the use of cast type, but to printing in the abstract, irrespective of
-method or process. “Moulées par ordre de l’Assemblée” might equally
-well apply to a set of playing-cards or a broadside proclamation;
-“mettre en molle” does not necessarily mean anything more than put into
-“print”; while the recurring expressions “en molle” and “à la main,”
-point to nothing beyond the general distinction between manuscript
-and printed matter. In fact, the lack of definiteness in all the
-quotations given by M. Bernard weakens his own argument: for if we are
-to translate the word _moulé_ throughout in the narrow sense in which
-he reads it, we must then believe that in every instance he cites,
-figurative language was employed where conventional would have answered
-equally well, and that the natural antithesis to the general term, “by
-hand,” must in all cases be assumed to be the particular term, “printed
-in cast metal types.” For ourselves, we see no justification for taxing
-the phrase beyond its broad interpretation of “print”; and in this
-light it appears possible to reconcile most of the conjectures to which
-the words have given rise.
-
-       *       *       *       *       *
-
-Turning now from the conjectured primitive processes of the ruder
-school of early Typography, we come to consider the practice of that
-more mature school which, as has already been said, appears to have
-arrived at once at the secret of the punch, matrix and adjustable
-mould. We should be loth to assert that they arrived at once at the
-most perfect mechanism of these appliances; indeed, an examination of
-the earliest productions of the Mentz press, beautiful as they are,
-convinces one that the first printers were not finished typefounders.
-But even if their first punches were wood or copper, their first
-matrices lead, and their first mould no more than a clumsy adaptation
-of the composing-stick, they yet had the secret of the art; to perfect
-it was a mere matter of time.
-
-Experiments have proved conclusively that the face of a wood-cut type
-may be without injury impressed into lead in a state of semi-fusion,
-and thus produce _in creux_ an inverted image of itself in the matrix.
-It has also been shown that a lead matrix so formed is capable, after
-being squared and justified, {15} of being adapted to a mould,
-and producing a certain number of types in soft lead or pewter
-before yielding to the heat of the operation.[30] It has also been
-demonstrated that similar matrices formed in clay or plaster, by the
-application of the wood or metal models[31] while the substance is
-moist, are capable of similar use.
-
-Dr. Franklin, in a well-known passage of his Autobiography, gives
-the following account of his experiences as a casual letter-founder
-in 1727. “Our press,” he says, “was frequently in want of the
-necessary quantity of letter; and there was no such trade as that of
-letter-founder in America. I had seen the practice of this art at the
-house of James, in London; but had at the time paid it very little
-attention. I, however, contrived to fabricate a mould. I made use of
-such letters as we had for punches, founded new letters of lead in
-matrices of clay, and thus supplied in a tolerable manner the wants
-that were most pressing.”[32] M. Bernard states that in his day the
-Chinese characters in the Imperial printing-office in Paris were cast
-by a somewhat similar process. The original wooden letters were moulded
-in plaster. Into the plaster mould types of a hard metal were cast, and
-these hard-metal types served as punches to strike matrices with in a
-softer metal.[33]
-
-In the Enschedé foundry at Haarlem there exists to this day a set of
-matrices said to be nearly four hundred years old, which are described
-as leaden matrices from punches of copper, “suivant l’habitude
-des anciens fondeurs dans les premiers temps après l’invention de
-l’imprimerie.”[34] By {16} the kindness of Messrs. Enschedé, we are
-able to show a few letters from types cast in these venerable matrices.
-
-[Illustration: 1. Types cast from leaden matrices (_circ._ 1500?) now
-in the Enschedé foundry, Haarlem.]
-
-Lead matrices are frequently mentioned as having been in regular use in
-some of the early foundries of this country. A set of them in four-line
-pica was sold at the breaking up of James’s foundry in 1782, and in the
-oldest of the existing foundries to this day may be found relics of the
-same practice.
-
-At Lubeck, Smith informs us in 1755,[35] a printer cast for his own
-use, “not only large-sized letters for titles, but also a sufficient
-quantity of two-lined English, after a peculiar manner, by cutting his
-punches on wood, and sinking them afterwards into leaden matrices; yet
-were the letters cast in them deeper than the French generally are.”
-
-When, therefore, the printer of the _Catholicon_, in 1460, says of
-his book, “non calami styli aut pennæ suffragio, sed mirâ patronarum
-formarumque concordiâ proportione ac modulo impressus atque confectus
-est,” we have not necessarily to conclude that the types were produced
-in the modern way from copper matrices struck by steel punches. Indeed,
-probability seems to point to a gradual progress in the durability of
-the materials employed. In the first instance, the punches may have
-been of wood, and the matrices soft lead or clay[36]; then the attempt
-might be made to strike hard lead into soft; that failing, copper
-punches[37] might be used to form leaden matrices; then, when the
-necessity for a more durable substance than lead for the letter became
-urgent, copper would be used for the matrix, and brass, and finally
-steel, for the punch.
-
-Of whatever substance the matrices were made, the first printers appear
-early to have mastered the art of justifying them, so that when cast
-in the mould they should not only stand, each letter true in itself,
-but all true to one another. Nothing amazes one more in examining these
-earliest printed works than the wonderful regularity of the type in
-body, height, and line; and if anything could be considered as evidence
-that those types were produced from matrices in {17} moulds, and not
-by the rude method of casting from matrices which comprehended body
-and face in the same moulding, this feature alone is conclusive. We
-may go further, and assert that not only must the matrices have been
-harmoniously justified, but the mould employed, whatever its form,
-must have had its adjustable parts finished with a near approach to
-mathematical accuracy, which left little to be accomplished in the way
-of further improvement.
-
-Respecting this mould we have scarcely more material for conjecture
-than with regard to the first punches and matrices. The principle of
-the bipartite mould was, of course, well known already. The importance
-of absolute squareness in the body and height of the type would demand
-an appliance of greater precision than the uncertain hollowed cube of
-sand or clay; the heat of the molten lead would point to the use of
-a hard metal like iron or steel; and the varying widths of the sunk
-letters in the matrices would suggest the adoption of some system of
-slides whereby the mould could be expanded or contracted laterally,
-without prejudice to the invariable regularity of its body and height.
-By what crude methods the first typefounder contrived to combine these
-essential qualities, we have no means of judging[38]; but were they
-ever so crude, to him is due the honour of the culminating achievement
-of the invention of typography. “His type mould,” Mr. De Vinne
-remarks, “was not merely the first; it is the only practical mechanism
-for making types. For more than four hundred years this mould has been
-under critical examination, and many {18} attempts have been made to
-supplant it. . . . But in principle, and in all the more important
-features, the modern mould may be regarded as the mould of Gutenberg.”
-
-[Illustration: 2. Specimens illustrating the variations in the face of
-type produced by bad casting.]
-
-It may be asked, if the matrices were so truly justified, and the
-mould so accurately adjusted, how comes it that in the first books
-of these Mentz printers we still discover irregularites among the
-letters—fewer, indeed, but of the same kind as are to be found in
-books printed by the artists of the ruder school? To this we reply,
-that these irregularities are for the most part attributable neither
-to varieties in the original models, nor to defects in the matrix or
-the mould, but to the worn or unworn condition of the type, and to the
-skill or want of skill of the caster. Anyone versed in the practice
-of type-casting in hand-moulds, is aware that the manual exercise of
-casting a type is peculiar and difficult. With the same mould and the
-same matrix, one clever workman may turn out nineteen perfect types out
-of twenty; while a clumsy caster will scarcely succeed in producing
-a single perfect type out of the number. Different letters require
-different contortions to “coax” the metal into all the interstices
-of the matrix; and it is quite possible for the same workman to vary
-so in his work as to be as “lucky” one day as he is unprofitable the
-next. In modern times, of course, none but the perfect types ever
-find their way into the printer’s hands, but in the early days, when,
-with a perishable matrix, every type cast was of consequence, the
-censorship would be less severe,[39] and types would be allowed to
-{19} pass into use which differed as much from their original model
-as they did from one another. Let any inexperienced reader attempt to
-cast twenty Black-letter types from one mould and matrix, and let him
-take a proof of the types so produced in juxtaposition. The result of
-such an experiment would lead him to cease once and for all to wonder
-at irregularities observable in the Gutenberg _Bible_, or the Mentz
-_Psalter_, or the _Catholicon_.
-
-With regard to the metal in which the earliest types were cast, we have
-more or less information afforded us in the colophons and statements
-of the printers themselves; although it must be borne in mind that the
-figurative language in which these artists were wont to describe their
-own labours is apt occasionally to lead to confusion, as to whether the
-expressions used refer to the punch, the matrix, or the cast types.
-We meet almost promiscuously with the terms,—“ære notas,” “æneis
-formulis,” “chalcographos,” “stanneis typis,” “stanneis formulis,”
-“ahenis formis,” “tabulis ahenis,” “ære legere,” “notas de duro
-orichalco,” etc. We look in vain for “plumbum,” the metal one would
-most naturally expect to find mentioned. The word _æs_, though strictly
-meaning bronze, is undoubtedly to be taken in its wider sense, already
-familiar in the fifteenth century, of metal in the abstract, and to
-include, at least, the lead, tin, or pewter in which the types were
-almost certainly cast. The reference to copper and bronze might either
-apply to the early punches or the later matrices; but in no case is it
-probable that types were cast in either metal.
-
-Padre Fineschi gives an interesting extract from the cost-book of the
-Ripoli press, about 1480,[40] by which it appears that steel, brass,
-copper, tin, lead, and iron wire were all used in the manufacture of
-types at that period; the first two probably for the mould, the steel
-also for the punches, the copper for the matrices, the lead and tin for
-the types, and the iron wire for the mould, and possibly for stringing
-together the perforated type-models.
-
-It is probable that an alloy was early introduced; first by the
-addition to the lead of tin and iron, and then gradually improved
-upon, till the discovery of {20} antimony at the end of the fifteenth
-century[41] supplied the ingredient requisite to render the types
-at once tough and sharp enough for the ordeal of the press. There
-is little doubt that at some time or other every known metal was
-tried experimentally in the mixture; but, from the earliest days of
-letter-casting, lead and tin have always been recognised as the staple
-ingredients of the alloy; the hard substance being usually either iron,
-bismuth, or antimony.
-
-       *       *       *       *       *
-
-Turning now from type-casting appliances to the early types themselves,
-we are enabled, thanks to one or two recent discoveries, to form a
-tolerably good idea as to their appearance and peculiarities. We have
-already stated that, with regard to the traditional perforated wooden
-types seen by certain old writers, the probability is that, if these
-were the genuine relics they professed to be, they were model types
-used for forming moulds upon, or for impressing into matrices of moist
-clay or soft lead. We have also considered it possible, in regard to
-types cast in the primitive sand or clay moulds of the rude school,
-that to overcome the difficulties incident to irregular height to
-paper, uneven bodies, and loose locking-up, the expedient may have been
-attempted of perforating the types and passing a thread or wire through
-each line, to hold the intractable letters in their place.
-
-This, however, is mere conjecture, and whether such types existed or
-not none of them have survived to our day. Their possessors, as they
-slowly discovered the secret of the punch, matrix and mould, would
-show little veneration, we imagine, for these clumsy relics of their
-ignorance, and value them only as old lead, to be remelted and recast
-by the newer and better method.
-
-But though no relic of these primitive cast types remains, we are
-happily not without means for forming a judgment respecting some of the
-earliest types of the more finished school of printers. In 1878, in the
-bed of the river Saône, near Lyons,[42] opposite the site of one of
-the famous fifteenth century printing-houses of that city, a number of
-old types were discovered which there seems reason to believe belonged
-once to one of those presses, and were used by the early printers of
-Lyons. They came into the hands of M. Claudin of Paris, {21} the
-distinguished typographical antiquary, who, after careful examination
-and inquiry, has satisfied himself as to their antiquity and value as
-genuine relics of the infancy of the art of printing.
-
-[Illustration: 4. _Profile tracings from M. Claudin’s Types. October
-1883._]
-
-It has been our good fortune, by the kindness of M. Claudin, to have an
-opportunity of inspecting these precious relics. The following outline
-profile-sketches will give a good idea of the various forms and sizes
-represented in the collection. There is little doubt that they were all
-cast in a mould. The metal used is lead, slightly alloyed with some
-harder substance, which in the case of a few of the types seems to be
-iron. The chief point which strikes the observer is the variety in the
-“height to paper” of the different founts. Taking the six specimens
-shown in the illustration, it will be seen that no two of the types
-correspond in this particular. No. 4 corresponds as nearly as possible
-to our English standard height. No. 3 is considerably lower than an
-ordinary space height. No. 2 approaches some of the continental heights
-still to be met with, while Nos. 1, 5, and 6 are higher than any known
-standard. It is easy to imagine that an early printer who cast his
-own types would trouble himself very little as to the heights of his
-neighbours’ and rivals’ moulds, so that in a city like Lyons there
-might have been as many “heights to paper” as there were printers. It
-is even possible that a printer using one style and size of letter
-exclusively for one description of work, and another size and style for
-another description, might not be particular to assimilate the heights
-in his own office; and so, foreshadowing the improvidence of some of
-his modern followers, lay in founts of letter which would not work with
-any other, but which, as time went on, could hardly be dispensed with.
-Then, when the days of the itinerant typesellers and the type-markets
-began, he might still further add to his “heights” by the purchase of a
-German fount from one merchant, a Dutch from another, and so on.
-
-The type No. 3, though lower than all the rest, has yet a letter upon
-its {22} end. But it seems likely that the old printers cut down their
-worn-out letters for spaces, not by ploughing off the face, but by
-shortening the type at the foot. So that No. 3 (presuming the bodies to
-have corresponded) might stand as a space to No. 4, or No. 4 to No. 1.
-At the same time, the collection includes a good number of plain spaces
-and quadrats (the latter generally about a square body), which may
-either have been cast as they now appear, or be old letters of which
-the face and shoulder have been cut off.
-
-The small hole appearing in the side of type No. 4 is a perforation,
-and the collection contains several types, both letters and spaces,
-having the same peculiarity. Whether this hole was formed at the
-time of or after casting; whether the letters so perforated were
-originally model-types only, or types in actual use; whether the hole
-was intended for a thread or wire to hold the letters in their places
-during impression; or whether, for want of a type-case, it was used
-for stringing the types together for safety when not in use, it is as
-easy to conjecture as it is impossible to determine. The perforated
-types which we examined certainly did not appear to be older, and in
-most cases appeared less old than those not perforated,—the outline of
-type No. 4 itself shows it to be fairer and squarer than any of its
-companions.
-
-Another peculiarity to be noted is the “shamfer,” or cutting away of
-one of the corners of the feet of types 2, 5, and 6. This appears to
-have been intentional, and may have served the same purpose as our
-nick, to guide the compositor in setting. None of the types have a
-nick, and types 1 and 3 have no distinguishing mark whatever. The two
-small indentations in the side of type 2 are air-holes produced in the
-casting.
-
-With regard to the faces of the types, there are traces in most of the
-letters of the “shoulders” of the body having been tapered off by a
-knife or graver after casting, so as to leave the letter quite clear on
-the body. In most cases the letter stands in the centre of the body,
-which is, as a rule, larger than the size of the character actually
-requires. In point of thickness, however, the old printers appear
-to have been very sparing; and a great many of the letters, though
-possessing ample room “body-way,” actually overhang the sides, and
-are what we should style in modern terminology “kerned” letters. The
-difficulty, however, which would be experienced by printers to-day with
-these overhanging sorts, was obviated to a large extent in the case of
-the old printers by the numerous ligatures, contractions, and double
-letters with which their founts abounded, and which gave almost all the
-combinations in which an overhanging letter would be likely to clash
-with its neighbour.
-
-One last peculiarity to be observed is the absence of what is known
-as the “break” at the foot of the type. The contrivance in the mould
-whereby the {23} foot of the type is cast square, and the “jet,” or
-superfluous metal left by the casting, is attached, not to the whole
-of the foot, but to a narrow ridge across the centre, from which it
-is easily detached, was probably unknown to the fifteenth century
-typefounders. Their types appear to have come out of the mould with
-a “jet” attaching to the entire foot, from which it could only be
-detached by a saw or cutter. The “shamfer” already pointed out in types
-2, 5, 6, if produced in the mould, may indicate an early attempt to
-reduce the size of the jet, which, if attaching to the entire square
-of the foot of a type the size of No. 2, would involve both time and
-labour in removal. M. Duverger, in his clever essay to the invention of
-printing,[43] gives an illustration of the manner in which he imagines
-the old types would be detached from their jets; and considers that
-in the three points only of the want of a breaking “jet,” the want of
-a spring to hold the matrix to the mould, and the absence of a nick,
-the mould of the first printer differed essentially from that of the
-printer of his day.
-
-[Illustration: 3. Type Mould of Claude Garamond. Paris, 1540. (From
-Duverger.)
-
-_a._ The “body” in which the type is cast. _b_, _c_. The “jet,” or
-mouthpiece, in which the fluid metal is poured. _d._ The type as cast.]
-
-Such are some of the chief points of interest to be observed in these
-venerable relics of the old typographers. It is to be hoped that M.
-Claudin may before long favour the world with a full and detailed
-account of their many peculiarities. Yet, curious as they are, they
-prove that the types of the fifteenth century differed in no essential
-particular from those of the nineteenth. Ruder and rougher, and less
-durable they might be, but in substance and form, and in the mechanical
-principles of their manufacture, they claim kinship with the newest
-types of our most modern foundry. {24}
-
-The old Lyonnaise relics are not the only guide we have as to the form
-and nature of the fifteenth century types.
-
-M. Madden, in 1875, made a most valuable discovery in a book printed by
-Conrad Hamborch, at Cologne, in 1476, and entitled _La Lèpre Morale_,
-by John Nider, of the accidental impression of a type, pulled up from
-its place in the course of printing by the ink-ball, and laid at length
-upon the face of the forme, thus leaving its exact profile indented
-upon the page. We reproduce in facsimile M. Madden’s illustration
-of this type, which accompanies his own interesting letter on the
-subject.[44]
-
-[Illustration: 5. From M. Madden’s _Lettres d’un Bibliographe_. Ser.
-iv, p. 231.]
-
-[Illustration: 6. From _Liber de Laudibus ac Festis Gloriosæ Virginis_.
-Cologne(?), 1468(?). Fol. 4 verso. (From the original.)]
-
-A similar discovery, equally valuable and interesting, was made not
-many months ago by the late Mr. Henry Bradshaw, of Cambridge, in a copy
-of a work entitled _De Laudibus Gloriosæ Virginis Mariæ_, _sine notâ_,
-but printed probably about 1468 at Cologne.[45] We are indebted to
-Mr. Bradshaw for the present opportunity of presenting for the first
-time the annexed facsimile of this curious relic, {25} photographed
-direct from the page on which it occurs.[46] These two impressions
-are particularly interesting in the light of the old Lyonnaise types
-still in existence. Like them, it will be seen they are without nick,
-and tapered off at the face. They are also without the jet-break.
-The height of both types (which is identical) is above the English
-standard, and more nearly approaches that of No. 2 of the Lyons
-letters; and M. Madden points out as remarkable that this height (24
-millimètres) is exactly that fixed as the standard “height to paper” by
-the “réglement de la libraire” of 1723. The body of the types (assuming
-the letter to be laid sideways, of which there can be little doubt) is
-about the modern English, and so corresponds exactly to the body of the
-text on which it lies.
-
-The chief point of interest, however, is in the small circle appearing
-in both near the top, which M. Madden (as regards the type of the
-_Nider_) thus explains: “This circle, the contour of which is exactly
-formed, shows that the letter was pierced laterally by a circular hole.
-This hole did not penetrate the whole thickness of the letter, and
-served, like the nick of our days, to enable the compositor to tell by
-touch which way to set the letter in his stick, so as to be right in
-the printed page. If the letter had been laid on its other side, the
-existence of this little circle would have been lost to us for ever.”
-It would, however, be quite possible for a perforated type, with the
-end of the hole slightly clogged with ink, to present precisely the
-same appearance as this, which M. Madden concludes was only slightly
-pierced; and were it not for the fact that the pulling-up of the letter
-from the forme is itself evidence that the line could not have been
-threaded, we should hesitate to affirm that either of the types shown
-was not perforated. The sharp edge of the circumference in the type of
-the _De laudibus_, leaving, as it does, in the original page, a clearly
-embossed circle in the paper, makes it evident that the depression was
-not the result of a mere flaw in the casting, although it is possible
-(as we have satisfied ourselves by experiment) for the surface of the
-side of a roughly-cast type to be depressed by air-holes, some of which
-assume a circular form, and may even perforate a thin type. Indeed, at
-the present day it is next to impossible to cast by hand a type which
-is not a little sunk on some part of its sides; and this roughness of
-surface we can imagine to have been far more apparent on the types {26}
-cast by the earliest printers. We doubt, therefore, whether, in types
-liable to these accidental depressions of surface, a small artificial
-hole thus easily simulated would be of any service as a guide to the
-compositor. A more probable explanation of the appearance seems to be
-that the head of a small screw or pin, used to fix the side-piece of
-the mould, projecting slightly on the surface of the piece it fixed,
-left its mark on the side of the types as they were cast, and thus
-caused the circular depression observable in the illustrations.[47]
-
-Before leaving this subject it may be remarked that the clear
-impression of the printed matter, despite the laid-on types, which
-must in either case have been a thin sort, is strong evidence of the
-softness of the metal in which the fount was cast. The press appears to
-have crushed the truant types down into the letters on which it lay,
-and, unimpeded by the obstacle, to have taken as good an impression of
-the remainder of the forme as if that obstacle had never existed.
-
-       *       *       *       *       *
-
-The quantity of type with which the earliest printers found it
-necessary to provide themselves, turns, of course, upon the question,
-did the first printers print only one page at a time, or more? M.
-Bernard considers that the Gutenberg _Bible_, which is usually collated
-in sections of five sheets, or twenty pages, containing about 2,688
-types in a page, would require 60,000 types to print a single section;
-and if sufficient type was cast to enable the compositors to set
-one section while another was being worked, the fount would need to
-consist of 120,000 letters. Others consider that two pages, requiring,
-in the case of the Gutenberg _Bible_, only 6,000 types, were printed
-at one time. But even this estimate has been shown to be opposed to
-the evidence afforded by a considerable number of the incunabula,
-respecting which it is evident only one page was printed at a time.
-On this point we cannot do better than quote the words of Mr. Blades.
-“The scribe,” he says, “necessarily wrote but one page at a time,
-and, curiously enough, the early printers here also assimilated their
-practice. Whether from want of sufficient type to set up the requisite
-number of pages, or from the limited capability of the presses, there
-is strong evidence of the early books from Caxton’s press having been
-printed page by page. . . . . Instances are found of pages on the same
-side of the sheet being out of parallel, which could not occur if two
-pages were printed together. . . . A positive proof of the separate
-printing of the pages may be seen in a copy of the _Recuyell of the
-Histories of Troye_, in the Bodleian; {27} for the ninth recto of
-the third quaternion has never been printed at all, while the second
-verso (the page which must fall on the same side of the sheet) appears
-properly printed.”[48]
-
-What is true of Caxton’s early works is also true of a large number of
-other fifteenth century printed books. Mr. Hessels, after quoting the
-testimony of Mr. Bradshaw of Cambridge, and Mr. Winter Jones of the
-British Museum, refers to a large number of incunabula in which he has
-found evidence that this mode of printing was the common practice of
-the early typographers.[49]
-
-Assuming, then, that the first books were generally printed page by
-page, it will be seen that the stock of type necessary to enable the
-printer to proceed was but small. 2,700 letters would suffice for one
-page of the forty-two-line _Bible_; and for the _Rationale Durandi_,
-about 5,000 would be required. It is probable, however, that, as
-Bernard suggests, the printers would cast enough to enable one forme
-to be composed while the other was working, so that double these
-quantities would possibly be provided. Nor must it be forgotten that
-a “fount” of type in these days consisted not only of the ordinary
-letters of the alphabet, but of a very large number of double letters,
-abbreviations and contractions, which must have seriously complicated
-the labour of composition, as well as reduced the individual number
-of each type required to fill the typefounder’s “bill.” This feature,
-doubtless attributable to the attempt on the part of the early printers
-to imitate manuscript as closely as possible, as well as to the
-exigencies of justification in composition, which, in the absence of a
-variety of spaces, required various widths in the letters themselves,
-was common to both schools of early typography. M. Bernard states that,
-in the type of the forty-two-line _Bible_, each letter required at
-least three or four varieties; while with regard to Caxton’s type 1,
-which was designed and cast by Colard Mansion at Bruges, before 1472,
-Mr. Blades points out that the fount contained upwards of 163 sorts,
-and that there were only five letters of which there were not more
-than one matrix, either as single letters or in combination. Speaking
-of the _Speculum_, Mr. Skeen counts 1,430 types on one page, of which
-22 are _a_, 61 _e_, 91 _i_, 73 _o_, 37 _u_, 22 _d_, 14 _h_, 30 _m_, 50
-_n_, 42 _s_, and 41 _t_; besides which there are no less than ninety
-duplicate and triplicate characters, comprising one variation of _a_,
-15 of _c_, 7 of _d_, 3 of _e_, 9 of _f_, 10 of _g_, 3 of _i_, 7 of
-_l_, 2 of _o_, 3 of _n_, 2 of _p_, 10 of _r_, 9 of _s_, 9 of _t_,
-varying in the frequency of their occurrence from once to eleven times,
-leaving but 541 other letters for the rest of the alphabet, including
-the capitals; {28} and of these last, from three to twenty would be
-the utmost of each required. Altogether, calculating 138 matrices
-(_i.e._, two alphabets of twenty-four letters each, and ninety double
-and treble letters) to be the least number of matrices required to
-make a complete fount,[50] the highest number of types of any one
-particular sort necessary to print a single page would be ninety-one.
-The average number of the eleven chief letters specified above would be
-about forty-four, while if we take into calculation the minor letters
-of the alphabet and the double letters, this average would be reduced
-to little more than ten. It will thus be seen that the founts of the
-earliest printers consisted of a small quantity each of a large variety
-of sorts. Mr. Astle, in his chapter on the Origin and Progress of
-Printing,[51] is, we believe, the only writer who has dwelt upon the
-difficulty which the first letter-founders would be likely to encounter
-in the arrangement of their “bill.” This venerable compilation
-was, he considers, made in the fifteenth century, probably by the
-ordinary method of casting-off copy. If so, it must have experienced
-considerable and frequent change during the time that the ligatures
-were falling into disuse, and until the printer’s alphabet had reduced
-itself to its present limits.
-
-       *       *       *       *       *
-
-Of the face of type used by the earliest printers we shall
-have occasion to speak later on. Respecting the development of
-letter-founding as an industry, there is little that can be gathered in
-the history of the fifteenth century. At first the art of the inventor
-was a mystery divulged to none. But the sack of Mentz, in 1462, and
-the consequent dispersion of Gutenberg’s disciples, spread the secret
-broadcast over Europe. Italy, Switzerland, France, the Netherlands,
-Spain, England, in turn learned it, and after their fashion improved
-it. Italy, especially, guided by the master-hands of her early artists,
-brought it to rapid perfection. The migrations of Gutenberg’s types
-among the early presses of Bamberg, Eltville, and elsewhere, have
-led to the surmise that he may have sold matrices of his letter.[52]
-In 1468, Schoeffer put forward what may be considered the first
-advertisement in the annals of typography. “Every nation,” he says, in
-{29} the colophon to _Justinian’s Institutes_, “can now procure its
-own kind of letters, for he (_i.e._, Schoeffer himself) excels with
-all-prevailing pencil” (_i.e._, in designing and engraving all kinds
-of type).[53] For the most part printers were their own founders, and
-each printer had his own types. But type depôts and markets, and the
-wanderings of the itinerant typographers, as the demands of printing
-yearly increased, brought the founts of various presses and nations
-to various centres, and thus gave the first impulse to that gradual
-divorce between printing and typefounding which in the following
-century left the latter the distinct industry it still remains.
-
-       *       *       *       *       *
-
-Such is a brief outline of the chief facts and opinions regarding the
-processes, appliances and practices of the earliest typefounders. It
-may be said that, after all, we know very little about the matter.
-The facts are very few, and the conjectures, in many instances, so
-contradictory, that it is impossible to erect a “system,” or draw any
-but general conclusions. These conclusions we very briefly summarise as
-follows.
-
-Accepting as a fundamental principle that the essence of typography
-is in the mobility of the types, we dismiss, as beyond the scope
-of our inquiry, the xylographic works which preceded typography.
-Passing in review the alleged stepping-stones between the two arts, we
-fail to see in the evidence adduced as to the use of movable wooden
-perforated types anything to justify the conclusion that the earliest
-printers printed books by their means. Such types may have been cut
-experimentally, but the practical impossibility of cutting them square
-enough to be composed in a forme, and of producing a work of the size
-and character of the _Speculum_, is fatal to their claims. With regard
-to the sculpto-fusi types—types engraved on cast-metal bodies—the
-evidence in their favour is of the most unsatisfactory character,
-and, coupled with the practical difficulties of their production,
-reduces their claims to a minimum. The marked difference of style and
-excellence in the typography of certain of the earliest books leads us
-to accept the theory that two schools of typography existed side by
-side in the infancy of the art—one a rude school, which, not having
-the secret of the more perfect appliances of the inventors, cast its
-letters by some primitive method, probably using moulds of sand or
-clay, in which the entire type had been moulded. Such types may have
-been perforated and held together in lines by a wire. The suggestion
-that the earliest types were produced by a system of polytype, and
-that the face of each letter, sawn off a plate resembling a {30}
-stereotype-plate, was separately mounted on loose wooden shanks, we
-dismiss as purely fanciful.
-
-Turning now to the processes adopted by the typographers of the more
-advanced school, we consider that in the first instance, although
-grasping the principle of the punch, the matrix and the adaptable
-mould, they may have made use of inferior appliances—possibly by
-forming their matrices in lead from wooden or leaden punches or
-models—advancing thence by degrees to the use of steel punches, copper
-matrices, and the bipartite iron mould. We hold that the variations
-observable in the early works of this school are due mainly to uneven
-casting and wear and tear of the types. As to the metal in which the
-type was cast, we find mention made of almost every metal, several
-of which, however, refer to the punches and matrices, leaving tin,
-lead, and antimony as the staple ingredients of the type-metal. Of
-the types themselves, we find these in most essential particulars to
-be the same as those cast at a later date. We see, however, evidence
-of perforated, mould-cast type, and, in the absence of a nick, a
-“shamfer” at the foot, from which the jet appears to have been sawn or
-cut, instead of being broken. We remark a great irregularity in the
-heights of different founts, the average of which height is beyond any
-modern English standard. The accidental impression of a type in two
-early German books, proves that about the year 1476 types were made
-differing only in the two points of the want of a nick and the want of
-a jet-break from the types of to-day. The quantity of types required
-by the earliest printers, we consider, would be small, since they
-appear in most instances to have printed only one page at a time; but
-the number of different sorts going to make up a fount would be very
-considerable, by reason of the numerous contractions, double letters
-and abbreviations used.
-
-Finally, we consider that the art of letter-founding rapidly reached
-maturity after the general diffusion of printing consequent on the
-sack of Mentz; and that when the writer of the _Cologne Chronicle_, in
-the last year of the 15th century, spoke of “the art as now generally
-used,” he spoke of an art which, at the close of the 19th century, has
-been able to improve in no essential principle on the processes first
-made use of by the great inventors of Typography.
-
-[Illustration]
-
-{31}
-
-[Illustration]
-
-
-
-
-CHAPTER I.
-
-THE ENGLISH TYPE BODIES AND FACES.
-
-
-We have laid before the reader, in the Introductory Chapter, such facts
-and conjectures as it is possible to gather together respecting the
-processes and appliances adopted by the first letter-founders, and
-shall, with a view to render the particular history of the English
-Letter Foundries more intelligible, endeavour to present here, in as
-concise a form as possible, a short historical sketch of the English
-type bodies and faces, tracing particularly the rise and development
-of the Roman, Italic, and Black letters before and subsequent to
-their introduction into this country; adding, in a following chapter,
-a similar notice of the types of the principal foreign and learned
-languages which have figured conspicuously in English typography.
-
-
-TYPE-BODIES.
-
-The origin of type-bodies and the nomenclature which has grown around
-them, is a branch of typographical antiquity which has always been
-shrouded in more or less obscurity. Imagining, as we do, that the
-moulds of the first printers were of a primitive construction, and,
-though conceived on true principles, were adjusted to the various sizes
-of letter they had to cast more by eye than by rule, it is easy to
-understand that founts would be cast on no other principle than that of
-ranging in body and line and height in themselves, irrespective of the
-body, height and line of other founts used in the same press. When two
-or more {32} founts were required to mix in the same work, then the
-necessity of a uniform standard of height would become apparent. When
-two or more founts were required to mix in the same line, a uniformity
-in body, and if possible in alignment, would be found necessary. When
-initials or marginal notes required to be incorporated with the text,
-then the advantage of a mathematical proportion between one body and
-another would suggest itself.
-
-At first, doubtless, the printer would name his sizes of type according
-to the works for which they were used. His Canon type would be the
-large character in which he printed the canon of the Mass. His Cicero
-type would be the letter used in his editions of that classical author.
-His Saint Augustin, his Primer, his Brevier, his Philosophie, his
-Pica type, would be the names by which he would describe the sizes of
-letter he used for printing the works whose names they bore. It may
-also be assumed with tolerable certainty that in most of these cases,
-originally, the names described not only the body, but the “face” of
-their respective founts. At what period this confused and haphazard
-system of nomenclature resolved itself into the definite printer’s
-terminology it is difficult to determine. The process was probably a
-gradual one, and was not perfected until typefounding became a distinct
-and separate trade.
-
-The earliest writers on the form and proportion of letters,—Dürer[54]
-in 1525, Tory[55] in 1529, and Ycair[56] in 1548,—though using terms
-to distinguish the different faces of letter, were apparently unaware
-of any distinguishing names for the bodies of types. Tory, indeed,
-mentions Canon and Bourgeoise; but in both cases he refers to the face
-of the letter; and Ycair’s distinction of “teste y glosa” applies
-generally to the large and small type used for the text and notes
-respectively of the same work.[57]
-
-In England, type-bodies do not appear to have been reduced to a
-definite scale much before the end of the sixteenth century. Mores[58]
-failed to trace them further back than 1647; but in a Regulation of the
-Stationers’ Company, dated 1598,[59] Pica, English, Long Primer, and
-Brevier are mentioned by name as apparently well-established bodies at
-that time; and in a petition to the same Company in 1635,[60] Nonpareil
-and “two-line letters” are mentioned as equally familiar.
-
-Moxon, our first writer on the subject, in his _Mechanick Exercises_,
-in 1683, {33} described ten regular bodies in common use in his day,
-and added to his list the number of types of each body that went to a
-foot, viz.:―
-
- Pearl          184     to a foot
- Nonpareil      150         〃
- Brevier        112         〃
- Long Primer     92         〃
- Pica            75         〃
- English         66         〃
- Great Primer    50         〃
- Double Pica     38         〃
- 2-line English  33         〃
- French Canon    17 1/2     〃
-
-“We have one body more,” he adds, “which is sometimes used in England;
-that is, a Small Pica: but I account it no great discretion in a
-master-printer to provide it, because it differs so little from the
-Pica, that unless the workmen be carefuller than they sometimes are, it
-may be mingled with the Pica, and so the beauty of both founts may be
-spoiled.”
-
-In this sentence we have the first record of the introduction of
-irregular bodies into English typography, an innovation destined very
-speedily to expand, and within half a century increase the number of
-English bodies by the seven following additions:
-
- Minion               132     to a foot
- Bourgeois            100         〃
- Small Pica            76         〃
- Paragon               46         〃
- 2-line Pica           37 1/2     〃
- 2-line Great Primer   25         〃
- 2-line Double Pica    19         〃
-
-The origin of these irregular bodies it is easy to explain. Between
-Moxon’s time and 1720 the country was flooded with Dutch type. The
-English founders were beaten out of the field in their own market,
-and James, in self-defence, had to furnish his foundry entirely with
-Dutch moulds and matrices. Thus we had the typefounding of two nations
-carried on side by side. An English printer furnished with a Dutch
-fount would require additions to it to be cast to the Dutch standard,
-which might be smaller or larger than that laid down for English type
-by Moxon, and yet so near that even if it lost or gained a few types
-in the foot, it would still be called by its English name, which would
-thenceforth represent two different bodies. If, on the other hand,
-a new fount were imported, or cut by an ill-regulated artist here,
-which when finished was found to be as much too large for one regular
-body as it was too small for another, a body would be found to fit it
-between the two, and christened by a new name. In this manner, Minion,
-Bourgeois, Small Pica, Paragon, and two-line Pica insinuated themselves
-into the list of English bodies, and in this manner arose that
-ancient anomaly, the various body-standards of the English foundries.
-For a founder who was constantly called upon to alter his mould to
-accommodate a printer requiring a special body, would be likely to cast
-a quantity of the letter in excess of what was immediately ordered; and
-this store, if not sold in due time to the person for whom it was cast,
-would be disposed of to the first {34} comer who, requiring a new
-fount, and not particular as to body, provided the additions afterwards
-to be had were of the same gauge, would take it off the founder’s
-hands. _Facilis descensus Averni!_ Having taken the one downward step,
-the founder would be called upon constantly to repeat it, his moulds
-would remain set, some to the right, some to the wrong standard,
-and every type he cast would make it more impossible for him or his
-posterity to recover the simple standard from which he had erred.
-
-Such we imagine to have been the origin of the irregular and ununiform
-bodies. Even in 1755, when Smith published his _Printer’s Grammar_, the
-mischief was beyond recall. In no single instance were the standards
-given by him identical with those of 1683. Indeed, where each founder
-had two or three variations of each body in his own foundry it is
-impossible to speak of a standard at all. Smith points out that, in
-the case of English and Pica alone, Caslon had four varieties of the
-former, and the Dutch two; while of the latter, Caslon had three, and
-James two. Nevertheless, he gives a scale of the bodies commonly in use
-in his day, which it will be interesting to compare with Moxon’s on the
-one hand, and the standard of the English foundries in 1841 as given by
-Savage, on the other.
-
- +───────────────────+──────+──────────────+───────+────────+───────────+───────+
- │                   │MOXON,│    SMITH,    │CASLON,│FIGGINS,│THOROWGOOD,│WILSON,│
- │                   │1683. │    1755.     │ 1841. │ 1841.  │   1841.   │ 1841. │
- +───────────────────+──────+──────────────+───────+────────+───────────+───────+
- │Canon              │17 1/2│ 18 and G. P. │ 18    │ 18     │  18       │ 18    │
- │2-line Double Pica │  —   │    20 3/4    │ 20 3/4│ 20 3/4 │  20 1/2   │ 20 3/4│
- │2-line Great Primer│  —   │    25 1/2    │ 25 1/2│ 25 1/2 │  26       │ 25 1/2│
- │2-line English     │  33  │    32        │ 32    │ 32     │  32 1/4   │ 32    │
- │2-line Pica        │  —   │    35 3/4    │ 36    │ 36     │  36       │ 36    │
- │Double Pica        │  38  │    41 1/2    │ 41 1/2│ 41 1/2 │  41       │ 41 1/2│
- │Paragon            │  —   │    44 1/2    │ 44 1/2│ 44 1/2 │  —        │ 44 1/2│
- │Great Primer       │  50  │ 51 and an r. │ 51    │ 51     │  52       │ 51    │
- │English            │  66  │    64        │ 64    │ 64     │  64 1/2   │ 64    │
- │Pica               │  75  │    71 1/2    │ 72    │ 72 1/2 │  72       │ 72    │
- │Small Pica         │  —   │    83        │ 83    │ 82     │  82       │ 83    │
- │Long Primer        │  92  │    89        │ 89    │ 90     │  92       │ 89    │
- │Bourgeois          │  —   │102 and space.│102    │101 1/2 │ 103       │102    │
- │Brevier            │ 112  │   112 1/2    │111    │107     │ 112       │111    │
- │Minion             │  —   │   128        │122    │122     │ 122       │122    │
- │Nonpareil          │ 150  │   143        │144    │144     │ 144       │144    │
- │Pearl              │ 184  │   178        │178    │180     │ 184       │178    │
- │Diamond            │  —   │    —         │204    │205     │ 210       │204    │
- +───────────────────+──────+──────────────+───────+────────+───────────+───────+
-
-This list does not include Trafalgar, Emerald, and Ruby, which,
-however, were in use before 1841. The first named has disappeared in
-England, as also has Paragon. The _Printer’s Grammar_ of 1787 mentions
-a body in use at that time named “Primer,” between Great Primer and
-English.
-
-It is not our purpose to pursue this comparison further or more
-minutely; nor does it come within the scope of this work to enter into
-a technical {35} examination of the various schemes which have been
-carried out abroad, and attempted in this country, to do away with the
-anomalies in type-bodies, and restore a uniform invariable standard.
-The above table will suffice as a brief historical note of the growth
-of these anomalies.
-
-As early as 1725, in France, an attempt was made to regulate by a
-public decree, not only the standard height of a type, but the scale
-of bodies. But the system adopted was clumsy, and only added to the
-confusion it was designed to remove. Fournier, in 1737, invented his
-typographical points, the first successful attempt at a mathematical
-systematisation of type-bodies, which has since, with the alternative
-system of Didot, done much in simplifying French typography. England,
-Germany, and Holland have been more conservative, and therefore less
-fortunate. Attempts were made by Fergusson in 1824,[61] and by Bower
-of Sheffield about 1840,[62] and others, to arrive at a standard of
-uniformity; but their schemes were not warmly taken up, and failed.
-
-Before proceeding to a brief historical notice of the different
-English type-bodies, we shall trouble the reader with a further
-table, compiled from specimen-books of the 18th century, showing what
-have been the names of the corresponding bodies in the foundries of
-other nations,—premising, however, that these names must be taken as
-representing the approximate, rather than the actual, equivalent in
-each case[63]:―
-
- +────────────────────────+─────────────────────────────────────────+────────────────────+─────────────────────────────+
- │        ENGLISH.        │       FRENCH.        │     GERMAN.      │       DUTCH.       │   ITALIAN.    │  SPANISH.   │
- +────────────────────────+──────────────────────+──────────────────+────────────────────+───────────────+─────────────+
- │ 1. French Canon.       │Double Canon.         │Kleine Missal.    │Parys Kanon.        │Reale.         │    ....     │
- │ 2. 2-line Double Pica. │Gros Canon.           │Große Canon.      │Groote Kanon.       │Corale.        │Canon Grande.│
- │ 3. 2-line Great Primer.│Trismegiste.          │Kleine Canon.     │Kanon.              │Canone.        │Canon.       │
- │ 4. 2-line English.     │Petit Canon.          │Doppel Mittel.    │Dubbelde Augustyn.  │Sopracanoncino.│Peticano.    │
- │ 5. 2-line Pica.        │Palestine.            │Roman.            │Dubbelde Mediaan.   │Canoncino.     │    ....     │
- │ 6. Double Pica.        │Gros Parangon.        │Text or Secunda.  │Dubbelde Descendiaan│Ascendonica.   │Misal.       │
- │                        │                      │                  │ (or Ascendonica).  │               │             │
- │ 7. Paragon.            │Petit Parangon.       │Parangon.         │Parangon.           │Parangone.     │Parangona.   │
- │ 8. Great Primer.       │Gros Romain.          │Tertia.           │Text.               │Testo.         │Texto.       │
- │ 9. (Large English.)    │Gros Texte.           │Große Mittel.     │        ....        │Soprasilvio.   │    ....     │
- │ 9. English.            │St. Augustin.         │Kleine Mittel.    │Augustyn.           │Silvio.        │Atanasia.    │
- │10. Pica.               │Cicero.               │Cicero.           │Mediaan.            │Lettura.       │Lectura.     │
- │11. Small Pica.         │Philosophie.          │Brevier.          │Descendiaan.        │(Filosofia.)   │    ....     │
- │12. Long Primer.        │Petit Romain.         │Corpus or Garmond.│Garmond.            │Garamone.      │Entredos.    │
- │13. Bourgeois.          │Gaillarde.            │(Borgis.)         │Burgeois or Galjart.│Garamoncino.   │    ....     │
- │14. Brevier.            │Petit Texte.          │Petit or Jungfer. │Brevier.            │Testino.       │Breviario.   │
- │15. Minion.             │Mignone.              │Colonel.          │Colonel.            │Mignona.       │Glosilla.    │
- │16. Nonpareil.          │Nonpareille.          │Nonpareille.      │Nonparel.           │Nompariglia.   │Nompareli.   │
- +────────────────────────+──────────────────────+──────────────────+────────────────────+───────────────+─────────────+
- │17.│ Pearl.             │Parisienne or Sedan.  │Perl.             │Joly.               │Parmigianina.  │    ....     │
- │   │                    │Perle.                │                  │Peerl.              │               │             │
- +   +────────────────────+──────────────────────+──────────────────+────────────────────+───────────────+─────────────+
- │   │ (Diamond.)         │Diamant.              │Diamant.          │Robijn.             │               │             │
- │   │                    │                      │                  │Diamand.            │     ....      │    ....     │
- +────────────────────────+─────────────────────────────────────────+────────────────────+─────────────────────────────+
-
-{36}
-
-A few notes on the origin of the names of English type-bodies will
-conclude our observations on this subject.
-
-
-CANON.—The Canon of the Mass was, in the service-books of the Church,
-printed in a large letter, and it is generally supposed that, this size
-of letter being ordinarily employed in the large Missals, the type-body
-took its name accordingly: a supposition which is strengthened by its
-German name of Missal. Mores, however (who objects equally to the
-epithets of Great or French as unnecessary and delusive), considers
-this derivation to be incorrect, and quotes the authority of Tory, who
-uses the term Canon to apply to letter cut according to rule—_lettres
-de forme_—as distinguished from letters not so cut, which he terms
-_lettres bastardes_. So that the _lettre qu’on dict Canon_ was
-originally a generic term, embracing all the regular bodies; and
-subsequently came to be confined to the largest size in that category.
-The theory is ingenious and interesting; but it seems more reasonable
-to lay greater stress on the actual meaning of a word than on its
-equivocal interpretation. In other countries two-line Great Primer was
-commonly called Canon, and our French Canon was called by the Dutch
-Parys Kanon; by which it would seem that both England and Holland
-originally received the body from the French. In modern letter-founding
-the name Canon applies only to the size of the face of a letter which
-is a three-line Pica cast on a four-line Pica body.
-
-Passing the next four bodies, which with us are merely
-reduplications,[64] we note that―
-
-
-DOUBLE PICA, which at present is Double Small Pica, was in Moxon’s
-day, what its name denotes, a two-line Pica. When the irregular Small
-Pica was introduced, Double Pica was the name given to the double of
-the interloper, the double of the Pica being styled two-line Pica.
-In Germany, Double Pica was called Text or Secunda—the former name
-probably denoting the use of this size in the text of Holy Writ, while
-the latter indicates that the body was one of a series, the Doppel
-Mittel, corresponding to our two-line English, being probably the Prima.
-
-
-PARAGON, the double of Long Primer, though a body unnamed in Moxon’s
-day, was a size of really old institution; it having been a favourite
-body with many of the earliest printers, and particularly affected
-by Caxton in this country. Its name points to a French origin; and,
-like most of the other fanciful names, proves that the appellation had
-reference in the first instance, not to the depth of its shank, but
-to the supposed beauty of the letter which was cut upon it. It was a
-body which did not take deep root in this country, and for the most
-part {37} disappeared with the first quarter of the present century.
-It is noteworthy that Paragon and Nonpareil are the only bodies which
-have preserved their names in all the countries in which they have been
-adopted.
-
-
-GREAT PRIMER.—For this body, Mores claims an indisputable English
-origin. He considers it possible that it may date back to before the
-Reformation, and that it was the body on which were printed the large
-Primers of the early Church.[65] This derivation[66] would be more
-satisfactory were it found that these works, or the school primers of a
-later date, were, as a rule, printed in type of this size.[67] But this
-is not the case. _Primers_, _Pyes_, and _Breviaries_ occur printed in
-almost all the regular bodies. Great Primer was a favourite body with
-the old printers, and having been adopted by many of the first Bible
-printers, was sometimes called Bible Text. The French called it Gros
-Romain; and the “Great Romaine letter for the titles,” mentioned in
-Pynson’s indenture in 1519, may possibly refer to an already recognised
-type-body of this size. In Germany it was called Tertia, being the
-third of the regular bodies above the Mittel. In Holland, Italy, and
-Spain it was called Text.
-
-
-ENGLISH is also a body which undoubtedly belongs to us. Until the end
-of last century the name served not only to denote a body, but the face
-of the English Black-letter; and many of the old founts used in the law
-books and Acts of Parliament were English both in body and face. As in
-Germany, where it is called Mittel, English was the middle size of the
-seven regular bodies in use among us: the Great Primer, Double Pica,
-and two-line English (the Tertia, Secunda, and Prima of the Germans)
-being on the ascending side, and Pica, Long Primer, and Brevier on the
-descending. The French call it St. Augustin,[68] and the Spaniards
-Atanasia, apparently from its use in printing the works of these
-Christian Fathers. Although the middle body, its standard has been
-subject to much variation, particularly in France and Germany, where
-large and small English are two distinct bodies. {38}
-
-
-PICA.—This important body, now the standard body in English typography,
-presumably owes its name to its use in printing the ordinal of the
-services of the early Church, and is coeval with Great Primer. “The
-Pie,” says Mores, of which this is the Latin name, “was a table showing
-the course of the service in the Church in the times of darkness.[69]
-It was called the Pie because it was written in letters of black and
-red; as the Friars de _Pica_ were so named from their party-coloured
-raiment, black and white, the plumage of a magpie.” “The number and
-hardness of the rules of this Pie” is referred to in the preface
-to our Prayer-book; and it will be remembered that Caxton’s famous
-advertisement related to “Pyes of Salisbury use.” But as a larger
-type-body than Pica was generally used to print these, it is possible
-the name may refer to nothing more than the piebald or black-and-white
-appearance of a printed page. Some authorities derive Pica from the
-Greek πίναξ, a writing tablet, and, hence, an index. The name was, in
-fact, applied to the alphabetical catalogue of the names and things in
-rolls and records. In France and Germany the body was called Cicero, on
-account of the frequent editions of Cicero’s Epistles printed in this
-size of letter.[70] It was the Mediaan body of the Dutch.
-
-
-SMALL PICA, as already stated, was an innovation in Moxon’s day, and
-was probably cast in the first instance to accommodate a foreign-cut
-letter, too small for pica and too large for long-primer. It
-subsequently came into very general use, one of the first important
-works in which it appeared being Chambers’s _Cyclopædia_, in 1728. The
-French called it Philosophie, and appear to have used it as a smaller
-body on which to cast the Cicero face. The Germans called it Brevier,
-the Dutch (it being one body below the Mediaan) called it Descendiaan,
-and the Italians, when they had it, followed the French, and called it
-Filosofia.
-
-
-LONG PRIMER, Mores suggests, was another of the old English bodies
-employed in liturgical works. He explains the use of the word Long to
-mean that Primers in this size of type were printed either in long
-lines instead of double columns, or that the length of the page was
-disproportionate to the width, or more probably, that they contained
-the service at full length a long, or without contraction.[71] These
-_Primers_, however, are rarely to be met with in this body. The French
-named the body Petit Romain, preserving a similar {39} relationship
-between it and their Gros Romain, as we did between our Long Primer
-and Great Primer. The other countries evidently attributed the body
-to France, and named it after Claude Garamond, the famous French
-letter-cutter, pupil of Tory, one of whose Greek founts, cut for the
-Royal Typography of Paris, was on this body. The Germans, however, also
-called the body Corpus, on account of their _Corpus Juris_ being first
-printed in this size.
-
-
-BOURGEOIS.—This irregular body betrays its nationality in its name,
-which, however, is probably derived, not from the fact that it was used
-by the bourgeois printers of France, but from the name of the city
-of Bourges, which was the birthplace of the illustrious typographer,
-Geofroy Tory, about the year 1485. Tory originally applied the term
-_bourgeoise_ to the _lettre de somme_, irrespective of size,[72]
-as distinguished from the _lettre Canon_. The French call the body
-Gaillarde, probably after the printer of that name,[73] although it is
-equally possible the name, like Mignon or Nonpareille, may be fanciful.
-As a type-body, Bourgeois did not appear in England till about 1748,
-and Smith informs us that it was originally used as a large body on
-which to cast Brevier or Petit.
-
-
-BREVIER.—The smallest of the English regular bodies claims equal
-antiquity with Great Primer, Pica, and Long Primer. The conjecture that
-it was commonly used in the _Breviaries_ of the early Church is not
-borne out by an examination of these works, most of which are printed
-in a considerably larger size.[74] The name, like the French and German
-“Petit,” may mean that, being the smallest body, it was used for
-getting the most matter into a brief space. The Germans, when they cut
-smaller-sized letters, called the Petit Jungfer, or the Maiden-letter.
-
-
-MINION, a body unknown to Moxon, was used in England before 1730;
-and, like the other small fancifully named bodies, appears to have
-originated in France. The Dutch and Germans call it Colonel, and the
-Spaniards Glosilla.
-
-
-NONPAREIL, now an indispensable body, because the half of Pica, was
-introduced as a peerless curiosity long before Moxon’s day, and has
-preserved its name in all the countries where it has gone. It is said
-first to have been cut by Garamond about the year 1560. Mores supposes
-that, because the Dutch founders of Moxon’s day called it “Englese
-Nonpareil” in their specimens, the {40} body was first used in this
-country. The Dutch name, however, evidently refers to the face of the
-letter, cut in imitation of an English face, or adapted to suit English
-purchasers. Paulus Pater[75] says that on account of its wonderful
-smallness and clearness, the Dutch Nonpareil was called by many the
-“silver letter,” and was supposed to have been cast in that metal.
-
-
-PEARL, though an English body in Moxon’s day, appears to have been
-known both in France and Holland at an earlier date. In the former
-country it was celebrated as the body on which the famous tiny editions
-at Sedan were printed. The Dutch Joly corresponded more nearly to our
-modern Ruby than to Pearl. But Luce, in 1740, cut the size for France,
-and provoked Firmin Didot’s severe criticism on his performance—“Among
-the characters, generally bad, which Luce has engraved, . . . is one
-which cannot be seen.”
-
-
-DIAMOND was unknown in England until the close of last century, when
-Dr. Fry cut a fount which he claimed to be the smallest ever used, and
-to get in “more even than the famous Dutch Diamond.” This Dutch fount
-was of some antiquity, having been cut by Voskens about 1700. Previous
-to this, Van Dijk had cut a letter on a body below Pearl, called
-Robijn, a specimen of which appears on Daniel Elzevir’s sheet in 1681.
-M. Henri Didot, however, eclipsed all these minute-bodied founts by a
-Semi-nonpareil in 1827.
-
-       *       *       *       *       *
-
-It now remains to trace briefly the origin and development of the
-leading type-faces used in English Typography.
-
-
-I.—ROMAN.
-
-To trace the history of the Roman character would almost require a
-_résumé_ of the works of all the greatest printers in each country
-of Europe. It must suffice to point out very briefly the changes it
-underwent before and after reaching England.
-
-
-ITALY.—The Italian scribes of the fifteenth century were famous for
-their beautiful manuscripts, written in a hand entirely different
-from the Gothic of the Germans, or the Secretary of the French and
-Netherlands calligraphers. It was only natural that the first Italian
-printers, when they set up their press at Subiaco, should form their
-letters upon the best model of the national scribes. The _Cicero de
-Oratore_ of 1465[76] is claimed by some as the first book {41} printed
-in Roman type, although the character shows that the German artists who
-printed it had been unable wholly to shake off the traditions of the
-pointed Gothic school of typography in which they had learned their
-craft. The type of the _Lactantius_, and the improved type of the works
-subsequently printed by Sweynheim and Pannartz at Rome, as well as
-those of Ulric Hahn, were, in fact, Gothic-Romans; and it was not till
-Nicholas Jenson, a Frenchman, in 1470, printed his _Eusebii Præparatio_
-at Venice, that the true Roman appeared in Italy, which was destined to
-become the ruling character in European Typography. Fournier and others
-have considered that Jenson derived his Roman letter from a mixture
-of alphabets of various countries;[77] but it is only necessary to
-compare the _Eusebius_ with the Italian manuscripts of the period, to
-see that no such elaborate selection of models was necessary or likely.
-The claims of Italy in the matter of Roman type have of late years
-been somewhat seriously challenged by the researches of M. Madden, who
-in a series of remarkable studies on the typographical labours of the
-Frères de la Vie Commune at Wiedenbach, near Cologne, contends that the
-Roman type known as the fount of the “[symb] bizarre,” on account of
-the peculiar form of that capital letter, was used in that monastery
-in 1465[78]; and that among the typographical fugitives from Mentz at
-that time dwelling in Cologne, there is little doubt that Jenson was
-here initiated into the art which he subsequently made famous. The
-close resemblance between the Roman of the Wiedenbach monks and that of
-the _Eusebius_ is, M. Madden considers, clear evidence that the same
-hand had trained itself on the one for the marvellous perfection of
-the other.[79] Jenson’s fount is on a body corresponding to English.
-The form is round and clear, and differing in fashion only from its
-future progeny. The capital alphabet consists of twenty-three letters
-(J, U, and W not being yet in use); the “lower-case” alphabet is the
-same, except that the “u” is substituted for the “v,” and in addition
-there is a long ſ, and the diphthongs æ and œ. To complete the fount,
-there are fifteen contractions, six double letters, and three points,
-the . : ? making seventy-three punches in all.[80] Jenson’s Roman
-letter fell after his death into the hands of a “firm” of which Andrea
-Torresani was head. Aldus Manutius subsequently associated himself {42}
-with Torresani, and, becoming his son-in-law and heir, eventually
-inherited his punches, matrices, and types. The Roman founts of Aldus
-were eclipsed by his Italic and Greek, but he cut several very fine
-alphabets. Renouard[81] mentions eight distinct founts between 1494 and
-1558.
-
-
-GERMANY.—Whether the fount of the Wiedenbach monks was the progenitor
-of the Venetian Roman, or whether each can claim an independent origin,
-there seems little doubt that the fount of the “[symb] bizarre” is
-entitled to rank as the first Roman letter in Germany. The accompanying
-facsimile from the _Sophologium_ will give a good idea of the form and
-size of this most interesting fount, and will at the same time show how
-slightly the form of the Roman alphabet has changed since its first
-introduction into Typography.
-
-[Illustration: 7. From the _Sophologium_ “à l’[symb] bizarre.”
-Wiedenbach (?), 1465–70.]
-
-Roman type was adopted before 1473 by Mentelin of Strasburg, whose
-beautiful letter placed him in the front rank of German printers.
-Gunther Zainer, who settled at Augsburg in 1469, after printing some
-works in the round Gothic, also adopted, in 1472, the Roman of the
-Venetian School, founts of which he is said to have brought direct from
-Italy. The German name of Antiqua, applied to the Roman character, has
-generally been supposed to imply a reluctance to admit the claim of
-Italy to the credit of introducing this style of letter. As, however,
-the Italians themselves called the letter the “Lettera Antiqua tonda,”
-the imputation against Germany is unfounded.[82] The French, Dutch, and
-English called it “Roman” from the first. {43}
-
-
-
-FRANCE.—The French received printing and the Roman character at the
-same time, the first work of the Sorbonne press in 1470 being in
-a handsome Roman letter about Great Primer in size, with a slight
-suggestion of Gothic in some of the characters. Gering, a German
-himself, and his associates, had learned their art at Basle; but cut,
-and probably designed, their own letter on the best available models.
-Their fount is rudely cast, so that several of their words appear
-only half-printed in the impression, and have been finished by hand.
-It has been stated erroneously, by several writers, on the authority
-of Chevillier, that their fount was without capitals. The fount is
-complete in that respect, and Chevillier’s expression, “lettres
-capitales,” as he himself explains, refers to the initial letters for
-which blank spaces were left to be filled in by hand. Besides the
-ordinary capital and “lower-case” alphabets, the fount abounds in
-abbreviations. This letter was used in all the works of the Sorbonne
-press, but when Gering left the Sorbonne and established himself at
-the “Soleil d’Or,” in 1473, he made use of a Gothic letter. In his
-later works, however, new and greatly improved founts of the Roman
-appear. Jodocus Badius, who by some is erroneously supposed to have
-been the first who brought the Roman letters from Italy to France,
-did not establish his famous “Prelum Ascensianum” in Paris till about
-1500, when he printed in Roman types—not, however, before one or two
-other French printers had already distinguished themselves in the same
-direction.
-
-
-NETHERLANDS.—The Roman was introduced into the Netherlands by Johannes
-de Westfalia, who, it is said, brought it direct from Italy about
-the year 1472. He settled at Louvain, and after several works in
-semi-Gothic, published in 1483 an edition of _Æneas Silvius_ in the
-Italian letter. His fount is elegant, and rather a lighter face than
-most of the early Roman founts of other countries. This printer
-appears to have been the only one in the Low Countries who used this
-type during the fifteenth century; nor was it till Plantin, in 1555,
-established his famous press at Antwerp, that the Roman attained to
-any degree of excellence. But Plantin, and after him the Elzevirs,
-were destined to eclipse all other artists in their execution of this
-letter, which in their hands became a model for the typography of all
-civilisation. It should be mentioned, however, that the Elzevirs are
-not supposed to have cut their own punches. The Roman types which
-they made famous, and which are known by their name, were cut by {44}
-Christopher Van Dijk,[83] the form of whose letter was subsequently
-adopted by the English printers.
-
-
-SWITZERLAND early distinguished itself by the Roman letter of Amerbach
-of Basle, and still more so by the beautiful founts used by Froben of
-the same city, who between 1491 and 1527 printed some of the finest
-books then known in Europe. His Roman was very bold and regular.
-Christopher Froschouer of Zurich, about 1545, made use of a peculiar
-and not unpicturesque form of the Roman letter, in which the round
-sorts were thickened, after the Gothic fashion, at their opposite
-corners, instead of at their opposite sides.
-
-
-ENGLAND.—The Roman did not make its appearance in England till 1518,
-when Richard Pynson printed Pace’s _Oratio in Pace Nuperrimâ_, in a
-handsome letter, of which we show a facsimile at p. 93. This printer’s
-Norman birth, and his close relationship with the typographers
-of Rouen, as well as his supposed intimacy with the famous Basle
-typographer Froben, make it highly probable that he procured his letter
-abroad, or modelled it on that of some of the celebrated foreign
-printers of his day. The fount is about Great Primer in body, and
-though generally neat and bold in appearance, displays considerable
-irregularity in the casting, and, like most of the early Roman founts,
-contains numerous contractions.[84]
-
-[Illustration: 8. From Traheron’s _Exposition of St. John_. Wesel (?),
-1557. Showing Roman and Black-letter intermixed.]
-
-The Roman made its way rapidly in English typography during the first
-half of the sixteenth century, and in the hands of such artists as
-Faques, Rastell, Wyer, Berthelet, and Day, maintained an average
-excellence. But it rapidly degenerated, and while other countries were
-dazzling Europe by the brilliancy of their impressions, the English
-Roman letter went from good to bad, and from bad to worse. No type is
-more beautiful than a beautiful Roman; and with equal truth it may be
-said, no type is more unsightly than an ill-fashioned and ill-worked
-Roman. While Claude Garamond[85] in France was carrying out into noble
-practice the theories of the form and proportion of letters set out
-by his master, Geofroy Tory; while the Estiennes at Paris, Sebastian
-Gryphe at Lyons, Froben at Basle, Froschouer at Zurich, and Christopher
-Plantin at Antwerp, were moulding and refining their alphabets into
-models which were to become {45} classical, English printers, manacled
-body and soul by their patents and monopolies and state persecutions,
-achieved nothing with the Roman type that was not retrograde. For a
-time a struggle appears to have existed between the Black-letter and
-the Roman for the mastery of the English press, and at one period the
-curious spectacle was presented of mixed founts of the two. We present
-our readers with a specimen of English printing at a foreign press in
-this transition period, as illustrative not only of the compromise
-between the two rival characters, but of the average unappetising
-appearance of the typography {46} of the day. Always impressionable
-and unoriginal, our national Roman letter, in the midst of many
-admirable models, chose the Dutch for its pattern, and tried to imitate
-Plantin and Elzevir, but with very little of the spirit of those
-great artists. No English work of the time, printed in English Roman
-type, reproduces within measurable distance the elegant _embonpoint_,
-the harmony, the symmetry of the types of the famous Dutch printers.
-The seeker after the beautiful looks almost in vain for anything to
-satisfy his eye in the English Roman-printed works of the sixteenth and
-seventeenth centuries. A few exceptions there are[86]; and when the
-English printers, giving up the attempt to cut Roman for themselves,
-went to Holland to buy it; or when, as in the case of Oxford and Thomas
-James, the English foundries became furnished with Dutch matrices, our
-country was able to produce a few books the appearance of which does
-not call forth a blush.
-
-The first _English Bible_ printed in Roman type was Bassendyne’s
-edition in Edinburgh, in 1576. We have it on the authority of
-Watson[87] that, from the earliest days of Scotch typography, a
-constant trade in type and labour was maintained between Holland and
-Scotland; and he exhibited in his specimen pages the Dutch Romans which
-at that day were the most approved letters in use in his country.
-
-Utilitarian motives brought about one important departure from the
-first models of the Roman letter in the different countries where
-it flourished. The early printers were generous in their ideas,
-and cut their letters with a single eye to artistic beauty. But as
-printing gradually ceased to be an art, and became a trade, economical
-considerations suggested a distortion or cramping of these beautiful
-models, with a view to “getting more in.” In some cases the variation
-was made gracefully and inoffensively. The slender or compressed Roman
-letters of the French, Italian, and in some cases the Dutch printers,
-though not comparable with the round ones, are yet regular and neat;
-but in other cases, ours among them, there was little of either
-delicacy or skill in the innovation. The early part of the seventeenth
-century witnessed the creation abroad of some very small Roman faces,
-foremost among which were those of the beautiful little Sedan editions
-of Jannon,[88] which gave their name to the body of the microscopic
-letter {47} in which they were printed. Van Dijk cut a still smaller
-letter for the Dutch in Black-letter, and afterwards in Roman; and
-for many years the Dutch Diamond held the palm as the smallest fount
-in Europe. England followed the general tendency towards the minute,
-and though it is doubtful whether either Pearl or Diamond were cut by
-English founders before 1700, an English printer, Field, accomplished
-in 1653 the feat of printing a 32mo Bible in Pearl.[89] Among English
-printers in the seventeenth century who did credit to their profession,
-Roycroft is conspicuous, especially for the handsome large Romans in
-which he printed Ogilby’s _Virgil_,[90] and other works. Yet Roycroft’s
-handsomest letter—that in which he printed the Royal Dedication to
-the _Polyglot_ of 1657—was the fount used nearly a century before by
-Day,[91] whose productions few English printers of the seventeenth
-century could equal, and none, certainly, could excel. Of Moxon’s
-attempt in 1683 to regenerate the Roman letter in England, we shall
-have occasion to speak elsewhere. His theories, as put into practice
-by himself, were eminently unsuccessful; and though the sign-boards of
-the day may have profited by his rules, it is doubtful if typography
-did. His enthusiastic praise of the Dutch letter of Van Dijk may have
-stimulated the trade between England and Holland; but at home his
-precepts fell flat for lack of an artist to carry them out.
-
-That artist was forthcoming in William Caslon in 1720, and from the
-time he cut his first fount of pica, the Roman letter in England
-entered on a career of honour. Caslon went back to the Elzevirs for
-his models, and throwing into his labour the genius of an enlightened
-artistic taste, he reproduced their letters with a precision and
-uniformity hitherto unknown among us, preserving at the same time that
-freedom and grace of form which had made them of all others the most
-beautiful types in Europe. Caslon’s Roman became the fashion, and
-English typography was loyal to it for nearly 80 years. Baskerville’s
-exquisite letters were, as he himself acknowledged, inspired by those
-of Caslon. They were sharper and more delicate in outline, and when
-finely printed, as they always were, were more attractive to the
-eye.[92] But what they gained in brilliance they missed in sterling
-dignity; they dazzled the eye and fatigued it, and the fashion of the
-{48} national taste was not seriously diverted. Still less was it
-diverted by the experiments of a “nouvelle typographie,” which Luce,
-Fournier, and others were trying to introduce into France. The stiff,
-narrow, cramped Roman which these artists produced scarcely finds a
-place in any English work of the eighteenth century. The Dutch type was
-now no longer looked at. Wilson, whose letter adorned the works of the
-Foulis press, and Jackson, whose exquisite founts helped to make the
-fame of Bensley, as those of his successor Figgins helped to continue
-it, all adhered to the Caslon models. And all these artists, with
-Cottrell, Fry, and others, contributed to a scarcely less important
-reform in English letter-founding, namely, the production by each
-founder of his own uniform series of Roman sizes,—a feature wofully
-absent in the odd collections of the old founders before 1720. Towards
-the close of the century the Roman underwent a violent revolution.
-The few founders who had begun about 1760 in avowed imitation of
-Baskerville, had found it in their interest before 1780 to revert to
-the models of Caslon; and scarcely had they done so, when about 1790
-the genius of Didot of Paris and Bodoni of Parma took the English
-press by storm, and brought about that complete abandonment of the
-Caslon-Elzevir models which marked, and in some cases disfigured, the
-last years of the eighteenth century. The famous presses of Bensley and
-Bulmer introduced the modern Roman under the most favourable auspices.
-The new letter was honest, businesslike, and trim; but in its stiff
-angles, its rigid geometrical precision, long hair-seriffs, and sharp
-contrasts of shade, there is little place for the luxuriant elegance
-of the old style.[93] In France, the new fashion, even with so able an
-exponent as Didot, had a competitor in the Baskerville type, which,
-rejected by us, was welcomed by the French _literati_. Nor was this the
-only instance in which the fashion went from England to France, for in
-1818 the Imprimerie Royale itself, in want of a new _typographie_ of
-the then fashionable Roman, came to London for the punches.
-
-The typographical taste of the first quarter of the present century
-suffered a distinct vulgarisation in the unsightly heavy-faced Roman
-letters, which were not only offered by the founders, but extensively
-used by the printers; and the date at which we quit this brief
-survey is not a glorious one. The simple uniformity of faces which
-characterised the specimens of Caslon and his disciples had been
-corrupted by new fancies and fashions, demanded by the printer and
-conceded by the founder,—fashions which, as Mr. Hansard {49} neatly
-observed in 1825, “have left the specimen of a British letter-founder a
-heterogeneous compound, made up of fat-faces and lean-faces, wide-set
-and close-set, proportioned and disproportioned, all at once crying
-“Quousque tandem abutêre patientia nostra?”
-
-Some of the coarsest of the new fashions were happily short-lived; and
-it is worth transgressing our limit to record the fact that in 1844 the
-beautiful old-face of Caslon was, in response to a demand from outside,
-revived, and has since, in rejuvenated forms, regained both at home and
-abroad much of its old popularity.
-
-It will not be out of place to add a word, before leaving the Roman,
-in reference to letter-founders’ specimens. When printers were their
-own founders, the productions of their presses were naturally also the
-published specimens of their type. They might, like Schoeffer, in the
-colophon to the _Justinian_ in 1468, call attention to their skill
-in cutting types; or, like Caxton, print a special advertisement in
-a special type; or, like Aldus, put forward a specimen of the types
-of a forthcoming work.[94] But none of these are letter-founders’
-specimens; nor was it till letter-founding became a distinct trade
-that such documents became necessary. England was probably behind
-other nations when, in 1665, the tiny specimen of Nicholas Nicholls
-was laid under the Royal notice. It is doubtful whether any founder
-before Moxon issued a full specimen of his types. He used the sheet
-as a means of advertising not only his types, but his trade as a
-mathematical instrument maker; and his specimen, taken in connection
-with his rules for the formation of letters, is a sorry performance,
-and not comparable to the Oxford University specimen, which that press
-published in 1693, exhibiting the gifts of Dr. Fell and Junius. Of the
-other English founders before 1720, no type specimen has come down to
-us; that shown by Watson in his _History of the Art of Printing_ being
-merely a specimen of bought Dutch types. Caslon’s sheet, in 1734,
-marked a new departure. It displayed at a glance the entire contents
-of the new foundry; and by printing the same passage in each size of
-Roman, gave the printer an opportunity of judging how one body compared
-with another for capacity. Caslon was the first to adopt the since
-familiar “Quousque tandem” for his Roman specimens. The Latin certainly
-tends to show off the Roman letter to best advantage; but it gives
-an inadequate idea of its appearance in any other tongue. “The Latin
-language,” says Dibdin, “presents to the eye a great uniformity or
-evenness of effect. The _m_ and _n_, like the solid sirloin upon our
-table, have a substantial appearance; no garnishing with useless {50}
-herbs . . to disguise its real character. Now, in our own tongue, by
-the side of the _m_ or _n_, or at no great distance from it, comes a
-crooked, long-tailed _g_, or a _th_, or some gawkishly ascending or
-descending letter of meagre form, which are the very flankings, herbs,
-or dressings of the aforesaid typographical dish, _m_ or _n_. In short,
-the number of ascending or descending letters in our own language—the
-_p_’s, _l_’s, _th_’s, and sundry others of perpetual recurrence—render
-the effect of printing much less uniform and beautiful than in the
-Latin language. Caslon, therefore, and Messrs. Fry and Co. after
-him,”—and he might have added all the other founders of the eighteenth
-century,—“should have presented their specimens of printing-types in
-the _English_ language; and then, as no disappointment could have
-ensued, so no imputation of deception would have attached.”[95] Several
-founders followed Caslon’s example by issuing their specimens on a
-broadside sheet, which could be hung up in a printing-office, or inset
-in a cyclopædia. Baskerville appears to have issued only specimens of
-this kind; but Caslon, Cottrell, Wilson and Fry, who all began with
-sheets, found it necessary to adopt the book form. These books were
-generally executed by a well-known printer, and are examples not only
-of good types, but of fine printing. Bodoni’s splendid specimens roused
-the emulation of our founders, and the small octavo volumes of the
-eighteenth century gave place at the commencement of the nineteenth to
-quarto, often elaborately, sometimes sumptuously got up. Mr. Figgins
-was the first to break through the traditional “Quousque tandem,”
-by adding, side by side with the Latin extract, a passage in the
-same-sized letter in English. But it has not been till comparatively
-recent years that the venerable Ciceronian denunciation has finally
-disappeared from English letter-founders’ specimens.
-
-
-ITALIC.
-
-The ITALIC letter, which is now an accessory of the Roman, claims
-an origin wholly independent of that character. It is said to be
-an imitation of the handwriting of Petrarch, and was introduced by
-Aldus Manutius of Venice, for the purpose of printing his projected
-small editions of the classics, which, either in the Roman or Gothic
-character, would have required bulky volumes. Chevillier informs
-us that a further object was to prevent the excessive number of
-contractions then in use, a feature which rendered the typography of
-the day often unintelligible, and always unsightly.[96] The execution
-of the Aldine Italic was entrusted {51} to Francesco da Bologna,[97]
-who, says Renouard, had already designed and cut the other characters
-of Aldus’ press. The fount is a “lower-case” only, the capitals being
-Roman in form. It contains a large number of tied letters, to imitate
-handwriting, but is quite free from contractions and ligatures. It
-was first used in the _Virgil_ of 1501, and rapidly became famous
-throughout Europe. Aldus produced six different sizes between 1501–58.
-It was counterfeited almost immediately in Lyons and elsewhere. The
-Junta press at Florence produced editions scarcely distinguishable
-from those of Venice. Simon de Colines cut an Italic bolder and larger
-than that of Aldus, and introduced the character into France about
-1521, prior to which date Froben of Basel had already made use of it
-at his famous press. Plantin used a large Italic in his _Polyglot_,
-but, like many other Italics of the period, it was defaced by a strange
-irregularity in the slopes of the letters. The character was originally
-called Venetian or Aldine, but subsequently took the name of Italic
-in all the countries into which it travelled, except Germany, which,
-acting with the same independence as had been displayed towards the
-Roman, called it “Cursiv.” The Italians also adopted the Latin name,
-“Characteres cursivos seu cancellarios.”
-
-The Italic was at first intended and used for the entire text of a
-classical work. Subsequently, as it became more general, it was used to
-distinguish portions of a book not properly belonging to the work, such
-as introductions, prefaces, indexes, and notes; the text itself being
-in Roman. Later, it was used in the text for quotations; and finally
-served the double part of emphasising certain words[98] in some works,
-and in others, chiefly the translations of the Bible, of marking words
-not rightly forming a part of the text.
-
-In England it was first used by De Worde, in _Wakefield’s Oratio_,
-in 1524. Day, about 1567, carried it to a high state of perfection;
-so much so, that his Italic remained in use for several generations.
-Vautrollier, also, in his _New Testaments_, made use of a beautiful
-small Italic, which, however, was probably of foreign cut. Like the
-Roman, the Italic suffered debasement during the century which followed
-Day, and the Dutch models were generally preferred {52} by English
-printers. These were carried down to a minute size, the “Robijn Italic”
-of Christopher Van Dijk being in its day the smallest in Europe.
-
-[Illustration: 9. Robijn Italic, cut by Chr. van Dijk. (From the
-matrices in the Enschedé foundry.)]
-
-It is not easy to fix the period at which the Roman and Italic became
-united and interdependent. Very few English works occur printed wholly
-in Italic, and there seems little doubt that before the close of the
-sixteenth century the founders cast Roman and Italic together as one
-fount. The Italic has undergone fewer marked changes than the Roman.
-Indeed, in many of the early foundries, and till a later date, one face
-of Italic served for two or more Romans of the same body. We find the
-same Italic side by side with a broad-faced Roman in one book, and a
-lean-faced in another. Frequently the same face is made to serve not
-only for its correct body, but for the bodies next above or below it,
-so that we may find an Italic of the Brevier face cast respectively
-on Brevier, Bourgeois, and Minion bodies. These irregularities were
-the more noticeable from the constant admixture in seventeenth and
-eighteenth century books of Roman and Italic in the same lines; the
-latter being commonly used for all proper names, as well as for
-emphatic words. The chief variations in form have been in the capital
-letters, and the long-tailed letters of the lower-case. The tendency
-to flourish these gradually diminished on the cessation of the Dutch
-influence, and led the way to the formal, tidy Italics of Caslon
-and the founders of the eighteenth century, some of whom, however,
-consoled themselves for their loss of liberty in regard to most of
-their letters, by more or less extravagance in the tail of the [*Q]
-which commenced the _Quousque tandem_ of their specimens. As in the
-case of the Roman, Caslon cut a uniform series of Italics, having due
-relation, in the case of each body, to the size and proportions of the
-corresponding Roman. The extensive, and sometimes indiscriminate, use
-of Italic gradually corrected itself during the eighteenth century; and
-on the abandonment, both in Roman and Italic, of the long ſ and its
-combinations,[99] English books were left less disfigured than they
-used to be. {53}
-
-
-BLACK LETTER.
-
-[Illustration: 10. Gothic type, or “Lettre de Forme,” said to have been
-engraved _circa_ 1480.
-
-(From the original matrices in the Enschedé foundry.)]
-
-The Gothic letter employed by the inventors of printing for the
-_Bible_, _Psalter_, and other sacred works, was an imitation of the
-formal hand of the German scribes, chiefly monastic, who supplied
-the clergy of the day with their books of devotion. This letter,
-as a typographical character, took the name of LETTRE DE FORME, as
-distinguished from the rounder and less regular manuscript-hand of the
-Germans of the fifteenth century, which was adopted by Schoeffer in
-the _Rationale_, the _Catholicon_, and other works, and which became
-known as LETTRE DE SOMME. The pointed Gothic, or LETTRE DE FORME, a
-name[100] generally supposed to have reference to the precision in the
-figure of the old ecclesiastical character (although some authorities
-have considered it to be a corrupt, rather than a standard form of
-handwriting), preserved its character with but little variation in
-all the countries to which it travelled. It is scarcely necessary to
-detail its first appearance at the various great centres of European
-typography, except to notice that in Italy and France it came later
-than the Roman.[101] In England it appears first in Caxton’s type No.
-3,[102] and figures largely in nearly all the presses of our early
-printers. De Worde was, in all probability, the first to cut punches
-of it in this country, and to produce the letter which henceforth
-took the name of “English,” as being the national character of our
-early typography. De Worde’s English, or as it was subsequently
-styled, Black-letter, was for two centuries and a half looked upon
-as the model for all his successors in the art; indeed, to this day,
-a Black-letter {54} is held to be excellent, as it resembles most
-closely the character used by our earliest printers. The Black being
-employed in England to a late date, not only for Bibles, but for
-law books and royal proclamations and Acts of Parliament, has never
-wholly fallen into disuse among us. The most beautiful typography of
-which we as a nation can boast during the sixteenth and seventeenth
-centuries, is to be found in the Black-letter impressions of our
-printers. The Old English was classed with the Roman and Italic by
-Moxon as one of the three orders of printing-letter; and in this
-particular our obligations to the Dutch are much less apparent than in
-any other branch of the printing art. Indeed, the English Black assumed
-characteristics of its own which distinguished it from the LETTRE
-FLAMAND of the Dutch on the one hand, and the FRACTUR of the Germans
-on the other. It has occasionally suffered compression in form, and
-very occasionally expansion; but till 1800 its form was not seriously
-tampered with. Caslon was praised for his faithful reproduction of the
-genuine Old English; other founders, like Baskerville, did not even
-attempt the letter; the old Blacks were looked upon as the most useful
-and interesting portion of James’s foundry at its sale[103]; and the
-Roxburgh Club, those Black-letter heroes of the early years of this
-century, dismissed all the new-fangled founts of modern founders in
-favour of the most venerable relics of the early English typographers.
-Of these newfangled Blacks, it will suffice to recall Dibdin’s outburst
-of righteous indignation—“Why does he (_i.e._, Mr. Whittingham), and
-many other hardly less distinguished printers, adopt that frightful,
-gouty, disproportionate, eye-distracting and taste-revolting form of
-Black-letter, too frequently visible on the frontispieces of his books?
-It is contrary to all classical precedent, and outrageously repulsive
-in itself. Let the ghost of Wynkin de Worde haunt him till he abandon
-it!”[104]
-
-[Illustration: 11. Philosophie Flamand, engraved by Fleischman, 1743.
-(From the matrices in the Enschedé foundry.)]
-
-The LETTRE DE SOMME of the Germans, which, as we have seen, was adopted
-by Schoeffer in 1459, became in the hands of the fifteenth century
-printers a rival to the Gothic. Whether, as some state, it was derived
-from the Gothic, or was a distinct hand used by the lay scribes, we
-need not here discuss. Its name has been generally supposed to owe
-its origin to the fact that among the earliest works printed in this
-character was the _Summa fratris S. Thomas de Aquino_.[105] {55}
-Others derive the name from the carelessly formed letters used in
-books of account. This letter developed in considerable variety among
-the early presses of the fifteenth century. Its main characteristics
-being that of a round Gothic,[106] or at least of a Gothic shorn of
-its angles, it lent itself readily to the influence of the Roman,
-and we find it, as in the case of the first Italian books, merging
-into that character; while in the case of many of the German and
-Netherlands presses we find it occasionally absorbing that character,
-adopting its form frequently in the capitals, and “Gothicising” it in
-the lower-case. But to arrive at an accurate idea of the changes and
-varieties of the LETTRE DE SOMME, it is necessary to study carefully
-the productions of the various presses and schools of typography in
-which it was used. In England it appeared, as might be expected, in
-some of the early works of the first Oxford press,[107] whither it
-was brought from Cologne. But it never took root in the country, and
-was speedily rejected for the national Gothic, only to reappear as an
-exotic or a curiosity.
-
-
-SECRETARY.
-
-The SECRETARY, or GROS-BÂTARDE, was the manuscript-hand employed by
-the English and Burgundian scribes in the fifteenth century. It was,
-therefore, only natural that Caxton, like his typographical tutor,
-Colard Mansion of Bruges, should adopt this character for his earliest
-works, in preference to the less familiar Gothic, Semi-Gothic, or Roman
-letter. The French possessed a similar character, which, according to
-Fournier, was first cut by a German named Heilman, resident in Paris
-about 1490. But several years before 1490 the Gros-Bâtarde was in use
-in France; in some cases the resemblance between the French and English
-types being remarkable. The Rouen printers, who executed some of the
-great law books for the London printers early in the sixteenth century,
-used a particularly neat small-sized letter of this character. Like
-the Semi-Gothic, the Secretary, after figuring in several of the early
-London and provincial presses, yielded to the English Black-letter, and
-after about 1534 did not reappear in English typography. It developed,
-however, several curious variations; the chief of which were what Rowe
-Mores describes as the SET-COURT, the BASE SECRETARY, and the RUNNING
-SECRETARY. Of the first named, James’s foundry in 1778 possessed two
-founts, come down from Grover’s[108]; but as the old deformed Norman
-law hand which they represented was abolished by law in 1733, the
-matrices, which at no time appear to have been much used, {56} became
-valueless. The name COURT HAND has since been appropriated for one of
-the modern scripts. Its place was taken in law work by the ENGROSSING
-hand, which Mores denominates as Base Secretary. Of this character,
-the only fount in England appears to have been that cut by Cottrell
-about 1760.[109] The RUNNING SECRETARY was another law hand, described
-by Mores as the law Cursive of Queen Elizabeth’s reign. It was similar
-to the French Cursive, of which Nicolas Granjon in 1556 cut the first
-punches at Lyons. Granjon’s letter at first was called after its
-author, but subsequently became known as LETTRE DE CIVILITÉ, on account
-of its use, so Fournier informs us, in a work entitled _la Civilité
-puerile et honnête_, to teach children how to write. Plantin possessed
-a similar character in more than one size, which he made use of in
-dedications and other prefatory matter. The English fount in Grover’s
-foundry appears to have been the only one in this country.
-
-[Illustration: 12. Lettre de Civilité, cut by Ameet Tavernier for
-Plantin, _circa_ 1570. (From the matrices in the Enschedé foundry.)]
-
-The SCRIPT, by which is meant the conventional copy-book writing hand,
-as distinguished from the Italic on the one hand and the law hand on
-the other, is another form of the Bâtarde, and is supposed to have
-originated with Pierre Moreau of Paris, whose widow in 1648 published
-a very curious _Virgil_, the first volume of which is printed in this
-character, in four or five sizes. The Dutch founders copied it, and the
-curious founts in Grover’s foundry were probably most of them of Dutch
-origin.[110] About 1760 Cottrell and Jackson both cut improved founts
-of this character. The Script, which the French have called LETTRE
-COULÉE and LETTRE DE FINANCE, and the Germans GESCHREVEN SCHRIFT, has
-undergone a good many changes, especially during the present century.
-M. Didot in 1815 introduced a series of ligatures, or connectors, which
-had the effect of making the letters in each word join continuously;
-and at the same time cast his letters on an inclined body, so as to
-fit closely together, and be self-supporting. His system, however,
-involved a large number of combination-letters and ligatures, which
-rendered it generally impracticable; and it was eventually replaced
-by a square-bodied Script, contrived to unite all the advantages, and
-obviate all the disadvantages, of his ingenious system.
-
-{57}
-
-[Illustration]
-
-
-
-
-CHAPTER II.
-
-TYPE FACES (CONTINUED).
-
-THE LEARNED, FOREIGN, AND PECULIAR CHARACTERS.
-
-
-GREEK.
-
-Greek type first occurs in the _Cicero de Officiis_, printed at
-Mentz in 1465, at the press of Fust and Schoeffer. The fount used is
-exceedingly rude and imperfect, many of the letters being ordinary
-Latin.[111] In the same year Sweynheim and Pannartz at Subiaco used a
-good Greek letter for some of the quotations occurring in _Lactantius_;
-but the supply being short, the larger quotations were left blank, to
-be filled in by hand. The first book wholly printed in Greek was the
-_Grammar of Lascaris_, by Paravisinus, in Milan, in 1476, in types
-stated to be cut and cast by Demetrius of Crete. The fount (about
-a Great Primer in body) is a curious one, and contains breathings,
-accents and a few abbreviations. The headings to the chapters are
-wholly in capitals, which are very bold.[112] It is to the glory
-of Milan that not only was the first Greek book printed within its
-walls, but also the first Greek classic and the first portion of the
-Greek Scriptures. The former was the _Æsop_, printed, it is supposed,
-in 1480, but without printer’s name. The resemblance, however, {58}
-between the fount of this work and that of the _Lactantius_ is so
-close that there seems much reason for crediting Paravisinus with the
-performance. The Greek of the _Psalter_ of 1481 is very different, the
-lower-case being larger, and remarkably bold and compact in appearance.
-The capitals generally resemble the _Lactantius_ fount.
-
-Jenson, at Venice, appears to have cut Greek type as early as
-about 1470. In 1486 two Cretan printers produced respectively
-a Greek _Psalter_, with accents and breathings, and Homer’s
-_Batrachomyomachia_. It was, however, reserved to Florence to boast
-of the first complete edition of _Homer_, which was printed in that
-city in 1488. This work, one of the most glorious monuments of
-the typographic art, appears in a beautiful Great Primer type, of
-remarkable elegance and neatness, with few abbreviations. The printer
-was Demetrius of Crete.
-
-But it was at Venice that Greek printing was destined to reach its
-greatest excellence in the fifteenth century, at the press of Aldus,
-who in 1495 produced his famous _Aristotle_, in a beautiful letter
-which eclipsed all its predecessors. His fount was about a Double Pica
-in body, and much bolder and more imposing than any which had yet
-appeared, as well as being better cast and justified. The splendid
-Greek impressions of the elder Aldus are too well known to need further
-notice here. Renouard mentions nine separate founts used at this press.
-
-The fame of the Italian Greek presses early roused emulation in France.
-Among the first printers of Paris, however, the Greek quotations and
-words introduced in their works were scanty and indifferent. Gering
-used but a very few letters, and Jodocus Badius, in 1505, excused the
-poverty of his _Annotationes in Nov. Testamentum_, by pleading the
-paucity of his types. The early works of the first Henri Estienne
-were similarly defective. In 1507, however, Greek punches were cut
-and matrices struck by Gilles de Gourmont, and the first wholly Greek
-work was printed at his press in this year, being a Greek _Alphabet_,
-with rules for pronunciation and reading. In the same year he also
-printed the _Batrachomyomachia_. Greek printing, once started in Paris,
-made rapid progress. Jodocus Badius, Vidouvé, Colinæus, and Christian
-Wechel, all distinguished themselves. Geofroy Tory contributed largely
-to the improvement in the form of the character. But it was not till
-Robert Estienne, with the title of “Regius in Græcis Typographus,”[113]
-commenced his career, that Greek printing reached its greatest
-perfection in France. On the establishment of an Imprimerie Royale
-by Francis I,[114] Claude Garamond, the first typographical artist
-of his day, {59} was entrusted with the care of engraving punches
-and preparing matrices for three founts of Greek, about an English,
-Long Primer, and Double Pica in body, which henceforth became famous
-throughout Europe as the “Characteres Regii.”[115] These characters,
-modelled as to their capitals on the alphabet of Lascaris, and as
-to their “lower-case” and abbreviations from the beautiful Greek
-calligraphy of Angelus Vergetius of Candia, first appeared in the
-_Eusebius_, printed, in 1544,[116] by Robert Estienne, to whom the
-use of the types was, by virtue of his office, conceded, and who
-employed them in the production of some of the most brilliant Greek
-impressions Europe has ever seen.[117] During the seventeenth century
-the Royal Greek punches and matrices lay for the most part idle; but
-in 1691, Anisson, Director of the Imprimerie Royale, rescued them from
-obscurity, and caused new punches to be cut and matrices struck, to
-supply what were missing, by Grandjean, the famous Parisian founder.
-
-In the Low Countries, as early as 1501, Thierry Martens, at Louvain,
-had Greek types with which he printed occasional words. He produced
-an edition of _Æsop_ in 1513, and in 1516 a _Grammar_ of Theodore
-de Gaza’s, and a little book of _Hours_, in Greek. The latter is
-considered an excellent piece of typography. Greek printing attained
-to considerable celebrity in the Low Countries. The Greek fount used
-in Plantin’s _Polyglot_, in 1569–72, is said to have been cut by the
-famous French founder and engraver, Le Bé.
-
-Spain claims a prominent place in the history of early Greek
-printing in Europe, as it was at Alcala in that country that the
-famous _Complutensian Polyglot_ of Cardinal Ximenes was printed in
-1514–17,[118] including the entire text of the Bible in Greek. The
-fount employed in the New Testament is very grand and imposing, and is
-said to have been cut specially for the work on the models of Greek
-manuscripts of the eleventh or twelfth century.
-
-Before the completion of this great work, Germany had secured the
-honour of producing the first entire _Greek Testament_ at the press
-of Froben of Basle. Froben’s Greek is somewhat cramped and stiff.
-Oporinus, who printed in the {60} same city in 1551, besides using a
-fount identical with that of Froben, introduced a smaller and much
-neater letter at the same time. Numerous printers produced Greek works
-in Germany at this period, perhaps the most famous being Andrew Wechel,
-who began at Paris with types inherited from his father, but in 1573
-established himself at Frankfort, where he printed several very fine
-works in a new and most elegant Greek, said to have been acquired from
-the Estiennes, to whose letter it bears the closest resemblance.
-
-The first appearance of Greek type in England is observed in De Worde’s
-edition of _Whitintoni Grammatices_, printed in 1519, where a few words
-are introduced cut in wood. Cast types were used at Cambridge in a book
-entitled _Galenus de Temperamentis_, translated by Linacre, and printed
-by Siberch in 1521. Siberch styles himself the first Greek printer in
-England; but the quotations in the _Galenus_ are very sparse, and he
-is not known to have printed any entire book in Greek. In 1524, Pynson
-also used some Greek words and lines, without accents or breathings,
-in Linacre’s _De emendatâ structurâ Latini sermonis_; but added an
-apology for the imperfections of the characters, which he said were but
-lately cast, and in a small quantity. The first printer who possessed
-Greek types in any quantity was Reginald Wolfe, who held a royal patent
-as printer in Greek, Latin, and Hebrew, and printed, in 1543, _Two
-Homilies of Chrysostom_, edited by Sir John Cheke, the first Greek
-Lecturer at Cambridge. Eight years later, in the first volume of Dr.
-Turner’s _Herbal_, printed at Mierdman’s press in London, the Greek
-words were given in Black, and quotations in Italic. In Edinburgh, in
-1563, and as late as 1579, the space for Greek words was left blank
-in printing, to be filled in by hand. The Oxford University press,
-re-established in 1585, was well supplied with Greek types, which were
-used in the _Chrysostom_ of 1586, and the _Herodotus_ of 1591. The
-beautiful Greek fount used in the Eton _Chrysostom_[119] in 1610–12—a
-work which takes rank with the finest Greek impressions in Europe—is
-supposed to have been obtained from abroad, probably from Paris or
-Frankfort. Its similarity to the Greek of the Estiennes is remarkable.
-Indeed, the “characteres regii” of France were at that time, and for
-long afterwards, the envy and models for all Europe. The Eton Greek
-types, of which probably the matrices were not in England, were
-acquired by the Oxford University, to which body, in 1632, application
-was made by Cambridge for the loan of a Greek fount to print a _Greek
-Testament_, the sister University possessing no Greek types of her
-own. A Greek press was established in London in 1637, under peculiar
-circumstances, which are detailed in our account of the Oxford press.
-There is every reason to suppose that of the handsome Greek letter
-provided {61} for this press,[120] not only the types, but the
-matrices were acquired. After this, Greek printing became general in
-London and Oxford. The various typefounders all provided themselves
-with a good variety of sizes, some of which were very small and neat.
-There was a very fine Brevier Greek in Grover’s foundry in 1700, and a
-Nonpareil in that of Andrews in 1706; but for minute Greek printing,
-England could produce nothing to equal the Sedan _Greek Testament_,
-printed by Jannon in 1628.
-
-As was the case with the Roman letter, many of our printers at the
-close of the seventeenth century preferred the Dutch Greeks, which
-at that time were good, particularly those cut by the Wetsteins.
-Thomas James, in 1710, brought over the matrices of four founts from
-Vosken’s foundry at Amsterdam. In 1700, Cambridge University, still
-badly off for Greek, made an offer for the purchase of a fount of the
-King’s Greek at Paris; but withdrew on the French Academy insisting
-as a condition that every work printed should bear the imprint,
-“Characteribus Græcis e Typographeo Regio Parisiensi.” The large number
-of ligatures and abbreviations in the Greek of that day made the
-production of a fount a serious business. The Oxford Augustin Greek
-comprised no fewer than 354 matrices, and the Great Primer as many as
-456, and the Pica 508; Fournier, however, went beyond all these, and
-showed a fount containing 776 different sorts! The impracticability of
-such enormous founts brought about a gradual reduction of the Greek
-typographical ligatures—a reform for which the Dutch founders, under
-the guidance of Leusden, deserve the chief credit. Fournier, in 1764,
-stated that for some years previously, in Holland, Greek printing had
-been carried on with the simple letters of the alphabet. Wilson’s
-beautiful Double Pica Greek,[121] used in the Glasgow _Homer_ of 1756,
-was in its day the finest Greek fount our country had ever seen. A
-new departure, however, was initiated by the production, in 1763, of
-Baskerville’s Greek fount[122] for the Oxford _New Testament_. The
-letter is neat, but stiff and cramped, and apparently formed on an
-arbitrary estimate of conventional taste, and without reference to
-any accepted model. The fount was praised, and provoked imitation.
-Baskerville’s apprentice, Martin, produced a letter still less Greek
-than his master’s, and the general tendency was countenanced by the
-form of Bodoni’s types, which were so much admired in this country
-at the close of the century. A reaction, however, had begun before
-Bodoni’s time. The Glasgow Greek kept its place in Wilson’s specimens;
-and Jackson, encouraged by the younger Bowyer’s remark, that the Greek
-types in common use “were no more Greek {62} than they were English,”
-cut a beautiful Pica about 1785 for his rising foundry. Early in the
-nineteenth century, a new fashion of Greek, for which Porson was
-sponsor and furnished the drawings, came into vogue, and has remained
-the prevailing form to this day. It may be doubted if the Porsonian
-letter would be recognised by an ancient Greek scribe as the character
-of his native land; but at any rate it is neat, elegant, and legible,
-and dispenses with all useless contractions and ligatures. In taking
-leave of this subject, it would be an omission not to mention the most
-beautiful little fount in which Pickering printed his _Homer_, in 1831.
-Probably no finer masterpiece of minute Greek printing exists anywhere.
-
-
-HEBREW.
-
-The first Hebrew types are generally supposed to have appeared in 1475,
-in a work printed by Conrad Fyner, at Esslingen in Wirtemburg, entitled
-_Tractatus contra perfidos Judæos_. In Pheibia, in Austrian Italy,
-also in 1475, a Hebrew work in four folio volumes, entitled the _Arba
-Turim of Rabbi Jacob ben Ascher_, is stated by De Rossi[123] to have
-been printed; while in the same year, a few months earlier, at Reggio
-in Italy, appeared Salamon Jarchi’s _Commentary on the Pentateuch_,
-by Abraham ben Garton ben Isaac. The type of this last-named work
-(which Schwab[124] considers without doubt to be the first Hebrew book
-printed) is in the Rabbinical character, somewhat rudely cut, but neat.
-Numerous other Hebrew works followed, earlier than 1488, at which date
-the first entire Hebrew _Bible_ was printed at Soncino, by a family
-of German Jews. This rare Bible is printed with points, and is neat
-and regular in appearance. The volume itself is highly decorative, and
-shows a considerable amount of typographical skill on the part of its
-Jewish printers.
-
-Hebrew printing did not spread very rapidly. De Rossi mentions several
-works printed at Constantinople during the fifteenth century, as also
-in the Italian towns to which the family of Soncino printers carried
-the art. Aldus was possessed of some rude Hebrew characters; but it was
-Bomberg, who established his Hebrew press in Venice in 1517, who raised
-the fame of that already famous city by the excellence of his types
-and workmanship. But as late as 1520, at Naples, in a treatise on the
-Hebrew, Greek, and Latin letters, by De Falco, the Hebrew words, for
-lack of types, were written in by hand.
-
-In Western Europe, France was next to Italy in producing Hebrew type.
-Mention is made of an _Alphabetum Hebraicum et Græcum_, printed by
-Gilles de Gourmont in 1507; and in 1508 that able typographer, whose
-distinction as {63} the first cutter of Greek type in France we have
-already noticed, produced, under the conduct of his patron, Tissard,
-a Hebrew _Grammar_, together with the _Oratio Dominica_, and other
-passages in the sacred language. The types made use of were ill-formed
-and imperfect. Although thus early initiated, Hebrew printing made
-little or no progress for some years. Jodocus Badius showed a few
-lines in 1511; and in 1516 Gourmont printed an _Alphabetum Hebraicum
-et Græcum_. In 1519, Augustino Giustiniani, a native of Genoa, who
-had already distinguished himself by superintending the production of
-Porrus’ _Polyglot Psalter_ at that city in 1516, being invited to Paris
-by the King, caused new punches and matrices of the Hebrew to be made
-by Gourmont. The work took a year and a half to complete; when, in
-1520, was published the _Grammar_ of the Rabbi Moses Kimhi, the first
-wholly printed Hebrew work produced in Paris. From this time Hebrew
-printing made steady progress in France. Most of the printers possessed
-types, the Wechels and the Estiennes being the most distinguished in
-their use of them.
-
-In Spain the printers of the _Complutensian Polyglot_ made use of a
-fine Hebrew fount in 1514–17.
-
-In Germany, as early as 1501, in a book supposed to have been printed
-at Erfurt, Hebrew letters occur, cut rudely on wood; and at Basle,
-Strasburg, and Augsburg a similar primitive method was adopted, as it
-was also in the case of the _Hebrew Grammar_ printed at Leipsic in
-1520. In 1512, however, at Tübingen in Wirtemburg, the _Septem psalmi
-pœnitentiales_ were printed in cast metal type. In 1534, at Basle,
-the first _Hebrew Bible_ printed by a Gentile was produced at the
-press of Bebel. Froben’s _Bible_, in the same town, in 1536, is in a
-type inferior to that of Bomberg. The running titles are all in the
-Rabbinical character. In 1587, Elias Hutter printed at Hamburg a Hebrew
-_Bible_ in large type, in which the “radical” letters appear black in
-the usual way, and the “serviles” are open, or in outline, while the
-“quiescents” are in smaller solid letters placed above the line. This
-Bible was reprinted in 1603, and is a typographical curiosity.
-
-In the Low Countries, Hebrew words, probably cut in wood, occur in
-the _Epistola apologetica Pauli de Middleburgo_, printed at Louvain
-in 1488; and Gand[125] gives 1506 as the probable date of a _Hebrew
-Dictionary, sine notâ_, but attributed to Martens. This, however,
-appears doubtful, as in 1518 Martens first announced his intention
-to print in Hebrew. His first-dated Hebrew work was a _Grammar_, in
-1528; though Schwab considers that the Dictionary above referred to
-properly belongs to the year 1520. Martens’ earliest founts were a
-large Hebrew with vowel points, and a small, without. Hebrew printing
-was also practised at {64} Leyden in 1520. The splendid type cut by
-Le Bé, the Frenchman, for Plantin’s _Polyglot_, printed at Antwerp in
-1569–72, placed the Netherlands in the front rank of Hebrew typography.
-Amsterdam, during the seventeenth century, excelled all other cities in
-its Hebrew printing. Abraham and Bonaventura Elzevir printed here in
-Hebrew about 1630, and the Hebrew _Bibles_ of Janson in 1639, Athias in
-1667, and Van der Hooght in 1705, are justly regarded as masterpieces
-of Hebrew typography.
-
-The first specimen of Hebrew printing in England occurs in Wakefield’s
-_Oratio de laudibus et utilitate trium linguarum_, printed by De
-Worde in 1524, where a few words appear, rudely cut on wood. In the
-same work the author complained that he was compelled to omit a third
-part, because the printer had no Hebrew types. Hebrew words cut in
-wood are also used in Humfrey’s _Life of Bishop Jewell_, printed by
-John Day in 1573; and Todd, in his _Life of Walton_, mentions a work
-of Dr. Peter Baro on _Jonah_, printed at the same press in 1579, in
-the preface to which occur several verses of Hebrew. As late as 1603
-Dibdin points out that in a poem, published at Oxford, composed by
-Dr. Thorne, Regius Professor of Hebrew at that University, a phrase
-in Hebrew is added, with the remark, “Interserenda hoc in loco . . .
-sed enim Typographo deerant characteres.” Todd, however, mentions a
-work printed at Oxford in 1597, in which Hebrew type is used, while
-a translation from _S. Chrysostom_, of John Willoughbie, printed by
-Barnes in 1602, shows two distinct founts in use. The first English
-book in which any quantity of Hebrew type was made use of was Dr.
-Rhys’s _Cambro-brytannicæ Cymræcæve linguæ institutiones_, printed
-by Thomas Orwin in 1592. Minsheu’s _Ductor in Linguas_, in 1617,
-printed by John Browne, shows Hebrew which serves not only for its own
-language, but also for the Syriac. And in 1621 John Bill used a newer
-and better letter for printing Dr. Davies’s _Antiquæ linguæ Britannicæ
-. . rudimenta_. The Hebrew fount made use of in Walton’s _Polyglot_
-in 1657 was probably the first important fount cut and cast in this
-country; and, as we shall have occasion to notice, was found fault with
-by the critics of that great undertaking. Oxford received a great and
-small Hebrew[126] among the matrices presented to her by Dr. Fell; and
-both there and in London several Hebrew works were printed at the close
-of the seventeenth century, although none of striking importance. It
-is significant of the superior reputation of the Oxford Hebrew, that
-the Hebrew and Chaldæan versions in the _Oratio Dominica_ of 1700 were
-among the versions printed for the London publisher of that work in the
-University types. Thomas James, although he visited Amsterdam in 1710,
-at that time the centre of the best {65} Hebrew printing in Europe,
-failed to secure any matrices; and most of those which subsequently
-were added to his foundry appear to have been cut by English founders.
-Among them were four founts of Rabbinical Hebrew,[127] for which
-character there existed no matrices in England in Walton’s time, as he
-was compelled to cut the alphabet shown in his Prolegomena in wood.
-Mores counted as many as twenty-three different founts in James’s
-foundry in his day, eight of which were with points, the remainder
-without. For those without points it was early the practice to cast
-points on a minute body, to be worked in a separate line below the
-letter. Caslon cut several good founts of Hebrew (one of which was of
-the open or outline description first introduced by Hutter); and during
-the eighteenth century the character became a necessary part of the
-stock of every founder. It would be difficult, however, to point to
-any striking achievement in Hebrew typography earlier than Bagster’s
-_Polyglot_ in 1817–21, in which the Hebrew text is printed in a very
-small and beautiful type cut by Vincent Figgins, which in its day had
-the reputation of being the smallest Hebrew with points in England, and
-of equalling in size and exceeding in beauty even the elegant letter of
-Jansson of Amsterdam, two centuries before.
-
-
-ARABIC.
-
-The first book printed in Arabic types is supposed to be a _Diurnale
-græcorum Arabum_, printed at Fano in Italy, in 1514. Two years later,
-Porrus’ _Polyglot Psalter_, comprising the Arabic version, was printed
-at Genoa; and two years later still, a _Koran_ in Arabic is said to
-have been printed at Venice. Thus, says De Rossi, while no Arabic types
-were to be found in any other part of Europe, three towns of Italy
-possessed, and were making use of them at the same moment.
-
-In 1505 an _Arabic Vocabulary_ at Granada had the words printed in
-Gothic letter with the Arabic points placed over them; and in other
-presses where there were no Arabic types, the language was expressed in
-Hebrew letters or cut in wood. De Guignes and others mention a fount
-of Arabic used by Gromors in Paris, in 1539–40, to print Postel’s
-_Grammar_, and add that the fount subsequently disappeared and was
-lost; and as late as 1596, in a book printed at Paris, the Arabic words
-had to be rendered in Hebrew. In 1591 the Vatican press had a fine
-fount of Arabic, a specimen of which is given by Angelo Roccha in his
-_Bibliotheca Apostolica Vaticana_, printed at that press. The Medicean
-and Borromean presses also had founts; and at Leyden, Raphlengius and
-Erpenius {66} were both celebrated for their Arabic letter. In 1636
-the foundry of the Propaganda showed specimens of Arabic, previous to
-which date Savary de Brèves had had cut in Constantinople, and finished
-by Le Bé of Paris, the famous Arabic founts which were used to print
-the _Psalter_ at Rome in 1614, and subsequently were purchased by Vitré
-for the French king,[128] and used in Le Jay’s magnificent _Paris
-Polyglot_ of 1645. The punches and matrices of these founts still
-exist. Cotton mentions an Arabic press in Upsala in 1640.
-
-In England it was not till early in the seventeenth century that Arabic
-printing began to be practised. In Wakefield’s _Oratio de laudibus . .
-trium linguarum, Arabicæ, Chaldaicæ et Hebraicæ_, printed by De Worde
-in 1524, a few rude Arabic letters are introduced, cut in wood. In
-Minsheu’s _Ductor in Linguas_, 1617, the Arabic words are printed in
-Italic characters. Laud’s gift of Oriental MSS. to Oxford in 1635, and
-the appointment of an Arabic lecturer, was the first real incentive
-to the cultivation of the language by English scholars. Previous to
-this, it is stated that the Raphlengius Arabic press at Leyden had been
-purchased by the English Orientalist, William Bedwell; but if brought
-to this country, it does not appear that it was immediately made use
-of.[129] The Arabic words in Thomas Greave’s oration, _De Linguæ
-Arabicæ Utilitate_, printed at Oxford in 1639, were written in by hand;
-and the same author, when publishing his _Elementa Linguæ Persicæ_ at
-the press of James Flesher at London, in 1649, explained in his preface
-that his work had been ready for publication nine years before, but
-having no types with which to print it, it had been delayed. A year
-earlier, in 1648, Miles Flesher, predecessor to James and one of the
-Star Chamber printers, had published in the same type, and at the same
-press, a work entitled _De Siglis Arabum et Persarum Astronomis_. James
-Flesher was the printer who printed in his own types the original
-specimen-page of the London _Polyglot_ in 1652. His Arabic, however,
-is a smaller character than that subsequently made use of by Roycroft
-for this grand work. Dr. Fell’s gift of matrices to Oxford in 1667
-included a fount of Arabic,[130] which appeared in the specimen of the
-foundry, and was used also in the _Oratio Dominica_ of 1700. Prior to
-this, however, Pocock’s _Carmen Tograi_ was printed at Oxford by Hall
-in 1661, “Typis Arabicis Academicis,” in a letter differing both from
-Flesher’s {67} and Dr. Fell’s. In 1721, William Caslon cut for the
-Society for Promoting Christian Knowledge the fount of Arabic for the
-_Psalter_ of 1725, and the _Testament_ of 1727. This fount,[131] with
-those of Oxford and the _Polyglot_, shared among them nearly all the
-Arabic printing in England for about a century later, when new faces
-began to be cut or imported. The _Polyglot_ Arabics passed through
-Grover’s foundry into that of Thomas James, at the sale of which, in
-1782, they were bought in an imperfect state by Dr. Edmund Fry for
-the Type Street foundry. Mores mentions three other Arabic founts cut
-by English founders, but includes them among the lost matrices in his
-collection.
-
-
-SYRIAC.
-
-Syriac type, probably cut in wood, first appeared in Postel’s
-_Linguarum xii Alphabeta_, printed in Paris in 1538; but the characters
-are so rude in form and execution as to be scarcely legible. In 1555,
-however, Postel assisted in cutting the punches for the famous Syriac
-Peshito _New Testament_, printed at Vienna, in two vols. 4to, the first
-portion of the Scriptures, and apparently the first book printed in
-that language. In 1569–72 Plantin at Antwerp included the Syriac New
-Testament in his _Polyglot_, and reissued it in separate form in 1574.
-The Vatican press had a good fount in 1591, which appears in Roccha’s
-_Bibliotheca Apostolica Vaticana_. Mores mentions a _Nomenclature_
-by Ferrarius at Rome in 1622 with Syriac type. In 1636 the press
-of the Propaganda issued a specimen of the Estranghelo and Syriac
-alphabets, and in the same year Kircher’s _Prodromus Coptus_, published
-at the same press, contained passages in both these characters, and
-in Heraclean. A Syriac _Testament_ was printed at Cothon, in Upper
-Saxony, in 1621, and at Hamburg in 1663; and later, Gutbier printed
-the same work in several editions. In France, after the disappearance
-of Postel’s types, there was no Syriac printing for nearly a century.
-Henri Estienne printed his Syriac _New Testament_ in 1539, in Hebrew
-characters; and in Cajetan’s _Paradigmata de iv lingis_, which appeared
-in 1596, the Syriac character was cut on wood, and longer passages
-expressed in Hebrew type. In 1614 Savary de Brèves brought Syriac
-matrices along with those of other Oriental characters to Paris, and
-these were made use of by Vitré, in 1625, to print a _Syriac and Latin
-Psalter_, and appeared subsequently in the great _Polyglot_ of Le Jay.
-
-Syriac did not make its appearance in England till the middle of
-the seventeenth century. The language was usually expressed in the
-earlier works in Hebrew characters. A letter of Bishop Usher’s, in
-1637, mentions a project to {68} purchase Syriac type abroad, and
-negotiations appear to have been made both in Paris (where the Bishop’s
-correspondent informed him there were at that time three or four
-founts) and at Geneva, with a view to procuring the characters.[132]
-But it was not till the prospectus and preliminary specimen of Walton’s
-_Polyglot_ were issued in 1652 that we find Syriac type in use in this
-country. The _Polyglot_ contains the entire Bible in Syriac. In 1661
-there was a fount at Oxford, which appears in Pocock’s _Carmen Tograi_,
-and differs from the fount subsequently presented by Dr. Fell,[133]
-which was used in the _Oratio Dominica_ of 1700, and other Oriental
-publications of the University. The _Polyglot_ fount[134] found its
-way to Caslon’s foundry, who added two new founts of his own cutting.
-In 1778 Mores noted six founts altogether in the country. A fresh
-interest was taken in Syriac printing by the exertions of Dr. Claudius
-Buchanan, who, in 1815, had the _Gospels and Acts_ printed in types cut
-and cast under his supervision by Vincent Figgins. After his death,
-his work fell into the hands of Dr. Lee to complete, who, objecting to
-the omission of the vowel points, printed the entire _New Testament_
-in 1816. In 1825 Dr. Fry produced the beautiful Nonpareil Syriac
-for _Bagster’s Polyglot_, and in 1829 Mr. Watts cast the fount of
-Estranghelo for the edition of the _Bible_ published that year, which
-at the time was the only Syriac Bible in Nestorian characters printed
-in this country.
-
-
-ARMENIAN.
-
-The press of the Vatican at Rome possessed a good fount of this
-character in 1591, when Angelo Roccha showed a specimen in his
-_Bibliotheca Apostolica Vaticana_. Previous to this a _Psalter_ is
-said to have been printed at Rome in 1565, and Rowe Mores mentions
-doubtfully a _Liturgy_ printed at Cracow in 1549. In 1662 the Armenian
-Bishops applied to France for assistance in printing an Armenian Bible,
-but being refused, although Armenian printing had been practised in
-Paris in 1633, went to Rome, where, as early as 1636, the press of
-the Propaganda had published a specimen of its Armenian matrices.
-The Patriarch, after fifteen months’ residence in Rome, removed to
-Amsterdam, where he established an Armenian press, and printed the
-_Bible_ in 1666, followed, in 1668, by a separate edition of the _New
-Testament_. In 1669 the press was set up at Marseilles, where it
-continued for a time, and was ultimately removed to Constantinople.
-
-In England the first Armenian types were those presented by Dr. Fell
-to {69} Oxford in 1667. In the Prolegomena of Walton’s _Polyglot_, the
-alphabet there given had been cut in wood. In 1736 Caslon cut a neat
-Armenian[135] for Whiston’s edition of _Moses Chorenensis_, and these
-two were the only founts in England before 1820.
-
-
-ETHIOPIC.
-
-The earliest type of this language appeared in Potken’s _Psalter and
-Song of Solomon_, printed at Rome in 1513. The work was reprinted at
-Cologne in 1518, in Potken’s polyglot _Psalter_. In 1548 the _New
-Testament_ was printed at Rome by some Abyssinian priests. The press
-of the Propaganda issued a specimen of its fount in 1631, and again
-in Kircher’s _Prodromus Coptus_ in 1636. Erpenius at Leyden had an
-Ethiopic fount, which in 1626 was acquired by the Elzevirs. Usher
-attempted to procure the fount for this country, but his attempt
-failing, punches were cut, and matrices prepared by the London founders
-for the _London Polyglot_, which showed the Psalms, Canticles, and
-New Testament in the Ethiopic version. Various portions of Scripture
-were printed at Leyden and Frankfort about the same time, of which the
-most important work was the _Psalter_, etc., of Ludolfus, printed at
-the latter place in 1701, in a letter bolder and larger than either
-the Vatican or London fount. The Oxford press possessed a fount of
-Ethiopic[136] prior to 1693, which appears, with the other Oxford
-Orientals, in the _Oratio Dominica_ of 1700 and 1713—the Amharic being
-in the same character. Chamberlayne’s _Oratio Dominica_, printed at
-Amsterdam in 1715, shows these versions in copperplate. Mores mentions
-a second English fount in his list of the matrices of the “Anonymous”
-foundry, besides the fount cut by Caslon[137] for his foundry. There
-were thus four founts in England in 1778. The Polyglot fount[138] and
-that of the anonymous founder came into the possession of James, and at
-the sale of his matrices in 1782, were acquired by Dr. Fry. The reprint
-of Ludolfus’ _Psalter_ by the Bible Society in 1815 was in the latter
-type. But the Ethiopic _Gospels_ printed by the same society in 1826
-were in a fount of types cast from the matrices presented by Ludolfus
-to the Frankfort Library in 1700. No new fount of Ethiopic in England
-had been added to the four already named, when Hansard wrote in 1825.
-
-
-COPTIC.
-
-Of this character the press of the Propaganda possessed a fount, of
-which a specimen was issued in 1636, in which year also Kircher’s
-_Prodromus Coptus_ {70} appeared at the same press. No fount, however,
-appeared in England till 1667—the alphabets shown in the Introduction
-and Prolegomena to the London _Polyglot_ in 1655 and 1657 being cut on
-wood. In 1667 Dr. Fell presented Coptic matrices[139] to Oxford, and
-it was from these that the types were cast for David Wilkins’ edition
-of the _New Testament_, printed in 1716. In 1731 the same scholar
-published an edition of the _Pentateuch_, this time at the press of
-Bowyer, in types specially cut by William Caslon.[140] Mores further
-mentions a Coptic fount cut by Voskens of Amsterdam; and abroad,
-besides the fount at Rome, there was one (or more) at Paris. A specimen
-is shown in Fournier; and in 1808, in Quatremère’s work on the Language
-and Literature of Europe, considerable portions of Scripture in Coptic
-were included. In our own country the Oxford and Caslon founts were the
-only two in 1778, when Mores wrote, nor had the number been increased
-when Hansard compiled his list of foreign founts in 1825.
-
-
-SAMARITAN.
-
-Samaritan type appears to have followed closely on the purchase of
-the celebrated MS. of the Samaritan Pentateuch, which was deposited
-in the Oratory at Paris in 1623. The press of the Propaganda had a
-fount in 1636, and the Paris Polyglot, completed in 1645, contained
-the entire _Pentateuch_ in type of which the punches and matrices had
-been specially prepared under Le Jay’s direction. The fount used in the
-London _Polyglot_ in 1657 is admitted to be an English production,[141]
-and was probably cut under the supervision of Usher, who between 1620
-and 1630 was most active in procuring Samaritan MSS. for this country.
-Samaritan type was used in Scaliger’s _De emendatione temporum_,
-printed at Geneva in 1629; also in Leusden’s _Schola Syriaca_, at
-Utrecht, in 1672; besides which, Mores mentions a fount neatly cut by
-Voskens of Amsterdam. Another fount was included in Dr. Fell’s gift
-to Oxford in 1667, and this appears in the _Oratio Dominica_ of 1700.
-The Polyglot Samaritan passed into Grover’s hands, thence to James,
-at whose sale it was bought, together with another fount of the same
-character, by Dr. Fry. The Leusdenian fount belonging to Andrews
-also came to James’s foundry, but was there lost. Caslon had a fount
-cut by Dummers,[142] which, with those of James and Oxford, were the
-only founts in the country in 1778.[143] In Hansard’s list of learned
-founts in 1825, these four founts were still the only Samaritans in the
-country. {71}
-
-
-SCLAVONIC.
-
-Types in this character existed at an early date, a _Psalter_ having
-been printed at Cracow in 1491, and reprinted at Montenegro in 1495.
-In 1512 the _Gospels_ were printed at Ugrovallachia, and again in
-1552 at Belgrade, and in 1562 at Montenegro. There was, in 1553, a
-Sclavonic press established by the Czar Ivan Vasilievitch at Moscow,
-whence, in 1564, appeared the _Acts and Epistles_, a volume which has
-the distinction of being the first book printed in Russia. The type and
-material for this press are said to have been brought from Copenhagen.
-The first Russian printers were persecuted, but succeeded in producing
-several other works in Sclavonic type. In 1581 the first _Bible_ in
-that language was printed at Ostrog, and after that printing became
-more general. The second Moscow press, established in 1644, was famous
-for its excellent typography; the second edition of the _Bible_, in
-1663, is a splendid performance. Sclavonic printing appears to have
-been but little practised out of Russia, yet we find matrices with
-Voskens of Amsterdam about 1690; from which, probably, the improved
-types introduced into the Moscow press in 1707 were cast.
-
-The only Sclavonic fount in England was that given by Dr. Fell to
-Oxford, and this, Mores states, was replaced in 1695 by a fount of
-the more modern Russian character, purchased probably at Amsterdam.
-The _Oratio Dominica_ of 1700 gives a specimen of this fount, but
-renders the Hieronymian version in copperplate. Chamberlayne’s _Oratio
-Dominica_ at Amsterdam in 1715 does the same; but the Cyrillian type
-differs from that of Oxford. The press of the Propaganda showed founts
-both of Cyrillian and Hieronymian in 1753, and founts occur in nearly
-all the Polyglot specimens of the chief European foundries.
-
-The MODERN SCLAVONIC, better known to us as RUSSIAN, is said to have
-appeared first in portions of the _Old Testament_, printed at Prague in
-1517–19. Ten years later there was Russian type in Venice. A Russian
-press was established at Stockholm in 1625, by order of Gustavus
-Adolphus, and in 1696 there were matrices in Amsterdam, from which came
-the types used in Ludolph’s _Grammatica Russica_, printed at Oxford in
-that year, and whence also, it is said, the types were procured which
-furnished the first St. Petersburg press, established in 1711 by Peter
-the Great. At Amsterdam, also, a second attempt to translate and print
-the _Bible_ into Russian, begun about 1698, was frustrated by the loss
-of the MSS. and library of Ernest Gluck, the editor and translator,
-at the siege of Marienburg, in 1702. The presses at St. Petersburg
-increased, and it is probable that on the establishment of the press in
-connection with the Academy of Sciences, in 1727, Russian types were
-cast in that city. Breitkopf of Leipsic {72} had matrices prior to
-1787; Fournier, at Paris, in 1766, showed a specimen of a fount in his
-foundry; Marcel, in his _Oratio Dominica_, 1805, showed another; and
-Bodoni of Parma, in his _Manuale Tipografico_, 1818, had no less than
-twenty-one sizes.
-
-The Emperor Alexander, in 1813, promoted the publication of a Bible
-by the Russian Bible Society, which resulted in the printing of the
-_Gospels_ in 1819, and of the entire _New Testament_ in 1823.
-
-In England, Mores notes that in 1778 there was no Russian type in
-the country, but that Cottrell was at that time engaged in preparing
-a fount. It does not appear that this project was carried out, and
-the earliest Russian we had was cut by Dr. Fry from alphabets in the
-_Vocabularia_, collected and published for the Empress of Russia in
-1786–9. This fount appeared in the _Pantographia_ in 1799. About 1820
-Thorowgood procured matrices in two sizes from Breitkopf, and these
-three founts were the only ones enumerated by Hansard in 1825.
-
-
-ETRUSCAN.
-
-The fount of this character cut by William Caslon[144] about 1733 for
-Mr. Swinton of Oxford was apparently the first produced. Fournier,
-in 1766, showed an alphabet engraved in metal or wood. In 1771 the
-Propaganda published a specimen of their fount, and Bodoni of Parma, in
-1806, exhibited a third in his _Oratio Dominica_. The character is one
-rarely used, and prior to 1820 it is doubtful whether there were more
-than the three founts above mentioned in existence.
-
-
-RUNIC.
-
-Types of this character were first used at Stockholm in a Runic and
-Swedish _Alphabetarium_, printed in 1611. The fount, which was cast at
-the expense of the king, was afterwards acquired by the University.
-About the same time Runic type was used at Upsala and at Copenhagen.
-Voskens, at Amsterdam, had matrices about the end of the century,
-and it was from Holland that Junius is supposed to have procured the
-matrices which in 1677 he presented to Oxford. This fount appears in
-the _Oratio Dominica_ of 1700, and in Hickes’ _Thesaurus_, 1703–5.
-Mores mentions a second fount, incomplete, in James’s foundry, which,
-however, was lost; so that the Oxford fount remained the only one in
-the country. Fournier and Fry show the alphabet engraved. {73}
-
-
-GOTHIC.
-
-Matrices of this language were presented to Oxford by Junius in 1677.
-There appear to have been other matrices in Holland, as the neat Gothic
-type used in Chamberlayne’s _Oratio Dominica_ at Amsterdam in 1715
-differs from the Oxford fount which had appeared in the edition of
-1700, as well as in Hickes’ _Thesaurus_. Mores speaks of another fount
-in James’s foundry, whither it had come from the “Anonymous” foundry.
-But the matrices were lost. Caslon, however, cut a fount,[145] which
-appeared in his first specimen in 1734. This and the Oxford fount were
-the only two in England in 1820.
-
-
-ICELANDIC, SWEDISH AND DANISH.
-
-Founts of these characters were also included in Junius’ gift to
-Oxford in 1677, and were probably specially prepared in Holland. The
-first-named is shown in the _Oratio Dominica_ of 1700, and in Hickes’
-_Thesaurus_. Printing had been practised in Iceland since 1531, when a
-_Breviary_ was printed at Hoolum, in types rudely cut, it is alleged,
-in wood. In 1574, however, metal types were provided, and several
-works were produced. After a period of decline, printing was revived
-in 1773; and in 1810 Sir George McKenzie reported that the Hoolum
-press possessed eight founts of type, of which two were Roman, and the
-remainder of the common Icelandic character, which, like the Danish and
-Swedish, bears a close resemblance to the German.
-
-
-SAXON.
-
-The first type for this language was cut by John Day in 1567, under
-the direction of Archbishop Parker, and appeared in _Ælfric’s
-Paschal Homily_ in that year, and in the _Ælfredi Res Gestæ of Asser
-Menevensis_, published in 1574. Parker, in his preface to the latter
-work, makes mention of Day as the first who had cut Saxon characters.
-This interesting fount[146] is rather less than a Great Primer in body,
-and in general appearance is handsomer than many of its successors.
-Day used the type in several other works, and added another fount on
-Pica body. Saxon type was used by Browne in 1617, in Minsheu’s _Ductor
-in Linguas_; and Haviland, who printed the second edition of that work
-in 1626, had in 1623 already made use of the character in Lisle’s
-edition of _Ælfric’s Homily_. Another fount was used by Badger in 1640
-for Spelman’s _Saxon Psalter_, {74} so that, as Mores points out, at
-that date there were already four founts in the country. Hodgkinson,
-one of the Star Chamber printers, had a Pica Saxon, which was used
-in _Dugdale’s Monasticon_, 1655; and Mores mentions two founts, a
-Great Primer and a Pica, in use at Cambridge in 1644, in Wheelock’s
-edition of _Bede_. In 1654 Francis Junius had a fount of Saxon “cut,
-matriculated, and cast,” at Amsterdam, which, after printing _Cædmon’s
-Paraphrase of Genesis_ in 1655, and some other works in that town, he
-brought over to England, and in 1677 presented to the University of
-Oxford. As early as 1659 the University had possessed a Saxon fount,
-and a second had been included among the purchases made, probably,
-about the year 1672. Junius’ fount was used in Hickes’ _Thesaurus_,
-1705, and his Saxon _Grammar_ in 1711, but was not employed by the
-printer of the _Oratio Dominica_ of 1700, where a different fount
-appears—the same, apparently, which in 1709 Bowyer used to print
-Miss Elstob’s _Homily on the Birthday of St. Gregory_. The Amsterdam
-printers of the _Oratio Dominica_ of 1715 used a handsome fount of
-their own. The great interest taken in the study of the Northern
-languages at this period in England produced many Saxon works, and
-some of our scholars devoted themselves to the study of the most
-beautiful of the old manuscripts, with a view to the improvement of the
-character in print. But the failure of the typefounder Robert Andrews
-to do justice to Humphrey Wanley’s drawings, in cutting the punches
-for Bowyer’s new fount in 1715,[147] apparently discouraged further
-endeavours. Miss Elstob’s _Anglo-Saxon Grammar_ was printed in that
-year in the new type, the matrices of which were subsequently presented
-to Oxford, where they still remain.
-
-Voskens, the Dutch founder, had Anglo-Saxon matrices at the beginning
-of the eighteenth century, but, except in England and Holland, the
-character was not used. Caslon and most of his successors cut Saxon
-founts. Mores noted eleven different founts existing in England in
-1778. This number was afterwards increased by numerous new founts cut
-by Fry, Figgins, and Wilson; and Hansard enumerated twenty-three in
-1825.
-
-The Anglo-Norman Saxon character in which the _Domesday Book_ was
-written, was twice imitated in type during the eighteenth century,
-once by Cottrell, whose attempt was not wholly successful, and again
-by Joseph Jackson, under the supervision of Abraham Farley, in 1783.
-Jackson’s types were used in the facsimile printed by Nichols in that
-year, and the matrices, it is stated, were deposited with the British
-Museum. {75}
-
-
-IRISH.
-
-The first fount of this character was that presented by Queen Elizabeth
-to O’Kearney in 1571, and used to print the _Catechism_, which appeared
-in that year in Dublin, at the press of Franckton. The fount, which is
-on English body, is only partially Irish, many of the letters being
-ordinary Roman or Italic. Its general appearance is, however, neat. It
-was used in several works during the early years of the seventeenth
-century, notably in the Daniel’s _New Testament_, printed by Franckton
-in 1602, and the _Common Prayer_, issued from the same press in 1608.
-This interesting fount was stated by some to have been secured by the
-Jesuits, and transferred by them to one of their seminaries abroad;
-but there appears to be no foundation for such a statement. As late as
-1652 it was used in Godfrey Daniels’ _Christian Doctrine_, printed in
-Dublin; and still later occasional words mark its gradual extinction.
-The Irish seminaries abroad, meanwhile, were better supplied with Irish
-type than our countrymen. At Antwerp, in 1611, O’Hussey’s _Catechism_
-was printed in an Irish fount, which subsequently reappeared in 1616 at
-Louvain, and was afterwards used to print a number of works published
-by the Irish College in that place. In 1645 a second and larger Irish
-fount appeared at Louvain, in Colgan’s _Acta Sanctorum Hiberniæ_. In
-1676 the press of the Propaganda at Rome published Molloy’s _Lucerna
-Fidelium_ in a handsome and bold character, Great Primer in body,
-which was used again in the following year in Molloy’s _Grammar_, and
-in 1707 for the _Catechism_ of O’Hussey. Previous to this, however,
-Irish printing had revived in England, and Moxon, in 1680, had cut
-the curious fount of Small Pica Irish,[148] used in Boyle’s _New
-Testament_, printed by Robert Everingham in 1681, followed by Bedell’s
-_Old Testament_ in 1685, and in several further publications from
-the same press. Until the year 1800 this fount was the only Irish in
-this country. Abroad, a new fount appeared at Paris in 1732, where
-it was used in McCuirtin’s _Dictionary_, and in 1742 in Donlevey’s
-_Catechism_, printed by Jas. Guerin. The matrices for this fount appear
-to have been held, if not prepared, by Fournier, as in the _Manuale
-Typographique_ (ii, p. 196), issued by him in 1766, a specimen of it
-appears among the foreign founts of his foundry. The fate of this fount
-is a matter of uncertainty. After 1742 a general cessation of Irish
-typography at home and abroad took place; and the few Irish works which
-appeared between that date and 1800 were for the most part in Roman
-type (like O’Brien’s _Dictionary_, Paris, 1768), or with the Irish
-{76} characters in copperplate (like Vallancey’s _Grammar_). In 1804,
-however, a revival took place, beginning in Paris, where Marcel, being
-at that time in possession of several of the founts belonging to the
-press of the Propaganda, which Napoleon had impounded for the use of
-the press of the Republic, repaired and re-cast the Irish founts of
-the _Lucerna Fidelium_, and issued a short sketch of the character and
-language, illustrated with readings in this type. In his beautiful
-_Oratio Dominica_, printed in 1805 in presence of Napoleon, the same
-type is used. “Strikes” of these founts were retained in Paris, and
-the letter has reappeared in specimens issued in 1819 and 1840. The
-matrices probably remain part of the stock of the Imprimerie Nationale
-to this day. The revival in our kingdom was more rapid. Moxon’s fount,
-which had passed through the hands of Robert Andrews, came in 1733
-into the foundry of Thomas James, at the sale of which, in 1782, the
-punches and matrices were purchased in a somewhat defective condition
-by Dr. Fry. A specimen was shown in Dr. Fry’s specimen of 1794, and in
-his _Pantographia_, 1799, after which the fount occasionally reappeared
-until 1820, when it was last seen in O’Reilly’s _Catalogue of Irish
-Writers_, printed in Dublin in that year. By this time, however, there
-were some six new founts in the country. _Neilson’s Grammar_, printed
-at Dublin in 1808, appeared in a type apparently privately cut, as
-it is not found in the specimens of any of the British founders.
-Vincent Figgins cut an elegant fount after the copperplate models
-in _Vallancey’s Grammar_; Dr. Fry, under the inspection of Thaddeus
-Conellan, cut a Long Primer, Small Pica, and Pica, and Watts shortly
-afterwards added three others.
-
-
-MUSIC.
-
-The earliest specimen of music-type occurs in Higden’s _Polychronicon_,
-printed by De Worde at Westminster in 1495. The square notes appear to
-have been formed of ordinary quadrats, and the staff-lines of metal
-rules imperfectly joined. In Caxton’s edition of the same work in 1482
-the space had been left blank, to be filled up by the illuminator or
-scribe. In other countries music was occasionally shown, but not in
-type. The plain chant in the _Mentz Psalter_ of 1490, printed in two
-colours, was probably cut on wood. Hans Froschauer of Augsburg printed
-music from wooden blocks in 1473, and the notes in Burtius’ _Opusculum
-Musices_, printed at Bologna in 1487, appear to have been produced in
-the same manner[149]; while at Lyons, the _Missal_ printed by Matthias
-Hus in 1485 had the staff only printed, the notes being intended to
-be filled in by hand, {77} either with a pen or by means of an inked
-stamp or punch. About 1500 a musical press was established at Venice
-by Ottavio Petrucci, at which were produced a series of _Mass-books_.
-In 1513 he removed to Fossombrone, and obtained a patent from Leo X
-for his invention of types for the sole printing of figurative song
-(_cantus figuratus_). Petrucci’s notes were lozenge-shaped, and each
-was cast complete, with its correspondent proportion of staff-lines.
-Before 1550 several European presses followed Petrucci’s example,
-and music-type, among other places, was used at Augsburg in 1506 and
-1511, Parma in 1526, Lyons in 1532, and Nuremburg in 1549. In 1525
-Pierre Hautin cut punches of lozenge-shaped music at Paris. Round
-notes were used at Avignon in 1532, and Granjon cut this kind at Paris
-about 1559. In 1552, Adrian Leroy, musician to Henri II of France, and
-Robert Ballard were appointed King’s printers for music. Their types
-are said to have been engraved by Le Bé. In England, after its first
-use, music-printing did not become general till 1550, when Grafton
-printed Marbecke’s _Book of Common Prayer_, “noted” in movable type;
-the four staff lines being printed in red, and the notes in black.
-There are only four different sorts of notes used,—three square and
-one lozenge. The appearance of the music is very bold and distinct.
-Day, Vautrollier, and East, all printed with music-type, which was
-of the kind generally used during the sixteenth century in Italy,
-Germany and France. Vautrollier was the printer for Tallis and Bird,
-who obtained a patent from Elizabeth for the sole printing of music.
-After the expiration of their patent, and another granted to Morley
-in 1598, music-printing was exercised (as Sir John Hawkins states) by
-every printer who chose it. A larger variety of founts appeared, and
-in some works two or more founts of music appear mixed in the same
-work. About 1660 the detached notes hitherto used began to give place
-to the “new tyed note,” by which the heads of sets of quavers could
-be joined. But at the close of the seventeenth century music-printing
-from type became less common, on account of the introduction of
-stamping and engraving plates for the purpose. There was music-type in
-Aberdeen in 1666 at the press of Forbes. Oxford University possessed
-music matrices, some apparently presented by Dr. Fell about 1667, and
-others cut by Walpergen. The punches and matrices of the latter are
-still preserved,[150] and are very curious; many of the matrices being
-without sides in the copper, and justified so that the mould shall
-supply the side, and the lines thus be cast so as to join continuously
-in the composition. Grover’s foundry also had a Great Primer music,
-and Andrews had matrices of several sizes of the square-headed or
-plain chant character. Caslon possessed a set {78} of round-headed
-matrices in two sizes, which came to him from Mitchell’s foundry. In
-1764 Breitkopf of Leipsic succeeded in casting a music-type, in which
-the notes were composed of several pieces, which were “built up” by
-the compositor. Fleischman cut an improved music on the same principle
-for the Enschedés at Haarlem. Rosart of Brussels, and Fournier of
-Paris, succeeded in reducing the number of pieces of a fount to three
-hundred and one hundred, respectively. Henry Fought, in our own country
-in 1767, invented sectional types, which divided so as to admit the
-staff lines. The principal improvements after Fought’s time aimed at
-overcoming the hiatus caused by the joining of the lines. Attempts
-were made to cast the notes separately from the lines, or to adopt a
-logographic system of casting several notes in one piece. After the
-beginning of the present century the production of music-type was left
-in the hands of specialists, amongst whom Mr. Hughes, as late as 1841,
-had the reputation of possessing the best founts in the trade. Of the
-plain chant and psalm music, both Dr. Fry and Hughes had matrices in
-several sizes.
-
-
-BLIND.
-
-Printing for the blind was first introduced in 1784, by Valentin Haüy,
-the founder of the Asylum for Blind Children in Paris. He made use of a
-large script character, from which impressions were taken on a prepared
-paper, the impressions so deeply sunk as to leave their marks in strong
-relief, and legible to the touch. Haüy’s pupils not only read in this
-way, but executed their own typography, and in 1786 printed an _Essai_
-giving an account of their institution and labours, as a specimen of
-their press.[151]
-
-The first School for the Blind in England was opened in Liverpool
-in 1791, but printing in raised characters was not successfully
-accomplished till 1827, when Mr. Gall, of the Edinburgh Asylum, printed
-the Gospel of St. John from angular types. Mr. Alston, the Treasurer of
-the Glasgow Asylum, introduced the ordinary Roman capitals in relief,
-and this system was subsequently improved upon by the addition of the
-“lower-case” letters by Dr. Fry, the type-founder, whose specimen
-gained the prize of the Edinburgh Society of Arts in 1837.
-
-A considerable number of rival systems have competed in this country
-for adoption, greatly to the prejudice of the cause of education among
-the blind. The most important of these we here briefly summarize: {79}
-
-1. LUCAS SYSTEM. The letters were represented by curves and lines,
-having no connection with the form of the characters they denoted. In
-this type the Scriptures occupied about 36 volumes.
-
-2. FRERE’S SYSTEM. Wholly phonetic, the sounds being represented by
-circles, angles, and lines. These symbols were cut in copper wire, and
-soldered upon sheets of tin. From this form a stereotype-plate was
-taken.
-
-3. MOON’S SYSTEM. Based upon the two preceding, but professed to be
-alphabetic. Nearly each symbol represents the form of a portion of the
-Roman letter it denotes. The plates were prepared by Frere’s method.
-
-4. BRAILLE’S SYSTEM. A series of dots in various combinations, designed
-as a universal system. This system was introduced in the “Institution
-pour les jeunes aveugles” in Paris, in place of the alphabetical system
-which had prevailed since Haüy’s time.
-
-5. CARTON’S SYSTEM. Also arbitrary, though following somewhat the form
-of the lower-case alphabet.
-
-6. ALSTON’S SYSTEM. This great improvement consisted in the rejection
-of all arbitrary symbols, and the adoption of the plain Roman alphabet
-of capitals. In addition to the simplicity both to the teacher and
-the scholar, its adaptability to typography was obvious. Instead of
-soldering the wire outlines on to tin, the letters were now cut and
-cast by the ordinary process of typefounding.
-
-The subsequent alphabetical systems have all been modifications of or
-attempted improvements on that of Alston, as perfected by Dr. Fry,
-and there seems every probability that this system will eventually
-become the recognised method of printing for the blind in all European
-countries.
-
-
-INITIALS.
-
-[Illustration: 46. Dutch Initial Letters used in Boyle’s Irish
-_Testament_, 1681. From the original matrices in the Enschedé foundry,
-Haarlem.]
-
-[Illustration: 13. Blooming Initials, at the Oxford University Press.
-_Circa_ 1700.]
-
-In the earliest printed books, with the exception of the _Mentz
-Psalter_, where engraved letters are undoubtedly used, a blank space
-was left for initial letters, which were inserted by hand. A small
-index-letter, indicating what the letter was to be, was generally
-printed or written in the space by the printer before handing the
-work over to the illuminator. The trouble and cost involved by this
-system early suggested the use of wood-cut initials, and Erhard
-Ratdolt of Venice, about 1475, is generally supposed to have been the
-first printer to introduce the “Literæ florentes,” which eventually
-superseded the hand-painted initials. These ornamental initials, called
-also _lettres tourneures_, or sometimes _typi tornatissimi_, were
-not generally adopted till the close of the century, by which time,
-however, they had found their way to England, where, in 1484, Caxton
-had introduced one or two kinds. The more elaborate initials, such as
-{80} that used in the _Mentz Psalter_, and the later beautiful letters
-used by Aldus at Venice, by Schoeffer at Mentz in 1518, by Tory and
-the Estiennes at Paris, by Froben at Basle, and by the other great
-printers of their day, were known as _lettres grises_. Besides these,
-the ordinary “two-line letters,” or large plain capitals, came into
-use; and these were generally cast—the ornamental letters being for the
-most part engraved on wood or metal, and shifted about from one forme
-to another. The general debasement of artistic taste in the latter
-half of the sixteenth and seventeenth centuries is very apparent in
-the initial letters, particularly in England. Large black-letters were
-frequently used as initials to books in Roman type, the large plain
-caps appear to have been most rudely cut and cast, and when pictorial
-letters were made use of, the effect was not infrequently grotesque.
-Dutch initials found their way into this country in large numbers. They
-were, as a rule, heavy and indistinct, and lacked the elegance of the
-letters which, even as late as 1650, characterised some of the best
-printing in France. The best initial letters we had were those used at
-Oxford, and these were for the most part copperplate, and engraved by
-an artist specially retained by the University for the purpose. The
-“Dutch Bloomers” shown by Watson in 1711 probably represented the _ne
-plus ultra_ of typographical ornament at that day. With Bible printers
-it was not uncommon to use appropriate pictorial {81} letters, and
-we frequently find in their works, both sacred and profane, the
-initial “I” of Genesis representing the Creation, the “D” representing
-David playing on his harp, the “P” representing the conversion of
-St. Paul, and so on. Armorial initials were also occasionally used,
-and sometimes letters embodying portraits or landscapes. About the
-beginning of the seventeenth century, pierced initial ornaments—that
-is, wood block devices, in which a space is pierced out to admit of
-any letter—came into use. The great letter-founders of the revival,
-Caslon, Baskerville, and their immediate successors, confined their
-attention to the large plain initials, uniform in shape and design with
-their Roman letters; and it was not till a taste for fancy type arose,
-early in the present century, that founders cut punches for and cast
-ornamental initials. {82}
-
-[Illustration: 14. Pierced Initial, at the Oxford University Press.
-_Ante_ 1700.]
-
-[Illustration: 55. Pierced Initial. London, _circa_ 1700.]
-
-
-TYPE ORNAMENTS AND FLOWERS.
-
-These began, like the initials, with the illuminators, and were
-afterwards cut on wood. The first printed ornament or vignette is
-supposed to be that in the _Lactantius_, at Subiaco, in 1465. Caxton,
-in 1490, used ornamental pieces to form the border for his _Fifteen
-O’s_. The Paris printers at the same time engraved still more elaborate
-border pieces. At Venice we find the entire frame engraved in one
-piece; while Aldus, as early as 1495, used tasteful head-pieces, cut in
-artistic harmony with his _lettres grises_. Of the elaborate woodcut
-borders and vignettes of succeeding printers we need not here speak. As
-a rule, they kept pace with the initial letters, and degenerated with
-them. Early in the sixteenth century we observe detached ornaments and
-flourishes, which have evidently been cast from a matrix, and the idea
-of combining these pieces into a continuous border or head-piece was
-probably early conceived.[152] Mores states that ornaments of this kind
-were common before wood-engraved borders were adopted, and Moxon speaks
-of them in his day as old-fashioned. In Holland, France, Germany and
-England, however, these “type-flowers” were in very common use during
-the eighteenth century, and almost every foundry was supplied with a
-considerable number of designs cast on the regular bodies. Some of the
-type-specimens exhibit most elaborate figures constructed out of these
-flowers, and as late as 1820 these ornaments continued to engross a
-considerable space in the specimen of every English founder.
-
-[Illustration]
-
-{83}
-
-[Illustration]
-
-
-
-
-CHAPTER III.
-
-THE PRINTER LETTER-FOUNDERS, FROM CAXTON TO DAY.
-
-
-In taking a brief survey of that early period of English Typography
-when printers are assumed to have been their own letter-founders,
-we shall attempt no more than to gather together, as concisely as
-possible, any facts which may throw light on the first days of English
-letter-founding, leaving it to the historian of Printing to describe
-the productions which, as we have already stated, must be regarded, not
-only as the works of our earliest printers, but as the specimen-books
-of our earliest letter-founders. Mores and other chroniclers are, as
-we conceive, misleading, when they single out half a dozen names from
-the long list of printers between Caxton and Day, as if they only had
-been concerned in the development of the art of letter-cutting and
-founding. It is true that these names are the most distinguished; but
-it is necessary to bear in mind that the most obscure printer of that
-day, unless he succeeded in purchasing his founts from abroad, or in
-obtaining the reversion of the worn types of another printer, probably
-cast his letter in his own moulds, and from his own matrices.
-
-Respecting many of our early printers, our information especially with
-regard to their mechanical operations, is extremely meagre. But the
-researches of Mr. William Blades[153] have thrown a stream of light
-upon the typography of {84} Caxton and his contemporaries, of which we
-gladly avail ourselves in recording the following facts and conjectures
-as to the letter-founding of the period in which they flourished.
-Adopting as a fundamental rule “that the bibliographer should make
-such an accurate and methodical study of the _types_ used and _habits
-of printing_ observable at different presses, as to enable him to
-observe and be guided by these characteristics in settling the date of
-a book which bears no date upon the surface,” Mr. Blades has succeeded
-not only in establishing a precise chronology of the productions of
-the first English printer, but an exhaustive catalogue of his several
-types, such as has never before been successfully accomplished.
-
-Previous writers, many of them practical printers, have all failed in
-this particular. Most of them lacked the patience or the opportunity to
-make a systematic study of the specimens of Caxton’s press, and have
-been content to perpetuate the account of others who, like Bagford,
-Ames, Herbert and Dibdin, had ample opportunity for such a study,
-but failed to bring to bear upon their investigations that practical
-experience which would have saved them from the inaccuracies with
-which their descriptions abound. Among such writers few have been more
-unfortunate than Rowe Mores, whose account of Caxton’s types (although
-endorsed by the authority of his editor, John Nichols) is as misleading
-as it is meagre.
-
-As we are concerned with Caxton only in his capacity as letter-founder,
-we must refer the reader for all details respecting his life and
-literary industry to Mr. Blades’ admirable biography; merely stating
-here that he made his first essay at printing in the year 1474–5, in
-the office of Colard Mansion at Bruges; that in 1477, if not earlier,
-he settled as printer at Westminster, where he remained an industrious
-and prolific worker until the year of his death in 1491.
-
-As we have already observed, the history of the introduction of
-printing into England differs from that of its origin in most other
-countries in this important particular, that whereas in Germany,
-Italy, France and the Low Countries letter-founding is supposed to
-have preceded printing, in our own country it followed it. Caxton had
-already run through one fount of type before he reached this country,
-and it appears to be quite certain that his Type No. 2, with which he
-established his press at Westminster, was brought over by him from
-Bruges, where it had been cast for him, and already made use of by
-his preceptor, Colard Mansion. The English origin of his Type No. 3
-is also open to question. There seems, however, reasonable ground for
-supposing that Type No. 4 was both cut and cast in England; so that
-Caxton had probably been at work for a year or two in this country
-as a printer, before he became a letter-founder. It must be admitted
-that any conclusion we may come to as to {85} Caxton’s operations as
-a letter-founder are wholly conjectural. In none of his own works (in
-several of which he discourses freely on his labour as a translator
-and a printer) does he make the slightest allusion to the casting of
-his types, nor does there remain any relic or contemporary record
-calculated to throw light on so interesting a topic.
-
-That Caxton made use of cast types, it is hardly needful here to
-assert. Even admitting the possibility of a middle stage between
-Xylography and Typography, the general identity of his letters, the
-constant recurrence of certain flaws among his types, and the solidity
-of his pages, may be taken as sufficient evidence that his types were
-cast, and not separately engraved by hand.
-
-It is scarcely likely that during his residence at Bruges, where, as he
-himself states in the prologue to the third book of the _Recuyell_, “I
-have practysed and lerned at my grete charge and dispense to ordeyne
-this said book in prynte,” he would omit to make himself acquainted
-with the methods used in the Low Countries for the production and
-multiplication of types; and it is at least reasonable to suppose
-that, once established in this country, and removed from the source
-of his former supplies, he would put into practice this branch of his
-knowledge, and produce for himself the remaining founts of which he
-made use.
-
-As to the particular process he employed, we have, as Mr. Blades points
-out, only negative evidence on which to rely. The frequent unevenness
-and irregularity of his lines, as well as the variations of the letters
-themselves, lead to the conclusion that the method employed was a rude
-one, inferior not only to that now in use, but even to that adopted
-by the advanced German School of Typography of his own day. Rude,
-however, as his method may have been, we are not disposed to allow
-that Caxton could have produced the types he did without the use of
-a matrix and an adjustable mould. Despite his rough workmanship, his
-types are as superior to those of the _Speculum_ and _Donatus_ as they
-are inferior to those of the _Mentz Bible_ and the _Catholicon_; and we
-consider it out of the question that works like the _Dictes_, or the
-_Polychronicon_, or the _Fifteen O’s_, could have been produced from
-types cast by a clay or sand process, which we have elsewhere described
-as possibly employed in the most primitive practice of the art.
-
-It is more probable that both Colard Mansion and Caxton, possessing the
-principle of the punch, matrix and adjustable mould, but ill-furnished
-with the mechanical appliances for putting that principle into
-practice, made use of rough and perishable materials in all three
-branches of the manufacture. Some such rough appliances we have
-already suggested in our introductory chapter. . His {86} punches,
-as Mr. Blades has pointed out, were, in the case of at least two of
-his founts, touched-up types of a fount previously in use. A matrix
-formed from such a punch, either in soft lead or plaster, could not
-be anything but rough and fragile; and such a matrix, when justified
-and applied to a mould of which the adjustable parts may have lacked
-mathematical finish and accuracy, could scarcely be expected to produce
-types of faultless precision.
-
-As we have freely admitted, it is impossible on this subject to go
-beyond the regions of speculation, but we decidedly incline to the
-opinion that the irregularities and defects of Caxton’s types may be
-accounted for in the way here suggested, rather than by the assumption
-that he made use of a method of casting differing wholly in principle
-from that which was presently to become the universal practice.
-
-We shall now briefly follow Mr. Blades’ chronological summary of
-Caxton’s six types, with a view to point out such particulars
-respecting them as may have special bearing on the object of this work.
-
-TYPE 1.—This type, as already pointed out, was never used in England,
-but appears in the works of the Bruges press between the years 1472 and
-a date later than 1476. Bernard considers that it was modelled on the
-handwriting of Colard Mansion. Although this type was chiefly used by
-Mansion, Caxton appears to have used it in at least two English books
-printed under Mansion’s roof, the _Recuyell_ and the _Chess Book_, the
-former of which was the first book printed in the English language. The
-body of the type corresponds to the present Great Primer; and a fount
-comprised 163 sorts, of which a considerable number were varieties of
-the same letters, “there being only five sorts for which there were not
-more than one matrix, either as single letters or in combination.”
-
-TYPE 2 was the fount with which Caxton printed, in 1477, at
-Westminster, the _Dictes and Sayings of the Philosophers_. Although
-this is the first dated book printed in England, there is some reason
-for supposing that the undated _Jason_, and possibly some of the small
-quarto poems, printed in the same type may have preceded it. The
-fount was cut probably by Colard Mansion, in imitation of the Gros
-Bâtarde type already in use at his press, but in a smaller size; and
-it is supposed that before Caxton brought it over to England it had
-been used at Bruges to print _Les Quatre Derrenieres Choses_. Twenty
-works in all are known to have been printed in Type 2, which is on a
-body equal to two-line Long Primer, or “Paragon,” and consists of 217
-sorts. The capital letters are extremely irregular, not only in size
-but in design, some being of the simplest possible construction, while
-others have spurs, lines and flourishes. It was used from 1477 to
-1479, when, on its becoming worn out, selected letters were trimmed up
-with a graver, new matrices formed, and a recasting made. {87} This
-recasting, known as Type 2*, is the same body as Type 2, but in all
-cases the letters are slightly thinner, while in the case of ascending
-and descending types it is found that the process of trimming has
-resulted in the amputation of certain portions of the letters. There
-are also some thirty-seven sorts more in the second fount, consisting
-largely of double and compound letters, which do not appear in the
-first. To Type 2* belongs the honour of being in all probability the
-first fount _cast_ in England. It was used from 1479 to 1481, and
-nine books are known to have been printed in it, including the second
-edition of the _Game and Play of the Chesse_, from which Mr. Vincent
-Figgins[154] in 1855 took the models for his facsimile of the “Caxton
-Black.”
-
-TYPE 3.—This handsome fount appears to have been used from about 1479
-to 1483, chiefly for head-lines, although one or two small church
-books, as well as Caxton’s _Advertisement_, were printed entirely in
-it. The body is the same as that of Type 2, with which it is sometimes
-used, to distinguish proper names. The fount consists of 194 sorts, of
-which the points are remarkable as being smaller than those of Type
-2. It is the first appearance of the “Lettre de Forme” in English
-typography; although, as Mr. Blades has pointed out, this character
-belongs only to the “lower-case” letters, the capitals partaking more
-of the features of Mansion’s “Gros Bâtarde”. The fount possesses a
-special interest in being the first letter put forward as an English
-printer’s Type-specimen. In the _Advertisement_, which we reproduce
-in facsimile (No. 15), Caxton calls attention to the fact that he is
-prepared to sell cheap copies of the Pica or Ordinary of the Salisbury
-service, printed in the same type as the specimen shown, to anyone,
-spiritual or temporal, who may come to his shop at the Red Pale,
-Westminster. There is nothing to show whether this fount was brought
-by Caxton from Bruges, or whether it is entitled to the distinction of
-being the first fount wholly cut and cast in this country. The German
-cut of the “lower-case,” as well as the slight use which Caxton made
-of it, would almost suggest that it was not the product of his own
-genius. On the other hand, the frequent use which De Worde made of the
-fount after his master’s death, seems to point to the existence of the
-matrices, as well as the types, in this country.
-
-TYPE 4.—This letter was in use by Caxton from 1480 to 1484, and there
-is strong reason for believing that (whatever may have been the case
-with Type 3) it was both cut and cast in this country. That Caxton
-possessed punches of it {88} appears highly probable from the fact
-that in the recasting of the fount as Type 4* we do not find the face
-of the old letters to have been trimmed up, as was the case with Type
-2*. On the contrary, as far as face is concerned, the two founts are
-identical—a result which could hardly be expected had the matrices for
-the second fount been produced by any means but a re-striking of the
-original punches. The fount is smaller in size than Type 2, though the
-design is similar. It consists of 194 sorts, of which seven were not
-re-struck for 4*. Ten works were wholly printed in Type 4, and two
-partly in 4 and 4*. The one difference between the first and second
-fount is, that whereas Type 4 is very close to English body, Type
-4* is cast on a body equal to two-lines Minion; or more precisely,
-nineteen types of Type 4* are equivalent to twenty types of Type 4.
-It appears, therefore, that, either purposely or accidentally, Caxton
-shifted his mould between the two castings. It is easy to imagine that
-his supply of moulds might be very limited; and even that it might be
-limited to but one mould capable of being varied in “body,” as well
-as in “thickness,” which he would adapt as necessity required to cast
-any size of letter; so that if, for instance, after casting Type 4, he
-had had occasion to “break” his mould in order to cast some additional
-letters in Type 3, he might easily fail to readjust it to the precise
-body of his former fount, particularly if he used a worn or foul type
-by which to “set” it. The fact that in the _Confessio Amantis_, and
-the _Knight of the Tower_, both castings are used, shows at least that
-4* was intended to supplement, rather than replace its predecessor.
-Besides the two partly printed works, sixteen entire works were printed
-in Type 4* between 1483–85, from one of which, the _Golden Legend_, our
-facsimile, No. 16, is taken.
-
-TYPE 5.—In this fount the “Lettre de Forme,” first introduced with Type
-3, reappears in a smaller, but very similar form. Eleven books were
-printed in it between about 1487–91, the majority of which were Latin
-works of devotion. The body is rather larger than two-line Brevier,
-and the fount consists of only 153 sorts, there being very few double
-letters. With this fount is a set of bold Lombardic capitals, cast full
-on the body, and used as initials. These Caxton afterwards cut down for
-quadrats, shortening them, as was usual at that time, at the foot-end
-of the type, and so not destroying the face.
-
-TYPE 6.—This fount was for the most part produced from matrices formed
-from trimmed-up letters of Types 2 and 2*, supplemented by a few new
-letters and some from other founts. The body on which it is cast is
-considerably smaller than Type 2, being nearly a Great Primer as
-against a two-line Long Primer. This reduction in size necessitated the
-compression of a number of full-faced letters of the original founts,
-some of which have been forcibly squeezed into the compass and others
-truncated. The fount comprises only 141 sorts, {89} and has a set of
-Lombardic capitals. It was used by Caxton between 1489 and the time of
-his death in 1491, during which period eighteen works were printed in
-it. In the _Treatise of Love_, printed in the same type, and supposed
-to have been produced by De Worde after his master’s death, appears
-an initial line in a new type, which might be reckoned as Type No. 7;
-although, if the work was wholly posthumous, its claim to be included
-as one of Caxton’s founts holds only as regards the cutting and
-founding of it.
-
-[Illustration: 15. Advertisement of William Caxton. Type 3.]
-
-[Illustration: 16. From the _Golden Legend_. Westminster, 1482. Caxton
-Type 4*.]
-
-       *       *       *       *       *
-
-Such is a brief summary of the types of our first printer. It would
-be interesting, were it possible, to continue in an equally detailed
-manner an examination of the types of all the early English printers.
-But the rapid increase of printing which followed Caxton’s death would
-render such a task one of great labour and difficulty. We shall content
-ourselves with collecting such references to typefounding as may throw
-general light on the progress of the art during the first century of
-its existence.
-
-We have elsewhere stated our reasons for supposing that the first
-Oxford press was commenced with types brought from abroad. Of the St.
-Alban’s printer and his contemporaries, Lettou and Machlinia, in the
-city of London, we know very little. The types of both presses were
-extremely rude, and might therefore suggest that an attempt was made to
-produce them by untrained English artists, or, as is equally probable,
-that the old and worn-out soft lead types of an earlier printer were
-made use of.
-
-       *       *       *       *       *
-
-WYNKYN DE WORDE was the most brilliant, as he was the most prolific,
-English printer of the fifteenth century. Inheriting some, if not all,
-of his master Caxton’s matrices, he cut a large number of new letters
-for himself, and appears in the execution of these founts to have
-perfected the manual processes of the manufacture, so as to leave no
-doubt that his types were produced in true adjustable moulds, out of
-durable matrices, impressed with hard metal punches. His letters are
-clear and regularly cast; indeed, his English or Black-letter was so
-excellent that it became a model for all future letter-cutters, and was
-closely imitated, not only in England, but, apparently, abroad. Some
-writers have considered that De Worde supplied duplicate matrices of
-his Black-letter to some of his contemporaries, or else cast founts
-from his own matrices for the trade. The close resemblance between
-some of his founts and those of other English printers of the period,
-seems to give colour to such a suggestion, although the probability
-is that his old discarded types occasionally found their way into the
-provinces, where (as at the press of Goes of York) they appeared during
-the lifetime of their original founder. Palmer (or Psalmanazar) makes
-the following {90} note on this subject: “There is one circumstance,”
-he says,[155] “that induces me to think he was his own letter-founder;
-which is, that in some of his first printed books, the very letter he
-made use of, is the same used by all the printers in London to this
-day; and, I believe, were struck from his puncheons. The first is the
-two lin’d Great Primmer Black, the next is the Great Primmer Black.”
-Of each of these two founts he shows a specimen (a facsimile of which
-is here given), which, as Rowe Mores explains, were taken from the
-matrices at that time (1732) in Grover’s foundry, where they were
-reputed at one time to have belonged to De Worde.[156]
-
-[Illustration: 17. Black Letter, supposed to be from De Worde’s
-matrices. (From Palmer’s _General History of Printing_.)]
-
-This piece of evidence is not very convincing. It is more to the point
-that some of his early types are not to be observed in books from the
-press by any foreign printer at that time; which could scarcely have
-been had he, along with other English printers, purchased founts from
-some of the foreign founders at that time carrying on a brisk trade
-with this country. It is, however, to be borne in mind that every
-printer cut or provided himself with Black as regularly as with Roman
-and Italic; and the Black-letter, especially in the large sizes,
-being easy to imitate, the general resemblance among the founts of
-that period may mean nothing more than that De Worde’s models were
-faithfully copied by his imitators.
-
-De Worde introduced a larger variety in body than Caxton, and in some
-of {91} his works, as in the _Whitintoni Lucubrationes_, in 1527, used
-a very small Black-letter, apparently, as Herbert remarks, because
-he had no Roman or Italic small enough. In his Black founts he used
-a large number of abbreviations, though not so many as were at that
-time used by printers abroad. He has been erroneously credited by some
-writers with having been the first to introduce the Roman letter into
-this country. It appears, however, that he closely followed Pynson in
-this innovation[157]; and, in his later works, made considerable use of
-that character, both for printing entire books, and for distinguishing
-remarkable words or quotations in his Black-letter text.
-
-Although characterised as a better printer than scholar, he was the
-first to introduce letters of some of the learned languages into his
-books. In 1519, in _Whitintonus de concinitate grammatices_, he used
-some Greek words, the first in England, cut in wood. Later, in 1524, in
-_Wakefield’s Oratio_,[158] printed in Roman characters with marginal
-notes in Italic,[159] he printed some Greek words in movable types, and
-showed Arabic and Hebrew cut in wood, the first used in this country.
-The Hebrew is Rabbinical, and the author complains that he has been
-obliged to omit a third part, because the printer lacked Hebrew types.
-As early as 1495, moreover, De Worde, as we have elsewhere noted, in
-his edition of the _Polychronicon_, used the first music-types known in
-typography.
-
-He died in 1534, after printing upwards of 400 books.
-
-       *       *       *       *       *
-
-His contemporary, PYNSON, who also acknowledged Caxton as his
-“Worshipful Master,” appears to have been in regular correspondence
-with the typographers of Rouen, one of whom printed in his name.[160]
-It is also supposed that he was on friendly terms with Froben of
-Basle, whose woodcut designs occasionally figure in his works. It is,
-therefore, probable he may have imported some of his founts, including
-the Roman, which he had the honour of first introducing into England
-in 1518, from abroad. His first types, which appeared in the _Dives
-and Pauper_, printed by him in 1493, were extremely rude; but in this
-particular he seems to have made rapid progress, and some of his
-later {92} works are distinguished as fine specimens of typography.
-Mores’ account of Pynson’s types is incomplete, and in one particular
-at least, that of the Roman letter in 1499, incorrect. He says: “His
-types in the year 1496 were Double Pica, Great Primer and Long Primer
-English (_i.e._, Black-letter), all clear and good; a rude English
-English, an English and a Long Primer Roman in 1499 (_sic_), an English
-and a Pica Roman with which was printed Bishop Tonstal’s book, _De
-Arte Supputandi_, in 1522. They are thick, but they stand well in line
-. . . He had another and better fount of Great Primer English, with
-which was printed the _Gallicantus_ of Bishop Alcock . . . in 1498.”
-The pretty Secretary letter, which Mores mentions as having been used
-in _Statham’s_ and _Fitzherbert’s Abridgments_ belonged to Le Tailleur,
-the Rouen printer, whom Pynson employed to print several law books,
-on account, it is supposed, of the greater correctness of the Norman
-compositors in setting the law language of the day. “However,” says
-Ames, “he had such helps afterwards that all statutes, etc., were
-printed here at home.”
-
-In 1518 he printed his first work in Roman type, the _Oratio in Pace
-nuperrimâ_,[161] by Richard Pace. Only one fount is used throughout
-this interesting little work, of which we here reproduce the colophon.
-
-[Illustration: 18. From the _Oratio in Pace nuperrimâ_. Printed by
-Pynson, 1518.]
-
-A document still preserved in the Record Office, dated June 28, 1519,
-contains an interesting mention of Pynson’s types. It is an indenture
-between Wm. Horman, Clerk and Fellow of the King’s College at Eton,
-and Pynson, for printing 800 copies of such _Vulgars_ as be contained
-in the copy delivered to him, “in suffycient and suyng stuff of papyr,
-after thre dyverse letters, on for the englysh, an other for the laten,
-and a thyrde of great romayne letter for the tytyllys of the booke.”
-{93}
-
-In 1524 Pynson possessed a fount of Greek which he used in _Linacre’s
-De Emendatâ Structurâ_.[162] This is of special interest, since the
-preface contains the first distinct reference to letter-founding
-which occurs in any English book. The Greek accents and breathings,
-it appears, were not sufficient for the whole of the quotations in
-the book, and their paucity is made the subject of the following
-interesting apology: “Lectori. S. Pro tuo candore optime lector
-æquo animo feras, si quæ literæ in exemplis Hellenissimi vel tonis
-vel spiritibus vel affectionibus careant. Iis enim non satis erat
-instructus typographus videlicet _recens ab eo fusis characteribus
-græcis_, nec parata ea copia, quod ad hoc agendum opus est.”[163] The
-_Linacre_ is printed in a good Great Primer Roman type, with which the
-Greek ranges fairly. The letters of the latter character are cast wide,
-so that each letter stands apart from the next, instead of joining
-close.
-
-A further mention of Pynson’s types occurs in a Latin letter of his
-own, printed at the end of the _Lytylton Tenures_ of 1527, in which he
-thus inveighs against the piracy of his rival and contemporary, Robert
-Redman: “Richard Pynson, the Royal printer, salutation to the Reader.
-Behold, I now give to thee, candid Reader, a Lyttleton corrected (not
-deceitfully), of the errors which occurred in him; I have been careful
-that not my printing only should be amended, but also that with a more
-elegant type it should go forth to the day: that which hath escaped
-from the hands of Robert Redman, but more truly Rudeman, because he is
-the rudest out of a thousand men, is not easily understood.”
-
-The new fount here referred to must have been among the latest
-productions of this printer’s industrious labours, as he ceased
-printing in 1528, having issued upwards of 210 works.
-
-       *       *       *       *       *
-
-WILLIAM FAQUES, another contemporary of De Worde’s, who printed in
-London between 1504 and 1511, appears to have had a more direct
-connection with the Norman typographers than any of his fellow
-printers. He learned his art at Rouen with Jean le Bourgeois, and
-probably came over to this country furnished with types, if not with
-matrices, from that market. He is praised with justice as an excellent
-workman, and some of his Black-letter founts are described by Mores as
-equalling in beauty any which were to be found in {94} England as late
-as his day (1778). It is supposed that De Worde became possessed of
-some of these letters after Faques’ death, which occurred in 1511.
-
-       *       *       *       *       *
-
-With Faques and Pynson early English Typography seems to have reached
-for a time its high-water mark. A slow deterioration set in, probably
-consequent on the withdrawal of the foreign trade in type, and the
-necessity thereupon for every printer to become his own punch-cutter
-and typefounder.
-
-Mores, in passing, is careful to rescue a few names from reproach.
-“COPLAND THE ELDER,” he says, “(who had been servant to De Worde) and
-WYER and REDMAN, had founts of two-line Great Primer, the letter good
-and beautiful. . . WILL. RASTEL used Italic in 1531. . . Redman[164]
-used a Secretary type in the edition of _Rastell’s Grete Abridgement_,
-printed in the year 1534, which Secretary is the last Secretary we
-remember. BERTHELET had a fount of English Roman with a face as thick
-as English” (Black-letter), “but pretty.”
-
-[Illustration: 18A. From the _Boke named the Governour_. Printed by
-Berthelet, 1531.]
-
-We annex a specimen of the curious semi-Gothic fount used by this
-last-named printer in 1531 for printing Sir Thomas Elyot’s _Boke named
-the Governour_. The face is of rare occurrence in English typography,
-and was probably procured {95} from abroad. The small Secretary type
-mixed with it is doubtless English, and was one of the latest founts of
-its kind used in the country.
-
-There appears to be no special reason, as we have stated, why the names
-and types of any particular printers at this period should be selected
-to the exclusion of others who equally with them produced types for
-their own use. We may, however, mention REYNOLD WOLFE, who in 1543 held
-the first patent as printer to the king in Latin, Greek and Hebrew, and
-printed the first entire Greek and Latin book in England, being Sir
-John Cheke’s edition of _Chrysostom’s two Homilies_.[165] He appears,
-however, to have printed nothing in Hebrew.
-
-       *       *       *       *       *
-
-JOHN DAY occupies an important place in the history of early English
-letter-founding. What is mainly conjecture with regard to most of
-his predecessors we are able to state on the authority of historical
-records with regard to him, namely, that he was his own letter-founder;
-and from his day English letter-founding may be said to have started on
-a separate career.
-
-He was born in 1522, and began business about 1546, in St. Sepulchre’s
-parish. In 1549 he removed to Aldersgate, where he continued until
-1572. The persecutions of Queen Mary’s reign caused him to seek refuge
-abroad, but he returned in 1556, in which year he was the first person
-admitted to the livery of the Stationers’ Company, newly incorporated
-by the charter of Philip and Mary. On the accession of Queen Elizabeth
-he became an important printer, and was chosen Warden of the Company in
-1564 and three subsequent years, and Master in 1580.
-
-Early in the Queen’s reign he found a generous patron in Archbishop
-Parker, under whose auspices he cut some of his most famous founts. One
-of the earliest of these was the fount of Saxon, which appeared first
-in Ælfric’s Saxon Homily, edited by the Archbishop under the title of
-_A Testimonie of Antiquitie_, and printed in 1567. It was used again in
-Lambard’s _Archaionomia_ in the following year, in the _Saxon Gospels_,
-printed in 1571, and subsequently in the Archbishop’s famous edition of
-Asser Menevensis’ _Ælfredi Res Gestæ_ in 1574.[166]
-
-This last-named work, which may be regarded as one of the first
-historical monuments of English letter-founding, contained a preface
-by Parker, in which {96} Day’s performance in cutting the punches is
-thus particularly alluded to:—“Jam vero cum Dayus typographus primus
-(et omnium certè quod sciam solus) has formas æri inciderit; facilè quæ
-Saxonicis literis perscripta sunt, iisdem typis divulgabuntur.”[167]
-
-The Saxon fount, as will be seen by the facsimile, 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 lower-case 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.[168] He subsequently cut a smaller size of
-Saxon on Pica body.
-
-The typography of the _Ælfredi_ is superior to that of almost any
-other work of the period. Dibdin considered it one of the rarest and
-most important volumes which issued from Day’s press. The Archbishop’s
-preface is printed in a bold, flowing Double Pica Italic, and the Latin
-preface of St. Gregory at the end in a Roman of the same body, worthy
-of Plantin himself. It is at least a curious circumstance, pointing
-to a community of founts among printers even at that day, that in
-Binneman’s[169] edition of Walsingham’s _Historia_, bound up with Day’s
-_Asser_ and the _Ypodigma Neustriæ_, this same large Roman and Italic
-is made use of.
-
-Respecting an Italic fount cut by Day in 1572, several interesting
-particulars are preserved, which tend to throw further light on our
-printer’s operations as a punch-cutter and letter-founder.
-
-[Illustration: 20. Day’s Saxon Fount. (From the _Ælfredi Res Gestæ_,
-1574.)]
-
-[Illustration: 21. Day’s Double Pica Roman. (From the _Ælfredi Res
-Gestæ_, 1574.)]
-
-[Illustration: 22. Day’s Double Pica Italic. (From the _Ælfredi Res
-Gestæ_, 1574.)
-
-(The extract is Parker’s reference to Day as a letter-founder.)]
-
-It appears that in that year, at the time when Day removed his shop
-from {97} Aldersgate to St. Paul’s Churchyard, Archbishop Parker was
-engaged in providing replies to a Popish polemic of Nicholas Sanders,
-entitled _De Visibili Monarchia_. Dr. Clerke of Cambridge was selected
-for the task, and his _Responsio_ was entrusted to Day to print. In a
-letter to Lord Burleigh, dated December 13, 1572, the Archbishop thus
-refers to the typography of the forthcoming work[170]:
-
-“To the better accomplishment of this worke and other that shall
-followe, I have spoken to Daie the printer to cast a new Italian
-letter, which he is doinge, and it will cost him xl marks; and loth he
-and other printers be to printe any Lattin booke, because they will
-not heare be uttered and for that Bookes printed in Englande be in
-suspition abroad.”
-
-Strype, referring to the transaction, adds a note: “For our Black
-English letter was not proper for the printing of a Latin Book; and
-neither he (Day) nor any one else, as yet had printed any Latin
-books.”[171] This misleading statement is corrected by Herbert,[172]
-who points out that many Latin books had been printed, few of which,
-after 1520, had been in Black-letter, and he believed none at all after
-1530. Moreover, many English books had long before 1572 been printed
-in Roman or Italic, and even such as had generally been printed in
-Black-letter usually had the notes and quotations in Roman or Italic.
-
-It is singular that, after this announcement by the Archbishop,
-neither of the replies to Sanders was printed in Italic type. Clerke’s
-_Responsio_,[173] in 1573, appeared in a new Great Primer Roman type,
-with the quotations only in Italic, the headings being set in the
-large Italic afterwards used in the _Asser_. Acworth’s _De Visibili
-Romanarchia_,[174] another rejoinder, in the same year, was in an
-English Roman, with a corresponding Italic and Greek. In Parker’s
-great work, however, _De Antiquitate Britannicæ Ecclesiæ_,[175]
-published the year before (1572), and supposed by some to have been
-printed by Day at a private press of the Archbishop’s at Lambeth, the
-entire text, consisting of 524 pages, was in the English Italic, which
-Dibdin describes as “a full-sized, close, but flowing Italic letter.”
-The preface only to this work was in Roman; the various titles and
-sub-titles being in the larger founts of the _Responsio_ and _Asser_.
-
-Day was among the first English printers who cut the Roman and Italic
-to range as one and the same fount. Hitherto the two letters had
-been but seldom {98} intermixed, and when they were, they frequently
-exhibited a disparity in size and an irregularity in line which was
-disfiguring.[176] Day, however, cut uniform founts.
-
-In addition to the characters already mentioned, he greatly improved
-the Greek letter of the day. The _Christianæ Pietatis Prima
-Institutio_, printed by him in 1578, is in a beautiful type, which
-is considered to be equal to that of the great Greek typographers of
-Paris—the Estiennes.
-
-Among his further enterprises in letter-cutting may be mentioned
-the Hebrew words, cut in wood, which he used in Humphrey’s _Life of
-Jewell_, in 1573, and in Baro’s _Readings on Jonah_, in 1579; and the
-musical notes which he introduced into his editions of the metrical
-_Psalter_. These notes are chiefly lozenge-shaped and hollow, differing
-from those used by Grafton in 1550, in Merbecke’s _Booke of Common
-Praier_, _noted_, which are mostly square and solid. He also, as he
-himself stated in a book printed in 1582, “caused a new print of note
-to be made, with letters to be joined to every note, whereby thou
-mayest know how to call every note by its right name.” Besides these,
-he made use of a considerable number of signs, mathematical and other,
-not before cast in type; while his works abound with handsome woodcut
-initials, vignettes and portraits, besides a considerable variety of
-metal “flowers.” Of the disposal of Day’s punches and matrices after
-his death we have no precise information, but the reappearance of
-the beautiful Double Pica Roman and Italic of the _Ælfredi_, in the
-_Bibles_ printed by the Barkers, in Young’s _Catena on Job_ in 1637,
-in Walton’s _Polyglot_ in 1657, and other works, most of them executed
-by the royal printers, suggests that these founts at any rate were
-retained (probably under archiepiscopal control), and handed down for
-the service of the privileged presses.
-
-[Illustration: 19. Portrait of JOHN DAY, 1562. (From the Colophon to
-Peter Martir’s _Commentaries on the Romans_, 1568.)]
-
-In Strype’s _Life of Parker_, already quoted, is preserved an
-interesting account of Day’s business, with which we close this short
-notice: “And with the Archbishop’s engravers, we may joyn his
-printer Day, who printed his _British Antiquities_ and divers other
-books by his order . . . for whom the Archbishop had a particular
-kindness . . . Day was more ingenious and industrious in his art and
-probably richer too, than the rest, and so became envied by the rest of
-his fraternity, who hindered, what they could, the sale of his books;
-and he had in the year 1572, upon his hands, to the value of two or
-three thousand pounds worth, a great summ in those days. But living
-under Aldersgate, an obscure corner of the city, he wanted a good vent
-for them. {101} Whereupon his friends, who were the learned, procured
-him from the Dean and Chapter of St. Pauls, a lease of a little shop
-to be set up in St. Pauls Churchyard. Whereupon he got framed a neat
-handsome shop. It was but little and low, and flat-roofed and leaded
-like a terrace, railed and posted, fit for men to stand upon in any
-triumph or show; but could not in anywise hurt or deface the same.
-This cost him forty or fifty pounds. But . . . his brethren the
-booksellers envied him and by their interest got the mayor and aldermen
-to forbid him setting it up, though they had nothing to do there, but
-by power. Upon this the Archbishop brought his business before the Lord
-Treasurer, and interceded for him, that he would move the Queen to set
-her hand to certain letters that he had drawn up in the Queen’s name to
-the city, in effect, that Day might be permitted to go forward with his
-building. Whereby, he said, his honour would deserve well of Christ’s
-Church, and of the prince and State.”—P. 541.
-
-Day died in 1584, aged 62, and was buried at Bradley Parva. He
-published about 250 works. “He seems indeed,” says Dibdin, “(if we
-except Grafton) the Plantin of Old English Typographers; while his
-character and reputation scarcely suffer diminution from a comparison
-with those of his illustrious contemporary just mentioned.”
-
-[Illustration]
-
-{102}
-
-[Illustration]
-
-
-
-
-CHAPTER IV.
-
-LETTER-FOUNDING AS AN ENGLISH MECHANICAL TRADE.—1477–1830.
-
-
-It will be convenient, now that we have reached a point at which
-letter-founding enters upon a new stage as a distinct trade, to take
-a brief survey of its progress as a mechanical industry; availing
-ourselves of such records and illustrations as may be met with, to
-trace its development and improved appliances during the period covered
-by this narrative.
-
-As has already been stated, the reticence of our first printers leaves
-us almost entirely in the dark as to the particular processes by which
-they produced their earliest types. Mr. Blades leans to the opinion
-that Caxton, in his first attempts at typefounding, adopted the methods
-of the rude Flemish or Dutch School, of whose conjectured appliances
-we have spoken in the introductory chapter. “The English printers,”
-he says, “whose practice seems to have been derived from the Flemish
-School, were far behind their contemporaries in the art. Their types
-show that a very rude process of founding was practised; and the use
-. . . of old types as patterns for new, evinces more of commercial
-expediency than of artistic ambition.”
-
-At the same time, there seems reasonable ground for inferring, from
-the peculiarities attending the re-casting of Caxton’s Type 4 as
-4*, to which allusion has already been made, that at least as early
-as 1480 Caxton was possessed of the secret of the punch, and matrix
-and adjustable mould; while the {103} excellent works of De Worde
-and his contemporaries demonstrate that, however rudely, the art may
-have begun, England was, in the early years of the sixteenth century,
-abreast of many of her rivals, both as to the design and workmanship of
-her founts.
-
-The frequent indications to be met with of the transmission of founts
-from one printer to another, as well as the passing on of worn types
-from the presses of the metropolis to those of the provinces, are
-suggestive of the existence (very limited, indeed) of some sort of
-home trade in type even at that early date. For a considerable time,
-moreover, after the perfection of the art in England, the trade in
-foreign types, which dated back as early as the establishment of
-printing in Westminster and Oxford, continued to flourish. With
-Normandy, especially, at the beginning of the sixteenth century, a
-brisk commerce was maintained. Not only were many of the English
-liturgical and law books printed abroad by Norman artists, but Norman
-type found its way in considerable quantities into English presses.
-M. Claudin, whose researches in the history of the early provincial
-presses of France entitles him to be considered an authority on the
-matter, states that Rouen, at the beginning of the sixteenth century,
-was the great typographical market which furnished type not to England
-only, but to other cities in France and to Switzerland. “It evidently
-had special typographical foundries,” he observes. “Richard Pynson, a
-London printer, was a Norman; Will Faques learned typography from J.
-le Bourgeois, a printer at Rouen. These two printers had types cast
-expressly for themselves in Normandy. Wynkyn de Worde must have bought
-types in Normandy also, and very likely from Peter Olivier and Jean
-de Lorraine, printers in partnership at Rouen.”[177] And with regard
-to the first printer of Scotland, M. Claudin has no doubt that Myllar
-learned his art in Normandy, and that the types with which his earliest
-work was printed were those of the Rouen printer, Hostingue.
-
-It is reasonable to suppose that English printers would endeavour,
-if possible, to provide themselves, not with types merely, but with
-matrices of the founts of their selections; and, indeed, we imagine
-some explanation of the marked superiority of our national typography
-at the close of the fifteenth century over that of half a century
-later, is to be found in the fact that, whereas many of the first
-printers used types wholly cut and cast for them by expert foreign
-artists, their successors began first to cast for themselves from
-hired or purchased matrices, and finally to cut their own punches and
-justify their own matrices. Printing entered on a gloomy stage of its
-career in England after Day’s time, {104} and as State restrictions
-gradually hemmed it in, crushing by its monopolies healthy competition,
-and by its jealousy foreign succour, every printer became his own
-letter-founder, not because he would, but because he must, and the art
-suffered in consequence.
-
-[Illustration: 23. From Jost Amman’s _Stände und Handwerker_.
-Frankfurt, 1568.]
-
-[Illustration: 24. Letter-founding and Printing, _circa_ 1548. (From
-the cut in the Harleian MSS.)]
-
-Of the operations of a sixteenth century letter-foundry, we are
-fortunately able to form some idea from the quaint engraving preserved
-to us by Jost {105} Amman in his _Book of Trades_[178] in 1568, and
-reproduced here. The picture represents the Frankfort founder seated at
-his small brick furnace, casting type in a mould. This mould differs
-from the modern hand-moulds in being pyramidical in shape, and holding
-the matrix as a fixture in its interior. One of the moulds on the
-shelf shows a hole in the side, into which the matrix was probably
-inserted. From the manner in which the caster is grasping the mould,
-it would seem that it was bipartite, and needed the two halves holding
-together during casting. The cast types lying in the bowl have “breaks”
-attached to them, which at that date were in all probability cast so
-as to be easily detached. Behind the caster are some drawers, probably
-intended to contain matrices, of which one or two lie on the top
-waiting their turn for use. On the lower of the two shelves above the
-furnace are some crucibles, in which the metals would be mixed before
-filling up the casting-pan. On the upper shelf, besides three more
-moulds, are some sieves, suggestive of the use of sand, either for
-moulding large letters, or, as Mr. Blades suggests, for running the
-small ingots of metal into for use in the melting-pot. The small room
-in which this caster is operating in all probability formed part of a
-printing-office; and another interesting engraving of perhaps a still
-earlier date, which we here reproduce from the original in the British
-Museum,[179] shows the two departments of the typographer’s art going
-on in {106} adjoining apartments. In this case, as in the Frankfort
-cut, the caster is sitting; but his mould, large as it is, appears
-to be furnished with a spring at the bottom, more like the later
-hand-moulds.
-
-In the lines accompanying Amman’s picture the founder is made to say
-that he casts types made of “Bismuth, Tin and Lead,” a statement which,
-if correct, shows that the Frankfort types of that day must have been
-cast in terribly soft metal, of about the substance and durability of
-modern solder. The presence of the crucibles, however, points to the
-use of some fourth metal, of sufficient hardness to require a violent
-heat to fuse it. The founder also states that he can correctly justify
-his letters, which may refer either to the dressing of the types after
-casting, or the more important justification of the matrix to adapt it
-to the mould.
-
-Another interesting memorial of a sixteenth century foundry is to be
-met with in a visit to the once famous printing-office of Christopher
-Plantin at Antwerp.[180] The foundry of the great Netherlands
-“Archi-typographus,” which is still preserved in its pristine
-condition, was on the upper floor of his house, and consisted of two
-rooms, one devoted wholly to the casting, the other being a store-room
-for types awaiting use at the press. In the casting-room is still to
-be seen a large brick furnace covered with an earthenware slab. To
-the right of this is a smaller furnace, surmounted by the metal pot,
-which even yet contains some of the old type-alloy. On the walls hang
-tongs, ladles, knives and moulds. In a box are preserved small parcels
-of pattern-types for setting the moulds by, among which the visitor is
-shown three or four types of silver.[181] In another box are a {107}
-large number of punches[182] and moulds of all sizes. A bench extends
-along one side of the room, doubtless for the use of the dressers or
-rubbers.
-
-In all these points we recognise that even in Plantin’s day the
-general appointments of a letter-foundry differed very little from
-those of the modern foundry before the introduction of machinery.
-Although we have no description of any English foundry before Moxon’s
-time, we know that the processes in use among us boast a much earlier
-origin. Moxon described no new method, but the old-established
-practice which had obtained, if not from the infancy of the art, at
-least from the commencement of that gradual divorce between printing
-and letter-founding which led, about 1585, to the establishment of
-foundries for the public use. We have no reason to suppose that the
-foundries connected with the presses of Day, Wolfe and others differed
-in practice from those of their Frankfort and Antwerp contemporaries,
-or that when, in 1597, Benjamin Sympson, a letter-founder, gave bond to
-the Stationers’ Company not to cast type for the printers without due
-notice, he, or the founders who followed him, knew any other methods of
-producing their type than those already familiar to every printer at
-home and abroad.
-
-Turning now to Moxon’s account of English letter-founding as it was
-in his day, we find no lack of detail as to every branch of the art
-and every appliance in use by the artist. It is not our purpose here
-to follow these descriptions further than as they give a general idea
-of the practice and method of letter-founding two centuries ago,—a
-practice and method which, as we have said, existed long before his
-day, and were destined to be in common use for nearly a century and
-a half after. We shall best indicate the processes and appliances he
-describes by giving a brief analysis of that portion of his book which
-is {108} devoted to the mechanics of letter-founding,[183] reserving
-for a later chapter a general summary of the complete work.
-
-Naturally beginning with punch-cutting, he first describes in detail
-the various tools made use of by the engraver, viz., the forge, the
-using file, the flat gauge, the sliding gauges, the face gauges, the
-Italic and other standing gauges, the liner, the flat table, the tach,
-and other furniture of the bench. Every one of these tools is to be
-found in the punch-cutter’s room of the present day, scarcely changed
-in form or use from the woodcuts which illustrate Moxon’s description.
-
-Turning from the tools to the workman, Moxon next proceeds to describe
-his choice of steel for the punches; the making and striking of the
-counter-punches on the polished face of the punch; the “graving and
-sculping” of the insides of the letters; together with certain rules in
-the use of the gravers, small files, etc., employed in this delicate
-operation.
-
-With regard to the process described as counter-punching, it is
-necessary to admit that this constituted a refinement of the art of
-punch-cutting apparently unknown to the first printers. The freedom
-of their letters, consequent on the imitation of handwriting, which
-served as their earliest models, makes it evident that they cut by eye,
-rather than by mathematical rule. But as typography gradually made
-models for itself, the best artists, particularly those who aimed at
-producing regular Roman and Italic letters, discovered the utility and
-expediency of arriving at uniformity in design and contour, by the use
-of these counter-punches, which stamped on to the steel the impress of
-the hollow portions of the letters they were about to cut, leaving it
-to the hand of the engraver to cut round these hollows the form of the
-required character.
-
-The punches being cut, finished and hardened, Moxon next deals with the
-various parts of the type-mould, describing in turn the “Making” of
-the mould: The Carriage,[184] (a); the Body, (b); the Male Gauge, (c);
-the Mouthpiece, (d e); the Register, (f i); the Female Gauge, (g); the
-Hag, (h); the Bottom Plate, (_a_); the Wood, (_b_); the Mouth, (_c_);
-the Throat, (_d_); the Pallat, (_e_ _d_); the Nick, (_f_); the Stool,
-(_g_); the Spring, (_h_).
-
-[Illustration: 25. Letter-founding in 1683. (From Moxon’s _Mechanick
-Exercises_.)
-
-A. Ladle. B. Leather mould-guard. _a, b, c, d._ Furnace-top. _e._ Pan.
-_f._ Funnel. _g._ Stoke-hole. _i._ Air-hole. _k._ Ash-hole. ]
-
-Here again we have described, with scarcely a difference, the mould in
-which scores of men yet living have in their day cast types for the
-trade. The {111} justification of the mould is then described; after
-which the important operation of striking the steel punch into copper,
-and forming and justifying the matrix, is treated of, with instructions
-for “botching” matrices in the event of a mistake in the latter
-process. The matrices being thus ready, the founder is instructed
-how to adjust them to the mould in preparation for casting,—a solemn
-process which may be best described in the writer’s own language:―
-
-“Wherefore, placing the under-half of the Mold in his left hand, with
-the Hook or Hag forward, he clutches the ends of its Wood between
-the lower part of the Ball of his Thumb and his three hind-Fingers.
-Then he lays the upper half of the Mold upon the under half, so as
-the Male-Gages may fall into the Female Gages, and at the same time
-the Foot of the Matrice place itself upon the Stool. And clasping his
-left-hand Thumb strong over the upper half of the Mold, he nimbly
-catches hold of the Bow or Spring with his right-hand Fingers at the
-top of it, and his Thumb under it, and places the point of it against
-the middle of the Notch in the backside of the Matrice, pressing
-it as well forwards towards the Mold, as downwards by the Sholder
-of the Notch close upon the Stool, while at the same time with his
-hinder-Fingers as aforesaid, he draws the under half of the Mold
-towards the Ball of his Thumb, and thrusts by the Ball of his Thumb the
-upper part towards his Fingers, that both the Registers of the Mold
-may press against both sides of the Matrice, and his Thumb and Fingers
-press both Halves of the Mold close together. Then he takes the Handle
-of the Ladle in his right Hand, and with the Boll of it gives a Stroak
-two or three outwards upon the Surface of the Melted Mettal to scum or
-cleer it from the Film or Dust that may swim upon it. Then he takes up
-the Ladle full of Mettal, and having his Mold as aforesaid in his left
-hand, he a little twists the left side of his Body from the Furnace,
-and brings the Geat of his Ladle, (full of Mettal) to the Mouth of the
-Mold, and twists the upper part of his right-hand towards him to turn
-the Mettal into it, while at the same moment of Time he Jilts the Mold
-in his left hand forwards to receive the Mettal with a strong Shake
-(as it is call’d) not only into the Bodies of the Mold, but while the
-Mettal is yet hot, running swift and strongly into the very Face of the
-Matrice to receive its perfect Form there as well as in the Shanck.”
-
-This done, the mould is opened, and the type released; Moxon adding
-that a workman will ordinarily cast 4,000 such letters in a day.
-
-Then follow rules to be observed in breaking off, rubbing, kerning,
-setting-up and dressing, with descriptions of the dressing-sticks,
-block-groove, hook, knife and “plow.” That these operations, as well
-as the casting, had undergone no alteration nearly a century after
-Moxon’s day, may be judged from the fact that Moxon’s descriptions are
-used verbatim to accompany the view of the {112} interior of Caslon’s
-foundry, shown in the _Universal Magazine_ of 1750, where all these
-operations are exhibited in active progress.
-
-With regard to the preparation of the type-metal, Moxon’s account is
-minute and a trifle peculiar. This metal was, according to his account,
-made of lead hardened with iron.[185] Stub-nails were chosen as the
-best form of iron to melt, and the mixture was made with the assistance
-of antimony, of which an equal amount with the iron was added to the
-lead, in the proportion of 3 lb. of iron to 25 lb. of lead. The great
-heat required to melt the iron necessitated open furnaces of brick,
-built out of doors, in a broad, open place, well exposed to the wind,
-into which the iron and antimony mixture was put in pots surrounded
-with charcoal. After half an hour’s time the metal men were to “lay
-their Ears near the Ground and listen to hear a Bubling in the Pots,”
-which is the sign that the iron is melted. They then were to erect
-another small furnace, “on that side from whence the Wind blows,” which
-was to contain the large pot full of lead. The lead being melted, they
-were to carry it at a great heat, with a “Labour would make Hercules
-sweat,” to the open furnace, filling up the pots of iron and antimony
-with the lead, and stirring at the same time. The open furnace was
-to be then demolished, and the mixed metal left to cool in the pots.
-And “now,” says Moxon, “(according to Custom), is Half a Pint of Sack
-mingled with Sallad Oyl provided for each Workman to Drink; intended
-for an Antidote against the Poysonous Fumes of the Antimony, and to
-restore the Spirits that so Violent a Fire and Hard Labour may have
-exhausted.”
-
-Such is a brief account of the practice of typefounding in Moxon’s
-time. Of the trade customs of the day our author also presents us with
-a curious picture, in his account of the Chapel.
-
-“A Founding-House,” he says, “is also call’d a Chappel: but I suppose
-the Title was originally assum’d by Founders to make a Competition with
-Printers. The Customes used in a Founding-House are made as near as
-maybe those of a Printing-House; but because the Matter they Work on
-and the manner of their Working is different, therefore such different
-Customes are in Use as are suitable to their Trade, as:―
-
-     “First, To call Mettle Lead, a Forfeiture.
-
-     “Secondly, A Workman to let fall his Mold, a Forfeiture.
-
-     “Thirdly, A Workman to leave his Ladle in the Mettle Noon or
-     Night, a Forfeiture.” {113}
-
-We are given to understand that in the case of other offences, common
-to both printing and typefounding, such as swearing, fighting,
-drunkenness, abusive language, or giving the lie in the chapel, or
-the equally heinous offence of leaving a candle burning at night, the
-journeyman founder was liable to be “solaced” by his fellow-workmen,
-in the same hearty and energetic way which characterised the
-administration of justice among the printers.
-
-After Moxon’s time we meet with numerous accounts of foundries and
-their appointments. The interesting inventory of the Oxford foundry,
-appended to the specimen of the press in 1695, gives a good idea of
-the extent of that establishment. There were apparently two casters,
-two rubbers, and two or three dressers, and the foundry possessed
-twenty-eight moulds. The punches were sealed up in an earthen pot,
-possibly to protect them from rust or injury; or possibly, because
-having once served their purpose in striking the matrices, they were
-put aside as of little or no use. The small value put upon punches
-after striking is constantly apparent about this period. Very few
-punches came down with the foundries which were absorbed by that of
-John James; and of those that did, the greater portion were left
-to take their chance among the waste as worthless. The small value
-set upon the punches of Walpergen’s music, in the inventory of his
-plant,[186] shows that they were considered the least important of his
-belongings. Matrices did not wear out in the old days of hand-moulds
-and soft metal, as they do now under steam machines and “extra hard”;
-but the liability to loss or damage, and the importance of protecting
-and preserving the steel originals of their types, can hardly have been
-less with the founders of a century and a half ago than it is to-day.
-
-The entertaining letters of Thomas James from Holland, in 1710,[187]
-point to a curious practice in that country, which we believe has never
-obtained in this. We refer to the habit of lending casters and matrices
-by one founder to another. In each of the two foundries he visited
-there were places for four casters; but in one case only one man was
-at work, and in the other no one was to be found, for this reason.
-This system of interchange is hardly consistent with the jealousy and
-suspicion shown by the same Dutch founders towards their English rival
-in his endeavours to procure sets of matrices from their punches. In
-this endeavour, however, he succeeded, much to his own satisfaction.
-He also purchased moulds, which, like all the other Dutch moulds he
-saw, were made of brass. Voskens’ foundry, which he visited, appears
-to have been “a great business, having five or six men constantly at
-the furnace, besides boys to rub, and himself and a brother {114} to
-do the other work.” He also found artists who, like Cupi and Rolij,
-were punch-cutters only, not attached to any one foundry, but doing
-work for founders generally. Van Dijk was a cutter only, who kept a
-founder of his own named Bus, and this founder cast, not at his own
-or Van Dijk’s house, but at the house of Athias, by whom probably he
-was also engaged. The Voskens, who succeeded Van Dijk, did their own
-casting, but their punches and matrices were supplied them by Rolij,
-who, as an independent artist, was free to sell duplicate matrices of
-his letters to James. This division of letter-founding into one or more
-trades, though common abroad, was never a common practice in England,
-where jealousy and lack of enterprise conspired to keep each founder’s
-business a mystery known only to himself.[188]
-
-In the course of this book we shall have constant occasion to point
-out the intimate relations which existed at the beginning of the
-eighteenth century between English printers and Dutch founders. There
-was probably more Dutch type in England between 1700 and 1720 than
-there was English. The Dutch artists appeared for the time to have the
-secret of the true shape of the Roman letter; their punches were more
-carefully finished, their matrices better justified, and their types of
-better metal, and better dressed, than any of which our country could
-boast. Nor was it till Caslon developed a native genius that English
-typography ceased to be more than half Dutch.
-
-Thiboust’s quaint Latin poem on the excellence of printing,[189]
-though throwing little new light on the practice of the art, is
-worth recording here, not only for the description it gives of
-letter-founding in France at the time, but for the sake of the curious
-woodcut which accompanies it. The latter represents a round furnace in
-the centre of a room, surmounted by a metal pot, at which two casters
-are standing, with ladle and mould in hand. The moulds, of which a
-number are to be seen in a rack against the wall, are almost cubic in
-shape, and apparently without the hooks shown in Moxon’s illustration.
-One of the casters is holding his mould low, as in the act of casting.
-A workman sitting on a stool is setting up in a stick the newly-cast
-type from a box on the {115} floor—possibly breaking them off at the
-same time. Beyond is a dresser grooving out the break in a stick of
-types.
-
-[Illustration: 26. Letter-founding in France in 1718. (From Thiboust’s
-_Typographiæ Excellentia_.)]
-
-Of the portion of the poem devoted to letter-founding,[190] we venture
-to give the following rough translation:― {116}
-
- “The founder see, whose molten metal glows
-  Above the blazing furnace. From the pot
-  His ladle nimbly feeds the curious mould,
-  Whence straight the type in perfect fashion falls.
-  The willing servant, he, of all the Schools,
-  Whether in Latin they would write, or Greek,
-  Or in the Hebrew tongue their minds disclose,
-  Or in the German. He, for all prepared,
-  Skilful, for each his character provides.
-  See with what art the several types are cast,
-  Each from its parent matrix; see how bright,
-  Trimmed by the dresser’s cunning knife, they lie.
-  He the redundant metal first breaks off,
-  Then on the stick in order sets the type,
-  And with his plane their equal height assures.
-  Such is the founder’s craft, whose arduous round
-  Of toil ’midst ardent heats is daily found.”
-
-A still more satisfactory view of an eighteenth century foundry is
-to be found in the _Universal Magazine_ of 1750. This engraving, of
-which our frontispiece is a facsimile, represents the interior of
-Caslon’s foundry, with the processes of casting, breaking-off, rubbing,
-setting-up, and dressing, all in operation. The casting is specially
-interesting, in the light of Moxon’s graphic account of the attitudes
-and contortions of the caster. Unlike their French brethren, each of
-Caslon’s casters stands partitioned off from his neighbour, with a
-furnace and pan to himself. One of them is dipping his ladle in the pot
-for a new cast; the next holds his mould lowered, at the commencement
-of a “pour”; the third has evidently completed the upward jerk
-necessary to force the metal into the matrix; and the fourth, with his
-mould again lowered, is apparently throwing out the type and preparing
-for the next casting.
-
-A set of three views of the interior of a French foundry, from an
-_Encyclopædia_[191] of about this date, presents a few interesting
-points of contrast between foreign and English methods. In the first
-view the process of punch-cutting is displayed.[192] One man is
-finishing a punch with his file; another is striking a counter-punch
-(with perhaps undue energy) into the steel face of a punch; while the
-third, at a large forge, is hammering a piece of steel in readiness
-for the engraver. The second view shows metal making, casting,
-breaking-off, and {117} rubbing, in operation. There are two men at
-the large furnace, one watching the melting of antimony in a crucible,
-the other pouring off the mixed metal into ingots. At the small metal
-pot with three divisions, in the centre of the room, are three casters,
-one of whom is about to cast, another has finished his “throw,” and the
-third is loosening his spring so as to open the mould. At the table in
-the rear sit two girls, one breaking off, the other rubbing. The third
-view represents a dressing-room, where a girl is setting up the rubbed
-types on a stick. The dresser is ploughing the “break” from the foot of
-a stick of types, which is placed in the blocks, not lengthways along
-the bench, but across it. An apprentice sitting at the table completes
-the dressing, holding one end of the stick tilted while he passes
-his scraper over the front and back of the row of types. Drawings of
-all the tools and parts of tools used in typefounding complete the
-illustration.
-
-Fournier, the French Moxon, in 1764 devoted the latter part of vol. i
-of his _Manuel Typographique_[193] to the appliances and instruments
-used in type-casting. His work enters in detail into the form and use
-of every tool used in every department of the trade, from the cutting
-of the punch to the storage of the finished types, giving careful and
-accurate woodcuts of each. Allowing for a few national peculiarities,
-and certain improvements in casting, there is scarcely anything but
-the date of the book to distinguish it from a mechanical handbook to
-typefounding in the middle of the nineteenth century.
-
-The operations of punch-cutting and justifying appear to have been
-kept a mystery from the earliest days of the trade. To lay minds,
-the one work of the founder was to cast types; but the preliminary
-operations on which his whole reputation as a founder depended, were
-little understood by any but the founder himself. And even he, as in
-the case of the first two Caslons, carried on this part of the mystery
-stealthily, and with closed doors even against his own apprentices. In
-many cases, especially with the originators of the great foundries,
-Caslon, Cottrell and Jackson, it was the master himself who designed
-and cut his own punches. It was not till the unusual demand for
-artists at the close of last century broke down this exclusiveness
-that outsiders arose to work for the trade in general. And even these,
-it was the policy and endeavour of each founder to attach to himself,
-treating him as a gentleman at large, and free from the obligations
-imposed on his other workmen.
-
-_The Rules and Regulations of Thorne’s Foundry_, printed about the
-year 1806, give an interesting glimpse into the internal economy of a
-foundry of that period. After fixing the prices to be paid for work
-(for casting, rubbing, and kerning were {118} all paid by “piece”),
-they provide that the dressers shall have 25_s._ a week, “abiding by
-the old custom of leaving work at four o’clock on Mondays. Each man
-to dress after four casters.” The fines for “foot-ale” imposed on new
-hands are ordered to be deposited with the master, who is to keep an
-account of the same, and divide it equally among the men at Christmas.
-The foundry hours are from six in the morning to eight in the evening
-in summer, and from seven to eight in winter, “beginning when
-candle-light commences.” The dressers are to work from seven to eight
-in summer, and eight to eight in winter. Any man losing or damaging
-a mould, matrix, or tool, to make good the loss on the following
-Saturday. Any man leaving his lamp or candle alight after hours is to
-pay 6_d._, and the master for a similar offence is to fine himself
-1_s._ Rubbers must grind their stones once a fortnight, “if requested
-to do so either by the master or foreman.” No work to be taken out of
-the foundry. Casters and rubbers must take their turn at carrying in
-metal. Breaking-off and setting-up boys shall earn 10_d._ a week for
-each man they set-up after. Many of these customs are traditional, and
-survive at the present time.
-
-Conservatism, indeed, has been a marked feature in the history of
-British letter-founding. Between 1637 and 1837 the number of important
-foundries rarely exceeded the limit prescribed by the Star Chamber
-decree of the former year. The methods and practice of the art, as
-we have seen, remained virtually unchanged during the whole period.
-The traditional customs, the trade _argot_, the relations of men
-to men, and men to masters, even the tricks and gestures of the
-caster, suffered nothing by the lapse of two centuries. The relations
-of the founders among themselves during the period underwent more
-vicissitudes. At all times jealous of their mystery, they mistrusted
-in turn the printers and one another. As the new school of Caslon
-and his apprentices rose up to oust the old Dutch school of James,
-mutual antagonism was the order of the day. The literary duel between
-the Caslons and the Frys was perhaps the least injurious outcome of
-this spirit. This antagonism resolved itself, at the close of last
-century, into a combination of London founders against their rising
-Scotch competitors. An Association was formed in 1793, which continued
-for three years. In 1799 it was re-formed, and this time lasted four
-years; and again in 1809 it was revived and continued till 1820,
-when it terminated. In the early days of this Association the lady
-Caslons took a prominent part in its deliberations, which, however,
-frequently consisted of little more than the imposition of fines for
-non-attendance. The prices of type during this period, chiefly owing
-to the fluctuations in the value of metals during the French war,
-were constantly changing. Pica in 1793 was 1_s._ 1 1/2_d._ a pound,
-in 1800 1_s._ 4_d._, in 1810 3_s._, and in 1816 (after the price of
-antimony had gone down from £400 to £200 a {119} ton), 2_s._ The
-Scotch founders, however, joined presently by the Sheffield houses,
-continued to underbid the London founders in their own market; and at
-one time a combination of all the English houses existed in opposition
-to the unfortunate new foundry of the Frenchman, Pouchée.
-
-       *       *       *       *       *
-
-Our survey does not extend beyond the year 1830, but before concluding
-this hasty outline of the progress of letter-founding as a mechanical
-trade, it will be interesting to notice the gradual changes in the
-process of casting which led to the final abandonment of the venerable
-hand-mould in favour of machinery.
-
-We cannot do better than give a brief summary from the Patent Book[194]
-of the chief improvements proposed to be made in typefounding prior
-to 1830, premising that many of the schemes advanced no further than
-the proposal, and that some of the most important improvements which
-actually did take place were not registered in the Patent Book at all.
-
-     1790.—WILLIAM NICHOLSON proposed to cast type in the usual manner,
-     except that instead of leaving a space in the mould for the stem
-     of the letter only, several letters are cast at once in ordinary
-     moulds, communicating by a common groove at the top. The types are
-     also to be scraped in dressing, so as to render the tail of the
-     letter gradually smaller the more remote it is from the face; thus
-     enabling them to be set imposed upon a cylindrical surface.
-
-     1790.—ROBERT BARCLAY. A method of making punches on broken steel,
-     the irregular figures in the grain of which will effectually
-     obviate counterfeit. Punches may be formed of steel broken as
-     above, by cutting, drilling, punching, bending parts of the
-     letters, and leaving the grain of the steel to form the lines or
-     strokes; and in this way complex founts of type might be cast,
-     every letter of which would vary in its lines from every other.
-
-     1802.—PHILIP RUSHER.[195] Improvements in the form of printing
-     types. Each capital letter, with few exceptions, should be
-     comprised in the compass of an oval. Each small letter is to be
-     without tail-piece or descender, and the metal (both in small
-     letters and capitals) is to extend no lower than the body of the
-     letter. The letters above the line have their heads shortened or
-     lowered about one-third.
-
-     1806.—ANTHONY FRANCIS BERTE. A machine for casting type. The
-     casting is performed by applying the mould to one of several
-     apertures in the side of the metal pot, through which, by the
-     removal of a lock or valve, the metal is made suddenly to flow
-     into the mould with a force proportionate to the height of the
-     surface of the type-metal in the vessel.[196] {120}
-
-     1806.—ELIHU WHITE. A machine for casting types; consisting of
-     a matrix-box containing a certain number of matrices, which is
-     applied to a complex mould having a similar number of apertures,
-     through which the metal is poured, thus forming several types at
-     one operation.
-
-     1807.—ANTHONY FRANCIS BERTE. Improvements on his former patent.
-     The metal is forced through the aperture by means of a plug
-     or piston, and the machine is so contrived as to regulate the
-     quantity of metal ejected at each application of the mould.
-
-     Another improvement consists of making the body of the mould in
-     four adjustable pieces instead of two, which will admit of changes
-     in the body, as well as the thickness of the types. The moulds
-     are without nicks,[197] and the type, when cast, is expelled by a
-     punch or other tool, without opening the mould.
-
-     1809.—JOHN PEEK. A machine for the more expeditious casting of
-     types, by which three motions out of the five ordinarily made use
-     of in casting, are saved. This consists in the addition of two
-     parts to the ordinary hand-mould; that to the upper part being a
-     plate with a socket in which the matrix is suspended on pivots,
-     and that to the lower part being a bolt which presses the matrix
-     to the mould, where it is kept by a spiral spring round the bolt,
-     and by the withdrawal of which the matrix is tilted, another
-     spiral spring keeping it in that position till the mould recloses.
-     The bolt is worked by a lever.[198]
-
-     1812.—WILLIAM CASLON. An improved printing type. The face or
-     letter part of the type is made of the usual thickness, and
-     in the usual way, “but the body, which is commonly made about
-     seven-eighths of an inch, I make only three-sixteenths of an inch
-     in thickness; and the front of the said body I make sloping or
-     bevelling upwards from the outer side towards the face, as well
-     as the opposite side or back, by which means the upper part of
-     the body is about one-eighth of an inch narrower than the under
-     part of the same.” These short types are raised to the requisite
-     height to paper by stands of the necessary thickness. “Or the
-     body may, without being bevelled, be fixed by nails or otherwise,
-     upon blocks of wood of a proper width and height. Or the stands
-     may be made of the whole width of the body of the type, with only
-     one projecting part, the other being screwed on after the types
-     are put on the stands. The advantage of these types is in economy
-     of weight and space; the former being one-half, and the latter
-     one-third to one-half of the ordinary types.”
-
-     1814.—AMBROISE FIRMIN DIDOT. An improvement in the method of
-     making types. In Roman text, running hand or any other hand
-     consisting more or less in hair strokes or fine lines, from letter
-     to letter, the projecting extremities of each letter are extended
-     so as to form a join with the next. In the case of inclined
-     letters “I do, by suitable alteration in my moulds, cast my
-     types and the beards and shanks or tails thereof with the same
-     or nearly the same inclination or slope of surface as aforesaid;
-     and to prevent such types sliding upon each other {121} when set
-     up, a protuberance or projecting part is cast on one face, and a
-     cavity or indentation corresponding to it in the opposite one; or
-     otherwise I do, by angular or curved deviations from, in, or as to
-     the straight direction of the said surfaces, render it impossible
-     that any sliding should take place between the same.”
-
-     1816.—ROBERT CLAYTON. A new method of preparing metal . . . types.
-     The specification mainly relates to plate-printing, but concludes:
-     “Thirdly, I obtain what I shall term alto or high-relief, by
-     producing metal castings from wooden moulds or matrices, punched
-     in wood with a cross-grain, which has been previously slightly
-     charred or baked.”[199] The metal is bismuth, tin and lead in
-     equal parts, or tin (4), bismuth (4), lead (3), and antimony (1).
-
-     1822.—WILLIAM CHURCH. Machine for casting the types and arranging
-     them ready to be transferred to the composing machinery. A
-     matrix-bar containing a series of matrices is applied to a
-     mould-bar, with a corresponding number of moulds. At the time
-     of casting the latter is applied to jets leading from the metal
-     chest, which is supplied from a metal fountain connected with the
-     metal pot, and furnished with a valve to prevent the return of the
-     metal. After the casting, the mould-bar, drawn endways, cuts off
-     communication with the metal, and brings the said types beneath a
-     series of punches, which descend and force them out at the same
-     time that the matrix-box is unlocked, and descends clear of the
-     types . . . The mould-bar is kept cool during the process by a
-     stream of water passing through it . . . The metal is injected by
-     the descent of a plunger into the metal chest. The type, as cast,
-     is carried direct into a composing machine, where it is set up by
-     means of a mechanism worked by keys, resembling the notes of a
-     piano.[200]
-
-     1823.—LOUIS JOHN POUCHÉE[201] (communicated by Didot of Paris).
-     Machine calculated to cast from 150 to 200 types at each
-     operation, the operation being repeated twice or oftener in a
-     minute. The moulds are composed of steel bars. The first has
-     horizontal grooves at right angles to its length, and forms the
-     body of the letter. The second is a matrix-bar, screwed to the
-     bottom of the first. The third bar forms the fourth side of the
-     type-body. The feet of the type are made by the fourth, a “break
-     bar,” with orifices communicating with each type-mould. Two of
-     these moulds are placed side by side so as to form a trough
-     between them, in which the molten metal is poured, nearly as high
-     as the orifices on the “break bar.” On pulling a trigger by a
-     string, a plunger at the end of a lever falls into the trough, and
-     injects the metal into the moulds. The lever is slightly raised
-     after the casting, by a treadle, after which the workman raises it
-     by hand until it passes a catch, which retains it until the string
-     is pulled again. The mould is then unclamped, the mould-bars drawn
-     asunder by wrenches, the types are found adhering to the break bar
-     like the teeth of a comb, when they are broken off and dressed in
-     the usual way.
-
-     1823.—JOHN HENFREY AND AUGUSTUS APPLEGARTH. Certain machinery for
-     casting types. The type is cast in a space between two flanges,
-     set at right angles on a spindle, and pressed to and drawn from
-     one another alternately by a spring and a peculiarly arranged
-     eccentric piece. A piece of steel, called the “body,” adjustable
-     to the thickness of the particular type, is screwed to one of the
-     flanges. The matrix is on a carriage, and is run through holes in
-     the flanges for the casting, and kept in its place by a spring.
-     The metal is {122} injected by the descent of a plunger, which
-     recovers itself by a spring. After the casting the spindle begins
-     to revolve, immediately upon which the matrix is disengaged from
-     the type and withdrawn clear of the flanges. The flanges are then
-     opened, and the cast type pushed from the mould by the action
-     of spring pins. A type is thus cast for each revolution of the
-     spindle. The “break” is disengaged from the letter by two small
-     pins, one of which protrudes from each jaw after the casting.[202]
-
-     1828.—THOMAS ASPINWALL. An improved method of casting types, by
-     means of a “Mechanical Type Caster.” The working parts of this
-     machine are mounted on a table suspended so as to move to and from
-     the melting-pot. The mould is in two parts, mounted on two sliding
-     “carrier pieces” on the table, inclined to each other at a slight
-     angle. The matrix is held during the casting by a spring. On the
-     revolution of the crank shaft (by hand) a sliding rod on the table
-     is made to move towards the melting-pot, and the carrier pieces
-     being acted upon by a cross-bar attached to it by springs, are
-     drawn forward so as to unite the two parts of the mould for the
-     casting. By a further revolution of the crank shaft, a projecting
-     piece on the end of the sliding rod, coming in contact with an
-     adjusting screw on one end of a bent lever, causes it to turn on
-     its centre, and by a friction roller at the other end forces down
-     the plunger of a cylinder communicating with the metal pot, so as
-     to inject the metal into a chamber, whence it ejects a portion
-     previously there through a nozzle into the mould as it is moved
-     forward by the forward motion of the table. The handle of the
-     crank is then turned the reverse way, the table swings back from
-     the metal pot, the plunger rises by a spring, the parts of the
-     mould separate, the matrix is withdrawn from the cast type by a
-     lever (which overcomes the force of the spring by which it is held
-     during the casting), and the type itself loosened from the mould
-     by coming in contact with an inclined plane.
-
-We conclude these extracts with a proposal suggestive more of the
-primitive experiments of the first printers than of nineteenth century
-letter-founding.
-
-     1831.—JAMES THOMSON. Certain improvements in making or producing
-     printing types. “My improvements consist in making printing types
-     by casting or forming a cake of metal having letters formed and
-     protruding on one side of it, and in afterwards sawing this cake
-     directly or transversely, so as to divide it into single types.”
-     The casting is effected in two ways. First by forming a mould
-     from types set up, and immersing this within an iron box in a pot
-     of melted type-metal, “as in making stereotype plates; with this
-     difference, however, that in the present case, the plate must be
-     as thick as the length of the intended type; and further, that
-     in setting up the types for the cast, proper spaces must be made
-     between each letter and between the lines, in order to allow for
-     what will be taken away in the sawing.” The second mode is “by
-     taking a plate of copper or other suitable metal, and making in
-     it indentations or matrices with a punch having on it the letter
-     for the intended type, taking care to make them in straight rows,
-     direct and transverse. The plate being so indented, is put into
-     an iron box and immersed in a pot of liquid type-metal, and kept
-     there the proper depth and proper time, so as to enable the metal
-     fully to enter into those indentations or matrices, that the
-     letter may be well formed. The cake thus cast or formed, after
-     being taken out and cooled, is sawed as before.”
-
-{123}
-
-[Illustration]
-
-
-
-
-CHAPTER V.
-
-THE STATE CONTROL OF ENGLISH LETTER-FOUNDING.
-
-
-Our Statute Books and Public Records do not throw any very important
-light on the early history of English letter-founding. Although a
-busy import trade in type appears to have been maintained by the
-earliest printers, and although as early as the days of De Worde, as
-we have seen, there were English printers who not only cast types
-for themselves, but are supposed to have supplied them to others, we
-search in vain for any definite reference to letter-founding in the
-decrees and proclamations which, prior to 1637, had for their object
-the regulation or repression of printing. It is true that the term
-printing was at that period wide enough to cover all its tributary
-arts, from paper-making to book-selling. At the same time, it is
-noteworthy that, whereas in many of the early decrees paper-making,
-book-binding and book-selling are distinctly mentioned, letter-founding
-is invariably ignored. If any inference is to be drawn from this fact,
-it is that type was one of the latest of the printer’s commodities to
-go into the public market. A printer’s type was his own, and no one
-else’s; and if occasionally one great printer was pleased to part with
-founts of his letter to his brother craftsmen, either by favour or
-for a consideration, it was not till late in the day—that is, not for
-about a century after the introduction of printing into England—that
-English-cast types became marketable ware in the country.
-
-It is not our purpose here to review in detail the various decrees and
-{124} proclamations which regulated printing in this country[203]; but
-it will be interesting to notice such of them as appear to have special
-reference to letter-founding.
-
-The earliest Statute relating to printing was made in 1483, before the
-art had well taken root in the country; and proclaimed free trade in
-all printed matter imported from abroad. In 1533 this enactment was
-repealed, on the ground that “at this day there be within this realm
-a great number of cunning and expert in the said science or craft of
-printing.”[204]
-
-More direct control was assumed in 1556, when the charter was granted
-to the Stationers’ Company, constituting that body the “Master and
-Keepers, or Wardens and Commonalty, of the Mystery or Art of a
-Stationer of the City of London.”[205] Under this comprehensive term,
-there is little doubt, founders of type, had any at that time been
-practising in London, would be included; and such being the case, it
-would become necessary for them, as well as for paper-makers, printers,
-binders, booksellers and others, to become members of the Stationers’
-Company, and subsequently, in compliance with the enlarged powers
-conferred on the Company in 1559 and 1556, to give surety to that body
-for the due observance of the ordinances by virtue of which they held
-their privileges.
-
-The powers conferred on the Company by its charter related exclusively
-to the publication of printed matter; and the rights of search granted
-in the subsequent Acts confirming the charter appear to have been
-directed rather against the possession of smuggled or illegally printed
-books than against the possession of the materials necessary to produce
-them.
-
-In 1582 was tried a celebrated lawsuit known as the Star Chamber
-case of John Day _versus_ Roger Ward and William Holmes, for illegal
-printing of an {125} _A B C_ and _Catechism_.[206] In the course
-of the inquiry occurs an interesting reference to the practice of
-printers as their own letter-founders, which we reproduce as being
-one of the earliest direct notices of letter-founding in the Public
-Records. Amongst the questions put to the recalcitrant Roger Ward[207]
-the following three were intended to discover whether the illicit _A
-B C_ was printed by him in his own type, or whether (with a view to
-remove suspicion from himself) he had printed it in the type of another
-printer:―
-
-     “QUESTION XIII. Did any person or personns Ayde help or assist you
-     with paper letters (_type_) or other necessaries in this work?
-
-     “ANSWER. He was not with paper letters (_type_) or other
-     necessaryes in the said worke aidyd holpen or assistyd by any
-     manner of personne or persons but that one Adam a Servant of
-     Master Purfo(o)ttes dyd lend him some letters wherewith he
-     imprinted the said boke.
-
-     “QUESTION XVIII. Whether were the Letters wherewith you imprinted
-     the sayd _A B C_ your owne yea or no? If not whose were they and
-     by what meanse came you by them, And whether with the Consent
-     of the owner or not? And whether have you redelivered them back
-     againe and how long since, And what nomber of Reames did you
-     imprint with the said letter?
-
-     “ANSWER. That all the letters wherewith he impryntyd the said _A
-     B C_ were not his owne for he dyd borrowe of one Adame, a man of
-     one master Purfott all the Inglisshe (_i.e._, _Black_) Letters to
-     the said worke and he borrowyd these letters without the consent
-     of the said master Purfytt and hath the same as yet in this
-     defendants custodye and have not Redelyvered of the same sithes
-     he borrowyd the same as aforesaid and to his Remembrance he Did
-     imprynt with the sayd letter the nomber of Twentie Reames of paper.
-
-     “QUESTION XIX. Whether have you cast any new Letter of your owne
-     since the first printinge of the said _A B C_, and what nomber of
-     the same have you printed of that letter (_in that type_)?
-
-     “ANSWER. He confessyth that he hath sythes the first imprintyng of
-     the said _A B C_, cast a newe letter of his owne and yet he hath
-     not pryntyd any of that letter (_in that type_).”
-
-This testimony was generally corroborated by the other printers and
-persons examined, to many of whom it appeared to be notorious that
-Roger Ward had printed the book in a letter not his own, and that he
-had since cast a new fount of type for his own use. The whole inquiry
-throws a curious light on the methods of business of the printers of
-the day. Composition then, as Mr. Arber points out, was not necessarily
-done in the master-printer’s house where he kept {126} his press.
-Of course that which was done by himself and his apprentices was
-done there, but work given out to journeymen (who were generally
-householders), was probably done in their houses and paid for by
-piecework. “A custom which,” continues Mr. Arber, “was facilitated by
-most of the books then printed being almost always in some one size of
-type. Therefore there could not be so much control exercised over the
-literature in respect to the guardianship of the type—however easy it
-was for printers of that day to identify the printer of a book by its
-typography—neither do we find any such attempted; but only in respect
-to the custody of the hand printing press, which was doubtless well
-secured every night as a dangerous instrument, lest secret nocturnal
-printing should go on without the owner’s consent.”[208]
-
-In the same year, 1582, Christopher Barker, the Queen’s printer, drew
-up an able report on the condition of printing as it then existed, in
-which, among other matters, he referred to the cost of making type,
-and its consequent effect on publishers and printers. “In King Edward
-the Sixt his Dayes,” he says, “Printers and printing began greatly to
-increase; but the provision of letter, and many other thinges belonging
-to printing was so exceeding chargeable, that most of those printers
-were Dryven throughe necessitie, to compound before[hand] with the
-booksellers at so low value, as the printers themselves were most tymes
-small gayners and often loosers . . . The Bookesellers . . now (1582)
-. . keepe no printing howse, neither beare any charge of letter, or
-other furniture, but onlie paye for the workmanship . . . so that the
-artificer printer, growing every Daye more and more unable to provide
-letter[209] and other furniture . . . will in tyme be an occasion of
-great discredit to the professours of the arte.”
-
-The report goes on to mention that at that time (December 1582) “there
-are twenty-two printing howses in London, where eight or ten at the
-most would suffise for all England, yea, and Scotland too.”[210]
-
-In May of the following year there were twenty-three printers with
-fifty-three presses among them, and during the next two years the
-number appears to have increased so considerably as to call for that
-sweeping enactment, the Star Chamber decree of 1586. This famous
-measure prohibits all presses out of London, except one each at the
-two Universities, and “tyll the excessive {127} multytude of Prynters
-havinge presses already sett up be abated,” permits no new press
-whatsoever to be erected.[211] The Stationers’ Company have authority
-to inspect all printing offices, “to search take and carry away all
-presses, letters and other pryntinge instrumentes sett up, used or
-employed . . contrary to the intent and meaninge hereof; . . . and
-thereupon shall cause all suche printing presses, or other printing
-instruments, to be Defaced, melted, sawed in peeces, broken, or
-battered . . . and the stuffe of the same so defaced, shall redelyver
-to the owners thereof againe within three monethes next after the
-takinge or seizinge thereof as aforesayd.”[212]
-
-The Company were not slow in making use of their enlarged powers, and
-the refractory Roger Ward appears to have had considerable experience
-of the rigours of the new decree. In October 1586 the wardens seized on
-his premises “3 presses and divers other parcells of pryntinge stuffe,”
-and ordered them to be defaced and rendered unserviceable, according to
-the tenor of the decree. In 1590 they made a further visitation, and
-discovered that “he did kepe and conceale a presse and other pryntinge
-stuff in a Taylor’s house near adjoyninge to his owne, and did hide
-his letters in a hen house near St. Sepulchure’s Churche, expressely
-against the Decrees of the Star Chamber. All the whyche stuff were
-brought to Stacioners Hall” and duly destroyed. But the dauntless Roger
-Ward was not thus to be extinguished, and scarcely six months later, at
-Hammersmith, another press, “with 5 formes of letters of Divers sortes
-and 3 cases with other printing stuffe,” were impounded and rigorously
-defaced.
-
-Nor was Ward the only victim. In a Secret Report presented in September
-1589 to Lord Burleigh respecting the authors of the famous Marprelate
-Tracts, it is stated that the printer of the first three of these,
-“all beinge printed in a Dutch letter,” was Robert Waldegrave; and
-“towchinge the printinge of the two last Lebells in a litle Romaine and
-Italian letter,” the report states—once more showing how in those days
-a printer was known by his types—“the letter that these be printed in
-is the same that did printe the _Demonstration of Discipline_ aboute
-Midsommer was twelve moneth (24 June, 1588), which was printed by
-Waldegrave neere Kingston upon Thames, as is discovered. When his other
-letters and presse were defaced about Easter was twelve moneth {128}
-(7th April, 1588) he saved these lettres in a boxe under his Cloke, and
-brought them to Mistris Cranes howse in London, as is allso confessed;
-and they are knowen by printers to be Waldegrave’s letters; And it is
-the same letter that was taken with Hodgkys. These two last Libells
-came abroade in July (1589) last. Now it is confessed by the Carier
-that John Hodgkys that is taken, did send from a gentlemans howse in
-Woltonam in Warwikeshier unto Warrington immediatlye after whitsontyde
-last (18 May 1589), a printinge presse, two boxes of letter, a barrell
-of nicke (_incke ?_), a baskett and a brasse pott, which were delyvered
-to him at Warrington,” etc.[213]
-
-The Stationers’ Company, on the whole, had a busy time during the few
-years following the Star Chamber decree, in hunting up and destroying
-disorderly presses and the “stuffe” appertaining thereto. The numerous
-monopolies and patents of which they were the appointed guardians
-provoked a regular secret organisation of unprivileged printers,[214]
-who pirated right and left, sometimes with impunity, sometimes at the
-cost of losing their whole plant and stock-in-trade by a raid of the
-authorities.
-
-These raids must have kept the typecasters of the day well occupied,
-and it is even possible that the “stuffe” which from time to time fell
-into the hands of the Company may have included punches, matrices and
-moulds, which it would be far less easy to replace than presses, ink
-and balls.
-
-A printer liable to such visitations would prefer, if possible, to
-procure his type out of doors, rather than maintain the valuable plant
-requisite to make it himself; and it is probable that the outside
-demand thus created may have been among the causes which led to the
-establishment of one or two small foundries, unconnected with any one
-printing office in particular, whose business it would be to supply any
-purchaser with type from its matrices.
-
-The Stationers’ Company, who from time to time supplemented the powers
-conferred upon them by the Star Chamber with regulations of their own
-on matters such as standing formes, apprentices and prices, would
-naturally recognise a source of danger in a new foundry starting under
-the circumstances described, and were prompt to assert their authority.
-
-Accordingly we find the following entry in the Index to the Court Books
-of the Company under date 1597:―
-
-     “BENJAMIN SYMPSON, letter founder, to enter into a £40 bond not
-     to cast any letters or characters, or to deliver them, without
-     advertising the Master and Wardens in writing, with the names of
-     the parties for whom they are intended.—1597.” {129}
-
-Here we have the first historical record of letter-founding as a
-distinct and recognised trade.[215] Of Benjamin Sympson and his types
-nothing is known. His name does not occur in any of the lists of
-printers of the period, nor does it appear that he was even a member of
-the Stationers’ Company. Whether he was called upon at his own request
-to qualify as a typefounder, or whether the resolution of the Court was
-arrived at in consequence of his previous transactions with one or more
-of the disorderly printers, is equally uncertain.
-
-In 1598 the Stationers’ Company made a regulation respecting the price
-of work, which is also of interest, as indicating the bodies of type at
-that time most commonly in use for bookwork. It was as follows:―
-
-     “No new copies without pictures to be printed at more than the
-     following rates: those in pica Roman and Italic and in English
-     (_i.e._, _Black letter_) with Roman and Italic at a penny for two
-     sheets; those in brevier and long primer letters at a penny for
-     one sheet and a half.”[216]
-
-A further regulation regarding typefounders shows that in 1622 the
-trade had more than one recognised representative:―
-
-     “The Founders bound to the Company by bond, not to deliver
-     any fount of new letters, without acquainting the Master and
-     Wardens—1622.”
-
-The Act of 1586, despite the rigour with which, at first at any rate,
-it was enforced, appears to have fallen into contempt, and to have been
-openly {130} disregarded by the printers of the first quarter of the
-seventeenth century. According to the account of the “London Printer,”
-who wrote his _Lamentation_ in 1660, printing and printers, about 1637,
-were grown to such “monstrous excess and exorbitant disorder” as to
-call for the prompt and serious attention of the Court of Star Chamber,
-who in that same year, because the former “Orders and Decrees have been
-found by experience to be defective in some particulars; and divers
-abuses have sithence arisen and been practiced by the craft and malice
-of wicked and evill disposed persons,” put forward the famous Star
-Chamber Decree of 1637.[217]
-
-In this decree, the severity of which called forth from Milton his
-noble protest, the _Areopagitica_,[218] letter-founding is formally
-recognised as a distinct industry, and shares with printing the rigours
-of the new restrictions. The following is the text of the clauses
-relating to founders:―
-
-     XXVII.—_Item_, The Court doth order and declare, that there
-     shall be foure Founders of letters for printing allowed, and no
-     more, and doth hereby nominate, allow, and admit these persons,
-     whose names hereafter follow, to the number of foure, to be
-     letter-Founders for the time being, (viz.) _John Grismand_,
-     _Thomas Wright_, _Arthur Nichols_, _Alexander Fifield_. And
-     further the Court doth Order and Decree, that it shall be lawfull
-     for the Lord Arch-bishop of _Canterbury_, or the Lord Bishop of
-     _London_ for the time being, taking unto him or them, six other
-     high Commissioners, to supply the place or places of those who are
-     now allowed Founders of letters by this Court, as they shall fall
-     void by death, censure, or otherwise.
-
-     Provided that they exceede not the number of foure, set down by
-     this Court. And if any person or persons, not being an allowed
-     Founder, shall notwithstanding take upon him, or them, to Found,
-     or cast letters for printing, upon complaint and proofe made of
-     such offence, or offences, he, or they so offending, shal suffer
-     such punishment, as this Court, or the high Commission Court
-     respectively, as the severall causes shall require, shall think
-     fit to inflict upon them.
-
-     XXVIII.—_Item_, That no Master-Founder whatsoever shall keepe
-     above two Apprentices at one time, neither by Copartnership,
-     binding at the Scriveners, nor any other way whatsoever, neither
-     shall it be lawfull for any Master-Founder, when any Apprentice,
-     or Apprentices shall run, or be put away, to take another
-     Apprentice, or other Apprentices in his, or their place or places,
-     unless the name or names of him, or them so gone away, be rased
-     out of the Hall-booke of the Company, whereof the Master-Founder
-     is free, and never admitted again, upon pain of such punishment,
-     as by this Court, or the high Commission respectively, as the
-     severall causes shall require, shall be thought fit to bee
-     imposed. {131}
-
-     XXIX.—_Item_, That all Journey-men-Founders be imployed by the
-     Master-Founders of the said trade, and that idle Journey-men
-     be compelled to worke after the same manner, and upon the same
-     penalties, as in case of the Journey-men-Printers is before
-     specified.[219]
-
-     XXX.—_Item_, That no Master-Founder of letters, shall imploy any
-     other person or persons in any worke belonging to the casting or
-     founding of letters, than such only as are freemen or apprentices
-     to the trade of founding letters, save only in the pulling off
-     the knots of mettle hanging at the ends of the letters when they
-     are first cast, in which work it shall be lawfull for every
-     Master-Founder, to imploy one boy only that is not, nor hath beene
-     bound to the trade of Founding letters, but not otherwise, upon
-     pain of being for ever disabled to use or exercise that art, and
-     such further punishment, as by this Court, or the high Commission
-     Court respectively, as the severall causes shall require, be
-     thought fit to be imposed.
-
-     XIV.—_Item_, That no Joyner, or Carpenter, or other person, shall
-     make any printing-Presse, no Smith shall forge any Iron-Worke
-     for a printing Presse, and no Founder shall cast any Letters for
-     any person or persons whatsoever, neither shall any person or
-     persons bring, or cause to be brought in from any parts beyond the
-     Seas, any Letters Founded or Cast, nor buy any such Letters for
-     Printing, Unlesse he or they respectively shall first acquaint
-     the said Master and Wardens, or some of them, for whom the same
-     Presse, Iron-works, or Letters, are to be made, forged, or cast,
-     upon paine of such fine and punishment, as this Court, or the
-     high Commission Court respectively, as the severall causes shall
-     require, shall thinke fit.
-
-Respecting the four founders thus nominated, and their types, we shall
-have occasion to speak in a following chapter. Continuing here our
-cursory review of the Statutes which affected letter-founding, it is
-necessary to remind the reader that this tremendous decree, which for
-severity eclipsed all its predecessors, was short-lived.
-
-On November 3, 1640, the Long Parliament assembled, and with it the
-Star Chamber disappeared, and its decrees became dead letters. Then
-for a season there was virtually free trade in printing, and advantage
-was taken of the new condition of affairs to infringe existing rights
-on every hand, the King’s Patent Printers (if we are to believe the
-“London Printer,” above quoted) being the chief and most unscrupulous
-transgressors.
-
-Parliament was not slow to take up the mantle dropped by the late Star
-Chamber, and in 1643 attempted to stem “the very grievous” liberty of
-the press, reinvesting the Stationers’ Company with powers to search
-and seize all unlicensed presses and books, and to apprehend the
-“authors, printers and other persons whatsoever employed in compiling,
-printing, stitching, binding, {132} publishing and dispersing the said
-scandalous, unlicensed and unwarrantable papers, books and pamphlets.”
-
-This ordinance, in which once more typefounders are conspicuous by
-their absence, was strengthened by a further decree in 1647, and two
-years later the Act of Sept. 20, 1649, virtually reimposed the old Star
-Chamber regulations, requiring, among other provisions, that printers
-should enter into a £300 bond not to print seditious or scandalous
-matter; also that no house or room should be let to a printer, nor
-implements made, press imported, or letters founded, without notice
-to the Stationers’ Company. The penalties attached to a breach of
-these orders were severe. This Act was renewed in 1652, but it failed
-to remedy the abuses it was intended to meet. Private presses sprung
-up on all hands; the art was degraded and prostituted to all manner
-of base uses; workmen as well as master printers joined in their
-complaints against disorders which were working their ruin. The number
-of printers, restricted since 1586 to twenty, had grown to sixty; the
-Royal printers themselves were interlopers, two of them not even being
-practical printers, and all of them being political incendiaries.
-
-Such being the condition of affairs, it is not surprising that in
-1662 the remonstrances raised on all sides should result in an Act of
-Parliament intended to dispose finally of the abuses complained of.
-
-The Act of 1662 (13 and 14 Charles II, c. 33) reimposes the provisions
-of the Star Chamber decree of 1637 with additional rigour.[220] It
-enacts that no type is to be founded or cast, or brought from abroad,
-without licence from the Stationers’ Company. The number of founders
-is again limited to four, and all {133} vacancies in the number are
-to be filled up by the Archbishop of Canterbury or the Bishop of
-London.[221] Masters of the Stationers’ Company, past and present,
-may have three apprentices, liverymen two, and the commonalty only
-one. Master founders must see that their journeymen are kept at work;
-and these journeymen must be all Englishmen and freemen, or sons of
-freemen. Founders working for the trade who offend are to be disabled
-from following their craft for three years, and on a second offence to
-be permanently disqualified, besides suffering punishment by fine or
-imprisonment, or “other corporal punishment not extending to life and
-limb.”
-
-This uncompromising Act was continued from time to time, with temporary
-lapses, until 1693,[222] when, in the tide of liberty following the
-Revolution, it disappeared. Despite its stern provisions, we find from
-a petition entitled _The Case of the Free Workmen Printers_, presented
-to the House about 1665, praying for its renewal, that the number of
-printing-houses had already grown to seventy, with one hundred and
-fifty apprentices; and in 1683 we have the evidence of Moxon that the
-number of founders, as well as of printers, was grown “very many.” It
-does not, however, appear that at any time during the continuance of
-the Act, that the number of founders ever exceeded four. How far they
-complied with the regulation requiring them to account to the Company
-for all type cast, we are unable, in the absence of any register of
-such accounts, to say; but that a register was duly kept is evident
-from the following important minute of the Court in 1674:―
-
-     “All the Letter-founders to give timely notice to the Master and
-     Wardens, of all such quantities of letter as they shall cast
-     for any person; which notice shall be entered by the Clerk in a
-     register book to be provided for that purpose.—1674.”
-
-In 1668, as will be seen in a subsequent chapter, the Company had, in
-discharge of their authority, nominated Thomas Goring to the Archbishop
-of Canterbury as “an honest and sufficient man” to be one of the four
-founders allowed by the Act, there being then a vacancy in the number.
-And that the penal clauses were not neglected is equally evident
-from the resolution of the Court in 1685, withholding Godfrey Head’s
-dividend until he should comply with the Act by giving an account to
-the Company of what type he was casting. {134}
-
-The latest minute on the Court Books relating to letter-founding was
-in 1693—the year in which the Act expired—when the following order was
-made:―
-
-     “Printed papers to be delivered to all Founders, Press Makers and
-     others concerned, requiring obedience to that Clause in the Act
-     for preventing abuses in Printing, whereby all Letter Founders,
-     Press Makers, Joiners, and others are commanded to acquaint the
-     Master or Wardens what Presses or Letters they shall at any time
-     make or cast.—1693.”
-
-After 1693, letter-founding came from under all restraint. Laws of
-copyright and patent still clung to printing,[223] but, except for a
-proposal made about 1695 by one W. Mascall[224] that every printer,
-letter-founder and press-maker should enter with a statement on oath
-the number of his presses, the weight of his letter and the extent of
-his other utensils, we find no reference to letter-founding in the
-Public Records for upwards of a century.
-
-Notwithstanding this liberty, the number of founders during the
-eighteenth century appears rarely to have exceeded the figure
-prescribed by the Star Chamber Decree of 1637, and occasionally to have
-been less.
-
-One more attempt was made in the closing days of the eighteenth century
-to control the freedom of the press by law. There is something almost
-grotesque in the efforts made by legislators in 1799 to refit, on a
-full-grown and invincible press, the worn-out shackles by which the
-Stuarts had tried to curtail the growth of its childhood; and the
-Act of the 39th George III, cap. 79,[225] in so far as it deals with
-printing, will always remain one of the surprises, as well as one of
-the disgraces, of the Statute-book. Among its worst provisions, the
-following affect letter-founders and letter-founding:―
-
-Sec. 23 ordains that no one, under penalty of £20, shall be allowed
-to possess or use a printing-press or types for printing, without
-giving notice thereof to a Clerk of the Peace, and obtaining from him a
-certificate to that effect.
-
-Sec. 33 provides that any Justice of the Peace may issue a warrant
-to search any premises, and seize and take away any press or
-printing-types not duly certificated. {135}
-
-The following sections we give in full:―
-
-     Sec. 25. “That from and after the Expiration of Forty Days after
-     the passing of this Act, every Person carrying on the Business
-     of a Letter Founder or Maker or Seller of Types for Printing or
-     of Printing Presses, shall cause Notice of his or her Intention
-     to carry on such Business to be delivered to the Clerk of the
-     Peace of the . . . Place where such Person shall propose to carry
-     on such Business, or his Deputy in the Form prescribed in the
-     Schedule of this Act annexed.[226] And such Clerk of the Peace
-     or his Deputy shall, and he is hereby authorized and required
-     thereupon to grant a Certificate in the Form also prescribed in
-     the said Schedule,[227] for which such Clerk of the Peace or his
-     Deputy shall receive a Fee of One Shilling and no more, and shall
-     file such Notice and transmit an attested Copy thereof to one of
-     his Majesty’s Principal Secretaries of State; and every Person
-     who shall, after the expiration of the said Forty Days, carry on
-     such Business, or make or sell any Type for Printing, or Printing
-     Press, without having given such Notice, and obtained such
-     Certificate, shall forfeit and lose the Sum of Twenty Pounds.”
-
-     Sec. 26. “And be it further enacted, That every Person who shall
-     sell Types for Printing, or Printing Presses as aforesaid, shall
-     keep a Fair Account in Writing of all Persons to whom such Types
-     or Presses shall be sold, and shall produce such Accounts to any
-     Justice of the Peace who shall require the same; And if such
-     Person shall neglect to keep such Account, or shall refuse to
-     produce the same to any such Justice, on demand in Writing to
-     inspect the same, such Person shall forfeit and lose, for such
-     offence, the Sum of Twenty Pounds.”
-
-Such was the law with regard to typefounding at the time when the
-widows of the two Caslons were struggling to revive their then ancient
-business, when Vincent Figgins was building up his new foundry, and
-Edmund Fry, Caslon III and Wilson were busily occupied in cutting
-their modern Romans to suit the new fashion. And such the law remained
-nominally until the year 1869,[228] {136} just upon four centuries
-after the introduction of the Art into this country. It is probable
-that, during the first few disturbed years of its existence, the Act
-may have been enforced, that certificates may have been registered,
-and accounts dutifully furnished.[229] But its provisions appear very
-soon to have fallen into contempt, and certainly, as far as we can
-ascertain, failed to trouble the peace of any British letter-founder.
-
-       *       *       *       *       *
-
-Such is a hasty and very cursory review of the various laws which from
-time to time have taken letter-founding under control. Whether they
-succeeded in placing any real check on the progress of the art, it is
-difficult to determine. But it is certain that the heaviest restrictive
-measures have generally been accompanied not only by the most grievous
-abuses in the spirit of the press, but by distinct degeneration in
-the quality of the typographical work executed. A privileged printer,
-sure of his monopoly and safe from competition, would have little
-or no inducement to execute his work at more cost or pains than was
-necessary. Old type would do as well as new, and bad type would do as
-well as good. Free trade and open competition were the great evils to
-be dreaded, because free trade and open competition would demand the
-best paper, and type and workmanship. The typography of the entire
-Stuart period is a disgrace to English art. Fine printing was an art
-unknown; and only a few works like Walton’s _Polyglot_, which were
-produced in an atmosphere untainted by mercenary considerations, stand
-out to redeem the period from unqualified reproach.
-
-On the other hand, the removal of the restrictions was the signal for a
-revival which may be traced in almost every printed work of the early
-eighteenth century. In the absence of any great English founder, the
-best Dutch types came freely into the English market. Books came to be
-legible, paper became white, ink black, and press-work respectable.
-Caslon came in on the tide of the revival, as also did Bowyer, Watts,
-Bettenham, and artists of their rank; and the emancipated press, among
-them, made up the leeway of a wasted century, and, no longer in the
-grip of faction, but the free servant of the great and wise of the
-land, raised for itself monuments which will remain a lasting glory not
-only to English scholarship and English eloquence, but also to English
-typography, for which liberty has been, and always will be, the surest
-road to achievement.
-
-{137}
-
-[Illustration]
-
-
-
-
-CHAPTER VI.
-
-[Illustration]
-
-THE OXFORD UNIVERSITY FOUNDRY.
-
-
-Printing was practised at Oxford within a year of the introduction
-of the art into England. Setting aside the legend of Corsellis and
-the “1468” _Exposicio Simboli_, we find that a printer, presumably
-Theodoric Rood, from Cologne, was settled here in 1478, and issued
-three works anonymously from his press during that and the following
-year. Between 1480 and 1483, Rood printed eight works bearing his own
-name, and in 1485 and 1486, in partnership with an Englishman named
-Thomas Hunte, he produced six more.
-
-Whether the first Oxford printer made his own type or procured it from
-abroad, we have no information, but the distinctly Cologne character of
-the two earliest founts favours the supposition that, like Caxton, he
-brought at any rate his first types with him from the Continent. The
-vague reference which Rood and Hunte make to their labours at the end
-of the _Phalaridis Epistolæ_ in 1485,[230] does not throw much light on
-the question, although the boast of an independent discovery of the art
-of printing there recorded may possibly mean that towards the close of
-their career they had arrived at a knowledge of the mystery of making
-their own types.
-
-Without attempting a detailed examination of the seventeen works of
-the {138} first Oxford printers, we observe that during the eight
-years in which they practised their art, they made use of seven
-different kinds of type, which arrange themselves chronologically as
-follows[231] :
-
- +───────+───────────────────────────────────+───────+──────────────────────+
- │ KNOWN │                                   │       │                      │
- │ DATE. │                 TITLE.            │ TYPE. │        GROUP.        │
- +───────+───────────────────────────────────+───────+──────────────────────+
- │“1468”†│_Exposicio Symboli_                │   a   │ Group I, “1468”-1479.│
- │ 1479  │_Aristotelis Ethica_               │   a   │ (No printer’s name.) │
- │ 1479  │_Ægidius de peccato originali_     │   a   │                      │
- +───────+───────────────────────────────────+───────+──────────────────────+
- │ ...   │_Cicero pro Milone_                │   b   │                      │
- │ ...   │_Latin Grammar in English_         │   b   │ Group II, 1481–82.   │
- │ 1481  │_Alexander de Ales. Expositio      │       │ (Theodoric Rood.)    │
- │       │   de Animâ._ Two Editions         │  b,c  │                      │
- │ 1482  │_Lattebury. Morales._ Two editions │  b,c  │                      │
- +───────+───────────────────────────────────+───────+──────────────────────+
- │ ...   │_Hampole. Explanationes_           │  d,e  │                      │
- │ ...   │_Swyneshed. Insolubilia_           │  d,e  │                      │
- │ ...   │_Anwykyll. Compendium._ 1st edition│d[e?]f │                      │
- │ ...   │_Anwykyll. Compendium._ 2nd edition│  d,f  │ Group III, 1483–86.  │
- │ ...   │_Lyndewode. Constitutiones_        │c,d,e,f│ (Rood and Hunte.)    │
- │ 1485  │_Phalaridis Epistolæ_              │  c,f  │                      │
- │ 1486  │_Liber Festivalis_                 │  f,g  │                      │
- │ ...   │_Textus Alexandri_                 │ d,f,g │                      │
- +───────+───────────────────────────────────+───────+──────────────────────+
- │ † Misprint for 1478.                                                     │
- +───────+───────────────────────────────────+───────+──────────────────────+
-
-It will be noticed from the above list that type [a] was used solely
-by the first anonymous Oxford printer, and disappeared entirely as
-soon as Rood began to print in his own name. The letter is a Black of
-similar character, as Mr. Bradshaw points out, to that used by Zell
-and Guldenschaft at Cologne, and was probably brought thence to this
-country. The body corresponds closely to the present “English.” One
-peculiarity about type [a] is that in the mis-dated _Exposicio Simboli_
-the capital [*Q] is always printed sideways ([*Q]), whereas in the two
-following books it appears correctly.
-
-During the two years that Rood printed under his own name alone, he
-made use of a compressed Black-letter of English body, type [b], with
-which, in the _Ales_ and _Lattebury_, he combined a larger Black, type
-[c], on Double English body for chapter-headings or initials.
-
-Type [b] disappeared entirely at the close of Rood’s solitary labours.
-Type [c], however, was preserved; we find it used in single letters, or
-very sparsely in two later works.
-
-[Illustration: 27. Colophon of _Lyndewode’s Constitutiones_. Oxford,
-1482 (?). Showing the types [c], [d], [e], [f].]
-
-Rood and Hunte inaugurated their partnership by the introduction of
-two {139} new founts of Black-letter, types [d] and [e], or rather
-one fount having one size of capitals, and a small and large size of
-“lower-case,” all cast on the same body, about a Pica, and capable
-of being used interchangeably. Subsequently they used another double
-fount, types [f] and [g], cast in the same manner, [f] being the small,
-and [g] the large “lower-case,” with one size of capitals for both, all
-cast on a body closely corresponding to Great Primer. The character
-of this letter is decidedly Caxtonian, and suggests the possibility
-that at this stage of their labours the printers may have learned the
-art of making their own type. Type [f] had been in use for some time
-in combination with [c], [d] and [e], before type [g] appeared. The
-accompanying facsimile from the _Lyndewode_ shows types [c], [d], [e]
-and [f].
-
-We thus find that the seven early Oxford types reduce themselves to
-four principal founts, and one fount of initial letter, of which the
-following table will briefly sum up the typographical details :
-
- +─────+──────────────────────────────────────+─────────────+──────────────────────────+
- │TYPE.│                CHARACTER.            │ APPROXIMATE │         NOTES.           │
- │     │                                      │     BODY.   │
- +─────+──────────────────────────────────────+─────────────+──────────────────────────+
- │ a   │Cologne Black                         │English      │Used with no other        │
- │     │                                      │             │  type.                   │
- +─────+──────────────────────────────────────+─────────────+──────────────────────────+
- │ b   │Narrow Dutch Black                    │English      │Used alone or with [c]    │
- │     │                                      │             │  for headlines.          │
- +─────+──────────────────────────────────────+─────────────+──────────────────────────+
- │ c   │Heading and Initial Black             │2-line       │Used chiefly with [b],    │
- │     │                                      │ English     │  also with [d], [e], [f].│
- +─────+───────────────────────────+──────────+─────────────+──────────────────────────+
- │ d   │Small lower-case Dutch     │With      │Pica         │Used chiefly with [e],    │
- │     │   Black                   │one       │             │  also with [f] and [g].  │
- +─────+───────────────────────────+set       +─────────────+──────────────────────────+
- │ e   │Large lower-case Dutch     │of        │Pica         │Used chiefly with [d],    │
- │     │   Black                   │Capitals. │             │  also with [f].          │
- +─────+───────────────────────────+──────────+─────────────+──────────────────────────+
- │ f   │Small lower-case Caxtonian │With      │Great Primer.│Used chiefly with [g],    │
- │     │   Black                   │one       │             │  also with [d] and [e].  │
- +─────+───────────────────────────+set       +─────────────+──────────────────────────+
- │ g   │Large lower-case Caxtonian │of        │Great Primer.│Used chiefly with [f],    │
- │     │   Black                   │Capitals. │             │  also with [d].          │
- +─────+───────────────────────────+──────────+─────────────+──────────────────────────+
-
-The first Oxford press disappeared altogether in 1486, between which
-date and 1517 no work is known to have issued. In 1517 John Scolar,
-another German, printed a few small works very neatly in English and
-Brevier black-letter, with a Great Primer for titles, and made use
-of the University arms for the first time, either on his titles or
-last pages. Scolar’s press, in turn, came to an abrupt standstill in
-1519, after which, in common with the other provincial presses of the
-country, printing at Oxford remained dormant for upwards of half a
-century.[232]
-
-It was not till the year 1585 that the art was actively resumed.
-In that {140} year the Earl of Leicester presented a press, and
-the University made a grant of £100. The Star Chamber Decree of
-the following year formally allowed (with rigid restrictions) the
-establishment of the new press, and under Joseph Barnes, the first
-University printer, it rapidly rose to prominence. It appears from
-the outset to have been well provided with types, many of them of
-a beautiful cut, particularly those of the Greek character. The
-_Chrysostomi Homiliæ_, printed by Barnes in 1586, and the _Herodotus_
-of 1591, were both noticeable for the excellence of their letter. The
-former is said to be the first Greek book printed at the University.
-
-The reputation of the University for its Greek types was enhanced
-some years afterwards by the acquisition of the letter in which the
-magnificent edition of _St. Chrysostom_[233] had been printed at Eton
-by John Norton in 1610–13, at the charge and under the direction of
-Sir Henry Savile.[234] This work, one of the most splendid examples of
-Greek printing in this country, is said to have cost its author £8,000.
-Respecting the origin of the types, Bagford says, in one of his MSS.:
-“Sir Henry Savile, meditating an edition of _St. Chrysostom_, prepared
-a fount of curious Greek letters, which in those days were called the
-_Silver letter_, not being cast of silver, but for the beauty of the
-letter so called.” Beloe,[235] on the other hand, considers that the
-types were procured from abroad. “They certainly resemble,” he says,
-“those of Stephens, and the other Paris printers, as well as those of
-the Wechels at Frankfort, at a subsequent period. From the Wechels
-indeed they are said by some to have been procured, but this fact I
-have not been able to ascertain. It appears beyond a doubt, from a
-passage in one of the Epistles of Isaac Casaubon, that they were cast
-abroad.”[236]
-
-The fine execution of this work obtained for Norton the distinction
-accorded to Robert Estienne of Paris by Francis I, of “Regius in Græcis
-Typographus.” Scarcely less high an honour had been paid to this
-printer in 1594, when we are told Paul Estienne (son of Henri Estienne
-II) visiting England, and appreciating his merit, permitted him to make
-use of the device of the Estiennes.[237]
-
-[Illustration: 28. Greek fount of the Eton _Chrysostom_, 1613.]
-
-[Illustration: 29. From the _Catena on Job_. 1637.]
-
-At what date these famous Greek types came into the possession of the
-{141} Oxford University Press it is impossible to determine. It was
-probably not till after some years of rough usage following Sir Henry
-Savile’s death; as Evelyn,[238] in one of his letters, after lamenting
-the loss of Sir Simon Fanshaw’s medals, says that “they were after
-his decease thrown about the house for children to play at counter
-with, as were those elegant types of Sir Henry Savill’s at Eton, which
-that learned knight procured with great cost for his edition of _St.
-Chrysostom_.”
-
-The types, of which we give a specimen (No. 28), were of a Great
-Primer body, very elegantly and regularly cut, with the usual numerous
-ligatures and abbreviations which characterised the Greek typography of
-that period.
-
-During the early part of the seventeenth century the Oxford Greek types
-do not appear to have been extensively used; and in 1632 we find it
-recorded that Lord Pembroke, the then Chancellor of the University
-of Cambridge,[239] applied for and obtained the loan of one of these
-founts for the purpose of printing the _Greek Testament_,[240] which
-was issued in that year by Buck, the University printer, and which,
-says Beloe,[241] “has ever {142} been admired for the perspicuity of
-its types as well as for the accuracy of its typography.”
-
-The reason urged for this loan was, that the Oxford press made no
-use of the Greek type itself. This reproach was, however, shortly
-afterwards removed by the bounty and interest of Archbishop Laud, whose
-generous encouragement of printing at Oxford must always entitle him to
-an honourable mention in any record of the history of the art.
-
-Laud, at that time Bishop of London, was appointed Chancellor of the
-University in 1630, and in the same year projected, among other acts of
-bounty, two important measures for the advancement of printing at that
-Academy. These were:―
-
-     “To procure a large Charter for Oxford, to confirm their Ancient
-     Privileges, and obtain new for them, as large as those of
-     Cambridge, which they had got since Henry the 8th and Oxford had
-     not.
-
-     “To set up a Greek press in London and Oxford, for printing the
-     Library-Manuscripts, and to get both Letters and Matrices.”[242]
-
-The former of these projects was carried out in 1632, when Charles
-I granted a charter to Oxford, giving her equal privileges with the
-sister University, authorising her to employ three printers, and
-securing to her a right for a certain term over all books issued. In
-forwarding this charter to the University, Laud mentioned by name two
-of the printers—King and Motteshead, but urged Convocation as yet to
-nominate no one as the third, in order, he said, “that you may get an
-able man, if it be possible, for the printing of Greek when you shall
-be ready for it.”[243]
-
-This is clearly an allusion to the Bishop’s other project, which,
-however, was only partially fulfilled during his lifetime.
-
-A Greek press was established in London in 1632, under peculiar
-circumstances, which, though not strictly bearing upon the history
-of letter-founding at Oxford, we may here refer to as an interesting
-episode in the history of English printing.
-
-Robert Barker and Martin Lucas, the King’s printers in London, were
-arraigned before the High Commission Court for a scandalous error in a
-_Bible_[244] printed by them in 1631, whereby the seventh commandment
-was made to read, “Thou shalt commit adultery.” For this grave
-offence, the impression (which numbered 1,000 copies and was full of
-typographical errors) was called in, and {143} the printers were
-ordered to pay a fine of £300.[245] This sum of money Laud received the
-royal authority to expend in the purchase of Greek types, according to
-the terms of the following letter addressed to him by the King, dated
-January 13, 1633:
-
-     “Most reverend father in God, right trusty and right entirely
-     beloved counsellor, we greet you well. Whereas our servant,
-     Patrick Young, keeper of our library, hath lately with great
-     industry and care published in print an epistle of Clemens
-     Romanus[246] in Greek and Latin, which was never printed before,
-     and has done this to the benefit of the church, and our great
-     honour, the manuscript, by which he printed it, being in our
-     library; and whereas we further understand that the right reverend
-     father in God, Augustin,[247] now Bishop of Peterborough, and
-     our said servant Patrick Young, are resolved for to make ready
-     for the press one or more Greek copies every year, by such
-     manuscripts as are either in our library or in the libraries of
-     our universities of Oxford and Cambridge, or elsewhere, if there
-     were Greek presses, matrices, and mony ready for the work which
-     pains of theirs will tend to the great honour of our self, this
-     church, and nation; we have thought good to give them all possible
-     encouragement herein, and do therefore first require you, that
-     the fine lately imposed by our high commissioners upon Robert
-     Barker and Martin Lucas for base and corrupt printing of the
-     Bible, being the sum of three hundred pounds, be converted to the
-     present buying of such and so many Greek letters and matrices, as
-     shall be by you thought fit for this great and honourable work.
-     And our further will and pleasure is that the said Robert Barker
-     and Martin Lucas, our patentees for printing, which either now
-     are, or shall hereafter succeed them, being great gainers by that
-     patent, which they hold under us, shall at their own proper costs
-     and charges of ink, paper, and workmanship, print, or cause to be
-     printed in Greek, or Greek and Latin, one such volume in a year,
-     be it bigger or less, as the right reverend father aforesaid, or
-     our servant Patrick Young or any other of our learned subjects
-     shall provide and make ready for the press, and shall print such a
-     number of each copy, as yourself, or your successors for the time
-     being, shall think fit; and all this they shall perform, whether
-     the said copy or copies be to be printed in London, Oxford, or
-     Cambridge, which shall be left free to their judgments and desire,
-     whose pains prepare the copy or copies for the press. And last
-     of all, our further will and pleasure is, that the aforesaid
-     patentees do without any delay procure such, and so many matrices
-     and letters, as aforesaid, that no hindrance be put upon the work,
-     and that they be at the charge of printing in the mean time with
-     such letters, as are already in the kingdom. Of all which or any
-     other necessary circumstances for the furtherance of this work,
-     we shall not fail to call for a strict account from you; and
-     therefore do look that you call for as strict a one from them:
-     provided always, that it shall be, and remain in your power to
-     mitigate their fine aforesaid, according as you shall see their
-     diligence and care for the advancing of this work.”[248]
-
-This letter Laud forwarded to the printers, who in reply, “accounted
-it so {144} great a happiness” to receive the royal commands in the
-matter, and stated that they were already labouring “to find out
-the best fount and matrices, and to purchase the same at what cost
-soever.”[249]
-
-The new Greek press, thus furnished, was in due time settled in London,
-at the King’s Printing House in Blackfriars, and from its types was
-printed, in 1637, Patrick Young’s _Catena on Job_,[250] “in as curious
-a letter,” says Bagford, “as any book extant.” In this interesting
-work, from which we here give a facsimile, two Greek founts are used,
-the larger being a handsome Double Pica,[251] not dissimilar to that in
-which Estienne’s great folio _Greek Testament_ was printed in Paris.
-The smaller fount, a Great Primer, bears so close a resemblance to the
-fount used in the Eton _Chrysostom_, that it is probable it may have
-been cast abroad from the same matrices. The Double Pica Roman and
-Italic used in the work are the same as those employed by Day in the
-preface to the _Ælfredi_ in 1574; the matrices having apparently been
-secured by the Archbishop for the use of the Royal press.
-
-Although Laud’s project for the establishment of a Greek press at
-Oxford, similar to that in London, was not fully realised, his efforts
-on behalf of the University and its press continued unabated. In
-1635 he presented his fine collection of Oriental Manuscripts, and
-established a Chair of Arabic, which greatly encouraged and promoted
-the study and printing of works in that and other Eastern languages.
-This favour he followed up with a gift of Oriental types, which is
-alluded to in a letter from John Greaves to Dr. Peter Turner, dated
-1637.[252] Greaves approves of the bargain formed by the proctor’s
-brother, Mr. Browne, for the purchase at Leyden[253] of some printing
-types, of probably an {145} Eastern language. The only danger is that
-some are wanting. Mr. Bedwell, when he bought Raphelengius’s Arabic
-press, found some characters defective, which he was never able to get
-supplied. The writer hopes that, “now that Archbishop Laud has taken
-such care for furnishing the University with all sorts of types, and
-procuring so many choice MSS. of the Oriental languages, that some will
-endeavour to make true use of his noble intentions, and publish some of
-those incomparable pieces of the East, not inferior to the best of the
-Greeks or Latins.”[254]
-
-In a letter addressed May 5, 1637, to the Vice-Chancellor, the
-Archbishop himself refers to these recent acquisitions in the following
-terms:―
-
-     “You are now upon a very good way towards the setting up of a
-     learned press; and I like your proposal well to keep your matrices
-     and your letters you have gotten, safe, and in the mean time to
-     provide all other necessaries, that so you may be ready for that
-     work.”[255]
-
-One of the last recorded services of Laud to the Oxford press was
-the recovery, in 1639, of the Savile Greek Types, which had been
-clandestinely abstracted by Turner, the University printer. His
-letter on the subject is characteristic of the fatherly care which he
-exercised over the interests of the Oxford Press:
-
-     “I am informed,” he says, “that under pretence of printing a Greek
-     _Chronologer_ . . . Turner, the printer . . . got into his hands
-     all Sir H. Savil’s Greek letters amounting to a great number,
-     some of them scarce worn. It was in Dr. Pink’s time. I pray speak
-     with the Dr. about it and call Turner to an account before the
-     heads what’s become of them. I doubt Turner’s poverty and knavery
-     together hath made avoidance of them.” Oct. 18, 1639.
-
-     “Feb 13th. Turner brought back the Greek letters, and delivered
-     them by weight as he received them: there were not any wanting. He
-     came very unwillingly to it.”[256]
-
-This celebrated Greek fount does not appear to have been much used
-after this, and no trace of it now remains at the University press.[257]
-
-Unfortunately for the cause of learning at Oxford, as elsewhere, the
-political troubles of the following years abruptly terminated Laud’s
-services in that {146} direction, and suspended for a time all further
-progress in the development of the press.[258]
-
-A revival took place during the Commonwealth, on the appointment, in
-1658, of Dr. Samuel Clarke, the learned Orientalist (who a short time
-previously had assisted in the correction of Walton’s _Polyglot_), as
-Archi-Typographus. This responsible functionary was “a person,” so the
-University Statute ordained, “set over the printers, who shall be well
-skilled in the Greek and Latin tongues, and in philological studies,
-. . whose office is to supervise and look after the business of
-Printing, and to provide at the University expence, all paper, presses,
-types, etc., to prescribe the module of the letter, the quality of
-the paper, and the size of the margins, when any book is printed at
-the cost of the University, and also to correct the errors of the
-press.”[259] This office was, by the same Statute, annexed to that of
-superior law bedel, as having less business than the rest.
-
-After the Restoration, printing at Oxford made still greater advances,
-chiefly through the instrumentality and munificence of Dr. John Fell.
-
-This eminent scholar and theologian was born in the year 1625. He
-entered as a student of Christ Church at the age of eleven, and in 1643
-bore arms in the civil wars for the king in the garrison of Oxford.
-At the Restoration he received ecclesiastical promotion, and in 1666
-became Vice-Chancellor of the University.[260] In this capacity he
-exerted himself strenuously to continue the work begun by Laud for
-the advancement of learning and encouragement of printing at the
-University;[261] and about 1667 presented a complete typefoundry,
-consisting of the punches and matrices of twenty founts of Roman,
-Italic, Orientals, Saxons, Black and other letter, besides moulds and
-all the apparatus and utensils necessary for a complete printing office.
-
-[Illustration: 34, 35, _Hebrew._; 36, _Coptic._; 37, _Arabic._; 38,
-_Syriac._
-
-34 to 38. Oriental Founts presented to the Oxford Press by Dr. Fell in
-1667. (From the original matrices.)]
-
-The extent of this noble gift, the importance of which can only be
-estimated {148} by recalling the low condition of letter-founding
-in England at the time, will best appear by the following Inventory,
-published by the University in 1695:
-
-
-_An Account of the Matrices, Puncheons, etc., given by Bishop Fell to
-the University of Oxford_[262]:―
-
-
-34 BOXES OF MATRICES.
-
-  1. Great Primer Roman                     121
-  2. Double Pica Roman                      123
-  3. Pica Greek                             513
-  4. Augustin Greek                         353
-  5. Long Primer Greek                      354
-  6. Great Primer Greek                     456
-  7. Long Primer Italic                     121
-  8. Small Pica Italic                      142
-  9. Long Primer Roman                      155
- 10. Pica Roman                             156
- 11. Brevier Roman                          156
- 12. Great Brass Roman Caps.                 40
- 13. Augustin Roman                         142
- 14. English Black                           73
- 15. Small Pica Roman                       142
- 16. Coptick                                135
- 17. Augustin Italic                        114
- 18. Pica Italic                            130
- 19. Nonpareil Italic                       121
- 20. Nonpareil Roman                        134
- 21. Paragon Greek                         │   │
- 22. Paragon Greek                         │445│
- 23. Syriac                                 121
- 24. Double Pica Italic                      87
- 25. Great Canon                            204
- 26. Brevier Italic                         134
- 27. Music                                   70
- 28. [Pica Roman and Italic, bought by     │   │
-       the University, an. 1692.] Roman,   │   │
-       93; Italic, 78; Small Caps., not    │   │
-       justified, 27; in all               │198│
- 28.  Great Primer Italic                    87
- 29. Astronomical Signs, Pica                25
- 29. Samaritan, English                      30
- 29. Mathematical Marks                      21
- 29. Cancelled Figures, Pica                 10
- 29. Brasses, Long Primer                    16
- 29. Mathematical Marks, Small Pica          10
- 30. Hebrew, Great and Small               │292│
- 31. Hebrew, Great and Small               │254│
- 31. Armenian                                 7
- 32. Arabic, Syriac, and Hebrew             228
- 32. Arabic Figures                          10
- 33. Sclavonian, Great Primer               110
-     A paper of Flower Matrices.
-     A paper of Great Primer Roman and
-       Italic, cut by Mr. Nichols—not good.
-     New Music Puncheons and Matrices,
-       cut by Peter Walpergen.
-
-
-PUNCHEONS SEALED UP IN AN EARTHEN POT.
-
- For the Double Pica Roman and Italic, and some for the Double Pica Greek.
- For the Great Brass Roman Capitals.
- For the Black, English.
- For the Coptick.
- For the Syriack.
- For the Samaritan.
- For the Cannon Roman and Italic.
- For the Astronomical Signs and Figures.
- [For the Pica Roman and Italic.]
- [For the Sclavonian also there were 109 punches.]
-
-
-UTENSILS FOR PRINTING.
-
-   1 small anvil.
-   4 hammers.
-  28 moulds.
-   1 engine to make brass rules with a plane.
-   1 wyer sieve.
- 332 dressing sticks. {149}
-   2 great vices.
-   2 hand vices.
-  21 great files.
-   1 pair of sheers.
-   2 iron pots.
-   4 dressing planes.
-   3 dressing blocks.
-   3 plyers.
-   2 rubbing stones.
-   1 grinding stone.
-  26 copper borders.
-  32 copper letters.
-   7 printing presses, with all things belonging to them.
-   2 rolling presses, with all things necessary to them.
- 132 upper and lower cases.
-   5 pair of capital cases.
-   5 pair of fund cases.
-  13 pair of Greek cases.
-  50 chases.
-
-Dr. Fell supplemented this gift by a further signal service, which is
-thus recorded by Bagford:―
-
-“The good Bishop provided from Holland the choicest Puncheons,[263]
-Matrices, etc., with all manner of Types that could be had, as also
-a Letter Founder, a Dutchman by Birth, who had Served the States in
-the same quality at Batavia, in the East Indies. He was an excellent
-workman, and succeeded by his son, who has been since succeeded by Mr.
-Andrews.”[264]
-
-The Dutchman here spoken of was Walpergen, who, as will be seen later
-on, preceded Sylvester Andrews as typefounder in Oxford.
-
-Fell was a zealous defender of the privileges enjoyed by his
-University, and in 1679 drew up a report setting forth its claims in
-the matter of printing.[265] In this report he mentions that, in the
-year 1672, several members of the University, himself included, taking
-into consideration the “low estate of the manufacture of printing” in
-the kingdom, and particularly in the University, “took upon themselves
-the charges of the press in the said University, and at the expence of
-above four thousand pounds furnisht from Germany, France and Holland,
-an Imprimery, with all the necessaries thereof, and pursued the
-undertaking so vigorously, as in the short compass of time which hath
-since intervened, to have printed many considerable books in Hebrew,
-Greek and Latin, as well as in English; both for their matter and
-elegance of paper and letter, very satisfactory to the learned abroad
-and at home.”
-
-It is probable that the transaction here recorded constituted a portion
-of what became known as Dr. Fell’s gift to the University; a series
-of benefactions which doubtless extended over several years—from
-1667 to 1672—and included, when complete, the whole of the types and
-implements named in the above Inventory. Mores, who is responsible for
-the date, 1667, leads us to suppose {150} that the gift was completed
-in that year; but he gives no authority; and the absence of any second
-inventory of the acquisitions made in 1672, points strongly to the
-conclusion that the two transactions were part of the same gift.
-
-In 1675 Dr. Fell was created Bishop of Oxford, and continued his active
-services to the cause of learning until the time of his death in 1686,
-having, as Anthony à Wood remarks, “advanced the learned press, and
-improved the manufacture of printing in Oxford in such manner as it
-had been designed before by that public spirited person, Dr. Laud,
-Archbishop of Canterbury.”[266]
-
-In 1677 the University press was further enriched by another important
-gift of type and matrices, presented by Mr. Francis Junius.
-
-This learned scholar, whom Rowe Mores styles the restorer—if not more
-than the restorer—of the knowledge of the Septentrional languages in
-England, was a German, the son of Francis Junius, the theologist,
-of Heidelberg. He resided for some time in England as librarian to
-the Earl of Arundel, during which time he zealously prosecuted his
-philological studies. In 1654, being then at Amsterdam, he furnished
-himself with a set of Saxon punches and matrices, respecting which he
-wrote as follows to Selden in that year[267]:―“In the meanwhile have I
-here Anglo-Saxonic types (I know not whether you call them puncheons)
-a cutting, and I hope they will be matriculated and cast within the
-space of seven or eight weeks at the furthest. As soon as they come
-I will send you some little specimen of them to the end I might know
-how they will be liked in England.” In addition to this Saxon, Junius
-also obtained founts of Gothic, Runic, Danish, Icelandic, Greek, Roman,
-Italic, and a pretty Black, all cast on Pica body. These he brought
-over with him to this country. Of the Gothic, Runic, Saxon, and Greek
-he certainly brought punches and matrices as well as types, as these
-are to this day preserved at Oxford, and there is reason to suppose all
-his founts were similarly complete.[268]
-
-Junius, who had spent much time in his younger years at Oxford for the
-{151} sake of study, libraries, and conversation, and had visited it
-frequently since, retired there at last in 1676, and executed a deed of
-gift whereby he presented his books in the Northern language and his
-punches and matrices to the University, the latter consisting of the
-following founts:―
-
- Pica Runic.
- Pica Gothic.
- Pica Anglo-Saxon.
- Pica Icelandic.
- Pica Danish.
- Pica Black.
- Pica Greek.
- Pica Roman.
- Pica Italic.
- English Swedish.
-
-Junius died the following year at Windsor, at the great age of ninety.
-A quaint tribute to his memory exists in a note from Dr. (afterwards
-Bishop) Nicolson, who, writing to Thwaites in May 1697, says, “My
-acquaintance with that worthy personage was very short, and in his last
-days, when he was near ninety . . . . alas! I can remember little more
-of him than that he was very kind and communicative, very good, and
-very old.”[269]
-
-The custodians of his valuable gift scarcely appear at first to have
-been impressed with an adequate sense of their responsibility, for we
-find that the Junian punches and matrices disappeared shortly after
-their presentation, and remained lost for a considerable period, when
-they were discovered by chance under the circumstances thus humorously
-narrated in a letter from Dr. (afterwards Bishop) Tanner, dated All
-Souls College, Aug. 10, 1697, and addressed to Dr. Charlett:―
-
-     “Mr. Thwaites and John Hall took the courage last week to go to
-     Dr. Hyde about Junius’ matrices and punchions which he gave with
-     his books to the University. These, nobody knew where they were,
-     till Mr. Wanley discovered some of them in a hole in Dr. Hyde’s
-     study. But, upon Mr. Hall’s asking, Dr. Hyde knew nothing of
-     them; but at last told him he thought he had some punchions about
-     his study, but did not know how they come there; and presently
-     produces a small box-full, and taking out one, he pores upon
-     it, and at last wisely tells them that these could not be what
-     they looked after, for they were Ethiopic[270]: but Mr. Thwaites
-     desiring a sight of them, found that which he looked on to be
-     Gothic and Runic punchions, which they took away with them,
-     and a whole oyster-barrel full of old Greek letter, which they
-     discovered in another hole.”[271] {152}
-
-[Illustration: 32. Pica Roman and Italic presented to the Oxford Press
-by Dr. Fell, 1667.
-
-33. Pica Roman and Italic bought by the University in 1692.
-
-(From the _Specimen_ of 1692.)]
-
-{153}
-
-The combined gifts of Dr. Fell and Francis Junius laid the foundation
-of the Oxford University foundry as it now exists. Even before the
-close of the century it had been augmented by numerous small additions
-and purchases. About the time of Fell’s gift the press received a
-second fount of Coptic, presented by Witsen, the Burgomaster of
-Amsterdam.[272] In 1694, Dr. Charlett, writing to Archbishop Tenison,
-refers to the founts of Slavonic and Armenian types, “very elegantly
-cut, which M. Ludolfus is bringing to Oxford from Holland.” The
-University also purchased matrices of Pica-Roman and Italic in 1692,
-besides adding to its stock some indifferent Great Primer matrices by
-Nichols, and music cut by the Oxford founder, Walpergen.[273]
-
-[Illustration: 30. The Sheldonian Theatre. (From an old wood block in
-the Oxford University Press.)]
-
-About the year 1669 the foundry, which, together with the press, had
-been carried on in hired premises provided by Fell, was transferred
-to the basement of the then new Sheldonian Theatre.[274] Here it was
-that, in the year 1693, appeared the earliest known “_Specimen of the
-several Sorts of Letter given to the University by Dr. John Fell, late
-Lord Bishop of Oxford, to which is added the Letter given_ {154} _by
-Mr. F. Junius_.” A manuscript note on the title-page of the Bodleian
-copy of this interesting specimen adds “with puncheons and matrices
-bought of others.” These additions, besides those already noted,
-include an Ethiopic “bought of Dr. Bernard,” and some supplementary
-Arabic sorts and Syriac vowels “bought by Dr. Hyde.” The _Specimen_
-consists of eighteen leaves.
-
-[Illustration: 39. Ethiopic, purchased by the Oxford Press in 1692.
-(From the original matrices.)]
-
-In 1695 a fuller specimen (of twenty-four leaves) appeared with the
-same title, and included the Junian Danish, a few later acquisitions,
-such as the new Slavonic, and a fount of spoon-shaped music cut
-by Walpergen. To this document was also appended the inventory of
-“utensils for printing,” already given in the account of Dr. Fell’s
-gift.
-
-Of the estimation in which this specimen was held at the time, the
-following eulogium of Bagford may be taken as testimony. He says: “For
-the satisfaction of the curious, I shall give a catalogue and specimen
-of the letter presented by Dr. Fell, the like of which cannot be shown
-by any of the great printing houses in Europe, which may be seen by
-that printed in 1695, although it may fall into the hands of foreign
-printers of Holland, Flanders, Italy, Germany and France, they must
-confess that they had not seen the like, both for the great beauty and
-goodness of the letters.”[275]
-
-Apart from its value as a specimen of the Oxford foundry, considerable
-interest attaches to the specimen of 1695, as being the first
-polyglot production in this country in which a stated portion of the
-Scripture—the Lord’s Prayer—appears in as many as forty-five different
-forms and nineteen different languages. In this respect, however,
-it was shortly afterward eclipsed by a polyglot _Oratio Dominica_,
-published in London in 1700,[276] exhibiting the Lord’s Prayer in
-upwards of one hundred versions. This may, to some extent, be regarded
-as a specimen of the University press, as the two principal sheets
-of the work were printed at Oxford containing the prayer in the
-Hebrew, Samaritan, Chaldee, {155} Syriac, Coptic, Ethiopic, Amharic,
-Arabic, Persic, Turkish, Tartaric, Malayan, Gothic, Runic, Icelandic
-and Sclavonic, of the University foundry.[277] These constitute the
-most interesting part of the collection, as the remaining versions,
-requiring special characters, are produced chiefly in copperplate.[278]
-Rowe Mores points with some pride to this specimen as showing how far
-superior we were at that time to our neighbours abroad in the variety
-of our metal types.[279]
-
-Specimens of Dr. Fell’s and Junius’ gifts, and an account of the
-foundry with its recent acquisitions, were frequently printed in
-the early part of the eighteenth century. Rowe Mores mentions four
-between 1695 and 1706. In the latter year the document had grown to
-twenty-five leaves, and included a Great Primer and a two-line Great
-Primer, purchased in 1701, and other additions. The inventory mentions
-twenty-eight moulds as being the number still in use in the foundry,
-and seven presses in the printing-house. It also distinguishes certain
-types as being of the Dutch height, a discrepancy to which, in all
-probability, may be traced that unfortunate anomaly of “Bible height”
-and “Classical height,” which to this day hampers the operations of a
-foundry where, in perpetuation of a blunder made two centuries ago,
-types are still cast to two different heights, agreeing neither with
-one another nor with any British standard.[280]
-
-A later specimen, without date, was issued in broadside form, in which
-the old title gave place to the more simple one of _A Specimen of the
-several Sorts of Letters in the University Printing House, Oxford_. In
-this specimen, while including all the recent acquisitions, several
-of the older and less sightly founts comprised in Dr. Fell’s gift are
-discarded. {156}
-
-In the year 1712 the University press was removed from the Sheldonian
-Theatre to occupy its new quarters in the Clarendon Printing House,
-erected for its accommodation—a building considered at the time one of
-the finest printing-houses in the world.[281]
-
-[Illustration: 41. The Clarendon Press. (From an old wood block at the
-Oxford University Press.)]
-
-The encouragement given by Junius to the study of the Northern
-languages resulted in the production of many important works in that
-branch of literature at the University press during the early years
-of the eighteenth century. Foremost among these was Dr. Hickes’
-_Thesaurus_,[282] printed in 1703–5, a learned and elaborate work,
-in which the types presented by Junius are many of them displayed to
-advantage.
-
-Rowe Mores, for the honour of his University in general, and his own
-college in particular, gives a list of the famous “Saxonists” of Dr.
-Hickes’ time. Amongst these, not the least eminent was Miss Elizabeth
-Elstob, who published in 1715 an Anglo-Saxon Grammar, printed in types,
-which, as they subsequently found their way into the Oxford foundry,
-call for a particular mention here.
-
-William Bowyer the younger had printed in 1709 a work entitled _An
-English-Saxon Homily on the Birth-Day of St. Gregory_, translated
-by the Rev. William Elstob of Oxford and his sister, a young lady
-of great industry and {157} learning, whom Mores describes as the
-“indefessa comes” of her brother’s studies, and a female student of the
-University.[283] In 1712, in the same types, was issued a specimen of
-Miss Elstob’s _Anglo-Saxon Grammar_.
-
-Before, however, this work could be completed, Bowyer’s printing-house
-was destroyed by fire, and his types, including the Anglo-Saxon,
-perished in the flames. This disastrous event was the occasion for
-a remarkable display of sympathy on the part of Mr. Bowyer’s many
-friends, both in and out of the profession, which found expression in
-several forms,[284] one of the most practical of which was the offer of
-Lord Chief Justice Parker (afterwards Earl of Macclesfield) to be at
-the cost of cutting a new set of Anglo-Saxon types for Miss Elstob’s
-Grammar. The drawings for the new types were made, at Lord Parker’s
-request, by Humphrey Wanley,[285] the eminent Saxonist, and the cutting
-of the punches entrusted to Robert Andrews the letter-founder, who,
-however, proved unequal to the task. “I did what was required,” Mr.
-Wanley wrote, “in the most exact and able manner that I could in all
-respects. But it signified little; for 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. This appears by Mrs.
-Elstob’s _Saxon Grammar_.”[286] {158}
-
-Poor as the letter-founder’s performance was, the Grammar duly
-appeared in the new letter in 1715,[287] and the punches, matrices and
-types remained in the possession of Mr. Bowyer and his son, being used
-occasionally in some of their subsequent works, though not in any other
-of which Miss Elstob was the authoress.[288] In 1753 they were sent by
-William Bowyer the younger, to Rowe Mores, with the following letter,
-for presentation to the University of Oxford:―
-
-     _4th December, 1753._
-
-     “To EDWARD ROWE MORES, Esq., at Low Leyton.
-
-     “Sir,—I make bold to transmit to Oxford, through your hands, the
-     Saxon punches and matrices, which you were pleased to intimate
-     would not be unacceptable to that learned body. It would be a
-     great satisfaction to me, if I could by this means perpetuate the
-     munificence of the noble donor, to whom I am originally indebted
-     for them, the late Lord Chief Justice Parker, afterwards Earl of
-     Macclesfield, who, among the numerous benefactors which my father
-     met with, after his house was burned in 1712–13, was so good as
-     to procure those types to be cut, to enable him to print Mrs.
-     Elstob’s _Saxon Grammar_. England had not then the advantage of
-     such an artist in letter cutting as has since arisen,[289] and it
-     is to be lamented, that the execution of these is not equal to
-     the intention of the noble donor, and, I now add, to the place in
-     which they are to be reposited. However, I esteem it a peculiar
-     happiness, that as my father received them from a great patron of
-     learning, his son consigns them to the greatest seminary of it,
-     and that he is, Sir, your most obliged friend, and humble Servant,
-
-     “W. BOWYER.”
-
-The adventures of this epistle and the gift which accompanied it,
-before reaching their destination, are almost romantic. For some
-reason which does not appear, Rowe Mores, on receipt of the punches
-and matrices, instead of transmitting them to Oxford, took them to
-Mr. Caslon’s foundry to be repaired and rendered more fit for use.
-Mr. Caslon having kept them four or five years without touching them,
-Mr. Bowyer removed them from his custody, and in 1758 entrusted them
-to Mr. Cottrell, from whom in the same year he received them again,
-carefully “fitted up” and ready for use, together with 15 lbs. of
-letter cast {159} from the matrices. In this condition the whole was
-again consigned by Mr. Bowyer to Rowe Mores, together with a copy of
-Miss Elstob’s _Grammar_, for transmission to Oxford. On hearing, two
-years later, that his gift had never reached the University, he made
-inquiries of Mores, from whom he received a reply that “the punches
-and matrices were very safe at his house,” awaiting an opportunity to
-be forwarded to their destination. This opportunity does not appear
-to have occurred for three years longer, when, in October, 1764, the
-gift was finally deposited at Oxford. Its formal acknowledgment was,
-however, delayed till August 1778, exactly a quarter of a century after
-its presentation.[290]
-
-The correspondence touching this transaction, amusing as it is, throws
-a curious light on Rowe Mores’ character for exactitude, and it is
-doubtful whether the publication of Mr. Bowyer’s first letter in the
-_Dissertation_,[291] together with a few flattering compliments, was
-an adequate atonement for the injury done to that gentleman by the
-unwarrantable detention of his gift. Nor does the title under which the
-gift was permitted to appear in the University specimen, suppressing
-as it does all mention of the real donor’s name, and giving the entire
-honour to the dilatory go-between, reflect any credit on the hero of
-the transaction. The entry appears thus: “Characteres Anglo-Saxonici
-per eruditam fœminam Eliz. Elstob ad fidem codd. mss. delineati; quorum
-tam instrumentis cusoriis quam matricibus Univ. donari curavit E. R. M.
-e Collegio Regin., A.M. 1753.
-
- “Cusoria majuscula 42 (desunt [*AT] et Þ)
-  Matrices majusculæ 44.
-  Cusoria minuscula 37 (desunt e et ⁊)
-  Matrices minusculæ 39.”
-
-It does not appear that these types were ever made use of at Oxford.
-The punches and matrices remain in the University press to this
-day.[292]
-
-Between the Broadside sheet following the specimen of 1706, and 1768,
-no specimen of the Oxford foundry occurs. There exists, however, in the
-works issuing from the Press during that period ample testimony to its
-activity. The proposal to print Dr. Mawer’s _Supplement to Walton’s
-Polyglot_, with its types, is evidence of the continued reputation of
-its “learned” founts; while such an admirable specimen of typography
-as Blackstone’s _Charter of the Forest_, printed in 1759,[293] affords
-proof that Oxford was not behindhand in that famous {160} revival
-of printing which received such impetus from the taste and genius of
-Baskerville.
-
-The Delegates of the Press had, indeed, so high an opinion of the
-talents of this famous artist, that they employed him in 1758 to cut
-a fount of Great Primer Greek type for a _Greek Testament_ shortly to
-be issued.[294] The performance was pronounced unsuccessful, but the
-Greek types duly appeared, together with numerous other acquisitions,
-including a Long Primer Syriac purchased from Caslon, in the _Specimen_
-of 1768–70.[295]
-
-Of this specimen Rowe Mores (who informs us that it was printed at
-the request of foreigners) falls foul as inaccurate. “The materials
-from which this account (_i.e._, his summary of the contents of the
-Foundry) is drawn,” he says, “are not so accurate as might have been
-expected from an Archi-typographus and the Curators of the Sheldonian.
-In excuse may be alleged that neither the Archi-typographus nor the
-Curators are Letter-founders; certainly that the matter has not been
-treated with that precision which in so learned a body should seem to
-be requisite. For one instance among others, which might be produced,
-take the Double Pica, Brevier and Nonpareil Hebrew, the only Hebrew
-types the University then had. They are two-line English, English and
-Long Primer. And this mistake has run through all the editions of the
-Oxford specimen, and in the last of 1770, the leanest and the worst of
-all, appears most glaringly. For this Brevier is placed immediately
-under Caslon’s Long Primer, a diversity sufficient one would think to
-show the blunder without the aid of a magnifier. The Nonpareil as it
-is called is omitted in this last specimen, and so are many other sets
-of matrices which have been given to the University, touching which
-enquiry should be made out of respect (at least) to the memory of the
-donors.”[296] {161}
-
-Another specimen appeared in 1786, in which more of the old founts
-are discarded in favour of more modern letters, among which are
-noticeable several Roman founts cast on a large body, to obviate the
-necessity of “leading”; including an English, cast for Mr. Richardson’s
-_Dictionary_. Almost all the “learned” founts presented by Fell and
-Junius are here shown, as well as a considerable number of borders and
-ornamental initials.
-
-In 1794 a still fuller specimen appeared, which included a Great Primer
-Greek, cut by Caslon, and several new titling letters. To this specimen
-is appended a detailed inventory, both of the punches and matrices at
-that time in the possession of the University, and of the quantity of
-type of various kinds in stock, with the utensils for printing.
-
-The following is a summary of the foreign and “learned” punches and
-matrices included in this catalogue:―
-
-
-PUNCHES.
-
- Anglo-Saxon                           79
- Arabic                                33
- Armenian                              65
- Black, English                        72
- Coptic, Pica                         116
- Gothic                                25
- Greek, Great Primer                  114
- Greek, Great Primer (Baskerville’s)  148
- Greek, Double Pica                   190
- Greek, 2-line English                 10
- Hebrew, with points                   20
- Music                                220
- Runic                                 24
- Samaritan, English                    28
- Saxon                                 21
- Slavonian                            106
- Syriac, English                       90
- Turkish, Persian, Malayan             47
-
-
-MATRICES.
-
- Arabic, Syriac and Hebrew              228
- Arabic figures                          10
- Anglo-Saxon                             83
- Armenian                                77
- Armenian                                 7
- Armenian                                 7
- Black, English                          73
- Coptic                                 135
- Coptic                                  27
- Ethiopic                               224
- Greek, Augustin (or English)           351
- Greek, Great Primer                    493
- Greek, Great Primer (Baskerville’s)    167
- Greek, Double Pica (bad)               239
- Greek, Paragon (Double Pica)           432
- Greek, Long Primer                     352
- Greek, 2-line English                   11
- Hebrew, large and small                230
- Hebrew, large and small                250
- Music                                  228
- Music                                   70
- Runic, Dutch, Saxon, Gothic and Greek   89
- Samaritan                               30
- Saxon, Small Pica, Long Primer, Pica    20
- Slavonic                               110
- Syriac, English                        120
- Syriac, vowels                           5
- Turkish, Persian, Malayan               47
- Welch                                   10
-
-Of the printing utensils, the following items will give an idea of the
-extent of the press at that date:― {162}
-
-
-CASES (FILLED WITH TYPE).
-
- Common cases            267
- Single cases and boxes   44
- Fount cases              26
- Long Greek cases         34
- Frames                   30
- Chases                  129
- Letter boards            37
- Presses                   5
- Proof press               1
-
-Of the presses, one is described as “mahogany, set up in the year
-1793,” and another as “on the new constitution which works with a
-lever, set up in 1793.”
-
-We have now brought our account of letter-founding at Oxford to the
-close of the last century. Its later history is of comparatively slight
-interest. The foundry still remains a part of the Press, and the
-reputation of the University for its oriental and learned founts has
-been maintained by numerous additions to its punches and matrices. Of
-such matters, however, in the absence of periodical general specimens,
-it is impossible to give particulars. The list of matrices given by
-Hansard in 1825 is entirely misleading, as he merely summarises the
-list taken by Mores from the _Specimen_ of 1768–70.
-
-We may, however, observe that at the present moment, under able
-management, the foundry is in active operation, and that the University
-Press possesses probably the largest collection of “Polyglot” matrices
-of any foundry in the kingdom.
-
-The famous gifts of Fell and Junius are now relegated to the relics of
-this venerable yet still flourishing foundry, where, in company with
-Baskerville’s Greek, Walpergen’s music and Miss Elstob’s Anglo-Saxon,
-they rest from their labours, and remain to this day the most
-interesting monuments our country possesses of the art and mystery of
-its early letter-founders.
-
-       *       *       *       *       *
-
-Appended is a list of the various specimens issued by the Oxford press
-from 1693 to 1794.―
-
-     1693. A specimen of the Several sorts of Letter given to the
-     University by Dr. John Fell, late Lord Bishop of Oxford. To which
-     is added, the Letter given by Mr. F. Junius. Oxford, printed at
-     the Theater, A.D. 1693. 8vo. . . . . (Bodl. C., i, 24, Art.)
-
-     1695. A specimen of the Several sorts of Letter given to the
-     University by Dr. John Fell, sometime Lord Bishop of Oxford. To
-     which is added the Letter given by Mr. F. Junius. Oxford, Printed
-     at the Theater, A.D. 1695. 8vo. . . . . (Bodl. Gough, Ox., 142; B.
-     M. Harl. MS. 1529.)
-
-     1706. A specimen of the Several sorts of Letters given to the
-     University by Dr. John Fell, sometime Lord Bishop of Oxford. To
-     which is added the Letter given by Mr. F. Junius, Oxford, Printed
-     at the Theater, A.D. 1706, 8vo. . . . . (Bodl. Gough, Ox., 142.)
-
-     No date. A specimen of the Several Sorts of Letters in the
-     University Printing House. Oxford. Broadside. . . . . (Bodl. C.,
-     i, 24, Art.)
-
-     No date. Characteres Anglo-Saxonici per eruditam fœminam
-     Eliz. Elstob ad fidem codd. {163} mss. delineati, quorum tam
-     instrumentis cusoriis quam matricibus Univ. donari curavit E. R.
-     M. e. collegio Regin. A.M. 1753. 8vo leaf. . . . . (W. B.)
-
-     1768–70. A specimen of the Several sorts of Printing Types
-     belonging to the University of Oxford at the Clarendon Printing
-     House, 1768 (together with New Letters purchased in the years
-     1768, 1769, 1770). Clarendon Press, Sept. 29, 1770. 8vo. . . . .
-     (Univ. Pr.)
-
-     1786. A specimen of the Several sorts of Printing Types belonging
-     to the University of Oxford at the Clarendon Printing House, 1786.
-     8vo. . . . . (Univ. Pr.)
-
-     1794. A specimen of the Several Sorts of Printing Types belonging
-     to the University of Oxford, at the Clarendon Printing House,
-     1794. 8vo. . . . . (W. B.)
-
-[Illustration]
-
-{164}
-
-[Illustration]
-
-
-
-
-CHAPTER VII.
-
-THE STAR CHAMBER FOUNDERS, AND THE LONDON POLYGLOT.
-
-
-Prior to 1637, letter-founding is not specifically mentioned as a
-distinct industry in any of the Public Documents. We are not on that
-account however, (as we have endeavoured to point out), to assume
-either that the restrictive provisions of previous enactments which
-regulated printing did not apply to letter-founding, or that, as a
-trade, it had no separate existence before that date. The divorce of
-letter-founding from printing was in all probability a long and gradual
-process; and although it would be difficult to fix any precise date to
-the completion of that process, we may yet infer from the fact that the
-Decree of 1586 (which includes by name almost every other branch of
-industry connected with printing) makes no mention of letter-founding,
-while the Decree of 1637 particularly names it, that between these two
-dates printers ceased generally to be their own letter-founders.
-
-As we have elsewhere noticed, the Stationers’ Company as early as 1597
-took cognisance of letter-founding as a distinct trade, when it called
-upon Benjamin Sympson to enter into a bond of £40 not to cast any
-letters or characters, or to deliver them, without previous notice to
-the master and wardens. And that there was a certain body of men known
-in the trade as “founders” owning the authority of the Stationers’
-Company in 1622, is evident {165} from the fact that in that year the
-Court called upon “the founders” to give bond to the Company not to
-deliver any fount of new letters without notice.
-
-It would be erroneous, therefore, to imagine that the Star Chamber
-Decree of 1637 in any sense created letter-founding as a distinct
-trade. Its purpose, as in the case of printing, was to restrict the
-number of those engaged in it, which had probably grown excessive under
-the milder regime of the Decree of 1586.
-
-In the curious little tract, to which allusion has already been made,
-entitled _The London Printer, his Lamentation_,[297] the author,
-writing in 1660, after highly commending the Decree of Elizabeth (23
-June, 1586), limiting the number of printers, says that about 1637,
-notwithstanding the above Decree, “printing and printers were grown to
-monstrous excess and exorbitant riot,” and that the law was infringed
-at all points. In this “monstrous excess and exorbitant riot,” it
-is highly probable that the letter-founders of the day figured. And
-it seems equally probable that John Grismand, Thomas Wright, Arthur
-Nicholls (or Nichols[298]) and Alexander Fifield, who were appointed by
-the Decree of 1637 as the four authorised founders, had already been
-founding types for several years, with or without the sanction of the
-authorities.
-
-In the Registers of the Stationers’ Company, the names both of John
-Grismand and Thomas Wright occur as publishers of certain works,
-the former in 1635, the latter in 1638; from which it would appear
-that both before and after 1637 they may have combined the trade of
-bookseller and printer with that of letter-founder.[299]
-
-And in another curious document, preserved among the Bagford
-collections, and entitled _The Brotherly Meeting of the Masters and
-Workmen Printers, began November 5, 1621; the first Sermon being on
-November 5, 1628_, {166} _and hath been continued by the Stewards,
-whose names follow in this Catalogue to this present third of May
-1681_,[300] the names of Thomas Wright, Arthur Nichols, and Alexander
-Fifield all appear as having served their Stewardship, although
-unfortunately the list does not assign dates to the respective terms of
-service.[301]
-
-In the lists of the Stationers’ Company, however, we find that the four
-founders took up their freedom in the following order: John Grisman
-(_sic_), December 2, 1616; Thomas Wright, May 7, 1627; Arthur Nicholls,
-December 3, 1632; and Alexander Fifield, July 20, 1635.[302]
-
-Respecting Wright and Fifield, after their nomination as Star Chamber
-founders history records nothing. It is probable that they continued to
-combine the callings of printer and founder, as John Grismand certainly
-appears to have done, for we find him named in a State Paper in 1649 as
-having on the 19th October of that year entered into a bond of £300,
-and given two sureties, not to print any seditious work.[303]
-
-Of Arthur Nicholls there remains a record of a more ample and
-satisfactory nature, which we are glad to lay before the reader (as we
-believe) for the first time, being undoubtedly one of the most valuable
-and interesting memorials of early English letter-founding which we
-possess.
-
-It appears that Nicholls, at the time of his nomination as Star
-Chamber founder in 1637, was also a candidate for the vacant place of
-printer at Oxford, at that time at the disposal of Archbishop Laud,
-who, as we have seen in the {167} preceding chapter, had been reserving
-it for a printer well versed in the Greek language. Nicholls, being
-unsuccessful in this matter, and driven by his straitened circumstances
-to seek some addition to his slender pittance as letter-founder
-thereupon made application to Laud to be admitted as a licensed
-master-printer in London, that so he might make use of his own type.
-His letter and the “Cause of Complaint” annexed are preserved among the
-State Papers,[304] and are so important that we make no apology for
-quoting them _in extenso_:
-
-     “_To the Right Reverend Father in God_, WILLIAM, LORD ARCHBISHOP
-     OF CANTERBURY, _his Grace, Primate and Metropolitane of all
-     England_.
-
-     “The humble peticion of Arthur Nicholls. Showeth unto your grace:
-
-     “That the said peticioner hath spent much tyme and paines in
-     cuttinge and foundinge of letters for divers of the printers in
-     London, and at this tyme hath greate store of letters ready cast
-     lying upon his hands, they refusing to take them from him att any
-     rate.
-
-     “Besides this his imployment of founding letters is of soe small
-     gaine that alone it will not mainteyne him and his familie but
-     that of necessitie hee must betake himself to some other course
-     whereby to be freed from extreame povertie, and utterly to quitt
-     himself of that, unless your Grace be pleased out of your wonted
-     goodness to comiserate his case.
-
-     “May it therefore please your Grace, since you have otherwise
-     determined to dispose of the printers place att Oxford, to give
-     him leave, for the better encouragement of that course wherein he
-     hath so long exercised himself, to bee a printer here in London,
-     That soe he may make use of his owne letters for the elegant
-     performance whereof hee doth promise to use his best care and
-     industry And ever to pray for your Grace’s honour and happinesse.”
-
-The “Cause of Complaint” gives a lively picture of the tribulations of
-letter-founders at that time:
-
-     “_The Cause of Complaint of_ ARTHUR NICHOLLS” (endorsed “_Mr.
-     Nicholls his reasons to be made printer_.”)
-
-     “The Complainant being the cutter and founder of Letters for
-     Printers is 3 quarter of a yeares time cuttinge the Punches and
-     Matrices belonginge to the castinge of one sorte of letters, which
-     are some 200 of a sorte, after which they are 6 weekes a castinge,
-     that done some 2 monthes tyme is required for triall of every
-     sorte, and then the Printers pay him what they themselves list;
-     thus he is necessitated to lay out much money and forebeare a long
-     tyme to little or noe benefitt.
-
-     “Likewise for the Greeke the Printers came unto him promisinge him
-     the doinge of all the common worke, which drewe him to doe 400
-     Mattrices and Punches for 80 _l._ which weare truly worth 150 _l._:
-
-     “Further they caused him to spend 5 weekes tyme in cutting the
-     letters for the small Bible, it beinge finished was approved for
-     the best in England, notwithstandinge they put him off aboute
-     it from tyme to tyme for 15 weekes till (as they pretended) Mr.
-     Patricke Yonge came out of the contry. {168}
-
-     “All which tyme he kept his servants standinge still, in regard
-     whereof he refused to doe it, except he might doe the common worke
-     likewise, when for feare of the displeasure of my lord his Grace,
-     they came to him agayne but told him that if they should lett him
-     have worke enough, he would growe to ritch.
-
-     “Albeit, of soe small benifitt hath his Art bine, that for 4
-     yeares worke and practice he hath not taken above 48 _l._, and had
-     it not bine for other imploymente he might have perrisht.
-
-     “He seeinge himself soe slightly regarded by them, was the rather
-     annimated to sell off the proffitablest of his worke thinking to
-     take some other businesse in hand, whereby to free himselfe from
-     want, being not able to subsist by workinge only for 2 or 3.
-
-     “Notwithstandinge his longe tyme spent in that Art, wherein he
-     hath brought up his sonne to bee soe expert and able that if it
-     please God to call him, the other is able exactly to performe
-     anythinge touchinge the same.
-
-     “Wherefore he requesteth my lorde Grace not to confine him to
-     these miserable uncertainties, but promiseth if he will bee
-     pleased to grant his peticion, he shall see more done in one yeare
-     than was ever done in England for all kindes of languages which he
-     is assured will bee for the good of the commonwealth in general
-     and his Graces particular content.”
-
-Whether Nicholls’ application was successful or otherwise, is not
-known. In the disastrous times which immediately followed the four
-Star Chamber founders are lost sight of. It is scarcely likely,
-judging from the dismal account given above of the trade in times of
-peace, that they were able, any of them, to keep a business together
-in times of civil war. Nor is there any certainty that when, in 1649,
-the Commonwealth re-enacted the main provisions of the Star Chamber
-Decree, that the four founders then appointed were the same who had
-been licensed in 1637. Mores, however, leads us to suppose that they
-were, and for the purpose of enumerating the Oriental and learned
-matrices which about the year 1657 were in use in the country, treats
-their four foundries as one. There is, however, no reason for supposing
-that they worked in partnership, or that their business was in any way
-connected. But in one great undertaking they were associated; and the
-London _Polyglot_ of 1657 has generally been regarded as the product of
-the types of some, if not all, of their number.
-
-“By these or some of them,” observes Mores, “we may suppose to have
-been cut the letter used in _The English Polyglott_: but as we cannot
-assign to any of them their particular performances we shall till we
-are better able to ascertain them, call their labours by the name
-of the POLYGLOTT FOUNDERY, which, as nearly as that work and the
-_Heptaglott_ which accompanies it instructs us, is described at the
-bottom of the page.[305] But it is not to be doubted, considering
-the elegance and simplicity of the assortment which we see, that the
-foundery {169} was as completely furnished with that which we see not,
-and which, for that reason we cannot mention.”[306]
-
-       *       *       *       *       *
-
-The _London Polyglot_ ranks deservedly as one of the most conspicuous
-landmarks of English typography. Great works had gone before it,
-and greater followed. But in few of these has the learning of the
-scholar, the enterprise of the publisher, the industry of the editor,
-the ability of the printer, and the skill of the letter-founder been
-combined to so extraordinary a degree as in the production of this
-_magnum opus_ of the Commonwealth press.
-
-A brief sketch of the typographical history of this famous work may be
-interesting, and not out of place here.
-
-The _London Polyglot_ was the fourth great Bible of the kind which had
-been given to the world.[307]
-
-In 1517[308] the _Complutensian Polyglot_ had been printed at Alcala,
-at the charges of Cardinal Ximenes, in six volumes, containing the
-Sacred Text, in Hebrew, Latin, Greek and Chaldean, including an
-“Apparatus” consisting of a Hebrew and Chaldee Lexicon, etc. This work
-will always be famous, if for no other reason, for the grand, bold
-Greek type in which the Septuagint and New Testament are printed.
-
-In 1572 the _Antwerp Polyglot_ of Arias Montanus was printed, in eight
-magnificent volumes, by Christopher Plantin. It comprises the whole
-of the Complutensian texts, with the addition of the Syriac, and an
-Apparatus containing Lexicons and Grammars of Hebrew, Chaldee, Syriac
-and Greek.
-
-In 1645 the _Paris Polyglot_, edited by Le Jay and others, was
-published in ten sumptuous volumes. It comprises the whole of the texts
-of the _Antwerp Polyglot_, with the addition of Arabic and Samaritan.
-Owing to the abrupt completion of this work, no Apparatus was included
-of any description. This work was seventeen years in the press.
-
-The _London Polyglot_, as we shall observe, added to the languages
-used in the _Paris Polyglot_, the Persian and Ethiopic, with an
-Appendix containing additional Targums, also a complete “Apparatus”
-and Prolegomena, with alphabetical tables of the various languages
-employed, and others besides. {170}
-
-The following table will show clearly the gradual advances made by the
-four great _Polyglots_ in respect of the versions they comprise[309]:―
-
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │  │COMPLUTUM, 1520.│ ANTWERP, 1572. │  PARIS, 1645.   │    LONDON, 1657.    │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 1│Old Test.,      │Old Test.,      │Old Test., _Heb._│Old Test., _Heb._    │
- │  │  _Heb._        │ _Heb._         │                 │                     │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 2│Vulgate, _Lat._ │Vulgate, _Lat._ │Vulgate, _Lat._  │Vulgate, _Lat._      │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 3│Septuagint,     │Septuag. _Gr._  │Septuag., _Gr._  │Septuag., _Gr._      │
- │  │ _Gr._ _Lat._   │  _Lat._        │  _Lat._         │  _Lat._             │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 4│Pentat.,        │Old Test.,      │Old Test.,       │Old Test., _Chal._   │
- │  │ _Chal._ _Lat._ │ _Chal._ _Lat._ │ _Chal._ _Lat._  │  _Lat._             │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 5│New Test.,      │New Test., _Gr._│New Test., _Gr._ │New Test., _Gr._     │
- │  │ _Gr._ _Lat._   │  _Lat._        │  _Lat._         │  _Lat._             │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 6│      .....     │New Test.,      │New Test.,       │New Test., _Syriac_  │
- │  │                │ _Syriac_,      │ _Syriac_,       │                     │
- │  │                │ _Heb._ _Lat._  │ _Heb._ _Lat._   │                     │
- +──+────────────────+                │                 │                     │
- │ 7│      .....     │       .....    │Old Test.,       │Old Test., _Syriac_  │
- │  │                │                │ _Syriac_ _Lat._ │                     │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 8│      .....     │       .....    │Bible, _Arab._   │Bible, _Arab._       │
- │  │                │                │  _Lat._         │                     │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │ 9│      .....     │       .....    │Pentat., _Samar._│Pentat., _Samar._    │
- │  │                │                │  _Lat._         │                     │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │10│      .....     │       .....    │       .....     │Pentat. Gospels,     │
- │  │                │                │                 │  _Per._ _Lat._      │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │11│      .....     │       .....    │       .....     │Ps., Cant. New Test.,│
- │  │                │                │                 │  _Eth._ _Lat._      │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │12│      .....     │       .....    │       .....     │Add. Targums         │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
- │13│    Apparatus   │     Apparatus  │       .....     │Apparatus, Proleg.,  │
- │  │                │                │                 │  etc.               │
- +──+────────────────+────────────────+─────────────────+─────────────────────+
-
-The first announcement of the _London Polyglot_ was made in 1652,
-when Dr. Walton published _A Brief Description of an Edition of the
-Bible in the Original Hebrew, Samaritan, and Greek, with the most
-ancient Translations of the Jewish and Christian Churches, viz.
-the Sept. Greek, Chaldee, Syriac, Ethiopic, Arabic, Persian, etc.,
-and the Latin versions of them all; a new Apparatus, etc._[310]
-{171} This Description, which set forth the various improvements in
-the proposed _Polyglot_ on its predecessors, was accompanied by a
-specimen-sheet[311] containing the first twelve verses of the first
-chapter of Genesis in the following order: On one side, Hebrew with
-interlinear Latin translation, Latin (Vulgate), Greek (Septuagint) with
-Latin, Chaldean paraphrase with Latin, Hebrew-Samaritan, Samaritan. On
-the other side, Syriac with Latin, Arabic with Latin, Latin translation
-of the Samaritan, Persian with Latin. The imprint to this highly
-interesting specimen (a copy of which is said to be in the Library of
-Sydney College, Cambridge) was: _Londini, Typis Jacobi Flesher_; from
-which it appears that James Flesher was the first possessor of some
-of the types cast by the polyglot founders, and subsequently used by
-Roycroft in this great work.[312]
-
-Flesher’s _Specimen_, which we have unfortunately not been able to
-discover, met with many critics. Amongst others was Dr. Boate, the
-Dutch scholar (who had already found fault with the Hebrew character
-used in the Paris _Polyglot_, which he described as “a very scurvy one,
-and such as will greatly disgrace the work”), was very disparaging to
-the new undertaking. It was probably in deference to this critic that
-Dr. Walton added the following MS. note to the copy of the specimen
-now at Sydney College, Cambridge: “Typos Hebr. et Syr. cum punctis
-meliores, parabimus, etc.”
-
-The time occupied in securing the co-operation and assistance of the
-learned men of the day, in getting subscribers,[313] in arranging
-copy, and finally in {172} providing the necessary types, delayed
-the commencement of the undertaking till September 1653. Writing to
-Usher on July the 18th of that year, Dr. Walton thus notes the near
-completion of the preliminary arrangements: “I hope we shall shortly
-begin the work; yet I doubt the _founders_ will make us stay a week
-longer than we expected. . . . We have resolved to have a better paper
-than that of 11_s._ a ream, viz., of 15_s._ a ream.”[314]
-
-Towards the end of September 1653, the impression of the first volume
-was begun at the press of Thomas Roycroft, in Bartholomew Close, whose
-name will always be honourably associated with this famous work.
-
-Very little is known of the actual manual labour employed in the
-production, beyond the fact that two presses only were said to have
-been kept at work, and that the types were supplied by more than one of
-the four authorised founders.
-
-Chevillier[315] speaks somewhat contemptuously of the typographical
-execution (fabrique de l’Imprimerie) of the London as compared with
-that of the Paris _Polyglot_. And if, as Le Long points out, “he means
-by that term the beauty of the paper and the magnificence of the types,
-it must be admitted that the Paris edition is superior; but if he means
-the arrangement of the texts and versions, and the general disposition
-of the entire work, then it is much inferior; for Walton has mapped out
-his work so precisely that at a single opening of the book you see the
-texts and versions all at a glance; thus giving a great facility for
-comparison, wherein the chief usefulness of compilations of this sort
-consist.”[316]
-
-Not the least noticeable feature about the work is the fact that from
-the time of its first going to press to its completion, the printing
-barely occupied four years. The first volume was completed at the
-beginning of September 1654. A month later, from the same press was
-published Dr. Walton’s _Introductio ad Lectionem Linguarum Orientalium_
-for the use of subscribers.[317] In 1655 the second volume of the Bible
-was finished; in 1656 the third, and about {173} the close of 1657 the
-remaining three.[318] “And thus,” says a contemporary,[319] “in about
-four years was finished the English Polyglot Bible,[320] the glory of
-that age, and of the English Church and Nation; a work vastly exceeding
-all former attempts of the kind, and that came so near perfection as to
-discourage all future ones.”
-
-Apart altogether from the literary and scholastic value of the Bible,
-the amount of labour and industry represented in its mere typographical
-execution is astonishing. Each double page presents, when open,
-some ten or more versions of the same passage divided into parallel
-columns of varying width, but so set that each comprehends exactly
-the same amount of text as the other. The regularity displayed in the
-general arrangement, in the references and interpolations, in the
-interlineations, and all the details of the composition and impression,
-are worthy of the undertaking and a lasting glory to the typography of
-the seventeenth century.[321]
-
-With regard to the types, which concern us most, the following is the
-list of the characters employed, as extracted by Rowe Mores:―
-
- ORIENTALS.―
-     _Hebrew_: Two-line English, Double Pica, English.
-     _Samaritan_ (with the English face): English.*
-     _Syriac_: Double Pica, Great Primer.*
-     _Arabic_: Double Pica, Great Primer.
-
- MERIDIONAL.―
-     _Ethiopic_: English or Pica.*
-
- OCCIDENTALS.―
-     _Greek_: Great Primer and Small Pica.
-     _Roman and Italic_: Two-line English, Double Pica [Day’s],[322] Great
-         Primer, English, Pica, Long Primer, Brevier, five-line Pica,
-         two-line Great Primer, Small Pica.
-
- SEPTENTRIONAL.―
-     _English_ (Black): Pica.
-
-     * Of the founts marked thus (*) in the present and following
-     summarised lists of the contents of the English foundries, the
-     matrices or punches, and in some cases both matrices and punches,
-     still exist.
-
-{174}
-
-[Illustration: FOUNTS OF THE LONDON POLYGLOT, 1657.
-
-40. ETHIOPIC. From the original matrices.
-
-41. SYRIAC. From the original matrices.
-
-42. SAMARITAN. From the original matrices.]
-
-The matrices of three of these founts, the Samaritan, the Ethiopic, and
-the Syriac, have survived to the present day, and in the course of this
-work we shall have occasion to trace their descent from the original
-makers to the present owners. Meanwhile, it is with great satisfaction
-that we are able here to show a specimen of types actually cast from
-these venerable relics as they now exist.[323] Of the Arabic fount,
-some of the punches and matrices also exist, but in too incomplete and
-dilapidated a state to allow of their being used.
-
-Of the Orientals, the Hebrew is, perhaps, the least good. The Syriac
-and Arabic are fine bold characters. The Greek is neat, though somewhat
-insignificant. The Ethiopic[324] and Samaritan[325] are both good and
-elegant faces. The Italic is particularly neat. As might be expected
-from founts procured from various foundries in that day, there is
-a certain absence of uniformity in the {175} bodies on which the
-different founts are cast. This only makes the more remarkable the
-accuracy and precision with which the columns are arranged. In most
-copies the columns are divided by red lines, ruled by hand—in itself an
-enormous task.
-
-Nine languages are used in the _Polyglot_, but no single book is
-printed in so many. The following is the arrangement of texts according
-to volumes:
-
- VOL. 1.—_Prolegomena._
-
-          _Pentateuch._ Hebrew, Greek, Latin, Syriac, Arabic and
-              Samaritan.
-
- VOL. 2.—_Joshua to Esther._ Hebrew, Greek, Latin, Syriac and
-              Arabic.
-
- VOL. 3.—_Job to Malachi._ Hebrew, Greek, Latin, Syriac,
-              Arabic, and _Psalms_ also in Ethiopic.
-
- VOL. 4.—_Apocrypha._ Greek, Latin, Syriac, Arabic (some of
-              the books, however, have not the Arabic. _Tobit_ is in a
-              two-fold Hebrew). An appendix to this volume contains two
-              Chaldee Targums and a Persic _Pentateuch_.
-
- VOL. 5.—_New Testament_, _Gospels_ in Greek, Latin, Syriac,
-              Arabic, Ethiopic and Persian; other books, Greek, Latin,
-              Syriac, Arabic and Ethiopic.
-
- VOL. 6.—_Various readings._
-
-It will thus be seen that the Greek, Latin, Syriac and Arabic texts run
-throughout the work. The Chaldean text and Targums are all given in
-Hebrew type. The Hebrew text is printed throughout masoretically.
-
-In addition to the above fundamental characters used, the Prolegomena
-show the following Alphabets cut in wood, viz.:—Rabbinical Hebrew,
-Syriac duplices, Nestorian and Estrangelan, Armenian, Coptic, Illyrian,
-both Cyrillian and Hieronymian, Iberian, Gothic, Chinese, and the
-character of the Codex Alexandrinus. These are, for the most part,
-rudely cut, and valuable only as curiosities.
-
-From our point of view, the chief glory of the English _Polyglot_
-is that it is wholly the impression of English type. It marks an
-epoch in the history of our national letter-founding, as, before it
-appeared, no work of importance had been printed in any of the learned
-characters except Latin and Greek. The Hebrew, Samaritan, Syriac,
-Arabic and Ethiopic were probably cut expressly for the work, under
-the supervision of its learned editors, and became thus the models or
-prototypes of the numerous Oriental founts which during the eighteenth
-century figured so largely in the works of English scholarship.
-
-The original preface to the _Polyglot_ contained an honourable
-reference to Cromwell, who had, from the first, encouraged the
-undertaking and materially assisted it by remitting the tax on
-the paper imported from abroad for the use of the work. But the
-Protector’s death took place in the year after the publication; and
-the Restoration, which followed two years later, was made the occasion
-for a somewhat ignoble act of time-service on the part of Walton,
-who cancelled {176} the last three leaves of the preface, and added
-a Dedication to Charles II, in which, among other attacks on the
-memory of his former patron, he referred to Cromwell as “Draco ille
-magnus.”[326] The particular typographical interest of this Royal
-Dedication is that it is printed in the handsome Double Pica Roman and
-Italic used by Day in the _Ælfredi_ of 1574, and subsequently by Barker
-and Lucas in Young’s _Catena on Job_, in 1637, and in other works. The
-somewhat worn condition of the types leads Dibdin to condemn the founts
-as inferior[327]; but in point of elegance and grandeur this venerable
-letter remained still one of the best of which our national typography
-could boast.
-
-In recognition of his services, Charles made Walton his
-chaplain-in-ordinary, and created him subsequently Bishop of Chester.
-Nor was he the only worker to whom the completion of this great
-enterprise brought honour. Roycroft, after what may be considered a
-feat of rapid and skilful typography, was permitted to take the title
-_Orientalium Typographus Regius_.[328]
-
-The value of the English _Polyglot_ was vastly enhanced by the addition
-to it of Dr. Edmund Castell’s Heptaglot _Lexicon_,[329] which, after
-seventeen years of incessant labour, commencing with the first
-announcement of the Polyglot, was printed, at Roycroft’s press, in
-1669, in two volumes, uniform in size and style with the _Bible_, of
-which henceforth it formed a necessary complement.
-
-Respecting this famous work, there is little to add from a
-typographical point of view to what has already been noted with regard
-to the _Polyglot_. The {177} same types are, with few exceptions,
-used in both. Mores considers, but wrongly, that the Amharic shown
-in Castell’s work is metal, and the same as that used in the
-_Oratio Dominica_ of 1713. This letter (which also appeared in the
-first edition of the _Oratio Dominica_ in 1700) belonged to Oxford
-University, who procured it in 1692, being the Ethiopic character with
-additions. But the few letters shown in the _Heptaglot_ are evidently
-engraved by hand, and not cast.
-
-It is to be regretted that Castell’s work, which has been pronounced
-one of the greatest and most perfect works of the kind ever performed
-by human industry and learning, and which represented an amount of
-heroic perseverance in the midst of adverse circumstances scarcely
-credible, was almost the ruin of its author, both in constitution and
-fortune. It sold slowly, and at the time of his death upwards of 500
-copies were left on hand. The encouragement he received both from royal
-and episcopal patronage was inadequate to cover the losses which the
-undertaking had involved, and he died in comparative obscurity in 1685.
-
-Roycroft’s office appears to have suffered severely by the Fire of
-London in 1666, and a large number of copies of Castell’s _Lexicon_,
-then in course of printing, were destroyed. To the same disastrous
-event may also be attributed the disappearance of some of the founts of
-the _Polyglot_ founders, after the completion of the _Lexicon_. Mores,
-however, succeeds in tracing the most interesting of these; and the
-fact that all the matrices did not go down to posterity as a single
-property, is additional proof that they were not all the production of
-one artist. The Arabic, larger Syriac, and Samaritan passed into the
-foundry of the Grovers, and the Ethiopic into that of Robert Andrews,
-who, it seems probable, also inherited the Hebrew and Black. The
-smaller Syriac came into Mr. Caslon’s hands.
-
-       *       *       *       *       *
-
-NICHOLAS NICHOLLS.—This founder was son of Arthur Nicholls, the Star
-Chamber founder, and, as appears by the mention of him in his father’s
-petition to Archbishop Laud, already quoted, was brought up to the Art,
-in which, as early as 1637, he was “so expert and able as to be able to
-perform anything touching the same.” During the Civil Wars he appears
-to have suffered in the royal cause, and, like many others, at the
-Restoration to have looked for substantial reward at the hands of the
-son of the Royal Martyr.
-
-In 1665 he presented to the king a petition to be appointed His
-Majesty’s Letter Founder. The original document is in the Record
-Office,[330] and is as follows:― {178}
-
-     “To the KINGE’S MOST EXCELLENT MAJESTIE. The humble peticion of
-     Nicholas Nicholls. Most humbly sheweth
-
-     “That the petitioner in the worst of tymes was a constant and
-     loyall sufferer for the causes of your Majestie and that of your
-     Royall ffather of glorious memory, and thereby reduced to greate
-     extreamities.
-
-     “Now soe it is, That the peticioner by Industrie hath attained to
-     a considerable skill in the Art of cutting and casting all kinds
-     of Letters and faire Characters (as by the annexed may appeare)
-     And your Majestie beinge the great encourager of good Literature
-
-     “Your Majestie’s peticioner most humbly prays your Grace and
-     ffavour to serve in the place of Letter Founder to your Majesties
-     Presses That soe your Majesties presses may be supplyed with
-     Characters in some measure worthy of your Royall Greatness. And
-     the peticioner makes no question but he shall perform that service
-     (with the blessing of God) to your Majestie’s full content and
-     satisfaction.
-
-     “And the peticioner (as in duty bound) shall alwaies pray for your
-     Majesties long and prosperous Reigne over us.”
-
-Attached to the petition, in the centre of a folio sheet, is the tiny
-polyglot specimen, of which we here present our readers with an exact
-facsimile. English typography possesses few relics more interesting
-than this quaint little page—the earliest known type-founder’s specimen
-in the country.
-
-The execution, particularly of the Roman fount, is very poor, and one
-wonders, in examining it and comparing it with the recently completed
-_Polyglot_, at the artist’s claim “to considerable skill in cutting and
-casting of faire characters.” It is possible, however, that the unusual
-minuteness of the type may have been held to be a merit compensating
-for defects in execution. And as none of the founts are known to have
-been used in any other work of the time, it may be presumed the letters
-were cut specially for this specimen. The Roman and Greek founts are
-Pearl in body, and the Orientals Nonpareil, and display the text “Vivas
-o rex in perpetuum” in Latin, Greek, Hebrew (with points), Syriac,
-Samaritan, Ethiopic and Arabic. This loyal aspiration, effusively
-dedicated as “the prayer of the devoted heart, and the specimen of
-the Art of the least of the subjects of the greatest of the Kings,”
-is surrounded by a neat flower-border (also Nonpareil in body), and
-printed somewhat roughly on coarse paper. Despite its defects, it
-appears to have found favour with the august personage to whom it was
-offered, as we find, on January 29th, 1667, a minute of a “Warrant for
-swearing Nicholas Nicholls, Letter Founder to His Majesty.”[331]
-
-[Illustration: 43. Specimen of Nicholas Nicholls, 1665. (From the
-original in the Record Office.)]
-
-Of the subsequent operations of Nicholls we know very little.[332] He
-probably inherited his father’s foundry, and cast from his matrices.
-The NICHOLS whom {179} Mores mentions as having founded in
-1690,[333] could hardly (if the date be correctly given) be the same
-man who was a practised letter-founder in 1637.
-
-To this last-named founder no doubt belongs the fount of Great Primer
-Roman and Italic acquired by the Oxford University Press, which had the
-unenviable distinction of being designated in their Specimen of 1695,
-as “cut by Mr. Nichols—not good.”[334]
-
-       *       *       *       *       *
-
-The following is the only specimen we have to note in this place:―
-
-     (1665). Specimen sheet of minute printing in several languages,
-     addressed to the King by Nicholas Nicholls, Letter Founder.
-     . . . . (_State Papers, Domestic_, 1665, vol. 142, No. 174.)
-
-[Illustration]
-
-{180}
-
-[Illustration]
-
-
-
-
-CHAPTER VIII.
-
-JOSEPH MOXON, 1659.
-
-
-Joseph Moxon, whose distinction it is to have been the first practical
-English writer on the mechanics of typography, was born at Wakefield,
-in Yorkshire, on August 8, 1627, and appears to have been brought up as
-a mathematical instrument maker, in which profession he showed himself
-highly proficient. In the year 1659, being either already settled in
-the metropolis, or having come thither for the purpose, he added to his
-stated business that of a typefounder, in which, according to Mores, he
-continued till 1683.
-
-It is difficult to fix the precise condition of the laws relating to
-typefounders in the last year of the Commonwealth. The Ordinances of
-1647 and 1649, which reimposed the main provisions of the Star Chamber
-Decree of 1637, remained nominally in force till the Restoration,
-so that we are to suppose that Moxon, unless he practised his art
-surreptitiously or _sub rosâ_, was formally installed into a vacancy in
-the body of authorised founders on execution of the usual bond to the
-Company of Stationers.
-
-[Illustration: 44. From the _Tutor to Astronomy and Geography_, 4th
-ed., 1686.]
-
-If, as seems probable, he commenced operations with little or no
-previous experience, and with no plant ready to his hand, the progress
-of the new foundry must at first have been very slow, particularly as
-he appears to have devoted much of his time to his other scientific
-pursuits, to which in 1665 he added that of hydrographer to the king.
-To this office a considerable salary was attached. In the same year,
-Mores informs us, he lived at the sign of the “Atlas” on Ludgate Hill,
-near Fleet Bridge, but the Fire of London in 1666 caused him to {181}
-quit that abode for another of the same sign in Warwick Lane. From
-Warwick Lane, where he was living in 1668, he appears to have removed
-to Westminster, to the sign of the “Atlas” in Russell Street, whence
-in 1669 was issued his famous specimen of types, the first complete
-typefounders’ specimen known in England.[335]
-
-In a passage in the _Mechanick Exercises_, published several years
-later, Moxon speaks of the art of letter-cutting as a mystery, “kept so
-conceal’d among the Artificers of it, that I cannot learn anyone hath
-taught it any other, but every one that has used it, Learnt it of his
-own Genuine Inclination.” If this be the writer’s own experience—though
-his subsequent intimate acquaintance with the minutest details of the
-art almost disproves it—his specimen must be taken as the production
-of a self-taught typographer after ten years’ intermittent practice.
-Viewed in this light, the exceedingly poor performance which the sheet
-presents can to some extent be accounted for. It must also be borne
-in mind that Moxon’s theoretical and mathematical studies of the
-proportions and form of letters had not yet been begun, or, at least,
-elaborated; so that in no sense is his Specimen to be assumed to be a
-reduction into practice of those theories.
-
-This specimen, which is entitled _Prooves of the Several Sorts of
-Letters cast by Joseph Moxon_, is a folio sheet, showing in double
-column:
-
-            Great Canon Romain.
- Double Pica Romain.        Pica Romain.
-                            Pica Italica.
-
- Great Primmer Romain.      Long Primer Romain.
-                            Long Primer Italica.
-
- English Romain.            Brevier Romain.
- English Italica.           Brevier Italica.
-
-The imprint is, “_Westminster, printed by Joseph Moxon in Russell
-Street, at the sign of the Atlas, 1669_.”
-
-In all respects it is a sorry performance. Only one fount, the Pica,
-has any pretensions to elegance or regularity. The others are so
-clumsily cut, so badly cast, and so wretchedly printed, as here and
-there to be almost undecipherable. Moxon’s proficiency in the processes
-of the art does not appear as yet to have attained the pitch of
-justifying his matrices to any regularity of line, or of casting his
-types square in body. Some lines of the specimen curve and wave so as
-to make it a marvel how others kept their places in the forme, and
-the press-work {182} and ink are so bad that at a first glance the
-beholder is tempted to mistake the larger letters with their sunken
-faces for open instead of solid-faced Romans. The sheet was apparently
-put forward not solely as a specimen of types. The matter of each
-paragraph is an advertisement of Moxon’s business as a mathematical
-instrument maker. In Great Canon Romain he calls attention to the
-“Globes Celestial and Terrestrial of all sizes made by Joseph Moxon,
-Hydrographer to the King’s Most Excellent Majesty, 1669.” In Double
-Pica Romain he announces his Spheres; in Great Primer “a Large Map of
-the World”; in Pica Italica, “a book called a Tutor to Astronomie and
-Geographie,” and so on. To one or two of the founts, such as the Great
-Canon, the Pica and the Brevier, he adds a line of accents or signs.
-
-It would appear, from the imprint already quoted, that Moxon combined
-printing with typefounding at Westminster. If so, he probably confined
-his press to the printing of specimens and advertisements of his own
-goods, as we cannot ascertain that any of his other works were printed
-by himself, or that he printed anything for the public.
-
-About 1670 he removed back to the sign of the Atlas, in Ludgate Hill.
-Rowe Mores considers it probable that for some time he resided in
-Holland, during which time he acquired a certain proficiency in the
-Dutch language.[336] During the same period it is probable that he
-may have come across, and been struck by specimens of the beautifully
-proportioned Elzevir letters of Christoffel Van Dijk, which he admitted
-were the inspiration of his _Regulæ Trium Ordinum_.
-
-Of this curious work,[337] which was published in 1676, it will suffice
-to say here, it is a work intended not so much for the letter-cutter as
-for the sign-board and inscription painter. Taking the Van Dijk letters
-as his models, the writer attempts to demonstrate that each letter
-is a combination of geometrical figures, bearing regular proportions
-one to another; and by sub-division of the square of each letter into
-forty-two equal parts, he professes to be able to erect in any other
-square, similarly sub-divided, the same letter in precise proportion
-and harmony. This theory he illustrates by copper-plate figures of the
-various letters {183} of the Roman, Italic and Black Alphabets, and
-their sub-divisions. The result is not pleasing. The letters are stiff,
-and in some cases distorted; although this we believe to be the fault
-not so much of the theory itself as of the rules of proportion for
-the different parts of each letter predicated in the first instance.
-The book, as we have observed, is clearly not intended as a guide to
-punch-cutting. We regard it rather as an interesting attempt to reduce
-to precise mathematical rules a set of characters which never have and
-never will yield themselves entirely to such treatment.[338]
-
-At the conclusion of the section devoted to “the ordering of
-Inscriptions”, Moxon says (p. 11), “But of this and several other
-Observations of this Nature, I have written more at large in a book
-I intend to publish on the whole Art of Printing.” From this it is
-evident that, as early as 1676, his treatises on Typography, which
-formed the second volume of the _Mechanick Exercises_ and were
-published in 1683, were already written.
-
-To this highly interesting work[339]—the first work on the mechanics
-and practice of printing and letter-founding—we have already alluded
-in a previous chapter. It is impossible here to give more than a brief
-summary of its contents. Its publication commenced in 1677, with
-a series of monthly “Exercises” devoted to the Smith’s, Joiner’s,
-Carpenter’s and Turner’s trades. These formed the first volume. Moxon
-himself informs us that their publication was interrupted by the
-excitement of Oates’ plot, “which took off the minds of his few {184}
-customers from buying them, as formerly.” It was not till 1683 that
-the work was resumed. The second volume (which appeared in twenty-four
-monthly parts), treating wholly of the Art of Printing, commences with
-a brief account of the Invention of the Art (in which the reader is
-left to decide between the titles of Haarlem and Mentz), and with a
-claim on behalf of Typography equally with Architecture to be regarded
-as a Mathematical Science.[340] “A scientifick man,” says Moxon, “was
-doubtless he who was the first Inventor of Typographie; but I think
-few have succeeded him in Science, though the number of Founders and
-Printers be grown very many: Insomuch that for the more easie managing
-of Typographie, the Operators have found it necessary to devide it
-into several Trades. . . . The several devisions that are made are—1.
-The Master Printer. 2. The Letter Cutter. 3. The Letter Caster. 4. The
-Letter Dresser. 5. The Compositer. 6. The Correcter. 7. The Press Man.
-8. The Inck-Maker. Besides several other Trades they take in to their
-Assistance, as the Smith, the Joyner, etc.”
-
-These divisions he proceeds to treat of seriatim and in detail. We
-have elsewhere quoted freely from this work, with a view to illustrate
-the condition of letter-founding as a mechanical trade in his
-time.[341] But we notice here, that in the advice which he gives to the
-Master Printer on the choice of letter for his office, he takes the
-opportunity to reiterate his admiration of the Dutch form of letter,
-particularly that adopted by Christoffel Van Dijk, and his conviction
-that as the Roman letters were originally made to consist of circles,
-arcs of circles and straight lines, the cutting of those letters
-should invariably be according to strict mathematical rule of form and
-proportion. His advice on the choice of letter is fourfold.
-
- 1. “That the Letter have a true shape.”
- 2. “That they be deep cut” (_i.e._, in the punch).
- 3. “That they be deep sunck in the Matrices” (with a good “beard”).
- 4. “That his Letter be cast upon good Mettal.”
-
-He then proceeds to indicate the quantities of each body of letter
-with which the printer should provide himself; and from that proceeds
-to notice in turn every possible requisite for a well-ordered printing
-office, from the “ball-nails” to the press.
-
-His “Exercises on Letter Founding” may be best introduced in his own
-language: “Having shown you the Master Printers Office,” he says,
-“I account {185} it suitable to proper Method to let you know how
-the Letter Founder Cuts the Punches, how the Molds are made, the
-Matrices sunck, and the Letter Cast and Drest. . . . Wherefore the next
-Exercises shall be (God willing) upon Cutting of Steel Punches.”
-
-The minuteness with which he enters into every detail connected with
-this mysterious art, and his familiarity with the terminology of the
-craft, prove that Moxon, although he professed to have learned it
-not from any master, but “of his own genuine inclination,” was an
-experienced and even enthusiastic punch-cutter. He devotes considerable
-attention to the tools and gauges necessary for the work, and returns
-once more to the charge on behalf of geometry as the foundation of
-typography.
-
-Anyone acquainted with the modern practice of punch-cutting, cannot
-but be struck, on reading the directions laid down in the _Mechanick
-Exercises_, with the slightness of the change which the manual
-processes of that art have undergone during the last two centuries.
-Indeed, allowing for improvements in tools, and the greater variety
-of gauges, we might almost assert that the punch-cutter of Moxon’s
-day knew scarcely less than the punch-cutter of our day, with the
-accumulated experience of two hundred years, could teach him.
-
-Moxon’s observations, as in the _Regulæ Trium Ordinum_, apply only
-to the Roman, Italic and Black-letter, and these he illustrates by a
-series of plates devised on the same method as in his former work,
-showing each letter in a magnified form on a square subdivided into
-forty-two parts, with the proportions for the various parts of each
-letter minutely laid down. He imagines an objection that it may be
-deemed impossible in the case of a small letter to divide the square
-of the body into forty-two equal parts. “But yet,” he says, “it is
-possible with curious working,” and proceeds, evidently to his own
-satisfaction, to demonstrate the fact in a very curious way, by
-suggesting a series of graduations in the rubbing of spaces and points,
-whereby a thin[342] space may be enlarged by sixths until a series of
-42nd parts of each body is arrived at.
-
-Impracticable as such a system appears, it is consistently carried out
-in the enlarged letters which illustrate the _Exercises_. The result is
-not more successful than that produced in the _Regulæ Trium Ordinum_;
-and we venture to think that if any proof were needed that geometry is
-not, and cannot be, the Alpha and Omega of typographical beauty, these
-reductions into practice of Moxon’s ingenious theories will supply it.
-
-Passing from letter-cutting, Moxon next describes with much minuteness
-{186} the various parts of the mould and the method of putting them
-together. Here the practical instrument maker is on familiar ground,
-and the directions he gives remained the best authority on the subject,
-until the venerable hand-mould which he describes began to give place,
-a century and a quarter after his time, to the lever-mould from America.
-
-Next to mould-making, the _Exercises_ deal with the important processes
-of striking and justifying the matrices, operations which, like that
-of punch-cutting, have undergone but little change since his day. Then
-follow descriptions of the furnace, the alloy of the metal, and the
-methods of casting and dressing the type, with the implements necessary
-for these branches of the work; and this portion of the work closes
-with a few highly interesting plates, amongst which that of the caster
-at work[343] is the most curious and valuable.
-
-The remainder of the book is devoted to various departments of the
-letter-press printer’s trade, those of the compositor, the corrector,
-the pressman, and the warehouse keeper. To this is added an Appendix,
-describing the ancient customs of the “Chapel,” and a Dictionary of
-typographical terms.
-
-Such is a brief and meagre outline of the contents of this first
-English book on printing and letter-founding. It is a work which no
-one interested in English typography can omit to consult. For almost a
-century it remained the only authority on the subject; subsequently it
-formed the basis of numerous other treatises, both at home and abroad,
-and to this day it is quoted and referred to, not only by the antiquary
-who desires to learn what the art once was, but by the practical
-printer, who may still on many subjects gather from it much advice and
-information as to what it should still be.
-
-       *       *       *       *       *
-
-Reverting now to Mores’ description of the contents of Moxon’s foundry,
-we meet with one fount which calls for particular mention here.
-
-The Pica Irish was cut expressly for the purpose of printing the _Irish
-New Testament_, published in 1681 at the cost of Robert Boyle, son of
-the Earl of Cork, and is described by Mores as the only fount of purely
-Irish type he had ever seen in the country. We may, perhaps, be excused
-a slight digression in this place for the purpose of giving a sketch
-of the efforts which before Moxon’s day had been made to propagate the
-Irish language by means of typography.
-
-The first fount of Irish type known was presented in 1571 by Queen
-Elizabeth to John O’Kearney, treasurer of St. Patrick’s, with a view to
-encourage the diffusion of the Scriptures in the Irish character.
-
-By whom this character was prepared we are not informed. It is not the
-{187} genuine Irish, but a hybrid fount, consisting chiefly of Roman
-and Italic letters, to which the “discrepants,” or seven distinctively
-Irish sorts, are added.[344] It is accompanied by a small and equally
-neat letter for notes, which, however, appears to be Saxon.
-
-The earliest specimen of this fount appears in a broadside _Poem on the
-Last Judgment_,[345] printed in 1571, and sent over to the Archbishop
-of Canterbury, apparently as a specimen of the type. This was followed
-almost immediately by the _Church Catechism and Articles_, translated
-by O’Kearney and Nicholas Walsh, afterwards Bishop of Ossery, and
-printed in 1571 at the cost of John Ussher.[346]
-
-The object of the royal donor was further realised in 1602, when there
-appeared from the press of John Francke, William O’Donnell’s (or
-Daniel’s) Irish _New Testament_,[347] the first version of that or any
-portion of the Holy Scriptures in the native character. In dedicating
-the translation to James I, Daniel thus refers to the royal origin
-of the types:—“And notwithstanding that our late dreade Soveraigne
-Elzabeth . . . provided the Irish characters and other instrumentes
-for the presse in the hope that God in mercy would raise up some to
-translate the Newe Testament into their native tongue, yet hath Sathan
-hitherto prevailed, and still they remain _Lo-ruchama Lo-ammi_, etc.”
-
-The type did further service in 1608, when Daniel’s _Common
-Prayer_[348] was printed by Francke, a well-executed work, with
-engraved title and beautiful {188} ornamented initials, each page
-being enclosed in a rule border. After the appearance of this book
-nearly a quarter of a century elapsed before the type reappeared in
-Bishop Bedell’s _A B C_, or English and Irish _Catechism_, printed by
-the Stationers’ Company at Dublin in 1631.[349] This _Catechism_, with
-additional matter, was republished by Godfrey Daniel in 1652, also in
-Dublin,[350] after which the Irish type of Queen Elizabeth disappeared
-in Ireland, and reappeared only in occasional words occurring in Sir
-James Ware’s books, printed in London by Tyler, in 1656 and 1658.
-
-There seems no reason for believing, as some state, that it was secured
-by the Jesuits and taken abroad.[351] Not only is it not to be found
-in any Irish work printed abroad, but the Irish Seminary at Louvain
-possessed a fount of its own, which, between 1616 and 1663, was in
-constant use.
-
-After 1602 no serious attempt had been made to complete the translation
-of the Scriptures into Irish until Dr. Bedell, Bishop of Kilmore,
-undertook the task about 1630. For this purpose, being then at the age
-of 57, he devoted himself to the study of the language, and having
-secured the assistance of Mr. King and the Rev. Denis Sheridan, both
-eminent Irish scholars, the translation of the _Old Testament_ was
-completed in 1640. Bedell, we are informed “determined to publish the
-version immediately at his own expense and in his own house, and made
-an agreement with a person who undertook to print it: the types were
-even sent for to Holland.”[352] But the troubles and persecutions of
-the ensuing year, followed closely by the death of the Bishop, hindered
-the design, and the manuscript lay neglected for forty years.[353] {189}
-
-In the year 1680, the _New Testament_ of 1602 being then entirely out
-of print,[354] and no Irish types being available, the illustrious
-Robert Boyle determined on republishing it at his own expense. To this
-end he caused a fount of Irish type to be cut and cast in London, and
-had an able printer instructed in the language for the purpose of
-printing it.
-
-Moxon was the founder selected to produce the types, and the result
-was the curious Irish fount of which the matrices formed part of
-his foundry. With this type Boyle is said to have had the _Church
-Catechism_, with the _Elements of the Irish Language_, printed in
-1680,[355] and in the following year was issued in London, with a
-preface in Irish and English, the new edition of Daniel’s Irish _New
-Testament_.[356]
-
-[Illustration: 45. Moxon’s Irish fount, from the original punches.]
-
-“God hath raised up,” says this preface, “the generous Spirit of Robert
-Boyle, Esq., son to the Right Honourable Richard, Earl of Cork, Lord
-High Treasurer of Ireland, renowned for his Piety and Learning, who
-hath caused the same Book of the New Testament to be Reprinted at his
-proper Cost; And as well for that purpose, as for Printing the _Old
-Testament_, and what other Pious Books shall be thought convenient to
-be published in the Irish Tongue, has caused a New Set of fair Irish
-Characters to be Cast in London, and an able Printer to be instructed
-in the way of Printing this Language.”
-
-The printer was Robert Everingham,[357] at the Seven Stars, in Ave
-Maria Lane, who in 1685 was further employed by Boyle to print, in
-the same Irish {190} types,[358] Bishop Bedell’s translation of the
-_Old Testament_,[359] the manuscript of which had fortunately been
-preserved. The whole _Bible_ being thus complete, it was issued in
-two 4to volumes, and in 1690 was reprinted in Roman characters at
-Everingham’s press for the use of the Highlanders.[360]
-
-Our space forbids us to give here anything like a list of the different
-works in which Moxon’s Irish type appeared after 1690. An interesting
-note as to the early use of the fount in Ireland occurs in a petition
-presented in 1709 to the Lord Lieutenant by several of the clergy
-and gentry of Ireland for the printing of a new edition of the _New
-Testament_ “in the Irish character and tongue, in order to which the
-only set of characters now in Britain is bought already.”[361]
-
-This petition does not appear to have been successful; but in 1712 a
-_Book of Common Prayer_,[362] translated by Dr. John Richardson, Rector
-of Annah (Chaplain to the Lord Lieutenant), with the assistance of
-the Christian Knowledge Society, was printed by Elinor Everingham, at
-the Seven Stars in Ave Maria Lane. Dr. Richardson also published some
-_Irish Sermons_[363] at the same press, and a _History of the Attempts
-. . . to Convert the Popish Natives of Ireland_.
-
-In 1700, in the London _Oratio Dominica_, Moxon’s Irish type was used,
-as also in the reprint in 1713, after which the fount frequently
-reappeared until 1820, when it was used in the _Transactions of the
-Iberno Celtic Society_, for printing the titles of E. O’Reilly’s
-“Chronological Account of Irish Writers” there given.
-
-The “punches and matrices”, said Mores, writing in 1778, “have ever
-since continued in England. The Irish themselves have no letter of
-this face, but are supplied with it by us from England; though it has
-been said, but falsely, that {191} the University of Louvain have
-lately procured a fount to be cut for the use of the Irish Seminary
-there.”[364]
-
-We are glad to add to this statement that the punches of this
-interesting fount are still in existence, and, indeed, that these
-most curious relics of the handiwork of the author of the _Mechanick
-Exercises_ lie before us as we write these words.
-
-       *       *       *       *       *
-
-Among the other peculiar characters cut by Moxon may be mentioned the
-symbols used in Mr. George Adams’ scientific works, and the Philosophic
-or “Real Character” designed by Bishop John Wilkins for his learned
-_Essay towards a Universal Language_, printed in 1668.[365] The
-correcting marks used in the _Mechanick Exercises_, as well as other
-mathematical and astronomical symbols, were also the work of this
-versatile artist, whose scientific genius appears to have had a special
-bent towards the more curious by-paths of typography.
-
-Moxon’s foundry descended to Robert Andrews, with whom it is possible
-he was, during the close of his career, associated, either as a master
-or a partner. Rowe Mores is unable to distinguish, beyond the peculiar
-founts above noted, and the Canon Roman and Italic (which subsequently
-came into Mr. Caslon’s hands), what were the precise contents of his
-foundry. He therefore omits his usual list, and includes the whole in
-Andrews’.
-
-The date of Moxon’s death is uncertain. A third edition of the
-_Mechanick Exercises_, not including the typographical portion, was
-issued in 1703. Unless this was a posthumous publication, Moxon must
-have been seventy-six years old at the time.
-
-Mores states that he founded in London from 1659 to 1683, from which
-it would seem that he retired from the type business a considerable
-time before his death. He was a voluminous writer on scientific and
-mathematical subjects, and many of his works ran through several
-editions. {192}
-
-Mores describes him cordially as an admirable mechanic and an
-excellent artist, and states that he was made a Fellow of the Royal
-Society, 30th November 1678. He was succeeded in his office of
-Hydrographer to the King by Mr. George Adams, whom Mores describes
-as “our ingenious friend . . . and a successor to Mr. Moxon as well
-in skilfulness and curiosity as well as office.”[366] Our portrait
-of Moxon is taken from the frontispiece to the fourth edition of his
-_Tutor of Astronomy and Geography_, 1686, printed by Samuel Roycroft
-for the author.
-
-It is doubtful whether his investigations and theories had any sensible
-effect on the practice of English letter-founding. They may have tended
-to encourage the favour with which Dutch letter was regarded at the
-beginning of the eighteenth century; but it is not clear that his
-attempt to confine to rule and compass the art of letter-cutting either
-secured general adoption or was productive of any appreciable reform in
-our national typography.
-
-       *       *       *       *       *
-
-The following is the title of the only specimen known to have been
-issued by Moxon:―
-
-     1669. Prooves of the Several Sorts of Letters cast by Joseph
-     Moxon. Westminster, printed by Joseph Moxon in Russell Street, at
-     the sign of the Atlas, 1669. Fo. . . . . (B. M., _Harl. MS._ 5915,
-     fo. 160.)
-
-[Illustration]
-
-{193}
-
-[Illustration]
-
-
-
-
-CHAPTER IX.
-
-THE LATER FOUNDERS OF THE SEVENTEENTH CENTURY.
-
-
-THOMAS GORING, 1668.     JOSEPH LEE, 1669.
-
-Of these two founders nothing is known beyond what is recorded in two
-short entries on the books of the Stationers’ Company, viz.:―
-
-     1668. The Master and Wardens requested to certify to the
-     Archbishop of Canterbury that Thomas Goring, a member of this
-     Company, is an honest and sufficient man, and fit to be one of the
-     _four_ present founders; there being one now wanting, according to
-     the Act of Parliament.
-
-     1669. Mr. Joseph Lee and Mr. Goring to give at the next Court an
-     account in writing, what sorts of letter they have made, and for
-     whom, since the Act of Parliament in that case was provided.
-
-The names of both these founders occur in the list, already referred
-to, of former Stewards of the Brotherly Meeting of Masters and Workmen
-Printers, issued in 1681.[367] {194}
-
-
-ROBERT ANDREWS, 1683.
-
-This founder, who was born in 1650, succeeded Joseph Moxon, probably
-about the year 1683,[368] and transferred his foundry to Charterhouse
-Street, where he continued in business till 1733. His foundry, of
-which, Mores informs us, Moxon’s matrices formed the most considerable
-part, was, next to that of the Grovers, the most extensive of its day;
-and it would appear that, for some time at any rate, these two shared
-between them the whole of the English trade. Andrews’ foundry consisted
-of a large variety of Roman letter and Titlings; and in “learned”
-founts was specially rich in Hebrew, of which there were no less than
-eleven founts, and five Rabbinical. Of peculiar sorts, he possessed the
-matrices of Bishop Wilkins’ “Real Character,” also the correcting-marks
-used by Moxon in his _Mechanick Exercises_, and other symbols, besides
-three or four founts of square-headed music.
-
-[Illustration: 47. Nonpareil Rabbinical Hebrew, from R. Andrews’
-Foundry. (From the original matrices.)]
-
-[Illustration: 49. Old Blacks from R. Andrews’ Foundry, 1706. (From the
-original matrices.)]
-
-He also possessed the Hebrews and the Ethiopic[369] used in Walton’s
-_Polyglot_; the Irish cut by Moxon for Boyle’s _New Testament_, and a
-curious alphabet of Great Primer Anglo-Norman; besides a fine specimen
-of old Blacks (two of which are here shown), probably handed down
-from some of the early English {195} printers, whose character they
-strongly resemble. His son, Silvester Andrews, as we shall notice later
-on, founded at Oxford, whither he appears to have taken matrices of
-some of the Romans and one fount of Hebrew from his father’s foundry.
-
-The following is the list of matrices in the foundry in 1706, as
-given by Mores. Founts of which the punches or matrices are still in
-existence are distinguished by an asterisk; those descended from the
-_Polyglot_ foundry are marked [P.], and those from Moxon’s [M.]:―
-
-
-“Mr. ROBERT ANDREWS’ FOUNDERY, 1706.
-
- ORIENTALS.
-
- _Hebrew._―
-     2-line English, 32. [P.?]
-     Double Pica, 68. [P.?]
-     Great Primer, 35.
-     English (the common German face), 47.
-     English, 73. [P.?]
-     Pica, 65.
-     Long Primer, 35.
-     Brevier, 35.
-     Small Pica, old, 42.
-     Small Pica, another, 77.
-     Small Pica, another, 73.
-     Nonpareil, 35.
-
- _Rabbinical Hebrew._―
-     English (German), 30.
-     Rashi, Pica, 29.
-     Rashi, Long Primer,* 30.
-     Rashi, Brevier,* 29.
-     Rashi, Nonpareil,* 29.
-     Large face points, 42.
-     Accents, 27.
-     Small face points, 28.
-
- _Samaritan._―
-     (Leusdenian), 21.
-
- _Syriac._―
-     Great Primer, 47; Points, 13.
-
- _Arabic._―
-     Great Primer, 104.
-     English, 62.
-
- MERIDIONALS.
-
- _Æthiopic._―
-     Great Primer,* 212. [P.]
-
- OCCIDENTALS.
-
- _Greek._―
-     English.§
-     Long Primer.§
-     Brevier.§
-     Long Primer, 457.
-     Brevier, 331.
-     Nonpareil, 329.
-
-         § “These three were purchased by Thos. James, 20th April 1724,
-         ten years before the sale of the foundery.”
-
- _Roman and Italic._―
-     2-line English full face caps, 31.
-     2-line English Roman, 147.
-     2-line English Italic, 108.
-     Double Pica large face Roman, 122.
-     Double Pica small face Roman, 115.
-     Double Pica Italic, 107.
-     Double Pica 2, Roman, 118.
-     Double Pica 2, Italic, 66.
-     Another, 126.
-     Great Primer 1, Roman, 114.
-     Great Primer 1, Italic, 102.
-     Great Primer 2, Roman, 110.
-     Great Primer 2, Italic, 66.
-     English Roman and Italic, ...
-     English 2, Roman, 92.
-     English 3, Roman, 96.
-     English Roman lower-case, 32.
-     Pica Roman, 117.
-     Pica Roman, lower-case, 27.
-     Pica Roman, and Italic, long face, ...
-     Long Primer Roman, 84.
-     Long Primer Italic, 80.
-     Long Primer Roman lower-case, 42.
-     Long Primer Roman lower-case, another, 38.
-     Long Primer Italic capitals and double-letters, 45.
-     Brevier Roman lower-case, 57.
-     Brevier Roman lower-case, another, 57.
-     Brevier Italic, ...
-
- _Title Letters and Irregulars._―
-     4-line Pica full face caps, 30.
-     Canon Roman, 27. [M.]
-     Canon Italic, 74. [M.]
-     2-line Double Pica Roman, 127.
-     2-line Great Primer full face caps, 31. {196}
-
- _Title Letters and Irregulars._―
-     2-line Pica full face caps, 31.
-     2-line Pica Roman lean face, 58.
-     Paragon Roman, 122.
-     Paragon Italic, 100.
-     Small Pica Roman, 76.
-     Small Pica Italic, 82.
-     Small Pica Italic, another, 98.
-     Small Pica Italic, another, 80.
-     Small Pica Roman and Italic, ...
-     Bourgeois Italic, 72.
-     Nonpareil Roman, 80.
-     Pearl Roman, 2 sets.
-
- SEPTENTRIONALS.
-
- _Anglo-Saxon._―
-     Pica, 16.
-     Pica, another, 21.
-
- _Anglo-Norman._―
-     Great Primer capitals, 24.
-
- _English._―
-     Great Primer with law, 116.
-     English* with law, 106.
-     Pica with law, 125.
-     Pica small face, 71.
-     Long Primer,* 78.
-     Brevier with law, 118.
-     Small Pica* with law, 120.
-     Small Pica,* 58.
-     Nonpareil,* 43.
-
- _Secretary._―
-     Great Primer capitals, 15.
-
- _Hibernian._―
-     Pica,* 60. [M.]
-     Bishop Wilkins’ Real Character, English, 160. [M.]
-     Mr. Adam’s symbols, 20. [M.]
-     Mr. Moxon’s correcting marks, English, 16. [M.]
-     Mathematical Characters, English and Small Pica, 42. [M.]
-     Astronomical and Astrological, 31. [M.]
-
- _Music._―
-     2-line Great Primer,         54.
-     Paragon, square-headed,      44.
-     Large old square-headed,     61.
-     Sundry old square-headed,   155.
-
-[Illustration: _Elstob Saxon._
-
-48. Saxon cut by R. Andrews for Miss Elstob’s _Grammar_, 1715. (From
-the original matrices.)]
-
-Although he accumulated a large quantity of matrices, Robert Andrews
-does not appear to have been a good workman. The very indifferent
-manner in which he cut the punches for Miss Elstob’s Saxon _Grammar_
-has been elsewhere recorded,[370] and the fact that his apprentice,
-Thomas James, after quitting his {197} service and setting up for
-himself, furnished his new foundry entirely with foreign matrices,
-speaks somewhat unfavourably for the merits of the English letter then
-in common use.
-
-Three of the Greek founts, however, James did subsequently purchase,
-in 1724, for his own use; and nine years later, on Andrews’ retirement
-from business, he purchased the whole of his foundry, and that of his
-son, with the exception of the Canon Roman and Italic, which were
-acquired by Mr. Caslon.
-
-Robert Andrews was one of the Assistants of the Stationers’ Company. He
-only survived his retirement two years, and died November 27th, 1735,
-at the age of 80.
-
-His name appears as a contributor of £5 5_s._ towards the subscription
-raised by Mr. Bowyer’s friends in 1712, after the destruction by fire
-of that eminent printer’s office.
-
-
-JAMES GROVER, _circ._ 1675.     THOMAS GROVER, his son.[371]
-
-This foundry, which, according to Rowe Mores, was supposed to include
-founts formerly belonging to Wynkyn de Worde, was the most extensive,
-and in many respects the most interesting of the later seventeenth
-century foundries. It seems probable that James and Thomas Grover began
-business in partnership, about the year 1674, in succession to one of
-the “Polyglot” founders, whose matrices they appear to have acquired.
-Their foundry was situated in Angel Alley, Aldersgate Street; and,
-about 1700, at which date Rowe Mores fixes his summary, was evidently
-of considerable extent.
-
-Although many of the founts are of little importance, it is worthy
-of note that among the Roman and Italic matrices is included, for
-the first time, a Diamond; and that a Pica and Long Primer are
-distinguished as “King’s House” founts, and were probably reserved
-for the service of the Royal press at Blackfriars. The large-face
-Double Pica Roman and Italic, there is reason to suppose, is the
-famous fount cut by John Day about 1572, which had subsequently
-been in the possession of one of the Polyglot founders.[372] In
-Scriptorials, Cursives and other fancy letters, as well as in peculiar
-and mathematical sorts, the foundry was unusually rich. The Great
-Primer and 2-line Great Primer Black matrices are those reputed to have
-belonged to De Worde; and from these {198} founts, says Mores, were
-taken the two specimens shown on page 343 of Palmer’s _General History
-of Printing_.[373]
-
-Among the “learned” founts, the English Samaritan matrices were those
-from which had been cast the type for Walton’s _Polyglot_, in 1657,
-as were also those of the larger Syriac; while the Double Pica large
-and small faced Greek claim a still earlier origin, being the founts
-in which was printed Patrick Young’s _Catena on Job_, in 1637, the
-matrices having been procured from the proceeds of the fine on the
-King’s printers for their scandalous errors in the printing of the
-“Wicked” _Bible_, as detailed in a former chapter.[374] The smaller
-face, as we have noticed, bears the strongest resemblance to the Greek
-of the Eton _Chrysostom_. Mores states that the Great Primer Arabic of
-the _Polyglot_ was in this foundry, but omits to include the matrices
-in his summary.[375]
-
-The following is the full list of the matrices in the foundry, _circ._
-1700, as given by Mores:―
-
-
-“THE FOUNDERY OF THE TWO MR. GROVERS, _circ._ 1700.
-
- ORIENTALS.
-
- _Hebrew._―
-     Great Primer, 30.
-     Pica, 80.
-     Long Primer, 60.
-     Brevier, 130.
-
- _Samaritan_ (with English face).―
-     English,* 32. [P.]
-
- _Syriac._―
-     Double Pica, 60. [P.]
-     Pica, 80.
-
- _Arabic._―
-     Double Pica, 30. _Great Primer_, [P.?]
-
- MERIDIONALS.
-
- _Coptic_ (the new hand),* 81.
-
-       “This seems to be a mistake of the cataloguers, who had fallen
-       upon something which they did not understand; we suppose the
-       Alexandrian fount, which from the semblance they took to be
-       Coptic; the number 81 was made up with something else they were
-       strangers to; and so are we. But whatever it was (it is in the
-       foundry) it is now in its proper place.”
-
- OCCIDENTALS.
-
- _Greek._―
-     Double Pica large face, 183. [Royal.]
-     Double Pica small face, ...  [Royal.]
-     Great Primer, 144.
-     English, 350.
-
- _Greek._―
-     Pica, 380.
-     Pica, another, 120.
-     Long Primer, 120.
-     Brevier, 426. Very fine.
-     Brevier, another, imperfect.
-     2-line full face capitals, 23.
-
- _Roman and Italic._―
-     2-line English full face capitals, 31.
-     2-line English Roman, 100.
-     2-line English Italic, 77.
-     Double Pica Roman large face, 120. [Day?] [P.?]
-     Double Pica Italic, 98. [Day?] [P.?]
-     Double Pica Roman small face, 126.
-     Double Pica Italic, 98.
-     Great Primer Roman large face, 102.
-     Great Primer Italic, 105.
-     Great Primer Roman small face, 153.
-     Great Primer Italic, 105.
-     Great Primer small capitals, 27.
-     English Roman, 159.
-     English Italic, 114. {199}
-
- _Roman and Italic._―
-     Two other English Roman and Italic. (One called the _Old English_.)
-     English small capitals, 27.
-     Pica Roman broad face, 85.
-     Pica Roman, 146. (Called _King’s House_.)
-     Pica Roman and Italic, 292.
-     Pica Italic, 42.
-     Pica small capitals, 27.
-     Long Primer Roman and Italic, 177.
-     Long Primer another, 226. (Called _King’s House_.)
-     Long Primer another, 219.
-     Long Primer two others.
-     Small capitals, 27.
-     Brevier Roman large face, 96.
-     Brevier Roman and Italic, 241.
-     Brevier Roman and Italic, small face.
-     Brevier Italic.
-
- _Title Letters and Irregulars._―
-     5-line Pica full face capitals, 31.
-     Canon Roman, 87.
-     Canon Italic, 70.
-     Canon Roman lean face capitals, 57.
-     2-line Double Pica full face capitals, 26.
-     2-line Great Primer full face capitals, 31.
-     2-line Great Primer Roman, 86.
-     2-line Great Primer Italic, 68.
-     2-line Pica full face capitals, 31.
-     2-line Pica Roman, 83.
-     2-line Pica Italic, 77.
-     2-line Small Pica full face capitals, 27.
-     2-line Long Primer full face capitals, 31.
-     2-line Brevier full face capitals, 21.
-     Paragon Roman, 106.
-     Paragon Italic, 38.
-     Small Pica Roman and Italic, 175.
-     Small Pica Roman and Italic, another, 233.
-     Small Pica small capitals, 27.
-     Minion Roman and Italic, 175.
-     Nonpareil Roman and Italic, 174.
-     Nonpareil Roman and Italic, another, 175.
-     Pearl Roman and Italic, 167.
-     Diamond Roman and Italic, 94.
-
- SEPTENTRIONALS.
-
- _Anglo-Saxon._―
-     Great Primer, ...
-     Pica, 30.
-
- _English._―
-     Double Pica, 69.
-     Great Primer, 66. [De Worde?]
-     Great Primer, another, with law, 73.
-     English, 82.
-     English, another, with law, 128.
-     Long Primer 1, 74.
-     Long Primer 2, 89.
-     Long Primer 3, 74.
-     Brevier, 73.
-     2-line Great Primer, 69. [De Worde?]
-     Small Pica, 70.
-     Nonpareil, 88.
-
- _Scriptorial._―
-     Double Pica Court, 80.
-     English Court,* 100.
-     Great Primer Secretary, 105.
-     Double Pica Union Pearl,* 61.
-
- _Cursive._―
-     Double Pica, ...
-     Great Primer, 69.
-     English 1, 68.
-     English 2, 57.
-     Pica,* ...
-     Long Primer, 68.
-
- Geometrical and Algebraical Symbols.
-
- Astronomical, Astrological, and Pharmaceutical Characters.―
-     English, 55.
-
- Figures struck in circles and squares.―
-     English, 22.
-
- Pica Astronomical Characters belonging to Pica _King’s House_, 22.
-
- Pica Algebraical and Pharmaceutical Marks, and cancelled figures, 3 sets.
-
- Long Primer Dominical Letters, Astronomical and Pharmaceutical Marks and
-     Characters.
-
- Long Primer Fractions, 20.
-
- Music.―
-     Great Primer, 176.
-
- Flowers, 200.
-
- Space Rules, Metal Rules, Braces, 150.
-
- _Punches._―
-     Some for Pica, Long Primer and Nonpareil Greek.
-     Long Primer and other Punches.
-
-Respecting one of the founts in this foundry a special interest exists,
-which calls for particular reference here. Among the “Meridionals” in
-the list is included a “Coptic (the new hand) 81 matrices,” an entry
-which Mores considers {200} to be “a mistake of the cataloguers,
-who had fallen upon something they did not understand—we suppose the
-Alexandrian fount, which from the semblance they took to be Coptic. The
-number 81 was made up with something else which they were strangers
-to, and so are we.”[376] Later on, in noting the various founts
-missing in the collection of John James, he again refers to this “New
-Coptic,” adding, “it certainly was the Alexandrian which they called
-New Coptic”;[377] and a specimen of this Alexandrian Greek duly appears
-in the catalogue of James’s foundry, prepared by Mores in 1778. This
-fount, which we are thus enabled to trace back with tolerable certainty
-to an earlier date than 1700, is interesting as being the first attempt
-at facsimile reproduction by means of type. The history of its origin
-is vague, but there seems reason to believe that it may have been in
-existence at least half a century before coming into the hands of the
-Grovers.
-
-[Illustration: 50. Alexandrian Greek in Grover’s Foundry, _ante_, 1700.
-(From the Catalogue of James’s Foundry, 1782, p. 10.)]
-
-In the year 1628 Cyrillus Lucaris, a native of Crete and Patriarch
-of Constantinople, sent to King Charles I, by the hand of Sir Thomas
-Rowe,[378] English ambassador to the Grand Seignor, a manuscript of
-the Bible in four volumes, written in Greek uncial or capital letters,
-without accents or marks of aspiration, and supposed to be the work of
-Thecla, a noble Egyptian lady who lived in the {201} sixth century.
-This precious work was received by Charles I and deposited in the Royal
-Library of St. James, of which at that time Patrick Young was the
-Keeper.
-
-Young applied himself with enthusiasm to the work of collating and
-examining the Manuscript, with a view to putting forward a literal
-transcript of its contents in print. Having published at Oxford, in
-1633, an edition of the first epistle of _Clemens Romanus to the
-Corinthians_, in Greek and Latin, the text of which is included in the
-Alexandrian MS., he was encouraged to put forward, in 1637, his _Catena
-on Job_, which contained the entire text of that book transcribed from
-the same Codex. This book was printed in the Greek types of the Royal
-printing office, purchased under the peculiar circumstances already
-detailed.[379] After this, says Gough, Young “formed the design of
-printing the entire text of the Codex in facsimile type, of which,
-in 1643, he printed a _Specimen_, consisting of the first chapter of
-_Genesis_, with notes, and left behind him scholia as far as to the
-fifteenth chapter of _Numbers_.”[380]
-
-Of this specimen, unfortunately, no copy can be discovered; although as
-to the existence of such a document there is no lack of contemporary
-evidence. In his Prolegomena to the _London Polyglot_ of 1657, Bishop
-Walton, who had made a careful study of the Codex, and availed himself
-freely of Young’s notes, distinctly states that he had seen the
-specimen, and that the proposal to carry through the work had been
-discouraged by the advice of Young’s friends.[381] Walton shows a few
-words of the Alexandrian Greek, poorly cut in wood, among the specimens
-in his Prolegomena: a circumstance which would suggest that in 1657 the
-matrices used for Junius’ facsimile, if in existence, were not then
-available.
-
-Walton’s statement was confirmed by Grabe, Mill, and others, who made
-a study of the Codex and its history; and in 1707 Young’s biographer
-and successor in the task of preparing the Codex for print, Dr. Thomas
-Smith, repeated it with the authority of one who had also personally
-inspected the Specimen.[382] {202}
-
-It has been assumed by later writers that both Walton and Thomas Smith
-made reference to a proposed _facsimile_ reprint of the Manuscript;
-and Gough’s circumstantial statement, already quoted (which is adopted
-by Nichols and copied by others, such as Horne, Edwards, etc.), leaves
-little doubt that the chapter of _Genesis_ was actually put forward in
-1643, in facsimile type, as a specimen of the forthcoming work. The
-evidence as to the existence of the types receives further countenance
-from the presence of these matrices in Grover’s foundry, certainly
-before the year 1700.
-
-Anthony à Wood states that Young’s project excited much curiosity
-and expectation, and that in 1645 an ordinance was read for printing
-and publishing the _Septuagint_, under the direction of Whitelock
-and Selden. The troublous times which ensued, however, as well as
-certain doubts as to the fidelity with which the original text was
-being treated by the transcriber, led to the abandonment of the scheme
-during Young’s tenure of office, which ceased in 1649. In that year
-Bulstrode Whitelock became Library Keeper, and consequently custodian
-of the MS. It would appear, however, from a sentence in one of Usher’s
-letters,[383] that as late as 1651 Young retained his purpose of
-publishing the Bible from the text of the Codex, but his death in the
-following year finally stopped the enterprise.
-
-What became of the specimen chapter of _Genesis_ it is impossible to
-say. Bishop Walton, as he himself states, acquired possession of the
-scholia to the end of _Numbers_ and the remainder of Young’s Greek
-and Latin MSS., Wood informs us, came to the hands of Dr. Owen, Dean
-of Christ Church, Oxford. Assuming the matrices to have existed,
-their natural location would be either the Royal Printing Office, or
-the foundry in which already had been deposited the Greek types and
-matrices used in the _Catena on Job_. If, however, they remained in the
-St. James’s Library, it is possible to conceive of their disappearance
-for a considerable period, as Whitelock’s principal duties during his
-term of office appear to have been to check the depredations which
-in Young’s own time had already deprived the Library of many of its
-treasures.[384] {203}
-
-At the Restoration, the Keepership of the Library was bestowed
-on Thomas Rosse, by whom was once more revived the suggestion of
-reproducing the Alexandria Codex in facsimile, not this time by means
-of type, but by copper-plate. This circumstance is thus related by
-Aubrey in his inedited _Remains of Gentilism and Judaism_, preserved
-among the Lansdowne MSS. in the British Museum.[385]
-
-     “. . . . y^e Tecla MS. in S^t James Library . . . was sent as a
-     Present to King Charles the First, from Cyrillus, Patriark of
-     Constantinople: as a jewell of that antiquity not fit to be kept
-     among Infidels. Mr. . . . Rosse (translator of Statius) was Tutor
-     to y^e Duke of Monmouth who gott him the place (of) Library-Keeper
-     at S^t James’s: he desired K. Cha. I (_sic_) to be at y^e chardge
-     to have it engraven in copper-plates, and told him it would cost
-     but £200; but his Ma^{ty} would not yeild to it. Mr. Ross sayd
-     ‘that it would appeare glorious in History, after his Ma^{ty’s}
-     death.’ ‘Pish,’ sayd he, ‘I care not what they say of me in
-     History when I am dead.’ H. Grotius, J. G. Vossius, Heinsius,
-     etc., have made Journeys into England purposely to correct their
-     Greeke Testaments by this Copy in S^t James’s. S^r Chr. Wren sayd
-     that he would rather have it engraved by an Engraver that could
-     not understand or read Greek, than by one that did.”
-
-The Manuscript was subsequently handed, in 1678, to Dr. Thomas Smith to
-collate and edit, with a view to its reproduction; but once again the
-scheme fell through, and (with the exception of Walton’s _Polyglot_) it
-was not till Grabe, in 1707, published his _Octateuch_ (accompanying
-his preface by a small copper-plate specimen of the MS.), that any
-considerable portion of the Bible appeared from this ancient text.
-
-Of the subsequent successful attempt to produce the entire Manuscript
-in facsimile type we have spoken elsewhere.[386] Meanwhile, we find
-from the facts here given, that in 1643 a specimen of a portion
-of the text of the Codex is said to have been issued in facsimile
-type; that constant efforts had been made during the latter half
-of the seventeenth century to carry out Patrick Young’s purpose of
-reproducing the entire Bible in this form; that in 1657 Bishop Walton
-was presumably unaware of the existence of any matrices from which
-to exhibit a specimen of the uncial Greek of the Codex; that Grabe,
-similarly ignorant, made use of copper-plate in 1707 for a similar
-purpose; but that prior to the year 1700, concealed under the erroneous
-name of “Coptic—the new hand,” there existed in the foundry of the
-Grovers (where already were deposited several of the “King’s House”
-matrices, as well as those of the Greek fount used in Junius’ _Catena
-on Job_ in 1637) a set of matrices consisting of a single alphabet of
-the Alexandrian Greek, which apparently lay undetected until 1758, when
-that foundry came into the hands of John {204} James, or more probably
-until 1778, when Rowe Mores applied himself to the task of arranging
-and cataloguing the various matrices of interest in that miscellaneous
-collection.
-
-[Illustration: 51. Scriptorial in Grover’s Foundry, 1700. (From the
-original matrices.)]
-
-[Illustration: 52. Court Hand in Grover’s Foundry, 1700. (From the
-Catalogue of James’s Foundry, 1782, p. 16.)]
-
-[Illustration: 53. Union Pearl in Grover’s Foundry, 1700. (From the
-original matrices.)]
-
-It may be added that the letters of this fount (like those of the old
-Greek, Court Hand, Scriptorial and Union Pearl in the same foundry)
-are struck inverted in the copper[387]; a peculiarity which may be
-due either to their foreign execution, or to the ignorance of the
-English striker, and which, in either case, goes far to account for the
-confusion which existed respecting their identity.
-
-Unfortunately, the link which might definitely connect these
-Alexandrian matrices with the facsimile types of Patrick Young is,
-in the absence of any copy of the specimen chapter of _Genesis_ of
-1643, wanting. But, apart even {205} from this, the fount undoubtedly
-claims the distinction of being the first attempt at facsimile by means
-of type[388]; on which account this somewhat lengthy note as to its
-history will, perhaps, be pardoned.
-
-Thomas Grover had several daughters, one of whom, Cassandra, was the
-wife of Mr. Meres[389]; and Mr. Meres’ daughter Elizabeth was the wife
-of Mr. Richard Nutt.[390] On Thomas Grover’s death[391] his foundry
-became the joint property of all his daughters, who attempted to
-dispose of it by private contract in 1728, when it was appraised by
-Thomas James and William Caslon. Mr. Caslon actually made an offer
-for its purchase, but at so low a figure that it was not accepted.
-The foundry therefore remained locked up in the house of Mr. Nutt,
-who appears to have been a printer, and to have provided himself with
-type for his own use during his tenure of the matrices. Finally, on
-the death of all Grover’s daughters, the foundry became Mr. Nutt’s
-absolutely, and was by him sold on the 14th September 1758 to John
-James.
-
-
-GODFREY HEAD, 1685,[392]
-
-was one of the authorised founders in 1685, when the following record
-against him was entered on the Court minutes of the Stationers’
-Company:―
-
-     “The next dividend of the Stock of Mr. Godfrey Head to be detained
-     in the treasurer’s hand until further order, for his not giving a
-     due account of the letter he is to cast, as the Act of Parliament
-     prescribes.—1685.
-
-     “Godfrey Head’s dividend paid on his submission, and giving 20_s._
-     to the poor’s box.” {206}
-
-His foundry, Mores informs us, was in St. Bartholomew’s Close. Whether
-Head succeeded to it or established it, we are unable to ascertain. Of
-his productions, two founts only can be traced with any certainty, the
-Pica Greek and the English Black, both of which subsequently passed
-into Mr. Caslon’s foundry. He was succeeded by
-
-
-ROBERT MITCHELL,
-
-who had formerly been servant to Mr. Grover. Mitchell removed the
-foundry first to Jewin Street, and afterwards, says Mores, “lived over
-Cripplegate, and afterwards in Paul’s Alley, between Aldersgate Street
-and Red Cross Street. His foundry, containing nothing very curious,
-unless it were the Blacks, was on the 26th July 1739 purchased by
-William Caslon and John James jointly, and divided between them.”
-
-The following is Mores’ summary of the contents of this foundry, at its
-partition:―
-
-
-“Mr. ROBERT MITCHELL’S FOUNDERY.
-
- MR. CASLON’S CHOICE.
-
- _Greek._―
-     Pica.
-
- _Roman and Italic._―
-     4-line Pica§
-     2-line Great Primer§
-     2-line English§
-     2-line Pica§
-     and Great Primer, English, Long Primer, Brevier, and Nonpareil.
-
-                                                §full-face capitals.
-
- _English_ (Black).―
-     Great Primer, English, Pica, Long Primer, Brevier, Small Pica.
-
- The _Music_ matrices. The _Flower_ matrices.
-
- MR. JAMES’S SHARE.
-
- _Roman and Italic._―
-     Canon, 2-line Great Primer, 2-line English, Double Pica (small
-     faced), Great Primer (3 founts), English (large face), Pica,
-     Brevier (3 founts), Small Pica, Minion, Pearl (2 founts).
-
- _Algebra._―
-     English.
-
- _Cancelled Figures._―
-     Pica.
-
- _Almanac matrices._―
-     Long Primer.
-
-
-THE “ANONYMOUS” FOUNDRY.
-
-Over and above the foundries described by Mores as having been absorbed
-by that of Thomas and John James, there remained in his possession a
-certain number of matrices—some of them of some importance—of whose
-former owners he was unable to give us an account. “These may be
-considered as a distinct foundery,” he says, “and distinguished by the
-title of ‘anonymous,’ for we know not whence they came. Our account of
-Mr James’s purchases is accurate, and these are not included amongst
-them, but at the end of our scrutiny remained unclaimed. Let them be
-called ‘The Anonymous Foundry’.” {207} We do not presume to step in
-where Rowe Mores fears to tread, and therefore leave the matrices, of
-which the following is his list, still unappropriated:―
-
-
-“THE ANONYMOUS FOUNDERY, _absq. dat._
-
- ORIENTALS.
-
- _Arabic._―
-     Double Pica.
-
- _Æthiopic._―
-     English.
-
- OCCIDENTALS.
-
- _Greek._―
-     Great Primer.
-
- _Roman and Italic._―
-     Great Primer.
-     English.
-     Long Primer.
-     Brevier.
-     2-line Double Pica full face capitals.
-     2-line Great Primer full face capitals.
-     2-line English full face capitals.
-     2-line Pica full face capitals.
-     Small Pica.
-     Bourgeois.
-     Nonpareil.
-     Pearl.
-
- SEPTENTRIONALS.
-
- _Gothic._―
-     Pica.
-
- _Anglo-Norman._―
-     Pica.
-
- _English._―
-     English.
-     Pica.
-     Long Primer.
-     Small Pica.
-
- (“of all of which a more full account will be given in the ensuing
- catalogue.”)
-
-
-OXFORD FOUNDERS.
-
-PETER WALPERGEN, or Walberger, as we have stated in our account of the
-Oxford Foundry, was doubtless the individual alluded to by Bagford
-when, in recounting Fell’s services to Oxford, he says: “The good
-Bishop provided from Holland . . . a Letter Founder, a Dutchman by
-birth, who had served the States in the same quality at Batavia in the
-East Indies.”[393] Bagford, it is true, does not name this founder, but
-as there exists in the Bodleian Library a copy of a Portuguese version
-of _Æsop’s Fables_, edited by Jo. Ferreira d’Almeida, and printed at
-Batavia by Pedro Walberger in 1672,[394] we have no hesitation in
-identifying our founder with this Dutch typographer, and in fixing his
-settlement at Oxford somewhere about the above date, which, it will
-be remembered, was the year in which Fell and others took upon them
-the charge of the University Press, and furnished from abroad all the
-necessaries for its use and advancement.
-
-That he was well known at Oxford in 1683 is also apparent from a
-casual reference to “Mr. Walberger of Oxford” in Moxon’s _Mechanick
-Exercises_,[395] where the writer dwells with some minuteness on a
-peculiar and elaborate tool, called the “Joynt-Flat-Gauge,” contrived
-by this founder for polishing the faces of his punches after hardening
-them, and before striking them into the copper. {208}
-
-It was doubtless from this casual notice that Rowe Mores derived his
-scant reference to Walpergen, of whom he knows nothing, save that he
-founded at Oxford in 1683, was sometimes called Walperger, and by name
-appears to have been a foreigner, therefore probably a “transient,” by
-means of his countryman Michael Burghers, the University engraver.
-
-Of Walpergen’s work little is known beyond the fact that he appears to
-have devoted his attention chiefly to the production of Music type,
-impressions of which appear in the University _Specimen_ of 1695. The
-punches and matrices of this interesting fount are still preserved at
-Oxford, and are singular relics of the old letter-founders’ art.[396]
-
-[Illustration: 54. Music, cut by Walpergen, Oxford, _circ._ 1695. (From
-the original matrices.)]
-
-Although the Music was the only fount cut by Walpergen of which we
-have any certain knowledge, it is probable that the experienced Dutch
-artist, whom Bagford describes as an excellent workman, did not confine
-his labours to that class of work. What were his exact relations with
-the University Press is also a matter of conjecture. But it seems
-probable, from the manner in which he is spoken of by Moxon, and in the
-Oxford _Specimen_, that he practised as a letter-founder on his own
-account, and not wholly as an official of the University.
-
-He died in 1714.[397] Among the University archives is preserved an
-inventory of his chattels, which, if a full account of his earthly
-possessions, speaks {209} poorly for the profits of the profession of
-letter-founding in those days. This highly interesting document runs as
-follows[398]:―
-
-_An inventory of the Chattels of Peter De Walpergen, deceased, taken
-the tenth day of January 1714–5._
-
-Being the Moiety of a Fount of Musick.
-
-                                                               £  _s._  _d._
- Two hunderd and two pounds weight of Mettal (? cast type)
- at four pence per pound his part is                           1   13     8
-
- One hunderd fourty seven Matrices at one Shilling per
- piece his part is                                             3   13     6
-
- Nine quadrats at two pence per piece his part is              0    0     9
-
- Four moulds at two shillings six pence per piece his part     0    5     0
-
- Sixty three puncheons at five shillings (_i.e._, for the
- lot) his part                                                 0    2     6
-
- Four cases at four shillings his part                         0    2     0
-
- Two galleys at two shillings his part                         0    1     0
-
- A box at sixpence his part                                    0    0     3
-
- Appraised by us, LEONARD LICHFIELD.
-                  RICHARD GREEN.
-
-The extraordinarily low value of the punches is quite consistent with
-the esteem in which these now precious steel originals were held at the
-time, after once being struck.
-
-Walpergen’s music matrices were secured by the University Press, in
-whose _Specimens_ the type had already figured for some years; but we
-have, so far, been unable to discover any important works in which the
-character was used.
-
-SYLVESTER ANDREWS, who succeeded to Walpergen’s foundry before the year
-1714, was the son of Robert Andrews, the London founder. His foundry,
-which, with the exception of one alphabet of Hebrew, consisted entirely
-of Roman and Italic, was, Rowe Mores informs us, nothing compared
-with that of his father, and was indeed a part of his father’s. The
-following is the list of his matrices:―
-
-
-“MR. SILVESTER ANDREWS’ FOUNDERY; _furtim_:
-
- _Hebrew._
-     Brevier (at first 33)                 30
-
- _Roman and Italic._
-     2-line English Capitals              ...
-     Great Primer Roman, large face       125
-     Great Primer Italic                   82
-     English Roman                        148
-     English Italic                        98
-     Pica Roman, large face               153
-     Pica Roman, small face               148
-     Pica Italic                          110
-     Pica Roman, lower case                27
-     Long Primer Roman                    119
-     Long Primer Italic                   102
-     Brevier Roman, large face            130
-     Brevier Roman, small face            135
-     Brevier Italic (2 sets of Capitals)  105 {210}
-     2-line Pica Italic                   ...
-     Small Pica Roman                     146
-     Small Pica Italic                     28
-     Minion Roman and Italic              ...
-     Nonpareil Roman, large face          140
-     Nonpareil Italic                     105
-     Nonpareil Roman, small face           94
-     Pearl Roman                           98
-     Pearl Italic                          38
-
-Although his stock of matrices was limited, he appears to have done a
-considerable business, not only with the University, in whose service
-he was probably retained, but also with other printers practising in
-Oxford, notably with John Baskett, the king’s printer, to whom, with
-two others, the “Chancellor, Masters and Scholars of the University,”
-leased their “privilege and interest in printing” for twenty-one years
-from March 1713.
-
-In the year 1719 Baskett, who had two years previously produced the
-magnificent “Vinegar” _Bible_[399] at Oxford, mortgaged his stock and
-privilege at the University to James Brooks, stationer, of London,
-as security for a loan of £3,000. And in a schedule attached to an
-indenture, dated May 23, 1720, having reference to this transaction,
-occurs an inventory of the type at that time in the printer’s
-possession, which is highly interesting, not only as throwing light on
-Andrews’ business, but as indicating the contents of a large office of
-the period, and the extent to which Dutch type at that time competed in
-this country with English. The schedule is as follows:―
-
-_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
-Staconer of London_:―
-
- A Large ffount of Perle Letter Cast by Mr. Andrews.
- A Large ffount of Nonp^l Letter, New-Cast by ditto.
- Another ffount of Nonp^l Letter, Old, the whole standing and Sett up in
-     a Com’on Prayer in 24mo Compleat.
- A large ffount of Min^n Letter, New-Cast by Mr. Andrews.
- Another Large ffount of Min^n Letter, New-Cast in Holland.
- The whole Testament standing in Brev^r and Min^n Letter, Old.
- A Large ffount of Brev^r Letter, New-Cast in Holland.
- A very Large ffount of Lo. Prim^r Letter, New-Cast by Mr. Andrews.
- A Large ffount of Pica Letter, very good, cast by ditto.
- Another Large ffount of ditto, never used, Cast in Holland.
- A small Quantity of English, New-Cast by Mr. Andrews.
- A small Quantity of Great Prim^r, New-Cast by ditto.
- A very Large ffount of Double Pica, New, the largest in England.[400] {211}
- A Quantity of Two Line English Letters.
- A Quantity of ffrench Cannon.
- Two line Letters of all Sorts and a Sett of Silver Initiall Letters.
- Cases, Stands, etc.
- ffive Printing Presses, very good, with other Appurtenances, etc.
-
-The schedule is signed “Jno. Baskett.”[401]
-
-In 1733 Sylvester Andrews’ foundry was purchased, at the same time
-with that of his father, by Thomas James, and removed to London. His
-epitaph remains, and gives an amusing glimpse of his character and the
-reputation he bore at Oxford.
-
- _On a Letter-Founder at Oxford._
-
- “Underneath this stone lies honoured Syl
-  Who died, though much against his will;
-  Yet, in his fame he will survive―
-  Learning shall keep his name alive;
-  For he the parent was of letters,―
-  He founded, to confound his betters;
-  Though what those letters should contain
-  Did never once disturb his brain.
-  Since, therefore, reader, he is gone,
-  Pray let him not be trod upon.”[402]
-
-[Illustration]
-
-{212}
-
-[Illustration]
-
-
-
-
-CHAPTER X.
-
-THOMAS AND JOHN JAMES, 1710.
-
-
-Thomas James was the son of the Rev. John James, vicar of
-Basingstoke.[403] He served his apprenticeship to Robert Andrews,
-but quitted his service prior to the year 1710, in order to start
-business on his own account. Impressed, doubtless, with the present low
-condition of the art in England, and lacking the skill to regenerate
-it by his own labour, he determined to visit Holland and procure for
-himself, from that famous typographical market, the matrices and moulds
-necessary for establishing a successful foundry {213} in London. The
-characteristic letters in which he describes this expedition to his
-brother are given by Rowe Mores,[404] and present so instructive and
-entertaining a picture of the Dutch type-founders of the day, that we
-are tempted to copy them _in extenso_.
-
-     “_Rotterdam, 22 June 1710._—I have been with all the Letter
-     Founders in Amsterdam, and if I would have given —— for matrices,
-     could not persuade any of ’em but the last I went to, to part with
-     any. So far from it that it was with much ado I could get them to
-     let me see their business. The Dutch letter founders are the most
-     sly and jealous people that ever I saw in my life. However this
-     last man (being as I perceived by the strong perfume of Geneva
-     waters a most profound sot) offers to sell me all his house for
-     about —— I mean the matrices: for the punchions with them he will
-     not sell for any money. But there being about as much as he would
-     have —— for, Hebrew and other Oriental languages such as Syrian,
-     Samaritan and Russian characters, I would not consent to buy ’em.
-     But the rest consisting of about 17 sets of Roman and Italic
-     capitals and small letters, and about 5 sets of capital letters
-     only, and 3 sets of Greek, besides a set or two of Black with
-     other appurtenances, these I design to buy. He is not very fond
-     of selling them because it will be a great while before he can
-     furnish himself again. However I believe I shall have ’em for less
-     than —— a matrice, which as he says is cheaper than ever they were
-     his; but having most of the punches he can sink ’em again and so
-     set himself to rights with little trouble and less charge.”
-
-The next letter, dated Rotterdam, 14th July 1710, describes graphically
-the difficulties which James encountered in driving his bargain to a
-conclusion.
-
-      “I took a place in the waggon for Tergoes and from thence in
-     a scayte for Amsterdam, where I arrived at 5 o’clock on Monday
-     morning 10 July. As soon as I thought the person I have dealt with
-     was stirring I went to confer with him farther about his matrices;
-     but instead of finding all things set in order for sale, I found
-     him less provided than when I was with him before; for indeed he
-     had lent about eight sets of matrices to another Letter Founder.
-     I let him know my mind by an interpreter. He told me what a
-     disposition his things were in, and said he had rather part with
-     some particular sets than with all. In short, I found he had not
-     a mind to part with any but those which he esteemed least, and
-     those of which he had the puncheons by him to sink again when he
-     pleased. I told him that I came expecting to make an end of the
-     bargain, if he would part with all the sets I had seen in his
-     proof for the price I had offered. The man hesitated a good while
-     and at last told me he would advise about it. I told him I’d have
-     him resolve presently, and showed him the bill . . . The sight
-     of the bill made the man begin to be a little more serious than
-     before; so after a few more words he told me he would send for his
-     other sets in the afternoon. I told him _that_ he might do, but in
-     the meantime I would survey those he had by him; so he had a table
-     set and he fetched his matrices to me. The reason why I would not
-     stir out of his house till I had taken a survey of his matrices
-     was, because I was fearful that he might pick and cull (as we call
-     it) a great {214} many things which are useful in printing besides
-     just the alphabets; and indeed lest he might change some whole
-     sets; though indeed the man declares he would not do a thing so
-     ill for his life. However I having all the matrices brought into
-     one room locked ’em up and took the key away with me, and went to
-     dinner. In the afternoon I went again with my interpreter (being
-     an Exchange Broker) where we sat all the afternoon viewing the
-     matrices. At night I locked ’em up again and took the key with me,
-     and on Tuesday morning presented my bill, which was accepted and
-     paid immediately. But I should have told you that the afternoon
-     before he sent his wife to speak to the people to send home the
-     other sets; but she brought a note from the house and said the
-     master who had the key and keeping of ’em was gone a great way out
-     of town to the burial of his mother, and they did not expect him
-     back till Wednesday. This news was very disagreeable to me; but
-     not knowing how to help myself, on Tuesday, after having viewed
-     all day those he had, I paid him ——, and took ’em along with me to
-     my lodging when it was too late to send to you by the post from
-     Amsterdam. On Wednesday I went again but could not find the man at
-     home. He was gone for the other sets. So I tarried till yesterday
-     and went again and received 3 of the 8 sets. The rest are not to
-     be had yet, the man being not returned, only his wife who gave him
-     those three sets. So there are wanting but five sets more which
-     are all Greeks but one. I took ’em, molds and all, and packed them
-     up in a box and sent ’em by an Amsterdam scayte appointed to carry
-     goods for Rotterdam. This I did, fearing the _Catherine_ yacht
-     might sail if I tarried for the rest. At 8 o’clock last night I
-     took scayte for Tergoes, and arrived there this morning. From
-     thence I came hither by waggon and arrived here before 9.”
-
-The next letter, dated Rotterdam, 27th July 1710, describes his
-purchase more in detail, and gives particulars as to the Dutch
-foundries visited.
-
-     “You are desirous to know whether the matrices I have bought excel
-     those which are in the hands of the Letter Founders in England.
-     The beauty of letter like that of faces is as people opine; but
-     notwithstanding I had no choice, 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 those. An account of the names
-     that I think I shall give the sets I have bought is as follows:
-     The largest size I shall distinguish by the name of _Four-line
-     Pica_, the next by that of _French Canon_, the next by that of
-     _Two-line Pica_; these three consist of Capitals only. The fourth
-     size is a small _Canon Italic_, the fifth a _Two-line English_
-     Roman and Italic, the sixth _Great Primer_ Roman, of which I
-     have two sets, a great face and a small one, with one Italic to
-     them both. The seventh size is an _English_ Roman and Italic;
-     the eighth a _Pica_, of which I have three sets Roman, and one
-     Italic; the ninth a _Small Pica_ Roman and Italic, the tenth
-     _Long Primer_, three sets Roman and one Italic, the eleventh,
-     _Brevier_ Roman and Italic. Besides these I have one set of _Great
-     Primer Greek_, one of _English Greek_, one of _Pica Greek_, one
-     of _Brevier Greek_, as also one set of _Pica Black_ and one of
-     _Brevier Black_ together with matrices of divers sorts of flowers
-     useful as ornaments in printing. To which I have 15 molds. All the
-     sizes except the three first have Capitals, small letters, double
-     letters, figures and points, as also all the accents, amounting
-     in the whole to the number of about 3500 matrices. As for sets of
-     Nonpareil and Pearl, I am informed nobody in {215} this country
-     has any but the Jew whose name is Athias.[405] Him I was with
-     first of all, who assured me he would part with none of any size
-     whatever, as did likewise another man whose name is Foskins.[406]
-     The next I went to was Cupi by name. He said he must consult a
-     friend of his before he could give me my answer, which friend
-     being gone out of town it would be two or three days before he
-     could certify me. The next and last I went to the same day: his
-     name was Rolij,[407] a German by birth. Him I soon perceived I
-     should agree with, as afterwards I did. But before I went to him
-     I called upon Cupi. He told me he would sell no matrices, but he
-     would cast me as much letter as I would have as cheap as anybody.
-     I went to him before I agreed with Rolij because I would see which
-     would sell cheapest. But finding them all so inflexible I was
-     obliged to agree with Rolij upon his own terms, who, however, did
-     not know but I had come to him first, since himself and Cupi are
-     the only letter-cutters in this country, and he did not imagine
-     but that if he would not have sold me matrices Cupi would, as I
-     found by him afterwards. When Cupi perceived that Rolij would sell
-     me some matrices (as, indeed, then Rolij and I had agreed and he
-     received 1700 gilders in part), he comes to the Exchange-Broker
-     and told him he would sink his puncheons again and in half a
-     year’s time deliver me all the matrices he has, perfect, after the
-     rate of —— per matrice, but that except I would take all one with
-     another, he would sell none at all.
-
-     “His Roman letters are very handsome and his Italics ugly, but
-     all printed upon a proof of the best paper; with all the care
-     taken in composing and printing imaginable, which adds much to
-     the lustre of his letter. In a book it is quite another thing;
-     not {216} so handsome as Rolij’s, whose letter in the proofs I
-     could see in matter looks much better than it does in his printed
-     Specimen, which is done with all disadvantage, being wretchedly
-     composed and worse printed off, upon very sorry paper. However I
-     can see when letters are well proportioned. I have two specimens
-     of his letter in matter which look very beautiful. Rolij says
-     whatever matrices I want, whether great or small, he’ll cut ’em
-     for me as soon as I give him orders, provided it happens before a
-     peace. He told me likewise he would see if he could procure any
-     Nonpareil and Pearl of the Jew, I allowing him a reasonable profit
-     for his pains. Rolij says he was the man who made Foskins[408]
-     father by the letter he cut for him. Foskins[408] is a man of great
-     business, having five or six men constantly at the furnace,
-     besides boys to rub, and himself and a brother to do the other
-     work. How many men the Jew keeps at work I do not know, for he
-     would not permit me to go up into his work-house. Foskins thought
-     I wanted letter to be cast, but when he knew that I was a letter
-     founder he looked very sly, and watched me as if I had been a
-     thief, being I suppose very fearful that I should steal some of
-     their art from them. Cupi was not very forward to let me see his
-     work-house, and the first time avoided it by saying he could not
-     stay for he was just going out, but the second time I did see it
-     though he was as loth then as before, saying he believed there was
-     nobody at work. But I told him the person who was with me wanted
-     to see the trade, and he would oblige me by showing it. He had
-     places for four to work, although there was but one casting. I did
-     not ask Rolij to show me his work-house the first time I went to
-     him, but the second time I went up and saw places for four men and
-     nobody at work. I asked him where his men were; he told me they
-     were gone to a fair at Harlem, but I believe he had lent them out
-     as well as his matrices to some other letter founder. As I was
-     going along the street with him, he told me there was an English
-     gentleman that had lodged at such a house (pointing to it), for
-     whom he had cast three hundred pounds worth of work not long ago,
-     which if true must have been for Tonson.
-
-     “I have bought of Rolij in all thirty sets of matrices, besides
-     the box of flowers and 15 molds made of brass as almost all
-     the Dutch molds I saw were. Mr. Cupi has in all but eighteen
-     sets of matrices, but is continually, as I hear, cutting more,
-     designing in time to set up printing and bookselling too. He is
-     a very close and very civil fellow. I do not know but one time
-     or other I may take another trip into this country for matrices,
-     for there’s no trusting to anybody here to manage business for
-     one. There’s hardly such a thing as an honest man to be found.
-     They all live by buying and selling, and whatever they can bite
-     anyone of, they count it fairly got in the way of trade. I hear
-     but a very indifferent character of the young man, the broker,
-     who interprets for me. He is very expert indeed at that, and I do
-     not know what I should have done without him: but I am informed
-     that if it lay in his power to come at any of my money, he would
-     contrive some way or other to cozen me of it, or part of it at
-     least; for which reason I took particular care. He stood very
-     hard with me for a gilder per cent. for every hundred I laid out.
-     The moulds and matrices together stand me in ——. I have enquired
-     very diligently of abundance of Printers, Booksellers, and of Mr.
-     Rolij whether there are any letter founders at Harlem, Leyden, The
-     Hague, Delft or Utrecht. I was told by some they knew of none,
-     and by others that there were none, and Rolij assured me there
-     were none at any of those places; and I myself saw at Foskins[408]
-     a box with letter in it, {217} directed for Utrecht; and it seems
-     very probable there may be none at any of these places, because
-     letter may be sent from Amsterdam to any of these places as cheap
-     by water as a porter in London will carry a burthen half a mile.
-     The box of molds and matrices which I bought was brought hither
-     from Amsterdam for twelve stivers into the house, the distance
-     about forty English miles. I am told there is one letter founder
-     at Tergoes, but I can’t hear of one Englishman or English house in
-     the whole town. However I’ll endeavour to find the founder before
-     I leave the country. I have been through Tergoes three times, and
-     as often through Harlem, Leyden and Delft, but never made any stay
-     in any one of them. I have been twice to the Hague, but at such
-     times that I could not see the States House. The town is very
-     fine. One’s charges thither and back again are not above a gilder.
-     ‘Tis very easy, and travelling would be very pleasant if one were
-     not destitute of company.”
-
-On his return to England with his purchases, James established his
-foundry in Aldermanbury, and afterwards removed to the Town Ditch.
-
-The following is Rowe Mores’ summary of his original matrices:
-
-
-“MR. JAMES’S FOUNDERY.
-
- OCCIDENTALS.―
-
- _Greek_:
-     Great Primer, 191; Pica, 161; Brevier, 141; Small Pica, 130.
-
- _Roman and Italic._―
-     Two-line English Roman, 148; Italic, 90. Great Primer Roman, 111;
-     another Roman, 101; Italic, 123. English Roman, 86; Italic, 78.
-     Pica Roman, 109; another 80; another, 82; Italic, 95. Long Primer
-     Roman, 140; another, 155; another, 141; Italic, 94. Brevier Roman,
-     112; Italic, 97.
-
- _Titles and Irregulars._―
-     Four-line Pica Roman, 35. Canon Roman (Two-line Great Primer it
-     is), 33. Small Canon (Two-line English) _missing_. Two-line Pica
-     Roman, 31. Small Pica Roman, 136; Italic, 73.
-
- SEPTENTRIONALS.―
-
- _English (Blacks)._―
-     Pica, 60. Brevier, 65.
-
- Mathematical Marks, Flowers, etc.
-
-James’ business appears to have thriven for a time, owing doubtless to
-the fact of his being possessed of the matrices of Dutch letter, which
-at that time had quite superseded the home productions in the popular
-favour. So much were they sought after, indeed, that we hear of a great
-printer like Tonson making a special journey to Holland, and there
-laying out as much as £300 on Dutch letter. The upper floor, on which
-the work of the foundry was carried on in the house at the Town Ditch,
-being insufficient in strength for the weight of his operations, he
-removed to the foundry in Bartholomew Close, where he continued till
-the time of his death. “This founding House,” says Rowe Mores, “is an
-edifice disjoined from the dwelling-house, and seems to have been built
-for Mr. James’ own purpose. The dwelling-house is an irregular rambling
-place, formerly in the occupation of Mr. Roycroft, afterwards in that
-of Mr. Houndeslow, afterwards in that of Mr. S. Palmer, author of the
-_General History of Printing_, and lastly that of the two Mr. James’s,
-and was a part of the Priory of St. Bartholomew. And in this house
-wrought formerly as a journeyman {218} with Mr. Palmer, a gentleman
-well known since in the philosophical world, Dr. Benj. Franklin of
-Philadelphia.” Franklin worked here in 1725 for about a year, during
-which time, as he himself states in the interesting note quoted from
-his autobiography at page 15, he was an occasional visitor in James’s
-typefoundry adjoining.
-
-James’ later years were embittered by transactions which tended neither
-to his credit nor his fortunes, and which one would be tempted to pass
-by unnoticed, but that the history of English type-founding is closely
-involved in the narration.
-
-In the year 1725 a Scotch printer complained to William Ged, a
-respectable goldsmith of Edinburgh, of the inconvenience of being
-compelled to send to London or Holland for type, there being no
-foundry in Scotland at the time, and urged him to undertake the
-business of type-founder. Ged, in considering the matter, was struck
-with the idea of producing plates from whole pages of composed type,
-and after several experiments, satisfied himself that the idea was
-practicable.[409] In 1727 he entered into a contract with an Edinburgh
-printer to prosecute the invention, but the latter being intimidated
-by the rumoured costliness of the process, withdrew from the bargain
-at the end of two years. In 1729 Ged entered into a new partnership
-with William Fenner, a London stationer, who offered, for one half of
-the profits, to find the requisite capital and work the undertaking.
-Fenner introduced him to Thomas James, the founder, and a company was
-shortly afterwards formed, consisting of Ged, Fenner, Thomas James,
-John James, his brother, an architect at Greenwich, and James Ged,
-son of the inventor. Ged’s narrative, which is simple, and to all
-appearances straightforward, represents Thomas James as having played
-from the first a highly dishonourable part in the proceedings of the
-new company. Being naturally selected to provide the necessary type, he
-supplied worn and battered letter, which Ged was compelled to reject
-as useless. Ged next applied to the King’s printers, who had recently
-discarded James’s type in favour of the highly superior letter of
-William Caslon, for permission to take plates from some formes of their
-new letter. The printers consulted Mr. Caslon, who not only denied the
-utility of {219} the invention, but asserted that he could, if he
-chose, make as good plates as Ged.[410] A wager of £50 ensued. Each of
-the disputants was furnished with a page of type, and allowed eight
-days for producing the plate. At the end of a single day Ged produced
-three plates to the umpire, who was bound to admit his success. This
-feat becoming known, the partners applied for, and obtained a privilege
-from the University of Cambridge in 1731, to print Bibles and Prayer
-Books by the new method.
-
-Ged was, however, again thwarted in every direction by the treachery
-of his colleagues, especially of Thomas James, who continued to supply
-imperfect type, and actively intrigued with the King’s printers for
-the purpose of upsetting the University contract and discrediting
-the invention. With wonderful courage and perseverance Ged struggled
-against the opposition, and, it is said, completed two Prayer Books.
-The printers engaged on the work, however, were influenced by James,
-the compositors making malicious errors in the text, and the pressmen
-damaging the formes with their ink balls. The complaint thus raised
-against the type was the motive for sending James in 1732 to Holland,
-to procure fresh letter. This second expedition lacked all the
-interesting features of the first, and he returned after being absent
-for two months and spending £160, with only one fount of type, far too
-large for the requirements of the undertaking. Meanwhile, however, in
-consequence of the persistent animosity of the printers, the books were
-suppressed by authority, and the plates sent to the King’s printing
-house, and thence to Caslon’s foundry to be broken up.[411] Ged,
-shattered in health and fortune, returned to Edinburgh in 1733, where,
-by the assistance of his friends, he was enabled, after some delay, to
-finish his edition of Sallust.[412] He died in 1749.[413] {220}
-
-The dishonourable part taken by James in this business reacted on
-himself, for we find that he suffered considerably both in purse and
-business, in consequence of his connection with the undertaking.
-“The printers,” says Mores, “would not employ him, because the
-block printing, had it succeeded, would have been prejudicial to
-theirs.”[414] The rising fame of Caslon at this particular period
-contributed also, and with equal force, to the ill-success of his later
-years.
-
-Before his death, however, he added considerably to his foundry,
-chiefly by the purchase of the foundries of his old master, Robert
-Andrews, and of his son Sylvester at Oxford. By the former he acquired
-not only a large number of Roman and Italics, but also several Oriental
-and curious founts (some of which had formed the foundry of Moxon),
-which constituted the nucleus of that large collection for which his
-foundry subsequently became notorious. He died in 1736,[415] after a
-long illness, during which his son John James managed the business.
-
-The following circular, addressed to the printing trade at the time of
-his death, is interesting, not only as notifying the fact, but as being
-put forward as a specimen of the type of the foundry.
-
-     ADVERTISEMENT.
-
-     “The death of Mr. Thomas James of Bartholomew Close, Letter
-     Founder, having been industriously published in the Newspapers,
-     without the least mention of any person to succeed in his
-     business, it is become necessary for the widow James to give as
-     public notice that she carries on the business of letter founding,
-     to as great exactness as formerly, by her son John James, who
-     had managed it during his father’s long illness; the letter this
-     advertisement is printed on being his performance.[416] And he
-     casts all other sorts from the largest to the smallest size. Also
-     the Saxon, Greek, Hebrew, and all the Oriental types, of various
-     sizes.” {221}
-
-Although the above seems to indicate that John James was a practical
-letter-cutter, he does not appear to have contributed much to the
-increase of his foundry by his own handiwork. In 1739 he purchased,
-jointly with William Caslon, the foundry of Robert Mitchell, and took
-a half of the matrices.[417] A year later he bought Ilive’s foundry.
-Of this purchase Rowe Mores mentions that the two founts of Nonpareil
-Greek, though duly paid for, never came to James’s hands. The remaining
-matrices, consisting of Roman and Italics and a few sundries, were
-transferred to Bartholomew Close, where they lay, apparently unused, in
-the boxes distinguished by the name of Jugge.
-
-A far more important purchase was made some eighteen years later,
-when Grover’s foundry, after having lain idle for thirty years in the
-possession of his family, was finally sold to James by Mr. Nutt in
-1758. By this purchase James became possessed of a stock of matrices,
-the number of which nearly doubled his own foundry, and which included
-many of the most interesting relics of the art.[418] At the same time,
-he combined in one no fewer than nine of the old English foundries,
-and remained, with Caslon and Baskerville, as one of only three
-representatives of the trade in the country.[419]
-
-The following table will present in a clear form the gradual absorption
-of all the old foundries into that of James:―
-
- (_De Worde_)     (_Day_)
-      │              │
-      │        (_Privileged
-      │         printers_)
-      │              │
-      │        The Polyglot
-      │          Founders      Moxon    (Walpergen)
-      │          1637–1667   1659–1683   1673–1714
-      │              │           │           │
-      +──────────────+───────────+           │
-      │                          │           │
-      │             +────────────+           │
-      │             │                        │
- Jas. Grover    R. Andrews   (_Rolij_)  S. Andrews    Ilive       Head
- 1680–1700      1683–1733      1710      1714–1733  1730–1740  1685–1700 (?)
-      │             │            │           │          │          │
-      │             +────────────+───────────+          │          │
-      │                          │                      │          │
- Thos. Grover               Thos. James                 │       Mitchell
- 1700–1758                   1710–1736                  │      1700–1739
-      │                          │                      │          │
-      │                          │                      │     +────+────+
-      │                          │                      │     │         │
-      +──────────────────────────+──────────────────────+─────+         │
-                                 │                                      │
-                             John James                              Caslon
-                             1736–1772
-            the last of the Old English Letter Founders.
-
-{222}
-
-With the exception of the circular already mentioned, nothing of the
-nature of a specimen of this large foundry appeared during the lifetime
-of its owner. As early as 1736, Rowe Mores informs us, a specimen was
-begun, designed to show the variety of matrices with which the foundry
-then abounded, and from which types could be supplied to the trade. But
-although so early begun, and progressed with for several years, the
-work was left incomplete at the time of James’s death in 1772.[420]
-
-Two causes may be assigned for this fact, one being the frequent and
-numerous additions to the foundry from time to time, which would
-render any specimen undertaken at an early stage of its existence
-incomplete; and the second and more cogent reason is to be found in
-the fact that the excellence and growing popularity of Caslon’s founts
-at this particular period tended rapidly to depreciate the productions
-of the old founders, and, as Rowe Mores himself states, to render many
-of their founts altogether useless in typography; so that a letter
-which in 1736 might have commanded a tolerable sale, would in 1756 be
-despised, and in 1770 scoffed at.
-
-At John James’s death his foundry passed by purchase[421] into the
-hands of Mr. Rowe Mores,[422] a learned and eccentric antiquary and
-scholar, who had devoted himself, among other matters, to the study of
-typographical antiquities, a pursuit in which he received no little
-stimulus from the possession of a collection of punches and matrices,
-some of which were supposed to be as old as the days of Wynkyn de Worde.
-
-Whether any motive besides a pure antiquarian zeal prompted the
-purchase, or whether he held the collection in the capacity of trustee,
-is not known, but it {223} seems probable he had been intimately
-acquainted with the foundry and its contents for some time before
-James’s death. He speaks emphatically of it as “our” foundry, and his
-disposition of its contents for sale is made with the authority of an
-absolute proprietor. It does not appear, however, that during the six
-years of his possession any steps were taken to extend or even continue
-the old business, which we may assume to have died with its late owner.
-
-Mr. Mores found himself the owner of a vast confused mass of matrices,
-many of them unjustified, and others imperfect, which to an ordinary
-observer might have been summarily condemned as rubbish, but which
-he, with an enthusiasm quite remarkable, set himself to catalogue and
-arrange in order, considering himself amply repaid for his pains by the
-discovery of a few veritable relics of Wynkyn de Worde and other old
-English printers.
-
-The result of his labours he minutely relates in his
-_Dissertation_,[423] a work written, as he himself says, “to preserve
-the memory of this Foundry, the most ancient in the kingdom, and which
-may now be dispersed,” and intended as an introduction to the completed
-specimen of its contents. Despite its eccentric style and crabbed
-diction, the work, by virtue of its learning and acuteness, will always
-remain one of the most interesting contributions to the history of
-English typography.
-
-The condition of the foundry will be best described in its author’s own
-words.
-
-After giving a list of matrices lost,[424] and quoting a catalogue
-of the matrices of the learned languages in the foundry in 1767,
-written by James himself (which varies considerably from the Catalogue
-presented at the sale, to be given later on), he observes:
-
-“The specimen will show that several of the matrices are unjustified.
-This being but an accidental circumstance, does not in the least
-affect the goodness of the type, though it affects its appearance in
-_the casting_. The matrices were amassed at all events to augment the
-collection, and the operation of the file was suspended till a call for
-the type should make it necessary. So this defect is no more than a
-proof that the matrices have not been impaired by use.
-
-“Another circumstance it may be necessary to mention relating to the
-difference in the number of matrices of the same face and body, which
-may lead to a suspicion that those of a lesser number are imperfect.
-But this is not the {224} fact. The difference arises from a difference
-in the quantity of ligations, which have been always cut in a greater
-or smaller number according to the humour or fancy of the artist. We
-own ourselves admirers of ligatures, for they are certainly ornamental
-and elegant, and it is to be wished that they could be used in
-typography with the same ease as they are displayed in calligraphy. But
-this is impossible; fusile types are not so tractable as the pen of a
-ready writer, and we scruple not to call a fount complete though it be
-destitute of every jugation. . . .
-
-“A word or two must be added in relation to the Specimen. It was begun
-by Mr. James in the year 1736, in which year, after the decease of his
-father, he entered into business for himself, and was designed to show
-the variety of matrices with which his foundery abounded. Therefore
-it is a specimen only of the types which he could cast for those who
-wanted; no reference being made to the situation of the matrices from
-which he would have cast them. But notwithstanding the number of years
-intermediate, the Specimen was left unfinished by Mr. James at the
-time of his death, and that which was left has been mangled since his
-decease. Not that there was any occasion for such references, for Mr.
-James was possessed of the matrices, and consequently of the secret of
-adapting them to his purpose. To supply this deficiency in a specimen
-of the matrices (for as such the specimen is now to be considered) has
-been attended with trouble incredible to anyone but one who upon a like
-occasion shall attempt the same. And such an occasion we believe there
-will never be.
-
-“For the Specimen some apology is to be made; neither the form nor the
-matter is so judicious as we could wish, but the greatest part of it
-was composed long ago, and it was almost impossible now to alter it.
-Incorrectness must be overlooked, because Letter Founders generally
-compose their own specimens, and this might be sufficient to apologise
-for deficiencies in the Composing part. But we must use another plea in
-extenuation of enormities in this part unavoidable; the confinement of
-large-bodied letters to a narrow measure; though for blemishes of this
-sort the just allowance will be made by those of judgement. It shows
-the letter, the common purpose of this kind of specimens.
-
-“We have inserted specimens of several matrices which the great
-improvements made in the art of letter-cutting have rendered altogether
-useless in typography; but these specimens will be found of critical
-use to an antiquary, for whose sake we have inserted them, regardless
-of the charge that we deform our Specimen, or of another more material
-accusation, that by multiplying particulars we endeavour to enhance the
-value of our foundery. The latter we can easily refute; for the sets
-we speak of, besides the rudeness of the workmanship, are imperfect,
-and consequently unsaleable, and will probably be taken {225} from the
-foundery before it is disposed of to prevent the trouble of a future
-garbling,[425] and this consideration must extend to those objections
-which may be made against things cast in haste without justification,
-for the purpose only of shewing the faces.
-
-“Hitherto we have spoken only of Matrices. The punches, though in order
-they are first, must come last; and of them we have but little to say;
-for these having performed their office by formation of the matrice are
-generally like other useful instruments which have discharged their
-duty, neglected, discarded and thrown away.
-
-“The entire _loss_, the _waste_ and the _rubbish_ in our foundery in
-this article are great. The _waste_ and _rubbish_ are in weight about
-120 lbs., and were we to put down _tale_ instead of _weight_ (the
-pusils which seem to make the greater part of this quantity not much
-exceeding in largeness the little end of a poinctrel) the number would
-be very great. But covetous of preserving the remembrance of everything
-which in Mr. James’ Foundery was curious or uncommon, we have
-re-scrutinized these, and have left behind us nothing but the Roman and
-Italic in which is nothing either curious or uncommon.
-
-“The same likewise have we done to the matrices, the waste of which now
-remaining and disposed of in order is in number about 2,600,[426] the
-rubbish in weight about 1/2 cwt.
-
-“A work of some trouble but _virtù_ hath been gratified amongst the
-rubbish of punches by some originals of Wynkyn de Worde, some punches
-of the 2-line Great Primer English.[427] They are truly _vetustate
-formâque et squalore venerabiles_, and we would not give a lower-case
-letter in exchange for all the leaden cups of Haerlem.”[428]
-
-[Illustration: 56. From the original in the Library of the London
-Institution.]
-
-Mr. Mores, unfortunately, did not live to see the publication of
-his {227} _Dissertation_, or to complete the Specimen which was to
-accompany it. He died in 1778, and four years elapsed before the
-foundry was put up to auction, and the catalogue with its specimen
-attached finally appeared.
-
-Of this interesting document we need only observe that in point of
-execution and printing it calls for all the apology which Mr. Mores
-offers on its behalf;[429] for one could hardly imagine a specimen
-doing less justice to the collection it represents. Yet, in spite of
-its imperfections, it is a work of the highest importance to anyone
-interested in the history of the old English letter-founders, and we
-regret that space forbids quoting the Catalogue in full.
-
-We shall, however, present our readers with an abstract of the Specimen
-as far as it relates to the matrices of the “learned” languages in the
-foundry; adding, as far as possible, the initials of the foundries
-through which each fount had come into James’ hands.[430]
-
-The specimens shown are as follows:―
-
- _Hebrew_ (Biblical).[431]―
-     2-l. English Mod.                            [A.][432]
-     2-line English No. 2.
-     2-line English Ancient.                      [P.]
-     Double Pica.                            [P.] [A.]
-     Great Primer.                                [A.]
-     English Antique.
-     English Ancient, No. 2.                 [P.] [A.]
-     English Ancient, No. 3.
-     English Modern.
-     Pica Ancient.                               [G.?]
-     Pica Modern.                                 [A.]
-     Small Pica Antique.                          [A.]
-     Small Pica Antique. No. 2.                   [A.]
-
- _Hebrew._―
-     Small Pica Modern.
-     Long Primer.                                [G.?]
-     Brevier.                                     [A.]
-     Brevier. No. 2.                            [S.A.]
-     Nonpareil.                                   [A.]
-
- _Hebrew_ (Rabbinical).―
-     English German (a spurious Rashi).           [A.]
-     Rashi Pica.                                  [A.]
-     Rashi Long Primer.*                          [A.]
-     Rashi Brevier.*                              [A.]
-     Rashi Nonpareil.*                            [A.]
-
- _Samaritan._[433]―
-     Double Pica (Leusden’s).                     [A.]
-     English* (with English face).           [P.] [G.] {228}
-
- _Syriac._―
-     Double Pica.                           [P.][G.]
-     Great Primer.                              [A.]
-     Pica.                                      [G.]
-
- _Arabic._[434]―
-     Double Pica (Gt. Primer?)*            [P.?][G.]
-     Great Primer.                              [A.]
-
- _Æthiopic._―
-     Gt. Primer or English*.                [P.][A.]
-     English.                                [Anon.]
-
- _Greek._[435]―
-     Double Pica.[436]                     [Royal][G.]
-     Great Primer.*                             [G.]
-     Great Primer. No. 2.
-     Great Primer. No. 3.                       [R.]
-     English.
-     English. No. 2.
-     Pica.                                      [R.]
-     Pica. No. 2.
-     Small Pica.                                [P.]
-     Small Pica. No. 2.                        [R.?]
-     Small Pica. No. 3.                         [P.]
-     Brevier.                                   [A.]
-     Brevier. No. 2.                            [R.]
-     Brevier. No. 3.[437]                         [G.]
-     Nonpareil.                                 [A.]
-     Pearl.                                    [N.?]
-     English Alexandrian.*                      [G.]
-
- _Gothic._―
-     Pica.                                   [Anon.]
-
- _Anglo-Saxon._[438]―
-     Great Primer.                              [G.]
-     Great Primer, No. 2.                       [G.]
-     English (Pica).                            [A.]
-     Long Primer.                              [A.?]
-
- _Anglo-Norman._[439]―
-     Great Primer.                              [A.]
-     English.                                [Anon.]
-
- _Runic._―
-     Pica.
-
- _Court Hand._―
-     Double Pica.                               [G.]
-     English.*                                  [G.]
-     _Union._—Double Pica.*                    [G.]
-
- _Scriptorial_ (_Cursive_).[440]―
-     Double Pica.                               [G.]
-     English.                                   [G.]
-     English. No. 2.                            [G.]
-     Pica.*                                     [G.]
-     Small Pica.                                [G.]
-
- _Secretary._―
-     Great Primer.                              [G.]
-
- _Hieroglyphics._―
-     A Set.
-
- _English._[441]―
-     2-line Great Primer.            [De Worde?][G.]
-     Great Primer.                   [De Worde?][G.]
-     Great Primer. No. 2.                       [A.]
-     English.                                [Anon.]
-     English. No. 2*                            [A.]
-     English. No. 4.                            [G.]
-     Pica.                                      [A.]
-     Pica. No. 2.                            [Anon.]
-     Pica. No. 3.                              [R.?]
-     Small Pica No. 2.                          [A.]
-     Small Pica No. 3.                      [Anon.?]
-     Small Pica No. 6.                          [A.]
-     Small Pica No. 7.                         [A.?]
-     Long Primer (Dutch cut).                  [G.?]
-     Long Primer No. 2.                         [G.]
-     Long Primer No. 3.                         [G.]
-     Brevier.                                  [G.?]
-     Brevier. No. 4.                           [R.?]
-     Nonpareil.*                                [G.]
-
-Of Roman capitals, eight founts were shown,[442] and of Roman and
-Italic from {229} Canon to Diamond, there were thirty-nine founts in
-specimen and a hundred and eight not shown.
-
-In addition to the above, the specimen included ninety-seven varieties
-of flowers, chiefly from the Grovers’ foundry; while other odd flowers,
-with signs, rules, braces, and various imperfect founts (contained in
-sixteen drawers) were also sold, though not shown. At the end of the
-list of matrices came what was perhaps the most interesting feature of
-the sale, viz., a set of punches contained in a press named “Caxton,”
-consisting of twenty drawers. Of these the majority were Roman and
-Italics, which we will not specify, as it is impossible to determine
-whose handiwork they were in the first instance. We give, however, the
-contents of drawers A E F and G, which contained the following punches
-of the learned languages[443]:
-
- A.—Æthiopic          English*                            [P.] [A.]
-    Samaritan         Pica* (English?)                    [P.] [G.]
-    Samaritan         Long Primer
-    Syriac            English (Pica?)                     [G.]
-    Arabic            Great Primer                        [A.]
-    Arabic            Pica (English?)                     [A.]
-    Greek             Brevier
-    Saxon             Pica                                [A.]
-    Hibernian[444]      Pica*                               [M.] [A.]
- E.—Greek             Great Primer,* points and ligatures [G.]
- F. Greek             Pica, points and ligatures
- G. Greek             Nonpareil, points and ligatures     [A.]
-
-It is at least remarkable that so few punches should have existed
-in so large a foundry; but it is to be remembered that the wear and
-tear of the matrices in those days was not so great as now, and the
-necessity for a new set of strikes from the punches was consequently
-less frequent. We may even suppose, from Mr. Mores’ own reference to
-the subject, already quoted, that it was a common practice to discard a
-set of punches as useless as soon as they had left their impression in
-the matrices.
-
-The concluding items of the Catalogue are “about 60 or 70 moulds, from
-5-line Pica down to Nonpareil, some two, some three or more of a sort
-which {230} will be lotted according to their bodies; also a parcel of
-iron ladles; a vice, 33 lbs. weight, several gauges, dividers, blocks,
-setting-up sticks, dressing sticks, etc.,”—a meagre list, which, if
-it represents the working plant of the foundry, points to a rough and
-ready practice of the art which, even in Moxon’s time, would have been
-considered primitive.
-
-A word must be added respecting the Catalogue. Whether it was taken
-precisely as Mr. Mores left it, or whether Mr. Paterson, the auctioneer
-(whose “talent at Cataloguing” Nichols, in his _Anecdotes_, approvingly
-mentions),[445] completed it, we cannot say. It is as precise, perhaps,
-as any catalogue of so confused a collection could be. An opening was,
-however, left for a good deal of misapprehension, by the fact that the
-nests of drawers in which the matrices were stored, instead of bearing
-distinguishing numbers, bore the names of famous old printers, which
-duly figured in the Catalogue.[446] Misled by this circumstance, it
-seems more than likely that Paterson may have enhanced the importance
-of his lots by dwelling on the fact that one fount was “De Worde’s”,
-another “Cawood’s,” another “Pynson’s,” and so on. The absurdity of
-this delusion becomes very apparent when we see the Alexandrian Greek
-some years later puffed by its purchasers as the veritable production
-of De Worde (who lived a century before the Alexandrian MS. came to
-this country), and find Hansard, in 1825, ascribing seven founts of
-Hebrew and a Pearl Greek to Bynneman.
-
-What was the result of the sale financially we cannot ascertain. Of the
-fate of its various lots we know very little either, except that Dr.
-Fry secured most of the curious and “learned” matrices. How far the
-other foundries of the day, at home and abroad, enriched themselves, or
-how much of the collection fell into the hands of the coppersmiths, are
-problems not likely to find solution.
-
-With the sale, however, disappeared the last of the old English
-foundries, and closed a chapter of English typography, which, though
-not the most glorious, is certainly not the least instructive through
-which it has passed.
-
-       *       *       *       *       *
-
-The only specimen of this foundry is that appended to the Catalogue of
-the sale:―
-
-     A CATALOGUE and Specimen of the large and extensive
-     Printing-Type-Foundery of the late ingenious Mr. John James,
-     Letter-founder, formerly of Bartholomew Close, London, deceased;
-     including several other Founderies, English and Foreign. Improved
-     {231} by the late Reverend (_sic_) and Learned Edward Rowe
-     Mores, deceased. Comprehending a great variety of punches and
-     matrices of the Hebrew, Samaritan, Syriac, Arabic, Æthiopic,
-     Alexandrian, Greek, Roman, Italic, Saxon, Old English, Hibernian,
-     Script, Secretary, Court-Hand, Mathematical, Musical, and other
-     characters, Flowers and Ornaments: which will be sold by Auction
-     by Mr. Paterson at his Great Room (No. 6) King Street, Covent
-     Garden, London, on Wednesday, 5th June, 1782, and the Three
-     following days. To begin exactly at 12 o’clock. To be viewed on
-     Wednesday, May 29th, and to the Time of Sale. Catalogues, with
-     Specimen of the Types, may be had at the Place of Sale. (Price One
-     Shilling.) 8vo. . . . . (Lond. Inst.)
-
-[Illustration]
-
-{232}
-
-[Illustration]
-
-
-
-
-CHAPTER XI.
-
-WILLIAM CASLON, 1720.
-
-
-Printing had reached a low ebb in England in the early years of the
-eighteenth century. A glance through any of the common public prints
-of the day, such, for instance, as official broadsides, political
-pamphlets, works of literature, or even Bibles,[447] points to a
-depression and degeneration so marked that one is tempted to believe
-that the art of Caxton and Pynson and Day was rapidly becoming lost in
-a wilderness of what a contemporary satirist terms
-
- “Brown sheets and sorry letter.”
-
-With the exception of Oxford University, no foundry of the day was
-contributing anything towards the revival of good printing, or even
-towards the maintenance of such a standard as did exist. And Oxford, as
-we have said, owed its best founts to gifts procured, almost entirely,
-from abroad. Grover and Andrews, the heritors of the old founders,
-originated little or nothing; and where their efforts were put into
-requisition (as in the case of Andrews’ attempt to cut the Anglo-Saxon
-for Miss Elstob’s _Grammar_) they failed. Scarcely a work with any
-{233} pretension to fine printing was the impression of honest
-English type. Watson, the Scotch historian of printing, openly rebuked
-his brethren of the craft for not stocking their cases with Dutch type.
-Tonson, a king among English printers is said on one occasion to have
-lodged in Amsterdam while a founder there was casting him £300 worth
-of type; and James, the only English founder whose business showed any
-vitality, owed his success chiefly, if not entirely, to the fact that
-all his letter was the product of Dutch matrices; and even these, in
-his hands, were so indifferently cast as to be often as bad as English
-type.
-
-[Illustration: 57. From _Hansard_.]
-
-What was the reason for this lamentable decline—how far it was
-chargeable on the printer, how far on the founder, or how far both
-were the victims of that system of Star Chamber decrees, monopolies,
-patents, restraints and privileges which had characterised the
-illiberal days of the Stuarts—this is not the place to inquire. Nor,
-happily, are we called upon to speculate as to what would have been
-the consequence to English Typography of an uninterrupted prolongation
-of the malady under which it laboured. But it is necessary to remind
-ourselves of the critical nature of that malady in order to appreciate
-properly the providential circumstance which turned the attention of
-William Caslon to typefounding, and thus served to avert from England
-the disgrace which threatened her.
-
-William Caslon[448] was born at Hales Owen in Shropshire in the year
-1692. He served his apprenticeship to an engraver of gun-locks and
-barrels in London, and at the expiration of his term followed his trade
-in Vine Street, near the Minories.
-
-The ability he displayed in his art was conspicuous, and by no means
-confined to the mere ornamentation of gun-barrels—the chasing of
-silver and the designing of tools for bookbinders frequently occupying
-his attention. While thus engaged, some of his bookbinding punches
-were noticed for their neatness and accuracy by Mr. Watts,[449] the
-eminent printer, who, fully alive to the present degenerate state of
-the typographical art in this country, was quick to recognise the
-possibility of raising it once more to its proper position. He {234}
-accordingly encouraged Mr. Caslon to persevere in letter-cutting,
-promising him his personal support, and favouring him meanwhile with
-introductions to some of the leading printers of the day.
-
-About the same time, it is recorded that another great printer, the
-elder Bowyer,[450] “accidentally saw in the shop of Mr. Daniel Browne,
-bookseller, near Temple Bar, the lettering of a book, uncommonly neat;
-and enquiring who the artist was by whom the letters were made, Mr.
-Caslon was introduced to his acquaintance, and was taken by him to Mr.
-James’s foundery in Bartholomew Close. Caslon had never before that
-time seen any part of the business; and being asked by his friend if
-he thought he could undertake to cut types, he requested a single day
-to consider the matter, and then replied he had no doubt but he could.
-From this answer, Mr. Bowyer lent him £200, Mr. Bettenham[451] (to
-whom also he had been introduced) lent the same sum, and Mr. Watts
-£100.”[452]
-
-With this assistance Mr. Caslon established himself in a garret in
-Helmet Row, Old Street, and devoted himself with ardour to his new
-profession.[453] An opportunity for distinguishing himself presented
-itself shortly afterwards.
-
-In the year 1720 the Society for Promoting Christian Knowledge,[454]
-acting {235} on a suggestion made by Mr. Salomon Negri, a native of
-Damascus, and a distinguished Oriental scholar, “deemed it expedient to
-print for the Eastern Churches the _New Testament_ and _Psalter_ in the
-Arabic language for the benefit of the poor Christians in Palestine,
-Syria, Mesapotamia, Arabia and Egypt, the constitution of which
-countries allowed of no printing.” A new Arabic fount being required
-for the purpose, Mr. Caslon, whose reputation as a letter-cutter
-appears already to have been known, was selected to cut it. This he did
-to the full satisfaction of his patrons, producing the elegant English
-Arabic which figures in his early specimens. The Society was, according
-to Rowe Mores, already possessed of a fount of Arabic cast from the
-Polyglot matrices in Grover’s foundry. But Caslon’s fount was preferred
-for the text, and in it appeared, in due time, first the _Psalter_ in
-1725,[455] and afterwards the _New Testament_ in 1727.[456]
-
-[Illustration: 61. English Arabic, cut by Caslon in 1720. (From the
-original matrices.)]
-
-“Mr. Caslon, after he had finished his Arabic fount, cut the letters
-of his own name in Pica Roman, and placed the name at the bottom of
-a specimen of the Arabic[457]; and Mr. Palmer (the reputed author of
-Psalmanazar’s _History of Printing_), seeing this name, advised Mr.
-Caslon to complete the fount of Pica. Mr. Caslon did so; and as the
-performance exceeded the letter of the other founders of the time,
-Mr. Palmer—whose circumstances required credit with those who, by his
-advice, were now obstructed (_i.e._, whose business was likely to {236}
-suffer from this new rival)—repented having given the advice, and
-discouraged Mr. Caslon from any further progress.
-
-[Illustration: 59. Pica Roman and Italic, cut by William Caslon, 1720.
-(From the original matrices.)]
-
-“Mr. Caslon, disgusted,[458] applied to Mr. Bowyer, under whose
-inspection he cut, in 1722, the beautiful fount of English (Roman)
-which was used in printing the edition of _Selden’s Works_[459] in
-1726.”
-
-Caslon’s excellent performance of this task may best be judged of by an
-inspection of this noble work, which remains conspicuous not only as
-the impression of the first letter cast at the Caslon foundry, but as
-marking a distinct turning-point in the career of English typography,
-which from that time forward entered on a course of brilliant
-regeneration. The Hebrew letter used in the _Selden_ was also of
-Caslon’s cutting, and must therefore share with the English Roman the
-honour of a first place in the productions of his foundry.
-
-[Illustration: 62. Pica Coptic, cut by Caslon, _ante_ 1731. (From the
-original matrices.)]
-
-His next performance was a fount of Pica Coptic for Dr. Wilkins’s[460]
-edition {237} of the _Pentateuch_,[461] a letter which Rowe Mores
-commends as superior to the Oxford Coptic in which Dr. Wilkins’ _New
-Testament_ had been printed in 1716.[462] This fount Caslon also cut
-under the direction of Mr. Bowyer, his generous patron, whom he always
-acknowledged as his master from whom he had learned his art.
-
-Caslon’s business, thus established, rapidly advanced in fame and
-excellence. Although at the outset it depended mainly on the support of
-his three chief patrons, it was soon able to stand alone and compete
-with the best houses in the trade.
-
-“It is difficult,” observes Mr. Hansard, “to appreciate the obstacles
-which Mr. Caslon encountered at the commencement of his career. At
-present the theory and practice of letter-founding are not, as in his
-time, an ‘art and mystery,’ and efficient workmen in every branch are
-easily procured. He had not only to excel his competitors in his own
-particular branch of engraving the punches, which to him was probably
-the easiest part of his task, but to raise an establishment and cause
-his plans to be executed by ignorant and unpractised workmen. He had
-also to acquire for himself a knowledge of the practical and mechanical
-branches of the art, which require, indeed, little genius, but the
-most minute and painful attention to conduct successfully. The wishes
-and expectations of his patrons were fulfilled and exceeded by his
-decided superiority over his domestic rivals and Batavian competitors.
-The importation of foreign types ceased; his founts were, in fact, in
-such estimation as to be frequently, in their turn, exported to the
-Continent.”[463]
-
-In 1728 Mr. Caslon narrowly escaped committing an error which might
-seriously have affected his after career. The foundry of the Grovers
-being then in the market, he contracted for the purchase of it.[464]
-Fortunately for English typography, the business fell through, and
-Caslon was still left a free man to pursue his own method, unburdened
-by the incubus of a large and useless stock of matrices, which, had
-they been suffered to mingle with his own beautiful productions, would
-have degraded his foundry to a patchwork establishment little better
-than that of his competitors at home and abroad. As it was, he had
-the advantage of completing his specimens after his own plan, and
-impressing with the mark of his own genius every fount which bore his
-name.
-
-His fame in 1730 was such, that (as Ged, in his narrative of the
-invention of {238} Block-Printing, states) he had already eclipsed most
-of his competitors, and had introduced his founts into some of the
-chief printing houses of the metropolis, and even secured the custom
-of the King’s printers to the exclusion of all others.[465] Although
-Ged’s narrative goes to show that Caslon shared the scepticism of his
-contemporaries with regard to the utility of stereotyping, and was
-even ready to back his opinion with his money, it is satisfactory to
-observe that he was no party to the discreditable persecution to which
-that unfortunate inventor was subjected by other members of the craft.
-Indeed, the only successful experiment made by Ged appears to have been
-a cast from Caslon’s type.
-
-That the success of the new foundry was not achieved wholly without
-opposition is apparent from the following anecdote preserved by Mr.
-Nichols, and told in connection with the account of Bishop Hare’s
-_Hebrew Psalter_, published by Bowyer in 1733.[466]
-
-This work, it appears, had been originally intended to be printed at
-the press of Palmer, with whom Caslon, as we have seen, had already had
-dealings of a not altogether satisfactory character.
-
-“His Lordship, however,” says Nichols (quoting Psalmanazar’s account
-of the transaction), “had excepted against Mr. Palmer’s Hebrew types
-which were of Athias’ font,[467] and a little battered, and insisted
-upon his having a new set from Mr. Caslon, which greatly exceeded them
-in beauty. But Mr. Palmer was so deeply in debt to him (Caslon) that he
-knew not how to procure it from him without ready money, which he was
-not able to spare. The Bishop likewise insisted upon having some Roman
-and Italic types cast with some distinguishing mark, to direct his
-readers to the Hebrew letters they were designed to answer, and these
-required a new set of punches and matrices before they could be cast;
-and that would have delayed the work, which Mr. Palmer was in haste to
-go about that he might the sooner finger some of his Lordship’s money.
-This put him upon such an unfair stratagem as, when discovered, quite
-disgusted his lordship against him; namely, representing Mr. Caslon
-as an idle, dilatory workman, who would in all probability make them
-wait several years for those few types, if ever he finished them. That
-he was indeed the only Artist that could supply him with those types,
-but that he hated work and was not to be depended upon; and therefore
-advised his Lordship to make shift with some sort which he could
-substitute and would answer the same purpose, rather than run the risk
-of staying so long and being perhaps disappointed.
-
-“The Bishop, however, being resolved, if possible, to have the
-desired types, sent for Mr. Bowyer, and asked him whether he knew
-a letter-founder that could {239} cast him such a set out of hand,
-who immediately recommended Mr. Caslon; and being told what sad and
-disadvantageous character he had heard of him, Mr. Bowyer not only
-assured his Lordship that it was a very false and unjust one, but
-engaged to get the above-mentioned types cast by him, and a new font
-of his Hebrew ones, in as short a time as the thing could possibly be
-done. Mr. Caslon was accordingly sent for by his Lordship, and having
-made him sensible of the time the new ones would require to be made
-ready for use, did produce them according to his promise, and the book
-was soon after put to the press.”[468]
-
-Among the other interesting founts cut by Caslon about this time,
-may be mentioned the Pica Black, of which we show a specimen, and
-which received special commendation for its faithful following of the
-traditional Old English character first used by Wynkyn de Worde.
-
-[Illustration: 60. Pica Black, cut by Caslon. (From the original
-matrices.)]
-
-He also cut an Armenian for Whiston’s edition of _Moses
-Choronensis_,[469] and an Etruscan for Mr. J. Swinton of Oxford,
-the learned antiquary and philologist, who published his _De Linguâ
-Etruriæ_[470] in 1738; as well as a Gothic and several other of the
-foreign and learned characters.
-
-[Illustration: 63. Pica Armenian, cut by Caslon, _ante_ 1736. (From the
-original matrices.)]
-
-[Illustration: 65. Pica Gothic, cut by Caslon, _ante_ 1734. (From the
-original matrices.)]
-
-{240}
-
-[Illustration: 64. Pica Etruscan, cut by Caslon, 1738. (From the
-original matrices.)]
-
-[Illustration: 66. Pica Ethiopic, cut by Caslon. (From the original
-matrices.)]
-
-All of these, with exception of the Etruscan and an Ethiopic cut still
-later, were completed before 1734, in which year the first _Specimen_
-of his foundry appeared.
-
-This famous broadside, of which very few copies are now extant, dates
-from Chiswell Street, to which address Mr. Caslon had transferred the
-Helmet Row Foundry (after an intermediate sojourn in Ironmonger Row),
-about the year 1734.
-
-The sheet is arranged in four columns, and displays altogether
-thirty-eight founts, namely:
-
- _Titlings._―
-     5-line Pica, 4-line Pica, 2-line Great Primer, 2-line English,
-     2-line Pica, 2-line Long Primer, 2-line Brevier.
-
- _Roman_ and _Italic._―
-     French Canon, 2-line Great Primer, 2-line English, Double Pica,
-     Great Primer, English, Pica, Small Pica (2), Long Primer (2),
-     Brevier, Nonpareil, and Pearl.
-
- _Saxon._―
-     Pica and Long Primer.
-
- _Black._―
-     Pica and Brevier.
-
- _Gothic_, _Coptic_, _Armenian_, _Samaritan_.―
-     Pica of each.
-
- _Syriac_ and _Arabic_.―
-     English of each.
-
- _Hebrew._―
-     English, English with points, Brevier.
-
- _Greek._―
-     English, Pica, Long Primer, Brevier.
-
- _Flowers._―
-     Seven designs.
-
-Of these, all, with three exceptions, are Caslon’s own handiwork, and
-represent the untiring industry of fourteen years. Of the excellence
-of the performance it is sufficient to say that the Specimen placed
-Caslon absolutely without rival at the head of his profession; “and,”
-as Nichols says, “for clearness and uniformity, for the use of the
-reader and student, it is doubtful whether it has been exceeded by any
-subsequent production.”
-
-The three founts referred to as not the product of Caslon’s hand, were
-the Canon Roman, from Andrews’ foundry, formerly Moxon’s, and exhibited
-in the {241} _Mechanick Exercises_[471]; the English Syriac, which is
-from the matrices of the _Polyglot_[472]; and the Pica Samaritan, which
-was cut by a Dutchman named Dummers.
-
-Fame appears to have followed rapidly on the appearance of this
-Specimen. The sheet was included as an inset plate in the second
-edition of Ephraim Chambers’ _Cyclopædia_ in 1738,[473] with the
-following flattering notice:—“The above were all cast in the foundery
-of Mr. W. Caslon, a person who, though not bred to the art of
-letter-founding, has, by dint of genius, arrived at an excellency in it
-unknown hitherto in England, and which even surpasses anything of the
-kind done in Holland or elsewhere.”
-
-Caslon made a further addition to his stock of matrices in 1739
-by the purchase of half of Mitchell’s foundry,[474] of which the
-most interesting items were a Pica Greek, sets of Music and flower
-matrices, and six sizes of Black. The remainder, consisting of Romans
-and Italics, do not appear to have added much to the resources of the
-Chiswell Street foundry.[475]
-
-In the year 1742 Mr. Caslon’s eldest son, William—at that time
-twenty-two years of age—entered the business, and in the Specimen of
-the same year his name first appears in conjunction with his father’s.
-Unfortunately, no copy of this Specimen (which had evidently been
-seen by Nichols[476]) is known to be extant. Another Specimen, also
-unfortunately missing, is mentioned by the same authority, who says,
-“the abilities of the second Caslon appeared to great {242} advantage
-in the specimen of the types of the learned languages in 1748.”[477] A
-further Specimen was issued in the following year, in broadside form,
-which displayed a large variety of letters, from Canon to Pearl, many
-of them being the handiwork of Caslon the younger. It is possible
-that this last sheet may have been sent, for the most part, abroad;
-for while no copy of it is to be found in this country, we find one
-mentioned with commendation by Fournier in 1766,[478] and another
-preserved to this day in the Sohmian Collection at Stockholm, where,
-along with several other rare English and foreign specimens, it has
-been recently discovered by, the indefatigable Mr. William Blades.
-
-In Ames’ _Typographical Antiquities_,[479] published in 1749, appears
-a specimen of “Mr. Caslon’s Roman letter and the names of the sizes
-now in use,” the introductory note to which affords the first definite
-notice of the younger Caslon in connection with the foundry. “The
-art,” says Ames, “seems to be carried to its greatest perfection by
-Mr. William Caslon, and his son, who, besides the type of all manner
-of living languages now by him, has offered to perform the same for
-the dead, that can be recovered, to the satisfaction of any gentleman
-desirous of the same.”
-
-Another contemporary record of equal interest, which seems, moreover,
-to allude to one or more of the three missing Specimens above
-mentioned, is contained in a little essay on the _Original, Use, and
-Excellency of Printing_, published in 1752[480]; in which the anonymous
-writer, after dealing with the invention, remarks: “Altho’ the chief
-honour is due to the Inventor, yet the perfection and beauty that
-Printing is now arrived at is very much owing to them that came after.
-Many in the present age have not a little contributed thereto. Among
-whom I cannot but particularly mention Mr. William Caslon and his
-Son, Letter Founders in Chiswell Street, who have very much by their
-indefatigable labours promoted the honour of this Art, and who have
-lately printed three broadsheet specimens of their curious types; one
-of them consisting of all the common sorts of letter used in printing;
-the second sheet is {243} divers sorts of their Orientals, Old-English,
-and Saxon; and the third contains a great variety of curious Flowers
-and Fancies for Ornamenting of Title Pages, Tickets, &c., also several
-sorts of Titling letter of Roman, Old-English and Greek; and the whole,
-for their master strokes and curious flourishes, outdo all that have
-been cast in England, Holland or any other place before.”
-
-The above is one of many compliments paid to Caslon at this period by
-his contemporaries. Smith, in his _Printer’s Grammar_ in 1755, goes
-out of his way more than once to commend the founder by whose genius
-“letter is now in England of such a beautiful cut and shape as it
-never was before.” Baskerville, in a passage quoted elsewhere,[481]
-frankly acknowledges him as the greatest master of the art. Ames and
-Chambers, as has been noticed, vie with one another in proclaiming his
-pre-eminence; Mores himself styles him the Coryphæus of modern letter
-founders, and Lemoine awards him the title of the English Elzevir.
-
-In 1750 Mr. Caslon’s reputation was such that his Majesty George II.
-placed him on the Commission of the Peace for Middlesex, which office
-he sustained with honour to himself and advantage to the community till
-the time of his death.
-
-In June of the same year, the _Universal Magazine_[482] contained
-an Article on Letter Founding, extracted chiefly from Moxon, and
-accompanied by a view of the interior of Caslon’s Foundry, containing
-portraits of six of his workmen. The view (of which our frontispiece
-is a reproduction) represents four casters at work, one rubber (Joseph
-Jackson), one dresser (Thomas Cottrell), and three boys breaking
-off, etc. Considering the extent of the business at the time, it may
-be doubted whether this represents the entire working staff of the
-establishment, or whether the view is of a portion only, in which, for
-the convenience of the artist, the four processes of the manufacture
-are assembled. The processes of punch-cutting and justifying were
-conducted in private by the Caslons themselves; yet not, as history
-shows, in such secrecy as to prevent their two apprentices, Cottrell
-and Jackson, from observing and learning the manual operation of that
-part of the “art and mystery.”[483]
-
-A movement among the workmen of the Foundry in 1757 for a higher
-scale of wages, although decided in favour of the men, resulted in
-the dismissal of the two ex-apprentices, who were supposed to have
-been ringleaders in the {244} movement. With the experience acquired
-during their term of service at Chiswell Street, both these men were
-enabled to establish foundries of their own; and it is to the credit of
-Cottrell’s good sense, if not of his good feeling, that he subsequently
-supported his own claim to the patronage of the trade by announcing on
-his specimens that he had “served his apprenticeship to William Caslon,
-Esq.”
-
-The active part taken by the Second Caslon in the operations of the
-Foundry may be best judged of by a reference to the Specimen Book
-of 1764.[484] In this book the number of founts which originally
-appeared on the broadside of 1734 is more than doubled,[485] most of
-the additions (with the exception of those which had formed part of
-Mitchell’s Foundry) being the handiwork of Caslon II. The following
-advertisement appears on the last page:―
-
-     “This new Foundery was begun in the year 1720, and finish’d 1763;
-     and will (with God’s leave) be carried on, improved and inlarged
-     by William Caslon and Son, Letter-Founders in London.—Soli Deo
-     Gloria.”
-
-Rowe Mores, whose prejudice against the Second Caslon is undisguised,
-waxes facetious on the head of this innocent declaration,[486] although
-he can find but little to blame in the Specimen itself, “in which,” he
-says, “is nothing censurable but the silly notion and silly fondness
-of multiplying bodies”—the Specimen showed a long-bodied English and a
-large-face Long Primer and Bourgeois—“as if the intrinsic of a foundery
-consisted in the numerosity of the heads!” Such animadversions,
-however, leave untouched the younger Caslon’s reputation as an able and
-successful typefounder, which was, indeed, so well established that
-during the later years of his father’s life he appears to have had the
-sole management of the business.
-
-Caslon I, having lived to see the result of his genius and industry
-in the regeneration of the Art of Printing in England, retired,
-universally respected, from the active management of the Foundry, and
-took up his residence first in {245} a house opposite the Nag’s Head in
-the Hackney Road, removing afterwards to Water Gruel Row, and finally
-settling in what was then styled a country house at Bethnal Green,
-where he resided till the time of his death.
-
-“Mr. Caslon,” says Nichols, “was universally esteemed as a first-rate
-artist, a tender master, and an honest, friendly, and benevolent
-man.”[487] The following anecdote, preserved by Sir John Hawkins in his
-_History of Music_, gives a pleasing glimpse into his private life, and
-shows that in his devotion to the severer arts the gentler were not
-neglected.
-
-“Mr. Caslon,” says Sir John, “settled in Ironmonger Row, in Old Street;
-and being a great lover of music, had frequent concerts at his house,
-which were resorted to by many eminent masters. To these he used to
-invite his friends and those of his old acquaintance, the companions of
-his youth. He afterwards removed to a large house in Chiswell Street,
-and had an organ in his concert room.[488] After that, he had stated
-monthly concerts, which, for the convenience of his friends, and that
-they might walk home in safety when the performance was over, were
-on that Thursday in the month which was nearest the full moon; from
-which circumstance his guests were wont humourously to call themselves
-‘Luna-tics.’ In the intervals of the performance the guests refreshed
-themselves at a sideboard, which was amply furnished; and when it was
-over, sitting down to a bottle of wine, and a decanter of excellent
-ale, of Mr. Caslon’s own brewing, they concluded the evening’s
-entertainment with a song or two of Purcell’s sung to the harpsicord,
-or a few catches; and, about twelve, retired.”[489]
-
-Mr. Caslon’s hospitalities were not confined to his musical friends
-merely. His house was a resort of literary men of all classes, of whom
-large parties frequently assembled to discuss interesting matters
-relating to books and studies.[490]
-
-Mr. Caslon was thrice married. His second and third wives were named
-respectively Longman and Waters, and each had a good fortune. By his
-first wife he had two sons and a daughter: William, who succeeded him
-at Chiswell {246} Street; Thomas, who became an eminent bookseller in
-Stationers’ Hall Court, where he died in 1783, after having in the
-previous year served the office of Master of the Stationers’ Company;
-and Mary, who married first Mr. Shewell, one of the original partners
-in Whitbread’s brewery, and afterwards Mr. Hanbey, an ironmonger of
-large fortune. A brother of Mr. Caslon, named Samuel, is mentioned by
-Rowe Mores, and appears to have served at Chiswell Street for a short
-time as mould maker, leaving there subsequently, on some dispute, to
-work in the same capacity for Mr. Anderton of Birmingham.
-
-Mr. Caslon died, much respected, at Bethnal Green, on Jan. 23rd, 1766,
-aged 74, and was buried in the Churchyard of St. Luke’s, the parish
-in which his three foundries were all situated. The monument to his
-memory, kept in repair by bequest of his daughter, Mrs. Hanbey, is thus
-briefly inscribed:―
-
- W. CASLON, Esq., ob. 23rd Jan., 1766, ætat 74.
-
-A life-size portrait of him by Kyte is preserved at Chiswell Street,
-representing him holding in his hand the famous Specimen Sheet of 1734.
-
-William Caslon II issued in the year of his father’s death a Specimen
-in small quarto, bearing his own name and containing the same founts
-as those exhibited in the 1764 book.[491] This Specimen, consisting of
-thirty-eight leaves, was again reprinted in 1770 by Luckombe in his
-_History of Printing_,[492] of which work it occupies pages 134 to 173.
-
-[Illustration: 67. Long Primer Syriac, cut by Caslon II, _circa_ 1768.
-(From the original matrices.)]
-
-About the year 1768 the Chiswell Street foundry was called upon to
-supply a Syriac fount for the Oxford University Press, and Caslon
-produced the Long Primer Syriac which occurs in his subsequent
-specimens. He had previously supplied the University with a Long
-Primer Hebrew, and the old ledgers of the foundry show that numerous
-transactions of a similar kind took place during the latter half of
-last century.
-
-In 1770, besides the specimen of Luckombe, another indirect specimen
-of the Caslon types was issued by a Mr. Cornish, printer, in
-Blackfriars, in a very {247} small form—32mo—exhibiting a series of
-Romans, two founts of Black, and three pages of flowers.
-
-It was probably on the Specimen of 1766 that Rowe Mores founded
-his summary of the contents of the Caslon foundry; and it will be
-interesting to reproduce this list, as it presents a view of the state
-of the foundry as it then existed, and, at the same time, distinguishes
-the authors of the several founts with which it was supplied.
-
-Rowe Mores seizes the opportunity afforded by this enumeration for
-another sneer at Caslon II. “This is the best account,” he says, “we
-can give of this capital and beautiful foundery, the possessor of which
-refused to answer the natural questions, because, forsooth, ‘answering
-would be of no advantage to us; if we wanted letter to be cast, he
-would cast it.’ But this we can do ourselves.”[493]
-
-The summary is as follows:―
-
-
-“MR. CASLON’S FOUNDERY.
-
- ORIENTALS.
-
- _Hebrew._―
-     2-line English.                           [Caslon I]
-     Double Pica.                             [Caslon II]
-     Great Primer.                            [Caslon II]
-     English.                                  [Caslon I]
-     English open.[494]                        [Caslon I]
-     Pica.                                    [Caslon II]
-     Long Primer.[495]                        [Caslon II]
-     Brevier.                                 [Caslon II]
-     2-line Great Primer.                     [Caslon II]
-
- _Samaritan._―
-     Pica.                                      [Dummers]
-
- _Syriac._―
-     English.                                  [Polyglot]
-
- _Arabic._―
-     English.                                  [Caslon I]
-
- _Armenian._―
-     Pica.                                     [Caslon I]
-
- MERIDIONALS.
-
- _Coptic._―
-     Pica.                                     [Caslon I]
-
- _Ethiopic._―
-     Pica.                                     [Caslon I]
-
- OCCIDENTALS.
-
- _Greek._―
-     Double Pica.                             [Caslon II]
-     Great Primer.                            [Caslon II]
-     English.[496]                            [Caslon II]
-     Pica.[497]                         [Head]-[Mitchell]
-     Long Primer.                              [Caslon I]
-     Brevier.                                  [Caslon I]
-     Small Pica.                              [Caslon II]
-     Nonpareil.                               [Caslon II]
-
- _Etruscan._―
-     English.                                  [Caslon I]
-
- _Roman and Italic._―
-     All the regulars.
-
- _Irregulars and Titlings._―
-     5-line.                                   [Caslon I]
-     4-line.[496]                              [Caslon I]
-     Canon.                             [Moxon]-[Andrews]
-     2-line Double Pica.                      [Caslon II]
-     2-line Great Primer.[496]                 [Caslon I]
-     2-line English.[496]                      [Caslon I]
-     2-line Pica full-face.                    [Mitchell] {248}
-
- _Irregulars and Titlings._―
-     2-line Pica.                             [Caslon II]
-     Paragon.                                 [Caslon II]
-     Small Pica.                              [Caslon II]
-     Bourgeois.                               [Caslon II]
-     Minion.                                  [Caslon II]
-     Nonpareil.                               [Caslon II]
-     Pearl.[498]                              [Caslon II]
-
- _Proscription._―
-     20-line to 4-line.[499]                  [Caslon II]
-
- SEPTENTRIONALS.
-
- _Gothic._―
-     Pica.                                     [Caslon I]
-
- _Anglo-Saxon._―
-     English.                                 [Caslon II]
-     Pica.[500]                                [Caslon I]
-
- _Anglo-Saxon._―
-     Long Primer.[500]                         [Caslon I]
-     Brevier.                                 [Caslon II]
-
- _English._―
-     Double Pica.                             [Caslon II]
-     Great Primer.                            [Caslon II]
-     English.                           [Head]-[Mitchell]
-     English Modern.[501]                     [Caslon II]
-     Pica.[501]                               [Caslon II]
-     Long Primer.                             [Caslon II]
-     Brevier.                                  [Caslon I]
-     2-line Great Primer.                     [Caslon II]
-     Small Pica.[502]                         [Caslon II]
-
- MUSIC.―
-     Round Head.                              [Caslon II]
-
- FLOWERS and the rest of the Apparatus.
-
-Caslon II died in 1778, aged 58, and was buried in the family vault at
-St. Luke’s, the following line being added to his father’s inscription:
-
-     Also W. Caslon, Esq. (son of the above) ob. 17 Aug., 1778, ætat.
-     58 years.
-
-Of him, too, an excellent oil portrait is preserved at Chiswell
-Street. He had married a Miss Elizabeth Cartlitch,[503] a lady of
-beauty, understanding, and fortune, who, during the latter years of
-her husband’s life, had taken an active share in the management of the
-foundry.
-
-Mr. Caslon dying intestate, his property was divided equally
-between his widow and her two sons, William and Henry, the chief
-superintendence of the business devolving on William Caslon III, at
-that time quite a young man. The chief event of the new _régime_ was
-the issue of the admirable Specimen Book of 1785, a work which, for its
-completeness and excellent execution, has received high approbation.
-It consists of sixty sheets, twenty-one of which are devoted to Romans
-and Italics, ten to “learned” letter[504] and Blacks, two to Music,
-two to {249} Script, and no fewer than twenty-six to flowers arranged
-in artistic combinations and designs. The volume is dedicated to King
-George III, Mr. Caslon assuming the title allowed a century earlier to
-Nicholas Nicholls, of “Letter Founder to His Majesty.”
-
-The “Address to the Public,” which prefaces this Specimen, naturally
-lays claim on behalf of the Caslon Foundry to the merit of having
-rescued the type trade in England from the hands of foreigners. But it
-also suggests, by the somewhat acrid tone in which it refers to its
-“opponents,” that the competition of the newly-established foundries
-of Cottrell, Fry, Wilson, and Jackson was already beginning to tell on
-the temper of the third of the Caslons, who evidently did not regard
-as flattery the avowed imitation of the Caslon models by some of his
-rivals.[505]
-
-The Specimen contains one new feature—a Double Pica Script—which,
-however, is of no particular merit.
-
-The year 1785 was prolific in Specimens of the Chiswell Street foundry.
-In addition to the book above referred to, two folio Specimens, one an
-8 pp. large post-folio, and another a 6 pp. foolscap-folio, appeared,
-intended for use as {250} inset plates to Encyclopædias,[506] in
-which the principal founts of the foundry, Roman and Oriental, were
-displayed. In addition to this, there was issued a 2 pp. folio Specimen
-of large letter[507] showing the sand-cast types of the foundry in
-sizes from 19 to 7-line Pica.
-
-In the preceding year Caslon III. had issued his specimen of
-Cast Ornaments—the first of the kind exhibited by an English
-Founder—displaying 65 designs of various size and merit at prices
-ranging from 3d. to 7s. each. In his introductory note to the second
-edition, dated July 20, 1786, he takes to himself the credit of an
-invention “completed with infinite attention and at an inconceivable
-expence,” whereby the trade is in future to be supplied with
-typographic designs equal to copperplate and less costly than the
-commonest wood-cuts. The process thus originated was that of sharply
-impressing a wood block in cooling metal so as to form a lead matrix
-from which to “dab” further impressions as required. The specimen of
-1785 contained a few small ships of imposing appearance, but these were
-produced by the usual method of punch and matrix.
-
-It does not appear that the third Caslon’s connexion with the business
-resulted in any large addition to its founts. As, however, no specimen
-book of the Foundry is known between 1786 and 1805, it is difficult to
-judge of its progress during that period.
-
-In the year 1792 Mr. Caslon disposed of his interest in the Chiswell
-Street business to his mother and sister-in-law. Henry Caslon had
-died in 1788. He had married Miss Elizabeth Rowe, a lady of good
-family,[508] between whom and their only son, Henry (at that time an
-infant of two years), he left his share of the Foundry.
-
-“It will not appear extraordinary,” says Hansard, “that a property so
-divided, and under the management of two ladies, though both superior
-and indeed extraordinary women, should be unable to maintain its ground
-triumphantly against the active competition which had for some time
-existed against it. In fact, the fame of the first William Caslon
-was peculiarly disadvantageous to Mrs. Caslon, as she never could be
-persuaded that any attempt to rival him could possibly be successful.”
-
-Mrs. Caslon, sen., was an active member of the Association of
-Typefounders {251} of her day, which first met in 1793. In this
-capacity she gained the esteem of her fellow founders as well as of
-the printers, and on one occasion formed one of a deputation of two to
-confer with the latter on certain questions affecting the price of type.
-
-She died from the effects of a paralytic stroke in October 1795.
-
-The esteem in which she was held by all who knew her was amply
-testified by numerous notices in the public prints of the day. “Her
-merit and abilities,” says one, “in conducting a capital business
-during the life of her husband and afterwards, till her son was capable
-of managing it, can only be known to those who had dealings with the
-manufactory. In quickness of understanding and activity of execution
-she has left few equals among her sex.” And, in the same strain, the
-_Freemason’s Magazine_ of March 1796, thus speaks of her: “The urbanity
-of her manners, and her diligence and activity in the conduct of so
-extensive a concern, attached to her interest all who had dealings with
-her, and the steadiness of her friendship rendered her death highly
-lamented by all who had the happiness of being in the extensive circle
-of her acquaintance.” The latter notice is accompanied by a portrait of
-this worthy lady.
-
-Mrs. Caslon’s will becoming the object of some litigation, her estate
-was thrown into Chancery, and in March 1799, the Foundry was, by order
-of the Court, put up for auction and purchased by Mrs. Henry Caslon for
-£520. The smallness of this figure is the more remarkable since only
-seven years previously, on the retirement of Caslon III., a third share
-of the concern had sold for £3000.
-
-“On the decease of Mrs. Caslon,” writes Hansard, in 1825, “the
-management of the Foundry devolved on Mrs. Henry Caslon, who,
-possessing an excellent understanding, and being seconded by servants
-of zeal and ability, was enabled, though suffering severely under
-ill-health, in a great measure to retrieve its credit. Finding the
-renown of William Caslon no longer efficacious in securing the sale
-of his types, she resolved to have new founts cut. She commenced the
-work of renovation with a new Canon, Double Pica and Pica, having the
-good fortune to secure the services of Mr. John Isaac Drury, a very
-able engraver, since deceased. The Pica, an improvement on the style of
-Bodoni,[509] was particularly admired, and had a most extensive sale.
-Finding {252} herself, however, from the impaired state of her health,
-which suffered from pulmonary attacks, unable to sustain the exertions
-required in conducting so extensive a concern, she resolved, after the
-purchase of the Foundry, to take as an active partner Mr. Nathaniel
-Catherwood, (a distant relation), who by his energy and knowledge of
-business fully equalled her expectations. This connection gave a new
-impetus to the improvements of the Foundry, which did not cease during
-the lives of the partners, and their exertions were duly appreciated
-and encouraged by the printers. In 1808 the character of the Foundry
-may be considered as completely retrieved, but the proprietors did not
-long live to enjoy their well-merited success. In 1799, Mrs. Henry
-Caslon had married Mr. Strong, a medical gentleman, who died in 1802.
-In the spring of 1808 she was afflicted with a serious renewal of her
-pulmonary attack, in consequence of which she was advised to try the
-effect of the air of Bristol Hotwells, which probably protracted her
-life during a twelvemonth of extreme suffering, but could not eradicate
-the fatal disease. Her fortitude and resignation under this long
-continued, and helpless affliction could not be surpassed, and were
-truly admirable. Her sufferings were terminated in March 1809, when
-she was buried in the Cathedral of Bristol. The worthy and active Mr.
-Nathaniel Catherwood did not long survive his associate, being seized
-with a typhus fever which baffled the medical art. He died on the 6th
-of June, ætat. 45, very generally regretted.”[510] A portrait of Mrs.
-Strong is preserved at Chiswell Street.
-
-In 1805 was published the first Specimen containing the new Romans of
-Messrs. Caslon and Catherwood, among which, however, the Canon and
-Double Pica referred to by Hansard are not included. The dates affixed
-to the various specimens[511] show that most of them were completed
-between 1802 and 1805, the {253} earliest being the Great Primer,
-dated May 1802. The Specimen also contained the Caslon Orientals. In
-1808 a further Specimen of the Romans, including a few additional
-founts, appeared as a supplement to Stower’s _Printers’ Grammar_.[512]
-
-These two Specimens, which are the only ones known to have been issued
-during twenty-three years, indicate clearly the important revolution
-through which the Chiswell Street Foundry, in common with all the
-other foundries of the day, had passed in respect of the model of
-its characters. All the once admired founts of the originator of the
-Foundry have been discarded, and between the Specimen of 1785 and that
-of 1808 there is absolutely no feature in common.[513]
-
-On the death of his mother and her partner, Henry Caslon II assumed the
-management of the business, and fully maintained its reputation. The
-former name of the firm was retained, and a fresh specimen of Roman
-letters and modern Blacks was issued about the year 1812.
-
-In 1814 Mr. Caslon took into partnership Mr. John James
-Catherwood,[514] brother to Mr. Nathaniel Catherwood, and in this
-association proceeded vigorously with the improvement of the foundry.
-The partnership continued until 1821, during which period, says
-Hansard, “the additions and varieties made to the stock of the Foundry
-have been immense. Nothing that perseverance in labour and unsparing
-effort could effect, either to meet the fashion and evanescent whim
-of the day, or with the superior view of permanent improvement, has
-been wanted to keep the concern up to its long-established eminence,
-and to enable it to rank high among the many able competitors of the
-present age. The ancient stock can never be equalled—the modern never
-excelled.”[515]
-
-Among the more important accessions to the stock of the Foundry
-may {254} be mentioned the acquisition in 1817 of the Foundry of
-Mr. William Martin of Duke Street, St. James’s, which, as elsewhere
-stated,[516] included several good Roman and Oriental letters.
-
-The partnership between Mr. Caslon and Mr. Catherwood being dissolved
-in 1821 by the withdrawal of the latter,[517] Mr. Caslon admitted to
-a share of the business Mr. Martin William Livermore, “who for many
-years,” says Hansard, “had evinced ample talent, indefatigable zeal,
-and obliging attention, as active foreman and manager of the mechanical
-department.”
-
-It is to be regretted that the absence of any specimen book between
-1812 and 1830, prevents us from forming any accurate idea of the
-development of the Foundry during that period. It may be interesting,
-however, to quote the list given by Hansard, of matrices of the
-“learned” languages in the Foundry at the time when he wrote, _i.e._
-1825:
-
- _Arabic._―
-     English.
-
- _Armenian._―
-     Pica.
-
- _Coptic._―
-     Pica.
-
- _Ethiopic._―
-     Pica.
-
- _Etruscan._―
-     Pica.
-
- _German._―
-     Pica, Long Primer, Brevier.
-
- _Greek._―
-     Double Pica,[518] Great Primer,[518] English, Pica, Small Pica, Long
-     Primer, Bourgeois, Brevier, Nonpareil, Pearl, Diamond.[519]
-
- _Gothic._―
-     Pica.
-
- _Persian._―
-     English.
-
- _Hebrew._―
-     Two-line Great Primer, Two-line English, Double Pica, Great
-     Primer; ditto, with points; English; ditto, with points; Pica;
-     ditto, with points; Small Pica, Long Primer, Bourgeois, Brevier.
-
- _Samaritan._―
-     Pica.
-
- _Sanscrit._―
-     English.[520]
-
- _Saxon._―
-     English, Pica, Long Primer, Brevier.
-
-_Syriac._―
-     English (_Polyglot_) Long Primer.
-
- _Music._―
-     Large, Small.
-
- _Black._―
-     Two-line Great Primer, Double Pica, Great Primer, English, Pica,
-     Small Pica, Long Primer, Brevier, Nonpareil.
-
-Messrs. Caslon and Livermore issued specimens in 1830 and 1834, the
-latter appearing exactly one hundred years after the first broadside
-published by William Caslon I.
-
-We do not propose to continue the particular history of this venerable
-Foundry beyond this date. It may, however, be interesting to take a
-rapid survey of its subsequent career. {255}
-
-Numerous specimens followed the issue of 1834, that of 1839 bearing
-the title of Caslon, Son, and Livermore, Letter-founders to Her
-Majesty’s Board of Excise—the new partner being Mr. Caslon’s son, the
-late Mr. Henry William Caslon. Shortly afterwards, Mr. Livermore’s
-connexion with the business ceased, and the next few specimens bear the
-name of Henry Caslon alone.
-
-In 1843 a revival of the Caslon old-style letter took place under the
-following circumstances, which, as they initiated a new fashion in
-the trade generally, call for reference here. In the year 1843, Mr.
-Whittingham of the Chiswick press, waited upon Mr. Caslon to ask his
-aid in carrying out the then new idea of printing in appropriate type
-_The Diary of Lady Willoughby_,[521] a work of fiction, the period and
-diction of which were supposed to be of the reign of Charles I. The
-original matrices of the first William Caslon having been fortunately
-preserved, Mr. Caslon undertook to supply a small fount of Great
-Primer. So well was Mr. Whittingham satisfied with the result of his
-experiment, that he determined on printing other volumes in the same
-style, and eventually he was supplied with the complete series of
-all the old founts. Then followed a demand for old faces, which has
-continued up to the present time.
-
-An attempt to sell the Foundry in 1846,[522] not being successful, the
-business, again took the style of Caslon and Son.
-
-Mr. Henry Caslon died May 28, 1850, and in the same year the important
-step was taken of uniting the London Branch of the Glasgow Letter
-Foundry with that of Chiswell Street, which was now carried on under
-the style of H. W. Caslon and Co., Mr. Alexander Wilson, of the Glasgow
-Foundry, being for some time associated with Mr. H. W. Caslon in the
-management.
-
-In 1873, Mr. Caslon, being in ill health, retired, and died in the
-following year. He was the last of his race, and the Chiswell Street
-Foundry, after an uninterrupted dynasty of five generations, covering
-a period of nearly 160 years, was by his death left without a Caslon
-to represent it. The management of the business devolved on Mr. T. W.
-Smith, in whose hands it has since remained. {256}
-
-
-LIST OF SPECIMENS OF THE CASLON FOUNDRY, 1734–1830.
-
-     1734. A Specimen by William Caslon, Letter-founder in Chiswell
-     Street, London. 1734. Large post broadside. . . . . (Caslon.)
-
-     1738. A Specimen by William Caslon, Letter-founder in Chiswell
-     Street, London. Large post broadside. . . . . (Chambers’ _Cycl._,
-     1738.)
-
-     1742. A Specimen by Caslon and Son, (referred to by Nichols, _Lit.
-     Anec._, ii, 365). . . . . (_Lost._)
-
-     1748. A Specimen by Caslon and Son (referred to by Nichols, _Lit.
-     Anec._, ii, 721). . . . . (_Lost._)
-
-     1749. A Specimen by William Caslon and Son, Letter-founders in
-     Chiswell Street, London. 1749. Large Broadside. . . . . (Sohmian
-     Coll., Stockholm.)
-
-     1749. A Specimen of Mr. Caslon’s Roman Letter, and the names of
-     the sizes now in use. . . . . (Ames’ _Typ. Antiq._, p. 571.)
-
-     1763. A Specimen of Printing Types by William Caslon and Son.
-     Printed by Dryden Leach, London, 1763, 8vo. . . . . (Amer. Antiq.
-     Soc.)
-
-     1764. A Specimen of Printing Types by William Caslon and Son.
-     Printed by Dryden Leach. London, 1764. 4to and 8vo. . . . . (T. B.
-     R.)
-
-     1766. A Specimen of Printing Types by William Caslon,
-     Letter-founder, London. Printed by John Towers. 1766. Small 4to.
-     . . . . (B.M. T, 320, [11].)
-
-     1770. A Specimen of Printing Types by William Caslon,
-     Letter-founder, London. 8vo. . . . . (Luckombe’s _History of
-     Printing_, pp. 134–147.)
-
-     1770. A Specimen of Printing Types cast by Wiliam Caslon for the
-     use of John Dixcey Cornish, at Number 4, in Printing-House-Yard,
-     Blackfriars, London. 1770. 32mo. . . . . (Caslon.)
-
-     1784. A Specimen of Cast Ornaments on a new plan by William Caslon
-     and Son. London. 1784. 8vo. . . . . (Sohmian Coll., Stockholm.)
-
-     1785. A Specimen of Printing Types by William Caslon,
-     Letter-founder to His Majesty. London. Printed by Galabin and
-     Baker, 1785. 8vo. . . . . (B.M. 441, f. 14.)
-
-     1785. A Specimen of Large letter by William Caslon, London, 1785.
-     Two sheets folio. . . . . (B.M. 441, f. 14.)
-
-     1785. A Specimen of Printing Types by William Caslon,
-     Letter-founder to His Majesty, 1785. Folio, 8 pp. . . . .
-     (Chambers’ _Cycl._, 1784–6.)
-
-     1786. A Specimen of Cast Ornaments on a new plan by William
-     Caslon, Letter-founder to His Majesty. London. Printed by J. W.
-     Galabin, 1786. 8vo. . . . . (B.M. 668, g. 17, [2].)
-
-     1805. Specimen of Printing Types by Caslon and Catherwood,
-     Letter-founders, Chiswell Street, London. T. Bensley, printer,
-     London. 1805. 8vo. . . . . (Ox. Univ. Pr.)
-
-     1808. A Specimen of Caslon and Catherwood’s modern-cut Printing
-     Types. London, 1808. 8vo. . . . . (Stower’s _Printers’ Grammar_.)
-
-     n. d. Specimen of Printing Types by Caslon and Catherwood,
-     Chiswell Street, London. T. Bensley, printer, London. 1812? 8vo.
-     . . . . (Caslon.)
-
-     1830. Specimen of Printing Types by Caslon and Livermore,
-     Letter-founders, Chiswell Street, London. Bensley, Printer, 1830.
-     8vo. . . . . (Caxt. Cel. 4411.)
-
-[Illustration]
-
-{257}
-
-[Illustration]
-
-
-
-
-CHAPTER XII.
-
-ALEXANDER WILSON, 1742.
-
-
-In the early years of the 18th century, printing in Scotland was in
-a condition even more depressed and unsatisfactory than in England.
-Except in Glasgow and Edinburgh the art was almost wholly neglected;
-and in those two cities the disadvantages at which printers were
-placed, owing partly to restrictive patents and monopolies, partly
-to jealousies among themselves, but chiefly to the absence of any
-letter-foundry in their own country, were sufficient bar to all
-prosperity, either as an industry or an art.
-
-A graphic sketch of this lamentable state of affairs is given in James
-Watson’s _History of Printing_, published in Edinburgh in 1713,[523]
-a work which, while professing to give a general history of the
-art, derives its chief interest from the brief account of printing
-in Scotland given in the preface. That the art was derived in that
-country from Holland the author entertains no doubt, {258} and that
-it was indebted for its maintenance and any measure of excellence it
-might claim to the same foreign source, he boldly asserts. It was the
-intervention of Dutch workmen that mainly contributed to relieve the
-deadlock into which the monopolies and patents of the 17th century had
-brought the trade generally, and it was only by a continuous supply of
-Dutch workmen, Dutch presses, and Dutch type that printing in Scotland
-was to be raised from its present low condition. And, as a crowning
-argument, he exhibits with some pride a selection of indifferent
-Dutch types and “Bloomers,” with which his own office is provided,
-as a suggestion of the excellence to which Scotch Typography might
-yet attain.[524] This avowal of entire dependence on foreign labour
-and workmanship is significant; and the absence of any suggestion for
-remedying the evil by the establishment of a foundry in Scotland itself
-only emphasises the helpless condition into which the art had sunk.
-
-But although such a notion was too wild a dream for James Watson,
-others of his countrymen were bold enough to entertain it, and we find
-that in 1725 a Scotch printer clearly represented to William Ged the
-disadvantage under which the country laboured from having no foundry
-nearer than London or Holland, and urged him to undertake the business.
-Of Ged’s career we have spoken elsewhere.[525] He failed, and Scotch
-typography, despite the rising fame of Caslon, might have remained many
-years longer in its depressed condition, but for the accident which
-directed the genius of Alexander Wilson to letter-founding.
-
-Born at St. Andrews in 1714, young Wilson was originally intended for
-the medical profession, and it was with a view to push his fortunes in
-that direction that he came up to London in 1737 and took employment
-as assistant to a surgeon and apothecary in the great city. While
-thus engaged he obtained an introduction to Dr. Stewart, physician
-to Lord Isla, afterwards Duke of Argyle, and in this way came under
-the notice of his lordship. A common interest in scientific pursuits,
-particularly astronomy, served to interest Lord Isla in the young
-doctor’s assistant, and during the term of his service in London Wilson
-devoted much of his leisure to scientific study under the encouragement
-and favour of his new patron.
-
-[Illustration: 68. From _Hansard_.]
-
-Of his first introduction to typography, we quote the following account
-given by Hansard on the authority of Alexander Wilson’s son and
-grandson:[526]― {259}
-
-     “While he was thus passing his time in a manner which he
-     considered comfortable for one at his first entrance upon the
-     world, a circumstance accidentally occurred which gave a new
-     direction to his genius, and which in the end led to an entire
-     change of his profession. This was a chance visit made one day
-     to a letter-foundry with a friend, who wanted to purchase some
-     printing types. Having seen the implements and common operations
-     of the workmen usually shown to strangers, he was much captivated
-     by the curious contrivances made use of in prosecuting that art.
-     Shortly afterwards, when reflecting upon what had been shown
-     him in the letter-foundry, he was led to imagine that a certain
-     great improvement in the process might be effected; and of a
-     kind too, that, if successfully accomplished, promised to reward
-     the inventor with considerable emolument. He presently imparted
-     his idea on the subject to a friend named Baine, who had also
-     come from St. Andrews, and who possessed a considerable share of
-     ingenuity, constancy and enterprise. The consequence of this was,
-     the resolution of both these young adventurers to relinquish, as
-     soon as it could be done with propriety, all other pursuits, and
-     to unite their exertions in prosecuting the business of Letter
-     Founding, according to the plan which had been contemplated with a
-     view to improvements. After some further deliberation, Mr. Wilson
-     waited upon his patron, Lord Isla, to whom he communicated his
-     views, and the design of embarking in this new scheme; and derived
-     much satisfaction from his Lordship’s entire approbation and best
-     wishes for his success.
-
-     “Mr. Wilson and Mr. Baine then became partners in the project, and
-     having taken convenient apartments, applied with great assiduity
-     to the different preparatory steps of the business. At an early
-     stage they had proofs of difficulties to an extent which had not
-     been anticipated, and which, had their magnitude been foreseen,
-     would probably have altogether deterred them from their attempt.
-     But although they found their task grow more and more arduous as
-     their experience improved, it may yet be mentioned, as a fact
-     which bespeaks singular probity of mind, that they never once
-     attempted to gain any insight whatever through the means of
-     workmen employed in any of the London foundries, some of whom they
-     understood could have proved of considerable service to them.”
-
-Of the precise nature of the improved system of founding by which
-the two young Scotchmen proposed to prosecute their undertaking, the
-narrative given by Mr. Hansard affords no information. It has been
-suggested by some that it was no other than that of stereotyping
-by a method similar to, or better than, that attempted a few years
-earlier by Ged. But whatever it may have been, further experiment
-failed to justify the scheme as one of practical utility, and the two
-partners, who had by this time quitted the metropolis and returned to
-{260} St. Andrews, determined to abandon it and to fall back on the
-ordinary method of manufacturing type. “In their attempt to prosecute
-this speculation,” continues Mr. Hansard, still quoting the narrative
-furnished him by Dr. Wilson’s successors, “they found themselves in a
-more sure, though still in a difficult track, and in which they had
-no guide whatever but their own talent of invention and mechanical
-ability; and it was by the aid of these that they carried things
-forward until, at length, they were enabled to cast a few founts of
-Roman and Italic characters: after which they hired some workmen, whom
-they instructed in the necessary operations, and at last opened their
-infant letter-foundry at St. Andrews in the year 1742.”
-
-The Scotch printers were not slow in showing their appreciation of
-the convenience afforded them by the establishment of a foundry in
-their midst, and from the first Messrs. Wilson and Baine appear to
-have received liberal encouragement in their new venture. They added
-steadily to the variety of their founts, and finding the demand for
-their type on the increase, not only in Scotland, but in Ireland and
-North America, they decided in 1744 to remove from St. Andrews to a
-more convenient centre at Camlachie, a small village a mile eastward of
-Glasgow.
-
-In 1747 the claims of their Irish business necessitated the residence
-of one of the partners in Dublin.[527] Mr. Baine was selected by lot
-for the duty, and accordingly departed for Ireland, leaving Mr. Wilson
-at Camlachie. Two years later the partnership was dissolved by mutual
-consent, and Mr. Baine quitted the business to make an independent
-venture in type founding.[528] {261}
-
-Left to himself, Mr. Wilson actively prosecuted his business, and
-although no specimen of the foundry is known to exist, either during
-the partnership between Wilson and Baine, or, indeed, during the entire
-period of its location at Camlachie, its productions very shortly
-attained some considerable celebrity.
-
-“During his residence at Camlachie,” says Mr. Hansard, “Mr. Wilson had
-contracted habits of intimacy and friendship with some of the most
-respectable inhabitants and eminent characters in that quarter, among
-whom may be particularly reckoned the professors of the University
-of Glasgow and Messrs. Robert and Andrew Foulis, the University
-printers.[529] The growing reputation of the University Press,
-conducted by these latter gentlemen, afforded more and more scope to
-Mr. Wilson to exercise his abilities in supplying their types; and
-being now left entirely to his own judgment and taste, his talents as
-an artist in the line to which he had become devoted became every year
-more conspicuous.”
-
-“When the design was formed by the gentlemen of the University,
-together with the Messrs. Foulis, to print splendid editions of the
-Greek classics, Mr. Wilson with great alacrity undertook to execute
-new types, after a model highly approved. This he accomplished, at
-an expense of time and labour which could not be recompensed by
-any profits arising from the sale of the types themselves. Such
-disinterested zeal for the honour of the University Press was, however,
-upon this occasion, so well understood as to induce the University, in
-the preface to their folio _Homer_,[530] to mention Mr. Wilson in terms
-as honourable to him as they had been justly merited.”
-
-Of this magnificent work—one of the finest monuments of Greek
-typography {262} which our nation possesses—it is sufficient to say
-that if the reputation of Alexander Wilson depended on no other
-performance, it alone would give him a lasting title to the distinction
-accorded to him in the preface, of “egregius ille typorum artifex.”[531]
-
-[Illustration: 69. Double Pica Greek, cut by Alex. Wilson, 1756. (From
-the Glasgow _Homer_ (Foulis) 1756–8.)]
-
-In 1760 Mr. Wilson was honoured with the appointment of the Practical
-Astronomy Professorship in the University of Glasgow, about two years
-after which the foundry was removed to the more immediate vicinity
-of the college. After this appointment the further enlargement and
-improvement of the foundry {263} devolved upon his two eldest sons;
-and he lived to witness its rise under their management to the highest
-reputation.
-
-Among the later performances of Dr. Wilson, the most important was
-the beautiful fount of Double Pica cut in 1768 for the 4to edition of
-_Gray’s Poems_[532] published by the Brothers Foulis, who in their
-preface made public acknowledgment of the excellence of the letter and
-the expedition with which it had been provided.[533]
-
-Another high compliment was paid to Dr. Wilson’s talents in 1775,
-when Dr. Harwood, in the preface to his _View of the Greek and Roman
-Classics_,[534] singled out, along with Baskerville’s types, the
-“Glasgow Greek types which have not been used since the superb edition
-of _Homer_ in 1757, and which are the most beautiful that modern times
-have produced,” as fit to form the nucleus of a Royal typography for
-England, dedicated to the improvement of the “noblest art which human
-genius ever invented.”[535]
-
-The first known specimen of the Glasgow Letter Foundry, as it was
-now called, was published in 1772. It is at least remarkable that no
-specimen of its types should have been issued during the first thirty
-years of its successful career. But although Rowe Mores mentions with
-approval a sheet by Baine, he had apparently seen none bearing the name
-of Wilson.
-
-The specimen of 1772, which dated from the College of Glasgow,
-consisted of twenty-four 8vo leaves, and showed Roman and Italic only,
-in sizes from 5-line to Pearl, there being several faces to most of the
-bodies. Certain of these, it is stated, are “conformable to the London
-types”; and the enterprising proprietors undertake “to cast to any body
-and range, on receiving a few pattern types.”
-
-In 1783, another specimen was issued in a broadside form, in four
-columns, and is usually to be met with in copies of Ephraim Chambers’
-_Cyclopædia_, enlarged by Rees, where it is inserted to illustrate
-the article “Printing.” {264} It shows Roman and Italic from 6-line
-to Pearl, with five sizes of Black, six of Hebrew, and five of Greek,
-including the famous “Glasgow Homer” Double Pica.[536] The general
-appearance of the sheet is good, and the founts compare favourably in
-shape and finish with those of any other foundry of the day. A note
-to the specimen intimates that the founts shown form a portion only
-of the contents of the Foundry. A full specimen appeared in 1786, and
-again in 1789, the latter being a small 4to volume of 50 pages, showing
-very considerable advance on its predecessors.[537] A further specimen
-appeared in 1815, showing the modern cut letters of the Foundry.
-
-With almost a monopoly of the Scotch and Irish[538] trade, the Glasgow
-Foundry became in course of time a formidable rival to the London
-houses, whose productions it contrived to undersell even in the English
-market. Its success, however, raised up competitors with itself in
-Scotland, foremost among which was the foundry of Mr. Miller, a former
-manager in the Glasgow Foundry.
-
-In 1825 the proprietors of the Foundry were Messrs. Andrew and
-Alexander Wilson, son and grandson to the originator. Hansard
-summarises their foreign and learned founts at this date as follows:
-
- _Greek._―
-     Double Pica (_Glasgow Homer_), Great Primer, English, Pica, Small
-     Pica, Long Primer (“Elzevir”), Brevier, Nonpareil.
-
- _Hebrew._―
-     2-line English, Double Pica, Great Primer, English,[539] Pica, Small
-     Pica, Long Primer, Brevier, Minion, Nonpareil.
-
- _Saxon._―
-     English, Pica, Small Pica, Long Primer, Brevier.
-
- _Black._―
-     2-line Great Primer, Double Pica, Great Primer, English, Pica,
-     Long Primer, Brevier, Nonpareil.
-
-In 1828 another complete specimen appeared, showing the new series of
-Romans from Double Pica to Diamond, Greek, and fifteen pages of flowers.
-
-Mr. Andrew Wilson dying in 1830, the management of the business
-devolved on his sons Alexander and Patrick, by whom it was decided, in
-1832, to establish a branch house in Edinburgh. {265}
-
-A handsome 4to specimen of the Roman letter of the Foundry was
-published in 1833. This volume is interesting as being one of the
-first to show the letter not only in the venerable “Quousque tandem”
-paragraph, but also in an English garb.[540] It includes also five
-pages of Greek, in which the Double Pica “Homer” is still prominent,
-and two pages of Hebrew, but no other orientals.
-
-In 1834 the important step was taken of transferring the Glasgow
-Foundry to London, where, in premises at New Street, Gough Square, the
-business was carried on.[541]
-
-Briefly to trace the later vicissitudes of the Foundry we may add that,
-about 1834, a further development of the business was completed by the
-establishment of a Foundry at Two-Waters in Hertfordshire, where it was
-expected the cost of production would be considerably reduced by the
-cheaper labour attainable in the country. A strike occurring in 1837
-among the London workmen, the Gough Square House was closed. In 1840
-another branch was established at Dublin. Despite the activity of Mr.
-Alex. Wilson and the continued excellence of his types, the business
-declined. The latter years of his management were spent in fruitless
-endeavours to supersede the old method of handcasting by machinery. The
-various experiments made, however, (one of which was by the present Sir
-Henry Bessemer, whose father[542] had been a type-founder) failed, and
-tended further to diminish Mr. Wilson’s resources, until in 1845 be
-became bankrupt.
-
-The London and Two-Waters Foundries being offered for sale by auction,
-the principal part of the matrices were purchased by the proprietors of
-the Caslon Foundry in 1850, Mr. Wilson remaining for some time with Mr.
-Caslon as joint manager.
-
-The Edinburgh branch of the business, started in 1832, had continued
-for {266} some time with Mr. Duncan Sinclair as managing partner. But
-on the latter withdrawing from the concern and establishing himself as
-an independent founder at Whiteford House, Edinburgh, about 1839, the
-management was entrusted to Mr. John Gallie.
-
-On the breaking up of the business, the plant of the Edinburgh and
-Dublin branches was acquired by Dr. James Marr, who, in association
-with Mr. Gallie, carried on the business under the firm of Marr,
-Gallie, and Co. In 1853 it was James Marr and Co., with branches in
-London, Edinburgh, and Dublin. Dr. James Marr died in 1866, from which
-time till 1874, the business was carried on by his widow, with Mr. John
-Blair as manager. In 1874 it was converted into a Limited Company under
-the title of the Marr Typefounding Company, Limited, who removed the
-business from the old premises in New Street, Edinburgh, to Whiteford
-House, where it is still carried on.
-
-Mr. Duncan Sinclair, between whose specimens and those of the Wilson
-Foundry there was an obvious similarity, continued for some years at
-Whiteford House, where his son, formerly manager at the Two-Waters
-branch of the Glasgow Foundry, subsequently joined him. They published
-specimens in 1840, 1842, and 1846 (which latter included a fount of
-“Gem”). In 1861 the Whiteford House Foundry was in the hands of John
-Milne and Co., who published a quarto specimen. In 1870 the contents
-of this foundry were dispersed at public auction, and the premises, as
-already stated, were shortly afterwards taken by the Marr Typefounding
-Company.
-
-
-SPECIMEN BOOKS, 1783–1834.
-
-     1772. A Specimen of some of the Printing Types cast in the
-     Foundery of Dr. A. Wilson and Sons, College of Glasgow (Glasgow,)
-     1772. 8vo, 24 leaves. . . . . (B.M., B. 722, 8.)
-
-     1783. A Specimen of Printing Types . . The above are some of the
-     sizes cast in the Letter Foundery of Dr. Alex. Wilson and Sons,
-     Glasgow. 1783. Broadside. . . . . (Chambers’ _Cyclopædia_, 1784–6.)
-
-     1786. A Specimen of Printing Types cast in the Letter Foundry of
-     Alex. Wilson and Sons, Glasgow, 1786. 8vo. . . . . (Ox. Univ. Pr.)
-
-     1789. A Specimen of Printing Types cast in the Letter Foundry of
-     Alex. Wilson and Sons, Glasgow, 1789. Small 4to. . . . . (Caslon.)
-
-     1812. A Specimen of Modern Cut Printing Types by Alex. Wilson and
-     Sons, Letter Founders, Glasgow, 1812. 4to. . . . . (Caslon.)
-
-     1815. A Specimen of Modern Cut Printing Types by Alex. Wilson and
-     Sons, Letter Founders, Glasgow, 1815. 4to. . . . . (Caslon.)
-
-     1823. A Specimen of Modern Printing Types by Alex. Wilson and
-     Sons, Glasgow, 1823. 4to. . . . . (Caxt. Cel. 4402.) {267}
-
-     1828. A Specimen of Modern Printing Types by Alex. Wilson and
-     Sons, Letter Founders, Glasgow, 1828. 4to. . . . . (Ox. Univ. Pr.)
-
-     1833. A Specimen of Modern Printing Types cast at the Letter
-     Foundry of Alex. Wilson and Sons, Glasgow, 1833. 4to. . . . . (T.
-     B. R.)
-
-     1833. A Specimen of Modern Printing Types cast at the Letter
-     Foundry of Wilsons and Sinclair, New Street, Edinburgh, 1833. 4to.
-     . . . . (Ox. Univ. Pr.)
-
-     1834. A Selection from the Specimen Book of Alex. Wilson and Sons,
-     Glasgow Letter Foundry, Great New Street, Gough Square, London,
-     1834. 4to. . . . . (Caslon.)
-
-[Illustration]
-
-{268}
-
-[Illustration]
-
-
-
-
-CHAPTER XIII.
-
-JOHN BASKERVILLE, 1752.
-
-
-JOHN BASKERVILLE was Born at Wolverley, in The county of
-Worcestershire, in the year 1706. He began life as a footman to
-a clergyman, and at the age of twenty became a writing-master in
-Birmingham. This occupation he appears to have supplemented by, or
-exchanged for, that of engraving inscriptions on tombstones and
-memorials; a profession in which he is said to have shown much
-talent.[543] In 1737 he was still engaged in teaching writing at a
-school in the Bull-Ring, Birmingham, and is said to have written an
-excellent hand. His artistic tastes led him afterwards to enter into
-the japanning business, in which he prospered and became possessed of
-considerable property. He purchased an estate on the outskirts of the
-town, to which he gave the name of Easy Hill; and here built a handsome
-house, in which he carried on his business, and lived in considerable
-style.[544]
-
-[Illustration: 70. From _Hansard_.]
-
-About the year 1750 his inclination for letters induced him to turn
-his {269} attention to typography, and to add to his business of a
-japanner that of a printer.[545]
-
-The condition of printing in England at this period was still anything
-but satisfactory. Fine printing was an art unknown; and although
-under the influence of Caslon’s genius the press was recovering from
-the reproach under which it lay at the beginning of the century,
-England was still very far behind her neighbours both in typographical
-enterprise and achievement. Once more it was left to an outsider to
-initiate the new departure; and as in 1720 the art of letter-founding
-had been roused from its lethargy by the genius of a gunsmith’s
-apprentice, so in 1750 the art of printing was destined to find its
-deliverer in the person of an eccentric Birmingham japanner. Whatever
-may be the judgment of posterity as to the merits of Baskerville’s
-performances, to him is undoubtedly due the honour of the first real
-stride towards a higher level of national typography; an example which
-became the incentive to that outburst of enthusiasm—that “matrix and
-puncheon mania,” as Dibdin terms it—which brought forth the series of
-splendid typographical productions with which the eighteenth century
-closed and the nineteenth opened.
-
-Baskerville’s first essay in his new enterprise was deliberate, and
-gave ample proof of the enthusiasm of the man. Six years elapsed
-before any work issued from his press. During that period he is said
-to have sunk upwards of £600[546] in the effort to produce a type
-sufficiently perfect to satisfy his fastidious taste. He engaged the
-best punch-cutters that could be had,[547] in addition to which he made
-his own moulds, chases, ink, presses, and, indeed, almost the entire
-apparatus of the art.
-
-The following extracts from letters in the possession of Mr. S.
-Timmins, to whose industrious researches the student of typography is
-indebted for much new light on the history of Baskerville’s career,
-and to whose courtesy we are indebted for the present opportunity
-of placing them before our readers, will {270} best describe the
-marvellous industry and enthusiasm which carried our printer to the
-successful issue of his great enterprise. The letters form part of
-a correspondence between Baskerville and his friend R. Dodsley, the
-publisher, respecting the preparations for his earliest printing
-venture:―
-
-     _Baskerville to R. Dodsley._ 2nd October 1752.
-
-     “To remove in some measure your impatience, I have sent you an
-     impression of fourteen punches of the Two-lines Great Primer,
-     which have been begun and finished in nine days only, and contain
-     all the letters Roman necessary in the Titles and Half-titles. I
-     cannot forbear saying they please me, as I can make nothing more
-     correct, nor shall you see anything of mine much less so. You’ll
-     observe they strike the eye much more sensibly than the smaller
-     characters, tho’ equally perfect, till the press shows them to
-     more advantage. The press is creeping slowly towards perfection.
-     I flatter myself with being able to print nearly as good a colour
-     and smooth a stroke as the enclosed. I should esteem it a favour
-     if you’d send me the Initial Letters of all the Cantos lest they
-     should not be included in the said fourteen, and three or four
-     pages of any part of the Poem from whence to form a Bill for the
-     casting a suitable number of each letter. The R wants a few slight
-     touches, and the Y half an hour’s correction. This day we have
-     resolutely set about thirteen of the same siz’d Italic Capitals,
-     which will not be at all inferior to the Roman, and I doubt not to
-     complete them in a fortnight. You need, therefore, be in no pain
-     about our being ready by the time appointed. Our best respects to
-     Mrs. Dodsley and our friend, Mr. Beckett.”
-
-     _Baskerville to R. Dodsley._ 19th October 1752.
-
-     “As I proposed in my last, I have sent you impressions from a
-     candle of twenty Two-lines Great Primer Italick, which were begun
-     and finished in ten days only. We are now about the figures,
-     which are in good forwardness, and changing a few of those
-     letters we concluded finished. My next care will be to strike the
-     punches into copper and justify them with all the care and skill
-     I am master of. You may depend on my being ready by your time
-     (Christmas), but if more time could be allowed, I should make
-     use of it all in correcting and justifying. So much depends on
-     appearing perfect on first starting . . .”
-
-     _Baskerville to R. Dodsley._ 16th January 1754.
-
-     “I have put the last hand to my Great Primer, and have corrected
-     fourteen letters in the specimen you were so kind to approve, and
-     have made a good progress in the English, and have formed a new
-     alphabet of Two-line Double Pica and Two-line Small Pica capitals
-     for Titles, not one of which I can mend with a wish, as they come
-     up to the most perfect idea I have of letters.”
-
-He then details his scheme for obtaining absolutely correct texts of
-the works he is about to print, as follows:―
-
-     “ ’Tis this. Two people must be concerned; the one must name
-     every letter, capital, point, reference, accent, etc., that is,
-     in English, must spell every part of every word distinctly, and
-     note down every difference in a book prepared on purpose. Pray
-     oblige me in making the experiment with Mr. James Dodsley in four
-     or five lines of {271} any two editions of an author, and you’ll
-     be convinced that it’s scarcely possible for the least difference,
-     even of a point, to escape notice. I would recommend and practise
-     the same method in an English author, where most people imagine
-     themselves capable of correcting. Here’s another great advantage
-     to me in this humble scheme; at the same time that a proof sheet
-     is correcting, I shall find out the least imperfection in any of
-     the Types that has escaped the founder’s notice. I have great
-     encomiums on my Specimen from Scotland.”
-
-The concluding sentence of this letter probably refers to the public
-announcement of the forthcoming quarto _Virgil_,[548] put forward about
-this time, together with a specimen of the type. This most interesting
-document, a very few copies of which still exist, is in the form of a
-quarto sheet, headed, “_A Specimen by John Baskerville, of Birmingham,
-in the County of Warwick, Letter Founder and Printer_.” It displays the
-Roman and Italic of the Great Primer fount, and is remarkable not only
-as a piece of exquisite printing,[549] but as the first known specimen
-of the famous Birmingham foundry.
-
-The following letters refer principally to the progress and completion
-of the _Virgil_:―
-
-     _Baskerville to R. Dodsley._ Birmingham, 20th December 1756.
-
-     “I shall have _Virgil_ out of the press by the latter end of
-     January, and hope to produce the Volume as smooth as the best
-     paper I have sent you. Pray, will it not be proper to advertize
-     how near it is finishing, and beg the gentlemen who intend
-     favouring me with their names, to send them by that time? When
-     this is done, I can print nothing at home but another Classick
-     (a specimen of which will be given with it) which I cannot
-     forbear thinking a grievous hardship after the infinite pains and
-     great expense I have been at. I have almost a mind to print a
-     pocket Classick in one size larger than the old Elzevirs, as the
-     difference will, on comparison, be obvious to every Scholar; nor
-     should I be very sollicitous whether it paid me or not.”
-
-     _R. Dodsley to Baskerville._ 10th February 1757.
-
-     “The account you give me of the _Virgil_ pleases me much, and I
-     hope you will in that have all the success your heart can wish.
-     I beg if you have any objection, addition or alteration to make
-     in the following Advertisement you will let me know by return of
-     post:―
-
-{272}
-
-     “ ‘TO THE PUBLIC.
-
-     “ ‘John Baskerville of Birmingham thinks proper to give notice
-     that having now finished his Edition of _Virgil_ in one Volume,
-     Quarto, it will be published the latter end of next month, price
-     one guinea in sheets. He therefore desires that such gentlemen who
-     intend to favour him with their names, will be pleased to send
-     them either to himself at Birmingham, or to R. and J. Dodsley in
-     Pall Mall, in order that they may be inserted in the list of his
-     encouragers.’ ”
-
-_R. Dodsley to Baskerville._ April 7, 1757.
-
-     “I am very sorry I advertised your _Virgil_ to be published last
-     month as you have not enabled me to keep my word with the public;
-     but I hope it will not be delayed any longer, as every day you
-     lose now the season is so far advanced, is certainly a great
-     loss to you. I hope I shall have the pleasure of seeing you and
-     it together. However, if the delay is occasioned by your making
-     corrections, I think that a point of so much consequence, that
-     no consideration should induce you to publish till it is quite
-     correct. As to the ornamented paper, I will lower the price since
-     you think it proper, but am still of opinion that it will not sell
-     at our end of the town, tho’ for what reason I cannot imagine.
-     . . . I like exceedingly your specimen of a _Common Prayer_, and
-     hope you are endeavouring to get leave to print one. There is an
-     error in the Exhortation, _shall_ for _should_. Your small letter
-     is extremely beautiful; I wish I could advise you what to print
-     with it. What think you of some popular French book—_Gil Blas_,
-     _Molière_, or _Telemaque_ ? In the specimen from _Melmoth_ I think
-     you have used too many Capitals, which is generally thought to
-     spoil the beauty of printing; but they should never be used to
-     adjectives, verbs, or adverbs. My best compliments attend your
-     whole family.”
-
-At length, after repeated delays, caused mainly by the nervous
-fastidiousness of the printer, who even corrected his work _currenti
-prelo_ up to the last moment, the famous _Virgil_ appeared in
-1757,[550] and with its publication Baskerville’s reputation was made.
-Being the earliest performance of this press, the volume possesses
-a peculiar interest among the productions of English typography.
-Opinions may differ as to some of the eulogies pronounced on it
-by bibliographers and bibliophiles,[551] but as a typographical
-curiosity,[552] and as a pioneer of fine printing in our midst, it is a
-work to be treasured and reverenced. {273}
-
-From a letter-founder’s point of view its chief interest consists in
-its being the earliest book printed in the type of the new Birmingham
-foundry. The fount used is a Great Primer, slender and delicate in
-form, combining, as Dibdin says, in a singularly happy manner, the
-elegance of Plantin with the clearness of the Elzevirs. The Italic
-letter was specially admired for its freedom and symmetry—qualities in
-which it excelled even the beautiful founts of Aldus and Colinæus.
-
-Baskerville’s merit met with prompt recognition in many quarters,
-amongst others, by the Delegates of the Oxford Press, who, in 1758
-(apparently on his own application), entrusted him with the cutting
-and casting of a new Greek fount for their own use. A record of
-this important transaction remains in the following Minutes of the
-Delegates:―
-
-     “June 6, 1758.—Present (among others) Dr. (Sir W.) Blackstone.
-     _Order’d_ that this Delegacy will at their next meeting take into
-     consideration Mr. Baskerville’s Proposals for casting a Set of new
-     Greek Types.
-
-     “July 5, 1758.—_Ordered_ that Dr. Blackstone be empowered to agree
-     with Mr. Baskerville of Birmingham to make a new set of Greek
-     Puncheons, matrices and moulds, in Great Primer, for the Use of
-     the University, and also to cast therein 300 Weight of Types, at
-     the Price of 200 Guineas for the whole. And that he and Mr. Prince
-     (Warehouse-keeper) do give proper Directions for that Purpose.
-
-     “Jan. 31, 1759.—_Agreed_ that Mr. Musgrave have leave to print his
-     _Euripides_ at the University Press on Mr. Baskerville’s Types as
-     soon as they arrive.[553]
-
-     “March 11, 1761.—_Ordered_, That a Greek Testament in Quarto and
-     Octavo be printed on Baskerville’s Letter, and three or four
-     Gentlemen of Learning and Accuracy be desired separately to
-     correct the Proofs.
-
-     “June 23, 1761.—500 copies in Quarto and 2,000 in Octavo ordered
-     to be printed.”
-
-In the accounts for 1761 the following entry records the conclusion of
-the business:―
-
- “To Mr. Baskerville for Greek Types . . . . £210 0 0.”
-
-Considerable expectation was aroused by this order, which was
-considered of sufficient importance to deserve mention in the public
-press, as the following extract from the _St. James’s Chronicle_ of
-September 5, 1758, testifies:―
-
-     “The University of Oxford have lately contracted with Mr.
-     Baskerville of Birmingham for a complete Alphabet of Greek Types
-     of the Great Primer size; and it is not doubted but that ingenious
-     artist will excel in that Character, as he has already done in
-     the Roman and Italic, in his elegant edition of _Virgil_, which
-     has gained the applause and admiration of most of the literati of
-     Europe, as well as procured him the esteem and patronage of such
-     of his own countrymen as distinguish themselves by paying a due
-     regard to merit.”
-
-The anticipations thus expressed were destined to be disappointed; for
-{274} Baskerville’s genius appears to have failed him in his efforts
-to reproduce a foreign character. Even before the appearance of the
-Oxford _Greek Testament_, which did not occur till 1763, rumours of the
-failure of this undertaking had begun to circulate. Writing in 1763,
-respecting a forthcoming _Greek Testament_ of his own, Bowyer says,
-“Two or three quarto Editions on foot, one at Oxford, far advanced on
-new types by Baskerville,—by the way, not good ones.”[554]
-
-The appearance of the work in question[555] justified, to some extent,
-the criticism. Regular as the Greek character is, it is stiff and
-cramped, and, as Dibdin says, “like no Greek characters I have ever
-seen.” Rowe Mores goes to the length of styling it “execrable”; and
-Bowyer appears to have had it specially in mind when he said to Jackson
-that the Greek letters commonly in use were no more like Greek than
-English.
-
-Be this as it may, Baskerville made no further excursions into the
-foreign and learned languages, and, fortunately (as we consider) for
-his reputation, confined his talents to the execution of the characters
-of his native tongue, a branch of the art in which he had no rival.
-
-The punches, matrices and some of the types of this interesting fount
-are still preserved at Oxford,[556] and are the only relics in this
-country of Baskerville’s letter-foundry. We are particularly glad,
-therefore, to be able to present here, in addition to the annexed
-facsimile from the _Specimen_ of 1768–70, a line printed from the
-actual type cast by Baskerville in 1761:―
-
-[Illustration]
-
-[Illustration: 71. Baskerville’s Greek. (From the Oxford _Specimen_ of
-1768–70.)]
-
-{275}
-
-Among the other important works which, says Mr. Nichols, “Baskerville
-printed with more satisfaction to the literary world than emolument
-to himself,” his _Paradise Lost_, in 4to, printed in 1758,[557] is of
-signal merit and beauty. As a work of fine printing, it equals, if it
-does not excel, the _Virgil_. “The type”, observes Hansard (who speaks
-of it as a Pica instead of an English) “is manifestly an improvement
-on the ‘slender and delicate’ mentioned by Mr. Dibdin; I should think
-it, on the contrary, approaching to the _embonpoint_, and admirably
-calculated by extending the size (if in exact proportion), for works of
-the largest dimensions. The Italic possesses much room for admiration.
-. . . This work will, in my opinion, bear a comparison, even to its
-advantage, with those subsequently executed by the first typographer
-of our age. There is a clearness, a soberness, a softness, and at the
-same time a spirit, altogether harmonising, in Baskerville’s book,
-that neither of the others with which I am comparing it, can, I think,
-fairly claim.”[558]
-
-In his preface to the _Paradise Lost_, Baskerville gives an interesting
-account of his own labours and ambitions as a letter-founder. He says:―
-
-     “Amongst the several mechanic Arts that have engaged my attention,
-     there is no one which I have pursued with so much steadiness
-     and pleasure as that of _Letter Founding_. Having been an early
-     admirer of the beauty of Letters, I became insensibly desirous of
-     contributing to the perfection of them. I formed to myself ideas
-     of greater accuracy than had yet appeared, and have endeavoured to
-     produce a _Sett_ of _Types_ according to what I conceived to be
-     their true proportion.
-
-     “_Mr. Caslon_ is an artist to whom the Republic of Learning has
-     great obligations; his ingenuity has left a fairer copy for
-     my emulation than any other master. In his great variety of
-     _Characters_ I intend not to follow him; the _Roman_ and _Italic_
-     are all I have hitherto attempted: if in these he has left room
-     for improvement it is probably more owing to that variety which
-     divided his attention, than to any other cause. I honour his merit
-     and only wish to derive some small share of Reputation from an Art
-     which proves accidentally to have been the object of our mutual
-     pursuit.
-
-     “After having spent many years, and not a little of my fortune, in
-     my endeavours to advance this art; I must own it gives me great
-     satisfaction to find that my edition of _Virgil_ has been so
-     favorably received . . .
-
-     “It is not my desire to print many books; but such only as are
-     _books_ of _Consequence_, of _intrinsic merit_, or _established
-     Reputation_, and which the public may be pleased to see in an
-     elegant dress, and to purchase at such a price as will repay the
-     extraordinary care and expence that must necessarily be bestowed
-     upon them . . . If {276} this performance (_i.e._, the _Milton_)
-     shall appear to persons of judgment and penetration in the
-     _Paper_, _Letter_, _Ink_, and _Workmanship_ to excel, I hope their
-     approbation may contribute to procure for me, what would indeed
-     be the extent of my Ambition, a power to print an Octavo _Prayer
-     Book_, and a FOLIO BIBLE.”
-
-Both these ambitions were in due time fulfilled. In 1758 Baskerville
-had applied for the post of Printer to the University of Cambridge, an
-office which he obtained, with permission to print the folio _Bible_,
-and two editions of the _Common Prayer_ in three sizes. This learned
-body, however, appear to have been influenced in the transaction more
-by a wish to fill their own coffers than by a desire to promote the
-interests of the Art; and the heavy premiums exacted from Baskerville
-for the privilege thus accorded effectually deprived him of any
-advantage whatever in the undertaking. He continued to hold this
-unsatisfactory office till 1766.
-
-Meanwhile he had laboured assiduously to complete his promised series
-of the Roman and Italic faces. At the time of the publication of the
-_Virgil_, he put forward a quarto sheet containing specimens of the
-Great Primer, English, Pica, and Brevier Roman, and Great Primer
-and Pica Italic, beautifully printed. This sheet, which is noted by
-Renouard,[559] and which is occasionally found bound up with copies
-of the _Virgil_, was very shortly followed, about the end of the year
-1758, by a larger and more general specimen, consisting entirely of
-Roman and Italic letter in eight sizes, viz.:—Double Pica, Great
-Primer, English, Pica, Small Pica, Long Primer, Bourgeois and Brevier.
-Of the two last, Roman only is shown. The whole is arranged in two
-columns on a broadside sheet, with appropriate titlings, and forms a
-beautiful display. Although the only copy we have seen is printed on
-a greenish paper, somewhat coarse, the Specimen exceeds in elegance
-and uniformity most, if not all, the productions of contemporary
-founders.[560]
-
-[Illustration: 72. Baskerville’s English Roman and Italic. (From the
-_Milton_, 1758.)]
-
-It may be worth noting here that in point of body Baskerville appears
-to {277} have followed an independent course; most of his bodies,
-even the Pica, varying from the usual standards. The punches of the
-Greek fount, preserved at Oxford, show marks of high finish, although
-unnecessarily, as it seems to us, rounded in the stem. It is probable
-that these and the other punches of his foundry were not his own
-handiwork, but cut by skilled artists under his critical supervision.
-
-Unfortunately, very little is known of the operations of the Birmingham
-foundry as a trade undertaking. It is even doubtful whether, at first,
-Baskerville supplied his types to any press but his own; indeed, the
-activity of that press during the period when it was in the height
-of its prosperity was such that it is unlikely its proprietor would
-encumber himself with the duties of a letter-founder to the trade in
-general.
-
-The magnificent works[561] which between 1759 and 1772 continued to
-issue from his press not only confirmed him in his reputation, but
-raised his name to an unique position among the modern improvers of the
-art. The paper, the type and the general execution of his works were
-such as English readers had not hitherto been accustomed to, while the
-disinterested enthusiasm with which, regardless of profit, he pursued
-his ideal, fully merited the eulogy of the printer-poet who wrote:―
-
- “O BASKERVILLE! the anxious wish was thine
-  Utility with beauty to combine;
-  To bid the o’erweening thirst of gain subside;
-  Improvement all thy care and all thy pride;
-  When BIRMINGHAM—for riots and for crimes
-  Shall meet the long reproach of future times,
-  Then shall she find amongst our honor’d race,
-  One name to save her from entire disgrace.”[562]
-
-Baskerville’s third specimen sheet, undated, but probably issued
-in 1762, is an exquisitely printed large folio on highly glazed
-white paper. It completes the series of Roman and Italic displayed
-in the former sheet with a Nonpareil, and the whole is surrounded
-by an elegant light border. It is incomparably the most beautiful
-type-specimen of its day, although it must be admitted that not a
-little of its beauty is due to the brilliancy of the ink and the gloss
-of the paper.
-
-Despite the applause bestowed on him, and the acknowledged excellence
-of his work, Baskerville failed to make his new business a paying one.
-His letter {278} to Horace Walpole in 1762 best details the history of
-his struggles and disappointments:―
-
-     “To the Hon’ble Horace Walpole, Esq., Member of Parliament, in
-     Arlington Street, London, this:
-
-     EASY HILL, BIRMINGHAM, 2 Nov. 1762.
-
-     “SIR,—As the Patron and Encourager of Arts, and particularly
-     that of Printing,[563] I have taken the Liberty of sending you a
-     Specimen of Mine, begun ten Years ago at the age of forty-seven,
-     and prosecuted ever since with the utmost Care and Attention, on
-     the strongest Presumption, that if I could fairly excel in this
-     divine Art, it would make my Affairs easy or at least give me
-     Bread. But alas! in both I was mistaken. The Booksellers do not
-     chuse to encourage Me, though I have offered them as low terms as
-     I could possibly live by; nor dare I attempt an Old Copy till a
-     Law Suit relating to that affair is determined.
-
-     “The University of Cambridge have given me a Grant to print their
-     8vo and 12mo _Common-Prayer Books_, but under such Shackles as
-     greatly hurt me. I pay them for the former twenty and for the
-     latter twelve pounds ten shillings the thousand; and to the
-     Stationers’ Company thirty-two pound for their permission to print
-     one edition of the _Psalms in Metre_ to the small _Prayer Book_;
-     add to this the great expense of Double and treble carriage, and
-     the inconvenience of a printing house an hundred Miles off. All
-     this Summer I have had nothing to print at Home. My folio _Bible_
-     is pretty far advanced at Cambridge, which will cost me near £2000
-     all hired at 5 per cent. If this does not sell, I shall be obliged
-     to sacrifice a small patrimony which brings me in £74 a year to
-     this business of Printing, which I am heartily tired of and repent
-     I ever attempted. It is surely a particular hardship, that I
-     should not get Bread in my own country (and it is too late to go
-     abroad) after having acquired the Reputation of excelling in the
-     most useful Art known to mankind; while everyone who excels as a
-     Player, Fiddler, Dancer, &c., not only lives in Affluence, but has
-     it in their power to save a Fortune.
-
-     “I have sent a few Specimens (same as the enclosed) to the Courts
-     of Russia and Denmark, and shall endeavour to do the same to
-     most of the Courts in Europe; in hopes of finding in some of
-     them a purchaser of the whole scheme, on the Condition of never
-     attempting another Type. I was saying this to a particular Friend,
-     who reproached me with not giving my own Country the Preference,
-     as it would (he was pleased to say) be a national Reproach to
-     lose it: I told him nothing but the greatest Necessity would put
-     me upon it; and even then I should resign it with the utmost
-     reluctance. He observed the Parliament had given a handsome
-     Premium for a great Medicine; and he doubted not, if My Affair
-     were properly brought before the House of Commons, but some Regard
-     would be Paid to it. I replied I durst not presume to Petition the
-     House, unless encouraged by some of the Members, who might do me
-     the honour to promote it; of which I saw not the least hopes or
-     probability. Thus, Sir, I have taken the Liberty of laying before
-     you my Affairs without the least Aggravation; and humbly hope your
-     patronage: To whom can I apply for {279} Protection, but the
-     Great who alone have it in their power to serve me? I rely on your
-     candour as a Lover of the Arts and to excuse this Presumption in
-     your most obedient and most humble servant
-
-     JOHN BASKERVILLE.
-
-     “P.S.—The folding of the Specimens will be taken out by laying
-     them for a short time between damped Papers. N.B.—The Ink,
-     Presses, Chases, Moulds for Casting, and all the apparatus for
-     Printing were made in my own shops.”[564]
-
-The folio _Bible_[565] referred to in this letter has always been
-regarded as Baskerville’s _magnum opus_, and is his most magnificent
-as well as his most characteristic specimen. It duly appeared in
-Cambridge in 1763, in a beautiful Great Primer type, fully meriting the
-applause which it evoked. It had been preceded in 1760 by some very
-elegant editions of the _Book of Common Prayer_,[566] all published at
-Cambridge in his capacity of University printer.
-
-After the publication of the _Bible_, Baskerville wearied of his
-profession of printing, disheartened alike by the poor pecuniary
-returns for his labours, and the unfriendly criticism pronounced
-in various quarters upon his performances. Despite the splendid
-appearance of his impressions, the ordinary English printers viewed
-with something like suspicion the meretricious combination of sharp
-type and hot-pressed paper which lent to his sheets their extraordinary
-brilliancy.[567] They objected to the dazzling effect thus produced on
-the eye; they found fault with the unevenness of tone and colour in
-different parts of the same book, and even discovered an irregularity
-and lack of symmetry in some of his types, which his glossy paper and
-bright ink alike failed to disguise.
-
-That these strictures were not wholly the result of prejudice and
-jealousy, a careful examination of Baskerville’s printed works in the
-light of the modern {280} canons of fine printing will prove. Even his
-warmest admirers, like Fournier,[568] tempered their praise with some
-reservation; while hostile critics, like Mores, summarily denied him a
-place among letter-cutters at all.[569]
-
-Of the prejudice rife against Baskerville at this time, an amusing
-anecdote is preserved in a letter of Benjamin Franklin to our printer,
-dated 1760:―
-
-     “CRAVEN STREET, LONDON, 1760.
-
-     “DEAR SIR,—Let me give you a pleasant instance of the prejudice
-     some have entertained against your work. Soon after I returned,
-     discoursing with a gentleman concerning the artists of Birmingham,
-     he said you would be a means of blinding all the readers of the
-     nation, for the strokes of your letters being too thin and narrow,
-     hurt the eye, and he could never read a line of them without pain.
-     ‘I thought,’ said I, ‘you were going to complain of the gloss of
-     the paper some object to.’ ‘No, no,’ said he, ‘I have heard that
-     mentioned, but it is not that; it is in the form and cut of the
-     letters themselves, they have not that height and thickness of the
-     stroke which makes the common printing so much more comfortable
-     to the eye.’ You see this gentleman was a _connoisseur_. In vain
-     I endeavoured to support your character against the charge; he
-     knew what he felt, and could see the reason of it, and several
-     other gentlemen among his friends had made the same observation,
-     etc. Yesterday he called to visit me, when, mischievously bent
-     to try his judgement, I stepped into my closet, tore off the
-     top of Mr. Caslon’s specimen, and produced it to him as yours,
-     brought with me from Birmingham, saying, I had been examining
-     it, since he spoke to me, and could not for my life perceive the
-     disproportion he mentioned, desiring him to point it out to me. He
-     readily undertook it, and went over the several founts, showing
-     me everywhere what he thought instances of that disproportion;
-     and declared, that he could not then read the specimen, without
-     feeling very strongly the pain he had mentioned to me. I spared
-     him that time the confusion of being told, that these were the
-     types he had been reading all his life, with so much ease to his
-     eyes; the types his adored Newton is printed with, on which he has
-     pored not a little; nay, the very types his own book is printed
-     with (for he is himself an author), and yet never discovered this
-     painful disproportion in them, till he thought they were yours.
-
-     “I am, etc.,
-
-     “B. FRANKLIN.”[570]
-
-This occasion for the above interesting letter, was an application
-made by {281} Baskerville in 1760 to his friend, Dr. Franklin, to
-assist him in London to sound the literati there respecting the
-purchase of his types. This attempt failing, a few years later Dr.
-Franklin undertook a similar good office in Paris,[571] and with a
-similar result. “The French,” he wrote in 1767, “reduced by the war
-of 1756 were so far from being able to pursue schemes of taste, that
-they were unable to repair their public buildings, and suffered the
-scaffolding to rot before them.”
-
-Having lost all spirit for the printing business, Baskerville, about
-1766, declined to pursue it except through the medium of a confidential
-agent, and the following notice, issued about this period, announced
-this decision to the public:―
-
-     “Robert Martin has agreed with Mr. Baskerville for the use of his
-     whole printing apparatus, with whom he has wrought as a journeyman
-     for ten years past. He therefore offers his services to print at
-     Birmingham for Gentlemen or Booksellers, on the most moderate
-     terms, who may depend on all possible care and elegance in the
-     execution. Samples, if necessary, may be seen on sending a line to
-     John Baskerville or Robert Martin.”[572]
-
-After a retirement of three years, Baskerville resumed work in 1769,
-completing between that period and the time of his death his fine
-series of the 4to classics, which bear the marks of unabated genius
-even in declining days; and suffice, had he printed nothing else, to
-distinguish him as the first typographer of his time.
-
-It would appear from a passage in a letter of Franklin’s in reference
-to the fine edition of _Shaftesbury’s Characteristics_, published in
-1773 (4to), that, in that year, Baskerville contemplated some further
-development of his type-founding business.[573] His press, at any rate,
-seems to have continued active till that date, and even later; although
-it is doubtful whether the latest works bearing his imprint received
-his personal oversight.
-
-He died on January 8, 1775. Notwithstanding the poor success of his
-printing enterprise, he left behind him a fortune of £12,000, which,
-as he had no heir, went, together with the stock and goodwill of his
-business, to his widow.[574] {282}
-
-Of Baskerville’s personal character, a biographer observes: “In
-private life, he was a humourist, idle in the extreme; but his
-invention was the true Birmingham model, active. He could well design,
-but procured others to execute; wherever he found merit, he caressed
-it; he was remarkably polite to the stranger, fond of shew; a figure,
-rather of the smaller size, and delighted to adorn that figure with
-gold lace. Although constructed with the light timbers of a frigate,
-his movement was stately as a ship of the line. During the twenty-five
-last years of his life, though then in his decline, he retained the
-singular traces of a handsome man. If he exhibited a peevish temper,
-we may consider that good nature and intense thinking are not always
-found together. Taste accompanied him through the different walks of
-agriculture, architecture, and the fine arts. Whatever passed through
-his fingers bore the living marks of John Baskerville.”[575]
-
-A less pleasing sketch of his character is given by Mark Noble in his
-_Biographical History of England_:—“I have very often”, he says, “been
-with my father at his house, and found him ever a most profane wretch,
-and ignorant of literature to a wonderful degree. I have seen many of
-his letters, which like his will, were not written grammatically, nor
-could he even spell well. In person he was a shrivelled old coxcomb.
-His favourite dress was green, edged with narrow gold lace, a scarlet
-waistcoat, with a very broad gold lace, and a small round hat, likewise
-edged with gold lace. His wife was all that affectation can describe.
-. . . She was originally a servant. Such a pair are rarely met with.
-He had wit; but it was always at the expense of religion and decency,
-particularly if in company with the clergy. I have often thought there
-was much similarity in his person to Voltaire, whose sentiments he was
-ever retailing.”[576]
-
-Professing a total disbelief of the Christian religion, he ordered that
-his remains should be buried in a tomb in his own grounds, prepared by
-himself for the purpose, with an epitaph[577] expressing his contempt
-for the superstition which {283} the bigoted called Religion. Here,
-accordingly, his body was buried upright, and here it remained,
-although the building that contained it was destroyed by the Birmingham
-riots of 1791. About half a century after his death his body was
-exhumed and exhibited for some time in a shop in Birmingham. Its final
-resting-place is to this day a matter of debate.
-
-There is a portrait of Baskerville by Exteth, in the possession
-of the Messrs. Longman, and another in the possession of the Rev.
-Dr. Caldecott. An engraving of the latter is given in Hansard’s
-_Typographia_; and there is a copperplate from the same portrait
-(unpublished), at the present time in the collection of Mr. Timmins of
-Birmingham.
-
-Mrs. Baskerville[578], on succeeding to her husband’s property,
-declined to continue the printing business, although continuing that of
-letter-founding; and thus advertised her intention to the public:―
-
-     “Mrs. Baskerville, being about to decline business as a printer,
-     purposes disposing of the whole of her apparatus in that branch,
-     comprehending, among other articles, all of them perfect in their
-     kind, a large and full assortment of the most beautiful types,
-     with the completest printing presses, hitherto known in England.
-     She begs leave to inform the publick, at the same time, that she
-     continues the business of Letter-founding, in all its parts, with
-     the same care and accuracy that was formerly observed by Mr.
-     Baskerville. Those gentlemen who are inclined to encourage so
-     pleasing an improvement may, by favouring her with their commands,
-     be now supplied with Baskerville’s elegant types at no higher
-     expence than the prices already established in the trade.”[579]
-     _April 6, 1775._
-
-The following further advertisement intimates that two years later the
-typefounding business was still carried on under the same management:―
-
-     “The late Mr. Baskerville, having taken some pains to establish
-     and perfect a Letter-foundry for the more readily casting of
-     Printing-types for sale, and as the undertaking was finished
-     but a little before his death, it is now become necessary for
-     his widow, Mrs. Baskerville, to inform all Printers that she
-     continues the same business, and has now ready for sale, a large
-     stock of types, of most sizes, cast with all possible care, and
-     dressed with the utmost accuracy. She hopes the acknowledged
-     partiality of the world, in regard to the peculiar beauty of Mr.
-     Baskerville’s types, in the works he has published, will render it
-     quite unnecessary here to say anything to recommend them—only that
-     she is determined to attend to the undertaking with all care and
-     diligence; and to the end that so useful an improvement may become
-     as extensive as possible, and notwithstanding the extraordinary
-     hardness and durability of these types above all others, she
-     will conform to sell them at the same prices with other Letter
-     founders.” _Feb. 25, 1777._ {284}
-
-Notwithstanding Mrs. Baskerville’s avowed intention of continuing the
-business, many attempts had been made, and were still made, to dispose
-of the foundry. It was offered to the Universities and declined;
-and the London booksellers preferred the types of Caslon and his
-apprentices.[580] The stock lay a dead weight till 1779, when the whole
-was purchased by Beaumarchais for the Société Litteraire-Typographique,
-for the sum of £3,700, and transferred to France.
-
-Much blame and even contempt was bestowed at the time on the bad
-taste and unpatriotic spirit of the English nation in thus allowing
-the materials of this famous press to go out of the country.[581] _De
-gustibus non est disputandum._ Deprived of the master-hand of their
-designer, the types which startled the world into admiration in the
-_Virgil_ of 1757, had lost their magic by 1779; and it seems hardly
-reasonable to blame the printers of this country for preferring the
-sterling types of Caslon and Jackson, in which works as beautiful were
-being produced, and by far simpler methods than those employed by the
-Birmingham genius. Nor does it appear that after the purchase by the
-French there was any general feeling of regret in this country at the
-opportunity missed. It is, however, a fact that for some important
-works produced towards the close of the century—particularly those of
-Bulmer’s press—it was considered an advantage to secure the services of
-artists of the Birmingham school, both in the formation of the types
-and the execution of the press-work. As the pioneer of fine printing
-in England, Baskerville deserves, and will receive the grateful
-approbation of all lovers of the art. But it would be idle to say that
-he was not speedily matched and even surpassed by the performance of
-others, or that his types, had they remained in this country, would
-have been more valuable on account of their intrinsic excellence than
-of their historical interest.
-
-That the French were well satisfied with their bargain, may be gathered
-from the following letter quoted by Nichols, dated Paris, August 8th,
-1780:―
-
-     “The English language and learning are so cultivated in France,
-     and so eagerly learned, that the best Authors of Great Britain are
-     now reprinting in this Metropolis: Shakespeare, Addison, Pope,
-     Johnson, Hume, and Robertson, are to be published here very soon.
-     Baskerville’s types, which were bought it seems for a trifle, to
-     the eternal disgrace of Englishmen, are to be made use of for the
-     purpose of propagating the English Language in this country.”[582]
-     {285}
-
-Nichols himself adds, after deploring the comparative failure of
-Baskerville, to receive appreciation in his native land: “We must
-admire, if we do not imitate the taste and economy of the French
-nation, who, brought by the British arms in 1762 to the verge of ruin,
-rising above distress, were able, in seventeen years, to purchase
-Baskerville’s elegant types, refused by his own country, and to expend
-an hundred thousand pounds in poisoning the principles of mankind by
-printing the _Works of Voltaire_.”
-
-This great work, for the express purpose of printing which
-Baskerville’s types were procured, was thus announced to the English
-public in 1782[583]:―
-
-     “A complete edition of the _Works of Voltaire_, printed by
-     subscription, with the types of Baskerville.
-
-     “This work, the most extensive and magnificent that ever was
-     printed, is now in the press at Fort Kehl, near Strasburgh, a
-     free place, subject to no restraint or imprimatur, and will be
-     published towards the close of the present year. It will never
-     be on sale. Subscribers only can have copies. Each set is to be
-     numbered, and a particular number appropriated to each subscriber
-     at the time of subscribing. As the sets to be worked off are
-     limited to a fixed and small number, considering the great demand
-     of all Europe, those who wish to be possessed of so valuable a
-     work must be early in their application, lest they be shut out by
-     the subscriptions being previously filled. Voltaire’s Manuscripts
-     and Port-Folios, besides his Works already published, cost 12,000
-     guineas. This and other expenses attending the publication,
-     will lay the Editors under an advance of £100,000 sterling. The
-     public may from thence form a judgment of the extraordinary care
-     that will be taken to make this edition a lasting monument of
-     typographical elegance and grandeur,” etc. _June 4, 1782._
-
-The “proposals” were accompanied by two pages of specimens of the type.
-
-Of this famous edition of _Voltaire_ an interesting account is given in
-Lomenie’s _Beaumarchais et ses Temps_.[584] The Society in whose name
-Beaumarchais undertook the work consisted of himself alone. Besides
-the Voltaire MSS. and the Baskerville types, he bought and set to work
-three paper-mills in the Vosges, and after much difficulty secured
-the old fort at Kehl as a neutral ground on which to establish in
-security his vast typographical undertaking. The enterprise was one
-involving labour, time and cost vastly beyond his expectations, and his
-correspondence with his manager at Kehl presents an almost pathetic
-picture of his efforts to grapple with the difficulties that beset his
-task. “How can we promise,” he wrote in 1780, “in the early months
-of {286} 1782 an edition which has neither hearth nor home in March
-1780? The paper-mills have to be made, the type to be founded, the
-printing press to be put up, and the establishment to be formed.” And
-on another occasion he writes: “Here am I, obliged to learn my letters
-at paper-making, printing and bookselling.”
-
-It was not until 1784 that Volume One appeared; and the whole work in
-two editions was not completed till 1790,[585] by which time France was
-in the throes of the Revolution, and little likely to heed the literary
-exploits even of one of her most talented sons. Of the 15,000 copies
-printed, only 2,000 found subscribers; and after the dissolution of the
-establishment at Kehl[586] (where, besides, he printed an edition of
-_Rousseau_ and a few other works) all the benefit Beaumarchais received
-from his enterprise was a mountain of waste-paper.
-
-The final destination of Baskerville’s types is shrouded in mystery.
-Most writers assert that the printing establishment at Kehl was
-entirely destroyed at the commencement of the French Revolution,
-and many suggest that the types performed their last service in the
-shape of bullets. Plausible as this story is, it is disproved by the
-existence of four works of Alfieri, all bearing the imprint, _dalla
-Tipografia di Kehl, co’ caratteri di Baskerville_, and dated severally
-1786, 1795, 1800 and 1809.[587] These works, to whose existence no
-writer on Baskerville appears hitherto to have called attention, bear
-the strongest internal evidence of the accuracy of their claims, and
-thus enable us to trace the survival of these famous types to a date
-twenty years later than that at which they are commonly supposed to
-have perished. In England, some of Baskerville’s types are said to have
-been in use in the office of Messrs. Harris, in Liverpool, in 1820; and
-seven years later, we find a work printed by Thomas White, of Crane
-Court, London, for Pickering, claiming to be “with the types of John
-Baskerville”.[588] But though a fount or two of the types may have
-survived, all search as to the ultimate fate of the punches or matrices
-is baffled. They may still exist, {287} neglected, in the dusty
-drawers of some foreign press or foundry.[589] If so, it is to be hoped
-that their discovery may in due time reward the patience of those whose
-ambition it is to recover for their native land these precious relics
-of the most brilliant of all the English letter-founders.
-
-
-LIST OF BASKERVILLE’S SPECIMENS.
-
-     No date. A Specimen by John Baskerville, of Birmingham, in the
-     county of Warwick, Letter Founder and Printer. 4to sheet. (1752?)
-     . . . . (S. T.)
-
-     No date. A Specimen by John Baskerville of Birmingham. 4to sheet.
-     (1757?) . . . . (Althorp.)
-
-     No date. A Specimen by John Baskerville of Birmingham, Letter
-     Founder and Printer. (1758?). Broadside. . . . . (S. T.)
-
-     No date. A Specimen by John Baskerville of Birmingham. (1762?).
-     Folio. . . . . (S. T.)
-
-[Illustration]
-
-{288}
-
-[Illustration]
-
-
-
-
-CHAPTER XIV.
-
-THOMAS COTTRELL, 1757.
-
-
-Thomas Cottrell, described by Mores as _à primo proximus_ of modern
-letter-founders, served his apprenticeship in the foundry of the first
-Caslon. He was employed there as a dresser, and the portrait of him
-which is to be seen in the _Universal Magazine_ of 1750,[590] among a
-group of Caslon’s workmen, represents him as engaged in that branch of
-the business.
-
-It is not improbable that he joined with his friend and fellow
-apprentice, Joseph Jackson, in clandestinely observing the operation of
-punch-cutting, secretly practised by his master and his master’s son at
-Chiswell Street; and being assisted by natural ability, and what Moxon
-terms a “genuine inclination,” he contrived during his apprenticeship
-to qualify himself not only in this, but in all the departments of the
-art.
-
-In 1757 a question as to the price of work having arisen among Mr.
-Caslon’s workmen, Cottrell and Jackson headed a deputation on the
-subject to their employer, then a Commissioner of the Peace, residing
-at Bethnal Green. The worthy justice taking this action in dudgeon, the
-two ringleaders were dismissed from Chiswell Street, and thus thrown
-unexpectedly on their own resources.
-
-Cottrell, in partnership for a short time with Jackson, and (according
-to Rowe Mores), assisted also by a Dutchman, one Baltus de Graff, a
-former {289} apprentice of Voskens of Amsterdam, established his
-foundry in Nevil’s Court, Fetter Lane. His first fount was an English
-Roman, which, though it will compare neither with the performance of
-his late master, nor with the then new faces of Baskerville, was yet a
-production of considerable merit for a self-trained hand.
-
-In 1758 an incidental record of Cottrell’s Foundry exists in the
-history, elsewhere recorded, of Miss Elstob’s Saxon types, the punches
-and matrices of which, after remaining untouched for several years at
-Mr. Caslon’s, were brought to Cottrell by Mr. Bowyer, to be “fitted up”
-ready for use. This task Cottrell performed punctually and apparently
-to the satisfaction of his employer, returning them with a small fount
-of the letter cast in his own mould, as a specimen of the improvement
-made in them.[591]
-
-In 1759 Jackson quitted the business to go to sea, and Cottrell, left
-to himself, busily proceeded with the completion of his series of
-Romans, which he carried as low as Brevier, a size “which,” says Rowe
-Mores, “he thinks low enough to spoil the eyes.”[592]
-
-He also cut a Two-line English Engrossing in imitation of the Law-Hand,
-and several designs of flowers.
-
-[Illustration: 73. Engrossing, cut by Cottrell, _circa_ 1768. (From the
-original matrices.)]
-
-The Engrossing, or as Mores styles it, the Base Secretary, was a
-character designed to take the place of the lately abolished Court Hand
-in legal documents, and appears to have been designed for Cottrell
-by a law printer named Richardson. On the completion of the fount,
-an impression of which we here give, Richardson issued a specimen of
-it,[593] claiming the design, and representing its advantages as the
-proper character for leases, agreements, {290} indentures, etc. The
-matrices, however, remained with Cottrell, and the inclusion of the
-fount in his general specimen shows that Richardson ceased to retain
-any exclusive use of it. It was the only fount of the kind in England
-when Mores wrote in 1778.
-
-Cottrell’s first specimen was a broadside sheet, undated, but probably
-issued about the year 1760. It shows the Roman founts, arranged in a
-form very similar to that of Caslon’s broadside of 1749. The only copy
-of this specimen known is that in the Sohmian Collection at Stockholm.
-
-It was followed, a few years later, by an 8vo Specimen Book, which,
-from its obvious resemblance to Caslon’s Book of 1764, we may judge to
-have seen the light about 1766.[594] This Specimen exhibits the Roman
-and Italic Founts from Five-line to Brevier, the Engrossing above
-mentioned, and five pages of Small Pica Flowers elaborately arranged.
-The general appearance is neat, each page being surrounded by a border.
-The Romans are cut after the Caslon models, and are fairly good,
-although a close inspection would suggest that Cottrell’s “genuine
-inclination” did not extend to the justifying of his matrices with the
-same success as to the cutting of the punches.
-
-The following note at the foot of the Long Primer on Bourgeois specimen
-is, perhaps, the most interesting feature of this book:―
-
-     “This Foundery was begun in the Year 1757, and will (with God’s
-     leave) be carried on, improved and enlarged, by Thomas Cottrell,
-     Letter Founder, in London.
-
-     “_N. B._ Served my apprenticeship to William Caslon, Esq.”
-
-Fournier, in the second part of his _Manuel Typographique_, 1766,
-mentions Cottrell’s Foundry, but in such a manner as to lead one to
-suppose he had never seen his specimen, or heard of it except by the
-vaguest hearsay. He mentions him as “Cottrell à Oxfort,” at the head of
-his list of English Founders.[595] {291}
-
-A more satisfactory contemporary record is contained in Luckombe’s
-_History and Art of Printing_, 1770, where pages 169 to 174 are
-occupied by specimens of the Engrossing and Flowers already exhibited
-in the specimen book, and a fount of English Domesday.
-
-This latter fount, which appears to have been completed subsequent to
-the issue of the specimen book, Cottrell cut under the inspection of
-Dr. Morton for the forthcoming issue of Domesday Book, begun in 1773,
-and “which”, Rowe Mores sarcastically observes, “if the undertakers go
-on as they have begun, will by domes-day hardly be finished.”
-
-The work was, however, finished and printed, but not in Cottrell’s
-type, his performance having been eclipsed by that of his old colleague
-and partner Jackson, who, after returning from sea in 1763, had worked
-for a short time at the Nevil’s Court Foundry, and then left to start
-business for himself, taking with him two of Cottrell’s workmen.
-
-Cottrell was at this period a private in the Life Guards; a position
-considered highly respectable in those days, and not at all
-incompatible with business pursuits. His military ardour evidently
-had its effect in the Foundry, for we find that Robinson and Hickson,
-his two workmen who left with Jackson, were also enlisted in the same
-service.
-
-He does not appear to have extended his foundry very much as regards
-its Roman letter. According to Rowe Mores, however, he produced “some
-uncommon founts of proscription, or posting letter of great bulk and
-dimensions as high as to the measure of twelve-line Pica.”[596] Of
-these founts (which were no doubt cast, like Caslon’s, in sand), a
-specimen is in existence, consisting of two broadside sheets, showing
-about eleven sizes from two-line Double Pica to twelve-line Pica.
-
-No specimen, however, is to be found of the Russian fount, which Mores,
-writing in 1778, hopes Cottrell is about to cut “for a gentleman who
-compiles a Russian Dictionary; the same gentleman who translated into
-English, _The Grand Instructions of Her Imperial Majesty Catherine II,
-for a new Code of Laws for the Russian Empire. London, 1768, 4to._, to
-whom we wish success.”
-
-Cottrell died in 1785. He is described as obliging, good-natured, and
-friendly, rejecting nothing because it is out of the common way, and
-expeditious in his performances. Nichols, in recording his death, says
-“Mr. Cottrell died, I am sorry to add, not in affluent circumstances,
-though to his profession of a letter-founder were superadded that of
-a doctor for the toothache, which he cured by {292} burning the ear;
-and had also the honour of serving in the Troop of His Majesty’s Life
-Guards.”[597]
-
-The following is the summary of his foundry as gathered from his
-specimen book, together with the additional founts cut subsequently:―
-
-
-MR. COTTRELL’S FOUNDRY.
-
- _Roman._―
-     5-line, 4-line, 2-line Double Pica, 2-line Great Primer, 2-line
-     English, 2-line Small Pica, 2-line Long Primer.
-
- _Roman and Italic._―
-     Canon, 2-line Great Primer, 2-line English, Double Pica, Great
-     Primer, English, Pica 1, Pica 2, Small Pica, Long Primer 1, Long
-     Primer 2, Bourgeois, Brevier.
-
- _Flowers._―
-     Small Pica, 29 varieties.
-
- _Engrossing._―
-     2-line English.
-
- _Script._―
-     Double Pica.
-
- _Domesday._―
-     English.
-
- _Large letter._―
-     From 4-line up to 12-line.
-
-Of the history of the Foundry during the nine years following Mr.
-Cottrell’s death, no record remains. In 1794 it became the property
-of Robert Thorne, a former apprentice of Cottrell’s, who removed the
-business from Nevil’s Court to No. 1, Barbican, whence he issued in
-that year his first specimen and a price list announcing his new
-undertaking.[598]
-
-The specimen book consists entirely of elegantly shaped large letters
-cast in sand, from five-line up to nineteen-line, a then unprecedented
-size. The bulk of these, comprising the sizes from five to twelve-line,
-advancing by one pica em in body, it may be surmised, are from
-Cottrell’s models; the thirteen, sixteen, and nineteen-line, being
-added by Thorne. For his specimen of ordinary-sized letter, Thorne
-probably made use at first of Cottrell’s book as it stood.[599]
-
-But it is evident by the specimen published four years later, in 1798,
-that if he ever was possessed of the matrices of these founts, he
-entirely discarded them, in conformity with the passing fashion, in
-favour of others more closely resembling the beautiful faces of Jackson
-and Figgins. His specimen of 1798 is indeed one of the most elegant of
-which that famous decade can boast. For {293} lightness, grace, and
-uniformity, the series of Romans and Italics which are exhibited excels
-that of almost all his competitors. The book, which contains not a
-single fount which had previously appeared in Cottrell’s book, consists
-of forty-eight leaves, of which thirty are devoted to Roman and Italic,
-and the remainder to Titlings, Shaded letters, and Flowers, with one
-fount of Double-Pica Script. A postscript to the specimen states
-that four more founts were nearly ready, completing the series, the
-preparation of which had evidently been the labour of many years.[600]
-It is therefore the more to be regretted, that Thorne, in common with
-all his contemporaries, was compelled almost immediately, by the sudden
-change of public taste in favour of the new style of Roman, to abandon
-the further prosecution of this excellent series, and devote himself to
-the production of founts according to “modern” fashion.
-
-In 1801 a revised price list was issued announcing a rise in the price
-of type owing to the advanced cost of raw material and journeymen’s
-wages[601]; and in 1803 appeared the specimen of the new Roman series,
-representing the product of five years’ incessant toil and sacrifice.
-It cannot be said that this specimen of “Improved Types”[602]—one of
-the first completed in the trade—bears any comparison with the artistic
-elegance of its predecessor.
-
-It exhibits the new Roman and Italic in ten, seven, and five-line
-Pica, Canon, two-line Great Primer (two faces), two-line English (two
-faces), Double Pica (two faces), Great Primer (two faces), English,
-Pica, Long Primer (two faces), Bourgeois, Brevier, and Minion.
-Ornamenteds—two-line Pica (two faces), two-line Small Pica (two faces).
-Shadeds—two-line Small Pica (two faces), two-line Nonpareil (three
-faces). Script—Double Pica.
-
-Thorne, indeed, having once abandoned the old style for the new,
-appears in the van of the innovating fashion. Not sharing in the regret
-expressed by his brethren in the art at the new departure, he still
-further advanced upon it by the production of some exceedingly thick
-and fat (and we may add unsightly) jobbing letters, which, though
-subsequently followed and even exceeded by others, were at the time
-unique for boldness and deformity. {294}
-
-In Oriental and “learned” letters he appears to have achieved nothing;
-as not a single fount, not even Cottrell’s Domesday, appears in this
-specimen, or in the subsequent inventory of the Foundry.
-
-A curious document entitled _Rules and Regulations of the
-Letter-Foundry of Robert Thorne, London, Jan. 1806_, exists, and gives
-an interesting glimpse into the order and customs of the Barbican
-Foundry. To the general scope of these rules we have referred in
-another place[603]; but as being personal to Thorne in his relations
-with his men, we may mention here that he constituted himself Treasurer
-of the fines for “Footale,” imposed by the men on all new workmen, with
-an obligation to account for and distribute the sum every Christmas
-Eve, and also made himself liable, equally with his men, to a fine of a
-shilling if he left his light burning when quitting the Foundry for the
-night.
-
-For some time (though the exact dates cannot be fixed), Mr. Thorne
-had a partner in Mr. Hugh Hughes, an able engraver and designer of
-music and other characters, who afterwards commenced a foundry in Dean
-Street, Fetter Lane.[604] This association does not appear to have
-lasted long, or to have involved any alteration in the style of the
-firm.
-
-About the year 1810 Mr. Thorne removed from Barbican to Fann Street,
-Aldersgate,[605] where, in premises formerly occupied by a brewery, he
-continued his business under the name, which it still bears, of the
-Fann Street Foundry.
-
-Considerable additions were made to the faces of the Foundry during the
-next ten years. Two new Scripts were cut, the “Sanspareil” matrices
-were adopted for the large letters, and a few new book founts appeared
-with light faces, which contrasted agreeably with the fat style
-generally predominating in Thorne’s specimens.
-
-In 1817, declining health induced Mr. Thorne to attempt to dispose of
-his business to his fellow-founders; but his offer being declined, he
-resumed his labours and continued actively at work until the time of
-his death, which occurred in 1820, at the age of sixty-six. He was
-buried in Holloway Churchyard, where a tablet is erected to his memory.
-
-No complete specimen of his type remains later than that of 1803;
-although the numerous loose sheets which appeared after that date, and
-the fact that as many as 132 pages of composed specimens were left in
-type at the time of his death, show that one, if not several books had
-been issued during the interval. {295}
-
-On June 21st, 1820, the Foundry was put up to auction,[606] and
-purchased entire by Mr. William Thorowgood.
-
-This gentleman was previously unconnected with the typographical
-profession,[607] having been engaged as London manager and agent to
-a Patent Roller Pump business at Stone, in Staffordshire, of which
-concern he was one of the principal proprietors.
-
-With the proceeds, it is said, of a fortunate draw in one of the State
-Lotteries,[608] he became possessor of the Fann Street Foundry, and
-proceeded at once to throw himself into the new business with great
-energy and no small success.
-
-His first specimen book, issued in January 1821, a few months after
-the purchase, may be taken as representing the contents of the Foundry
-pretty much as Thorne left it; although even in this short space
-of time some additions are apparent, which formed no part of his
-predecessor’s stock.[609] {296}
-
-In the following year Mr. Thorowgood was sworn Letter-Founder to His
-Majesty, and put forth a specimen of a Greek fount of good cut, which,
-at the time, was the sole representative of the “learned” languages
-in his Foundry. Further progress was, however, made in this direction
-during the next few years; as Hansard, writing in 1825, mentions three
-sizes of German, two of Greek, one of Hebrew, and four of Russian, as
-forming part of his stock. The Germans, and the Pica and Bourgeois
-Russian, were procured from the Foundry of Breitkopf and Härtel of
-Leipzig.[610]
-
-A new specimen book was issued in 1828. In the same year, the
-retirement of Dr. Fry presented Mr. Thorowgood with the opportunity of
-making a most important addition to his business by the acquisition of
-the Type Street Foundry. This purchase transferred to the Fann Street
-Foundry not only the whole of Dr. Fry’s interesting collection of
-oriental and “learned” founts, which included many relics of the old
-foundries, but augmented his stock of book founts, Blacks, Titlings,
-and Flowers, to almost double their former extent.
-
-The transfer was completed in 1829, and early in the following year a
-specimen of additions to the Foundry contained an announcement that
-“a new edition of the Greeks, Hebrews, and foreign characters of the
-Polyglot Foundry, late the property of Dr. Fry, is in preparation.”
-
-This promised specimen duly appeared in 1830, the sheets still bearing
-Dr. Fry’s imprint; and after this date frequent supplementary specimens
-marked the development of the business of this now extensive foundry.
-
-As the scope of this history does not extend beyond the period now
-reached, it will suffice to state that about 1838, Mr. Thorowgood
-admitted into partnership Mr. Robert Besley, who, since the year 1826,
-had been in the service of the Foundry as traveller and in other
-capacities. The firm then became known as Thorowgood and Co., or
-more commonly Thorowgood and Besley. This partnership ceasing by the
-withdrawal of Mr. Thorowgood in 1849, Mr. Benjamin Fox, a practical
-punch cutter of much talent, joined Mr. Besley as Robert Besley and Co.
-On the retirement of Alderman Besley in 1861, Mr. (afterwards, Sir)
-Charles Reed, a printer, entered the business, which took the style
-of Reed and Fox. Mr. Fox died in 1877, when the firm became Sir {297}
-Charles Reed and Sons. Sir Charles Reed died in 1881, and the business
-is now in the hands of his two sons.
-
-
-LIST OF SPECIMENS, 1760–1830.
-
-     No date. A specimen by Thomas Cottrell. (1760?) Broadside. . . . .
-     (Sohmian Coll. Stockholm.)
-
-     No date. A specimen of Printing Types by Thomas Cottrell, Letter
-     Founder, in Nevil’s Court, Fetter Lane, London. (1766?) 8vo.
-     . . . . (T.B.R.)
-
-     1770. A specimen of Cottrell’s Engrossing, Flowers, and Domesday
-     Letters. 8vo. . . . . (Luckombe’s _History of Printing_, pp.
-     169–174.)
-
-     No date. A specimen of Large Letters by Thomas Cottrell, in
-     Nevil’s Court, Fetter Lane, London. (1785?) 2 sheets, Broadside.
-     . . . . (Sohmian Coll. Stockholm.)
-
-     1794. Specimen of Printing Types by R. Thorne, Letter Founder,
-     No. 11, Barbican, London. Printed by W. Glindon, 1794. Sm. 4to.
-     . . . . (T.B.R.)
-
-     1798. Specimen of Printing Types by R. Thorne, Letter Founder,
-     Barbican, London, Printed in the year 1798. Sm. 4to. . . . . (Ox.
-     Univ. Pr.)
-
-     1803. Thorne’s Specimen of Printing Types, 1803. 8vo. . . . .
-     (W.B.)
-
-     1821. Thorowgood’s New Specimen of Printing Types, late R.
-     Thorne’s, No. 2, Fann Street, Aldersgate Street, London. 8vo.
-     . . . . (T.B.R.)
-
-     1822. A specimen sheet of Greek Type, W. Thorowgood, June, 1822.
-     8vo. . . . . (T.B.R.)
-
-     1828. Thorowgood’s, late Thorne’s, Specimen of Printing Types,
-     1828. 8vo. . . . . (T.B.R.)
-
-     1830. Additions to the Specimen of the Fann Street Letter Foundry,
-     W. Thorowgood, Letter Founder to His Majesty, London, 1830. 8vo.
-     . . . . (Caxt. Cel. 4418.)
-
-     1830. Fann Street Letter Foundry, London. Thorowgood’s Specimens
-     of Greeks, Hebrews, and Foreign Characters, late the property of
-     Dr. Edmund Fry. 1830. 8vo. . . . . (Caxt. Cel. 4413.)
-
-[Illustration]
-
-{298}
-
-[Illustration]
-
-
-
-
-CHAPTER XV.
-
-JOSEPH AND EDMUND FRY, 1764.
-
-
-This foundry, first known as Fry and Pine’s, had its origin in Bristol
-in the year 1764.
-
-Mr. Joseph Fry, a prominent and enterprising Bristolian, was the son
-of Mr. John Fry, and was born in the year 1728. He entered the medical
-profession, where, says a biographer,[611] “his affable, courteous
-manners and sound Christian principles soon secured to him a large
-practice amongst the highest class of his fellow citizens. Possessing
-uncommon energy and activity of mind, he was led to take a part in many
-new scientific undertakings, actuated more by the desire to be useful
-to society and advance the arts than by any hope of individual profit.”
-
-This spirit of enterprise induced him, in the year 1764, to turn his
-attention to letter-founding, which, though hardly to be called a new
-scientific undertaking, was at least a novel industry for a provincial
-city. The success of Baskerville’s foundry at Birmingham, at that time
-in the height of its celebrity, was undoubtedly an incentive to the
-adventurers of Bristol, whose first founts were avowedly cut in close
-imitation of those famous models.
-
-[Illustration: 73A. Joseph Fry and Dr. Edmund Fry. From Silhouettes in
-the possession of Francis Fry, Esq., of Bristol.]
-
-William Pine, Mr. Fry’s partner, was a practical printer of some note
-in his native city. He was the first printer of the _Bristol Gazette_,
-and carried on a considerable business at his premises in Wine
-Street. The new foundry was {299} attached to his office, and its
-productions may be traced in several works which issued from his press
-between the years 1764 and 1770.[612] Messrs. Fry and Pine’s manager
-was one Isaac Moore, who (Rowe Mores informs us) was originally an
-ingenious whitesmith of Birmingham before he removed to Bristol. The
-practical superintendence of the foundry, if not the actual cutting
-of its punches, devolved on him; and his services appear to have been
-acknowledged by his admission into the partnership at an early stage of
-the undertaking, the business being carried on in his name.
-
-Renouard mentions a _Specimen by Isaac Moore, Bristol_, in 1768,
-of which he possessed a copy mounted on linen,[613] and which he
-describes as displaying “caractères assez bien gravés, et imitant
-ceux de Baskerville.” If this was, as it would appear from the title,
-issued at Bristol, we must conclude that the removal of the foundry
-to the metropolis took place in the same year, as there exists in the
-Sohmian Collection at Stockholm, where it was recently discovered by
-Mr. W. Blades, a broadside _Specimen by Isaac Moore and Co. in Queen
-Street, near Upper Moorfields, London_, showing the Roman series from
-five-line to Brevier, bearing the same date. Whether the two specimens
-are the same or not, it is hardly likely that their contents could
-have varied much during the brief interval. Two years later, however,
-the progress of the undertaking was announced by the issue of a fresh
-broadside sheet containing the complete series of Romans, cut after the
-Baskerville models, from eight-line to Pearl, with Italics to most of
-the founts, besides a fair display of flowers. The general appearance
-of the letters is elegant, especially in the larger sizes.
-
-Appended to the specimen, in the form of a postscript, is the following
-address to the public (the first of a series of florid effusions which
-characterised the specimens of this foundry), in which the proprietors
-announce the principles on which their venture is to be conducted,
-and refer with satisfaction to the success already achieved by their
-productions:―
-
-      “The Proprietors of the above Foundery having nearly compleated
-     all the Roman and Italic Founts, desire with great Deference, to
-     lay this Specimen before the Trade; and intreat the Curious and
-     critical, before any decisive Judgement be passed, on the Merits
-     or Demerits of the Performance, to make a minute Examination
-     and Comparison of the respective letters and founts of each
-     Size, with the same Letters and Founts of the most respectable
-     Founders in the Kingdom; For as all Letters, whether Roman or
-     Italic, bear a great Similitude to each other, to apprehend the
-     peculiar Beauty or Deformity of them are only to be discovered
-     by such a Comparison. In making {300} which they hope the
-     Candid and Judicious will set aside the Influence of Custom and
-     Prejudice (those Great Barriers against Improvement) and attend
-     to Propriety, Elegance and Mathematical Proportion. And as these
-     have been objects particularly attended to in the Course of the
-     Work, they apprehend it will appear on such a Disquisition, that
-     all the above sizes bear a greater Likeness to each other, than
-     those of any other Founder. They have been already favoured with
-     the Encouragement and Approbation of several very respectable
-     printers, who have wrought off many large Editions on their
-     Founts, which have been Experienced to wear extremely well; owing
-     to the Letter being clearly and deeply cut and to the Goodness of
-     the Metal, which they make of an Extraordinary Composition; the
-     Singular Advantage of which cannot but be obvious. Therefore hope
-     that others will likewise make Trial of them, as they doubt not
-     but they also will find it greatly to their Satisfaction.”[614]
-
-It is doubtful whether the encouragement accorded to the new foundry on
-its first establishment in the metropolis came up to the expectations
-of the proprietors; and a circular issued shortly afterwards by two
-of the partners, suggests that some fillip was deemed necessary to
-awaken a more extended patronage of the concern. This curious document
-is entitled _Proposals for discovering a very great Improvement which
-William Pine, printer of Bristol, and Isaac Moore, Letter Founder,
-in Queen Street, Upper Moorfields, London, have made in the Art of
-Printing, both in the Construction of the Press and in the Manner of
-Beating and Pulling_, and publicly offers the secret of the invention
-(the precise nature of which is not apparent) to any customer of the
-new foundry ordering type to the value of ten pounds and upwards.[615]
-{301}
-
-How far this ingenuous offer had the effect of stimulating the type
-business is not recorded; but the proprietors were forced before long
-to recognise the desirability of adopting other and surer methods for
-gaining the popular favour.
-
-Although Luckombe, writing in 1770,[616] mentions Moore along with
-Caslon and Jackson, as one of the three London founders, the same
-authority makes a decidedly disparaging reference to his types[617]; a
-circumstance which may be accounted for by the then growing prejudice
-amongst metropolitan printers against the Baskerville form of letter
-adopted by the new foundry.
-
-Representations of a similar nature having been made from several
-influential quarters, it became evident to the proprietors that if
-they were to retain public favour at all, it must be by adapting
-themselves to public taste, and abandoning the formal, delicate models
-of Baskerville for the more serviceable, dashing characters of Caslon.
-
-This laborious task occupied several years in completion. Meanwhile the
-original founts were not discarded.
-
-The printing office connected with the foundry distinguished itself in
-the interval by the production of two highly interesting _Bibles_, the
-one a folio, published in 1774, and the other an 8vo, in five volumes,
-published 1774–6.[618] Both are elegantly printed in the clear Great
-Primer letter shown in the 1770 Specimen; the latter being in long
-lines specially for the use of the aged. The general appearance of the
-folio edition compares not unfavourably with the Baskerville _Bible_ of
-1772.
-
-In 1774, Pine printed at Bristol a very neat _Bible_ in the Pearl type
-of the foundry, “being”, says the preface, “the smallest a Bible was
-ever printed with, and made on purpose for this work.”[619] {302}
-
-Moore’s connection with the business appears to have terminated in
-1776, after which the style of the firm became J. Fry and Co., who in
-the following year issued, in their own name, reprints of the folio
-and octavo _Bibles_ above referred to.[620] No specimen-sheet of their
-types appeared till seven years later, by which time Mr. Pine had also
-withdrawn from the business.[621] He continued to print the _Bristol
-Gazette_ in Wine Street, Bristol, till the time of his death, which
-occurred in 1803, at the age of sixty-four years.
-
-Left to himself, Mr. Fry, in the year 1782, admitted his sons Edmund
-and Henry into partnership, under whose supervision the work of
-re-cutting the Romans of the foundry made active progress.
-
-Edmund Fry, probably the most learned letter-founder of his day, had,
-like his father, been educated for the medical profession, and had
-taken his doctor’s degree. But the infirmity of deafness prevented him
-from following that walk in life, and he abandoned it for typefounding,
-applying himself to that pursuit, not only with the enthusiasm of an
-ardent philologist, but also with considerable natural ability for
-conducting the practical operations of the art.
-
-The year of his entry into the business (1782) was signalised by an
-important event in the typefounding world—the sale of James’s foundry.
-This event has been fully alluded to elsewhere,[622] but it is
-interesting to note that the Frys were considerable purchasers on the
-occasion, securing amongst other items the chief part of the “learned”
-and foreign matrices, for which that collection was noted.
-
-The following list of their purchases forms an interesting connecting
-link between the old and the new letter-foundries; particularly as
-either punches or matrices of all the founts (and in some cases both)
-still exist, many of the latter being to this day in occasional use:―
-{303}
-
- _Blacks._[623]―
-     English                         [A.]
-     Pica                            [A.]
-     Small Pica                      [A.]
-     Long Primer                     [A.]
-     Brevier                         [G.]
-     Nonpareil                       [G.]
-
- _Hebrew._―
-     English                         [A?]
-     Small Pica
-     Long Primer (or Bourgeois)
-     Brevier
-
- _Rabbinical Hebrew._―
-     Small Pica                      [A.]
-     Brevier                         [A.]
-     Nonpareil                       [A.]
-
- _Greek._―
-     Alexandrian                     [G.]
-     Great Primer                    [G.]
-     Another                         [R?]
-     Pica                            [R?]
-
- _Arabic._―
-     Great Primer                    [A?]
-
- _Irish._―
-     Small Pica                 [M.] [A.]
-
- _Ethiopic._―
-     English                    [P.] [A.]
-     Pica
-
- _Samaritan._―
-     English                    [P.] [G.]
-     Long Primer
-
- _Scriptorial._―
-     Pica                            [G.]
-     English                         [G.]
-
- _Union Pearl._―
-     Double Pica                     [G.]
-
- _Court Hand._―
-     English                         [G.]
-
- _Flowers._—Nearly all
-
-The business was shortly afterwards removed to Worship Street, hard by
-the old premises; and here, in 1785, the first specimen-book of the
-foundry was issued. This volume exhibits the greater part of the new
-Caslon series of Romans, which the proprietors in their “Advertisement”
-frankly admit to have been cut in the closest possible imitation of
-that ingenious artist’s models.[624] It includes also two pages of
-Hebrew type. Later in the same year appeared a large broadside sheet
-printed both sides, containing an epitome of the specimen-book, and
-displaying, besides the Arabic, Hebrews, Greek and Samaritan {304}
-recently acquired at James’s sale,one or two fresh Hebrew founts
-lately finished. Considerable variety is thrown into this and later
-specimens by showing each size not only on its own body, but upon the
-bodies next larger and next smaller,—short descending sorts being
-specially cut for the latter. The broadside also includes a Diamond
-Roman, the first in England, for which the founders claim that it is
-“the smallest letter in the world,” adding subsequently that it “gets
-in considerably more than the famous Dutch Diamond.”
-
-[Illustration: 74. The Alexandrian Greek (formerly Grover’s),
-rejustified by Dr. Fry, 1786. (From the original matrices.)
-
-74A. Two-line Great Primer Hebrew, cut by Dr. Fry, _circa_ 1785. (From
-the original matrices.)]
-
-Another Specimen followed in 1786, showing several more of the new
-founts, and including seven pages of Orientals. This volume is
-dedicated to the Prince of Wales, and is prefaced by an address to
-the public of the usual self-laudatory character, with a somewhat
-aggressive reference to the rival foundry at Chiswell Street.[625]
-
-In the following year Mr. Joseph Fry retired from the business.
-Besides founding a chocolate business in his native city, and becoming
-a considerable {305} partner in the new Bristol Porcelain Works,
-he had added to his other enterprises that of a Chemical Works at
-Battersea, and later still had established some important Soap Works in
-partnership with Mr. Alderman Fripp of Bristol.
-
-He did not long survive his retirement, and died, after a few days’
-illness, on March 29, 1787, aged fifty-nine, greatly respected. He
-was buried in the Friends’ burial-ground at the Friars, Bristol. A
-silhouette portrait of him is to be seen in Mr. Hugh Owen’s _Two
-Centuries of Ceramic Art in Bristol_, where also many interesting
-details of his life are to be found.[626]
-
-In 1787 was issued a _Specimen of Printing Types by Edmund Fry and
-Co._—the first mention of the firm under its new title. This was
-followed in the next year by a full specimen of the foundry, with
-a preface and dedication similar to those of the 1786 edition, but
-showing several fresh additions, particularly among the Orientals,
-which occupy twelve pages. Of the latter, several founts had been cut
-by Dr. Fry himself.
-
-The specimen of 1787 was included in the _Printer’s Grammar_[627]
-published in that year—a work which makes considerable reference
-to the Frys’ foundry, whose specimens and standards are used in
-illustration of the various subjects dealt with. The introductory note
-to the specimen gives the following account of the then condition of
-the foundry. It “was begun in 1764 and has been continued with great
-perseverance and assiduity, at a very considerable expence. The plan
-on which they first sat out, was an improvement of the Types of the
-late Mr. Baskerville of Birmingham, eminent for his ingenuity in his
-line, as also for his curious Printing, many proofs of which are extant
-and much admired: But the shape of Mr. Caslon’s Type has since been
-copied by them with such accuracy as not to be distinguished from
-those of that celebrated Founder. They have at present Twenty-seven
-complete Founts in punches and matrices of Roman and Italic, besides
-many sizes of larger Letter cast in Sand; also an elegant assortment of
-Blacks, with Hebrews and Greeks, and many other Orientals: They have
-also a greater variety of Flowers than are to be met with in any other
-Foundery in this Kingdom.”
-
-The premises at Worship Street becoming inadequate for the type and
-printing business combined, Dr. Fry took a plot of ground opposite
-Bunhill Fields in Chiswell Street—then open fields—and there built
-the foundry which gave its name to Type Street. To these premises the
-business was removed in 1788; and the Specimen of that year dates from
-the Type Street Foundry. {306}
-
-Among many elegant works printed at this time in the types of this
-foundry was the Rev. Mr. Homer’s fine edition of the classics,[628]
-printed by Millar Ritchie,[629] in which the somewhat rare compliment
-was paid the founder, of adding his name to the list of typographers
-engaged on the work.
-
-The printing business was about the same time dissociated from the
-type-founding, and remained at Worship Street under the management of
-Henry Fry, who styled his office the “Cicero Press.”[630]
-
-In the year 1794 Dr. Fry took Mr. Isaac Steele into partnership, and
-the specimen of this year, under the title of Edmund Fry and Isaac
-Steele, Letter-Founders to the Prince of Wales, shows a marked advance
-on its predecessors. Besides the additional Romans, it includes
-the Irish fount originally cut by Moxon in 1680, and is further
-supplemented by a considerable display of “Metal Cast Ornaments,
-curiously adjusted to paper”, of which a specimen had already appeared
-in the preceding year. Rude as many of these cuts now appear, they were
-much affected at the time, while a few of their number bear evident
-testimony to the wholesome revolution then being effected in the art of
-engraving by Mr. Bewick. A distinct improvement in the same direction
-may be traced in the series of “Head and Fable Cuts” for _Dilworth’s
-Spelling Book_, a specimen of which was issued shortly afterwards.[631]
-
-In 1798 Dr. Fry put forth proposals for publishing the important
-philological work on which he had for sixteen years been engaged,
-and which, in the following year, was issued under the title of
-_Pantographia_, with a dedication to Sir Joseph Banks, President of the
-Royal Society. {307}
-
-This important work,[632] which displays great learning and research,
-was favourably received. It exhibits upwards of 200 alphabets, amongst
-which are 18 varieties of the Chaldee and no less than 39 of the Greek.
-Many of the letters were cut by the author expressly for the work,
-under the direction or with the advice of some of the most eminent
-scholars of the day, and not a few subsequently found a place among the
-specimens of the foundry.
-
-In 1799 Mr. George Knowles was admitted into partnership, and the firm
-became Fry, Steele and Co.
-
-A new revolution in the public taste necessitated at this stage the
-abandonment of the Caslon Old Style faces, and the adoption of the
-modern cut Roman letter then coming into vogue; and the specimens
-between 1800 and 1808 are interesting as marking the gradual
-accomplishment of this task. The specimen of 1803 showed the first of
-the new Romans, and in 1808 Stower’s _Printer’s Grammar_ contained the
-series almost complete.[633]
-
-The new style may have been considered an improvement at the time, but
-a later judgment has endorsed the regret with which Dr. Fry and others
-witnessed the then entire abandonment of the time-honoured and graceful
-Elzevir-cut characters of the first Caslon.
-
-Naturally conservative in most matters pertaining to his art, Dr. Fry
-viewed with the utmost displeasure another innovation of the same
-period, in the introduction of ornamental type; and to the end of
-his career he strenuously resisted the “pernicious fashion,” as he
-styled it; yielding only to the extent of one small series of flowered
-titling-letters, which crept into his later specimens. But, although
-opposed to ornaments in this form, the Type Street specimens show no
-lack of flowers, and Stower’s book includes a profuse specimen of these
-ornaments, arranged in fantastic designs by Mr. Hazard, the printer, of
-Bath.[634]
-
-Both Mr. Steele and Mr. Knowles appear to have retired about the
-year 1808, when Dr. Fry assumed the sole management of the business.
-In the specimen of 1816 he styles himself Letter Founder to the King
-and Prince {308} Regent. Soon afterwards, his own health failing, he
-admitted his son, Mr. Windover Fry, into partnership, and the firm
-became Edmund Fry and Son.
-
-The subsequent specimens of the foundry are not marked by any special
-feature of interest, if we except the introduction of M. Firmin Didot’s
-Great Primer Script in 1821, containing upwards of sixty lower-case
-sorts, in a system of ligatures and connectors so elaborate as to
-necessitate the printing of a scheme to facilitate their composition,
-and the manufacture of special cases to hold them.
-
-Dr. Fry’s philological studies had not ceased with the publication of
-_Pantographia_, and he was constantly adding to the stock of punches
-and matrices of the “learned” languages, in which his foundry was
-already rich. His excellence as a cutter of Oriental punches led to
-his selection by the University of Cambridge[635] to execute several
-founts for that learned body; in addition to which he was employed to
-produce types for the works of the British and Foreign Bible Society,
-and similar biblical publications.
-
-His most important effort in this direction was an English Syriac for
-Bagster’s _Polyglot_, with the points cast on the body, the entire
-fount consisting of nearly 400 matrices.
-
-The specimen of 1824, which was issued both in octavo and (more
-sumptuously) in quarto, for presentation, signalised the completion
-of his efforts in this department, and at the same time notified that
-the name of the foundry had been changed—not inappropriately—to the
-Polyglot Foundry.
-
-It is to be regretted that Dr. Fry’s energy in one particular branch
-of his art, congenial as it was to his own tastes, did not turn out
-lucrative from a business point of view; and the last few years of his
-career as a type-founder were not prosperous. His latest specimen was a
-broadside sheet of Newspaper founts in 1827.
-
-In the same year he produced a raised type for the blind, under the
-following circumstances:—The Scotch Society of Arts, anxious to promote
-the welfare of the blind, and desirous to determine, among the many
-systems at that time proposed, which was the most suitable method of
-printing for their instruction, offered a gold medal of the value of
-£20 for the best communication on the subject. Twenty designs were sent
-in in 1833, of which Dr. Fry’s was the only one retaining the ordinary
-alphabetical characters. His specimen consisted of large and small
-square “sanseriff” capitals working in combination, with no deviation
-from the regular form. The committee occupied four years in arriving
-at a decision; employing the time in corresponding with and eliciting
-{309} the opinion of all the chief persons interested and experienced
-in the education of the blind, in reference to the various designs.
-Amongst others they received a long communication from the Rev. W.
-Taylor of York, who commended Dr. Fry’s system, approving specially of
-the absence of a “lower-case” letter.[636] The report was published May
-31st, 1837, awarding the medal to Dr. Fry, who, however, was at that
-time no more, his death having occurred two years previously.
-
-The following summary of the contents of the Polyglot Foundry, as
-far as its foreign and rare founts were concerned, is taken from the
-Specimen Book of 1824, and corresponds closely to the list given in
-Hansard’s _Typographia_ in the following year. With the exception of
-the founts purchased at James’ sale in 1782 (which are distinguished
-by the initials), most of the characters were cut by, or under the
-direction of, Dr. Fry himself.
-
-
-DR. FRY’S FOUNDRY.
-
- _Arabic._―
-     Great Primer                          [J?]
-     Great Primer, No. 2.
-     English.
-
- _Amharic._―
-     English.
-
- _Ethiopic._―
-     English                       [P.][A.][J.]
-     English, No. 2.
-     Pica.                                 [J.]
-
- _German._―
-     Long Primer.
-
- _Greek._―
-     Double Pica.
-     Great Primer.
-     English.
-     Pica.
-     Pica, No. 2.
-     Small Pica.
-     Long Primer.
-     Long Primer, No. 2.
-     Brevier.
-     Nonpareil.
-
- _Greek Alexandrian._―
-     Pica.                             [G.][J.]
-
- _Guzerattee._―
-     Great Primer.
-     Long Primer.
-
- _Hebrew._―
-     2-line Great Primer.
-     2-line English.
-     Double Pica with points.
-     English with points.
-     Pica.
-     Small Pica.
-     Long Primer.
-     Bourgeois.
-     Brevier.
-     Nonpareil.
-
- _Hebrew Rabbinical._―
-     Small Pica    [A.][J.]
-     Brevier                           [A.][J.]
-     Nonpareil.                        [A.][J.]
-
- _Irish._―
-     Pica.
-     Small Pica                    [M.][A.][J.]
-     Small Pica, No. 2.
-
- _Malabaric._―
-     English.
-     Pica.
-
- _Russian._―
-     Double Pica.
-
- _Samaritan._―
-     Pica                          [P.][G.][J.]
-     Long Primer                           [J.]
-
- _Saxon._―
-     Double Pica.
-     Great Primer.
-     English.
-     Pica.
-     Small Pica.
-     Long Primer.
-     Brevier. {310}
-
- _Syriac._―
-     English.
-     Long Primer.
-
- _Music._―
-     Large Plein Chant.
-     Small Plein Chant.
-     Psalm.
-
- _Blacks._―
-     4-line.
-     2-line Great Primer.
-     2-line English.
-     Double Pica.
-     Great Primer.
-     English, No. 1.                   [A.][J.]
-     English, No. 2.
-     Pica, No. 1.
-     Pica, No. 2.                      [A.][J.]
-     Small Pica.
-     Long Primer.                      [A.][J.]
-     Brevier.[637]
-
-In 1828, being now of an advanced age, and after 46 years’ incessant
-labour, Dr. Fry decided to dispose of his foundry; and a circular was
-issued announcing the fact to the public. This document, throwing as
-it does considerable light on the history of the Type Street Foundry,
-is interesting enough to quote at length. After enumerating generally
-the contents of the foundry and stating the conditions of sale, Dr. Fry
-remarks:
-
-     “The Substructure of this Establishment was laid about the year
-     1764; commencing with improved imitations of Baskerville’s founts,
-     of which every size was completed, from the largest down to the
-     Diamond: but they did not meet the encouraging approbation of the
-     Printers, whose offices generally, throughout the kingdom, were
-     stored from the London and Glasgow Founderies with Types of the
-     form introduced by the celebrated William Caslon, early in the
-     last century; chiefly from the admired Dutch models, which gained
-     so much credit to the Elzevirs of Amsterdam, Leyden, &c.
-
-     “By the recommendation, therefore, of several of the most
-     respectable Printers of the Metropolis, Doctor Fry, the
-     proprietor, commenced his imitation of the Chiswell Street
-     Foundery, which he successfully finished throughout all it’s
-     various sizes, at a vast expense, and with very satisfactory
-     encouragement, during the completion of it. At which period a
-     rude, pernicious, and most unclassical innovating System was
-     commenced, which, in a short time was followed by the most
-     injurious and desolating ravages on the property of every
-     Letter Founder and Printer in the kingdom, by the introduction
-     of fancy letters of various anomalous forms, with names as
-     appropriate—disgraceful in a Profession, once held so _Sacred_,
-     as to have it’s operations confined to consecrated Buildings, and
-     those of the highest class.
-
-     “The Baskerville and Caslon imitations, all completed with
-     Accents, Fractions, &c., were, in consequence of this revolution,
-     laid by for ever; and many thousand pounds weight of new letter
-     in Founts, estimated on the average at selling prices, at 2_s._
-     6_d._ per pound, were taken from the shelves, and carried to the
-     melting-pot to be recast into Types, no doubt, in many instances,
-     more beautiful; but no instance has occurred to the attentive
-     observation of the Proprietor of this Foundery, where any Founts
-     of book letter on the present system, have been found equal in
-     service, or {311} really so agreeable to the reader, as the
-     true _Caslon_-shaped Elzevir Types; and this is the undisguised
-     sentiment of many judicious Printers.
-
-     “When that eminent Printer, the late William Bowyer, gave
-     instructions to Joseph Jackson to cut his beautiful Pica Greek, he
-     used to say “Those in common use were no more Greek than they were
-     English.” Were he now living, it is likely he would not have any
-     reason to alter that opinion.
-
-     “The Greeks of this Foundery were many of them made in Type
-     Street, copied from those of the celebrated Foulis of Glasgow; and
-     there are two, a Pica, and a Long Primer, on the Porsonian plan.
-     The Codex Alexandrinus was purchased at James’ Sale in 1782.[638]
-
-     “The Hebrews were also chiefly cut by Dr. Fry, subject to the
-     direction and approbation of the most learned Hebraists.
-
-     “The two Arabics,[639] Great Primer and English, were cut from
-     the original drawings of, and under the personal direction of Dr.
-     Wilkins, Oriental Librarian to the East India Company; and have no
-     rival either in beauty or correctness.
-
-     “The Syriac[640] has been made within the last two years, with all
-     it’s vowel points, reduced to an English body, from the Double
-     Pica of the eminent Assemann’s edition of Ludolph’s Testament.
-
-     “The English, No. 1, and Pica Ethiopics—the Pica and Long Primer
-     Samaritans, were purchased at James’s sale. The other Orientals,
-     viz. two Malabarics—the Amharic—Ethiopic, No. 3, and Guzerattee,
-     were all cut at this Foundery. As was the fine collection of
-     Blacks, or pointed Gothics, except the English, No. 1,—Pica,
-     No. 2,—Long Primer, No. 1,—and Brevier, which were collected by
-     the late John James. There is good authority for believing that
-     this Pica Black, No. 2, was once the property of {312} William
-     Caxton[641]; Doctor Fry having recut for a reprint of a work
-     published by the celebrated man, all the contractions and accented
-     letters exhibited in the Specimen Book.
-
-     “The Occidentals, as termed by Moxon, Mores, and others, viz. the
-     Saxons, Hibernians,[642] German, and Russian, were also produced
-     at this Foundery. As were the two Plein Chants, and the Psalm
-     Music.
-
-     “The Great Primer Script, which, it must be acknowledged, is the
-     _Ne plus ultra_ of every effort of the Letter Founder in imitation
-     of writing, was made for the Proprietor by the celebrated Firmin
-     Didot, at Paris; the Matrices are of Steel, and the impressions
-     from the Punches sunk in _inlaid Silver !_[643]
-
-     “In taking leave of a Profession, which has for many years
-     engaged his whole attention, the Proprietor begs to convey,
-     through this channel, the high sense of obligation he hopes to
-     retain during his life, for the great encouragement with which
-     he has been favoured for so long a period; as well as for the
-     generous assistance and advice of many of his learned Friends, in
-     the _getting up_, and accurate completion of various undertakings.
-     It is also with much gratification, that he can look back and
-     recall to recollection, that he has carefully followed their
-     advices, in not admitting into {313} his Foundery any article
-     degrading or disgraceful, or unbecoming the dignity of that Art,
-     which deserves to be looked up to and revered as the ‘Head of the
-     republic of letters:’—claiming Permission to recommend to his
-     Successor and Contemporaries, the steady pursuit of that plan
-     which will secure the reputation of the _once Sacred_ Profession,
-     and restore to it the honourable Character it obtained several
-     Centuries ago, of
-
-     “ARS ARTIUM OMNIUM CONSERVATRIX.”
-
-     “_Polyglot Letter Foundery, 2nd month 14th, 1828._”
-
-The foundry met with a purchaser in Mr. William Thorowgood, of Fann
-Street, to whose premises the entire stock was removed in 1829, where
-it now forms part of the Fann Street Foundry.
-
-Dr. Fry retired to his residence at Stratford Green, and subsequently
-removed to Dalby Terrace, City Road, where he died Dec. 22, 1835.[644]
-
-He was an old Member of the Stationers’ Company. In private life he was
-a man of genial disposition. A portrait of him, painted by Frederique
-Boileau, was exhibited in the Caxton Exhibition of 1877 by his son, the
-late Arthur Fry, and an excellent silhouette is also in possession of
-the family of the late Mr. Francis Fry, F.S.A., of Bristol, to whom we
-are indebted for our copy.
-
-
-LIST OF SPECIMENS, 1768–1827.
-
-     1768. A specimen by Isaac Moore, Bristol, 1768. Broadside. . . . .
-     (Renouard, _Cat._ ii, 310.)
-
-     1768. A specimen of Printing Types by Isaac Moore & Co., Letter
-     Founders, in Queen Street, near Upper Moorfields, London, 1768.
-     Broadside. . . . . (Sohmian Coll., Stockholm.)
-
-     1770. A specimen of Printing Types by Isaac Moore & Co., Letter
-     Founders, of Queen Street, near Upper Moorfields, London, 1770.
-     Broadside. . . . . (Caxt. Cel., 4371.)
-
-     1785. A specimen of Printing Types made by Joseph Fry and Sons,
-     Letter Founders and Marking Instrument Makers by the King’s Royal
-     Letters Patent. London, Printed in the year 1785. 8vo. . . . . (B.
-     M., 679, e. 16.)
-
-     1785. A specimen of Printing Types by Joseph Fry & Sons, Letter
-     Founders, Worship Street, Moorfields, London, 1785. Broadside.
-     . . . . (T. B. R.)
-
-     1786. A specimen of Printing Types by Joseph Fry & Sons, Letter
-     Founders to the Prince of Wales. London, Printed in the year 1786.
-     8vo. . . . . (W. B.)
-
-     1787. A specimen of Printing Types by Edmund Fry & Co., 1787. 8vo.
-     . . . . (_Printer’s Grammar_, pp. 273–316.)
-
-     1788. A specimen of Printing Types by Edmund Fry & Co., Letter
-     Founders to the Prince of Wales. London, Printed in the year 1788.
-     8vo. . . . . (T. B. R.)
-
-     1790. A specimen of Printing Types by Edmund Fry & Co., Letter
-     Founders to the Prince of Wales. London, Printed in the year 1790.
-     8vo. . . . . (Sohmian Coll., Stockholm.) {314}
-
-     1793. Specimen of Metal Cast Ornaments, curiously adjusted to
-     Paper by Edmund Fry & Co., Letter Founders to the Prince of Wales,
-     Type Street, London. Printed by T. Rickaby, 1793. 8vo. . . . .
-     (Amer. Antiq. Soc.)
-
-     1794. A specimen of Printing Types by Fry & Steele, Letter
-     Founders to the Prince of Wales, Type Street, London. Printed by
-     T. Rickaby, 1794. 8vo. . . . . (B. M., 11899, i. 18.)
-
-     1794. Specimen of Metal Cast Ornaments, curiously adjusted to
-     paper by Edmund Fry and Isaac Steele, Letter Founders to the
-     Prince of Wales, Type Street, London. Printed by T. Rickaby, 1794.
-     8vo. . . . . (W. B.)
-
-     1795. A specimen of Printing Types by Fry & Steele, Letter
-     Founders to the Prince of Wales, Type Street, London. Printed by
-     T. Rickaby, 1795. 8vo. . . . . (T. B. R.)
-
-     1800. A specimen of Printing Types by Fry, Steele and Co., Letter
-     Founders to the Prince of Wales, Type Street, London. Printed in
-     the year 1800. 8vo. . . . . (T. B. R.)
-
-                          Reprinted 1801 and 1803.
-
-     1805. A specimen of Printing Types by Fry & Steele, Letter
-     Founders to the Prince of Wales, Type Street, London. Printed in
-     the year 1805. 8vo. . . . . (T. B. R.)
-
-     1805. Specimen of Metal Cast Ornaments, curiously adjusted to
-     paper by Fry and Steele, Letter Founders to the Prince of Wales,
-     Type Street, London. Printed in the year 1805. 8vo. . . . . (W. B.)
-
-     No date. Specimen sheet of Head and Fable Cuts for Dilworth’s
-     Spelling Book, cast on hard metal, and curiously adjusted to paper
-     on the best Turkey Box, by Fry and Steele, Letter Founders, Type
-     Street, London. Price £4 4_s._ (1805?). Broadside. . . . . (Caxt.
-     Cel., 4386.)
-
-     1808. Specimens of Modern Cut Printing Types from the Foundry of
-     Messrs. Fry and Steele; together with a Specimen of Flowers. 1808.
-     8vo. . . . . (Stower’s _Printer’s Grammar_.)
-
-     1816. A specimen of Printing Types by Edmund Fry, Letter Founder
-     to the King and Prince Regent, Type Street, London, 1816. 8vo.
-     . . . . (B. M., 11899, h. 11.)
-
-     1820. Specimen of Modern Printing Types by Edmund Fry and Son,
-     Letter Founders to the King, Type Street, London, 1820. 8vo.
-     . . . . (T. B. R.)
-
-     1824. Specimen of Modern Printing Types by Edmund Fry, Letter
-     Founder to the King (Polyglot Foundry), Type Street, London. 1824.
-     4to. and 8vo. . . . . (B. M., 11899, h. 12.)
-
-     1825. A specimen of Diamond, by Edmund Fry, March 1825. 8vo.
-     . . . . (T. B. R.)
-
-     1827. Fry’s Newspaper Specimen, Type Street, 1827. Broadside.
-     . . . . (J. F.)
-
-[Illustration]
-
-{315}
-
-[Illustration]
-
-
-
-
-CHAPTER XVI.
-
-JOSEPH JACKSON, 1763.
-
-
-Joseph Jackson, apprentice to Caslon I, was born in Old Street, London,
-on Sept. 4, 1733. He was the first child baptised in St. Luke’s, and
-received his education at a school in that neighbourhood, the gift of
-a Mr. Fuller. During the term of his service at Chiswell Street, he
-was, says Nichols,[645] exceedingly tractable in the common branches
-of the business. Rowe Mores states that he was an “apprentice to the
-whole art,”[646] but this term evidently does not comprehend the most
-important branch of that art, namely the cutting of punches. This
-was kept a profound secret at Chiswell Street, Mr. Caslon and his
-son constantly locking themselves into the apartment in which they
-practised it. Jackson, who had a great desire to learn the mystery,
-bored a hole through the wainscot, and was thus, at different times,
-able to watch his employers through the process, and to form some idea
-how the whole was performed; and he afterwards applied himself at every
-opportunity to the finishing of a punch. “When he had completed one to
-his own mind, he presented it to his master, expecting to be rewarded
-for his ingenuity: but the premium he received was a hard blow, with a
-threat that he should be sent to Bridewell if he again made a similar
-attempt. This circumstance being taken in dudgeon, his mother bought
-him what tools were necessary, and he improved himself at her house
-whenever he had an opportunity.” {316}
-
-“He continued,” adds Nichols, “to work for Mr. Caslon after he came out
-of his time,[647] till a quarrel arose in the foundery about the price
-of work; and a memorial, which terminated in favour of the workmen,
-being sent to the elder Caslon (who was then in the Commission of
-the Peace, and had retired to Bethnal Green), young Jackson and Mr.
-Cottrell were discharged, as supposed ringleaders.
-
-“Compelled thus to seek employment, they united their slender stock in
-a partnership, and went on prosperously till, Jackson’s mother dying,
-he entered in 1759, on board the “Minerva” frigate, as armourer; and
-in May 1761 was removed, with Capt. Alexander Hood, into the same
-situation in the “Aurora”; and proved somewhat successful, having about
-£40 prize money to receive at the Peace of 1763. During the time he was
-at sea, he was visited by a severe fit of sickness, in which he vowed,
-if he recovered, to lead in future a very penitent life; which promise
-he punctually fulfilled.”
-
-Quitting the navy, he returned to London and rejoined once more his old
-comrade and partner, now a fully-established type-founder in Nevil’s
-Court, Fetter Lane. He worked for some time under Cottrell, but at
-length, at the instigation, it would appear, of two of his fellow
-workmen, Robinson and Hickson (who shared with Cottrell the distinction
-of serving as privates in the Life Guards), he determined to set up in
-business for himself.
-
-The necessary capital for the new concern was found by Robinson and
-Hickson, who agreed to allow Jackson, as his salary for conducting the
-business under the partnership, the sum of £62 8s. per annum, and to
-supply money for carrying on the trade for two years.
-
-A small house in Cock Lane was taken for the purpose, and such was the
-modest beginning of this famous foundry.
-
-The hazardous adventure succeeded, thanks to the genius of Jackson,
-who was able soon to satisfy his partners that the business would be
-productive before the time promised.
-
-“When he had pursued his labours about six months, Mr. Bowyer
-accidentally calling to inspect some of his punches (for he had no
-specimen), approved them so much, that he promised to employ him;
-adding, ‘My father was the means of old Mr. Caslon riding in his coach,
-how do you know but I may be the means of your doing the same?’
-
-[Illustration: 75. From _Nichols’ Literary Anecdotes_.]
-
-“A short time after this, he put out a small specimen of one fount;
-which his former young master carried to Bethnal Green with an air
-of contempt. The good old justice treated it otherwise; and desired
-his son ‘to take it home and {317} preserve it; and whenever he went
-to cutting again to look well at it.’ It is but justice to the third
-William Caslon to add that he always acknowledged the abilities of
-Mr. Jackson; and though rivals in an art which requires the greatest
-exertions of ingenuity, they lived in habits of reciprocal friendship.”
-
-It is much to be regretted that no copy of Jackson’s first specimen
-sheet (which we may assume to have been issued about 1665) is now to be
-discovered.
-
-Business increasing, he removed from Cock Lane to more commodious
-premises in Dorset Street, Salisbury Square, Fleet Street, and here his
-foundry and reputation made rapid advances.
-
-“About the year 1771”, Nichols relates, “he was applied to by the
-Duke of Norfolk to make a mould to cast a hollow square. Telling the
-Duke that he thought this was practicable, his Grace observed that he
-had applied to all the skilful mechanicks in London, Mr. Caslon not
-excepted, who declared it impossible. He soon convinced the Duke of his
-abilities, and in the course of three months, producing what his Grace
-had been years in search of, was ever after held in great estimation by
-the Duke, who considered him as the first mechanick in the kingdom.”
-
-In 1773, it would appear that Jackson issued a further specimen of his
-now increasing foundry. Of this performance Rowe Mores makes flattering
-mention in presenting his summary of the contents of the foundry as it
-stood in that year:―
-
-“Mr. Jackson,” he says, “lives in Salisbury Court in Fleet Street.
-He is obliging and communicative, and his Specimen will, _adjuvante
-numine_, have place amongst the literate specimens of English letter
-cutters. The prognostics are these:―
-
-
-“MR. JACKSON’S FOUNDERY.
-
- ORIENTALS:
-
- _Hebrew._―
-     Double Pica.
-
- _Persic._―
-     English.
-
- _Bengal._―
-     (or Modern Sanskrit), a corruption of the older characters of the
-     Hindoos, the ancient inhabitants of Bengal.
-
- OCCIDENTALS:
-
- _Greek._―
-     English, Long Primer, Brevier.
-
- _Roman and Italic._―
-     _sicut et reliqui._
-
- SEPTENTRIONALS:
-
- _English._―
-     2-line Great Primer.
-
- _Scriptorial._―
-     Double Pica, nearly finished.
-
-“He has likewise Proscription letters beginning at 12-line Pica, the
-same with those of Mr. Cottrell, the first who cut letters of this
-dimension.”
-
-With regard to the Bengalee letter, Rowe Mores states that this was
-cut by Jackson “for Mr. William Bolts, Judge of the Mayor’s Court of
-Calcutta, for a work in which he had been engaged at the time of his
-sudden departure from England about 1774.”[648] {318}
-
-The work here referred to was the _Grammar of the Bengal Language_,
-projected by the East India Company as part of a scheme for the
-dissemination of a knowledge of the Indian Languages in Europe. It
-appears, however, that although Mr. Bolts was supposed to be in every
-way competent for the fabrication of this intricate character, his
-models, as copied by Jackson, failed to give satisfaction, and the
-work was for the time abandoned;[649] to be revived and executed some
-few years later in a more masterly and accurate manner by Mr. Charles
-Wilkins,[650] then in the service of the East India Company in Bengal,
-{319} who with an extraordinary combination of talents, succeeded, by
-the work of his own hand, in designing, engraving, casting and printing
-the _Grammar_ published at Hoogly in 1778.
-
-Mr. Bolts’ failure in this particular reflects no discredit on
-Jackson, who faithfully reproduced the models given him, and who
-displayed his talent in the same direction shortly after by the
-production of a fount of Deva Nagari, cut under the direction of
-Captain William Kirkpatrick, of the East India Service, and Persian
-Secretary to the Commander-in-Chief for India, for the purpose of
-printing a _Grammar and Dictionary_ in that language.
-
-Of this fount a specimen remains—the only specimen extant, we believe,
-bearing Jackson’s name. It is a broadside, displaying in table form
-the alphabet and combinations of the Sanscrit, and exhibits no small
-delicacy of workmanship, not only in the Oriental character itself, but
-in the few lines of Roman letter composing the title. There is no date
-to the specimen.
-
-Captain Kirkpatrick’s _Dictionary_ was never completed. One part only
-appeared in 1785,[651] containing the Glossary of the Arabic and
-Persian words incorporated with the Hindu, and in this no Nagari is
-used. All the remaining parts of the work, as first projected, depended
-on the new type; but as they never appeared, the object for which the
-fount was cut was lost.
-
-The next important undertaking which engaged Jackson’s talents was
-one of national interest. The House of Lords had, in the year 1767,
-determined upon printing the Journals and Parliamentary records, “a
-work, which,” says {320} Nichols, “will ever reflect honour on the
-good taste and munificence of the present reign” (George III). Jackson
-had been employed to cut several varieties of letter for this work;
-and he was now called upon to assist in a further outcome of the same
-good taste and munificence, in the production of type for the splendid
-facsimile of the _Domesday Book_, begun in 1773. This important work
-was projected and carried through by Dr. Nichols himself, and a brief
-account of the circumstances under which it saw the light may be
-interesting and not out of place here.
-
-The Lords, it appears, being petitioned to sanction the printing of
-the _Domesday Book_, the most important of the Anglo-Saxon records,
-as a matter of national importance, referred, through the Treasury
-Board, to the Society of Antiquaries as to the mode in which it should
-be published, whether by printing-types, or by having a copy of the
-manuscript engraved in facsimile. By the examination of several
-eminent printers, it was learned that according to the first plan
-very many unavoidable errors would occur; a tracing of the record
-was then proposed, to be transferred to copper plates. An estimate
-of the expense of this was next ordered by the Treasury Board, which
-amounted to £20,000 for the printing and engraving of 1250 copies,
-each containing 1664 plates; but this sum, however proportionate, was
-considered too large, and the first plan was again reverted to.
-
-It was then proposed by the learned Dr. Morton that a fount of
-facsimile types should be cut under his superintendence. This
-undertaking, however, failed, and Dr. Morton received £500 for doing
-little or nothing, and nearly £200 more for types that were of no use.
-The founder to whom Dr. Morton applied was Thomas Cottrell, a specimen
-of whose unsuccessful fount appeared shortly afterwards in Luckombe’s
-_History of Printing_, 1770.
-
-Dr. Morton’s plan being abandoned, on account of the difficulty of
-producing in type letters which, in the manuscript, were constantly
-differing in their forms, the work was entrusted to Mr. Abraham Farley,
-F.R.S., a gentleman of great Record learning, and who had had access to
-the ancient MSS. for upwards of forty years. His knowledge, however,
-did not induce him to differ from his original in a single instance,
-even when he found an apparent error; he preserved in his transcript
-every interlineation and contraction, and his copy was ultimately
-placed in Mr. Nichols’ hands. Jackson was then employed to cut the
-types, and successfully accomplished the difficult undertaking.[652]
-The work occupied ten {321} years in printing, and appeared in 1783,
-in two folio volumes.[653] The type was destroyed in the fire which
-consumed the printing-office of Mr. Nichols in 1808, previous to which,
-however, it was used in Kelham’s Introduction and Glossary to the
-_Domesday Book_ in 1788.[654]
-
-It was Jackson’s success, no doubt, in his facsimile letter for the
-_Domesday Book_, which led to his selection shortly afterwards by
-Mr. Nichols to cut the type for Dr. Woide’s[655] facsimile of the
-New Testament of the _Alexandrian Codex_ in the British Museum. To
-the history of this priceless relic reference has been made once or
-twice in the course of this work.[656] Only one attempt had previously
-been made to reproduce its character in type,—that of Dr. Patrick
-Young, in 1643, within a few years of the arrival of the manuscript
-in this country. In this letter was printed a specimen containing
-the first chapter of Genesis. But the project was abandoned, and
-the matrices, there is reason to believe, subsequently passed into
-Grover’s Foundry, and afterwards, through James, into the possession
-of Dr. Fry in 1782.[657] That Mr. Nichols was acquainted with their
-existence in 1778 is almost certain, since they are mentioned in Rowe
-Mores’ _Dissertation_, which he himself edited and annotated. But
-not being sufficiently exact for the purpose, and, at the same time,
-it being decided that the facsimile should be produced through the
-medium of type in preference to other process,[658] Mr. Jackson was
-fixed on to cut a new set of punches from the transcript made by Dr.
-Woide’s own hand. To this task he proved fully equal, and the work
-issued from Mr. Nichols’ press in 1786[659]—a splendid folio edition,
-worthy alike of {322} its subject and the artists who produced it. The
-unusual compliment was, in this instance, paid to the letter-founder
-of mentioning his name on the title-page as the author of the types
-employed in the work.
-
-The matrices were afterwards deposited in the British Museum, and
-were again brought into requisition when, in 1812, Mr. Baber produced
-his facsimile of the _Psalms_[660] from the Alexandrian MS., and
-afterwards, in 1816–21, at the press of Messrs. R. and A. Taylor,
-completed the entire _Old Testament_.[661] Thus concluded this great
-enterprise, which has been justly characterised by the Abbé Jager as
-“_opus plane aureum_.”
-
-Jackson having now become famous for his skill in this particular
-branch of his art, was called upon shortly before his death to
-execute a work of scarcely less importance than the facsimile of the
-Alexandrian Greek. This was to cut the punches for Dr. Kipling’s
-facsimile of the celebrated _Codex Bezæ_ preserved at the University
-of Cambridge. The character of this MS. differs considerably from
-that of the Alexandrine; and, being less regular in its execution,
-the difficulty of reproducing it in type is proportionately greater.
-Jackson, however, accomplished his task faithfully and with marked
-success. Unhappily his death in 1792 prevented him from seeing in
-print the fruit of his labours, as the work did not appear till the
-following year, when it was published at Cambridge in two beautiful
-folio volumes,[662]—a work which, says its reviewer, “reflects honour
-on the University of Cambridge, and its editor, and, we may add, on
-the late excellent letter-founder, Mr. Jackson, who cut the types
-for this handsome book, as well as for the Alexandrine MS. and for
-_Domesday_.”[663]
-
-Jackson’s reputation was not by any means wholly dependent on his
-skill in expressing in type the character of ancient and difficult
-manuscripts.
-
-During the time he was occupied in the works above described, he
-made several useful additions to his foundry. Amongst others, he cut
-a beautiful {323} fount of Pica Greek for Mr. Bowyer, “who,” says
-Nichols,[664] “used to say that the types in common use were no more
-Greek than they were English.”
-
-“He had also, under the direction of Joseph Steele, the ingenious
-author of _Prosodia Rationalis_,[665] augmented the number of musical
-notes by such as represent the emphasis and cadence of prose.” This
-curious work, designed to show how the recitation of Garrick and other
-eminent speakers might be transmitted to posterity in score, was
-printed by Nichols in 1779, being an amplified edition of a treatise
-published four years previously,[666] in which Jackson’s “expression
-symbols” were made use of.
-
-The most important work of his later years was undoubtedly the splendid
-fount of 2-line English Roman, cut for Mr. Bensley, about the year
-1789, for Macklin’s _Bible_.[667] As in the case of the Bezæ _Gospels_,
-he did not live to see the completion of his labours in the publication
-of this grand edition, which did not appear till some years after his
-death, and then in a type not wholly his own, but supplemented, in
-close facsimile, by a fount cut by his former apprentice and manager,
-Vincent Figgins.[668] Jackson’s grand letter is justly counted among
-his greatest achievements, exhibiting, as Nichols observes, a pattern
-of the most perfect symmetry to which the art had at that time
-arrived.”[669]
-
-A crowning monument to the skill of this excellent artist is Robert
-Bowyer’s sumptuous edition of Hume’s _History of England_, printed
-by Bensley[670] in 1806, in a Double Pica type, on which Jackson was
-engaged at the time of his death. On the execution of this fount
-he appears to have staked his reputation; “Mr. Jackson,“ says his
-biographer in the _Gentleman’s Magazine_,[671]” had been engaged to cut
-the letter for the projected edition of Hume’s _History of England_,
-which he declared should ‘be the most exquisite performance of the
-kind in this or any other country.’ And accordingly he had, in a great
-degree, accomplished his purpose, but his anxiety and application were
-so intense that his health suffered and he fell a victim to the great
-undertaking.” {324}
-
-This circumstance was made the occasion of a curious and affecting
-Elegy, of which we will venture to inflict a specimen on the reader,
-not on account of its merit, but as being a rare instance of a
-letter-founder becoming the object of a poetical tribute:―
-
- “Patrons of merit, heave the sadden’d sigh !
-  Ye brilliant dewdrops, hang on Beauty’s eye !
-  Let heavy hearts beat with the tolling bell,
-  And mourn the fatal hour when _Jackson_ fell !
-  His were the gifts the Gods alone impart―
-  A _tow’ring genius_ and a _tender heart_ !
-  A greatness equalled only by his skill―
-  A goodness greater than his greatness still;
-  An ardent zeal each purpose to _obtain_,
-  Which Virtue and the Arts might entertain.
-  But Fate in jealous fury snatched him hence
-  The moment he accomplished excellence !
-  _Tenax propositi_—his art he tried,
-  Achieved perfection—and achieving died !” etc.
-
-Although anxiety and overwork may have contributed to Jackson’s death,
-the immediate cause was a severe attack of scarlet-fever, which carried
-him off on January 14th, 1792, in the 59th year of his age. The last
-few years of his life had been considerably troubled. In 1790 his
-foundry was destroyed by a fire, in which his moulds and matrices were
-seriously damaged. The shock of this calamity affected both his health
-and his energy, and the management of his business was, during his
-later years, left almost entirely in the hands of his trusted servant,
-Mr. Vincent Figgins. The foundry was rebuilt, and the damaged materials
-were, as far as possible (though not wholly), replaced at the time of
-his death.
-
-Mr. Jackson was twice married—first to Miss Elizabeth Tassell,
-originally a whinster in Spitalfields, “a very worthy woman,” says
-Nichols, “and an excellent wife, who greatly contributed by her
-care and industry to his getting forward in his first entering into
-business” She died in 1783, and, in the following year, Mr. Jackson
-married Mrs. Pasham, widow of a well-known printer in Blackfriars,[672]
-a union which materially assisted him in the means of carrying on his
-{325} business. This lady died in 1791, her husband surviving his
-bereavement only a few months. He was buried in the same grave with his
-two wives in the ground of Spa Fields Chapel.
-
-Of Jackson’s private character his contemporaries concur in speaking
-very highly. “By the death of this ingenious artist and truly worthy
-man,” says Nichols, “the poor lost a most excellent benefactor, his own
-immediate connexions a steady friend, and the literary world a valuable
-coadjutor in their labours.” He was a deacon at the Meeting-House in
-Barbican, where a funeral sermon was preached by the Rev. Mr. Towers,
-who also delivered a “neat funeral oration,” at the grave. He died
-possessed of some considerable property. There is an oil portrait
-of him in the possession of Mr. Blades, and an engraved portrait in
-Nichols’ _Literary Anecdotes_, from which our copy is taken.
-
-It is unfortunately impossible to ascertain in what condition his
-foundry was left at the time of his death—how far it had recovered from
-the consequences of the fire, or how far that calamity had destroyed,
-beyond replacing, any of its contents.
-
-It was offered for sale in 1792, and Mr. Figgins, the presumptive
-successor to the business, not finding himself in a position to
-become its purchaser, it was acquired by William Caslon III, who had
-recently disposed of his share in the Chiswell Street Foundry, over
-whose affairs he had for some years been presiding.[673] He removed
-the Foundry from Dorset Street to Finsbury Square, where for a few
-years it remained located; but presently transferred it back to its old
-quarters, leaving the house in Finsbury Square to be converted by James
-Lackington, the celebrated bookseller, into the “Temple of the Muses,”
-one of the largest and most popular old book-shops of the day.
-
-In the hands of Mr. Caslon, Jackson’s foundry was greatly enlarged
-and improved. The specimen of 1798, dedicated to the King, exhibits
-19 pages of Titlings and open letters, 1 of Ornamental, 35 of Roman
-and Italic, 8 of foreign letter and Blacks, 1 of Script, 5 of sundry
-specimens, and 12 of Flowers.”[674]
-
-The book has many features in common with the Chiswell Street specimen
-of 1785, many of the founts in which re-appear here. Indeed, it would
-seem that on relinquishing his share in the parental business, William
-Caslon III had provided himself with duplicate matrices of several of
-the Chiswell Street founts, {326} particularly of the Foreign and
-Oriental letters, which figure prominently in this and subsequent
-specimens of the Salisbury Square Foundry.
-
-Bound with the book is a specimen of Cast Ornaments, a species of a
-typographical embellishment which Caslon III had had the merit of
-introducing into this country in 1784, while still at Chiswell Street.
-In this particular too, the Salisbury Square specimen is a reproduction
-of that of the Chiswell Street house.
-
-About the year 1803 Mr. Caslon took his son, the fourth William
-Caslon, into partnership, and the firm became W. Caslon & Son. The
-specimen of this year exhibits a slight increase on that of 1798,
-the chief additions being in the modern-faced Romans, then becoming
-fashionable. The learned and Oriental founts remain unaltered from the
-1798 specimen, and as this is the last specimen of the foundry in which
-these occupy a prominent place, it will be convenient to give the list
-here:
-
- _Greek._―
-     Double Pica, Great Primer, English, English new, Pica, Small Pica,
-     Long Primer, Brevier, Nonpareil.
-
- _Hebrew._―
-     2-line Great Primer, 2-line English, Double Pica, Great Primer,
-     ditto with points, English, ditto with points, Pica, ditto with
-     points, Small Pica, Long Primer, Brevier.
-
- _Syriac._―
-     English, Long Primer.
-
- _Arabic._―
-     English.
-
- _Armenian._―
-     Pica.
-
- _Samaritan._―
-     Pica.
-
- _Saxon._―
-     English, Pica, Brevier.
-
- _Blacks._―
-     2-line Great Primer, Double Pica, Great Primer, English 1, English
-     2, Pica 1, Pica 2, Small Pica, Long Primer, Brevier.
-
-The whole of these founts, with the exception of the new English Greek,
-are identical with those shown in the Chiswell Street Specimen of 1785.
-
-The Specimen Book of 1803 appears to have served the foundry for
-several years; as copies exist in which the date is altered by hand to
-1807, and the name of the firm changed from “W. Caslon & Son” to “W.
-Caslon, Junior.”
-
-This last alteration was consequent on the retirement of William Caslon
-III from the business in 1807. Although this gentleman’s connection
-with type founding ceases here,[675] we cannot refrain from quoting the
-few sentences in which Mr. Hansard, in 1825, describes his personal
-character, while the subject of his notice was yet living:―
-
-[Illustration: 76. From _Hansard_.]
-
-“If his friends had not yet the pleasure of occasionally receiving his
-lively salutations—of enjoying the gay and gentlemanlike converse,
-the whim, the anecdote, and the agreeable bagatelle of William Caslon
-aforesaid, I might be induced to amplify on these points . . . The
-mention, however, of one thing must not be omitted. Some years ago he
-was deprived of sight by the {327} formation of a cataract in each eye;
-still his musical ear furnished the faculty of distinguishing persons
-whom he knew by their voices; and his cheerful spirits enabled him to
-sustain the calamity with a becoming temper of mind. At length, his
-courage, in undergoing the operation of couching three several times,
-was rewarded with the perfect restoration of his sight; and his friends
-again experience the delight of hearing him truly say, ‘Ah! I’m happy
-to see you, by ——.’ But although ever ready with anecdote and whim to
-enliven, still more to his honour as a man, may it be added, that he
-can at once turn the cheerful smile into serious solicitations, for
-the assistance of a decayed old friend, his orphan, or his widow.” Mr.
-Caslon died in 1833. The portrait here given is taken from that in
-Hansard’s _Typographia_.
-
-William Caslon IV, being left in sole possession of the foundry,
-made considerable progress in extending the business, especially by
-the addition of the new fashioned fat-faced types, at that period so
-largely affected. His chief improvement, however, was the introduction
-in 1810 of the Sanspareil matrices for large letters.[676] This
-invention, which Hansard somewhat extravagantly describes as the
-greatest improvement in the art of letter-founding that has taken place
-in modern times, consisted in the substitution of pierced, or rather
-built-up matrices, in place of the old sand moulds hitherto in use, and
-it rapidly secured favour in the trade, and was as early as possible
-adopted by the other founders.
-
-In 1812, Mr. Caslon also took out a patent for a new form of type
-for imposing on a cylinder, of a size from 1/3 to 1/7th that of
-ordinary type, and cast wedge-shaped, or larger at the end containing
-the face than at the foot; an attempt which reflected more credit on
-the ingenuity of its author than upon his practical judgment, and which
-was not proceeded with.[677]
-
-Although no complete specimen book of Caslon IV has occurred to our
-notice of a later date than that of 1807 (which is itself the 1803
-book altered by pen and ink), the numerous sheets appearing from time
-to time, and collected in the first specimen of his successors, prove
-that one or more specimens of the foundry must have appeared during the
-interval.
-
-In 1819, Mr. Caslon, Junr. disposed of his foundry to Messrs. Blake,
-Garnett & Co., of Sheffield, to which town the entire stock was removed.
-
-After his retirement from type-founding, he devoted himself actively
-to the {328} scheme for lighting London with coal-gas. For some of his
-appliances in connection with this business—the sliding water-joints
-for pendants and chandeliers amongst others—he received the medal
-of the Society of Arts (his only reward, for he did not patent his
-invention). In 1832 he went to reside at Henley, and ten years later
-was afflicted with total blindness, an operation for cataract having
-proved unsuccessful. In this state he continued for twenty-seven years,
-“tired,” as he said, “of having been so long in the dark,” but serene
-in temper, and his mind illuminated with Christian hope. He taught
-himself to read the embossed printing for the blind, and was able to
-write by the aid of a simple apparatus constructed for that purpose. He
-lived, in spite of his affliction, to a cheerful old age, and died in
-1869, aged 88. He left no son.
-
-To estimate the complete revolution which had taken place in the
-productions of this foundry during the interval between 1807 and 1819,
-it is only necessary to glance through the first specimen book of
-the new proprietors, issued in the latter year, which may be taken
-to represent the state of the foundry pretty nearly as it was at the
-time of its transfer to Sheffield. There is not a single fount in the
-one book which reappears in the other. The modern fat-face Romans and
-Egyptians[678] take the place of Jackson’s elegant old-style letters.
-The Orientals have completely disappeared, and the general appearance
-of the book reflects as much as any specimen of the period the
-prevalent taste of a so-called improved art.
-
-It was, apparently, highly esteemed in its day. “Mr. Caslon,” says
-Hansard, writing only six years after the event, “transferred to the
-Sheffield founders such a specimen of type and flowers as will ever
-cause us printers to regret the loss of such a competitor for fame in
-this difficult business.”
-
-Messrs. Blake, Garnett & Co., a firm formed for the special purpose
-of acquiring the type business, issued their first specimen, above
-referred to, very shortly after the transfer of the business to its new
-quarters. Their prefatory note is interesting, not only as recording
-the transaction, but as intimating that the Oriental and Foreign
-founts, which had formed so conspicuous a feature of the previous
-specimens of the foundry, had also found their way to Sheffield:―
-
-     “Blake, Garnett and Co. beg leave respectfully to inform the trade
-     that they have purchased the whole of Mr. Caslon’s Foundery,
-     which, in addition to the Specimens here offered to their
-     inspection, contains founts of Greek, Hebrew, Syriac, Arabic,
-     Saxon, German, etc. from Brevier to Double Pica, chiefly modern,
-     also every kind of Accented letters, . . . . . . and a variety of
-     other Sorts, of which Specimens are not yet printed.” {329}
-
-The activity of the new proprietors resulted in a rapid increase in
-the extent and business of the foundry. Supplementary specimens were
-frequently issued between 1820 and 1830, when the style of the firm
-became Blake and Stephenson. Mr. Stephenson was a man of great energy,
-practical skill and artistic taste, and it is to his exertions that the
-rapidly-achieved eminence of the house was chiefly due. In 1841, the
-firm took its present style of Stephenson, Blake & Co. Mr. Stephenson
-directed the operations of the Sheffield foundry until 1860, when the
-management devolved on his son, Mr. Henry Stephenson, in whose hands it
-still remains.
-
-
-LIST OF SPECIMENS, 1765–1831.
-
-     No date. Jackson’s first Specimen of one fount. 1765? (Referred to
-     by Nichols, _Lit. Anec._, ii, 360.) . . . . (_Lost._)
-
-     1783. Jackson’s second Specimen (described by Mores, _Dissert._,
-     p. 83.) . . . . (_Lost._)
-
-     No date. Specimen of the Deo Nagri or Hindvi Type, cut for the
-     purpose of printing a Grammar and Dictionary of that Language
-     under the Direction of William Kirkpatrick, Captain in the Service
-     of the Honourable East India Company, and Persian Secretary to the
-     Commander in Chief in India. By Joseph Jackson, Letter Founder,
-     Salisbury Court, Fleet Street. 1784? Broadside. . . . . (J. F.)
-
-     1798. A Specimen of Printing Types by William Caslon, Letter
-     Founder to the King, Salisbury Square, London. 1798. 8vo. . . . .
-     (W. B.)
-
-     1798. A Specimen of Cast Ornaments by William Caslon, Letter
-     Founder to the King. London. Printed by C. Whittingham. 1798. 8vo.
-     . . . . (W. B.)
-
-     1803. A Specimen of Printing Types by W. Caslon and Son, Letter
-     Founders to the King. London. Printed by C. Whittingham, Dean
-     Street, Fetter Lane. 1803. 8vo. . . . . (Caslon.)
-
-     1807. The above Specimen, with additions, and title, altered from
-     “W. Caslon and Son, 1803,” to “W. Caslon, junr., 1807.” . . . .
-     (Caslon.)
-
-     No date. A Specimen of Printing Types, etc., by Blake, Garnett and
-     Co. (successors to Mr. W. Caslon, of London), Letter Founders,
-     Sheffield. (1819.) 8vo. . . . . (T. B. R.)
-
-     1826. Supplement to Blake, Garnett and Co.’s Specimen, 1826. 8vo.
-     . . . . (Caxt. Cel., 4405.)
-
-     1827. Specimen of Printing Types by Blake, Garnett and Co.
-     (successors to Mr. W. Caslon of London), Letter Founders, Allen
-     Street, Sheffield. 1827. 8vo. . . . . (Caxt. Cel., 4406.)
-
-     1827–8. Supplements to Blake, Garnett and Co.’s Specimen, 1827 and
-     1828. 8vo. . . . . (Caxt. Cel., 4408.)
-
-     1830. Select Specimen of Printing Types by Blake and Stephenson,
-     Sheffield. 1830. 8vo. . . . . (Caxt. Cel., 4414.)
-
-     1831. Specimen of Printing Types by Blake and Stephenson
-     (successors to Mr. W. Caslon of London), Letter Founders,
-     Sheffield. 1831. 8vo. . . . . (S. B. & Co.)
-
-{330}
-
-[Illustration]
-
-
-
-
-CHAPTER XVII.
-
-WILLIAM MARTIN, 1790.
-
-
-William Martin was brother to Robert Martin,[679] Baskerville’s
-apprentice and successor. He appears to have acquired his first
-knowledge of the art at the Birmingham foundry, and about the year
-1786 to have come to London and entered into the service of Mr. George
-Nicol,[680] as a punch cutter. Mr. Nicol was at that time engaged in
-maturing his plans for the production of a magnificent edition of
-_Shakespeare_, and kept Martin at his own house “to cut sets of types
-after approved models in imitation of the sharp and fine letter used by
-the French and Italian printers.”
-
-On the establishment of the famous “Shakespeare Press,”[681] by Messrs.
-{331} Boydell and Nicol, in 1790, at Cleveland Row, St. James’s, with
-William Bulmer as presiding genius, Martin was established in premises
-hard by, in Duke Street; his foundry being a sort of private foundry in
-connection with the Press. Here it was that he produced the founts in
-which the magnificent works, issued during the next twenty years from
-Bulmer’s Press, were printed.
-
-The appearance of the first part of the _Shakespeare_[682] in 1791
-at once established the fame of the printer and his types; and the
-completion of the work, in nine volumes, in 1810, may be regarded as
-marking an epoch in British typography. “No work of equal magnitude”,
-says the enthusiastic Dibdin, “ever presented such complete accuracy
-and uniform excellence of execution. There is scarcely one perceptible
-shade of variation from the first page of the first volume, to the
-last page of the work, either in the colour of the ink, the hue of the
-paper, or the clearness and sharpness of the types.”[683]
-
-The _Milton_,[684] which followed, is considered a still finer specimen
-of typography. The enthusiasm animating all concerned in the new
-undertaking was remarkable, and attracted universal attention. “The
-nation,” says Dibdin, “appeared to be not less struck than astonished;
-and our venerable monarch, George III, felt anxious not only to give
-such a magnificent establishment every degree of royal support, but,
-infected with the matrix and puncheon mania, he had even contemplated
-the creation of a royal printing office within the walls of his own
-palace.” One of the King’s great ambitions was for England to rival
-Parma in the productions of Bodoni,[685] and Dibdin alludes to a story
-current at the time of “his majesty being completely and joyfully taken
-in, by bestowing upon the efforts of Mr. Bulmer’s press that eulogy
-which he had supposed was due exclusively to Bodoni’s”.[686]
-
-In the advertisement of his edition of the _Poems of Goldsmith
-and Parnell_,[687] printed in 1795 and dedicated to the Messrs.
-Boydell and Nicol, the founders of the Shakespeare Press, Bulmer
-thus bears testimony to the talents of those who had contributed
-to the performance:—“The present volume, in addition to {332} the
-_Shakespeare_, the _Milton_, and many other valuable works of elegance
-which have already been given to the world through the medium of the
-Shakespeare Press, are (_sic_) particularly meant to combine the
-various beauties of printing, type founding, engraving, and paper
-making; as well as with a view to ascertain the near approach to
-perfection which those arts have attained to (in) this country, as to
-invite a fair competition with the typographical productions of other
-nations. How far the different artists who have contributed their
-exertions to this great object have succeeded in the attempt, the
-public will now be fully able to judge.”
-
-In all these encomiums, Martin claims a share; and, regarded simply
-as type specimens, the productions of the Shakespeare Press justify
-his reputation as a worthy disciple of his great master Baskerville.
-His Roman and Italic types were cut in decided imitation of the famous
-Birmingham models; although Hansard points out with disapproval that in
-certain particulars he attempted unwisely to vary the design. “As to
-the type”, he says, “the modern artist, Mr. Martin, has made an effort
-to cut the ceriphs and hair strokes excessively sharp and fine; the
-long ſ is discarded, and some trifling changes are introduced; but the
-letter does not stand so true or well in line as Baskerville’s, and, as
-to the Italic, the Birmingham artist will be found to far excel.”[688]
-
-The Shakespeare Press, along with all the other presses of the land,
-had to bow before the revolution which in the closing years of last
-century swept aside the beautiful old-face Roman, and set up in its
-stead the modern character; and Hansard’s strictures above-quoted
-doubtless refer to Martin’s endeavour, while adhering to the
-Baskerville form as his model, to modify it so as to conform to the new
-fashion. We are among those who deplore the change thus inaugurated;
-but at the same time it must be admitted that Martin succeeded as well
-in the new departure as any of his contemporaries.
-
-Nor did he confine himself to Roman and Italic. He produced several
-founts of Greeks and Orientals, which eventually came to form the most
-valuable part of his collection.[689] His Greek character, however,
-like the Greeks attempted by Baskerville and Bodoni, was not a success;
-and the otherwise beautiful edition of _Musæus_, printed in 1797,[690]
-and bearing on the title-page his name as the cutter of the type, is
-marred by the cramped and inelegant effect of that character. {333}
-
-Although Martin’s foundry was entirely supported by, and, indeed,
-belonged to, the Shakespeare Press, he appears occasionally to have
-supplied his types to outsiders—amongst others to McCreery, the author
-of the well-known poem on the _Press_, and himself a very elegant
-printer. _The Press_,[691] was printed in 1803 from Martin’s type,
-as a specimen of typography, and in his preface the author pays the
-following tribute to that artist’s abilities:—“The extraordinary
-efforts which have of late years been made to produce the finest models
-of Printing Types, must be highly gratifying to those who have in any
-measure interested themselves in raising the credit of the British
-Press. The spirit for this species of beauty has long been gaining
-an ascendancy, having received a strong impulse from the talents of
-Baskerville, who endeavoured to combine sharpness and perfection of
-impression with graceful types, giving to his works a finish which was
-before unknown in this kingdom. Mr. Martin, whose abilities are so
-conspicuously displayed in the productions of the Shakespeare Press, is
-a pupil of that celebrated school. By the liberality of George Nicol,
-Esq., I am enabled to boast of being the first who has participated
-with Mr. Bulmer in the use of these types, a mark of kindness for which
-my warmest acknowledgements are the least recompense he has a right to
-expect.” Several of the other productions of McCreery’s press were also
-printed from Martin’s type.
-
-Among the finest specimens of the Shakespeare Press printed in Bulmer’s
-time, the three great bibliographical works of Dibdin, viz., the
-_Typographical Antiquities_,[692] the _Bibliotheca Spenceriana_,[693]
-and the _Bibliographical Decameron_,[694] will always take a foremost
-place. Martin, whose Roman type rarely appeared to greater advantage,
-unfortunately did not live to see the completion of the whole of these
-typographical masterpieces, as he died in the summer of 1815. He was
-buried in St. James’s Church, Westminster.
-
-After his death, the foundry (of which unfortunately no specimen-book
-exists), appears to have been continued for a short time by Mr. Bulmer,
-who, {334} between 1815 and 1819, when he himself retired, produced
-several fine works.[695]
-
-Prior to that event—in 1817—Mr. Nichols states that the foundry was
-united with that of the Caslons.[696] There is, however, reason for
-supposing that some of the matrices were retained for the use of the
-Shakespeare Press, and that others went into the market and were
-secured by other founders.[697]
-
-The Shakespeare Press, under the supervision of Mr. W. Nicol, continued
-in active operation till 1855, when he retired, and his printing
-materials were sold; thus closing one of the most memorable chapters in
-the history of British typographical enterprise.
-
-[Illustration]
-
-{335}
-
-[Illustration]
-
-
-
-
-CHAPTER XVIII.
-
-VINCENT FIGGINS, 1792.
-
-
-This excellent letter-founder was bound apprentice to Joseph Jackson
-in the year 1782, at the age of 16, and remained in his service till
-Jackson’s death in 1792. During the last three years of his master’s
-life, as has been already said, the entire management of the foundry
-devolved on him; and the experience and connection so acquired fully
-qualified him to succeed to and increase the business to whose success
-he had materially contributed.
-
-Contrary to expectation, however, Vincent Figgins found himself, on
-Jackson’s death, left in the position of an ordinary outsider; and not
-being able or willing to pay the sum demanded, which was in excess of
-what he conscientiously considered the concern to be worth, he failed
-in succeeding to the foundry, which was purchased by William Caslon III.
-
-Left thus to his own resources, Mr. Figgins was constrained to enter
-on an independent undertaking. Encouraged by the advice of Mr. John
-Nichols, (who, as the intimate friend of Jackson, had had many
-opportunities of observing the character and talent of his apprentice),
-he determined to rear a foundry in his own name. “A large order,” says
-Hansard, “for two founts, Great Primer and Pica, of each 2,000 lbs—even
-before he had printed a single specimen—gave the young adventurer the
-best heart to proceed; neither did his liberal patron suffer him to
-want the sinews of trade as long as such assistance was required.”
-Writing to Mr. Nichols, fifteen years afterwards, in reference to a
-passage in {336} the _Literary Anecdotes_, Mr. Figgins thus gracefully
-acknowledged the generosity which befriended him at the beginning of
-his career:―
-
-     “I am greatly obliged to you for the very flattering mention of
-     my name, but you have not done yourself the justice to record
-     your own kindness to me: that, on Mr. Jackson’s death, finding I
-     had not the means to purchase the foundry, you encouraged me to
-     make a beginning. You gave me large orders and assisted me with
-     the means of executing them; and during a long and difficult
-     struggle in pecuniary matters for fifteen years, you, my dear
-     Sir, never refused me your assistance, without which I must have
-     given it up. Do mention this—that, as the first Mr. Bowyer was
-     the means of establishing Mr. Caslon—his son, Mr. Jackson—it may
-     be known that Vincent Figgins owes his prosperity to Mr. Bowyer’s
-     successor.”[698]
-
-Mr. Figgins established himself in Swan Yard, Holborn, and at the
-outset of his undertaking an opportunity occurred which served as
-largely as any other to establish his reputation as an excellent
-artist. This was the completion of Macklin’s _Bible_, for which, as
-has already been narrated, Mr. Jackson had, in 1789, cut the beautiful
-2-line English Roman fount, in which the first part of the work is
-printed. “When Mr. Bensley had proceeded some way in the work he wished
-to renew the fount; but not choosing to purchase it of Mr. Caslon,
-the then possessor of Jackson’s matrices, he applied to Mr. Figgins
-to cut a fount to correspond with that he had begun upon. Mr. Figgins
-undertook the task; and the fount, which was a perfect imitation of
-the other, was put into use to begin _Deuteronomy_ about the year
-1793.”[699] Of the excellence of this performance both as a facsimile
-and as a work of art, a reference to the splendid _Bible_[700] itself
-and the no less splendid edition of Thomson’s _Seasons_,[701] in which
-the same type was used in 1797, is the most eloquent testimony. Mr.
-Figgins received the honour of being named on the title-page of the
-latter work, which still remains one of the finest achievements of
-English typography.[702] His services were also employed in a similar
-manner to complete the Double Pica fount for R. Bowyer’s edition of
-_Hume_, which, it will be remembered, was in course of execution by
-Jackson at the time of his death. The splendid types in which these
-masterpieces of the typographic art were executed, established Mr.
-Figgins at once in all the reputation he could desire. {337}
-
-[Illustration: 77. Two-line English Roman cut by Vincent Figgins,
-1792. (From the original matrices.)]
-
-In 1792, he put forward a single-leaf specimen of the 2-line English
-fount on its completion. In the following year, having added a
-“long-bodied” English and a Pica, he issued his first Specimen Book.
-This interesting document of five leaves (title, address, and three
-specimens) was printed by Bensley, and contained the following
-prefatory note, which will be read with interest as the first public
-announcement of this Foundry:―
-
-     “At a period when the Art of Printing has, perhaps, arrived to a
-     degree of excellence hitherto unknown in the annals of literature,
-     the improvement of Types will no doubt be generally considered
-     an object worthy of attention. Vincent Figgins having had the
-     advantage of ten years’ instruction and servitude under the late
-     ingenious Mr. Joseph Jackson (great part of which time he had
-     _the management of_ his Foundery), flatters himself he shall not
-     be thought arrogant in soliciting the patronage of the Master
-     Printers, and other Literary Gentlemen, when he has commenced an
-     entire new Letter Foundery, every branch of which, with their
-     support and encouragement, he hopes he shall be enabled to execute
-     in the most accurate and satisfactory manner; assuring them that
-     his best endeavours shall be exerted to complete so arduous an
-     undertaking. Although as yet he has but few founts finished, he
-     is anxious to submit a specimen for approbation. All orders he
-     may be favoured with shall be duly attended to and punctually
-     executed. . . The Italics of the following founts, with a Long
-     Primer, Brevier and English, are in great forwardness—specimens of
-     which shall be printed as soon as possible. _May 1793._”
-
-One of the first public appearances of the English fount was in the
-8vo edition of Milton’s _Paradise Lost_, begun in 1794 in monthly
-parts, and published {338} by Parsons in 1796.[703] The announcement
-accompanying Part I makes special reference to “a new and beautiful
-Type cast on purpose for this work by Vincent Figgins.” The Italic of
-this fount is specially elegant.
-
-Mr. Figgins’ indefatigable industry enabled him to issue in the next
-year an enlarged Specimen Book with the same title and address as
-before, but containing twelve sheets of specimens, four of which were
-dated 1794.
-
-He met with further encouragement in his new undertaking by the
-patronage of the Delegates of the Oxford Press, under whose direction
-he completed a fount of Double Pica Greek, the progress of which had
-been interrupted by the death of Mr. Jackson. In connection with
-this circumstance, Mr. Vincent Figgins the younger, in the remarks
-appended to his facsimile reprint of Caxton’s _Game of the Chesse_, has
-preserved an anecdote, which it will be interesting to repeat here,
-not only as having reference to Mr. Figgins’ early productions, but as
-illustrating a curious phase of the mystery of type founding at that
-day:―
-
-“The mystery thrown over the operations of a Type foundry,” says Mr.
-Vincent Figgins II in 1855, “within my own recollection (thirty-four
-years), and the still greater secrecy which had existed in my father’s
-experience, testifies that the art had been perpetuated by a kind
-of Druidical or Masonic induction from the first. An anecdote of my
-father’s early struggles may illustrate this. At the death of Mr.
-Joseph Jackson, whom my father had served ten years as apprentice and
-foreman, there was in progress for the University Press of Oxford a
-new fount of Double Pica Greek, which had progressed under my father’s
-entire management. The then delegates of that Press—the Rev. Dr.
-Randolph and the Rev. W. Jackson—suggested that Mr. Figgins should
-finish the fount himself. This, with other offers of support from those
-who had previously known him, was the germ of his prosperity (which
-was always gratefully acknowledged). But when he had undertaken this
-work, the difficulty presented itself that he did not know where to
-find the punch-cutter. No one knew his address; but he was supposed to
-be a tall man, who came in a mysterious way occasionally, whose name
-no one knew, but he went by the _sobriquet_ of ‘_The Black Man_.’ This
-old gentleman, a very clever mechanic, lived to be a pensioner on my
-father’s bounty—gratitude is, perhaps, the better word. I knew him, and
-could never understand the origin of his _sobriquet_, unless Black was
-meant for dark, mysterious, from the manner of his coming and going
-from Mr. Jackson’s foundry.”
-
-Shortly after the completion of the Greek fount, Mr. Figgins was called
-upon {339} to execute a fount of Persian under the direction of the
-eminent Orientalist, Sir William Ouseley.[704] This type was used in
-Francis Gladwin’s _Persian Moonshee_[705] in 1801, and other works; and
-was commended by Dr. Adam Clarke as a beautiful letter in the finest
-form of the Nustaleek character.
-
-About the same time, he cut a fount of English Télegú from a MS., for
-the East India Company, in whose library, says Hansard, the “matrices
-or moulds” were afterwards deposited. Of this fount he issued two
-specimens about 1802, one a folio, the other a quarto; and about the
-same time put forward a specimen of “Two-line letters” in the same form.
-
-In the year 1800, Mr. Figgins was engaged by Messrs. Eyre and Strahan,
-His Majesty’s Printers, to cut and cast an improved fount of Small Pica
-Domesday; and, in 1805, a new Pica of the same character, expressly
-for the purpose of printing the splendid and valuable publications
-of the Commission of Enquiry into the State of the Records of the
-Kingdom.[706] In the years 1807 and 1808, he was also employed by His
-Majesty’s Printers in Scotland on three further {340} founts (Pica,
-Long Primer, and Brevier) for the purpose of printing the Records of
-that portion of the Empire.[707] This improved Domesday (a specimen of
-which may be seen in Johnson’s _Typographia_), differs considerably
-from that of Jackson, in which the _Domesday Book_ had been printed in
-1783,[708] and became, subsequently, the uniform character adopted for
-extracts from Domesday and other ancient Charters and Records quoted in
-modern topographical works.
-
-Mr. Figgins’ good fortune in the first results of his new business
-was somewhat tempered by the fact that, within a few years of the
-establishment of his foundry, the public taste with regard to the
-ordinary Roman letter experienced a complete revolution, setting
-aside the elegant models on which the punches of Jackson and his
-contemporaries had been cut, in favour of the new fashion which came in
-with the nineteenth century.
-
-To accommodate himself to this fashion must have involved Mr. Figgins
-in a considerable sacrifice of his early labour and industry, and the
-circumstance may possibly account for the somewhat remarkable absence
-of any specimen bearing his name for a lengthened period.
-
-In the appendix to Stower’s _Printers’ Grammar_, 1808, which exhibits
-the “modern faces” of Caslon and Fry, the compiler regrets not being
-able to show specimens of the new cut types from Mr. Figgins’ foundry,
-“but understands that in a few months Mr. F. will have fully completed
-his specimens.”
-
-These new founts appear in a specimen of 1815, a book which contains
-24 pages of large letter from 16-line to 4-line; 35 pages of Roman
-and Italic from French Canon to Pearl; together with Titlings, Black
-Letter, and Flowers, and a few Orientals.
-
-Two years later, Mr. Figgins put forward a specimen of Newspaper
-founts, showing a series of eight sizes, on a broadside sheet,—the
-first specimen of the kind, we believe, specially addressed to the
-proprietors of the public press. The title of this sheet is printed
-in the 5-line German Text, which Hansard describes as a typographical
-curiosity.
-
-Speaking of Mr. Figgins about 1812, Mr. Nichols remarks (in the passage
-which called for the acknowledgment already quoted): “With an ample
-portion of his kind instructor’s reputation, he inherits a considerable
-share of his talents and industry, and has distinguished himself by the
-many beautiful specimens he has produced, and particularly of Oriental
-Types.”[709] {341}
-
-The foundry had, in the year 1801, been removed from Swan Yard,
-Holborn, to West Street, West Smithfield, where, besides the work of
-completing the founts most commonly in use, several important and
-interesting tasks of a special character had engaged Mr. Figgins’
-attention. Among these may be mentioned the Small Pica Hebrew for
-_Bagster’s Polyglot_,[710] in 1817, which had the distinction in its
-day of being the smallest Hebrew with points in England. Dibdin, in
-his _Bibliographical Decameron_ (ii, 408), while specially commending
-the _Polyglot_, quotes a letter from Mr. Bagster in reference to the
-Figgins Hebrew fount, which it will be interesting to repeat here.
-Writing to Dibdin, Mr. Bagster remarks:
-
-     “The difficulty to the compositor of the Hebrew with points far
-     exceeds every other language. You are doubtless aware that every
-     line is composed of three distinct lines; i.e., points and accents
-     both above and below the line of letters. I wrote to the printer
-     and letter founder to display these, and one of the letters (_that
-     of Mr. Figgins which follows_) is enclosed as their accounts
-     nearly agree. The difference between the fount with points, and
-     that which is without them is very striking. The former requires
-     25 points and accents and 136 mixed letters; whereas the latter
-     has only 32 altogether and one stop—a difference between the
-     founts of 132 characters—the first with points exceeding by so
-     considerable a number, and some are so minute that one ounce is
-     found to contain no less than 236.
-
-     “When I embraced the design of this work, no suitable fount of
-     Hebrew existed. It became therefore necessary to cut the steel
-     punches and the brass (_sic_) matrices before the fount of letter
-     could be cast; and thus our country is enriched by the _creation_
-     of this new fount.
-
-     “The Greek and Roman type I think will also be admired for the
-     delicate neatness of their execution. The Hebrew and Greek types
-     are of the neatest form, and the latter is that of Porson.” . . .
-
-Mr. Figgins’ letter enclosed is as follows:―
-
-     “The number of Hebrew matrices are 82; these are all first cast on
-     a minion body, and 54 of them are again cast on a diamond body, to
-     admit of marks and accents being put over them. The accents and
-     points are 25 in number, of which there are, of the thinnest sort,
-     about 240 to the ounce. The number of boxes required to contain
-     the fount are:― {342}
-
- “Minion Hebrew                                    82
- Spaces (4), em and en quads (2), large quad (1)    7
- Diamond Hebrew                                    54
- Spaces same as Minion                              7
- Minikin accents and marks                         25
- Spaces, etc., same as Minion                       7
-                                                  ───
-                                                  182
-
-                                      “I am, Sir, your obedient servant,
- “West Street, London, 16th Oct., 1816.                     V. FIGGINS.”
-
-The Syriac used in Bagster’s _Polyglot_[711] was not cut by Mr.
-Figgins; but he had previously produced three sizes of this character,
-viz.: a Double Pica, English, and Long Primer (two founts), under the
-direction and partly at the expense of Dr. Claudius Buchanan, the
-eminent Indian missionary and Orientalist, whose work on _Christian
-Researches in Asia, with notices of translations of the Scriptures into
-the Oriental Languages_, had been published at Cambridge, in 1811. At
-the time of his death, in 1815, Dr. Buchanan was engaged in editing for
-the British and Foreign Bible Society a Syriac _New Testament_, which
-appeared in the following year, printed in Figgins’ type.[712]
-
-The founts already specified—to which may be added a Small Pica
-Irish, copied from the copper-plate engravings in Charles Vallancey’s
-_Irish Grammar_, and some additional Greeks, cut under Porson’s
-superintendence—constituted the chief features of Mr. Figgins’ foundry
-in respect of the learned and foreign founts. With regard to its
-progress in the characters of more general use, it will be sufficient
-to quote Mr. Hansard’s note, written in 1825, and based doubtless on an
-examination of the excellent, specimen of 1821, with its additions in
-1822 and 1823:—“No foundry existing is better stocked with matrices for
-those extraneous sorts which are cut more with a view to accommodation
-than profit; such as astronomical, geometrical, algebraical, physical,
-genealogical, and arithmetical sorts; and I feel it particularly
-incumbent on me to add that, as his specimen bears equal rank with
-any for the number and beauty of its founts, so he has strayed less
-into the folly of fat-faced preposterous disproportions, than either
-Thorne, Fry or Caslon. I consider his Five-line Pica German text a
-typographical curiosity.”[713] {343}
-
-The following is Hansard’s summary of the foreign and learned founts
-contained in this foundry in 1825:―
-
-
-MR. FIGGINS’ FOUNDRY.
-
- _Domesday._[714]―
-     Pica, Small Pica.
-
- _German Text (Ornamental)._―
-     Five-line Pica.
-
- _Greek._[715]―
-     Great Primer, English, Pica, Small Pica, Long Primer, Brevier.
-
- _Hebrew._―
-     English with points, Pica, Small Pica, Ditto with points.[716]—Long
-     Primer, Nonpareil.
-
- _Irish._―
-     Small Pica.
-
- _Persian._―
-     Paragon.
-
- _Saxon._―
-     Pica, Small Pica, Long Primer, Brevier.
-
- _Syriac._―
-     Double Pica, English, Long Primer, Brevier.
-
- _Télegú._[717]―
-     English.
-
- _Black._―
-     Double Pica, Great Primer, English, Pica, Long Primer.
-
-Further specimens were issued in 1824 and 1826, each indicating the
-rapid growth of the rising foundry between those dates. They were
-followed in 1827 by a compact little 16mo volume; and from that date
-specimens are frequent.
-
-Mr. Figgins died at Peckham, Feb. 29th, 1844. He was for several years
-Common Councillor for the Ward of Farringdon Without; “an amiable and
-worthy character, “says Nichols,” and generally respected.“ He had
-relinquished business in 1836, leaving it to his two sons, Vincent
-Figgins II and James Figgins, who issued their first specimen book,
-a handsome quarto, under the style of V. & J. Figgins, in 1838. Mr.
-Vincent Figgins II died in 1860,[718] when the business was carried
-on by Mr. James Figgins I and his son, Mr. James Figgins II. On the
-retirement of the former, then Mr. Alderman Figgins, M.P., the entire
-management devolved on his son, the present proprietor. The foundry was
-removed from West Street, Smithfield, to Ray Street, Farringdon Road,
-in 1865. {344}
-
-
-LIST OF SPECIMENS, 1792–1832.
-
-     No date. A Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, Swan Yard, Holborn Bridge, London. (1792.) 4to, 2 pp.,
-     . . . . (J. F.)
-
-     No date. A Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, Swan Yard, Holborn Bridge, London. (1793.) 4to, 5 pp.
-     . . . . (J. F.)
-
-     1794. A Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, Swan Yard, Holborn Bridge, London. 1794. 4to. . . . . (W.
-     B.)
-
-     1802. Specimen of a fount of Télegú Types cast by V. Figgins,
-     London. 1802. folio. . . . . (J. F.)
-
-     (Also in quarto.)
-
-     No date. Specimen of 2-line Letters cast by Vincent Figgins, West
-     Street, West Smithfield, London. Broadside. (1802.?) . . . . (J.
-     F.)
-
-     1815. Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, West Street, West Smithfield, London, 1815. 8vo. . . . .
-     (Ox. Univ. Pr.)
-
-     1817. Newspaper Founts cast by Vincent Figgins, West Street, West
-     Smithfield, London, 1817. Broadside. . . . . (Ox. Univ. Pr.)
-
-     1821. Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, West Street, West Smithfield, London, 1821. 8vo. . . . .
-     (J. F.)
-
-     (Re-issued with additions 1822 and 1823.)
-
-     1824. Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, West Street, West Smithfield, London, 1824. 8vo. . . . .
-     (Caxt. Cel. 4403.)
-
-     1826. Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, West Street, West Smithfield, London, 1826. 8vo. . . . .
-     (J. F.)
-
-     1827. Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, London, 1827. 16mo. . . . . (Caxt. Cel. 4408.)
-
-     1832. Specimen of Printing Types by Vincent Figgins, Letter
-     Founder, West Street, West Smithfield, London, 1832. 8vo. . . . .
-     (Caxt. Cel. 4417.)
-
-{345}
-
-[Illustration]
-
-
-
-
-CHAPTER XIX.
-
-MINOR FOUNDERS OF THE EIGHTEENTH CENTURY.
-
-
-SKINNER, _circ._ 1710.
-
-This founder is mentioned by Mores as a contemporary of Robert Andrews
-and Head. Nothing, however, is known of his types.
-
-
-DUMMERS, _circ._ 1734.
-
-Mores says he was a Dutchman who founded in this country, where he
-cut the fount of Pica Samaritan which appears in Caslon’s Specimen of
-1734.[719] He subsequently returned to his native country. Smith, in
-his _Printers’ Grammar_, after referring to the genius of Van Dijk,
-mentions Voskin and Dommer (_sic_) as having “been considered as
-two Worthies, for their abilities in their profession.” We append a
-specimen of the Samaritan fount:―
-
-[Illustration: 78. Pica Samaritan, cut by Dummers for Caslon, _circ._
-1734. (From the original Matrices.)]
-
-{346}
-
-
-JALLESON, _circ._ 1734.
-
-This man appears to have served, in 1733, as punch cutter to Mr. R.
-Wetstein of Amsterdam, for whom he produced, amongst other founts, the
-accented Roman with which the Dutch East India Company printed their
-Malay Edition of the _Bible_ in that year. He came to London, and lived
-in the Old Bailey, where he attempted an economical way of multiplying
-founts by casting six different bodies of letter from three sets of
-punches, viz., Brevier and Long Primer from one set, Pica and English
-from another, Great Primer and Double Pica from a third. “Accordingly,”
-says Smith, “he charged his Brevier, Pica, and Great Primer with as
-full a face as their respective bodies would admit of, and, in order
-to make some alteration in the advancing founts, he designed to cut
-the ascending and descending letters to such a length as should show
-the extent of their different bodies. But though he had cast founts of
-the three minor sorts of letters, he did not bring the rest here to
-perfection.”[720]
-
-While in England, “he printed the greatest part of a Hebrew _Bible_
-with letter of his own casting; but was, by adverse fortune, obliged to
-finish the said work in Holland.” Jalleson’s system, though apparently
-unsuccessful at the time, was eventually adopted, to a certain extent,
-by English founders.
-
-
-JACOB ILIVE, _circ._ 1730.
-
-This eccentric individual was a connection of the James’s, his mother,
-Elizabeth, being the daughter of Thomas James, the printer, and
-consequently cousin to Thomas James, the founder.[721] His father was
-a printer resident in Aldersgate Street,[722] and his two brothers,
-Abraham and Isaac, also followed the same calling.
-
-About the year 1730, he applied himself to letter-founding, and carried
-on a foundry and printing house together in Aldersgate Street over
-against Aldersgate Coffee-house, where he was resident in 1734.
-
-“But, afterwards,” says Mores, “when _Calasio_[723] was to be
-reprinted under the inspection of Mr. Romaine, or of Mr. Lutzena, a
-Portuguese Jew who corrected the {347} Hebrew—as we ourselves did
-sometimes another part of the work—he removed to London House (the
-habitation of the late Dr. Rawlinson) on the opposite side of the way,
-where he was employed by the publishers of that work. This was in the
-year 1746.”
-
-His foundry was only a small one, and does not appear to have received
-much patronage or to have issued a specimen. The following is Mores’
-summary of its contents:―
-
-
-“MR. ILIVE’S FOUNDERY, 1734.
-
- OCCIDENTALS:
-
- _Greek._—
-     Nonpareil, 200; another, 80 lb.
-
- _Roman._—
-     2-line English, the small letters only, 27; Pica, similiter, 27;
-     Brevier broadface, 54; Small Pica, 70; another, the small letters
-     and double only, 39; Nonpareil cap. 27.
-
- _Roman and Italic._—
-     Double Pica, 154; Great Primer, 212; English, 236; Pica, 214; Long
-     Primer, 230; Brevier, 255; Sm. Pica, 248.
-
- _Figures._—
-     Pica fractions, 20; Mercantile marks, Pica, 17.
-
- _Braces, Rules and Flowers_, 30.”
-
-In 1740 (July 3) the foundry was purchased by John James, in whose
-premises, says Mores, it lay in the boxes named _Jugge_, and underwent
-very little alteration. With regard to the sets of Greek matrices,
-Mores also states that though James paid for these they never came to
-his hands.
-
-Although abandoning type-founding early, Ilive continued to print
-until the time of his death in 1763. Mores says he was an expeditious
-compositor and knew the letters by touch. He was, however, less noted
-for his typography than for his opinions.
-
-Nichols tells us he was somewhat disordered in his mind. In 1733 he
-published an _Oration_ proving the plurality of worlds, that this earth
-is hell, that the souls of men are apostate angels, and that the fire
-to punish those confined to this world at the day of judgment will be
-immaterial. This discourse was composed in 1729, and spoken at Joiners’
-Hall pursuant to the will of his mother, who died in 1733 and held the
-same singular opinions in divinity as her son.[724] A second pamphlet,
-entitled _A Dialogue between a Doctor of the Church of England and Mr.
-Jacob Ilive upon the Subject of the Oration_, also appeared in 1733.
-This strange _Oration_ is highly praised in Holwell’s third part of
-_Interesting Events relating to Bengal_.[725]
-
-In 1751 Ilive perpetrated a famous literary forgery in a pretended
-{348} translation of the _Book of Jasher_,[726] said to have been made
-by one Alcuin of Britain. “The account given of the translation,” says
-Mores, “is full of glaring absurdities, but of the publication, this
-we can say, from the information of the Only-One who is capable of
-informing us, because the business was a secret between the Two: Mr.
-Ilive in the night-time had constantly an Hebrew _Bible_ before him
-(_sed qu. de hoc_) and cases in his closet. He produced the copy for
-_Jasher_, and it was composed in private, and the forms worked off in
-the night-time in a private press-room by these Two, after the men of
-the Printing-house had left their work. Mr. Ilive was an expeditious
-compositor, though he worked in a nightgown and swept the cases to
-_pye_ with the sleeves.”[727]
-
-In 1756, for publishing _Modest Remarks on the late Bishop Sherlock’s
-Sermons_, Ilive was imprisoned in Clerkenwell Bridewell, where
-he remained for two years, improving the occasion by writing and
-publishing _Reasons offered for the Reformation of the House of
-Correction in Clerkenwell_, in 1757. He also projected several other
-reforming works.[728]
-
-In the last year of his life, 1762, he once more became notorious
-as the ringleader of a schism among the members of the Stationers’
-Company, of which the following narrative (communicated by Mr. Bowyer)
-is given by Gough:―
-
-      “He called a meeting of the Company for Monday the 31st of May,
-     being Whit-Monday, at the Dog Tavern, on Garlick Hill, ‘to rescue
-     their liberties,’ and choose Master and Wardens. Ilive was chosen
-     chairman for the day; and, standing on the upper table in the
-     hall, he thanked the freemen for the honour they had done him—laid
-     before them several clauses of their two charters—and proposed
-     Mr. Christopher Norris and some one else to them for Master; the
-     choice falling upon Mr. Norris. He then proposed, in like manner,
-     John Lenthall, Esq., and John Wilcox, Gent., with two others for
-     Wardens; when the two first nominated were elected. A Committee
-     was then appointed by the votes of the Common Hall to meet the
-     first Tuesday in each month at the Horn Tavern, in Doctors’
-     Commons, to inquire into the state of the Company, which Committee
-     consisted of twenty-one persons, five of whom (provided the Master
-     and Wardens were of the number), were empowered to act as fully as
-     if the whole of the Committee were present. July the 6th being the
-     first Tuesday in the month, the newly-elected Master, about twelve
-     o’clock, came into the Hall, and being seated at the upper end of
-     it, the Clerk of the Hall was sent for and desired to swear Mr.
-     Norris into his office; but he declined, and Mr. Ilive officiated
-     as the Clerk in {349} administering the oath. A boy then offered
-     himself to be bound; but no Warden being present, he was desired
-     to defer until next month, when several were bound; some freemen
-     made; and others admitted on the livery; one of whom, at least,
-     has frequently polled at Guildhall in contested elections.”[729]
-
-No particular notice appears to have been taken of the proceedings,
-and the rebellion was short lived. Previous to its outbreak, Ilive
-had published a pamphlet on _The Charter and Grants of the Company of
-Stationers; with Observations and Remarks thereon_, in which he recited
-various grievances and stated the opinion of counsel upon several
-points. “I have a copy of this pamphlet,” says Mr. Hansard, “now
-lying before me, the twentieth page of which concludes with the line,
-‘Excudebat, edebat, donabat, Jacob Ilive, Anno 1762.’ ” Ilive died in
-the following year.
-
-
-THE WESTONS.
-
-Some founders of this name are mentioned by Ames; but Mores supposes
-that Ames, “who,” he adds, “was an arrant blunderer,” has made
-Englishmen of the Wetsteins of Amsterdam, who founded in that city
-about 1733–43. The Wetsteins, though they doubtless had considerable
-type dealings with this country, are not known at any time to have
-practised type-founding in England.
-
-
-JOHN BAINE, 1749.
-
-After the dissolution of partnership between Wilson and Baine in
-1749,[730] the latter appears to have come to London, where, Rowe Mores
-informs us, “he published a specimen (very pretty) without a date. It
-exhibits Great Primer and Pica Greek and (we take no notice of title
-letters) the Roman and Italic regulars beginning at Great Primer; and
-the bastard Small Pica. Mr. Baine left England and is now (1778), we
-think, alive in Scotland.” He appears to have carried his foundry
-with him, for we find in a specimen of types belonging to a printer,
-John Reid, in Edinburgh, in 1768,[731] two founts, a Small Pica and a
-Minion marked as having been supplied by him. In 1787 was published a
-_Specimen by John Baine and Grandson in Co._ at Edinburgh, a copy of
-which is in the Library of the American Antiquarian Society, Worcester,
-Massachusetts. {350}
-
-About the same date they established a foundry in Philadelphia, the
-grandson having probably taken charge of the new venture before being
-joined by his relative. Isaiah Thomas[732] speaks in high praise of
-the mechanical ability of the elder Baine, and adds that his knowledge
-of type-founding was the effect of his own industry; for he was
-self-taught. Both, he says, were good workmen and had full employment.
-They appear to have been moderately successful in America.[733] The
-elder Baine died in 1790, aged 77. His grandson relinquished the
-business soon after, and, says Mr. Thomas, died at Augusta in Georgia
-about the year 1799.
-
-
-SPECIMENS.
-
-     No date. Specimen by John Baine, London, 1756 (?). (Noted by
-     Mores.) . . . . (_Lost._)
-
-     1787. A Specimen of Printing Types by John Baine & Grandson in
-     Co., Letter Founders, Edinburgh, 1787. . . . . (Amer. Ant. Soc.)
-
-
-GEORGE ANDERTON, 1753.
-
-George Anderton, of Birmingham, appears to have been one of the
-earliest of English provincial letter founders. Mores says he
-“attempted” letter founding, and in the year 1753 printed a little
-specimen of Great Primer Roman and Italic. Samuel Caslon, brother to
-Caslon I, worked as a mould maker in this foundry after having left the
-latter on account of some dispute.
-
-
-SPECIMEN.
-
-     1753. A Specimen of Great Primer by George Anderton, Birmingham,
-     1753. (Noted by Mores.) . . . . (_Lost._)
-
-
-HENRY FOUGT, _circ._ 1766.
-
-This man, a German, lived in St. Martin’s Lane about the year 1766,
-and, in the following year, took out a patent for “Certain new and
-curious types by me invented for the printing of music notes as neatly
-and as well, in every respect, as hath usually been done by engraving.”
-The Invention consisted in the use of sectional types “in many respects
-similar to what in former ages was used in printing-offices and known
-by the name of choral type.” An explanatory note, {351} setting forth
-the details of his scheme, accompanies the specification.[734] Fougt
-issued a specimen of his new type in 1768, and is said to have been the
-only printer of music from type of his day who produced any good work.
-Mores says that he returned to Germany, after selling his patent to one
-Falconer, a disappointed harpsichord maker.
-
-
-SPECIMEN.
-
-     1768. Specimen of a New Type for Music by H. Fougt. In Six Sonatas
-     by Uttini. 3 vols. London, 1768. Folio. . . . . (Bibl. Pr. i, 226.)
-
-
-JOSEPH FENWICK, _circ._ 1770.
-
-Mores’ quaint account of this unlucky person is as follows:—“Mr.
-Joseph Fenwick was a locksmith, and worked as a journeyman in David
-Street in Oxford Road. Invited by an advertisement from Mr. Caslon for
-a smith who could file smooth and make a good screw, he applied, and
-is now mould-mender in ordinary to Mr. Caslon. But his ingenuity hath
-prompted him to greater things than a good screw. He hath cut a fount
-of Two-line Pica Scriptorial for a divine, the planner of the Statute
-at Plaisterers’ Hall for demising and to farm letting servants of both
-sexes and all services. Of him Mr. Caslon required an enormous sum
-when he thought that nobody could do the work but himself. Mr. Fenwick
-succeeded at a very moderate expence; for he has not been paid for his
-labour. The plausible design of the fount was the relief and ease of
-our rural vineyarders, and the service of those churches in which the
-galleries overlook the pulpit.” In the synopsis of founts given at the
-end of Mores’ book, Fenwick’s Scriptorial, or Cursive, is mentioned as
-being at that time (1778) obtainable.
-
-
-T. RICHARDS, 1778.
-
-Mores says he lived near Hungerford Bridge, and called himself letter
-founder and toyman; but appeared to be an instrument maker for marking
-the shirts of soldiers “to prevent plunder in times of peace.” “But we
-have seen no specimen,” he adds, “either on paper or on rags.”
-
-
-McPHAIL, 1778.
-
-Mores describes him as a Scotchman without address. “It is said
-that he hath cut two full-faced founts, one of Two-line English, the
-other of Two-line Small Pica; hath made the moulds, and casts the
-letter his self. If this be true {352} (and we have reason to believe
-it is not altogether false) he must travel like the circumforanean
-printers of names from door to door soon after the invention of the
-art, with all the apparatus in a pack upon his shoulders; for he is
-a _nullibiquarian_, and we cannot find his founding house.” To this
-account Hansard adds in 1825:—“I have reason to believe that, some
-years ago, the foundry of McPhail, which Mores has commemorated by a
-most humorous paragraph, was carried on either by the same individual
-or a descendant; but it continues to be screened from observation by
-the same cloud which obscured it from the curiosity of that illustrious
-typographical historian.”
-
-
-IMISSON, 1785.
-
-Lemoine mentions an ingenious person of this name, “who, among other
-pursuits, made some progress in the art of Letter Founding, and
-actually printed several small popular novels at Manchester with
-wood-cuts cut by himself. But other mechanical pursuits took him off,
-and death removed him in 1791.”[735]
-
-
-MYLES SWINNEY, 1785.
-
-This provincial typographer was printer and proprietor of the
-_Birmingham Chronicle_ in 1774, and appears to have commenced a letter
-foundry shortly after the breaking up of Baskerville’s establishment.
-His shops were in the High Street, Birmingham; and in Bisset’s
-_Magnificent Directory_ (1800) a view of his premises is given,
-including the Type Foundry. He is styled Letter Founder, Bookseller
-and Printer, in the Directories of 1785, and subsequently added to his
-other pursuits that of Medicine Vendor. In 1793 he was a member of
-the Association of Founders at that time in existence; and, about the
-year 1803, issued a neat Specimen Book of twenty pages, comprising a
-series of Roman and Italic and a few Ornamented and Shaded letters.
-The notice accorded to him in the _Magnificent Directory_ is very
-complimentary:—“This useful Branch of the Typographic Art, immediately
-on the demise of the late celebrated Baskerville, was resumed and is
-now continued, with persevering industry and success, by Mr. Swinney,
-whose elegant Specimens of Printing add celebrity to the other
-manufactures of this Emporium of the Arts.” {353}
-
-The _Poetic Survey round Birmingham_ accompanying the Directory,
-immortalizes our founder in the following couplet:
-
- “The Gods at Swinney’s Foundry stood amaz’d,
-  And at each curious Type and Letter gaz’d.”
-
-Among his workmen was John Handy, a former punch cutter for
-Baskerville.[736] Mr. Swinney died in 1812, aged 74; having been
-printer and proprietor of the _Birmingham Chronicle_ for nearly fifty
-years.
-
-
-SPECIMEN.
-
-     No date. Specimen of part of the Printing Types cast by Myles
-     Swinney, of Birmingham. Swinney and Hawkins, Printers, Birmingham.
-     (1802?) 8vo. . . . . (S.T.)
-
-
-SIMEON & CHARLES STEPHENSON, 1789.
-
-This short-lived foundry was established in the Savoy prior to 1789,
-in which year it appears to have been known as Bell and Stephenson’s
-British Letter Foundry, and to have issued a specimen. In 1793 the
-style was altered to Simeon Stephenson & Co., and subsequently to
-Simeon and Charles Stephenson, who removed the foundry to Bream’s
-Buildings, Chancery Lane. Both the partners were members of the
-Association of Founders existing at that time.
-
-Of their foundry little is known beyond what may be gathered from
-their elegant Specimen Book of Types and Ornaments issued in 1796. The
-title-page of this volume states that their punches were cut by Richard
-Austin; and the address to the trade[737] (which is dated 1797) refers
-to the flattering encouragement hitherto received by the proprietors
-from the public. The specimen exhibits ten pages of large titling
-letters, fourteen pages of Roman and Italic, from Double Pica to
-Minion, and the remainder chiefly ornaments. The types, especially in
-the larger sizes as well as some of the ornaments, are very good. {354}
-
-Despite the merit of its productions the British Foundry was not
-successful, and in 1797 was put up for auction. Whether it was
-purchased as a whole by some other founder, or whether it was
-dispersed, we cannot say. It seems probable, however, that Austin
-recovered some of the punches cut by him, and used them when starting
-his own foundry in Worship Street.
-
-
-SPECIMENS.
-
-     1789. A Specimen of Printing Types cast at Bell & Stephenson’s
-     British Letter Foundry in the Savoy. London, 1789. 8vo. . . . .
-     (Bodleian.)
-
-     1796. First part of a specimen of Printing Types cast at the
-     Foundry of S. & C. Stephenson, Bream’s Buildings, Chancery Lane.
-     The punches cut by R. Austin. London, 1796. 8vo. . . . . (W. B.)
-
-     1797. Catalogue of the Stock in Trade of S. & C. Stephenson, which
-     will be sold by Auction by Mr. C. Heydinger. 1797. 8vo. . . . .
-     (W. B.)
-
-[Illustration]
-
-{355}
-
-[Illustration]
-
-
-
-
-CHAPTER XX.
-
-WILLIAM MILLER, 1809.
-
-
-William Miller, the originator of this now great foundry, was for some
-time a foreman in the Glasgow Letter Foundry. About the year 1809 he
-left that service to begin a foundry of his own in Edinburgh under the
-style of William Miller and Co. The first specimen is stated to have
-been published in this year,[738] but no copy unfortunately has been
-found still to exist.
-
-A further specimen was issued in 1813, followed in the ensuing year by
-another of 28 pages, consisting entirely of Roman and Italic letter,
-of which there was a complete series from Double Pica to Pearl, with
-2-line letters and one page of borders. As Hansard observes respecting
-early founts of this foundry, the letters so much resemble those of
-Messrs. Wilson as to require minute inspection to distinguish the one
-from the other.[739]
-
-The business, once started, made rapid progress, and in due time became
-a formidable rival not only to the Glasgow foundry, but to the London
-founders. The specimen of 1815 showed further additions to the founts,
-some of which, we have it on Hansard’s authority, were cut by Mr.
-Austin, of London.[740]
-
-In 1822, the firm is described as William Miller only, Letter Founder
-to His Majesty for Scotland. The energy and care displayed by Mr.
-Miller in the {356} prosecution of his business rapidly brought his
-foundry to the front rank, and secured for him the support not only of
-English printers but of some of the most important newspapers of the
-day, including _The Times_.
-
-In 1832, Mr. Richard was admitted a partner; and the style of the firm
-became once more William Miller and Co., and so continued until 1838,
-when it became Miller and Richard.
-
-Of the later history of this foundry it is beyond the scope of this
-work to treat, further than to say that it was the first house
-successfully to introduce machinery for the casting of type in this
-country; and that on the revival of the old style fashion about 1844,
-it took a prominent and successful part with its series of “Modern Old
-Face” letter. For the Exhibition of 1851, the proprietors produced a
-“Brilliant” type, the smallest then in England,[741] and subsequently
-cut a “Gem” expressly for Mr. Bellows’ _French Dictionary_[742]—a book
-which for clearness and minuteness combined ranks as a typographical
-curiosity.
-
-After the death of Mr. Miller in 1843, the business was carried on by
-Mr. Richard and his son, until 1868; when, on the retirement of Mr.
-Richard, senior, the active management of the Foundry (which since 1850
-has had a branch house in London) devolved upon his sons, Mr. J. M.
-Richard, and Mr. W. M. Richard, the present proprietors.
-
-
-LIST OF SPECIMENS, 1809–33.
-
-     [1809. Specimen of Printing Types by W. Miller and Co., Edinburgh,
-     1809.] . . . . (B. P. ii, 42.)
-
-     1813. Specimen of Printing Types by William Miller and Co.,
-     Edinburgh, 1813. 4to. . . . . (B. P. ii, 42.)
-
-     1814. Specimen of Printing Types by William Miller and Co., Letter
-     Founders, Edinburgh. Edinburgh, printed by A. Balfour. 1814. 4to.
-     . . . . (M. & R.)
-
-     1815. Specimen of Printing Types by William Miller and Co., Letter
-     Founders, Edinburgh. Printed at the Stanhope Press by R. Chapman.
-     1815. 4to. . . . . (Ox. Univ. Pr.)
-
-     1822. Specimen of Printing Types by William Miller, Letter
-     Founder to His Majesty for Scotland, Edinburgh. Printed by James
-     Ballantyne and Co. 1822. 4to. . . . . (Caxt. Cel. 4401.)
-
-     1833. Supplement to William Miller and Company’s Specimens of
-     Printing Type, Edinburgh, 1833. 4to. . . . . (Ox. Univ. Pr.)
-
-{357}
-
-[Illustration]
-
-
-
-
-CHAPTER XXI.
-
-THE MINOR FOUNDERS, 1800–1830.
-
-
-G. W. BOWER, _circ._ 1810.
-
-This foundry was begun in Sheffield about the beginning of the
-present century. In 1810, Mr. Bower issued a price list below those
-of the London founders, whose founts he succeeded occasionally in
-underselling. Hansard mentions the foundry in 1824, under the style of
-Bower, Bacon and Bower. No specimen is known with an earlier date than
-1837, when the firm was G. W. Bower, late Bower and Bacon.
-
-A later specimen bears the name of Mr. G. W. Bower alone, and in 1841
-the firm was Bower Brothers, who published _Proposals for establishing
-a graduated scale of sizes for the bodies of Printing Types, and fixing
-their height-to-paper, based upon Pica as the common standard_.[743]
-
-After the death of Mr. G. W. Bower, the foundry was continued by Mr.
-Henry Bower till his death about 1851, in September of which year the
-plant and stock were sold by auction and dispersed among the other
-founders. The Catalogue of this Sale contained about 50,000 punches and
-matrices; many of them, however, being obsolete or of small value. {358}
-
-
-BROWN, 1810.—LYNCH, 1810.
-
-These two individuals are included among the Letter Founders whose
-names are given in Mason’s _Printer’s Assistant_[744]—the former having
-had his place of business in Green Street, Blackfriars, and the latter
-in Featherstone Buildings. They do not appear to have continued long
-in business, and their names are not included in the list of Letter
-Founders given in Johnson’s _Typographia_ in 1824.
-
-
-MATTHEWSON, _circ._ 1810.
-
-This man was founding in Edinburgh in 1810, at which date he had some
-correspondence with the Associated Founders respecting prices. Hansard
-mentions him as an incipient founder even in 1825, and a competitor of
-Mr. Miller’s. Nothing is known of the fate of his foundry; nor has any
-Specimen of his types come under notice.
-
-
-ANTHONY BESSEMER, 1813.
-
-Anthony Bessemer was a man of remarkable inventive genius. In his
-twentieth year he distinguished himself by the erection at Haarlem
-in Holland of pumping-engines to drain the turf pits; and before he
-had attained the age of twenty-five, he was elected a member of the
-Académie at Paris for improvements in the microscope. He subsequently
-turned his attention to letter founding, and established a foundry
-at Charlton, near Hitchin. Of the exact date of this undertaking we
-are uncertain; but, as his son, the present Sir Henry Bessemer, was
-born at Charlton in 1813, it is evident that the father was already
-settled there at that date. Hansard states[745] that “Mr. Bessimer” cut
-the Caslon Diamond letter. If the person referred to is Mr. Anthony
-Bessemer, as is probable, it would appear that during the early years
-of his business as a founder, he placed his energies occasionally at
-the disposal of his brethren in the art.
-
-In 1821 he issued a specimen of Modern-cut Printing Types, and shortly
-afterwards took into partnership Mr. J. J. Catherwood, formerly a
-partner of Mr. Henry Caslon II, who, since his retirement from that
-business, appears for a short time to have had a foundry of his own at
-Charles Street, Hoxton.[746] Messrs. Bessemer {359} and Catherwood
-issued a Specimen in 1825, on the title-page of which the new partner
-styles himself “late of the Chiswell Street Foundry, London.”
-
-Bessemer’s Romans were, in conformity with the fashion of the day,
-somewhat heavy, but finely cut. His chief performance was a Diamond,
-which was, as Hansard informs us, cut to eclipse the famous Diamond of
-Henri Didot, of Paris, at that time the smallest known. The execution
-of this feat, particularly in the Italic, was highly successful. The
-partnership between Messrs. Bessemer and Catherwood was not of long
-duration, and terminated either by the death or the retirement of the
-latter prior to 1830. Mr. Bessemer then removed his foundry to London,
-and established it at 54, Red Lion Street, Clerkenwell, whence, in
-1830, he issued his final specimen book, consisting almost entirely of
-Roman founts.
-
-In 1832 he retired from the business, and his foundry was put up to
-auction and dispersed. The Catalogue of the Sale mentions that the
-2,500 punches included in the plant had been collected at an expense of
-£4,000, and that not a single strike had been taken from them but for
-the proprietor’s own use. From a marked copy of the Catalogue in our
-possession, it appears that several of the lots of punches and matrices
-fetched high prices. The list of implements and utensils shows that the
-foundry employed about seven casters and an equal number of rubbers and
-dressers.
-
-Mr. Bessemer’s son, Henry, appears to have been for some time in
-his father’s foundry, where he mastered the mechanics of the trade.
-In 1838, being then twenty-five years old, he took out a patent for
-improvements in type-founding machinery, embodying several ingenious
-contrivances, some of which have since been adopted.
-
-
-SPECIMENS.
-
-     1821. Specimen of the last modern cut Printing Types by A.
-     Bessemer, Letter Founder, Hitchin, Herts. 1821. 8vo. . . . .
-     (Caxt. Cel., 4400.)
-
-     1825. Specimen of the last modern cut Printing Types by A.
-     Bessemer & J. J. Catherwood, Letter Founders, Hitchin, Herts. (J.
-     J. Catherwood, late of the Chiswell Street Foundry, London.) 1825.
-     8vo. . . . . (W. B.)
-
-     1830. Specimen of the last modern cut Printing Types by A.
-     Bessemer, Letter Founder, 54, Red Lion Street, Clerkenwell,
-     London. 1830. 8vo. . . . . (T. B. R.)
-
-
-RICHARD AUSTIN, _circ._ 1815.
-
-Richard Austin began business as a punch cutter in the employ of
-Messrs. S. and C. Stephenson of the British Type Foundry, about the
-year 1795. On the Title-page of the specimen issued by that foundry in
-1796, his name is {360} mentioned as the cutter of the punches, and
-the excellent specimen itself is no mean testimony to his abilities.
-
-The activity prevailing throughout the trade generally at that period,
-consequent on the transition of the Roman character from the old style
-to the modern, brought the punch cutter’s services into much request,
-and Hansard informs us that Mr. Austin executed most of the modern
-founts both for Messrs. Wilson of Glasgow and Mr. Miller of Edinburgh.
-
-Prior to the year 1819 he began a foundry of his own at Worship Street,
-Finsbury, in which subsequently his son, George Austin, joined him;
-and, in the year 1824, succeeded to the business. This foundry was
-styled the Imperial Letter Foundry, and carried on under the style of
-Austin & Sons. The earliest known specimen was issued in 1827. This
-8vo volume is prefaced by a somewhat lengthy address to the Trade,
-in which, after criticising the letter founding of the day, the
-proprietors boldly claim to be the only letter founders in London who
-cut their own punches, which they do in a peculiar manner so as to
-insure perfect sharpness in outline. They also announce that they cast
-their type in an extra hard metal.
-
-Mr. Austin appears to have been a man of considerable force and
-independence of character. It is related of him that once, on
-receiving—what to any founder at that day must have been a momentous
-mandate—an intimation that _The Times_ wanted to see him, he replied,
-with an audacity which sends a shudder even through a later generation,
-“that if _The Times_ wanted to see him, he supposed it knew where to
-find him!”
-
-On the death of Mr. Austin, his foundry was acquired by Mr. R. M.
-Wood, who subsequently, in partnership with Messrs. Samuel and Thomas
-Sharwood, transferred it to 120 Aldersgate Street, under the title of
-the Austin Letter Foundry. Messrs. Wood and Sharwoods’ first specimen
-was issued in 1839. In their preface, reference is again made to the
-late Mr. Austin’s hard metal, the superiority of which, it is stated,
-“was owing to one peculiar article being used in the mixture which is
-unknown to our brethren in the Art.”
-
-Mr. Wood died in 1845, and the firm subsequently became S. and T.
-Sharwood, who, in 1854, published two specimens, one of Types, the
-other of Polytyped Metal Ornaments.
-
-This latter collection had been begun more than twenty years previously
-by Vizitelly, Branston & Co.,[747] who, in 1832, had issued a specimen
-of Cast Metal {361} Ornaments, “produced by a new improved method.”
-This method appears to have consisted of the soldering of the casts
-on metal mounts—at that time a novelty. The Sharwoods subsequently
-acquired this collection of blocks and considerably increased it.
-
-On the death of the two Sharwoods, which occurred about the same time
-in 1856, the Austin Foundry was thrown into Chancery and put up for
-auction, and its contents dispersed among the trade.
-
-
-SPECIMENS.
-
-     1827. Specimens of Printing Types cast at Austin’s Imperial Letter
-     Foundry, Worship Street, Shoreditch, London. 1827. 8vo. . . . .
-     (Caxt. Cel., 4407.)
-
-     1839. A Specimen Book of the Types cast at the Austin Letter
-     Foundry, by Wood & Sharwoods. No. 120, Aldersgate Street, London.
-     1839. 4to. . . . . (Caxt. Cel., 4429.)
-
-       *       *       *       *       *
-
-     1832. Specimen of Vizitelly, Branston & Co.’s Cast Metal Ornaments
-     produced by a new and improved method, greater in number and
-     variety, superior in design and execution, and considerably
-     cheaper in price than any collection hitherto offered to the
-     notice of printers. 76, Fleet Street, London, January 1832. 4to.
-     . . . . (Caxt. Cel., 4416.)
-
-
-LOUIS JOHN POUCHÉE, _circ._ 1815.
-
-This Frenchman started a foundry in Great Wild Street, Lincoln’s Inn.
-He had probably been established a few years when his first specimen
-was issued in 1819, the most interesting portion of which was a
-somewhat lengthy address to the public, setting forth the principles
-on which his “New Foundry” was to be conducted. He mentions that “only
-four Type Foundries (exclusive of mine) are worked in London at this
-time,” and declares his intention of breaking down the monopoly they
-assumed. The specimen itself is not remarkable.
-
-In 1823, he took out the patent for this country for Henri Didot’s
-system of polymatype[748] which consisted of a machine capable of
-casting from 150 to 200 types at each operation, each operation being
-repeated twice a minute. This result was to be obtained by means of
-a matrix bar which formed one side of a long trough mould into which
-the metal was poured; and, when opened, “the types are found adhering
-to the break bar like the teeth of a comb, when they are broken off
-and dressed in the usual way.” Pouchée became agent in England for
-this novel system of casting which, says the editor of the partial
-reprint of Hansard’s _Typographia_, writing in 1869, was still used
-successfully in France at that date. {362}
-
-The attempt to introduce this system into England went far to ruin
-Pouchée; and, according to the above authority, “on his failure to
-sustain the competition of the associated founders,[749] Didot’s
-machine and valuable tools were purchased by them through their agent,
-Mr. Reed, Printer, King Street, Covent Garden, and destroyed on the
-premises of Messrs. Caslon and Livermore.”
-
-Despite this unfortunate speculation, Pouchée (who appears for some
-time to have had a partner named Jennings),[750] issued another
-Specimen Book in 1827, dated from Little Queen Street, London, in the
-advertisement of which he again referred to the fact that there were
-still only four letter-foundries in London (exclusive of his own), and
-took credit to himself for bringing about a reduction of 12 per cent.
-in the prices of his opponents. The specimen, which shows Titlings,
-Roman and Italic, Egyptians, Blacks and Flowers, is of little merit and
-is marked by a great preponderance of heavy faces.
-
-About the same time,[751] he issued a price list of all kinds of
-printers’ materials, styling himself “Type Founder and Stereotype
-Caster.” In the beginning of 1830 he abandoned the business, which was
-sold by auction. The Catalogue included a large quantity of stereotype
-ornaments, as well as 20,000 matrices and punches, moulds, presses,
-and 35 tons of Type. The lots were variously disposed of at low prices
-among the other founders.
-
-
-SPECIMENS.
-
-     1819. Specimen of Printing Types by L. J. Pouchée, at the New
-     Foundry, Great Wild Street, Lincoln’s Inn Fields, London. 1819.
-     8vo. . . . . (Caxt. Cel., 4397.)
-
-     1827. Specimens of Printing Types by Louis J. Pouchée, Little
-     Queen Street, London. 1827. 8vo. . . . . (Ox. Univ. Pr.)
-
-
-RICHARD WATTS, _circ._ 1815.
-
-Richard Watts, a printer of Crown Court, Strand, who, from 1802–9,
-had held the office of printer to Cambridge University, distinguished
-himself towards the close of the first quarter of the present century
-as a cutter and founder of Oriental and foreign characters, of which he
-accumulated a considerable collection. His first printing office was at
-Broxbourne, whence in 1816 he removed to Crown Court, Temple Bar, and
-here, chiefly under the patronage of the Bible {363}
-
-Society and the Mission Presses in India and elsewhere, he produced
-the punches of a large number of languages hitherto unknown to English
-typography. He received the assistance and advice of many eminent
-scholars in his work, some of whom personally superintended the
-execution of certain of the founts. His collection increased at a rapid
-rate, and at the time of his death included almost every Oriental
-language in which, at that time, the Scriptures had been printed. His
-death occurred in 1844 at Edmonton, in which place his foundry appears
-to have been for some time located.
-
-He was succeeded in business by his son, Mr. William Mavor Watts, who
-printed a broadside specimen of the founts, numbering 67 languages and
-dialects, of which several were shown in different sizes of character.
-This number was largely augmented during the following years, and,
-in the specimen prepared by Mr. Watts for the Exhibition of 1862,
-nearly 150 versions were exhibited. To this specimen was prefixed an
-interesting note respecting the origin of many of the founts. The
-collection was subsequently acquired by Messrs. Gilbert and Rivington,
-in whose possession it still remains and increases.
-
-
-HUGH HUGHES, 1824.
-
-This artist, described as a very able engraver, was for some time in
-partnership with Robert Thorne at the Fann Street Foundry. In 1824, he
-commenced a foundry of his own in Dean Street, Fetter Lane, whence he
-published a specimen of Book and Newspaper type, without date, which,
-besides Romans, Scripts, and Egyptians, included also Saxon, Greek,
-Flowers, and Music.
-
-He appears specially to have applied himself to the production of
-this last-named character, and attained the reputation of being the
-best music type cutter in the trade. Savage, in his _Dictionary of
-Printing_, shows a specimen of Hughes music, observing that “the
-English musical types have never to my knowledge undergone any
-improvement till within a few years, when Mr. Hughes cut two new
-founts,” (Nonpareil and Pearl), “which are looked upon as the best we
-have and the largest of which I have used for this article (‘Music’).”
-Hughes’ system appears to have been that originally introduced by
-Breitkopf in 1764, and the scheme of a pair of cases by which his
-specimen is accompanied shows that a complete fount comprised as many
-as 238 distinct characters. Besides music of the modern notation,
-Hughes had matrices for the Gregorian Plain Chant Music, of which a
-specimen is also shown by Savage.
-
-After the death of Mr. Hughes, which took place before 1841, the
-punches and matrices of his different music founts, Gregorian and
-modern, were purchased by Mr. C. Hancock, of Middle Row, Holborn, by
-whom they were considerably {364} improved, and who, subsequently,
-after his removal to Gloucester Street, Queen Square, issued a
-specimen. Of the disposal of the other contents of Mr. Hughes’ foundry
-we have no information.
-
-
-SPECIMENS.
-
-     No date. A Specimen of Book and Newspaper Printing Types by Hugh
-     Hughes, Letter Cutter and Founder, 23 Dean Street, Fetter Lane.
-     8vo. . . . . (Caxt. Cel., 4398.)
-
-     No date. Specimen Sheet of Modern Music Types by H. Hughes, 23
-     Dean Street, Fetter Lane, together with a scheme of Music Cases.
-     8vo. . . . . (T. B. R.)
-
-
-BARTON, 1824.
-
-Hansard states that this founder was early initiated in mechanical
-science by Mr. Maudsley, the engineer; he was formerly in partnership
-with Mr. Harvey, an engraver, by whom his founts were principally cut.
-His foundry was in Stanhope Street, Clare Market, and is mentioned by
-Johnson as one of the nine foundries carried on in London in the year
-1824. No Specimen has come under observation.
-
-
-HEAPHY, 1825; SIMMONS, 1825; BLACK, 1825.
-
-To complete the list of minor founders prior to 1830, should be added
-the names of these three individuals, who are mentioned by Hansard in
-his _Typographia_ as distinct London letter founders in 1825.
-
-[Illustration]
-
-{365}
-
-[Illustration]
-
-
-
-
- CHRONOLOGICAL TABLE
- OF ENGLISH LETTER-FOUNDERS’ SPECIMENS
- NOTED IN THIS WORK.
- 1665–1830.
-                                      PAGE
- 1665.     Nicholls                     179
- 1669.     Moxon                        192
- 1693.     Oxford                       162
- 1695.     Oxford                       162
- 1706.     Oxford                       162
- (1708?)   Oxford                       162
- 1734.     Caslon                       256
- 1749.     Caslon                       256
- 1749.     Caslon and Son               256
- 1749.     Caslon and Son               256
- (1752?)   Baskerville                  287
- 1753.     Anderton                     350
- (1756?)   Baine                        350
- (1757?)   Baskerville                  287
- (1758?)   Baskerville                  287
- (1762?)   Baskerville                  287
- (1760?)   Cottrell                     297
- 1763.     Caslon and Son               256
- 1764.     Caslon and Son               256
- (1765?)   Jackson                      329
- 1766.     Caslon                       256
- (1766?)   Cottrell                     313
- 1768.     Moore (London)               313
- 1768.     Fougt                        351
- 1768–70.  Oxford                       163
- 1770.     Caslon                       256
- 1770.     Caslon                       256
- 1770.     Cottrell                     297
- 1770.     Moore                        313
- 1772.     Wilson                       266
- (1778?)   Oxford                       163
- 1782.     James                        230
- (1783?)   Jackson                      329
- 1783.     Wilson                       266
- 1784.     Caslon and Son               256
- 1785.     Caslon                       256
- 1785.     Caslon                       256
- 1785.     Caslon                       297
- (1785?)   Cottrell                     297
- 1785.     Fry and Sons                 313
- 1785.     Fry and Sons                 313
- 1786.     Oxford                       163
- 1786.     Caslon                       256
- 1786.     Wilson                       266
- 1786.     Fry and Sons                 313
- 1787.     E. Fry and Co.               313
- 1787.     Baine                        350
- 1788.     E. Fry and Co.               313
- 1789.     Wilson                       266
- 1789.     Bell and Stephenson          354
- 1790.     Fry and Co                   313
- (1792)    Figgins                      344
- 1793.     E. Fry and Co.               314
- (1793)    Figgins                      344
- 1794.     Oxford                       163
- 1794.     Thorne                       297
- 1794.     Fry and Steele               314
- 1794.     Fry and Steele               314
- 1794.     Figgins                      344
- 1795.     Fry and Steele               314
- 1796.     S. and C. Stephenson         354
- 1797.     S. and C. Stephenson         354
- 1798.     Thorne                       297
- (1798?)   Jackson                      329
- 1798.     Caslon III                   329
- 1798.     Caslon III                   329
- 1800.     Fry, Steele, and Co.         314
- 1801.     Fry, Steele, and Co.         314
- 1802.     Figgins                      344
- (1802?)   Figgins                      344
- 1802.     Swinney                      353
- 1803.     Fry, Steele, and Co.         314
- 1803.     Thorne                       297
- 1803.     Caslon III and Son           329
- 1805.     Caslon & Catherwood          256
- 1805.     Fry and Steele               314
- (1805?)   Fry and Steele               314
- 1807.     Caslon IV                    329
- 1808.     Caslon & Catherwood          256
- 1808.     Fry and Steele               314
- (1809)    Miller                       356
- (1812?)   Caslon and Catherwood        256
- 1812.     Wilson                       266
- 1813.     Miller                       356
- 1815.     Wilson                       266
- 1815.     Figgins                      344
- 1815.     Miller                       356
- 1816.     Ed. Fry                      314
- 1817.     Figgins                      344
- (1819)    Blake, Garnett               329
- 1819.     Pouchée                      362
- 1820.     Ed. Fry and Son              314
- 1821.     Thorowgood                   297
- 1821.     Figgins                      344
- 1821.     Bessemer                     359
- 1822.     Thorowgood                   297
- 1822.     Miller                       356
- 1823.     Wilson                       266
- 1824.     Ed. Fry                      314
- 1824.     Figgins                      344
- (1824?)   Hughes                       364
- 1825.     Bessemer and Catherwood      359
- 1826.     Blake, Garnett               329
- 1826.     Figgins                      344
- 1827.     Fry                          314
- 1827.     Blake, Garnett               329
- 1827.     Figgins                      344
- 1827.     Austin                       361
- 1827.     Pouchée                      362
- 1828.     Wilson                       267
- 1828.     Thorowgood                   297
- 1828.     Blake, Garnett               329
- 1830.     Caslon and Livermore         256
- 1830.     Thorowgood                   297
- 1830.     Thorowgood                   297
- 1830.     Blake and Stephenson         329
- 1830.     Bessemer                     359
-
-{366}
-
-[Illustration]
-
-
-
-
-LIST OF THE PRINCIPAL AUTHORITIES CONSULTED OR REFERRED TO.
-
-
-     AMES (JOSEPH), Typographical Antiquities; being an Historical
-     Account of Printing in England. London, 1749, 4to.
-
-     AMES (JOSEPH), Typographical Antiquities; augmented by William
-     Herbert. 3 vols. London, 1785–90, 4to.
-
-     AMMAN (JOST.), Eygentliche Beschreibung aller Stände
-     und...Handwerker. Frankfurt, 1568, 4to.
-
-     ARBER (EDWARD), Transcripts of the Registers of the Stationers’
-     Company. London, 1875–77, 4 vols. 4to.
-
-     ASTLE (THOS.), The Origin and Progress of Writing. London, 1784,
-     4to.
-
-     BELOE (W.), Anecdotes of Literature and Scarce Books, 6 vols.
-     London, 1807–12, 8vo.
-
-     BERJEAU, (J. PH.), Speculum Humanæ Salvationis: Reproduit en
-     facsimile. Londres, 1861, 4to.
-
-     BERNARD (A. J.), Antoine Vitré et les Caractères orientaux de la
-     Bible Polyglotte de Paris. Paris, 1857, 8vo.
-
-     BERNARD (A. J.), Les Estienne et les types grecs de Francis 1er.
-     Paris, 1856, 8vo.
-
-     BERNARD (A. J.), De l’Origine et des Débuts de l’Imprimerie en
-     Europe, 2 vols. Paris, 1853, 8vo.
-
-     BIBLIANDER (T.), In Commentatione de ratione communi omnium
-     linguarum et literarum. Tiguri, 1548.
-
-     BIGMORE and WYMAN, A Bibliography of Printing, 3 vols. London,
-     1880–6, 4to.
-
-     BLADES (WILLIAM), Life and Typography of William Caxton, 2 vols.
-     London, 1861–3, 4to.
-
-     BLADES (WILLIAM), Some Early Type Specimen Books of England,
-     Holland, France, Italy and Germany. London, 1875, 8vo.
-
-     BODONI (G.), Manuale Tipografico, 2 vols. Parma, 1818, 4to.
-
-     BOWERS BROS., Proposals for Establishing a Graduated Scale of
-     Sizes for the Bodies of Printing Types. Sheffield, 1841, 12mo.
-
-     BRITISH MUSEUM, Catalogue of Early English Books to 1640, 3 vols.
-     London, 1884, 8vo.
-
-     BUTLER, (A. J.), Ancient Coptic Churches of Egypt, 2 vols. Oxford,
-     1884, 8vo.
-
-     CAILLE (J. DE LA), Histoire de l’Imprimerie et de la Libraire.
-     Paris, 1689, 4to.
-
-     CAXTON CELEBRATION....Catalogue of the Loan Collection at South
-     Kensington. London, 1877, 8vo.
-
-     CHALMERS (ALEX.), The General Biographical Dictionary, 32 vols.
-     London, 1812–17, 8vo.
-
-     CHAMBERS (EPHRAIM), Cyclopœdia, 2 vols., 1728, folio (also
-     editions, 1738 and 1784–6).
-
-     CHEVILLIER (A.), L’Origine de l’Imprimerie de Paris. Paris, 1694,
-     4to.
-
-     COTTON (HY.), A Typographical Gazetteer attempted. 1st series, 2nd
-     ed., Oxford, 1831, 8vo; second series, 1866, 8vo.
-
-     D’ANVERS (Mrs.), Academia, or the Humours of the University of
-     Oxford, 1691.
-
-     DAUNOU (P. C. F.), Analyse des opinions diverses sur l’Origine d
-     l’Imprimerie. Paris, 1810, 8vo.
-
-     DE GEORGE (LÉON), La Maison Plantin à Anvers. 2nd ed. Bruxelles,
-     1878, 8vo.
-
-     DE VINNE (THEODORE), The Invention of Printing. New York, 1877,
-     8vo.
-
-     DIBDIN (T. F.), The Bibliographical Decameron, 3 vols. London,
-     1817, 8vo.
-
-     DIBDIN (T. F.), Introduction to the Knowledge of the rare and
-     valuable Editions of the Classics. 4th ed., 2 vols. London, 1827,
-     8vo.
-
-     DICKSON (R.), The Introduction of the Art of Printing into
-     Scotland. Aberdeen, 1885, 8vo.
-
-     DIDOT (PIERRE), Epitre sur les Progrès de l’Imprimerie. Paris,
-     1784, 8vo.
-
-     DUNTON (JNO.), The Life and Errors of. London, 1705, 8vo.
-
-     DUPONT (PAUL), Histoire de l’Imprimerie, 2 vols. Paris, 1854, 8vo.
-
-     DÜRER (ALB.), Unterweissung der Messung. Nuremburg, 1525, folio.
-
-     [DUVERGER (E.)], Histoire de l’invention de l’Imprimerie par les
-     Monuments. Paris, 1840, folio.
-
-     EDWARDS (E.), Libraries and Founders of Libraries. London, 1865,
-     8vo.
-
-     [ENCYCLOPÆDIA], Article sur Fonderie en Caractères de
-     l’Imprimerie. Paris, n. d., folio.
-
-     ENSCHEDÉ, Specimen de Caractères Typographiques Anciens. Harlem,
-     1867, 4to. {367}
-
-     ESSAY on the Original, Use, and Excellency of the Noble Art and
-     Mystery of Printing. London, 1752, 8vo.
-
-     EVELYN (JNO.), Diary and Correspondence, 4 vols. London, 1850–2,
-     8vo.
-
-     FAULMAN (C.), Geschichte der Buchdruckerkunst. Vienna, 1882, 8vo.
-
-     FIGGINS (V.), Facsimile of Caxton’s Game of the Chesse; with
-     remarks. London, 1855, folio.
-
-     FINESCHI (V.), Notizie Storiche sopra la Stamperia di Ripoli.
-     Fiorenze, 1781, 8vo.
-
-     FISCHER (G.), Essai sur les Monumens typographiques de Jean
-     Gutenberg. Mayence, 1802, 4to.
-
-     FOURNIER (P. S.), Manuel Typographique, utile aux gens de lettres,
-     2 vols. Paris, 1764–66, 8vo.
-
-     FRANKLIN (BENJ.), Works of, 2 vols., London, 1793, 8vo; also
-     Bigelow’s edition, 3 vols. Philadelphia, 1875, 8vo.
-
-     FREEMASON’S MAGAZINE. London, 1796, 8vo.
-
-     FRY (EDMUND), Pantographia. London, 1799, 8vo.
-
-     GAELIC SOCIETY OF DUBLIN: Transactions of, Dublin, 1808, 8vo.
-
-     GAND (M. J.), Recherches Historiques et Critiques sur la Vie et
-     les Editions de Thierry Martens. Alost, 1845, 8vo.
-
-     GED (WILLIAM), Biographical Memoirs of. London, 1781, 8vo.
-
-     GENTLEMAN’S MAGAZINE. Vols. for 1792, 1793, 1803, 1836.
-
-     GOUGH (R.), British Topography, 2 vols. London, 1780, 4to.
-
-     GRESWELL (W. P.), A View of the Early Parisian Greek Press, 2
-     vols. Oxford, 1838, 8vo.
-
-     GUIGNES (J. DE), Essai Historique sur la Typographie Orientale et
-     Grecque de l’Imprimerie Royale. Paris, 1787, 4to.
-
-     GUTCH (JNO.), Collectanea Curiosa, 2 vols. Oxford, 1781, 8vo.
-
-     HANSARD (T. C.), Typographia. London, 1825, 8vo.
-
-     [HANSARD (T. C.), the Younger.] Treatises on Printing and
-     Type-founding (from the Encycl. Britan.). Edinburgh, 1841, 8vo.
-
-     HARLEIAN MSS.—The Bagford Collections.
-
-     HARLEIAN MISCELLANY, 8 vols. Lond., 1744–46, 4to. Vol. 3.
-
-     HARWOOD (EDW.), A View of the Various Editions of the Greek and
-     Roman Classics. Lond., 1775, 12mo.
-
-     HAWKINS (SIR JOHN), A General History of the Science and Practice
-     of Music. London, 1776, 4to. Vol. 5.
-
-     HEARNE (THOS.), Reliquiæ Hernianæ. Oxford, 1869, 4to, Vol. 2.
-
-     HODGSON (T.), An Essay on the Origin and Progress of Stereotype
-     Printing. Newcastle, 1820, 8vo.
-
-     IMPRIMERIE ROYALE (de Paris). Specimen: Ancienne Typographic.
-     Paris, 1819, 4to.
-
-     JAMES (JOHN), Catalogue and Specimen of the large and extensive
-     Printing Type Foundry of. London, 1782, 8vo.
-
-     LABORDE (LÉON), Débuts de l’Imprimerie â Strasbourg. Paris, 1840,
-     8vo.
-
-     LA CROIX, FOURNIER ET SERÉ, Histoire de l’Imprimerie, etc. Paris,
-     1852, 4to.
-
-     LAMBINET (PIERRE), Origine de l’Imprimerie, 2 vols. Paris, 1810,
-     8vo.
-
-     LANSDOWNE MSS., No. 231.
-
-     LATHAM (H.), Oxford Bibles and Printing in Oxford. Oxford, 1870,
-     8vo.
-
-     LAUD (Arch.), Works of, 7 vols. Oxford, 1847–60, 8vo. Vol. 5.
-
-     LEMOINE (HY.), Typographical Antiquities. London, 1797, 12mo.
-
-     LINDE (M. A. VAN DER), The Haarlem Legend of the Invention of
-     Printing by L. J. Coster, critically examined. Lond., 1871, 8vo.
-
-     LOMÉNIE (L. DE), Beaumarchais et ses Temps. Edwards’ translation,
-     4 vols. London, 1856, 8vo. Vol. 3.
-
-     LONDON PRINTERS’ LAMENTATION. (London, 1660) 4to.
-
-     LONG (J. LE), Discours Historique sur les principales editions des
-     Bibles Polyglottes. Paris, 1713, 12mo.
-
-     LUCE (L.), Essai d’une nouvelle typographie. Paris, 1771, 4to.
-
-     [LUCKOMBE (P.)], A Concise History of the Origin and Progress of
-     Printing. London, 1770, 8vo.
-
-     MCCREERY (JNO.), The Press, a Poem. Published as a Specimen of
-     Typography. Liverpool, 1803–27, 4to.
-
-     MADDEN (J. P. A.), Lettres d’un Bibliographe, 5 vols. Paris,
-     1868–78, 8vo.
-
-     MASON (MONCK), Life of William Bedell, D.D. London, 1843, 8vo.
-
-     MEERMAN (G.), Origines Typographicæ. 2 vols. Hagæ Com., 1765, 4to.
-
-     MILTON (JOHN), Areopagitica. (Arber’s Reprint.) London, 1868, 8vo.
-
-     MORES (E. ROWE), A Dissertation upon English Typographical
-     Founders and Founderies. London, 1778, 8vo.
-
-     MOXON (JOSEPH), Regulæ Trium Ordinum Literarum Typographicarum.
-     London, 1676, 4to.
-
-     MOXON (JOSEPH), Mechanick Exercises, or the Doctrine of
-     Handy-Works, 2 vols. London, 1677–83, 4to.
-
-     MOXON (JOSEPH), Tutor to Astronomy and Geography, 4th ed. London,
-     1686, 4to.
-
-     NICHOLS (JNO.), Biographical and Literary Anecdotes of William
-     Bowyer, Printer, F.S.A. London, 1782, 4to. {368}
-
-     NICHOLS (JNO.), Literary Anecdotes of the Eighteenth Century, 9
-     vols. London, 1812–15, 8vo.
-
-     NICHOLS (JNO.), Illustrations of the Literary History of the
-     Eighteenth Century, 8 vols. London, 1817–58, 8vo.
-
-     NOBLE (MARK), Continuation of Granger’s Biographical History of
-     England, 3 vols. London, 1806, 8vo.
-
-     OTTLEY (W. Y.), An Inquiry concerning the Invention of Printing.
-     London, 1863, 4to.
-
-     OWEN (HUGH), Two Centuries of Ceramic Art in Bristol. 1873, 8vo.
-
-     PACIOLI (LUCA), De Divinâ Proportione. Venice, 1509, folio.
-
-     PALMER (SAM.), A General History of Printing. London, 1732, 4to.
-
-     PANIZZI (SIR A.), Chi era Francesco da Bologna? London, 1858, 16mo.
-
-     PANZER (G. W.), Annales Typographici, 11 vols. Nuremberg,
-     1793–1803, 4to.
-
-     PARR (RICHD.), The Life of James Usher, Archbishop of Armagh.
-     London, 1686, folio.
-
-     PATENTS FOR INVENTIONS. Abridgments of Specifications relating to
-     Printing (1617–1857). London, 1859, 8vo.
-
-     PATER (PAULUS), De Germaniæ miraculo, optimo, maximo, Typis
-     Literarum . . Dissertatio. Lipsisæ, 1710, 4to.
-
-     PHILIPPE (J.), Origine de l’Imprimerie â Paris. Paris, 1885, 4to.
-
-     PRINTER’S ASSISTANT, The. London, 1810. 12mo.
-
-     PRINTER’S GRAMMAR, The. London, 1787, 8vo.
-
-     PSALMANAZAR (GEO.), Memoirs of. London, 1765, 8vo.
-
-     REID (JNO.), A Specimen of the Printing Types and Flowers
-     belonging to. Edinburgh, 1768, 8vo.
-
-     RENOUARD (A.), Annales de l’Imprimerie des Alde. 3 vols. Paris,
-     1825, 8vo.
-
-     RENOUARD (A.), Catalogue de la Bibliotheque d’un Amateur. 4 vols.
-     Paris, 1819, 8vo.
-
-     RICHARDSON (REV. J.), A History of the Attempts that have been
-     made to convert the Popish Native of Ireland. 1712, 8vo.
-
-     RICHARDSON (WM.), A Specimen of a New Printing Type, in Imitation
-     of the Law-hand. London, n.d. broadside.
-
-     RIVINGTON (C. R.), Records of the Company of Stationers. London,
-     1883, 8vo.
-
-     ROCCHA (ANGELO), Bibliotheca Apostolica Vaticana. Rome, 1591, 4to.
-
-     ROSSI (J. B. DE), De Hebraicæ Typographiæ Origine ac Primitiis.
-     Parma, 1776, 4to.
-
-     RUSHWORTH’S Historical Collections, 8 vols. London, 1659–1701,
-     folio. Vol. 2.
-
-     SARDINI (G.), Storia Critica di Nicolao Jenson, 3 vols. Lucca,
-     1796–98, folio.
-
-     SAVAGE (WM.), A Dictionary of the Art of Printing. London, 1841,
-     8vo.
-
-     SAVAGE (WM.), Practical Hints on Decorative Printing. London,
-     1822, 4to.
-
-     SCHOEPFLIN (J. D.), Vindicisæ Typographiæ. Argentorati, 1760, 4to.
-
-     SCHWAB (M.), Les Incunables Orientaux. Paris, 1883, 8vo.
-
-     SHENSTONE (WM.), Works in Verse and Prose, 3 vols. London, 1791,
-     12mo.
-
-     SKEEN (W.), Early Typography. Colombo, 1872, 8vo.
-
-     SMITH (JNO.), The Printer’s Grammar. London, 1755, 8vo.
-
-     SMITH (THOS.), Vitæ quorundam eruditissimorum et illustrium
-     Virorum. London, 1707, 4to.
-
-     STAR-CHAMBER. A Decree of Starre Chambre concerning Printing (11
-     June, 1637). London, 1637, 4to.
-
-     STATE PAPERS, Domestic, Calendars of, Various years.
-
-     STOWER (C.), The Printer’s Grammar. London, 1808, 8vo.
-
-     STRYPE (JNO.), Life and Acts of Matthew Parker. London, 1711,
-     folio.
-
-     THIBOUST (C. L.), De Typographiæ Excellentiâ; Carmen. Paris, 1718,
-     8vo.
-
-     THOMAS (ISAIAH), The History of Printing in America, (2nd ed.), 2
-     vols., Albany, 1874, 8vo.
-
-     TIMPERLEY (C.), Encyclopædia of Literary and Typographical
-     Anecdote. London, 1842, 8vo.
-
-     TIMPERLEY (C.), Songs of the Press, London, 1833, 8vo.
-
-     TODD (H. J.), Memoirs of the Life and Writings of the Rt. Rev.
-     Brian Walton, D.D., 2 vols. London, 1821, 8vo.
-
-     TORY (GEOFROY), Champ-Fleury. Paris, 1529, sm. folio.
-
-     TRITHEMIUS (JOH.), Annales Hirsaugienses, 2 vols. St. Gall, 1690,
-     4to.
-
-     TWYN (JNO.), An Exact Narrative of the Tryal and Condemnation of.
-     Lond., 1664, 4to.
-
-     UNIVERSAL MAGAZINE, London, 1750, 8vo.
-
-     [WATSON (JAMES)], The History of the Art of Printing. Edinburgh,
-     1713, 8vo.
-
-     WETTER (JOH.), Kritische Geschichte der Erfindung der
-     Buchdruckerkunst. Mainz, 1836, 8vo., and atlas of plates.
-
-     WILLEMS (A.), Les Elzevier; Histoire et Annales Typographiques.
-     Bruxelles, 1880.
-
-     WILKINS (DAVID), Concilia Magnæ Britanniæ et Hiberniæ. London,
-     1737, folio. Vol. 4.
-
-     WOOD (ANTHONY À), Athenæ Oxonienses, 2 vols. Lond., 1791–2, folio.
-
-     YCAIR (J. DE), Orthographia Practica. Caragoça, 1548, 4to.
-
-{369}
-
-[Illustration]
-
-
-
-
-INDEX.
-
-
-_Acta Apostolorum, Gr., Lat. (Laud. Codex)_, Oxford 1715; 321
-
-_Acta Sanctorum Hiberniæ_, Louvain, 1645; 75
-
-Adams (Geo.), successor to Moxon, 192
-
-Advertisement of Caxton, 49, 87
-
-_Ælfredi Res Gestæ_, Lond. 1574; 73, 95, 96, 98, 144, 176
-
-_Ælfric’s Paschal Homily_, Lond. 1567; 73, 95: Lond. 1623; 73
-
-_Æneas Silvius_, Louvain, 1483; 43
-
-_Æsop’s Fables_, Milan, 1480; 57: Louvain, 1513; 59
-
-Aldus Manutius, Specimen, 49, 169; ‘Silver type’, 106; Greek, 58;
-Hebrew, 62; Initials, 80; Italic, 50; Ornaments, 82; Roman, 41
-
-Alexandrian Greek, matrices, Grover, 198, 204, 321; James, 228, 303,
-321; Fry, 303, 304, 311, 321; Jackson, 321, 322
-
-_Alfieri, Works of_, Kehl, 1786–1809; 286
-
-_Alphabet Irlandais_, Paris, 1804; 76, 191
-
-_Alphabetarium Runic-Swed._, Stockholm, 1611; 72
-
-_Alphabetum, Heb., Gr._, Paris 1507; 62: Paris 1516; 63
-
-Amerbach, Roman type of, 43
-
-America, first letter-founders in, 350
-
-Ames (Jos.) on Caxton’s types, 84, 242; on Caslon’s, 242; inaccuracy
-of, 349
-
-Amharic, same as Ethiopic, 69, 177; Castell’s, 177; Oxford, 177; Fry,
-309, 311
-
-Amman (Jost), _Book of Trades_, 104
-
-ANDERTON (GEO.) founder, 246, 350; specimen of, 350
-
-ANDREWS (ROB.) 157, 166, 194–197; succeeds Moxon, 194; punches cut by,
-74, 157, 196; summary of foundry, 195; foundry sold, 197
-
-——— Matrices: Anglo-Norman, 196; Arabic, 195; Blacks, 194, 196, 312;
-Ethiopic, 194, 193; Greek, 195, 197; Hebrew, 194, 195; Irish, 194, 196;
-Music, 77, 196; Roman and Italic, 195, 197; Samaritan, 70, 195; Saxon,
-74, 157, 196; Secretary, 196; Signs, etc., 196; Syriac, 195, 241
-
-ANDREWS (SYL.) son of above, 149, 195, 209; supplies Baskett, 210;
-foundry sold, 211; epitaph, 211
-
-ANDREWS (SYL.) Matrices: Hebrew, 209; Roman and Italic, 209, 210
-
-‘ANONYMOUS FOUNDRY,’ 206
-
-——— Matrices: Anglo-Norman, 207; Arabic, 207; Black, 207; Ethiopic,
-207; Gothic, 207; Greek, 207; Roman, 207
-
-Anglo-Norman Matrices: Andrews, 196; ‘Anon,’, 207; James, 223, 228
-
-Anglo-Saxon; _see_ Saxon
-
-_Anthologia, Gr._, Florence 1494; 57
-
-Antimony, discovered, 20; use of in type metal, 20, 117; prices of, 118
-
-Antiqua, German name for Roman, 42; Italian ditto, 42
-
-_Antiques linguæ Brit, rudimenta_, Lond. 1621; 64
-
-Applegarth (A.) type-casting machine of, 121
-
-Apprentice-founders, regulation of, 130, 133; in France, 129
-
-_Aquinas (St. Th.) Summa_, 1462; 54
-
-Arabic, first types of, 65; printed in Black or Hebrew, 65; early in
-Italy, 65, 66; Paris, 65; Leyden, 65, 141, 144; Upsala, 66
-
-——— in England, first types, 66; printed in Italic, 66; written by
-hand, 66; De Worde’s, 66, 91; Bedwell’s, 66, 145; none at Oxford, 1639,
-66: Flesher’s, 66
-
-——— Matrices: Oxford, 66, 147, 148, 155, 161; Polyglot, 66, 173, 174,
-177, 198; Andrews, 195; Grover, 198, 235; ‘Anon,’ 207; James, 67, 223,
-228, 303; Caslon, 67, 235, 240, 247, 254; Fry, 67, 303, 309, 311;
-Caslon III, 326
-
-——— Punches: James, 229
-
-_Arabian Trudgman_, Lond. 1615; 66
-
-_Arba Turim_, Pheibia, 1475; 62
-
-Arber (E.) on early English printers, 125
-
-_Archaionomia_, Lond. 1568; 95
-
-_Areopagitica_ of Milton, 130
-
-_Aristotle_, Venice, 1495; 58
-
-Armenian, first types, 68; at Rome, 68; Paris, 68; Amsterdam, 68;
-Marseilles, 68; Constantinople, 68
-
-——— Matrices: Oxford, 62, 148, 153, 161; Caslon, 69, 239, 240, 247,
-254; Caslon III, 326
-
-Aspinwall (T.) type-casting machine of, 122
-
-Astle (T.) on early type ‘bills,’ 28; on Day’s Saxon, 96
-
-Atanasia, Spanish type body, 37
-
-Athias (Jos.) Dutch founder, 114, 215; Hebrew type of, 64, 215, 238, 264
-
-_Attempts to convert the Native Irish_, Lond., _n.d._, 190
-
-Augustin, a type body, 32, 37
-
-_Augustini, De Civitate Dei_, Rome, 1474; 37: Basle, 1506; 37
-
-AUSTIN (RICHD.) letter founder, 359; cuts punches for Stephenson, 353,
-359; Wilson, 360; and Miller, 355, 360; starts a foundry, 360; specimen
-and advertisement, 360; anecdote of, 360; his successors, 360
-
-——— Matrices, Roman and Italic, 360
-
-Baber (H. H.) facs. of Alexandrian _Codex_, 322
-
-Badius Ascensius, French printer, 20; device, 106; Greek, 58; Hebrew,
-63; Roman, 43
-
-Bagford (Jno.) notes on printing, 84, 139, 140, 144, 146, 165; on
-Oxford Specimen, 154; on Oxford Printing House, 156
-
-Bagster (S.), Polyglot _Bible_ of, 65, 308, 311, 341; Hebrew, cut for,
-65, 341; Syriac, 308, 311, 342
-
-BAINE (JNO.) partner with Wilson, 239, 260; begins a foundry in London,
-349; in Edinburgh, 349; specimens, 263, 349, 350
-
-Barclay (R.) patent punches of, 119
-
-Barker (Chr.) report on printers, 1582: 126
-
-Barker (F.) printer of ‘Wicked’ _Bible_, 142, 143
-
-Barnes (Jos.) Oxford printer, 140
-
-BARTON—letter founder, 364
-
-Base-Secretary, peculiar type, 55, 56, 289
-
-BASKERVILLE (JNO.) 268–87; early training, 268; first types cut by,
-268, 269, 275; letters to Dodsley, 270–2; _Virgil_, 1757, 271, 272,
-273; specimens, 271, 276, 277, 287; preface to _Milton_, 275; tribute
-to Caslon, 243, 275; employed by Oxford Press, 160, 273, 274; dazzling
-impressions of, 275, 279; relics of, at Oxford, 160, 162, 274;
-privilege from Cambridge, 276, 278; type bodies, 276; punch-cutters
-for, 269, 277, 353; letter to H. Walpole, 278; prejudice against, 278,
-279, 280, 284; folio _Bible_, 1763, 279; tries to sell business, 278,
-281, 284; correspondence with Franklin, 280, 281; various tributes
-to, 263, 272, 277, 280, 284; retires from printing, 281, resumes 281;
-death, 281; personal notices of, 282; epitaph and burial, 282, 283;
-portrait, 283; his influence on English typography, 284, 299, 305, 310,
-332, 333; destination of his types, 287, 286
-
-——— Matrices: Roman, 47, 48, 263, 270, 271, 275, 276, 277, 279, 280,
-284; Greek, 61, 160, 273, 274; Initials, 81, 270
-
-Bakerville (Mrs.) notice of, 282, 283; her advertisements, 283; book
-printed by, 238
-
-Baskett (Jno.) printer at Oxford, 210; his ‘Vinegar’ _Bible_, 1717–16,
-210; inventory of his types, 210; ‘silver initials’ of, 107, 211
-
-Batarde, a class of type, 36, 53, 55
-
-Bay (Jno.) early American founder, 350
-
-Beaumarchais, purchases Baskerville’s foundry, 284; typographical
-establishment at Kehl, 285; editions of _Voltaire_, 285, 286
-
-_Beauties of the Poets_, Lond. 1788; 306
-
-Bebel, Hebrew type of, 63
-
-_Bede’s Works_, Camb. 1644; 74
-
-Bedell (Bp.) _A B C. or Catechism_, Dublin, 1631, 188; Irish _Old
-Testament_, Lond. 1685; 188
-
-Bedwell (Wm.) buys Arabic abroad, 66, 145
-
-BELL and STEPHENSON, letter founders, 353
-
-_Bellows’ French Dictionary_, Edinburgh, 1873; 356
-
-Bengalee matrices, Jackson, 317, 318; Wilkins, 318
-
-Bensley (T.) printer, employs Figgins, 336
-
-Bernard (A.) on sculpto-fusi types, 8; sand-cast type, 10, 12; ‘getté
-en molle,’ 13; on early founts, 27
-
-Berte (A. F.) type-casting machine of, 119, 120
-
-Berthelet (T.) types of, 94; _Boke named the Governour_, 94
-
-BESLEY (ROBT.) partner of Thorowgood, 296
-
-BESSEMER (ANT.) letter founder, 254, 265, 358; starts at Charlton, 358;
-joined, by J. J. Catherwood, 358; removes to London, 359; minute types
-cut by, 358, 359; foundry sold, 359; specimens, 358, 359
-
-——— Matrices:—Roman and Italic, 359
-
-Bessemer (H.) son of above, type casting machine of, 265, 359
-
-Bettenham (Jas.) printer, 234; assists Caslon, 234
-
-Bewick (T.) wood-engraver, 306, 330, 331
-
-_Bible_ (_Polyglot_), Complutum, 1514–17; 59, 63, 169, 170; Antwerp,
-1569–72; 51, 59, 64, 169, 170; Heidelberg, 1586; 170; Hamburg, 1596;
-170; Nuremburg, 1599; 170: Paris, 1645; 66, 67, 70, 169, 170, 171;
-London, 1657; 47, 66, 68, 69, 70, 98, 136; account of, 168–176; London,
-1817–28, &c., 65, 68, 308, 341
-
-——— (_Hebrew_) Soncino, 1488; 62; Basle, 1534: 63; Hamburg, 1587
-and 1603; 63, 247; Amsterdam, 1639; 64; Amsterdam, 1667; 64, 215;
-Amsterdam, 1705; 64
-
-_Bible_, (_Greek_) Alexandrian Codex, Lond. 1816–21; 322
-
-——— (_Latin_) Mentz _n.d._, 26, 27, 53
-
-——— (_English_) Lond. 1539 (Grafton’s) 124; Edinburgh 1576 (Bassendyne)
-46; Lond. 1631 (Barker) 142, 198; Lond. 1653 (Field) 47; Oxford,
-1717–16 (Baskett) 210; Cambridge 1763 (Baskerville) 279; Lond. 1774–6
-(Moore) 301; Bristol, 1774 (Pine) 301; Lond. 1776 (Pasham) 324; Lond.
-1777 (Fry) 302; Lond. 1800 (Macklin) 323, 336
-
-——— (_Armenian_) Amsterdam, 1666; 68
-
-——— (_Irish_) Lond. 1685; 75, 190; Lond. 1690; 190
-
-——— (_Russian_) Prague, 1517–19; 71
-
-——— (_Sclavonic_) Ostrog, 1581; 71: Moscow, 1663; 71
-
-——— (_Syriac_) Lond. 1829; 68
-
-Bible-height at Oxford, 155
-
-Bible-printing, complaints of, 232
-
-Bibliander, on wooden types, 4
-
-_Bibliotheca Apostolica Vaticana_, Rome, 1591; 65, 67, 68
-
-‘Bill’ of early founders, 28
-
-Bill (Jno.) Hebrew type of, 64
-
-Binneman (H.) types of, 96
-
-BLACK, a founder, 364
-
-Black letter, early use of in England, 54, 97; Caxton’s, 53, 87, 88,
-89, 312, 343; De Worde’s, 53, 89, 90, 91, 197, 199, 225, 239; Faques’,
-93; fashions in, 54; semi-gothic, 55, 94; mixed with Roman, 45, 80
-
-——— Matrices:—Oxford, 148, 161; Polyglot, 173, 177; Andrews, 196, 312;
-Grover, 197, 199, 225; Head, 206, 241; Mitchell, 206, 241; ‘Anon.’,
-207; James, 54, 214, 217, 223, 228, 303; Caslon, 54, 239, 240, 248,
-254; Wilson, 264; Fry, 303, 310, 311, 334; Thorne, 295; Caslon III,
-326; Figgins, 340, 343
-
-Blades (Wm.) on early schools of typography, 9; on page by page
-printing, 26; _Life of Caxton_, 83; on early letter-founding, 102
-
-BLAKE, GARNETT & CO., purchase Caslon IV’s foundry, 327; specimen, 328;
-Orientals, 328
-
-Blind type: Haüy’s, 78; Lucas, 79; Frere, 79; Moon, 79; Braille, 79;
-Carton, 79; Alston, 78, 79, 309; Fry, 78, 79, 308, 309
-
-Block books, not typographical, 2; latest printed, 2
-
-Block-printing, _see_ Stereotype
-
-Bodies, _see_ Type-bodies
-
-Bodman on wooden types, 4
-
-Bodoni (G. B.) notice of, 251, 252; specimens, 50, 252; influence on
-English typography, 251, 331; _Manuale Tipografico_, 72, 252; Etruscan
-letter of, 72; Greek, 61, 252, 332; Roman, 48, 251; Russian, 72
-
-_Boëthius de Consolatione_, Oxon. 1698; 151
-
-_Boke named the Governour_, Lond. 1531; 94
-
-Bolts (W.) Bengalee type cut for, 317, 318, 319
-
-Bomberg, Hebrew type of, 62
-
-Bourgeoise, a class of type, 32
-
-Bourgeois, an English type-body, 33, 39
-
-Bourgeois (J. de) Rouen printer, 103
-
-BOWER (G. W.) Sheffield founder, 357; specimen, 357; partners of, 357;
-attempt to regulate type bodies, 35, 357; foundry sold, 357
-
-Bowyer (Wm.) printer, account of, 234; Saxon type used by, 74, 157,
-289; fire of his office, 157, 197, 205, 234; his aid to Caslon, 234,
-236, 238, 316
-
-Bowyer (Wm. II) his aid to Jackson, 315, 316, 323
-
-Boydell (Jno.) founder of the Shakespeare press, 330
-
-Boyle (R.) Irish type cut for, 189
-
-Bradshaw (Henry) on the type of the _Mentz Psalter_, 11; on the first
-Oxford types, 138
-
-Branston, engraver and maker of cast ornaments, 360; his stereoplates
-for music, 360
-
-Breaking off, process in founding, 111, 115, 116, 117, 131
-
-‘Breaks’ of early types, 22
-
-Breitkopf (J. G.) Leipzig founder, 296; German type of, 296; Map type,
-296; Music, 78, 296; Russian, 71, 72, 296
-
-Brèves (Sav. de) Arabic cut for, 66; Syriac, 67
-
-_Breviary_ (_Icelandic_), Hoolum, 1531; 73
-
-Brevier, a type body, 32; English, 32, 33, 39, 129; German, 38
-
-Brilliant, an English type body, 356
-
-_British Theatre_, Lond. 1791–2; 52
-
-Brotherly Meeting of Printers, 165, 166, 171, 178, 193, 194, 197, 205
-
-BROWN, letter-founder, 358
-
-Browne (J.) Hebrew used by, 64
-
-Bruce (D.) type-casting machine of, 122
-
-Buchanan (Cl.) Syriac cut for, 342
-
-Buck (T.) Cambridge printer, 141
-
-Buel (Abel) early American founder, 350
-
-_Bullock’s Oratio_, Camb. 1521; 141
-
-Bulmer (W.) fine printer, 330, 331, 333; employs Birmingham cutters,
-284, 331; prints for Roxburghe club, 312, 334
-
-Burghers (M.) Oxford University engraver, 151, 210
-
-Bus (J.) Dutch founder, 114, 215
-
-_Cædmon’s Paraphrase of Genesis_, Amsterdam, 1655; 74
-
-_Calasio Concordantiæ_, Lond. 1747; 346
-
-Cambridge University, early printing at, 139, 141; offer to buy the
-Paris Greek, 61, 141; Greek types at, 60, 141; borrow type from Oxford,
-61, 141; Saxon types of, 74; privilege to Ged for stereotype, 219; to
-Baskerville, 276, 278; Orientals, cut by Fry for, 308
-
-_Cambro-brytannicæ . . lingua Institutiones_, Lond. 1592; 64
-
-Canon, a type body, 32, 36; Tory’s definition of, 32
-
-_Carmen Tograi_, Oxon. 1661; 66, 68
-
-Cartlitch (Miss), married Caslon II, 248
-
-CASLON (WM.) the First, 233–246; gunsmith’s apprentice, 233; first
-attempts at typography, 233–6; first foundry, 234; early patrons, 234;
-Palmer’s conduct to, 235, 238; early difficulties, 237; offers for
-Grover’s foundry, 237; reputation of, 237; first specimen, 240, 290;
-view of his foundry, 108, 116, 243, 288, 316; specimens, 241, 242, 280;
-various tributes to, 158, 241, 242, 243, 275; wager with Ged, 219, 238;
-rival to James, 219, 222, 238; buys half Mitchell’s foundry, 206, 221,
-241; made a Justice, 243; his workmen, 243, 288, 290, 315, 316, 350,
-351; family, 245, 246; retires, 244; anecdote of private life, 245;
-dies, 246; influence on English typography, 47, 249, 284, 301, 303, 305
-
-——— Matrices: Armenian, 69, 239, 240, 247, 254; Arabic, 67, 235,
-240, 247, 254, 311; Black, 54, 239, 240, 241, 248, 254; Coptic, 70,
-236, 237, 240, 234; Ethiopic, 69, 240, 254; Etruscan, 72, 239, 240,
-247,254; Flowers, 222, 240, 241, 248; Gothic, 73, 239, 240, 248, 254;
-Greek, 240, 241, 247, 254; Hebrew, 65, 236, 240, 247, 254; Initials,
-81; Music, 254; Roman and Italic, 47, 48, 52, 159, 197, 236, 240, 247,
-254, 284; Samaritan, 70, 240, 241, 247, 254; Saxon, 74, 240, 248, 254;
-Syriac, 68, 240, 241, 247, 254
-
-CASLON (WM.) the Second, son of above, enters business, 241; specimens,
-246; Mores’ prejudice against, 244, 247; anecdote of, 316; dies, 248;
-wife and family of, 248
-
-——— Matrices: Black, 248; Greek, 247; Hebrew, 247; Music, 248;
-‘Proscription-type,’ 248; Saxon, 74, 248; Syriac, 246
-
-CASLON (MRS. W.) wife of above, formerly Miss Cartlitch, 248; manages
-for her husband, 248; succeeds to the business in 1792, 250; member of
-trade Association, 250; death, 251; tributes to, 251; decline in value
-of foundry under, 251
-
-CASLON (WM.) the Third, son of W. Caslon II, succeeds to the business,
-248; specimens, 248, 249, 250; founder to His Majesty, 249; altercation
-with Frys, 249, 303, 304; large sand cast type of, 250; cast ornaments,
-254, 326; leaves Chiswell Street, 250; relations with Jackson, 317, 325
-
-——— Matrices (Chiswell Street): Script, 249
-
-——— Buys Jackson’s foundry, 325; uses Chiswell Street Orientals
-and Cast Ornaments, 325, 326; specimens, 325, 326; retirement and
-character, 326, 327
-
-——— Matrices (Salisbury Square): Arabic, 326; Armenian, 326; Black,
-326; Greek, 326; Hebrew, 326; Samaritan, 326; Saxon, 326; Syriac, 326
-
-CASLON (HENRY) the First, son of W. Caslon II, 248; joint heir to
-foundry, 248; wife of, 250; death, 250
-
-CASLON (Mrs. HENRY) wife of above, formerly Miss Rowe, 200, 250; joint
-proprietor of foundry, 251, 252; sole proprietor, 251; regenerates
-foundry, 251; cuts new founts, 251; her partner, 252; marries Mr.
-Strong, 252; illness and death, 252; specimen, 252
-
-——— Matrices: Roman and Italic, 251, 252, 253
-
-CASLON (HENRY) the Second, son of above, 250; infant proprietor of
-foundry, 251; sole proprietor, 253; partners of, 253, 254; additions to
-foundry, 253, 254, 334; state of foundry in 1825, 234; revives the Old
-Style, 255; death, 255
-
-——— Matrices: German, 254; Greek, 254; Persian, 254; Diamond Roman,
-358; Sanscrit, 254
-
-CASLON (HY. WM.) son and partner of above, 235; unites Glasgow and
-Caslon foundries, 253, 263; offers foundry for sale, 255; dies, the
-last of his name, 255
-
-CASLON (WM.) the Fourth, son and partner of Wm. Caslon III, 326;
-succeeds to Salisbury Square Foundry, 327; improved types, 120, 327;
-‘Sanspareil’ matrices, 327; sells foundry to Blake, 327; character, 328
-
-Caslon (Saml.) mould-maker, brother to Wm. Caslon I. 246, 350
-
-Caslon (Thos.) bookseller, son of Wm. Caslon I, 246
-
-Caslon Foundry, type bodies in 1841, 34; changes in the value of, 251,
-255; relics preserved at, 245
-
-Cast Ornaments, introduced by W. Caslon III, 250, 326; Fry’s, 306;
-Vizitelly, Branston’s, 360, 361
-
-Castell (E.) his _Heptaglot Lexicon_, 176, 177
-
-Casting, primitive methods of, 9; early irregularity of, 18, 25; in
-sand, 9, 10, 12; in clay, 11, 12; Moxon’s account of, 111; improvements
-in, 119–22
-
-_Castle of Otranto_, Parma, 1791; 251
-
-_Catechism and Articles in Irish_, Dublin, 1571; 75, 187
-
-_Catechism in Irish_, Lond. 1680?; 189
-
-_Catena on Job_, Lond. 1637; 98, 144, 176, 198, 201, 228
-
-CATHERWOOD (NATL.) partner of Mrs. H. Caslon, 252
-
-CATHERWOOD (J. J.) brother to above, 253; partner of Hy. Caslon II,
-253; leaves Chiswell Street, 254; notice of, by Johnson, 254; starts a
-foundry, 254, 358; joins A. Bessemer, 358; retires, 359
-
-_Catholicon_, Mentz, 1460; 16
-
-Caxton (Wm.) first English printer, 84; early training, 84, 85;
-probable methods of type founding, 85, 86, 343; type cast by, 84, 85,
-102; mould of, 88; types of, 86–9; Black, 53, 87, 88; Secretary, 55,
-86, 87, 88; Initials, 79; type ornaments, 82; first books of, 86; his
-advertisement, 49, 87; printed page by page, 26; translation of _Ovid’s
-Metamorphoses_, by, 312; employs a foreign printer, 91; facsimiles of
-his types, 343, 344
-
-Celtis, his reference to cut types, 7
-
-Certificate, letter founders’, form of, 135
-
-‘Chalcographia,’ derivation of, 15
-
-_Champfleury_, Paris, 1529; 32, 183
-
-Chapel (a founders’), account of, 112, 166, 186
-
-Chapman, prints with Baskerville’s types, 283
-
-Charles II and the _London Polyglot_, 176; on the Alexandrian _Codex_
-facsimile, 203
-
-Chevillier (A.) on the _London Polyglot_, 172
-
-Chinese type cast in plaster moulds, 15
-
-_Christian Doctrine_, Dublin 1652; 75, 188
-
-_Christianæ Pietatis prima Institutio_, Lond. 1578; 98
-
-_Chronological account of Irish writers_, Dublin 1820; 190
-
-_Chrysostomi Homiliæ_, Lond. 1543; 60, 95: _Opera_, Oxon. 1586; 60,
-140; _Translations from_, Oxon. 1602; 64: _Opera_, Eton 1610–12; 60, 140
-
-Church (W.) Type casting machine of, 121
-
-Cicero’s suggestion of mobile types, 3
-
-Cicero, a type body, 32, 38
-
-_Cicero de Officiis_, Mentz 1465; 38, 57; Rome 1469; 38
-
-——— _de Oratore_, Rome 1465; 40
-
-Civilité, Lettre de, a French cursive, 56; Plantin’s, 56
-
-Clarendon Printing House, Oxford, 156
-
-Clarke (S.) Oxford architypographus, 146
-
-Classical ‘height-to-paper’ at Oxford, 155, 274
-
-Claudin (A.) old Lyonnaise types of, 20; on early type markets, 103
-
-Clayton (Robt.) patent matrices, 16, 121
-
-_Clemens Romanus ad Corinthios_, Oxon. 1633; 143, 201
-
-_Codex Alexandrinus_, history of, 200; attempts to facsimile, 200–5,
-321
-
-_Codex Bezæ_, facsimile of, Camb. 1793; 322
-
-_Collection of Hymns_, Bristol 1769; 299
-
-Colonel, a Dutch and German type body, 39
-
-_Commentary on the Pentateuch_, Reggio 1475; 62
-
-_Common Prayer_, Lond. 1550; 77: Cambridge 1760–2; 279
-
-——— (_Irish_) Dublin 1608; 75, 187; Lond. 1712; 190
-
-Complutensian _Polyglot_, types of, 59, 63, 169
-
-Copland (R.) printer, types of, 94
-
-Coptic types of the Propaganda, 69; Voskens, 70; Fournier, 70
-
-——— Matrices: Oxford, 70, 147, 148, 153, 155, 161; Grover, ‘new-hand,’
-198, 200; Caslon, 70, 236, 237, 240, 247, 254
-
-Cornish (J. D.) his specimen of Caslon’s types, 246
-
-Corpus, a German type body, 39
-
-Coster legend disposed of by Van der Linde, 2
-
-COTTRELL (THOS.) 221, 288–92; apprentice to Caslon, 243, 288, 290, 316;
-starts a foundry, 288, 316; his tribute to Caslon, 244, 290; specimens,
-290, 291, 292; repairs the Elstob Saxon, 158, 289; Fournier’s notice
-of, 290; private in the Guards, 290, 316; Nichols’ notice of, 291; his
-foundry, 292
-
-——— Matrices: Domesday, 74, 291, 292, 294, 320; Engrossing, 56, 289,
-290, 291, 292, 295; Flowers, 290, 291, 292; “Proscription,” 291, 292,
-317; Roman and Italic, 48, 289, 290, 291, 292; Russian, 72, 291
-
-Court Hand, early English, 55, 289
-
-——— Matrices: Grover, 199, 204; James, 228, 303; Fry, 303
-
-Cromwell (Oliver), his aid to the London _Polyglot_, 172, 175
-
-Cupi, a Dutch punch cutter, 114, 215, 216
-
-Cursiv, a German name for Italic, 51
-
-‘Cut matrices,’ a misnomer, 8
-
-_Cyclopædia_, E. Chambers, Lond. 1728; 38: Lond. 1738; 241: Lond.
-1784–6; 250, 203
-
-Danish type at Oxford, 73, 151
-
-Dawks (I.) Script type of, 173
-
-Day (Jno.) printer, account of, 95–101; a letter-founder, 96; his Star
-Chamber case _v._ Ward, 124. His types: Greek, 98; Hebrew, 64, 98;
-Italic, 51, 96, 97, 98, 144; Music, 77, 98; Roman, 47, 96, 97, 98, 144;
-Saxon, 73, 96
-
-_De Antiquitate Britannicæ Ecclesiæ_, Lond. 1572; 97
-
-_De Arte Supputandi_, Lond. 1522; 92
-
-_De Divinâ Proportione_, Venice, 1509; 183
-
-_De Emendatâ Structurâ_, Lond. 1524; 60, 93
-
-_De Linguæ Arabicæ Utilitate_, Oxon, 1639; 66
-
-_De Linguâ Etruriæ_, Oxon. 1735; 239
-
-_De Siglis Arabum_, Lond. 1648; 66
-
-De Vinne (Theo.) on early type moulds, 9, 17
-
-_De Visibili Romanarchiâ_, Lond. 1573; 97
-
-De Worde. _See_ Worde (W. de)
-
-Demetrius of Crete, Greek types of, 57, 58
-
-_Demetrius Phalereus_: Glasgow, 1743; 261
-
-Descendiaen, a Dutch type body, 38
-
-Deva Nagari matrices: Jackson, 319; Wilkins, 318
-
-Diamond, an English type body, 40; a Dutch body, 40, 304; matrices in
-Grover’s foundry, 197, 199; founts cut in by Wilson, 264; Fry, 304;
-Bessemer, 358, 359
-
-_Diary of Lady Willoughby_, Lond. 1844; 255
-
-Dibdin (T. F.) on Black letter fashions, 54; on Caxton’s types, 84;
-Bibliographical Works of, 333
-
-_Dictes and Sayings of the Philosophers_, Westminster, 1477; 86
-
-Didot (A. F.) improved Script type, 56, 120, 308, 312.
-
-Didot (F.) on Polytype printing, 13, 220
-
-Didot (F. A.) typographical points of, 35; Roman type of, 48
-
-Didot (H.) Semi-Nonpareil cut by, 40; Diamond, 359; Patent type-casting
-machine, 121, 361
-
-_Dilworth’s Spelling Book_, Lond. _n.d._ 306
-
-_Dives et Pauper_, Lond. 1493; 91
-
-_Diurnale Gr. Arab._ Fano, 1514; 65
-
-_Doctrinale_, ‘getté en molle,’ 13
-
-Domesday matrices:—Cottrell, 74, 291, 292, 294, 320; Jackson, 74, 291,
-320, 321, 340; Figgins, 339, 340, 343
-
-_Domesday Book_, Lond. 1783; 74, 320, 321, 340
-
-_Domesday Book Illustrated_, Lond. 1788; 321
-
-_Donlevey’s Irish Catechism_, Paris, 1742; 75
-
-Double Pica, an English type body, 33, 36
-
-Dressing, an operation in founding, 111, 115, 116
-
-Drury (J. I.) letter cutter to Mrs. H. Caslon, 251
-
-_Ductor in Linguas_, Lond. 1617; 64, 73, 171
-
-DUMMERS, a letter founder, 345; Samaritan type cut for Caslon, 70, 241,
-345
-
-Dürer (A.) on the shape of letters, 32, 183
-
-Dutch Founders, notices of, 113, 213–217; type of, in England, 46, 51,
-61, 80, 114, 210, 233; in Scotland, 257, 238; cessation of trade with,
-237, 249
-
-Dutch ‘Bloomers,’ 80, 258
-
-Duverger (E.) on early type moulds, 23
-
-East (T.) Music type of, 77
-
-East India Company, types cut for, 318, 319, 339
-
-_Elementa Linguæ Persicæ_, Lond. 1649; 66
-
-Elstob (Eliz.) Saxon works of, 74, 157; account of her, 157, 158: her
-_Saxon Grammar_, 157, 158
-
-Elzevirs, types of: Greek, 264; Hebrew, 64; Orientals, 66, 141; Roman,
-44, 263
-
-Emerald, an English type body, 34
-
-English, an English type body, 32, 33, 37; a name for Black Letter, 37,
-53
-
-English Two-line, an English type body, 36
-
-_English-Saxon Homily on St. Gregory’s Day_, Lond. 1709; 74, 156
-
-Engrossing matrices; Cottrell, 56, 289, 290, 291, 292, 295
-
-Enschedés, Dutch letter founders, 215; leaden matrices in their
-foundry, 15; specimens of their old Italic, 52; Gothic, 53; Flamand,
-54; Civilité, 56; Initials, 80
-
-Enschedé (J.) on wooden types, 6
-
-Erasmus at Cambridge, 141
-
-Erpenius, Oriental matrices and types of, 65, 69, 144
-
-_Essai sur l’Education des Aveugles_, Paris, 1786; 78
-
-_Essay on the Original, Use and Excellency of Printing_, Lond. 1752; 242
-
-_Essay towards a Real Character_, Lond. 1668; 191
-
-_Essay on Melody of Speech_, Lond. 1775; 323
-
-Estienne (H.) Greek types of, 58; flowers, 82
-
-Estienne (P.) his compliment to Norton, 140
-
-Estienne (R.) type of, Greek (Royal), 58, 262; Hebrew, 63; Initials, 80
-
-Ethiopic, early founts at Rome, 69, 174; Leyden, 69; Frankfort, 69;
-Amsterdam, 69
-
-——— Matrices: Oxford, 69, 151, 154, 155, 161; Polyglot, 69, 173, 174,
-177, 195; Andrews, 198; ‘Anon.’, 69, 207; James, 228, 303; Caslon, 69,
-240, 247, 254; Fry, 303, 309, 311
-
-——— Punches: James, 229
-
-Eton, Greek printing at, 60, 140
-
-Etruscan type at Rome, 72, Parma, 72
-
-——— Matrices: Caslon, 72, 239, 240, 247
-
-_Eusebii Præparatio_, Venice, 1470; 41
-
-_Eusebius_, Paris, 1544; 59
-
-Everingham (R.) printer in Irish, 189, 190; works printed by his widow,
-190
-
-_Exposicio Simboli_, Oxon. ‘1468’; 137, 138
-
-_Exposition on St. John_, Wesel? 1557; 45
-
-Facsimile types, the earliest, 200, 204
-
-Faques (W.) printer, trained at Rouen, 93, 103; types of, 93; used by
-De Worde, 94
-
-Fann Street Foundry, 294, 295, 313
-
-Farley (Abr.) Domesday type cut for, 320
-
-Fell (Jno.) his services to Oxford Press, 146, 150; gift of matrices,
-&c., 148; report on Oxford printing, 149; his printing house, 150;
-Moxon’s compliment to, 150, 183
-
-Fenner (W.) partner of Ged, 218, 219
-
-FENWICK (Jos.) founder, account of, 351
-
-——— Matrices:—Scriptorial, 351
-
-Fergusson’s proposal for regulating type bodies, 35, 357
-
-_Fidelis Servi Responsio_, Lond. 1573; 97
-
-FIFIELD (Alex.) founder, nominated, 130, 165; account of, 166
-
-_Fifteen O’s_, Westminster, 1490; 82, 85
-
-FIGGINS (VINCENT) the First, apprentice and foreman to Jackson, 324,
-335, 338; fails to succeed to that foundry, 325, 335; Nichols’ aid
-to, 335, 336; his first foundry, 336, 341; facsimile Romans cut by,
-336, 337; employed by Oxford Press, 338; cuts type for the Record
-Commission, 339, 340; for Bagster, 341; various tributes to, 340, 342,
-343.
-
-——— Matrices:—Black, 340, 343; Domesday, 339, 340, 343; German Text,
-340, 342, 343; Greek, 338, 343; Hebrew, 65, 341, 342, 343; Irish, 76,
-342, 343; Persian, 339, 343; Roman and Italic, 48, 336, 337, 340;
-Saxon, 74, 343; Syriac, 68, 342, 343; Télegú, 339, 343
-
-FIGGINS (VINCENT) the Second, son of above, enters business, 343; his
-anecdote of a punch-cutter, 338; his facsimile of Caxton’s type, 87,
-343; body-standards in his foundry in 1841, 34
-
-FIGGINS (JAMES) the First, son of V. Figgins I, 343
-
-FIGGINS (JAMES) the Second, son of above, 343
-
-Filosofia, an Italian type body, 38
-
-Finance (Lettre de) a Script letter, 56
-
-Fischer (G.) on wooden types, 4
-
-Flamand, a Dutch Black-letter, 54
-
-Flemish school of typography, 102
-
-Flesher (Jas.) printer, 171, 178; Arabic type of, 66; Polyglot specimen
-of, 171
-
-Flesher (Miles) printer, Arabic type of, 66
-
-Flowers, early type-, 82; H. Estienne’s, 82; Day’s, 98
-
-——— Matrices:—Oxford, 148; Grover, 199; James, 222, 303; Caslon, 222,
-240; Cottrell, 290, 291, 292; Thorne, 293, 295; Fry, 303, 307
-
-Forme, (Lettre de) Black-letter, 36, 53, 87, 88
-
-FOUGT (H.) Founder of music type, 78, 350; Specimen, 350
-
-——— Matrices:—Music, 350
-
-Foulis (R. and A.) Scotch printers, 261; to Glasgow University,
-261; employ Wilson, 261; their Glasgow _Homer_, 261, 262; beautiful
-impressions of, 261; the poet Gray’s tribute to, 263
-
-Foulis (Andrew), son of above Robert, 261; his patent for stereotype,
-230, 261
-
-Founts of early printers, size of, 26, 27
-
-Fournier, (P. S.), on wooden types, 5; typographical points of, 35;
-notes on English founders, 242, 290; account of founding in France,
-117; his types; Coptic, 70; Etruscan, 72; Irish, 75, 191; Music, 78;
-Roman, 48; Russian, 72
-
-FOX (BENJ.) partner in Fann Street Foundry, 296
-
-Fractur, a German Black-letter, 54
-
-France, first Gothic type in, 53; Letter Founding in, 114, 116; control
-of founders in, 129; typographical superiority of, 124
-
-Francesco da Bologna, cut Aldine punches, 51
-
-Frankfort, Letter founding at, in 1568, 105, 106
-
-Franklin (Benj.), a journeyman in London, 218, 233, 235; experiments
-in casting, 15; letters to Baskerville, 280, 281; starts foundry in
-America, 350
-
-Frères de la Vie Commune, Roman type of, 41, 42
-
-Froben (J.) his supposed acquaintance with Pynson, 91; his types;
-Greek, 59; Hebrew, 63; Initials, 80; Roman, 43
-
-Froschouer (Chr.) Roman type of, 43;
-
-Froschouer (Jno.) Music type of, 76
-
-FRY (JOSEPH) begins a foundry in Bristol, 298; imitates Baskerville’s
-Romans, 284, 299, 305, 310; first specimens, 299; removes to London,
-299; _Bibles_ printed by, 301, 302; his partners, 299, 300, 302; adopts
-Caslon models, 284, 301, 305, 310; purchases at James’ sale, 230, 302,
-303; quarrel with Caslon III, 249, 304; retirement and death, 304, 305
-
-——— Matrices: Roman, 48, 284, 299, 300, 301, 310
-
-FRY (EDMUND) son and partner of above, 302; philological talents, 302;
-specimens, 305, 306, 307, 308, 313; removes foundry to Type Street,
-305; his types used by Millar Ritchie, 306; his _Pantographia_, 306,
-307; his partners, 306, 307, 308; new Romans of, 307, 310; dislike
-to ornamented type, 307 310; letter founder to the King, 307; cuts
-Orientals for Cambridge, 308; contents of foundry, 309; retires, 310;
-his Address to the Public, 310; sells foundry to Thorowgood, 296, 313
-
-FRY (EDMUND) Matrices: Alexandrian Greek, 303, 304, 309, 311; Amharic,
-309, 311; Arabic, 303, 309, 311; Black, 303, 310, 311; Blind, 78, 79,
-308, 309; Cast Ornaments, 306; Ethiopic, 303, 309, 311; Flowers, 303,
-307; German, 309, 312; Greek, 303, 309, 311; Guzerattee, 309, 311;
-Hebrew, 303, 304, 309, 311; Irish, 76, 303, 306, 309, 312; Malabaric,
-309, 311; Music, 78, 310; Roman, 303, 305, 306, 307, 310; Russian, 72,
-309, 312; Samaritan, 70, 303, 309, 311; Saxon, 74, 309, 312; Script,
-308, 312; Syriac, 68, 303, 308, 310, 311, 342
-
-FRY (HENRY) brother and partner of above, 302; becomes a printer, 306
-
-FRY (WINDOVER) son and partner of Edmund Fry, 308
-
-Fust and Schoeffer, music types of, 76; Initials, 79, 80
-
-‘Fusus,’ use of word in colophons, 8
-
-Fyner (C.), Hebrew type of, 62
-
-Gaillarde, a French type-body, 39
-
-_Galenus de Temperamentis_, Camb. 1521; 141
-
-_Gallicantus_, Lond. 1498; 92
-
-Gallie (Jno.) manager to Wilson, 266; partner with Dr. Marr, 266
-
-_Game and Play of the Chesse_ (facs.), Lond. 1855; 87, 343
-
-Garamond (Cl.) mould of, 23; Roman cut by, 44; Greek, 58
-
-Garmond, a foreign type body, 39
-
-Ged (Wm.) inventor of Stereotype, 218, 219, 258; misfortunes and
-failure of, 219, 238; _Biographical Memoirs of_, 219
-
-Gem, an English type body, 356
-
-Gering, first Paris printer, Greek type of, 58; Roman, 43
-
-German matrices: Caslon, 254; Thorne, 295; Thorowgood, 296; Fry, 309,
-312
-
-German-Text matrices: Figgins, 340, 342, 343
-
-Geschreven Schrift, a German Script, 56
-
-‘Getté en molle’, signification of, 13, 14
-
-Glasgow University; fine printing at, 261
-
-Glosa, a class of type, 32
-
-Glosilla, a Spanish type body, 32, 39
-
-Goes (H.) York printer, used De Worde’s types, 89
-
-_Golden Legend_, Westminster, _n. d._; 88
-
-_Goldsmith and Parnell_, Lond. 1795; 331
-
-GORING (THOS.) letter-founder, 193; nominated 133, 193; notice of, 166
-
-Gothic letter, origin of, 53; Petrarch’s aversion to, 53; Prevost’s
-eulogy of, 53
-
-Gothic language; types of at Amsterdam, 73
-
-——— Matrices: Oxford, 73, 150, 151, 155, 161; ‘Anon.’, 207; James, 73,
-225, 228; Caslon, 73, 239, 240, 248, 254
-
-Gough (Jno.) his anecdotes of Jackson, 321, 323; of Ilive, 348
-
-Gourmont (G. de) Greek type of, 58; Hebrew, 62, 63
-
-Graff (Baltus de), partner of Cottrell, 288
-
-Grafton (Rd.) Bible printed by, 124; Music type of, 77; Dibdin’s
-tribute to, 101
-
-_Grammar of the Bengal Language_, Hoogly, 1778; 318
-
-_Grammar of the Sanskrita Language_, Lond. 1808; 319
-
-Granjon (N.) French, letter-cutter, Greek types of, 59; Music, 77;
-“Civilité”, 56
-
-_Gray’s Poems_, Glasgow, 1768; 263: Parma, 1793; 251
-
-_Great Charter_, Oxford, 1759: 159
-
-Great Primer, an English type body, 33, 37, 86
-
-Greek: earliest, Schoeffer’s, 57; early founts, Italy, 57, 58;
-France, 58, 59, 60, 61; Netherlands, 59, 61; Spain, 59; Germany, 60;
-Switzerland, 59; Lascaris “litteræ majusculæ,” 57; French “Characteres
-Regii,” 59, 60, 61, 141, 262
-
-——— In England: De Worde’s, 60, 91; Siberch’s, 60, 141; Pynson’s, 60,
-93; Day’s, 98; Wolfe’s, 60, 95; Mierdman’s, 60; Oxford, 60, 140, 141;
-Eton, 60, 140, 145; Royal founts, 60, 142, 144, 167, 201, 202; borrowed
-by Cambridge from Oxford, 60, 141; Dutch founts in England, 61;
-Cambridge offers for Paris Greek, 61, 141; large number of ligatures,
-61; minute sizes, 61, 62, 254; fashions in, 61, 274; Porson’s
-improvement in, 62, 342
-
-——— Matrices: Oxford, 61, 148, 160, 161, 273, 274; Polyglot, 173, 174;
-Andrews, 61, 195, 197; Grover, 61, 198, 200; Head, 206; Mitchell, 206,
-241; “Anon.”, 207: James, 195, 197, 213, 214, 217, 221, 223, 228,
-303; Caslon, 240, 241, 247, 254; Wilson, 61, 261, 262, 263, 264, 265;
-Baskerville, 61, 160, 273, 274; Thorowgood, 296; Fry, 303, 307, 309,
-311; Jackson, 61, 311, 317, 321, 322; Caslon III, 326; Martin, 61, 332;
-Figgins, 338, 343; Ilive, 347
-
-——— Punches: James, 229
-
-Greek, Alexandrian; _see_ Alexandrian Greek
-
-Grierson (G.) Irish printer, his patent, 260; establishes
-letter-founding, 261
-
-Grierson (Boulter), son of above, his petition, 260
-
-GRISMAND (JOHN) Star Chamber founder, 130, 165; notices of, 165, 166
-
-Gromors, Arabic types of, 65
-
-Gros Bâtarde, a French Secretary type, 55; Colard Mansion’s, 55, 86, 87
-
-Gros Romain, a French type body, 37
-
-GROVER (JAS.) letter-founder, 166, 197
-
-GROVER (THOS.) son of above, letter-founder, 157, 166, 197–205; Royal
-founts in his foundry, 197, 203; Caslon offers for foundry, 205, 237;
-disposal of it, 205
-
-——— Matrices: Alexandrian Greek, 198–205; Arabic, 198; Blacks, 197,
-109, 225; Cursives, 199; Greek, 198; Hebrew, 198; Music, 77, 199;
-Roman and Italic, 197, 198, 199; Samaritan, 70, 198; Saxon, 199;
-Scriptorials, 199; Signs, 199; Syriac, 198, 241
-
-Gutenberg’s types, migrations of, 28
-
-Guzerattee matrices: Fry, 309, 311
-
-Hahn (Ul.) Roman type of, 41; his _Cicero_, 38; his _St. Augustine_, 37
-
-Halhed (N. B.) his _Bengal Grammar_, 318; his account of C. Wilkins, 318
-
-Hanbey (Mr.) son-in-law of Caslon I, 246
-
-Hancock (C.) buys Hughes’ Music matrices, 363
-
-Handy (J.) a punch-cutter employed by Baskerville, 269, 353
-
-Hansard (T. C.) on type fashions, 48; notices of founders from his
-_Typographia_, 251, 253, 254, 258, 264, 296, 309, 310, 312, 326, 328,
-332, 336, 342, 343, 352, 355, 361, 364
-
-Hare (Bp.) transactions with Caslon, 238
-
-Harris (Messrs.) use Baskerville’s types, 286
-
-Hautin, Music type of, 77
-
-Haüy, Blind type of, 78
-
-Hawkins (Sir J.) his anecdote of Caslon, 245
-
-Hazard, Bath printer, notice of, 307
-
-HEAD (GODFREY) letter founder, 133, 166, 205
-
-——— Matrices: Black, 206; Greek, 206
-
-HEAPHY, letter founder, 364
-
-Hebrew type, first use of, 62; early founts in Italy, 62; France, 62,
-63; Spain, 63; Germany, 63; Netherlands, 63, 64, 65
-
-——— in England: De Worde’s, 64, 91; Day’s, 64, 98; at Oxford, 64;
-London, 64
-
-——— Matrices: Oxford, 64, 147, 148, 154, 160, 161; Polyglot, 64, 171,
-173, 174, 177, 194; Andrews, 195; Grover, 198; James, 64, 65, 223, 227,
-303; Caslon, 65, 236, 238, 240, 246, 247, 254; Wilson, 264, 265; Fry,
-303, 304, 309, 311; Jackson, 317; Caslon III, 326; Figgins, 65, 341,
-342, 343; Thorowgood, 296; Jalleson, 346
-
-_Hebrew Dictionary_, Louvain, 1520? 63
-
-_Hebrew Grammar_, Paris, 1508; 63; Leipsic, 1520, 63; Paris, 1520; 63:
-Louvain, 1528; 63
-
-Height-to-paper of sand-cast types, 10; of old Lyons types, 21; of old
-Cologne types, 25; varieties of at Oxford, 155
-
-Heilman, Gros Bâtarde type of, 55
-
-Henfrey (J.) type-casting machine of, 121
-
-Herbert (W.) his account of Caxton’s types, 84; on early use of Roman
-and Italic, 91, 97
-
-_Herodotus_, Oxford, 1590; 60, 140
-
-Hibernian type, _see_ Irish
-
-_Hickes’ Thesaurus_, Oxon. 1703–5; 72, 73, 74, 150, 156
-
-——— _Saxon Grammar_, Oxon. 1711; 74
-
-_History of England_ (Hume’s) Lond. 1806; 323, 336
-
-Hogarth and Baskerville’s types, 47
-
-_Homeri Opera_, Florence, 1488; 58: Glasgow, 1756–58; 62, 261, 262:
-Parma, 1808; 251: Lond. 1831; 62, 254
-
-——— _Batrachomyomachia_, Venice, 1486; 58: Paris, 1507; 58
-
-Hooght (Van der) Hebrew types of, 64
-
-_Horæ_ (_Greek_), Louvain, 1516; 59
-
-_Horatii Opera_, Sedan, 1627; 46: Glasgow, 1744; 261: Birmingham, 1762;
-277
-
-Horman (W.) his indenture with Pynson, 92
-
-Hostingue, a Rouen printer, 103
-
-HUGHES (HUGH) partner with Thorne, 294, 363; starts a foundry, 363;
-specimen, 363; his music type, 363
-
-——— Matrices: music, 78, 363
-
-Hunte (Thos.) early Oxford printer, 137, 138
-
-Hutter, curious Hebrew type of, 63, 247; his Polyglot _Bible_, 170
-
-_Iberno-Celtic Society’s Transactions_, Dublin, 1820; 190
-
-Iceland, early printing in, 73
-
-Icelandic matrices at Oxford, 73, 151, 155
-
-ILIVE (JACOB) letter founder, 346–9; his eccentricities, 347, 348;
-forged _Book of Jasher_, 348; heads schism in Stationers’ Company, 348;
-his foundry bought by James, 221, 347
-
-——— Matrices: Greek, 221, 347; Roman, 347
-
-IMISSON, letter founder, 352
-
-Imprimerie Royale, Paris, establishment of, 58; Greek type of, 58, 59,
-60, 61; Roman, 44, 48
-
-Initials of Mentz _Psalter_, 79; early cutters of, 79, 80; Caxton’s,
-79; Day’s, 98; ‘Two-line letters,’ 80; Pictorial, 80; Dutch, 80; Bible,
-80; Armorial, 80; pierced, 81; Oxford copperplate, 80, 159; fashions
-in, 81; Baskett’s ‘Silver initials,’ 107, 211
-
-_Introductio ad Lectionem Ling. Oriental._ London, 1655; 172
-
-Ireland, letter foundry in, 260, 265; printing patent for, 260; Scotch
-and English type supplied to, 260, 265. Vernacular printing in, 75, 76,
-186, 187, 188
-
-Irish type in Dublin, 75, 186, 187; Antwerp, 75; Louvain, 75, 188, 191;
-Rome, 75, 191; Paris, 75, 76, 191; revival of Irish printing, 76, 191
-
-——— Matrices: Moxon, 75, 76, 155, 186, 189, 190, 194, 306; Andrews,
-194, 196; James, 229, 303; Fry, 229, 303, 306, 309, 312; Figgins, 342,
-343
-
-——— Punches: James, 229
-
-Iron, an ingredient in type metal, 21, 112
-
-Irregular type bodies, origin of, 33
-
-Isla (Lord) patron of Wilson, 258
-
-Italic, first cut by Aldus, 50; early foreign founts, 51; Van Dijk’s,
-52; various uses for, 52
-
-——— In England, fashions in, 52; De Worde’s, 52, 91; Day, 52, 96,
-97, 98, 144, 176; Vautrollier, 51, 98; James, 214, 217; Caslon, 52;
-Baskerville, 275
-
-——— See also _s.v._ Roman and Italic
-
-Italy, first Roman type in, 40; first Gothic type in, 53
-
-JACKSON (JOS.) apprentice to Caslon I, 243, 288, 315; first punch
-cut by, 315; dismissed, 243, 288, 316; partner with Cottrell, 288,
-291, 316; goes to sea, 289, 316; starts a foundry, 291, 316; first
-specimens, 316, 317; Bowyer’s aid to 317, 323; removes to Salisbury
-Square, 317; makes a hollow square, 317; his foundry, 317; employed by
-Nichols, 320, 321; Bensley, 323; Oxford Press, 338; fire of foundry,
-324; elegy on, 324; death and tributes to, 324, 325; portraits of, 288,
-316, 325
-
-——— Matrices: Alexandrian Greek, 321; Bengalee, 317; Black, 317;
-Codex-Bezæ Greek, 322; Deva Nagari, 319; Domesday, 74, 320, 321, 340;
-Greek, 61, 311, 317, 323; Hebrew, 317; Music symbols, 323; Persian,
-317; ‘Proscription’ letter, 317; Roman, 48, 317, 323; Script, 56, 317
-
-JALLESON, letter founder, 346; his system of type bodies, 346; Hebrew
-type, 346
-
-JAMES (THOS.) letter founder, 157, 212–220; his family, 212; apprentice
-to R. Andrews, 196, 212; his letters from Holland, 113, 213–17; his
-foundry, 217; buys Greek of Grover, 195, 197; rivalry with Caslon, 218,
-220; transactions with Ged, 218, 219; second visit to Holland, 219;
-decline of his business, 220; buys Andrews’ foundry, 197, 211, 220;
-death, 220; advertisement by his widow, 220
-
-JAMES (THOS.) Matrices: Black, 214, 217; Greek, 213, 214, 217: Roman
-and Italic, 46, 213, 214, 217
-
-JAMES (JNO.) son and successor of above, 220; buys half Mitchell’s
-foundry, 206, 221; Ilive’s, 221, 347; Grover’s, 205, 221; his projected
-specimen, 222, 224; dies, 222; last of the Old English Founders, 221,
-230
-
-——— Matrices and Punches: Anglo-Norman, 228; Arabic, 67, 228, 229, 303;
-Black, 91, 228. 303; Court Hand, 228, 303; Ethiopic, 228, 229, 303;
-Flowers, 229, 303; Gothic, 73, 228; Greek, 220, 228, 229, 303; Hebrew,
-65, 220, 227, 303; Irish, 229, 303; Runic, 72, 228; Samaritan, 70, 227,
-229, 303; Saxon, 220, 228; 229; Scriptorial, 228, 303; Secretary, 228;
-Syriac, 228, 229, 241
-
-James (Dr. T.) first Bodleian Librarian, 212
-
-James (Elianor) aunt of Thos. James the founder, 212
-
-James (George) son of above, City Printer, 212
-
-James (Jno.) architect, brother of Thos. James the founder, 212;
-partner with Ged, 218
-
-James’ Foundry acquired by Mores, 222; arranged for sale, 223;
-catalogue and specimen, 226–30, 303; matrices lost,223, 227, 228;
-punches lost, 229; obsolete founts, 224, 225; leaden matrices, 16, 228;
-moulds, &c., 229, 230; sale of, 230, 302
-
-Jannon, Sedan printer, Roman type of, 46, Greek, 61
-
-Jansson, Hebrew type of, 64, 65
-
-_Jasher, Book of_, Lond. 1751; 348
-
-_Jason_, Westminster (1477), 86
-
-Jenson, Greek type of, 58; Roman, 41
-
-Jerome’s suggestion of mobile types, 3
-
-Joly, a Dutch type body, 40
-
-Journeyman founders, regulation of, 131, 133
-
-Jungfer, a German type body, 39
-
-Junius (Fr.) his gift to Oxford, 150, 151; Dr. Nicholson’s note on,
-151; portrait of, 151
-
-Junius (Pat.) _see_ Young (Pat.)
-
-Jurisson, _see_ Imisson
-
-Justifying of matrices, 10, 111, 186; a secret operation, 117
-
-_Justinian_, Mentz, 1468; 49
-
-Kehl, typographical establishment at, 285, 286; _Voltaire’s Works_,
-printed at, 285, 286; Works by _Alfieri_ at, 286
-
-Kerning, a process in founding, 22, 111
-
-‘King’s House,’ Roman types, 197, 199, 203
-
-Kipling (T.) his facsimile of _Codex Bezæ_, 322
-
-Kirkpatrick (W.) Sanscrit type cut for, 319
-
-KNOWLES (G.) a partner of Ed. Fry, 307
-
-_Koran_, Venice, 1518; 65
-
-Laborde (Leon) on wooden types, 5
-
-Lackington (Jas.) bookseller, 325
-
-_Lactantius_, Subiaco, 1465; 40, 57
-
-_La Lèpre morale_, Cologne, 1476; 24
-
-Lambinet (P.) on early polytype printing, 12
-
-_Lascaris Anthologia_ (in Greek Capitals), Florence, 1494; 57: _Greek
-Grammar_, Milan, 1476; 57
-
-_Last Judgment_, Irish poem on, Dublin, 1571; 187
-
-Laud (Archbp.) his services to Oxford press, 142–5, 166; letter to,
-from King Charles I, 143
-
-Le Bé (G.) cuts punches for Plantin, 107; his Arabic, 64; Hebrew, 59;
-Music, 77
-
-LEE (JOS.) letter founder, 166, 193
-
-Lee (Dr. S.) Orientals cut for by Dr. Fry, 308
-
-L’Estrange (R.) Surveyor of Imprimery, 132
-
-Le Tailleur, Rouen printer for Pynson, 92
-
-Letter-cutting by eye, not by rule, 184
-
-Letter Founders, one named in 1597, 128, 164; regulations of, in
-1622, 129, 164; in 1637, 130; in 1662, 132; in 1674, 133; in 1693,
-134; called to account, 133, 134, 193, 205; petition and ‘Cause of
-Complaint’ of one, in 1637, 167; To His Majesty, 178, 249, 296, 307,
-329, 356; limited number of, 118, 134; Association of, 118, 250, 352,
-353, 358
-
-Letter Founding of the first printers, 9, 12, 14, 18; early secrecy of,
-28; spread of, 28
-
-——— In France: State control of, 129; Thiboust’s account of, 114; views
-of in _Encyclopædia_, 116; Fournier’s account of, 117
-
-——— In Germany: at Frankfort, in 1568, 105
-
-——— In Netherlands: Plantin’s Foundry, 106; James’ account of Dutch
-founders, 113, 213–7
-
-——— In England: came after printing, 84; earliest record of, 93;
-early practice of, 103; curious cut in the Bagford MSS., 105; divorce
-from printing, 164; practised by Day, 96; early unlicensed, 128; the
-London _Polyglot_ a land-mark of, 175; Moxon’s account of, 1683,
-107–13, 183–6; at Oxford, in 1695, 113; custom of lending casters and
-matrices, 113, 216; division of trades in, 114, 184; trade jealousies
-in, 114, 118; _Universal Magazine_, 1750, account in, 108, 116; secret
-operations in, 117, 288, 315, 338; rules of Thorne’s Foundry, 1806,
-117, 294; conservatism of, 118; competition in, 118; State-control of,
-123–136; liberty of, 134; final emancipation of, 135
-
-Lettres Tourneures, initials, 79
-
-Lettres de Forme, 36, 53, 87, 88
-
-Lettres de Somme, 53, 54
-
-Lettou and Machlinia, types of, 89
-
-Leusden, simplified Greek types of, 61
-
-Lever-mould, introduced, 120
-
-_Lexicon Heptaglotton_, Lond. 1669; 176
-
-_Liber de laudibus Mariæ_, Cologne? 1478? 24
-
-_Life of Jewell_, Lond. 1573; 64, 98
-
-Ligatures in old founts, 10, 27, 41, 50, 224
-
-_Liguarum XII AIphabeta_, Paris, 1538; 67
-
-Linde (A. Van der) on the essence of typography, 2; on ‘getté en
-molle,’ 13
-
-Literæ Florentes, initials, 79
-
-_Littleton Tenures_ (Pynson’s), Lond. 1527; 93; (Redman’s), Lond. _n.
-d._, 94
-
-LIVERMORE (MARTIN) partner to Henry Caslon II, 254; retires from
-Chiswell Street, 255
-
-_Logique d’Okam_, 1488, contractions in, 51
-
-_London Printer’s Lamentation_, 1660: 127, 130, 165
-
-Long Primer, an English type-body, 32, 33, 38
-
-Long ſ, disappearance of, 52
-
-Louvain, Irish type at, 75, 188, 191
-
-Lübeck, leaden matrices at, 16
-
-Lucas (M.) printer of the ‘Wicked’ _Bible_, 142, 143
-
-Luce (L.) Roman type of, 40, 48
-
-_Lucerna Fidelium_, Rome, 1676; 75
-
-Luckombe (P.) his _History of Printing_, Lond. 1770; 246, 291, 301
-
-Ludolf, Ethiopic type used by, 69
-
-_Ludolph’s Grammatica Russica_, Oxon. 1696; 71
-
-LYNCH, letter founder, 358
-
-_Lyndewode Constitutiones_, Oxon. _n.d._; 139
-
-Lyons, early printing at, 20; fifteenth century types at, 20; nicks
-used at, 120
-
-Lyons (Israel) Hebrew type cut for, 247
-
-_McCuirtin’s Irish Dictionary_, Paris, 1732; 75
-
-McCreery (J.) prints with Martin’s types, 333, his poem on _The Press_,
-277, 333
-
-Machine for type casting, first, 122, 265
-
-Machlinia and Lettou, types of, 89
-
-McPHAIL, letter founder, 351
-
-Madden (J. P. A.) on 15th Century type, 24; on the Wiedenbach
-typographers, 41
-
-Malabaric matrices:—Fry, 309, 311
-
-Mansion (Colard) Caxton’s master, 84, 85, 86, 87, Gros Bâtarde type of,
-55, 86, 87
-
-Marcel (J. J.) his _Oratio Dominica_, 72, 76; his _Alphabet Irlandais_,
-76, 191; Russian type of, 72; Irish, 76
-
-_Marprelate Tracts_, types of, 127
-
-MARR (DR. J.) acquires part of Glasgow Foundry, 266
-
-Martens (Th.) Greek type of, 59; Hebrew, 63
-
-Martin (Robert) agent and manager for Baskerville, 281, 330; works
-printed by, 281
-
-MARTIN (WM.) brother to above, 330; cuts punches in London, 330; starts
-foundry, 330; employed by Shakespeare Press, 331–3; tributes to, 331,
-332, 333; supplies McCreery, 333; foundry sold to Caslon, 254, 334;
-Orientals of, 332
-
-——— Matrices:—Greek, 332; Roman and Italic, 332, 333
-
-Mascall (W.) proposal to register founders, 134
-
-Mathematical signs in type, 98, 148, 191, 196, 199, 217, 342
-
-Matrices, early forms of, 14; of lead, 14, 15, 16, 228; of clay, 15;
-of wood, 16, 121; justification of, 16; struck inverted, 204; without
-sides, 208; of steel, 312; ‘Sanspareil,’ 327
-
-MATTHEWSON, letter founder in Edinburgh, 358
-
-Maynyal, Paris printer for Caxton, 91
-
-Mediaan, a Dutch type body, 38
-
-Meerman on sculpto-fusi types, 7
-
-Mentelin, Roman type of, 42
-
-Mentz, Sack of, 28; school of typography of, 9
-
-Meres (Jno.) son-in-law of T. Grover, 205
-
-Metals used in type alloy, 19, 106, 112, 121; softness of, in early
-types, 26; Moxon’s directions for mixing, 112
-
-Meurs (Dr. Van) on ‘getté en molle,’ 13
-
-Mierdman, Greek types of, 60
-
-Miller (Peter) American printer, anecdote of, 17
-
-MILLER (WM.) manager for Wilson, 264, 355; starts foundry, 355; his
-early founts, 355; employed by the _Times_, 356; specimens, 355, 356;
-partner and successors of, 356
-
-——— Matrices:—Roman and Italic, 355, 356
-
-MILNE & Co., founders, 266
-
-Milton (Jno.) _Areopagitica_, 130; _Works_, Birmingham, 1758; 275;
-Lond. 1794–7; 331; _Paradise Lost_, Lond. 1796; 337, 338
-
-Minion, an English type body, 33, 39, 210; a foreign body, 39
-
-Minsheu’s _Ductor in Linguas_, Lond. 1617; 64, 73, 171
-
-Missal, a German type body, 36
-
-_Missal_, printed at Lyons, 1485; 76
-
-MITCHELL (ROBT.) founder, 206; partition of his foundry, 206, 221, 241
-
-——— Matrices; Black, 206, 241; Greek, 206, 241; Music, 78, 206, 241;
-Roman and Italic, 206; Signs, 206
-
-Mitchelson, first American founder, 350
-
-Mittel, a German type body, 37
-
-Model types for clay or sand moulds, 11; as punches for lead or clay
-matrices, 15, 16
-
-Moderne, Italian name for Black letter, 43
-
-Molloy’s _Lucerna Fidelium_, Rome, 1676; 75: _Irish Grammar_, Rome,
-1677; 75
-
-_Monasticon_, Lond. 1655; 74
-
-MOORE (ISAAC) manager and partner of Fry and Pine, 299; specimens of,
-299; inventions of, 300; retires, 302
-
-Moreau, Script type of, 56
-
-Mores (Ed. Rowe) account of, 222; possessor of James’ foundry, 222,
-223; his _Dissertation_, 222, 223; account of early printers by, 84,
-90, 92, 94; of Miss Elstob, 157; his correspondence as to her Saxon
-matrices, 158, 159; his account of James’ foundry, 223; strictures on
-Oxford specimen, 160; allusion to Coster, 225; prejudice against Caslon
-II; 244, 247; against Baskerville, 274, 280; notice of Fry’s specimen,
-300; as a compositor, 347
-
-Morton (Dr.) Domesday type cut for, 291, 320
-
-_Moses Choronensis_, Lond. 1736; 69, 239
-
-Motteroz (M.) ideal Roman letter of, 48
-
-Mould, _see_ Type-mould
-
-MOXON (JOS.) letter founder, 180–192; specimen, 181; a printer, 182;
-his offices, 181, 182; his _Regulæ Trium Ordinum_, 182; his _Mechanick
-Exercises_, 107–112, 183–186; his standards of type bodies, 33, 34;
-employed by Boyle, 189
-
-——— Matrices: Irish, 75, 76, 186–191; Roman and Italic, 47, 181
-
-_Musæus, Hero and Leander_, Lond. 1797; 332
-
-Music; De Worde’s, 76,91; early printing abroad, 76, 77; improvements
-in, 78; Grafton’s, 77; Day’s, 77, 98; Vautrollier’s, 77; East’s, 77;
-‘new-tyed note’, 77; at Aberdeen, 77
-
-——— Matrices: Oxford, 77, 148, 161; Walpergen, 77, 148, 153, 208;
-Andrews, 77, 196; Grover, 77, 199; Mitchell, 78, 206, 241; Caslon, 77,
-241, 248; Fry, 78, 310, 312; Fougt, 78, 350; Branston’s (stereo), 360;
-Hughes, 78, 363; Jackson’s symbols, 323
-
-Myllar (A.) Scotch printer, types of, 103
-
-Negus (S.) list of printers by, 346
-
-_Neilson’s Irish Grammar_, Dublin, 1808; 76, 191
-
-_New Testament_ (_Greek_), Basle, 1516; 59: Sedan, 1628; 61: Cambridge,
-1632; 60, 141: Oxford, 1763; 61, 160, 273, 274: Lond. 1786 (_Codex
-Alex._); 321
-
-——— (_Latin_), Lond. 1574; 46, 51
-
-——— (_Arabic_), Lond. 1727; 67, 235
-
-——— (_Coptic_), Oxon. 1716; 70, 237
-
-——— (_Ethiopic_), Rome, 1548; 69: Lond. 1826 (_Gospels_); 69
-
-——— (_Irish_), Dublin, 1602; 75, 187; Lond. 1681; 75, 189
-
-——— (_Russian_), St. Petersburg, 1819–23; 72
-
-——— (_Saxon_), Lond. 1571 (Gospels), 95
-
-——— (_Sclavonic_), Ugrovallachia, 1512 (_Gospels_), 71: Moscow, 1564
-(_Acts and Epistles_), 71
-
-——— (_Syriac_), Paris, 1539; 67: Vienna, 1555; 67: Cothon, 1621; 67:
-Hamburg, 1663; 67: Lond. 1816; 68, 342
-
-——— (_Tamulic_), Tranquebar, 1714–19; 234
-
-NICHOLLS (ARTHUR) letter founder, nominated, 130, 165; petition to
-Archbishop Laud, 166, 167; ‘Cause of Complaint,’ 167
-
-NICHOLLS (NICHOLAS) son of above, letter founder, 166, 177; his
-father’s account of, 168; his petition to the king, 178; his specimen,
-178, 181; letter founder to the king, 178
-
-NICHOLS, an Oxford letter founder, 148, 178
-
-Nichols (Jno.) his _Anecdotes of Bowyer_, 233; _Domesday_, facsimile
-of, 320, 321; assists Figgins, 335, 336
-
-Nicholson (W.) patent for type casting, 119, 327
-
-Nicks, origin of, 120; early substitutes for, 22
-
-Nicol (Geo.) founder of the Shakespeare Press, 330; employs W. Martin,
-330
-
-Nicol (W.) son of above, succeeds to the Shakespeare Press, 330
-
-_Nomenclator Syriacus_, Rome, 1622; 67
-
-Nonpareil, an English type body, 32, 33, 39, 129; a foreign body, 39
-
-Norfolk (Duke of) employs Jackson, 317
-
-Norton (J.) printer of the Eton _Chrysostom_, 60, 140; distinctions
-conferred on, 140
-
-Nutt (Richd.) successor to Grover’s foundry, 203
-
-_O’Brien’s Irish Dictionary_, Paris, 1768; 75
-
-Ogilby (Jno.) Roman letter of, 47
-
-_O’Hussey’s Irish Catechism_, Antwerp, 1611; 75: Rome; 1707, 75
-
-_O’Kearney’s Irish Catechism_, Dublin; 1571; 75, 187
-
-Oporinus, Greek type of, 59
-
-_Opusculum Musices_, Bologna, 1487; 76
-
-_Oratio Dominica_, Lond. 1700; 64, 66, 68, 69, 70, 71, 73, 74, 154,
-177, 190: Lond. 1713; 69, 155, 177, 190: Amsterdam, 1715; 69, 71, 73,
-74, 154, 236: Paris, 1805; 72, 76: Parma; 1806, 72
-
-_Oratio in pace nuperrimâ_, Lond. 1518; 44, 92
-
-_Oratio trium linguarum_, Lond. 1524; 51, 64, 66, 91
-
-_Oriental Collections_, Lond. 1797–1800; 339
-
-Ornamental type, introduced, 307, 310
-
-Ornaments, _see_ Type ornaments
-
-_Orthographia Practica_, Saragossa, 1548; 32, 183
-
-Orwin, Arabic type of, 64
-
-Ottley (W. Y.) on early clay moulds, 11
-
-Ouseley (Sir W.) Persian type cut for, 339
-
-_Ovid’s Metamorphoses_, Lond. 1819; 312
-
-Oxford University Press, first printing at 137–9; types of the early
-press, 55, 137, 138; Scolar’s press, 139; revival of printing, 140;
-early Greek founts, 60, 61, 140, 141, 145; lends Greek type to
-Cambridge, 141; Laud’s services to, 142–5, 166; charter in 1632, 142;
-early Oriental types, 64, 66, 144: Archi-typographus appointed, 146;
-Fell’s services to, 146–150; loyalty of, 146; large purchases in 1672,
-149; Junius’ gift to, 150, 151; fine printing at, 159
-
-——— Foundry established, 153; state of, in 1665, 113; matrices lost at,
-151; removed to Sheldonian Theatre, 153; first specimen, 153; types
-used in the _Oratio Dominica_, 1700, 154; heights to paper in, 155;
-removed to Clarendon Building, 156; gift of Elstob Saxon to, 158, 159;
-Greek cut for, by Baskerville, 160, 273, 274; specimens, 160, 162;
-types cut for, by Caslon, 160, 161, 246; by Figgins, 338; inventory of,
-in 1794, 161, 162; relics at, 150, 159, 160, 162, 274
-
-——— Matrices: Amharic, 177; Arabic, 66, 147, 148, 155, 161; Armenian,
-69, 148, 153, 161; Coptic, 70, 147, 148, 149, 153, 155, 161; Danish,
-73, 151; Ethiopic, 69, 151, 154, 155, 161, 177; Gothic, 73, 151, 155,
-161; Greek, 148, 160, 161, 273, 274, 338; Hebrew, 64, 147, 148, 154,
-161; Icelandic, 73, 151, 155; Initials, 80; Music, 77, 148, 153,
-154, 161, 209; Roman and Italic, 150, 152, 179; Runic, 72, 151, 155,
-161; Russian, 71; Samaritan, 70, 148, 154, 161; Saxon, 74, 151, 161;
-Sclavonic, 71, 148, 153, 155, 161; Swedish, 73, 151; Syriac, 68, 147,
-148, 155, 161
-
-Pacioli (L.) on the shape of letters, 183
-
-Palmer (S.) his note on De Worde, 90; his printing-house, 217; _History
-of Printing_, 90, 235, 236; projected account of letter-founding, 114;
-discreditable conduct to Caslon, 235, 238
-
-_Pantographia_, Lond. 1799; 72, 76, 306, 307, 308
-
-_Paradigmata de IV Linguis_, Paris, 1596; 67
-
-Paragon, an English Type body, 33, 36, 86, 343; a foreign body, 36
-
-Parker (Archp. M.) patron of Day, 95; Saxon cut for, 95; Roman and
-Italic for, 96, 97, 98
-
-Patents relating to letter-founding, 119–122
-
-Pater (Paulus) on wooden types, 4
-
-Paterson, the auctioneer, notice of, 230, 311
-
-_Pauli de Middleburgo Epistola_, Louvain, 1488; 63
-
-Pearl an English type body, 33, 40
-
-Peek (Jno.) type-casting machine of, 120
-
-_Pentateuch_ (Polyglot) Constantinople, 1546; 170
-
-——— (_Coptic_) Lond. 1731; 70, 237
-
-——— (_Irish_) Lond. 1819 (_Gen. and Exod._), 312
-
-Perforated wooden types, 4, 5; sand-cast types, 10; mould-cast types,
-22, 25
-
-Perle, a French type body, 40
-
-Persian Matrices: Caslon, 254; Jackson, 317; Figgins, 339, 343
-
-_Persian Moonshee_, Lond. 1801; 339
-
-Petit, a French and German type body, 39
-
-Petit Romain, a French type body, 38
-
-Petrucci, music type of, 77
-
-_Phalaridis Epistolæ_, Oxon. 1485; 137, 138
-
-Philosophie, a French type body, 32, 38
-
-Pica, an English type body, 32, 33, 38
-
-_Picas_ or _Pies_, of the early Church, 38, 87
-
-Pickering (W.) minute Greek used by, 62, 254; book printed for, in
-Baskerville’s types, 286
-
-PINE (WM.) Bristol printer and founder; partner with Fry, 298; his
-inventions, 300; _Bible_ printed by, 301; retires from founding, 302
-
-Plantin (Chr.) his foundry, 106; supposed silver type of, 106; Types:
-Greek, 59; Hebrew, 64; Italic, 51; Lettre de Civilité, 56; Roman, 43;
-Syriac, 67
-
-_Plinii Secundi Epistolæ_, Lond. 1790; 306
-
-Ploos van Amstel, Dutch founders, 215
-
-_Polychronicon_, Westminster, 1495; 76, 91
-
-Polyglot _Bibles_, account of, 169
-
-——— the London, _see Bible_ (_Polyglot_) Lond. 1657
-
-POLYGLOT FOUNDRY Matrices: Arabic, 66, 173, 177; Black, 173, 177;
-Ethiopic, 69, 173, 174, 177; Greek, 173, 174; Hebrew, 64, 173, 177;
-Roman and Italic, 173, 176; Samaritan, 70, 173, 174, 177; Syriac, 68,
-173, 174, 177, 241
-
-Polytype, supposed early system of, 12; later attempts at, 122, 220
-
-Porson’s improvement in Greek letter, 62, 342
-
-Postel’s _Arabic Grammar_, Paris 1539–40, 65; Syriac type used by, 67
-
-POUCHEE (L. J.) Letter Founder, starts a foundry, 361; agent for
-Didot’s ‘polymatype,’ 121, 361; specimen, 362; abandons business, 362;
-dispersion of his foundry, 362
-
-_Practical Sermons_ (Irish) Lond. 1711; 190
-
-_Press, The, a Poem_; Liverpool, 1803; 277, 333
-
-Primer, an English type body, 32, 34; derivation of, 37
-
-_Primers_ of the Early Church, 37, 38
-
-Printing, invention of, 1; degeneration of, in England, 44, 136, 232,
-269; comprehensiveness of the early trade of, 123; statutes relating
-to, 124–136; rise of fine printing, 269, 272
-
-Printers, their own founders, 88, 102, 103, 123, 125; number of, in
-London, 126, 130, 132, 133, 134
-
-_Prodromus Coptus_, Rome, 1636; 67, 69, 236
-
-Propaganda Press, specimens, 66, 67, 69, 70; Types of:—Arabic, 66;
-Coptic, 69; Ethiopic, 69; Irish, 75, 191; Samaritan, 70; Sclavonic, 71;
-Syriac, 67
-
-‘Proscription’ letter, Matrices:—Caslon, 248; Cottrell, 291, 292, 317;
-Thorne, 292, 293; Jackson, 317
-
-_Prosodia Rationalis_, Lond. 1779; 323
-
-Psalmanazar (G.) anecdotes of Palmer by, 114, 238
-
-_Psalms_ (_Polyglot_) Paris, 1513; 82: Genoa, 1516; 63, 65, 170:
-Cologne, 1518; 69, 170
-
-——— (_Hebrew_) Tübingen, 1512, (_Septem pœnit._), 63
-
-——— (_Heb. Lat._) Lond. 1736; 238, 239
-
-——— (_Greek_) Milan, 1481; 58: Venice, 1486, 58: Lond. 1812 (_Cod.
-Alex._) 322
-
-——— (_Latin_) Mentz, 1457; 11, 13, 53: Mentz, 1490; 76
-
-_Psalms_ (_Arabic_) Rome, 1614; 66: Lond. 1725; 67, 235
-
-——— (_Armenian_) Rome, 1565; 68
-
-——— (_Ethiopic_) Rome, 1513; 69: Frankfort, 1701; 69
-
-——— (_Saxon_) Lond. 1640; 73
-
-——— (_Sclavonic_) Cracow, 1491; 71
-
-——— (_Syriac-Lat._) Paris, 1625; 67
-
-Pump for type-casting machine, 119
-
-Punches, probable earliest, 14; of copper, 15, 16; of wood, 14, 15,
-16; small value put on, 113, 209, 225, 229; defects of French, 116;
-Barclay’s patent, 119
-
-Punch-cutting, account of, 108, 185; a distinct trade in Holland, 114;
-independent artists in England, 117, 338, 358, 360; secrecy of 117,
-243, 288, 315, 338
-
-Pynson (R.) servant to Caxton, 91; correspondence with Rouen printers,
-91, 92, 103; types of, 91, 92, 93; his Roman, the first in England, 37,
-44, 92; his indenture with Horman, 37, 92; Greek types cast by, 93;
-apology for, 93
-
-Quatremère, Coptic type used by, 70
-
-Quintilian’s suggestion of mobile types, 3
-
-‘Quousque tandem,’ formula for type specimens, 49, 52
-
-Rabbinical Hebrew, Matrices:—Andrews, 194, 195; James, 65, 227, 303;
-Fry, 303
-
-Raphelengius, Arabic type of, 66, 145
-
-Ratdolt, initials of, 79
-
-_Rasselas_, Banbury, 1804; 119
-
-Rastell (W.) types of, 94
-
-_Rastell’s Grete Abridgement_, Lond. 1534; 94
-
-_Readings on Jonah_, Lond. 1579; 64, 98
-
-Record Commission, types cut for, 339, 340
-
-——— _Reports_, Lond. 1800–19; 339: Edinburgh, 1811–16; 340
-
-‘Real Character,’ Moxon’s, cut for Wilkins, 191, 196, 310
-
-_Recuyell of the Histories of Troye_, Bruges, 1474; 86
-
-Redman (R.) Pynson’s quarrel with, 93; types of, 94
-
-REED (CHARLES) partner in the Fann Street Foundry, 296
-
-Registration of founders, 133, 135
-
-_Regulæ Trium Ordinum_, Lond. 1676; 182, 185
-
-_Reliques of Irish Poetry_, Dublin, 1789; 191
-
-RICHARD (MR.) partner of Mr. Miller, 356
-
-RICHARD (J. M.) son of above, 356; ‘Brilliant’ type of, 356; ‘Gem’ type
-of 356
-
-RICHARD (W. M.) brother of above, 356
-
-RICHARDS (T.) a letter founder, 351
-
-Richardson (Rev. J.) Irish works of, 190
-
-Richardson (W.) Engrossing type cut for, 289, 290
-
-Ripoli Press, metals used in the foundry of, 19; matrices bought by, 28
-
-Ritchie (Millar), fine printer, 306
-
-Robijn, a Dutch type body, 40, 52
-
-Roccha (Ang.) on early perforated types, 4; his _Bibliotheca Apostolica
-Vaticana_, 65, 67, 68
-
-Rolij (or Rolu), Dutch letter cutter, 114, 215, 216
-
-Roman letter, origin of, 40; early founts in Italy, 40, 41; Germany,
-42; France, 43, 44; Netherlands, 43, 44, 47; Switzerland, 44
-
-Roman letter, in England: introduction of, 44, 91; Pynson’s, 44; 92; De
-Worde’s, 91; Redman’s, 94; Day’s, 47, 96, 97, 98, 144; Vautrollier’s,
-46, 98; degeneration of, 44, 232; called ‘White letter,’ 91; mixed
-with Black, 45, 97; followed Dutch models, 46; first _Bible_ in, 46;
-in Scotland, 46; Roycroft’s, 47, 173, 176; Ogilby’s, 47; Field’s, 47;
-Moxon’s rules for, 47, 182, 184, 185; Caslon’s influence on, 47, 249,
-284, 301, 303, 305; narrow faces, 46; Baskerville’s influence on, 47,
-284, 299, 305, 332, 333; French influence on, 48; Bodoni’s influence
-on, 48, 331; revolutions in, 48, 251, 253, 301, 328, 332, 340; French
-obligations to, 48; heavy faced, 48; revival of the Old Face, 49;
-Rusher’s improved, 119; Motteroz ideal, 48
-
-——— and Italic matrices: Oxford, 148, 152; Polyglot, 173, 176; Moxon,
-181; Andrews, 195; Grover, 198, 199; Mitchell, 206; ‘Anon,’ 207; James,
-213, 214, 217, 223; Caslon, 47, 159, 235, 240, 247, 251, 252, 253;
-Wilson, 48, 260, 263, 264, 265; Baskerville, 47, 48, 263, 270, 271,
-275, 276, 277, 279, 280, 284; Cottrell, 48, 289, 290, 291, 292; Fry,
-48, 299, 300, 301, 303, 305, 306, 310; Jackson, 48, 317, 323; Figgins,
-48, 336, 337, 340; Thorne, 291, 293, 295; Thorowgood, 295; Martin, 332,
-333; Ilive, 347; Stephenson (S. and C.), 353; Miller, 355, 356
-
-Rood (Theo.) Oxford printer, 137, 138
-
-Rosart, music type of, 78
-
-Rouen, an early type market, 91, 93, 103
-
-Rowe (Sir T.) family of, 200
-
-Rowe (Eliz.) married H. Caslon, 200, 250
-
-Roxburghe Club, works printed for, 312, 334
-
-Royal Typography in England, proposal for a, 263
-
-Roycroft (Thos.) printer of the London _Polyglot_, 171, 172;
-distinction conferred on, 176; printing house of, 217; fire of his
-office, 177; epitaph, 176; types used by, 47, 64, 66, 173–177
-
-Rubbing, a process in founding, 111, 116, 117
-
-Ruby, an English type body, 34
-
-Runic, early foreign founts of, 72
-
-——— Matrices: Oxford, 72, 150, 151, 155, 161; James, 72, 225, 228
-
-Running Secretary, a French Cursiv, 56
-
-Rusher (Ph.) his improved types, 119; his _Rasselas_, 119
-
-Russian type, chief foreign founts, 71, 72; none in England in 1778; 72
-
-——— Matrices: Cottrell, 72, 291; Fry, 72, 309, 312; Thorowgood, 72, 296
-
-St. Alban’s, printing at, 89, 139
-
-St. Augustin, a French type body, 32, 37
-
-_Sallust_, Edinburgh, 1739; 219
-
-Samaritan type, chief founts abroad, 70, 174
-
-——— Matrices: Oxford, 70, 148, 154, 161; Polyglot, 70, 173, 174, 177,
-198; Andrews, 70, 195; Grover, 70, 198; James, 70, 223, 225, 227, 303;
-Caslon, 70, 240, 241, 247, 254; Caslon III, 326; Fry, 70, 303, 309,
-311; Dummers, 70, 241, 345
-
-——— Punches: James, 229 Sand moulds, early use of, 16
-
-Sanscrit matrices: Caslon, 254; Jackson, 319; Wilkins, 318, 319
-
-‘Sanspareil’ matrices invented, 327
-
-Savile (Sir H.) his Eton _Chrysostom_, 60, 140
-
-Saxon, early types of, in England, 73, 74; in Amsterdam, 74
-
-——— Matrices: Day, 73, 95, 96; Oxford, 74, 150, 151, 158, 161; Andrews
-(for Elstob), 74, 156, 157, 158, 196, 289; Grover, 199; James, 223,
-228; Caslon, 74, 240, 248; Caslon III, 326; Wilson, 74, 264; Fry, 74,
-309, 312; Figgins, 74, 343
-
-——— Punches: James, 229
-
-Schoeffer (P.) advertisement of, 28, 49; his Lettre de Somme, 54;
-Greek, 57; Initials, 79
-
-Schoepflin on sculpto-fusi types, 7
-
-_Schola Syriaca_, Utrecht, 1672; 70, 174
-
-_Scholar’s Instructor_, Camb. 1735; 247
-
-Sclavonic, various founts abroad, 71
-
-——— Matrices: Oxford, 71, 148, 153, 155, 161
-
-——— modern: _see_ Russian
-
-Scolar (J.) early Oxford printer, 139
-
-Scoloker, Ipswich printer, device of, 106
-
-Scotland, first types in, 103; early use of Dutch types in, 46, 257,
-258; condition of printing in, before 1720, 257; no foundry in 1725,
-218, 257, 258
-
-Script type, origin of, 56, 204; Dutch, 56; French and German, 56;
-Moreau’s, 56; Didot’s, 56, 120, 308, 312; Dawks’, 173
-
-——— Matrices: Caslon, 249; Cottrell, 56, 290, 292; Fry, 308, 312;
-Jackson, 56, 317; Thorne, 293, 294, 295
-
-Scriptorial matrices: Grover, 199, 204; James, 228, 303; Fry, 303;
-Fenwick, 351
-
-‘Sculpto-fusi’ types, theory of, 7, 8
-
-‘Sculptus,’ use of the word in colophons, 7
-
-Secretary type, early, at Paris, 55; Rouen, 55, 92; Caxton’s, 55, 86,
-87, 88; Berthelet’s, 94, 95; variations of, 55; disappearance, 55, 94,
-95
-
-Secretary matrices: Andrews, 196; Grover, 199; James, 228
-
-Sedan, small Roman type at, 40, 46; small Greek, 61, 254
-
-Sedan, a French type body, 35
-
-_Seldeni Opera Omnia_, Lond. 1726; 236
-
-Semi-Nonpareil, a French type body, 40
-
-Set-Court, _see_ Court Hand
-
-Setting-up, an operation in founding, 111, 114, 116, 117
-
-_Shakespeare_, Lond. 1792–1802; 330, 331
-
-Shakespeare Press, established, 331; works issued by, 331–3
-
-Sheldonian Theatre, Oxford, 153
-
-Shewell (Mr.) son-in-law of Caslon I, 246
-
-Siberch (Jno.) first Cambridge printer, 141; Greek types of, 60, 141
-
-Signs cut by Moxon, 191
-
-Silver, alleged use of for type metal, 40, 106, 140
-
-SIMMONS, a letter founder, 364
-
-SINCLAIR (DUNCAN) manager for Wilson, 266; starts a foundry in
-Edinburgh, 266
-
-SINCLAIR (JNO.) son of above; manager for Wilson, 265; joins his
-father, 266
-
-Skeen (W.) on wooden types, 6; on sculpto-fusi types, 8; on ‘getté en
-molle,’ 14
-
-SKINNER, a letter founder, 345
-
-Small Pica, an English type-body, 33, 38
-
-Smart (W.) purchased Baskerville remainders, 281
-
-Smith (Jno.) his tribute to Caslon, 243; body-standards given by, 34
-
-Smith, (Dr. T.) his tribute to Laud, 145; note by, on the Alexandrian
-_Codex_, 201, 203
-
-Smith (T. W.) manager to H. W. Caslon, 255
-
-Society for Promoting Christian Knowledge, notice of, 234; their press
-at Tranquebar, 234; their Arabic _Psalms and Testament_, 235
-
-Somme, Lettre de, 54
-
-Soncino, Hebrew type at, 62
-
-_Sophologium_ (Wiedenbach? 1465?) 42
-
-Sower (Chr.) early American founder, 350
-
-Spaces, early contrivances for, 21
-
-Specimens, _see_ Type-specimens
-
-Specklin on wooden types, 4
-
-_Speculum_, not printed with wood type, 4, 5, 6; nor with sculpto-fusi
-types, 6; possible sand-cast types of, 10; curious ‘turn’ in 10;
-possible clay-cast types of, 11; quantity of types and contractions in,
-27
-
-Star Chamber; case of Day _v._ Ward, 124; decrees affecting printers
-and founders, 126, 130, 167; abolished, 131
-
-Starr (E.) Type-casting machine of, 122
-
-_Statham’s Abridgments_, Rouen, _n.d._, 92
-
-Stationers, early brotherhood of, 124
-
-Stationers’ Company, incorporation of, 124; powers against printers,
-127, 128, 129; minutes relating to founders, 128, 129, 133, 134, 164,
-165, 193; schism in, 348
-
-Statutes affecting printers and founders, 124, 130, 131, 132, 133, 134
-
-STEELE (ISAAC) partner of Edmund Fry, 306, 307
-
-STEPHENSON (S. and C.) London founders, 353; first foundry, 353;
-specimens, 353, 354; punch-cutter for, 353, 359; foundry sold, 354
-
-——— Matrices:—Roman and Italic, 353; Ornaments, 353
-
-STEPHENSON (HENRY) Sheffield founder, 329
-
-Stereotype, early suggestion of, 13; first attempts at, 218; history of
-Ged’s invention, 218; re-invention by Tilloch, 220, 261; perfected by
-Wilson and Lord Stanhope, 220; Didot’s method of, 220
-
-Strong (Mr.) married Mrs. H. Caslon, 252
-
-Strype’s note on Day, 98; on early types, 97
-
-Subiaco, Roman type at, 40; Greek, 57
-
-Swedish Matrices:—Oxford, 73, 151
-
-SWINNEY (MYLES) Birmingham founder, 269, 352; specimen of, 352, 353;
-poetical tribute to, 353
-
-Swynheim and Pannartz, Roman types of, 40, 41; Greek, 57
-
-SYMPSON (BENJ.) the first recorded English letter-founder, 128, 164
-
-Syriac, chief founts abroad, 67; printed in Hebrew, 67; Usher’s attempt
-to procure types of, 67, 68
-
-——— Matrices: Oxford, 68, 147, 148, 155, 160, 161; Polyglot, 68, 173,
-174, 177, 198, 241; Andrews, 195, 241; Grover, 198, 241; James, 228,
-241; Caslon, 160, 240, 241, 246, 247, 254; Fry, 68, 303, 308, 309, 311,
-342; Caslon III, 326; Figgins 68, 342, 343; Watts, 68
-
-——— Punches:—James, 229
-
-Télegú matrices: Figgins, 339, 343
-
-Tertia, a German type body, 37
-
-Teste, a size of type, 32
-
-Testo, a Spanish type body, 32, 37
-
-Thiboust (C. L.) his account of French founding, 114, 115; his
-_Typographiæ Excellentia_, 115
-
-Thomas (Isaiah) his _Printing in America_, 17; note on the first
-American founders, 350
-
-Thomson (Jas.) his patent for type-casting, 12, 122
-
-_Thomson’s Seasons_, Parma, 1794: 251: Lond. 1799: 336
-
-THORNE (ROBT.) apprentice and successor to Cottrell, 292; removes to
-Barbican, 292; and to Fann Street, 294; regulations of his foundry,
-117, 294; specimens, 292, 293, 294; new fashions of Roman, 293; sale of
-his foundry, 295
-
-——— Matrices: Blacks, 295; Engrossing, 295; Flowers, 293, 295; German,
-295; Ornamented, 295; ‘Proscription,’ 292, 294; Roman and Italic, 292,
-293, 295; Script, 293, 294, 295; Shaded, 293, 295
-
-THOROWGOOD (WM.) purchases Thorne’s foundry, 295; specimens, 295, 296;
-purchases Dr. Fry’s foundry, 296, 313; successors, 296; standards of
-type bodies in 1841, 34
-
-——— Matrices: German, 296; Greek, 296; Hebrew, 296; Roman and Italic,
-295; Russian, 72, 296
-
-Tilloch’s patent for stereotype, 220, 261
-
-Timmins (S.) Baskerville relics of, 268, 269, 271, 279
-
-Tonson (J.) buys type in Holland, 216, 217, 233
-
-Tory (Geof.) on shapes of types, 32, 53, 183; his _Champfleury_, 32,
-183; Greek type of, 58; Initials, 80; Roman, 44
-
-_Tractatus contra Judæos_, Esslingen, 1475 62
-
-Trafalgar, an English type body, 34
-
-Tranquebar, Scriptures printed at, 1714–19; 234
-
-_Treatise of Love_, Westminster, 1491 ?; 89
-
-_Treatyse of Fysshynge with an Angle_, Lond. 1827; 286
-
-Trithemius on the Invention of Printing, 7
-
-_Turner’s Herbal_, Lond. 1551; 60
-
-Turner, a dishonest Oxford printer, 145
-
-Two-line letters, early mention of, 32; use of, 80, 129
-
-_Twyn’s Tryal and Condemnation_, Lond. 1664; 132
-
-Types, early; first suggestion of mobile, 3; wooden, 3; perforated,
-4; Wetter’s specimen of, 5; Laborde’s specimen, 5; ‘sculpto-fusi,’ 7;
-sand-cast, 10; clay-cast, 11; irregularities in, 18; 15th century types
-at Lyons, 20–23; and at Cologne, 24–26; ligatures and contractions, 22,
-27; quantities of, in founts, 26, 27; one size only in a book, 126;
-markets for, 20, 28, 90, 103; trade in, 103, 123; early control over,
-126
-
-Type-bodies, origin of, 31, 32; names of early, 32–40; irregular, 33;
-standards of 33, 34; attempts to regulate, 35, 357; names of foreign, 35
-
-Type-casting, Moxon’s account of, 111; machine for, origin of, 122;
-patents for, 119–22; early machines, 265, 356
-
-Type-ornaments, first at Subiaco, 82; Aldus’, 82; Caxton’s, 82; H.
-Estienne’s, 82; used in combination, 82
-
-Type patented, Rusher’s, 119; Caslon III, 120, 327
-
-Type-mould, invention of, 9; of sand, 10; clay, 11, plaster, 15;
-earliest adjustable, 14; in four pieces, 17, 120; peculiarities of
-early, 23, 105; Garamond’s, 23; Dutch, of brass, 113, 216; ‘drags’ in
-26; Moxon’s description of, 108, 186; abandonment of hand, 119; lever
-introduced, 120, 186
-
-Type-specimens, English, 49, 50; Dibdin on, 49; Bodoni’s, 50, 251
-
-Type Street Foundry established, 305
-
-‘Typi tornatissimi,’ initials, 79
-
-_Typographical Antiquities_, Lond. 1749; 52, 242
-
-_Typographiæ Excellentia, Carmen_, Paris, 1718; 115
-
-Typography, essence of, 2; and xylography, 2; two early schools of, 9;
-a mathematical science, 184
-
-Union-Pearl matrices: Grover, 199, 204; James, 228, 303; Fry, 303
-
-_Universal Magazine_, 1750: account of letter-founding in, 108, 116,
-243, 288, 316
-
-_Unterweissung der Messung_, Nuremburg, 1525; 32, 183
-
-Usher’s attempt to procure Oriental types, 67, 69, 141
-
-Van Dijk (Chr.) Dutch letter cutter, 114, 215; Moxon’s praise of, 182,
-184; Roman letter of, 40, 44, 47, 182, 184; Italic, 52; Black, 47
-
-Vatican Press, Oriental types of, 65, 67, 69
-
-Vautrollier (Th.) Roman type of, 46, 98; Italic, 51; Music, 77
-
-_Virgil_, Paris, 1648; 56: Lond. (Ogilby’s) 47: Florence, 1741; 204:
-Birmingham, 1757; 272, 273
-
-Vitré, French printer, Arabic types of, 66; Samaritan, 70; Syriac, 67
-
-Vizitelly, Branston and Co.’s cast ornaments, 360
-
-_Vocabularia_, St. Petersburg, 1786–9; 72
-
-_Vocabulary_ (_Arabic_), Granada, 1505; 65
-
-_Vocabulary, Persian, Arabic and English_, Lond. 1785; 319
-
-_Voltaire, Œuvres de_, Kehl, 1784–9; 286
-
-Voskens (Dirk) Dutch founder, 114, 215, 216, 290
-
-——— Matrices of: Coptic, 70; Runic, 72; Russian, 71; Samaritan, 70;
-Saxon, 74; Sclavonic, 71
-
-Wages in Caslon’s foundry, dispute concerning in, 1757; 243: in
-Thorne’s foundry, 1806; 118
-
-Waldegrave (R.) a disorderly printer, 127
-
-WALPERGEN (P.) Oxford founder, 149, 207; book printed by, at Batavia,
-207; his Music type, 77, 148, 153, 162, 208, 209; inventory of his
-chattels, 209; small value of his punches, 209
-
-Walpole (Horace) Baskerville’s letter to, 278
-
-_Walsingham, Historia Brevis_, Lond. 1574; 95, 96
-
-Walton (Brian) editor of the London _Polyglot_, 170; his Proposals and
-Specimen, 170; his _Introductio ad lectionem_, 172; timeservice of,
-175; rewards to, 176; note by, on the Alexandrian _Codex_ facsimile,
-201
-
-Wanley (Humphrey) designs Saxon letter for Miss Elstob, 157
-
-Ward (Roger) a disorderly printer, 125, 127
-
-Watson (Jas.) Scotch printer, 257; his _History of Printing_, 257;
-Specimen, 46, 49, 258; his Dutch Initials, 80, 258
-
-WATTS (RICHARD) Cambridge University printer, 362; printer and founder
-in London, 362; Oriental types of, 363; specimen by his successors, 363
-
-——— Matrices: Syriac, 68
-
-Watts (Jno.) printer, assists Caslon, 233, 234; Franklin his
-apprentice, 233, 235
-
-Wechels, Frankfort printers, Greek types of, 58, 60, 140; Hebrew, 63
-
-Wertheimer (Jno.) Hebrew type cut for, 264
-
-Weston, _see_ Wetstein
-
-Westfalia (Jno. de) Roman type of, 43
-
-Wetstein, Dutch founders, 346, 349; Greek types of, 61
-
-Wetter’s unhistorical wooden types, 5
-
-White (Elihu) type-casting machine of, 120
-
-White (Thos.) printer, uses Baskerville’s types, 286
-
-‘White letter,’ a name for Roman, 91
-
-Whittaker (Jno.) Caxtonian restorations by, 344
-
-Whittingham (C.) printer, revives the Old Style Roman, 255
-
-_Whitintoni Grammatices_, Lond. 1519; 60, 91: _De heteroclytis
-nominibus_, Lond. 1523; 91: _Lucubrationes_, Lond. 1527; 91
-
-Wiedenbach, typographical school at, 41, 42; Roman type at, 42
-
-Wilkins (Dr. C.) Librarian to East India Company, 318; typographical
-achievements of, 318, 319; Bengal type cut by, 319; Deva Nagari cut by,
-319, 320; fire at his office, 319; Sanscrit cut for, 254
-
-Wilkins (Dr. D.) notice of, 236; Coptic works of, 236
-
-Wilkins (Dr. Jno.) Philosophical or Real character of, 191, 196, 310
-
-WILSON (ALEX.) the First; begins as a doctor’s assistant in London,
-258; patronised by Lord Isla, 258; starts a foundry, 259; his partner
-Baine, 259, 260; attempts new method of founding, 259; earliest founts
-of, 260; settles at St. Andrew’s, 260; Irish and foreign business, 260,
-264; removes to Camlachie, 260; casts types for the Foulis, 261; the
-Glasgow _Homer_ Greek type, 262; retires, 262; tributes to, 262, 263;
-specimens, 263; foundry removed to Glasgow, 263
-
-——— Matrices: Black, 264; Greek, 61, 261, 262, 264, 265; Hebrew, 261,
-265; Roman and Italic, 48, 260, 263, 264, 265; Saxon, 74, 264
-
-WILSON (ANDREW) son of above; assists and succeeds his father, 264;
-state of the foundry in 1825; 264
-
-——— Matrices: Greek, 264; Roman, 264, 355
-
-WILSON (ALEX.) the Second, son of above, joins his father, 264;
-succeeds to the foundry, 264; establishes branches at Edinburgh, 264,
-London, 265, and Two Waters, 265; type casting machine of, 122, 265;
-fails in business, 265; sells foundry, 265; joins Mr. Caslon, 255, 265
-
-WILSON (PATRICK) brother and partner of above, 264
-
-Wilson Foundry, type standards in 1841; 34: division and dispersion of,
-255, 265
-
-Woide (Dr.) his facsimile of the Alexandrian _Codex_, 311, 321
-
-Wolfe (Jno.) disorderly City printer, 125
-
-Wolfe (Rey.) types of, 95; Greek of, 60
-
-Wolsey (Cardinal) his influence on printing, 139
-
-Women, employment of, in foundries, 117
-
-WOOD AND SHARWOODS, founders, successors to Austin, 360; Cast Ornaments
-of, 360
-
-Wooden types, the legend of, 3–6; Specimens of at Oxford, 6; used in
-England, 129
-
-Worde (Wynkyn de) account of, 89–91; used Caxton’s types, 87, 89; and
-Faques’, 94; bought type abroad, 103; employed a Paris printer, 91; his
-own letter founder, 89, 90, 103; types of: Arabic, 66, 91; Black, 53,
-89, 90, 91, 197, 199, 225, 239; Greek, 60, 91; Hebrew, 64, 91; Italic,
-51, 91; Music, 76, 91; Roman, 91
-
-WRIGHT (THOS.) Star Chamber Founder, 165, 166; nominated, 130, 165
-
-Wyer (R.) types of, 94
-
-_Xenophon’s Anabasis_, Glasgow, 1783; 220
-
-Xylography, a distinct art from Typography, 6; extinction of, 2
-
-Ycair on the shapes of letters, 32, 53; his _Orthographia Practica_,
-32, 53, 183
-
-York, early printing at, 89, 139
-
-Young (Patrick) Royal Librarian, 143, 167; his _Catena on Job_, 98,
-144, 176, 198, 201, 228; his facsimile from the Alexandrian _Codex_,
-201, 321
-
-Zainer (Gunther) Roman type of, 42
-
-Zell (Ulric) his narrative of the invention of printing, 1
-
-[Illustration]
-
-[Illustration]
-
-
-
-
-ENDNOTES:
-
-[1] _The Haarlem Legend of the Invention of Printing by Lourens
-Janszoon Coster, critically examined._ From the Dutch by J. H. Hessels,
-with an introduction and classified list of the Costerian Incunabula.
-London, 1871. 8vo.
-
-[2] Xylography did not become extinct for more than half a century
-after the invention of Typography. The last block book known was
-printed in Venice in 1510.
-
-[3] “Hic ego non mirer esse quemquam qui sibi persuadeat . . . .
-mundum effici . . . . ex concursione fortuitâ! Hoc qui existimet
-fieri potuisse, non intelligo cur non idem putet si innumerabiles
-unius et viginti formæ litterarum, vel aureæ, vel qualeslibet, aliquò
-conjiciantur, posse ex his in terram excussis, annales Ennii, ut
-deinceps legi possint, effici” (_De Nat. Deor._, lib. ii). Cicero was
-not the only ancient writer who entertained the idea of mobile letters.
-Quintilian suggests the use of ivory letters for teaching children
-to read while playing: “Eburneas litterarum formas in ludum offere”
-(_Inst. Orat._, i, cap. 1); and Jerome, writing to Læta, propounds the
-same idea: “Fiant ei (Paulæ) litteræ vel buxeæ vel eburneæ, et suis
-nominibus appellentur. Ludat in eis ut et lusus ipse eruditio fiat.”
-
-[4] _In Commentatione de ratione communi omnium linguarum et
-literarum._ Tiguri, 1548, p. 80.
-
-[5] In _Chronico Argentoratensi_, _m.s._ ed. Jo. Schilterus, p. 442.
-“Ich habe die erste press, auch die buchstaben gesehen, waren von holtz
-geschnitten, auch gäntze wörter und syllaben, hatten löchle, und fasst
-man an ein schnur nacheinander mit einer nadel, zoge sie darnach den
-zeilen in die länge,” etc.
-
-[6] _De Bibliothecâ Vaticanâ._ Romæ, 1591, p. 412. “Characteres enim a
-primis illis inventoribus non ita eleganter et expedite, ut a nostris
-fieri solet, sed filo in litterarum foramen immisso connectebantur,
-sicut Venetiis id genus typos me vidisse memini.”
-
-[7] _De Germaniæ Miraculo_, etc. Lipsiæ, 1710, p. 10. “ . . . .
-ligneos typos, ex buxi frutice, perforatos in medio, ut zonâ colligari
-unâ jungique commode possint, ex Fausti officina reliquos, Moguntiæ
-aliquando me conspexisse memini.”
-
-[8] _Essai sur les Monumens Typographiques de Jean Gutenburg._ Mayence,
-an 10, 1802, p. 39.
-
-[9] _Débuts de l’ Imprimerie à Strasbourg._ Paris, 1840, p. 72.
-
-[10] _Erfindung der Buchdruckerkunst._ Mainz, 1836. Album, tab. ii.
-
-[11] The history of these “fatal, unhistorical wooden types” is
-worth recording for the warning of the over-credulous typographical
-antiquary. Wetter, writing his book in 1836, and desirous to illustrate
-the feasibility of the theory, “spent,” so Dr. Van der Linde writes,
-“really the amount of ten shillings on having a number of letters made
-of the wood of a pear-tree, only to please Trithemius, Bergellanus,
-and Faust of Aschaffenburg. . . . His letters, although tied with
-string, did not remain in the line, but made naughty caprioles.
-The supposition—that by these few dancing lines the possibility is
-demonstrated of printing with 40,000 wooden letters, necessary to the
-printing of a quarternion, a whole folio book—is dreadfully silly. The
-demonstrating facsimile demonstrates already the contrary. Wetter’s
-letters not only declined to have themselves regularly printed, but
-they also retained their pear-tree-wood-like impatience afterwards.”
-The specimen of these types may be seen in the _Album_ of plates
-accompanying Wetter’s work, where they occupy the first place, the
-matter chosen being the first few verses of the Bible, occupying
-nineteen lines, and the type being about two-line English in body.
-M. Wetter stated in his work that he had deposited the original
-types in the Town Library of Mentz, where they might be inspected by
-anyone wishing to do so. From this repository they appear ultimately
-to have returned to the hands of M. Wetter’s printer. M. Bernard,
-passing through Mentz in 1850, asked M. Wetter for a sight of them,
-and was conducted to the printing office for that purpose, when it was
-discovered that they had been stolen; whereupon M. Bernard remarks,
-prophetically, “Peutêtre un jour quelque naïf Allemand, les trouvant
-parmi les reliques du voleur, nous les donnera pour les caractères de
-Gutenberg. Voilà comment s’établissent trop souvent les traditions.”
-This prediction, with the one exception of the nationality of the
-victim, was literally fulfilled when an English clergyman, some
-years afterwards, discovered these identical types in the shop of
-a curiosity-dealer at Mayence, and purchased them as apparently
-veritable relics of the infancy of printing. After being offered to the
-authorities at the British Museum and declined, they were presented in
-1869 to the Bodleian Library at Oxford, where they remain to this day,
-treasured in a box, and accompanied by a learned memorandum setting
-forth the circumstances of their discovery, and citing the testimony
-of Roccha and other writers as to the existence and use of perforated
-types by the early printers. The lines (which we have inspected)
-remain threaded and locked in forme exactly as they appear in Wetter’s
-specimen. It is due to the present authorities of the Bodleian to say
-that they preserve these precious “relics,” without prejudice, as
-curiosities merely, with no insistence on their historic pretensions.
-
-[12] Van der Linde, _Haarlem Legend_. Lond., p. 72.
-
-[13] Skeen, in his _Early Typography_, Colombo, 1872, takes up
-the challenge thrown down by Dr. Van der Linde on the strength of
-Enschedé’s opinion, and shows a specimen of three letters cut in
-boxwood, pica size, one of which he exhibits again at the close of
-the book after 1,500 impressions. But the value of Skeen’s arguments
-and experiments is destroyed when he sums up with this absurd dictum:
-“Three letters are as good as 3,000 or 30,000 or 300,000 to demonstrate
-the fact that words are and can be, and that therefore pages and whole
-books may be (and therefore also that they may have been) printed from
-such separable wooden types.”—P. 424.
-
-[14] _Annales Hirsaugienses_, ii, p. 421: “Post hæc inventis
-successerunt subtiliora, inveneruntque modum fundendi formas omnium
-Latini Alphabeti literarum quas ipsi matrices nominabant; ex quibus
-rursum æneos sive stanneos characteres fundebant, ad omnem pressuram
-sufficientes, quos prius manibus sculpebant.” Trithemius’ statement, as
-every student of typographical history is aware, has been made to fit
-every theory that has been propounded, but it is doubtful whether any
-other writer has stretched it quite as severely as Meerman in the above
-rendering of these few Latin lines.
-
-[15] _Origines Typographicæ_, Gerardo Meerman auctore. Hagæ Com., 1765.
-Append., p. 47.
-
-[16] The constant recurrence in more modern typographical history of
-the expression “to cut matrices,” meaning of course to cut the punches
-necessary to form the matrices, bears out the same conclusion.
-
-[17] _Origine et Débuts de l’Imprimerie en Europe._ Paris, 1853, 8vo,
-i, 38.
-
-[18] _Life and Typography of William Caxton._ London, 1861–3, 2 vols,
-4to, ii, xxiv.
-
-[19] _The Invention of Printing._ New York, 1876. 8vo.
-
-[20] _Origine de l’Imprimerie_, i, 40.
-
-[21] Mr. Blades points out that there are no overhanging letters in
-the specimen. The necessity for such letters would be, we imagine,
-entirely obviated by the numerous combinations with which the type of
-the printers of the school abounded. The body is almost always large
-enough to carry ascending and descending sorts, and in width, a sort
-which would naturally overhang, is invariably covered by its following
-letter cast on the same piece.
-
-[22] It is well known that until comparatively recently the large
-“proscription letters” of our foundries, from three-line pica and
-upwards, were cast in sand. The practice died out at the close of last
-century.
-
-[23] _An Enquiry Concerning the Invention of Printing._ London, 1863,
-4to, p. 265.
-
-[24] In a recent paper, read by the late Mr. Bradshaw of Cambridge,
-before the Library Association, he points out a curious shrinkage
-both as to face and body in the re-casting of the types of the Mentz
-_Psalter_, necessary to complete the printing of that work. The
-shrinking properties of clay and plaster are well known, and, assuming
-the new type to have been cast in moulds of one of these substances
-formed upon a set of the original types, the uniform contraction of
-body and face might be accounted for. If, on the other hand, we hold
-that the types of this grand work were the product of the finished
-school of typographers, the probability is that the new matrices (of
-the face of the letter only) were formed in clay, as suggested at p.
-15, and that the adjustable mould was either purposely or inadvertently
-shifted in body to accommodate the new casting.
-
-[25] In connection with the suggested primitive modes of casting, the
-patent of James Thomson in 1831 (see Chap. iv, _post_), for casting by
-a very similar method, is interesting.
-
-[26] _Origine de l’Imprimerie._ Paris, 1810, 2 vols., 8vo, i, 97.
-
-[27] _Origine de l’Imprimerie_, i, 99, etc. The following are
-the citations:—“_Escriture en molle_,” used in the letters of
-naturalisation to the first Paris printers, 1474. “_Escrits en moule_,”
-applied to two Horæ in vellum, bought by the Duke of Orleans, 1496.
-“_Mettre en molle_,” applied to the printing of Savonarola’s sermons,
-1498. “_Tant en parchemin que en papier, à la main et en molle_,”
-applied to the books in a library, 1498. “_Mettre en molle_,” applied
-to the printing of a book by Marchand, 1499. “_En molle et à la main_,”
-applied to printed books and manuscripts in the Duke of Bourbon’s
-library, 1523. “_Pièces officielles moulées par ordre de l’Assemblée._”
-Procès verbaux des Etats Généraux, 1593.
-
-[28] _Coster Legend_, p. 6.
-
-[29] _Ibid._, p. viii.
-
-[30] A calculation given in the _Magazin Encyclopédique_ of 1806, i,
-299, shows that from such matrices 120 to 150 letters can be cast
-before they are rendered useless, and from 50 to 60 letters before any
-marked deterioration is apparent in the fine strokes of the types.
-
-[31] Several writers account for the alleged perforated wooden and
-metal types reputed to have been used by the first printers, and
-described by Specklin, Pater, Roccha and others, by supposing that they
-were model types used for forming matrices, and threaded together for
-safety and convenience of storage.
-
-[32] _Works of the late Dr. Benjamin Franklin, consisting of his Life,
-written by himself_, in 2 vols. London, 1793, 8vo, i, 143. It is a
-very singular fact that in a later corrected edition of the same work,
-edited by John Bigelow, and published in Philadelphia in 1875, the
-passage above quoted reads as follows: “I contrived a mould, made use
-of the letters we had as puncheons, struck the _matrices in lead_, and
-thus supplied in a pretty tolerable way all deficiencies.” Whichever
-reading be correct, the illustration is apt, as proving the possibility
-of producing type from matrices either of clay or lead in a makeshift
-mould.
-
-[33] _Origine de l’Imprimerie_, i, 144.
-
-[34] From this method of forming the matrices (says a note to
-the Enschedé specimen) has arisen the name Chalcographia, which
-Bergellanus, among others, applies to printing.
-
-[35] _Printer’s Grammar._ Lond., 1755, p. 10.
-
-[36] It has been suggested by some that wood could be _struck_ into
-lead or pewter; but the possibility of producing a successful matrix
-in this manner is, we consider, out of the question. In 1816 Robert
-Clayton proposed to cast types in metal out of _wooden_ matrices
-punched in wood with a cross grain, which has been previously slightly
-charred or baked.
-
-[37] In the specimen of “_Ancienne Typographie_” of the Imprimerie
-Royale of Paris, 1819, several of the old oriental founts are thus
-noted: “les poinçons sont en cuivre.”
-
-[38] In the 2nd edition of Isaiah Thomas’ _History of Printing in
-America_, Albany, 1874, i, 288, an anecdote is given of Peter Miller,
-the German who printed at Ephrata in the United States in 1749, which
-we think is suggestive of the possible expedients of the first printers
-with regard to the mould. During the time that a certain work of Miller
-was in the press, says Francis Bailey, a former apprentice of Miller’s,
-“particular sorts of the fonts of type on which it was printed ran
-short. To overcome this difficulty, one of the workmen constructed a
-mold that could be moved so as to suit the body of any type not smaller
-than brevier nor larger than double-pica. The mold consisted of four
-quadrangular pieces of brass, two of them with mortices to shift to a
-suitable body, and secured by screws. The best type they could select
-from the sort wanted was then placed in the mold, and after a slight
-corrosion of the surface of the letter with aquafortis to prevent
-soldering or adhesion, a leaden matrix was cast on the face of the
-type, from which, after a slight stroke of a hammer on the type in the
-matrix, we cast the letters which were wanted. Types thus cast answer
-tolerably well. I have often adopted a method somewhat like this to
-obtain sorts which were short; but instead of four pieces of brass,
-made use of an even and accurate composing-stick, and one piece of
-iron or copper having an even surface on the sides; and instead of a
-leaden matrix, have substituted one of clay, especially for letters
-with a bold face.” De Vinne describes an old mould preserved among the
-relics in Bruce’s foundry at New York, composed (with the matrix) of
-four pieces, and adjustable both as to body and thickness. Bernard also
-mentions a similar mould in use in 1853.
-
-[39] A curious instance of this occurs in the battered text of the _De
-Laudibus Mariæ_, shown at p. 24, where the rubricator has added his
-red dashes to capital letters at the beginning, middle and end of a
-palpably illegible passage.
-
-[40] _Notizie storiche sopra la Stamperia di Ripoli._ Firenze, 1781, p.
-49. _Prezzi de’ generi riguardanti la Getteria (letter foundry)._
-
-                                                          _s._  _d._
- Acciaio          (steel)         liv. 2  8 0  la lib. ( = 9   0 per lb.)
- Metallo          (type-metal?)    〃   0 11 0    〃    ( = 2   0 3/4 〃  )
- Ottone           (brass)          〃   0 12 0    〃    ( = 2   3     〃  )
- Rame             (copper)         〃   0  6 8    〃    ( = 1   3     〃  )
- Stagno           (tin)            〃   0  8 0    〃    ( = 1   6     〃  )
- Piombo           (lead)           〃   0  2 4    〃    ( = 0   5 1/4 〃  )
- Filo di ferro    (iron wire)      〃   0  8 0    〃    ( = 1   6     〃  )
-
-[41] It would be more correct to say the discovery of the properties of
-antimony, which were first described by Basil Valentin about the end of
-the 15th century, in a treatise entitled _Currus triumphalis Antimonii_.
-
-[42] Printing was practised at Lyons in 1473, three years only later
-than at Paris. From the year 1476 the art extended rapidly in the
-city. Panzer mentions some 250 works printed here during the 15th
-century by nearly forty printers, among whom was Badius Ascensius. The
-earlier Lyons printers are supposed to have had their type from Basle,
-and their city shortly became a depôt for the supply of type to the
-printers of Southern France and Spain.
-
-[43] _Histoire de l’Invention de l’Imprimerie par les Monuments._
-Paris, 1840, fol., p. 12.
-
-[44] _Lettres d’un Bibliographe._ Paris, 1875, 8vo, Ser. iv, letter 16.
-
-[45] Begins “_Incipit Liber de Laudibus ac Festis Gloriose Virginis
-Matris Marie alias Marionale Dictus per Doctores eximeos editus et
-compilatus_”; at end, “_Explicit Petrus Damasceni de laudibus gloriose
-Virginis Marie_.” The book is mentioned in Hain, 5918. The drawn-up
-type occurs on the top of folio b 4 verso.
-
-[46] It will be understood that in each case the outline of the types
-being merely a depressed edge in the original, the black outline of the
-facsimiles represents shadow only, and not, as might appear at first
-glance, inked surface. M. Madden’s facsimile is apparently drawn. In
-the photograph facsimile of the “_De laudibus_” type, the distribution
-of black represents the distribution of shadow caused by the somewhat
-uneven or tilted indentation of the side of the type in the paper.
-
-[47] Such projections or “drags” in the mould are not unknown in modern
-typefounding, where they are purposely inserted so as to leave the
-newly cast type, on the opening of the mould, always adhering to one
-particular side.
-
-[48] _Life of Caxton_, i, 39. Later on (p 52), Mr. Blades points out,
-as an argument against the supposed typographical connection between
-Caxton and Zel of Cologne, that the latter, from an early period,
-printed two pages at a time.
-
-[49] _Haarlem Legend_, p. xxiii.
-
-[50] Mr. Skeen (_Early Typography_, p. 299) speaks of 300 matrices as
-constituting a complete fount; he appears accidentally, in calculating
-for two pages instead of one, to have assumed that a double number of
-matrices would be requisite for the double quantity of type.
-
-[51] _Origin and Progress of Writing._ London, 1803. 4to. Chapter ix.
-
-[52] The cost-book of the Ripoli press contains several entries
-pointing to an early trade in type and matrices. In 1477 the directors
-paid ten florins of gold to one John of Mentz, for a set of Roman
-matrices. At another time they paid 110 livres for two founts of Roman
-and one of Gothic: and further, purchased of the goldsmith, Banco of
-Florence, 100 little initials, three large initials, three copper
-vignettes, and the copper for an entire set of Greek matrices.
-
-[53]
-
- “Natio quæque suum poterit reperire caragma
-  Secum nempe stilo præminet omnigeno.”
-
-[54] _Unterweisung der Messung._ Nuremberg, 1525. Fo.
-
-[55] _Champfleury._ Paris, 1529. 8vo.
-
-[56] _Orthographia Practica._ Caragoça, 1548. 4to.
-
-[57] Both _Testo_ and _Glosilla_ subsequently became the names of
-Spanish type-bodies, the former being approximately equivalent to our
-Great Primer, and the latter to our Minion.
-
-[58] _Dissertation upon English Typographical Founders and Founderies._
-London, 1778. 8vo.
-
-[59] See _post_, chap. v.
-
-[60] See _post_, chap. v.
-
-[61] Hansard’s _Typographia_. London, 1825, 8vo, p. 388.
-
-[62] See _post_, chap. xxi.
-
-[63] In several of the German specimens thus examined, not only do
-the bodies of one founder differ widely from those of others, but the
-variations of each body in the same foundry are often extraordinary.
-Faulman, in his _Geschichte der Buchdruckerkunst_, Vienna, 1882, 8vo,
-p. 488, has a table, professing to give the actual equivalents of each
-body to a fraction; but we conceive that, in the absence of a fixed
-national standard, such an attempt is futile.
-
-[64] Two-line English, Mores points out, was originally a primitive,
-and not a derivative body, corresponding to the old German Prima.
-
-[65] Henry VIII, in 1545, allowed his subjects to use an English Form
-of Public Prayer, and ordered one to be printed for their use, entitled
-_The Primer_. It contained, besides prayers, several psalms, lessons
-and anthems. _Primers_ of the English Church before the Reformation
-were printed as early as 1490 in Paris, and in England in 1537.
-
-[66] We have nowhere met with the suggestion that Primer may be
-connected with the Latin “premere,” a word familiar in typography, and
-naturalized with us in the old word “imprimery.” Great Primer might
-thus merely mean the large print letter.
-
-[67] The religious origin of the names of types is in harmony with the
-occurrence in typographical phraseology of such words as _chapel_,
-_devil_, _justify_, _hell_ (the waste type-pot), _friars_ and _monks_
-(white and black blotches caused by uneven inking), etc.
-
-[68] Ulric Hahn’s _St. Augustini De Civitate Dei_, Rome, 1474, is
-printed in a letter almost exactly this body. Others derive the name
-from the great edition of _St. Augustine_ printed by Amerbach at Basle
-in 1506.
-
-[69] “Liber presens, directorium sacerdotum, quem _pica_ Sarum vulgo
-vocitat clerus,” etc., is the commencement of a work printed by Pynson
-in 1497.
-
-[70] Both the _Cicero_ of Fust and Schoeffer at Mentz, 1466, and of
-Hahn at Rome, 1469, were in type of about this size.
-
-[71] _This Prymer of Salysbury use, is set out a long, wout ony
-serchyng_, etc. Paris, 1532. 16mo. Many editions were printed in
-England and abroad.
-
-[72] Fournier (ii, 144) shows a specimen of the lettre de Somme with
-exactly a Bourgeois face.
-
-[73] The first of the family of Paris printers of this name, mentioned
-by De la Caille, flourished in 1615.
-
-[74] The German Brevier, corresponding to our Small Pica, is of more
-frequent occurrence in these works.
-
-[75] _De Germaniæ Miraculo._ Lipsiæ, 1710, 4to, p. 37.
-
-[76] The _Lactantius_, published the same year, and usually claimed
-as the first book printed in Italy, appears, according to a note of
-M. Madden’s (_Lettres d’un Bibliographe_, iv, 281), not to have been
-completed for a month after the _Cicero de Oratore_.
-
-[77] “Il (Jenson) forma un caractère composé des capitales latines, qui
-servirent de majuscules; les minuscules furent prises d’autres lettres
-latines, ainsi que des espagnoles, lombardes, saxones, françoises ou
-carolines.” (_Man. Typ._, ii, 261.)
-
-[78] M. Philippe, in his _Origine de l’Imprimerie à Paris_, Paris,
-1885, 4to, p. 219, mentions two books printed in this fount, which
-contain MS. notes of having been purchased in the years 1464 and 1467
-respectively.
-
-[79] _Lettres d’un Bibliographe_, iv, 60.
-
-[80] For a full account and analysis of Jenson’s Roman and other type,
-the reader is referred to Sardini’s _Storia Critica di Nic. Jenson_.
-Lucca, 1796–8, 3 parts, fol.
-
-[81] _Annales de l’Imprimerie des Alde._ Paris, 1803–12, 3 vols., 8vo.
-
-[82] Sardini (iii, 82) cites an interesting document wherein Zarot, in
-forming a typographical partnership with certain citizens of Milan,
-covenants to provide “tutte le Lettere Latine, e Greche, antique, e
-moderne.” Bernard points out that “antique” undoubtedly means Roman
-type, the traditional character of the Italians, while “moderne”
-applies to the Gothic, which was at that time coming into vogue as a
-novelty among Italian printers.
-
-[83] Renouard and others claim that these famous characters were cut by
-the French artists Garamond and Sanlecques. This legend is, however,
-disposed of by Mr. Willems, in his work, _Les Elzevier_. Brussels,
-1880, 8vo.
-
-[84] Pynson was the first to introduce diphthongs into the
-typographical alphabet.
-
-[85] Garamond’s Roman was cut for Francis I. The Roman character was
-an object of considerable royal interest in France during its career.
-In 1694, on the re-organisation of the press at the Louvre under Louis
-XIV, arbitrary alterations were made in the recognised form of several
-of the “lower-case” letters, to distinguish the “_Romain du Roi_”
-from all others, and protect it from imitations. The deformity of the
-letters thus tampered with was their best protection.
-
-[86] Amongst which should be named Vautrollier’s edition of Beza’s _New
-Testament_ in 1574, which, both in point of type and workmanship, is an
-admirable piece of typography. The small italic is specially beautiful.
-Renouard says this type was cut by Garamond of Paris.
-
-[87] _History of the Art of Printing._ Edinburgh, 1713. 8vo.
-
-[88] The _Horace_, printed in 1627, may be mentioned as one of the most
-interesting of these little typographical curiosities. The type is
-exactly the modern pearl body. The text is 2 5/6 inches in depth, and
-1 1/2 inch wide.
-
-[89] _The Holy Bible, containing the Old and New Testaments._ London,
-printed by John Field, 1653, 32mo. The inexperience of English
-compositors and correctors in dealing with this minute type is
-illustrated by the fact that Field’s Pearl Bibles are crowded with
-errors, one edition, so it is said, containing 6,000 faults.
-
-[90] In one of the Bagford MSS. (Harl. 5915) appear, with the title
-“Mr. Ogilby’s Letters,” the drawings and proofs of this alphabet in
-capital and lower-case.
-
-[91] See Specimen No. 21, _post_.
-
-[92] Tradition has asserted that Hogarth designed Baskerville’s types.
-
-[93] In recent years a French typographer, M. Motteroz, has attempted
-to combine the excellences of the Elzevir and modern Roman, with a
-view to arrive at an ideally legible type. The experiment is curious
-but disappointing. For though the new “typographie” of M. Motteroz
-justifies its claim to legibility, the combination of two wholly
-unsympathetic forms of letter destroys almost completely the beauty of
-each.
-
-[94] _Specimen Bibliorum Editionis Hebr. Gr. Lat._ (folio sheet); no
-date.
-
-[95] _Bibliographical Decameron_, ii, 381–2.
-
-[96] _Origine de l’Imprimerie de Paris_, Paris, 1694, 4to, p. 110.
-Chevillier gives a curious instance of this tendency of the old
-printers to contract their words. The example is taken from _La
-Logique d’Okam_, 1488, fol., a work in which there scarcely occurs a
-single word not abbreviated. “Sic̃ hic ẽ faɫ s̃m q̃d ad simpɫr a ẽ
-[*pro]ducibile a Deo g̃ a ẽ & sir hic a ñ ẽ g̃ a ñ ẽ [*pro]ducibile a
-Do,”-which means: “Sicut hic est fallacia secundum quid ad simpliciter;
-A est producibile a Deo; ergo A est. Et similiter hic. A non est; ergo
-A non est producibile a Deo.”
-
-[97] Sir A. Panizzi, in his tract, _Chi era Francesco da Bologna ?_
-London, 1858, 16mo, shows that this artist was the same as the great
-Italian painter, Francesco Francia.
-
-[98] The German practice of inserting proper names and quotations,
-occurring in a German book, in Roman type, probably suggested a similar
-use of the Italic in books printed in the Roman letter.
-
-[99] This reform, which was an incident in the general typographical
-revolution at the close of last century, is usually credited to John
-Bell, who discarded the long ſ in his _British Theatre_, about 1791.
-Long before Bell’s time, however, in 1749, Ames had done the same thing
-in his _Typographical Antiquities_, and was noted as an eccentric in
-consequence. Hansard notes the retention of the long ſ in books printed
-at the Oxford University press as late as 1824.
-
-[100] The suggestion that _Lettres de Forme_ may have meant merely
-letters commonly used in print (adopting the early printers’ use of the
-word _forma_ as type), appears to be somewhat far-fetched. The term,
-though apparently distinctly typographical, was used both by Tory and
-Ycair to denote a class of letter which the former denominated _Canon_,
-or cut according to rule, as opposed to the more fanciful _lettres
-bâtardes_.
-
-[101] Petrarch expressed a strong aversion to the character; but some
-Italian and French printers adopted it, to the exclusion of the Roman,
-and, like Nicholas Prevost in 1525, boasted of it as the type “most
-beautiful and most becoming for polite literature.” Gothic printing
-began in Italy about 1475 and in France in 1473.
-
-[102] See specimen No. 15, _post_.
-
-[103] See specimen No. 49, _post_.
-
-[104] _Bibliographical Decameron_, ii, 407.
-
-[105] The first part of this work is without date or printer’s name;
-but the types are those of the 1462 Bible. The _Secunda Secundæ_ was
-printed by Schoeffer at Mentz in 1467, in the types of the _Rationale_.
-
-[106] See specimens Nos. 5 and 6, _ante_, and 18A, _post_.
-
-[107] See specimen No. 27, _post_.
-
-[108] See specimen No. 52, _post_.
-
-[109] See specimen No. 73, _post_.
-
-[110] See specimen No. 51, _post_.
-
-[111] Thus, Ὁτι ἶσα τὰ ἁμαρτήματα appears Oτίcaτaaκaρτηaκaτa.
-
-[112] Lascaris caused to be printed at Florence, in 1494, an
-_Anthologia Græca_, and several other works wholly in Greek capitals,
-“litteris majusculis.” In the preface to the _Anthologia_ he vindicates
-his use of these characters, which he says he has designed after the
-genuine models of antiquity to be found in the inscriptions on medals,
-marbles, etc.
-
-[113] Robert Estienne was not the first to hold this title, Conrad
-Néobar, his predecessor, having enjoyed it from 1538–40. In some of his
-early impressions before 1543, Estienne used occasionally Greek types,
-apparently the same as those of Badius.
-
-[114] The Imprimerie Royale at the Louvre, of which the present
-Imprimerie Nationale is the direct successor, was not founded till
-1640, by Louis XIII. Francis I granted the letters patent in 1538,
-whereby Néobar and his successors received the title of Royal Printers,
-but did not create a royal printing establishment.
-
-[115] Renouard states that the last of the Greek founts of the Aldine
-press was without doubt designed from Garamond’s models.
-
-[116] Gresswell mentions an _Alphabetum Græcum_, published in 1543, as
-a preliminary specimen.
-
-[117] The history of these famous types, the matrices of which for some
-years lay in pawn at Geneva, whence they were released at a cost of
-3,000 livres in 1619, may be read in M. Bernard’s _Les Estienne et les
-types grecs de François I^{er}_. Paris, 1856. 8vo.
-
-[118] Greek printing did not become common in Spain till a later
-period. A book printed at Oriola in 1603 contains an apology for the
-want of Greek types.
-
-[119] See specimen No. 28, _post_.
-
-[120] See specimen No. 29, _post_.
-
-[121] See specimen No. 69, _post_.
-
-[122] See specimen No. 71, _post_.
-
-[123] _De Hebraicæ typographiæ origine._ Parma, 1776. 4to.
-
-[124] _Les Incunables Orientaux._ Paris, 1883. 8vo.
-
-[125] _Recherches . . sur la Vie et les Editions de Thierry Martens._
-Alost, 1845. 8vo.
-
-[126] See specimens Nos. 34 and 35, _post_.
-
-[127] See specimen No. 47, _post_.
-
-[128] The English were in negotiation for the founts when Vitré
-received his orders to purchase.
-
-[129] See _Calendar State Papers_, 1637–8, p. 245. Raphlengius died in
-1597. Among Laud’s MSS. at the Bodleian is a printed work by Bedwell,
-entitled _The Arabian Trudgman_, London, 1615, 4to, but no Arabic type
-is used in it. An attempt to buy the Oriental matrices of Erpenius for
-Cambridge, in 1626, was forestalled by the Elzevirs, who secured them
-for their own press.
-
-[130] See specimen No 37, _post_.
-
-[131] See specimen No. 61, _post_.
-
-[132] Parr’s _Life and Letters of Usher_. London, 1686, fol., p. 488.
-
-[133] See specimen No. 38, _post_.
-
-[134] See specimen No. 41, _post_.
-
-[135] See specimen No. 63, _post_.
-
-[136] See specimen No. 39, _post_.
-
-[137] See specimen No. 66, _post_.
-
-[138] See specimen No. 40, _post_.
-
-[139] See specimen No. 36, _post_.
-
-[140] See specimen No. 62, _post_.
-
-[141] See specimen No. 42, _post_.
-
-[142] See specimen No. 78, _post_.
-
-[143] James’s foundry also had a set of punches in Long Primer, but
-these appear never to have been struck.
-
-[144] See specimen No. 64, _post_.
-
-[145] See specimen No. 65, _post_.
-
-[146] See facsimile No. 20, _post_.
-
-[147] See specimen No. 48, _post_.
-
-[148] See specimen No. 45, _post_.
-
-[149] Music engraved on wood was used as late as 1845, in Oakley’s
-_Laudes Diurnæ_.
-
-[150] See specimen No. 54, _post_.
-
-[151] _Essai sur l’Education des Aveugles._ Dedié au Roi. À Paris.
-Imprimé par les Enfants Aveugles. 1786. 4to. The work is printed in
-the large script letter of the press, but not in relief. Appended are
-specimens of circulars, addresses, etc., printed in ordinary type, for
-the use of the public.
-
-[152] A curious collection of these may be seen in the _Quincuplex
-Psalterium_, printed by Henri Estienne I, at Paris, in 1513.
-
-[153] _The Life and Typography of William Caxton, England’s first
-Printer._ 2 vols. London, 1861–3. 4to.
-
-[154] Mr. Figgins, apparently misled by the irregularities in form
-consequent on the touching-up of Type No. 2, concluded that the whole
-of the types in which this book was printed were cut separately by hand.
-
-[155] _The General History of Printing._ London, 1732, 4to, p. 343.
-
-[156] Among the rubbish of James’s foundry, Mores, who evidently
-credited the legend, states that he discovered some of the punches from
-which the two-line Great Primer matrices had been struck. “They are,”
-he observed, “truly _vetustate formâque et squalore venerabiles_, and
-we would not give a lower-case letter in exchange for all the leaden
-cups of Haerlem” (_Dissertation_, p. 76). Hansard, in 1825, appears
-also to have believed in the survival of De Worde’s punches, the form
-of which he professed to recognise among the Black-letter shown in
-Caslon’s specimen-book of 1785.
-
-[157] The first Roman, or (as it was sometimes called) White-letter,
-noticed by Herbert in any of De Worde’s books was in the _Whitintoni de
-heteroclytis nominbus_, 1523.
-
-[158] _Roberti Wakefeldi . . . oratio de laudibus et utilitate trium
-linguarum Arabice, Chaldaicæ et Hebraice atque idiomatibus Hebraicis
-quæ in utroque testamento inveniuntur. Londini apud Winandum de Vorde_
-(1524). 4to.
-
-[159] This is probably the first appearance of Italic type in England.
-
-[160] Pynson was not the first English printer who “put out” his work
-to foreign typographers. Caxton, in 1487, employed W. Maynyal of Paris
-to print a Sarum _Missal_ for him; and one book, at least, is known to
-have been printed for De Worde by a Parisian printer.
-
-[161] _Oratio in Pace nuperrimâ, etc. Impressa Londini, Anno Verbi
-incarnati_ MDXVIII _per Richardum Pynson, Regium Impressorem_. 4to.
-
-[162] _Thomæ Linacri de emendatâ structurâ Latini sermonis. Londini,
-apud Richardum Pinsonum._ 1524. 4to.
-
-[163] _i.e._, “Greeting to the Reader: Of thy candour, reader, excuse
-it if any of the letters in the Greek quotations are lacking either in
-accents, breathings or proper marks. The printer was not sufficiently
-furnished with them, since Greek types have been but lately cast by
-him; nor had he the supply prepared necessary for the completion of
-this work.”
-
-[164] Redman, who began to print about 1525, in Pynson’s old house, is
-supposed to have succeeded to the types of his predecessor. His edition
-of _Littleton’s Tenures_ (no date) shows the Roman letter in Long
-Primer body.
-
-[165] _D. Joannis Chrysostomi homiliæ duæ, nunc primum in lucem æditæ_
-(Greek and Latin) _a Joanne Cheko. Londini_ 1543. 4to.
-
-[166] _Ælfredi Regis Res Gestæ_ (without imprint or date), fol. The
-work was bound up and published with Walsingham’s _Historia Brevis_,
-printed by Binneman, and his _Ypodigma Neustriæ_, printed by Day, both
-in 1574. The text of the _Ælfredi_, though in Saxon characters, is in
-the Latin language.
-
-[167] _i.e._, “And inasmuch as Day, the printer, is the first (and,
-indeed, as far as I know, the only one) who has cut these letters in
-metal; what things have been written in Saxon characters will be easily
-published in the same type.”
-
-[168] Astle, in his _History of Writing_, p. 224, remarks: “Day’s Saxon
-types far excel in neatness and beauty any which have since been made,
-not excepting the neat types cast for F. Junius at Dort, which were
-given to the University of Oxford.”
-
-[169] Parker, who, according to Strype (_Life of Parker_, London,
-1711, fol., p. 278), extended his patronage to Binneman as well as to
-Day, and at whose expense the _Historia_ was published, may possibly
-have claimed the disposal of founts specially cut for his own use, and
-in this manner secured for Binneman founts cast from Day’s matrices.
-Binneman is described as a diligent printer, who applied through Parker
-for the privilege of printing certain Latin authors, accompanying his
-petition by a small specimen of his typography, “which the Archbishop
-sent to the Secretary to see the order of his print. The Archbishop
-said he thought he might do this amply enough, and better cheap than
-they might be brought from beyond the seas, standing the paper and
-goodness of his print. Adding, that it were not amiss to set our
-own countrymen on work, so they would be diligent, and take good
-characters.”
-
-[170] Timperley, _Encyclopædia_, p. 381.
-
-[171] _Life of Parker_, pp. 382, 541.
-
-[172] _Typographical Antiquities_, i, 656.
-
-[173] _Fidelis servi, subdito infideli Responsio. Lond._ 1573. 4to.
-
-[174] _De Visibili Romanarchia. Londini, apud J. Dayum._ 1572. 4to.
-
-[175] _De Antiquitate Britannicæ Ecclesiæ. Londini in ædibus Johannis
-Daij._ 1572. Fol.
-
-[176] An illustration of this maybe seen in Vautrollier’s Latin
-Testaments, where both Roman and Italic are exquisitely cut founts, but
-not being of uniform gauge, mix badly in the same line.
-
-[177] _Introduction of the Art of Printing into Scotland._ By R.
-Dickson. Aberdeen, 1885. 8vo. Appendix.
-
-[178] _Eygentliche Beschreibung aller Stände und . . . Handwerker.
-Frankfurt_, 1568. 4to. _Der Schrifftgiesser._
-
-[179] _Harleian MS._ 5915, No. 201. The cut is undated. The following
-sentence from Mr. T. C. Hansard’s _Treatises on Printing and
-Typefounding_, Edinburgh, 1841, 8vo, p. 223, may possibly refer to the
-same device. “This evidence” (of the process employed by the early
-letter-founders) “is afforded us by the device of Badius Ascensius, an
-eminent printer of Paris and Lyon, in the beginning of the sixteenth
-century, and also by that of an English printer, Anthony Scoloker
-of Ippeswych, who modified and adopted the device of Ascensius, as
-indeed did many other printers of various countries. This curious
-design exhibits in one apartment the various processes of printing,
-the foreground presenting a press in full work, the background on the
-left the cases and the compositor, and on the right the foundery; the
-matrix and other appliances bearing a precise resemblance to those at
-present in use.” If the above be a description of the block here shown
-(in which case Mr. Hansard has confused the matrix with the mould), we
-are able to fix the date approximately at 1548, in which year Scoloker
-printed at Ipswich.
-
-[180] A description of this interesting establishment will be found in
-M. De George’s _La Maison Plantin à Anvers_. 2nd ed. Brussels, 1878,
-8vo.
-
-[181] The legend of the silver types has been a favourite one in the
-romance of typography. Giucciardini states that Aldus Manutius used
-them; and Hulsemann describes the Bible printed by Robert Estienne in
-1557 as “typis argenteis sanè elegantissimis.” The same extravagance
-was attributed to Plantin. Possibly the famous productions of these
-great artists impressed their readers with the notion that their
-beautiful and luxurious typography was the result of rare and costly
-material; and, ignoring the fact that silver type would not endure the
-press, they credited them with the absurdity of casting their letters
-in that costly material. It is difficult to believe that any practical
-printer, however magnificent, would make even his matrices of silver,
-when copper would be equally good and more durable. Didot was said, as
-late as 1820, to have cast his new Script from steel matrices inlaid
-with silver. The use of the term “silver” as a figurative mode of
-describing beautiful typography is not uncommon. Sir Henry Savile’s
-Greek types, says Bagford, “on account of their beauty were called
-the Silver types.” Field’s Pearl Bible in 1653 has been spoken of as
-printed in silver types. Smith, in 1755, referred to the fiction,
-still credited, that “the Dutch print with silver types.” On the
-other hand, we have the distinct mention in the inventory of John
-Baskett’s printing-office at Oxford, in 1720, of “a sett of Silver
-Initiall Letters,” which we can hardly believe to be a purely poetic
-description, and probably referred to the coating of the face of the
-letter with a silver wash. It should be stated here that Ratdolt, the
-Venetian printer, in 1482 was reported to have printed one work in
-types of gold!
-
-[182] Among the itinerant punch-cutters of Plantin’s day was the famous
-French artist Le Bé who came to Antwerp to strike the punches for the
-Antwerp _Polyglot_.
-
-[183] _Mechanick Exercises, or the Doctrine of Handy-Works applied to
-the Art of Printing._ The Second Volume. London, 1683. 4to.
-
-[184] The index-letters following each part refer to Moxon’s
-illustration of a mould in the _Mechanick Exercises_, a reduced copy of
-which is placed by the artist of the _Universal Magazine_, 1750, at the
-foot of his View of the Interior of Caslon’s Foundry, of which we give
-a facsimile in the frontispiece.
-
-[185] Iron does not appear to have continued much longer as a staple
-ingredient of English type-metal. There was, however, no rule as to the
-composition of the alloy. The French type-metal at the beginning of
-the eighteenth century was notoriously bad, and drove many printers to
-Frankfort for their types, where they used a very hard composition of
-steel, iron, copper, brass, tin and lead.
-
-[186] See _post_, chapter ix.
-
-[187] See _post_, chapter x.
-
-[188] Psalmanazar, in referring to Samuel Palmer’s projected second
-part to his _History of Printing_, which should describe all the
-branches of the trade, says that this project, “though but then as
-it were in embryo, met with such early and strenuous opposition from
-the respective bodies of letter-founders, printers and bookbinders,
-under an ill-grounded apprehension that the discovery of the mystery
-of those arts, especially the two first, would render them cheap and
-contemptible . . . that he was forced to set it aside” (_Timperley_, p.
-647).
-
-[189] _Typographiæ Excellentia. Carmen notis Gallicis illustratum à C.
-L. Thiboust, Fusore-Typographo-Bibliopôlâ._ Paris, 1718. 8vo.
-
-[190] “LIQUATOR.
-
- “Ecce Liquator adest; en crebris ignibus ardet
-  Ejus materies; præbet Cochleare, Catillum
-  Et Formas queis mixto ex ære fideliter omnes
-  Conflat Litterulas; Hic paret sponte Peritis,
-  Sive Latina velint conscribere, Græcáve dicta;
-  Sive suam exoptent Hebræâ dicere mentem
-  Linguâ, seu cupiant Germanica verba referre,
-  Cunctas ille suâ fabricabitur arte figuras.
-  Cernis quâ fiat cum dexteritate character
-  Singulus Archetypo, quod format splendida signa,
-  Cum mollis fuerit solers industria scalpri.
-  Illum opus est fusi digito resecare metalli
-  Quod superest, Ferulisque Typos componere lêves,
-  Ut queat exæquans illos Runcina parare.
-  Sed solet esse gravis nimiis ardoribus æstus.”
-
-[191] _Fonderie en caractères de l’Imprimerie._ 4 pp., and 4 pp. of
-plates. Fol. No date.
-
-[192] Smith (_Printers’ Grammar_, p. 8) blames the French founders of
-his day for the shallow cut of their punches, which being naturally
-reproduced in the types, was the cause of much bad printing. Some
-sorts, he said, as late as 1755, only stood in relief to the thickness
-of an ordinary sheet of paper. He contrasts English punch-cutting
-favourably with French in this particular.
-
-[193] _Manuel Typographique, utile aux gens de lettres._ 2 tom. Paris,
-1764–6. 8vo.
-
-[194] _Patents for Inventions.—Abridgments of Specifications relating
-to Printing_ (1617 to 1857). London, 1859. 8vo.
-
-[195] This misguided reformer lived at Banbury, where, in 1804, he
-printed an edition of _Rasselas_, 8vo, in his “improved” types. The
-result is more curious than beautiful, and the public remained loyal
-still to the alphabets of Aldus, Elzevir, Caslon, Baskerville, and
-Bodoni. Nevertheless, Rusher’s edition of _Rasselas_, “printed with
-patent types in a manner never before attempted,” will always claim a
-place among typographical curiosities.
-
-[196] This is apparently the first suggestion in England of the
-“hand-pump,” which was subsequently adopted by all the founders, and
-formed, in combination with the lever-mould, the intermediate stage
-between hand and machine casting.
-
-[197] The origin of type-nicks is doubtful. Some have considered them
-to have resulted from a modification of the old alleged system of
-perforation, and to have been intended as a receptacle for the wire or
-string used to bind the lines together. The types of the first printers
-were certainly without them, and as late as 1540 French moulds had
-none. A nick forms part of Moxon’s moulds in 1683. In French founding
-the nick is at the back of the type, while in England it is always on
-the front. In Fournier’s day the Lyonnaise types were an exception to
-the general French rule, and had the nick on the front, as also did the
-types of Germany, Holland and Flanders. Some of the old founts procured
-abroad by English founders were struck in the copper inverted, so that
-when cast in English moulds they have always had the nick at the back.
-
-[198] The lever mould was first used in America about 1800.
-
-[199] Clayton issued a pamphlet printed from plates produced by this
-process.
-
-[200] It was calculated that 75,000 types could be produced by two men
-in an hour.
-
-[201] See _post_, chap. xxi. Prior to Pouchée’s introduction of this
-system of casting into England, Hansard informs us, Henry Caslon made
-trial of it, but it was not found eligible to pursue it.
-
-[202] The type-casting machine, of which this is the first patented
-attempt in England, was not generally adopted till after the
-International Exhibition of 1851, at which the hand-mould alone was
-shown. The model generally adopted was the machine patented in America
-in 1838, by David Bruce, which Alexander Wilson introduced in this
-country about 1853. Previous to David Bruce’s machine, a machine
-invented by Edwin Starr had been introduced at Boston in 1826, and
-tried for five years.
-
-[203] The reader is referred to the concise summary given under the
-title “Parliamentary Papers,” in Bigmore and Wyman’s _Bibliography
-of Printing_, also to the _Abridgments of Specifications relating to
-Printing_, 1617 to 1857, published by the Commissioners of Patents in
-1859, and for more minute particulars to Mr. Arber’s _Transcript of the
-Registers of the Stationers’ Company_, and the _Calendars of Domestic
-State Papers_.
-
-[204] Notwithstanding this flattering announcement, we find that
-five years later Grafton and Whitchurch, who held the King’s Bible
-patent, received the royal permission to print the revised edition of
-Matthews’s Bible in Paris, “because at that time there were in France
-better printers and paper than could be had here in England.” The
-project, as history records, was cut short by the Inquisition; but the
-presses, types, and workmen were with great difficulty brought over
-from Paris to London, where the Bible was finished in 1539.
-
-[205] A brotherhood of Stationers, consisting of “writers of text
-letter,” “lymners of bokes,” and subsequently admitting printers to its
-fellowship, had existed since 1403. The term Stationer, at the time
-of the incorporation, included booksellers, printers, bookbinders,
-publishers, type-founders, makers of writing-tables, and other trades,
-amongst which were “joiners and chandlers.”
-
-[206] Arber’s _Transcripts_, ii, 753–69.
-
-[207] This unruly printer troubled the Company’s peace for eleven
-years, and demonstrated, by his persistent defiance of their authority,
-the insufficiency of their powers to execute the control they nominally
-possessed. John Wolfe, the City printer, distinguished himself in a
-similar way.
-
-[208] Arber’s _Transcripts_, ii, 22.
-
-[209] A commission appointed to inquire into the disputes at that
-time agitating the Company, gave as one of its chief reasons why the
-monopolies should be sustained, that if anyone were to print any book
-he chose, this inconvenience would follow, viz., “want of provisions of
-good letters,” in other words, the quality both of type and printing
-would degenerate.
-
-[210] Arber’s _Transcripts_, i, 114, 144.
-
-[211] A return of presses and printers made in the same year to the
-Master and Wardens of the Company after the publication of the decree,
-shows that this provision had reduced the number to twenty-five
-printers, with fifty-three presses. A list of these is given in Mr. C.
-R. Rivington’s _Records of the Company of Stationers_ (London, 1883,
-8vo), p. 28.
-
-[212] The provisions of this decree were commended in The _London
-Printer his Lamentation_, published in 1660, and reprinted in the third
-volume of the _Harleian Miscellany_. The writer contrasts it favourably
-with subsequent decrees.
-
-[213] Arber’s _Transcripts_, ii, 816.
-
-[214] A licensed stationer might, with the leave of the Company, employ
-an unlicensed stationer to reprint a work of his own, on payment of a
-fine. (_Ibid._, ii, 19.)
-
-[215] In France, as early as 1539, typefounding had been legally
-recognised as a distinct trade. The edict of 1539 contains the
-following clause, applying the provisions and penalties of the decree
-to typefounders: “Et pour ce que le métier des fondeurs de lettres
-est connexe à l’art de l’imprimeur, et que les fondeurs ne se disent
-imprimeurs, ne les imprimeurs ne se disent fondeurs, lesdicts articles
-et ordonnances auront lieu . . . aux compagnons et apprentifs fondeurs,
-ainsi qu’en compagnons et apprentifs imprimeurs, lesquels oultre les
-choses dessus dictes seront tenus d’achever la fonte des lettres par
-eux commencée et les rendre bonnes et valables.” The whole decree is
-in curious contrast with the Acts regulating English printing and
-founding. The French “compagnons” are forbidden to band together for
-military, festive, or religious purposes, to carry arms, to beat and
-neglect their apprentices, to leave any work incomplete, to use any
-printer’s marks but their own; and so great is the fatherly solicitude
-of the Crown for the honour of the press, that printers are made
-amenable to law for typographical errors in their books. (Lacroix,
-_Histoire de l’Imprimerie_. Paris, 8vo, pp. 124–8.)
-
-[216] In 1635 the journeymen printers presented a petition to the
-Stationers’ Company respecting certain abuses which they desired to
-have reformed. The report of the referees appointed to inquire into
-the matter, with their recommendations, is still preserved. Amongst
-other things is a provision against standing formes; also that no
-books printed in Nonpareil should exceed 5,000 copies, in Brevier
-3,000 (except the privileged books); and further, that compositors
-should keep their cases clean, and dispose of “all wooden letters, and
-two-line letters, and keep their letter whole while work is doing, and
-after bind it up in good order.” The Company approved of the report,
-and ordered it to be entered on the books. (_Calendar of State Papers,
-Domestic_, 1635. London, 8vo, 1865, p. 484.)
-
-[217] _A Decree of Starre-Chamber, concerning Printing. Made the
-eleventh day of July last past, 1637._ London, 1637, 4to. The “London
-Printer,” previously quoted, writing in 1660, styles this decree “the
-best and most exquisite form and constitution for the good government
-and regulation of the press that ever was pronounced, or can reasonably
-be contrived to keep it in due order and regular exercise.” It was the
-lapse of its authority in 1640 which led to the abuses over which he
-lamented.
-
-[218] This famous speech has been reprinted by Mr. Arber among his
-_English Reprints_, together with a verbatim copy of the decrees which
-evoked it. London, 1868, 12mo.
-
-[219] That is, the Master and Wardens are obliged to find employment
-for all honest journeymen out of work, the master-printers and founders
-being bound to give work to anyone thus brought to them. Masters
-requiring additional hands can compel the services of any journeyman
-out of work, who can only refuse the summons at his peril.
-
-[220] In a rare tract entitled _An Exact Narrative of the Tryal and
-Condemnation of John Twyn, for Printing and Dispersing of a Treasonable
-Book, etc._ (London, 1664, 4to), several curious particulars are
-given as to the operation and enforcement of this Act as regards
-printers. But although a bookseller and bookbinder were arraigned at
-the same time, no reference was made to the founder of the types, who
-was apparently not held responsible for a share in the offence. In
-the evidence given by L’Estrange, however, as to Dover, one of the
-prisoners, we have a curious glimpse of the technical duties devolving
-on the Surveyor of the Imprimery and Printing Presses under this Act.
-He states, “I was at his (Dover’s) house to compare a _Flower_ which
-I found in the _Panther_ (a dangerous Pamphlet), that flower, that
-is, the very same _border_, I found in his house, the same mixture of
-Letter, great and small in the same Case; and I took a Copy off the
-Press.” The sentence passed upon the unfortunate John Twyn gives a
-vivid idea of the amenities of a printer at that period: “That you be
-led back to the place from whence you came, and from thence to be drawn
-upon an Hurdle to the place of Execution, and there you shall be hanged
-by the Neck, and being alive shall be cut down, and your privy Members
-shall be cut off, your Entrails shall be taken out of your body, and
-you living, the same to be burnt before your eyes: your head to be cut
-off, your body to be divided into four quarters, and your head and
-quarters to be disposed of at the pleasure of the King’s Majesty. And
-the Lord have mercy upon your soul.”
-
-[221] Printers were ordered to enter into a bond of £300 to the Crown
-not to misconduct themselves, but no bond appears to have been exacted
-by this Act from letter-founders.
-
-[222] The Act of 1662 was a probationary Act for two years. In 1664 it
-was continued till the end of the next session, and again until the end
-of the session following; and in 1666 again until the end of the first
-session of the next Parliament. In 1685 it was revived for seven years,
-at the end of which, in 1692, it was continued for one year more, after
-which it dropped. According to this account, it must have been dormant
-at any rate between 1679 and 1685.
-
-[223] In 1724, according to the list presented by Samuel Negus to
-Lord Townsend, the number of printers in London had increased to
-seventy-five, and in the provinces to twenty-eight. There were also at
-that time eighteen newspapers.
-
-[224] _A Proposal for Restraining the great Licentiousness of the Press
-throughout Great Britain, etc._ No date.
-
-[225] _An Act for the more effectual Suppression of Societies
-established for Seditious and Treasonable Purposes; and for better
-preventing Treasonable and Seditious Practices._ [12 July, 1799.]
-
-[226] “VI. FORM _of Notice to the Clerk of the Peace that any person
-carries on the Business of a Letter Founder, or Maker or Seller of
-Types for Printing, or of Printing Presses_.—To the Clerk of the Peace
-for (_as the case may be_) or his Deputy.—I, A. B., of ———— do hereby
-declare, That I intend to carry on the Business of a Letter Founder,
-or Maker or Seller of Types for Printing, _or_ of Printing Presses
-(_as the case may be_), at ———— and I hereby require this Notice to be
-entered in pursuance of an Act passed in the 39th Year of the Reign of
-His Majesty, King _George_ the Third.”
-
-[227] “VII. FORM _of Certificate that the above Notice has been
-given_.—I, G. H., Clerk (or Deputy Clerk) of the Peace for ———— do
-hereby certify that A. B. of ———— hath delivered to me a Notice in
-Writing, appearing to be signed by him, and attested by E. F. as a
-Witness to his signing the same, that he intends to carry on the
-Business of a Letter Founder, or Maker or Seller of Types for Printing
-or of Printing Presses, at ———— and which Notice he has required to be
-entered in pursuance of an Act of the 39th Year of His Majesty, King
-_George_ the Third.”
-
-[228] The clauses relating to printers and typefounders were repealed
-by the 32 and 33 Vict., cap. 24: _An Act to Repeal certain enactments
-relating to Newspapers, Pamphlets, and other Publications, and to
-Printers, Type-founders, and Reading Rooms_. [12 July, 1869.]
-
-[229]
-
- “Now register’d—now ticketed we move,
-  Our slightest works the double label prove.”
-
- (McCreery, _The Press_, p. 25.)
-
-[230]
-
-           . . . . . “O Veneti,
- Que fuerat vobis ars primum nota Latini,
-   Est eadem nobis ipsa reperta premens.”
-
-[231] In the following observations on the first Oxford types we
-are mainly indebted, in common with all students of the subject, to
-the careful researches and notes of the late Mr. Henry Bradshaw of
-Cambridge.
-
-[232] Bagford attributes this general cessation of printing in Oxford,
-Cambridge, York, Tavistock, St. Albans, Canterbury and Worcester to
-Cardinal Wolsey’s interference while legate.
-
-[233] _S. Joannis Chrysostomi opera Græce, octo voluminibus. Etonæ,
-in Collegio Regali, Excudebat Joannes Norton, in Græcis &c. Regius
-Typographus._ 1610–13. Fol.
-
-[234] Sir Henry Savile (who is not to be confounded with his kinsman
-and namesake, Long Harry Savile, Camden’s friend) was formerly Greek
-tutor to Queen Elizabeth. In 1585 he was made Warden of Merton, and in
-1596 became Provost of Eton College, where he died in 1621, ætat. 72.
-
-[235] _Anecdotes of Literature and Scarce Books._ London, 1807–12. 6
-vols., 8vo, v, 111, 122.
-
-[236] The passage referred to is the following vague reply to an
-inquiry addressed by Sir Henry Savile to Casaubon: “De characteribus
-Stephanicis longa historia, longæ ambages. Itaque melius ista coram.”
-
-[237] Dupont, _Histoire de l’Imprimerie_. Paris, 1854. 2 vols., 8vo, i,
-488.
-
-[238] _Diary and Correspondence._ London, 1850–2. 4 vols. 8vo, iii, 300.
-
-[239] Printing was introduced into Cambridge in 1521, when John Siberch
-printed Bullock’s _Oratio_ and seven other works. He styled himself
-the first printer in Greek in England, although none of his works were
-wholly printed in that language. The fount used for the quotations
-in the _Galeni de Temperamentis_ was probably procured from abroad.
-The residence of Erasmus at Cambridge lent undoubted impetus to the
-art, which progressed actively while the Oxford press was idle. The
-first University printers, three in number, were appointed in 1534, by
-virtue of a charter granted by Henry VIII, in terms considerably more
-liberal than those first granted to Oxford. At no period of its career
-has the Cambridge press boasted of a type-foundry. In 1626 Archbishop
-Usher made an effort to procure from Leyden, for the use of the press,
-matrices of Syriac, Arabic, Ethiopic and Samaritan letters, which,
-had he been successful, might have formed the nucleus of a foundry.
-Unfortunately, the Archbishop was forestalled by the Elzevirs, who
-secured the matrices for their own press (Parr’s _Life of Usher_.
-London, 1686, fol., p. 342–3). The University made an effort in 1700
-to enrich their press by the purchase of a fount of the famous Paris
-Greek types of Francis I, known as the King’s Greek. But as the French
-Academy insisted, as a condition of the purchase, that all works
-printed in these characters should bear the imprint “characteribus
-Græcis e Typographeo regio Parisiensi,” the Cambridge Syndics, unable
-to accede to the terms, withdrew from the negotiations (Gresswell’s
-_Early Parisian Greek Press_. Oxford, 1833, i, 411; and De Guignes’
-_Typographie Orientale et Grecque de l’Imprimerie Royale_. Paris, 1787,
-p. 85).
-
-[240] _Novum Testamentum. Cantabrigiæ. Apud Tho. Buck._ 1632. 8vo.
-
-[241] _Anecdotes_, i, 119. Elsewhere (v, 111) Beloe asserts that the
-type thus used was the Greek of Sir Henry Savile. Although the same
-size, and in many points closely resembling this letter, it differs
-from it materially in other respects. This may possibly be accounted
-for on the supposition that some of the Savile characters having been
-lost, they had been replaced either by new matrices, or by the addition
-of letters from some other fount. Buck discarded many of the cumbrous
-abbreviations used in the _Chrysostom_, greatly to the advantage of his
-text (see _4th Report Historical MSS. Commission_, p. 464).
-
-[242] _Rushworth’s Collections_, ii, 74.
-
-[243] _Works of Laud._ Oxford, 1847–60. 7 vols., 8vo, v, 80.
-
-[244] _The Holy Bible, containing the Old Testament and the New, etc.
-Printed at London by Robert Barker . . . and by the Assignes of John
-Bill._ _Anno_ 1631. 8vo.
-
-[245] Bagford and others erroneously mention the fine as £3,000.
-
-[246] _Clementis ad Corinthios Epistola prior._ 4to. Oxonii, 1633.
-
-[247] Augustin Linsdell.
-
-[248] _Wilkins (D.) Concilia_, iv, 485.
-
-[249] According to documents in the Record Office, the fine was entered
-Feb. 18, 163 3/4, “Fined for errors in printing the Bible, Barker
-£200, Lucas £100.” It was allowed to stand over from time to time, “to
-see whether they would set up their press for the printing of Greek.”
-On June 23, 1635, it was ordered that all Bibles now in Stationers’
-Hall which had been erroneously printed should be redelivered to them
-“with charge to see all the gross faults amended before they vent the
-same.”
-
-[250] _Catena Græcorum Patrum in Beatum Job . . . operâ et studio
-Patricii Junii, Bibliothecarii Regii, etc. Londini, ex Typographio
-Regio._ 1637. Fol. In his dedication to the Archbishop, Young thus
-refers to the care taken by Laud in the purchase of the type: “Quod
-quidem si eâ fronte acceperis . . . quâ Britanniam denique characterum
-elegantiâ in omni linguarum genere locupletas, ac vicinis gentibus, non
-minus pulchrâ, quam politâ et accuratâ veterum scriptorum editione,
-invidendam reddis, etc.”
-
-[251] The matrices of this fount, as will be seen hereafter, passed
-into Grover’s foundry, and were sold at the dispersion of James’s
-foundry in 1782.
-
-[252] _State Papers, Domestic_, 1637–8. No. 75.
-
-[253] Probably from the Elzevirs, who in 1626 (as noticed p. 66,
-_note_) had succeeded in outbidding the representatives of Cambridge
-University for the Oriental press and matrices of Erpenius.
-
-[254] Thomas Smith at a later date referred to the same gift:—“Circa
-id temporis . . . D. Guilielmus Laudus . . . postquam ingentem Codicum
-omne genus manu exaratorum molem pecuniis largissime effusis, ubi ubi
-merx ista literaria erat reperienda, conquisivisset, elegantissimos
-typos, omnium ferè linguarum, quæ hodie obtinent, efformari procuravit”
-(_Vitæ, quorundam Virorum . . . Patricii Junii_, London, 1707, 4to., p.
-27).
-
-[255] _Works of Laud_, v. 168.
-
-[256] _Ibid._, v, 236.
-
-[257] Latham’s _Oxford Bibles and Printing in Oxford_. 1870, p. 46.
-
-[258] The University supplied a press and type to King Charles I during
-the Civil War (Gutch, _Collectanea Curiosa_. Oxford, 1781. 2 vols.,
-8vo., i, 281).
-
-[259] Lemoine, _Typographical Antiquities_. London, 1797. 8vo, p. 87.
-The office of Archi-typographus had been instituted by Laud, about 1637.
-
-[260] He it was on whom Tom Brown wrote his famous epigram:―
-
- “I do not love thee, Doctor Fell,
-  The reason why, I cannot tell;
-  But this alone I know full well,
-  I do not love thee, Doctor Fell.”
-
-[261] Bagford (_Harl. MS._ 5901, fo. 89) mentions that Dr. Fell
-encouraged the fitting-up of a paper mill at Wolvercote, by Mr. George
-Edwards, “who was a cutter in wood of the great letters, and engraved
-many other things made use of in the printing of books, and had a
-talent in maps, although done with his left hand.” Of this mill, Hearne
-wrote in 1728, “Some of the best paper made in England is made at
-Wolvercote Mill” (_Reliq._, ii, 85, ed. 1869).
-
-[262] This list, which was appended to the specimen of 1695, doubtless
-includes a few items acquired by the Press since Dr. Fell’s death.
-(_Harl. MSS._ 5901, 5929.)
-
-[263] The Coptic fount included in his gift is said to have been cut,
-not only at his expense, but under his personal supervision, from a
-character (Mores states) delineated by Mr. Wheeler, rector of St.
-Ebbe’s, in Oxford.
-
-[264] _Harl. MS._ 5901, fol. 85.
-
-[265] Gutch, _Collect._, i, 271.
-
-[266] _Athenæ Oxonienses._ London, 1691–2. 2 vols., fol., ii, 604.
-Wood, in speaking of Mill’s _Greek Testament_, begun in 1681, says that
-the first sheets were begun at his Lordship’s cost, “at his Lordship’s
-printing house, _near the Theater_” (_Fasti Oxon._, 3rd ed., ii, 381).
-This was probably the hired house occupied by the University press
-prior to its removal to the Theatre, concerning the site of which
-Hearne remarks (_Reliq._, i, 254), “One part of the wall, being a sort
-of bastion, is now to be seen, just as we enter into the Theater-yard,
-at the west corner of the north side of the Schools, viz., where the
-late printing-house of Bp. Fell stood.” Moxon, in 1683, recognised the
-Bishop’s “ardent affections to promote Typographie” in England, by
-dedicating to him the second volume of his _Mechanick Exercises_, the
-first practical work on printing written by an Englishman.
-
-[267] A copy of this letter may be seen in the preface to Hickes’
-_Thesaurus_, 1705, p. xliii.
-
-[268] The Gothic and Runic punches, and the punches and matrices of the
-Saxon, formed part of the interesting exhibit of the Oxford University
-Press at the Caxton Exhibition in 1877.
-
-[269] Nichols, _Literary Anecdotes_, iv, 147.
-
-[270] The Oxford Ethiopic types appear to have gone astray, if not
-at this period, shortly afterwards; for Dr. Mawer, writing to the
-Archbishop of Canterbury in 1759 respecting his proposed Supplement
-to Walton’s _Polyglot_, says that the use of the University types had
-been offered him (in 1743) for printing a specimen of his work, “but,”
-he adds, “an obstruction was here thrown in my way by reason of the
-Ethiopic types being most of them lost, and incapable of printing half
-a page.” (Todd’s _Life of Walton_, London, 1821, i, 332.)
-
-[271] Nichols, _Lit. Anec._, iv., 146. One of the first works printed
-in the recovered types was King Alfred’s Saxon version of Boethius’
-_Consolationis Philosophiæ Libri_. Oxford, 1698, 8vo. It was edited by
-Mr. Christopher Rawlinson, from a transcript by Francis Junius among
-the MSS. at Oxford. Opposite the title is a head of Junius by Burghers,
-from a sketch by Van Dyck, in the Picture Gallery.
-
-[272] A. J. Butler, _Ancient Coptic Churches of Egypt._ Oxford, 1884. 2
-vols., 8vo, ii, 257.
-
-[273] These additions duly appeared in the second Oxford specimen of
-1695, from which the inventory at p. 148 is quoted.
-
-[274] There is an amusing account of a visit to the University Press in
-1682 in Mrs. D’Anvers’ _Academia: or the Humours of the University of
-Oxford, in Burlesque verse_ (1691), pp. 25–27.
-
-[275] _Harl. MS. 5901_, fo. 4. The _Specimen_ is given in 5929.
-
-[276] _Oratio Dominica_, πολύγλωττος πολύμορφος, _nimirum, plus
-centum Linguis, Versionibus, aut Characteribus reddita et expressa_.
-_Londini_, 1700, 4to. 76 pp. The editor was B. M(otte). Typogr. Lond.
-
-[277] This circumstance is thus frankly noted in the preface: “Porrò,
-ne Characterum alienorum copiâ me jactitare videar, scias velim,
-schedas duas, Linguas Hebraicam, et cæteras usque ad Slavonicam
-complexas, in Typographéo instructissimo inclytæ Academiæ Oxoniensis
-excusas esse, cui faustissima quæque comprecator quisquis est qui
-patriam amat, et bonam mentem colit.”
-
-[278] These include the Malabaric, Brahman, Chinese, Georgian,
-Sclavonic (Hieronymian), Syriac (Estrangelo), and Armenian. The
-Anglo-Saxon versions are from type, as is also the Irish, which is
-Moxon’s fount cut for Boyle.
-
-[279] A second edition appeared in 1713. In 1715 a similar work was
-published by Chamberlayne in Amsterdam, entitled _Oratio Dominica in
-diversas omnium fere gentium linguas versa et propriis cujusque linguæ
-characteribus expressa_. _Amstelodami_ 1715. 4to, with dissertations
-by Dr. Wilkins and others. This production is superior in general
-appearance to the English book, but the Oriental and other foreign
-characters being almost entirely copperplate, its typographical value
-is decidedly inferior.
-
-[280] The Bible-side height is slightly above the ordinary English
-height. The Learned-side height is about the same as the French height.
-Ancient jealousies between the two rival “Sides” have much to answer
-for in the growth of this anomaly. Happily, the difference of “height”
-is now the only difference between the Bible and the Learned Presses.
-
-[281] Writing in 1714, Bagford boasted that the Sheldonian Theatre,
-Plantin’s Office at Antwerp, the King’s Office in Paris, the King of
-Spain’s Printing House, (Plantin’s Office at Leyden—since Elzevir’s—is
-a sorry shed), Janson’s in Amsterdam, and that of the Jews in the same
-city, were not to compare with the Oxford House (_Harl. MS. 5901_). The
-imprint, _E Theatro Sheldoniano_, was continued on Oxford books till
-1743.
-
-[282] _Linguarum Vett. Septentrionalium Thesaurus Grammatico-Criticus
-et Archæologicus._ _Oxon._ 1703–5. Fol., 3 vols.
-
-[283] This learned lady, mistress of eight languages besides her own,
-was the daughter of Ralph Elstob, a Newcastle merchant, and was born
-in 1683. Besides making the English translation which accompanies her
-brother’s Latin version of the _Homily on St. Gregory’s Day_, she
-transcribed and translated many Saxon works at an early age. “Miss
-Elstob,” says Rowe Mores, “was a northern lady of ancient family and
-a genteel fortune. But she pursued too much the drug called learning,
-and in that pursuit failed of being careful of an one thing necessary.
-In her latter years she was tutoress in the family of the Duke of
-Portland, where we have visited her in her sleeping-room at Bulstrode,
-surrounded with books and dirtiness, the usual appendages of folk
-of learning. But if any one desires to see her as she was when she
-was the favourite of Dr. Hudson and the Oxonians, they may view her
-pourtraiture in the initial G of the _English-Saxon Homily on the
-Birthday of St. Gregory_” (_Dissertation_, p. 29). Miss Elstob died in
-1756, and was buried at St. Margaret’s, Westminster.
-
-[284] It is interesting to note that among the money contributors on
-this occasion (a list of whom is preserved in Nichols’ _Anecdotes
-of Bowyer_, pp. 496–7), Robert Andrews and Thomas James, the
-letter-founders, appear as donors of five guineas each, and Thomas
-Grover of two guineas.
-
-[285] Humphrey Wanley, son of Nathaniel Wanley, was secretary to the
-Society for Promoting Christian Knowledge, and afterwards librarian
-to the Earl of Oxford. He was an adept in the Saxon antiquities and
-calligraphy, and was an important contributor to Hickes’ _Thesaurus_,
-for which work he compiled the historical and critical catalogue of
-Saxon and other MSS. He died in 1726, aged fifty-four. Much of his
-correspondence is preserved among the Harleian MSS.
-
-[286] Nichols’ _Anecdotes of William Bowyer_. London, 1782, 4to., p.
-498.
-
-[287] _The Rudiments of Grammar for the English Saxon Tongue._ London,
-1715. 4to. A specimen of the letter is given in chapter ix, post.
-
-[288] “This type Miss Elstob used in her _Grammar_, and in her
-_Grammar_ only. In her capital undertaking, the publication of the
-_Saxon Homilies_, begun and left unfinished, whether because the
-type was thought unsightly to politer eyes, or whether because the
-University of Oxford had cast a new letter that she might print the
-work with them, or whether (as she expresses herself in a letter to
-her uncle, Dr. Elstob), because ‘women are allowed the privilege of
-appearing in a richer garb and finer ornaments than men,’ she used a
-Saxon of the modern garb. But not one of these reasons is of any weight
-with an antiquary, who will always prefer the natural face to ‘richer
-garb and finer ornaments.’ And on his side is reason uncontrovertible.”
-(Rowe Mores, _Dissert._, p. 29.)
-
-[289] _i.e._, William Caslon.
-
-[290] Nichols’ _Anecdotes of Bowyer_, p. 319. _Literary Anecdotes_, ii,
-361, etc.
-
-[291] _Dissertation_, p. 28.
-
-[292] A few of the punches and matrices were shown in the Caxton
-Exhibition of 1877.
-
-[293] _The Great Charter and Charter of the Forest._ Oxford, at the
-Clarendon Press, 1759, 4to. This fine work is printed in Caslon’s Great
-Primer Roman. The copperplate initials and vignettes are very fine, the
-former containing views of several of the different colleges and public
-buildings at Oxford.
-
-[294] _Novum Testamentum, juxta exemplar Millianum. Typis Joannis
-Baskerville. Oxonii e Typographeo Clarendoniano 1763. Sumptibus
-Academiæ_, 4to & 8vo. (See also _post_, chap. xiii). The Baskerville
-Greek punches, matrices and types still preserved at Oxford, are
-supposed to be the only relics in this country of the famous Birmingham
-foundry.
-
-[295] Though dated 1768 on the title, this specimen appears not to have
-been completed for two years, as it bears the date Sept. 29, 1770, on
-the last page, and includes specimens of purchases made in that year.
-
-[296] _Dissertation_, p. 45. These strictures we cannot but regard
-as somewhat hypercritical. It was no uncommon thing to cast a small
-face of letter on a body larger than its own; and in the case of
-Hebrew and other Orientals, where detached points were cast to work
-over the letter, it was by no means unusual at that time, and till a
-later period, to designate the latter by the name of the body which
-it and the point in combination collectively formed. With regard
-to the gradual lapse of obsolete and superannuated founts from the
-specimen, Mr. Mores’ antiquarian zeal appears to have blinded him to
-the fact that the Oxford press may have issued their specimens as an
-advertisement of their present resources, rather than as an historical
-collection of their typographical curiosities.
-
-[297] _Harl. Miscell._, Lond., 1745, 4to, iii, 277. The full title and
-description of this curious tract is as follows:—“_The London Printer,
-his Lamentation; or the Press oppressed, or over-pressed. September
-1660. Quarto, containing 8 pages. In this sheet of Paper is contained,
-first, a short account of Printing in general, as its Usefulness,
-where and by whom invented; and then a Declaration of its Esteem and
-Promotion in England by the several Kings and Queens since its first
-Arrival in this Nation; together with the Methods taken by the Crown
-for its better Regulation and Government till the year 1640; when, says
-the Author, this Trade, Art and Mystery was prostituted to every vile
-Purpose both in Church and State; where he bitterly inveighs against
-Christopher Barker, John Bill, Thomas Newcomb, John Field and Henry
-Hills as Interlopers, and, under the King’s Patent, were the only
-instruments of inflaming the People against the King and his Friends,
-etc._”
-
-[298] Mores makes a serious mistake in calling this founder Arthur
-Nicholas.
-
-[299] In the British Museum _Catalogue of Early English Books to 1640_,
-the name of John Grismand appears as publisher of twenty-four books
-between 1597 and 1636. It is probable that the earlier of these, at any
-rate, were issued by the father of our founder. The name of one Thomas
-Wright also occurs as a publisher in 1610.
-
-[300] _Harl. MS. 5910_, pt. i, p. 148.
-
-[301] Moxon, in his account of the Customs of the Chapel (_Mechanick
-Exercises_, ii, 363), gives a full description of this yearly Feast,
-which, he says, “is made by Four Stewards, _viz._, two Masters and
-two Journey-men; which Stewards, with the Collection of half a Crown
-apiece of every Guest, defray the Charges of the whole Feast.” The
-List of Stewards, above referred to, contains, among others, the
-names of nearly all the seventeenth century letter-founders. Seventy
-feasts were held between 1621 and 1681, the first few probably being
-half-yearly. Three or four Stewards officiated at each. The names of
-the founders occurring in the list are as follows, the figures appended
-to each indicating the number of the feast at which each served his
-stewardship, with the approximate date:
-
- (24) Thomas Wright (1635).
- (26) Arthur Nichols (1637).
- (31) Alexander Fifield (1642).
- (42) Nicholas Nichols (1653).
- (61) James Grover (1672).
- (63) Thomas Grover (1674).
- (64) Joseph Leigh (Lee?) (1675).
- (66) Godfrey Head (1677).
- (67) Thos. Goring (1678).
- (69) Robert Andrews (1680).
-
-[302] Arber’s _Transcripts_, iii, 363–8.
-
-[303] _Calendar of State Papers, Domestic_, 1649, pp. 362, 523. Among
-the entries of admission to Merchant Taylors’ School occurs: “Johannes
-Grismond, filius unicus Johannes Grismond, Typographi, natus Londini,
-in parœciâ de Giles, Cripplegate, Aprilis 1, 1647: an. agens 8.
-Admissus est Aprilis 3, 1654.”
-
-[304] _Domestic_, 1637–8. Vol. 376, Nos. 13 and 14.
-
-[305] The list of matrices is given on p. 173, _post_.
-
-[306] _Dissertation_, p. 40.
-
-[307] The first project of a Polyglot Bible is due to Aldus Manutius,
-who, probably between 1498 and 1501, issued a specimen-page containing
-the first fifteen verses of Genesis, in collateral columns of Hebrew,
-Greek and Latin. The typographical execution is admirable. A facsimile
-is shown in Renouard’s _Annales de l’Imprimerie des Aldes_, 2nd and 3rd
-editions.
-
-[308] It was begun in 1502; completed in 1517, but not published till
-1522.
-
-[309] In addition to the four great _Bibles_, the following polyglot
-versions had also appeared before 1657:―
-
- 1516. _Psalter_ in Hebrew, Arabic, Chaldee, Greek and Latin, published
- by Porrus at Genoa.
-
- 1518. _Psalter_ in Hebrew, Greek, Latin and Ethiopic, published by
- Potken at Cologne.
-
- 1546. _Pentateuch_ in Hebrew, Chaldee, Persian and Arabic, published
- at Constantinople (but all in Hebrew type).
-
- 1547. _Pentateuch_ in Hebrew, Spanish and modern Greek, published at
- Constantinople.
-
- 1586. _Bible_ in Hebrew, Greek and Latin (two versions), published at
- Heidelberg.
-
- 1596. _Bible_ in Greek, Latin and German, published by Wolder at
- Hamburg.
-
- 1599. _Bible_ (portions) in Hebrew, Chaldee, Greek, Latin, German,
- Sclavonic, etc., published by Hutterus at Nuremberg.
-
-[310] These _Proposals_ were printed by R. Norton for Timothy
-Garthwaite at the lesser North Gate of St. Paul’s Church, London, 1652.
-
-[311] It is described by the Rev. H. J. Todd in his _Memoirs of the
-Life and Writings of the Right Rev. Brian Walton, D.D._ London, 2
-vols., 8vo, 1821. Mr. Todd’s work contains much valuable information
-respecting the _Polyglot_.
-
-[312] Among the MSS. in Sydney College is a letter written by Abraham
-Wheelock to the Vice-Chancellor of Cambridge, dated Jan. 5, 1652, in
-which, referring to the specimen, he says: “When the sheete, here sent,
-was printed off, I corrected at least 80 errata in it. It as yet serves
-to show what letters Mr. Flesher, an eminent printer, my friend and
-printer of my booke, hath” (Todd’s _Memoirs_, i, 56). James Flesher,
-son (?) of Miles Flesher (one of the twelve Star Chamber printers named
-in the Act of 1637), entered into a bond of £300 to the Stationers’
-Company in 1649, and held the office of City printer in 1657. His name
-occurs in the list of the _Brotherly Meeting of Printers_ as Steward at
-the 42nd Feast. In 1664 he served, together with Roycroft, on the jury
-at the trial of John Twyn; see _ante_, p. 132.
-
-[313] Walton’s _Polyglot_ is supposed to be the second book printed
-by subscription in England. In 1617, Minsheu’s _Dictionary in Eleven
-Languages_ was published by subscription, the names of those who took a
-copy of the work being printed. Minsheu’s venture, however, turned out
-a failure. In Dr. Walton’s case this mode of publication was, owing to
-the energy of the promoter and the number of his friends, successful.
-The subscription was £10 per copy, or £50 for six copies. The estimated
-cost of the first volume was £1,500, and of succeeding volumes £1,200
-each. Towards this, £9,000 was subscribed four months before the first
-volume was put to press.
-
-[314] Parr’s _Life and Letters of Usher_. Lond., 1686, fol., p. 590.
-Dr. Walton received the Protector’s permission to import the paper for
-his work, duty free.
-
-[315] _Origine de l’Imprimerie de Paris._ Paris, 1694, 4to, p. 59.
-
-[316] _Discours Historique sur les principales editions des Bibles
-Polyglottes._ Paris, 1713, 12mo, p. 209.
-
-[317] This useful little tract was reprinted with improvements in
-the following year, entitled: “_Introductio ad lectionem linguarum
-Orientalium, Hebraicæ, Chaldaicæ, Samaritanæ, Syriacæ, Arabicæ,
-Persicæ, Æthiopicæ, Armenæ, Coptæ . . . in usum tyronum . . . præcipuè
-eorum qui sumptus ad Biblia Polyglotta (jam sub prelo) imprimenda
-contulerunt. Londini. Imprimebat Tho. Roycroft_, 1655. 18mo.”
-Republished at Deventer in 1658. The Armenian and Coptic alphabets were
-cut in wood, and reappeared in the Prolegomena of the _Polyglot_.
-
-[318] “The latter part,” says Bowyer, “is much more incorrectly printed
-than the former, probably owing to the editor’s absence from the press,
-or to his being over-fatigued by the work. The Hebrew text suffered
-much in several places by the rapidity of the publication.”
-
-[319] Rev. Mr. Twells, author of _Life of Dr. Pocock_.
-
-[320] _Biblia Sacra Polyglotta, complectentia Textus Originales,
-Hebraicum cum Pentateucho Samaritano, Chaldaicum, Græcum; Versionumque
-antiquarum, Samaritanæ Græcæ LXX Interpr. Chaldaicæ, Syriacæ, Arabicæ,
-Æthiopicæ, Persicæ, Vulg. Lat. Quicquid comparari poterat. Cum Textuum
-et Versionum Orientalium Translationibus Latinis . . . Omnia eo ordine
-disposita, ut Textus cum Versionibus uno intuitu conferri possint. Cum
-Apparatu, etc. etc. . . . Edidit Brianus Waltonus, S.T.D. Londini.
-Imprimebat Thomas Roycroft_, 1657. 6 vols., fol.
-
-[321] One of the compositors employed on the work was Ichabod Dawks
-(grandfather to Wm. Bowyer), of whose son and his curious script type,
-see _The Tatler_, No. 178, etc.
-
-[322] See _ante_, p. 98.
-
-[323] In some cases a few of the matrices have undergone renovation in
-the hands of their successive owners.
-
-[324] “The Æthiopic of the Congregation,” _i.e._, of the Propaganda
-at Rome, “is not to be compared with ours. And Ludolphus, whose abode
-was at Gotha, sent his Lexicon to be published at London, where it
-was printed by Mr. Roycroft upon the type of the English _Polyglot_”
-(Mores, p. 12).
-
-[325] “The elegant face of the Samaritan is justly attributed by
-Cellarius to the English, for it was first used in our _Polyglot_. It
-differs widely from the type used by Scaliger in his _Emend. Temp._,
-and by Leusden at the end of his _Scholæ Syriacæ_, and from another
-used in an encomiastic of Abr. Ecchelensis upon F. Kircher, which type
-belonged to the Congregation at Rome; and which was afterwards more
-neatly cut by Voskens” (_ibid._, p. 13).
-
-[326] In his “loyal” dedication, Walton asserts that from the outset he
-had intended to dedicate the work to Charles II, and that Cromwell’s
-patronage of the work had been offered only as the price of a public
-compliment for himself (Todd, i, 82 _et seq._).
-
-[327] “The first view of this dedication,” he says, “will prove it to
-have been printed with different and inferior types, the hasty produce
-of a courteous after thought” (_Introd. Classics_, i, 27).
-
-[328] “Thomas Roycroft died August 10, 1677. In 1675 he was master of
-the Stationers’ Company, and in 1677 he gave to them two silver mugs,
-weight 27 ozs. 3 dwts. In the rear of the altar at St. Bartholemew’s
-the Great is this epitaph:—‘M.S. Hic juxta situs est Thomas Roycroft,
-armiger, linguis Orientalibus Typographus Regius, placidissimis moribus
-et antiquâ probitate ac fide memorandus, quorum gratiâ optimi civis
-famam jure merito adeptus est. Militiæ civicæ Vicetribunus. Nec minus
-apud exteros notus ob libros elegantissimis suis typis editos, inter
-quos sanctissimum illud _Bibliorum Polyglottorum_, opus quam maxime
-eminet. Obiit die 10 Augusti, ann. Reparatæ Sal. MDCLXXVII, postquam
-LVI ætatis suæ annum implevisset. Parenti optimè merito, Samuel
-Roycroft, filius unicus, hoc monumentum pie posuit.’ ”
-
-[329] _Lexicon Heptaglotton_, _Hebraicum_, _Chaldaicum_, _Syriacum_,
-_Samaritanum_, _Æthiopicum_, _Arabicum_, conjunctim; _et Persicum_
-separatim, _etc._, _etc._ _Authore Edmundo Castello, S.T.D._, _etc._
-_Londini, Imprimebat Thomas Roycroft, L.L._ _Orientalium Typographus
-Regius, 1669_. Two vols., fol.
-
-[330] _State Papers, Domestic_, 1665. Vol. 142, No. 174.
-
-[331] _State Papers, Domestic_, 1667. _Ent. Book 23_, p. 337.
-
-[332] In the List of Stewards of the _Brotherly Meeting_ of printers
-referred to p. 166, Nicholas Nicholls’ name occurs with James Flesher’s
-as a Steward at the 42nd Feast.
-
-[333] _Dissertation_, p. 46.
-
-[334] See _ante_, p. 148.
-
-[335] Nicholas Nicholls’ tiny specimen, printed four years earlier,
-exhibited only a few lines specially cut, and dedicated privately to
-the King.
-
-[336] In 1677 he published _Geometrical Operations_, London, 4to,
-translated by himself from Dutch into English.
-
-[337] _Regulæ Trium Ordinum Literarum Typographicarum; or the Rules
-of the Three Orders of Print Letters, viz.: the Roman, Italick,
-English,—Capitals and Small; showing how they are compounded of
-Geometrick Figures and mostly made by Rule and Compass. Useful for
-Writing Masters, Painters, Carvers, Masons and others that are Lovers
-of Curiosity; by Joseph Moxon, Hydrographer to the King’s Most
-Excellent Majesty. London. Printed for Joseph Moxon on Ludgate Hill at
-the Sign of Atlas._ 1676. 4to. (Dedicated to Sir Christopher Wren.)
-
-[338] The theory of the proportion of letters had been dealt with by
-several foreign authors in the sixteenth century. In 1509 Fra Luca
-Pacioli’s book, entitled _De Divinâ Proportione_, was printed at
-Venice, containing woodcut illustrations of the various letters of the
-alphabet. In 1525 Albert Dürer published in Nuremberg his _Unterweisung
-der Messung mit dem Zirkel und Richtscheit_, reducing all letters to
-a combination of circles and straight lines. In 1529 Geofroy Tory’s
-_Champfleury_ appeared at Paris, an extraordinary treatise, deriving
-every letter of the Latin alphabet from the goddess IO, of the letters
-of whose name every other letter is formed; and proportioning each to
-the human body and countenance in their various poses and aspects.
-Fantastic as his work was, it is credited with having revolutionised
-the form of the Roman letter in France. Like Moxon, Tory sub-divided
-the square of each letter into a number of minute squares, in which he
-constructed his model letters. A somewhat similar work was published
-at Saragossa, in Spain, in 1548, by Ycair, entitled _Orthographia
-Practica_, containing specimens of alphabets, and intended, like all of
-the above-named works, more for the use of the caligrapher and sculptor
-than for the printer.
-
-[339] _Mechanick Exercises, or the Doctrine of Handy-Works. Began
-Jan. 1, 1677. And intended to be Monthly continued. By Joseph Moxon,
-Hydrographer to the King’s Most Excellent Majesty. London. Printed for
-Joseph Moxon on Ludgate Hill at the Sign of the Atlas._ Two vols., 4to.
-
-Vol. I (14 numbers). _The Smiths, the Joyners, the Carpenters, and the
-Turner’s Trades._ 1677–80.
-
-Vol. II (24 numbers). _Applied to the Art of Printing_, 1683–6.
-(Dedicated to Dr. Fell, Bishop of Oxford.)
-
-[340] Mores says that before Moxon’s time letter-cutters worked by eye
-and hand only, and practised their art by guess-work (_Dissert._, p.
-43).
-
-[341] See chap. iv.
-
-[342] Or rather a hair space, of which seven go to the body; so that
-one such space divided by six would give a 42nd part!
-
-[343] See _ante_, p. 109.
-
-[344] Of the eighteen letters of the alphabet, the b, c, h, l, m, n, o,
-s, u, are in Roman, the _a_ and _e_ in Italic.
-
-[345] A copy of this rare broadside is in the Library of Corpus Christi
-College, Cambridge.
-
-[346] The full title of this rare little tract, consisting of
-eight leaves only, is translated as follows:—_Aibidil Gaoidheilge
-Caiticiosma, etc._ (_The Irish Alphabet and Catechism, precept or
-instruction of a Christian, together with certain articles of a
-Christian faith which are proper for everyone to adopt who would be
-submissive to the ordinance of God and the Queen of this Kingdom.
-Translated from Latin and English into Irish by John O’Kearney . .
-Printed in the town of the Ford of Hurdles, (Dublin), at the cost of
-Master John Ussher, Alderman, at the head of the Bridge, the 20th of
-June 1571, with the privilege of the great Queen._ 1571.) 8vo.
-
-[347] _Tiomna Nuadh, etc._ (_The New Testament of our Lord and Saviour
-Jesus Christ, faithfully translated from the Greek into the Irish by
-William O’Donnell._) _Séon Francke: a mBaile athá Cliath_ (_Dublin_),
-1602. Fol. This work was printed in the house of Sir William Ussher,
-Clerk of the Council.
-
-[348] _Leabhar na nurnaightheadh gcomhchoidchiond agus
-mheinisdraldachda na Sacrameinteadh, etc._ (Translated from the English
-by W. Daniel, Archbishop of Tuam), _a dtigh Shéon Francke, alias
-Franckton, a Mbaile athá Cliath_ (_Dublin_), 1608. Fol. Not published
-till 1609. In his dedication, Daniel says that, “having translated the
-book, I followed it to the presse with jealousy and daiely attendance,
-to see it perfected; payned as a woman in travell desirous to be
-delivered.”
-
-[349] _A B C_, _or the_ _Institution of a Christian_. _Printed by the
-Company of Stationers_. Dublin, 1631. 8vo.
-
-[350] _The Catechism, with the Six points of W. Perkins_, _translated
-into Irish by Godfrey Daniel_. Dublin, 1652. 8vo.
-
-[351] “The publication of everything valuable in this language by the
-fathers of Donegal was unfortunately prevented by the troubles of the
-time of Charles I, by Cromwell’s usurpation. These fathers had procured
-a fount for this purpose, which, when forced to fly, they carried
-with them to Louvain, where some fragments of this fount are yet to
-be found” (_Theoph. O’Flanagan on the Ancient Language of Ireland.
-Transac. of the Gaelic Soc._ 8vo, Dublin, 1808, p. 212). Others stated
-that the fount had been removed to Douay, and there used to print
-several Catholic tracts. No Irish work whatever is known to have been
-printed at Douay. Respecting the various foreign Irish founts, the
-reader is referred to the account given in chapter ii, p. 75.
-
-[352] _Life of William Bedell, D.D._, by H. J. Monck Mason. Lond., 8vo,
-1843, p. 287.
-
-[353] In addition to the _A B C_ _and_ _Catechism_, already referred
-to as published by Bedell in 1631, some of his biographers record that
-he had printed a later edition about 1641, and at the same time the
-following tracts in Irish, viz.: Some forms of prayer, a selection of
-passages from Scripture, the first three of Chrysostom’s Homilies on
-the rich man and Lazarus, and some sermons by Leo. Copies of these have
-not been seen.
-
-[354] Most of the copies were stated to have been bought up, like the
-type, by Roman ecclesiastics.
-
-[355] Of this work a copy has not yet been seen.
-
-[356] _Tiomna Nuadh._ (_The New Testament of our Lord and Saviour Jesus
-Christ, faithfully translated from the Greek into the Irish by William
-O’Donnell_). London. Robert Everingham. 1681. 4to.
-
-[357] “Mr. Everingham and Mr. Whiteledge,” says Dunton (_Life_, p.
-331), “were two partners in the trade; I employ’d ’em very much, and
-look’d upon ’em to be honest and thriving men. Had they confin’d
-’emselves a little sooner to Household Love, they might possibly have
-kept upon their own Bottom; however, so it happen’d, that they lov’d
-themselves into Two Journey-men Printers again.” Everingham was the
-printer, in 1680, of a _Weekly Advertisement of Books_ for some London
-publishers.
-
-[358] Writing to Dr. Marsh of Dublin, Jan. 17th, 1681–2, Boyle refers
-to a projected Irish Grammar, and offers the use of his type. “I am
-glad that so useful a designe as that of frameing a compendious Irish
-Grammar has been conceived by one that is so able to execute it well;
-but I presume you will want letters for many of the Irish words; in
-which case you may please to consider what use may be made of those
-I have already, that may be consistent with the printing of the Old
-Testament in the language they relate to; for all the designe I had in
-having them cut off was, that they might be in a readiness to print
-useful bookes in Irish, whether there or here” (Mason’s _Life of
-Bedell_, p. 301).
-
-[359] Leabhuir na Seintiomna, etc. (_The Books of the Old Testament
-translated into Irish by Dr. William Bedell, late Bishop of Kilmore._
-_London._) 1685. 4to.
-
-[360] _An Biobla Naomhtha._ (_W. Bedell’s and W. O’Donnell’s Irish
-Bible, revised, and printed at London by R. Everingham._) 1690. 8vo.
-
-[361] Mason’s _Life of Bedell_, p. 305.
-
-[362] _The Book of Common Prayer, Irish and English, with the Elements
-of the Irish Language_, by John Richardson. London, 1712. 8vo.
-
-[363] _Practical Sermons._ London, 1711.
-
-[364] _Dissertation_, p. 33. It is worthy of note that at the date when
-Mores wrote an almost universal cessation in Irish printing was taking
-place at home and abroad. At Louvain no work had appeared since 1663,
-at Rome since 1707, or at Paris (with the exception of the specimen in
-Fournier’s _Manuale Typographique_, 1764), since 1742. In the few Irish
-works issued at home during this period (with the notable exception of
-Miss Brooke’s _Reliques of Irish Poetry_, printed by Bonham of Dublin
-in 1789, in a new fount, apparently privately cut) the Irish character
-is generally rendered in copperplate, or in Roman type. It was not
-till Marcel published his _Alphabet Irlandais_, at Paris in 1804, and
-Neilson his _Irish Grammar_, at Dublin in 1808, that a revival of Irish
-typography took place, both abroad and at home.
-
-[365] _An Essay towards a Real Character and a Philosophical Language,
-by John Wilkins, D.D., Dean of Ripon. London, printed . . . for the
-Royal Society._ 1668. Fol.
-
-[366] _Dissertation_, p. 43. Mores mentions a James Moxon who in 1677
-lived near Charing Cross, and sold Joseph Moxon’s books at his house
-(p. 44).
-
-[367] Joseph Leigh (_sic_) served at the sixty-fourth Feast (_i.e._,
-about 1675), and Thos. Goring at the sixty-seventh (1678). In the same
-List occurs the name of John Goring, probably a relative of Thomas
-Goring, at the forty-sixth Feast (1657).
-
-[368] His name occurs in the list of Masters and Workmen Printers, as
-having served as Steward at the sixty-ninth Feast (1680).
-
-[369] Mores’ _Dissert._, p. 13.
-
-[370] See _ante_, p. 157.
-
-[371] The names of both occur among the stewards who had served office
-at the annual Brotherly Meetings of Masters and Workmen Printers;
-James Grover at the sixty-first Feast (1672), and Thomas Grover at the
-sixty-third (1674).
-
-[372] See _ante_, p. 96.
-
-[373] See _ante_, p. 90.
-
-[374] See _ante_, p. 144.
-
-[375] “The Arabic (of the _Polyglot_) is Great Primer, in our (_i.e._,
-James’s) foundery; and it came from Mr. Grover” (Mores’ _Dissert._, p.
-13; and again, p. 63). Mores, however, only mentions an imperfect set
-of Double Pica matrices in the summary of this foundry, whereas Andrews
-possessed a complete fount of Great Primer. A few odd punches of the
-_Polyglot_ Arabic are still in existence.
-
-[376] Mores’ _Dissert._, p. 46.
-
-[377] _Ibid._, p. 67.
-
-[378] This distinguished ambassador belonged to an honourable family,
-of whom by no means the least worthy member was Miss Elizabeth Rowe,
-who in 1785 married Henry Caslon, and subsequently—first with her
-mother-in-law, and afterwards by her own exertions—ably conducted the
-affairs of the Chiswell Street foundry. See _post_, chap. xi.
-
-[379] See _ante_, p. 144.
-
-[380] _Gent. Magaz._, vol. 56, p. 497. Nichols’ _Lit. Anec._, ix, 9.
-
-[381] Proposuit quidem D. Junius multis antehac annis MS. hoc typis
-evulgare, cujus etiam specimen impressum vidi; sed consilium illius,
-multis viris doctis merito improbatum, ejus progressum retardavit;
-dum multa pro arbitrio ex MS. detruncaret et mutaret, idque cùm nulla
-premebat necessitas, prout ex Catalogo satis magno vocabulorum per
-pauca _Geneseos_ capita, quæ ipse mutaverat et expunxerat (quem mihi
-ostendit Typographus) constat (_Proleg._, sec. ix, § 34).
-
-[382] _Vitæ quorundam eruditissimorum et illustrium Virorum.—Patricii
-Junii. Lond._, 1707. 4to. “Utcunque futuri operis specimen, quod
-jam præ oculis meis habeo, primum nimirum caput libri _Geneseos_,
-una cum doctissimis Scholiis, edere placuit. Omnes illud certamen
-arripiunt, avidisque oculis legunt perleguntque, ac optimâ spe de
-promissâ editione, quam cum maximo et vix continendo affectu exspectant
-efflagitantque, conceptâ, quasi moram pertæsi, Orbem Christianum hoc
-eximio thesauro, quod dudum fuisset locupletandus, nimium diu hactenus
-caruisse amicè queruntur” (p. 32).
-
-[383] Parr’s _Life of Usher_, 1686, p. 621. Usher to Boate, June 1651:
-“ . . . the Alexandrian copy (in the Library of St. James) which he
-intendeth shortly to make publick, Mr. Selden and myself every day
-pressing him to the work.”
-
-[384] Wood, _Athen. Ox._, 1691, i, 796; also Edwards, _Libraries and
-Founders of Libraries_, Lond., 1865, 8vo, p. 168.
-
-[385] _Lansd. MSS._, No. 231, fo. 169.
-
-[386] See _post_, chap. xvi.
-
-[387] The matrices of all these curious founts have survived to the
-present day, and, indeed, lie before us as we write. They bear strong
-evidence of having been justified and finished by the same hand.
-
-[388] From this assertion we except, of course, the letter of the
-first printers, which, if not imitating the actual handwriting of one
-particular scribe, was a copy of the conventional book-writing hand
-of the period. Some of the earliest scripts, italics and cursives are
-also reputed to have been modelled on the handwriting of some famous
-caligrapher or artist. One of the first instances of printing with
-facsimile types was the copy of the famous Medicean _Virgil_, produced
-at Florence in 1741. The types are for the most part ordinary Roman
-capital letters with a certain number of “discrepants” or peculiar
-characters. The title of this fine work is:—_P. VergiliI Maronis Codex
-Antiquissimus . . qui nunc Florentiæ in Bibliotheca Mediceo-Laurentiana
-adservatur. Bono publico Typis descriptus Anno MDCCXLI. Florentiæ.
-Typis Mannianis._ 8vo.
-
-[389] This is possibly the printer respecting whom Nichols (_Illust.
-Lit._, viii, 464) notes that on Nov. 20, 1732, John Mears, bookseller,
-was taken into custody for publishing a _Philosophical Dissertation
-on Death_ . . . Meares succeeded to the business of Richard Nutt,
-and printed the _Historical Register_. Among the Bagford Collections
-(_Harl. MS._ No. 5915) is a _Specimen by H. Meere, printer, at the
-Black Fryar, in Blackfriars, London_. No date.
-
-[390] Richard Nutt, printer in the Savoy, died March 11, 1780, aged 80
-years.
-
-[391] Grover contributed £2 2_s._ in 1712 towards defraying the loss
-incurred by the elder Bowyer on the occasion of the fire at his
-printing-house.
-
-[392] His name occurs in the List of Masters and Workmen Printers in
-1681; see _ante_, p. 166.
-
-[393] See _ante_, p. 149.
-
-[394] Cotton’s _Typographical Gazetteer_. Second Series, 1866, p. 17.
-
-[395] Vol. ii, p. 120.
-
-[396] Some of the matrices are without sides, which were probably
-supplied by a peculiar adaptation of the mould.
-
-[397] Bagford (writing in 1714) states that Walpergen “was succeeded by
-his son, who has long since been succeeded by Mr. Andrews.” If this be
-the case, the Peter Walpergen whose death occurred in 1714 was probably
-the son, of whom nothing is known as distinguished from his father.
-
-[398] We are indebted to the kindness of Mr. F. Madan, of the Bodleian
-Library, for our transcript.
-
-[399] _The Holy Bible, containing the Old Testament and the New, etc.
-Oxford, Printed by John Baskett, Printer to the King’s Most Excellent
-Majesty, for Great Britain; and to the University_, 1717, 1716. 2
-vols., folio. The running title of Luke xx reads, “_The parable of the
-vinegar_.”
-
-[400] This, in all probability, was the fount used for printing the
-“Vinegar” _Bible_.
-
-[401] The contents of this very interesting document were communicated
-to the _Athenæum_ of September 5, 1885, by Mr. J. H. Round, in whose
-possession the original is.
-
-[402] Timperley’s _Songs of the Press_. London, 1833, 8vo, p. 85.
-
-[403] Nichols’ note on the James family (_Anecdotes of Mr. Bowyer_,
-pp. 585, 609) is at variance with the account given by Rowe Mores.
-According to the former, Thomas, John and George James were all
-brothers, and sons of the notorious half-crazy Elianor James,
-whose husband, Thomas James, the printer, was a large benefactor
-to Sion College, and died in 1711. On this point, however, Mores,
-whose relations with the family gave him special opportunities for
-information, may be considered as more correct in representing
-Thomas and John as sons of the Rev. John James. George James, the
-son of Thomas and Elianor, was City Printer in 1724. His office was
-in Little Britain, where he wrote and printed the _Post Boy_. He
-was Common Councilman for the Ward of Aldersgate Without, and died
-in 1735. His greatgrandfather, Dr. Thomas James, Dean of Wells, was
-the first Keeper of Bodley’s Library at Oxford in 1605. Portraits
-of this Dr. Thomas James, and of Thomas and Elianor, the parents of
-George James, are preserved in Sion College, as is also a portrait of
-Elizabeth, their daughter, who married Jacob Ilive, the printer, and
-who was herself a benefactor to the College. Nichols mentions another
-member of the family, one Harris James, who, he says, was originally
-a letter-founder, and “formerly of Covent Garden Theatre, where he
-represented fops and footmen.”
-
-[404] _Dissertation_, p. 51, _et seq._
-
-[405] Rabbi Joseph Athias, son of Tobias Athias, who printed a Spanish
-Bible for the use of the Jews, was a printer, publisher and typefounder
-in Amsterdam. He succeeded to the Elzevir foundry as improved and
-added to by Van Dijk. In 1662–3 he issued an edition of the _Old
-Testament_ printed in Hebrew type, specially cut by Van Dijk, for
-the accuracy and beauty of which he received great renown; and in
-1667, when a new edition of the _Bible_ was published, the Government
-of the United Provinces signified their satisfaction by presenting
-him with a gold medal and a massive gold chain. He is said to have
-printed a great number of English Bibles. Van Dijk, whose models were
-so warmly applauded by Moxon, was a letter-cutter only, and worked
-for various foundries. His founder was John Bus, who cast in Athias’
-house, as the title of the following specimen-sheet, issued about
-1700, indicates:—_Proeven van Letteren die gesneden zijn door Wylen
-Christoffel van Dijck, welke gegoten werden by Jan Bus, ten huyse van
-Sr. Joseph Athias woonst in de Swanenburg Street, tot Amsterdam_. Demy
-broadside (showing five Titlings, sixteen Roman and Italic, eight Black
-and two Music). After passing through several hands, Athias’ foundry
-was purchased by John Enschedé of Haerlem in 1767, in whose family it
-still remains.
-
-[406] This should be Dirk Voskens of Amsterdam, who bought the foundry
-of Bleau in 1677, and was the first Dutch founder who kept types for
-the Oriental and recondite languages. Like Athias and others, he was a
-founder only, his punches and matrices being cut and sunk by Rolij. The
-foundry descended to his great-grandson, and was ultimately put up to
-auction in 1780, and purchased by the brothers Ploos Van Amstel, and
-subsequently became absorbed by the Enschedé foundry.
-
-[407] Rolij seems to be Rowe Mores’ way of spelling Rolu, of whose
-types the following specimen-sheet exists:—_Proeven van Letteren
-dewelcke gegooten worden by Mr. Johannes Rolu, Letter-Snyder woonende
-tot Amsterdam in de laetste Lelydwars-streat_, _c._ 1710 (probably the
-specimen referred to by James further on).
-
-[408] Voskens.
-
-[409] “The matter was first composed in the usual way, then the form
-was affused with some sort of _gypsum_, which after it was indurated,
-became a complication of matrices for casting the whole page in a
-single piece” (_Mores_, p. 59). As early as the year 1705 a Dutchman,
-named J. Van der Mey, had, with the assistance of Johann Muller, a
-German clergyman, devised a method of soldering together the bottoms
-of common types imposed in a forme, so as to form solid blocks of
-each page. By this method, two Bibles, a Greek Testament and a Syriac
-Testament with Lexicon were produced, the plates of all of which,
-except the last named, were preserved in 1801. See T. Hodgson’s _Essay
-on the Origin and Progress of Stereotype Printing_, Newcastle, 1820,
-8vo.
-
-[410] “Being called into our company,” says Ged, in his _Narrative_,
-“he bragged much of his great skill and knowledge in all the parts of
-mechanism, and particularly vaunted, that he, and hundreds besides
-himself, could make plates to as great perfection as I could: which
-occasioned some heat in our conversation.”
-
-[411] Hansard (_Typog._ p. 823), shows an impression of two pages of
-a _Prayer Book_, from plates which had escaped “Caslon’s cormorant
-crucible.”
-
-[412] _C. Crispi Sallustii Belli Catilinarii et Jugurthini Historiæ.
-Edinburgi; Guilielmus Ged, Aurifaber Edinensis, non typis mobilibus, ut
-vulgo fieri solet, sed tabellis seu laminis fusis, excudebat._ 1739,
-8vo (reprinted 1744). According to the account given by Ged’s daughter
-in the narrative above referred to, the _Sallust_ was completed in
-1736. No copy of that date is, however, known. Some of the plates of
-the work are still in existence.
-
-[413] The story may be read in detail in _Biographical Memoirs of
-William Ged, including a particular account of his progress in the art
-of Block printing_. London, 1781, 8vo. Fenner died insolvent about the
-year 1735. James Ged, after working for some time with his father,
-engaged in the rebellion of 1745, and narrowly escaped execution. He
-ultimately went to Jamaica, a year before his father’s death.
-
-[414] Despite Mores’ prophecy that Ged’s invention, even if at first
-successful, would soon have sunk under its own burden, the method was
-successfully revived, or rather re-invented, about the year 1781 by Dr.
-Tilloch of Edinburgh, in conjunction with Mr. Foulis, printer to the
-University of Glasgow, at whose press were printed a stereotype edition
-of _Xenophon’s Anabasis_ in 1783, and several chap-books. Messrs.
-Tilloch and Foulis did not persevere with their venture, which was
-about the year 1800 successfully revived and perfected by Mr. Wilson,
-a London printer, aided by Earl Stanhope. In France, Firmin Didot, in
-1795, attempted a method similar to that of Van de Mey in 1705; but
-abandoning this, succeeded in 1798 in producing good stereo plates by
-a system of _polytypage_, as described _ante_, p. 13. The reader is
-referred to Hodgson’s _Essay_ for specimens and particulars of the
-successive efforts to perfect the stereotype process at home and abroad.
-
-[415] Mores contradicts himself as to this date, giving it as 1738
-in one place, and 1736 in another. As, however, he is particular to
-mention that John James, in 1736, _after his father’s death_, commenced
-his specimen of the foundry, the earlier date may be assumed to be
-correct.
-
-[416] Timperley, who quotes this document (_Encycl._ p. 655), gives no
-particulars as to the letter in which it is printed.
-
-[417] See _ante_, p. 206.
-
-[418] See _ante_, p. 205.
-
-[419] The Oxford University foundry must, of course, be included as a
-fourth foundry existing at this time, but does not rank as a trading
-establishment. Cottrell’s foundry was also started in 1757, but it is
-doubtful whether he had yet finished cutting his punches. Smith, in
-_The Printer’s Grammar_, 1755, in comparing the standard bodies in use
-at that time in England, names Caslon and James as the only English
-founders.
-
-[420] Smith’s _Printer’s Grammar_, 1755, in referring to the use of
-flowers in typography, makes mention of “the considerable augmentation
-which Mr. Caslon has made here in flowers, and in which Mr. James
-likewise has so far proceeded that we may soon expect a specimen of
-them” (p. 137).
-
-[421] Nichols, _Illust. Lit._, viii, 450.
-
-[422] Edward Rowe Mores was born about the year 1729, at Tunstall in
-Kent, of which place his father was rector. He was educated at Merchant
-Taylors’ School and Queen’s College, Oxford, and being originally
-intended for holy orders, took his M.A. degree. He did not, however,
-enter the Church, but devoted himself to literary and antiquarian
-pursuits. Besides his _Dissertation upon English Typographical
-Founders_, he spent some time in correcting Ames, and in other
-investigations into the early history of printing. On one occasion, as
-he himself narrates, he assisted Ilive in correcting the Hebrew proofs
-of _Calasio’s Concordance_ for the press. His latter life was marred
-by habits of negligence and intemperance, which hastened his death in
-1778 at Low Leyton. His valuable library of books and MSS. was sold by
-auction by Paterson in August 1779, on which occasion the eighty copies
-of the _Dissertation_, being the entire impression, were bought up by
-Mr. Nichols and given to the public with a short Appendix.
-
-[423] _A Dissertation upon English Typographical Founders and
-Founderies, by Edward Rowe Mores, A.M. and A.S.S._ (London) 1778. 8vo
-(only 80 copies printed).
-
-[424] Consisting of eight founts of Hebrew, four of Samaritan, three of
-Arabic, four of Greek, five of Roman or Italic, three of Saxon, one of
-Anglo-Norman, and four of Black.
-
-[425] “Such as those which being uniques cannot be perfected without
-new punches, and if they were made complete, it would be no more
-than _oleum et operam, etc._, because they are either out of use or
-the times afford better, as the Antique Hebrew (spec. 7); Leusden’s
-Samaritan (spec. 27); 2-line Great Primer Hebrew (spec. 38); the
-Runic, Gothic, and some other recondites, the matrices for which
-are incomplete or useless. But of the founts which are in daily use
-the imperfects will continue, as they mutually aid and help out one
-another. For the same reason also will continue those which have been
-cast aside (not by their owner) under the name of _waste_.”
-
-[426] In another place Mr. Mores states that the “waste and pye” of the
-foundry contained upwards of 6,000 matrices.
-
-[427] This is the old Black from Grover’s foundry; see _ante_, p. 199.
-
-[428] This sly allusion leaves little doubt as to the light in which
-Mr. Mores viewed the Coster legend so industriously defended by such
-writers of his own day as Meerman, Bowyer and Nichols.
-
-[429] “Excusatos nos habeant eruditi quibus obvenerit typorum
-_Jamesianorum_ specimen accuratis perlustrare oculis, quod minus
-quam expetendum esset, in linguis præsertim reconditoribus, elimatum
-prodeat; in animo erat de dedisse emendatissimum et si sat se fecisse
-existiment opifices, si, posthabitis preli, ceterisque maculis,
-ostendatur literarum facies—limæ non defuit labor,—at cessante Fusore
-cessavit Fornax et defuerunt fusi ad emaculandum typi.”—_Preface to the
-Specimen._
-
-[430] _i.e._, [P.] Polyglot, [A.] Andrews, [G.] Grover, [R.] Rolij,
-[N.] Nicholls, [S.A.] Sylvester Andrews, [Anon.] “Anonymous.” Of founts
-marked *, punches or matrices still exist.
-
-[431] Two sets of Small Pica and two sets of Pearl not shown in
-Specimen, were also sold. A Canon, 2-line Great Primer, three Great
-Primers, an English, Pica, and Bourgeois, had been lost.
-
-[432] It is to be borne in mind that Andrews’ foundry included that of
-Moxon, from whom many of his oldest founts doubtless came.
-
-[433] A Great Primer, Pica, Small Pica and Long Primer had been lost,
-but the Long Primer punches remained.
-
-[434] A 2-line English, Double Pica and Pica had been lost.
-
-[435] There were also, not in Specimen, a 2-line Great Primer, Double
-Pica, Pica, two Small Picas and a set of 2-line Nonpareil Capitals. A
-Paragon, Bourgeois and two sets of Nonpareil had been lost.
-
-[436] This was the fount used in the _Catena on Job_, 1637.
-
-[437] “Remarkably beautifully cut and justified.”
-
-[438] A Double Pica, Pica and Long Primer had been lost.
-
-[439] A 2-line English had been lost.
-
-[440] Also a Double Pica not in specimen.
-
-[441] _i.e._, Black—of which the following sets, not in Specimen,
-were also sold:—Double Pica, two Great Primers, two English, four
-Small Picas, Long Primer, three Breviers and Nonpareil. A 2-line Great
-Primer, Double Pica, Long Primer and Bourgeois had been lost.
-
-[442] Of these, one was a 4-line, to which belonged a set of “leaden”
-lower-case matrices.
-
-[443] There is more difficulty in tracing these to their original
-sources than in the case of the matrices, as not only are the numbers
-not given, but the bodies named may very likely vary from the actual
-bodies to which the matrices were justified.
-
-[444] See p. 191. Though the matrices of this fount do not appear in
-the Catalogue, they were evidently in James’s foundry, as they are
-mentioned in the list drawn up by James in 1767, and are not specified
-among the matrices lost. They were acquired at the sale of Dr. Fry, and
-may possibly have been included with the Saxons, or with the imperfect
-lots.
-
-[445] _Lit. Anec._, iii, 438.
-
-[446] See our facsimiles from the Specimen at pages 200 and 204, _ante_.
-
-[447] In 1703, in the Convocation of Clergy in the Lower House, a
-complaint was exhibited against the printers of the _Bible_ for the
-careless and defective way in which it was printed by the patentees.
-The editions specially complained of were those printed by Hayes,
-of Cambridge, in 1677 and 1678, and an edition in folio printed in
-London in 1701. The printers continued, however, to print the _Bible_
-carelessly, with a defective type, on bad paper; and when printed, to
-sell copies at an exorbitant price.
-
-[448] The following sketch of William Caslon is mainly taken, and in
-parts quoted, from the interesting particulars of his career preserved
-in Nichols’ _Anecdotes of Bowyer_ and the larger work into which that
-was subsequently expanded. The elder Bowyer’s intimate connection with
-Caslon’s first ventures in letter-founding give Nichols’ work a special
-authority in the matter. At the same time there exists a certain
-confusion in the earlier part of the narrative which it is difficult
-completely to harmonise.
-
-[449] John Watts, a printer of first-rate eminence, for some time
-partner with Jacob Tonson II in Covent Garden. It was in Watts’
-printing office in Great Queen Street, Lincoln’s Inn, that Benjamin
-Franklin worked as journeyman in 1725. Watts died in 1763, aged 85.
-
-[450] William Bowyer, the elder, regarded as one of the foremost
-printers of his time, was born in 1663. In 1699 he had his office in
-Dogwell Court, Whitefriars. His premises were burnt in 1713, and in
-the conflagration he lost all his types and presses. By the liberality
-of his fellow-printers, however, this loss (estimated at over £5,000)
-was partly made good, and he was enabled to start again and rise
-once more to a foremost place in his profession. For all particulars
-respecting Mr. Bowyer and his learned son, see Nichols’ _Anecdotes of
-William Bowyer_, London, 1782, 4to, and _Literary Anecdotes of the 18th
-Century_, London 1812–15, 9 vols., 8vo, a work the foundation of which
-is a bibliography of the productions of this celebrated press. See also
-_ante_, p. 157.
-
-[451] James Bettenham, husband of the elder Bowyer’s step-daughter, was
-born 1683. He printed in St. John’s Lane, and attained to considerable
-eminence as a printer, although after sixty years’ labour he left
-behind him only £400. “He died,” says Rowe Mores, “in 1774, _ferè
-centenarius sanæque mentis et memoriæ_.”
-
-[452] _Anecdotes of Bowyer_, p. 585.
-
-[453] A tradition in the Caslon family that William Caslon began his
-career as a letter-founder in 1716, induced the late Mr. H. W. Caslon
-to adopt this as the date of the establishment of the Foundry. In the
-absence, however, of any testimony in support of the statement, and in
-the face of the clear announcement by Caslon himself that his Foundry
-was begun in the year 1720, there seems to be no ground for attaching
-any importance to the use of this earlier date.
-
-[454] This Society, which was established in 1698, had already
-displayed considerable activity in the introduction of printing into
-the distant fields of its missionary effort. In 1711 it sent out to
-the missionaries of Tranquebar, on the Coromandel Coast, a printing
-press furnished with Portuguese types, paper, etc., which, after an
-adventurous voyage, in which the vessel was plundered by the French
-of all her other cargo, reached its destination and enabled the
-missionaries to commence the printing of a Tamulic _New Testament_, of
-which the _Gospels_ appeared in 1714, with the imprint “_Tranquebariæ
-in littore Coromandelino, typis Malabaricis impressit G. Adler_, 1714.”
-It is related that the publication of the remainder of the work was
-delayed from a scarcity of paper, their types being very large; till at
-length the expedient was adopted of casting a new fount of letter from
-the leaden covers of some Cheshire cheeses, which had been sent out to
-the missionaries by the Society. The attempt succeeded, and with these
-new and smaller types the remainder of the _Testament_ was printed,
-the whole being published together in 1719. (Cotton, _Typographical
-Gazetteer_, 2nd edit., p. 289.)
-
-[455] _Liber Psalmorum . . una cum decem Præceptis . . et Oratione
-Dominicâ . . Arabicè; sumptibus Societatis de Propagandâ Cognitione
-Christi apud Exteros._ London, 1725. 8vo.
-
-[456] _Novum Testamentum, Arabicè. Londini. Sumptibus Societatis de
-Propagandâ Cognitione Christi apud Exteros._ 1727. 4to.
-
-[457] “This circumstance,” says Nichols (_Anec. Bowyer_, p. 317) “has
-lately been verified by the American, Dr. Franklin, who was at that
-time a journeyman under Mr. Watts, the first printer that employed Mr.
-Caslon.”
-
-[458] Dibdin, in repeating this anecdote, uses rather stronger
-language. “Caslon,” he says, “after giving (I would hope) that wretched
-pilferer and driveller Samuel Palmer (whose _History of Printing_ is
-only fit for chincampane paper) half a dozen good canings for his
-dishonesty, betook himself to Mr. Bowyer.” (_Bibl. Decam. II._, 379.)
-
-[459] _Joannis Seldeni Jurisconsulti Opera Omnia, tam edita quam
-inedita. In tribus voluminibus. Colligit ac recensuit . . . David
-Wilkins, S.T.P. . . . Londini, Typis Guil. Bowyer._ 1726. Fol. (Begun
-in 1722.)
-
-[460] Dr. David Wilkins, F.S.A., was Keeper of the Lambeth Library
-under Archbishop Wake, and drew up a Catalogue of all the MSS.
-and books there in his time. Besides editing the _Selden_ and the
-_Coptic Testament_ and _Pentateuch_, he published some important
-works in Anglo-Saxon Literature, and edited the learned Prolegomena
-to Chamberlayne’s _Oratio Dominica_ in 1715. He died in 1740. Rowe
-Mores considers that in his Coptic studies Dr. Wilkins was indebted to
-Kircher, the Jesuit, whose _Prodromus Coptus_, published in Rome in
-1636, the Doctor had severely handled.
-
-[461] _Quinque Libri Moysis Prophetæ in Linguâ Ægyptiâ. Ex M.S.S. . . .
-descripsit ac Latine vertit Dav. Wilkins. Londini_ 1731. 4to. Only 200
-copies were printed.
-
-[462] See _ante_, p. 147. Nichols, writing about 1813, mentioned that
-the Coptic fount, having escaped the conflagration of his printing
-office in 1808, was still in his possession.
-
-[463] _Typographia_, p. 349.
-
-[464] See _ante_, p. 205.
-
-[465] See _ante_, p. 218.
-
-[466] _Anec. Bowyer_, p. 537.
-
-[467] See _ante_, p. 215.
-
-[468] _Psalmorum Liber. (Heb. et Lat.) in Versiculos metrice divisus,
-etc. Londini_ 1736. 2 vols., 8vo.
-
-[469] _Moses Choronensis Historiæ Armeniacæ Libri iii. Armeniacè
-ediderunt, Latinè verterunt notisq: illustr. Guil. et Geo. Whistoni.
-London_, 1736. 4to.
-
-[470] _De Linguâ Etruriæ. J. Swinton. Oxon._, 1738.
-
-[471] This fount may be seen also in Nichols’ Appendix to Rowe Mores’
-_Dissertation_, p. 96, and in _Ames’ Typographical Antiquities_, 1st
-edit., p. 571.
-
-[472] If these were the matrices which Mores, in his summary of the
-Polyglot Foundry (p. 172, _ante_), described as Great Primer, it is
-difficult—unless they were duplicates—to determine through whose
-foundry they passed into Caslon’s hands. Andrews had a Great Primer,
-and Grover a Double Pica and Pica; but all these came to James, in
-whose foundry they remained when Mores wrote in 1778.
-
-[473] _Cyclopædia, or an Universal Dictionary of the Arts and Sciences,
-etc._, by E. Chambers, F.R.S., London, 1738. 2 vols., fol. (Caslon’s
-Specimen faces the article “Letter.”) The first edition of this
-valuable work—the first repertory of general knowledge published in
-Britain—appeared in 1728. It subsequently formed the basis of Rees’
-_Encyclopædia_.
-
-[474] See _ante_, p. 206.
-
-[475] Rowe Mores’ account of the Caslon foundry in 1778, wherein he
-attributes several of the founts which originally appeared in the
-1734 Specimen to Mitchell, might suggest at first sight that Caslon
-had acquired Mitchell’s foundry prior to 1739. Mores is, however,
-particular to give the exact date of the purchase, 26th July 1739.
-It seems more probable that, finding the bodies in Caslon’s Specimen
-corresponding generally with the description of the matrices he was
-known to have bought from Mitchell, he concluded hastily that the
-founts shown were Mitchell’s, whereas a reference to the Specimen would
-have proved that Caslon preferred his own original faces, in most
-cases, to those he had bought. See also our notes, _post_, pp. 247, 248.
-
-[476] _Anec. Bowyer_, p. 317.
-
-[477] _Anec. Bowyer_, p. 586.
-
-[478] “Les caractères de Caslon ont été gravés, pour la plus grande
-partie, par Caslon fils, avec beaucoup d’adresse et de propreté. Les
-epreuves qui on out été publiées en 1749 contiennent beaucoup de sortes
-différentes de caractères” (_Man. Typog._, II, xxxviii).
-
-[479] _Typographical Antiquities._ London, 1749, 4to, p. 571. The names
-of William Caslon, sen., and William Caslon, jun., letter-founders,
-figure among the subscribers to the work; and the plate of facsimiles
-of Caxton’s types is dedicated “to Mr. Wm. Caslon, a good promoter of
-this work, and as suitable to the principal Letter Founder.”
-
-[480] _An Essay on the Original, Use, and Excellency of the Noble Art
-and Mystery of Printing._ London, 1752. 8vo. The work is of little
-interest apart from the references to the Caslons, and a curious poem
-at the end.
-
-[481] See _post_, chap. xiii.
-
-[482] _The Universal Magazine of Knowledge and Pleasure._ London. Vol.
-vi. June 1750, p. 274.
-
-[483] See _post_, chap. xvi.
-
-[484] A copy of this Specimen, dated 1763, evidently an advance copy,
-is in the library of the American Antiquarian Society, the gift of
-Isaiah Thomas, the printer, and is, as far as is known, the only copy
-in existence bearing this date. Copies of the 1764 Specimen occur in
-8vo and 4to.
-
-[485] Forty-four new founts appear in all, viz.: 2 Titlings, 15 Romans,
-4 Greeks, 9 Hebrews, 1 Ethiopic, 1 Etruscan, 2 Saxons, 8 Blacks, and 2
-Music, while the Flowers now number 63 varieties.
-
-[486] “ ‘This New Foundery was begun in the year 1720 and finished
-1763.’ So we are told by a note at the end of their Specimen published
-in 1764, although the same note tells us that though it was finished,
-yet it was not finished, ‘but would (with God’s leave) be carried on,
-etc.’ Amen!” (_Dissert._, p. 80.)
-
-[487] Among the relics of the Caslon Foundry is a copy of the 1764
-specimen book presented by Mr. Caslon to his friend Phil. Thicknesse
-the poet. At the end of the book appears Mr. Thicknesse’s letter of
-thanks to the donor, execrably printed by the poet himself, in type
-given him by Mr. Caslon.
-
-[488] This Concert Room remains at Chiswell Street in pretty much its
-old form, and is now the repository of the interesting collection of
-portraits and relics, still preserved, of this venerable Foundry.
-
-[489] _A General History of the Science and Practice of Music._ London.
-1776. 4to. Vol. v, 127.
-
-[490] The Rev. Dr. Lyttelton writes to Ames, April 25, 1744, “Some
-unforeseen business prevents Dr. Pococke and myself dining with
-Mr. Caslon to-morrow. I give you this notice that you may defer
-your visit till some day next week, when we will endeavour to meet
-there.”—_Nichol’s Illustrations of Literature_, iv, 231.
-
-[491] Copies of which he continued to circulate, erasing with pen and
-ink the words “and Son” from the title-page and advertisement.
-
-[492] _A Concise History of the Origin and Progress of Printing, etc._
-London, 1770. 8vo. Reprinted in the following year with the title:—_The
-History of the Art of Printing, in two Parts, etc., J. P. Luckombe,
-M.T.A._ London, 1771. 8vo.
-
-[493] _Dissertation_, p. 81.
-
-[494] Mores calls this “excavated” or “Hutter’s leading-string” Hebrew.
-A specimen may be seen in _The Scholars Instructor_. _An Hebrew Grammar
-of Israel Lyons_, Cambridge, 1735, 8vo. The open Hebrew is here used to
-distinguish the servile from the radical letters. Lyons in his preface
-deprecates Hutter’s method of printing the entire _Bible_ in this
-character, thereby keeping the learners “too long in leading-strings”
-(see also _ante_, p. 63).
-
-[495] Mores omits a Small Pica Hebrew, which is the same as the Brevier
-shown in the sheet of 1734.
-
-[496] These founts are not Head’s or Mitchell’s, as Mores states, but
-were cut by Caslon I, and shown on the 1734 sheet.
-
-[497] The Pica Greek shown on the 1734 sheet was discarded in favour of
-this fount.
-
-[498] “But,” adds Mores, “Mr. Caslon is cutting a _Patagonian_ which
-will lick up all these diminutives as the ox licketh up the grass of
-the field.”
-
-[499] “Supported by arches.” Doubtless cast in sand.
-
-[500] These were not cut, as Mores states, by Caslon II, but by Caslon
-I, and appeared on the sheet of 1734, when Caslon II was but 14 years
-of age.
-
-[501] “These,” says Mores, “are one and the same. The Acts of
-Parliament are printed in them, therefore we call them as Dr. Ducarel
-and the Act call them, ‘the common legible hand and character.’ ”
-
-[502] Mores omits here the Pica Black, cut by Caslon I, and shown on
-the sheet of 1734.
-
-[503] Not Cartledge, as erroneously given by Nichols. This lady was
-the only child of Mr. Cartlitch, an eminent refiner in Foster Lane,
-Cheapside, and was born May 31, 1730.
-
-[504] With the addition of the Long Primer Syriac cut for Oxford
-University, the “learned” founts in the 1785 Specimen are precisely the
-same as those which appeared in the book of 1764.
-
-[505] The address is a literary curiosity: “The acknowledged excellence
-of this Foundry, with its rapid success, as well as its unexampled
-Productions having gained universal Ecomiums on its ingenious Improver
-and Perfecter (whose uncommon Genius transferred the Letter Foundry
-Business from HOLLAND to ENGLAND, which, for above Sixty years, has
-received, for its beauty and Symmetry, the unbounded praises of the
-Literati, and the liberal encouragement of all the Master Printers
-and Booksellers, not only in this Country but of all EUROPE and
-AMERICA) has excited the Jealousy of the Envious and the Desires of the
-enterprising, to become Partakers of the Reward due to the Descendants
-of the Improver of this most useful and important Art.
-
-“They endeavour, by every method to withdraw, from this Foundry, that
-which they silently acknowledge is its indisputable Right: Which is
-conspicuous by their very Address to the Public, wherein they promise
-(in Order to induce Attention and Encouragement) that they will use
-their utmost Endeavours to IMITATE the Productions of this Foundry;
-which assertion, on inspection, will be found impracticable, as the
-Imperfections cannot correspond in size.
-
-“The Proprietor of this Foundry, ever desirous of retaining the
-decisive Superiority in his Favour, and full of the sincerest Gratitude
-for the distinguished Honour, by every Work of Reputation being printed
-from the elegant Types of the Chiswell Street Manufactory, hopes,
-by every Improvement, to retain and merit a Continuance of their
-established Approbation, which, in all Quarters of the Globe, has given
-it so acknowledged an Ascendency over that of his Opponents.”
-
-The address prefixed to the 1785 Specimen Book of the Worship Street
-Foundry had evidently been the inspiration of this tirade, which in
-turn evoked a spirited reply from the Frys in the following year. See
-_post_, chap. xv.
-
-[506] The sheets appear (along with some of Fry & Son’s and Wilson’s)
-in _Chambers’ Cyclopædia—incorporated in one Alphabet by Abraham Rees,
-London_, 1784–86. 4 vols. folio.
-
-[507] These are sometimes (as in the case of the British Museum copy)
-bound up with the 1785 8vo specimen book as folding plates.
-
-[508] See _ante_, p. 200. Hansard observes that besides Queen
-Elizabeth’s Ambassador, the same family had produced Sir Henry Rowe, a
-Lord Mayor of London; and Owen Rowe, the Regicide.
-
-[509] This celebrated typographer was born at Saluzzo, in the Sardinian
-States, in 1740. At an early age he visited Rome, and obtained a
-situation in the printing office of the Propaganda, where he gained
-great credit for his printing. In 1768 he settled at Parma, where he
-published many famous works, and established a European reputation.
-His _Homer_ in 3 vols. folio, published in 1808, is his most famous
-work. He never visited England, although one or two works were printed
-by him in our language, viz., Lord Orford’s _Castle of Otranto_, 1791,
-8vo, _Gray’s Poems_, 1793, 4to, _Thomson’s Seasons_, 1794, folio and
-quarto. He died in 1813, and his widow finished and published in 1818
-the _Manuale Tipografico_, 2 vols., royal 4to, a most sumptuous work,
-containing upwards of 250 exquisite specimens of type and ornaments.
-A monument was erected to him in Saluzzo in 1872. Of Bodoni’s office
-at Parma the following interesting particulars are preserved in Dr.
-Smith’s _Tour on the Continent_, 2nd edit., vol. iii: “A very great
-curiosity in its way, is the Parma printing-office, carried on under
-the direction of M. Bodoni, who has brought that art to a degree of
-perfection hardly known before him. Nothing could exceed his civility
-in showing us numbers of the beautiful productions of his press, of
-which he gave us some specimens, as well as the operations of casting
-and finishing the letters. The materials of his type are antimony
-and lead, as in other places, but he showed us some of steel. He
-has sets of all the known alphabets, with diphthongs, accents, and
-other peculiarities in the greatest perfection. His Greek types are
-peculiarly beautiful, though of a different kind of beauty from those
-of old Stephens, and perhaps less free and flowing in their forms.”
-
-[510] _Typographia_, p. 352.
-
-[511]
-
- 2-line Gt. Primer—1803
- Great Primer—May, 1802
- English 1—August, 1802
- English 2—April, 1805
- Pica 2 and 3—March, 1805
- Small Pica 1, 2, and 3—July, 1804
- Long Primer 1, 2, and 3—July, 1804.
- Bourgeois 1 and 2—July, 1802
- Brevier 1 and 2—May, 1805
- Minion—May, 1805
- Nonpareil 1, 2—October, 1803.
-
-[512] _The Printers’ Grammar, etc., by C. Stower, Printer._ London,
-1808. 8vo. The following note is prefixed to the specimen: “A 4-line
-Pica, Canon and Double Pica of a bold and elegant shape, were not quite
-ready to introduce with these specimens.”
-
-[513] Savage, in his _Hints on Decorative Printing_, London, 1822, 4to,
-chapter ii, shows specimens of Mrs. Caslon’s Roman letter contrasted
-with the old models of the Foundry on the one hand, and its more recent
-developments on the other.
-
-[514] “Chiswell Street, January 19, 1814. Henry Caslon respectfully
-informs his friends and the printers in general, that the term of his
-partnership with the executors of the late Mr. Nathaniel Catherwood
-having expired, he has entered into a new engagement with Mr. John
-James Catherwood, brother to his late partner, and that the firm is
-now carried on under the firm of Henry Caslon and J. J. Catherwood.
-He embraces this opportunity of expressing his grateful sense of
-the distinguished patronage the Foundry has received, and the kind
-encouragement he has individually experienced from his friends in the
-printing business, since the death of his mother and late partner.”
-
-[515] _Typograpia_, p. 353.
-
-[516] See _post_, chap. xvii.
-
-[517] See _post_, chap. xxi, s.v. Bessemer. In the Directory at the end
-of Johnson’s _Typographia_, 1824 (ii, 652), a Catherwood is mentioned
-among the Letter Founders, Charles’ Sq., Hoxton.
-
-[518] Cut by William Martin.
-
-[519] This beautiful little fount was cut for Pickering’s _Greek
-Testament_ 1826, and for clearness and minuteness eclipses both the
-Sedan Greek, and that of Blean of Amsterdam. It was also used in the
-_Homer_ of 1831. Dibdin (_Introd. to the Classics_, 1827, i, 166) shows
-a specimen of the type.
-
-[520] Cut for Dr. C. Wilkins, Oriental Librarian to the East India
-Company.
-
-[521] _The Diary of Lady Willoughby, as relates to her Domestic History
-in the Reign of King Charles I._ London, 1844. 4to.
-
-[522] _Particulars of a most valuable property for Investment called
-the Caslon Letter Foundry; also a most extensive Modern Foundry on
-which has been expended upwards of £50,000, which will be sold by
-auction by W. Lewis and Son . . . on Wednesday, Dec. 16, 1846, at 11
-for 12 precisely (unless previously disposed of by private contract)._
-In the list of matrices catalogued, the cutters’ names are added, those
-of Hughes, Bessemer, and Boileau being among the most frequent.
-
-[523] _The History of the Art of Printing, containing an Account of
-its Invention and Progress in Europe, with the names of the famous
-Printers, the places of their birth and the works printed by them, and
-a Preface by the Publisher to the Printers in Scotland. Edinburgh,
-printed by James Watson. Sold at his shop opposite the Lucken Booths,
-and at the shops of David Scot in the Parliament Close, and George
-Stewart a little above the Cross_, 1713, 12mo. Watson’s preface is
-stated to have been written by John Spotswood, Advocate. The historical
-portion is a condensed translation of De la Caille’s _Histoire de
-l’Imprimerie_, published at Paris in 1689.
-
-[524] _Specimen of Types in the Printing House of James Watson._ 1713.
-48 pp., of which 26 are devoted to Dutch “Bloomers” or Initials, and
-the remainder to Romans and Italics from French Canon to Nonpareil,
-with a fount of Greek, one of Black, and a few signs, etc.
-
-[525] See _ante_, p. 218.
-
-[526] _Typographia_, p. 362.
-
-[527] Ireland, during a portion of the eighteenth century appears to
-have been well supplied with type from native sources. Of the fortunes
-of Wilson’s branch foundry here alluded to, we have no further record,
-unless we are to connect the following statement with the enterprise of
-the Scotch typographers:—Boulter Grierson in 1764 petitioned the Lord
-Lieutenant for a renewal of the Patent granted to his distinguished
-father George Grierson by George II in 1731, for King’s printer in
-Ireland. Among other reasons in support of his prayer, he states: “That
-the art of making types for printing was unknown in Ireland until very
-lately, when your petitioner’s father encouraged it by laying out
-about One Thousand pounds in that article alone, in order to establish
-that art in the said kingdom, and there are now as good types made
-here as any imported, by which means there is a great saving to the
-public, and great part of the money that would be otherwise sent to
-foreign country’s is left in this kingdom.” (We are indebted to the
-kindness of a lady descendent of George Grierson for this interesting
-extract.) According to a note of Lemoine which we quote at p. 264_n_,
-Dublin printers in 1797 were getting their types either from Wilson
-of Glasgow, or from London. It is therefore probable that, whether
-George Grierson’s enterprise may have consisted in the encouragement of
-Wilson’s foundry or in the establishment of another foundry of his own,
-the art did not long hold its ground in Ireland, and was discontinued
-in the latter half of the century, only to be once revived, and that
-for a short period only, by Dr. Wilson’s grandsons in 1840. See p. 265.
-
-[528] For an account of Baine’s subsequent career as a type-founder,
-see _post_, chap. xix.
-
-[529] These eminent printers, the most elegant typographers of which
-Scotland can boast, produced in their day some of the finest editions
-ever printed. Robert was originally a barber, but began as a printer
-in 1740. In 1743 he was appointed printer to Glasgow University, one
-of his first productions being an edition of _Demetrius Phalereus_ in
-that year. In 1744 he brought out his famous “immaculate” edition of
-_Horace_ in 12mo at Glasgow. Shortly afterwards his brother Andrew, who
-had been a teacher of French at the University, joined him, and the two
-together, by great industry and excellent artistic taste, produced a
-large number of beautifully printed works, some of which will rank with
-the finest achievements of Bodoni, or Barbou, or even the Elzevirs.
-Their classics, both Greek and Latin, were as remarkable for their
-exactness as for their beauty, and it is recorded that the brothers,
-following the example of some of the old masters, were in the habit of
-publicly exhibiting their proof sheets and offering a reward for the
-detection of any error. Andrew Foulis died in 1775, and Robert in the
-following year. The business was carried on under the old name of R. &
-A. Foulis for some years by Andrew Foulis, son of Robert. This printer
-it was who was associated with Tilloch in his patent for stereotype in
-1784. He died in 1829 in great poverty.
-
-[530] _Homeri Opera, Græce (ex edit. Sam. Clarke). Glasguæ; in Ædibus
-Academicis excudebant Robertus et Andreas Foulis, Academii Typographi
-1756–8_, 4 vols., fol. This work is one of the most splendid editions
-of Homer ever printed. Each sheet was corrected six times before being
-finally worked. Flaxman’s illustrations were designed for the work.
-
-[531] After stating that it was the ambition of the publishers of this
-work to rival the finest productions of the Stephani of Paris, the
-preface continues (p. viii):—“Omnes quidem tres regios Stephanorum
-characteres græcos expresserat jam apud nos, atque imitatione
-accuratissimâ repræsentaverat _Alexander Wilson_, A.M., egregius ille
-Typorum artifex, quem et hoc nomine adscripserat sibi Alma Mater.
-In his autem grandioris formæ characteribus Stephanianis id unum
-desiderari quodammodo videbatur, scilicet, si res ita ferre posset,
-ut, salvâ tamen ilia solidæ magnitudinis specie quâ delectantur omnes,
-existeret una simul elegantiæ quiddam, magis atque venustatis. Rogatus
-est igitur ille artifex, ut, in hoc assequendo solertiam suam, quâ
-quidem pollet maximâ, strenue exercet. Quod et lubenter aggresus est,
-et ad votum usque videtur consecutus vir ad varias ingenuas artes
-augendas natus.”
-
-[532] _Poems of Mr. Gray. Glasgow, printed by Robert and Andrew Foulis,
-Printers to the University._ 1768. 4to. This edition was published
-simultaneously with Dodsley’s first collected edition of _Gray’s
-Poems_, in London; and far exceeded it in beauty of typography and
-execution. Writing to Beattie in 1768, Gray says, “I rejoice to be in
-the hands of Mr. Foulis (the famous printer of Glasgow) who has the
-laudable ambition of excelling the Etiennes and the Elzevirs as well in
-literature as in the proper art of his profession.”
-
-[533] “This is the first work in the Roman character which they (A.
-and R. Foulis) have printed with so large a type, and they are obliged
-to DOCTOR WILSON for preparing so expeditiously, and with so much
-attention, characters of so beautiful a form.”
-
-[534] _A View of the Various Editions of the Greek and Roman Classics._
-London, 1775. 12mo. Improved editions in 1778, 1782, and 1790.
-
-[535] Renouard, speaking of the twenty volume edition of _Cicero_
-printed by the Foulis in 1749, prefers its type to that of the
-Elzevirs. _Catalogue de la Bibliothèque d’un Amateur._ Paris, 1819. 4
-vols. 8vo. ii, 75.
-
-[536] Hansard states that the Long Primer Greek matrices of the foundry
-were “from the type cast in which the Elzevirs printed some of their
-editions”—(_Typographia_, 404).
-
-[537] In a later specimen is shown a “New Small Pica Italic” cut for
-the King’s printer in Edinburgh, 1807.
-
-[538] Lemoine, _Typographical Antiquities_, 1797, says, “Ireland,
-by its connection with London and Scotland, produces some very neat
-printing; Wilson’s types are much approved of at Dublin. Alderman
-George Faulkner may be considered as the first printer in Ireland in
-his time; but it must be remembered his letter was all cast in London.”
-p. 99.
-
-[539] This fount (according to Savage, _Dict. of Printing_, p. 320)
-was cut after the classical and elegant type of Athias, for Mr. Jno.
-Wertheimer, of Leman Street, and was used in printing the Rev. D. A. De
-Sola’s edition of the _Prayers of the Sphardim_.
-
-[540] “In conformity,” says the preface, “with ancient immemorial
-usage, we have in Part I displayed our Founts in the Roman Garb—the
-venerable _Quousque tandem_—but lest it should be supposed we had
-adopted the flowing drapery of Rome for the purpose of shading or
-concealing defects, we have in Part II shown off our founts in a dress
-entirely English.” Mr. Figgins was the first to introduce this practice
-in his Specimens.
-
-[541] The following extract from the preface to the 1834 Specimen,
-announces the removal: “We had the honour some time ago of announcing
-the removing of the Glasgow Letter Foundry to London, and we beg leave
-to inform you that we have now carried our intentions into execution,
-and are prepared to receive your commands in our establishment in Great
-New Street, Gough Square, London. The operative department will be
-conducted by Mr. John Sinclair, whose integrity of conduct and thorough
-knowledge of his profession we now reward by making him a partner in
-our business.” London, Aug. 1, 1834. The London Foundry was carried on
-under the old name of Alex. Wilson & Sons, or occasionally Wilsons and
-Sinclair; the Edinbro’ branch, and that subsequently started in Dublin,
-being styled A. & P. Wilson.
-
-[542] See _post_, chap. xxi.
-
-[543] There still exists, in Mr. Timmins’ collection of Baskerville
-relics, a slate tablet beautifully engraved with the words “Grave
-Stones cut in any of the Hands by John Baskervill, Writing Master,” in
-which the admirable models of Roman and Italic for which he afterwards
-became famous are clearly prefigured.
-
-[544] “His carriage,” says Nichols, “each panel of which was a distinct
-picture, might be considered the pattern-card of his trade, and was
-drawn by a beautiful pair of cream-coloured horses” (_Lit. Anec._, iii,
-451).
-
-[545] He appears to have continued his original business to the end
-of his days. Writing in 1760, Mr. Derrick, in a letter to the Earl of
-Cork, dated July that year, after describing Baskerville’s printing
-achievements, adds: “This ingenious artist carries on a great trade
-in the Japan way, in which he showed me several useful articles, such
-as candlesticks, stands, salvers, waiters, bread-baskets, tea-boards,
-etc., elegantly designed and highly finished.” The name of Baskerville
-had previously been associated with typography, as we find in the lists
-of the Stationers’ Company a Gabriel Baskerville, who took up his
-freedom in 1622, and a John Baskerville, who took up his freedom in
-1639.
-
-[546] Dibdin (_Intr. to Classics_, ii, 555) says £800.
-
-[547] “Towards the end of 1792 died Mr. John Handy, the artist who cut
-the punches for Baskerville’s types, and for twelve years was employed
-in a similar way at the Birmingham Typefoundry of Mr. Swinney.” (_Gent.
-Mag._, 1793, p. 91.)
-
-[548] “John Baskerville proposes, by the advice and assistance of
-several learned men, to print from the Cambridge Edition, corrected
-with all possible care, an elegant edition of _Virgil_. The work will
-be printed in quarto, on a very fine writing Royal paper, and with the
-above letter. The price of the Volume in sheets will be one guinea, no
-part of which will be required till the Book is delivered. It will be
-put to press as soon as the number of subscribers shall amount to five
-hundred, whose names will be prefixt to the work. All persons who are
-inclined to encourage the undertaking, are desired to send their names
-to John Baskerville in Birmingham, who will give specimens of the work
-to all who are desirous of seeing them. Subscriptions are also taken
-in, and specimens delivered by Messieurs R. and J. Dodsley, Booksellers
-in Pall Mall, London.”
-
-[549] Of the two copies in the possession of Mr. S. Timmins, one is
-printed on very fine banknote paper, and the other, more heavily, on a
-coarse brown.
-
-[550] _Publii Virgilii Maronis Bucolica, Georgica, et Æneis.
-Birminghamiæ Typis Johannis Baskerville._ 1757. 4to. As Baskerville
-reprinted this work in 1771 with the old date 1757 on the title-page,
-it is necessary to note that, in the genuine edition, among other
-peculiarities, the 10th and 11th Books of the _Æneid_ are headed
-“Liber Decimus. Æneidos”, and “Liber Undecimus. Æneidos”, whereas in
-the re-impression they appear, uniform with the other titles, “Æneidos
-Liber Decimus.” “Æneidos Liber Undecimus.” A _Virgil_ was printed in
-8vo, in 1766.
-
-[551] “I have always considered this beautiful production as one of the
-most finished specimens of typography” (Dibdin, _Introduction to the
-Classics_, 2nd ed. II, 335).
-
-[552] “My neighbour Baskerville at the close of this month (March 1757)
-publishes his fine edition of _Virgil_; it will for _type_ and _paper_
-be a perfect curiosity” (_Shenstone’s Letters and Works_, 1791, Letter
-88).
-
-[553] Other type was used for this work.
-
-[554] _Lit. Anec._, ii, 411.
-
-[555] “Η Καινη Διαθηκη”. _Novum Testamentum juxta exemplar Millianum.
-Typis Joannis Baskerville. Oxonii e Typographeo Clarendoniano._ 1763.
-_Sumptibus Academiæ_, 4to and 8vo.
-
-[556] Some of the Punches were exhibited by the University Press at
-the Caxton Exhibition in 1877. Since then, thanks to the energy of
-the present Controller, Mr. Horace Hart, to whom we are indebted for
-the above extracts and specimens, the matrices of the fount have come
-to light as well as the punches and matrices of the two-line letters
-and figures belonging to it. These were exhibited at the British
-Association Meeting at Birmingham in August 1886, being catalogued as
-follows:―
-
-“PUNCHIONS of the Great Primer Greek—a large proportion of the fount,
-but not the whole.
-
-“MATRICES of the same.
-
-“PUNCHIONS of the Two-line Great Primer, with Initial Letters. Complete.
-
-“MATRICES of the same, also complete.
-
-“PUNCHIONS of one set of Figures, supplied with the above.
-
-“MATRICES of the same.”
-
-Still more recently, Mr. Horace Hart has been fortunate enough
-to discover part of the actual type in its original cases. It is
-interesting to note that these types, which are of rather a soft metal,
-are cast to the Oxford Learned-Side “height-to-paper.”
-
-[557] _Paradise Lost, etc._, _Paradise Regain’d, etc._ Birmingham,
-1758. 2 vols., 4to. The work was also published in the same year in
-8vo, and again in 4to in 1759. The 4to edition of 1758 appears to be
-overlooked by some bibliographers, Hansard, among others, who refers in
-the extract here given to the reprint of 1759.
-
-[558] _Typographia_, p. 310. It is worthy of note that the very high
-gloss on the paper which characterised most of Baskerville’s later
-works, is not always observable either in the _Virgil_ of 1757, or the
-_Milton_ of 1758.
-
-[559] _Catalogue de la Bibliothéque d’um Amateur_, i, 310. After
-noticing the folio specimen following, he says: “Un autre essai de
-Baskerville, sur une plus petite feuille, contient seulment quatre
-caractères romains et deux en italique . . . Outre cette épreuve de
-grand essai, j’ai l’un et l’autre réunis à la fin de son _Virgile_
-in 4.” The only example we have met with is that bound up with Lord
-Spencer’s beautiful copy of the _Virgil_ in the Althorp Library.
-
-[560] Writing to Mr. R. Richardson of Durham on Oct. 29, 1758, Dr.
-Bedford says: “By Baskerville’s specimen of his types, you will
-perceive how much the elegance of them is owing to his paper, which he
-makes himself, as well as the types and ink also; and I was informed
-whenever they came to be used by common pressmen and with common
-materials they will lose of their beauty considerably. Hence, perhaps,
-this specimen may become very curious (when he is no more, and the
-types cannot be set off in the same perfection), and a great piece of
-_vertû_.” (Nichols, _Illust. Lit._, i, 813).
-
-[561] Amongst which should be particularly singled out the _Horace_
-in 12mo printed in 1762, which Dr. Harwood describes as “the most
-beautiful little book, both in regard to type and paper, I ever beheld.”
-
-[562] _The Press, a poem. Published as a Specimen of Typography by John
-McCreery._ Liverpool, 1803, 4to. p. 19.
-
-[563] An interesting notice of Lord Orford’s famous private press at
-Strawberry Hill, with a Catalogue of the—many of them—finely printed
-works that issued from it, is given in Lemoine’s _Typographical
-Antiquities_, p. 91.
-
-[564] The original of this important letter, with the specimen
-attached, is in Mr. Timmins’s possession.
-
-[565] _The Holy Bible, containing the Old Testament and the New,
-translated out of the Original Tongues, and with the former
-translations diligently compared and revised. By His Majesty’s special
-command. Appointed to be read in Churches. Cambridge: printed by John
-Baskerville, Printer to the University._ 1763. _Cum Privilegio._ Fol.
-The prospectus of this work, with a specimen of the type, appeared
-in 1760. The folio _Bible_, printed at Birmingham in 1772, is a much
-inferior performance.
-
-[566] _The Book of Common Prayer, Cambridge_, 1760, roy. 8vo, (with
-long lines); 1760, roy. 8vo, (in double columns); 1761, roy. 8vo; 1762,
-roy. 8vo (with long lines): 1762, 12mo.
-
-[567] He appears always to have kept a large number of hot plates of
-copper always ready, between which, as soon as printed, just as they
-were discharged from the tympan, the sheets were inserted. The moisture
-was thus expelled, the ink set, and the smooth, glossy surface put on
-all simultaneously. However well the method may have answered at the
-time, the discoloration of his books still preserved in the British
-Museum and elsewhere, shows that the brilliance thus imparted was most
-tawdry and ephemeral.
-
-[568] “Les caractères sont gravés avec beaucoup de hardiesse, les
-italiques sont les meilleures qu’il y ait dans toutes les Fonderies
-d’Angleterre, mais les romains sont un peu trop larges.” . . And of his
-editions he adds, “Quoiqu’elles fatiguent un peu la vue, on ne peut
-disconvenir que ce ne soit la plus belle chose qu’on ait encore vue en
-ce genre.” (_Man. Typ._, ii, xxxix.)
-
-[569] “Mr. Baskerville . . . made some attempts at letter-cutting,
-but desisted, with good reason. The Greek cut by him or his for the
-University of Oxford is execrable. Indeed, he can hardly claim a place
-amongst letter-cutters. His typographical excellence lay more in trim,
-glossy paper to dim the sight.” (_Dissert._, p. 86.)
-
-[570] _The Life of Benjamin Franklin, written by himself, etc._
-(Bigelow’s edition). Philadelphia, 1875, i, 413. Nichols, in error,
-gives the date of this letter as 1764.
-
-[571] The apparatus was first offered, it is said, to the French
-Ambassador in London for £8,000. Subsequently Baskerville wrote, on
-Sept. 7, 1767: “Suppose we reduce the price to £6,000. . . . Let the
-reason of my parting with it be the death of my son and intended
-successor, and having acquired a moderate fortune, I wish to consult my
-ease in the afternoon of life.”
-
-[572] The following works were printed by Martin between 1766 and 1769,
-viz., _Christians’ Useful Companion_, 1766, 8vo; _Somerville’s Chace_,
-1767, 8vo; _Shakespeare_, 9 vols., 1768, 12mo; _Bible with cuts_, 1769,
-4to; and editions of the _Lady’s Preceptor_.
-
-[573] Letter dated 21 Sept. 1773. “You speak of enlarging your
-Foundery” (_Works_, viii, 88).
-
-[574] The remaining copies of Baskerville’s impressions, were, after
-his death purchased for £1,100 by W. Smart, bookseller, of Worcester,
-and publisher of the _Worcester Guide_.
-
-[575] Hutton, _History of Birmingham_, 1835, p. 197.
-
-[576] _Biographical History of England_, ii, 362.
-
-[577]
-
-                     “Stranger,
-      beneath this cone, in _unconsecrated_ ground,
-    a friend to the liberties of mankind directed his
-               body to be inurn’d.
-  May the example contribute to emancipate thy mind
-          from the idle fears of _Superstition_,
-          and the wicked arts of Priesthood.”
-
-Touching this epitaph Archdeacon Nares has the following note:—“I heard
-John Wilkes, after praising Baskerville, add, “But he was a terrible
-infidel; he used to shock me!”
-
-[578] “On Friday last, Mr. Baskerville, of this town, was married
-to Mrs. Eaves, widow of the late Richard Eaves, Esq., deceased”
-(_Birmingham Register_, June 7, 1765). Mrs. Baskerville d. 1788. Two
-works exist, printed at Birmingham, with the imprint, Sarah Baskerville.
-
-[579] In 1776, Chapman used Baskerville’s type for Dr. W. Sherlock’s
-_Discourses concerning Death._ 8vo.
-
-[580] This preference was so marked, that about this time the
-proprietors of Fry and Pine’s foundry, who had begun with an avowed
-imitation of the Baskerville models, were constrained to admit their
-mistake, and discard that fashion for new founts cut on the model of
-Caslon.
-
-[581] As early as 1775, Dr. Harwood, in the preface to his _View of
-the Editions of the Classics_, had pleaded urgently for the purchase
-of Baskerville’s types, and Wilson’s famous Greek, as the nucleus of a
-Royal Typography in England.
-
-[582] _Lit. Anec._, iii, 460.
-
-[583] _Proposals for Printing by Subscription a Complete Edition of
-the Works of Voltaire, printed with the Types of Baskerville for the
-Literary and Typographical Society_, 1782, 12 pp. 8vo, with 2 pp.
-specimens of the type. The French proposal appears to have been put
-forward in 1780.
-
-[584] _Beaumarchais and His Times. Translated by H. S. Edwards._
-London, 1856. 4 vols. 8vo (iii, chap. 24).
-
-[585] _Œuvres Complètes de Voltaire. De l’Imprimerie de la Société
-litteraire et typographique_, (Kehl) 1784–1789. 70 vols. in 8vo; and 92
-vols. in 12mo.
-
-[586] Renouard mentions having seen at Paris a broadside specimen of
-all the Baskerville types transported to Beaumarchais’ establishment:
-“Ce sont les mêmes types,” he adds, “mais quelle différence dans leur
-emploi!” (_Catalogue_, i, 310).
-
-[587]
-
- _La Virtu Sconosciuta Dialogo_, 1786, 8vo.
- _Del Principe e delle Lettere_, 1795, 8vo.
- _L’Etruria Vendicata Poema_, 1800, 8vo.
- _Della Tirannide_, 1809, 8vo.
-
-[588] _The Treatyse of Fysshynge wyth an Angle. Attributed to Dame
-Juliana Berners, reprinted from the Book of St. Albans. London; printed
-with the types of John Baskerville for William Pickering._ (Thos.
-White, imp.) 1827. 8vo.
-
-[589] A statement that they were acquired at the beginning of the
-century for the printing offices of the Imperial Academy of Sciences at
-St. Petersburg, appears, after careful inquiry, to rest on no further
-foundation than rumour.
-
-[590] See frontispiece. Cottrell is the figure marked 4.
-
-[591] See _ante_, p. 158.
-
-[592] _Dissertation_, p. 82.
-
-[593] _A Specimen of a New Printing Type, in Imitation of the Law-Hand.
-Designed by William Richardson, of Castle Yard, Holborn._ London, n. d.
-Broadside.
-
-[594] The Double Pica Script sheet occasionally bound in with this
-specimen, is evidently an interpolation of a later date, as it neither
-has the border round, nor does it conform to the measure or gauge of
-theother sheets. It was not finished in 1778 when Mores wrote. See
-_Dissert._, p. 83.
-
-[595] _Manuel Typographique_, ii, xxxviii. This whole notice is so
-exceedingly incorrect as to call for mention here. “L’Angleterre a
-peu de Fonderies, mais elles sont bien fournies en toutes sortes de
-caractères: les principales sont celles de Thomas Cottrell à Oxfort; de
-Jacques Watson à Edimbourg, de Guillaume Caslon & Fils à Londres, et de
-Jean Baskerville à Birmingham”! It would almost appear as if, having
-before him the names of Cottrell, Oxford, James, Wilson of Glasgow,
-Caslon of London, and Baskerville of Birmingham, the then existing
-foundries in this kingdom, Fournier had taxed his ingenuity to make
-four foundries out of six and had succeeded, altering Wilson’s name to
-that of his long defunct fellow citizen, Queen Anne’s printer, in the
-process. This feat has, however, been eclipsed in his notice of the
-Voskens’ foundry at Amsterdam, which, after the death of Dirk Voskens,
-passed to his widow and sons. “Cette Fonderie” Fournier informs us, “a
-passée à sa veuve et au Sieur Zonen”!
-
-[596] Mores (_Dissert._, p. 83), says he was the first to produce
-letters of this size.
-
-[597] _Lit. Anec._, ii, 358.
-
-[598] “R. Thorne, Letter-Founder, takes the Liberty of informing the
-Trade in general that he has begun business upon his own account, and
-intends serving them at the following old-established prices: [here
-follows price list]. He respectfully informs those gentlemen that
-choose to favour him with their orders, that they may depend upon the
-best workmanship and materials. Barbican, July 1, 1794.”
-
-[599] It appears to have been no uncommon practice in the trade to make
-use of a predecessor’s book, corrected on the title-page in pen and
-ink. Our copy of Cottrell’s specimen is thus altered to the name of a
-broker; and the specimens of the Type Street Foundry are many of them
-similarly corrected to adapt them for the frequently changing style of
-that firm.
-
-[600] In a note, he says, “R. T. informs those gentlemen to whom he is
-at present unknown, that the Types of the Barbican Foundry are cast to
-the usual Height and Body; and that great care has been taken to have
-the Counterpart deeply cut, by which means they will wear much longer
-than any hitherto in use.”
-
-[601] Pica, which in 1798 had been 1_s._ per lb., is raised to 1_s._
-2 1/2_d._, and Nonpareil is advanced from 5_s._ to 5_s._ 6_d._ The
-other sizes are in similar proportion.
-
-[602] “Sir,—Having published a Specimen of Improved Printing Types, I
-have taken the liberty of sending you a Copy, which I hope you will
-approve of; and be assured that every possible exertion shall be used
-in completing those orders you may favor me with.
-
-“Barbican, 1803.
-
-“I remain, your obedient Servant, ROBERT THORNE.”
-
-[603] See _ante_, p. 117.
-
-[604] See _post_, chap. xxi.
-
-[605] In the Directory at the end of _Stower’s Printers’ Grammar_,
-1808, Thorne’s name is given without address.
-
-[606] _Particulars of the Lease and Valuable Plant of the Type Foundry
-of Mr. Robert Thorne, deceased, situate in Fann’s Street, Aldersgate
-Street,.........which will be Sold by Auction by Mr. W. Davies, at
-Garraway’s Coffee House, on Wednesday, the 21st of June, 1820, at
-Twelve o’clock, in One Lot._ Besides the lease, plant, and fixtures,
-the Catalogue comprised 316 lots of matrices and about 340 moulds. The
-matrices were as follows:―
-
- _Roman and Italic._―
-     5-line (3), 4-line (3), Canon (4), 2-line Double Pica (3), 2-line
-     Great Primer (4), 2-line English (4), 2-line Pica (1), Double Pica
-     (4), Great Primer (4), English (5), Pica (6), Small Pica (3), Long
-     Primer (6), Bourgeois (3), Brevier (5), Minion (1), Nonpareil
-     Roman (2), Pearl (1)
-
- _Black (plain or open)._―
-     5-line (5), 4-line (2), Canon (2), 2-line Great Primer (5), 2-line
-     English (2), Double Pica (2), Great Primer (2), English (1), Pica
-     (1), Small Pica (1), Long Primer (2), Bourgeois (1).
-
- _Shaded._―
-     5-line to Brevier (21).
-
- _Flowers._―
-     All bodies (15).
-
- _Ornamented._―
-     Canon to 2-line Bourgeois (6).
-
- _Egyptian._―
-     2-line Great Primerto Brevier (6).
-
- _Script._―
-     2-line Pica, Double Pica, Great Primer.
-
- _Engrossing._―
-     2-line English.
-
- _German._―
-     English.
-
- _Two-line Letters, Signs_, etc., etc.
-
- _Sanspareil Founts._―
-     14-line to 4-line (24).
-
-[607] He had a brother (?) a printer, in Wood Street, Cheapside.
-
-[608] It is curious to note that the matter of not a few of
-Thorowgood’s early specimens has reference to the lucky numbers “always
-found in great variety in the Grand State Lotteries.” Such gratuitous
-advertisements are no doubt so many grateful acknowledgments of his own
-obligations to a time-honoured institution.
-
-[609] The address to the printers, prefixed to this specimen, is as
-follows: “I cannot omit the opportunity offered in presenting my first
-specimen to your notice, to return my most sincere thanks to the
-profession for that portion of their patronage which I have received
-since my succession to Mr. Thorne. Although some difficulties presented
-themselves in redeeming the pledge I made of renovating my small founts
-and casting them of metal more durable than those in common use, yet
-I flatter myself that those friends who relied on my professions will
-bear ample testimony that they have not been disappointed, and that
-the superior facilities of manufacturing types possessed by myself in
-common with the other founders of the metropolis has been used to their
-advantage,” etc.
-
-[610] This famous foundry, which still exists, was established by
-Bernard Christopher Breitkopf in 1719. His son, Johann Gottlieb
-Immanuel Breitkopf, was the inventor (simultaneously with Haas of
-Basle) of the art of map printing with movable types, and is claimed
-also as the inventor of movable music types about 1748. Many eminent
-punch cutters were employed on the founts of this foundry, which was in
-1800 one of the largest in Germany. The first specimen appeared in 1739.
-
-[611] Hugh Owen. _Two Centuries of Ceramic Art in Bristol_, 1873, 8vo.
-
-[612] Of these books we have one before us—_A Collection of Hymns
-adapted for Public Worship_. Bristol, (1769), 12mo, in the Long Primer
-of the foundry, showing, besides, several varieties of title-letters
-and flowers.
-
-[613] _Catalogue_, i, 310, “Grande feuille collée sur une toile ou
-batiste fine.”
-
-[614] Rowe Mores, after quoting the above, adds drily: “Their letter is
-neat. We _do_ ‘set aside the influence of custom,’ and call it the law
-of fools, but we must recommend to the consideration of the proprietors
-the difference between scalping and counterpunching.” (_Dissertation_,
-p. 84.)
-
-[615] “The Inventors, sensible of the great utility of their
-Discovery, have mentioned it to several of the Trade, who have made
-very considerable offers to encourage the laying open the Secret:
-But as their desire is, that every Printer in the Kingdom might be
-benefited by it they propose to make the Discovery as universal as
-possible, by making an honourable and generous present of it to the
-whole trade: To many of whom they are under some Obligations for the
-kind encouragement of their new Foundery. And as that is an object
-they desire here to recommend, they would further propose, (as they
-have nearly compleated all their founts, and can serve the Trade on
-as good Terms as any in the Kingdom, and with Types they will warrant
-to wear as long) that every Printer who shall give them an order for
-Ten Pounds worth of Type or more (Five Pounds of which to be paid on
-ordering and the Remainder on the Delivery) shall be made acquainted
-with the above improvements. So that the whole Advantage proposed is
-the selling some Founts of Letter which every Printer does or will
-want. And as they expect that the Trade in general will approve of
-their Plan, they beg that the Encouragers of it would send their orders
-with all convenient Speed to the above Foundery; (as they intend as
-soon as they have got a sufficient Number to lay open the whole) which
-they hope will not be less universal than the desire of being made
-Partakers of so interesting a Discovery: for it merits nothing less
-than the most cordial Encouragement of every Printer in Europe, though
-here so freely offered. And it will appear when laid open to be of such
-Service as nothing like it has been discovered in Printing for some
-Centuries. . . . The whole expence of altering the present presses to
-the above Improvement will be but about forty shillings.” A notice of
-this invention, as well as of a patent type-case designed by the same
-partners, is found in the _Abridgments of Specifications for Printing,
-1617–1857_, London, 1859. 8vo, p. 88.
-
-[616] _History and Art of Printing_, p. 244.
-
-[617] After commending Caslon and Jackson, he says: “As to the
-productions of other Founderies we shall be silent, and leave them to
-sound forth their own good qualifications, which by an examiner are not
-found to exist” (p. 230).
-
-[618] _The Holy Bible, containing the Old and New Testament, with Notes
-Explanatory, Critical and Practical, selected from the Works of several
-Eminent Divines. London, I. Moore and Co., Letter Founders and Printers
-in Queen Street, near Upper Moorfields._ 1774. Folio.
-
-_The Same_, in 5 vols., 8vo:—_Vols._ 1, 2, 3, 1774; _Vol._ 4, 1776;
-_Vol._ 5 (_Apocrypha_) 1775.
-
-[619] _A Commentary on the Holy Bible, containing the Whole Sacred Text
-of the Old and New Testaments, with Notes, etc. Bristol, Printed and
-Sold by William Pine._ 1774, 12mo.
-
-[620] _The Holy Bible, containing the Old and New Testament, with Notes
-Explanatory, Critical and Practical, selected from the Works of several
-Eminent Authors. London. Printed and Sold by J. Fry and Co., Letter
-Founders and Printers in Queen Street, near Upper Moorfields._ 1777.
-Folio.
-
-_The Same_, 4 vols., 1777. 8vo.
-
-[621] Amongst other works printed by him there is preserved a tract,
-entitled _An Answer to a Narrative of Facts . . . lately published
-by Mr. Henry Burgum as far as relates to the Character of Wm. Pine.
-Bristol. Printed in the year 1775._ 8vo. This is a letter of rejoinder
-addressed by Pine to Burgum, repelling charges relating to the
-publication of an offensive pamphlet. Pine also printed several works
-for the Wesleys.
-
-[622] See p. 226 _et seq._
-
-[623] The pedigree of the matrices is indicated, as far as can be
-ascertained, by the initials (see our note 2 at p. 227); but in
-several cases, particularly in the case of the Blacks, the origin
-is considerably more remote than the foundry named. The error of
-inferring anything as to their origin from the names of famous old
-printers appearing on the drawers in which they were stored at James’s
-foundry has already been pointed out—see _ante_, p. 230. Several of
-these founts Dr. Fry appears to have received in a defective state,
-necessitating in some cases a complete re-justifying of the matrices,
-and in others the cutting of a considerable number of punches, and
-casting on bodies which did not always agree with those named in the
-sale Catalogue. This circumstance will account for many of the apparent
-discrepancies between the original founts and the renovated founts as
-they appear in the Type Street specimens.
-
-[624] “It affords them”—the proprietors—“great Satisfaction to observe
-that the original Shape of their Roman and Italic Letters continues to
-meet the Approbation of the Curious, both in and out of the Printing
-Trade: nevertheless, to remove an Objection which the difference in
-Shape, from the letters commonly used here, raised in some, whereby
-their Introduction into several Capital Offices have been prevented;
-they have cut entire new sets of Punches, both Roman and Italic;
-and they flatter themselves they have executed the Founts, as far
-as they are done, in an elegant and masterly Manner, which in this
-Specimen are distinguished by the title NEW, and which will mix with
-and be totally unknown from the most approved Founts made by the late
-ingenious Artist, William Caslon.” For Caslon’s acknowledgment of this
-compliment, see _ante_, p. 249.
-
-[625] “However desirous the proprietor of another Foundery may be to
-persuade the public into an idea of a superiority in his own favour,
-owing to _Rapid_ improvements for upwards of _Sixty_ years, a little
-time may, perhaps, suffice to convince impartial and unbiassed Judges
-that the very elegant Types of the WORSHIP STREET MANUFACTORY, though
-they cannot indeed boast of their existence longer than about _Twenty_
-years ! will yet rank as high in Beauty, Symmetry, and intrinsic Merit
-as any other whatever, and ensure equal approbation from the Literati
-not only in this Country but in every quarter of the Globe.”
-
-[626] For a short time following Mr. Fry’s death his widow is
-said to have been associated with her sons in the conduct of the
-letter-foundry. Mrs. Fry lived at Great Marlow, and afterwards in
-Charterhouse Square, London, where she died, Oct. 22, 1803, aged 83.
-
-[627] _The Printer’s Grammar. London, printed by L. Wayland._ 1787. 8vo.
-
-[628] We have the following volume very beautifully printed:—_C. Plinii
-Cæcilii Secundi Epistolarum Libri x. Sumptibus editoris excudebant M.
-Ritchie et J. Samuells. Londini_, 1790. 8vo. At end:—_Typis Edmundi
-Fry_.
-
-[629] This excellent artist was a Scotchman, and printed in Bartholomew
-Close in 1785. He was one of the first who started in emulation of
-Baskerville as a fine printer; his series of Mr. Homer’s Classics
-(_Sallust_, 1789; _Pliny_, 1790; _Tacitus_, 1790; _Q. Curtius_;
-_Cæsar_, 1790; _Livy_, 1794) established his reputation. His quarto
-_Bible_ and the _Memoirs of the Count de Grammont_ are also celebrated.
-He printed on Whatman’s paper with admirable ink and most careful
-press-work, and is stated to have produced most of his books by his own
-personal and manual labour.
-
-[630] From this press the following elegantly printed volume was issued
-in 1788:—_The Beauties of the Poets, being a Collection of Moral and
-Sacred Poetry, etc., compiled by the late Rev. Thomas Janes of Bristol.
-London, printed at the Cicero Press by and for Henry Fry, No. 5 Worship
-Street, Upper Moorfields._ 1788. 8vo. At one time Henry Fry appears to
-have had a partner named Couchman.
-
-[631] _A New Guide to the English Tongue in five parts by Thomas
-Dilworth . . . Schoolmaster in Wapping. Stereotype Edition. London.
-Andrew Wilson, Camden Town._ 8vo. Contains portraits, tail piece and 12
-fable cuts.
-
-[632] _Pantographia; containing accurate copies of all the known
-Alphabets in the World, together with an English explanation of the
-peculiar Force or Power of each Letter; to which are added specimens of
-all well authenticated Oral Languages; forming a comprehensive Digest
-of Phonology. By Edmund Fry, Letter Founder, Type Street, London,
-1799._ Roy. 8vo. A few copies were printed on vellum, one of which is
-in the Cambridge University Library.
-
-[633] _The Printer’s Grammar or Introduction to the Art of Printing:
-containing a concise History of the Art, etc., by C. Stower, Printer.
-London. Printed by the Editor._ 1808, 8vo. The same work also shows
-extracts and specimens from _Pantographia_.
-
-[634] Hazard was also the designer of a pair of cases, a plan of which
-is shown by Stower, p. 463.
-
-[635] The Rev. Samuel Lee, B.D., Regius Professor of Hebrew at
-Cambridge, was a constant visitor at Type Street, and personally
-directed the cutting of many of the founts.
-
-[636] Dr. Fry’s system was virtually that first introduced by Mr.
-Alston, of Glasgow, to which reference is made _ante_, p. 78, where
-details are also given as to the other principal systems of type for
-the Blind. A “lower-case” was subsequently added to Dr. Fry’s fount
-by his successors, and in this form the type was largely used by the
-various Type Schools following Mr. Alston’s method. Full particulars of
-this award, with specimens, maybe seen in Vol. I of the _Transactions
-of the Royal Scottish Society of Arts_.
-
-[637] Hansard mentions a Two-line English Engrossing, two sizes of
-Music, and the matrices of Dr. Wilkins’ _Philosophical Character_; none
-of which, however, formed part of this Foundry.
-
-[638] Of the supposed antiquity of this interesting fount an
-account has already been given at pages 200–5, _ante_. By a curious
-confusion of names and dates, Dr. Fry, in his specimens stated that
-“this character was cut by _Wynkyn de Worde_, in exact imitation
-of the _Codex Alexandrinus_ in the British Museum” ! This absurd
-anachronism—the more extraordinary as emanating from an antiquary of
-Dr. Fry’s standing—appears to have arisen from the fact that at the
-sale of James’ Foundry the matrices lay in a drawer which bore the
-name, “De Worde.” This circumstance misled Paterson, the auctioneer,
-into advertising the fount as the genuine handiwork of De Worde, a
-printer who lived a century before the Codex was brought into this
-country. The further coincidence that Dr. Woide of the British Museum
-was, at the time of the sale, engaged in producing an edition of
-the _Codex_, with facsimile types prepared by Jackson the founder,
-doubtless added—by the similarity of the names De Worde and Dr.
-Woide—to the confusion. After its purchase, the fount first appeared
-in Joseph Fry and Sons’ Specimen of 1786, without note. But, in the
-subsequent specimens of the Foundry, bearing his own name, Dr. Fry
-introduced the fiction, which remained unchallenged for a quarter of a
-century.
-
-[639] In addition to which Dr. Fry possessed, in an imperfect condition
-(many of the characters having been recut), the Great Primer Arabic
-of Walton’s _Polyglot_. According to Hansard he also had a set of
-matrices, English body, from the first punches cut by William Caslon;
-but this seems to be an error.
-
-[640] Used in Bagster’s _Polyglot_. The same fount was cast on Long
-Primer with movable points. Hansard is in error in stating that Dr. Fry
-cut a Nonpareil Syriac.
-
-[641] An error still less explicable than that of the Alexandrian
-Greek, but which not only Dr. Fry’s successors, but Hansard himself has
-copied. The following seems to be the “good authority” on which the
-assertion is based. In 1819, Mr. Bulmer, the eminent printer, printed
-for the Roxburghe Club, Mr. Hibbert’s transcript of the MS. fragment of
-the translation of _Ovid’s Metamorphoses_, made by Caxton about 1480,
-and preserved in the library of Pepys at Magdalen College, Cambridge.
-The body of the work was set in the English Black bought by Dr. Fry at
-James’ Sale—but in two places a smaller size of type was required to
-print passages omitted in Caxton’s translation, but supplied by the
-Editor in the original French of Colard Mansion’s edition. For these
-passages the Pica Black was selected, and as the French text contained
-several accents and contractions, these had to be specially cut. This
-task Dr. Fry performed, and understanding that the letter was to be
-used for printing a work of Caxton’s, he appears, without further
-enquiry, to have assumed that the work in question was a fac-simile
-reprint, and that his old matrices had been discovered to bear the
-impress of the veritable character used by that famous man. Had he seen
-the book in question he would have discovered that not only was it a
-transcript from a MS. of which no printed copy had ever been known to
-exist, but that the very passages in which the boasted type was used,
-were passages which did not even appear in a work of Caxton at all. The
-matrices are very old. They were in Andrews’ foundry about 1700, and in
-all probability came there from Holland, as they closely resemble the
-other old Dutch Blacks in James’ Foundry.
-
-[642] In the Small Pica, No. 2, was printed _The Two First Books of the
-Pentateuch, or Books of Moses, as a preparation for learners to read
-the Holy Scriptures. The types cut by Mr. Edmund Fry, Letter Founder
-to His Majesty, from Original Irish Manuscripts, under the care and
-direction of T. Connellan (2nd Edit.) Printed at the Apollo Press,
-London, J. Johnson, Brook Street, Holborn, 1819._ 12mo.
-
-[643] Whatever singularity M. Didot may have indulged in in the first
-strikes from his famous punches for his own use, the matrices now
-in the possession of Dr. Fry’s successors are of most unmistakeable
-copper throughout. And it does not appear that more than one set of the
-strikes was needed to meet all the demands made upon this complicated
-letter by the printers of the day.
-
-[644] _Gentleman’s Magazine_, May, 1836.
-
-[645] Nichols’ _Lit. Anec._, ii, 358–9; and _Gentleman’s Magazine_,
-1792, p. 93.
-
-[646] _Dissert._, p. 83.
-
-[647] Probably as a rubber, in which occupation he is represented as
-engaged in the View of the Caslon Foundry given in the _Universal
-Magazine_ for June 1750 (see frontispiece).
-
-[648] _Dissertation_, p. 83.
-
-[649] Mr. Halhed thus refers to this circumstance in the introduction
-to his _Bengal Grammar_ (see post): “That the Bengal letter is very
-difficult to be imitated in steel will readily be allowed by every
-person who shall examine the intricacies of the strokes, the unequal
-length and size of the characters, and the variety of their positions
-and combinations. It was no easy task to procure a writer accurate
-enough to prepare an alphabet of a similar and proportionate body
-throughout, with that symmetrical exactness which is necessary to the
-regularity and neatness of a fount. Mr. Bolts (who is supposed to be
-well versed in this language) attempted to fabricate a set of types
-for it with the assistance of the ablest artists in London. But, as he
-has egregiously failed in executing even the easiest part, or primary
-alphabet, of which he has published a specimen, there is no reason to
-suppose that his project when completed would have advanced beyond the
-usual state of imperfection to which new inventions are constantly
-exposed.”
-
-[650] This distinguished scholar and self-made typographer was born
-in the year 1751. He entered the East India Company’s Civil Service,
-where he devoted himself not only to the study of the Oriental
-languages, but to the actual production of the types necessary to
-extend the study of those languages among his fellow-countrymen, with
-extraordinary skill and perseverance. He succeeded in cutting the
-punches and casting the types for Halhed’s _Grammar of the Bengal
-Language_, published at Hoogly in Bengal in 1778, 4to. In his preface
-to that work, Mr. Halhed, after referring to Mr. Bolts’ failure,
-in the passage quoted in the preceding note, thus describes the
-undertaking:—“The advice and even solicitation of the Governor-General
-prevailed upon Mr. Wilkins, a gentleman who has been some years in
-the India Company’s Civil Service in Bengal, to undertake a set of
-Bengal Types. He did, and his success has exceeded every expectation.
-In a country so remote from all connection with European artists, he
-has been obliged to charge himself with all the various occupations
-of the Metallurgist, the Engraver, the Founder, and the Printer. To
-the merit of invention he was compelled to add the application of
-personal labour. With a rapidity unknown in Europe, he surmounted all
-the obstacles which necessarily clog the first rudiments of a difficult
-art, as well as the disadvantages of solitary experiment; and has
-thus singly, on the first effort, exhibited his work in a state of
-perfection which in every part of the world has appeared to require
-the united improvements of different projectors and the gradual polish
-of successive ages.” Mr. Wilkins persevered in his noble undertaking
-of rendering the Oriental languages available to the English scholar
-through the medium of typography. With this view he compiled from the
-most celebrated native Grammars and Commentaries a work entirely new to
-England on the Structure of the Sanskrita tongue. Of the difficulties
-and discouragements attendant on the execution of this self-imposed
-task he thus speaks in his Preface:—“At the commencement of the year
-in 1795, residing in the country and having much leisure, I began to
-arrange my materials and prepare them for publication. I cut letters
-in steel, made matrices and moulds, and cast from them a fount of
-types of the Deva Nagari character, all with my own hands; and, with
-the assistance of such mechanics as a country village could afford, I
-very speedily prepared all the other implements of printing in my own
-dwelling-house; for by the second of May of the same year I had taken
-proofs of 16 pages, differing but little from those now exhibited in
-the first two sheets. Till two o’clock on that day everything had
-succeeded to my expectations; when alas! the premises were discovered
-to be in flames, which, spreading too rapidly to be extinguished, the
-whole building was presently burned to the ground. In the midst of
-this misfortune, I happily saved all my books and manuscripts, and the
-greatest part of the punches and matrices; but the types themselves
-having been thrown out and scattered on the lawn, were either lost or
-rendered useless.” About ten years afterwards the Directors of the East
-India Company encouraged Dr. Wilkins, then Librarian to the Company, to
-resume his labours and cast new types, as the study of the Sanskrita
-had become an important object in their new College at Hertford. Dr.
-Wilkins complied, and the _Grammar of the Sanskrita Language_, London,
-1808, 4to, duly appeared from Bulmer’s Press, and was allowed to be a
-monument at once of beautiful typography and erudite industry. Dr.,
-subsequently Sir Charles, Wilkins died May 13th, 1836, at the advanced
-age of 85. Specimens of his Bengali and Sanskrit may be seen in
-Johnson’s _Typographia_, ii, 389–94.
-
-[651] _A Vocabulary, Persian, Arabic, and English, containing such
-words as have been adopted from the two former of these languages, and
-incorporated into the Hindvi; together with some hundreds of compound
-verbs formed from Persian or Arabic nouns and in universal use. Being
-the seventh part of the new Hindvi Grammar and Dictionary._ London,
-1785. 4to.
-
-[652] The Domesday letter of Cottrell and Jackson may be seen in
-juxtaposition in Fry’s _Pantographia_, 1799, pp. 50 and 314; also in
-Stower’s _Printer’s Grammar_, 1808, p. 253. Jackson’s also appears in
-Johnson’s _Typographia_ (ii, p. 248), from which work our account is
-chiefly taken.
-
-[653] _Domesday Book seu Liber Censualis Willelmi primi Regis Angliæ
-inter Archivos Regni in Domo capitulari Westmonasterii asservatus.
-Jubente Rege Augustissimo Georgio Tertio prelo mandatus. Londini. Typis
-J. Nichols._ 2 vols. Folio. 1783.
-
-[654] _Domesday Book Illustrated._ London. 1788. 8vo.
-
-[655] Dr. Woide was appointed Assistant Librarian at the British Museum
-in 1782.
-
-[656] See _ante_, p. 200–5.
-
-[657] A specimen of this letter may be seen in Dr. Fry’s specimens,
-also in his _Pantagraphia_, p. 126.
-
-[658] Gough, writing in the _Gentleman’s Magazine_, vol. lvi, p. 497,
-says:—“It was reserved, therefore, for the industry and application of
-Dr. Woide . . . to rescue this valuable MS. from the fate which befel
-a MS. of the Septuagint in the Cottonian Library of equal antiquity,
-type, and, value, of which a very few fragments escaped the fire in
-1733, by adopting the facsimile mode of reproduction, which, from the
-great expense attending it, has unfortunately been adopted in so few
-instances.” The facsimile of the Laudian Codex, comprising the _Acts
-of the Apostles_, published by Hearne at Oxford in 1715, had been the
-only previous successful attempt of this kind in England. Hearne’s
-facsimile, however, was engraved, and not from type. A list of the most
-important subsequent facsimile reproductions from Codices of the Holy
-Text is given in Horne’s _Introduction_ (edit. 1872), iv, pp. 682–3.
-
-[659] _Novum Testamentum Græcum è Codice MS. Alexandrino qui Londini in
-Bibliothecâ Musei Britannici asservatur, descriptum a Carolo Godofredo
-Woide . . . Musei Britannici Bibliothecaria Londini. Ex prelo Jeannis
-Nichols. Typis Jacksonianis, 1786._ Folio.
-
-[660] _Psalterium Græcum è Codice MS. Alexandrino qui Londini in
-Bibliothecâ Musei Britannici asservatur Typis ad similitudinem ipsius
-Codicis Scripturæ fideliter descriptum. Curâ et labore H. H. Baber.
-Londini, 1812._ Folio.
-
-[661] _Vetus Testamentum Græcum è Codice MS. Alexandrino qui Londini
-in Bibliothecâ Musei Britannici asservatur, Typis ad similitudinem
-ipsius Codicis Scripturæ fideliter descriptum. Curâ et labore H. H.
-Baber, Londini, 1816–21._ 4 vols., Folio. Mr. Baber, the better to
-preserve the identity of the original in his fac-similes, introduced a
-considerable number of fresh types as well as numerous woodcuts.
-
-[662] _Codex Theodori Bezæ Cantabrigiensis, Evangelia et Acta
-Apostolorum complectens, quadratis literis, Græco-Latinus. Academia
-auspicante summâ qua fide potuit, adumbravit, expressit, edidit,
-codicis historiam præfixit, notasque adjecit T. Kipling. Cantabrigiæ è
-prelo Academico, impensis Academiæ, 1793._ 2 vols., Folio.
-
-[663] _Gent. Mag._, 1793, p. 733.
-
-[664] Mores’ _Dissert._, Appendix, p. 98.
-
-[665] _Prosodia Rationalis, an Essay towards establishing the Melody
-and Measure of Speech by Symbols._ London, 1779. 4to.
-
-[666] _An Essay towards Establishing the Melody and Measure of Speech,
-to be expressed and perpetuated by peculiar Symbols._ London, 1775. 4to.
-
-[667] _The Holy Bible, embellished with Engravings from Pictures and
-Designs by the most eminent Artists. London: printed for Thomas Macklin
-by Thomas Bensley, 1800. 7 vols._ Folio.
-
-[668] See p. 336, _post_. Jackson’s fount is used to the end of
-_Numbers_.
-
-[669] _Lit. Anec._, ii, 360.
-
-[670] _The History of England from the Invasion of Julius Cæsar to the
-Revolution in 1688. By David Hume. London: printed by T. Bensley, for
-Robert Bowyer, 1806._ 10 vols. Folio.
-
-[671] _Gent. Mag._, 1792, p. 166.
-
-[672] John William Pasham, originally of Bury St. Edmund’s, where he
-published the _Bury Flying Weekly Journal_. He removed to Blackfriars
-in London, where, in 1776, he published a beautiful pocket edition
-of the _Bible_ in 24mo, which obtained the title of the _Immaculate
-Bible_, on account of the rarity of its errors. It had foot-notes,
-which could be cut off in the binding if required. Of this _Bible_,
-Lemoine says “it is spoiled by being dried in a kiln, which has
-entirely changed the colour of the paper; besides, the colour of the
-print is uneven, one side being darker than the other.” This _Bible_
-is said to have been printed in a house on Finchley Common. Mr. Pasham
-died Dec. 1783.
-
-[673] See _ante_, p. 250.
-
-[674] The prefatory note to this specimen runs as follows:—“Sir, Having
-completed my new Specimen, I take the opportunity of sending you a
-copy, and flatter myself it will meet with your approbation. I shall
-be happy to receive your future orders, and you may be assured of
-every possible attention being paid to the execution of those you may
-favour me with. I remain, your obedient humble servant, William Caslon.
-Salisbury Square, Jan. 1, 1798.”
-
-[675] He made an offer in 1817 to travel on commission for the founders
-generally, but his services in this direction were not made use of.
-
-[676] The Circular announcing this improvement is dated Salisbury
-Square, Jan. 1, 1810. The new types are offered at 1_s._ 10_d._ per
-lb., and, as an encouragement to buyers, 1_s._ per lb. is offered for
-old metal.
-
-[677] See _ante_, p. 120. This appears to have been intended as an
-improvement on the invention of Nicholson, who was the first (in 1790)
-to suggest the casting of types wedge-shaped, for fixing on cylinders.
-(p. 119.)
-
-[678] Considerable prominence is naturally given to the large letters
-“cast in moulds and matrices” by the new “Sanspareil” method.
-
-[679] See _ante_, p. 281.
-
-[680] George Nicol was born in 1741, and was for many years bookseller
-to King George III. He married a niece of the first Alderman Boydell
-in 1787. The idea of the Boydell _Shakespeare_ originated with him. He
-was a prominent member of the literary clubs of his day, and a personal
-friend of the Duke of Roxburghe. He died in 1829, aged 88.
-
-[681] A history of this celebrated Press would almost involve a history
-of fine printing in the first quarter of the present century. Dibdin,
-in the second volume of his _Bibliographical Decameron_, has given a
-list of its most famous impressions. Bulmer was a personal friend of
-Thomas Bewick, the engraver, many of whose blocks were cut for his
-books. He spared no pains to render the typography of his press the
-most correct and beautiful England had hitherto known. He retired in
-1819, leaving Mr. Wm. Nicol, only son of his friend George Nicol, to
-carry on the business. Mr. Bulmer died Sept. 9, 1830, in his 74th year,
-greatly honoured and respected.
-
-[682] _The Dramatic Works of William Shakespeare. Revised by G.
-Steevens._ London: 1792–1802. 18 parts in 9 vols. Atlas folio. With 100
-engravings.
-
-[683] _Bibl. Decam._, ii, 384.
-
-[684] _The Poetical Works of John Milton, with a life of the Author by
-William Hayley._ London: 1794–7. 3 vols. Folio.
-
-[685] See _ante_, p. 251.
-
-[686] _Bibl. Decam._, ii, 384.
-
-[687] _Poems by Goldsmith and Parnell._ London: 1795. 4to. This work
-was illustrated with woodcuts by Bewick. It is said that George III
-ordered his bookseller to procure the blocks of the engravings for
-his inspection, that he might convince himself they were wood and not
-copper.
-
-[688] _Typographia_, p. 311.
-
-[689] Nichols, _Illust. Lit._, viii, 485.
-
-[690] _Musæus. The Loves of Hero and Leander. (Greek and English.)
-London. Printed by W. Bulmer & Co. Typis Gulielmi Martin._ 1797.
-4to. This work was privately printed by Mr. Bulmer for Mr. Grosvenor
-Bedford, the translator.
-
-[691] _The Press: a Poem. Published as a Specimen of Typography by John
-M^cCreery. Liverpool: printed by J. M^cCreery._ Houghton Street, 1803.
-4to.
-
-[692] _Typographical Antiquities, &c., greatly enlarged, with copious
-notes, by T. F. Dibdin_, London: 1810–12–16–19. 4 vols. 4to. The work
-was not completed. The first volume was not printed at the Shakespeare
-Press.
-
-[693] _Bibliotheca Spenceriana; or, a Descriptive Catalogue of Books
-printed in the XV Century, and of many valuable First Editions in the
-Library of George John, Earl Spencer._ London: 1814–15. 4 vols. 8vo.
-
-[694] _The Bibliographical Decameron; or, Ten Days’ Pleasant Discourse
-upon Illuminated Manuscripts, and Subjects connected with early
-Engraving, Typography and Bibliography._ London, 1817. 3 vols, 8vo.
-
-[695] Amongst which were the early publications of the Roxburghe Club,
-instituted by Earl Spencer, in 1812, for the republication of rare
-books or unpublished MSS. M. Renouard censures Bulmer for the use of
-worn type in the Edition of _Ben Jonson’s Works_, 1816. 9 vols. 8vo.
-“L’habile M. Bulmer aurait dû jeter à la fonte les caractères usés
-dont il a fait usage pour cette volumineuse édition, et les libraires
-entrepreneurs n’auroient pas dû lui en permettre l’emploi.”
-
-[696] _Illust. Lit._, viii, 485.
-
-[697] An early specimen of Thorowgood’s shows a Black, the matrices of
-which, it is stated, “were purchased by Messrs. Fry & Steele at the
-breaking up of the Cleveland Row Foundry.” As, however, Messrs. Fry
-& Steele’s partnership terminated about 1808, we consider the whole
-statement doubtful.
-
-[698] _Lit. Anec._, ii, 361.
-
-[699] Hansard. _Typographia_, 359.
-
-[700] See _ante_, p. 323.
-
-[701] _The Seasons. By James Thomson. Illustrated with Engravings by
-F. Bartolozzi, R.A., and P. W. Tomkins, Historical Engraver to their
-Majesties, from original pictures painted for the work by W. Hamilton,
-R.A. London: Printed for P. W. Tomkins, New Bond Street. The letter
-press by T. Bensley. The Types by V. Figgins._ 1799. Folio.
-
-[702] _Typographia_, p. 360.
-
-[703] _Paradise Lost, by John Milton, with Notes and Life of the
-Author. . . . By Samuel Johnson, LL.D. Engravings by Heath, &c. London:
-Printed for J. Parsons, 1796._ 2 vols. 8vo.
-
-[704] Sir William Ouseley was born in 1771, and accompanied his
-brother Sir Gore Ouseley, the ambassador to Persia, to that country as
-secretary. He published _Persian Miscellanies_ in 1795, and _Oriental
-Collections_ in 1797–1800. In the advertisement at the close of the
-1st volume of the latter work, he states, “I have employed a few
-leisure hours in superintending the execution of a new Persian Type,
-which will, I trust, exhibit as faithful a representation of the
-true Taleek character as can be effected by any imitative powers of
-the Typographick Art.” Of this new fount he shows a single line as
-specimen, which, however, if cut by Mr. Figgins, is not the Paragon
-Persian which subsequently appeared in his specimen books. Nor did
-it appear, as promised, in the _Oriental Collections_ of 1798, the
-quotations in which continued to be printed in Arabic characters.
-
-[705] _The Persian Moonshee, by Francis Gladwin, Esquire. Calcutta.
-London, reprinted 1801._ 4to.
-
-[706] This important enquiry was the result of an address of the
-House of Commons to the King, in 1800, setting forth the necessity of
-a better provision for the arrangement, preservation and use of the
-various Public Records scattered among the numerous offices of the
-kingdom. The Commission thereupon appointed were empowered to take all
-necessary measures to “methodize, regulate and digest the records,
-etc.”, preserved in all Public Offices and repositories, and “to
-superintend the printing of such calendars and indexes and original
-records and papers” as it should be deemed desirable to print. With
-this large task before them, the Commissioners went actively to work,
-and in 1800 and 1806 published their first Reports. The following
-important publication, issued under the Direction of the Commission,
-was commenced in 1800:—_Reports from the Commissioners appointed to
-execute the measures recommended by a Select Committee of the House of
-Commons respecting the Public Records of the Kingdom, etc._, London,
-1800–19, 2 vols., folio. The appendix forming the second volume
-contains facsimiles of all the Charters (including Magna Charta) and
-Inrollments from Stephen to William and Mary, with the Seals inserted
-in the several works printed under the Commission. The list of the
-subsequent publications of the Commission is very extensive, and
-includes verbatim copies, with all abbreviations and contractions, of
-the most important documents in the kingdom.
-
-[707] The first important work in connection with the Scotch Record
-Commission was _Inquisitionum ad Capellam Domini Regis retornatarum quæ
-in publicis Archivis Scotiæ adhuc servantur Abbrevatio cum Indicibus_,
-Edinburgh, 1811–16, 3 vols., folio, and a Supplement.
-
-[708] These types perished in the fire of Mr. Nichols’ printing office
-in 1808, see _ante_, p. 321.
-
-[709] _Lit. Anec._, ii, 361.
-
-[710] _Biblia Sacra Polyglotta, Textus Archetypos, Versionesque
-præcipuas ab Ecclesiâ Antiquitùs receptas complectentia._ London:
-1817–28. 5 parts, 4to, 4 vols., 8vo. This Bible comprises the original
-Hebrew text of the Old Testament, the Samaritan Pentateuch, the
-Septuagint Greek version of the Old Testament, the Vulgate Latin and
-the Authorised English version of the entire Bible, the original Greek
-of the New Testament, and the venerable Peschito or Syriac version
-of it. This _Polyglot_ was republished with the addition of Spanish,
-French, Italian, and German versions in 1831, with learned prolegomena
-by Dr. Samuel Lee.
-
-[711] See _ante_, p. 308.
-
-[712] _Novum Testamentum Syriace denuo recognitum atque ad fidem
-Codicum MSS. emendatum. Impressit R. Watts._ London 1816, 4to.
-Dr. Buchanan was born in 1766 and went to India in 1796, where
-his researches led to the discovery, among other things, of some
-interesting Hebrew Manuscripts of portions of the Bible, on goat skins
-and tablets of brass. He died in the year 1815. The Syriac _Testament_
-was corrected by him as far as the _Acts_, and completed by Dr. Lee,
-Arabic Professor at Cambridge. See _ante_, p. 68.
-
-[713] _Typographia_, p. 360.
-
-[714] The matrices of the Long Primer and Brevier cut for the Scotch
-Record Commission were given up to the Government.
-
-[715] Hansard omits the Double Pica Greek cut for Oxford University,
-the matrices of which were retained by Mr. Figgins. A specimen appears
-in the book of 1823.
-
-[716] The fount for Bagster’s _Polyglot_.
-
-[717] The punches, matrices and moulds of this fount were deposited in
-the East India Company’s Library.
-
-[718] It would be an omission not to mention here Mr. Vincent Figgins
-II’s interesting reprint of the 2nd Edition of Caxton’s _Game of the
-Chesse_, London, 1855, sm. folio. Mr. Figgins cut a fount of type
-after the original, “which” he remarks, “is a mixture of black-letter
-and the character called secretary,” the black predominating. The
-“Caxton Black” so produced has been the only attempt made to approach
-a facsimile of Caxton’s letter by means of type. In his remarks, Mr.
-Figgins gives his reasons for concluding, from the variety in the
-form of the letters, that they were not cast from a matrix but cut
-separately by hand. This theory Mr. Blades, in his “_Life of Caxton_,”
-disproves, pointing out that the Type No. 2* used in the second edition
-of Caxton’s work is really an old fount originally cast from matrices,
-and, when worn, trimmed up by hand to form the punches for a new
-fount—a circumstance amply sufficient to account for the irregularities
-observed. These irregularities are, of course, sufficient to prevent
-the absolute possibility of anything like an exact facsimile by means
-of type. It is, however, interesting to note that John Whittaker’s
-famous restorations of Caxtonian and other early printed works, were to
-a certain extent accomplished by means of typography. Mr. Dibdin, in
-his _Bibliographical Decameron_ (ii, 415), describes the operation as
-follows:—“He has caused to be engraved or cut four founts of Caxton’s
-letter. These are cut in the manner of binders’ tools for lettering,
-and each letter is separately charged with ink, and separately
-impressed on the paper. Some of Caxton’s types are so riotous and
-unruly that Mr. Whittaker found it impossible to carry on his design
-without having at least twenty of such irregular letters engraved.
-The process of executing the text with such tools shall be related in
-Mr. Whittaker’s own words:—‘A tracing being taken with the greatest
-precision from the original leaf, on white tracing paper, it is then
-laid on the leaf (first prepared to match the book it is intended for)
-with a piece of blacked paper between the two. Then by a point passing
-round the sides of each letter, a true impression is given from the
-black paper on the leaf beneath. The types are next stamped on singly,
-being charged with old printing ink prepared in colour exactly to
-match each distinct book. The type being then set on the marks made
-by tracing, in all the rude manner and at the same unequal distances
-observable in the original, they will bear the strictest scrutiny
-and comparison with their prototype; it being impossible to make a
-facsimile of Caxton’s printing in any other way, as his letters are
-generally set up irregularly and at unequal distances, leaning various
-ways,’ ” etc.
-
-[719] See _ante_, p. 241.
-
-[720] _Printers’ Grammar_, p. 31.
-
-[721] See _ante_, p. 212, _n._
-
-[722] Mr. Ilive the elder is named in Samuel Negus’s list of Printers,
-published by Bowyer in 1724, as one of those “said to be high flyers”.
-He was a benefactor to Zion College, and printed the classical
-catalogue of their library from the letter P.
-
-[723] _Marius de Calasio. Concordantiæ Bibliorum Hebr. et Lat. edente
-Guil. Romaine_, 4 vols., Lond. 1747, folio.
-
-[724] _Anecdotes of Bowyer_, p. 130.
-
-[725] “Emboldened by his first adventure, he determined to become the
-public teacher of infidelity. For this purpose he hired the use of
-Carpenters’ Hall, where for some time he delivered his Orations, which
-consisted chiefly of scraps from Tindal and other similar writers”
-(Chalmers’ _Biog. Dict._, xix, 228).
-
-[726] _The Book of Jasher. With Testimonies and Notes explanatory
-of the Text. To which is prefixed various Readings. Translated into
-English from the Hebrew, by Alcuin of Britain, who went a Pilgrimage
-into the Holy Land, etc. Printed in the year 1751._ 4to. The fraud
-was immediately detected and exposed. The work was reprinted, without
-acknowledgment and with some variations, at Bristol in 1829, by a Rev.
-C. R. Bond. Both editions are now rare.
-
-[727] _Dissert._, p. 65.
-
-[728] These are enumerated in Gough’s _British Topography_, i, 637.
-
-[729] _British Topography_, i, 597.
-
-[730] See _ante_, p. 260.
-
-[731] _A Specimen of the Printing Types and Flowers belonging to John
-Reid, Printer, Bailie Fyfe’s Close, Edinburgh, etc._ Edinburgh, 1768.
-8vo. All the other founts shown are either Wilson’s or Caslon’s.
-
-[732] _History of Printing in America. 2nd Edit. Albany_, 1874. i, 31.
-
-[733] The first attempt to introduce type-founding in America had been
-made by Mitchelson, a Scotchman, in 1768, and failed. In 1769, Abel
-Buel, of Connecticut, succeeded in casting several founts of Long
-Primer. Christopher Sower, in 1772, brought over a foundry from Germany
-to Germantown in Pennsylvania. John Bay also founded in the same town
-about 1774. Benj. Franklin and his grandson Bache brought over a
-foundry from France in 1775 to Philadelphia, which, however, had ceased
-its operations when Baine and his grandson, some ten years later,
-established their foundry in the same city.
-
-[734] See _Abridgments of Specifications relating to Printing_, p. 87.
-See also _ante_, p. 78.
-
-[735] _Typog. Antiq._, p. 81. This appears to be the person whom Gough,
-in his list of departed worthies of the eighteenth century, includes
-among the letter founders, as “Jurisson, d. 1791”. (_Gent. Magaz._,
-lxxiii, part i, p. 161.)
-
-[736] See _ante_, p. 269.
-
-[737] “British Foundry. S. & C. Stephenson respectfully submit the
-present edition of their Specimen to the public with the hope that they
-shall continue to experience the flattering encouragement hitherto
-received, and for which they beg to return their most sincere thanks.
-
-“To those of the Trade who have not hitherto used the Types of the
-British Foundry, it may be necessary to observe, that they are composed
-of the very best Metal, and that they are justified to paper and body
-agreeable to the usual standard.
-
-“As the Establishment of this Foundry comprises eminent engravers on
-wood and brass, orders in either of these branches will be executed in
-the best stile of the Art. _February_, 1797.”
-
-A first part of the specimen appears to have been issued in 1796, and
-the whole book in 1797.
-
-[738] _Bibliography of Printing_, ii, 42.
-
-[739] _Typog._, p. 366.
-
-[740] _Ibid._, p. 361.
-
-[741] A specimen of this type “the smallest ever manufactured in this
-country,” was exhibited, and contains the whole of Gray’s _Elegy_ in 32
-verses, in 2 columns, measuring 3 3/4 inches each in depth.
-
-[742] _Dictionary for the Pocket; French and English; English and
-French, &c., by John Bellows, Gloucester, from type cast specially for
-the work by Miller and Richard, Type founders to the Queen, Edinburgh._
-1873. 24mo.
-
-[743] Sheffield, 3rd edit., 1841, 12mo. A similar proposal, only with
-Nonpareil as the standard, was made about 1824 by James Fergusson,
-whose scheme is quoted _in extenso_ by Hansard in his _Typographia_, p.
-388.
-
-[744] _The Printer’s Assistant, containing a Sketch of the History of
-Printing, etc. London, 1810._ 12mo.
-
-[745] _Typog._, p. 382.
-
-[746] See _ante_, p. 253–4; also Johnson’s _Typographia_, ii, 652.
-
-[747] Mr. Branston was an engraver, and resided at Beaufort Buildings,
-Strand, in 1824. He attempted a new system of printing music, by
-striking the punches deeper than usual in the plate, so that when a
-stereo cast was taken from it, the notes appeared sufficiently in
-relief to be printed at a type press.
-
-[748] See _ante_, p. 121. M. Didot’s invention had been previously
-tried by Henry Caslon, but unsuccessfully.
-
-[749] This appears to be an anachronism. There was no association of
-Type Founders between 1820 and 1830.
-
-[750] Hansard, _Typog._, p. 361.
-
-[751] Johnson, in 1824, gives a list of nine founders (including
-Pouchée), at that time trading in London. (_Typog._, ii, 652.)
-
-
-
-
-TRANSCRIBER’S NOTE
-
-Original spelling and grammar have generally been retained, with some
-exceptions noted below. Original printed page numbers are shown like
-this: {52}. Original small caps are now uppercase. Italics look _like
-this_. The transcriber produced the cover image and hereby assigns
-it to the public domain. Original page images are available from
-archive.org — search for “historyofoldengl00reed”. Single superscripted
-letters are shown like this: “M^cCreery”. Superscripted groups of
-letters (e.g. “er”) are shown like this: “I^{er}”.
-
-Footnotes have been renumbered 1–751 and converted to ENDNOTES. Anchors
-and labels for endnotes are shown as numbers within square brackets,
-e.g. “[751]”. However, there are two exceptions: on page 256, “[11]”
-and “[2]” do not reference footnotes or endnotes, but are shown as
-originally printed.
-
-Ditto marks have generally been eliminated, using text replication
-when necessary. Large curly brackets “{ }” used as graphic devices to
-combine information over two or more lines have been removed from the
-text everywhere. Example: in the table on page 35, first column, 9th
-and 10th rows, there was a two-row bracket “{” suggesting that “9.”
-applies to both rows. Herein, “9.” was simply duplicated to indicate
-that fact. The row headed by “17. Pearl” contains in the second
-column, in the original printed book, two rows containing “Parisienne
-or Sedan.” and “Perle.”, enclosed in two-row brackets “{ }”. Herein,
-table-cell borders have been drawn to suggest this combination.
-
-Page xi, CONTENTS. Chapter 3 page reference was changed
-to 83, from 13.
-
-Page 32n. “fromer” to “former”.
-
-Page 35. “Grobe” to “Große”, in two places in the table.
-
-Page 38. “Geeek” to “Greek”.
-
-Page 49. The left double quotation mark in ‘observed in 1825, “have
-left’ has no closing mark. Several other puzzling usages of quotation
-marks elsewhere have also been retained.
-
-Page 51n. The proofreading code “[*pro]” is used herein to represent a
-symbol originally printed as a latin small p with a hook, used as an
-abbreviation for _pro_.
-
-Page 52. The proofreading code “[*Q]” on this page represents the
-stylized Q originally printed.
-
-Page 138. The proofreading code “[*Q]” on this page represents two
-glyphs, a Gothic Q, and the same glyph turned about 90° clockwise.
-
-Page 156. The illustration has been changed from number 41
-to 31, to agree with the List of Illustrations.
-
-Page 159. The proofreading code “[*AT]” on this page represents a glyph
-that appears to be a ligature of T and A.
-
-Page 190n. The phrase _or here (Mason’s_ was changed to _or here”
-(Mason’s_, by inserting the missing right double quotation mark.
-
-Page 205n. The phrase “P. VergiliI Maronis Codex” is retained as
-printed.
-
-Page 274n. A matching right double quotation mark was inserted after ‘Η
-Καινη Διαθηκη’.
-
-Page 320. Changed “emploeyd” to “employed”.
-
-Page 369 INDEX. The use of punctuation, particularly semicolons,
-colons, and the 3-em dashes that function as ditto marks, seems often
-inconsistent or strange. It is generally retained herein as printed.
-The organization and structure of the original index is retained as
-well.
-
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of A History of the Old English Letter
-Foundries, by Talbot Baines Reed
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-
-<pre>
-
-The Project Gutenberg EBook of A History of the Old English Letter
-Foundries, by Talbot Baines Reed
-
-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/license
-
-
-Title: A History of the Old English Letter Foundries
-       with Notes, Historical and Bibliographical, on the Rise
-              and Progress of English Typography.
-
-Author: Talbot Baines Reed
-
-Release Date: March 14, 2017 [EBook #54365]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK A HISTORY OF THE OLD ENGLISH ***
-
-
-
-
-Produced by Chris Curnow, RichardW, and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-</pre>
-
-
-<div class="dctr02"> <img id="coverpage"
- src="images/cover.jpg" width="600" height="800" alt="" />
- </div>
-
-<h1 class="h1herein">A HIS­TORY OF THE OLD EN­GLISH
- LET­TER FOUN­DRIES.</h1>
-
-<div class="chapter"><div class="dfront">
-<div class="dctr08">
-<img src="images/i_ii.jpg" width="252" height="362" alt="" />
-</div></div></div><!--chapter-->
-
-<div class="chapter">
-<div class="dctr01" id="fg58">
-<img src="images/i_i.jpg" width="600" height="516"
- alt="_A_ true &amp; exact _Repreſentation_ of the _Art_ of
- _Caſting_ &amp; _Preparing_ Letters _for_ Printing.
-
- _Engrav’d for the Universal Magazine 1750 for I. Hinton at
- the Kings Arms in S^t. Pauls Church Yard LONDON._" />
-
- <div class="dcaption">58. Interior of Caslon’s Foundry
- in 1750. From the <i>Universal Magazine</i>. (The mould is
- described, p. <a href="#p108" title="
- to page 108">108</a>).</div>
-</div></div><!--chapter-->
-
-<div class="chapter"><div class="dfront">
-<div class="fsz3">A HISTORY</div>
-<div class="fsz7 padtop2">OF THE</div>
-<div class="fsz2 padtop2">OLD ENGLISH LETTER FOUNDRIES,</div>
-
-<div class="fsz6 padtop2">WITH NOTES,</div>
-<div class="fsz6 padtop2">Historical and Bibliographical,</div>
-<div class="fsz6 padtop2">ON THE</div>
-<div class="fsz5 padtop2">RISE AND PROGRESS OF ENGLISH TYPOGRAPHY.</div>
-
-<div class="fsz7 padtop1">BY</div>
-<div class="fsz5">TALBOT BAINES REED.</div>
-
-<div class="fsz6 padtop1">LONDON:</div>
-<div class="fsz6">ELLIOT STOCK, 62, PATERNOSTER ROW, E.C.</div>
-<div class="fsz7">1887.</div>
-</div></div><!--chapter-->
-
-<div class="chapter">
-<div class="dctr01" id="p-v">
-<img src="images/i.v.a.jpg" width="600" height="146" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="PREFACE.">PREFACE.
- <span class="hblk"><img class="ihrch"
- src="images/i.v.b.jpg" width="361" height="47" alt=""
- /></span></h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i.v.c.png"
-width="312" height="330" alt="I" />
-</span>N this age of progress, when the fine arts are
-rapidly becoming trades, and the machine is
-on every side superseding that labour of head
-and hand which our fathers called Handicraft,
-we are in danger of losing sight of, or, at least,
-of undervaluing the genius of those who, with
-none of our mechanical advantages, established
-and made famous in our land those arts and handicrafts of which
-we are now the heritors.</p>
-
-<p>The Art of Letter Founding hesitated long before yielding to
-the revolutionary impulses of modern progress. While kindred arts—and
-notably that art which preserves all others—were advancing
-by leaps and bounds, the founder, as late as half a century ago, was
-pursuing the even tenor of his ways by paths which had been trodden
-by De Worde and Day and Moxon. But the inevitable revolution
-came, and Letter Founding to-day bids fair to break all her old ties
-and take new departures undreamed of by those heroes of the punch
-and matrix and mould who made her what we found her.</p>
-
-<p>At such a time, it seems not undutiful to attempt to gather
-together into a connected form the numerous records of the Old
-English Letter Founders scattered throughout our literary and
-<span class="xxpn" id="p-vi">{vi}</span>
-typographical history, with a view to preserve the memory of
-those to whose labours English Printing is indebted for so much
-of its glory.</p>
-
-<p>The present work represents the labour of several years in what
-may be considered some of the untrodden by-paths of English typographical
-history.</p>
-
-<p>The curious <i>Dissertation on English Typographical Founders and
-Founderies</i> by the learned Edward Rowe Mores, published in 1778,
-is, in fact, the only work in the language purporting to treat of Letter
-Founding as distinct from the art which it fosters. This quaint and
-crabbed sketch, full of valuable but half-digested information, was
-intended to accompany a specimen of the types of John James, whose
-foundry had gradually absorbed all the minor English foundries, and,
-after the death of its owner, had become the property of Mores himself.
-The enthusiasm of the Oxford antiquary infused new life into the dry
-bones of this decayed collection. Working backwards, he restored in
-imagination the old foundries of the seventeenth and eighteenth
-centuries, as they had been before they became absorbed in his own.
-He tracked back a few famous historical types to their fountain-head,
-and even bridged over the mysterious gulf which divided the early sixteenth
-from the early seventeenth centuries of English letter-founding.</p>
-
-<p>Mores’ <i>Dissertation</i> has necessarily formed the basis of my investigations,
-and is, indeed, almost wholly incorporated in the present
-volume. Of the additional and more anecdotal notes on the later
-founders, preserved by Nichols and Hansard, I have also freely made
-use; although in every case it has been my endeavour to take nothing
-on report which it has been possible to verify by reference to original
-sources. This effort has been rewarded by several interesting discoveries
-which it is hoped may be found to throw considerable fresh
-light on the history of our national typography.</p>
-
-<p>The first century of English letter-founding is a period of
-great obscurity, to master which it is absolutely essential to have
-<span class="xxpn" id="p-vii">{vii}</span>
-unlimited access to all the works of all the printers whose books were
-the only type specimens of their day. Such access it has been beyond
-my power fully to secure, and in this portion of my work I am bound
-to admit that I can lay claim to little originality of research. I have,
-however, endeavoured to examine as many of the specimens of these
-early presses as possible, and to satisfy myself that the observations of
-others, of which I have availed myself, are such as I can assent to.</p>
-
-<p>In detailing the rise and progress of the various English Letter
-Foundries, it has been my endeavour to treat the subject, as far as
-possible, bibliographically—that is, to regard as type-specimens not
-merely the stated advertisements of the founder, but also the works for
-which his types were created and in which they were used. The
-<i>Catena on Job</i>, Walton’s <i>Polyglot</i>, Boyle’s <i>Irish Testament</i>, Bowyer’s
-<i>Selden</i>, thus rank as type specimens quite as interesting as, and far
-more valuable than, the ordinary letter founders’ catalogues. Proceeding
-on this principle, moreover, this History will be found to
-embody a pretty complete bibliography of works not only relating to,
-but illustrative of, English Letter Founding. At the same time, the
-particular bibliography of the subject has been kept distinct, by
-appending to each chapter a chronological list of the Specimen Books
-issued by the foundry to which it relates.</p>
-
-<p>The introductory chapter on the Types and Type Founding of
-the First Printers may be considered somewhat foreign to the scope of
-this History. The importance, however, of a practical acquaintance
-with the processes and appliances of the Art of Letter Founding as a
-foundation to any complete study of typographical history—as well as
-the numerous misconceptions existing on the part even of accepted
-authorities on the subject—suggested the attempt to examine the
-various accounts of the Invention of Printing from a letter founder’s
-point of view, in the hope, if not of arriving at any very definite conclusions,
-at least of clearing the question of a few prevalent fallacies.</p>
-
-<p>The two chapters on Type Bodies and Type Faces, although also
-<span class="xxpn" id="p-viii">{viii}</span>
-to some extent foreign, are considered important by way of introduction
-to the history of English Letter Founding in which the “foreign and
-learned” characters have so conspicuously figured.</p>
-
-<p>If this book—the imperfections of which are apparent to no one
-as painfully as they are to the writer—should in any way encourage
-the study of our national Typography, with a view to profit by the
-history of the past in an endeavour to promote its excellence in the
-future, the labour here concluded will be amply repaid.</p>
-
-<hr class="hrblnk" />
-
-<p>The agreeable task remains of thanking the numerous friends to
-whose aid and encouragement this book is indebted for much of
-whatever value it may possess.</p>
-
-<p>My foremost thanks are due to my honoured and valued friend,
-Mr. William Blades, to whom I am indebted for far more than
-unlimited access to his valuable typographical library, and the ungrudging
-use of his special knowledge on all subjects connected with English
-typography. These I have enjoyed, and what was of equal value
-his kindly advice and sympathy during the whole progress of a work
-which, but for his encouragement from the outset, might never have
-been completed.</p>
-
-<p>Another friend who, brief as was our acquaintance, had taken a
-genuine interest in the progress of this History, and had enriched it by
-more than one valuable communication, has been snatched away by the
-hand of Death before the thanks he never coveted but constantly
-incurred can reach him. In Henry Bradshaw the world of books has
-lost a distinguished ornament, and this little book has lost a hearty friend.</p>
-
-<p>To Mr. F. Madan, of the Bodleian Library, Oxford, I owe much
-valuable information as to early printing at that University; while to
-the kindness of Mr. Horace Hart, Controller of the University Press,
-I am indebted for full access to the highly interesting collection of
-typographical antiquities preserved at that Press, as well as for the
-specimens I am here enabled to show of some of the most interesting
-relics of the oldest Foundry in the country.
-<span class="xxpn" id="p-ix">{ix}</span></p>
-
-<p>Mr. T. W. Smith has kindly given me similar facilities as regards
-the archives and historical specimens of the venerable Caslon Foundry.</p>
-
-<p>Mr. Sam. Timmins most generously placed at my disposal much of
-the information embodied in my chapter on Baskerville, including the
-extracts from the letters forming part of his unique collection relating
-to that celebrated typographer.</p>
-
-<p>To Mr. James Figgins I am obliged for many particulars relating
-to the early association of founders at the commencement of the
-present century; also for a specimen of one of the most noted founts
-of his distinguished ancestor.</p>
-
-<p>Mr. Charles R. Rivington I have to thank for one or two
-valuable extracts from the <i>Minutes</i> of the Court of the Stationers’
-Company, relating to Letter Founders.</p>
-
-<p>To Messrs. Enschedé and Sons, of Haarlem, my thanks are also
-specially due for giving me specimens of some of their most curious
-and ancient types.</p>
-
-<p>It is also my pleasure, as well as my duty, to thank the Secretary
-of the American Antiquarian Society for information regarding
-specimens in his possession; my friend, Dr. Wright, of the British
-and Foreign Bible Society, for free access to the highly interesting
-Library under his care; Messrs. Tuer, Bremner, Gill, and others for the
-kind loan of Specimens; the Librarian of the London Institution for
-permission to facsimile portions of the rare specimen of James’ Foundry
-in that Library; and the numerous other friends, who, by reading proofs
-and in other ways, have generously assisted me in my labours.</p>
-
-<p>I also take this opportunity of thanking Mr. Prætorius and
-Mr. Manning for the care they have bestowed on the preparation of
-facsimiles for this work; and of expressing my obligations to the officials
-of the British Museum and Record Office for their invariable courtesy
-on all occasions on which their assistance has been invoked.</p>
-
-<p class="fsz6">
-<span class="smcap">L<b>ONDON</b>,</span> <i>January 1st, 1887</i>.</p>
-
-<div class="chapter" id="p-xi">
-
-<h2 class="h2herein" title="CONTENTS.">CONTENTS.
- <span class="hblk"><img class="ihrch"
- src="images/i_xi.jpg" width="284" height="38" alt=""
- /></span></h2></div>
-
-<div class="dtablebox">
-<table class="fsz6" summary="">
-<colgroup>
- <col width="16%" />
- <col width="74%" />
- <col width="10%" /></colgroup>
-<tr>
- <td class="tdleft" colspan="2"><p
- class="phangb">Introductory Chapter. <span
- class="fsz6">THE TYPES AND TYPE FOUN­DING OF THE FIRST
- PRIN­TERS</span></p></td>
- <td class="tdright"><a class="aindexlnk" href="#p001" title="to page 1">1</a></td></tr>
-<tr>
- <td class="tdleft">Chap.&#160;1.</td>
- <td class="tdleft"><p class="phangb fsz6">THE ENGLISH TYPE BODIES
- AND FACES</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p031" title="to page 31">31</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;2.</td>
- <td class="tdleft"><p class="phangb fsz6">THE LEARNED, FOREIGN AND
- PECULIAR CHARACTERS</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p057" title="to page 57">57</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;3.</td>
- <td class="tdleft"><p class="phangb fsz6">THE PRINTER LETTER-FOUNDERS,
- FROM CAXTON TO DAY</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p083" title="to page 83">83</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;4.</td>
- <td class="tdleft"><p class="phangb fsz6">LETTER FOUNDING AS AN
- ENGLISH MECHANICAL TRADE</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p102" title="to page 102">102</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;5.</td>
- <td class="tdleft"><p class="phangb fsz6">THE STATE CONTROL OF
- ENGLISH LETTER FOUNDING</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p123" title="to page 123">123</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;6.</td>
- <td class="tdleft"><p class="phangb fsz6">THE OXFORD UNIVERSITY
- FOUNDRY</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p137" title="to page 137">137</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;7.</td>
- <td class="tdleft"><p class="phangb fsz6">THE STAR CHAMBER
- FOUNDERS, AND THE LONDON POLYGLOT</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p164" title="to page 164">164</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;8.</td>
- <td class="tdleft"><p class="phangb fsz6">JOSEPH MOXON</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p180" title="to page 180">180</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>&#x2007;9.</td>
- <td class="tdleft"><p class="phangb fsz6">THE LATER FOUNDERS
- OF THE 17TH CENTURY</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p193" title="to page 193">193</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>10.</td>
- <td class="tdleft"><p class="phangb fsz6">THOMAS AND JOHN
- JAMES</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p212" title="to page 212">212</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>11.</td>
- <td class="tdleft"><p class="phangb fsz6">WILLIAM CASLON</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p232" title="to page 232">232</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>12.</td>
- <td class="tdleft"><p class="phangb fsz6">ALEXANDER WILSON</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p257" title="to page 257">257</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>13.</td>
- <td class="tdleft"><p class="phangb fsz6">JOHN BASKERVILLE</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p268" title="to page 268">268</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>14.</td>
- <td class="tdleft"><p class="phangb fsz6">THOMAS COTTRELL</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p288" title="to page 288">288</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>15.</td>
- <td class="tdleft"><p class="phangb fsz6">JOSEPH AND EDMUND FRY</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p298" title="to page 298">298</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>16.</td>
- <td class="tdleft"><p class="phangb fsz6">JOSEPH JACKSON</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p315" title="to page 315">315</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>17.</td>
- <td class="tdleft"><p class="phangb fsz6">WILLIAM MARTIN</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p330" title="to page 330">330</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>18.</td>
- <td class="tdleft"><p class="phangb fsz6">VINCENT FIGGINS</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p335" title="to page 335">335</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>19.</td>
- <td class="tdleft"><p class="phangb fsz6">THE MINOR FOUNDERS
- OF THE 18TH CENTURY</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p345" title="to page 345">345</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>20.</td>
- <td class="tdleft"><p class="phangb fsz6">WILLIAM MILLER</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p355" title="to page 355">355</a></td></tr>
-<tr>
- <td class="tdleft"><span class="spxidit">″</span>21.</td>
- <td class="tdleft"><p class="phangb fsz6">THE MINOR FOUNDERS
- FROM 1800 TO 1830</p></td>
- <td class="tdright"><a class="aindexlnk" href="#p357" title="to page 357">357</a></td></tr>
-</table></div><!--dtablebox-->
-
-<div class="chapter" id="p-xiii">
-<h2 class="h2herein" title="LIST OF ILLUSTRATIONS.">LIST
- OF ILLUSTRATIONS.
- <span class="hblk"><img class="ihrch"
- src="images/i_xiii.jpg" width="297" height="32" alt=""
- /></span></h2></div>
-
-<div class="dtablebox">
-<ul>
- <li><p class="fsz6 phangloi">&#x2007;<a
- class="aindexlnk" href="#fg01" title="to Fig. 1">1</a>.—Types
- cast from leaden matrices, <i>circ.</i> 1500
- .&#160;.&#160;.&#160;16</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg02" title="to Fig. 2">2</a>.—Specimen illustrating
-the variations in the face of type, produced by bad casting
-.&#160;.&#160;.&#160;18</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg03" title="to Fig. 3">3</a>.—Type mould
-of Claude Garamond. Paris, 1540. From Duverger
-.&#160;.&#160;.&#160;23</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg04" title="to Fig. 4">4</a>.—Profile
-tracings from M. Claudin’s 15th century types
-.&#160;.&#160;.&#160;21</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg05" title="to Fig. 5">5</a>.—A 15th century
- type. From M. Madden’s <i>Lettres d’un Bibliographe</i>
- .&#160;.&#160;.&#160;24</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg06" title="to Fig. 6">6</a>.—A 15th century
-type. From <i>Liber de Laudibus...Mariæ</i>, <i>circ.</i> 1468
-.&#160;.&#160;.&#160;24</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg07" title="to Fig. 7">7</a>.—Roman letter.
-From the <i>Sophologium</i>, Wiedenbach? 1465–70?
-.&#160;.&#160;.&#160;42</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg08" title="to Fig. 8">8</a>.—Roman and Black letter
-intermixed. From Traheron’s <i>Exposition of St. John</i>, 1552
-.&#160;.&#160;.&#160;45</p></li>
-
- <li><p class="fsz6 phangloi">&#x2007;<a class="aindexlnk"
- href="#fg09" title="to Fig. 9">9</a>.—Robijn Italic,
-cut by Chr. van Dijk. From the original matrices
-.&#160;.&#160;.&#160;52</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg10" title="to Fig. 10">10</a>.—Gothic Type or Lettre
-de Forme, <i>circ.</i> 1480. From the original matrices
-.&#160;.&#160;.&#160;53</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg11" title="to Fig. 11">11</a>.—Philosophie Flamand
-engraved by Fleischman, 1743. From the original matrices
-.&#160;.&#160;.&#160;54</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg12" title="to Fig. 12">12</a>.—Lettre de Civilité, cut
-by Ameet Tavernier for Plantin, <i>circ.</i> 1570. From the
-original matrices .&#160;.&#160;.&#160;56</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg13" title="to Fig. 13">13</a>.—Blooming Initials. Oxford,
-<i>circ.</i> 1700 .&#160;.&#160;.&#160;80</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg14" title="to Fig. 14">14</a>.—Pierced Initial. Oxford,
-<i>ante</i> 1700 .&#160;.&#160;.&#160;81</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg15" title="to Fig. 15">15</a>.—Caxton’s Advertisement, in
-his Type 3 .&#160;.&#160;.&#160;<i>face</i> 88</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg16" title="to Fig. 16">16</a>.—Caxton’s Type 4.* From the
-<i>Golden Legend</i> .&#160;.&#160;.&#160;<i>face</i> 88</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg17" title="to Fig. 17">17</a>.—Black letter, supposed
-to be De Worde’s. From Palmer’s <i>History of Printing</i>
-.&#160;.&#160;.&#160;90</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg18" title="to Fig. 18">18</a>.—Pynson’s Roman
-letter. From the <i>Oratio in Pace Nuperrimâ</i>, 1518
-.&#160;.&#160;.&#160;92</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg18a" title="to Fig. 18a">18<i>a</i></a>.—Berthelet’s Black letter
-and Secretary type. From the <i>Boke named the Governour</i>,
-1531 .&#160;.&#160;.&#160;95</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg19" title="to Fig. 19">19</a>.—Portrait of John Day,
-1562. From Peter Martir’s <i>Commentaries</i>, 1568
-.&#160;.&#160;.&#160;99</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg20" title="to Fig. 20">20</a>,
- <a class="aindexlnk"
- href="#fg21" title="to Fig. 21">21</a>,
- <a class="aindexlnk"
- href="#fg22" title="to Fig. 22">22</a>.—Day’s Saxon,
- Roman, and Italic. From the <i>Ælfredi Res Gestæ</i>, 1574
- .&#160;.&#160;.&#160;<i>face</i> 96</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg23" title="to Fig. 23">23</a>.—Letter Founding in Frankfort
-in 1568. From Jost Amman’s <i>Stände und Handwerker</i>
-.&#160;.&#160;.&#160;104</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg24" title="to Fig. 24">24</a>.—Letter Founding and
-Printing <i>circ.</i> 1548. From the Harleian MSS.
-.&#160;.&#160;.&#160;105</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg25" title="to Fig. 25">25</a>.—Letter Founding
-in 1683. From Moxon’s <i>Mechanick Exercises</i>
-.&#160;.&#160;.&#160;109</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg26" title="to Fig. 26">26</a>.—Letter Founding in France
-in 1718. From Thiboust’s <i>Typographiæ Excellentia</i>
-.&#160;.&#160;.&#160;115</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg27" title="to Fig. 27">27</a>.—Colophon of the <i>Lyndewode</i>,
-Oxford, <i>n.d.</i> Showing types [c], [d], [e], [f]
-.&#160;.&#160;.&#160;<i>face</i> 138</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg28" title="to Fig. 28">28</a>.—Greek fount of the Eton
-<i>Chrysostom</i>, 1613 .&#160;.&#160;.&#160;<i>face</i> 140</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg29" title="to Fig. 29">29</a>.—Greeks, Roman and Italic.
-From the <i>Catena on Job</i>, 1637 .&#160;.&#160;.&#160;<i>face</i>
-140</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg30" title="to Fig. 30">30</a>.—The Sheldonian
-Theatre, Oxford. From an old wood-block
-.&#160;.&#160;.&#160;153</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg31" title="to Fig. 31">31</a>.—The Clarendon Press, Oxford.
-From an old wood-block .&#160;.&#160;.&#160;156</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg32" title="to Fig. 32">32</a>.—Pica Roman and
-Italic, presented to Oxford by Dr. Fell, 1667
-.&#160;.&#160;.&#160;152</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg33" title="to Fig. 33">33</a>.—Pica Roman and
-Italic, bought by Oxford University in 1692
-.&#160;.&#160;.&#160;152</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg34" title="to Figs. 34–38">34,
- 35, 36, 37, 38</a>.—Hebrew,
- large and small, Coptic, Arabic, and Syriac, presented
- to Oxford by Dr. Fell, 1667. From the original matrices
- .&#160;.&#160;.&#160;147</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg39" title="to Fig. 39">39</a>.—Ethiopic, bought by
-Oxford University in 1692. From the original matrices
-.&#160;.&#160;.&#160;154</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg40" title="to Fig. 40">40</a>.—Ethiopic of Walton’s
-<i>Polyglot</i>, 1657. From the original matrices
-.&#160;.&#160;.&#160;174</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg41" title="to Fig. 41">41</a>.—Syriac of Walton’s
-<i>Polyglot</i>, 1657. From the original matrices
-.&#160;.&#160;.&#160;174</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg42" title="to Fig. 42">42</a>.—Samaritan of Walton’s
-<i>Polyglot</i>, 1657. From the original matrices
-.&#160;.&#160;.&#160;174</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg43" title="to Fig. 43">43</a>.—Specimen of
-Nicholas Nicholls, 1665. From the original
-.&#160;.&#160;.&#160;<i>face</i> 178</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg44" title="to Fig. 44">44</a>.—Portrait of Joseph Moxon.
-From the <i>Tutor to Astronomy and Geography</i>, 4th ed., 1686,
-.&#160;.&#160;.&#160;<i>face</i> 180</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg45" title="to Fig. 45">45</a>.—Moxon’s Irish type, 1680.
-From the original matrices .&#160;.&#160;.&#160;189</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg46" title="to Fig. 46">46</a>.—Dutch Initial Letters. From
-the original matrices .&#160;.&#160;.&#160;80</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg47" title="to Fig. 47">47</a>.—Nonpareil Rabbinical
-Hebrew in Andrews’ Foundry. From the original matrices
-.&#160;.&#160;.&#160;194</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg48" title="to Fig. 48">48</a>.—Saxon, cut by R. Andrews for
-Miss Elstob’s <i>Grammar</i>, 1715. From the original matrices
-.&#160;.&#160;.&#160;196</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg49" title="to Fig. 49">49</a>.—Old Dutch Blacks in
-R. Andrews’ Foundry. From the original matrices
-.&#160;.&#160;.&#160;194</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg50" title="to Fig. 50">50</a>.—Alexandrian Greek in
-Grover’s Foundry. From the Catalogue of James’ Sale, 1782
-.&#160;.&#160;.&#160;200</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg51" title="to Fig. 51">51</a>.—Scriptorial in
-Grover’s Foundry. From the original matrices
-.&#160;.&#160;.&#160;204</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg52" title="to Fig. 52">52</a>.—Court Hand in
-Grover’s Foundry. From the original matrices
-.&#160;.&#160;.&#160;204</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg53" title="to Fig. 53">53</a>.—Union Pearl in
-Grover’s Foundry. From the original matrices
-.&#160;.&#160;.&#160;204</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg54" title="to Fig. 54">54</a>.—Walpergen’s Music type.
-Oxford, <i>circ.</i> 1675. From the original matrices
-.&#160;.&#160;.&#160;208</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg55" title="to Fig. 55">55</a>.—Pictorial pierced
-Initial. From an 18th century newspaper
-.&#160;.&#160;.&#160;81</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg56" title="to Fig. 56">56</a>.—Title-page of the Catalogue
-and Specimen of James’ Foundry, 1782. From the original
-.&#160;.&#160;.&#160;226</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg57" title="to Fig. 57">57</a>.—Portrait of William Caslon.
-From Hansard .&#160;.&#160;.&#160;<i>face</i> 232</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg58" title="to Fig. 58">58</a>.—View of the Interior of
-Caslon’s Foundry in 1750. From the <i>Universal Magazine</i>
-.&#160;.&#160;.&#160;<i>Frontispiece</i></p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg59" title="to Fig. 59">59</a>.—Pica Roman and Italic,
-cut by Caslon, 1720. From the original matrices
-.&#160;.&#160;.&#160;236</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg60" title="to Fig. 60">60</a>.—Black letter, cut by Caslon.
-From the original matrices .&#160;.&#160;.&#160;239</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg61" title="to Fig. 61">61</a>.—Arabic, cut by Caslon, 1720.
-From the original matrices .&#160;.&#160;.&#160;235</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg62" title="to Fig. 62">62</a>.—Coptic, cut by
-Caslon, <i>ante</i> 1731. From the original matrices
-.&#160;.&#160;.&#160;236</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg63" title="to Fig. 63">63</a>.—Armenian, cut by
-Caslon, <i>ante</i> 1736. From the original matrices
-.&#160;.&#160;.&#160;239</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg64" title="to Fig. 64">64</a>.—Etruscan, cut
-by Caslon, 1738. From the original matrices
-.&#160;.&#160;.&#160;240</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg65" title="to Fig. 65">65</a>.—Gothic, cut by
-Caslon, <i>ante</i> 1734. From the original matrices
-.&#160;.&#160;.&#160;239</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg66" title="to Fig. 66">66</a>.—Ethiopic, cut by Caslon. From
-the original matrices .&#160;.&#160;.&#160;240</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg67" title="to Fig. 67">67</a>.—Syriac, cut by Caslon
-II, <i>circ.</i> 1768. From the original matrices
-.&#160;.&#160;.&#160;246</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg68" title="to Fig. 68">68</a>.—Portrait of Alexander Wilson.
-From Hansard .&#160;.&#160;.&#160;<i>face</i> 258</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg69" title="to Fig. 69">69</a>.—Greek, cut by Alex.
-Wilson, <i>ante</i> 1768. From the Glasgow <i>Homer</i>, 1768
-.&#160;.&#160;.&#160;262</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg70" title="to Fig. 70">70</a>.—Portrait of John Baskerville.
-From Hansard .&#160;.&#160;.&#160;<i>face</i> 268</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg71" title="to Fig. 71">71</a>.—Greek, cut by Baskerville
-for Oxford. From the Oxford <i>Specimen</i>, 1768–70
-.&#160;.&#160;.&#160;<i>face</i> 274</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg72" title="to Fig. 72">72</a>.—Roman and Italic, cut by
-Baskerville, 1758. From the <i>Milton</i>, Birmingham, 1758
-.&#160;.&#160;.&#160;<i>face</i> 276</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg73" title="to Fig. 73">73</a>.—Engrossing, cut by
-Cottrell, <i>circ.</i> 1768. From the original matrices
-.&#160;.&#160;.&#160;289</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg73a" title="to Fig. 73a">73a</a>.—Silhouette Portraits
-of Joseph and Edmund Fry. From the originals
-.&#160;.&#160;.&#160;<i>face</i> 298</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg74" title="to Fig. 74">74</a>.—Alexandrian Greek (formerly
-Grover’s), rejustified by Dr. Fry. From the original
-matrices .&#160;.&#160;.&#160;304</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg74a" title="to Fig. 74a">74a</a>.—Hebrew, cut by Dr.
-Fry, <i>circ.</i> 1785. From the original matrices
-.&#160;.&#160;.&#160;304</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg75" title="to Fig. 75">75</a>.—Portrait of Joseph
-Jackson. From Nichols’ <i>Literary Anecdotes</i>
-.&#160;.&#160;.&#160;<i>face</i> 316</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg76" title="to Fig. 76">76</a>.—Portrait of William Caslon
-III. From Hansard .&#160;.&#160;.&#160;<i>face</i> 326</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg77" title="to Fig. 77">77</a>.—Two-line English Roman,
-cut by Vincent Figgins, 1792. From the original matrices
-.&#160;.&#160;.&#160;337</p></li>
-
- <li><p class="fsz6 phangloi"><a class="aindexlnk"
- href="#fg78" title="to Fig. 78">78</a>.—Samaritan, cut by Dummers
-for Caslon, <i>circ.</i> 1734. From the original matrices
-.&#160;.&#160;.&#160;345</p>
-
-<div class="dctr09">
-<img src="images/i_xiv.jpg" width="192" height="74" alt="" />
-</div></li></ul></div><!--dtablebox-->
-
-<div class="chapter"><div class="dctr01" id="p001">
-<img src="images/i001.jpg" width="600" height="145" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="INTRODUCTORY CHAPTER.
-THE TYPES AND TYPEFOUNDING OF THE FIRST PRINTERS.">
-<span class="hblk fsz6">INTRODUCTORY CHAPTER</span>
-<span class="hblk"><img class="ihrch" src="images/i001-2.jpg"
-width="315" height="56" alt="" /></span>
-THE TYPES AND TYPEFOUNDING OF THE FIRST
-PRINTERS.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i001c.png"
-width="312" height="332" alt="F" />
-</span>OR four centuries the noise of controversy has raged round
-the cradle of Typography. Volumes have been written,
-lives have been spent, fortunes have been wasted, communities
-have been stirred, societies have been organised,
-a literature has been developed, to find an answer to the
-famous triple question: “When, where, and by whom
-was found out the unspeakably useful art of printing
-books?” And yet the world to-day is little nearer a
-finite answer to the question than it was when Ulric Zel indited his memorable
-narrative to the <i>Cologne Chronicle</i> in 1499. Indeed, the dust of battle has added
-to, rather than diminished, the mysterious clouds which envelope the problem,
-and we are tempted to seek refuge in an agnosticism which almost refuses to
-believe that printing ever had an inventor.</p>
-
-<p>It would be neither suitable nor profitable to encumber an investigation of
-that part of the History of Typography which relates to the types and type-making
-of the fifteenth century by any attempt to discuss the vexed question of
-the Invention of the Art. The man who invented Typography was doubtless
-the man who invented movable types. Where the one is discovered, we have
-also found the other. But, meanwhile, it is possible to avail ourselves of
-whatever evidence exists as to the nature of the types he and his successors used,
-and as to the methods by which those types were produced,
-and possibly to <span class="xxpn" id="p002">{2}</span>
-arrive at some conclusions respecting the earliest practices of the
-Art of Typefounding
-in the land and in the age in which it first saw the light.</p>
-
-<p>No one has done more to clear the way for a free
-investigation of all questions relating to the origin
-of printing than Dr. Van der Linde, in his able essay,
-<i>The Haarlem Legend</i>,<a class="afnanch" href="#fn1"
-id="fnanch1">1</a> which, while disposing ruthlessly of
-the fiction of Coster’s invention, lays down the important
-principle, too often neglected by writers on the subject,
-that the essence of Typography consists in the mobility of
-the types, and that, therefore, it is not a development of
-the long practised art of printing from fixed blocks, but
-an entirely distinct invention.</p>
-
-<p>The principle is so important, and Dr. Van der Linde’s words are so
-emphatic, that we make no apology for quoting them:―</p>
-
-<p>“I cannot repeat often enough that, when we speak of Typography and its
-invention, nothing is meant, or rather nothing must be meant, but printing with
-<i>loose</i> (separate, moveable) types (be they letters, musical notes, or other figures),
-which therefore, in distinction from letters cut on wooden or metal plates, may be
-put together or separated according to inclination. One thing therefore is certain:
-he who did not invent printing with moveable types, did, as far as Typography
-goes, invent nothing. What material was used first of all in this invention; of
-what metal the first letters, the patrices (engraved punches) and matrices were
-made; by whom and when the leaden matrices and brass patrices were replaced
-by brass matrices and steel patrices; .&#160;.&#160;.&#160;.&#160;. all this belongs to the secondary
-question of the technical execution of the principal idea: multiplication of
-books by means of multiplication of letters, multiplication of letters by means
-of their durability, and repeated use of the same letters, <i>i.e.</i>, by means of the
-independence (looseness) of each individual letter (moveableness).”—P. 19.</p>
-
-<p>If this principle be adopted—and we can hardly imagine it questioned—it
-will be obvious that a large class of works which usually occupy a prominent
-place in inquiries into the origin of Printing, have but slight bearing on the
-history of Typography. The block books of the fifteenth century had little
-direct connection with the art that followed and eclipsed them.<a class="afnanch" href="#fn2" id="fnanch2">2</a>
-In the one
-respect of marking the early use of printing for the instruction of mankind, the
-block books and the first works of Typography proper claim an equal interest;
-but, as regards their mechanical production, the one feature they possess in
-common is a quality shared also by the playing-cards,
-pictures, seals, stamps, <span class="xxpn" id="p003">{3}</span>
-brands, and all the other applications of the principle of impression which had
-existed in one form or another from time immemorial.</p>
-
-<p>It is reasonable to suppose that the first idea of movable type may have
-been suggested to the mind of the inventor by a study of the works of a
-xylographic printer, and an observation of the cumbrous and wearisome method
-by which his books were produced. The toil involved in first painfully tracing
-the characters and figures, reversed, on the wood, then of engraving them,
-and, finally, of printing them with the frotton, would appear—in the case, at any
-rate, of the small school-books, for the production of which this process was largely
-resorted to—scarcely less tedious than copying the required number by the deft pen
-of a scribe. And even if, at a later period, the bookmakers so far facilitated their
-labours as to write their text in the ordinary manner on prepared paper, or with
-prepared ink, and so transfer their copy, after the manner of the Chinese, on to the
-wood, the labour expended in proportion to the result, and the uselessness of the
-blocks when once their work was done, would doubtless impress an inventive
-genius with a sense of dissatisfaction and impatience. We can imagine him
-examining the first page of an <i>Abecedarium</i>, on which would be engraved, in
-three lines, with a clear space between each character, the letters of the alphabet,
-and speculating, as Cicero had speculated centuries before,<a class="afnanch" href="#fn3" id="fnanch3">3</a>
-on the possibilities
-presented by the combination in indefinite variety of those twenty-five symbols.
-Being a practical man as well as a theorist, we may suppose he would attempt
-to experiment on the little wood block in his hand, and by sawing off first
-the lines, and then some of the letters in the lines, attempt to arrange his little
-types into a few short words. A momentous experiment, and fraught with the
-greatest revolution the world has ever known!</p>
-
-<hr class="hrblnk" />
-
-<p>No question has aroused more interest, or excited keener discussion in the
-history of printing, than that of the use of movable wooden types as a first
-stage in the passage from Xylography to Typography. Those who write on the
-affirmative side of the question profess to see in the earlier typographical works,
-as well as in the historical statements handed down by the
-old authorities, the <span class="xxpn" id="p004">{4}</span>
-clearest evidence that wooden types were used, and that several of the most
-famous works of the first printers were executed by their means.</p>
-
-<p>As regards the latter source of their confidence, it is at least remarkable
-that no single writer of the fifteenth century makes the slightest allusion to the
-use of wooden types. Indeed, it was not till Bibliander, in 1548,<a class="afnanch" href="#fn4" id="fnanch4">4</a>
-first mentioned
-and described them, that anything professing to be a record on the subject
-existed. “First they cut their letters,” he says, “on wood blocks the size of an
-entire page, but because the labour and cost of that way was so great, they devised
-movable wooden types, perforated and joined one to the other by a thread.”</p>
-
-<p>The legend, once started, found no lack of sponsors, and the typographical
-histories of the sixteenth century and onward abound with testimonies confirmatory
-more or less of Bibliander’s statement. Of these testimonies, those only
-are worthy of attention which profess to be based on actual inspection of the
-alleged perforated wooden types. Specklin<a class="afnanch" href="#fn5" id="fnanch5">5</a>
-(who died in 1589) asserts that he
-saw some of these relics at Strasburg. Angelo Roccha,<a class="afnanch" href="#fn6" id="fnanch6">6</a>
-in 1591, vouches for the
-existence of similar letters (though he does not say whether wood or metal) at
-Venice. Paulus Pater,<a class="afnanch" href="#fn7" id="fnanch7">7</a>
-in 1710, stated that he had once seen some belonging to
-Fust at Mentz; Bodman, as late as 1781, saw the same types in a worm-eaten
-condition at Mentz; while Fischer,<a class="afnanch" href="#fn8" id="fnanch8">8</a>
-in 1802, stated that these precious relics were
-used as a sort of token of honour to be bestowed on worthy apprentices on the
-occasion of their finishing their term.</p>
-
-<p>This testimony proves nothing beyond the fact that at Strasburg, Venice,
-and Mentz there existed at some time or other certain perforated wooden types
-which tradition ascribed to the first printers. But on the question whether any
-book was ever printed with such type, it is wholly inconclusive. It is possible
-to believe that certain early printers, uninitiated into the mystery of the punch and
-matrix, may have attempted to cut themselves wooden types, which, when they
-proved untractable under the press, they perforated and
-strung together in lines; <span class="xxpn" id="p005">{5}</span>
-but it is beyond credit that any such rude experiment ever resulted in the production
-of a work like the <i>Speculum</i>.</p>
-
-<p>It is true that many writers have asserted it was so. Fournier, a practical
-typographer, insists upon it from the fact that the letters vary among themselves
-in a manner which would not be the case had they been cast from a matrix in a
-mould. But, to be consistent, Fournier is compelled (as Bernard points out)
-to postpone the use of cast type till after the Gutenberg <i>Bible</i> and Mentz <i>Psalter</i>,
-both of which works display the same irregularities. And as the latest edition
-of the <i>Psalter</i>, printed in the old types, appeared in 1516, it would be necessary
-to suppose that movable wood type was in vogue up to that date. No one has
-yet demonstrated, or attempted seriously to demonstrate, the possibility of
-printing a book like the <i>Speculum</i> in movable wooden type. All the experiments
-hitherto made, even by the most ardent supporters of the theory, have
-been woful failures. Laborde<a class="afnanch" href="#fn9" id="fnanch9">9</a>
-admits that to cut the 3,000 separate letters
-required for the <i>Letters of Indulgence</i>, engraved by him, would cost 450 francs;
-and even he, with the aid of modern tools to cut up his wooden cubes, can only
-show four widely spaced lines. Wetter<a class="afnanch" href="#fn10" id="fnanch10">10</a>
-shows a page printed from perforated
-and threaded wooden types<a class="afnanch" href="#fn11" id="fnanch11">11</a>; but these, though of large
-size, only prove by their <span class="xxpn" id="p006">{6}</span>
-“naughty caprioles” the absurdity of supposing that the “unleaded” <i>Speculum</i>,
-a quarternion of which would require 40,000 distinct letters, could have been
-produced in 1440 by a method which even the modern cutting and modern
-presswork of 1836 failed to adapt to a single page of large-sized print.</p>
-
-<p>John Enschedé, the famous Haarlem typefounder, though a strong adherent
-to the Coster legend, was compelled to admit the practical impossibility, in his
-day at any rate, of producing a single wood type which would stand the test of
-being mathematically square; nor would it be possible to square it after being
-cut. “No engraver,” he remarks, “is able to cut separate letters in wood in
-such a manner that they retain their quadrature (for that is the main thing
-of the line in type-casting).”<a class="afnanch" href="#fn12" id="fnanch12">12</a>
-Admitting for a moment that some printer may
-have succeeded in putting together a page of these wooden types, without the
-aid of leads, into a chase: how can it be supposed that after their exposure to
-the warping influences of the sloppy ink and tight pressure during the impression,
-they could ever have survived to be distributed and recomposed into another
-forme?<a class="afnanch" href="#fn13" id="fnanch13">13</a></p>
-
-<p>The claims set up on behalf of movable wood types as the means by which
-the <i>Speculum</i> or any other of the earliest books was printed, are not only historically
-unsupported, but the whole weight of practical evidence rejects them.</p>
-
-<p>Dismissing them, therefore, from our consideration, a new theory confronts
-us, which at first blush seems to supply, if not a more probable, certainly a more
-possible, stepping-stone between Xylography and Typography. We refer to
-what Meerman, the great champion of this theory,
-calls the “sculpto-fusi” <span class="xxpn" id="p007">{7}</span>
-characters: types, that is, the shanks of which have been cast in a quadrilateral
-mould, and the “faces” engraved by hand afterwards.</p>
-
-<p>Meerman and those who agree with him engage a large array of testimony
-on their side. In the reference of Celtis, in 1502, to Mentz as the city “quæ
-prima sculpsit solidos ære characteres,” they see a clear confirmation of their
-theory; as also in the frequent recurrence of the same word “sculptus” in the
-colophons of the early printers. Meerman, indeed, goes so far as to ingeniously
-explain the famous account of the invention given by Trithemius in 1514,<a class="afnanch" href="#fn14" id="fnanch14">14</a>
-in the
-light of his theory, to mean that, after the rejection of the first wooden types, “the
-inventors found out a method of casting the bodies only (fundendi formas) of all
-the letters of the Latin alphabet from what they called matrices, on which they
-cut the face of each letter; and from the same kind of matrices a method was in
-time discovered of casting the complete letters (æneos sive stanneos characteres)
-of sufficient hardness for the pressure they had to bear, which letters before—that
-is, when the bodies only were cast—they were obliged to cut.”<a class="afnanch" href="#fn15" id="fnanch15">15</a></p>
-
-<p>After this bold flight of translation, it is not surprising to find that Meerman
-claims that the <i>Speculum</i> was printed in “sculpto-fusi” types, although in the
-one page of which he gives a facsimile there are nearly 1,700 separate types, of
-which 250 alone are <i>e</i>’s.</p>
-
-<p>Schoepflin, claiming the same invention for the Strasburg printers, believes
-that all the earliest books printed there were produced by this means; and both
-Meer­man and Schoep­flin agree that engraved metal types were in use for many
-years after the invention of the punch and matrix, mentioning, among others so
-printed, the Mentz <i>Psalter</i>, the <i>Catholicon</i> of 1460, the Eggestein <i>Bible</i> of 1468,
-and even the <i>Nideri Præ­cep­tor­ium</i>, printed at Stras­burg as late as 1476, as “literis
-in ære sculptis.”</p>
-
-<p>Almost the whole historical claim of the engraved metal types, indeed, turns
-on the recurrence of the term “sculptus” in the colophons of the early printers.
-Jenson, in 1471, calls himself a “cutter of books” (librorum exsculptor).
-Sen­sen­schmid,
-in 1475, says that the <i>Codex Jus­tin­ianus</i> is “cut” (insculptus), and that
-he has “cut” (sculpsit) the work of <i>Lombardus in Psalterium</i>. Husner of Strasburg,
-in 1472, applies the term “printed with letters
-cut of metal” (exsculptis <span class="xxpn" id="p008">{8}</span>
-ære litteris) to the <i>Speculum Durandi</i>; and of the <i>Præceptorium Nideri</i>, printed in
-1476, he says it is “printed in letters cut of metal by a very ingenious effort”
-(litteris exsculptis artificiali certe conatu ex ære). As Dr. Van der Linde points
-out, the use of the term in reference to all these books can mean nothing else
-than a figurative allusion to the first process towards producing the types, namely,
-the cutting of the punch<a class="afnanch" href="#fn16"
-id="fnanch16">16</a>; just as when Schoeffer, in 1466, makes his <i>Grammatica
-Vetus Rhythmica</i> say, “I am cast at Mentz” (At Moguntia sum fusus in urbe
-libellus), he means nothing more than a figurative allusion to the casting of the
-types.</p>
-
-<p>The theory of the sculpto-fusi types appears to have sprung up on no firmer
-foundation than the difficulty of accounting for the marked irregularities in the
-letters of the earliest printed books, and the lack of a theory more feasible than that
-of movable wood type to account for it. The method suggested by Meerman
-seemed to meet the requirements of the case, and with the aid of the very
-free translation of Trithemius’ story, and the very literal translation of certain
-colophons, it managed to get a footing on the typographical records.</p>
-
-<p>Mr. Skeen seriously applies himself to demonstrate how the shanks could
-be cast in clay moulds stamped with a number of trough-like matrices representing
-the various widths of the blanks required, and calculates that at the rate
-of four a day, 6,000 of these blanks could be engraved on the end by one man
-in five years, the whole weighing 100 lb. when finished! “No wonder,” Mr.
-Skeen naïvely observes, “that Fust at last grew impatient.” We must confess
-that there seems less ground for believing in the use of “sculpto-fusi” types as
-the means by which any of the early books were produced, than in the perforated
-wood types. The enormous labour involved, in itself renders the idea improbable.
-As M. Bernard says, “How can we suppose that intelligent men like the
-first printers would not at once find out that they could easily cast the face and
-body of their types together?”<a class="afnanch" href="#fn17" id="fnanch17">17</a>
-But admitting the possibility of producing type
-in this manner, and the possible obtuseness which could allow an inventor of
-printing to spend five years in laboriously engraving “shanks” enough for a single
-forme, the lack of any satisfactory evidence that such types were ever used, even
-experimentally, inclines us to deny them any place in the history of the origin
-of typography.</p>
-
-<hr class="hrblnk" />
-
-<p>Putting aside, therefore, as improbable, and not proved,
-the two theories of <span class="xxpn" id="p009">{9}</span>
-engraved movable types, the question arises, Did typography, like her patron
-goddess, spring fully armed from the brain of her inventor? in other words, did
-men pass at a single stride from xylography to the perfect typography of
-the punch, the matrix, and the mould? or are we still to seek for an intermediate
-stage in some ruder and more primitive process of production? To this question
-we cannot offer a better reply than that contained in the following passage from
-Mr. Blades’s admirable life of Caxton.<a class="afnanch" href="#fn18" id="fnanch18">18</a>
-“The examination of many specimens,”
-he observes, “has led me to conclude that two schools of typography existed
-together .&#160;.&#160;. The ruder consisted of those printers who practised their art in
-Holland and the Low Countries, .&#160;.&#160;. and who, by degrees only, adopted the
-better and more perfect methods of the .&#160;.&#160;. school founded in Germany by
-the celebrated trio, Gutenberg, Fust, and Schoeffer.”</p>
-
-<p>It is impossible, we think, to resist the conclusion that all the earlier works
-of typography were the impression of cast metal types; but that the methods of
-casting employed were not always those of matured letter-founding, seems
-to us not only probable, but evident, from a study of the works themselves.</p>
-
-<p>Mr. Theo. De Vinne, in his able treatise on the invention of printing,<a class="afnanch" href="#fn19" id="fnanch19">19</a>
-speaking with the authority of a practical typographer, insists that the key to
-that invention is to be found, not in the press nor in the movable types,
-but in the adjustable type-mould, upon which, he argues, the existence of
-typography depends. While not prepared to go as far as Mr. De Vinne
-on this point, and still content to regard the invention of movable types as the
-real key to the invention of typography proper, we find in the mould not only
-the culminating achievement of the inventor, but also the key to the distinction
-between the two schools of early typography to which we have alluded.</p>
-
-<p>The adjustable mould was undoubtedly the goal of the discovery, and those
-who reached it at once were the advanced typographers of the Mentz press.
-Those who groped after it through clumsy and tedious by-ways were the rude
-artists of the <i>Donatus</i> and <i>Speculum</i>.</p>
-
-<p>In considering the primitive modes of type-casting, it must be frankly
-admitted that the inquirer stands in a field of pure conjecture. He has only
-negative evidence to assure him that such primitive modes undoubtedly did
-exist, and he searches in vain for any direct clue as to the nature and details
-of those methods.</p>
-
-<p>We shall briefly refer to one or two theories which have been propounded,
-all with more or less of plausibility.</p>
-
-<p>Casting in sand was an art not unknown to the
-silversmiths and <span class="xxpn" id="p010">{10}</span>
-trinket-makers of the fifteenth century, and several writers have suggested that some of
-the early printers applied this process to typefounding. M. Bernard<a class="afnanch" href="#fn20" id="fnanch20">20</a>
-considers
-that the types of the <i>Speculum</i> were sand-cast, and accounts for the varieties
-observable in the shapes of various letters, by explaining that several models
-would probably be made of each letter, and that the types when cast would, as is
-usual after sand-casting, require some touching up or finishing by hand. He
-shows a specimen of a word cast by himself by this process, which, as far as it
-goes, is a satisfactory proof of the possibility of casting letters in this way.<a class="afnanch" href="#fn21" id="fnanch21">21</a>
-There are, indeed, many points in this theory which satisfactorily account
-for peculiarities in the appearance of books printed by the earliest rude Dutch
-School. Not only are the irregularities of the letters in body and line intelligible,
-but the specks between the lines, so frequently observable, would be accounted
-for by the roughness on the “shoulders” of the sand-cast bodies.<a class="afnanch" href="#fn22" id="fnanch22">22</a></p>
-
-<p>An important difficulty to be overcome in type cast by this or any other
-primitive method would be the absence of uniformity in what letter founders term
-“height to paper.” Some types would stand higher than others, and the low
-ones, unless raised, would not only miss the ink, but would not appear at all in
-the impression. The comparative rarity of faults of this kind in the <i>Speculum</i>,
-leads one to suppose that if a process of sand-casting had been adopted, the
-difficulty of uneven heights had been surmounted either by locking up the
-forme face downwards, or by perforating the types either at the time of or after
-casting, and by means of a thread or wire holding them in their places. The
-uneven length of the lines favours such a supposition, and to the same cause Mr.
-Ottley<a class="afnanch" href="#fn23" id="fnanch23">23</a>
-attributes the numerous misprints of the <i>Speculum</i>, to correct which
-in the type would have involved the unthreading of every line in which an error
-occurred. And as a still more striking proof that the lines were put into
-the forme one by one, in a piece, he shows a curious printer’s blunder at the end
-of one page, where the whole of the last reference-line is put in upside down,
-thus:―</p>
-
-<div class="dctr04">
-<img src="images/i010.png" width="600" height="80" alt="" />
-</div>
-
-<div><span class="xxpn" id="p011">{11}</span></div>
-
-<p>A “turn” of this magnitude could hardly have occurred if the letters had
-been set in the forme type by type.</p>
-
-<p>Another suggested mode is that of casting in clay moulds, by a method
-very similar to that used in the sand process, and resulting in similar peculiarities
-and variations in the types. Mr. Ottley, who is the chief exponent of this
-theory, suggests that the types were made by pouring melted lead or other soft
-metal, into moulds of earth or plaster, formed, while the earth or plaster was in
-a moist state, upon letters cut by hand in wood or metal; in the ordinary
-manner used from time immemorial in casting statues of bronze and other
-articles of metal, whether for use or ornament. The mould thus formed could
-not be of long duration; indeed, it could scarcely avail for a second casting, as it
-would be scarcely possible to extract the type after casting without breaking
-the clay, and even if that could be done, the shrinking of the metal in cooling
-would be apt to warp the mould beyond the possibility of further use.</p>
-
-<p>Mr. Ottley thinks that the constant renewal of the moulds could be effected
-by using old types cast out of them, after being touched up by the graver, as
-models. And this he considers will account for the varieties observable in the
-different letters.</p>
-
-<p>In this last conjecture we think Mr. Ottley goes out of his way to suggest
-an unnecessary difficulty. If, as he contends, the <i>Speculum</i> was printed two
-pages at a time, with soft types cast by the clay process and renewed from time
-to time by castings from fresh moulds formed upon the old letters touched up
-by the graver, we should witness a gradual deterioration and attenuation
-in the type, as the work progressed, which would leave the face of the letter,
-at the end, unrecognisable as that with which it began. It would be more
-reasonable to suppose that one set of models would be reserved for the
-periodical renewal of the moulds all through the work, and that the variations
-in the types would be due, not to the gradual paring of the faces of the models,
-but to the different skill and exactness with which the successive moulds would
-be taken.<a class="afnanch" href="#fn24" id="fnanch24">24</a>
-<span class="xxpn" id="p012">{12}</span></p>
-
-<p>The chief objection urged against both the clay and sand methods as
-above described is their tediousness. The time occupied after the first
-engraving of the models in forming, drying and clearing the mould, in casting,
-extracting, touching up, and possibly perforating, the types would be little
-short of the expeditious performance of a practised xylographer. Still there
-would be a clear gain in the possession of a fount of movable types, which, even
-if the metal in which they were cast were only soft lead or pewter, might yet do
-duty in more than one forme, under a rough press, roughly handled. On the
-xylographic block, moreover, only one hand, and that a skilled one, could labour.
-Of the moulding and casting of these rude types, many hands could make
-light work. M. Bernard states that the artist who produced for him the few sand-cast
-types shown in his work, assured him that a workman could easily produce
-a thousand of such letters a day. He also states that though each letter required
-squaring after casting, there was no need in any instance to touch up the
-faces. M. Bernard’s experience may have been a specially fortunate one; still,
-making allowance for the superior workmanship and expedition of a modern
-artist, it must be admitted that, in point of time, cost and utility, a printer who
-succeeded in furnishing himself with these primitive cast types was as far ahead
-of the old engraver as the discoverer of the adjustable mould was in his turn
-ahead of him.<a class="afnanch" href="#fn25" id="fnanch25">25</a></p>
-
-<p>There remains yet another suggestion as to the method in which the types
-of the rude school were produced. This may be described as a system of what
-the founders of sixty years ago called “polytype.” Lambinet, who is responsible
-for the suggestion, under cover of a new translation of Trithemius’s wonderful
-narrative, explains this to mean nothing less than an early adoption of stereotype.
-He imagines<a class="afnanch" href="#fn26" id="fnanch26">26</a>
-that the first printers may have discovered a way of moulding a
-page of some work—an <i>Abecedarium</i>—in cooling metal, so as to get a matrix-plate
-impression of the whole page. Upon this matrix they would pour a liquid metal,
-and by the aid of a roller or cylinder, press the fused matter evenly, so as to
-penetrate into all the hollows and corners of the letters. This tablet of tin or
-lead, being easily lifted and detached from the matrix, would then appear as a
-surface of metal in which the letters of the alphabet stood out reversed and in
-relief. These letters could easily be detached and rendered mobile by a knife or
-other sharp instrument; and the operation could be repeated a hundred times
-a day. The metal faces so produced would be fixed on wooden shanks, type
-high; and the fount would then be complete. <span class="xxpn" id="p013">{13}</span></p>
-
-<p>Such is Lambinet’s hypothesis. Were it not for the fact that it was endorsed
-by the authority of M. Firmin Didot, the renowned typefounder and printer of
-Lambinet’s day, we should hardly be disposed to admit its claim to serious
-attention. The supposition that the Mentz <i>Psalter</i>, which these writers point to
-as a specimen of this mode of execution, is the impression, not of type at all,
-but of a collection of “casts” mounted on wood, is too fanciful. M. Didot, it
-must be remembered, was the enthusiastic French improver of Stereotype, and
-his enthusiasm appears to have led him to see in his method not only a
-revolution in the art of printing as it existed in his day, but also a solution of
-the mystery which had shrouded the early history of that art for upwards of
-three centuries.</p>
-
-<p>It may be well, before quitting this subject, to take note of a certain phrase
-which has given rise to a considerable amount of conjecture and controversy in
-connection with the early methods of typography. The expression “<i>getté en
-molle</i>” occurred as early as the year 1446, in a record kept by Jean le Robert of
-Cambray, who stated that in January of that year he paid 20 sous for a printed
-<i>Doctrinale</i>, “<i>getté en molle</i>.” Bernard has assumed this expression to refer to the
-use of types cast from a mould, and cites a large number of instances where,
-being used in contradistinction to writing by hand, it is taken to signify
-typography.<a class="afnanch" href="#fn27" id="fnanch27">27</a></p>
-
-<p>Dr. Van der Linde,<a class="afnanch" href="#fn28" id="fnanch28">28</a>
-on the other hand, considers the term to mean, printed
-from a wooden form, <i>i.e.</i>, a xylographic production, and nothing more, quoting
-similar instances of the use of the words to support his opinion; and Dr. Van
-Meurs, whose remarks are quoted in full in Mr. Hessel’s introduction to Dr.
-Van der Linde’s <i>Coster Legend</i>,<a class="afnanch" href="#fn29" id="fnanch29">29</a>
-declines to apply the phrase to the methods
-by which the <i>Doctrinale</i> was printed at all; but dwelling on the distinction
-drawn in various documents between “en molle” and “en papier,” concludes that
-the reference is to the binding of the book, and nothing more; a bound book
-being “brought together in a form or binding,” while an unbound one is “in
-paper.” <span class="xxpn" id="p014">{14}</span></p>
-
-<p>It is difficult to reconcile these conflicting interpretations, to which may be
-added as a fourth that of Mr. Skeen, who considers the phrase to refer to the
-indented appearance of the paper of a book after being printed. In the three
-last cases the expression is valueless as regards our present inquiry; but if we
-accept M. Bernard’s interpretation, which seems at least to have the weight of
-simplicity and reasonable testimony on its side, then it would be necessary to
-conclude that type-casting, either by a primitive or a finished process (but having
-regard to the date and the place, almost certainly the former), was practised in
-Flanders prior to January 1446. None of the illustrations, however, which M.
-Bernard cites points definitely to the use of cast type, but to printing in the
-abstract, irrespective of method or process. “Moulées par ordre de l’Assemblée”
-might equally well apply to a set of playing-cards or a broadside proclamation;
-“mettre en molle” does not necessarily mean anything more than put into
-“print”; while the recurring expressions “en molle” and “à la main,” point to
-nothing beyond the general distinction between manuscript and printed matter. In
-fact, the lack of definiteness in all the quotations given by M. Bernard weakens his
-own argument: for if we are to translate the word <i>moulé</i> throughout in the
-narrow sense in which he reads it, we must then believe that in every instance he
-cites, figurative language was employed where conventional would have answered
-equally well, and that the natural antithesis to the general term, “by hand,” must
-in all cases be assumed to be the particular term, “printed in cast metal types.”
-For ourselves, we see no justification for taxing the phrase beyond its broad
-interpretation of “print”; and in this light it appears possible to reconcile most
-of the conjectures to which the words have given rise.</p>
-
-<hr class="hrblnk" />
-
-<p>Turning now from the conjectured primitive processes of the ruder school
-of early Typography, we come to consider the practice of that more mature school
-which, as has already been said, appears to have arrived at once at the secret of
-the punch, matrix and adjustable mould. We should be loth to assert that they
-arrived at once at the most perfect mechanism of these appliances; indeed, an
-examination of the earliest productions of the Mentz press, beautiful as they are,
-convinces one that the first printers were not finished typefounders. But even if
-their first punches were wood or copper, their first matrices lead, and their first
-mould no more than a clumsy adaptation of the composing-stick, they yet had
-the secret of the art; to perfect it was a mere matter of time.</p>
-
-<p>Experiments have proved conclusively that the face of a wood-cut type
-may be without injury impressed into lead in a state of semi-fusion, and thus
-produce <i>in creux</i> an inverted image of itself in the matrix. It has also been
-shown that a lead matrix so formed is capable, after being
-squared and justified, <span class="xxpn" id="p015">{15}</span>
-of being adapted to a mould, and producing a certain number of types in soft
-lead or pewter before yielding to the heat of the operation.<a class="afnanch" href="#fn30" id="fnanch30">30</a>
-It has also been
-demonstrated that similar matrices formed in clay or plaster, by the application
-of the wood or metal models<a class="afnanch" href="#fn31" id="fnanch31">31</a>
-while the substance is moist, are capable of similar
-use.</p>
-
-<p>Dr. Franklin, in a well-known passage of his Autobiography, gives the
-following account of his experiences as a casual letter-founder in 1727. “Our press,”
-he says, “was frequently in want of the necessary quantity of letter; and there
-was no such trade as that of letter-founder in America. I had seen the practice
-of this art at the house of James, in London; but had at the time paid it
-very little attention. I, however, contrived to fabricate a mould. I made use of
-such letters as we had for punches, founded new letters of lead in matrices
-of clay, and thus supplied in a tolerable manner the wants that were most
-pressing.”<a class="afnanch" href="#fn32" id="fnanch32">32</a>
-M. Bernard states that in his day the Chinese characters in the
-Imperial printing-office in Paris were cast by a somewhat similar process. The
-original wooden letters were moulded in plaster. Into the plaster mould types of
-a hard metal were cast, and these hard-metal types served as punches to strike
-matrices with in a softer metal.<a class="afnanch" href="#fn33" id="fnanch33">33</a></p>
-
-<p>In the Enschedé foundry at Haarlem there exists to this day a set
-of matrices said to be nearly four hundred years old, which are described
-as leaden matrices from punches of copper, “suivant l’habitude des anciens
-fondeurs dans les premiers temps après l’invention
-de l’imprimerie.”<a class="afnanch" href="#fn34" id="fnanch34">34</a>
-By <span class="xxpn" id="p016">{16}</span>
-the kindness of Messrs. Enschedé, we are able to show a few letters from types
-cast in these venerable matrices.</p>
-
-<div class="dctr04" id="fg01">
-<img src="images/i016.jpg" width="396" height="93" alt="" />
-<div class="dcaption">1. Types cast from leaden matrices
-(<i>circ.</i> 1500?) now in the Enschedé foundry, Haarlem.
-</div></div>
-
-<p>Lead matrices are frequently mentioned as having been in regular use in
-some of the early foundries of this country. A set of them in four-line pica
-was sold at the breaking up of James’s foundry in 1782, and in the oldest of the
-existing foundries to this day may be found relics of the same practice.</p>
-
-<p>At Lubeck, Smith informs us in 1755,<a class="afnanch" href="#fn35" id="fnanch35">35</a>
-a printer cast for his own use, “not
-only large-sized letters for titles, but also a sufficient quantity of two-lined
-English, after a peculiar manner, by cutting his punches on wood, and sinking
-them afterwards into leaden matrices; yet were the letters cast in them deeper
-than the French generally are.”</p>
-
-<p>When, therefore, the printer of the <i>Catholicon</i>, in 1460, says of his book,
-“non calami styli aut pennæ suffragio, sed mirâ patronarum formarumque
-concordiâ proportione ac modulo impressus atque confectus est,” we have not
-necessarily to conclude that the types were produced in the modern way from
-copper matrices struck by steel punches. Indeed, probability seems to point to
-a gradual progress in the durability of the materials employed. In the first
-instance, the punches may have been of wood, and the matrices soft lead
-or clay<a class="afnanch" href="#fn36" id="fnanch36">36</a>; then the attempt might be made to strike hard lead into soft; that
-failing, copper punches<a class="afnanch" href="#fn37" id="fnanch37">37</a>
-might be used to form leaden matrices; then, when the
-necessity for a more durable substance than lead for the letter became urgent,
-copper would be used for the matrix, and brass, and finally steel, for the punch.</p>
-
-<p>Of whatever substance the matrices were made, the first printers appear early
-to have mastered the art of justifying them, so that when cast in the mould
-they should not only stand, each letter true in itself, but all true to one another.
-Nothing amazes one more in examining these earliest printed works than
-the wonderful regularity of the type in body, height, and line; and if anything
-could be considered as evidence that those types were
-produced from matrices in <span class="xxpn" id="p017">{17}</span>
-moulds, and not by the rude method of casting from matrices which
-comprehended body and face in the same moulding, this feature alone is
-conclusive. We may go further, and assert that not only must the matrices
-have been harmoniously justified, but the mould employed, whatever its form,
-must have had its adjustable parts finished with a near approach to mathematical
-accuracy, which left little to be accomplished in the way of further
-improvement.</p>
-
-<p>Respecting this mould we have scarcely more material for conjecture than
-with regard to the first punches and matrices. The principle of the bipartite
-mould was, of course, well known already. The importance of absolute
-squareness in the body and height of the type would demand an appliance
-of greater precision than the uncertain hollowed cube of sand or clay; the heat
-of the molten lead would point to the use of a hard metal like iron or steel;
-and the varying widths of the sunk letters in the matrices would suggest the
-adoption of some system of slides whereby the mould could be expanded or
-contracted laterally, without prejudice to the invariable regularity of its body
-and height. By what crude methods the first typefounder contrived to combine
-these essential qualities, we have no means of judging<a class="afnanch" href="#fn38" id="fnanch38">38</a>; but were they ever so
-crude, to him is due the honour of the culminating achievement of the invention
-of typography. “His type mould,” Mr. De Vinne remarks, “was not merely
-the first; it is the only practical mechanism for making types. For more than
-four hundred years this mould has been under critical
-examination, and many <span class="xxpn" id="p018">{18}</span>
-attempts have been made to supplant it. .&#160;.&#160;. But in principle, and in all
-the more important features, the modern mould may be regarded as the mould
-of Gutenberg.”</p>
-
-<div class="dctr06" id="fg02">
-<img src="images/i018.png" width="600" height="544" alt="" />
-<div class="dcaption">2. Specimens illustrating the variations in the
-face of type produced by bad casting.</div>
-</div>
-
-<p>It may be asked, if the matrices were so truly justified, and the mould so
-accurately adjusted, how comes it that in the first books of these Mentz
-printers we still discover irregularites among the letters—fewer, indeed, but of the
-same kind as are to be found in books printed by the artists of the ruder school?
-To this we reply, that these irregularities are for the most part attributable
-neither to varieties in the original models, nor to defects in the matrix or the
-mould, but to the worn or unworn condition of the type, and to the skill or want
-of skill of the caster. Anyone versed in the practice of type-casting in hand-moulds,
-is aware that the manual exercise of casting a type is peculiar and
-difficult. With the same mould and the same matrix, one clever workman may
-turn out nineteen perfect types out of twenty; while a clumsy caster will scarcely
-succeed in producing a single perfect type out of the number. Different letters
-require different contortions to “coax” the metal into all the interstices of the
-matrix; and it is quite possible for the same workman to vary so in his work
-as to be as “lucky” one day as he is unprofitable the next. In modern times,
-of course, none but the perfect types ever find their way into the printer’s hands,
-but in the early days, when, with a perishable matrix, every type cast was of
-consequence, the censorship would be less severe,<a class="afnanch" href="#fn39" id="fnanch39">39</a>
-and types
-would be allowed to <span class="xxpn" id="p019">{19}</span>
-pass into use which differed as much from their original model as they did from
-one another. Let any inexperienced reader attempt to cast twenty Black-letter
-types from one mould and matrix, and let him take a proof of the types
-so produced in juxtaposition. The result of such an experiment would lead
-him to cease once and for all to wonder at irregularities observable in the
-Gutenberg <i>Bible</i>, or the Mentz <i>Psalter</i>, or the <i>Catholicon</i>.</p>
-
-<p>With regard to the metal in which the earliest types were cast, we have
-more or less information afforded us in the colophons and statements of the
-printers themselves; although it must be borne in mind that the figurative
-language in which these artists were wont to describe their own labours is apt
-occasionally to lead to confusion, as to whether the expressions used refer to the
-punch, the matrix, or the cast types. We meet almost promiscuously with
-the terms,—“ære notas,” “æneis formulis,” “chalcographos,” “stanneis typis,”
-“stanneis formulis,” “ahenis formis,” “tabulis ahenis,” “ære legere,” “notas de
-duro orichalco,” etc. We look in vain for “plumbum,” the metal one would
-most naturally expect to find mentioned. The word <i>æs</i>, though strictly
-meaning bronze, is undoubtedly to be taken in its wider sense, already familiar
-in the fifteenth century, of metal in the abstract, and to include, at least, the
-lead, tin, or pewter in which the types were almost certainly cast. The
-reference to copper and bronze might either apply to the early punches or the
-later matrices; but in no case is it probable that types were cast in either
-metal.</p>
-
-<p>Padre Fineschi gives an interesting extract from the cost-book of the
-Ripoli press, about 1480,<a class="afnanch" href="#fn40" id="fnanch40">40</a>
-by which it appears that steel, brass, copper, tin,
-lead, and iron wire were all used in the manufacture of types at that period;
-the first two probably for the mould, the steel also for the punches, the copper
-for the matrices, the lead and tin for the types, and the iron wire for the mould,
-and possibly for stringing together the perforated type-models.</p>
-
-<p>It is probable that an alloy was early introduced; first by the addition to the
-lead of tin and iron, and then gradually improved upon,
-till the discovery of <span class="xxpn" id="p020">{20}</span>
-antimony at the end of the fifteenth century<a class="afnanch" href="#fn41" id="fnanch41">41</a>
-supplied the ingredient requisite
-to render the types at once tough and sharp enough for the ordeal of the press.
-There is little doubt that at some time or other every known metal was tried
-experimentally in the mixture; but, from the earliest days of letter-casting,
-lead and tin have always been recognised as the staple ingredients of the
-alloy; the hard substance being usually either iron, bismuth, or antimony.</p>
-
-<hr class="hrblnk" />
-
-<p>Turning now from type-casting appliances to the early types themselves,
-we are enabled, thanks to one or two recent discoveries, to form a tolerably
-good idea as to their appearance and peculiarities. We have already stated
-that, with regard to the traditional perforated wooden types seen by certain old
-writers, the probability is that, if these were the genuine relics they professed to
-be, they were model types used for forming moulds upon, or for impressing into
-matrices of moist clay or soft lead. We have also considered it possible, in
-regard to types cast in the primitive sand or clay moulds of the rude school, that
-to overcome the difficulties incident to irregular height to paper, uneven bodies,
-and loose locking-up, the expedient may have been attempted of perforating
-the types and passing a thread or wire through each line, to hold the intractable
-letters in their place.</p>
-
-<p>This, however, is mere conjecture, and whether such types existed or not
-none of them have survived to our day. Their possessors, as they slowly
-discovered the secret of the punch, matrix and mould, would show little veneration,
-we imagine, for these clumsy relics of their ignorance, and value them only
-as old lead, to be remelted and recast by the newer and better method.</p>
-
-<p>But though no relic of these primitive cast types remains, we are happily
-not without means for forming a judgment respecting some of the earliest types
-of the more finished school of printers. In 1878, in the bed of the river Saône,
-near Lyons,<a class="afnanch" href="#fn42" id="fnanch42">42</a>
-opposite the site of one of the famous fifteenth century printing-houses
-of that city, a number of old types were discovered which there seems
-reason to believe belonged once to one of those presses, and were used by the
-early printers of Lyons. They came into the hands of M.
-Claudin of Paris, <span class="xxpn" id="p021">{21}</span>
-the distinguished typographical antiquary, who, after careful examination and
-inquiry, has satisfied himself as to their antiquity and value as genuine relics of
-the infancy of the art of printing.</p>
-
-<div class="dctr03" id="fg04">
-<img src="images/i021.jpg" width="456" height="185" alt="" />
-<div class="dcaption">4. <i>Profile tracings from M.
-Claudin’s Types. October 1883.</i></div></div>
-
-<p>It has been our good fortune, by the kindness of M. Claudin, to have an
-opportunity of inspecting these precious relics. The following outline profile-sketches
-will give a good idea of the various forms and sizes represented in
-the collection. There is little doubt that they were all cast in a mould. The
-metal used is lead, slightly alloyed with some harder substance, which in the
-case of a few of the types seems to be iron. The chief point which strikes the
-observer is the variety in the “height to paper” of the different founts. Taking
-the six specimens shown in the illustration, it will be seen that no two of the
-types correspond in this particular. No. 4 corresponds as nearly as possible
-to our English standard height. No. 3 is considerably lower than an ordinary
-space height. No. 2 approaches some of the continental heights still to be met
-with, while Nos. 1, 5, and 6 are higher than any known standard. It is easy to
-imagine that an early printer who cast his own types would trouble himself
-very little as to the heights of his neighbours’ and rivals’ moulds, so that in a
-city like Lyons there might have been as many “heights to paper” as there
-were printers. It is even possible that a printer using one style and size of
-letter exclusively for one description of work, and another size and style for another
-description, might not be particular to assimilate the heights in his own office;
-and so, foreshadowing the improvidence of some of his modern followers, lay in
-founts of letter which would not work with any other, but which, as time went
-on, could hardly be dispensed with. Then, when the days of the itinerant
-typesellers and the type-markets began, he might still further add to his
-“heights” by the purchase of a German fount from one merchant, a Dutch from
-another, and so on.</p>
-
-<p>The type No. 3, though lower than all the rest, has yet a
-letter upon its <span class="xxpn" id="p022">{22}</span>
-end. But it seems likely that the old printers cut down their worn-out letters
-for spaces, not by ploughing off the face, but by shortening the type at the
-foot. So that No. 3 (presuming the bodies to have corresponded) might stand
-as a space to No. 4, or No. 4 to No. 1. At the same time, the collection
-includes a good number of plain spaces and quadrats (the latter generally
-about a square body), which may either have been cast as they now appear, or
-be old letters of which the face and shoulder have been cut off.</p>
-
-<p>The small hole appearing in the side of type No. 4 is a perforation, and the
-collection contains several types, both letters and spaces, having the same
-peculiarity. Whether this hole was formed at the time of or after casting; whether
-the letters so perforated were originally model-types only, or types in actual use;
-whether the hole was intended for a thread or wire to hold the letters in their
-places during impression; or whether, for want of a type-case, it was used for
-stringing the types together for safety when not in use, it is as easy to conjecture
-as it is impossible to determine. The perforated types which we examined certainly
-did not appear to be older, and in most cases appeared less old than those not
-perforated,—the outline of type No. 4 itself shows it to be fairer and squarer
-than any of its companions.</p>
-
-<p>Another peculiarity to be noted is the “shamfer,” or cutting away of one
-of the corners of the feet of types 2, 5, and 6. This appears to have been
-intentional, and may have served the same purpose as our nick, to guide the
-compositor in setting. None of the types have a nick, and types 1 and 3 have
-no distinguishing mark whatever. The two small indentations in the side of
-type 2 are air-holes produced in the casting.</p>
-
-<p>With regard to the faces of the types, there are traces in most of the letters
-of the “shoulders” of the body having been tapered off by a knife or graver
-after casting, so as to leave the letter quite clear on the body. In most cases
-the letter stands in the centre of the body, which is, as a rule, larger than
-the size of the character actually requires. In point of thickness, however, the
-old printers appear to have been very sparing; and a great many of the letters,
-though possessing ample room “body-way,” actually overhang the sides, and
-are what we should style in modern terminology “kerned” letters. The
-difficulty, however, which would be experienced by printers to-day with these
-overhanging sorts, was obviated to a large extent in the case of the old printers
-by the numerous ligatures, contractions, and double letters with which their
-founts abounded, and which gave almost all the combinations in which an overhanging
-letter would be likely to clash with its neighbour.</p>
-
-<p>One last peculiarity to be observed is the absence of what is known as the
-“break” at the foot of the type. The contrivance in the
-mould whereby the <span class="xxpn" id="p023">{23}</span>
-foot of the type is cast square, and the “jet,” or superfluous metal left by the
-casting, is attached, not to the whole of the foot, but to a narrow ridge across the
-centre, from which it is easily detached, was probably unknown to the fifteenth
-century typefounders. Their types appear to have come out of the mould with
-a “jet” attaching to the entire foot, from which it could only be detached by a
-saw or cutter. The “shamfer” already pointed out in types 2, 5, 6, if produced in
-the mould, may indicate an early attempt to reduce the size of the jet, which, if
-attaching to the entire square of the foot of a type the size of No. 2, would involve
-both time and labour in removal. M. Duverger, in his clever essay to the
-invention of printing,<a class="afnanch" href="#fn43" id="fnanch43">43</a>
-gives an illustration of the manner in which he imagines
-the old types would be detached from their jets; and considers that in the three
-points only of the want of a breaking “jet,” the want of a spring to hold the
-matrix to the mould, and the absence of a nick, the mould of the first printer
-differed essentially from that of the printer of his day.</p>
-
-<div class="dctr01" id="fg03">
-<img src="images/i023.jpg" width="600" height="255" alt="" />
-<div class="dcaption">3. Type Mould of
-Claude Garamond. Paris, 1540. (From Duverger.)</div>
-</div>
-
-<p>Such are some of the chief points of interest to be observed in these venerable
-relics of the old typographers. It is to be hoped that M. Claudin may
-before long favour the world with a full and detailed account of their many
-peculiarities. Yet, curious as they are, they prove that the types of the fifteenth
-century differed in no essential particular from those of the nineteenth. Ruder
-and rougher, and less durable they might be, but in substance and form, and in
-the mechanical principles of their manufacture, they claim kinship with the
-newest types of our most modern foundry. <span class="xxpn" id="p024">{24}</span></p>
-
-<p>The old Lyonnaise relics are not the only guide we have as to the form and
-nature of the fifteenth century types.</p>
-
-<p>M. Madden, in 1875, made a most valuable discovery in a book printed by
-Conrad Hamborch, at Cologne, in 1476, and entitled <i>La Lèpre Morale</i>, by John
-Nider, of the accidental impression of a type, pulled up from its place in the
-course of printing by the ink-ball, and laid at length upon the face of the forme,
-thus leaving its exact profile indented upon the page. We reproduce in facsimile
-M. Madden’s illustration of this type, which accompanies his own
-interesting letter on the subject.<a class="afnanch" href="#fn44" id="fnanch44">44</a></p>
-
-<div class="dctr01" id="fg05">
-<img src="images/i024a.png" width="600" height="170" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i024alg.png" title="display larger
- image">Μ</a></span> 5. From M. Madden’s <i>Lettres d’un
- Bibliographe</i>. Ser. iv, p. 231.</div>
-</div>
-
-<div class="dctr01" id="fg06">
-<img src="images/i024b.png" width="600" height="173" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i024blg.png" title="display larger
- image">Μ</a></span> 6. From <i>Liber de Laudibus ac Festis
- Gloriosæ Virginis</i>. Cologne(?), 1468(?). Fol. 4 verso.
- (From the original.)</div>
-</div>
-
-<p>A similar discovery, equally valuable and interesting, was made not
-many months ago by the late Mr. Henry Bradshaw, of Cambridge, in a copy
-of a work entitled
-<i>De Laudibus Gloriosæ Virginis Mariæ</i>, <i>sine notâ</i>, but printed
-probably about 1468 at Cologne.<a class="afnanch" href="#fn45" id="fnanch45">45</a>
-We are indebted to Mr. Bradshaw for
-the present opportunity of presenting for the first time the annexed
-facsimile of this curious relic, <span class="xxpn" id="p025">{25}</span>
-photographed direct from the page on which it occurs.<a class="afnanch" href="#fn46" id="fnanch46">46</a>
-These two impressions are
-particularly interesting in the light of the old Lyonnaise types still in existence.
-Like them, it will be seen they are without nick, and tapered off at
-the face. They are also without the jet-break. The height of both types (which
-is identical) is above the English standard, and more nearly approaches that of
-No. 2 of the Lyons letters; and M. Madden points out as remarkable that this
-height (24 millimètres) is exactly that fixed as the standard “height to paper”
-by the “réglement de la libraire” of 1723. The body of the types (assuming
-the letter to be laid sideways, of which there can be little doubt) is about the
-modern English, and so corresponds exactly to the body of the text on which
-it lies.</p>
-
-<p>The chief point of interest, however, is in the small circle appearing in
-both near the top, which M. Madden (as regards the type of the <i>Nider</i>) thus
-explains: “This circle, the contour of which is exactly formed, shows that the
-letter was pierced laterally by a circular hole. This hole did not penetrate the
-whole thickness of the letter, and served, like the nick of our days, to enable the
-compositor to tell by touch which way to set the letter in his stick, so as to be
-right in the printed page. If the letter had been laid on its other side, the
-existence of this little circle would have been lost to us for ever.” It would,
-however, be quite possible for a perforated type, with the end of the hole
-slightly clogged with ink, to present precisely the same appearance as this, which
-M. Madden concludes was only slightly pierced; and were it not for the fact
-that the pulling-up of the letter from the forme is itself evidence that the line
-could not have been threaded, we should hesitate to affirm that either of the
-types shown was not perforated. The sharp edge of the circumference in the
-type of the <i>De laudibus</i>, leaving, as it does, in the original page, a clearly embossed
-circle in the paper, makes it evident that the depression was not the result
-of a mere flaw in the casting, although it is possible (as we have satisfied ourselves
-by experiment) for the surface of the side of a roughly-cast type to be
-depressed by air-holes, some of which assume a circular form, and may even
-perforate a thin type. Indeed, at the present day it is next to impossible to cast
-by hand a type which is not a little sunk on some part of its sides; and this
-roughness of surface we can imagine to have been far more
-apparent on the types <span class="xxpn" id="p026">{26}</span>
-cast by the earliest printers. We doubt, therefore, whether, in types liable to
-these accidental depressions of surface, a small artificial hole thus easily
-simulated would be of any service as a guide to the compositor. A more
-probable explanation of the appearance seems to be that the head of a small
-screw or pin, used to fix the side-piece of the mould, projecting slightly on the
-surface of the piece it fixed, left its mark on the side of the types as they were
-cast, and thus caused the circular depression observable in the illustrations.<a class="afnanch" href="#fn47" id="fnanch47">47</a></p>
-
-<p>Before leaving this subject it may be remarked that the clear impression of
-the printed matter, despite the laid-on types, which must in either case have been
-a thin sort, is strong evidence of the softness of the metal in which the fount
-was cast. The press appears to have crushed the truant types down into the
-letters on which it lay, and, unimpeded by the obstacle, to have taken as good an
-impression of the remainder of the forme as if that obstacle had never existed.</p>
-
-<hr class="hrblnk" />
-
-<p>The quantity of type with which the earliest printers found it necessary
-to provide themselves, turns, of course, upon the question, did the first printers
-print only one page at a time, or more? M. Bernard considers that the
-Gutenberg <i>Bible</i>, which is usually collated in sections of five sheets, or twenty
-pages, containing about 2,688 types in a page, would require 60,000 types
-to print a single section; and if sufficient type was cast to enable the
-compositors to set one section while another was being worked, the fount
-would need to consist of 120,000 letters. Others consider that two pages,
-requiring, in the case of the Gutenberg <i>Bible</i>, only 6,000 types, were printed at
-one time. But even this estimate has been shown to be opposed to the
-evidence afforded by a considerable number of the incunabula, respecting which
-it is evident only one page was printed at a time. On this point we cannot do
-better than quote the words of Mr. Blades. “The scribe,” he says, “necessarily
-wrote but one page at a time, and, curiously enough, the early printers here
-also assimilated their practice. Whether from want of sufficient type to set up
-the requisite number of pages, or from the limited capability of the presses,
-there is strong evidence of the early books from Caxton’s press having been
-printed page by page. .&#160;.&#160;.&#160;. Instances are found of pages on the same side
-of the sheet being out of parallel, which could not occur if two pages were
-printed together. .&#160;.&#160;. A positive proof of the separate printing of the pages
-may be seen in a copy of the <i>Recuyell of the Histories of
-Troye</i>, in the Bodleian; <span class="xxpn" id="p027">{27}</span>
-for the ninth recto of the third quaternion has never been printed at all,
-while the second verso (the page which must fall on the same side of the sheet)
-appears properly printed.”<a class="afnanch" href="#fn48" id="fnanch48">48</a></p>
-
-<p>What is true of Caxton’s early works is also true of a large number of other
-fifteenth century printed books. Mr. Hessels, after quoting the testimony
-of Mr. Bradshaw of Cambridge, and Mr. Winter Jones of the British Museum,
-refers to a large number of incunabula in which he has found evidence that
-this mode of printing was the common practice of the early typographers.<a class="afnanch" href="#fn49" id="fnanch49">49</a></p>
-
-<p>Assuming, then, that the first books were generally printed page by page, it
-will be seen that the stock of type necessary to enable the printer to proceed was
-but small. 2,700 letters would suffice for one page of the forty-two-line <i>Bible</i>;
-and for the <i>Rationale Durandi</i>, about 5,000 would be required. It is probable,
-however, that, as Bernard suggests, the printers would cast enough to enable one
-forme to be composed while the other was working, so that double these
-quantities would possibly be provided. Nor must it be forgotten that a
-“fount” of type in these days consisted not only of the ordinary letters of the
-alphabet, but of a very large number of double letters, abbreviations and
-contractions, which must have seriously complicated the labour of composition,
-as well as reduced the individual number of each type required to fill the typefounder’s
-“bill.” This feature, doubtless attributable to the attempt on the part of
-the early printers to imitate manuscript as closely as possible, as well as to the
-exigencies of justification in composition, which, in the absence of a variety of
-spaces, required various widths in the letters themselves, was common to both
-schools of early typography. M. Bernard states that, in the type of the forty-two-line
-<i>Bible</i>, each letter required at least three or four varieties; while with
-regard to Caxton’s type 1, which was designed and cast by Colard Mansion at
-Bruges, before 1472, Mr. Blades points out that the fount contained upwards of 163
-sorts, and that there were only five letters of which there were not more than one
-matrix, either as single letters or in combination. Speaking of the <i>Speculum</i>,
-Mr. Skeen counts 1,430 types on one page, of which 22 are <i>a</i>, 61 <i>e</i>, 91 <i>i</i>, 73 <i>o</i>,
-37 <i>u</i>, 22 <i>d</i>, 14 <i>h</i>, 30 <i>m</i>, 50 <i>n</i>, 42 <i>s</i>, and 41 <i>t</i>; besides which there are no less than
-ninety duplicate and triplicate characters, comprising one variation of <i>a</i>, 15 of <i>c</i>,
-7 of <i>d</i>, 3 of <i>e</i>, 9 of <i>f</i>, 10 of <i>g</i>, 3 of <i>i</i>, 7 of <i>l</i>, 2 of <i>o</i>, 3 of <i>n</i>, 2 of <i>p</i>, 10 of <i>r</i>, 9 of <i>s</i>,
-9 of <i>t</i>, varying in the frequency of their occurrence from once to eleven times,
-leaving but 541 other letters for the rest of the alphabet,
-including the capitals; <span class="xxpn" id="p028">{28}</span>
-and of these last, from three to twenty would be the utmost of each required.
-Altogether, calculating 138 matrices (<i>i.e.</i>, two alphabets of twenty-four letters
-each, and ninety double and treble letters) to be the least number of matrices
-required to make a complete fount,<a class="afnanch" href="#fn50" id="fnanch50">50</a>
-the highest number of types of any
-one particular sort necessary to print a single page would be ninety-one. The
-average number of the eleven chief letters specified above would be about forty-four,
-while if we take into calculation the minor letters of the alphabet and the
-double letters, this average would be reduced to little more than ten. It will
-thus be seen that the founts of the earliest printers consisted of a small quantity
-each of a large variety of sorts. Mr. Astle, in his chapter on the Origin
-and Progress of Printing,<a class="afnanch" href="#fn51" id="fnanch51">51</a>
-is, we believe, the only writer who has dwelt
-upon the difficulty which the first letter-founders would be likely to encounter in
-the arrangement of their “bill.” This venerable compilation was, he considers,
-made in the fifteenth century, probably by the ordinary method of casting-off
-copy. If so, it must have experienced considerable and frequent change
-during the time that the ligatures were falling into disuse, and until the printer’s
-alphabet had reduced itself to its present limits.</p>
-
-<hr class="hrblnk" />
-
-<p>Of the face of type used by the earliest printers we shall have occasion to
-speak later on. Respecting the development of letter-founding as an industry,
-there is little that can be gathered in the history of the fifteenth century. At
-first the art of the inventor was a mystery divulged to none. But the sack of
-Mentz, in 1462, and the consequent dispersion of Gutenberg’s disciples, spread
-the secret broadcast over Europe. Italy, Switzerland, France, the Netherlands,
-Spain, England, in turn learned it, and after their fashion improved it. Italy,
-especially, guided by the master-hands of her early artists, brought it to rapid
-perfection. The migrations of Gutenberg’s types among the early presses of
-Bamberg, Eltville, and elsewhere, have led to the surmise that he may have sold
-matrices of his letter.<a class="afnanch" href="#fn52" id="fnanch52">52</a>
-In 1468, Schoeffer put forward what may be considered
-the first advertisement in the annals of typography. “Every
-nation,” he says, in <span class="xxpn" id="p029">{29}</span>
-the colophon to <i>Justinian’s Institutes</i>, “can now procure its own
-kind of letters, for he (<i>i.e.</i>, Schoeffer himself) excels with
-all-prevailing pencil” (<i>i.e.</i>, in designing and engraving all kinds
-of type).<a class="afnanch" href="#fn53" id="fnanch53">53</a>
-For the most part printers were their own founders, and
-each printer had his own types. But type depôts and markets, and the
-wanderings of the itinerant typographers, as the demands of printing
-yearly increased, brought the founts of various presses and nations
-to various centres, and thus gave the first impulse to that gradual
-divorce between printing and typefounding which in the following
-century left the latter the distinct industry it still remains.</p>
-
-<hr class="hrblnk" />
-
-<p>Such is a brief outline of the chief facts and opinions regarding the processes,
-appliances and practices of the earliest typefounders. It may be said
-that, after all, we know very little about the matter. The facts are very few, and
-the conjectures, in many instances, so contradictory, that it is impossible to
-erect a “system,” or draw any but general conclusions. These conclusions we
-very briefly summarise as follows.</p>
-
-<p>Accepting as a fundamental principle that the essence of typography is in
-the mobility of the types, we dismiss, as beyond the scope of our inquiry, the
-xylographic works which preceded typography. Passing in review the alleged
-stepping-stones between the two arts, we fail to see in the evidence adduced as to the
-use of movable wooden perforated types anything to justify the conclusion that
-the earliest printers printed books by their means. Such types may have been
-cut experimentally, but the practical impossibility of cutting them square
-enough to be composed in a forme, and of producing a work of the size and character
-of the <i>Speculum</i>, is fatal to their claims. With regard to the sculpto-fusi
-types—types engraved on cast-metal bodies—the evidence in their favour is of
-the most unsatisfactory character, and, coupled with the practical difficulties of
-their production, reduces their claims to a minimum. The marked difference of
-style and excellence in the typography of certain of the earliest books leads us
-to accept the theory that two schools of typography existed side by side in the
-infancy of the art—one a rude school, which, not having the secret of the more
-perfect appliances of the inventors, cast its letters by some primitive method,
-probably using moulds of sand or clay, in which the entire type had been
-moulded. Such types may have been perforated and held together in lines by a
-wire. The suggestion that the earliest types were produced by a system of
-polytype, and that the face of each letter, sawn off a
-plate resembling a <span class="xxpn" id="p030">{30}</span>
-stereotype-plate, was separately mounted on loose wooden shanks, we dismiss as purely
-fanciful.</p>
-
-<p>Turning now to the processes adopted by the typographers of the
-more advanced school, we consider that in the first instance, although grasping
-the principle of the punch, the matrix and the adaptable mould, they
-may have made use of inferior appliances—possibly by forming their matrices
-in lead from wooden or leaden punches or models—advancing thence by
-degrees to the use of steel punches, copper matrices, and the bipartite iron
-mould. We hold that the variations observable in the early works of this
-school are due mainly to uneven casting and wear and tear of the types. As
-to the metal in which the type was cast, we find mention made of almost
-every metal, several of which, however, refer to the punches and matrices,
-leaving tin, lead, and antimony as the staple ingredients of the type-metal. Of
-the types themselves, we find these in most essential particulars to be the same
-as those cast at a later date. We see, however, evidence of perforated, mould-cast
-type, and, in the absence of a nick, a “shamfer” at the foot, from which the
-jet appears to have been sawn or cut, instead of being broken. We remark a
-great irregularity in the heights of different founts, the average of which height is
-beyond any modern English standard. The accidental impression of a type in
-two early German books, proves that about the year 1476 types were made
-differing only in the two points of the want of a nick and the want of a jet-break
-from the types of to-day. The quantity of types required by the earliest printers,
-we consider, would be small, since they appear in most instances to have printed
-only one page at a time; but the number of different sorts going to make up
-a fount would be very considerable, by reason of the numerous contractions,
-double letters and abbreviations used.</p>
-
-<div class="dkeeptogether">
-<p>Finally, we consider that the art of letter-founding rapidly reached maturity
-after the general diffusion of printing consequent on the sack of Mentz; and
-that when the writer of the <i>Cologne Chronicle</i>, in the last year of the 15th century,
-spoke of “the art as now generally used,” he spoke of an art which, at the close
-of the 19th century, has been able to improve in no essential principle on the
-processes first made use of by the great inventors of Typography.</p>
-
-<div class="dctr09">
-<img src="images/i030.jpg" width="192" height="74" alt="" /></div></div>
-
-<div class="chapter"><div class="dctr01" id="p031">
-<img src="images/i031.jpg" width="600" height="142" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER I. THE ENGLISH TYPE
- BODIES AND FACES.">
-<span class="hblk fsz6">CHAPTER I</span>
-<span class="hblk"><img class="ihrch" src="images/i031-2.jpg"
-width="302" height="44" alt="" /></span>
-THE ENGLISH TYPE BODIES AND FACES.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i031c.png" width="312"
-height="332" alt="W" /></span>E have laid before the
-reader, in the Introductory Chapter, such facts and
-conjectures as it is possible to gather together respecting
-the processes and appliances adopted by the first
-letter-founders, and shall, with a view to render the
-particular history of the English Letter Foundries more
-intelligible, endeavour to present here, in as concise a
-form as possible, a short historical sketch of the English
-type bodies and faces, tracing particularly the rise and
-development of the Roman, Italic, and Black letters before
-and subsequent to their introduction into this country;
-adding, in a following chapter, a similar notice of the
-types of the principal foreign and learned languages which
-have figured conspicuously in English typography.</p>
-
-<h3 title="TYPE-BODIES">TYPE-BODIES.</h3>
-
-<p>The origin of type-bodies and the nomenclature which has grown around
-them, is a branch of typographical antiquity which has always been shrouded in
-more or less obscurity. Imagining, as we do, that the moulds of the first printers
-were of a primitive construction, and, though conceived on true principles, were
-adjusted to the various sizes of letter they had to cast more by eye than by rule,
-it is easy to understand that founts would be cast on no other principle than that
-of ranging in body and line and height in themselves, irrespective of the body,
-height and line of other founts used in the same press. When
-two or more <span class="xxpn" id="p032">{32}</span>
-founts were required to mix in the same work, then the necessity of a uniform
-standard of height would become apparent. When two or more founts were
-required to mix in the same line, a uniformity in body, and if possible in
-alignment, would be found necessary. When initials or marginal notes required
-to be incorporated with the text, then the advantage of a mathematical proportion
-between one body and another would suggest itself.</p>
-
-<p>At first, doubtless, the printer would name his sizes of type according to the
-works for which they were used. His Canon type would be the large character
-in which he printed the canon of the Mass. His Cicero type would be the letter
-used in his editions of that classical author. His Saint Augustin, his Primer, his
-Brevier, his Philosophie, his Pica type, would be the names by which he would
-describe the sizes of letter he used for printing the works whose names they
-bore. It may also be assumed with tolerable certainty that in most of these
-cases, originally, the names described not only the body, but the “face” of their
-respective founts. At what period this confused and haphazard system of
-nomenclature resolved itself into the definite printer’s terminology it is difficult
-to determine. The process was probably a gradual one, and was not perfected
-until typefounding became a distinct and separate trade.</p>
-
-<p>The earliest writers on the form and proportion of letters,—Dürer<a class="afnanch" href="#fn54" id="fnanch54">54</a>
-in 1525,
-Tory<a class="afnanch" href="#fn55" id="fnanch55">55</a> in 1529, and Ycair<a class="afnanch" href="#fn56" id="fnanch56">56</a>
-in 1548,—though using terms to distinguish the different
-faces of letter, were apparently unaware of any distinguishing names for the
-bodies of types. Tory, indeed, mentions Canon and Bourgeoise; but in both
-cases he refers to the face of the letter; and Ycair’s distinction of “teste y glosa”
-applies generally to the large and small type used for the text and notes
-respectively of the same work.<a class="afnanch" href="#fn57" id="fnanch57">57</a></p>
-
-<p>In England, type-bodies do not appear to have been reduced to a definite
-scale much before the end of the sixteenth century. Mores<a class="afnanch" href="#fn58" id="fnanch58">58</a>
-failed to trace them
-further back than 1647; but in a Regulation of the Stationers’ Company, dated
-1598,<a class="afnanch" href="#fn59" id="fnanch59">59</a>
-Pica, English, Long Primer, and Brevier are mentioned by name as apparently
-well-established bodies at that time; and in a petition to the same Company
-in 1635,<a class="afnanch" href="#fn60" id="fnanch60">60</a>
-Nonpareil and “two-line letters” are mentioned as equally familiar.</p>
-
-<p>Moxon, our first writer on the subject, in his <i>Mechanick
-Exercises</i>, in 1683, <span class="xxpn" id="p033">{33}</span>
-described ten regular bodies in common use in his day, and added to his list the
-number of types of each body that went to a foot, viz.:―</p>
-
-<div class="dtablebox"><div class="nowrap">
-<table summary="">
-<tr>
- <td class="tdleft">Pearl</td>
- <td class="tdleft">184</td>
- <td class="tdleft">to&#160;a&#160;foot</td></tr>
-<tr>
- <td class="tdleft">Nonpareil</td>
- <td class="tdleft">150</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">Brevier</td>
- <td class="tdleft">112</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">Long Primer</td>
- <td class="tdleft">&#x2007;92</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">Pica</td>
- <td class="tdleft">&#x2007;75</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">English</td>
- <td class="tdleft">&#x2007;66</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">Great Primer</td>
- <td class="tdleft">&#x2007;50</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">Double Pica</td>
- <td class="tdleft">&#x2007;38</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">2-line English</td>
- <td class="tdleft">&#x2007;33</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">French Canon</td>
- <td class="tdleft">&#x2007;17&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdcenter">″</td></tr>
-</table></div></div>
-
-<p>“We have one body more,” he adds, “which is sometimes used in England;
-that is, a Small Pica: but I account it no great discretion in a master-printer to
-provide it, because it differs so little from the Pica, that unless the workmen be
-carefuller than they sometimes are, it may be mingled with the Pica, and so the
-beauty of both founts may be spoiled.”</p>
-
-<p>In this sentence we have the first record of the introduction of irregular
-bodies into English typography, an innovation destined very speedily to expand,
-and within half a century increase the number of English bodies by the seven
-following additions:</p>
-
-<div class="dtablebox"><div class="nowrap">
-<table summary="">
-<tr>
- <td class="tdleft">Minion</td>
- <td class="tdleft">132</td>
- <td class="tdleft">to&#160;a&#160;foot</td></tr>
-<tr>
- <td class="tdleft">Bourgeois</td>
- <td class="tdleft">100</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">Small Pica</td>
- <td class="tdleft">&#x2007;76</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">Paragon</td>
- <td class="tdleft">&#x2007;46</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">2-line Pica</td>
- <td class="tdleft">&#x2007;37&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">2-line Great Primer</td>
- <td class="tdleft">&#x2007;25</td>
- <td class="tdcenter">″</td></tr>
-<tr>
- <td class="tdleft">2-line Double Pica</td>
- <td class="tdleft">&#x2007;19</td>
- <td class="tdcenter">″</td></tr>
-</table></div></div>
-
-<p>The origin of these irregular bodies it is easy to explain. Between Moxon’s
-time and 1720 the country was flooded with Dutch type. The English founders
-were beaten out of the field in their own market, and James, in self-defence, had
-to furnish his foundry entirely with Dutch moulds and matrices. Thus we had
-the typefounding of two nations carried on side by side. An English printer
-furnished with a Dutch fount would require additions to it to be cast to the
-Dutch standard, which might be smaller or larger than that laid down for
-English type by Moxon, and yet so near that even if it lost or gained a few
-types in the foot, it would still be called by its English name, which would
-thenceforth represent two different bodies. If, on the other hand, a new fount
-were imported, or cut by an ill-regulated artist here, which when finished was
-found to be as much too large for one regular body as it was too small for
-another, a body would be found to fit it between the two, and christened by a
-new name. In this manner, Minion, Bourgeois, Small Pica, Paragon, and two-line
-Pica insinuated themselves into the list of English bodies, and in this manner
-arose that ancient anomaly, the various body-standards of the English foundries.
-For a founder who was constantly called upon to alter his mould to accommodate
-a printer requiring a special body, would be likely to cast a quantity of the
-letter in excess of what was immediately ordered; and this store, if not sold in
-due time to the person for whom it was cast, would be disposed of
-to the first <span class="xxpn" id="p034">{34}</span>
-comer who, requiring a new fount, and not particular as to body, provided the
-additions afterwards to be had were of the same gauge, would take it off the
-founder’s hands. <i>Facilis descensus Averni&#x202f;!</i> Having taken the one downward
-step, the founder would be called upon constantly to repeat it, his moulds would
-remain set, some to the right, some to the wrong standard, and every type he
-cast would make it more impossible for him or his posterity to recover the simple
-standard from which he had erred.</p>
-
-<p>Such we imagine to have been the origin of the irregular and ununiform
-bodies. Even in 1755, when Smith published his <i>Printer’s Grammar</i>, the mischief
-was beyond recall. In no single instance were the standards given by him identical
-with those of 1683. Indeed, where each founder had two or three variations of
-each body in his own foundry it is impossible to speak of a standard at all.
-Smith points out that, in the case of English and Pica alone, Caslon had four
-varieties of the former, and the Dutch two; while of the latter, Caslon had
-three, and James two. Nevertheless, he gives a scale of the bodies commonly
-in use in his day, which it will be interesting to compare with Moxon’s on the
-one hand, and the standard of the English foundries in 1841 as given by Savage,
-on the other.</p>
-
-<div class="section">
-<div class="dtablebox">
-<table class="fsz7 borall" summary="">
-<tr>
- <th class="borall"></th>
- <th class="borall">MOX­ON, 1683</th>
- <th class="borall">SMITH, 1755</th>
- <th class="borall">CAS­LON, 1841</th>
- <th class="borall">FIG­GINS, 1841</th>
- <th class="borall">THOR­OW­GOOD, 1841</th>
- <th class="borall">WIL­SON, 1841</th></tr>
-<tr>
- <td class="tdleft borall">Canon</td>
- <td class="tdleft">&#x2007;17&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;18 and G. P.</td>
- <td class="tdleft">&#x2007;18</td>
- <td class="tdleft">&#x2007;18</td>
- <td class="tdleft">&#160;&#160;&#x2007;18</td>
- <td class="tdleft">&#x2007;18</td></tr>
-<tr>
- <td class="tdleft borall">2-line Double Pica</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">&#x2007;20&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td>
- <td class="tdleft">&#x2007;20&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td>
- <td class="tdleft">&#x2007;20&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td>
- <td class="tdleft">&#160;&#160;&#x2007;20&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;20&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td></tr>
-<tr>
- <td class="tdleft borall">2-line Great Primer</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">&#x2007;25&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;25&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;25&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#160;&#160;&#x2007;26</td>
- <td class="tdleft">&#x2007;25&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td></tr>
-<tr>
- <td class="tdleft borall">2-line English</td>
- <td class="tdleft">&#x2007;33</td>
- <td class="tdleft">&#x2007;32</td>
- <td class="tdleft">&#x2007;32</td>
- <td class="tdleft">&#x2007;32</td>
- <td class="tdleft">&#160;&#160;&#x2007;32&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td>
- <td class="tdleft">&#x2007;32</td></tr>
-<tr>
- <td class="tdleft borall">2-line Pica</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">&#x2007;35&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td>
- <td class="tdleft">&#x2007;36</td>
- <td class="tdleft">&#x2007;36</td>
- <td class="tdleft">&#160;&#160;&#x2007;36</td>
- <td class="tdleft">&#x2007;36</td></tr>
-<tr>
- <td class="tdleft borall">Double Pica</td>
- <td class="tdleft">&#x2007;38</td>
- <td class="tdleft">&#x2007;41&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;41&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;41&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#160;&#160;&#x2007;41</td>
- <td class="tdleft">&#x2007;41&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td></tr>
-<tr>
- <td class="tdleft borall">Paragon</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">&#x2007;44&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;44&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;44&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdcenter">—</td>
- <td class="tdleft">&#x2007;44&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td></tr>
-<tr>
- <td class="tdleft borall">Great Primer</td>
- <td class="tdleft">&#x2007;50</td>
- <td class="tdleft">&#x2007;51 and an r.</td>
- <td class="tdleft">&#x2007;51</td>
- <td class="tdleft">&#x2007;51</td>
- <td class="tdleft">&#160;&#160;&#x2007;52</td>
- <td class="tdleft">&#x2007;51</td></tr>
-<tr>
- <td class="tdleft borall">English</td>
- <td class="tdleft">&#x2007;66</td>
- <td class="tdleft">&#x2007;64</td>
- <td class="tdleft">&#x2007;64</td>
- <td class="tdleft">&#x2007;64</td>
- <td class="tdleft">&#160;&#160;&#x2007;64&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;64</td></tr>
-<tr>
- <td class="tdleft borall">Pica</td>
- <td class="tdleft">&#x2007;75</td>
- <td class="tdleft">&#x2007;71&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#x2007;72</td>
- <td class="tdleft">&#x2007;72&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#160;&#160;&#x2007;72</td>
- <td class="tdleft">&#x2007;72</td></tr>
-<tr>
- <td class="tdleft borall">Small Pica</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">&#x2007;83</td>
- <td class="tdleft">&#x2007;83</td>
- <td class="tdleft">&#x2007;82</td>
- <td class="tdleft">&#160;&#160;&#x2007;82</td>
- <td class="tdleft">&#x2007;83</td></tr>
-<tr>
- <td class="tdleft borall">Long Primer</td>
- <td class="tdleft">&#x2007;92</td>
- <td class="tdleft">&#x2007;89</td>
- <td class="tdleft">&#x2007;89</td>
- <td class="tdleft">&#x2007;90</td>
- <td class="tdleft">&#160;&#160;&#x2007;92</td>
- <td class="tdleft">&#x2007;89</td></tr>
-<tr>
- <td class="tdleft borall">Bourgeois</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">102 and space.</td>
- <td class="tdleft">102</td>
- <td class="tdleft">101&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">&#160;&#160;103</td>
- <td class="tdleft">102</td></tr>
-<tr>
- <td class="tdleft borall">Brevier</td>
- <td class="tdleft">112</td>
- <td class="tdleft">112&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub></td>
- <td class="tdleft">111</td>
- <td class="tdleft">107</td>
- <td class="tdleft">&#160;&#160;112</td>
- <td class="tdleft">111</td></tr>
-<tr>
- <td class="tdleft borall">Minion</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">128</td>
- <td class="tdleft">122</td>
- <td class="tdleft">122</td>
- <td class="tdleft">&#160;&#160;122</td>
- <td class="tdleft">122</td></tr>
-<tr>
- <td class="tdleft borall">Nonpareil</td>
- <td class="tdleft">150</td>
- <td class="tdleft">143</td>
- <td class="tdleft">144</td>
- <td class="tdleft">144</td>
- <td class="tdleft">&#160;&#160;144</td>
- <td class="tdleft">144</td></tr>
-<tr>
- <td class="tdleft borall">Pearl</td>
- <td class="tdleft">184</td>
- <td class="tdleft">178</td>
- <td class="tdleft">178</td>
- <td class="tdleft">180</td>
- <td class="tdleft">&#160;&#160;184</td>
- <td class="tdleft">178</td></tr>
-<tr>
- <td class="tdleft borall">Diamond</td>
- <td class="tdcenter">—</td>
- <td class="tdcenter">—</td>
- <td class="tdleft">204</td>
- <td class="tdleft">205</td>
- <td class="tdleft">&#160;&#160;210</td>
- <td class="tdleft">204</td></tr>
-</table>
-</div><!--dtablebox-->
-</div><!--section-->
-
-<p>This list does not include Trafalgar, Emerald, and Ruby, which, however,
-were in use before 1841. The first named has disappeared in England, as also
-has Paragon. The <i>Printer’s Grammar</i> of 1787 mentions a body in use at that
-time named “Primer,” between Great Primer and English.</p>
-
-<p>It is not our purpose to pursue this comparison further or more minutely;
-nor does it come within the scope of this work to enter
-into a technical <span class="xxpn" id="p035">{35}</span>
-examination of the various schemes which have been carried out abroad, and
-attempted in this country, to do away with the anomalies in type-bodies, and
-restore a uniform invariable standard. The above table will suffice as a brief
-historical note of the growth of these anomalies.</p>
-
-<p>As early as 1725, in France, an attempt was made to regulate by a public
-decree, not only the standard height of a type, but the scale of bodies. But the
-system adopted was clumsy, and only added to the confusion it was designed to
-remove. Fournier, in 1737, invented his typographical points, the first successful
-attempt at a mathematical systematisation of type-bodies, which has since, with
-the alternative system of Didot, done much in simplifying French typography.
-England, Germany, and Holland have been more conservative, and therefore
-less fortunate. Attempts were made by Fergusson in 1824,<a class="afnanch" href="#fn61" id="fnanch61">61</a>
-and by Bower of
-Sheffield about 1840,<a class="afnanch" href="#fn62" id="fnanch62">62</a>
-and others, to arrive at a standard of uniformity; but their
-schemes were not warmly taken up, and failed.</p>
-
-<p>Before proceeding to a brief historical notice of the different English type-bodies,
-we shall trouble the reader with a further table, compiled from specimen-books
-of the 18th century, showing what have been the names of the corresponding
-bodies in the foundries of other nations,—premising, however, that these
-names must be taken as representing the approximate, rather than the actual,
-equivalent in each case<a class="afnanch" href="#fn63" id="fnanch63">63</a>:―</p>
-
-<div class="section"><div class="dtablebox">
-<table class="fsz8 borall" summary="">
-<tr>
- <th></th>
- <th class="borall"><span class="smcap">E<b>NGLISH.</b></span></th>
- <th class="borall"><span class="smcap">F<b>RENCH.</b></span></th>
- <th class="borall"><span class="smcap">G<b>ERMAN.</b></span></th>
- <th class="borall"><span class="smcap">D<b>UTCH.</b></span></th>
- <th class="borall"><span class="smcap">I<b>TALIAN.</b></span></th>
- <th class="borall"><span class="smcap">S<b>PANISH.</b></span></th></tr>
-<tr>
- <td class="tdleft borall">&#x2007;1.</td>
- <td class="tdleft borall">French Canon.</td>
- <td class="tdleft borall">Double Canon.</td>
- <td class="tdleft borall">Kleine Missal.</td>
- <td class="tdleft borall">Parys Kanon.</td>
- <td class="tdleft borall">Reale.</td>
- <td class="tdcenter borall">....</td></tr>
-<tr>
- <td class="tdleft borall">&#x2007;2.</td>
- <td class="tdleft borall">2-line Double Pica.</td>
- <td class="tdleft borall">Gros Canon.</td>
- <td class="tdleft borall">Große Canon.</td>
- <td class="tdleft borall">Groote Kanon.</td>
- <td class="tdleft borall">Corale.</td>
- <td class="tdleft borall">Canon Grande.</td></tr>
-<tr>
- <td class="tdleft borall">&#x2007;3.</td>
- <td class="tdleft borall">2-line Great Primer.</td>
- <td class="tdleft borall">Trismegiste.</td>
- <td class="tdleft borall">Kleine Canon.</td>
- <td class="tdleft borall">Kanon.</td>
- <td class="tdleft borall">Canone.</td>
- <td class="tdleft borall">Canon.</td></tr>
-<tr>
- <td class="tdleft borall">&#x2007;4.</td>
- <td class="tdleft borall">2-line English.</td>
- <td class="tdleft borall">Petit Canon.</td>
- <td class="tdleft borall">Doppel Mittel.</td>
- <td class="tdleft borall">Dubbelde Augustyn.</td>
- <td class="tdleft borall">Sopracanoncino.</td>
- <td class="tdleft borall">Peticano.</td></tr>
-<tr>
- <td class="tdleft borall">&#x2007;5.</td>
- <td class="tdleft borall">2-line Pica.</td>
- <td class="tdleft borall">Palestine.</td>
- <td class="tdleft borall">Roman.</td>
- <td class="tdleft borall">Dubbelde Mediaan.</td>
- <td class="tdleft borall">Canoncino.</td>
- <td class="tdcenter borall">....</td></tr>
-<tr>
- <td class="tdleft borall">&#x2007;6.</td>
- <td class="tdleft borall">Double Pica.</td>
- <td class="tdleft borall">Gros Parangon.</td>
- <td class="tdleft borall">Text or Secunda.</td>
- <td class="tdleft borall">Dubbelde Descendiaan (or Ascendonica).</td>
- <td class="tdleft borall">Ascendonica.</td>
- <td class="tdleft borall">Misal.</td></tr>
-<tr>
- <td class="tdleft borall">&#x2007;7.</td>
- <td class="tdleft borall">Paragon.</td>
- <td class="tdleft borall">Petit Parangon.</td>
- <td class="tdleft borall">Parangon.</td>
- <td class="tdleft borall">Parangon.</td>
- <td class="tdleft borall">Parangone.</td>
- <td class="tdleft borall">Parangona.</td></tr>
-<tr>
- <td class="tdleft borall">&#x2007;8.</td>
- <td class="tdleft borall">Great Primer.</td>
- <td class="tdleft borall">Gros Romain.</td>
- <td class="tdleft borall">Tertia.</td>
- <td class="tdleft borall">Text.</td>
- <td class="tdleft borall">Testo.</td>
- <td class="tdleft borall">Texto.</td></tr>
-<tr>
- <td class="tdleft borall" rowspan="2">&#x2007;9.</td>
- <td class="tdleft borall">(Large English.)</td>
- <td class="tdleft borall">Gros Texte.</td>
- <td class="tdleft borall">Große Mittel.</td>
- <td class="tdcenter borall">....</td>
- <td class="tdleft borall">Soprasilvio.</td>
- <td class="tdcenter borall">....</td></tr>
-<tr>
- <td class="tdleft borall">English.</td>
- <td class="tdleft borall">St. Augustin.</td>
- <td class="tdleft borall">Kleine Mittel.</td>
- <td class="tdleft borall">Augustyn.</td>
- <td class="tdleft borall">Silvio.</td>
- <td class="tdleft borall">Atanasia.</td></tr>
-<tr>
- <td class="tdleft borall">10.</td>
- <td class="tdleft borall">Pica.</td>
- <td class="tdleft borall">Cicero.</td>
- <td class="tdleft borall">Cicero.</td>
- <td class="tdleft borall">Mediaan.</td>
- <td class="tdleft borall">Lettura.</td>
- <td class="tdleft borall">Lectura.</td></tr>
-<tr>
- <td class="tdleft borall">11.</td>
- <td class="tdleft borall">Small Pica.</td>
- <td class="tdleft borall">Philosophie.</td>
- <td class="tdleft borall">Brevier.</td>
- <td class="tdleft borall">Descendiaan.</td>
- <td class="tdleft borall">(Filosofia.)</td>
- <td class="tdcenter borall">....</td></tr>
-<tr>
- <td class="tdleft borall">12.</td>
- <td class="tdleft borall">Long Primer.</td>
- <td class="tdleft borall">Petit Romain.</td>
- <td class="tdleft borall">Corpus or Garmond.</td>
- <td class="tdleft borall">Garmond.</td>
- <td class="tdleft borall">Garamone.</td>
- <td class="tdleft borall">Entredos.</td></tr>
-<tr>
- <td class="tdleft borall">13.</td>
- <td class="tdleft borall">Bourgeois.</td>
- <td class="tdleft borall">Gaillarde.</td>
- <td class="tdleft borall">(Borgis.)</td>
- <td class="tdleft borall">Burgeois or Galjart.</td>
- <td class="tdleft borall">Garamoncino.</td>
- <td class="tdcenter borall">....</td></tr>
-<tr>
- <td class="tdleft borall">14.</td>
- <td class="tdleft borall">Brevier.</td>
- <td class="tdleft borall">Petit Texte.</td>
- <td class="tdleft borall">Petit or Jungfer.</td>
- <td class="tdleft borall">Brevier.</td>
- <td class="tdleft borall">Testino.</td>
- <td class="tdleft borall">Breviario.</td></tr>
-<tr>
- <td class="tdleft borall">15.</td>
- <td class="tdleft borall">Minion.</td>
- <td class="tdleft borall">Mignone.</td>
- <td class="tdleft borall">Colonel.</td>
- <td class="tdleft borall">Colonel.</td>
- <td class="tdleft borall">Mignona.</td>
- <td class="tdleft borall">Glosilla.</td></tr>
-<tr>
- <td class="tdleft borall">16.</td>
- <td class="tdleft borall">Nonpareil.</td>
- <td class="tdleft borall">Nonpareille.</td>
- <td class="tdleft borall">Nonpareille.</td>
- <td class="tdleft borall">Nonparel.</td>
- <td class="tdleft borall">Nompariglia.</td>
- <td class="tdleft borall">Nompareli.</td></tr>
-<tr>
- <td class="tdleft borall" rowspan="4">17.</td>
- <td class="tdleft borall" rowspan="2">Pearl.</td>
- <td class="tdleft borall">Parisienne or Sedan.</td>
- <td class="tdleft borall" rowspan="2">Perl.</td>
- <td class="tdleft borall">Joly.</td>
- <td class="tdleft borall" rowspan="2">Parmigianina.</td>
- <td class="tdcenter borall" rowspan="2">....</td></tr>
-<tr>
- <td class="tdleft borall">Perle.</td>
- <td class="tdleft borall">Peerl.</td></tr>
-<tr>
- <td class="tdleft borall" rowspan="2">(Diamond.)</td>
- <td class="tdleft borall" rowspan="2">Diamant.</td>
- <td class="tdleft borall" rowspan="2">Diamant.</td>
- <td class="tdleft borall">Robijn.</td>
- <td class="tdcenter borall" rowspan="2">....</td>
- <td class="tdcenter borall" rowspan="2">....</td></tr>
-<tr>
- <td class="tdleft borall">Diamand.</td></tr>
-</table></div></div><!--section-->
-
-<div><span class="xxpn" id="p036">{36}</span></div>
-
-<p>A few notes on the origin of the names of English type-bodies will conclude
-our observations on this subject.</p>
-
-<div class="dhp"><h4 class="h4runin" title="CANON">
-<span class="smcap">C<b>ANON.</b></span></h4>—The Canon of the Mass was, in the service-books of the Church,
-printed in a large letter, and it is generally supposed that, this size of letter being
-ordinarily employed in the large Missals, the type-body took its name accordingly:
-a supposition which is strengthened by its German name of Missal. Mores,
-however (who objects equally to the epithets of Great or French as unnecessary
-and delusive), considers this derivation to be incorrect, and quotes the authority
-of Tory, who uses the term Canon to apply to letter cut according to rule—<i>lettres
-de forme</i>—as distinguished from letters not so cut, which he terms <i>lettres bastardes</i>.
-So that the <i>lettre qu’on dict Canon</i> was originally a generic term, embracing all
-the regular bodies; and subsequently came to be confined to the largest size in
-that category. The theory is ingenious and interesting; but it seems more
-reasonable to lay greater stress on the actual meaning of a word than on its
-equivocal interpretation. In other countries two-line Great Primer was commonly
-called Canon, and our French Canon was called by the Dutch Parys Kanon; by
-which it would seem that both England and Holland originally received the
-body from the French. In modern letter-founding the name Canon applies
-only to the size of the face of a letter which is a three-line Pica cast on a four-line
-Pica body.</div>
-
-<p>Passing the next four bodies, which with us are
-merely reduplications,<a class="afnanch" href="#fn64"
-id="fnanch64">64</a> we note that―</p>
-
-<div class="dhp"><h4 class="h4runin" title="DOUBLE PICA">
-<span class="smcap">D<b>OUBLE</b> P<b>ICA</b>,</span></h4> which at present is Double Small Pica, was in Moxon’s day,
-what its name denotes, a two-line Pica. When the irregular Small Pica was
-introduced, Double Pica was the name given to the double of the interloper, the
-double of the Pica being styled two-line Pica. In Germany, Double Pica was called
-Text or Secunda—the former name probably denoting the use of this size in the
-text of Holy Writ, while the latter indicates that the body was one of a series,
-the Doppel Mittel, corresponding to our two-line English, being probably the
-Prima.</div>
-
-<div class="dhp"><h4 class="h4runin" title="PARAGON">
-<span class="smcap">P<b>ARAGON</b>,</span></h4> the double of Long Primer, though a body unnamed in Moxon’s
-day, was a size of really old institution; it having been a favourite body with
-many of the earliest printers, and particularly affected by Caxton in this country.
-Its name points to a French origin; and, like most of the other fanciful names,
-proves that the appellation had reference in the first instance, not to the depth
-of its shank, but to the supposed beauty of the letter which was cut upon it. It
-was a body which did not take deep root in this country, and
-for the most part <span class="xxpn" id="p037">{37}</span>
-disappeared with the first quarter of the present century. It is noteworthy that
-Paragon and Nonpareil are the only bodies which have preserved their names
-in all the countries in which they have been adopted.</div>
-
-<div class="dhp"><h4 class="h4runin" title="GREAT PRIMER">
-<span class="smcap">G<b>REAT</b> P<b>RIMER.</b></span></h4>—For this body, Mores claims an indisputable English
-origin. He considers it possible that it may date back to before the Reformation,
-and that it was the body on which were printed the large Primers of the early
-Church.<a class="afnanch" href="#fn65" id="fnanch65">65</a> This derivation<a class="afnanch" href="#fn66" id="fnanch66">66</a>
-would be more satisfactory were it found that these
-works, or the school primers of a later date, were, as a rule, printed in type of
-this size.<a class="afnanch" href="#fn67" id="fnanch67">67</a> But this is not the case. <i>Primers</i>, <i>Pyes</i>, and <i>Breviaries</i>
-occur printed
-in almost all the regular bodies. Great Primer was a favourite body with the old
-printers, and having been adopted by many of the first Bible printers, was
-sometimes called Bible Text. The French called it Gros Romain; and the
-“Great Romaine letter for the titles,” mentioned in Pynson’s indenture in 1519,
-may possibly refer to an already recognised type-body of this size. In Germany
-it was called Tertia, being the third of the regular bodies above the Mittel.
-In Holland, Italy, and Spain it was called Text.</div>
-
-<div class="dhp"><h4 class="h4runin" title="ENGLISH">
-<span class="smcap">E<b>NGLISH</b></span></h4> is also a body which undoubtedly belongs to us. Until the end of
-last century the name served not only to denote a body,
-but the face of the English Black-letter; and many of the
-old founts used in the law books and Acts of Parliament
-were English both in body and face. As in Germany, where
-it is called Mittel, English was the middle size of the
-seven regular bodies in use among us: the Great Primer,
-Double Pica, and two-line English (the Tertia, Secunda,
-and Prima of the Germans) being on the ascending side,
-and Pica, Long Primer, and Brevier on the descending. The
-French call it St. Augustin,<a class="afnanch" href="#fn68"
-id="fnanch68">68</a> and the Spaniards Atanasia, apparently
-from its use in printing the works of these Christian
-Fathers. Although the middle body, its standard has been
-subject to much variation, particularly in France and
-Germany, where large and small English are two distinct
-bodies. <span class="xxpn" id="p038">{38}</span></div>
-
-<div class="dhp"><h4 class="h4runin" title="PICA">
-<span class="smcap">P<b>ICA.</b></span></h4>—This important body, now the standard body in English typography,
-presumably owes its name to its use in printing the ordinal of the services of
-the early Church, and is coeval with Great Primer. “The Pie,” says Mores, of
-which this is the Latin name, “was a table showing the course of the service in
-the Church in the times of darkness.<a class="afnanch" href="#fn69" id="fnanch69">69</a>
-It was called the Pie because it was written
-in letters of black and red; as the Friars de <i>Pica</i> were so named from their party-coloured
-raiment, black and white, the plumage of a magpie.” “The number
-and hardness of the rules of this Pie” is referred to in the preface to our Prayer-book;
-and it will be remembered that Caxton’s famous advertisement related to
-“Pyes of Salisbury use.” But as a larger type-body than Pica was generally
-used to print these, it is possible the name may refer to nothing more than the
-piebald or black-and-white appearance of a printed page. Some authorities
-derive Pica from the Greek πίναξ, a writing tablet, and, hence, an index. The
-name was, in fact, applied to the alphabetical catalogue of the names and things
-in rolls and records. In France and Germany the body was called Cicero,
-on account of the frequent editions of Cicero’s Epistles printed in this size
-of letter.<a class="afnanch" href="#fn70" id="fnanch70">70</a>
-It was the Mediaan body of the Dutch.</div>
-
-<div class="dhp"><h4 class="h4runin" title="SMALL PICA">
-<span class="smcap">S<b>MALL</b> P<b>ICA</b>,</span></h4> as already stated, was an innovation in Moxon’s day, and was
-probably cast in the first instance to accommodate a foreign-cut letter, too
-small for pica and too large for long-primer. It subsequently came into very
-general use, one of the first important works in which it appeared being
-Chambers’s <i>Cyclopædia</i>, in 1728. The French called it Philosophie, and appear to
-have used it as a smaller body on which to cast the Cicero face. The Germans
-called it Brevier, the Dutch (it being one body below the Mediaan) called it
-Descendiaan, and the Italians, when they had it, followed the French, and
-called it Filosofia.</div>
-
-<div class="dhp"><h4 class="h4runin" title="LONG PRIMER">
-<span class="smcap">L<b>ONG</b> P<b>RIMER</b>,</span></h4> Mores suggests, was another of the old English bodies
-employed in liturgical works. He explains the use of the
-word Long to mean that Primers in this size of type were
-printed either in long lines instead of double columns,
-or that the length of the page was disproportionate to
-the width, or more probably, that they contained the
-service at full length a long, or without contraction.<a
-class="afnanch" href="#fn71" id="fnanch71">71</a> These
-<i>Primers</i>, however, are rarely to be met with in this
-body. The French named the body Petit Romain, preserving
-a similar <span class="xxpn" id="p039">{39}</span>
-relationship between it and their Gros Romain, as we
-did between our Long Primer and Great Primer. The other
-countries evidently attributed the body to France,
-and named it after Claude Garamond, the famous French
-letter-cutter, pupil of Tory, one of whose Greek founts,
-cut for the Royal Typography of Paris, was on this body.
-The Germans, however, also called the body Corpus, on
-account of their <i>Corpus Juris</i> being first printed in this
-size.</div>
-
-<div class="dhp"><h4 class="h4runin" title="BOURGEOIS">
-<span class="smcap">B<b>OURGEOIS.</b></span></h4>—This irregular body betrays its nationality in its name, which,
-however, is probably derived, not from the fact that it was used by the bourgeois
-printers of France, but from the name of the city of Bourges, which was the
-birthplace of the illustrious typographer, Geofroy Tory, about the year 1485.
-Tory originally applied the term <i>bourgeoise</i> to the <i>lettre de somme</i>, irrespective
-of size,<a class="afnanch" href="#fn72" id="fnanch72">72</a>
-as distinguished from the <i>lettre Canon</i>. The French call the body
-Gaillarde, probably after the printer of that name,<a class="afnanch" href="#fn73" id="fnanch73">73</a>
-although it is equally
-possible the name, like Mignon or Nonpareille, may be fanciful. As a type-body,
-Bourgeois did not appear in England till about 1748, and Smith informs
-us that it was originally used as a large body on which to cast Brevier or
-Petit.</div>
-
-<div class="dhp"><h4 class="h4runin" title="BREVIER">
-<span class="smcap">B<b>REVIER.</b></span></h4>—The smallest of the English regular bodies claims equal
-antiquity with Great Primer, Pica, and Long Primer. The conjecture that it
-was commonly used in the <i>Breviaries</i> of the early Church is not borne out by an
-examination of these works, most of which are printed in a considerably larger
-size.<a class="afnanch" href="#fn74" id="fnanch74">74</a>
-The name, like the French and German “Petit,” may mean that, being
-the smallest body, it was used for getting the most matter into a brief space.
-The Germans, when they cut smaller-sized letters, called the Petit Jungfer, or
-the Maiden-letter.</div>
-
-<div class="dhp"><h4 class="h4runin" title="MINION">
-<span class="smcap">M<b>INION</b>,</span></h4> a body
-unknown to Moxon, was used in England before 1730; and,
-like the other small fancifully named bodies, appears to
-have originated in France. The Dutch and Germans call it
-Colonel, and the Spaniards Glosilla.</div>
-
-<div class="dhp"><h4 class="h4runin" title="NONPAREIL">
-<span class="smcap">N<b>ONPAREIL</b>,</span></h4> now an indispensable body, because the half of Pica, was
-introduced as a peerless curiosity long before Moxon’s day, and has preserved its
-name in all the countries where it has gone. It is said first to have been cut by
-Garamond about the year 1560. Mores supposes that, because the Dutch
-founders of Moxon’s day called it “Englese Nonpareil” in
-their specimens, the <span class="xxpn" id="p040">{40}</span>
-body was first used in this country. The Dutch name, however, evidently
-refers to the face of the letter, cut in imitation of an English face, or adapted to
-suit English purchasers. Paulus Pater<a class="afnanch" href="#fn75" id="fnanch75">75</a>
-says that on account of its wonderful
-smallness and clearness, the Dutch Nonpareil was called by many the “silver
-letter,” and was supposed to have been cast in that metal.</div>
-
-<div class="dhp"><h4 class="h4runin" title="PEARL">
-<span class="smcap">P<b>EARL</b>,</span></h4> though an English body in Moxon’s day, appears to have been
-known both in France and Holland at an earlier date. In the former country it
-was celebrated as the body on which the famous tiny editions at Sedan were
-printed. The Dutch Joly corresponded more nearly to our modern Ruby than to
-Pearl. But Luce, in 1740, cut the size for France, and provoked Firmin Didot’s
-severe criticism on his performance—“Among the characters, generally bad, which
-Luce has engraved, .&#160;.&#160;. is one which cannot be seen.”</div>
-
-<div class="dhp"><h4 class="h4runin" title="DIAMOND">
-<span class="smcap">D<b>IAMOND</b></span></h4> was unknown in England until the close of last century, when Dr.
-Fry cut a fount which he claimed to be the smallest ever used, and to get in
-“more even than the famous Dutch Diamond.” This Dutch fount was of
-some antiquity, having been cut by Voskens about 1700. Previous to this,
-Van Dijk had cut a letter on a body below Pearl, called Robijn, a specimen of
-which appears on Daniel Elzevir’s sheet in 1681. M. Henri Didot, however,
-eclipsed all these minute-bodied founts by a Semi-nonpareil in 1827.</div>
-
-<hr class="hr24" />
-
-<p>It now remains to trace briefly the origin and development of the leading
-type-faces used in English Typography.</p>
-
-<h3 title="I. ROMAN"><span class="smmaj">I.</span>—ROMAN.</h3>
-
-<p>To trace the history of the Roman character would almost require a <i>résumé</i>
-of the works of all the greatest printers in each country of Europe. It must
-suffice to point out very briefly the changes it underwent before and after reaching
-England.</p>
-
-<div class="dhp"><h4 class="h4runin" title="ITALY">
-<span class="smcap">I<b>TALY.</b></span></h4>—The Italian scribes of the fifteenth century were famous for their
-beautiful manuscripts, written in a hand entirely different from the Gothic of
-the Germans, or the Secretary of the French and Netherlands calligraphers.
-It was only natural that the first Italian printers, when they set up their
-press at Subiaco, should form their letters upon the best model of the national
-scribes. The <i>Cicero de Oratore</i> of 1465<a class="afnanch" href="#fn76" id="fnanch76">76</a>
-is claimed by some
-as the first book <span class="xxpn" id="p041">{41}</span>
-printed in Roman type, although the character shows that the German artists
-who printed it had been unable wholly to shake off the traditions of the pointed
-Gothic school of typography in which they had learned their craft. The type
-of the <i>Lactantius</i>, and the improved type of the works subsequently printed by
-Sweynheim and Pannartz at Rome, as well as those of Ulric Hahn, were, in fact,
-Gothic-Romans; and it was not till Nicholas Jenson, a Frenchman, in 1470,
-printed his <i>Eusebii Præparatio</i> at Venice, that the true Roman appeared in Italy,
-which was destined to become the ruling character in European Typography.
-Fournier and others have considered that Jenson derived his Roman letter from a
-mixture of alphabets of various countries;<a class="afnanch" href="#fn77" id="fnanch77">77</a>
-but it is only necessary to compare the
-<i>Eusebius</i> with the Italian manuscripts of the period, to see that no such elaborate
-selection of models was necessary or likely. The claims of Italy in the matter
-of Roman type have of late years been somewhat seriously challenged by the
-researches of M. Madden, who in a series of remarkable studies on the typographical
-labours of the Frères de la Vie Commune at Wiedenbach, near Cologne,
-contends that the Roman type known as the fount of the
-<span class="nowrap">
-“<img class="iglyph-a" src="images/i041.jpg"
-width="78" height="74" alt="R" /></span>
-bizarre,” on account
-of the peculiar form of that capital letter, was used in that monastery in 1465<a class="afnanch" href="#fn78" id="fnanch78">78</a>;
-and that among the typographical fugitives from Mentz at that time dwelling in
-Cologne, there is little doubt that Jenson was here initiated into the art which he
-subsequently made famous. The close resemblance between the Roman of the
-Wiedenbach monks and that of the <i>Eusebius</i> is, M. Madden considers, clear
-evidence that the same hand had trained itself on the one for the marvellous
-perfection of the other.<a class="afnanch" href="#fn79" id="fnanch79">79</a>
-Jenson’s fount is on a body corresponding to English.
-The form is round and clear, and differing in fashion only from its future
-progeny. The capital alphabet consists of twenty-three letters (J, U, and W
-not being yet in use); the “lower-case” alphabet is the same, except that the
-“u” is substituted for the “v,” and in addition there is a long ſ, and the diphthongs
-æ and œ. To complete the fount, there are fifteen contractions, six
-double letters, and three points, the&#x202f;.&#x202f;:&#x202f;? making seventy-three punches in all.<a class="afnanch" href="#fn80" id="fnanch80">80</a>
-Jenson’s Roman letter fell after his death into the hands of a “firm” of which
-Andrea Torresani was head. Aldus Manutius subsequently
-associated himself <span class="xxpn" id="p042">{42}</span>
-with Torresani, and, becoming his son-in-law and heir, eventually inherited his
-punches, matrices, and types. The Roman founts of Aldus were eclipsed by his
-Italic and Greek, but he cut several very fine alphabets. Renouard<a class="afnanch" href="#fn81" id="fnanch81">81</a>
-mentions eight distinct founts between 1494 and 1558.</div>
-
-<div class="dhp"><h4 class="h4runin" title="GERMANY">
-<span class="smcap">G<b>ERMANY.</b></span></h4>—Whether the fount of the Wiedenbach monks was the progenitor
-of the Venetian Roman, or whether each can claim an independent origin, there
-seems little doubt that the fount of the
-<span class="nowrap">
-“<img class="iglyph-a" src="images/i041.jpg"
-width="78" height="74" alt="R" /></span> bizarre”
-is entitled to rank as the first
-Roman letter in Germany. The accompanying facsimile from the <i>Sophologium</i>
-will give a good idea of the form and size of this most interesting fount,
-and will at the same time show how slightly the form of the Roman alphabet has
-changed since its first introduction into Typography.</div>
-
-<div class="dctr02" id="fg07">
-<img src="images/i042.png" width="600" height="322" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i042lg.png" title="display larger
- image">Μ</a></span> 7. From the <i>Sophologium</i>
-“à <span class="nowrap">l’<img class="iglyph-a" src="images/i041.jpg"
-width="78" height="74" alt="R" /></span> bizarre.”
-Wiedenbach (?), 1465–70.</div></div>
-
-<p>Roman type was adopted before 1473 by Mentelin of Strasburg, whose
-beautiful letter placed him in the front rank of German printers. Gunther
-Zainer, who settled at Augsburg in 1469, after printing some works in the round
-Gothic, also adopted, in 1472, the Roman of the Venetian School, founts of
-which he is said to have brought direct from Italy. The German name of
-Antiqua, applied to the Roman character, has generally been supposed to imply
-a reluctance to admit the claim of Italy to the credit of introducing this style of
-letter. As, however, the Italians themselves called the letter the “Lettera
-Antiqua tonda,” the imputation against Germany is unfounded.<a class="afnanch" href="#fn82" id="fnanch82">82</a>
-The French,
-Dutch, and English called it “Roman” from the first. <span class="xxpn" id="p043">{43}</span></p>
-
-<div class="dhp"><h4 class="h4runin" title="FRANCE">
-<span class="smcap">F<b>RANCE.</b></span></h4>—The French received printing and the Roman character at the
-same time, the first work of the Sorbonne press in 1470 being in a handsome
-Roman letter about Great Primer in size, with a slight suggestion of Gothic in
-some of the characters. Gering, a German himself, and his associates, had learned
-their art at Basle; but cut, and probably designed, their own letter on the best
-available models. Their fount is rudely cast, so that several of their words appear
-only half-printed in the impression, and have been finished by hand. It has been
-stated erroneously, by several writers, on the authority of Chevillier, that their
-fount was without capitals. The fount is complete in that respect, and Chevillier’s
-expression, “lettres capitales,” as he himself explains, refers to the initial letters
-for which blank spaces were left to be filled in by hand. Besides the ordinary
-capital and “lower-case” alphabets, the fount abounds in abbreviations. This
-letter was used in all the works of the Sorbonne press, but when Gering left
-the Sorbonne and established himself at the “Soleil d’Or,” in 1473, he made
-use of a Gothic letter. In his later works, however, new and greatly improved
-founts of the Roman appear. Jodocus Badius, who by some is erroneously
-supposed to have been the first who brought the Roman letters from Italy to
-France, did not establish his famous “Prelum Ascensianum” in Paris till
-about 1500, when he printed in Roman types—not, however, before one or
-two other French printers had already distinguished themselves in the same
-direction.</div>
-
-<div class="dhp"><h4 class="h4runin" title="NETHERLANDS">
-<span class="smcap">N<b>ETHERLANDS.</b></span></h4>—The Roman was introduced into the Netherlands by
-Johannes de Westfalia, who, it is said, brought it direct from Italy about the year
-1472. He settled at Louvain, and after several works in semi-Gothic, published in
-1483 an edition of <i>Æneas Silvius</i> in the Italian letter. His fount is elegant, and
-rather a lighter face than most of the early Roman founts of other countries.
-This printer appears to have been the only one in the Low Countries who used
-this type during the fifteenth century; nor was it till Plantin, in 1555, established
-his famous press at Antwerp, that the Roman attained to any degree of excellence.
-But Plantin, and after him the Elzevirs, were destined to eclipse all other artists
-in their execution of this letter, which in their hands became a model for the
-typography of all civilisation. It should be mentioned, however, that the
-Elzevirs are not supposed to have cut their own punches. The Roman types
-which they made famous, and which are known by their
-name, were cut by <span class="xxpn" id="p044">{44}</span>
-Christopher Van Dijk,<a class="afnanch" href="#fn83" id="fnanch83">83</a>
-the form of whose letter was subsequently adopted by the
-English printers.</div>
-
-<div class="dhp"><h4 class="h4runin" title="SWITZERLAND">
-<span class="smcap">S<b>WITZERLAND</b></span></h4> early distinguished itself by the Roman letter of Amerbach of
-Basle, and still more so by the beautiful founts used by Froben of the same city,
-who between 1491 and 1527 printed some of the finest books then known in
-Europe. His Roman was very bold and regular. Christopher Froschouer of
-Zurich, about 1545, made use of a peculiar and not unpicturesque form of the
-Roman letter, in which the round sorts were thickened, after the Gothic fashion, at
-their opposite corners, instead of at their opposite sides.</div>
-
-<div class="dhp"><h4 class="h4runin" title="ENGLAND">
-<span class="smcap">E<b>NGLAND.</b></span></h4>—The Roman
-did not make its appearance in England till 1518, when
-Richard Pynson printed Pace’s <i>Oratio in Pace Nuperrimâ</i>,
-in a handsome letter, of which we show a facsimile at p.
-<a href="#fg18" title="to Fig. 18">93</a>.
-This printer’s Norman birth, and his close relationship
-with the typographers of Rouen, as well as his supposed
-intimacy with the famous Basle typographer Froben, make
-it highly probable that he procured his letter abroad,
-or modelled it on that of some of the celebrated foreign
-printers of his day. The fount is about Great Primer in
-body, and though generally neat and bold in appearance,
-displays considerable irregularity in the casting,
-and, like most of the early Roman founts, contains
-numerous contractions.<a class="afnanch" href="#fn84"
-id="fnanch84">84</a></div>
-
-<div class="dctr03" id="fg08">
-<img src="images/i045.png" width="455" height="700" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i045lg.png" title="display larger
- image">Μ</a></span> 8. From Traheron’s <i>Exposition of St.
- John</i>. Wesel (?), 1557. Showing Roman and Black-letter
- intermixed.</div></div>
-
-<p>The Roman made its way rapidly in English typography during the first
-half of the sixteenth century, and in the hands of such artists as Faques, Rastell,
-Wyer, Berthelet, and Day, maintained an average excellence. But it rapidly
-degenerated, and while other countries were dazzling Europe by the brilliancy
-of their impressions, the English Roman letter went from good to bad, and from
-bad to worse. No type is more beautiful than a beautiful Roman; and with
-equal truth it may be said, no type is more unsightly than an ill-fashioned and
-ill-worked Roman. While Claude Garamond<a class="afnanch" href="#fn85" id="fnanch85">85</a>
-in France was carrying out into
-noble practice the theories of the form and proportion of letters set out by his
-master, Geofroy Tory; while the Estiennes at Paris, Sebastian Gryphe at Lyons,
-Froben at Basle, Froschouer at Zurich, and Christopher Plantin at Antwerp,
-were moulding and refining their alphabets into
-models which were to become <span class="xxpn" id="p045">{45}</span>
-classical, English printers, manacled body and soul by their patents and monopolies
-and state persecutions, achieved nothing with the Roman type that was
-not retrograde. For a time a struggle appears to have existed between the
-Black-letter and the Roman for the mastery of the English press, and at one
-period the curious spectacle was presented of mixed founts of the two. We
-present our readers with a specimen of English printing at a foreign press in this
-transition period, as illustrative not only of the compromise between the two
-rival characters, but of the average unappetising appearance
-of the typography <span class="xxpn" id="p046">{46}</span>
-of the day. Always impressionable and unoriginal, our national Roman letter,
-in the midst of many admirable models, chose the Dutch for its pattern, and tried
-to imitate Plantin and Elzevir, but with very little of the spirit of those great
-artists. No English work of the time, printed in English Roman type, reproduces
-within measurable distance the elegant <i>embonpoint</i>, the harmony, the
-symmetry of the types of the famous Dutch printers. The seeker after the
-beautiful looks almost in vain for anything to satisfy his eye in the English
-Roman-printed works of the sixteenth and seventeenth centuries. A few exceptions
-there are<a class="afnanch" href="#fn86" id="fnanch86">86</a>; and when the English printers, giving up the attempt to cut
-Roman for themselves, went to Holland to buy it; or when, as in the case of
-Oxford and Thomas James, the English foundries became furnished with Dutch
-matrices, our country was able to produce a few books the appearance of which
-does not call forth a blush.</p>
-
-<p>The first <i>English Bible</i> printed in Roman type was Bassendyne’s edition
-in Edinburgh, in 1576. We have it on the authority of Watson<a class="afnanch" href="#fn87" id="fnanch87">87</a>
-that, from the
-earliest days of Scotch typography, a constant trade in type and labour was
-maintained between Holland and Scotland; and he exhibited in his specimen
-pages the Dutch Romans which at that day were the most approved letters in
-use in his country.</p>
-
-<p>Utilitarian motives brought about one important departure from the first
-models of the Roman letter in the different countries where it flourished. The
-early printers were generous in their ideas, and cut their letters with a single eye
-to artistic beauty. But as printing gradually ceased to be an art, and became a
-trade, economical considerations suggested a distortion or cramping of these
-beautiful models, with a view to “getting more in.” In some cases the variation
-was made gracefully and inoffensively. The slender or compressed Roman
-letters of the French, Italian, and in some cases the Dutch printers, though not
-comparable with the round ones, are yet regular and neat; but in other cases, ours
-among them, there was little of either delicacy or skill in the innovation. The early
-part of the seventeenth century witnessed the creation abroad of some very small
-Roman faces, foremost among which were those of the beautiful little Sedan
-editions of Jannon,<a class="afnanch" href="#fn88" id="fnanch88">88</a>
-which gave their name to the body of
-the microscopic letter <span class="xxpn" id="p047">{47}</span>
-in which they were printed. Van Dijk cut a still smaller letter for the Dutch in
-Black-letter, and afterwards in Roman; and for many years the Dutch Diamond
-held the palm as the smallest fount in Europe. England followed the general
-tendency towards the minute, and though it is doubtful whether either Pearl or
-Diamond were cut by English founders before 1700, an English printer, Field,
-accomplished in 1653 the feat of printing a 32mo Bible in Pearl.<a class="afnanch" href="#fn89" id="fnanch89">89</a>
-Among
-English printers in the seventeenth century who did credit to their profession,
-Roycroft is conspicuous, especially for the handsome large Romans in which he
-printed Ogilby’s <i>Virgil</i>,<a class="afnanch" href="#fn90" id="fnanch90">90</a>
-and other works. Yet Roycroft’s handsomest letter—that
-in which he printed the Royal Dedication to the <i>Polyglot</i> of 1657—was the
-fount used nearly a century before by Day,<a class="afnanch" href="#fn91" id="fnanch91">91</a>
-whose productions few English
-printers of the seventeenth century could equal, and none, certainly, could excel.
-Of Moxon’s attempt in 1683 to regenerate the Roman letter in England, we shall
-have occasion to speak elsewhere. His theories, as put into practice by himself,
-were eminently unsuccessful; and though the sign-boards of the day may have
-profited by his rules, it is doubtful if typography did. His enthusiastic
-praise of the Dutch letter of Van Dijk may have stimulated the trade between
-England and Holland; but at home his precepts fell flat for lack of an artist
-to carry them out.</p>
-
-<p>That artist was forthcoming in William Caslon in 1720, and from the time
-he cut his first fount of pica, the Roman letter in England entered on a career of
-honour. Caslon went back to the Elzevirs for his models, and throwing into his
-labour the genius of an enlightened artistic taste, he reproduced their letters with
-a precision and uniformity hitherto unknown among us, preserving at the same
-time that freedom and grace of form which had made them of all others the most
-beautiful types in Europe. Caslon’s Roman became the fashion, and English
-typography was loyal to it for nearly 80 years. Baskerville’s exquisite letters
-were, as he himself acknowledged, inspired by those of Caslon. They were sharper
-and more delicate in outline, and when finely printed, as they always were, were
-more attractive to the eye.<a class="afnanch" href="#fn92" id="fnanch92">92</a>
-But what they gained in brilliance they missed in
-sterling dignity; they dazzled the eye and fatigued it,
-and the fashion of the <span class="xxpn" id="p048">{48}</span>
-national taste was not seriously diverted. Still less was it diverted by the
-experiments of a “nouvelle typographie,” which Luce, Fournier, and others were
-trying to introduce into France. The stiff, narrow, cramped Roman which
-these artists produced scarcely finds a place in any English work of the eighteenth
-century. The Dutch type was now no longer looked at. Wilson, whose letter
-adorned the works of the Foulis press, and Jackson, whose exquisite founts helped to
-make the fame of Bensley, as those of his successor Figgins helped to continue it,
-all adhered to the Caslon models. And all these artists, with Cottrell, Fry, and
-others, contributed to a scarcely less important reform in English letter-founding,
-namely, the production by each founder of his own uniform series of Roman
-sizes,—a feature wofully absent in the odd collections of the old founders before
-1720. Towards the close of the century the Roman underwent a violent
-revolution. The few founders who had begun about 1760 in avowed imitation
-of Baskerville, had found it in their interest before 1780 to revert to the models
-of Caslon; and scarcely had they done so, when about 1790 the genius of Didot
-of Paris and Bodoni of Parma took the English press by storm, and brought
-about that complete abandonment of the Caslon-Elzevir models which marked,
-and in some cases disfigured, the last years of the eighteenth century. The
-famous presses of Bensley and Bulmer introduced the modern Roman under the
-most favourable auspices. The new letter was honest, businesslike, and trim;
-but in its stiff angles, its rigid geometrical precision, long hair-seriffs, and sharp
-contrasts of shade, there is little place for the luxuriant
-elegance of the old style.<a class="afnanch" href="#fn93" id="fnanch93">93</a>
-In France, the new fashion, even with so able an exponent as Didot, had a competitor
-in the Baskerville type, which, rejected by us, was welcomed by the French
-<i>literati</i>. Nor was this the only instance in which the fashion went from England
-to France, for in 1818 the Imprimerie Royale itself, in want of a new
-<i>typographie</i> of the then fashionable Roman, came to London for the punches.</p>
-
-<p>The typographical taste of the first quarter of the present century suffered
-a distinct vulgarisation in the unsightly heavy-faced Roman letters, which were
-not only offered by the founders, but extensively used by the printers; and the
-date at which we quit this brief survey is not a glorious one. The simple
-uniformity of faces which characterised the specimens of Caslon and his
-disciples had been corrupted by new fancies and fashions, demanded by
-the printer and conceded by the founder,—fashions
-which, as Mr. Hansard <span class="xxpn" id="p049">{49}</span>
-neatly observed in 1825, “have left the specimen of a British letter-founder
-a heterogeneous compound, made up of fat-faces and lean-faces, wide-set
-and close-set, proportioned and disproportioned, all at once crying “Quousque
-tandem abutêre patientia nostra?”</p>
-
-<p>Some of the coarsest of the new fashions were happily short-lived; and it is
-worth transgressing our limit to record the fact that in 1844 the beautiful
-old-face of Caslon was, in response to a demand from outside, revived, and has
-since, in rejuvenated forms, regained both at home and abroad much of its old
-popularity.</p>
-
-<p>It will not be out of place to add a word, before leaving the Roman, in reference
-to letter-founders’ specimens. When printers were their own founders, the productions
-of their presses were naturally also the published specimens of their
-type. They might, like Schoeffer, in the colophon to the <i>Justinian</i> in 1468,
-call attention to their skill in cutting types; or, like Caxton, print a special
-advertisement in a special type; or, like Aldus, put forward a specimen of
-the types of a forthcoming work.<a class="afnanch" href="#fn94" id="fnanch94">94</a>
-But none of these are letter-founders’
-specimens; nor was it till letter-founding became a distinct trade that such
-documents became necessary. England was probably behind other nations
-when, in 1665, the tiny specimen of Nicholas Nicholls was laid under the Royal
-notice. It is doubtful whether any founder before Moxon issued a full specimen
-of his types. He used the sheet as a means of advertising not only his
-types, but his trade as a mathematical instrument maker; and his specimen,
-taken in connection with his rules for the formation of letters, is a sorry
-performance, and not comparable to the Oxford University specimen, which that
-press published in 1693, exhibiting the gifts of Dr. Fell and Junius. Of the
-other English founders before 1720, no type specimen has come down to us; that
-shown by Watson in his <i>History of the Art of Printing</i> being merely a specimen
-of bought Dutch types. Caslon’s sheet, in 1734, marked a new departure. It
-displayed at a glance the entire contents of the new foundry; and by printing
-the same passage in each size of Roman, gave the printer an opportunity
-of judging how one body compared with another for capacity. Caslon
-was the first to adopt the since familiar “Quousque tandem” for his
-Roman specimens. The Latin certainly tends to show off the Roman
-letter to best advantage; but it gives an inadequate idea of its appearance in
-any other tongue. “The Latin language,” says Dibdin, “presents to the
-eye a great uniformity or evenness of effect. The <i>m</i> and <i>n</i>, like the solid
-sirloin upon our table, have a substantial appearance;
-no garnishing with useless <span class="xxpn" id="p050">{50}</span>
-herbs .&#160;. to disguise its real character. Now, in our own tongue, by the
-side of the <i>m</i> or <i>n</i>, or at no great distance from it, comes a crooked, long-tailed <i>g</i>, or
-a <i>th</i>, or some gawkishly ascending or descending letter of meagre form, which
-are the very flankings, herbs, or dressings of the aforesaid typographical dish,
-<i>m</i> or <i>n</i>. In short, the number of ascending or descending letters in our
-own language—the <i>p</i>’s, <i>l</i>’s, <i>th</i>’s, and sundry others of perpetual recurrence—render
-the effect of printing much less uniform and beautiful than in the
-Latin language. Caslon, therefore, and Messrs. Fry and Co. after him,”—and
-he might have added all the other founders of the eighteenth century,—“should
-have presented their specimens of printing-types in the <i>English</i> language; and
-then, as no disappointment could have ensued, so no imputation of deception
-would have attached.”<a class="afnanch" href="#fn95" id="fnanch95">95</a>
-Several founders followed Caslon’s example by issuing
-their specimens on a broadside sheet, which could be hung up in a printing-office,
-or inset in a cyclopædia. Baskerville appears to have issued only specimens of
-this kind; but Caslon, Cottrell, Wilson and Fry, who all began with sheets, found it
-necessary to adopt the book form. These books were generally executed by a
-well-known printer, and are examples not only of good types, but of fine printing.
-Bodoni’s splendid specimens roused the emulation of our founders, and the
-small octavo volumes of the eighteenth century gave place at the commencement
-of the nineteenth to quarto, often elaborately, sometimes sumptuously got up. Mr.
-Figgins was the first to break through the traditional “Quousque tandem,”
-by adding, side by side with the Latin extract, a passage in the same-sized letter
-in English. But it has not been till comparatively recent years that the
-venerable Ciceronian denunciation has finally disappeared from English letter-founders’
-specimens.</p>
-
-<h3 title="ITALIC">ITALIC.</h3>
-
-<p>The <span class="smcap">I<b>TALIC</b></span> letter, which is now an accessory of the Roman, claims an origin
-wholly independent of that character. It is said to be an imitation of the handwriting
-of Petrarch, and was introduced by Aldus Manutius of Venice, for the
-purpose of printing his projected small editions of the classics, which, either in the
-Roman or Gothic character, would have required bulky volumes. Chevillier informs
-us that a further object was to prevent the excessive number of contractions
-then in use, a feature which rendered the typography of the day often unintelligible,
-and always unsightly.<a class="afnanch" href="#fn96" id="fnanch96">96</a>
-The execution of the Aldine
-Italic was entrusted <span class="xxpn" id="p051">{51}</span>
-to Francesco da Bologna,<a class="afnanch" href="#fn97" id="fnanch97">97</a>
-who, says Renouard, had already designed and cut the
-other characters of Aldus’ press. The fount is a “lower-case” only, the capitals
-being Roman in form. It contains a large number of tied letters, to imitate handwriting,
-but is quite free from contractions and ligatures. It was first used in the
-<i>Virgil</i> of 1501, and rapidly became famous throughout Europe. Aldus produced
-six different sizes between 1501–58. It was counterfeited almost immediately in
-Lyons and elsewhere. The Junta press at Florence produced editions scarcely
-distinguishable from those of Venice. Simon de Colines cut an Italic bolder
-and larger than that of Aldus, and introduced the character into France about
-1521, prior to which date Froben of Basel had already made use of it at his
-famous press. Plantin used a large Italic in his <i>Polyglot</i>, but, like many other
-Italics of the period, it was defaced by a strange irregularity in the slopes of
-the letters. The character was originally called Venetian or Aldine, but subsequently
-took the name of Italic in all the countries into which it travelled,
-except Germany, which, acting with the same independence as had been displayed
-towards the Roman, called it “Cursiv.” The Italians also adopted the
-Latin name, “Characteres cursivos seu cancellarios.”</p>
-
-<p>The Italic was at first intended and used for the entire text of a classical
-work. Subsequently, as it became more general, it was used to distinguish
-portions of a book not properly belonging to the work, such as introductions,
-prefaces, indexes, and notes; the text itself being in Roman. Later, it was used
-in the text for quotations; and finally served the double part of emphasising
-certain words<a class="afnanch" href="#fn98" id="fnanch98">98</a>
-in some works, and in others, chiefly the translations of the Bible,
-of marking words not rightly forming a part of the text.</p>
-
-<p>In England it was first used by De Worde, in <i>Wakefield’s Oratio</i>, in 1524.
-Day, about 1567, carried it to a high state of perfection; so much so, that his
-Italic remained in use for several generations. Vautrollier, also, in his <i>New
-Testaments</i>, made use of a beautiful small Italic, which, however, was probably
-of foreign cut. Like the Roman, the Italic suffered debasement during the
-century which followed Day, and the Dutch models were
-generally preferred <span class="xxpn" id="p052">{52}</span>
-by English printers. These were carried down to a minute size, the “Robijn
-Italic” of Christopher Van Dijk being in its day the smallest in Europe.</p>
-
-<div class="dctr01" id="fg09">
-<img src="images/i052.png" width="1200" height="103" alt="" />
-<div class="dcaption">
-<span class="splnklg"><a href="images/i052lg.png"
- title="display larger image">Μ</a></span>
-9. Robijn Italic, cut by Chr. van Dijk.
-(From the matrices in the Enschedé foundry.)
-</div></div>
-
-<p>It is not easy to fix the period at which the Roman and Italic became united
-and interdependent. Very few English works occur printed wholly in Italic, and
-there seems little doubt that before the close of the sixteenth century the founders
-cast Roman and Italic together as one fount. The Italic has undergone fewer
-marked changes than the Roman. Indeed, in many of the early foundries, and
-till a later date, one face of Italic served for two or more Romans of the same
-body. We find the same Italic side by side with a broad-faced Roman in one
-book, and a lean-faced in another. Frequently the same face is made to serve
-not only for its correct body, but for the bodies next above or below it, so that
-we may find an Italic of the Brevier face cast respectively on Brevier, Bourgeois,
-and Minion bodies. These irregularities were the more noticeable from the
-constant admixture in seventeenth and eighteenth century books of Roman and
-Italic in the same lines; the latter being commonly used for all proper names, as
-well as for emphatic words. The chief variations in form have been in the
-capital letters, and the long-tailed letters of the lower-case. The tendency to
-flourish these gradually diminished on the cessation of the Dutch influence, and
-led the way to the formal, tidy Italics of Caslon and the founders of the
-eighteenth century, some of whom, however, consoled themselves for their loss of
-liberty in regard to most of their letters, by more or less extravagance in the
-tail of the
-<img class="iglyph-b" src="images/ia074.q.png"
-width="65" height="72" alt="Q" />
-which commenced the <i>Quousque tandem</i> of their specimens. As in
-the case of the Roman, Caslon cut a uniform series of Italics, having due relation,
-in the case of each body, to the size and proportions of the corresponding
-Roman. The extensive, and sometimes indiscriminate, use of Italic gradually
-corrected itself during the eighteenth century; and on the abandonment, both
-in Roman and Italic, of the long <i>ſ</i> and its
-combinations,<a class="afnanch" href="#fn99" id="fnanch99">99</a>
-English books were
-left less disfigured than they used to be. <span class="xxpn" id="p053">{53}</span></p>
-
-<div class="section">
-<h3 title="BLACK LETTER">BLACK LETTER.</h3>
-
-<div class="dctr02" id="fg10">
-<img src="images/i053.png" width="600" height="137" alt="" />
-<div class="dcaption">
-10. Gothic type, or “Lettre de Forme,”
-said to have been engraved <i>circa</i> 1480.
-
-<div>(From the original matrices in the Enschedé
-foundry.)</div></div></div></div><!--section-->
-
-<p>The
-Gothic letter employed by the inventors of printing for the <i>Bible</i>,
-<i>Psalter</i>, and other sacred works, was an imitation of the formal hand of the
-German scribes, chiefly monastic, who supplied the clergy of the day with
-their books of devotion. This letter, as a typographical character, took the
-name of
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smmaj">DE</span>
-<span class="smcap">F<b>ORME</b>,</span>
-as distinguished from the rounder and less regular
-manuscript-hand of the Germans of the fifteenth century, which was adopted
-by Schoeffer in the <i>Rationale</i>, the <i>Catholicon</i>, and other works, and which
-became known as
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smmaj">DE</span>
-<span class="smcap">S<b>OMME</b>.</span>
-The pointed Gothic, or
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smmaj">DE</span>
-<span class="smcap">F<b>ORME</b>,</span>
-a name<a class="afnanch" href="#fn100" id="fnanch100">100</a>
-generally supposed to have reference to the precision in the
-figure of the old ecclesiastical character (although some authorities have
-considered it to be a corrupt, rather than a standard form of handwriting),
-preserved its character with but little variation in all the countries to which it
-travelled. It is scarcely necessary to detail its first appearance at the various
-great centres of European typography, except to notice that in Italy and France
-it came later than the Roman.<a class="afnanch" href="#fn101" id="fnanch101">101</a>
-In England it appears first in Caxton’s type
-No. 3,<a class="afnanch" href="#fn102" id="fnanch102">102</a>
-and figures largely in nearly all the presses of our early printers. De
-Worde was, in all probability, the first to cut punches of it in this country, and to
-produce the letter which henceforth took the name of “English,” as being the
-national character of our early typography. De Worde’s English, or as it was
-subsequently styled, Black-letter, was for two centuries and a half looked upon
-as the model for all his successors in the art; indeed, to
-this day, a Black-letter <span class="xxpn" id="p054">{54}</span>
-is held to be excellent, as it resembles most closely the character used by our earliest
-printers. The Black being employed in England to a late date, not only for Bibles,
-but for law books and royal proclamations and Acts of Parliament, has never wholly
-fallen into disuse among us. The most beautiful typography of which we as a
-nation can boast during the sixteenth and seventeenth centuries, is to be found
-in the Black-letter impressions of our printers. The Old English was classed
-with the Roman and Italic by Moxon as one of the three orders of printing-letter;
-and in this particular our obligations to the Dutch are much less
-apparent than in any other branch of the printing art. Indeed, the English
-Black assumed characteristics of its own which distinguished it from the
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smcap">F<b>LAMAND</b></span> of the Dutch on the one hand, and the <span class="smcap">F<b>RACTUR</b></span> of the Germans on
-the other. It has occasionally suffered compression in form, and very occasionally
-expansion; but till 1800 its form was not seriously tampered with. Caslon
-was praised for his faithful reproduction of the genuine Old English; other
-founders, like Baskerville, did not even attempt the letter; the old Blacks were
-looked upon as the most useful and interesting portion of James’s foundry at its
-sale<a class="afnanch" href="#fn103" id="fnanch103">103</a>; and the Roxburgh Club, those Black-letter heroes of the early years of this
-century, dismissed all the new-fangled founts of modern founders in favour of
-the most venerable relics of the early English typographers. Of these newfangled
-Blacks, it will suffice to recall Dibdin’s outburst of righteous indignation—“Why
-does he (<i>i.e.</i>, Mr. Whittingham), and many other hardly less distinguished
-printers, adopt that frightful, gouty, disproportionate, eye-distracting and taste-revolting
-form of Black-letter, too frequently visible on the frontispieces of his
-books? It is contrary to all classical precedent, and outrageously repulsive in
-itself. Let the ghost of Wynkin de Worde haunt him till he abandon it!”<a class="afnanch" href="#fn104" id="fnanch104">104</a></p>
-
-<div class="dctr02" id="fg11">
-<img src="images/i054.png" width="600" height="96" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i054lg.png" title="display larger
- image">Μ</a></span> 11. Philosophie Flamand, engraved
- by Fleischman, 1743. (From the matrices in the Enschedé
- foundry.)</div></div>
-
-<p>The
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smmaj">DE</span>
-<span class="smcap">S<b>OMME</b></span>
-of the Germans, which, as we have seen, was adopted
-by Schoeffer in 1459, became in the hands of the fifteenth century printers a
-rival to the Gothic. Whether, as some state, it was derived from the Gothic, or
-was a distinct hand used by the lay scribes, we need not here discuss. Its name
-has been generally supposed to owe its origin to the fact that among the earliest
-works printed in this character was the <i>Summa fratris S.
-Thomas de Aquino</i>.<a class="afnanch" href="#fn105" id="fnanch105">105</a>
-<span class="xxpn" id="p055">{55}</span>
-Others derive the name from the carelessly formed letters used in books of
-account. This letter developed in considerable variety among the early presses
-of the fifteenth century. Its main characteristics being that of a round Gothic,<a class="afnanch" href="#fn106" id="fnanch106">106</a>
-or at least of a Gothic shorn of its angles, it lent itself readily to the influence of
-the Roman, and we find it, as in the case of the first Italian books, merging into
-that character; while in the case of many of the German and Netherlands presses
-we find it occasionally absorbing that character, adopting its form frequently in
-the capitals, and “Gothicising” it in the lower-case. But to arrive at an accurate
-idea of the changes and varieties of the
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smmaj">DE</span>
-<span class="smcap">S<b>OMME</b>,</span>
-it is necessary to
-study carefully the productions of the various presses and schools of typography
-in which it was used. In England it appeared, as might be expected, in some of
-the early works of the first Oxford press,<a class="afnanch" href="#fn107" id="fnanch107">107</a>
-whither it was brought from Cologne.
-But it never took root in the country, and was speedily rejected for the national
-Gothic, only to reappear as an exotic or a curiosity.</p>
-
-<div class="section">
-<h3 title="SECRETARY">SECRETARY.</h3>
-
-<p>The <span class="smcap">S<b>ECRETARY</b>,</span> or
-<span class="smcap">G<b>ROS-</b>B<b>ÂTARDE</b>,</span> was the manuscript-hand employed
-by the English and Burgundian scribes in the fifteenth century. It was,
-therefore, only natural that Caxton, like his typographical tutor, Colard Mansion
-of Bruges, should adopt this character for his earliest works, in preference to
-the less familiar Gothic, Semi-Gothic, or Roman letter. The French possessed
-a similar character, which, according to Fournier, was first cut by a German
-named Heilman, resident in Paris about 1490. But several years before 1490
-the Gros-Bâtarde was in use in France; in some cases the resemblance between
-the French and English types being remarkable. The Rouen printers, who
-executed some of the great law books for the London printers early in the sixteenth
-century, used a particularly neat small-sized letter of this character. Like
-the Semi-Gothic, the Secretary, after figuring in several of the early London
-and provincial presses, yielded to the English Black-letter, and after about 1534
-did not reappear in English typography. It developed, however, several curious
-variations; the chief of which were what Rowe Mores describes as the
-<span class="smcap">S<b>ET-</b>C<b>OURT</b>,</span>
-the <span class="smcap">B<b>ASE</b></span>
-<span class="smcap">S<b>ECRETARY</b>,</span> and the
-<span class="smcap">R<b>UNNING</b></span>
-<span class="smcap">S<b>ECRETARY</b>.</span> Of the first
-named, James’s foundry in 1778 possessed two founts, come down from Grover’s<a class="afnanch" href="#fn108" id="fnanch108">108</a>;
-but as the old deformed Norman law hand which they represented was abolished
-by law in 1733, the matrices, which at no time appear
-to have been much used, <span class="xxpn" id="p056">{56}</span>
-became valueless. The name <span class="smcap">C<b>OURT</b></span>
-<span class="smcap">H<b>AND</b></span> has since been appropriated for one
-of the modern scripts. Its place was taken in law work by the <span class="smcap">E<b>NGROSSING</b></span> hand,
-which Mores denominates as Base Secretary. Of this character, the only fount in
-England appears to have been that cut by Cottrell about 1760.<a class="afnanch" href="#fn109" id="fnanch109">109</a>
-The <span class="smcap">R<b>UNNING</b></span>
-<span class="smcap">S<b>ECRETARY</b></span> was another law hand, described by Mores as the law Cursive of
-Queen Elizabeth’s reign. It was similar to the French Cursive, of which Nicolas
-Granjon in 1556 cut the first punches at Lyons. Granjon’s letter at first was
-called after its author, but subsequently became known as
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smmaj">DE</span>
-<span class="smcap">C<b>IVILITÉ,</b></span>
-on account of its use, so Fournier informs us, in a work entitled <i>la Civilité
-puerile et honnête</i>, to teach children how to write. Plantin possessed a similar
-character in more than one size, which he made use of in dedications and other
-prefatory matter. The English fount in Grover’s foundry appears to have been
-the only one in this country.</p></div><!--section-->
-
-<div class="dctr02" id="fg12">
-<img src="images/i056.png" width="600" height="148" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i056lg.png" title="display larger
- image">Μ</a></span> 12. Lettre de Civilité, cut by Ameet
- Tavernier for Plantin, <i>circa</i> 1570. (From the matrices in
- the Enschedé foundry.)</div></div>
-
-<p>The <span class="smcap">S<b>CRIPT</b>,</span> by which is meant the conventional copy-book writing hand, as
-distinguished from the Italic on the one hand and the law hand on the other, is
-another form of the Bâtarde, and is supposed to have originated with Pierre
-Moreau of Paris, whose widow in 1648 published a very curious <i>Virgil</i>, the first
-volume of which is printed in this character, in four or five sizes. The Dutch
-founders copied it, and the curious founts in Grover’s foundry were probably most
-of them of Dutch origin.<a class="afnanch" href="#fn110" id="fnanch110">110</a>
-About 1760 Cottrell and Jackson both cut improved
-founts of this character. The Script, which the French have called
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smcap">C<b>OULÉE</b></span> and
-<span class="smcap">L<b>ETTRE</b></span>
-<span class="smmaj">DE</span>
-<span class="smcap">F<b>INANCE</b>,</span>
-and the Germans <span class="smcap">G<b>ESCHREVEN</b></span>
-<span class="smcap">S<b>CHRIFT</b>,</span>
-has undergone a good many changes, especially during the present century.
-M. Didot in 1815 introduced a series of ligatures, or connectors, which had the
-effect of making the letters in each word join continuously; and at the same
-time cast his letters on an inclined body, so as to fit closely together, and be
-self-supporting. His system, however, involved a large number of combination-letters
-and ligatures, which rendered it generally impracticable; and it was
-eventually replaced by a square-bodied Script, contrived to unite all the
-advantages, and obviate all the disadvantages, of his ingenious system.</p>
-
-<div class="chapter"><div class="dctr01" id="p057">
-<img src="images/i057a.png" width="600" height="142" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER II. THE LEARNED, FOREIGN, AND
- PECULIAR CHARACTERS.">
- <span class="hblk fsz6">CHAPTER II.</span>
- <span class="hblk">TYPE FACES
- (<span class="smmaj">CONTINUED</span>).</span>
- <span class="hblk"><img class="ihrch" src="images/i057b.png"
- width="282" height="39" alt="" /></span>
- THE LEARNED, FOREIGN, AND
- PECULIAR CHARACTERS.</h2>
-
-<hr class="hr42" />
-
-<h3 title="GREEK">GREEK.</h3>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i057c.png"
-width="312" height="319" alt="G" /></span>REEK
-type first occurs in the <i>Cicero de Officiis</i>, printed
-at Mentz in 1465, at the press of Fust and Schoeffer.
-The fount used is exceedingly rude and imperfect,
-many of the letters being ordinary Latin.<a class="afnanch" href="#fn111" id="fnanch111">111</a>
-In the same
-year Sweynheim and Pannartz at Subiaco used a good
-Greek letter for some of the quotations occurring in
-<i>Lactantius</i>; but the supply being short, the larger quotations
-were left blank, to be filled in by hand. The first
-book wholly printed in Greek was the <i>Grammar of Lascaris</i>, by Paravisinus, in
-Milan, in 1476, in types stated to be cut and cast by Demetrius of Crete. The
-fount (about a Great Primer in body) is a curious one, and contains breathings,
-accents and a few abbreviations. The headings to the chapters are wholly in
-capitals, which are very bold.<a class="afnanch" href="#fn112" id="fnanch112">112</a>
-It is to the glory of Milan that not only was the
-first Greek book printed within its walls, but also the first Greek classic and the
-first portion of the Greek Scriptures. The former was the <i>Æsop</i>, printed, it is
-supposed, in 1480, but without printer’s name.
-The resemblance, however, <span class="xxpn" id="p058">{58}</span>
-between the fount of this work and that of the <i>Lactantius</i> is so close that there
-seems much reason for crediting Paravisinus with the performance. The Greek
-of the <i>Psalter</i> of 1481 is very different, the lower-case being larger, and remarkably
-bold and compact in appearance. The capitals generally resemble the
-<i>Lactantius</i> fount.</p>
-
-<p>Jenson, at Venice, appears to have cut Greek type as early as about 1470.
-In 1486 two Cretan printers produced respectively a Greek <i>Psalter</i>, with accents
-and breathings, and Homer’s <i>Batrachomyomachia</i>. It was, however, reserved to
-Florence to boast of the first complete edition of <i>Homer</i>, which was printed in
-that city in 1488. This work, one of the most glorious monuments of the
-typographic art, appears in a beautiful Great Primer type, of remarkable elegance
-and neatness, with few abbreviations. The printer was Demetrius of Crete.</p>
-
-<p>But it was at Venice that Greek printing was destined to reach its greatest
-excellence in the fifteenth century, at the press of Aldus, who in 1495 produced
-his famous <i>Aristotle</i>, in a beautiful letter which eclipsed all its predecessors. His
-fount was about a Double Pica in body, and much bolder and more imposing than
-any which had yet appeared, as well as being better cast and justified. The
-splendid Greek impressions of the elder Aldus are too well known to need further
-notice here. Renouard mentions nine separate founts used at this press.</p>
-
-<p>The fame of the Italian Greek presses early roused emulation in France.
-Among the first printers of Paris, however, the Greek quotations and words
-introduced in their works were scanty and indifferent. Gering used but a
-very few letters, and Jodocus Badius, in 1505, excused the poverty of his
-<i>Annotationes in Nov. Testamentum</i>, by pleading the paucity of his types. The
-early works of the first Henri Estienne were similarly defective. In 1507, however,
-Greek punches were cut and matrices struck by Gilles de Gourmont, and
-the first wholly Greek work was printed at his press in this year, being a Greek
-<i>Alphabet</i>, with rules for pronunciation and reading. In the same year he also
-printed the <i>Batrachomyomachia</i>. Greek printing, once started in Paris, made
-rapid progress. Jodocus Badius, Vidouvé, Colinæus, and Christian Wechel, all
-distinguished themselves. Geofroy Tory contributed largely to the improvement
-in the form of the character. But it was not till Robert Estienne, with the title
-of “Regius in Græcis Typographus,”<a class="afnanch" href="#fn113" id="fnanch113">113</a>
-commenced his career, that Greek printing
-reached its greatest perfection in France. On the establishment of an Imprimerie
-Royale by Francis I,<a class="afnanch" href="#fn114" id="fnanch114">114</a>
-Claude Garamond, the first typographical
-artist of his day, <span class="xxpn" id="p059">{59}</span>
-was entrusted with the care of engraving punches and preparing matrices for
-three founts of Greek, about an English, Long Primer, and Double Pica in body,
-which henceforth became famous throughout Europe as the “Characteres Regii.”<a class="afnanch" href="#fn115" id="fnanch115">115</a>
-These characters, modelled as to their capitals on the alphabet of Lascaris, and as
-to their “lower-case” and abbreviations from the beautiful Greek calligraphy of
-Angelus Vergetius of Candia, first appeared in the <i>Eusebius</i>, printed, in 1544,<a class="afnanch" href="#fn116" id="fnanch116">116</a>
-by Robert Estienne, to whom the use of the types was, by virtue of his office, conceded,
-and who employed them in the production of some of the most brilliant Greek
-impressions Europe has ever seen.<a class="afnanch" href="#fn117" id="fnanch117">117</a>
-During the seventeenth century the Royal
-Greek punches and matrices lay for the most part idle; but in 1691, Anisson,
-Director of the Imprimerie Royale, rescued them from obscurity, and caused
-new punches to be cut and matrices struck, to supply what were missing, by
-Grandjean, the famous Parisian founder.</p>
-
-<p>In the Low Countries, as early as 1501, Thierry Martens, at Louvain, had
-Greek types with which he printed occasional words. He produced an edition of
-<i>Æsop</i> in 1513, and in 1516 a <i>Grammar</i> of Theodore de Gaza’s, and a little
-book of <i>Hours</i>, in Greek. The latter is considered an excellent piece of
-typography. Greek printing attained to considerable celebrity in the Low
-Countries. The Greek fount used in Plantin’s <i>Polyglot</i>, in 1569–72, is said to
-have been cut by the famous French founder and engraver, Le Bé.</p>
-
-<p>Spain claims a prominent place in the history of early Greek printing in
-Europe, as it was at Alcala in that country that the famous <i>Complutensian
-Polyglot</i> of Cardinal Ximenes was printed in 1514–17,<a class="afnanch" href="#fn118" id="fnanch118">118</a>
-including the entire text
-of the Bible in Greek. The fount employed in the New Testament is very grand
-and imposing, and is said to have been cut specially for the work on the models
-of Greek manuscripts of the eleventh or twelfth century.</p>
-
-<p>Before the completion of this great work, Germany had secured the honour
-of producing the first entire <i>Greek Testament</i> at the press of Froben of Basle.
-Froben’s Greek is somewhat cramped and stiff. Oporinus,
-who printed in the <span class="xxpn" id="p060">{60}</span>
-same city in 1551, besides using a fount identical with that of Froben, introduced
-a smaller and much neater letter at the same time. Numerous printers produced
-Greek works in Germany at this period, perhaps the most famous being Andrew
-Wechel, who began at Paris with types inherited from his father, but in 1573
-established himself at Frankfort, where he printed several very fine works in a
-new and most elegant Greek, said to have been acquired from the Estiennes, to
-whose letter it bears the closest resemblance.</p>
-
-<p>The first appearance of Greek type in England is observed in De Worde’s
-edition of <i>Whitintoni Grammatices</i>, printed in 1519, where a few words
-are introduced cut in wood. Cast types were used at Cambridge in a
-book entitled <i>Galenus de Temperamentis</i>, translated by Linacre, and printed by
-Siberch in 1521. Siberch styles himself the first Greek printer in England; but
-the quotations in the <i>Galenus</i> are very sparse, and he is not known to have printed
-any entire book in Greek. In 1524, Pynson also used some Greek words and
-lines, without accents or breathings, in Linacre’s <i>De emendatâ structurâ Latini
-sermonis</i>; but added an apology for the imperfections of the characters, which he
-said were but lately cast, and in a small quantity. The first printer who possessed
-Greek types in any quantity was Reginald Wolfe, who held a royal patent as
-printer in Greek, Latin, and Hebrew, and printed, in 1543, <i>Two Homilies of
-Chrysostom</i>, edited by Sir John Cheke, the first Greek Lecturer at Cambridge.
-Eight years later, in the first volume of Dr. Turner’s <i>Herbal</i>, printed at
-Mierdman’s press in London, the Greek words were given in Black, and quotations
-in Italic. In Edinburgh, in 1563, and as late as 1579, the space for Greek words
-was left blank in printing, to be filled in by hand. The Oxford University press,
-re-established in 1585, was well supplied with Greek types, which were used in
-the <i>Chrysostom</i> of 1586, and the <i>Herodotus</i> of 1591. The beautiful Greek fount
-used in the Eton <i>Chrysostom</i><a class="afnanch" href="#fn119" id="fnanch119">119</a>
-in 1610–12—a work which takes rank with the finest
-Greek impressions in Europe—is supposed to have been obtained from abroad,
-probably from Paris or Frankfort. Its similarity to the Greek of the Estiennes
-is remarkable. Indeed, the “characteres regii” of France were at that time, and
-for long afterwards, the envy and models for all Europe. The Eton Greek types,
-of which probably the matrices were not in England, were acquired by the Oxford
-University, to which body, in 1632, application was made by Cambridge for the
-loan of a Greek fount to print a <i>Greek Testament</i>, the sister University possessing
-no Greek types of her own. A Greek press was established in London in 1637,
-under peculiar circumstances, which are detailed in our account of the Oxford press.
-There is every reason to suppose that of the handsome
-Greek letter provided <span class="xxpn" id="p061">{61}</span>
-for this press,<a class="afnanch" href="#fn120" id="fnanch120">120</a>
-not only the types, but the matrices were acquired. After this, Greek
-printing became general in London and Oxford. The various typefounders all
-provided themselves with a good variety of sizes, some of which were very small
-and neat. There was a very fine Brevier Greek in Grover’s foundry in 1700, and
-a Nonpareil in that of Andrews in 1706; but for minute Greek printing, England
-could produce nothing to equal the Sedan <i>Greek Testament</i>, printed by Jannon
-in 1628.</p>
-
-<p>As was the case with the Roman letter, many of our printers at the close of
-the seventeenth century preferred the Dutch Greeks, which at that time were good,
-particularly those cut by the Wetsteins. Thomas James, in 1710, brought over
-the matrices of four founts from Vosken’s foundry at Amsterdam. In 1700,
-Cambridge University, still badly off for Greek, made an offer for the purchase
-of a fount of the King’s Greek at Paris; but withdrew on the French Academy
-insisting as a condition that every work printed should bear the imprint,
-“Characteribus Græcis e Typographeo Regio Parisiensi.” The large number of
-ligatures and abbreviations in the Greek of that day made the production of a
-fount a serious business. The Oxford Augustin Greek comprised no fewer than
-354 matrices, and the Great Primer as many as 456, and the Pica 508; Fournier,
-however, went beyond all these, and showed a fount containing 776 different sorts!
-The impracticability of such enormous founts brought about a gradual reduction
-of the Greek typographical ligatures—a reform for which the Dutch founders,
-under the guidance of Leusden, deserve the chief credit. Fournier, in 1764,
-stated that for some years previously, in Holland, Greek printing had been
-carried on with the simple letters of the alphabet. Wilson’s beautiful Double
-Pica Greek,<a class="afnanch" href="#fn121" id="fnanch121">121</a> used in the Glasgow <i>Homer</i>
-of 1756, was in its day the finest Greek
-fount our country had ever seen. A new departure, however, was initiated by
-the production, in 1763, of Baskerville’s Greek fount<a class="afnanch" href="#fn122" id="fnanch122">122</a>
-for the Oxford <i>New
-Testament</i>. The letter is neat, but stiff and cramped, and apparently formed
-on an arbitrary estimate of conventional taste, and without reference to any
-accepted model. The fount was praised, and provoked imitation. Baskerville’s
-apprentice, Martin, produced a letter still less Greek than his master’s,
-and the general tendency was countenanced by the form of Bodoni’s types,
-which were so much admired in this country at the close of the century. A
-reaction, however, had begun before Bodoni’s time. The Glasgow Greek kept
-its place in Wilson’s specimens; and Jackson, encouraged by the younger
-Bowyer’s remark, that the Greek types in common use
-“were no more Greek <span class="xxpn" id="p062">{62}</span>
-than they were English,” cut a beautiful Pica about 1785 for his rising foundry.
-Early in the nineteenth century, a new fashion of Greek, for which Porson was
-sponsor and furnished the drawings, came into vogue, and has remained the
-prevailing form to this day. It may be doubted if the Porsonian letter would be
-recognised by an ancient Greek scribe as the character of his native land;
-but at any rate it is neat, elegant, and legible, and dispenses with all useless
-contractions and ligatures. In taking leave of this subject, it would be an
-omission not to mention the most beautiful little fount in which Pickering
-printed his <i>Homer</i>, in 1831. Probably no finer masterpiece of minute Greek
-printing exists anywhere.</p>
-
-<div class="dkeeptogether">
-<h3 title="HEBREW">HEBREW.</h3>
-
-<p>The first Hebrew types are generally supposed to have appeared in 1475, in a
-work printed by Conrad Fyner, at Esslingen in Wirtemburg, entitled <i>Tractatus
-contra perfidos Judæos</i>. In Pheibia, in Austrian Italy, also in 1475, a Hebrew work
-in four folio volumes, entitled the <i>Arba Turim of Rabbi Jacob ben Ascher</i>, is stated
-by De Rossi<a class="afnanch" href="#fn123" id="fnanch123">123</a>
-to have been printed; while in the same year, a few months earlier, at
-Reggio in Italy, appeared Salamon Jarchi’s <i>Commentary on the Pentateuch</i>, by
-Abraham ben Garton ben Isaac. The type of this last-named work (which Schwab<a class="afnanch" href="#fn124" id="fnanch124">124</a>
-considers without doubt to be the first Hebrew book printed) is in the Rabbinical
-character, somewhat rudely cut, but neat. Numerous other Hebrew works
-followed, earlier than 1488, at which date the first entire Hebrew <i>Bible</i> was
-printed at Soncino, by a family of German Jews. This rare Bible is printed with
-points, and is neat and regular in appearance. The volume itself is highly
-decorative, and shows a considerable amount of typographical skill on the part
-of its Jewish printers.</p></div>
-
-<p>Hebrew printing did not spread very rapidly. De Rossi mentions several
-works printed at Constantinople during the fifteenth century, as also in the
-Italian towns to which the family of Soncino printers carried the art. Aldus
-was possessed of some rude Hebrew characters; but it was Bomberg,
-who established his Hebrew press in Venice in 1517, who raised the fame of
-that already famous city by the excellence of his types and workmanship. But
-as late as 1520, at Naples, in a treatise on the Hebrew, Greek, and Latin letters,
-by De Falco, the Hebrew words, for lack of types, were written in by hand.</p>
-
-<p>In Western Europe, France was next to Italy in producing Hebrew type.
-Mention is made of an <i>Alphabetum Hebraicum et Græcum</i>, printed by Gilles de
-Gourmont in 1507; and in 1508 that able typographer,
-whose distinction as <span class="xxpn" id="p063">{63}</span>
-the first cutter of Greek type in France we have already noticed, produced,
-under the conduct of his patron, Tissard, a Hebrew <i>Grammar</i>, together with the
-<i>Oratio Dominica</i>, and other passages in the sacred language. The types made
-use of were ill-formed and imperfect. Although thus early initiated, Hebrew
-printing made little or no progress for some years. Jodocus Badius showed
-a few lines in 1511; and in 1516 Gourmont printed an <i>Alphabetum Hebraicum
-et Græcum</i>. In 1519, Augustino Giustiniani, a native of Genoa, who had already
-distinguished himself by superintending the production of Porrus’ <i>Polyglot
-Psalter</i> at that city in 1516, being invited to Paris by the King, caused new
-punches and matrices of the Hebrew to be made by Gourmont. The work took a
-year and a half to complete; when, in 1520, was published the <i>Grammar</i> of the
-Rabbi Moses Kimhi, the first wholly printed Hebrew work produced in Paris.
-From this time Hebrew printing made steady progress in France. Most of the
-printers possessed types, the Wechels and the Estiennes being the most distinguished
-in their use of them.</p>
-
-<p>In Spain the printers of the <i>Complutensian Polyglot</i> made use of a fine
-Hebrew fount in 1514–17.</p>
-
-<p>In Germany, as early as 1501, in a book supposed to have been printed at
-Erfurt, Hebrew letters occur, cut rudely on wood; and at Basle, Strasburg, and
-Augsburg a similar primitive method was adopted, as it was also in the case of
-the <i>Hebrew Grammar</i> printed at Leipsic in 1520. In 1512, however, at Tübingen
-in Wirtemburg, the <i>Septem psalmi pœnitentiales</i> were printed in cast metal type.
-In 1534, at Basle, the first <i>Hebrew Bible</i> printed by a Gentile was produced at the
-press of Bebel. Froben’s <i>Bible</i>, in the same town, in 1536, is in a type inferior
-to that of Bomberg. The running titles are all in the Rabbinical character.
-In 1587, Elias Hutter printed at Hamburg a Hebrew <i>Bible</i> in large type, in
-which the “radical” letters appear black in the usual way, and the “serviles” are
-open, or in outline, while the “quiescents” are in smaller solid letters placed above
-the line. This Bible was reprinted in 1603, and is a typographical curiosity.</p>
-
-<p>In the Low Countries, Hebrew words, probably cut in wood, occur in the
-<i>Epistola apologetica Pauli de Middleburgo</i>, printed at Louvain in 1488; and Gand<a class="afnanch" href="#fn125" id="fnanch125">125</a>
-gives 1506 as the probable date of a <i>Hebrew Dictionary, sine notâ</i>, but attributed
-to Martens. This, however, appears doubtful, as in 1518 Martens first announced
-his intention to print in Hebrew. His first-dated Hebrew work was a <i>Grammar</i>,
-in 1528; though Schwab considers that the Dictionary above referred to properly
-belongs to the year 1520. Martens’ earliest founts were a large Hebrew with
-vowel points, and a small, without. Hebrew printing
-was also practised at <span class="xxpn" id="p064">{64}</span>
-Leyden in 1520. The splendid type cut by Le Bé, the Frenchman, for Plantin’s
-<i>Polyglot</i>, printed at Antwerp in 1569–72, placed the Netherlands in the front rank
-of Hebrew typography. Amsterdam, during the seventeenth century, excelled all
-other cities in its Hebrew printing. Abraham and Bonaventura Elzevir printed
-here in Hebrew about 1630, and the Hebrew <i>Bibles</i> of Janson in 1639, Athias
-in 1667, and Van der Hooght in 1705, are justly regarded as masterpieces of
-Hebrew typography.</p>
-
-<p>The first specimen of Hebrew printing in England occurs in Wakefield’s
-<i>Oratio de laudibus et utilitate trium linguarum</i>, printed by De Worde in 1524,
-where a few words appear, rudely cut on wood. In the same work the author
-complained that he was compelled to omit a third part, because the printer had no
-Hebrew types. Hebrew words cut in wood are also used in Humfrey’s <i>Life of
-Bishop Jewell</i>, printed by John Day in 1573; and Todd, in his <i>Life of Walton</i>,
-mentions a work of Dr. Peter Baro on <i>Jonah</i>, printed at the same press in 1579,
-in the preface to which occur several verses of Hebrew. As late as 1603 Dibdin
-points out that in a poem, published at Oxford, composed by Dr. Thorne, Regius
-Professor of Hebrew at that University, a phrase in Hebrew is added, with the
-remark, “Interserenda hoc in loco .&#160;.&#160;. sed enim Typographo deerant
-characteres.” Todd, however, mentions a work printed at Oxford in 1597,
-in which Hebrew type is used, while a translation from <i>S. Chrysostom</i>, of
-John Willoughbie, printed by Barnes in 1602, shows two distinct founts in
-use. The first English book in which any quantity of Hebrew type was
-made use of was Dr. Rhys’s <i>Cambro-brytannicæ Cymræcæve linguæ institutiones</i>,
-printed by Thomas Orwin in 1592. Minsheu’s <i>Ductor in Linguas</i>, in 1617,
-printed by John Browne, shows Hebrew which serves not only for its own
-language, but also for the Syriac. And in 1621 John Bill used a newer and
-better letter for printing Dr. Davies’s <i>Antiquæ linguæ Britannicæ .&#160;. rudimenta</i>.
-The Hebrew fount made use of in Walton’s <i>Polyglot</i> in 1657 was probably the
-first important fount cut and cast in this country; and, as we shall have occasion
-to notice, was found fault with by the critics of that great undertaking. Oxford
-received a great and small Hebrew<a class="afnanch" href="#fn126" id="fnanch126">126</a>
-among the matrices presented to her by Dr.
-Fell; and both there and in London several Hebrew works were printed at the
-close of the seventeenth century, although none of striking importance. It is
-significant of the superior reputation of the Oxford Hebrew, that the Hebrew and
-Chaldæan versions in the <i>Oratio Dominica</i> of 1700 were among the versions printed
-for the London publisher of that work in the University types. Thomas James,
-although he visited Amsterdam in 1710, at that time
-the centre of the best <span class="xxpn" id="p065">{65}</span>
-Hebrew printing in Europe, failed to secure any matrices; and most of those
-which subsequently were added to his foundry appear to have been cut by
-English founders. Among them were four founts of Rabbinical Hebrew,<a class="afnanch" href="#fn127" id="fnanch127">127</a>
-for which
-character there existed no matrices in England in Walton’s time, as he was compelled
-to cut the alphabet shown in his Prolegomena in wood. Mores counted as
-many as twenty-three different founts in James’s foundry in his day, eight of which
-were with points, the remainder without. For those without points it was early the
-practice to cast points on a minute body, to be worked in a separate line below
-the letter. Caslon cut several good founts of Hebrew (one of which was of
-the open or outline description first introduced by Hutter); and during the
-eighteenth century the character became a necessary part of the stock of every
-founder. It would be difficult, however, to point to any striking achievement in
-Hebrew typography earlier than Bagster’s <i>Polyglot</i> in 1817–21, in which the
-Hebrew text is printed in a very small and beautiful type cut by Vincent Figgins,
-which in its day had the reputation of being the smallest Hebrew with points in
-England, and of equalling in size and exceeding in beauty even the elegant
-letter of Jansson of Amsterdam, two centuries before.</p>
-
-<div class="dkeeptogether">
-<h3 title="ARABIC">ARABIC.</h3>
-
-<p>The first book printed in Arabic types is supposed to be a <i>Diurnale
-græcorum Arabum</i>, printed at Fano in Italy, in 1514. Two years later, Porrus’
-<i>Polyglot Psalter</i>, comprising the Arabic version, was printed at Genoa; and two
-years later still, a <i>Koran</i> in Arabic is said to have been printed at Venice.
-Thus, says De Rossi, while no Arabic types were to be found in any other
-part of Europe, three towns of Italy possessed, and were making use of them
-at the same moment.</p></div>
-
-<p>In 1505 an <i>Arabic Vocabulary</i> at Granada had the words printed in Gothic
-letter with the Arabic points placed over them; and in other presses where there
-were no Arabic types, the language was expressed in Hebrew letters or cut
-in wood. De Guignes and others mention a fount of Arabic used by Gromors
-in Paris, in 1539–40, to print Postel’s <i>Grammar</i>, and add that the fount subsequently
-disappeared and was lost; and as late as 1596, in a book printed at Paris,
-the Arabic words had to be rendered in Hebrew. In 1591 the Vatican press
-had a fine fount of Arabic, a specimen of which is given by Angelo Roccha in
-his <i>Bibliotheca Apostolica Vaticana</i>, printed at that press. The Medicean and
-Borromean presses also had founts; and at Leyden,
-Raphlengius and Erpenius <span class="xxpn" id="p066">{66}</span>
-were both celebrated for their Arabic letter. In 1636 the foundry of the
-Propaganda showed specimens of Arabic, previous to which date Savary de
-Brèves had had cut in Constantinople, and finished by Le Bé of Paris, the
-famous Arabic founts which were used to print the <i>Psalter</i> at Rome in 1614, and
-subsequently were purchased by Vitré for the French king,<a class="afnanch" href="#fn128" id="fnanch128">128</a>
-and used in Le
-Jay’s magnificent <i>Paris Polyglot</i> of 1645. The punches and matrices of these
-founts still exist. Cotton mentions an Arabic press in Upsala in 1640.</p>
-
-<p>In England it was not till early in the seventeenth century that Arabic
-printing began to be practised. In Wakefield’s <i>Oratio de laudibus .&#160;. trium
-linguarum, Arabicæ, Chaldaicæ et Hebraicæ</i>, printed by De Worde in 1524, a
-few rude Arabic letters are introduced, cut in wood. In Minsheu’s <i>Ductor in
-Linguas</i>, 1617, the Arabic words are printed in Italic characters. Laud’s gift
-of Oriental MSS. to Oxford in 1635, and the appointment of an Arabic lecturer,
-was the first real incentive to the cultivation of the language by English
-scholars. Previous to this, it is stated that the Raphlengius Arabic press at
-Leyden had been purchased by the English Orientalist, William Bedwell; but if
-brought to this country, it does not appear that it was immediately made use of.<a class="afnanch" href="#fn129" id="fnanch129">129</a>
-The Arabic words in Thomas Greave’s oration, <i>De Linguæ Arabicæ Utilitate</i>,
-printed at Oxford in 1639, were written in by hand; and the same author, when
-publishing his <i>Elementa Linguæ Persicæ</i> at the press of James Flesher at London,
-in 1649, explained in his preface that his work had been ready for publication
-nine years before, but having no types with which to print it, it had been delayed.
-A year earlier, in 1648, Miles Flesher, predecessor to James and one of the Star
-Chamber printers, had published in the same type, and at the same press, a work
-entitled <i>De Siglis Arabum et Persarum Astronomis</i>. James Flesher was the
-printer who printed in his own types the original specimen-page of the London
-<i>Polyglot</i> in 1652. His Arabic, however, is a smaller character than that
-subsequently made use of by Roycroft for this grand work. Dr. Fell’s gift of
-matrices to Oxford in 1667 included a fount of Arabic,<a class="afnanch" href="#fn130" id="fnanch130">130</a>
-which appeared in the
-specimen of the foundry, and was used also in the <i>Oratio Dominica</i> of 1700.
-Prior to this, however, Pocock’s <i>Carmen Tograi</i> was printed at Oxford by Hall
-in 1661, “Typis Arabicis Academicis,” in a letter differing
-both from Flesher’s <span class="xxpn" id="p067">{67}</span>
-and Dr. Fell’s. In 1721, William Caslon cut for the Society for Promoting
-Christian Knowledge the fount of Arabic for the <i>Psalter</i> of 1725, and the <i>Testament</i>
-of 1727. This fount,<a class="afnanch" href="#fn131" id="fnanch131">131</a>
-with those of Oxford and the <i>Polyglot</i>, shared
-among them nearly all the Arabic printing in England for about a century
-later, when new faces began to be cut or imported. The <i>Polyglot</i> Arabics
-passed through Grover’s foundry into that of Thomas James, at the sale of
-which, in 1782, they were bought in an imperfect state by Dr. Edmund Fry for
-the Type Street foundry. Mores mentions three other Arabic founts cut by
-English founders, but includes them among the lost matrices in his collection.</p>
-
-<div class="dkeeptogether">
-<h3 title="SYRIAC">SYRIAC.</h3>
-
-<p>Syriac type, probably cut in wood, first appeared in Postel’s <i>Linguarum
-xii Alphabeta</i>, printed in Paris in 1538; but the characters are so rude in form and
-execution as to be scarcely legible. In 1555, however, Postel assisted in cutting
-the punches for the famous Syriac Peshito <i>New Testament</i>, printed at Vienna,
-in two vols. 4to, the first portion of the Scriptures, and apparently the first book
-printed in that language. In 1569–72 Plantin at Antwerp included the Syriac
-New Testament in his <i>Polyglot</i>, and reissued it in separate form in 1574.
-The Vatican press had a good fount in 1591, which appears in Roccha’s <i>Bibliotheca
-Apostolica Vaticana</i>. Mores mentions a <i>Nomenclature</i> by Ferrarius at Rome in
-1622 with Syriac type. In 1636 the press of the Propaganda issued a specimen
-of the Estranghelo and Syriac alphabets, and in the same year Kircher’s
-<i>Prodromus Coptus</i>, published at the same press, contained passages in both
-these characters, and in Heraclean. A Syriac <i>Testament</i> was printed at
-Cothon, in Upper Saxony, in 1621, and at Hamburg in 1663; and later, Gutbier
-printed the same work in several editions. In France, after the disappearance
-of Postel’s types, there was no Syriac printing for nearly a century. Henri
-Estienne printed his Syriac <i>New Testament</i> in 1539, in Hebrew characters;
-and in Cajetan’s <i>Paradigmata de iv lingis</i>, which appeared in 1596, the Syriac
-character was cut on wood, and longer passages expressed in Hebrew type. In
-1614 Savary de Brèves brought Syriac matrices along with those of other
-Oriental characters to Paris, and these were made use of by Vitré, in 1625, to
-print a <i>Syriac and Latin Psalter</i>, and appeared subsequently in the great
-<i>Polyglot</i> of Le Jay.</p></div>
-
-<p>Syriac did not make its appearance in England till the middle of the
-seventeenth century. The language was usually expressed in the earlier works
-in Hebrew characters. A letter of Bishop Usher’s, in 1637,
-mentions a project to <span class="xxpn" id="p068">{68}</span>
-purchase Syriac type abroad, and negotiations appear to have been made both
-in Paris (where the Bishop’s correspondent informed him there were at that time
-three or four founts) and at Geneva, with a view to procuring the characters.<a class="afnanch" href="#fn132" id="fnanch132">132</a>
-But it was not till the prospectus and preliminary specimen of Walton’s
-<i>Polyglot</i> were issued in 1652 that we find Syriac type in use in this country.
-The <i>Polyglot</i> contains the entire Bible in Syriac. In 1661 there was a fount at
-Oxford, which appears in Pocock’s <i>Carmen Tograi</i>, and differs from the fount
-subsequently presented by Dr. Fell,<a class="afnanch" href="#fn133" id="fnanch133">133</a> which was used in the <i>Oratio Dominica</i>
-of
-1700, and other Oriental publications of the University. The <i>Polyglot</i> fount<a class="afnanch" href="#fn134" id="fnanch134">134</a>
-found its way to Caslon’s foundry, who added two new founts of his own cutting.
-In 1778 Mores noted six founts altogether in the country. A fresh interest was
-taken in Syriac printing by the exertions of Dr. Claudius Buchanan, who, in
-1815, had the <i>Gospels and Acts</i> printed in types cut and cast under his
-supervision by Vincent Figgins. After his death, his work fell into the hands of
-Dr. Lee to complete, who, objecting to the omission of the vowel points, printed
-the entire <i>New Testament</i> in 1816. In 1825 Dr. Fry produced the beautiful
-Nonpareil Syriac for <i>Bagster’s Polyglot</i>, and in 1829 Mr. Watts cast the fount of
-Estranghelo for the edition of the <i>Bible</i> published that year, which at the time
-was the only Syriac Bible in Nestorian characters printed in this country.</p>
-
-<div class="dkeeptogether">
-<h3 title="ARMENIAN">ARMENIAN.</h3>
-
-<p>The press of the Vatican at Rome possessed a good fount of this character
-in 1591, when Angelo Roccha showed a specimen in his <i>Bibliotheca Apostolica
-Vaticana</i>. Previous to this a <i>Psalter</i> is said to have been printed at Rome in
-1565, and Rowe Mores mentions doubtfully a <i>Liturgy</i> printed at Cracow in
-1549. In 1662 the Armenian Bishops applied to France for assistance in
-printing an Armenian Bible, but being refused, although Armenian printing had
-been practised in Paris in 1633, went to Rome, where, as early as 1636, the press
-of the Propaganda had published a specimen of its Armenian matrices. The
-Patriarch, after fifteen months’ residence in Rome, removed to Amsterdam,
-where he established an Armenian press, and printed the <i>Bible</i> in 1666, followed,
-in 1668, by a separate edition of the <i>New Testament</i>. In 1669 the press was
-set up at Marseilles, where it continued for a time, and was ultimately removed
-to Constantinople.</p></div>
-
-<p>In England the first Armenian types were those
-presented by Dr. Fell to <span class="xxpn" id="p069">{69}</span>
-Oxford in 1667. In the Prolegomena of Walton’s <i>Polyglot</i>, the alphabet there
-given had been cut in wood. In 1736 Caslon cut a neat Armenian<a class="afnanch" href="#fn135" id="fnanch135">135</a>
-for
-Whiston’s edition of <i>Moses Chorenensis</i>, and these two were the only founts in
-England before 1820.</p>
-
-<div class="dkeeptogether">
-<h3 title="ETHIOPIC">ETHIOPIC.</h3>
-
-<p>The earliest type of this language appeared in Potken’s <i>Psalter and Song of
-Solomon</i>, printed at Rome in 1513. The work was reprinted at Cologne in
-1518, in Potken’s polyglot <i>Psalter</i>. In 1548 the <i>New Testament</i> was printed at
-Rome by some Abyssinian priests. The press of the Propaganda issued a
-specimen of its fount in 1631, and again in Kircher’s <i>Prodromus Coptus</i> in 1636.
-Erpenius at Leyden had an Ethiopic fount, which in 1626 was acquired by the
-Elzevirs. Usher attempted to procure the fount for this country, but his attempt
-failing, punches were cut, and matrices prepared by the London founders for the
-<i>London Polyglot</i>, which showed the Psalms, Canticles, and New Testament in the
-Ethiopic version. Various portions of Scripture were printed at Leyden and
-Frankfort about the same time, of which the most important work was the
-<i>Psalter</i>, etc., of Ludolfus, printed at the latter place in 1701, in a letter bolder
-and larger than either the Vatican or London fount. The Oxford press possessed
-a fount of Ethiopic<a class="afnanch" href="#fn136" id="fnanch136">136</a>
-prior to 1693, which appears, with the other Oxford Orientals,
-in the <i>Oratio Dominica</i> of 1700 and 1713—the Amharic being in the same
-character. Chamberlayne’s <i>Oratio Dominica</i>, printed at Amsterdam in 1715,
-shows these versions in copperplate. Mores mentions a second English fount
-in his list of the matrices of the “Anonymous” foundry, besides the fount cut
-by Caslon<a class="afnanch" href="#fn137" id="fnanch137">137</a>
-for his foundry. There were thus four founts in England in 1778.
-The Polyglot fount<a class="afnanch" href="#fn138" id="fnanch138">138</a>
-and that of the anonymous founder came into the possession
-of James, and at the sale of his matrices in 1782, were acquired by Dr. Fry.
-The reprint of Ludolfus’ <i>Psalter</i> by the Bible Society in 1815 was in the latter
-type. But the Ethiopic <i>Gospels</i> printed by the same society in 1826 were in
-a fount of types cast from the matrices presented by Ludolfus to the Frankfort
-Library in 1700. No new fount of Ethiopic in England had been added to
-the four already named, when Hansard wrote in 1825.</p></div>
-
-<div class="dkeeptogether">
-<h3 title="COPTIC">COPTIC.</h3>
-
-<p>Of this character the press of the Propaganda possessed a fount, of which a
-specimen was issued in 1636, in which year also
-Kircher’s <i>Prodromus Coptus</i> <span class="xxpn" id="p070">{70}</span>
-appeared at the same press. No fount, however, appeared in England till 1667—the
-alphabets shown in the Introduction and Prolegomena to the London
-<i>Polyglot</i> in 1655 and 1657 being cut on wood. In 1667 Dr. Fell presented Coptic
-matrices<a class="afnanch" href="#fn139" id="fnanch139">139</a>
-to Oxford, and it was from these that the types were cast for David
-Wilkins’ edition of the <i>New Testament</i>, printed in 1716. In 1731 the same
-scholar published an edition of the <i>Pentateuch</i>, this time at the press of
-Bowyer, in types specially cut by William Caslon.<a class="afnanch" href="#fn140" id="fnanch140">140</a>
-Mores further mentions a
-Coptic fount cut by Voskens of Amsterdam; and abroad, besides the fount at
-Rome, there was one (or more) at Paris. A specimen is shown in Fournier; and
-in 1808, in Quatremère’s work on the Language and Literature of Europe,
-considerable portions of Scripture in Coptic were included. In our own country
-the Oxford and Caslon founts were the only two in 1778, when Mores wrote, nor
-had the number been increased when Hansard compiled his list of foreign founts
-in 1825.</p></div>
-
-<div class="dkeeptogether">
-<h3 title="SAMARITAN">SAMARITAN.</h3>
-
-<p>Samaritan type appears to have followed closely on the purchase of the
-celebrated MS. of the Samaritan Pentateuch, which was deposited in the Oratory
-at Paris in 1623. The press of the Propaganda had a fount in 1636, and the
-Paris Polyglot, completed in 1645, contained the entire <i>Pentateuch</i> in type of
-which the punches and matrices had been specially prepared under Le Jay’s
-direction. The fount used in the London <i>Polyglot</i> in 1657 is admitted to be
-an English production,<a class="afnanch" href="#fn141" id="fnanch141">141</a>
-and was probably cut under the supervision of Usher,
-who between 1620 and 1630 was most active in procuring Samaritan MSS.
-for this country. Samaritan type was used in Scaliger’s <i>De emendatione
-temporum</i>, printed at Geneva in 1629; also in Leusden’s <i>Schola Syriaca</i>, at
-Utrecht, in 1672; besides which, Mores mentions a fount neatly cut by Voskens
-of Amsterdam. Another fount was included in Dr. Fell’s gift to Oxford in 1667,
-and this appears in the <i>Oratio Dominica</i> of 1700. The Polyglot Samaritan
-passed into Grover’s hands, thence to James, at whose sale it was bought,
-together with another fount of the same character, by Dr. Fry. The Leusdenian
-fount belonging to Andrews also came to James’s foundry, but was there lost.
-Caslon had a fount cut by Dummers,<a class="afnanch" href="#fn142" id="fnanch142">142</a>
-which, with those of James and Oxford,
-were the only founts in the country in 1778.<a class="afnanch" href="#fn143" id="fnanch143">143</a>
-In Hansard’s list of learned
-founts in 1825, these four founts were still the
-only Samaritans in the country. <span class="xxpn" id="p071">{71}</span></p></div>
-
-<div class="dkeeptogether">
-<h3 title="SCLAVONIC">SCLAVONIC.</h3>
-
-<p>Types in this character existed at an early date, a <i>Psalter</i> having been
-printed at Cracow in 1491, and reprinted at Montenegro in 1495. In 1512 the
-<i>Gospels</i> were printed at Ugrovallachia, and again in 1552 at Belgrade, and in 1562
-at Montenegro. There was, in 1553, a Sclavonic press established by the Czar
-Ivan Vasilievitch at Moscow, whence, in 1564, appeared the <i>Acts and Epistles</i>, a
-volume which has the distinction of being the first book printed in Russia. The
-type and material for this press are said to have been brought from Copenhagen.
-The first Russian printers were persecuted, but succeeded in producing several
-other works in Sclavonic type. In 1581 the first <i>Bible</i> in that language was
-printed at Ostrog, and after that printing became more general. The second
-Moscow press, established in 1644, was famous for its excellent typography; the
-second edition of the <i>Bible</i>, in 1663, is a splendid performance. Sclavonic
-printing appears to have been but little practised out of Russia, yet we find
-matrices with Voskens of Amsterdam about 1690; from which, probably, the
-improved types introduced into the Moscow press in 1707 were cast.</p></div>
-
-<p>The only Sclavonic fount in England was that given by Dr. Fell to Oxford,
-and this, Mores states, was replaced in 1695 by a fount of the more modern
-Russian character, purchased probably at Amsterdam. The <i>Oratio Dominica</i>
-of 1700 gives a specimen of this fount, but renders the Hieronymian version in
-copperplate. Chamberlayne’s <i>Oratio Dominica</i> at Amsterdam in 1715 does the
-same; but the Cyrillian type differs from that of Oxford. The press of the
-Propaganda showed founts both of Cyrillian and Hieronymian in 1753, and founts
-occur in nearly all the Polyglot specimens of the chief European foundries.</p>
-
-<p>The <span class="smcap">M<b>ODERN</b> S<b>CLAVONIC</b>,</span> better known to us as <span class="smcap">R<b>USSIAN</b>,</span> is said to have
-appeared first in portions of the <i>Old Testament</i>, printed at Prague in 1517–19.
-Ten years later there was Russian type in Venice. A Russian press was
-established at Stockholm in 1625, by order of Gustavus Adolphus, and in 1696
-there were matrices in Amsterdam, from which came the types used in Ludolph’s
-<i>Grammatica Russica</i>, printed at Oxford in that year, and whence also, it is said,
-the types were procured which furnished the first St. Petersburg press, established
-in 1711 by Peter the Great. At Amsterdam, also, a second attempt to translate
-and print the <i>Bible</i> into Russian, begun about 1698, was frustrated by the loss of
-the MSS. and library of Ernest Gluck, the editor and translator, at the siege of
-Marienburg, in 1702. The presses at St. Petersburg increased, and it is probable
-that on the establishment of the press in connection with the Academy of
-Sciences, in 1727, Russian types were cast in that city.
-Breitkopf of Leipsic <span class="xxpn" id="p072">{72}</span>
-had matrices prior to 1787; Fournier, at Paris, in 1766, showed a specimen of a
-fount in his foundry; Marcel, in his <i>Oratio Dominica</i>, 1805, showed another; and
-Bodoni of Parma, in his <i>Manuale Tipografico</i>, 1818, had no less than twenty-one
-sizes.</p>
-
-<p>The Emperor Alexander, in 1813, promoted the publication of a Bible by
-the Russian Bible Society, which resulted in the printing of the <i>Gospels</i> in 1819,
-and of the entire <i>New Testament</i> in 1823.</p>
-
-<p>In England, Mores notes that in 1778 there was no Russian type in the
-country, but that Cottrell was at that time engaged in preparing a fount. It
-does not appear that this project was carried out, and the earliest Russian we
-had was cut by Dr. Fry from alphabets in the <i>Vocabularia</i>, collected and
-published for the Empress of Russia in 1786–9. This fount appeared in the
-<i>Pantographia</i> in 1799. About 1820 Thorowgood procured matrices in two sizes
-from Breitkopf, and these three founts were the only ones enumerated by
-Hansard in 1825.</p>
-
-<div class="dkeeptogether">
-<h3 title="ETRUSCAN">ETRUSCAN.</h3>
-
-<p>The fount of this character cut by William Caslon<a class="afnanch" href="#fn144" id="fnanch144">144</a>
-about 1733 for Mr.
-Swinton of Oxford was apparently the first produced. Fournier, in 1766, showed
-an alphabet engraved in metal or wood. In 1771 the Propaganda published a
-specimen of their fount, and Bodoni of Parma, in 1806, exhibited a third in his
-<i>Oratio Dominica</i>. The character is one rarely used, and prior to 1820 it is
-doubtful whether there were more than the three founts above mentioned in
-existence.</p></div>
-
-<div class="dkeeptogether">
-<h3 title="RUNIC">RUNIC.</h3>
-
-<p>Types of this character were first used at Stockholm in a Runic and
-Swedish <i>Alphabetarium</i>, printed in 1611. The fount, which was cast at the
-expense of the king, was afterwards acquired by the University. About the same
-time Runic type was used at Upsala and at Copenhagen. Voskens, at Amsterdam,
-had matrices about the end of the century, and it was from Holland that
-Junius is supposed to have procured the matrices which in 1677 he presented to
-Oxford. This fount appears in the <i>Oratio Dominica</i> of 1700, and in Hickes’
-<i>Thesaurus</i>, 1703–5. Mores mentions a second fount, incomplete, in James’s
-foundry, which, however, was lost; so that the Oxford fount remained the only
-one in the country. Fournier and Fry show the alphabet
-engraved. <span class="xxpn" id="p073">{73}</span></p></div>
-
-<div class="dkeeptogether">
-<h3 title="GOTHIC">GOTHIC.</h3>
-
-<p>Matrices of this language were presented to Oxford by Junius in 1677.
-There appear to have been other matrices in Holland, as the neat Gothic type
-used in Chamberlayne’s <i>Oratio Dominica</i> at Amsterdam in 1715 differs from
-the Oxford fount which had appeared in the edition of 1700, as well as in Hickes’
-<i>Thesaurus</i>. Mores speaks of another fount in James’s foundry, whither it had
-come from the “Anonymous” foundry. But the matrices were lost. Caslon,
-however, cut a fount,<a class="afnanch" href="#fn145" id="fnanch145">145</a>
-which appeared in his first specimen in 1734. This and
-the Oxford fount were the only two in England in 1820.</p></div>
-
-<div class="dkeeptogether">
-<h3 title="ICELANDIC, SWEDISH AND DANISH">ICELANDIC,
- SWEDISH AND DANISH.</h3>
-
-<p>Founts of these characters were also included in Junius’ gift to Oxford in
-1677, and were probably specially prepared in Holland. The first-named is
-shown in the <i>Oratio Dominica</i> of 1700, and in Hickes’ <i>Thesaurus</i>. Printing had
-been practised in Iceland since 1531, when a <i>Breviary</i> was printed at Hoolum,
-in types rudely cut, it is alleged, in wood. In 1574, however, metal types were
-provided, and several works were produced. After a period of decline, printing
-was revived in 1773; and in 1810 Sir George McKenzie reported that the
-Hoolum press possessed eight founts of type, of which two were Roman, and
-the remainder of the common Icelandic character, which, like the Danish and
-Swedish, bears a close resemblance to the German.</p></div>
-
-<div class="dkeeptogether">
-<h3 title="SAXON">SAXON.</h3>
-
-<p>The first type for this language was cut by John Day in 1567, under the
-direction of Archbishop Parker, and appeared in <i>Ælfric’s Paschal Homily</i>
-in that year, and in the <i>Ælfredi Res Gestæ of Asser Menevensis</i>, published in
-1574. Parker, in his preface to the latter work, makes mention of Day as the
-first who had cut Saxon characters. This interesting fount<a class="afnanch" href="#fn146" id="fnanch146">146</a>
-is rather less than
-a Great Primer in body, and in general appearance is handsomer than many
-of its successors. Day used the type in several other works, and added another
-fount on Pica body. Saxon type was used by Browne in 1617, in Minsheu’s
-<i>Ductor in Linguas</i>; and Haviland, who printed the second edition of that work
-in 1626, had in 1623 already made use of the character in Lisle’s edition of <i>Ælfric’s
-Homily</i>. Another fount was used by Badger in 1640 for
-Spelman’s <i>Saxon Psalter</i>, <span class="xxpn" id="p074">{74}</span>
-so that, as Mores points out, at that date there were already four founts in the
-country. Hodgkinson, one of the Star Chamber printers, had a Pica Saxon, which
-was used in <i>Dugdale’s Monasticon</i>, 1655; and Mores mentions two founts, a Great
-Primer and a Pica, in use at Cambridge in 1644, in Wheelock’s edition of <i>Bede</i>.
-In 1654 Francis Junius had a fount of Saxon “cut, matriculated, and cast,” at
-Amsterdam, which, after printing <i>Cædmon’s Paraphrase of Genesis</i> in 1655, and
-some other works in that town, he brought over to England, and in 1677
-presented to the University of Oxford. As early as 1659 the University had
-possessed a Saxon fount, and a second had been included among the purchases
-made, probably, about the year 1672. Junius’ fount was used in Hickes’
-<i>Thesaurus</i>, 1705, and his Saxon <i>Grammar</i> in 1711, but was not employed by the
-printer of the <i>Oratio Dominica</i> of 1700, where a different fount appears—the same,
-apparently, which in 1709 Bowyer used to print Miss Elstob’s <i>Homily on the
-Birthday of St. Gregory</i>. The Amsterdam printers of the <i>Oratio Dominica</i> of
-1715 used a handsome fount of their own. The great interest taken in the study
-of the Northern languages at this period in England produced many Saxon
-works, and some of our scholars devoted themselves to the study of the most
-beautiful of the old manuscripts, with a view to the improvement of the
-character in print. But the failure of the typefounder Robert Andrews to do
-justice to Humphrey Wanley’s drawings, in cutting the punches for Bowyer’s
-new fount in 1715,<a class="afnanch" href="#fn147" id="fnanch147">147</a>
-apparently discouraged further endeavours. Miss Elstob’s
-<i>Anglo-Saxon Grammar</i> was printed in that year in the new type, the matrices of
-which were subsequently presented to Oxford, where they still remain.</p></div>
-
-<p>Voskens, the Dutch founder, had Anglo-Saxon matrices at the beginning of
-the eighteenth century, but, except in England and Holland, the character was not
-used. Caslon and most of his successors cut Saxon founts. Mores noted eleven
-different founts existing in England in 1778. This number was afterwards increased
-by numerous new founts cut by Fry, Figgins, and Wilson; and Hansard
-enumerated twenty-three in 1825.</p>
-
-<p>The Anglo-Norman Saxon character in which the <i>Domesday Book</i> was
-written, was twice imitated in type during the eighteenth century, once by
-Cottrell, whose attempt was not wholly successful, and again by Joseph Jackson,
-under the supervision of Abraham Farley, in 1783. Jackson’s types were used in
-the facsimile printed by Nichols in that year, and the matrices, it is stated,
-were deposited with the British Museum. <span class="xxpn" id="p075">{75}</span></p>
-
-<div class="section">
-<h3 title="IRISH">IRISH.</h3>
-
-<p>The first fount of this character was that presented by Queen Elizabeth
-to O’Kearney in 1571, and used to print the <i>Catechism</i>, which appeared in that
-year in Dublin, at the press of Franckton. The fount, which is on English body,
-is only partially Irish, many of the letters being ordinary Roman or Italic. Its
-general appearance is, however, neat. It was used in several works during the
-early years of the seventeenth century, notably in the Daniel’s <i>New Testament</i>,
-printed by Franckton in 1602, and the <i>Common Prayer</i>, issued from the same
-press in 1608. This interesting fount was stated by some to have been secured
-by the Jesuits, and transferred by them to one of their seminaries abroad; but
-there appears to be no foundation for such a statement. As late as 1652 it was
-used in Godfrey Daniels’ <i>Christian Doctrine</i>, printed in Dublin; and still later
-occasional words mark its gradual extinction. The Irish seminaries abroad,
-meanwhile, were better supplied with Irish type than our countrymen. At
-Antwerp, in 1611, O’Hussey’s <i>Catechism</i> was printed in an Irish fount, which
-subsequently reappeared in 1616 at Louvain, and was afterwards used to print
-a number of works published by the Irish College in that place. In 1645 a
-second and larger Irish fount appeared at Louvain, in Colgan’s <i>Acta Sanctorum
-Hiberniæ</i>. In 1676 the press of the Propaganda at Rome published Molloy’s
-<i>Lucerna Fidelium</i> in a handsome and bold character, Great Primer in body,
-which was used again in the following year in Molloy’s <i>Grammar</i>, and in 1707
-for the <i>Catechism</i> of O’Hussey. Previous to this, however, Irish printing had
-revived in England, and Moxon, in 1680, had cut the curious fount of Small
-Pica Irish,<a class="afnanch" href="#fn148" id="fnanch148">148</a>
-used in Boyle’s <i>New Testament</i>, printed by Robert Everingham
-in 1681, followed by Bedell’s <i>Old Testament</i> in 1685, and in several further
-publications from the same press. Until the year 1800 this fount was the only
-Irish in this country. Abroad, a new fount appeared at Paris in 1732, where it
-was used in McCuirtin’s <i>Dictionary</i>, and in 1742 in Donlevey’s <i>Catechism</i>, printed
-by Jas. Guerin. The matrices for this fount appear to have been held, if not
-prepared, by Fournier, as in the <i>Manuale Typographique</i> (ii, p. 196), issued
-by him in 1766, a specimen of it appears among the foreign founts of his
-foundry. The fate of this fount is a matter of uncertainty. After 1742 a
-general cessation of Irish typography at home and abroad took place; and the
-few Irish works which appeared between that date and 1800 were for the most
-part in Roman type (like O’Brien’s <i>Dictionary</i>, Paris,
-1768), or with the Irish <span class="xxpn" id="p076">{76}</span>
-characters in copperplate (like Vallancey’s <i>Grammar</i>). In 1804, however, a
-revival took place, beginning in Paris, where Marcel, being at that time in
-possession of several of the founts belonging to the press of the Propaganda,
-which Napoleon had impounded for the use of the press of the Republic,
-repaired and re-cast the Irish founts of the <i>Lucerna Fidelium</i>, and issued a
-short sketch of the character and language, illustrated with readings in this type.
-In his beautiful <i>Oratio Dominica</i>, printed in 1805 in presence of Napoleon,
-the same type is used. “Strikes” of these founts were retained in Paris,
-and the letter has reappeared in specimens issued in 1819 and 1840. The
-matrices probably remain part of the stock of the Imprimerie Nationale to this
-day. The revival in our kingdom was more rapid. Moxon’s fount, which
-had passed through the hands of Robert Andrews, came in 1733 into the foundry
-of Thomas James, at the sale of which, in 1782, the punches and matrices were
-purchased in a somewhat defective condition by Dr. Fry. A specimen was shown
-in Dr. Fry’s specimen of 1794, and in his <i>Pantographia</i>, 1799, after which the
-fount occasionally reappeared until 1820, when it was last seen in O’Reilly’s
-<i>Catalogue of Irish Writers</i>, printed in Dublin in that year. By this time,
-however, there were some six new founts in the country. <i>Neilson’s Grammar</i>,
-printed at Dublin in 1808, appeared in a type apparently privately cut, as it is
-not found in the specimens of any of the British founders. Vincent Figgins cut
-an elegant fount after the copperplate models in <i>Vallancey’s Grammar</i>; Dr. Fry,
-under the inspection of Thaddeus Conellan, cut a Long Primer, Small Pica, and
-Pica, and Watts shortly afterwards added three others.</p></div>
-
-<div class="section">
-<h3 title="MUSIC">MUSIC.</h3>
-
-<p>The earliest specimen of music-type occurs in Higden’s <i>Polychronicon</i>,
-printed by De Worde at Westminster in 1495. The square notes appear to have
-been formed of ordinary quadrats, and the staff-lines of metal rules imperfectly
-joined. In Caxton’s edition of the same work in 1482 the space had been left
-blank, to be filled up by the illuminator or scribe. In other countries music was
-occasionally shown, but not in type. The plain chant in the <i>Mentz Psalter</i> of
-1490, printed in two colours, was probably cut on wood. Hans Froschauer of
-Augsburg printed music from wooden blocks in 1473, and the notes in Burtius’
-<i>Opusculum Musices</i>, printed at Bologna in 1487, appear to have been produced in
-the same manner<a class="afnanch" href="#fn149" id="fnanch149">149</a>; while at Lyons, the <i>Missal</i>
-printed by Matthias Hus in 1485
-had the staff only printed, the notes being intended to be
-filled in by hand, <span class="xxpn" id="p077">{77}</span>
-either with a pen or by means of an inked stamp or punch. About 1500 a
-musical press was established at Venice by Ottavio Petrucci, at which were
-produced a series of <i>Mass-books</i>. In 1513 he removed to Fossombrone, and
-obtained a patent from Leo X for his invention of types for the sole printing
-of figurative song (<i>cantus figuratus</i>). Petrucci’s notes were lozenge-shaped,
-and each was cast complete, with its correspondent proportion of staff-lines.
-Before 1550 several European presses followed Petrucci’s example, and music-type,
-among other places, was used at Augsburg in 1506 and 1511, Parma in
-1526, Lyons in 1532, and Nuremburg in 1549. In 1525 Pierre Hautin cut punches
-of lozenge-shaped music at Paris. Round notes were used at Avignon in 1532,
-and Granjon cut this kind at Paris about 1559. In 1552, Adrian Leroy,
-musician to Henri II of France, and Robert Ballard were appointed King’s
-printers for music. Their types are said to have been engraved by Le Bé.
-In England, after its first use, music-printing did not become general till 1550,
-when Grafton printed Marbecke’s <i>Book of Common Prayer</i>, “noted” in movable
-type; the four staff lines being printed in red, and the notes in black. There
-are only four different sorts of notes used,—three square and one lozenge. The
-appearance of the music is very bold and distinct. Day, Vautrollier, and East,
-all printed with music-type, which was of the kind generally used during the
-sixteenth century in Italy, Germany and France. Vautrollier was the printer
-for Tallis and Bird, who obtained a patent from Elizabeth for the sole printing
-of music. After the expiration of their patent, and another granted to Morley
-in 1598, music-printing was exercised (as Sir John Hawkins states) by every
-printer who chose it. A larger variety of founts appeared, and in some works
-two or more founts of music appear mixed in the same work. About 1660 the
-detached notes hitherto used began to give place to the “new tyed note,” by
-which the heads of sets of quavers could be joined. But at the close of the
-seventeenth century music-printing from type became less common, on
-account of the introduction of stamping and engraving plates for the purpose.
-There was music-type in Aberdeen in 1666 at the press of Forbes. Oxford
-University possessed music matrices, some apparently presented by Dr. Fell
-about 1667, and others cut by Walpergen. The punches and matrices of the
-latter are still preserved,<a class="afnanch" href="#fn150" id="fnanch150">150</a>
-and are very curious; many of the matrices being without
-sides in the copper, and justified so that the mould shall supply the side, and the
-lines thus be cast so as to join continuously in the composition. Grover’s
-foundry also had a Great Primer music, and Andrews had matrices of several
-sizes of the square-headed or plain chant character.
-Caslon possessed a set <span class="xxpn" id="p078">{78}</span>
-of round-headed matrices in two sizes, which came to him from Mitchell’s
-foundry. In 1764 Breitkopf of Leipsic succeeded in casting a music-type, in
-which the notes were composed of several pieces, which were “built up” by the
-compositor. Fleischman cut an improved music on the same principle for the
-Enschedés at Haarlem. Rosart of Brussels, and Fournier of Paris, succeeded
-in reducing the number of pieces of a fount to three hundred and one hundred,
-respectively. Henry Fought, in our own country in 1767, invented sectional types,
-which divided so as to admit the staff lines. The principal improvements after
-Fought’s time aimed at overcoming the hiatus caused by the joining of the lines.
-Attempts were made to cast the notes separately from the lines, or to adopt a
-logographic system of casting several notes in one piece. After the beginning
-of the present century the production of music-type was left in the hands of
-specialists, amongst whom Mr. Hughes, as late as 1841, had the reputation of
-possessing the best founts in the trade. Of the plain chant and psalm music,
-both Dr. Fry and Hughes had matrices in several sizes.</p></div>
-
-<div class="dkeeptogether">
-<h3 title="BLIND">BLIND.</h3>
-
-<p>Printing for the blind was first introduced in 1784,
-by Valentin Haüy, the founder of the Asylum for Blind
-Children in Paris. He made use of a large script character,
-from which impressions were taken on a prepared paper,
-the impressions so deeply sunk as to leave their marks in
-strong relief, and legible to the touch. Haüy’s pupils not
-only read in this way, but executed their own typography,
-and in 1786 printed an <i>Essai</i> giving an account of their
-institution and labours, as a specimen of their press.<a
-class="afnanch" href="#fn151" id="fnanch151">151</a></p></div>
-
-<p>The first School for the Blind in England was opened in Liverpool in 1791,
-but printing in raised characters was not successfully accomplished till 1827,
-when Mr. Gall, of the Edinburgh Asylum, printed the Gospel of St. John from
-angular types. Mr. Alston, the Treasurer of the Glasgow Asylum, introduced the
-ordinary Roman capitals in relief, and this system was subsequently improved
-upon by the addition of the “lower-case” letters by Dr. Fry, the type-founder,
-whose specimen gained the prize of the Edinburgh Society of Arts in 1837.</p>
-
-<p>A considerable number of rival systems have competed
-in this country for adoption, greatly to the prejudice of
-the cause of education among the blind. The most important
-of these we here briefly summarize: <span class="xxpn"
-id="p079">{79}</span></p>
-
-<ul>
- <li><p>1. <span class="smcap">L<b>UCAS</b> S<b>YSTEM.</b></span> The letters were represented by curves and lines,
-having no connection with the form of the characters they denoted. In this
-type the Scriptures occupied about 36 volumes.</p></li>
-
- <li><p>2. <span class="smcap">F<b>RERE’S</b> S<b>YSTEM.</b></span> Wholly phonetic, the sounds being represented by
-circles, angles, and lines. These symbols were cut in copper wire, and soldered
-upon sheets of tin. From this form a stereotype-plate was taken.</p></li>
-
- <li><p>3. <span class="smcap">M<b>OON’S</b>
-S<b>YSTEM.</b></span> Based upon the two preceding, but
-professed to be alphabetic. Nearly each symbol represents
-the form of a portion of the Roman letter it denotes. The
-plates were prepared by Frere’s method.</p></li>
-
- <li><p>4. <span class="smcap">B<b>RAILLE’S</b>
-S<b>YSTEM.</b></span> A series of dots in various
-combinations, designed as a universal system. This system
-was introduced in the “Institution pour les jeunes
-aveugles” in Paris, in place of the alphabetical system
-which had prevailed since Haüy’s time.</p></li>
-
- <li><p>5. <span class="smcap">C<b>ARTON’S</b>
-S<b>YSTEM.</b></span> Also arbitrary, though following
-somewhat the form of the lower-case alphabet.</p></li>
-
- <li><p>6. <span class="smcap">A<b>LSTON’S</b>
-S<b>YSTEM.</b></span> This great improvement consisted in
-the rejection of all arbitrary symbols, and the adoption
-of the plain Roman alphabet of capitals. In addition
-to the simplicity both to the teacher and the scholar,
-its adaptability to typography was obvious. Instead of
-soldering the wire outlines on to tin, the letters were now
-cut and cast by the ordinary process of typefounding.</p></li></ul>
-
-<p>The subsequent alphabetical systems have all been modifications of or
-attempted improvements on that of Alston, as perfected by Dr. Fry, and there
-seems every probability that this system will eventually become the recognised
-method of printing for the blind in all European countries.</p>
-
-<div class="section">
-<h3 title="INITIALS">INITIALS.</h3></div>
-
-<p>In the earliest printed books, with the exception of the <i>Mentz Psalter</i>,
-where engraved letters are undoubtedly used, a blank space was left for initial
-letters, which were inserted by hand. A small index-letter, indicating what
-the letter was to be, was generally printed or written in the space by the printer
-before handing the work over to the illuminator. The trouble and cost involved
-by this system early suggested the use of wood-cut initials, and Erhard Ratdolt
-of Venice, about 1475, is generally supposed to have been the first printer to introduce
-the “Literæ florentes,” which eventually superseded the hand-painted
-initials. These ornamental initials, called also <i>lettres tourneures</i>, or sometimes
-<i>typi tornatissimi</i>, were not generally adopted till the close of the century, by
-which time, however, they had found their way to England, where, in 1484,
-Caxton had introduced one or two kinds. The more elaborate
-initials, such as <span class="xxpn" id="p080">{80}</span>
-that used in the <i>Mentz Psalter</i>, and the later beautiful letters used by Aldus at
-Venice, by Schoeffer at Mentz in 1518, by Tory and the Estiennes at Paris,
-by Froben at Basle, and by the other great printers of their day, were known as
-<i>lettres grises</i>. Besides these, the ordinary “two-line letters,” or large plain
-capitals, came into use; and these were generally cast—the ornamental letters
-being for the most part engraved on wood or metal, and shifted about from one
-forme to another. The general debasement of artistic taste in the latter half of
-the sixteenth and seventeenth centuries is very apparent in the initial letters,
-particularly in England. Large black-letters were frequently used as initials
-to books in Roman type, the large plain caps appear to have been most rudely
-cut and cast, and when pictorial letters were made use of,
-the effect was not infrequently
-<span class="spnpbk">
-
-<span class="dctr03" id="fg46">
-<img src="images/i080a.png" width="600" height="114" alt="" />
-<span class="dcaption">46. Dutch Initial Letters used in Boyle’s Irish
- <i>Testament</i>, 1681. From the original matrices in the
- Enschedé foundry, Haarlem.</span></span>
-
-</span><!--spnpbk--><span class="spnpg0">
-grotesque. Dutch initials found their way into this
-country in large numbers. They were, as a rule, heavy and
-indistinct, and lacked the elegance of the letters which,
-even as late as 1650, characterised some of the best
-printing in France. The best initial letters we had were
-those used at Oxford, and these were for the most part
-copperplate, and engraved by an artist specially retained
-</span><!--spnpg0--><span class="spnpbk">
-
-<span class="dctr02" id="fg13">
-<img src="images/i080b.png" width="600" height="346" alt="" />
-<span class="dcaption">
-13. Blooming Initials, at the Oxford University Press.
-<i>Circa</i> 1700.
-</span></span>
-
-</span><!--spnpbk--><span class="spnpg0">
-by the University for the purpose. The “Dutch Bloomers” shown by Watson
-in 1711 probably represented the <i>ne plus ultra</i> of typographical ornament at
-that day. With Bible printers it was not uncommon to
-use appropriate pictorial <span class="xxpn" id="p081">{81}</span>
-letters, and we frequently find in their works, both sacred and profane, the
-initial “I” of Genesis representing the Creation, the “D” representing David
-playing on his harp, the “P” representing the conversion of St. Paul, and so on.
-Armorial initials were also occasionally used, and sometimes letters embodying
-portraits or landscapes. About the beginning of the seventeenth century, pierced
-initial ornaments—that is, wood block devices, in which a space is pierced
-</span><!--spnpg0--><span class="spnpbk">
-
-<span class="dctr07" id="fg14">
-<img src="images/i081a.png" width="600" height="606" alt="" />
- <span class="dcaption">14. Pierced Initial, at the Oxford
- University Press. <i>Ante</i> 1700.</span></span>
-
-<span class="dctr07" id="fg55">
-<img src="images/i081b.png" width="600" height="353" alt="" />
- <span class="dcaption">55. Pierced Initial. London,
- <i>circa</i> 1700. </span></span>
-
-</span><!--spnpbk--><span class="spnpg0">
-out to admit of any letter—came into use. The great letter-founders of the
-revival, Caslon, Baskerville, and their immediate successors, confined their
-attention to the large plain initials, uniform in shape and design with their Roman
-letters; and it was not till a taste for fancy type arose, early in the present
-century, that founders cut punches for and cast ornamental
-initials. <span class="xxpn"
-id="p082">{82}</span></span><!--spncpg0--></p>
-
-<div class="section">
-<h3 title="TYPE ORNAMENTS AND FLOWERS">TYPE
- ORNAMENTS AND FLOWERS.</h3></div>
-
-<p>These began, like the initials, with the illuminators, and were afterwards cut on
-wood. The first printed ornament or vignette is supposed to be that in the <i>Lactantius</i>,
-at Subiaco, in 1465. Caxton, in 1490, used ornamental pieces to form the
-border for his <i>Fifteen O’s</i>. The Paris printers at the same time engraved still more
-elaborate border pieces. At Venice we find the entire frame engraved in one
-piece; while Aldus, as early as 1495, used tasteful head-pieces, cut in artistic
-harmony with his <i>lettres grises</i>. Of the elaborate woodcut borders and vignettes
-of succeeding printers we need not here speak. As a rule, they kept pace with
-the initial letters, and degenerated with them. Early in the sixteenth century we
-observe detached ornaments and flourishes, which have evidently been cast from
-a matrix, and the idea of combining these pieces into a continuous border or head-piece
-was probably early conceived.<a class="afnanch" href="#fn152" id="fnanch152">152</a>
-Mores states that ornaments of this kind
-were common before wood-engraved borders were adopted, and Moxon speaks
-of them in his day as old-fashioned. In Holland, France, Germany and
-England, however, these “type-flowers” were in very common use during the
-eighteenth century, and almost every foundry was supplied with a considerable
-number of designs cast on the regular bodies. Some of the type-specimens
-exhibit most elaborate figures constructed out of these flowers, and as late as
-1820 these ornaments continued to engross a considerable space in the specimen
-of every English founder.</p>
-
-<div class="dctr09">
-<img src="images/i082.png" width="192" height="74" alt="" />
-</div>
-
-<div class="chapter"><div class="dctr01" id="p083">
-<img src="images/i083a.png" width="600" height="145" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER III. THE PRINTER
-LETTER-FOUNDERS, FROM CAXTON TO DAY.">
-<span class="hblk fsz6">CHAPTER III.</span>
-<span class="hblk"><img class="ihrch" src="images/i083b.png"
-width="348" height="45" alt="" /></span>
-THE PRINTER LETTER-FOUNDERS, FROM CAXTON TO DAY.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i083c.png"
-width="312" height="333" alt="I" />
-</span>N taking a brief survey of that early period of English
-Typography when printers are assumed to have been
-their own letter-founders, we shall attempt no more than
-to gather together, as concisely as possible, any facts
-which may throw light on the first days of English letter-founding,
-leaving it to the historian of Printing to describe
-the productions which, as we have already stated, must be
-regarded, not only as the works of our earliest printers,
-but as the specimen-books of our earliest letter-founders. Mores and other
-chroniclers are, as we conceive, misleading, when they single out half a dozen
-names from the long list of printers between Caxton and Day, as if they only
-had been concerned in the development of the art of letter-cutting and founding.
-It is true that these names are the most distinguished; but it is necessary to
-bear in mind that the most obscure printer of that day, unless he succeeded in
-purchasing his founts from abroad, or in obtaining the reversion of the worn
-types of another printer, probably cast his letter in his own moulds, and from
-his own matrices.</p>
-
-<p>Respecting many of our early printers, our information especially with
-regard to their mechanical operations, is extremely meagre. But the researches
-of Mr. William Blades<a class="afnanch" href="#fn153" id="fnanch153">153</a>
-have thrown a stream of light
-upon the typography of <span class="xxpn" id="p084">{84}</span>
-Caxton and his contemporaries, of which we gladly avail ourselves in recording
-the following facts and conjectures as to the letter-founding of the period in
-which they flourished. Adopting as a fundamental rule “that the bibliographer
-should make such an accurate and methodical study of the <i>types</i> used and <i>habits
-of printing</i> observable at different presses, as to enable him to observe and be
-guided by these characteristics in settling the date of a book which bears no
-date upon the surface,” Mr. Blades has succeeded not only in establishing a
-precise chronology of the productions of the first English printer, but an exhaustive
-catalogue of his several types, such as has never before been successfully
-accomplished.</p>
-
-<p>Previous writers, many of them practical printers, have all failed in this
-particular. Most of them lacked the patience or the opportunity to make a
-systematic study of the specimens of Caxton’s press, and have been content to
-perpetuate the account of others who, like Bagford, Ames, Herbert and Dibdin,
-had ample opportunity for such a study, but failed to bring to bear upon their
-investigations that practical experience which would have saved them from the
-inaccuracies with which their descriptions abound. Among such writers few
-have been more unfortunate than Rowe Mores, whose account of Caxton’s types
-(although endorsed by the authority of his editor, John Nichols) is as misleading
-as it is meagre.</p>
-
-<p>As we are concerned with Caxton only in his capacity as letter-founder, we
-must refer the reader for all details respecting his life and literary industry to
-Mr. Blades’ admirable biography; merely stating here that he made his first
-essay at printing in the year 1474–5, in the office of Colard Mansion at Bruges;
-that in 1477, if not earlier, he settled as printer at Westminster, where he
-remained an industrious and prolific worker until the year of his death in 1491.</p>
-
-<p>As we have already observed, the history of the introduction of printing
-into England differs from that of its origin in most other countries in this
-important particular, that whereas in Germany, Italy, France and the Low
-Countries letter-founding is supposed to have preceded printing, in our own country
-it followed it. Caxton had already run through one fount of type before he
-reached this country, and it appears to be quite certain that his Type No. 2,
-with which he established his press at Westminster, was brought over by him
-from Bruges, where it had been cast for him, and already made use of by his
-preceptor, Colard Mansion. The English origin of his Type No. 3 is also open
-to question. There seems, however, reasonable ground for supposing that
-Type No. 4 was both cut and cast in England; so that Caxton had probably
-been at work for a year or two in this country as a printer, before he became a
-letter-founder. It must be admitted that any conclusion we may come
-to as to <span class="xxpn" id="p085">{85}</span>
-Caxton’s operations as a letter-founder are wholly conjectural. In none of his
-own works (in several of which he discourses freely on his labour as a translator
-and a printer) does he make the slightest allusion to the casting of his types,
-nor does there remain any relic or contemporary record calculated to throw light
-on so interesting a topic.</p>
-
-<p>That Caxton made use of cast types, it is hardly needful here to assert.
-Even admitting the possibility of a middle stage between Xylography and
-Typography, the general identity of his letters, the constant recurrence of
-certain flaws among his types, and the solidity of his pages, may be taken
-as sufficient evidence that his types were cast, and not separately engraved
-by hand.</p>
-
-<p>It is scarcely likely that during his residence at Bruges, where, as he himself
-states in the prologue to the third book of the <i>Recuyell</i>, “I have practysed and
-lerned at my grete charge and dispense to ordeyne this said book in prynte,”
-he would omit to make himself acquainted with the methods used in the Low
-Countries for the production and multiplication of types; and it is at least
-reasonable to suppose that, once established in this country, and removed from
-the source of his former supplies, he would put into practice this branch of his
-knowledge, and produce for himself the remaining founts of which he made
-use.</p>
-
-<p>As to the particular process he employed, we have, as Mr. Blades points
-out, only negative evidence on which to rely. The frequent unevenness and
-irregularity of his lines, as well as the variations of the letters themselves, lead
-to the conclusion that the method employed was a rude one, inferior not
-only to that now in use, but even to that adopted by the advanced German
-School of Typography of his own day. Rude, however, as his method may
-have been, we are not disposed to allow that Caxton could have produced the
-types he did without the use of a matrix and an adjustable mould. Despite his
-rough workmanship, his types are as superior to those of the <i>Speculum</i> and
-<i>Donatus</i> as they are inferior to those of the <i>Mentz Bible</i> and the <i>Catholicon</i>; and
-we consider it out of the question that works like the <i>Dictes</i>, or the <i>Polychronicon</i>,
-or the <i>Fifteen O’s</i>, could have been produced from types cast by a clay or sand
-process, which we have elsewhere described as possibly employed in the most
-primitive practice of the art.</p>
-
-<p>It is more probable that both Colard Mansion and Caxton, possessing the
-principle of the punch, matrix and adjustable mould, but ill-furnished with the
-mechanical appliances for putting that principle into practice, made use of rough
-and perishable materials in all three branches of the manufacture. Some such
-rough appliances we have already suggested in our introductory chapter.&#160;.
-His <span class="xxpn" id="p086">{86}</span>
-punches, as Mr. Blades has pointed out, were, in the case of at least two of his
-founts, touched-up types of a fount previously in use. A matrix formed from
-such a punch, either in soft lead or plaster, could not be anything but rough and
-fragile; and such a matrix, when justified and applied to a mould of which the
-adjustable parts may have lacked mathematical finish and accuracy, could
-scarcely be expected to produce types of faultless precision.</p>
-
-<p>As we have freely admitted, it is impossible on this subject to go beyond
-the regions of speculation, but we decidedly incline to the opinion that the
-irregularities and defects of Caxton’s types may be accounted for in the way
-here suggested, rather than by the assumption that he made use of a method of
-casting differing wholly in principle from that which was presently to become
-the universal practice.</p>
-
-<div class="dhp">We shall now briefly follow Mr. Blades’
-chronological summary of <h3 class="h3runin" title="CAXTON’S SIX
-TYPES">Caxton’s six
-types</h3>, with a view to point out such particulars
-respecting them as may have special bearing on the object
-of this work.</div>
-
-<div class="dhp"><h4 class="h4runin" title="TYPE 1">
-<span class="smcap">T<b>YPE</b> 1.</span></h4>—This type, as already pointed out, was never used in England, but
-appears in the works of the Bruges press between the years 1472 and a date
-later than 1476. Bernard considers that it was modelled on the handwriting of
-Colard Mansion. Although this type was chiefly used by Mansion, Caxton
-appears to have used it in at least two English books printed under Mansion’s
-roof, the <i>Recuyell</i> and the <i>Chess Book</i>, the former of which was the first book
-printed in the English language. The body of the type corresponds to the
-present Great Primer; and a fount comprised 163 sorts, of which a considerable
-number were varieties of the same letters, “there being only five sorts for which
-there were not more than one matrix, either as single letters
-or in combination.”</div>
-
-<div class="dhp"><h4 class="h4runin" title="TYPE 2">
-<span class="smcap">T<b>YPE</b> 2</span></h4> was the fount
-with which Caxton printed, in 1477, at Westminster, the
-<i>Dictes and Sayings of the Philosophers</i>. Although this
-is the first dated book printed in England, there is some
-reason for supposing that the undated <i>Jason</i>, and possibly
-some of the small quarto poems, printed in the same type
-may have preceded it. The fount was cut probably by Colard
-Mansion, in imitation of the Gros Bâtarde type already in
-use at his press, but in a smaller size; and it is supposed
-that before Caxton brought it over to England it had been
-used at Bruges to print <i>Les Quatre Derrenieres Choses</i>.
-Twenty works in all are known to have been printed in
-Type 2, which is on a body equal to two-line Long Primer,
-or “Paragon,” and consists of 217 sorts. The capital
-letters are extremely irregular, not only in size but in
-design, some being of the simplest possible construction,
-while others have spurs, lines and flourishes. It was
-used from 1477 to 1479, when, on its becoming worn out,
-selected letters were trimmed up with a graver, new
-matrices formed, and a recasting made. <span class="xxpn"
-id="p087">{87}</span> This recasting, known as Type 2*,
-is the same body as Type 2, but in all cases the letters
-are slightly thinner, while in the case of ascending and
-descending types it is found that the process of trimming
-has resulted in the amputation of certain portions of
-the letters. There are also some thirty-seven sorts more
-in the second fount, consisting largely of double and
-compound letters, which do not appear in the first. To
-Type 2* belongs the honour of being in all probability the
-first fount <i>cast</i> in England. It was used from 1479 to
-1481, and nine books are known to have been printed in it,
-including the second edition of the <i>Game and Play of the
-Chesse</i>, from which Mr. Vincent Figgins<a class="afnanch"
-href="#fn154" id="fnanch154">154</a> in 1855 took the
-models for his facsimile of the “Caxton Black.”</div>
-
-<div class="dhp"><h4 class="h4runin" title="TYPE 3">
-<span class="smcap">T<b>YPE</b> 3.</span></h4>—This handsome
-fount appears to have been used from about 1479 to 1483,
-chiefly for head-lines, although one or two small church
-books, as well as Caxton’s <i>Advertisement</i>, were printed
-entirely in it. The body is the same as that of Type 2,
-with which it is sometimes used, to distinguish proper
-names. The fount consists of 194 sorts, of which the points
-are remarkable as being smaller than those of Type 2. It is
-the first appearance of the “Lettre de Forme” in English
-typography; although, as Mr. Blades has pointed out,
-this character belongs only to the “lower-case” letters,
-the capitals partaking more of the features of Mansion’s
-“Gros Bâtarde”. The fount possesses a special interest in
-being the first letter put forward as an English printer’s
-Type-specimen. In the <i>Advertisement</i>, which we reproduce
-in facsimile (No. 15), Caxton calls attention to the fact
-that he is prepared to sell cheap copies of the Pica or
-Ordinary of the Salisbury service, printed in the same type
-as the specimen shown, to anyone, spiritual or temporal,
-who may come to his shop at the Red Pale, Westminster.
-There is nothing to show whether this fount was brought
-by Caxton from Bruges, or whether it is entitled to the
-distinction of being the first fount wholly cut and cast in
-this country. The German cut of the “lower-case,” as well
-as the slight use which Caxton made of it, would almost
-suggest that it was not the product of his own genius. On
-the other hand, the frequent use which De Worde made of
-the fount after his master’s death, seems to point to the
-existence of the matrices, as well as the types, in this
-country.</div>
-
-<div class="dhp"><h4 class="h4runin" title="TYPE 4">
-<span class="smcap">T<b>YPE</b> 4.</span></h4>—This letter
-was in use by Caxton from 1480 to 1484, and there is strong
-reason for believing that (whatever may have been the case
-with Type 3) it was both cut and cast in this country.
-That Caxton possessed punches of it <span class="xxpn"
-id="p088">{88}</span> appears highly probable from the
-fact that in the recasting of the fount as Type 4* we do
-not find the face of the old letters to have been trimmed
-up, as was the case with Type 2*. On the contrary, as far
-as face is concerned, the two founts are identical—a result
-which could hardly be expected had the matrices for the
-second fount been produced by any means but a re-striking
-of the original punches. The fount is smaller in size than
-Type 2, though the design is similar. It consists of 194
-sorts, of which seven were not re-struck for 4*. Ten works
-were wholly printed in Type 4, and two partly in 4 and 4*.
-The one difference between the first and second fount is,
-that whereas Type 4 is very close to English body, Type
-4* is cast on a body equal to two-lines Minion; or more
-precisely, nineteen types of Type 4* are equivalent to
-twenty types of Type 4. It appears, therefore, that, either
-purposely or accidentally, Caxton shifted his mould between
-the two castings. It is easy to imagine that his supply
-of moulds might be very limited; and even that it might
-be limited to but one mould capable of being varied in
-“body,” as well as in “thickness,” which he would adapt as
-necessity required to cast any size of letter; so that if,
-for instance, after casting Type 4, he had had occasion to
-“break” his mould in order to cast some additional letters
-in Type 3, he might easily fail to readjust it to the
-precise body of his former fount, particularly if he used
-a worn or foul type by which to “set” it. The fact that in
-the <i>Confessio Amantis</i>, and the <i>Knight of the Tower</i>,
-both castings are used, shows at least that 4* was intended
-to supplement, rather than replace its predecessor. Besides
-the two partly printed works, sixteen entire works were
-printed in Type 4* between 1483–85, from one of which, the
-<i>Golden Legend</i>, our facsimile, No. 16, is taken.</div>
-
-<div class="dhp"><h4 class="h4runin" title="TYPE 5">
-<span class="smcap">T<b>YPE</b> 5.</span></h4>—In this fount
-the “Lettre de Forme,” first introduced with Type 3,
-reappears in a smaller, but very similar form. Eleven books
-were printed in it between about 1487–91, the majority of
-which were Latin works of devotion. The body is rather
-larger than two-line Brevier, and the fount consists of
-only 153 sorts, there being very few double letters. With
-this fount is a set of bold Lombardic capitals, cast full
-on the body, and used as initials. These Caxton afterwards
-cut down for quadrats, shortening them, as was usual
-at that time, at the foot-end of the type, and so not
-destroying the face.</div>
-
-<div class="dhp"><h4 class="h4runin" title="TYPE 6">
-<span class="smcap">T<b>YPE</b> 6.</span></h4>—This fount
-was for the most part produced from matrices formed from
-trimmed-up letters of Types 2 and 2*, supplemented by a
-few new letters and some from other founts. The body on
-which it is cast is considerably smaller than Type 2, being
-nearly a Great Primer as against a two-line Long Primer.
-This reduction in size necessitated the compression of a
-number of full-faced letters of the original founts, some
-of which have been forcibly squeezed into the compass and
-others truncated. The fount comprises only 141 sorts,
-<span class="xxpn" id="p089">{89}</span> and has a set
-of Lombardic capitals. It was used by Caxton between 1489
-and the time of his death in 1491, during which period
-eighteen works were printed in it. In the <i>Treatise of
-Love</i>, printed in the same type, and supposed to have been
-produced by De Worde after his master’s death, appears an
-initial line in a new type, which might be reckoned as Type
-No. 7; although, if the work was wholly posthumous, its
-claim to be included as one of Caxton’s founts holds only
-as regards the cutting and founding of it.</div>
-
-<div class="dctr01" id="fg15">
-<img src="images/i088fpa.png" width="600" height="263" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i088fpalg.png" title="display larger image">Μ</a></span> 15. Advertisement
- of William Caxton. Type 3.</div></div>
-
-<div class="dctr01" id="fg16">
-<img src="images/i088fpb.png" width="600" height="466" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i088fpblg.png" title="display larger image">Μ</a></span> 16. From
- the <i>Golden Legend</i>. Westminster, 1482. Caxton Type
- 4*.</div></div>
-
-<hr class="hrblnk" />
-
-<p>Such is a brief summary of the types of our first printer. It would be
-interesting, were it possible, to continue in an equally detailed manner an examination
-of the types of all the early English printers. But the rapid increase
-of printing which followed Caxton’s death would render such a task one of
-great labour and difficulty. We shall content ourselves with collecting such
-references to typefounding as may throw general light on the progress of the art
-during the first century of its existence.</p>
-
-<p>We have elsewhere stated our reasons for supposing that the first Oxford
-press was commenced with types brought from abroad. Of the St. Alban’s
-printer and his contemporaries, Lettou and Machlinia, in the city of London, we
-know very little. The types of both presses were extremely rude, and might
-therefore suggest that an attempt was made to produce them by untrained
-English artists, or, as is equally probable, that the old and worn-out soft lead
-types of an earlier printer were made use of.</p>
-
-<hr class="hrblnk" />
-
-<div class="dhp"><h3 class="h3runin" title="WYNKYN DE WORDE">
-<span class="smcap">W<b>YNKYN DE</b>
-W<b>ORDE</b></span></h3> was the most brilliant, as he
-was the most prolific, English printer of the fifteenth
-century. Inheriting some, if not all, of his master
-Caxton’s matrices, he cut a large number of new letters for
-himself, and appears in the execution of these founts to
-have perfected the manual processes of the manufacture, so
-as to leave no doubt that his types were produced in true
-adjustable moulds, out of durable matrices, impressed with
-hard metal punches. His letters are clear and regularly
-cast; indeed, his English or Black-letter was so excellent
-that it became a model for all future letter-cutters, and
-was closely imitated, not only in England, but, apparently,
-abroad. Some writers have considered that De Worde supplied
-duplicate matrices of his Black-letter to some of his
-contemporaries, or else cast founts from his own matrices
-for the trade. The close resemblance between some of his
-founts and those of other English printers of the period,
-seems to give colour to such a suggestion, although the
-probability is that his old discarded types occasionally
-found their way into the provinces, where (as at the press
-of Goes of York) they appeared during the lifetime of
-their original founder. Palmer (or Psalmanazar) makes the
-following <span class="xxpn" id="p090">{90}</span> note
-on this subject: “There is one circumstance,” he says,<a
-class="afnanch" href="#fn155" id="fnanch155">155</a> “that
-induces me to think he was his own letter-founder; which
-is, that in some of his first printed books, the very
-letter he made use of, is the same used by all the printers
-in London to this day; and, I believe, were struck from
-his puncheons. The first is the two lin’d Great Primmer
-Black, the next is the Great Primmer Black.” Of each of
-these two founts he shows a specimen (a facsimile of
-which is here given), which, as Rowe Mores explains, were
-taken from the matrices at that time (1732) in Grover’s
-foundry, where they were reputed at one time to have
-belonged to De Worde.<a class="afnanch" href="#fn156"
-id="fnanch156">156</a></div>
-
-<div class="dctr01" id="fg17">
-<img src="images/i090.png" width="600" height="167" alt="" />
-<div class="dcaption">
- 17. Black Letter, supposed to be from De Worde’s matrices.
- (From Palmer’s <i>General History of Printing</i>.)</div></div>
-
-<p>This piece of evidence is not very convincing. It is more to the point that
-some of his early types are not to be observed in books from the press by any
-foreign printer at that time; which could scarcely have been had he, along with
-other English printers, purchased founts from some of the foreign founders
-at that time carrying on a brisk trade with this country. It is, however, to be
-borne in mind that every printer cut or provided himself with Black as regularly
-as with Roman and Italic; and the Black-letter, especially in the large sizes,
-being easy to imitate, the general resemblance among the founts of that period
-may mean nothing more than that De Worde’s models were faithfully copied by
-his imitators.</p>
-
-<p>De Worde introduced a larger variety in body than Caxton,
-and in some of <span class="xxpn" id="p091">{91}</span>
-his works, as in the <i>Whitintoni Lucubrationes</i>, in 1527, used a very small Black-letter,
-apparently, as Herbert remarks, because he had no Roman or Italic small
-enough. In his Black founts he used a large number of abbreviations, though
-not so many as were at that time used by printers abroad. He has been
-erroneously credited by some writers with having been the first to introduce the
-Roman letter into this country. It appears, however, that he closely followed
-Pynson in this innovation<a class="afnanch" href="#fn157" id="fnanch157">157</a>; and, in his later works, made considerable use of
-that character, both for printing entire books, and for distinguishing remarkable
-words or quotations in his Black-letter text.</p>
-
-<p>Although characterised as a better printer than scholar, he was the first to
-introduce letters of some of the learned languages into his books. In 1519, in
-<i>Whitintonus de concinitate grammatices</i>, he used some Greek words, the first in
-England, cut in wood. Later, in 1524, in <i>Wakefield’s Oratio</i>,<a class="afnanch" href="#fn158" id="fnanch158">158</a>
-printed in
-Roman characters with marginal notes in Italic,<a class="afnanch" href="#fn159" id="fnanch159">159</a>
-he printed some Greek words
-in movable types, and showed Arabic and Hebrew cut in wood, the first used
-in this country. The Hebrew is Rabbinical, and the author complains that he
-has been obliged to omit a third part, because the printer lacked Hebrew types.
-As early as 1495, moreover, De Worde, as we have elsewhere noted, in his
-edition of the <i>Polychronicon</i>, used the first music-types known in typography.</p>
-
-<p>He died in 1534, after printing upwards of 400 books.</p>
-
-<hr class="hrblnk" />
-
-<div class="dhp">
-His contemporary,<h3 class="h3runin" title="PYNSON">
-<span class="smcap">P<b>YNSON</b>,</span></h3> who also acknowledged Caxton as his
-“Worshipful Master,” appears to have been in regular correspondence with the
-typographers of Rouen, one of whom printed in his name.<a class="afnanch" href="#fn160" id="fnanch160">160</a>
-It is also supposed
-that he was on friendly terms with Froben of Basle, whose woodcut designs
-occasionally figure in his works. It is, therefore, probable he may have
-imported some of his founts, including the Roman, which he had the honour of
-first introducing into England in 1518, from abroad. His first types, which
-appeared in the <i>Dives and Pauper</i>, printed by him in 1493, were extremely rude;
-but in this particular he seems to have made rapid progress,
-and some of his later <span class="xxpn" id="p092">{92}</span>
-works are distinguished as fine specimens of typography. Mores’ account of
-Pynson’s types is incomplete, and in one particular at least, that of the Roman letter
-in 1499, incorrect. He says: “His types in the year 1496 were Double Pica,
-Great Primer and Long Primer English (<i>i.e.</i>, Black-letter), all clear and good; a
-rude English English, an English and a Long Primer Roman in 1499 (<i>sic</i>), an
-English and a Pica Roman with which was printed Bishop Tonstal’s book, <i>De
-Arte Supputandi</i>, in 1522. They are thick, but they stand well in line .&#160;.&#160;. He
-had another and better fount of Great Primer English, with which was printed the
-<i>Gallicantus</i> of Bishop Alcock .&#160;.&#160;. in 1498.” The pretty Secretary letter, which
-Mores mentions as having been used in <i>Statham’s</i> and <i>Fitzherbert’s Abridgments</i>
-belonged to Le Tailleur, the Rouen printer, whom Pynson employed to print
-several law books, on account, it is supposed, of the greater correctness of the
-Norman compositors in setting the law language of the day. “However,” says
-Ames, “he had such helps afterwards that all statutes, etc., were printed here at
-home.”</div>
-
-<p>In 1518 he printed his first work in Roman type, the <i>Oratio in Pace
-nuperrimâ</i>,<a class="afnanch" href="#fn161" id="fnanch161">161</a>
-by Richard Pace. Only one fount is used throughout this interesting
-little work, of which we here reproduce the colophon.</p>
-
-<div class="dctr04" id="fg18">
-<img src="images/i092.png" width="600" height="289" alt="" />
-<div class="dcaption">
- 18. From the <i>Oratio in Pace nuperrimâ</i>. Printed by
- Pynson, 1518.</div></div>
-
-<p>A document still preserved in the Record Office, dated June 28, 1519, contains
-an interesting mention of Pynson’s types. It is an indenture between Wm.
-Horman, Clerk and Fellow of the King’s College at Eton, and Pynson, for
-printing 800 copies of such <i>Vulgars</i> as be contained in the copy delivered to
-him, “in suffycient and suyng stuff of papyr, after thre dyverse letters, on for
-the englysh, an other for the laten, and a thyrde of great romayne letter for
-the tytyllys of the booke.” <span class="xxpn" id="p093">{93}</span></p>
-
-<p>In 1524 Pynson possessed a fount of Greek which he used in <i>Linacre’s
-De Emendatâ Structurâ</i>.<a class="afnanch" href="#fn162" id="fnanch162">162</a>
-This is of special interest, since the preface contains
-the first distinct reference to letter-founding which occurs in any English book.
-The Greek accents and breathings, it appears, were not sufficient for the whole
-of the quotations in the book, and their paucity is made the subject of the
-following interesting apology: “Lectori. S. Pro tuo candore optime lector æquo
-animo feras, si quæ literæ in exemplis Hellenissimi vel tonis vel spiritibus vel
-affectionibus careant. Iis enim non satis erat instructus typographus videlicet
-<i>recens ab eo fusis characteribus græcis</i>, nec parata ea copia, quod ad hoc agendum
-opus est.”<a class="afnanch" href="#fn163" id="fnanch163">163</a> The <i>Linacre</i>
-is printed in a good Great Primer Roman type, with
-which the Greek ranges fairly. The letters of the latter character are cast wide,
-so that each letter stands apart from the next, instead of joining close.</p>
-
-<p>A further mention of Pynson’s types occurs in a Latin letter of his own, printed
-at the end of the <i>Lytylton Tenures</i> of 1527, in which he thus inveighs against the
-piracy of his rival and contemporary, Robert Redman: “Richard Pynson, the
-Royal printer, salutation to the Reader. Behold, I now give to thee, candid
-Reader, a Lyttleton corrected (not deceitfully), of the errors which occurred in
-him; I have been careful that not my printing only should be amended, but also
-that with a more elegant type it should go forth to the day: that which hath
-escaped from the hands of Robert Redman, but more truly Rudeman, because
-he is the rudest out of a thousand men, is not easily understood.”</p>
-
-<p>The new fount here referred to must have been among the latest productions
-of this printer’s industrious labours, as he ceased printing in 1528, having issued
-upwards of 210 works.</p>
-
-<hr class="hrblnk" />
-
-<div class="dhp"><h3 class="h3runin" title="WILLIAM FAQUES">
-<span class="smcap">W<b>ILLIAM</b> F<b>AQUES</b>,</span></h3> another contemporary of De Worde’s, who printed in
-London between 1504 and 1511, appears to have had a more direct connection
-with the Norman typographers than any of his fellow printers. He learned his
-art at Rouen with Jean le Bourgeois, and probably came over to this country
-furnished with types, if not with matrices, from that market. He is praised
-with justice as an excellent workman, and some of his Black-letter founts are
-described by Mores as equalling in beauty any which
-were to be found in <span class="xxpn" id="p094">{94}</span>
-England as late as his day (1778). It is supposed that De Worde became
-possessed of some of these letters after Faques’ death,
-which occurred in 1511.</div>
-
-<hr class="hrblnk" />
-
-<p>With Faques and Pynson early English Typography seems to have reached
-for a time its high-water mark. A slow deterioration set in, probably consequent
-on the withdrawal of the foreign trade in type, and the necessity thereupon for
-every printer to become his own punch-cutter and typefounder.</p>
-
-<p>Mores, in passing, is careful to rescue a few names from reproach.
-“<span class="smcap">C<b>OPLAND</b></span>
-<span class="smmaj">THE</span>
-<span class="smcap">E<b>LDER</b>,”</span> he says, “(who had been servant to De Worde) and
-<span class="smcap">W<b>YER</b></span> and <span class="smcap">R<b>EDMAN</b>,</span> had founts of two-line Great Primer, the letter good and
-beautiful.&#160;.&#160;. <span class="smcap">W<b>ILL.</b></span>
-<span class="smcap">R<b>ASTEL</b></span> used Italic in 1531.&#160;.&#160;. Redman<a class="afnanch" href="#fn164" id="fnanch164">164</a>
-used a Secretary
-type in the edition of <i>Rastell’s Grete Abridgement</i>, printed in the year 1534,
-which Secretary is the last Secretary we remember. <span class="smcap">B<b>ERTHELET</b></span> had a fount
-of English Roman with a face as thick as English” (Black-letter), “but pretty.”</p>
-
-<div class="dctr03" id="fg18a">
-<img src="images/i094.png" width="600" height="552" alt="" />
-<div class="dcaption">
- 18<span class="smmaj">A.</span> From the <i>Boke named the
- Governour</i>. Printed by Berthelet, 1531.</div></div>
-
-<p>We annex a specimen of the curious semi-Gothic fount used by this last-named
-printer in 1531 for printing Sir Thomas Elyot’s <i>Boke named the Governour</i>.
-The face is of rare occurrence in English typography,
-and was probably procured <span class="xxpn" id="p095">{95}</span>
-from abroad. The small Secretary type mixed with it is doubtless English, and
-was one of the latest founts of its kind used in the country.</p>
-
-<p>There appears to be no special reason, as we have stated, why the names
-and types of any particular printers at this period should be selected to the
-exclusion of others who equally with them produced types for their own use.
-We may, however, mention <span class="smcap">R<b>EYNOLD</b></span>
-<span class="smcap">W<b>OLFE</b>,</span> who in 1543 held the first patent
-as printer to the king in Latin, Greek and Hebrew, and printed the first entire
-Greek and Latin book in England, being Sir John Cheke’s edition of
-<i>Chrysostom’s two Homilies</i>.<a class="afnanch" href="#fn165" id="fnanch165">165</a>
-He appears, however, to have printed nothing in
-Hebrew.</p>
-
-<hr class="hrblnk" />
-
-<div class="dhp"><h3 class="h3runin" title="JOHN DAY">
-<span class="smcap">J<b>OHN</b> D<b>AY</b></span></h3> occupies an important place in the history of early English letter-founding.
-What is mainly conjecture with regard to most of his predecessors
-we are able to state on the authority of historical records with regard to him,
-namely, that he was his own letter-founder; and from his day English letter-founding
-may be said to have started on a separate career.</div>
-
-<p>He was born in 1522, and began business about 1546, in St. Sepulchre’s
-parish. In 1549 he removed to Aldersgate, where he continued until 1572.
-The persecutions of Queen Mary’s reign caused him to seek refuge abroad, but
-he returned in 1556, in which year he was the first person admitted to the
-livery of the Stationers’ Company, newly incorporated by the charter of Philip
-and Mary. On the accession of Queen Elizabeth he became an important printer,
-and was chosen Warden of the Company in 1564 and three subsequent years, and
-Master in 1580.</p>
-
-<p>Early in the Queen’s reign he found a generous patron in Archbishop
-Parker, under whose auspices he cut some of his most famous founts. One
-of the earliest of these was the fount of Saxon, which appeared first
-in Ælfric’s Saxon Homily, edited by the Archbishop under the title of
-<i>A Testimonie of Antiquitie</i>, and printed in 1567. It was used again in
-Lambard’s <i>Archaionomia</i> in the following year, in the <i>Saxon Gospels</i>,
-printed in 1571, and subsequently in the Archbishop’s famous
-edition of Asser Menevensis’ <i>Ælfredi Res Gestæ</i> in 1574.<a class="afnanch" href="#fn166" id="fnanch166">166</a></p>
-
-<p>This last-named work, which may be regarded as one of the first historical
-monuments of English letter-founding, contained a
-preface by Parker, in which <span class="xxpn" id="p096">{96}</span>
-Day’s performance in cutting the punches is thus particularly alluded to:—“Jam
-vero cum Dayus typographus primus (et omnium certè quod sciam solus)
-has formas æri inciderit; facilè quæ Saxonicis literis perscripta sunt, iisdem
-typis divulgabuntur.”<a class="afnanch" href="#fn167" id="fnanch167">167</a></p>
-
-<p>The Saxon fount, as will be seen by the facsimile, 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 lower-case 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.<a class="afnanch" href="#fn168" id="fnanch168">168</a>
-He subsequently cut a smaller size
-of Saxon on Pica body.</p>
-
-<p>The typography of the <i>Ælfredi</i> is superior to that of almost any other work
-of the period. Dibdin considered it one of the rarest and most important
-volumes which issued from Day’s press. The Archbishop’s preface is printed
-in a bold, flowing Double Pica Italic, and the Latin preface of St. Gregory at
-the end in a Roman of the same body, worthy of Plantin himself. It is at least
-a curious circumstance, pointing to a community of founts among printers even
-at that day, that in Binneman’s<a class="afnanch" href="#fn169" id="fnanch169">169</a>
-edition of Walsingham’s <i>Historia</i>, bound up
-with Day’s <i>Asser</i> and the <i>Ypodigma Neustriæ</i>, this same large Roman and Italic
-is made use of.</p>
-
-<p>Respecting an Italic fount cut by Day in 1572, several interesting particulars
-are preserved, which tend to throw further light on our printer’s operations as a
-punch-cutter and letter-founder.</p>
-
-<div class="dctr02" id="fg20">
-<img src="images/i096fpa.png" width="600" height="254" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i096fpalg.png" title="display larger image">Μ</a></span> 20. Day’s Saxon
- Fount. (From the <i>Ælfredi Res Gestæ</i>, 1574.)</div></div>
-
-<div class="dctr02" id="fg21">
-<img src="images/i096fpb.png" width="600" height="249" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i096fpblg.png" title="display larger image">Μ</a></span> 21. Day’s
- Double Pica Roman. (From the <i>Ælfredi Res Gestæ</i>,
- 1574.)</div></div>
-
-<div class="dctr02" id="fg22">
-<img src="images/i096fpc.png" width="600" height="246" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i096fpclg.png" title="display larger image">Μ</a></span> 22. Day’s Double
- Pica Italic. (From the <i>Ælfredi Res Gestæ</i>, 1574.)
- <div>(The extract is Parker’s reference to Day as a
- letter-founder.)</div></div></div>
-
-<p>It appears that in that year, at the time when Day
-removed his shop from <span class="xxpn" id="p097">{97}</span>
-Aldersgate to St. Paul’s Churchyard, Archbishop Parker was engaged in
-providing replies to a Popish polemic of Nicholas Sanders, entitled <i>De Visibili
-Monarchia</i>. Dr. Clerke of Cambridge was selected for the task, and his <i>Responsio</i>
-was entrusted to Day to print. In a letter to Lord Burleigh, dated December
-13, 1572, the Archbishop thus refers to the typography of the forthcoming
-work<a class="afnanch" href="#fn170" id="fnanch170">170</a>:</p>
-
-<p>“To the better accomplishment of this worke and other that shall followe,
-I have spoken to Daie the printer to cast a new Italian letter, which he is
-doinge, and it will cost him xl marks; and loth he and other printers be to
-printe any Lattin booke, because they will not heare be uttered and for that
-Bookes printed in Englande be in suspition abroad.”</p>
-
-<p>Strype, referring to the transaction, adds a note: “For our Black English
-letter was not proper for the printing of a Latin Book; and neither he (Day) nor
-any one else, as yet had printed any Latin books.”<a class="afnanch" href="#fn171" id="fnanch171">171</a>
-This misleading statement
-is corrected by Herbert,<a class="afnanch" href="#fn172" id="fnanch172">172</a>
-who points out that many Latin books had been
-printed, few of which, after 1520, had been in Black-letter, and he believed none
-at all after 1530. Moreover, many English books had long before 1572 been
-printed in Roman or Italic, and even such as had generally been printed in
-Black-letter usually had the notes and quotations in Roman or Italic.</p>
-
-<p>It is singular that, after this announcement by the Archbishop, neither of
-the replies to Sanders was printed in Italic type. Clerke’s <i>Responsio</i>,<a class="afnanch" href="#fn173" id="fnanch173">173</a>
-in 1573,
-appeared in a new Great Primer Roman type, with the quotations only in Italic,
-the headings being set in the large Italic afterwards used in the <i>Asser</i>. Acworth’s
-<i>De Visibili Romanarchia</i>,<a class="afnanch" href="#fn174" id="fnanch174">174</a>
-another rejoinder, in the same year, was in an English
-Roman, with a corresponding Italic and Greek. In Parker’s great work, however,
-<i>De Antiquitate Britannicæ Ecclesiæ</i>,<a class="afnanch" href="#fn175" id="fnanch175">175</a>
-published the year before (1572), and supposed
-by some to have been printed by Day at a private press of the Archbishop’s
-at Lambeth, the entire text, consisting of 524 pages, was in the English Italic,
-which Dibdin describes as “a full-sized, close, but flowing Italic letter.” The
-preface only to this work was in Roman; the various titles and sub-titles being
-in the larger founts of the <i>Responsio</i> and <i>Asser</i>.</p>
-
-<p>Day was among the first English printers who cut the Roman and Italic to
-range as one and the same fount. Hitherto the two
-letters had been but seldom <span class="xxpn" id="p098">{98}</span>
-intermixed, and when they were, they frequently exhibited a disparity in size and
-an irregularity in line which was disfiguring.<a class="afnanch" href="#fn176" id="fnanch176">176</a>
-Day, however, cut uniform founts.</p>
-
-<p>In addition to the characters already mentioned, he greatly improved the
-Greek letter of the day. The <i>Christianæ Pietatis Prima Institutio</i>, printed by
-him in 1578, is in a beautiful type, which is considered to be equal to that of the
-great Greek typographers of Paris—the Estiennes.</p>
-
-<p>Among his further enterprises in letter-cutting may be mentioned the
-Hebrew words, cut in wood, which he used in Humphrey’s <i>Life of Jewell</i>, in
-1573, and in Baro’s <i>Readings on Jonah</i>, in 1579; and the musical notes which
-he introduced into his editions of the metrical <i>Psalter</i>. These notes are chiefly
-lozenge-shaped and hollow, differing from those used by Grafton in 1550, in
-Merbecke’s <i>Booke of Common Praier</i>, <i>noted</i>, which are mostly square and solid.
-He also, as he himself stated in a book printed in 1582, “caused a new print of
-note to be made, with letters to be joined to every note, whereby thou mayest
-know how to call every note by its right name.” Besides these, he made use of
-a considerable number of signs, mathematical and other, not before cast in type;
-while his works abound with handsome woodcut initials, vignettes and portraits,
-besides a considerable variety of metal “flowers.” Of the disposal of Day’s
-punches and matrices after his death we have no precise information, but the
-reappearance of the beautiful Double Pica Roman and Italic of the <i>Ælfredi</i>, in
-the <i>Bibles</i> printed by the Barkers, in Young’s <i>Catena on Job</i> in 1637, in
-Walton’s <i>Polyglot</i> in 1657, and other works, most of them executed by the royal
-printers, suggests that these founts at any rate were retained (probably under
-archiepiscopal control), and handed down for the service of the privileged
-presses.</p>
-
-<div class="dctr03" id="fg19">
-<img src="images/i099.png" width="520" height="700" alt="" />
-<div class="dcaption">
- 19. Portrait of <span class="smcap">J<b>OHN</b>
- D<b>AY</b>,</span> 1562. (From the Colophon to Peter
- Martir’s <i>Commentaries on the Romans</i>, 1568.)</div></div>
-
-<p>In Strype’s <i>Life of Parker</i>, already quoted, is preserved an interesting
-account of Day’s business, with which we close this short notice: “And with
-the Archbishop’s engravers, we may joyn his printer Day, who printed his
-<i>British Antiquities</i> and divers other books by his order .&#160;.&#160;. for whom the
-Archbishop had a particular kindness .&#160;.&#160;. Day was more ingenious and
-industrious in his art and probably richer too, than the rest, and so became
-envied by the rest of his fraternity, who hindered, what they could, the sale
-of his books; and he had in the year 1572, upon his hands, to the value of two or
-three thousand pounds worth, a great summ in those days. But living under
-Aldersgate, an obscure corner of the city, he wanted a
-good vent for them. <span class="xxpn" id="p101">{101}</span>
-Whereupon his friends, who were the learned, procured him from the Dean and
-Chapter of St. Pauls, a lease of a little shop to be set up in St. Pauls Churchyard.
-Whereupon he got framed a neat handsome shop. It was but little and low,
-and flat-roofed and leaded like a terrace, railed and posted, fit for men to stand
-upon in any triumph or show; but could not in anywise hurt or deface the same.
-This cost him forty or fifty pounds. But .&#160;.&#160;. his brethren the booksellers
-envied him and by their interest got the mayor and aldermen to forbid him
-setting it up, though they had nothing to do there, but by power. Upon this the
-Archbishop brought his business before the Lord Treasurer, and interceded for
-him, that he would move the Queen to set her hand to certain letters that he had
-drawn up in the Queen’s name to the city, in effect, that Day might be permitted
-to go forward with his building. Whereby, he said, his honour would deserve
-well of Christ’s Church, and of the prince and State.”—P. 541.</p>
-
-<div class="dkeeptogether">
-<p>Day died in 1584, aged 62, and was buried at Bradley Parva. He published
-about 250 works. “He seems indeed,” says Dibdin, “(if we except Grafton)
-the Plantin of Old English Typographers; while his character and reputation
-scarcely suffer diminution from a comparison with those of his illustrious contemporary
-just mentioned.”</p>
-
-<div class="dctr09">
-<img src="images/i101.png" width="312" height="117" alt="" />
-</div></div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p102">
-<img src="images/i102a.png" width="600" height="151" alt="" />
-</div></div><!--chapter-->
-
- <h2 class="h2herein" title="CHAPTER IV. LETTER-FOUNDING AS
- AN ENGLISH MECHANICAL TRADE.—1477–1830.">
- <span class="hblk fsz6">CHAPTER IV.</span>
- <span class="hblk"><img class="ihrch"
- src="images/i102b.png" width="291" height="35" alt=""
- /></span> LETTER-FOUNDING AS AN ENGLISH MECHANICAL
- TRADE. 1477–1830.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i102c.png"
-width="312" height="324" alt="I" />
-</span>T will be convenient, now that we have reached a point at
-which letter-founding enters upon a new stage as a
-distinct trade, to take a brief survey of its progress as a
-mechanical industry; availing ourselves of such records
-and illustrations as may be met with, to trace its
-development and improved appliances during the period
-covered by this narrative.</p>
-
-<p>As has already been stated, the reticence of our first
-printers leaves us almost entirely in the dark as to the particular processes by
-which they produced their earliest types. Mr. Blades leans to the opinion that
-Caxton, in his first attempts at typefounding, adopted the methods of the rude
-Flemish or Dutch School, of whose conjectured appliances we have spoken in the
-introductory chapter. “The English printers,” he says, “whose practice seems
-to have been derived from the Flemish School, were far behind their contemporaries
-in the art. Their types show that a very rude process of founding was
-practised; and the use .&#160;.&#160;. of old types as patterns for new, evinces more
-of commercial expediency than of artistic ambition.”</p>
-
-<p>At the same time, there seems reasonable ground for inferring, from the
-peculiarities attending the re-casting of Caxton’s Type 4 as 4*, to which
-allusion has already been made, that at least as early as 1480 Caxton was
-possessed of the secret of the punch, and matrix and adjustable
-mould; while the <span class="xxpn" id="p103">{103}</span>
-excellent works of De Worde and his contemporaries demonstrate that, however
-rudely, the art may have begun, England was, in the early years of the sixteenth
-century, abreast of many of her rivals, both as to the design and workmanship
-of her founts.</p>
-
-<p>The frequent indications to be met with of the transmission of founts from
-one printer to another, as well as the passing on of worn types from the presses
-of the metropolis to those of the provinces, are suggestive of the existence (very
-limited, indeed) of some sort of home trade in type even at that early date.
-For a considerable time, moreover, after the perfection of the art in England, the
-trade in foreign types, which dated back as early as the establishment of printing
-in Westminster and Oxford, continued to flourish. With Normandy, especially,
-at the beginning of the sixteenth century, a brisk commerce was maintained.
-Not only were many of the English liturgical and law books printed abroad
-by Norman artists, but Norman type found its way in considerable quantities
-into English presses. M. Claudin, whose researches in the history of the early
-provincial presses of France entitles him to be considered an authority on the
-matter, states that Rouen, at the beginning of the sixteenth century, was the
-great typographical market which furnished type not to England only, but to
-other cities in France and to Switzerland. “It evidently had special typographical
-foundries,” he observes. “Richard Pynson, a London printer, was a Norman;
-Will Faques learned typography from J. le Bourgeois, a printer at Rouen.
-These two printers had types cast expressly for themselves in Normandy.
-Wynkyn de Worde must have bought types in Normandy also, and very likely
-from Peter Olivier and Jean de Lorraine, printers in partnership at Rouen.”<a class="afnanch" href="#fn177" id="fnanch177">177</a>
-And with regard to the first printer of Scotland, M. Claudin has no doubt that
-Myllar learned his art in Normandy, and that the types with which his earliest
-work was printed were those of the Rouen printer, Hostingue.</p>
-
-<p>It is reasonable to suppose that English printers would endeavour, if possible,
-to provide themselves, not with types merely, but with matrices of the
-founts of their selections; and, indeed, we imagine some explanation of the
-marked superiority of our national typography at the close of the fifteenth century
-over that of half a century later, is to be found in the fact that, whereas many of
-the first printers used types wholly cut and cast for them by expert foreign
-artists, their successors began first to cast for themselves from hired or purchased
-matrices, and finally to cut their own punches and justify their own matrices.
-Printing entered on a gloomy stage of its career in England
-after Day’s time, <span class="xxpn" id="p104">{104}</span>
-and as State restrictions gradually hemmed it in, crushing by its monopolies
-healthy competition, and by its jealousy foreign succour, every printer became
-his own letter-founder, not because he would, but because he must, and the art
-suffered in consequence.</p>
-
-<div class="dctr05" id="fg23">
-<img src="images/i104.png" width="367" height="700" alt="" />
-<div class="dcaption">
- 23. From Jost Amman’s <i>Stände und Handwerker</i>. Frankfurt,
- 1568.</div></div>
-
-<p>Of the operations of a sixteenth century letter-foundry, we are fortunately
-able to form some idea from the quaint engraving preserved to
-us by Jost <span class="xxpn" id="p105">{105}</span>
-Amman in his <i>Book of Trades</i><a class="afnanch" href="#fn178" id="fnanch178">178</a>
-in 1568, and reproduced here. The picture
-represents the Frankfort founder seated at his small brick furnace, casting type
-in a mould. This mould differs from the modern hand-moulds in being pyramidical
-in shape, and holding the matrix as a fixture in its interior. One of the
-moulds on the shelf shows a hole in the side, into which the matrix was probably
-inserted. From the manner in which the caster is grasping the mould, it would
-seem that it was bipartite, and needed the two halves holding together during
-casting. The cast types lying in the bowl have “breaks” attached to them,
-which at that date were in all probability cast so as to be easily detached.
-Behind the caster are some drawers, probably intended to contain matrices, of
-which one or two lie on the top waiting their turn for use. On the lower of the
-two shelves above the furnace are some crucibles, in which the metals would be
-mixed before filling up the casting-pan. On the upper shelf, besides three more
-moulds, are some sieves, suggestive of the use of sand, either for moulding large
-letters, or, as Mr. Blades suggests, for running the small ingots of metal into for
-use in the melting-pot. The small room in which this caster is operating in all
-probability formed part of a printing-office; and another interesting engraving
-of perhaps a still earlier date, which we here reproduce from the original in the
-British Museum,<a class="afnanch" href="#fn179" id="fnanch179">179</a>
-shows the two departments of the
-typo­grapher’s art going on in <span class="xxpn" id="p106">{106}</span>
-adjoining apartments. In this case, as in the Frankfort cut, the caster
-is sitting; but his mould, large as it is, appears to be furnished with
-a spring at the bottom, more like the later hand-moulds.</p>
-
-<div class="dctr03" id="fg24">
-<img src="images/i105.png" width="600" height="473" alt="" />
-<div class="dcaption">
- 24. Letter-founding and Printing, <i>circa</i> 1548. (From the
- cut in the Harleian MSS.)</div></div>
-
-<p>In the lines accompanying Amman’s picture the founder is made to say
-that he casts types made of “Bismuth, Tin and Lead,” a statement which, if
-correct, shows that the Frankfort types of that day must have been cast in
-terribly soft metal, of about the substance and durability of modern solder.
-The presence of the crucibles, however, points to the use of some fourth metal,
-of sufficient hardness to require a violent heat to fuse it. The founder also
-states that he can correctly justify his letters, which may refer either to the
-dressing of the types after casting, or the more important justification of the
-matrix to adapt it to the mould.</p>
-
-<p>Another interesting memorial of a sixteenth century foundry is to be met
-with in a visit to the once famous printing-office of Christopher Plantin at
-Antwerp.<a class="afnanch" href="#fn180" id="fnanch180">180</a>
-The foundry of the great Netherlands “Archi-typographus,” which
-is still preserved in its pristine condition, was on the upper floor of his house,
-and consisted of two rooms, one devoted wholly to the casting, the other being a
-store-room for types awaiting use at the press. In the casting-room is still to be
-seen a large brick furnace covered with an earthenware slab. To the right of this
-is a smaller furnace, surmounted by the metal pot, which even yet contains some
-of the old type-alloy. On the walls hang tongs, ladles, knives and moulds. In a
-box are preserved small parcels of pattern-types for setting the moulds by, among
-which the visitor is shown three or four types of silver.<a class="afnanch" href="#fn181" id="fnanch181">181</a>
-In another box are a <span class="xxpn" id="p107">{107}</span>
-large number of punches<a class="afnanch" href="#fn182" id="fnanch182">182</a>
-and moulds of all sizes. A bench extends along one
-side of the room, doubtless for the use of the dressers or rubbers.</p>
-
-<p>In all these points we recognise that even in Plantin’s day the general
-appointments of a letter-foundry differed very little from those of the modern
-foundry before the introduction of machinery. Although we have no description
-of any English foundry before Moxon’s time, we know that the processes in
-use among us boast a much earlier origin. Moxon described no new method,
-but the old-established practice which had obtained, if not from the infancy of
-the art, at least from the commencement of that gradual divorce between printing
-and letter-founding which led, about 1585, to the establishment of foundries for
-the public use. We have no reason to suppose that the foundries connected
-with the presses of Day, Wolfe and others differed in practice from those of
-their Frankfort and Antwerp contemporaries, or that when, in 1597, Benjamin
-Sympson, a letter-founder, gave bond to the Stationers’ Company not to cast
-type for the printers without due notice, he, or the founders who followed him,
-knew any other methods of producing their type than those already familiar to
-every printer at home and abroad.</p>
-
-<p>Turning now to Moxon’s account of English letter-founding as it was in his
-day, we find no lack of detail as to every branch of the art and every appliance
-in use by the artist. It is not our purpose here to follow these descriptions
-further than as they give a general idea of the practice and method of letter-founding
-two centuries ago,—a practice and method which, as we have said,
-existed long before his day, and were destined to be in common use for nearly
-a century and a half after. We shall best indicate the processes and appliances
-he describes by giving a brief analysis of that portion
-of his book which is <span class="xxpn" id="p108">{108}</span>
-devoted to the mechanics of letter-founding,<a class="afnanch" href="#fn183" id="fnanch183">183</a>
-reserving for a later chapter a
-general summary of the complete work.</p>
-
-<p>Naturally beginning with punch-cutting, he first describes in detail the
-various tools made use of by the engraver, viz., the forge, the using file, the flat
-gauge, the sliding gauges, the face gauges, the Italic and other standing gauges,
-the liner, the flat table, the tach, and other furniture of the bench. Every one
-of these tools is to be found in the punch-cutter’s room of the present day,
-scarcely changed in form or use from the woodcuts which illustrate Moxon’s
-description.</p>
-
-<p>Turning from the tools to the workman, Moxon next proceeds to describe his
-choice of steel for the punches; the making and striking of the counter-punches
-on the polished face of the punch; the “graving and sculping” of the insides of
-the letters; together with certain rules in the use of the gravers, small files, etc.,
-employed in this delicate operation.</p>
-
-<p>With regard to the process described as counter-punching, it is necessary to
-admit that this constituted a refinement of the art of punch-cutting apparently
-unknown to the first printers. The freedom of their letters, consequent on the
-imitation of handwriting, which served as their earliest models, makes it evident
-that they cut by eye, rather than by mathematical rule. But as typography
-gradually made models for itself, the best artists, particularly those who aimed
-at producing regular Roman and Italic letters, discovered the utility and
-expediency of arriving at uniformity in design and contour, by the use of these
-counter-punches, which stamped on to the steel the impress of the hollow
-portions of the letters they were about to cut, leaving it to the hand of the
-engraver to cut round these hollows the form of the required character.</p>
-
-<p>The punches being cut, finished and hardened, Moxon next
-deals with the various parts of the type-mould, describing
-in turn the “Making” of the mould: The Carriage,<a
-class="afnanch" href="#fn184" id="fnanch184">184</a>
-(a); the Body, (b); the Male Gauge, (c); the Mouthpiece,
-(d&#160;e); the Register, (f&#160;i); the Female Gauge,
-(g); the Hag, (h); the Bottom Plate, (<i>a</i>); the Wood,
-(<i>b</i>); the Mouth, (<i>c</i>); the Throat, (<i>d</i>); the Pallat,
-(<i>e</i>&#160;<i>d</i>); the Nick, (<i>f</i>); the Stool, (<i>g</i>); the
-Spring, (<i>h</i>).</p>
-
-<div class="dctr03" id="fg25">
-<img src="images/i109.png" width="533" height="800" alt="" />
-<div class="dcaption">
- 25. Letter-founding in 1683. (From Moxon’s <i>Mechanick
- Exercises</i>.)</div></div>
-
-<p>Here again we have described, with scarcely a difference, the mould in
-which scores of men yet living have in their day cast types
-for the trade. The <span class="xxpn" id="p111">{111}</span>
-justification of the mould is then described; after which the important operation
-of striking the steel punch into copper, and forming and justifying the matrix, is
-treated of, with instructions for “botching” matrices in the event of a mistake in
-the latter process. The matrices being thus ready, the founder is instructed how
-to adjust them to the mould in preparation for casting,—a solemn process
-which may be best described in the writer’s own language:―</p>
-
-<p>“Wherefore, placing the under-half of the Mold in his left hand, with the
-Hook or Hag forward, he clutches the ends of its Wood between the lower part
-of the Ball of his Thumb and his three hind-Fingers. Then he lays the upper
-half of the Mold upon the under half, so as the Male-Gages may fall into the
-Female Gages, and at the same time the Foot of the Matrice place itself upon
-the Stool. And clasping his left-hand Thumb strong over the upper half of the
-Mold, he nimbly catches hold of the Bow or Spring with his right-hand Fingers
-at the top of it, and his Thumb under it, and places the point of it against the
-middle of the Notch in the backside of the Matrice, pressing it as well forwards
-towards the Mold, as downwards by the Sholder of the Notch close upon the
-Stool, while at the same time with his hinder-Fingers as aforesaid, he draws the
-under half of the Mold towards the Ball of his Thumb, and thrusts by the Ball of
-his Thumb the upper part towards his Fingers, that both the Registers of the
-Mold may press against both sides of the Matrice, and his Thumb and Fingers
-press both Halves of the Mold close together. Then he takes the Handle of the
-Ladle in his right Hand, and with the Boll of it gives a Stroak two or three
-outwards upon the Surface of the Melted Mettal to scum or cleer it from the
-Film or Dust that may swim upon it. Then he takes up the Ladle full of Mettal,
-and having his Mold as aforesaid in his left hand, he a little twists the left side
-of his Body from the Furnace, and brings the Geat of his Ladle, (full of Mettal)
-to the Mouth of the Mold, and twists the upper part of his right-hand towards
-him to turn the Mettal into it, while at the same moment of Time he Jilts the
-Mold in his left hand forwards to receive the Mettal with a strong Shake (as
-it is call’d) not only into the Bodies of the Mold, but while the Mettal is yet hot,
-running swift and strongly into the very Face of the Matrice to receive its perfect
-Form there as well as in the Shanck.”</p>
-
-<p>This done, the mould is opened, and the type released; Moxon adding that
-a workman will ordinarily cast 4,000 such letters in a day.</p>
-
-<p>Then follow rules to be observed in breaking off, rubbing, kerning, setting-up
-and dressing, with descriptions of the dressing-sticks, block-groove, hook,
-knife and “plow.” That these operations, as well as the casting, had undergone
-no alteration nearly a century after Moxon’s day, may be judged from the fact
-that Moxon’s descriptions are used verbatim to accompany the
-view of the <span class="xxpn" id="p112">{112}</span>
-interior of Caslon’s foundry, shown in the <i>Universal Magazine</i> of 1750, where all
-these operations are exhibited in active progress.</p>
-
-<p>With regard to the preparation of the type-metal, Moxon’s account is minute
-and a trifle peculiar. This metal was, according to his account, made of lead
-hardened with iron.<a class="afnanch" href="#fn185" id="fnanch185">185</a>
-Stub-nails were chosen as the best form of iron to melt,
-and the mixture was made with the assistance of antimony, of which an equal
-amount with the iron was added to the lead, in the proportion of 3 lb. of iron to
-25 lb. of lead. The great heat required to melt the iron necessitated open
-furnaces of brick, built out of doors, in a broad, open place, well exposed to
-the wind, into which the iron and antimony mixture was put in pots surrounded
-with charcoal. After half an hour’s time the metal men were to “lay their Ears
-near the Ground and listen to hear a Bubling in the Pots,” which is the sign that
-the iron is melted. They then were to erect another small furnace, “on that side
-from whence the Wind blows,” which was to contain the large pot full of lead.
-The lead being melted, they were to carry it at a great heat, with a “Labour
-would make Hercules sweat,” to the open furnace, filling up the pots of iron and
-antimony with the lead, and stirring at the same time. The open furnace was
-to be then demolished, and the mixed metal left to cool in the pots. And “now,”
-says Moxon, “(according to Custom), is Half a Pint of Sack mingled with Sallad
-Oyl provided for each Workman to Drink; intended for an Antidote against the
-Poysonous Fumes of the Antimony, and to restore the Spirits that so Violent a
-Fire and Hard Labour may have exhausted.”</p>
-
-<p>Such is a brief account of the practice of typefounding in Moxon’s time. Of
-the trade customs of the day our author also presents us with a curious picture,
-in his account of the Chapel.</p>
-
-<p>“A Founding-House,” he says, “is also call’d a Chappel: but I suppose the
-Title was originally assum’d by Founders to make a Competition with Printers.
-The Customes used in a Founding-House are made as near as maybe those of a
-Printing-House; but because the Matter they Work on and the manner of their
-Working is different, therefore such different Customes are in Use as are suitable
-to their Trade, as:―</p>
-
-<blockquote class="din2">
- <p class="phanga">“First, To call Mettle Lead, a Forfeiture.</p>
-
- <p class="phanga">“Secondly, A Workman to let fall his Mold, a
- Forfeiture.</p>
-
- <p class="phanga">“Thirdly, A Workman to leave his Ladle in the Mettle
- Noon or Night, a Forfeiture.” <span class="xxpn"
- id="p113">{113}</span></p></blockquote>
-
-<p>We are given to understand that in the case of other offences, common to
-both printing and typefounding, such as swearing, fighting, drunkenness, abusive
-language, or giving the lie in the chapel, or the equally heinous offence of leaving
-a candle burning at night, the journeyman founder was liable to be “solaced” by
-his fellow-workmen, in the same hearty and energetic way which characterised
-the administration of justice among the printers.</p>
-
-<p>After Moxon’s time we meet with numerous accounts of foundries and their
-appointments. The interesting inventory of the Oxford foundry, appended to
-the specimen of the press in 1695, gives a good idea of the extent of that
-establishment. There were apparently two casters, two rubbers, and two or
-three dressers, and the foundry possessed twenty-eight moulds. The punches
-were sealed up in an earthen pot, possibly to protect them from rust or injury;
-or possibly, because having once served their purpose in striking the matrices,
-they were put aside as of little or no use. The small value put upon punches
-after striking is constantly apparent about this period. Very few punches came
-down with the foundries which were absorbed by that of John James; and of
-those that did, the greater portion were left to take their chance among the waste
-as worthless. The small value set upon the punches of Walpergen’s music, in the
-inventory of his plant,<a class="afnanch" href="#fn186" id="fnanch186">186</a>
-shows that they were considered the least important of his
-belongings. Matrices did not wear out in the old days of hand-moulds and soft
-metal, as they do now under steam machines and “extra hard”; but the liability
-to loss or damage, and the importance of protecting and preserving the steel
-originals of their types, can hardly have been less with the founders of a century
-and a half ago than it is to-day.</p>
-
-<p>The entertaining letters of Thomas James from Holland, in 1710,<a class="afnanch" href="#fn187" id="fnanch187">187</a>
-point to a
-curious practice in that country, which we believe has never obtained in this. We
-refer to the habit of lending casters and matrices by one founder to another. In
-each of the two foundries he visited there were places for four casters; but in one
-case only one man was at work, and in the other no one was to be found, for this
-reason. This system of interchange is hardly consistent with the jealousy and
-suspicion shown by the same Dutch founders towards their English rival in his
-endeavours to procure sets of matrices from their punches. In this endeavour,
-however, he succeeded, much to his own satisfaction. He also purchased moulds,
-which, like all the other Dutch moulds he saw, were made of brass. Voskens’
-foundry, which he visited, appears to have been “a great business, having five or
-six men constantly at the furnace, besides boys to rub, and himself
-and a brother <span class="xxpn" id="p114">{114}</span>
-to do the other work.” He also found artists who, like Cupi and Rolij, were
-punch-cutters only, not attached to any one foundry, but doing work for
-founders generally. Van Dijk was a cutter only, who kept a founder of his
-own named Bus, and this founder cast, not at his own or Van Dijk’s house, but
-at the house of Athias, by whom probably he was also engaged. The Voskens,
-who succeeded Van Dijk, did their own casting, but their punches and matrices
-were supplied them by Rolij, who, as an independent artist, was free to sell
-duplicate matrices of his letters to James. This division of letter-founding into
-one or more trades, though common abroad, was never a common practice in
-England, where jealousy and lack of enterprise conspired to keep each founder’s
-business a mystery known only to himself.<a class="afnanch" href="#fn188" id="fnanch188">188</a></p>
-
-<p>In the course of this book we shall have constant occasion to point out the
-intimate relations which existed at the beginning of the eighteenth century
-between English printers and Dutch founders. There was probably more Dutch
-type in England between 1700 and 1720 than there was English. The Dutch
-artists appeared for the time to have the secret of the true shape of the Roman
-letter; their punches were more carefully finished, their matrices better justified,
-and their types of better metal, and better dressed, than any of which our
-country could boast. Nor was it till Caslon developed a native genius that
-English typography ceased to be more than half Dutch.</p>
-
-<p>Thiboust’s quaint Latin poem on the excellence of printing,<a class="afnanch" href="#fn189" id="fnanch189">189</a>
-though throwing
-little new light on the practice of the art, is worth recording here, not only
-for the description it gives of letter-founding in France at the time, but for the
-sake of the curious woodcut which accompanies it. The latter represents a
-round furnace in the centre of a room, surmounted by a metal pot, at which
-two casters are standing, with ladle and mould in hand. The moulds, of which
-a number are to be seen in a rack against the wall, are almost cubic in shape,
-and apparently without the hooks shown in Moxon’s illustration. One of the
-casters is holding his mould low, as in the act of casting. A workman sitting
-on a stool is setting up in a stick the newly-cast type from
-a box on the <span class="xxpn" id="p115">{115}</span> floor—possibly
-breaking them off at the same time. Beyond is a dresser grooving
-out the break in a stick of types.</p>
-
-<div class="dctr03" id="fg26">
-<img src="images/i115.png" width="543" height="700" alt="" />
-<div class="dcaption">
- 26. Letter-founding in France in 1718. (From Thiboust’s
- <i>Typographiæ Excellentia</i>.)</div></div>
-
-<p>Of the portion of the poem devoted to letter-founding,<a
-class="afnanch" href="#fn190" id="fnanch190">190</a> we
-venture to give the following rough translation:― <span
-class="xxpn" id="p116">{116}</span></p>
-
-<div class="dkeeptogether">
-<blockquote>
-<ul class="nowrap">
- <li class="lihang4"><span class="spqut">“</span>The
- founder see, whose molten metal glows</li>
- <li class="lihang4"><span class="spqutspc">Above</span>
- the blazing furnace. From the pot</li>
- <li class="lihang4"><span class="spqutspc">His</span>
- ladle nimbly feeds the curious mould,</li>
- <li class="lihang4"><span class="spqutspc">Whence</span>
- straight the type in perfect fashion falls.</li>
- <li class="lihang4"><span class="spqutspc">The</span>
- willing servant, he, of all the Schools,</li>
- <li class="lihang4"><span class="spqutspc">Whether</span>
- in Latin they would write, or Greek,</li>
- <li class="lihang4"><span class="spqutspc">Or</span>
- in the Hebrew tongue their minds disclose,</li>
- <li class="lihang4"><span class="spqutspc">Or</span>
- in the German. He, for all prepared,</li>
- <li class="lihang4"><span class="spqutspc">Skilful,</span>
- for each his character provides.</li>
- <li class="lihang4"><span class="spqutspc">See</span>
- with what art the several types are cast,</li>
- <li class="lihang4"><span class="spqutspc">Each</span>
- from its parent matrix; see how bright,</li>
- <li class="lihang4"><span class="spqutspc">Trimmed</span>
- by the dresser’s cunning knife, they lie.</li>
- <li class="lihang4"><span class="spqutspc">He</span>
- the redundant metal first breaks off,</li>
- <li class="lihang4"><span class="spqutspc">Then</span>
- on the stick in order sets the type,</li>
- <li class="lihang4"><span class="spqutspc">And</span>
- with his plane their equal height assures.</li>
- <li class="lihang4"><span class="spqutspc">Such</span>
- is the founder’s craft, whose arduous round</li>
- <li class="lihang4"><span class="spqutspc">Of</span>
- toil ’midst ardent heats is daily found.”</li>
-</ul></blockquote>
-</div>
-
-<p>A still more satisfactory view of an eighteenth century foundry is to be
-found in the <i>Universal Magazine</i> of 1750. This engraving, of which our frontispiece
-is a facsimile, represents the interior of Caslon’s foundry, with the processes
-of casting, breaking-off, rubbing, setting-up, and dressing, all in operation. The
-casting is specially interesting, in the light of Moxon’s graphic account of the
-attitudes and contortions of the caster. Unlike their French brethren, each of
-Caslon’s casters stands partitioned off from his neighbour, with a furnace and
-pan to himself. One of them is dipping his ladle in the pot for a new cast; the
-next holds his mould lowered, at the commencement of a “pour”; the third has
-evidently completed the upward jerk necessary to force the metal into the matrix;
-and the fourth, with his mould again lowered, is apparently throwing out the type
-and preparing for the next casting.</p>
-
-<p>A set of three views of the interior of a French foundry, from an
-<i>Encyclopædia</i><a class="afnanch" href="#fn191" id="fnanch191">191</a>
-of about this date, presents a few interesting points
-of contrast between foreign and English methods. In the first view the
-process of punch-cutting is displayed.<a class="afnanch" href="#fn192" id="fnanch192">192</a>
-One man is finishing a punch
-with his file; another is striking a counter-punch (with perhaps undue
-energy) into the steel face of a punch; while the third, at a large
-forge, is hammering a piece of steel in readiness for the engraver. The
-second view shows metal making, casting,
-breaking-off, and <span class="xxpn" id="p117">{117}</span>
-rubbing, in operation. There are two men at the large furnace, one watching
-the melting of antimony in a crucible, the other pouring off the mixed metal
-into ingots. At the small metal pot with three divisions, in the centre of the
-room, are three casters, one of whom is about to cast, another has finished his
-“throw,” and the third is loosening his spring so as to open the mould. At the
-table in the rear sit two girls, one breaking off, the other rubbing. The third
-view represents a dressing-room, where a girl is setting up the rubbed types on
-a stick. The dresser is ploughing the “break” from the foot of a stick of types,
-which is placed in the blocks, not lengthways along the bench, but across it. An
-apprentice sitting at the table completes the dressing, holding one end of the
-stick tilted while he passes his scraper over the front and back of the row of
-types. Drawings of all the tools and parts of tools used in typefounding complete
-the illustration.</p>
-
-<p>Fournier, the French Moxon, in 1764 devoted the latter part of vol. i of his
-<i>Manuel Typographique</i><a class="afnanch" href="#fn193" id="fnanch193">193</a>
-to the appliances and instruments used in type-casting.
-His work enters in detail into the form and use of every tool used in every department
-of the trade, from the cutting of the punch to the storage of the finished
-types, giving careful and accurate woodcuts of each. Allowing for a few national
-peculiarities, and certain improvements in casting, there is scarcely anything but
-the date of the book to distinguish it from a mechanical handbook to typefounding
-in the middle of the nineteenth century.</p>
-
-<p>The operations of punch-cutting and justifying appear to have been kept a
-mystery from the earliest days of the trade. To lay minds, the one work of the
-founder was to cast types; but the preliminary operations on which his whole
-reputation as a founder depended, were little understood by any but the founder
-himself. And even he, as in the case of the first two Caslons, carried on this part
-of the mystery stealthily, and with closed doors even against his own apprentices.
-In many cases, especially with the originators of the great foundries, Caslon,
-Cottrell and Jackson, it was the master himself who designed and cut his
-own punches. It was not till the unusual demand for artists at the close of
-last century broke down this exclusiveness that outsiders arose to work for the
-trade in general. And even these, it was the policy and endeavour of each
-founder to attach to himself, treating him as a gentleman at large, and free from
-the obligations imposed on his other workmen.</p>
-
-<p><i>The Rules and Regulations of Thorne’s Foundry</i>, printed about the year 1806,
-give an interesting glimpse into the internal economy of a foundry of that period.
-After fixing the prices to be paid for work (for casting, rubbing,
-and kerning were <span class="xxpn" id="p118">{118}</span>
-all paid by “piece”), they provide that the dressers shall have 25<i>s.</i> a week, “abiding
-by the old custom of leaving work at four o’clock on Mondays. Each man to
-dress after four casters.” The fines for “foot-ale” imposed on new hands are
-ordered to be deposited with the master, who is to keep an account of the same,
-and divide it equally among the men at Christmas. The foundry hours are from
-six in the morning to eight in the evening in summer, and from seven to eight in
-winter, “beginning when candle-light commences.” The dressers are to work
-from seven to eight in summer, and eight to eight in winter. Any man losing
-or damaging a mould, matrix, or tool, to make good the loss on the following
-Saturday. Any man leaving his lamp or candle alight after hours is to pay 6<i>d.</i>,
-and the master for a similar offence is to fine himself 1<i>s.</i> Rubbers must grind their
-stones once a fortnight, “if requested to do so either by the master or foreman.”
-No work to be taken out of the foundry. Casters and rubbers must take their
-turn at carrying in metal. Breaking-off and setting-up boys shall earn 10<i>d.</i> a
-week for each man they set-up after. Many of these customs are traditional, and
-survive at the present time.</p>
-
-<p>Conservatism, indeed, has been a marked feature in the history of British
-letter-founding. Between 1637 and 1837 the number of important foundries
-rarely exceeded the limit prescribed by the Star Chamber decree of the former
-year. The methods and practice of the art, as we have seen, remained virtually
-unchanged during the whole period. The traditional customs, the trade <i>argot</i>,
-the relations of men to men, and men to masters, even the tricks and gestures of
-the caster, suffered nothing by the lapse of two centuries. The relations of the
-founders among themselves during the period underwent more vicissitudes. At
-all times jealous of their mystery, they mistrusted in turn the printers and one
-another. As the new school of Caslon and his apprentices rose up to oust the
-old Dutch school of James, mutual antagonism was the order of the day. The
-literary duel between the Caslons and the Frys was perhaps the least injurious
-outcome of this spirit. This antagonism resolved itself, at the close of last
-century, into a combination of London founders against their rising Scotch
-competitors. An Association was formed in 1793, which continued for three
-years. In 1799 it was re-formed, and this time lasted four years; and again in
-1809 it was revived and continued till 1820, when it terminated. In the early days
-of this Association the lady Caslons took a prominent part in its deliberations,
-which, however, frequently consisted of little more than the imposition of
-fines for non-attendance. The prices of type during this period, chiefly owing
-to the fluctuations in the value of metals during the French war, were constantly
-changing. Pica in 1793 was 1<i>s.</i>
-<span class="nowrap">1&#x202f;½<i>d.</i></span> a pound, in 1800 1<i>s.</i> 4<i>d.</i>, in 1810 3<i>s.</i>, and
-in 1816 (after the price of antimony had gone down from £400
-to £200 a <span class="xxpn" id="p119">{119}</span>
-ton), 2<i>s.</i> The Scotch founders, however, joined presently by the Sheffield houses,
-continued to underbid the London founders in their own market; and at one time
-a combination of all the English houses existed in opposition to the unfortunate
-new foundry of the Frenchman, Pouchée.</p>
-
-<hr class="hrblnk" />
-
-<p>Our survey does not extend beyond the year 1830, but before concluding
-this hasty outline of the progress of letter-founding as a mechanical trade, it will
-be interesting to notice the gradual changes in the process of casting which led
-to the final abandonment of the venerable hand-mould in favour of machinery.</p>
-
-<p>We cannot do better than give a brief summary from the Patent Book<a class="afnanch" href="#fn194" id="fnanch194">194</a>
-of
-the chief improvements proposed to be made in typefounding prior to 1830,
-premising that many of the schemes advanced no further than the proposal, and
-that some of the most important improvements which actually did take place
-were not registered in the Patent Book at all.</p>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1790.—<span class="smcap">W<b>ILLIAM</b> N<b>ICHOLSON</b></span> proposed to cast type in the usual manner, except that
-instead of leaving a space in the mould for the stem of the letter only, several letters are cast
-at once in ordinary moulds, communicating by a common groove at the top. The types are
-also to be scraped in dressing, so as to render the tail of the letter gradually smaller the more
-remote it is from the face; thus enabling them to be set imposed upon a cylindrical surface.</p></li>
-
- <li class="lispecimen"><p>1790.—<span class="smcap">R<b>OBERT</b> B<b>ARCLAY.</b></span> A method of making punches on broken steel, the irregular
-figures in the grain of which will effectually obviate counterfeit. Punches may be formed of
-steel broken as above, by cutting, drilling, punching, bending parts of the letters, and leaving
-the grain of the steel to form the lines or strokes; and in this way complex founts of type
-might be cast, every letter of which would vary in its lines from every other.</p></li>
-
- <li class="lispecimen"><p>1802.—<span class="smcap">P<b>HILIP</b> R<b>USHER.</b></span><a class="afnanch" href="#fn195" id="fnanch195">195</a>
-Improvements in the form of printing types. Each capital
-letter, with few exceptions, should be comprised in the compass of an oval. Each small letter
-is to be without tail-piece or descender, and the metal (both in small letters and capitals) is to
-extend no lower than the body of the letter. The letters above the line have their heads
-shortened or lowered about one-third.</p></li>
-
- <li class="lispecimen"><p>1806.—<span class="smcap">A<b>NTHONY</b>
-F<b>RANCIS</b> B<b>ERTE</b>.</span>
-A machine for casting type. The casting is performed
-by applying the mould to one of several apertures in the side of the metal pot, through
-which, by the removal of a lock or valve, the metal is made suddenly to flow into the mould
-with a force proportionate to the height of the surface of the
-type-metal in the vessel.<a class="afnanch" href="#fn196" id="fnanch196">196</a>
-<span class="xxpn" id="p120">{120}</span></p></li>
-
- <li class="lispecimen"><p>1806.—<span class="smcap">E<b>LIHU</b> W<b>HITE.</b></span> A machine for casting types; consisting of a matrix-box containing
-a certain number of matrices, which is applied to a complex mould having a similar
-number of apertures, through which the metal is poured, thus forming several types at one
-operation.</p></li>
-
- <li class="lispecimen"><p>1807.—<span class="smcap">A<b>NTHONY</b>
-F<b>RANCIS</b> B<b>ERTE</b>.</span>
-Improvements on his former patent. The metal is forced
-through the aperture by means of a plug or piston, and the
-machine is so contrived as to regulate the quantity of
-metal ejected at each application of the mould.</p>
-
-<p>Another improvement consists of making the body of the mould in four adjustable pieces
-instead of two, which will admit of changes in the body, as well as the thickness of the types.
-The moulds are without nicks,<a class="afnanch" href="#fn197" id="fnanch197">197</a>
-and the type, when cast, is expelled by a punch or other tool,
-without opening the mould.</p></li>
-
- <li class="lispecimen"><p>1809.—<span class="smcap">J<b>OHN</b> P<b>EEK.</b></span> A machine for the more expeditious casting of types, by which three
-motions out of the five ordinarily made use of in casting, are saved. This consists in the
-addition of two parts to the ordinary hand-mould; that to the upper part being a plate with a
-socket in which the matrix is suspended on pivots, and that to the lower part being a bolt
-which presses the matrix to the mould, where it is kept by a spiral spring round the bolt, and
-by the withdrawal of which the matrix is tilted, another spiral spring keeping it in that position
-till the mould recloses. The bolt is worked by a lever.<a class="afnanch" href="#fn198" id="fnanch198">198</a></p></li>
-
- <li class="lispecimen"><p>1812.—<span class="smcap">W<b>ILLIAM</b> C<b>ASLON.</b></span> An improved printing type. The face or
-letter part of the type is made of the usual thickness, and in the
-usual way, “but the body, which is commonly made about seven-eighths
-of an inch, I make only three-sixteenths of an inch in thickness; and
-the front of the said body I make sloping or bevelling upwards from
-the outer side towards the face, as well as the opposite side or back,
-by which means the upper part of the body is about one-eighth of an
-inch narrower than the under part of the same.” These short types are
-raised to the requisite height to paper by stands of the necessary
-thickness. “Or the body may, without being bevelled, be fixed by nails
-or otherwise, upon blocks of wood of a proper width and height. Or the
-stands may be made of the whole width of the body of the type, with
-only one projecting part, the other being screwed on after the types
-are put on the stands. The advantage of these types is in economy of
-weight and space; the former being one-half, and the latter one-third
-to one-half of the ordinary types.”</p></li>
-
- <li class="lispecimen"><p>1814.—<span class="smcap">A<b>MBROISE</b>
-F<b>IRMIN</b> D<b>IDOT</b>.</span>
-An improvement in the method of making types. In
-Roman text, running hand or any other hand consisting more or less in hair strokes or fine
-lines, from letter to letter, the projecting extremities of each letter are extended so as to form
-a join with the next. In the case of inclined letters “I do, by suitable alteration in my moulds,
-cast my types and the beards and shanks or tails thereof with the same or nearly the same
-inclination or slope of surface as aforesaid; and to prevent such
-types sliding upon each other <span class="xxpn" id="p121">{121}</span>
-when set up, a protuberance or projecting part is cast on one face, and a cavity or indentation
-corresponding to it in the opposite one; or otherwise I do, by angular or curved deviations
-from, in, or as to the straight direction of the said surfaces, render it impossible that any sliding
-should take place between the same.”</p></li>
-
- <li class="lispecimen"><p>1816.—<span class="smcap">R<b>OBERT</b> C<b>LAYTON.</b></span> A new method of preparing metal .&#160;.&#160;. types. The specification
-mainly relates to plate-printing, but concludes: “Thirdly, I obtain what I shall term alto
-or high-relief, by producing metal castings from wooden moulds or matrices, punched in wood
-with a cross-grain, which has been previously slightly charred or baked.”<a class="afnanch" href="#fn199" id="fnanch199">199</a>
-The metal is
-bismuth, tin and lead in equal parts, or tin (4), bismuth (4), lead (3), and antimony (1).</p></li>
-
- <li class="lispecimen"><p>1822.—<span class="smcap">W<b>ILLIAM</b> C<b>HURCH.</b></span> Machine for casting the types and arranging them ready to
-be transferred to the composing machinery. A matrix-bar containing a series of matrices is
-applied to a mould-bar, with a corresponding number of moulds. At the time of casting the
-latter is applied to jets leading from the metal chest, which is supplied from a metal fountain
-connected with the metal pot, and furnished with a valve to prevent the return of the metal.
-After the casting, the mould-bar, drawn endways, cuts off communication with the metal, and
-brings the said types beneath a series of punches, which descend and force them out at the same
-time that the matrix-box is unlocked, and descends clear of the types .&#160;.&#160;. The mould-bar is
-kept cool during the process by a stream of water passing through it .&#160;.&#160;. The metal is
-injected by the descent of a plunger into the metal chest. The type, as cast, is carried direct
-into a composing machine, where it is set up by means of a mechanism worked by keys,
-resembling the notes of a piano.<a class="afnanch" href="#fn200" id="fnanch200">200</a></p></li>
-
- <li class="lispecimen"><p>1823.—<span class="smcap">L<b>OUIS</b> J<b>OHN</b> P<b>OUCHÉE</b></span><a class="afnanch" href="#fn201" id="fnanch201">201</a>
-(communicated by Didot of Paris). Machine calculated
-to cast from 150 to 200 types at each operation, the operation being repeated twice or oftener
-in a minute. The moulds are composed of steel bars. The first has horizontal grooves at right
-angles to its length, and forms the body of the letter. The second is a matrix-bar, screwed
-to the bottom of the first. The third bar forms the fourth side of the type-body. The feet of
-the type are made by the fourth, a “break bar,” with orifices communicating with each type-mould.
-Two of these moulds are placed side by side so as to form a trough between them, in
-which the molten metal is poured, nearly as high as the orifices on the “break bar.” On
-pulling a trigger by a string, a plunger at the end of a lever falls into the trough, and injects
-the metal into the moulds. The lever is slightly raised after the casting, by a treadle, after
-which the workman raises it by hand until it passes a catch, which retains it until the string is
-pulled again. The mould is then unclamped, the mould-bars drawn asunder by wrenches, the
-types are found adhering to the break bar like the teeth of a comb, when they are broken off
-and dressed in the usual way.</p></li>
-
- <li class="lispecimen"><p>1823.—<span class="smcap">J<b>OHN</b> H<b>ENFREY AND</b>
-A<b>UGUSTUS</b> A<b>PPLEGARTH</b>.</span>
-Cer­tain ma­chi­ne­ry for cast­ing
-types. The type is cast in a space between two flanges, set at right angles on a spindle, and
-pressed to and drawn from one another alternately by a spring and a peculiarly arranged
-eccentric piece. A piece of steel, called the “body,” adjustable to the thickness of the
-particular type, is screwed to one of the flanges. The matrix is on a carriage, and is run
-through holes in the flanges for the casting, and kept in its
-place by a spring. The metal is <span class="xxpn" id="p122">{122}</span>
-injected by the descent of a plunger, which recovers itself by a spring. After the casting the
-spindle begins to revolve, immediately upon which the matrix is disengaged from the type and
-withdrawn clear of the flanges. The flanges are then opened, and the cast type pushed from
-the mould by the action of spring pins. A type is thus cast for each revolution of the spindle.
-The “break” is disengaged from the letter by two small pins, one of which protrudes from each
-jaw after the casting.<a class="afnanch" href="#fn202" id="fnanch202">202</a></p></li>
-
- <li class="lispecimen"><p>1828.—<span class="smcap">T<b>HOMAS</b> A<b>SPINWALL.</b></span> An improved method of casting types, by means of a
-“Mechanical Type Caster.” The working parts of this machine are mounted on a table suspended
-so as to move to and from the melting-pot. The mould is in two parts, mounted on two
-sliding “carrier pieces” on the table, inclined to each other at a slight angle. The matrix is
-held during the casting by a spring. On the revolution of the crank shaft (by hand) a sliding
-rod on the table is made to move towards the melting-pot, and the carrier pieces being acted
-upon by a cross-bar attached to it by springs, are drawn forward so as to unite the two parts
-of the mould for the casting. By a further revolution of the crank shaft, a projecting piece
-on the end of the sliding rod, coming in contact with an adjusting screw on one end of a bent
-lever, causes it to turn on its centre, and by a friction roller at the other end forces down
-the plunger of a cylinder com­mun­i­cat­ing with the metal pot, so as to inject the metal into a
-chamber, whence it ejects a portion previously there through a nozzle into the mould as it is
-moved forward by the forward motion of the table. The handle of the crank is then turned
-the reverse way, the table swings back from the metal pot, the plunger rises by a spring, the
-parts of the mould separate, the matrix is withdrawn from the cast type by a lever (which
-overcomes the force of the spring by which it is held during the casting), and the type itself
-loosened from the mould by coming in contact with an inclined plane.</p></li></ul>
-
-<p>We conclude these extracts with a proposal suggestive more of the primitive
-experiments of the first printers than of nineteenth century letter-founding.</p>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1831.—<span class="smcap">J<b>AMES</b> T<b>HOMSON.</b></span> Certain improvements in making or producing printing types.
-“My improvements consist in making printing types by casting or forming a cake of metal
-having letters formed and protruding on one side of it, and in afterwards sawing this cake
-directly or transversely, so as to divide it into single types.” The casting is effected in two
-ways. First by forming a mould from types set up, and immersing this within an iron box
-in a pot of melted type-metal, “as in making stereotype plates; with this difference, however,
-that in the present case, the plate must be as thick as the length of the intended type; and
-further, that in setting up the types for the cast, proper spaces must be made between each
-letter and between the lines, in order to allow for what will be taken away in the sawing.” The
-second mode is “by taking a plate of copper or other suitable metal, and making in it
-indentations or matrices with a punch having on it the letter for the intended type, taking care
-to make them in straight rows, direct and transverse. The plate being so indented, is put into
-an iron box and immersed in a pot of liquid type-metal, and kept there the proper depth and
-proper time, so as to enable the metal fully to enter into those indentations or matrices, that
-the letter may be well formed. The cake thus cast or formed, after being taken out and cooled,
-is sawed as before.”</p></li></ul>
-
-<div class="chapter"><div class="dctr01" id="p123">
-<img src="images/i123a.png" width="600" height="142" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER V. THE STATE CONTROL
- OF ENGLISH LETTER-FOUNDING.">
-<span class="hblk fsz6">CHAPTER V.</span>
-<span class="hblk"><img class="ihrch" src="images/i123b.png"
-width="348" height="48" alt="" /></span>
-THE STATE CONTROL OF ENGLISH LETTER-FOUNDING.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i123c.png"
-width="312" height="306" alt="O" />
-</span>UR Statute Books and Public Records do not throw
-any very important light on the early history of English
-letter-founding. Although a busy import trade in type
-appears to have been maintained by the earliest printers,
-and although as early as the days of De Worde, as we
-have seen, there were English printers who not only cast
-types for themselves, but are supposed to have supplied
-them to others, we search in vain for any definite reference
-to letter-founding in the decrees and proclamations which, prior to 1637, had for
-their object the regulation or repression of printing. It is true that the term
-printing was at that period wide enough to cover all its tributary arts, from paper-making
-to book-selling. At the same time, it is noteworthy that, whereas in many
-of the early decrees paper-making, book-binding and book-selling are distinctly
-mentioned, letter-founding is invariably ignored. If any inference is to be drawn
-from this fact, it is that type was one of the latest of the printer’s commodities
-to go into the public market. A printer’s type was his own, and no one else’s;
-and if occasionally one great printer was pleased to part with founts of his letter
-to his brother craftsmen, either by favour or for a consideration, it was not till
-late in the day—that is, not for about a century after the introduction of printing
-into England—that English-cast types became marketable ware in the country.</p>
-
-<p>It is not our purpose here to review in detail the various
-decrees and <span class="xxpn" id="p124">{124}</span>
-proclamations which regulated printing in this country<a class="afnanch" href="#fn203" id="fnanch203">203</a>; but it will be interesting
-to notice such of them as appear to have special reference to letter-founding.</p>
-
-<p>The earliest Statute relating to printing was made in 1483, before the art had
-well taken root in the country; and proclaimed free trade in all printed matter
-imported from abroad. In 1533 this enactment was repealed, on the ground that
-“at this day there be within this realm a great number of cunning and expert in
-the said science or craft of printing.”<a class="afnanch" href="#fn204" id="fnanch204">204</a></p>
-
-<p>More direct control was assumed in 1556, when the charter was granted to
-the Stationers’ Company, constituting that body the “Master and Keepers, or
-Wardens and Commonalty, of the Mystery or Art of a Stationer of the City of
-London.”<a class="afnanch" href="#fn205" id="fnanch205">205</a>
-Under this comprehensive term, there is little doubt, founders of type,
-had any at that time been practising in London, would be included; and such
-being the case, it would become necessary for them, as well as for paper-makers,
-printers, binders, booksellers and others, to become members of the Stationers’
-Company, and subsequently, in compliance with the enlarged powers conferred
-on the Company in 1559 and 1556, to give surety to that body for the due
-observance of the ordinances by virtue of which they held their privileges.</p>
-
-<p>The powers conferred on the Company by its charter related exclusively
-to the publication of printed matter; and the rights of search granted in the
-subsequent Acts confirming the charter appear to have been directed rather
-against the possession of smuggled or illegally printed books than against the
-possession of the materials necessary to produce them.</p>
-
-<p>In 1582 was tried a celebrated lawsuit known as the Star Chamber case of
-John Day <i>versus</i> Roger Ward and William Holmes,
-for illegal printing of an <span class="xxpn" id="p125">{125}</span>
-<span class="nowrap"><i>A B C</i></span> and <i>Catechism</i>.<a class="afnanch" href="#fn206" id="fnanch206">206</a>
-In the course of the inquiry occurs an interesting
-reference to the practice of printers as their own letter-founders, which we
-reproduce as being one of the earliest direct notices of letter-founding in the
-Public Records. Amongst the questions put to the recalcitrant Roger Ward<a class="afnanch" href="#fn207" id="fnanch207">207</a>
-the following three were intended to discover whether the illicit
-<span class="nowrap"><i>A B C</i></span> was
-printed by him in his own type, or whether (with a view to remove suspicion
-from himself) he had printed it in the type of another printer:―</p>
-
-<blockquote class="din2">
-
-<p>“<span class="smcap">Q<b>UESTION XIII.</b></span> Did any person or personns Ayde help or assist you with paper
-letters (<i>type</i>) or other necessaries in this work?</p>
-
-<p>“<span class="smcap">A<b>NSWER.</b></span> He was not with paper letters (<i>type</i>) or other necessaryes in the said
-worke aidyd holpen or assistyd by any manner of personne or persons but that one
-Adam a Servant of Master Purfo(o)ttes dyd lend him some letters wherewith he
-imprinted the said boke.</p>
-
-<p>“<span class="smcap">Q<b>UESTION XVIII.</b></span> Whether were the Letters wherewith you imprinted the sayd
-<span class="nowrap"><i>A B C</i></span>
-your owne yea or no? If not whose were they and by what meanse came
-you by them, And whether with the Consent of the owner or not? And whether have
-you redelivered them back againe and how long since, And what nomber of Reames
-did you imprint with the said letter?</p>
-
-<p>“<span class="smcap">A<b>NSWER.</b></span> That all the letters wherewith he impryntyd the said
-<span class="nowrap"><i>A B C</i></span> were
-not his owne for he dyd borrowe of one Adame, a man of one master Purfott all the
-Inglisshe (<i>i.e.</i>, <i>Black</i>) Letters to the said worke and he borrowyd these letters without
-the consent of the said master Purfytt and hath the same as yet in this defendants
-custodye and have not Redelyvered of the same sithes he borrowyd the same as
-aforesaid and to his Remembrance he Did imprynt with the sayd letter the nomber of
-Twentie Reames of paper.</p>
-
-<p>“<span class="smcap">Q<b>UESTION XIX.</b></span> Whether have you cast any new Letter of your owne since
-the first printinge of the said
-<span class="nowrap"><i>A B C</i>,</span> and what nomber of the same have you printed
-of that letter (<i>in that type</i>)?</p>
-
-<p>“<span class="smcap">A<b>NSWER.</b></span> He confessyth that he hath sythes the first imprintyng of the said
-<span class="nowrap"><i>A B C</i>,</span> cast a newe letter of his owne and yet he hath not pryntyd any of that letter
-(<i>in that type</i>).”</p></blockquote>
-
-<p>This testimony was generally corroborated by the other printers and persons
-examined, to many of whom it appeared to be notorious that Roger Ward had
-printed the book in a letter not his own, and that he had since cast a new fount
-of type for his own use. The whole inquiry throws a curious light on the
-methods of business of the printers of the day. Composition then, as Mr. Arber
-points out, was not necessarily done in the master-printer’s
-house where he kept <span class="xxpn" id="p126">{126}</span>
-his press. Of course that which was done by himself and his apprentices was
-done there, but work given out to journeymen (who were generally householders),
-was probably done in their houses and paid for by piecework. “A custom which,”
-continues Mr. Arber, “was facilitated by most of the books then printed being almost
-always in some one size of type. Therefore there could not be so much control
-exercised over the literature in respect to the guardianship of the type—however
-easy it was for printers of that day to identify the printer of a book by its
-typography—neither do we find any such attempted; but only in respect to the
-custody of the hand printing press, which was doubtless well secured every night
-as a dangerous instrument, lest secret nocturnal printing should go on without
-the owner’s consent.”<a class="afnanch" href="#fn208" id="fnanch208">208</a></p>
-
-<p>In the same year, 1582, Christopher Barker, the Queen’s printer, drew up an
-able report on the condition of printing as it then existed, in which, among other
-matters, he referred to the cost of making type, and its consequent effect on
-publishers and printers. “In King Edward the Sixt his Dayes,” he says,
-“Printers and printing began greatly to increase; but the provision of letter,
-and many other thinges belonging to printing was so exceeding chargeable,
-that most of those printers were Dryven throughe necessitie, to compound
-before[hand] with the booksellers at so low value, as the printers themselves
-were most tymes small gayners and often loosers .&#160;.&#160;. The Bookesellers .&#160;. now
-(1582) .&#160;. keepe no printing howse, neither beare any charge of letter, or other
-furniture, but onlie paye for the workmanship .&#160;.&#160;. so that the artificer printer,
-growing every Daye more and more unable to provide letter<a class="afnanch" href="#fn209" id="fnanch209">209</a>
-and other furniture
-.&#160;.&#160;. will in tyme be an occasion of great discredit to the professours
-of the arte.”</p>
-
-<p>The report goes on to mention that at that time (December 1582) “there
-are twenty-two printing howses in London, where eight or ten at the most
-would suffise for all England, yea, and Scotland too.”<a class="afnanch" href="#fn210" id="fnanch210">210</a></p>
-
-<p>In May of the following year there were twenty-three printers with fifty-three
-presses among them, and during the next two years the number appears
-to have increased so considerably as to call for that sweeping enactment, the
-Star Chamber decree of 1586. This famous measure prohibits all presses out of
-London, except one each at the two Universities,
-and “tyll the excessive <span class="xxpn" id="p127">{127}</span>
-multytude of Prynters havinge presses already sett up be abated,” permits no new
-press whatsoever to be erected.<a class="afnanch" href="#fn211" id="fnanch211">211</a>
-The Stationers’ Company have authority to
-inspect all printing offices, “to search take and carry away all presses, letters
-and other pryntinge instrumentes sett up, used or employed .&#160;. contrary to the
-intent and meaninge hereof; .&#160;.&#160;. and thereupon shall cause all suche printing
-presses, or other printing instruments, to be Defaced, melted, sawed in peeces,
-broken, or battered .&#160;.&#160;. and the stuffe of the same so defaced, shall redelyver to
-the owners thereof againe within three monethes next after the takinge or
-seizinge thereof as aforesayd.”<a class="afnanch" href="#fn212" id="fnanch212">212</a></p>
-
-<p>The Company were not slow in making use of their enlarged powers, and
-the refractory Roger Ward appears to have had considerable experience of the
-rigours of the new decree. In October 1586 the wardens seized on his premises
-“3 presses and divers other parcells of pryntinge stuffe,” and ordered them to be
-defaced and rendered unserviceable, according to the tenor of the decree. In
-1590 they made a further visitation, and discovered that “he did kepe and
-conceale a presse and other pryntinge stuff in a Taylor’s house near adjoyninge
-to his owne, and did hide his letters in a hen house near St. Sepulchure’s Churche,
-expressely against the Decrees of the Star Chamber. All the whyche stuff were
-brought to Stacioners Hall” and duly destroyed. But the dauntless Roger
-Ward was not thus to be extinguished, and scarcely six months later, at
-Hammersmith, another press, “with 5 formes of letters of Divers sortes and 3
-cases with other printing stuffe,” were impounded and rigorously defaced.</p>
-
-<p>Nor was Ward the only victim. In a Secret Report presented in September
-1589 to Lord Burleigh respecting the authors of the famous Marprelate Tracts,
-it is stated that the printer of the first three of these, “all beinge printed in a
-Dutch letter,” was Robert Waldegrave; and “towchinge the printinge of the
-two last Lebells in a litle Romaine and Italian letter,” the report states—once
-more showing how in those days a printer was known by his types—“the letter
-that these be printed in is the same that did printe the <i>Demonstration of
-Discipline</i> aboute Midsommer was twelve moneth (24 June, 1588), which was
-printed by Waldegrave neere Kingston upon Thames, as is discovered. When
-his other letters and presse were defaced about Easter
-was twelve moneth <span class="xxpn" id="p128">{128}</span>
-(7th April, 1588) he saved these lettres in a boxe under his Cloke, and brought
-them to Mistris Cranes howse in London, as is allso confessed; and they are
-knowen by printers to be Waldegrave’s letters; And it is the same letter that
-was taken with Hodgkys. These two last Libells came abroade in July (1589)
-last. Now it is confessed by the Carier that John Hodgkys that is taken, did
-send from a gentlemans howse in Woltonam in Warwikeshier unto Warrington
-immediatlye after whitsontyde last (18 May 1589), a printinge presse, two boxes
-of letter, a barrell of nicke (<i>incke&#x202f;?</i>), a baskett and a brasse pott, which were
-delyvered to him at Warrington,” etc.<a class="afnanch" href="#fn213" id="fnanch213">213</a></p>
-
-<p>The Stationers’ Company, on the whole, had a busy time during the few
-years following the Star Chamber decree, in hunting up and destroying disorderly
-presses and the “stuffe” appertaining thereto. The numerous monopolies
-and patents of which they were the appointed guardians provoked a regular
-secret organisation of unprivileged printers,<a class="afnanch" href="#fn214" id="fnanch214">214</a>
-who pirated right and left, sometimes
-with impunity, sometimes at the cost of losing their whole plant and stock-in-trade
-by a raid of the authorities.</p>
-
-<p>These raids must have kept the typecasters of the day well occupied, and
-it is even possible that the “stuffe” which from time to time fell into the hands
-of the Company may have included punches, matrices and moulds, which it
-would be far less easy to replace than presses, ink and balls.</p>
-
-<p>A printer liable to such visitations would prefer, if possible, to procure his
-type out of doors, rather than maintain the valuable plant requisite to make it
-himself; and it is probable that the outside demand thus created may have been
-among the causes which led to the establishment of one or two small foundries,
-unconnected with any one printing office in particular, whose business it would
-be to supply any purchaser with type from its matrices.</p>
-
-<p>The Stationers’ Company, who from time to time supplemented the powers
-conferred upon them by the Star Chamber with regulations of their own on matters
-such as standing formes, apprentices and prices, would naturally recognise a
-source of danger in a new foundry starting under the circumstances described,
-and were prompt to assert their authority.</p>
-
-<p>Accordingly we find the following entry in the Index to the Court Books
-of the Company under date 1597:―</p>
-
-<blockquote class="din2">
-<p>“<span class="smcap">B<b>ENJAMIN</b> S<b>YMPSON</b>,</span> letter founder, to enter into a £40 bond not to cast any
-letters or characters, or to deliver them, without advertising the Master and Wardens
-in writing, with the names of the parties for whom they
-are intended.—1597.” <span class="xxpn" id="p129">{129}</span></p></blockquote>
-
-<p>Here we have the first historical record of letter-founding as a distinct and
-recognised trade.<a class="afnanch" href="#fn215" id="fnanch215">215</a>
-Of Benjamin Sympson and his types nothing is known. His
-name does not occur in any of the lists of printers of the period, nor does it
-appear that he was even a member of the Stationers’ Company. Whether he was
-called upon at his own request to qualify as a typefounder, or whether the
-resolution of the Court was arrived at in consequence of his previous transactions
-with one or more of the disorderly printers, is equally uncertain.</p>
-
-<p>In 1598 the Stationers’ Company made a regulation respecting the price of
-work, which is also of interest, as indicating the bodies of type at that time
-most commonly in use for bookwork. It was as follows:―</p>
-
-<blockquote class="din2">
-<p>“No new copies without pictures to be printed at more than the following rates:
-those in pica Roman and Italic and in English (<i>i.e.</i>, <i>Black letter</i>) with Roman and
-Italic at a penny for two sheets; those in brevier and long primer letters at a penny
-for one sheet and a half.”<a class="afnanch" href="#fn216" id="fnanch216">216</a></p></blockquote>
-
-<p>A further regulation regarding typefounders shows that in 1622 the trade
-had more than one recognised representative:―</p>
-
-<blockquote class="din2">
-<p>“The Founders bound to the Company by bond, not to deliver any fount of new
-letters, without acquainting the Master and Wardens—1622.”</p></blockquote>
-
-<p>The Act of 1586, despite the rigour with which, at first at any rate, it was
-enforced, appears to have fallen into contempt,
-and to have been openly <span class="xxpn" id="p130">{130}</span>
-disregarded by the printers of the first quarter of the seventeenth century. According
-to the account of the “London Printer,” who wrote his <i>Lamentation</i> in 1660, printing
-and printers, about 1637, were grown to such “monstrous excess and exorbitant
-disorder” as to call for the prompt and serious attention of the Court of Star
-Chamber, who in that same year, because the former “Orders and Decrees have
-been found by experience to be defective in some particulars; and divers abuses
-have sithence arisen and been practiced by the craft and malice of wicked and
-evill disposed persons,” put forward the famous Star Chamber Decree of 1637.<a class="afnanch" href="#fn217" id="fnanch217">217</a></p>
-
-<p>In this decree, the severity of which called forth from Milton his noble protest,
-the <i>Areopagitica</i>,<a class="afnanch" href="#fn218" id="fnanch218">218</a>
-letter-founding is formally recognised as a distinct industry,
-and shares with printing the rigours of the new restrictions. The following is
-the text of the clauses relating to founders:―</p>
-
-<blockquote class="din2">
-
-<p>XXVII.—<i>Item</i>, The Court doth order and declare, that there shall be foure
-Founders of letters for printing allowed, and no more, and doth hereby nominate,
-allow, and admit these persons, whose names hereafter follow, to the number of foure,
-to be letter-Founders for the time being, (viz.) <i>John Grismand</i>, <i>Thomas Wright</i>, <i>Arthur
-Nichols</i>, <i>Alexander Fifield</i>. And further the Court doth Order and Decree, that it
-shall be lawfull for the Lord Arch-bishop of <i>Canterbury</i>, or the Lord Bishop of <i>London</i>
-for the time being, taking unto him or them, six other high Commissioners, to supply
-the place or places of those who are now allowed Founders of letters by this Court, as
-they shall fall void by death, censure, or otherwise.</p>
-
-<p>Provided that they exceede not the number of foure, set down by this Court. And
-if any person or persons, not being an allowed Founder, shall notwithstanding take
-upon him, or them, to Found, or cast letters for printing, upon complaint and proofe
-made of such offence, or offences, he, or they so offending, shal suffer such punishment,
-as this Court, or the high Commission Court respectively, as the severall causes shall
-require, shall think fit to inflict upon them.</p>
-
-<p>XXVIII.—<i>Item</i>, That no Master-Founder whatsoever shall keepe above two
-Apprentices at one time, neither by Copartnership, binding at the Scriveners, nor any
-other way whatsoever, neither shall it be lawfull for any Master-Founder, when any
-Apprentice, or Apprentices shall run, or be put away, to take another Apprentice, or
-other Apprentices in his, or their place or places, unless the name or names of him, or
-them so gone away, be rased out of the Hall-booke of the Company, whereof the
-Master-Founder is free, and never admitted again, upon pain of such punishment, as
-by this Court, or the high Commission respectively, as the severall causes shall
-require, shall be thought fit to bee imposed. <span class="xxpn" id="p131">{131}</span></p>
-
-<p>XXIX.—<i>Item</i>, That all Journey-men-Founders be imployed by the Master-Founders
-of the said trade, and that idle Journey-men be compelled to worke after
-the same manner, and upon the same penalties, as in case of the Journey-men-Printers
-is before specified.<a class="afnanch" href="#fn219" id="fnanch219">219</a></p>
-
-<p>XXX.—<i>Item</i>, That no Master-Founder of letters, shall imploy any other
-person or persons in any worke belonging to the casting or founding
-of letters, than such only as are freemen or apprentices to the trade
-of founding letters, save only in the pulling off the knots of mettle
-hanging at the ends of the letters when they are first cast, in which
-work it shall be lawfull for every Master-Founder, to imploy one
-boy only that is not, nor hath beene bound to the trade of Founding
-letters, but not otherwise, upon pain of being for ever disabled to use
-or exercise that art, and such further punishment, as by this Court, or
-the high Commission Court respectively, as the severall causes shall
-require, be thought fit to be imposed.</p>
-
-<p>XIV.—<i>Item</i>, That no Joyner, or Carpenter, or other person, shall make any
-printing-Presse, no Smith shall forge any Iron-Worke for a printing Presse, and
-no Founder shall cast any Letters for any person or persons whatsoever, neither shall
-any person or persons bring, or cause to be brought in from any parts beyond the
-Seas, any Letters Founded or Cast, nor buy any such Letters for Printing, Unlesse he or
-they respectively shall first acquaint the said Master and Wardens, or some of them,
-for whom the same Presse, Iron-works, or Letters, are to be made, forged, or cast, upon
-paine of such fine and punishment, as this Court, or the high Commission Court
-respectively, as the severall causes shall require, shall thinke fit.</p></blockquote>
-
-<p>Respecting the four founders thus nominated, and their types, we shall have
-occasion to speak in a following chapter. Continuing here our cursory review
-of the Statutes which affected letter-founding, it is necessary to remind the
-reader that this tremendous decree, which for severity eclipsed all its predecessors,
-was short-lived.</p>
-
-<p>On November 3, 1640, the Long Parliament assembled, and with it the
-Star Chamber disappeared, and its decrees became dead letters. Then for a
-season there was virtually free trade in printing, and advantage was taken of the
-new condition of affairs to infringe existing rights on every hand, the King’s
-Patent Printers (if we are to believe the “London Printer,” above quoted) being
-the chief and most unscrupulous transgressors.</p>
-
-<p>Parliament was not slow to take up the mantle dropped by the late Star
-Chamber, and in 1643 attempted to stem “the very grievous” liberty of the
-press, reinvesting the Stationers’ Company with powers to search and seize all
-unlicensed presses and books, and to apprehend the “authors, printers and other
-persons whatsoever employed in compiling, printing,
-stitching, binding, <span class="xxpn" id="p132">{132}</span>
-publishing and dispersing the said scandalous, unlicensed and unwarrantable
-papers, books and pamphlets.”</p>
-
-<p>This ordinance, in which once more typefounders are conspicuous by their
-absence, was strengthened by a further decree in 1647, and two years later the Act
-of Sept. 20, 1649, virtually reimposed the old Star Chamber regulations, requiring,
-among other provisions, that printers should enter into a £300 bond not to print
-seditious or scandalous matter; also that no house or room should be let to a
-printer, nor implements made, press imported, or letters founded, without notice
-to the Stationers’ Company. The penalties attached to a breach of these orders
-were severe. This Act was renewed in 1652, but it failed to remedy the abuses it
-was intended to meet. Private presses sprung up on all hands; the art was
-degraded and prostituted to all manner of base uses; workmen as well as
-master printers joined in their complaints against disorders which were working
-their ruin. The number of printers, restricted since 1586 to twenty, had grown to
-sixty; the Royal printers themselves were interlopers, two of them not even
-being practical printers, and all of them being political incendiaries.</p>
-
-<p>Such being the condition of affairs, it is not surprising that in 1662 the
-remonstrances raised on all sides should result in an Act of Parliament intended
-to dispose finally of the abuses complained of.</p>
-
-<p>The Act of 1662 (13 and 14 Charles II, c. 33) reimposes the provisions of
-the Star Chamber decree of 1637 with additional rigour.<a class="afnanch" href="#fn220" id="fnanch220">220</a>
-It enacts that no
-type is to be founded or cast, or brought from abroad, without licence from the
-Stationers’ Company. The number of founders is again limited
-to four, and all <span class="xxpn" id="p133">{133}</span>
-vacancies in the number are to be filled up by the Archbishop of Canterbury or the
-Bishop of London.<a class="afnanch" href="#fn221" id="fnanch221">221</a>
-Masters of the Stationers’ Company, past and present,
-may have three apprentices, liverymen two, and the commonalty only one.
-Master founders must see that their journeymen are kept at work; and these
-journeymen must be all Englishmen and freemen, or sons of freemen. Founders
-working for the trade who offend are to be disabled from following their craft
-for three years, and on a second offence to be permanently disqualified, besides
-suffering punishment by fine or imprisonment, or “other corporal punishment not
-extending to life and limb.”</p>
-
-<p>This uncompromising Act was continued from time to time, with temporary
-lapses, until 1693,<a class="afnanch" href="#fn222" id="fnanch222">222</a>
-when, in the tide of liberty following the Revolution, it disappeared.
-Despite its stern provisions, we find from a petition entitled <i>The Case
-of the Free Workmen Printers</i>, presented to the House about 1665, praying
-for its renewal, that the number of printing-houses had already grown to seventy,
-with one hundred and fifty apprentices; and in 1683 we have the evidence of
-Moxon that the number of founders, as well as of printers, was grown “very
-many.” It does not, however, appear that at any time during the continuance
-of the Act, that the number of founders ever exceeded four. How far they
-complied with the regulation requiring them to account to the Company for all
-type cast, we are unable, in the absence of any register of such accounts, to say;
-but that a register was duly kept is evident from the following important minute
-of the Court in 1674:―</p>
-
-<blockquote class="din2">
-
-<p>“All the Letter-founders to give timely notice to the Master and Wardens, of all
-such quantities of letter as they shall cast for any person; which notice shall be
-entered by the Clerk in a register book to be provided for that purpose.—1674.”</p></blockquote>
-
-<p>In 1668, as will be seen in a subsequent chapter, the Company had, in discharge
-of their authority, nominated Thomas Goring to the Archbishop of Canterbury
-as “an honest and sufficient man” to be one of the four founders allowed by the
-Act, there being then a vacancy in the number. And that the penal clauses
-were not neglected is equally evident from the resolution of the Court in 1685,
-withholding Godfrey Head’s dividend until he should comply with the Act by
-giving an account to the Company of what type
-he was casting. <span class="xxpn" id="p134">{134}</span></p>
-
-<p>The latest minute on the Court Books relating to letter-founding was in
-1693—the year in which the Act expired—when the following order was
-made:―</p>
-
-<blockquote class="din2">
-
-<p>“Printed papers to be delivered to all Founders, Press Makers and others concerned,
-requiring obedience to that Clause in the Act for preventing abuses in Printing,
-whereby all Letter Founders, Press Makers, Joiners, and others are commanded to
-acquaint the Master or Wardens what Presses or Letters they shall at any time make
-or cast.—1693.”</p></blockquote>
-
-<p>After 1693, letter-founding came from under all restraint. Laws of copyright
-and patent still clung to printing,<a class="afnanch" href="#fn223" id="fnanch223">223</a>
-but, except for a proposal made about
-1695 by one W. Mascall<a class="afnanch" href="#fn224" id="fnanch224">224</a>
-that every printer, letter-founder and press-maker
-should enter with a statement on oath the number of his presses, the weight of
-his letter and the extent of his other utensils, we find no reference to letter-founding
-in the Public Records for upwards of a century.</p>
-
-<p>Notwithstanding this liberty, the number of founders during the eighteenth
-century appears rarely to have exceeded the figure prescribed by the Star
-Chamber Decree of 1637, and occasionally to have been less.</p>
-
-<p>One more attempt was made in the closing days of the eighteenth century
-to control the freedom of the press by law. There is something almost grotesque
-in the efforts made by legislators in 1799 to refit, on a full-grown and invincible
-press, the worn-out shackles by which the Stuarts had tried to curtail the growth
-of its childhood; and the Act of the 39th George III, cap. 79,<a class="afnanch" href="#fn225" id="fnanch225">225</a>
-in so far as it
-deals with printing, will always remain one of the surprises, as well as one of the
-disgraces, of the Statute-book. Among its worst provisions, the following affect
-letter-founders and letter-founding:―</p>
-
-<p>Sec. 23 ordains that no one, under penalty of £20, shall be allowed to possess
-or use a printing-press or types for printing, without giving notice thereof to a
-Clerk of the Peace, and obtaining from him a certificate to that effect.</p>
-
-<p>Sec. 33 provides that any Justice of the Peace may issue a warrant to
-search any premises, and seize and take away any press or printing-types
-not duly certificated. <span class="xxpn" id="p135">{135}</span></p>
-
-<p>The following sections we give in full:―</p>
-
-<blockquote class="din2">
-
-<p>Sec. 25. “That from and after the Expiration of Forty Days after the passing
-of this Act, every Person carrying on the Business of a Letter Founder or Maker or
-Seller of Types for Printing or of Printing Presses, shall cause Notice of his or her
-Intention to carry on such Business to be delivered to the Clerk of the Peace of
-the .&#160;.&#160;. Place where such Person shall propose to carry on such Business, or his
-Deputy in the Form prescribed in the Schedule of this Act annexed.<a class="afnanch" href="#fn226" id="fnanch226">226</a>
-And such
-Clerk of the Peace or his Deputy shall, and he is hereby authorized and required
-thereupon to grant a Certificate in the Form also prescribed in the said Schedule,<a class="afnanch" href="#fn227" id="fnanch227">227</a>
-for which such Clerk of the Peace or his Deputy shall receive a Fee of One Shilling
-and no more, and shall file such Notice and transmit an attested Copy thereof to one
-of his Majesty’s Principal Secretaries of State; and every Person who shall, after
-the expiration of the said Forty Days, carry on such Business, or make or sell any
-Type for Printing, or Printing Press, without having given such Notice, and obtained
-such Certificate, shall forfeit and lose the Sum of Twenty Pounds.”</p>
-
-<p>Sec. 26. “And be it further enacted, That every Person who shall sell Types for
-Printing, or Printing Presses as aforesaid, shall keep a Fair Account in Writing of
-all Persons to whom such Types or Presses shall be sold, and shall produce such
-Accounts to any Justice of the Peace who shall require the same; And if such Person
-shall neglect to keep such Account, or shall refuse to produce the same to any such
-Justice, on demand in Writing to inspect the same, such Person shall forfeit and lose,
-for such offence, the Sum of Twenty Pounds.”</p></blockquote>
-
-<p>Such was the law with regard to typefounding at the time when the widows
-of the two Caslons were struggling to revive their then ancient business, when
-Vincent Figgins was building up his new foundry, and Edmund Fry, Caslon III
-and Wilson were busily occupied in cutting their modern Romans to suit the
-new fashion. And such the law remained nominally
-until the year 1869,<a class="afnanch" href="#fn228" id="fnanch228">228</a>
-<span class="xxpn" id="p136">{136}</span>
-just upon four centuries after the introduction of the Art into this country. It
-is probable that, during the first few disturbed years of its existence, the Act may
-have been enforced, that certificates may have been registered, and accounts
-dutifully furnished.<a class="afnanch" href="#fn229" id="fnanch229">229</a>
-But its provisions appear very soon to have fallen into
-contempt, and certainly, as far as we can ascertain, failed to trouble the peace of
-any British letter-founder.</p>
-
-<hr class="hrblnk" />
-
-<p>Such is a hasty and very cursory review of the various laws which from
-time to time have taken letter-founding under control. Whether they succeeded
-in placing any real check on the progress of the art, it is difficult to determine.
-But it is certain that the heaviest restrictive measures have generally been
-accompanied not only by the most grievous abuses in the spirit of the press, but
-by distinct degeneration in the quality of the typographical work executed. A
-privileged printer, sure of his monopoly and safe from competition, would have
-little or no inducement to execute his work at more cost or pains than was
-necessary. Old type would do as well as new, and bad type would do as well as
-good. Free trade and open competition were the great evils to be dreaded,
-because free trade and open competition would demand the best paper, and type
-and workmanship. The typography of the entire Stuart period is a disgrace to
-English art. Fine printing was an art unknown; and only a few works like
-Walton’s <i>Polyglot</i>, which were produced in an atmosphere untainted by
-mercenary considerations, stand out to redeem the period from unqualified
-reproach.</p>
-
-<p>On the other hand, the removal of the restrictions was the signal for a
-revival which may be traced in almost every printed work of the early eighteenth
-century. In the absence of any great English founder, the best Dutch types came
-freely into the English market. Books came to be legible, paper became white,
-ink black, and press-work respectable. Caslon came in on the tide of the revival,
-as also did Bowyer, Watts, Bettenham, and artists of their rank; and the emancipated
-press, among them, made up the leeway of a wasted century, and, no
-longer in the grip of faction, but the free servant of the great and wise of the
-land, raised for itself monuments which will remain a lasting glory not only to
-English scholarship and English eloquence, but also to English typography, for
-which liberty has been, and always will be, the surest road to achievement.</p>
-
-<div class="chapter"><div class="dctr01" id="p137">
-<img src="images/i137a.png" width="600" height="145" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER VI. THE OXFORD
- UNIVERSITY FOUNDRY.">
-<span class="hblk fsz6">CHAPTER VI.</span>
-<span class="hblk"><img class="ihrch" src="images/i137b.png"
-width="400" height="50" alt="" /></span>
-THE OXFORD UNIVERSITY FOUNDRY.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i137c.png"
-width="312" height="329" alt="P" />
-</span>RINTING was practised at Oxford within a year of the
-introduction of the art into England. Setting aside the
-legend of Corsellis and the “1468” <i>Exposicio Simboli</i>,
-we find that a printer, presumably Theodoric Rood, from
-Cologne, was settled here in 1478, and issued three works
-anonymously from his press during that and the following
-year. Between 1480 and 1483, Rood printed eight works
-bearing his own name, and in 1485 and 1486, in partnership
-with an Englishman named Thomas Hunte, he produced six more.</p>
-
-<p>Whether the first Oxford printer made his own type or procured it from
-abroad, we have no information, but the distinctly Cologne character of the two
-earliest founts favours the supposition that, like Caxton, he brought at any rate
-his first types with him from the Continent. The vague reference which Rood
-and Hunte make to their labours at the end of the <i>Phalaridis Epistolæ</i> in 1485,<a class="afnanch" href="#fn230" id="fnanch230">230</a>
-does not throw much light on the question, although the boast of an independent
-discovery of the art of printing there recorded may possibly mean that towards
-the close of their career they had arrived at a knowledge of the mystery of
-making their own types.</p>
-
-<div class="dkeeptogether">
-<p>Without attempting a detailed examination of
-the seventeen works of the <span class="xxpn"
-id="p138">{138}</span> first Oxford printers, we observe
-that during the eight years in which they practised
-their art, they made use of seven different kinds
-of type, which arrange themselves chronologically
-as follows<a class="afnanch" href="#fn231"
-id="fnanch231">231</a>&#x202f;:</p>
-
-<div class="dtablebox">
-<table class="fsz7 borall" summary="">
-<thead>
-<tr>
- <th class="borall fsz6">KNOWN DATE.</th>
- <th class="borall fsz6">TITLE.</th>
- <th class="borall fsz6">TYPE.</th>
- <th class="borall fsz6">GROUP.</th></tr></thead>
-<tbody>
-<tr>
- <td class="tdcenter">“1468”†</td>
- <td class="tdleft"><p class="phangb"><i>Exposicio Symboli</i></p></td>
- <td class="tdcenter">a</td>
- <td class="tdcenter borall" rowspan="3">Group I, “1468”-1479.
- (No printer’s name.)</td></tr>
-<tr>
- <td class="tdcenter">1479</td>
- <td class="tdleft"><p class="phangb"><i>Aristotelis Ethica</i></p></td>
- <td class="tdcenter">a</td></tr>
-<tr>
- <td class="tdcenter">1479</td>
- <td class="tdleft"><p class="phangb"><i>Ægidius de peccato
- originali</i></p></td>
- <td class="tdcenter">a</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Cicero pro Milone</i></p></td>
- <td class="tdcenter">b</td>
- <td class="tdcenter borall" rowspan="4">Group II, 1481–82.
- (Theodoric Rood.)</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Latin Grammar
- in English</i></p></td>
- <td class="tdcenter">b</td></tr>
-<tr>
- <td class="tdcenter">1481</td>
- <td class="tdleft"><p class="phangb"><i>Alexander de Ales. Expositio
- de Animâ.</i> Two Editions</p></td>
- <td class="tdcenter">b,c</td></tr>
-<tr>
- <td class="tdcenter">1482</td>
- <td class="tdleft"><p class="phangb"><i>Lattebury. Morales.</i>
- Two editions</p></td>
- <td class="tdcenter">b,c</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Hampole. Explanationes</i></p></td>
- <td class="tdcenter">d,e</td>
- <td class="tdcenter borall" rowspan="8">Group III, 1483–86.
- (Rood and Hunte.)</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Swyneshed.
- Insolubilia</i></p></td>
- <td class="tdcenter">d,e</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Anwykyll.
- Compendium.</i> 1st edition</p></td>
- <td class="tdcenter">d[e?]f</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Anwykyll.
- Compendium.</i> 2nd edition</p></td>
- <td class="tdcenter">d,f</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Lyndewode.
- Constitutiones</i></p></td>
- <td class="tdcenter">c,d,e,f</td></tr>
-<tr>
- <td class="tdcenter">1485</td>
- <td class="tdleft"><p class="phangb"><i>Phalaridis Epistolæ</i></p></td>
- <td class="tdcenter">c,f</td></tr>
-<tr>
- <td class="tdcenter">1486</td>
- <td class="tdleft"><p class="phangb"><i>Liber Festivalis</i></p></td>
- <td class="tdcenter">f,g</td></tr>
-<tr>
- <td class="tdcenter">...</td>
- <td class="tdleft"><p class="phangb"><i>Textus Alexandri</i></p></td>
- <td class="tdcenter">d,f,g</td></tr></tbody>
-</table>
-<div class="fsz7">† Misprint for 1478.</div>
-</div><!--dtablebox--></div><!--dkeeptogether-->
-
-<p>It will be noticed from the above list that type [a]
-was used solely by the first anon­y­mous Oxford printer, and
-dis­ap­peared en­tirely as soon as Rood began to print in
-his own name. The letter is a Black of similar char­acter,
-as Mr. Bradshaw points out, to that used by Zell and
-Gul­den­schaft at Cologne, and was probably brought thence to
-this country. The body cor­res­ponds closely to the pre­sent
-“English.” One pe­cul­iar­ity about type [a] is that in the
-mis-dated <i>Ex­po­si­cio Sim­boli</i> the cap­i­tal
-<img class="iglyph-b" src="images/i138a.png"
-width="66" height="70" alt="Q" /> is always print­ed side­ways
-<span class="nowrap">
-(<img class="iglyph-a" src="images/i138b.png"
-width="58" height="70" alt="Q" />),</span> where­as
-in the two fol­low­ing books it ap­pears cor­rect­ly.</p>
-
-<p>During the two years that Rood printed under his own name alone, he
-made use of a compressed Black-letter of English body, type [b], with
-which, in the <i>Ales</i> and <i>Lattebury</i>, he combined a larger Black, type
-[c], on Double English body for chapter-headings or initials.</p>
-
-<p>Type [b] disappeared entirely at the close of Rood’s solitary labours.
-Type [c], however, was preserved; we find it used in single letters, or
-very sparsely in two later works.</p>
-
-<div class="dctr02" id="fg27">
-<img src="images/i138fp.png" width="548" height="700" alt="" />
-<div class="dcaption">
- 27. Colophon of <i>Lyndewode’s Constitutiones</i>. Oxford, 1482
- (?). Showing the types [c], [d], [e], [f].]</div></div>
-
-<p>Rood and Hunte inaugurated their partnership by
-the introduction of two <span class="xxpn" id="p139">{139}</span>
-new founts of Black-letter, types [d] and [e], or rather one fount having one size of
-capitals, and a small and large size of “lower-case,” all cast on the same body,
-about a Pica, and capable of being used interchangeably. Subsequently they
-used another double fount, types [f] and [g], cast in the same manner, [f] being the
-small, and [g] the large “lower-case,” with one size of capitals for both, all cast on
-a body closely corresponding to Great Primer. The character of this letter is
-decidedly Caxtonian, and suggests the possibility that at this stage of their
-labours the printers may have learned the art of making their own type. Type
-[f] had been in use for some time in combination with [c], [d] and [e], before
-type [g] appeared. The accompanying facsimile from the <i>Lyndewode</i> shows types
-[c], [d], [e] and [f].</p>
-
-<div class="section">
-<p>We thus find that the seven early Oxford types reduce themselves to
-four principal founts, and one fount of initial letter, of which the
-following table will briefly sum up the typographical details&#x202f;:</p>
-
-<div class="dtablebox">
-<table class="fsz7 borall" summary="">
-<tr>
- <th class="borall fsz6">TYPE.</th>
- <th class="borall fsz6" colspan="2">CHAR­AC­TER.</th>
- <th class="borall fsz6">AP­PROX­I­MATE BODY.</th>
- <th class="borall fsz6">NOTES.</th></tr>
-<tr>
- <td class="tdcenter borall"><p class="phangb">a</p></td>
- <td class="tdcenter borall" colspan="2"><p class="phangb">Cologne Black</p></td>
- <td class="tdcenter borall"><p class="phangb">English</p></td>
- <td class="tdcenter borall"><p class="phangb">Used with no other type.</p></td></tr>
-<tr>
- <td class="tdcenter borall"><p class="phangb">b</p></td>
- <td class="tdcenter borall" colspan="2"><p class="phangb">Narrow Dutch Black</p></td>
- <td class="tdcenter borall"><p class="phangb">English</p></td>
- <td class="tdcenter borall"><p class="phangb">Used alone or with [c] for headlines.</p></td></tr>
-<tr>
- <td class="tdcenter borall"><p class="phangb">c</p></td>
- <td class="tdcenter borall" colspan="2"><p class="phangb">Heading and Initial Black</p></td>
- <td class="tdcenter borall"><p class="phangb">2-line English</p></td>
- <td class="tdcenter borall"><p class="phangb">Used chiefly with [b], also with [d], [e], [f].</p></td></tr>
-<tr>
- <td class="tdcenter borall"><p class="phangb">d</p></td>
- <td class="tdcenter borall"><p class="phangb">Small lower-case Dutch Black</p></td>
- <td class="tdcenter borall" rowspan="2"><p class="phangb">With one set of Capitals.</p></td>
- <td class="tdcenter borall"><p class="phangb">Pica</p></td>
- <td class="tdcenter borall"><p class="phangb">Used chiefly with [e], also with [f] and [g].</p></td></tr>
-<tr>
- <td class="tdcenter borall"><p class="phangb">e</p></td>
- <td class="tdcenter borall"><p class="phangb">Large lower-case Dutch Black</p></td>
- <td class="tdcenter borall"><p class="phangb">Pica</p></td>
- <td class="tdcenter borall"><p class="phangb">Used chiefly with [d], also with [f].</p></td></tr>
-<tr>
- <td class="tdcenter borall"><p class="phangb">f</p></td>
- <td class="tdcenter borall"><p class="phangb">Small lower-case Caxtonian Black</p></td>
- <td class="tdcenter borall" rowspan="2"><p class="phangb">With one set of Capitals.</p></td>
- <td class="tdcenter borall"><p class="phangb">Great Primer.</p></td>
- <td class="tdcenter borall"><p class="phangb">Used chiefly with [g], also with [d] and [e].</p></td></tr>
-<tr>
- <td class="tdcenter borall"><p class="phangb">g</p></td>
- <td class="tdcenter borall"><p class="phangb">Large lower-case Caxtonian Black</p></td>
- <td class="tdcenter borall"><p class="phangb">Great Primer.</p></td>
- <td class="tdcenter borall"><p class="phangb">Used chiefly with [f], also with [d].</p></td></tr>
-</table></div><!--dtablebox--></div><!--section-->
-
-<p>The first Oxford press disappeared altogether in 1486,
-between which date and 1517 no work is known to have
-issued. In 1517 John Scolar, another German, printed
-a few small works very neatly in English and Brevier
-black-letter, with a Great Primer for titles, and made use
-of the University arms for the first time, either on his
-titles or last pages. Scolar’s press, in turn, came to an
-abrupt standstill in 1519, after which, in common with
-the other provincial presses of the country, printing at
-Oxford remained dormant for upwards of half a century.<a
-class="afnanch" href="#fn232" id="fnanch232">232</a></p>
-
-<p>It was not till the year 1585 that the art was
-actively resumed. In that <span class="xxpn" id="p140">{140}</span>
-year the Earl of Leicester presented a press, and the University made a grant
-of £100. The Star Chamber Decree of the following year formally allowed
-(with rigid restrictions) the establishment of the new press, and under Joseph
-Barnes, the first University printer, it rapidly rose to prominence. It appears
-from the outset to have been well provided with types, many of them of a
-beautiful cut, particularly those of the Greek character. The <i>Chrysostomi
-Homiliæ</i>, printed by Barnes in 1586, and the <i>Herodotus</i> of 1591, were both
-noticeable for the excellence of their letter. The former is said to be the first
-Greek book printed at the University.</p>
-
-<p>The reputation of the University for its Greek types
-was enhanced some years afterwards by the acquisition
-of the letter in which the magnificent edition of
-<i>St. Chrysostom</i><a class="afnanch" href="#fn233"
-id="fnanch233">233</a> had been printed at Eton by John
-Norton in 1610–13, at the charge and under the direction
-of Sir Henry Savile.<a class="afnanch" href="#fn234"
-id="fnanch234">234</a> This work, one of the most splendid
-examples of Greek printing in this country, is said to
-have cost its author £8,000. Respecting the origin of the
-types, Bagford says, in one of his MSS.: “Sir Henry Savile,
-meditating an edition of <i>St. Chrysostom</i>, prepared a fount
-of curious Greek letters, which in those days were called
-the <i>Silver letter</i>, not being cast of silver, but for the
-beauty of the letter so called.” Beloe,<a class="afnanch"
-href="#fn235" id="fnanch235">235</a> on the other hand,
-considers that the types were procured from abroad. “They
-certainly resemble,” he says, “those of Stephens, and the
-other Paris printers, as well as those of the Wechels at
-Frankfort, at a subsequent period. From the Wechels indeed
-they are said by some to have been procured, but this
-fact I have not been able to ascertain. It appears beyond
-a doubt, from a passage in one of the Epistles of Isaac
-Casaubon, that they were cast abroad.”<a class="afnanch"
-href="#fn236" id="fnanch236">236</a></p>
-
-<p>The fine execution of this work obtained for Norton the distinction accorded
-to Robert Estienne of Paris by Francis I, of “Regius in Græcis Typographus.”
-Scarcely less high an honour had been paid to this printer in 1594, when we are
-told Paul Estienne (son of Henri Estienne II) visiting England, and appreciating
-his merit, permitted him to make use of the device of the Estiennes.<a class="afnanch" href="#fn237" id="fnanch237">237</a></p>
-
-<div class="dctr01" id="fg28">
-<img src="images/i140fpa.png" width="600" height="336" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i140fpalg.png" title="display larger
- image">Μ</a></span> 28. Greek fount of the
- Eton <i>Chrysostom</i>, 1613.</div></div>
-
-<div class="dctr01" id="fg29">
-<img src="images/i140fpb.png" width="600" height="273" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i140fpblg.png" title="display larger
- image">Μ</a></span> 29. From the <i>Catena on
- Job</i>. 1637.</div></div>
-
-<p>At what date these famous Greek types came into
-the possession of the <span class="xxpn" id="p141">{141}</span>
-Oxford University Press it is impossible to determine. It was probably not till
-after some years of rough usage following Sir Henry Savile’s death; as Evelyn,<a class="afnanch" href="#fn238" id="fnanch238">238</a>
-in one of his letters, after lamenting the loss of Sir Simon Fanshaw’s medals,
-says that “they were after his decease thrown about the house for children to play
-at counter with, as were those elegant types of Sir Henry Savill’s at Eton, which
-that learned knight procured with great cost for his edition of <i>St. Chrysostom</i>.”</p>
-
-<p>The types, of which we give a specimen (No. 28), were of a Great Primer
-body, very elegantly and regularly cut, with the usual numerous ligatures and
-abbreviations which characterised the Greek typography of that period.</p>
-
-<p>During the early part of the seventeenth century the Oxford Greek types
-do not appear to have been extensively used; and in 1632 we find it recorded
-that Lord Pembroke, the then Chancellor of the University of
-Cambridge,<a class="afnanch" href="#fn239" id="fnanch239">239</a>
-applied for and obtained the loan of one of these founts for
-the purpose of printing the <i>Greek Testament</i>,<a class="afnanch" href="#fn240" id="fnanch240">240</a>
-which was issued in that
-year by Buck, the University printer, and which, says
-Beloe,<a class="afnanch" href="#fn241" id="fnanch241">241</a>
-“has ever <span class="xxpn" id="p142">{142}</span>
-been admired for the perspicuity of its types as well as for the accuracy of
-its typography.”</p>
-
-<p>The reason urged for this loan was, that the Oxford press made no
-use of the Greek type itself. This reproach was, however, shortly afterwards
-removed by the bounty and interest of Archbishop Laud, whose generous
-encouragement of printing at Oxford must always entitle him to an honourable
-mention in any record of the history of the art.</p>
-
-<p>Laud, at that time Bishop of London, was appointed Chancellor of the
-University in 1630, and in the same year projected, among other acts of bounty,
-two important measures for the advancement of printing at that Academy.
-These were:―</p>
-
-<blockquote class="din2">
-
-<p>“To procure a large Charter for Oxford, to confirm their Ancient Privileges, and
-obtain new for them, as large as those of Cambridge, which they had got since Henry
-the 8th and Oxford had not.</p>
-
-<p>“To set up a Greek press in London and Oxford, for printing the Library-Manuscripts,
-and to get both Letters and Matrices.”<a class="afnanch" href="#fn242" id="fnanch242">242</a></p></blockquote>
-
-<p>The former of these projects was carried out in 1632, when Charles I
-granted a charter to Oxford, giving her equal privileges with the sister
-University, authorising her to employ three printers, and securing to her a right
-for a certain term over all books issued. In forwarding this charter to the
-University, Laud mentioned by name two of the printers—King and Motteshead,
-but urged Convocation as yet to nominate no one as the third, in order, he said,
-“that you may get an able man, if it be possible, for the printing of Greek when
-you shall be ready for it.”<a class="afnanch" href="#fn243" id="fnanch243">243</a></p>
-
-<p>This is clearly an allusion to the Bishop’s other project, which, however, was
-only partially fulfilled during his lifetime.</p>
-
-<p>A Greek press was established in London in 1632, under peculiar circumstances,
-which, though not strictly bearing upon the history of letter-founding at
-Oxford, we may here refer to as an interesting episode in the history of English
-printing.</p>
-
-<p>Robert Barker and Martin Lucas, the King’s printers in London, were
-arraigned before the High Commission Court for a scandalous error in a <i>Bible</i><a class="afnanch" href="#fn244" id="fnanch244">244</a>
-printed by them in 1631, whereby the seventh commandment was made to read,
-“Thou shalt commit adultery.” For this grave offence, the impression (which
-numbered 1,000 copies and was full of typographical errors)
-was called in, and <span class="xxpn" id="p143">{143}</span>
-the printers were ordered to pay a fine of £300.<a class="afnanch" href="#fn245" id="fnanch245">245</a>
-This sum of money Laud
-received the royal authority to expend in the purchase of Greek types, according
-to the terms of the following letter addressed to him by the King, dated
-January 13, 1633:</p>
-
-<blockquote class="din2">
-
-<p>“Most reverend father in God, right trusty and right entirely beloved counsellor,
-we greet you well. Whereas our servant, Patrick Young, keeper of our library, hath
-lately with great industry and care published in print an epistle of Clemens Romanus<a class="afnanch" href="#fn246" id="fnanch246">246</a>
-in Greek and Latin, which was never printed before, and has done this to the benefit
-of the church, and our great honour, the manuscript, by which he printed it, being in
-our library; and whereas we further understand that the right reverend father in God,
-Augustin,<a class="afnanch" href="#fn247" id="fnanch247">247</a>
-now Bishop of Peterborough, and our said servant Patrick Young, are
-resolved for to make ready for the press one or more Greek copies every year, by such
-manuscripts as are either in our library or in the libraries of our universities of
-Oxford and Cambridge, or elsewhere, if there were Greek presses, matrices, and
-mony ready for the work which pains of theirs will tend to the great honour of our
-self, this church, and nation; we have thought good to give them all possible encouragement
-herein, and do therefore first require you, that the fine lately imposed by
-our high commissioners upon Robert Barker and Martin Lucas for base and corrupt
-printing of the Bible, being the sum of three hundred pounds, be converted to the
-present buying of such and so many Greek letters and matrices, as shall be by you
-thought fit for this great and honourable work. And our further will and pleasure is
-that the said Robert Barker and Martin Lucas, our patentees for printing, which
-either now are, or shall hereafter succeed them, being great gainers by that patent,
-which they hold under us, shall at their own proper costs and charges of ink, paper, and
-workmanship, print, or cause to be printed in Greek, or Greek and Latin, one such
-volume in a year, be it bigger or less, as the right reverend father aforesaid, or our
-servant Patrick Young or any other of our learned subjects shall provide and make
-ready for the press, and shall print such a number of each copy, as yourself, or your
-successors for the time being, shall think fit; and all this they shall perform, whether
-the said copy or copies be to be printed in London, Oxford, or Cambridge, which shall
-be left free to their judgments and desire, whose pains prepare the copy or copies for
-the press. And last of all, our further will and pleasure is, that the aforesaid patentees
-do without any delay procure such, and so many matrices and letters, as aforesaid, that
-no hindrance be put upon the work, and that they be at the charge of printing in the
-mean time with such letters, as are already in the kingdom. Of all which or any
-other necessary circumstances for the furtherance of this work, we shall not fail to call
-for a strict account from you; and therefore do look that you call for as strict a one
-from them: provided always, that it shall be, and remain in your power to mitigate
-their fine aforesaid, according as you shall see their diligence and care for the advancing
-of this work.”<a class="afnanch" href="#fn248" id="fnanch248">248</a></p></blockquote>
-
-<p>This letter Laud forwarded to the printers, who in reply,
-“accounted it so <span class="xxpn" id="p144">{144}</span>
-great a happiness” to receive the royal commands in the matter, and stated that
-they were already labouring “to find out the best fount and matrices, and to
-purchase the same at what cost soever.”<a class="afnanch" href="#fn249" id="fnanch249">249</a></p>
-
-<p>The new Greek press, thus furnished, was in due time settled in London, at
-the King’s Printing House in Blackfriars, and from its types was printed, in 1637,
-Patrick Young’s <i>Catena on Job</i>,<a class="afnanch" href="#fn250" id="fnanch250">250</a>
-“in as curious a letter,” says Bagford, “as any
-book extant.” In this interesting work, from which we here give a facsimile,
-two Greek founts are used, the larger being a handsome Double Pica,<a class="afnanch" href="#fn251" id="fnanch251">251</a>
-not
-dissimilar to that in which Estienne’s great folio <i>Greek Testament</i> was printed
-in Paris. The smaller fount, a Great Primer, bears so close a resemblance to the
-fount used in the Eton <i>Chrysostom</i>, that it is probable it may have been cast
-abroad from the same matrices. The Double Pica Roman and Italic used in the
-work are the same as those employed by Day in the preface to the <i>Ælfredi</i> in
-1574; the matrices having apparently been secured by the Archbishop for the
-use of the Royal press.</p>
-
-<p>Although Laud’s project for the establishment of a Greek press at Oxford,
-similar to that in London, was not fully realised, his efforts on behalf of the
-University and its press continued unabated. In 1635 he presented his fine
-collection of Oriental Manuscripts, and established a Chair of Arabic, which
-greatly encouraged and promoted the study and printing of works in that and
-other Eastern languages. This favour he followed up with a gift of Oriental
-types, which is alluded to in a letter from John Greaves to Dr. Peter Turner,
-dated 1637.<a class="afnanch" href="#fn252" id="fnanch252">252</a>
-Greaves approves of the bargain formed by the proctor’s brother,
-Mr. Browne, for the purchase at Leyden<a class="afnanch" href="#fn253" id="fnanch253">253</a>
-of some printing
-types, of probably an <span class="xxpn" id="p145">{145}</span>
-Eastern language. The only danger is that some are wanting. Mr. Bedwell,
-when he bought Raphelengius’s Arabic press, found some characters defective,
-which he was never able to get supplied. The writer hopes that, “now that
-Archbishop Laud has taken such care for furnishing the University with all sorts
-of types, and procuring so many choice MSS. of the Oriental languages, that
-some will endeavour to make true use of his noble intentions, and publish some
-of those incomparable pieces of the East, not inferior to the best of the Greeks
-or Latins.”<a class="afnanch" href="#fn254" id="fnanch254">254</a></p>
-
-<p>In a letter addressed May 5, 1637, to the Vice-Chancellor, the Archbishop
-himself refers to these recent acquisitions in the following terms:―</p>
-
-<blockquote class="din2">
-
-<p>“You are now upon a very good way towards the setting up of a learned press; and
-I like your proposal well to keep your matrices and your letters you have gotten, safe,
-and in the mean time to provide all other necessaries, that so you may be ready for
-that work.”<a class="afnanch" href="#fn255" id="fnanch255">255</a></p></blockquote>
-
-<p>One of the last recorded services of Laud to the Oxford press was the
-recovery, in 1639, of the Savile Greek Types, which had been clandestinely
-abstracted by Turner, the University printer. His letter on the subject is
-characteristic of the fatherly care which he exercised over the interests of the
-Oxford Press:</p>
-
-<blockquote class="din2">
-
-<p>“I am informed,” he says, “that under pretence of printing a Greek <i>Chronologer</i>
-.&#160;.&#160;. Turner, the printer .&#160;.&#160;. got into his hands all Sir H. Savil’s Greek letters
-amounting to a great number, some of them scarce worn. It was in Dr. Pink’s time.
-I pray speak with the Dr. about it and call Turner to an account before the heads
-what’s become of them. I doubt Turner’s poverty and knavery together hath made
-avoidance of them.” Oct. 18, 1639.</p>
-
-<p>“Feb 13th. Turner brought back the Greek letters, and delivered them by
-weight as he received them: there were not any wanting. He came very unwillingly
-to it.”<a class="afnanch" href="#fn256" id="fnanch256">256</a></p></blockquote>
-
-<p>This celebrated Greek fount does not appear to have been much used after
-this, and no trace of it now remains at the University press.<a class="afnanch" href="#fn257" id="fnanch257">257</a></p>
-
-<p>Unfortunately for the cause of learning at Oxford, as elsewhere, the political
-troubles of the following years abruptly terminated
-Laud’s services in that <span class="xxpn" id="p146">{146}</span>
-direction, and suspended for a time all further progress in the development of
-the press.<a class="afnanch" href="#fn258" id="fnanch258">258</a></p>
-
-<p>A revival took place during the Commonwealth, on the appointment, in
-1658, of Dr. Samuel Clarke, the learned Orientalist (who a short time previously
-had assisted in the correction of Walton’s <i>Polyglot</i>), as Archi-Typographus.
-This responsible functionary was “a person,” so the University Statute ordained,
-“set over the printers, who shall be well skilled in the Greek and Latin tongues,
-and in philological studies, .&#160;. whose office is to supervise and look after the
-business of Printing, and to provide at the University expence, all paper, presses,
-types, etc., to prescribe the module of the letter, the quality of the paper, and the
-size of the margins, when any book is printed at the cost of the University, and
-also to correct the errors of the press.”<a class="afnanch" href="#fn259" id="fnanch259">259</a>
-This office was, by the same Statute,
-annexed to that of superior law bedel, as having less business than the rest.</p>
-
-<p>After the Restoration, printing at Oxford made still greater advances,
-chiefly through the instrumentality and munificence of Dr. John Fell.</p>
-
-<p>This eminent scholar and theologian was born in the year 1625. He
-entered as a student of Christ Church at the age of eleven, and in 1643 bore arms
-in the civil wars for the king in the garrison of Oxford. At the Restoration
-he received ecclesiastical promotion, and in 1666 became Vice-Chancellor of
-the University.<a class="afnanch" href="#fn260" id="fnanch260">260</a>
-In this capacity he exerted himself strenuously to continue
-the work begun by Laud for the advancement of learning and encouragement
-of printing at the University;<a class="afnanch" href="#fn261" id="fnanch261">261</a>
-and about 1667 presented a complete
-typefoundry, consisting of the punches and matrices of twenty founts of Roman,
-Italic, Orientals, Saxons, Black and other letter, besides moulds and all the
-apparatus and utensils necessary for a complete printing office.</p>
-
-<div class="dctr03" id="fg34"> <img src="images/i147.png"
- width="600" height="623" alt="" /></div>
-<div class="dctr03"> <img src="images/i147b.png"
- width="600" height="428" alt="" />
- <div class="dcaption">
- 34 to 38. Oriental Founts presented to the Oxford Press by
- Dr. Fell in 1667. (From the original matrices.)<br />
- 34, 35, <i>Hebrew.</i>; 36, <i>Coptic.</i>; 37, <i>Arabic.</i>; 38,
- <i>Syriac.</i></div></div>
-
-<p>The extent of this noble gift, the importance of which can only be
-estimated <span class="xxpn" id="p148">{148}</span>
-by recalling the low condition of letter-founding
-in England at the time, will best appear by the following Inventory,
-published by the University in 1695:</p>
-
-<div class="dkeeptogether">
-<h3 title="MATRICES, PUNCHEONS, etc., GIVEN BY
-BISHOP FELL TO THE UNIVERSITY OF OXFORD">
-<i>An Account of the Matrices, Puncheons, etc., given by
-Bishop Fell to the University of Oxford</i><a class="afnanch"
-href="#fn262" id="fnanch262">262</a>:―</h3>
-
-<div class="smcap">34 B<b>OXES OF</b> M<b>ATRICES</b>.</div>
-
-<ul class="dmgnfndry fsz6">
- <li><span class="sppref">121</span>
- <p class="phangc"><span class="spndx2">1.</span> Great Primer Roman</p></li>
- <li><span class="sppref">123</span>
- <p class="phangc"><span class="spndx2">2.</span> Double Pica Roman</p></li>
- <li><span class="sppref">513</span><p class="phangc"><span class="spndx2">3.</span>
-  Pica Greek</p></li>
- <li><span class="sppref">353</span><p class="phangc"><span class="spndx2">4.</span>
-  Augustin Greek</p></li>
- <li><span class="sppref">354</span>
- <p class="phangc"><span class="spndx2">5.</span>
-  Long Primer Greek</p></li>
- <li><span class="sppref">456</span>
- <p class="phangc"><span class="spndx2">6.</span>
-  Great Primer Greek</p></li>
- <li><span class="sppref">121</span>
- <p class="phangc"><span class="spndx2">7.</span>
-  Long Primer Italic</p></li>
- <li><span class="sppref">142</span>
- <p class="phangc"><span class="spndx2">8.</span>
-  Small Pica Italic</p></li>
- <li><span class="sppref">155</span>
- <p class="phangc"><span class="spndx2">9.</span>
-  Long Primer Roman</p></li>
- <li><span class="sppref">156</span>
- <p class="phangc"><span class="spndx2">10.</span>
-  Pica Roman</p></li>
- <li><span class="sppref">156</span>
- <p class="phangc"><span class="spndx2">11.</span>
-  Brevier Roman</p></li>
- <li><span class="sppref">40</span>
- <p class="phangc"><span class="spndx2">12.</span>
-  Great Brass Roman Caps.</p></li>
- <li><span class="sppref">142</span>
- <p class="phangc"><span class="spndx2">13.</span>
-  Augustin Roman</p></li>
- <li><span class="sppref">73</span>
- <p class="phangc"><span class="spndx2">14.</span>
-  English Black</p></li>
- <li><span class="sppref">142</span>
- <p class="phangc"><span class="spndx2">15.</span>
-  Small Pica Roman</p></li>
- <li><span class="sppref">135</span>
- <p class="phangc"><span class="spndx2">16.</span>
-  Coptick</p></li>
- <li><span class="sppref">114</span>
- <p class="phangc"><span class="spndx2">17.</span>
-  Augustin Italic</p></li>
- <li><span class="sppref">130</span>
- <p class="phangc"><span class="spndx2">18.</span>
-  Pica Italic</p></li>
- <li><span class="sppref">121</span>
- <p class="phangc"><span class="spndx2">19.</span>
-  Nonpareil Italic</p></li>
- <li><span class="sppref">134</span>
- <p class="phangc"><span class="spndx2">20.</span>
-  Nonpareil Roman</p></li>
- <li><span class="sppref">445</span>
- <p class="phangc"><span class="spndx2">21.</span>
- &amp; 22. Paragon Greek</p></li>
- <li><span class="sppref">121</span>
- <p class="phangc"><span class="spndx2">23.</span>
-  Syriac</p></li>
- <li><span class="sppref">87</span>
- <p class="phangc"><span class="spndx2">24.</span>
-  Double Pica Italic</p></li>
- <li><span class="sppref">204</span>
- <p class="phangc"><span class="spndx2">25.</span> Great
- Canon</p></li>
- <li><span class="sppref">134</span>
- <p class="phangc"><span class="spndx2">26.</span>
-  Brevier Italic</p></li>
- <li><span class="sppref">70</span>
- <p class="phangc"><span class="spndx2">27.</span>
-  Music</p></li>
- <li><span class="sppref">198</span>
- <p class="phangc"><span class="spndx2">28.</span>
- [Pica Roman and Italic,
- bought by the University, an. 1692.] Roman, 93; Italic, 78;
- Small Caps., not justified, 27; in all</p></li>
- <li><span class="sppref">87</span>
- <p class="phangc"><span class="spndx2">28.</span>
-  Great Primer Italic</p></li>
- <li><span class="sppref">25</span>
- <p class="phangc"><span class="spndx2">29.</span>
-  Astronomical Signs, Pica</p></li>
- <li><span class="sppref">30</span>
- <p class="phangc"><span class="spndx2">29.</span>
-  Samaritan, English</p></li>
- <li><span class="sppref">21</span>
- <p class="phangc"><span class="spndx2">29.</span>
-  Mathematical Marks</p></li>
- <li><span class="sppref">10</span>
- <p class="phangc"><span class="spndx2">29.</span>
-  Cancelled Figures, Pica</p></li>
- <li><span class="sppref">16</span>
- <p class="phangc"><span class="spndx2">29.</span>
-  Brasses, Long Primer</p></li>
- <li><span class="sppref">10</span>
- <p class="phangc"><span class="spndx2">29.</span>
-  Mathematical Marks, Small Pica</p></li>
- <li><span class="sppref">292</span>
- <p class="phangc"><span class="spndx2">30.</span>
-  Hebrew, Great and Small</p></li>
- <li><span class="sppref">254</span>
- <p class="phangc"><span class="spndx2">31.</span>
-  Hebrew, Great and Small</p></li>
- <li><span class="sppref">7</span>
- <p class="phangc"><span class="spndx2">31.</span>
-  Armenian</p></li>
- <li><span class="sppref">228</span>
- <p class="phangc"><span class="spndx2">32.</span>
-  Arabic, Syriac, and Hebrew</p></li>
- <li><span class="sppref">10</span>
- <p class="phangc"><span class="spndx2">32.</span>
-  Arabic Figures</p></li>
- <li><span class="sppref">110</span>
- <p class="phangc"><span class="spndx2">33.</span>
-  Sclavonian, Great Primer</p></li>
- <li><p class="phangc"><span class="spndx2">&#160;</span> A paper of Flower Matrices.</p></li>
- <li><p class="phangc"><span class="spndx2">&#160;</span> A paper of Great Primer Roman and Italic, cut by Mr. Nichols—not good.</p></li>
- <li><p class="phangc"><span class="spndx2">&#160;</span> New Music Puncheons and Matrices, cut by Peter Walpergen.</p></li>
-</ul></div><!--dkeeptogether-->
-
-<div class="dkeeptogether padtopc"><span class="smcap">P<b>UNCHEONS SEALED UP IN AN</b></span>
-<span class="smcap">E<b>ARTHEN</b> P<b>OT</b>.</span>
-
-<ul class="dmgnfndry fsz6">
- <li><p class="phangd">For the Double Pica Roman and Italic,
- and some for the Double Pica Greek.</p></li>
- <li><p class="phangd">For the Great Brass Roman Capitals.</p></li>
- <li><p class="phangd">For the Black, English.</p></li>
- <li><p class="phangd">For the Coptick.</p></li>
- <li><p class="phangd">For the Syriack.</p></li>
- <li><p class="phangd">For the Samaritan.</p></li>
- <li><p class="phangd">For the Cannon Roman and Italic.</p></li>
- <li><p class="phangd">For the Astronomical Signs and Figures.</p></li>
- <li><p class="phangd">[For the Pica Roman and Italic.]</p></li>
- <li><p class="phangd">[For the Sclavonian also there
- were 109 punches.]</p></li>
-</ul>
-</div><!--dkeeptogether-->
-
-<div class="dkeeptogether padtopc">
-<span class="smcap">U<b>TENSILS FOR</b> P<b>RINTING</b>.</span>
-
-<ul class="dmgnfndry fsz6">
- <li><p class="phangc"><span class="spndx2">1</span> small anvil.</p></li>
- <li><p class="phangc"><span class="spndx2">4</span> hammers.</p></li>
- <li><p class="phangc"><span class="spndx2">28</span> moulds.</p></li>
- <li><p class="phangc"><span class="spndx2">1</span> engine to make brass rules with a plane.</p></li>
- <li><p class="phangc"><span class="spndx2">1</span> wyer sieve.</p></li>
- <li><p class="phangc"><span class="spndx2">332</span> dressing sticks. <span class="xxpn" id="p149">{149}</span></p></li>
- <li><p class="phangc"><span class="spndx2">2</span> great vices.</p></li>
- <li><p class="phangc"><span class="spndx2">2</span> hand vices.</p></li>
- <li><p class="phangc"><span class="spndx2">21</span> great files.</p></li>
- <li><p class="phangc"><span class="spndx2">1</span> pair of sheers.</p></li>
- <li><p class="phangc"><span class="spndx2">2</span> iron pots.</p></li>
- <li><p class="phangc"><span class="spndx2">4</span> dressing planes.</p></li>
- <li><p class="phangc"><span class="spndx2">3</span>
- dressing blocks.</p></li>
- <li><p class="phangc"><span class="spndx2">3</span> plyers.</p></li>
- <li><p class="phangc"><span class="spndx2">2</span> rubbing stones.</p></li>
- <li><p class="phangc"><span class="spndx2">1</span> grinding stone.</p></li>
- <li><p class="phangc"><span class="spndx2">26</span> copper borders.</p></li>
- <li><p class="phangc"><span class="spndx2">32</span> copper letters.</p></li>
- <li><p class="phangc"><span class="spndx2">7</span> printing presses, with all things belonging to them.</p></li>
- <li><p class="phangc"><span class="spndx2">2</span> rolling presses, with all things necessary to them.</p></li>
- <li><p class="phangc"><span class="spndx2">132</span> upper and lower cases.</p></li>
- <li><p class="phangc"><span class="spndx2">5</span> pair of capital cases.</p></li>
- <li><p class="phangc"><span class="spndx2">5</span> pair of fund cases.</p></li>
- <li><p class="phangc"><span class="spndx2">13</span> pair of Greek cases.</p></li>
- <li><p class="phangc"><span class="spndx2">50</span> chases.</p></li>
-</ul></div><!--dkeeptogether-->
-
-<p class="padtopc">Dr. Fell supplemented this gift by a further signal service, which is thus
-recorded by Bagford:―</p>
-
-<p>“The good Bishop provided from Holland the choicest Puncheons,<a class="afnanch" href="#fn263" id="fnanch263">263</a>
-Matrices,
-etc., with all manner of Types that could be had, as also a Letter Founder, a
-Dutchman by Birth, who had Served the States in the same quality at Batavia,
-in the East Indies. He was an excellent workman, and succeeded by his son,
-who has been since succeeded by Mr. Andrews.”<a class="afnanch" href="#fn264" id="fnanch264">264</a></p>
-
-<p>The Dutchman here spoken of was Walpergen, who, as will be seen later
-on, preceded Sylvester Andrews as typefounder in Oxford.</p>
-
-<p>Fell was a zealous defender of the privileges enjoyed by his University, and
-in 1679 drew up a report setting forth its claims in the matter of printing.<a class="afnanch" href="#fn265" id="fnanch265">265</a>
-In
-this report he mentions that, in the year 1672, several members of the University,
-himself included, taking into consideration the “low estate of the manufacture
-of printing” in the kingdom, and particularly in the University, “took upon
-themselves the charges of the press in the said University, and at the expence of
-above four thousand pounds furnisht from Germany, France and Holland, an
-Imprimery, with all the necessaries thereof, and pursued the undertaking so
-vigorously, as in the short compass of time which hath since intervened, to have
-printed many considerable books in Hebrew, Greek and Latin, as well as in
-English; both for their matter and elegance of paper and letter, very satisfactory
-to the learned abroad and at home.”</p>
-
-<p>It is probable that the transaction here recorded constituted a portion of
-what became known as Dr. Fell’s gift to the University; a series of benefactions
-which doubtless extended over several years—from 1667 to 1672—and included,
-when complete, the whole of the types and implements named in the above
-Inventory. Mores, who is responsible for the date, 1667,
-leads us to suppose <span class="xxpn" id="p150">{150}</span>
-that the gift was completed in that year; but he gives no authority; and the
-absence of any second inventory of the acquisitions made in 1672, points strongly
-to the conclusion that the two transactions were part of the same gift.</p>
-
-<p>In 1675 Dr. Fell was created Bishop of Oxford, and continued his active
-services to the cause of learning until the time of his death in 1686, having, as
-Anthony à Wood remarks, “advanced the learned press, and improved the
-manufacture of printing in Oxford in such manner as it had been designed
-before by that public spirited person, Dr. Laud, Archbishop of Canterbury.”<a class="afnanch" href="#fn266" id="fnanch266">266</a></p>
-
-<p>In 1677 the University press was further enriched by another important
-gift of type and matrices, presented by Mr. Francis Junius.</p>
-
-<p>This learned scholar, whom Rowe Mores styles the restorer—if not more than
-the restorer—of the knowledge of the Septentrional languages in England, was a
-German, the son of Francis Junius, the theologist, of Heidelberg. He resided for
-some time in England as librarian to the Earl of Arundel, during which time he
-zealously prosecuted his philological studies. In 1654, being then at Amsterdam,
-he furnished himself with a set of Saxon punches and matrices, respecting
-which he wrote as follows to Selden in that year<a class="afnanch" href="#fn267" id="fnanch267">267</a>:―“In the meanwhile have I
-here Anglo-Saxonic types (I know not whether you call them puncheons) a
-cutting, and I hope they will be matriculated and cast within the space of seven
-or eight weeks at the furthest. As soon as they come I will send you some
-little specimen of them to the end I might know how they will be liked in
-England.” In addition to this Saxon, Junius also obtained founts of Gothic,
-Runic, Danish, Icelandic, Greek, Roman, Italic, and a pretty Black, all cast on
-Pica body. These he brought over with him to this country. Of the Gothic,
-Runic, Saxon, and Greek he certainly brought punches and matrices as well as
-types, as these are to this day preserved at Oxford, and there is reason to
-suppose all his founts were similarly complete.<a class="afnanch" href="#fn268" id="fnanch268">268</a></p>
-
-<div class="dkeeptogether">
-<p>Junius, who had spent much time in his younger years
-at Oxford for the <span class="xxpn" id="p151">{151}</span>
-sake of study, libraries, and conversation, and had visited it frequently since,
-retired there at last in 1676, and executed a deed of gift whereby he presented
-his books in the Northern language and his punches and matrices to the University,
-the latter consisting of the following founts:―</p>
-
-<div class="nowrap">
-<ul class="fsz6">
- <li>Pica Runic.</li>
- <li>Pica Gothic.</li>
- <li>Pica Anglo-Saxon.</li>
- <li>Pica Icelandic.</li>
- <li>Pica Danish.</li>
- <li>Pica Black.</li>
- <li>Pica Greek.</li>
- <li>Pica Roman.</li>
- <li>Pica Italic.</li>
- <li>English Swedish.</li></ul>
-</div><!--nowrap-->
-</div><!--dkeeptogether-->
-
-<p>Junius died the following year at Windsor, at the great age of ninety. A
-quaint tribute to his memory exists in a note from Dr. (afterwards Bishop)
-Nicolson, who, writing to Thwaites in May 1697, says, “My acquaintance with
-that worthy personage was very short, and in his last days, when he was near
-ninety .&#160;.&#160;.&#160;. alas! I can remember little more of him than that he was very
-kind and communicative, very good, and very old.”<a class="afnanch" href="#fn269" id="fnanch269">269</a></p>
-
-<p>The custodians of his valuable gift scarcely appear at first to have been
-impressed with an adequate sense of their responsibility, for we find that the
-Junian punches and matrices disappeared shortly after their presentation, and
-remained lost for a considerable period, when they were discovered by chance
-under the circumstances thus humorously narrated in a letter from Dr. (afterwards
-Bishop) Tanner, dated All Souls College, Aug. 10, 1697, and addressed to
-Dr. Charlett:―</p>
-
-<blockquote class="din2">
-
-<p>“Mr. Thwaites and John Hall took the courage last week to go to Dr. Hyde about
-Junius’ matrices and punchions which he gave with his books to the University. These,
-nobody knew where they were, till Mr. Wanley discovered some of them in a hole in
-Dr. Hyde’s study. But, upon Mr. Hall’s asking, Dr. Hyde knew nothing of them; but
-at last told him he thought he had some punchions about his study, but did not know how
-they come there; and presently produces a small box-full, and taking out one, he pores
-upon it, and at last wisely tells them that these could not be what they looked after, for
-they were Ethiopic<a class="afnanch" href="#fn270" id="fnanch270">270</a>: but Mr. Thwaites desiring a sight of them, found that which he
-looked on to be Gothic and Runic punchions, which they took away with them, and a
-whole oyster-barrel full of old Greek letter, which they
-discovered in another hole.”<a class="afnanch" href="#fn271" id="fnanch271">271</a>
-<span class="xxpn" id="p152">{152}</span></p></blockquote>
-
-<div class="dctr03" id="fg32">
-<img src="images/i152a.png" width="600" height="527" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i152alg.png" title="display larger
- image">Μ</a></span> 32. Pica Roman and Italic presented
- to the Oxford Press by Dr. Fell, 1667.</div></div>
-
-<div class="dctr03" id="fg33">
-<img src="images/i152b.png" width="600" height="455" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i152blg.png" title="display larger
- image">Μ</a></span> 33. Pica Roman and Italic bought by
- the University in 1692.
- <div>(From the <i>Specimen</i> of 1692.)</div></div></div>
-
-<div><span class="xxpn" id="p153">{153}</span></div>
-
-<p>The combined gifts of Dr. Fell and Francis Junius laid the foundation
-of the Oxford University foundry as it now exists. Even before the close of
-the century it had been augmented by numerous small additions and purchases.
-About the time of Fell’s gift the press received a second fount of Coptic, presented
-by Witsen, the Burgomaster of Amsterdam.<a class="afnanch" href="#fn272" id="fnanch272">272</a>
-In 1694, Dr. Charlett, writing
-to Archbishop Tenison, refers to the founts of Slavonic and Armenian types, “very
-elegantly cut, which M. Ludolfus is bringing to Oxford from Holland.” The
-University also purchased matrices of Pica-Roman and Italic in 1692, besides
-adding to its stock some indifferent Great Primer matrices by Nichols, and music
-cut by the Oxford founder, Walpergen.<a class="afnanch" href="#fn273" id="fnanch273">273</a></p>
-
-<div class="dctr03" id="fg30">
-<img src="images/i153.png" width="528" height="393" alt="" />
- <div class="dcaption">30. The Sheldonian Theatre. (From
- an old wood block in the Oxford University Press.)</div></div>
-
-<p>About the year 1669 the foundry, which, together with the press, had been
-carried on in hired premises provided by Fell, was transferred to the basement
-of the then new Sheldonian Theatre.<a class="afnanch" href="#fn274" id="fnanch274">274</a>
-Here it was that, in the year 1693, appeared
-the earliest known “<i>Specimen of the several Sorts of Letter given to the University
-by Dr. John Fell, late Lord Bishop of Oxford, to which is
-added the Letter given</i> <span class="xxpn" id="p154">{154}</span>
-<i>by Mr. F. Junius</i>.” A manuscript note on the title-page of the Bodleian copy of
-this interesting specimen adds “with puncheons and matrices bought of
-others.” These additions, besides those already noted, include an Ethiopic
-“bought of Dr. Bernard,” and some supplementary Arabic sorts and Syriac
-vowels “bought by Dr. Hyde.” The <i>Specimen</i> consists of eighteen leaves.</p>
-
-<div class="dctr03" id="fg39">
-<img src="images/i154.png" width="600" height="211" alt="" />
- <div class="dcaption">39. Ethiopic, purchased
- by the Oxford Press in 1692. (From the original
- matrices.)</div></div>
-
-<p>In 1695 a fuller specimen (of twenty-four leaves) appeared with the same
-title, and included the Junian Danish, a few later acquisitions, such as the new
-Slavonic, and a fount of spoon-shaped music cut by Walpergen. To this document
-was also appended the inventory of “utensils for printing,” already given in
-the account of Dr. Fell’s gift.</p>
-
-<p>Of the estimation in which this specimen was held at the time, the following
-eulogium of Bagford may be taken as testimony. He says: “For the satisfaction
-of the curious, I shall give a catalogue and specimen of the letter presented by
-Dr. Fell, the like of which cannot be shown by any of the great printing houses
-in Europe, which may be seen by that printed in 1695, although it may fall into
-the hands of foreign printers of Holland, Flanders, Italy, Germany and France,
-they must confess that they had not seen the like, both for the great beauty and
-goodness of the letters.”<a class="afnanch" href="#fn275" id="fnanch275">275</a></p>
-
-<p>Apart from its value as a specimen of the Oxford foundry, considerable
-interest attaches to the specimen of 1695, as being the first polyglot production
-in this country in which a stated portion of the Scripture—the Lord’s Prayer—appears
-in as many as forty-five different forms and nineteen different languages.
-In this respect, however, it was shortly afterward eclipsed by a polyglot
-<i>Oratio Dominica</i>, published in London in 1700,<a class="afnanch" href="#fn276" id="fnanch276">276</a>
-exhibiting the Lord’s Prayer in
-upwards of one hundred versions. This may, to some extent, be regarded as a
-specimen of the University press, as the two principal sheets of the work were
-printed at Oxford containing the prayer in the
-Hebrew, Samaritan, Chaldee, <span class="xxpn" id="p155">{155}</span>
-Syriac, Coptic, Ethiopic, Amharic, Arabic, Persic, Turkish, Tartaric, Malayan,
-Gothic, Runic, Icelandic and Sclavonic, of the University foundry.<a class="afnanch" href="#fn277" id="fnanch277">277</a>
-These
-constitute the most interesting part of the collection, as the remaining versions,
-requiring special characters, are produced chiefly in copperplate.<a class="afnanch" href="#fn278" id="fnanch278">278</a>
-Rowe Mores
-points with some pride to this specimen as showing how far superior we were at
-that time to our neighbours abroad in the variety of our metal types.<a class="afnanch" href="#fn279" id="fnanch279">279</a></p>
-
-<p>Specimens of Dr. Fell’s and Junius’ gifts, and an account of the foundry with
-its recent acquisitions, were frequently printed in the early part of the eighteenth
-century. Rowe Mores mentions four between 1695 and 1706. In the latter
-year the document had grown to twenty-five leaves, and included a Great Primer
-and a two-line Great Primer, purchased in 1701, and other additions. The
-inventory mentions twenty-eight moulds as being the number still in use in the
-foundry, and seven presses in the printing-house. It also distinguishes certain
-types as being of the Dutch height, a discrepancy to which, in all probability,
-may be traced that unfortunate anomaly of “Bible height” and “Classical height,”
-which to this day hampers the operations of a foundry where, in perpetuation of
-a blunder made two centuries ago, types are still cast to two different heights,
-agreeing neither with one another nor with any British standard.<a class="afnanch" href="#fn280" id="fnanch280">280</a></p>
-
-<p>A later specimen, without date, was issued in broadside form, in which the
-old title gave place to the more simple one of <i>A Specimen of the several Sorts of
-Letters in the University Printing House, Oxford</i>. In this specimen, while including
-all the recent acquisitions, several of the older and less sightly founts
-comprised in Dr. Fell’s gift are discarded. <span class="xxpn" id="p156">{156}</span></p>
-
-<p>In the year 1712 the University press was removed from the Sheldonian
-Theatre to occupy its new quarters in the Clarendon Printing House, erected for
-its accommodation—a building considered at the time one of the finest printing-houses
-in the world.<a class="afnanch" href="#fn281" id="fnanch281">281</a></p>
-
-<div class="dctr04" id="fg31">
-<img src="images/i156.png" width="600" height="421" alt="" />
- <div class="dcaption">31. The Clarendon Press. (From an
- old wood block at the Oxford University Press.)</div></div>
-
-<p>The encouragement given by Junius to the study of the Northern languages
-resulted in the production of many important works in that branch of literature
-at the University press during the early years of the eighteenth century.
-Foremost among these was Dr. Hickes’ <i>Thesaurus</i>,<a class="afnanch" href="#fn282" id="fnanch282">282</a>
-printed in 1703–5, a learned
-and elaborate work, in which the types presented by Junius are many of them
-displayed to advantage.</p>
-
-<p>Rowe Mores, for the honour of his University in general, and his own college
-in particular, gives a list of the famous “Saxonists” of Dr. Hickes’ time. Amongst
-these, not the least eminent was Miss Elizabeth Elstob, who published in 1715
-an Anglo-Saxon Grammar, printed in types, which, as they subsequently found
-their way into the Oxford foundry, call for a particular mention here.</p>
-
-<p>William Bowyer the younger had printed in 1709 a work entitled <i>An
-English-Saxon Homily on the Birth-Day of St. Gregory</i>, translated by the Rev.
-William Elstob of Oxford and his sister, a young lady
-of great industry and <span class="xxpn" id="p157">{157}</span>
-learning, whom Mores describes as the “indefessa comes” of her brother’s studies,
-and a female student of the University.<a class="afnanch" href="#fn283" id="fnanch283">283</a>
-In 1712, in the same types, was
-issued a specimen of Miss Elstob’s <i>Anglo-Saxon Grammar</i>.</p>
-
-<p>Before, however, this work could be completed, Bowyer’s printing-house was
-destroyed by fire, and his types, including the Anglo-Saxon, perished in the
-flames. This disastrous event was the occasion for a remarkable display of
-sympathy on the part of Mr. Bowyer’s many friends, both in and out of the profession,
-which found expression in several forms,<a class="afnanch" href="#fn284" id="fnanch284">284</a>
-one of the most practical of
-which was the offer of Lord Chief Justice Parker (afterwards Earl of Macclesfield)
-to be at the cost of cutting a new set of Anglo-Saxon types for Miss Elstob’s
-Grammar. The drawings for the new types were made, at Lord Parker’s request,
-by Humphrey Wanley,<a class="afnanch" href="#fn285" id="fnanch285">285</a>
-the eminent Saxonist, and the cutting of the punches
-entrusted to Robert Andrews the letter-founder, who, however, proved unequal to
-the task. “I did what was required,” Mr. Wanley wrote, “in the most exact
-and able manner that I could in all respects. But it signified little; for
-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. This appears by
-Mrs. Elstob’s <i>Saxon Grammar</i>.”<a class="afnanch" href="#fn286" id="fnanch286">286</a>
-<span class="xxpn" id="p158">{158}</span></p>
-
-<p>Poor as the letter-founder’s performance was, the Grammar duly appeared in
-the new letter in 1715,<a class="afnanch" href="#fn287" id="fnanch287">287</a>
-and the punches, matrices and types remained in the
-possession of Mr. Bowyer and his son, being used occasionally in some of their
-subsequent works, though not in any other of which Miss Elstob was the
-authoress.<a class="afnanch" href="#fn288" id="fnanch288">288</a>
-In 1753 they were sent by William Bowyer the younger, to Rowe
-Mores, with the following letter, for presentation to the University of Oxford:―</p>
-
-<blockquote class="din2">
-
-<p class="psignature"><i>4th December, 1753.</i></p>
-
-<p>“To <span class="smcap">E<b>DWARD</b> R<b>OWE</b>
-M<b>ORES</b>,</span> Esq., at Low Leyton.</p>
-
-<p>“Sir,—I make bold to transmit to Oxford, through your hands, the Saxon punches
-and matrices, which you were pleased to intimate would not be unacceptable to that
-learned body. It would be a great satisfaction to me, if I could by this means perpetuate
-the munificence of the noble donor, to whom I am originally indebted for them,
-the late Lord Chief Justice Parker, afterwards Earl of Macclesfield, who, among the
-numerous benefactors which my father met with, after his house was burned in
-1712–13, was so good as to procure those types to be cut, to enable him to print Mrs.
-Elstob’s <i>Saxon Grammar</i>. England had not then the advantage of such an artist
-in letter cutting as has since arisen,<a class="afnanch" href="#fn289" id="fnanch289">289</a>
-and it is to be lamented, that the execution of
-these is not equal to the intention of the noble donor, and, I now add, to the place in
-which they are to be reposited. However, I esteem it a peculiar happiness, that as my
-father received them from a great patron of learning, his son consigns them to the
-greatest seminary of it, and that he is, Sir, your most obliged friend, and humble
-Servant,</p>
-
-<p class="psignature">“W.
- <span class="smcap">B<b>OWYER</b>.”</span></p></blockquote>
-
-<p>The adventures of this epistle and the gift which accompanied it, before
-reaching their destination, are almost romantic. For some reason which does
-not appear, Rowe Mores, on receipt of the punches and matrices, instead of
-transmitting them to Oxford, took them to Mr. Caslon’s foundry to be repaired
-and rendered more fit for use. Mr. Caslon having kept them four or five years
-without touching them, Mr. Bowyer removed them from his custody, and in 1758
-entrusted them to Mr. Cottrell, from whom in the same year he received them
-again, carefully “fitted up” and ready for use, together
-with 15 lbs. of letter cast <span class="xxpn" id="p159">{159}</span>
-from the matrices. In this condition the whole was again consigned by Mr.
-Bowyer to Rowe Mores, together with a copy of Miss Elstob’s <i>Grammar</i>, for
-transmission to Oxford. On hearing, two years later, that his gift had never
-reached the University, he made inquiries of Mores, from whom he received a
-reply that “the punches and matrices were very safe at his house,” awaiting an
-opportunity to be forwarded to their destination. This opportunity does not
-appear to have occurred for three years longer, when, in October, 1764, the gift
-was finally deposited at Oxford. Its formal acknowledgment was, however,
-delayed till August 1778, exactly a quarter of a century after its presentation.<a class="afnanch" href="#fn290" id="fnanch290">290</a></p>
-
-<p>The correspondence touching this transaction, amusing as it is, throws a
-curious light on Rowe Mores’ character for exactitude, and it is doubtful whether
-the publication of Mr. Bowyer’s first letter in the <i>Dissertation</i>,<a class="afnanch" href="#fn291" id="fnanch291">291</a>
-together with a
-few flattering compliments, was an adequate atonement for the injury done to
-that gentleman by the unwarrantable detention of his gift. Nor does the title
-under which the gift was permitted to appear in the University specimen, suppressing
-as it does all mention of the real donor’s name, and giving the entire
-honour to the dilatory go-between, reflect any credit on the hero of the transaction.
-The entry appears thus: “Characteres Anglo-Saxonici per eruditam fœminam
-Eliz. Elstob ad fidem codd. mss. delineati; quorum tam instrumentis cusoriis
-quam matricibus Univ. donari curavit E. R. M. e Collegio Regin., A.M. 1753.</p>
-
-<div class="dkeeptogether">
-<blockquote>
-<ul class="nowrap">
- <li class="lihang4"><span class="spqut">“</span>Cusoria
- majuscula 42 (desunt
- <img class="iglyph-b" src="images/ia-189a.png"
- width="38" height="52" alt="AT" /> et
- <span class="nowrap">
- <img class="iglyph-b" src="images/ia-189b.png"
- width="24" height="52" alt="Þ" />)</span></li>
- <li class="lihang4"><span class="spqutspc">Matrices</span>
- majusculæ 44.</li>
- <li class="lihang4"><span class="spqutspc">Cusoria</span>
- minuscula 37 (desunt e et
- <span class="nowrap">
- <img class="iglyph-b" src="images/ia-189c.png"
- width="24" height="52" alt="⁊" />)</span></li>
- <li class="lihang4"><span class="spqutspc">Matrices</span>
- minusculæ 39.”</li>
-</ul></blockquote></div>
-
-<p>It does not appear that these types were ever made use of at Oxford. The
-punches and matrices remain in the University press to this day.<a class="afnanch" href="#fn292" id="fnanch292">292</a></p>
-
-<p>Between the Broadside sheet following the specimen of 1706, and 1768, no
-specimen of the Oxford foundry occurs. There exists, however, in the works
-issuing from the Press during that period ample testimony to its activity. The
-proposal to print Dr. Mawer’s <i>Supplement to Walton’s Polyglot</i>, with its types, is
-evidence of the continued reputation of its “learned” founts; while such an
-admirable specimen of typography as Blackstone’s <i>Charter of the Forest</i>,
-printed in 1759,<a class="afnanch" href="#fn293" id="fnanch293">293</a>
-affords proof that Oxford was not
-behindhand in that famous <span class="xxpn" id="p160">{160}</span>
-revival of printing which received such impetus from the taste and genius of
-Baskerville.</p>
-
-<p>The Delegates of the Press had, indeed, so high an opinion of the talents of
-this famous artist, that they employed him in 1758 to cut a fount of Great Primer
-Greek type for a <i>Greek Testament</i> shortly to be issued.<a class="afnanch" href="#fn294" id="fnanch294">294</a>
-The performance
-was pronounced unsuccessful, but the Greek types duly appeared, together with
-numerous other acquisitions, including a Long Primer Syriac purchased from
-Caslon, in the <i>Specimen</i> of 1768–70.<a class="afnanch" href="#fn295" id="fnanch295">295</a></p>
-
-<p>Of this specimen Rowe Mores (who informs us that it was printed at the
-request of foreigners) falls foul as inaccurate. “The materials from which this
-account (<i>i.e.</i>, his summary of the contents of the Foundry) is drawn,” he says,
-“are not so accurate as might have been expected from an Archi-typographus and
-the Curators of the Sheldonian. In excuse may be alleged that neither the Archi-typographus
-nor the Curators are Letter-founders; certainly that the matter has
-not been treated with that precision which in so learned a body should seem to
-be requisite. For one instance among others, which might be produced, take
-the Double Pica, Brevier and Nonpareil Hebrew, the only Hebrew types the
-University then had. They are two-line English, English and Long Primer.
-And this mistake has run through all the editions of the Oxford specimen, and
-in the last of 1770, the leanest and the worst of all, appears most glaringly. For
-this Brevier is placed immediately under Caslon’s Long Primer, a diversity
-sufficient one would think to show the blunder without the aid of a magnifier.
-The Nonpareil as it is called is omitted in this last specimen, and so are many
-other sets of matrices which have been given to the University, touching which
-enquiry should be made out of respect (at least) to the
-memory of the donors.”<a class="afnanch" href="#fn296" id="fnanch296">296</a>
-<span class="xxpn" id="p161">{161}</span></p>
-
-<p>Another specimen appeared in 1786, in which more of the old founts are
-discarded in favour of more modern letters, among which are noticeable several
-Roman founts cast on a large body, to obviate the necessity of “leading”;
-including an English, cast for Mr. Richardson’s <i>Dictionary</i>. Almost all the
-“learned” founts presented by Fell and Junius are here shown, as well as a considerable
-number of borders and ornamental initials.</p>
-
-<p>In 1794 a still fuller specimen appeared, which included
-a Great Primer Greek, cut by Caslon, and several new
-titling letters. To this specimen is appended a detailed
-inventory, both of the punches and matrices at that time
-in the possession of the University, and of the quantity
-of type of various kinds in stock, with the utensils for
-printing.</p>
-
-<div class="dkeeptogether">
-<p>The following is a summary of the foreign and “learned”
- punches and matrices included in this catalogue:―</p>
-
-<div class="padtopc"><span class="smcap">P<b>UNCHES.</b></span></div>
-
-<ul class="dmgnfndry fsz6">
- <li><p class="phangd"><span class="sppref">79</span>
- Anglo-Saxon</p></li>
- <li><p class="phangd"><span class="sppref">33</span>
- Arabic</p></li>
- <li><p class="phangd"><span class="sppref">65</span>
- Armenian</p></li>
- <li><p class="phangd"><span class="sppref">72</span>
- Black, English</p></li>
- <li><p class="phangd"><span class="sppref">116</span>
- Coptic, Pica</p></li>
- <li><p class="phangd"><span class="sppref">25</span>
- Gothic</p></li>
- <li><p class="phangd"><span class="sppref">114</span>
- Greek, Great Primer</p></li>
- <li><p class="phangd"><span class="sppref">148</span>
- Greek, Great Primer (Baskerville’s)
- </p></li>
- <li><p class="phangd"><span class="sppref">190</span>
- Greek, Double Pica</p></li>
- <li><p class="phangd"><span class="sppref">10</span>
- Greek, 2-line English</p></li>
- <li><p class="phangd"><span class="sppref">20</span>
- Hebrew, with points</p></li>
- <li><p class="phangd"><span class="sppref">220</span>
- Music</p></li>
- <li><p class="phangd"><span class="sppref">24</span>
- Runic</p></li>
- <li><p class="phangd"><span class="sppref">28</span>
- Samaritan, English</p></li>
- <li><p class="phangd"><span class="sppref">21</span>
- Saxon</p></li>
- <li><p class="phangd"><span class="sppref">106</span>
- Slavonian</p></li>
- <li><p class="phangd"><span class="sppref">90</span>
- Syriac, English</p></li>
- <li><p class="phangd"><span class="sppref">47</span>
- Turkish, Persian, Malayan</p></li>
-</ul></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<div class="padtopc"><span class="smcap">M<b>ATRICES.</b></span></div>
-<ul class="dmgnfndry fsz6">
- <li><p class="phangd"><span class="sppref">228</span>
- Arabic, Syriac and Hebrew</p></li>
- <li><p class="phangd"><span class="sppref">10</span>
- Arabic figures</p></li>
- <li><p class="phangd"><span class="sppref">83</span>
- Anglo-Saxon</p></li>
- <li><p class="phangd"><span class="sppref">77</span>
- Armenian</p></li>
- <li><p class="phangd"><span class="sppref">7</span>
- Armenian</p></li>
- <li><p class="phangd"><span class="sppref">7</span>
- Armenian</p></li>
- <li><p class="phangd"><span class="sppref">73</span>
- Black, English</p></li>
- <li><p class="phangd"><span class="sppref">135</span>
- Coptic</p></li>
- <li><p class="phangd"><span class="sppref">27</span>
- Coptic</p></li>
- <li><p class="phangd"><span class="sppref">224</span>
- Ethiopic</p></li>
- <li><p class="phangd"><span class="sppref">351</span>
- Greek, Augustin (or English)</p></li>
- <li><p class="phangd"><span class="sppref">493</span>
- Greek, Great Primer</p></li>
- <li><p class="phangd"> <span class="sppref">167</span>
- Greek, Great Primer (Baskerville’s)</p></li>
- <li><p class="phangd"><span class="sppref">239</span>
- Greek, Double Pica (bad)</p></li>
- <li><p class="phangd"><span class="sppref">432</span>
- Greek, Paragon (Double Pica)</p></li>
- <li><p class="phangd"><span class="sppref">352</span>
- Greek, Long Primer</p></li>
- <li><p class="phangd"><span class="sppref">11</span>
- Greek, 2-line English</p></li>
- <li><p class="phangd"><span class="sppref">230</span>
- Hebrew, large and small</p></li>
- <li><p class="phangd"><span class="sppref">250</span>
- Hebrew, large and small</p></li>
- <li><p class="phangd"><span class="sppref">228</span>
- Music</p></li>
- <li><p class="phangd"><span class="sppref">70</span>
- Music</p></li>
- <li><p class="phangd"><span class="sppref">89</span>
- Runic, Dutch, Saxon, Gothic and Greek</p></li>
- <li><p class="phangd"><span class="sppref">30</span>
- Samaritan</p></li>
- <li><p class="phangd"><span class="sppref">20</span>
- Saxon, Small Pica, Long Primer, Pica</p></li>
- <li><p class="phangd"><span class="sppref">110</span>
- Slavonic</p></li>
- <li><p class="phangd"><span class="sppref">120</span>
- Syriac, English</p></li>
- <li><p class="phangd"><span class="sppref">5</span>
- Syriac, vowels</p></li>
- <li><p class="phangd"><span class="sppref">47</span>
- Turkish, Persian, Malayan</p></li>
- <li><p class="phangd"><span class="sppref">10</span>
- Welch</p></li>
-</ul></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<p>Of the printing utensils, the following items will give
-an idea of the extent of the press at that date:― <span
-class="xxpn" id="p162">{162}</span></p>
-
-<div class="padtopc"><span class="smcap">C<b>ASES (FILLED WITH</b>
-T<b>YPE)</b>.</span></div>
-<div class="nowrap">
-<ul class="fsz6">
- <li><p class="phangd"><span class="sppref">267</span>
- Common cases</p></li>
- <li><p class="phangd"><span class="sppref">44</span>
- Single cases and boxes</p></li>
- <li><p class="phangd"><span class="sppref">26</span>
- Fount cases</p></li>
- <li><p class="phangd"><span class="sppref">34</span>
- Long Greek cases</p></li>
- <li><p class="phangd"><span class="sppref">30</span>
- Frames</p></li>
- <li><p class="phangd"><span class="sppref">129</span>
- Chases</p></li>
- <li><p class="phangd"><span class="sppref">37</span>
- Letter boards</p></li>
- <li><p class="phangd"><span class="sppref">5</span>
- Presses</p></li>
- <li><p class="phangd"><span class="sppref">1</span>
- Proof press</p></li>
-</ul></div><!--nowrap--></div><!--dkeeptogether-->
-
-<p>Of the presses, one is described as “mahogany, set up in the year 1793,” and
-another as “on the new constitution which works with a lever, set up in 1793.”</p>
-
-<p>We have now brought our account of letter-founding at Oxford to the close
-of the last century. Its later history is of comparatively slight interest. The
-foundry still remains a part of the Press, and the reputation of the University for
-its oriental and learned founts has been maintained by numerous additions to its
-punches and matrices. Of such matters, however, in the absence of periodical
-general specimens, it is impossible to give particulars. The list of matrices given
-by Hansard in 1825 is entirely misleading, as he merely summarises the list
-taken by Mores from the <i>Specimen</i> of 1768–70.</p>
-
-<p>We may, however, observe that at the present moment, under able management,
-the foundry is in active operation, and that the University Press possesses
-probably the largest collection of “Polyglot” matrices of any foundry in the
-kingdom.</p>
-
-<p>The famous gifts of Fell and Junius are now relegated to the relics of this
-venerable yet still flourishing foundry, where, in company with Baskerville’s Greek,
-Walpergen’s music and Miss Elstob’s Anglo-Saxon, they rest from their labours,
-and remain to this day the most interesting monuments our country possesses of
-the art and mystery of its early letter-founders.</p>
-
-<hr class="hrblnk" />
-
-<p>Appended is a list of the various specimens issued by the Oxford press from
-1693 to 1794.―</p>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1693. A specimen of the Several sorts of Letter given to the University by Dr. John Fell,
- late Lord Bishop of Oxford. To which is added, the Letter given by Mr. F. Junius. Oxford,
- printed at the Theater, <span class="smmaj">A.D.</span> 1693. 8vo.
- <span class="spcitr">(Bodl. C., i, 24, Art.)</span></p></li>
-
- <li class="lispecimen"><p>1695. A specimen of the Several sorts of Letter given to the University by Dr. John Fell,
-sometime Lord Bishop of Oxford. To which is added the Letter given by Mr. F. Junius. Oxford,
-Printed at the Theater, <span class="smmaj">A.D.</span> 1695. 8vo.
-<span class="spcitr">(Bodl. Gough, Ox., 142; B. M. Harl. MS. 1529.)</span></p></li>
-
- <li class="lispecimen"><p>1706. A specimen of the Several sorts of Letters
-given to the University by Dr. John Fell, sometime Lord
-Bishop of Oxford. To which is added the Letter given by
-Mr. F. Junius, Oxford, Printed at the Theater, <span
-class="smmaj">A.D.</span> 1706, 8vo.
-<span class="spcitr">(Bodl. Gough, Ox., 142.)</span></p></li>
-
- <li class="lispecimen"><p>No date. A specimen of the Several Sorts of Letters
-in the University Printing House. Oxford. Broadside.
-<span class="spcitr">(Bodl. C., i, 24, Art.)</span></p></li>
-
- <li class="lispecimen"><p>No date. Characteres Anglo-Saxonici per eruditam
-fœminam Eliz. Elstob ad fidem codd. <span class="xxpn"
-id="p163">{163}</span> mss. delineati, quorum tam
-instrumentis cusoriis quam matricibus Univ. donari curavit
-E. R. M. e. collegio Regin. <span class="smmaj">A.M.</span>
-1753. 8vo leaf.
-<span class="spcitr">(W. B.)</span></p></li>
-
- <li class="lispecimen"><p>1768–70. A specimen of the Several sorts of Printing
-Types belonging to the University of Oxford at the
-Clarendon Printing House, 1768 (together with New Letters
-purchased in the years 1768, 1769, 1770). Clarendon Press,
-Sept. 29, 1770. 8vo.
-<span class="spcitr">(Univ. Pr.)</span></p></li>
-
- <li class="lispecimen"><p>1786. A specimen of the Several sorts of Printing Types
-belonging to the University of Oxford at the Clarendon
-Printing House, 1786. 8vo.
-<span class="spcitr">(Univ. Pr.)</span></p></li>
-
- <li class="lispecimen"><p>1794. A specimen of the Several Sorts of Printing Types
-belonging to the University of Oxford, at the Clarendon
-Printing House, 1794. 8vo.
-<span class="spcitr">(W. B.)</span></p>
-
-<div class="dctr09"><img src="images/i163.png" width="600"
- height="254" alt="" /></div></li></ul>
-
-<div class="chapter"><div class="dctr01" id="p164">
-<img src="images/i164a.png" width="600" height="144" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER VII. THE STAR CHAMBER
- FOUNDERS, AND THE LONDON POLYGLOT.">
- <span class="hblk fsz6">CHAPTER VII.</span>
- <span class="hblk"><img class="ihrch" src="images/i164b.png"
- width="284" height="37" alt="" /></span>
- THE STAR CHAMBER FOUNDERS, AND THE LONDON POLYGLOT.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i164c.png"
-width="312" height="317" alt="P" />
-</span>RIOR to 1637, letter-founding is not specifically mentioned
-as a distinct industry in any of the Public
-Documents. We are not on that account however, (as
-we have endeavoured to point out), to assume either that
-the restrictive provisions of previous enactments which
-regulated printing did not apply to letter-founding, or
-that, as a trade, it had no separate existence before
-that date. The divorce of letter-founding from printing
-was in all probability a long and gradual process; and although it would be
-difficult to fix any precise date to the completion of that process, we may yet
-infer from the fact that the Decree of 1586 (which includes by name almost
-every other branch of industry connected with printing) makes no mention of
-letter-founding, while the Decree of 1637 particularly names it, that between
-these two dates printers ceased generally to be their own letter-founders.</p>
-
-<p>As we have elsewhere noticed, the Stationers’ Company as early as 1597
-took cognisance of letter-founding as a distinct trade, when it called upon
-Benjamin Sympson to enter into a bond of £40 not to cast any letters or
-characters, or to deliver them, without previous notice to the master and
-wardens. And that there was a certain body of men known in the trade as
-“founders” owning the authority of the Stationers’ Company in
-1622, is evident <span class="xxpn" id="p165">{165}</span>
-from the fact that in that year the Court called upon “the founders” to give
-bond to the Company not to deliver any fount of new letters without notice.</p>
-
-<p>It would be erroneous, therefore, to imagine that the Star Chamber Decree of
-1637 in any sense created letter-founding as a distinct trade. Its purpose, as in
-the case of printing, was to restrict the number of those engaged in it, which had
-probably grown excessive under the milder regime of the Decree of 1586.</p>
-
-<p>In the curious little tract, to which allusion has already been made, entitled
-<i>The London Printer, his Lamentation</i>,<a class="afnanch" href="#fn297" id="fnanch297">297</a>
-the author, writing in 1660, after highly
-commending the Decree of Elizabeth (23 June, 1586), limiting the number of
-printers, says that about 1637, notwithstanding the above Decree, “printing and
-printers were grown to monstrous excess and exorbitant riot,” and that the law
-was infringed at all points. In this “monstrous excess and exorbitant riot,”
-it is highly probable that the letter-founders of the day figured. And it seems
-equally probable that John Grismand, Thomas Wright, Arthur Nicholls (or
-Nichols<a class="afnanch" href="#fn298" id="fnanch298">298</a>) and Alexander Fifield, who were appointed by the Decree of 1637 as
-the four authorised founders, had already been founding types for several years,
-with or without the sanction of the authorities.</p>
-
-<p>In the Registers of the Stationers’ Company, the names both of John
-Grismand and Thomas Wright occur as publishers of certain works, the former
-in 1635, the latter in 1638; from which it would appear that both before and
-after 1637 they may have combined the trade of bookseller and printer with that
-of letter-founder.<a class="afnanch" href="#fn299" id="fnanch299">299</a></p>
-
-<p>And in another curious document, preserved among the Bagford collections,
-and entitled <i>The Brotherly Meeting of the Masters and Workmen
-Printers, began November 5, 1621; the first Sermon being
-on November 5, 1628</i>, <span class="xxpn" id="p166">{166}</span>
-<i>and hath been continued by the Stewards, whose names follow in this Catalogue to
-this present third of May 1681</i>,<a class="afnanch" href="#fn300" id="fnanch300">300</a>
-the names of Thomas Wright, Arthur Nichols,
-and Alexander Fifield all appear as having served their Stewardship, although
-unfortunately the list does not assign dates to the respective terms of service.<a class="afnanch" href="#fn301" id="fnanch301">301</a></p>
-
-<p>In the lists of the Stationers’ Company, however, we find that the four founders
-took up their freedom in the following order: John Grisman (<i>sic</i>), December 2,
-1616; Thomas Wright, May 7, 1627; Arthur Nicholls, December 3, 1632; and
-Alexander Fifield, July 20, 1635.<a class="afnanch" href="#fn302" id="fnanch302">302</a></p>
-
-<p>Respecting Wright and Fifield, after their nomination as Star Chamber
-founders history records nothing. It is probable that they continued to combine
-the callings of printer and founder, as John Grismand certainly appears to
-have done, for we find him named in a State Paper in 1649 as having on the
-19th October of that year entered into a bond of £300, and given two
-sureties, not to print any seditious work.<a class="afnanch" href="#fn303" id="fnanch303">303</a></p>
-
-<p>Of Arthur Nicholls there remains a record of a more ample and satisfactory
-nature, which we are glad to lay before the reader (as we believe) for the first
-time, being undoubtedly one of the most valuable and interesting memorials of
-early English letter-founding which we possess.</p>
-
-<p>It appears that Nicholls, at the time of his nomination as Star Chamber
-founder in 1637, was also a candidate for the vacant place of printer at Oxford,
-at that time at the disposal of Archbishop Laud, who,
-as we have seen in the <span class="xxpn" id="p167">{167}</span>
-preceding chapter, had been reserving it for a printer well versed in the Greek
-language. Nicholls, being unsuccessful in this matter, and driven by his straitened
-circumstances to seek some addition to his slender pittance as letter-founder
-thereupon made application to Laud to be admitted as a licensed master-printer
-in London, that so he might make use of his own type. His letter and the
-“Cause of Complaint” annexed are preserved among the State Papers,<a class="afnanch" href="#fn304" id="fnanch304">304</a>
-and are
-so important that we make no apology for quoting them <i>in extenso</i>:</p>
-
-<blockquote class="din2">
-
-<p class="phangc">“<i>To the Right Rev­er­end Fath­er in
-God</i>, <span class="fsz6">WIL­LIAM, LORD ARCH­BISH­OP OF
-CAN­TER­BURY</span>, <i>his Grace, Pri­mate and Me­tro­pol­i­tane of
-all Eng­land</i>.</p>
-
-<p>“The humble peticion of Arthur Nicholls. Showeth unto
-your grace:</p>
-
-<p>“That the said peticioner hath spent much tyme and paines in cuttinge and
-foundinge of letters for divers of the printers in London, and at this tyme hath greate
-store of letters ready cast lying upon his hands, they refusing to take them from him
-att any rate.</p>
-
-<p>“Besides this his imployment of founding letters is of soe small gaine that alone it
-will not mainteyne him and his familie but that of necessitie hee must betake himself
-to some other course whereby to be freed from extreame povertie, and utterly to
-quitt himself of that, unless your Grace be pleased out of your wonted goodness to
-comiserate his case.</p>
-
-<p>“May it therefore please your Grace, since you have otherwise determined to
-dispose of the printers place att Oxford, to give him leave, for the better encouragement
-of that course wherein he hath so long exercised himself, to bee a printer here
-in London, That soe he may make use of his owne letters for the elegant performance
-whereof hee doth promise to use his best care and industry And ever to pray for your
-Grace’s honour and happinesse.”</p></blockquote>
-
-<p>The “Cause of Complaint” gives a lively picture of the tribulations of
-letter-founders at that time:</p>
-
-<blockquote class="din2">
-
-<p>“<i>The Cause of Complaint of</i> <span class="fsz6">ARTHUR
-NICHOLLS”</span> (endorsed “<i>Mr. Nicholls his reasons to
-be made printer</i>.”)</p>
-
-<p>“The Complainant being the cutter and founder of Letters for Printers is 3
-quarter of a yeares time cuttinge the Punches and Matrices belonginge to the castinge
-of one sorte of letters, which are some 200 of a sorte, after which they are 6 weekes
-a castinge, that done some 2 monthes tyme is required for triall of every sorte,
-and then the Printers pay him what they themselves list; thus he is necessitated to
-lay out much money and forebeare a long tyme to little or noe benefitt.</p>
-
-<p>“Likewise for the Greeke the Printers came unto him promisinge him the doinge
-of all the common worke, which drewe him to doe 400 Mattrices and Punches for 80 <i>l.</i>
-which weare truly worth 150 <i>l.</i>:</p>
-
-<p>“Further they caused him to spend 5 weekes tyme in cutting the letters for
-the small Bible, it beinge finished was approved for the best in England, notwithstandinge
-they put him off aboute it from tyme to tyme for 15 weekes till (as they
-pretended) Mr. Patricke Yonge came out of the contry. <span class="xxpn" id="p168">{168}</span></p>
-
-<p>“All which tyme he kept his servants standinge still, in regard whereof he refused
-to doe it, except he might doe the common worke likewise, when for feare of the
-displeasure of my lord his Grace, they came to him agayne but told him that if they
-should lett him have worke enough, he would growe to ritch.</p>
-
-<p>“Albeit, of soe small benifitt hath his Art bine, that for 4 yeares worke and
-practice he hath not taken above 48 <i>l.</i>, and had it not bine for other imploymente
-he might have perrisht.</p>
-
-<p>“He seeinge himself soe slightly regarded by them, was the rather annimated to
-sell off the proffitablest of his worke thinking to take some other businesse in hand,
-whereby to free himselfe from want, being not able to subsist by workinge only for 2
-or 3.</p>
-
-<p>“Notwithstandinge his longe tyme spent in that Art, wherein he hath brought up
-his sonne to bee soe expert and able that if it please God to call him, the other
-is able exactly to performe anythinge touchinge the same.</p>
-
-<p>“Wherefore he requesteth my lorde Grace not to confine him to these miserable
-uncertainties, but promiseth if he will bee pleased to grant his peticion, he shall see
-more done in one yeare than was ever done in England for all kindes of languages
-which he is assured will bee for the good of the commonwealth in general and his
-Graces particular content.”</p></blockquote>
-
-<p>Whether Nicholls’ application was successful or otherwise, is not known.
-In the disastrous times which immediately followed the four Star Chamber
-founders are lost sight of. It is scarcely likely, judging from the dismal account
-given above of the trade in times of peace, that they were able, any of them, to
-keep a business together in times of civil war. Nor is there any certainty that
-when, in 1649, the Commonwealth re-enacted the main provisions of the Star
-Chamber Decree, that the four founders then appointed were the same who had
-been licensed in 1637. Mores, however, leads us to suppose that they were, and
-for the purpose of enumerating the Oriental and learned matrices which about
-the year 1657 were in use in the country, treats their four foundries as one.
-There is, however, no reason for supposing that they worked in partnership, or
-that their business was in any way connected. But in one great undertaking
-they were associated; and the London <i>Polyglot</i> of 1657 has generally been
-regarded as the product of the types of some, if not all, of their number.</p>
-
-<p>“By these or some of them,” observes Mores, “we may suppose to have
-been cut the letter used in <i>The English Polyglott</i>: but as we cannot assign to any
-of them their particular performances we shall till we are better able to ascertain
-them, call their labours by the name of the <span class="smcap">P<b>OLYGLOTT</b></span>
-<span class="smcap">F<b>OUNDERY</b>,</span> which, as
-nearly as that work and the <i>Heptaglott</i> which accompanies it instructs us, is
-described at the bottom of the page.<a class="afnanch" href="#fn305" id="fnanch305">305</a>
-But it is not to be doubted, considering
-the elegance and simplicity of the assortment which we see,
-that the foundery <span class="xxpn" id="p169">{169}</span>
-was as completely furnished with that which we see not, and which, for that
-reason we cannot mention.”<a class="afnanch" href="#fn306" id="fnanch306">306</a></p>
-
-<hr class="hrblnk" />
-
-<p>The <i>London Polyglot</i> ranks deservedly as one of the most conspicuous landmarks
-of English typography. Great works had gone before it, and greater
-followed. But in few of these has the learning of the scholar, the enterprise of
-the publisher, the industry of the editor, the ability of the printer, and the skill
-of the letter-founder been combined to so extraordinary a degree as in the production
-of this <i>magnum opus</i> of the Commonwealth press.</p>
-
-<p>A brief sketch of the typographical history of this famous work may be
-interesting, and not out of place here.</p>
-
-<p>The <i>London Polyglot</i> was the fourth great Bible of the kind which had
-been given to the world.<a class="afnanch" href="#fn307" id="fnanch307">307</a></p>
-
-<p>In 1517<a class="afnanch" href="#fn308" id="fnanch308">308</a> the <i>Complutensian Polyglot</i>
-had been printed at Alcala, at the charges
-of Cardinal Ximenes, in six volumes, containing the Sacred Text, in Hebrew,
-Latin, Greek and Chaldean, including an “Apparatus” consisting of a Hebrew
-and Chaldee Lexicon, etc. This work will always be famous, if for no other
-reason, for the grand, bold Greek type in which the Septuagint and New
-Testament are printed.</p>
-
-<p>In 1572 the <i>Antwerp Polyglot</i> of Arias Montanus was printed, in eight
-magnificent volumes, by Christopher Plantin. It comprises the whole of the
-Complutensian texts, with the addition of the Syriac, and an Apparatus containing
-Lexicons and Grammars of Hebrew, Chaldee, Syriac and Greek.</p>
-
-<p>In 1645 the <i>Paris Polyglot</i>, edited by Le Jay and others, was published in
-ten sumptuous volumes. It comprises the whole of the texts of the <i>Antwerp
-Polyglot</i>, with the addition of Arabic and Samaritan. Owing to the abrupt
-completion of this work, no Apparatus was included of any description. This
-work was seventeen years in the press.</p>
-
-<p>The <i>London Polyglot</i>, as we shall observe, added to the languages used in
-the <i>Paris Polyglot</i>, the Persian and Ethiopic, with an Appendix containing
-additional Targums, also a complete “Apparatus” and Prolegomena, with alphabetical
-tables of the various languages employed, and others besides. <span class="xxpn" id="p170">{170}</span></p>
-
-<div class="section">
-<p>The following table will show clearly the gradual
-advances made by the four great <i>Polyglots</i> in respect of
-the versions they comprise<a class="afnanch" href="#fn309"
-id="fnanch309">309</a>:―</p>
-
-<div class="dtablebox">
-<table class="fsz7 borall" summary="">
-<tr>
- <th class="borall"></th>
- <th class="borall"><span class="fsz6">COMPLUTUM</span>, 1520.</th>
- <th class="borall"><span class="fsz6">ANTWERP</span>, 1572.</th>
- <th class="borall"><span class="fsz6">PARIS</span>, 1645.</th>
- <th class="borall"><span class="fsz6">LONDON</span>, 1657.</th></tr>
-<tr>
- <td class="tdright">1</td>
- <td class="tdleft phangb">Old Test., <i>Heb.</i></td>
- <td class="tdleft phangb">Old Test., <i>Heb.</i></td>
- <td class="tdleft phangb">Old Test., <i>Heb.</i></td>
- <td class="tdleft phangb">Old Test., <i>Heb.</i></td></tr>
-<tr>
- <td class="tdright">2</td>
- <td class="tdleft phangb">Vulgate, <i>Lat.</i></td>
- <td class="tdleft phangb">Vulgate, <i>Lat.</i></td>
- <td class="tdleft phangb">Vulgate, <i>Lat.</i></td>
- <td class="tdleft phangb">Vulgate, <i>Lat.</i></td></tr>
-<tr>
- <td class="tdright">3</td>
- <td class="tdleft phangb">Septuagint, <i>Gr. Lat.</i></td>
- <td class="tdleft phangb">Septuag. <i>Gr. Lat.</i></td>
- <td class="tdleft phangb">Septuag., <i>Gr. Lat.</i></td>
- <td class="tdleft phangb">Septuag., <i>Gr. Lat.</i></td></tr>
-<tr>
- <td class="tdright">4</td>
- <td class="tdleft phangb">Pentat., <i>Chal. Lat.</i></td>
- <td class="tdleft phangb">Old Test., <i>Chal. Lat.</i></td>
- <td class="tdleft phangb">Old Test., <i>Chal. Lat.</i></td>
- <td class="tdleft phangb">Old Test., <i>Chal. Lat.</i></td></tr>
-<tr>
- <td class="tdright">5</td>
- <td class="tdleft phangb">New Test., <i>Gr. Lat.</i></td>
- <td class="tdleft phangb">New Test., <i>Gr. Lat.</i></td>
- <td class="tdleft phangb">New Test., <i>Gr. Lat.</i></td>
- <td class="tdleft phangb">New Test., <i>Gr. Lat.</i></td></tr>
-<tr>
- <td class="tdright">6</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb">New Test., <i>Syriac, Heb. Lat.</i></td>
- <td class="tdleft phangb bortrl">New Test., <i>Syriac, Heb. Lat.</i></td>
- <td class="tdleft phangb bortrl">New Test., <i>Syriac</i></td></tr>
-<tr>
- <td class="tdright">7</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb borrbl">Old Test., <i>Syriac Lat.</i></td>
- <td class="tdleft phangb borrbl">Old Test., <i>Syriac</i></td></tr>
-<tr>
- <td class="tdright">8</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb">Bible, <i>Arab. Lat.</i></td>
- <td class="tdleft phangb">Bible, <i>Arab.</i></td></tr>
-<tr>
- <td class="tdright">9</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb">Pentat., <i>Samar. Lat.</i></td>
- <td class="tdleft phangb">Pentat., <i>Samar.</i></td></tr>
-<tr>
- <td class="tdright">10</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb">Pentat. Gospels, <i>Per. Lat.</i></td></tr>
-<tr>
- <td class="tdright">11</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb">Ps., Cant. New Test., <i>Eth. Lat.</i></td></tr>
-<tr>
- <td class="tdright">12</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb">Add. Targums</td></tr>
-<tr>
- <td class="tdright">13</td>
- <td class="tdleft phangb">Apparatus</td>
- <td class="tdleft phangb">Apparatus</td>
- <td class="tdcenter">.....</td>
- <td class="tdleft phangb">Apparatus, Proleg., etc.</td></tr>
-</table></div><!--dtablebox--></div><!--section-->
-
-<p>The first announcement of the <i>London Polyglot</i> was made in 1652, when
-Dr. Walton published <i>A Brief Description of an Edition of the Bible
-in the Original Hebrew, Samaritan, and Greek, with the most ancient
-Translations of the Jewish and Christian Churches, viz. the Sept.
-Greek, Chaldee, Syriac, Ethiopic, Arabic, Persian, etc., and the Latin
-versions of them all; a new Apparatus, etc.</i><a class="afnanch" href="#fn310" id="fnanch310">310</a>
-<span class="xxpn" id="p171">{171}</span>
-This Description, which set forth the various improvements in the proposed
-<i>Polyglot</i> on its predecessors, was accompanied by a specimen-sheet<a class="afnanch" href="#fn311" id="fnanch311">311</a>
-containing
-the first twelve verses of the first chapter of Genesis in the following order: On
-one side, Hebrew with interlinear Latin translation, Latin (Vulgate), Greek
-(Septuagint) with Latin, Chaldean paraphrase with Latin, Hebrew-Samaritan,
-Samaritan. On the other side, Syriac with Latin, Arabic with Latin, Latin
-translation of the Samaritan, Persian with Latin. The imprint to this highly
-interesting specimen (a copy of which is said to be in the Library of Sydney
-College, Cambridge) was: <i>Londini, Typis Jacobi Flesher</i>; from which it appears
-that James Flesher was the first possessor of some of the types cast by the
-polyglot founders, and subsequently used by Roycroft in this great work.<a class="afnanch" href="#fn312" id="fnanch312">312</a></p>
-
-<p>Flesher’s <i>Specimen</i>, which we have unfortunately not been able to discover,
-met with many critics. Amongst others was Dr. Boate, the Dutch scholar (who
-had already found fault with the Hebrew character used in the Paris <i>Polyglot</i>,
-which he described as “a very scurvy one, and such as will greatly disgrace the
-work”), was very disparaging to the new undertaking. It was probably in
-deference to this critic that Dr. Walton added the following MS. note to the
-copy of the specimen now at Sydney College, Cambridge: “Typos Hebr. et Syr.
-cum punctis meliores, parabimus, etc.”</p>
-
-<p>The time occupied in securing the co-operation and assistance of the learned
-men of the day, in getting subscribers,<a class="afnanch" href="#fn313" id="fnanch313">313</a>
-in arranging
-copy, and finally in <span class="xxpn" id="p172">{172}</span>
-providing the necessary types, delayed the commencement of the undertaking till
-September 1653. Writing to Usher on July the 18th of that year, Dr. Walton
-thus notes the near completion of the preliminary arrangements: “I hope we
-shall shortly begin the work; yet I doubt the <i>founders</i> will make us stay a week
-longer than we expected. .&#160;.&#160;. We have resolved to have a better paper than
-that of 11<i>s.</i> a ream, viz., of 15<i>s.</i> a ream.”<a class="afnanch" href="#fn314" id="fnanch314">314</a></p>
-
-<p>Towards the end of September 1653, the impression of the first volume was
-begun at the press of Thomas Roycroft, in Bartholomew Close, whose name will
-always be honourably associated with this famous work.</p>
-
-<p>Very little is known of the actual manual labour employed in the production,
-beyond the fact that two presses only were said to have been kept at
-work, and that the types were supplied by more than one of the four authorised
-founders.</p>
-
-<p>Chevillier<a class="afnanch" href="#fn315" id="fnanch315">315</a>
-speaks somewhat contemptuously of the typographical execution
-(fabrique de l’Imprimerie) of the London as compared with that of the Paris
-<i>Polyglot</i>. And if, as Le Long points out, “he means by that term the beauty of
-the paper and the magnificence of the types, it must be admitted that the Paris
-edition is superior; but if he means the arrangement of the texts and versions,
-and the general disposition of the entire work, then it is much inferior; for
-Walton has mapped out his work so precisely that at a single opening of the
-book you see the texts and versions all at a glance; thus giving a great facility
-for comparison, wherein the chief usefulness of compilations of this sort
-consist.”<a class="afnanch" href="#fn316" id="fnanch316">316</a></p>
-
-<p>Not the least noticeable feature about the work is the fact that from the
-time of its first going to press to its completion, the printing barely occupied
-four years. The first volume was completed at the beginning of September
-1654. A month later, from the same press was published Dr. Walton’s <i>Introductio
-ad Lectionem Linguarum Orientalium</i> for the use of subscribers.<a class="afnanch" href="#fn317" id="fnanch317">317</a>
-In
-1655 the second volume of the Bible was finished;
-in 1656 the third, and about <span class="xxpn" id="p173">{173}</span>
-the close of 1657 the remaining three.<a class="afnanch" href="#fn318" id="fnanch318">318</a> “And thus,” says a contemporary,<a class="afnanch" href="#fn319" id="fnanch319">319</a>
-“in
-about four years was finished the English Polyglot Bible,<a class="afnanch" href="#fn320" id="fnanch320">320</a>
-the glory of that age,
-and of the English Church and Nation; a work vastly exceeding all former
-attempts of the kind, and that came so near perfection as to discourage all future
-ones.”</p>
-
-<p>Apart altogether from the literary and scholastic value of the Bible, the
-amount of labour and industry represented in its mere typographical execution
-is astonishing. Each double page presents, when open, some ten or more versions
-of the same passage divided into parallel columns of varying width, but so set
-that each comprehends exactly the same amount of text as the other. The
-regularity displayed in the general arrangement, in the references and interpolations,
-in the interlineations, and all the details of the composition and
-impression, are worthy of the undertaking and a lasting glory to the typography
-of the seventeenth century.<a class="afnanch" href="#fn321" id="fnanch321">321</a></p>
-
-<div class="dkeeptogether">
-<p>With regard to the types, which concern us most, the following is the list of
-the characters employed, as extracted by Rowe Mores:―</p>
-
-<ul class="dmgnfndry fsz6">
- <li class="padtopc"><span class="fsz6">ORIENTALS.</span>―
-<ul class="ulina">
- <li class="lijust"><i>Hebrew</i>: Two-line English, Double Pica, English.</li>
- <li class="lijust"><i>Samaritan</i> (with the English face): English.*</li>
- <li class="lijust"><i>Syriac</i>: Double Pica, Great Primer.*</li>
- <li class="lijust"><i>Arabic</i>: Double Pica, Great Primer.</li></ul></li>
-
- <li class="padtopc"><span class="fsz6">MERIDIONAL.</span>―
-<ul class="ulina">
- <li class="lijust"><i>Ethiopic</i>: English or Pica.*</li></ul></li>
-
- <li class="padtopc"><span class="fsz6">OCCIDENTALS.</span>―
-<ul class="ulina">
- <li class="lijust"><i>Greek</i>: Great Primer and Small Pica.</li>
- <li class="lijust"><i>Roman and Italic</i>: Two-line English, Double
- Pica [Day’s],<a class="afnanch" href="#fn322"
- id="fnanch322">322</a> Great Primer, English, Pica, Long
- Primer, Brevier, five-line Pica, two-line Great Primer,
- Small Pica.</li></ul></li>
-
- <li class="padtopc"><span class="fsz6">SEPTENTRIONAL.</span>―
-<ul class="ulina">
- <li class="lijust"><i>English</i> (Black): Pica.</li></ul></li></ul>
-
-<hr class="hr24" />
-
-<p class="din2 fsz7 plh11">* Of the founts marked thus (*) in the
- present and following summarised lists of the contents
- of the English foundries, the matrices or punches,
- and in some cases both matrices and punches, still
- exist.</p></div>
-
-<div><span class="xxpn" id="p174">{174}</span></div>
-
-<div class="dkeeptogether">
-<div class="dctr04" id="fg40">
-<img src="images/i174a.png" width="600" height="168" alt="" />
-<div class="dcaption">
- 40. <span class="smcap">E<b>THIOPIC.</b></span> From the
- original matrices.</div></div>
-
-<div class="dctr04" id="fg41">
-<img src="images/i174b.png" width="600" height="133" alt="" />
-<div class="dcaption">
- 41. <span class="smcap">S<b>YRIAC.</b></span> From the
- original matrices.</div></div>
-
-<div class="dctr04" id="fg42">
-<img src="images/i174c.png" width="600" height="111" alt="" />
-<div class="dcaption">
- 42. <span class="smcap">S<b>AMARITAN.</b></span> From the
- original matrices.</div></div></div>
-
-<p>The matrices of three of these founts, the Samaritan,
-the Ethiopic, and the Syriac, have survived to the present
-day, and in the course of this work we shall have occasion
-to trace their descent from the original makers to the
-present owners. Meanwhile, it is with great sa­tis­fac­tion
-that we are able here to show a specimen of types actually
-cast from these venerable relics as they now exist.<a
-class="afnanch" href="#fn323" id="fnanch323">323</a> Of the
-Arabic fount, some of the punches and matrices also exist,
-but in too incomplete and dilapidated a state to allow of
-their being used.</p>
-
-<p>Of the Orientals, the Hebrew is, perhaps, the least
-good. The Syriac and Arabic are fine bold characters.
-The Greek is neat, though somewhat in­sig­ni­fi­cant.
-The Eth­i­o­pic<a class="afnanch" href="#fn324"
-id="fnanch324">324</a> and Sa­mar­i­tan<a class="afnanch"
-href="#fn325" id="fnanch325">325</a> are both good and
-elegant faces. The Italic is particularly neat. As might
-be expected from founts procured from various foundries
-in that day, there is a certain absence of uniformity in
-the <span class="xxpn" id="p175">{175}</span> bodies on
-which the different founts are cast. This only makes the
-more remarkable the accuracy and precision with which
-the columns are arranged. In most copies the columns are
-divided by red lines, ruled by hand—in itself an enormous
-task.</p>
-
-<div class="dkeeptogether">
-<p>Nine languages are used in the <i>Polyglot</i>, but no
-single book is printed in so many. The following is the
-arrangement of texts according to volumes:</p>
-
-<ul class="ulina fsz6">
- <li>VOL. 1.—
-<ul class="ulina">
- <li><i>Prolegomena.</i></li>
- <li><i>Pentateuch.</i> Hebrew, Greek, Latin, Syriac, Arabic and
- Samaritan.</li></ul></li>
-
- <li>VOL. 2.—
-<ul class="ulina">
- <li><i>Joshua to Esther.</i> Hebrew, Greek, Latin, Syriac and
- Arabic.</li></ul></li>
-
- <li>VOL. 3.—
-<ul class="ulina">
- <li><i>Job to Malachi.</i> Hebrew, Greek, Latin, Syriac,
- Arabic, and <i>Psalms</i> also in Ethiopic.</li></ul></li>
-
- <li>VOL. 4.—
-<ul class="ulina">
- <li><i>Apocrypha.</i> Greek, Latin, Syriac, Arabic (some of
- the books, however, have not the Arabic. <i>Tobit</i> is in a
- two-fold Hebrew). An appendix to this volume contains two
- Chaldee Targums and a Persic <i>Pentateuch</i>.</li></ul></li>
-
- <li>VOL. 5.—
-<ul class="ulina">
- <li><i>New Testament</i>, <i>Gospels</i> in Greek, Latin, Syriac,
- Arabic, Ethiopic and Persian; other books, Greek, Latin,
- Syriac, Arabic and Ethiopic.</li></ul></li>
-
- <li>VOL. 6.—
-<ul class="ulina">
- <li><i>Various readings.</i></li></ul></li>
-</ul></div><!--dkeeptogether-->
-
-<p>It will thus be seen that the Greek, Latin, Syriac and Arabic texts run
-throughout the work. The Chaldean text and Targums are all given in
-Hebrew type. The Hebrew text is printed throughout masoretically.</p>
-
-<p>In addition to the above fundamental characters used, the Prolegomena
-show the following Alphabets cut in wood, viz.:—Rabbinical Hebrew, Syriac
-duplices, Nestorian and Estrangelan, Armenian, Coptic, Illyrian, both Cyrillian
-and Hieronymian, Iberian, Gothic, Chinese, and the character of the Codex
-Alexandrinus. These are, for the most part, rudely cut, and valuable only as
-curiosities.</p>
-
-<p>From our point of view, the chief glory of the English <i>Polyglot</i> is that it is
-wholly the impression of English type. It marks an epoch in the history of our
-national letter-founding, as, before it appeared, no work of importance had
-been printed in any of the learned characters except Latin and Greek. The
-Hebrew, Samaritan, Syriac, Arabic and Ethiopic were probably cut expressly
-for the work, under the supervision of its learned editors, and became thus the
-models or prototypes of the numerous Oriental founts which during the
-eighteenth century figured so largely in the works of English scholarship.</p>
-
-<p>The original preface to the <i>Polyglot</i> contained an honourable reference to
-Cromwell, who had, from the first, encouraged the undertaking and materially
-assisted it by remitting the tax on the paper imported from abroad for the use
-of the work. But the Protector’s death took place in the year after the publication;
-and the Restoration, which followed two years later, was made the occasion
-for a somewhat ignoble act of time-service on the part of
-Walton, who cancelled <span class="xxpn" id="p176">{176}</span>
-the last three leaves of the preface, and added a Dedication to Charles II, in
-which, among other attacks on the memory of his former patron, he referred to
-Cromwell as “Draco ille magnus.”<a class="afnanch" href="#fn326" id="fnanch326">326</a>
-The particular typographical interest of this
-Royal Dedication is that it is printed in the handsome Double Pica Roman and
-Italic used by Day in the <i>Ælfredi</i> of 1574, and subsequently by Barker and
-Lucas in Young’s <i>Catena on Job</i>, in 1637, and in other works. The somewhat
-worn condition of the types leads Dibdin to condemn the founts as inferior<a class="afnanch" href="#fn327" id="fnanch327">327</a>;
-but in point of elegance and grandeur this venerable letter remained still one of
-the best of which our national typography could boast.</p>
-
-<p>In recognition of his services, Charles made Walton his chaplain-in-ordinary,
-and created him subsequently Bishop of Chester. Nor was he the only worker
-to whom the completion of this great enterprise brought honour. Roycroft,
-after what may be considered a feat of rapid and skilful typography, was permitted
-to take the title <i>Orientalium Typographus Regius</i>.<a class="afnanch" href="#fn328" id="fnanch328">328</a></p>
-
-<p>The value of the English <i>Polyglot</i> was vastly enhanced by the addition to
-it of Dr. Edmund Castell’s Heptaglot <i>Lexicon</i>,<a class="afnanch" href="#fn329" id="fnanch329">329</a>
-which, after seventeen years of
-incessant labour, commencing with the first announcement of the Polyglot, was
-printed, at Roycroft’s press, in 1669, in two volumes, uniform in size and style
-with the <i>Bible</i>, of which henceforth it formed a necessary complement.</p>
-
-<p>Respecting this famous work, there is little to add from a typographical
-point of view to what has already been noted with regard
-to the <i>Polyglot</i>. The <span class="xxpn" id="p177">{177}</span>
-same types are, with few exceptions, used in both. Mores considers, but
-wrongly, that the Amharic shown in Castell’s work is metal, and the same as
-that used in the <i>Oratio Dominica</i> of 1713. This letter (which also appeared in
-the first edition of the <i>Oratio Dominica</i> in 1700) belonged to Oxford University,
-who procured it in 1692, being the Ethiopic character with additions. But the
-few letters shown in the <i>Heptaglot</i> are evidently engraved by hand, and not cast.</p>
-
-<p>It is to be regretted that Castell’s work, which has been pronounced one of
-the greatest and most perfect works of the kind ever performed by human
-industry and learning, and which represented an amount of heroic perseverance
-in the midst of adverse circumstances scarcely credible, was almost the ruin of
-its author, both in constitution and fortune. It sold slowly, and at the time of
-his death upwards of 500 copies were left on hand. The encouragement he
-received both from royal and episcopal patronage was inadequate to cover the
-losses which the undertaking had involved, and he died in comparative obscurity
-in 1685.</p>
-
-<p>Roycroft’s office appears to have suffered severely by the Fire of London
-in 1666, and a large number of copies of Castell’s <i>Lexicon</i>, then in course of
-printing, were destroyed. To the same disastrous event may also be attributed
-the disappearance of some of the founts of the <i>Polyglot</i> founders, after the completion
-of the <i>Lexicon</i>. Mores, however, succeeds in tracing the most interesting
-of these; and the fact that all the matrices did not go down to posterity as a
-single property, is additional proof that they were not all the production of one
-artist. The Arabic, larger Syriac, and Samaritan passed into the foundry of the
-Grovers, and the Ethiopic into that of Robert Andrews, who, it seems probable,
-also inherited the Hebrew and Black. The smaller Syriac came into Mr.
-Caslon’s hands.</p>
-
-<hr class="hrblnk" />
-
-<p><span class="smcap">N<b>ICHOLAS</b> N<b>ICHOLLS.</b></span>—This founder was son of Arthur Nicholls, the Star
-Chamber founder, and, as appears by the mention of him in his father’s petition
-to Archbishop Laud, already quoted, was brought up to the Art, in which, as
-early as 1637, he was “so expert and able as to be able to perform anything
-touching the same.” During the Civil Wars he appears to have suffered in the
-royal cause, and, like many others, at the Restoration to have looked for substantial
-reward at the hands of the son of the Royal Martyr.</p>
-
-<p>In 1665 he presented to the king a petition to be
-appointed His Majesty’s Letter Founder. The original
-document is in the Record Office,<a class="afnanch"
-href="#fn330" id="fnanch330">330</a> and is as follows:―
-<span class="xxpn" id="p178">{178}</span></p>
-
-<blockquote class="din2">
-
-<p>“To the <span class="smcap">K<b>INGE’S</b> M<b>OST</b> E<b>XCELLENT</b> M<b>AJESTIE</b>.</span> The humble peticion of
-Nicholas Nicholls. Most humbly sheweth</p>
-
-<p>“That the petitioner in the worst of tymes was a constant and loyall sufferer for
-the causes of your Majestie and that of your Royall ffather of glorious memory, and
-thereby reduced to greate extreamities.</p>
-
-<p>“Now soe it is, That the peticioner by Industrie hath attained to a considerable
-skill in the Art of cutting and casting all kinds of Letters and faire Characters (as by
-the annexed may appeare) And your Majestie beinge the great encourager of good
-Literature</p>
-
-<p>“Your Majestie’s peticioner most humbly prays your Grace and ffavour to serve
-in the place of Letter Founder to your Majesties Presses That soe your Majesties
-presses may be supplyed with Characters in some measure worthy of your Royall
-Greatness. And the peticioner makes no question but he shall perform that service
-(with the blessing of God) to your Majestie’s full content and satisfaction.</p>
-
-<p>“And the peticioner (as in duty bound) shall alwaies pray for your Majesties
-long and prosperous Reigne over us.”</p></blockquote>
-
-<p>Attached to the petition, in the centre of a folio sheet, is the tiny polyglot
-specimen, of which we here present our readers with an exact facsimile. English
-typography possesses few relics more interesting than this quaint little page—the
-earliest known type-founder’s specimen in the country.</p>
-
-<p>The execution, particularly of the Roman fount, is very poor, and one wonders,
-in examining it and comparing it with the recently completed <i>Polyglot</i>, at the
-artist’s claim “to considerable skill in cutting and casting of faire characters.”
-It is possible, however, that the unusual minuteness of the type may have been
-held to be a merit compensating for defects in execution. And as none of the
-founts are known to have been used in any other work of the time, it may be presumed
-the letters were cut specially for this specimen. The Roman and Greek
-founts are Pearl in body, and the Orientals Nonpareil, and display the text
-“Vivas o rex in perpetuum” in Latin, Greek, Hebrew (with points), Syriac,
-Samaritan, Ethiopic and Arabic. This loyal aspiration, effusively dedicated as
-“the prayer of the devoted heart, and the specimen of the Art of the least of the
-subjects of the greatest of the Kings,” is surrounded by a neat flower-border (also
-Nonpareil in body), and printed somewhat roughly on coarse paper. Despite its
-defects, it appears to have found favour with the august personage to whom it
-was offered, as we find, on January 29th, 1667, a minute of a “Warrant for
-swearing Nicholas Nicholls, Letter Founder to His Majesty.”<a class="afnanch" href="#fn331" id="fnanch331">331</a></p>
-
-<div class="dctr06" id="fg43">
-<img src="images/i178fp.png" width="493" height="800" alt="" />
-<div class="dcaption">
- 43. Specimen of Nicholas Nicholls, 1665. (From the original in
- the Record Office.)</div></div>
-
-<p>Of the subsequent operations of Nicholls we
-know very little.<a class="afnanch" href="#fn332"
-id="fnanch332">332</a> He probably inherited his
-father’s foundry, and cast from his matrices. The
-<span class="smcap">N<b>ICHOLS</b></span> whom <span
-class="xxpn" id="p179">{179}</span> Mores mentions as
-having founded in 1690,<a class="afnanch" href="#fn333"
-id="fnanch333">333</a> could hardly (if the date be
-correctly given) be the same man who was a practised
-letter-founder in 1637.</p>
-
-<p>To this last-named founder no doubt belongs the fount
-of Great Primer Roman and Italic acquired by the Oxford
-University Press, which had the unenviable distinction of
-being designated in their Specimen of 1695, as “cut by
-Mr. Nichols—not good.”<a class="afnanch" href="#fn334"
-id="fnanch334">334</a></p>
-
-<hr class="hrblnk" />
-
-<div class="dkeeptogether">
-<p>The following is the only specimen we have to note in this place:―</p>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>(1665).
- Specimen sheet of minute printing in several languages,
- addressed to the King by Nicholas Nicholls, Letter
- Founder. <span class="spcitr">(<i>State Papers, Domestic</i>,
- 1665, vol. 142, No. 174.)</span></p></li></ul>
-
-<div class="dctr09"><img src="images/i179.png"
- width="512" height="208" alt="" />
- </div></div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p180">
-<img src="images/i180a.png" width="600" height="150" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER VIII. JOSEPH MOXON, 1659.">
- <span class="hblk fsz6">CHAPTER VIII.</span>
- <span class="hblk"><img class="ihrch" src="images/i180b.png"
- width="275" height="38" alt="" /></span>
- JOSEPH MOXON, 1659.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i180c.png"
-width="512" height="540" alt="J" />
-</span>OSEPH MOXON, whose distinction it is to have been
-the first practical English writer on the mechanics of
-typography, was born at Wakefield, in Yorkshire, on
-August 8, 1627, and appears to have been brought up as a
-mathematical instrument maker, in which profession he
-showed himself highly proficient. In the year 1659,
-being either already settled in the metropolis, or having
-come thither for the purpose, he added to his stated
-business that of a typefounder, in which, according to Mores, he continued till
-1683.</p>
-
-<p>It is difficult to fix the precise condition of the laws relating to typefounders
-in the last year of the Commonwealth. The Ordinances of 1647 and 1649, which
-reimposed the main provisions of the Star Chamber Decree of 1637, remained
-nominally in force till the Restoration, so that we are to suppose that Moxon,
-unless he practised his art surreptitiously or <i>sub rosâ</i>, was formally installed into
-a vacancy in the body of authorised founders on execution of the usual bond to
-the Company of Stationers.</p>
-
-<div class="dctr03" id="fg44">
-<img src="images/i180fp.png" width="498" height="700" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i180fplg.png" title="display larger image">Μ</a></span>
- 44. From the <i>Tutor to Astronomy and
- Geography</i>, 4th ed., 1686.</div></div>
-
-<p>If, as seems probable, he commenced operations with little or no previous
-experience, and with no plant ready to his hand, the progress of the new foundry
-must at first have been very slow, particularly as he appears to have devoted
-much of his time to his other scientific pursuits, to which in 1665 he added that
-of hydrographer to the king. To this office a considerable salary was attached.
-In the same year, Mores informs us, he lived at the sign of the “Atlas” on
-Ludgate Hill, near Fleet Bridge, but the Fire of London in 1666
-caused him to <span class="xxpn" id="p181">{181}</span>
-quit that abode for another of the same sign in Warwick Lane. From Warwick
-Lane, where he was living in 1668, he appears to have removed to Westminster,
-to the sign of the “Atlas” in Russell Street, whence in 1669 was issued his
-famous specimen of types, the first complete typefounders’ specimen known in
-England.<a class="afnanch" href="#fn335" id="fnanch335">335</a></p>
-
-<p>In a passage in the <i>Mechanick Exercises</i>, published several years later,
-Moxon speaks of the art of letter-cutting as a mystery, “kept so conceal’d
-among the Artificers of it, that I cannot learn anyone hath taught it any other,
-but every one that has used it, Learnt it of his own Genuine Inclination.” If this
-be the writer’s own experience—though his subsequent intimate acquaintance
-with the minutest details of the art almost disproves it—his specimen must be
-taken as the production of a self-taught typographer after ten years’ intermittent
-practice. Viewed in this light, the exceedingly poor performance which the
-sheet presents can to some extent be accounted for. It must also be borne in
-mind that Moxon’s theoretical and mathematical studies of the proportions and
-form of letters had not yet been begun, or, at least, elaborated; so that in no
-sense is his Specimen to be assumed to be a reduction into practice of those
-theories.</p>
-
-<div class="section">
-<p>This specimen, which is entitled <i>Prooves of the Several
-Sorts of Letters cast by Joseph Moxon</i>, is a folio sheet,
-showing in double column:</p>
-
-<div class="dtablebox"><div class="nowrap">
-<table class="fsz6" summary="">
-<caption>Great Canon Romain.</caption>
-<tr>
- <td class="tdleft tdvat" rowspan="2">Double Pica Romain.</td>
- <td class="tdleft tdvat">Pica Romain.</td></tr>
-<tr>
- <td class="tdleft tdvat">Pica Italica.</td></tr>
-<tr>
- <td class="tdleft tdvat" rowspan="2">Great Primmer Romain.</td>
- <td class="tdleft tdvat">Long Primer Romain.</td></tr>
-<tr>
- <td class="tdleft tdvat">Long Primer Italica.</td></tr>
-<tr>
- <td class="tdleft tdvat">English Romain.</td>
- <td class="tdleft tdvat">Brevier Romain.</td></tr>
-<tr>
- <td class="tdleft tdvat">English Italica.</td>
- <td class="tdleft tdvat">Brevier Italica.</td></tr>
-</table></div></div><!--dtablebox--></div><!--section-->
-
-<p class="pcontinue">The imprint is, “<i>Westminster, printed by Joseph Moxon in Russell Street, at
-the sign of the Atlas, 1669</i>.”</p>
-
-<p>In all respects it is a sorry performance. Only one fount, the Pica, has any
-pretensions to elegance or regularity. The others are so clumsily cut, so badly
-cast, and so wretchedly printed, as here and there to be almost undecipherable.
-Moxon’s proficiency in the processes of the art does not appear as yet to have
-attained the pitch of justifying his matrices to any regularity of line, or of casting
-his types square in body. Some lines of the specimen curve and wave so as to
-make it a marvel how others kept their places in the
-forme, and the press-work <span class="xxpn" id="p182">{182}</span>
-and ink are so bad that at a first glance the beholder is tempted to mistake the
-larger letters with their sunken faces for open instead of solid-faced Romans.
-The sheet was apparently put forward not solely as a specimen of types. The
-matter of each paragraph is an advertisement of Moxon’s business as a mathematical
-instrument maker. In Great Canon Romain he calls attention to the
-“Globes Celestial and Terrestrial of all sizes made by Joseph Moxon, Hydrographer
-to the King’s Most Excellent Majesty, 1669.” In Double Pica Romain
-he announces his Spheres; in Great Primer “a Large Map of the World”; in
-Pica Italica, “a book called a Tutor to Astronomie and Geographie,” and so on.
-To one or two of the founts, such as the Great Canon, the Pica and the Brevier,
-he adds a line of accents or signs.</p>
-
-<p>It would appear, from the imprint already quoted, that Moxon combined
-printing with typefounding at Westminster. If so, he probably confined his
-press to the printing of specimens and advertisements of his own goods, as we
-cannot ascertain that any of his other works were printed by himself, or that he
-printed anything for the public.</p>
-
-<p>About 1670 he removed back to the sign of the Atlas, in Ludgate Hill.
-Rowe Mores considers it probable that for some time he resided in Holland,
-during which time he acquired a certain proficiency in the Dutch language.<a class="afnanch" href="#fn336" id="fnanch336">336</a>
-During the same period it is probable that he may have come across, and been
-struck by specimens of the beautifully proportioned Elzevir letters of Christoffel
-Van Dijk, which he admitted were the inspiration of his <i>Regulæ Trium
-Ordinum</i>.</p>
-
-<p>Of this curious work,<a class="afnanch" href="#fn337" id="fnanch337">337</a>
-which was published in 1676, it will suffice to say
-here, it is a work intended not so much for the letter-cutter as for the sign-board
-and inscription painter. Taking the Van Dijk letters as his models, the writer
-attempts to demonstrate that each letter is a combination of geometrical figures,
-bearing regular proportions one to another; and by sub-division of the square
-of each letter into forty-two equal parts, he professes to be able to erect in any
-other square, similarly sub-divided, the same letter in precise proportion and
-harmony. This theory he illustrates by copper-plate figures
-of the various letters <span class="xxpn" id="p183">{183}</span>
-of the Roman, Italic and Black Alphabets, and their sub-divisions. The result
-is not pleasing. The letters are stiff, and in some cases distorted; although
-this we believe to be the fault not so much of the theory itself as of the rules of
-proportion for the different parts of each letter predicated in the first instance.
-The book, as we have observed, is clearly not intended as a guide to punch-cutting.
-We regard it rather as an interesting attempt to reduce to precise
-mathematical rules a set of characters which never have and never will yield
-themselves entirely to such treatment.<a class="afnanch" href="#fn338" id="fnanch338">338</a></p>
-
-<p>At the conclusion of the section devoted to “the
-ordering of Inscriptions”, Moxon says (p. 11),
-“But of
-this and several other Observations of this Nature, I have
-written more at large in a book I intend to publish on the
-whole Art of Printing.” From this it is evident that, as
-early as 1676, his treatises on Typography, which formed
-the second volume of the <i>Mechanick Exercises</i> and were
-published in 1683, were already written.</p>
-
-<p>To this highly interesting work<a class="afnanch" href="#fn339" id="fnanch339">339</a>—the first work on the mechanics and
-practice of printing and letter-founding—we have already alluded in a previous
-chapter. It is impossible here to give more than a brief summary of its contents.
-Its publication commenced in 1677, with a series of monthly “Exercises” devoted
-to the Smith’s, Joiner’s, Carpenter’s and Turner’s trades. These formed the
-first volume. Moxon himself informs us that their publication was interrupted
-by the excitement of Oates’ plot, “which took off the
-minds of his few <span class="xxpn" id="p184">{184}</span>
-customers from buying them, as formerly.” It was not till 1683 that the work
-was resumed. The second volume (which appeared in twenty-four monthly
-parts), treating wholly of the Art of Printing, commences with a brief account of
-the Invention of the Art (in which the reader is left to decide between the titles
-of Haarlem and Mentz), and with a claim on behalf of Typography equally with
-Architecture to be regarded as a Mathematical Science.<a class="afnanch" href="#fn340" id="fnanch340">340</a>
-“A scientifick man,”
-says Moxon, “was doubtless he who was the first Inventor of Typographie; but
-I think few have succeeded him in Science, though the number of Founders and
-Printers be grown very many: Insomuch that for the more easie managing of
-Typographie, the Operators have found it necessary to devide it into several
-Trades. .&#160;.&#160;. The several devisions that are made are—1. The Master Printer.
-2. The Letter Cutter. 3. The Letter Caster. 4. The Letter Dresser. 5. The
-Compositer. 6. The Correcter. 7. The Press Man. 8. The Inck-Maker.
-Besides several other Trades they take in to their Assistance, as the Smith, the
-Joyner, etc.”</p>
-
-<p>These divisions he proceeds to treat of seriatim and in detail. We have
-elsewhere quoted freely from this work, with a view to illustrate the condition of
-letter-founding as a mechanical trade in his time.<a class="afnanch" href="#fn341" id="fnanch341">341</a>
-But we notice here, that
-in the advice which he gives to the Master Printer on the choice of letter for his
-office, he takes the opportunity to reiterate his admiration of the Dutch form of
-letter, particularly that adopted by Christoffel Van Dijk, and his conviction that as
-the Roman letters were originally made to consist of circles, arcs of circles and
-straight lines, the cutting of those letters should invariably be according to strict
-mathematical rule of form and proportion. His advice on the choice of letter is
-fourfold.</p>
-
-<ul class="din2">
- <li><p class="phangd">1. “That the Letter have a true shape.”</p></li>
- <li><p class="phangd">2. “That they be deep cut” (<i>i.e.</i>,
- in the punch).</p></li>
- <li><p class="phangd">3. “That they be deep sunck in the
- Matrices” (with a good “beard”).</p></li>
- <li><p class="phangd">4. “That his Letter be cast
- upon good Mettal.”</p></li>
-</ul>
-
-<p>He then proceeds to indicate the quantities of each body of letter with
-which the printer should provide himself; and from that proceeds to notice in
-turn every possible requisite for a well-ordered printing office, from the “ball-nails”
-to the press.</p>
-
-<p>His “Exercises on Letter Founding” may be best introduced in his own
-language: “Having shown you the Master Printers Office,”
-he says, “I account <span class="xxpn" id="p185">{185}</span>
-it suitable to proper Method to let you know how the Letter Founder Cuts the
-Punches, how the Molds are made, the Matrices sunck, and the Letter Cast and
-Drest. .&#160;.&#160;. Wherefore the next Exercises shall be (God willing) upon Cutting
-of Steel Punches.”</p>
-
-<p>The minuteness with which he enters into every detail connected with this
-mysterious art, and his familiarity with the terminology of the craft, prove that
-Moxon, although he professed to have learned it not from any master, but “of
-his own genuine inclination,” was an experienced and even enthusiastic punch-cutter.
-He devotes considerable attention to the tools and gauges necessary for
-the work, and returns once more to the charge on behalf of geometry as the
-foundation of typography.</p>
-
-<p>Anyone acquainted with the modern practice of punch-cutting, cannot but
-be struck, on reading the directions laid down in the <i>Mechanick Exercises</i>, with
-the slightness of the change which the manual processes of that art have undergone
-during the last two centuries. Indeed, allowing for improvements in tools,
-and the greater variety of gauges, we might almost assert that the punch-cutter
-of Moxon’s day knew scarcely less than the punch-cutter of our day, with the
-accumulated experience of two hundred years, could teach him.</p>
-
-<p>Moxon’s observations, as in the <i>Regulæ Trium Ordinum</i>, apply only to the
-Roman, Italic and Black-letter, and these he illustrates by a series of plates
-devised on the same method as in his former work, showing each letter in a
-magnified form on a square subdivided into forty-two parts, with the proportions
-for the various parts of each letter minutely laid down. He imagines an objection
-that it may be deemed impossible in the case of a small letter to divide the square
-of the body into forty-two equal parts. “But yet,” he says, “it is possible with
-curious working,” and proceeds, evidently to his own satisfaction, to demonstrate
-the fact in a very curious way, by suggesting a series of graduations in the
-rubbing of spaces and points, whereby a thin<a class="afnanch" href="#fn342" id="fnanch342">342</a>
-space may be enlarged by sixths
-until a series of 42nd parts of each body is arrived at.</p>
-
-<p>Impracticable as such a system appears, it is consistently carried out in the
-enlarged letters which illustrate the <i>Exercises</i>. The result is not more successful
-than that produced in the <i>Regulæ Trium Ordinum</i>; and we venture to think that
-if any proof were needed that geometry is not, and cannot be, the Alpha and
-Omega of typographical beauty, these reductions into practice of Moxon’s ingenious
-theories will supply it.</p>
-
-<p>Passing from letter-cutting, Moxon next describes
-with much minuteness <span class="xxpn" id="p186">{186}</span>
-the various parts of the mould and the method of putting them together. Here
-the practical instrument maker is on familiar ground, and the directions he gives
-remained the best authority on the subject, until the venerable hand-mould which
-he describes began to give place, a century and a quarter after his time, to the
-lever-mould from America.</p>
-
-<p>Next to mould-making, the <i>Exercises</i> deal with the important processes of
-striking and justifying the matrices, operations which, like that of punch-cutting,
-have undergone but little change since his day. Then follow descriptions of the
-furnace, the alloy of the metal, and the methods of casting and dressing the type,
-with the implements necessary for these branches of the work; and this portion
-of the work closes with a few highly interesting plates, amongst which that of
-the caster at work<a class="afnanch" href="#fn343" id="fnanch343">343</a>
-is the most curious and valuable.</p>
-
-<p>The remainder of the book is devoted to various departments of the letter-press
-printer’s trade, those of the compositor, the corrector, the pressman, and
-the warehouse keeper. To this is added an Appendix, describing the ancient
-customs of the “Chapel,” and a Dictionary of typographical terms.</p>
-
-<p>Such is a brief and meagre outline of the contents of this first English book
-on printing and letter-founding. It is a work which no one interested in English
-typography can omit to consult. For almost a century it remained the only
-authority on the subject; subsequently it formed the basis of numerous other
-treatises, both at home and abroad, and to this day it is quoted and referred to,
-not only by the antiquary who desires to learn what the art once was, but by the
-practical printer, who may still on many subjects gather from it much advice
-and information as to what it should still be.</p>
-
-<hr class="hrblnk" />
-
-<p>Reverting now to Mores’ description of the contents of Moxon’s foundry,
-we meet with one fount which calls for particular mention here.</p>
-
-<p>The Pica Irish was cut expressly for the purpose of printing the <i>Irish New
-Testament</i>, published in 1681 at the cost of Robert Boyle, son of the Earl of
-Cork, and is described by Mores as the only fount of purely Irish type he had
-ever seen in the country. We may, perhaps, be excused a slight digression in
-this place for the purpose of giving a sketch of the efforts which before Moxon’s
-day had been made to propagate the Irish language by means of typography.</p>
-
-<p>The first fount of Irish type known was presented in 1571 by Queen
-Elizabeth to John O’Kearney, treasurer of St. Patrick’s, with a view to encourage
-the diffusion of the Scriptures in the Irish character.</p>
-
-<p>By whom this character was prepared we are not informed.
-It is not the <span class="xxpn" id="p187">{187}</span>
-genuine Irish, but a hybrid fount, consisting chiefly of Roman and Italic letters,
-to which the “discrepants,” or seven distinctively Irish sorts, are added.<a class="afnanch" href="#fn344" id="fnanch344">344</a>
-It is
-accompanied by a small and equally neat letter for notes, which, however, appears
-to be Saxon.</p>
-
-<p>The earliest specimen of this fount appears in a broadside <i>Poem on the Last
-Judgment</i>,<a class="afnanch" href="#fn345" id="fnanch345">345</a>
-printed in 1571, and sent over to the Archbishop of Canterbury,
-apparently as a specimen of the type. This was followed almost immediately
-by the <i>Church Catechism and Articles</i>, translated by O’Kearney and Nicholas
-Walsh, afterwards Bishop of Ossery, and printed in 1571 at the cost of John
-Ussher.<a class="afnanch" href="#fn346" id="fnanch346">346</a></p>
-
-<p>The object of the royal donor was further realised in 1602, when there
-appeared from the press of John Francke, William O’Donnell’s (or
-Daniel’s) Irish <i>New Testament</i>,<a class="afnanch" href="#fn347" id="fnanch347">347</a>
-the first version of that or any portion of the Holy Scriptures in the
-native character. In dedicating the translation to James I, Daniel thus
-refers to the royal origin of the types:—“And notwithstanding that our
-late dreade Soveraigne Elzabeth .&#160;.&#160;. provided the Irish characters and
-other instrumentes for the presse in the hope that God in mercy would
-raise up some to translate the Newe Testament into their native tongue,
-yet hath Sathan hitherto prevailed, and still they remain <i>Lo-ruchama
-Lo-ammi</i>, etc.”</p>
-
-<p>The type did further service in 1608, when Daniel’s <i>Common Prayer</i><a class="afnanch" href="#fn348" id="fnanch348">348</a>
-was
-printed by Francke, a well-executed work, with
-engraved title and beautiful <span class="xxpn" id="p188">{188}</span>
-ornamented initials, each page being enclosed in a rule border. After the
-appearance of this book nearly a quarter of a century elapsed before the type
-reappeared in Bishop Bedell’s
-<span class="nowrap"><i>A B C</i>,</span>
-or English and Irish <i>Catechism</i>, printed
-by the Stationers’ Company at Dublin in 1631.<a class="afnanch" href="#fn349" id="fnanch349">349</a>
-This <i>Catechism</i>, with additional
-matter, was republished by Godfrey Daniel in 1652, also in Dublin,<a class="afnanch" href="#fn350" id="fnanch350">350</a>
-after which
-the Irish type of Queen Elizabeth disappeared in Ireland, and reappeared only
-in occasional words occurring in Sir James Ware’s books, printed in London by
-Tyler, in 1656 and 1658.</p>
-
-<p>There seems no reason for believing, as some state, that it was secured by
-the Jesuits and taken abroad.<a class="afnanch" href="#fn351" id="fnanch351">351</a>
-Not only is it not to be found in any Irish work
-printed abroad, but the Irish Seminary at Louvain possessed a fount of its own,
-which, between 1616 and 1663, was in constant use.</p>
-
-<p>After 1602 no serious attempt had been made to complete the translation
-of the Scriptures into Irish until Dr. Bedell, Bishop of Kilmore, undertook the
-task about 1630. For this purpose, being then at the age of 57, he devoted
-himself to the study of the language, and having secured the assistance of Mr.
-King and the Rev. Denis Sheridan, both eminent Irish scholars, the translation
-of the <i>Old Testament</i> was completed in 1640. Bedell, we are informed “determined
-to publish the version immediately at his own expense and in his own house,
-and made an agreement with a person who undertook to print it: the types
-were even sent for to Holland.”<a class="afnanch" href="#fn352" id="fnanch352">352</a>
-But the troubles and persecutions of the
-ensuing year, followed closely by the death of the Bishop, hindered the design,
-and the manuscript lay neglected for forty years.<a class="afnanch" href="#fn353" id="fnanch353">353</a>
-<span class="xxpn" id="p189">{189}</span></p>
-
-<p>In the year 1680, the <i>New Testament</i> of 1602 being then entirely out of
-print,<a class="afnanch" href="#fn354" id="fnanch354">354</a>
-and no Irish types being available, the illustrious Robert Boyle determined
-on republishing it at his own expense. To this end he caused a fount of Irish
-type to be cut and cast in London, and had an able printer instructed in the
-language for the purpose of printing it.</p>
-
-<p>Moxon was the founder selected to produce the types, and the result was
-the curious Irish fount of which the matrices formed part of his foundry. With
-this type Boyle is said to have had the <i>Church Catechism</i>, with the <i>Elements of
-the Irish Language</i>, printed in 1680,<a class="afnanch" href="#fn355" id="fnanch355">355</a>
-and in the following year was issued in
-London, with a preface in Irish and English, the new edition of Daniel’s Irish
-<i>New Testament</i>.<a class="afnanch" href="#fn356" id="fnanch356">356</a></p>
-
-<div class="dctr03" id="fg45">
-<img src="images/i189.png" width="600" height="119" alt="" />
-<div class="dcaption">45. Moxon’s Irish fount, from
- the original punches.</div></div>
-
-<p>“God hath raised up,” says this preface, “the generous Spirit of Robert
-Boyle, Esq., son to the Right Honourable Richard, Earl of Cork, Lord High
-Treasurer of Ireland, renowned for his Piety and Learning, who hath caused the
-same Book of the New Testament to be Reprinted at his proper Cost; And as
-well for that purpose, as for Printing the <i>Old Testament</i>, and what other Pious
-Books shall be thought convenient to be published in the Irish Tongue, has
-caused a New Set of fair Irish Characters to be Cast in London, and an able
-Printer to be instructed in the way of Printing this Language.”</p>
-
-<p>The printer was Robert Everingham,<a class="afnanch" href="#fn357" id="fnanch357">357</a>
-at the Seven Stars, in Ave Maria
-Lane, who in 1685 was further employed by Boyle to print,
-in the same Irish <span class="xxpn" id="p190">{190}</span>
-types,<a class="afnanch" href="#fn358" id="fnanch358">358</a> Bishop Bedell’s translation of the <i>Old Testament</i>,<a class="afnanch" href="#fn359" id="fnanch359">359</a>
-the manuscript of
-which had fortunately been preserved. The whole <i>Bible</i> being thus complete,
-it was issued in two 4to volumes, and in 1690 was reprinted in Roman characters
-at Everingham’s press for the use of the Highlanders.<a class="afnanch" href="#fn360" id="fnanch360">360</a></p>
-
-<p>Our space forbids us to give here anything like a list of the different works
-in which Moxon’s Irish type appeared after 1690. An interesting note as to the
-early use of the fount in Ireland occurs in a petition presented in 1709 to the
-Lord Lieutenant by several of the clergy and gentry of Ireland for the printing
-of a new edition of the <i>New Testament</i> “in the Irish character and tongue, in
-order to which the only set of characters now in Britain is bought already.”<a class="afnanch" href="#fn361" id="fnanch361">361</a></p>
-
-<p>This petition does not appear to have been successful; but in 1712 a <i>Book
-of Common Prayer</i>,<a class="afnanch" href="#fn362" id="fnanch362">362</a>
-translated by Dr. John Richardson, Rector of Annah
-(Chaplain to the Lord Lieutenant), with the assistance of the Christian Knowledge
-Society, was printed by Elinor Everingham, at the Seven Stars in Ave
-Maria Lane. Dr. Richardson also published some <i>Irish Sermons</i><a class="afnanch" href="#fn363" id="fnanch363">363</a>
-at the same
-press, and a <i>History of the Attempts .&#160;.&#160;. to Convert the Popish Natives of Ireland</i>.</p>
-
-<p>In 1700, in the London <i>Oratio Dominica</i>, Moxon’s Irish type was used, as
-also in the reprint in 1713, after which the fount frequently reappeared until 1820,
-when it was used in the <i>Transactions of the Iberno Celtic Society</i>, for printing
-the titles of E. O’Reilly’s “Chronological Account of Irish Writers” there
-given.</p>
-
-<p>The “punches and matrices”, said Mores, writing in 1778, “have ever since
-continued in England. The Irish themselves have no letter of this face, but are
-supplied with it by us from England; though it has been
-said, but falsely, that <span class="xxpn" id="p191">{191}</span>
-the University of Louvain have lately procured a fount to be cut for the use of
-the Irish Seminary there.”<a class="afnanch" href="#fn364" id="fnanch364">364</a></p>
-
-<p>We are glad to add to this statement that the punches of this interesting
-fount are still in existence, and, indeed, that these most curious relics of the
-handiwork of the author of the <i>Mechanick Exercises</i> lie before us as we write
-these words.</p>
-
-<hr class="hrblnk" />
-
-<p>Among the other peculiar characters cut by Moxon may be mentioned the
-symbols used in Mr. George Adams’ scientific works, and the Philosophic
-or “Real Character” designed by Bishop John Wilkins for his learned <i>Essay
-towards a Universal Language</i>, printed in 1668.<a class="afnanch" href="#fn365" id="fnanch365">365</a>
-The correcting marks used
-in the <i>Mechanick Exercises</i>, as well as other mathematical and astronomical
-symbols, were also the work of this versatile artist, whose scientific genius
-appears to have had a special bent towards the more curious by-paths of
-typography.</p>
-
-<p>Moxon’s foundry descended to Robert Andrews, with whom it is possible
-he was, during the close of his career, associated, either as a master or a partner.
-Rowe Mores is unable to distinguish, beyond the peculiar founts above noted,
-and the Canon Roman and Italic (which subsequently came into Mr. Caslon’s
-hands), what were the precise contents of his foundry. He therefore omits his
-usual list, and includes the whole in Andrews’.</p>
-
-<p>The date of Moxon’s death is uncertain. A third edition of the <i>Mechanick
-Exercises</i>, not including the typographical portion, was issued in 1703. Unless
-this was a posthumous publication, Moxon must have been seventy-six years
-old at the time.</p>
-
-<p>Mores states that he founded in London from 1659 to 1683, from which it
-would seem that he retired from the type business a considerable time before
-his death. He was a voluminous writer on scientific and mathematical subjects,
-and many of his works ran through several editions. <span class="xxpn" id="p192">{192}</span></p>
-
-<p>Mores describes him cordially as an admirable mechanic and an excellent
-artist, and states that he was made a Fellow of the Royal Society,
-30th November 1678. He was succeeded in his office of Hydrographer to
-the King by Mr. George Adams, whom Mores describes as “our ingenious
-friend .&#160;.&#160;. and a successor to Mr. Moxon as well in skilfulness and
-curiosity as well as office.”<a class="afnanch" href="#fn366" id="fnanch366">366</a>
-Our portrait of Moxon is taken from
-the frontispiece to the fourth edition of his <i>Tutor of Astronomy and
-Geography</i>, 1686, printed by Samuel Roycroft for the author.</p>
-
-<p>It is doubtful whether his investigations and theories had any sensible
-effect on the practice of English letter-founding. They may have tended to
-encourage the favour with which Dutch letter was regarded at the beginning of
-the eighteenth century; but it is not clear that his attempt to confine to rule
-and compass the art of letter-cutting either secured general adoption or was
-productive of any appreciable reform in our national typography.</p>
-
-<hr class="hr24" />
-
-<div class="dkeeptogether">
-<p>The following is the title of the only specimen known to
-have been issued by Moxon:―</p>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1669. Prooves of the Several Sorts of Letters cast by Joseph Moxon. Westminster,
-printed by Joseph Moxon in Russell Street, at the sign of the Atlas, 1669. Fo.
-<span class="spcitr">(B. M., <i>Harl. MS.</i> 5915, fo. 160.)</span></p></li></ul>
-
-<div class="dctr09">
-<img src="images/i192.png" width="512" height="207" alt="" />
-</div></div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p193">
-<img src="images/i193a.png" width="600" height="146" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER IX. THE LATER FOUNDERS
- OF THE SEVENTEENTH CENTURY.">
- <span class="hblk fsz6">CHAPTER IX.</span>
- <span class="hblk"><img class="ihrch" src="images/i193b.png"
- width="309" height="42" alt="" /></span>
- THE LATER FOUNDERS OF THE SEVENTEENTH CENTURY.</h2>
-
-<h3 title="THOMAS GORING, 1668, and
- JOSEPH LEE, 1669">THOMAS GORING,
- 1668.&#160;&#160;&#160;&#160;&#160;JOSEPH LEE, 1669.</h3>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i193c.png"
-width="512" height="504" alt="O" />
-</span>F these two founders nothing is known beyond what is
-recorded in two short entries on the books of the
-Stationers’ Company, viz.:―</p>
-
-<blockquote class="din2">
-
-<p>1668. The Master and Wardens requested to certify to the
-Archbishop of Canterbury that Thomas Goring, a member of
-this Company, is an honest and sufficient man, and fit to
-be one of the <i>four</i> present founders; there being one now
-wanting, according to the Act of Parliament.</p>
-
-<p>1669. Mr. Joseph Lee and Mr. Goring to give at the next
-Court an account in writing, what sorts of letter they have
-made, and for whom, since the Act of Parliament in that
-case was provided.</p></blockquote>
-
-<p>The names of both these founders occur in the list, already referred to, of
-former Stewards of the Brotherly Meeting of Masters and Workmen Printers,
-issued in 1681.<a class="afnanch" href="#fn367" id="fnanch367">367</a>
-<span class="xxpn" id="p194">{194}</span></p>
-
-<h3 title="ROBERT ANDREWS, 1683">ROBERT ANDREWS, 1683.</h3>
-
-<p>This founder, who was born in 1650, succeeded Joseph Moxon, probably
-about the year 1683,<a class="afnanch" href="#fn368" id="fnanch368">368</a>
-and transferred his foundry to Charterhouse Street, where
-he continued in business till 1733. His foundry, of which, Mores informs us,
-Moxon’s matrices formed the most considerable part, was, next to that of the
-Grovers, the most extensive of its day; and it would appear that, for some time
-at any rate, these two shared between them the whole of the English trade.
-Andrews’ foundry consisted of a large variety of Roman letter and Titlings; and
-in “learned” founts was specially rich in Hebrew, of which there were no less than
-eleven founts, and five Rabbinical. Of peculiar sorts, he possessed the matrices
-of Bishop Wilkins’ “Real Character,” also the correcting-marks used by Moxon
-in his <i>Mechanick Exercises</i>, and other symbols, besides three or four founts of
-square-headed music.</p>
-
-<div class="dctr02" id="fg47">
-<img src="images/i194a.png" width="1200" height="126" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i194alg.png"
- title="display larger image">Μ</a></span>
- 47. Nonpareil Rabbinical Hebrew,
- from R. Andrews’ Foundry. (From the original matrices.)</div></div>
-
-<div class="dctr02" id="fg49">
-<img src="images/i194b.png" width="600" height="294" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i194blg.png" title="display larger image">Μ</a></span>
- 49. Old Blacks from R. Andrews’
- Foundry, 1706. (From the original matrices.)</div></div>
-
-<p>He also possessed the Hebrews and the Ethiopic<a class="afnanch" href="#fn369" id="fnanch369">369</a>
-used in Walton’s <i>Polyglot</i>;
-the Irish cut by Moxon for Boyle’s <i>New Testament</i>, and a curious alphabet of
-Great Primer Anglo-Norman; besides a fine specimen of old Blacks (two of
-which are here shown), probably handed down from some
-of the early English <span class="xxpn" id="p195">{195}</span>
-printers, whose character they strongly resemble. His son, Silvester Andrews,
-as we shall notice later on, founded at Oxford, whither he appears to have
-taken matrices of some of the Romans and one fount of Hebrew from his father’s
-foundry.</p>
-
-<div class="section">
-<p>The following is the list of matrices in the foundry in 1706, as given by
-Mores. Founts of which the punches or matrices are still in existence are distinguished
-by an asterisk; those descended from the <i>Polyglot</i> foundry are
-marked [P.], and those from Moxon’s [M.]:―</p></div>
-
-<ul class="dmgnfndry">
- <li><h4 title="Mr. ROBERT ANDREWS’ FOUNDERY, 1706">“Mr.
- <span class="fsz6">ROBERT ANDREWS’ FOUNDERY,</span> 1706.</h4>
-<ul class="fsz6">
- <li class="pcenter padtopc"><span class="fsz6">ORIENTALS.</span>
-<ul class="ulina">
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1">2-line English, 32. [P.?]</li>
- <li class="lihang1">Double Pica, 68. [P.?]</li>
- <li class="lihang1">Great Primer, 35.</li>
- <li class="lihang1">English (the common German face), 47.</li>
- <li class="lihang1">English, 73. [P.?]</li>
- <li class="lihang1">Pica, 65.</li>
- <li class="lihang1">Long Primer, 35.</li>
- <li class="lihang1">Brevier, 35.</li>
- <li class="lihang1">Small Pica, old, 42.</li>
- <li class="lihang1">Small Pica, another, 77.</li>
- <li class="lihang1">Small Pica, another, 73.</li>
- <li class="lihang1">Nonpareil, 35.</li></ul></li>
-
- <li><i>Rabbinical Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1">English (German), 30.</li>
- <li class="lihang1">Rashi, Pica, 29.</li>
- <li class="lihang1">Rashi, Long Primer,* 30.</li>
- <li class="lihang1">Rashi, Brevier,* 29.</li>
- <li class="lihang1">Rashi, Nonpareil,* 29.</li>
- <li class="lihang1">Large face points, 42.</li>
- <li class="lihang1">Accents, 27.</li>
- <li class="lihang1">Small face points, 28.</li></ul></li>
-
- <li><i>Samaritan.</i>―
-<ul class="ulina">
- <li class="lihang1">(Leusdenian), 21.</li></ul></li>
-
- <li><i>Syriac.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer, 47; Points, 13.</li></ul></li>
-
- <li><i>Arabic.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer, 104.</li>
- <li class="lihang1">English, 62.</li></ul>
-</li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">MERIDIONALS.</span>
-<ul class="ulina">
- <li><i>Æthiopic.</i>―
-<span class="nowrap">
-Great Primer,* 212. [P.]</span></li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">OCCIDENTALS.</span>
-<ul class="ulina">
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lihang1">English.‡</li>
- <li class="lihang1">Long Primer.‡</li>
- <li class="lihang1">Brevier.‡</li>
- <li class="lihang1">Long Primer, 457.</li>
- <li class="lihang1">Brevier, 331.</li>
- <li>Nonpareil, 329.
- <p class="padtopc">‡ “These three were purchased by
- Thos. James, 20th April 1724, ten years before the sale of
- the foundery.”</p></li></ul></li>
-
- <li class="padtopc"><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lihang1">2-line English full face caps, 31.</li>
- <li class="lihang1">2-line English Roman, 147.</li>
- <li class="lihang1">2-line English Italic, 108.</li>
- <li class="lihang1">Double Pica large face Roman, 122.</li>
- <li class="lihang1">Double Pica small face Roman, 115.</li>
- <li class="lihang1">Double Pica Italic, 107.</li>
- <li class="lihang1">Double Pica 2, Roman, 118.</li>
- <li class="lihang1">Double Pica 2, Italic, 66.</li>
- <li class="lihang1">Another, 126.</li>
- <li class="lihang1">Great Primer 1, Roman, 114.</li>
- <li class="lihang1">Great Primer 1, Italic, 102.</li>
- <li class="lihang1">Great Primer 2, Roman, 110.</li>
- <li class="lihang1">Great Primer 2, Italic, 66.</li>
- <li class="lihang1">English Roman and Italic, ...</li>
- <li class="lihang1">English 2, Roman, 92.</li>
- <li class="lihang1">English 3, Roman, 96.</li>
- <li class="lihang1">English Roman lower-case, 32.</li>
- <li class="lihang1">Pica Roman, 117.</li>
- <li class="lihang1">Pica Roman, lower-case, 27.</li>
- <li class="lihang1">Pica Roman, and Italic, long face, ...</li>
- <li class="lihang1">Long Primer Roman, 84.</li>
- <li class="lihang1">Long Primer Italic, 80.</li>
- <li class="lihang1">Long Primer Roman lower-case, 42.</li>
- <li class="lihang1">Long Primer Roman lower-case, another, 38.</li>
- <li class="lihang1">Long Primer Italic capitals and double-letters, 45.</li>
- <li class="lihang1">Brevier Roman lower-case, 57.</li>
- <li class="lihang1">Brevier Roman lower-case, another, 57.</li>
- <li class="lihang1">Brevier Italic, ...</li></ul></li>
-
- <li><i>Title Letters and Irregulars.</i>―
-<ul class="ulina">
- <li class="lihang1">4-line Pica full face caps, 30.</li>
- <li class="lihang1">Canon Roman, 27. [M.]</li>
- <li class="lihang1">Canon Italic, 74. [M.]</li>
- <li class="lihang1">2-line Double Pica Roman, 127.</li>
- <li class="lihang1">2-line Great Primer full face caps, 31.</li>
- <li id="p196">2-line Pica full face caps, 31.</li>
- <li class="lihang1">2-line Pica Roman lean face, 58.</li>
- <li class="lihang1">Paragon Roman, 122.</li>
- <li class="lihang1">Paragon Italic, 100.</li>
- <li class="lihang1">Small Pica Roman, 76.</li>
- <li class="lihang1">Small Pica Italic, 82.</li>
- <li class="lihang1">Small Pica Italic, another, 98.</li>
- <li class="lihang1">Small Pica Italic, another, 80.</li>
- <li class="lihang1">Small Pica Roman and Italic, ...</li>
- <li class="lihang1">Bourgeois Italic, 72.</li>
- <li class="lihang1">Nonpareil Roman, 80.</li>
- <li class="lihang1">Pearl Roman, 2 sets.</li></ul></li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">SEPTENTRIONALS.</span>
-<ul class="ulina">
- <li><i>Anglo-Saxon.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica, 16.</li>
- <li class="lihang1">Pica, another, 21.</li></ul></li>
-
- <li><i>Anglo-Norman.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer capitals, 24.</li></ul></li>
-
- <li><i>English.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer with law, 116.</li>
- <li class="lihang1">English* with law, 106.</li>
- <li class="lihang1">Pica with law, 125.</li>
- <li class="lihang1">Pica small face, 71.</li>
- <li class="lihang1">Long Primer,* 78.</li>
- <li class="lihang1">Brevier with law, 118.</li>
- <li class="lihang1">Small Pica* with law, 120.</li>
- <li class="lihang1">Small Pica,* 58.</li>
- <li class="lihang1">Nonpareil,* 43.</li></ul></li>
-
- <li><i>Secretary.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer capitals, 15.</li></ul></li>
-
- <li><i>Hibernian.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica,* 60. [M.]</li>
- <li class="lihang1">Bishop Wilkins’ Real Character, English, 160. [M.]</li>
- <li class="lihang1">Mr. Adam’s symbols, 20. [M.]</li>
- <li class="lihang1">Mr. Moxon’s correcting marks, English, 16. [M.]</li>
- <li class="lihang1">Mathematical Characters, English and Small Pica, 42. [M.]</li>
- <li class="lihang1">Astronomical and Astrological, 31. [M.]</li></ul></li>
-
- <li><i>Music.</i>―
-<ul class="ulina">
- <li class="lihang1">2-line Great Primer, 54.</li>
- <li class="lihang1">Paragon, square-headed, 44.</li>
- <li class="lihang1">Large old square-headed, 61.</li>
- <li class="lihang1">Sundry old square-headed,
-155.</li></ul></li></ul></li></ul></li></ul>
-
-<div class="dctr02" id="fg48">
-<img src="images/i196.png" width="600" height="367" alt="" />
-<div class="dcaption">
-<span class="splnklg"><a href="images/i196lg.png" title="display larger image">Μ</a></span>
- 48. Saxon cut by R. Andrews for Miss Elstob’s <i>Grammar</i>,
- 1715. (From the original matrices.)</div></div>
-
-<p>Although he accumulated a large quantity of matrices, Robert Andrews
-does not appear to have been a good workman. The very indifferent manner in
-which he cut the punches for Miss Elstob’s Saxon <i>Grammar</i> has been elsewhere
-recorded,<a class="afnanch" href="#fn370" id="fnanch370">370</a>
-and the fact that his apprentice,
-Thomas James, after quitting his <span class="xxpn" id="p197">{197}</span>
-service and setting up for himself, furnished his new foundry entirely with
-foreign matrices, speaks somewhat unfavourably for the merits of the English
-letter then in common use.</p>
-
-<p>Three of the Greek founts, however, James did subsequently purchase, in
-1724, for his own use; and nine years later, on Andrews’ retirement from
-business, he purchased the whole of his foundry, and that of his son, with the
-exception of the Canon Roman and Italic, which were acquired by Mr. Caslon.</p>
-
-<p>Robert Andrews was one of the Assistants of the Stationers’ Company.
-He only survived his retirement two years, and died November 27th, 1735, at
-the age of 80.</p>
-
-<p>His name appears as a contributor of £5 5<i>s.</i> towards the subscription raised
-by Mr. Bowyer’s friends in 1712, after the destruction by fire of that eminent
-printer’s office.</p>
-
-<h3 title="JAMES GROVER, circ. 1675, and THOMAS GROVER, his son">
- JAMES GROVER, <i>circ.</i> 1675. <span
- class="splp1m">THOMAS</span> GROVER, his son.<a
- class="afnanch" href="#fn371" id="fnanch371">371</a></h3>
-
-<p>This foundry, which, according to Rowe Mores, was supposed to include
-founts formerly belonging to Wynkyn de Worde, was the most extensive, and in
-many respects the most interesting of the later seventeenth century foundries.
-It seems probable that James and Thomas Grover began business in partnership,
-about the year 1674, in succession to one of the “Polyglot” founders, whose
-matrices they appear to have acquired. Their foundry was situated in Angel
-Alley, Aldersgate Street; and, about 1700, at which date Rowe Mores fixes his
-summary, was evidently of considerable extent.</p>
-
-<p>Although many of the founts are of little importance, it is worthy of note
-that among the Roman and Italic matrices is included, for the first time, a
-Diamond; and that a Pica and Long Primer are distinguished as “King’s
-House” founts, and were probably reserved for the service of the Royal press at
-Blackfriars. The large-face Double Pica Roman and Italic, there is reason to
-suppose, is the famous fount cut by John Day about 1572, which had subsequently
-been in the possession of one of the Polyglot founders.<a class="afnanch" href="#fn372" id="fnanch372">372</a>
-In Scriptorials,
-Cursives and other fancy letters, as well as in peculiar and mathematical sorts, the
-foundry was unusually rich. The Great Primer and 2-line Great Primer Black
-matrices are those reputed to have belonged to De Worde;
-and from these <span class="xxpn" id="p198">{198}</span>
-founts, says Mores, were taken the two specimens shown on page 343 of
-Palmer’s <i>General History of Printing</i>.<a class="afnanch" href="#fn373" id="fnanch373">373</a></p>
-
-<p>Among the “learned” founts, the English Samaritan matrices were those
-from which had been cast the type for Walton’s <i>Polyglot</i>, in 1657, as were also
-those of the larger Syriac; while the Double Pica large and small faced Greek
-claim a still earlier origin, being the founts in which was printed Patrick Young’s
-<i>Catena on Job</i>, in 1637, the matrices having been procured from the proceeds of
-the fine on the King’s printers for their scandalous errors in the printing of the
-“Wicked” <i>Bible</i>, as detailed in a former chapter.<a class="afnanch" href="#fn374" id="fnanch374">374</a>
-The smaller face, as we have
-noticed, bears the strongest resemblance to the Greek of the Eton <i>Chrysostom</i>.
-Mores states that the Great Primer Arabic of the <i>Polyglot</i> was in this foundry,
-but omits to include the matrices in his
-summary.<a class="afnanch" href="#fn375" id="fnanch375">375</a></p>
-
-<div class="section">
-<p>The following is the full list of the matrices in the
-foundry, <i>circ.</i> 1700, as given by Mores:―</p></div>
-
-<ul class="dmgnfndry">
- <li><h4 title="THE FOUNDERY OF THE TWO MR.
- GROVERS, circ. 1700."><span class="fsz6">“THE FOUNDERY OF THE TWO
- <span class="smcap">M<b>R.</b></span>
- GROVERS,</span> <i>circ.</i> 1700.</h4>
-<ul class="fsz6">
- <li class="pcenter padtopc"><span class="fsz6">ORIENTALS.</span>
-<ul class="ulina">
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer, 30.</li>
- <li class="lihang1">Pica, 80.</li>
- <li class="lihang1">Long Primer, 60.</li>
- <li class="lihang1">Brevier, 130.</li></ul></li>
-
- <li><i>Samaritan</i> (with English face).―
-<ul class="ulina">
- <li class="lihang1">English,* 32. [P.]</li></ul></li>
-
- <li><i>Syriac.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica, 60. [P.]</li>
- <li class="lihang1">Pica, 80.</li></ul></li>
-
- <li><i>Arabic.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica, 30. <i>Great Primer</i>, [P.?]</li></ul>
-</li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">MERIDIONALS.</span>
-<ul class="ulina">
- <li><i>Coptic</i> (the new hand),* 81.
- <p class="fsz6 padtopc">“This seems to be a mistake of the
- cataloguers, who had fallen upon something which they did
- not understand; we suppose the Alexandrian fount, which
- from the semblance they took to be Coptic; the number
- 81 was made up with something else they were strangers
- to; and so are we. But whatever it was (it is in the
- foundry) it is now in its proper
- place.”</p></li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">OCCIDENTALS.</span>
-<ul class="ulina">
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica large face, 183. [Royal.]</li>
- <li class="lihang1">Double Pica small face, ...  [Royal.]</li>
- <li class="lihang1">Great Primer, 144.</li>
- <li class="lihang1">English, 350.</li></ul></li>
-
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica, 380.</li>
- <li class="lihang1">Pica, another, 120.</li>
- <li class="lihang1">Long Primer, 120.</li>
- <li class="lihang1">Brevier, 426. Very fine.</li>
- <li class="lihang1">Brevier, another, imperfect.</li>
- <li class="lihang1">2-line full face capitals, 23.</li></ul></li>
-
- <li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lihang1">2-line English full face capitals, 31.</li>
- <li class="lihang1">2-line English Roman, 100.</li>
- <li class="lihang1">2-line English Italic, 77.</li>
- <li class="lihang1">Double Pica Roman large face, 120. [Day?] [P.?]</li>
- <li class="lihang1">Double Pica Italic, 98. [Day?] [P.?]</li>
- <li class="lihang1">Double Pica Roman small face, 126.</li>
- <li class="lihang1">Double Pica Italic, 98.</li>
- <li class="lihang1">Great Primer Roman large face, 102.</li>
- <li class="lihang1">Great Primer Italic, 105.</li>
- <li class="lihang1">Great Primer Roman small face, 153.</li>
- <li class="lihang1">Great Primer Italic, 105.</li>
- <li class="lihang1">Great Primer small capitals, 27.</li>
- <li class="lihang1">English Roman, 159.</li>
- <li class="lihang1">English Italic, 114.</li></ul></li>
-
- <li id="p199"><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lihang1">Two other English Roman and Italic. (One called the <i>Old English</i>.)</li>
- <li class="lihang1">English small capitals, 27.</li>
- <li class="lihang1">Pica Roman broad face, 85.</li>
- <li class="lihang1">Pica Roman, 146. (Called <i>King’s House</i>.)</li>
- <li class="lihang1">Pica Roman and Italic, 292.</li>
- <li class="lihang1">Pica Italic, 42.</li>
- <li class="lihang1">Pica small capitals, 27.</li>
- <li class="lihang1">Long Primer Roman and Italic, 177.</li>
- <li class="lihang1">Long Primer another, 226. (Called <i>King’s House</i>.)</li>
- <li class="lihang1">Long Primer another, 219.</li>
- <li class="lihang1">Long Primer two others.</li>
- <li class="lihang1">Small capitals, 27.</li>
- <li class="lihang1">Brevier Roman large face, 96.</li>
- <li class="lihang1">Brevier Roman and Italic, 241.</li>
- <li class="lihang1">Brevier Roman and Italic, small face.</li>
- <li class="lihang1">Brevier Italic.</li></ul></li>
-
- <li><i>Title Letters and Irregulars.</i>―
-<ul class="ulina">
- <li class="lihang1">5-line Pica full face capitals, 31.</li>
- <li class="lihang1">Canon Roman, 87.</li>
- <li class="lihang1">Canon Italic, 70.</li>
- <li class="lihang1">Canon Roman lean face capitals, 57.</li>
- <li class="lihang1">2-line Double Pica full face capitals, 26.</li>
- <li class="lihang1">2-line Great Primer full face capitals, 31.</li>
- <li class="lihang1">2-line Great Primer Roman, 86.</li>
- <li class="lihang1">2-line Great Primer Italic, 68.</li>
- <li class="lihang1">2-line Pica full face capitals, 31.</li>
- <li class="lihang1">2-line Pica Roman, 83.</li>
- <li class="lihang1">2-line Pica Italic, 77.</li>
- <li class="lihang1">2-line Small Pica full face capitals, 27.</li>
- <li class="lihang1">2-line Long Primer full face capitals, 31.</li>
- <li class="lihang1">2-line Brevier full face capitals, 21.</li>
- <li class="lihang1">Paragon Roman, 106.</li>
- <li class="lihang1">Paragon Italic, 38.</li>
- <li class="lihang1">Small Pica Roman and Italic, 175.</li>
- <li class="lihang1">Small Pica Roman and Italic, another, 233.</li>
- <li class="lihang1">Small Pica small capitals, 27.</li>
- <li class="lihang1">Minion Roman and Italic, 175.</li>
- <li class="lihang1">Nonpareil Roman and Italic, 174.</li>
- <li class="lihang1">Nonpareil Roman and Italic, another, 175.</li>
- <li class="lihang1">Pearl Roman and Italic, 167.</li>
- <li class="lihang1">Diamond Roman and Italic, 94.</li></ul>
-</li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">SEPTENTRIONALS.</span>
-<ul class="ulina">
- <li><i>Anglo-Saxon.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer, ...</li>
- <li class="lihang1">Pica, 30.</li></ul></li>
-
- <li><i>English.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica, 69.</li>
- <li class="lihang1">Great Primer, 66. [De Worde?]</li>
- <li class="lihang1">Great Primer, another, with law, 73.</li>
- <li class="lihang1">English, 82.</li>
- <li class="lihang1">English, another, with law, 128.</li>
- <li class="lihang1">Long Primer 1, 74.</li>
- <li class="lihang1">Long Primer 2, 89.</li>
- <li class="lihang1">Long Primer 3, 74.</li>
- <li class="lihang1">Brevier, 73.</li>
- <li class="lihang1">2-line Great Primer, 69. [De Worde?]</li>
- <li class="lihang1">Small Pica, 70.</li>
- <li class="lihang1">Nonpareil, 88.</li></ul></li>
-
- <li><i>Scriptorial.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica Court, 80.</li>
- <li class="lihang1">English Court,* 100.</li>
- <li class="lihang1">Great Primer Secretary, 105.</li>
- <li class="lihang1">Double Pica Union Pearl,* 61.</li></ul></li>
-
- <li><i>Cursive.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica, ...</li>
- <li class="lihang1">Great Primer, 69.</li>
- <li class="lihang1">English 1, 68.</li>
- <li class="lihang1">English 2, 57.</li>
- <li class="lihang1">Pica,* ...</li>
- <li class="lihang1">Long Primer, 68.</li></ul></li>
-
- <li class="lihang1">Geometrical and Algebraical Symbols.</li>
-
- <li>Astronomical, Astrological, and Pharmaceutical Characters.―
-<ul class="ulina">
- <li class="lihang1">English, 55.</li></ul></li>
-
- <li>Figures struck in circles and squares.―
-<ul class="ulina">
- <li class="lihang1">English, 22.</li></ul></li>
-
- <li class="lihang1">Pica Astronomical Characters belonging to Pica <i>King’s House</i>, 22.</li>
-
- <li class="lihang1">Pica Algebraical and Pharmaceutical Marks, and cancelled figures, 3 sets.</li>
-
- <li class="lihang1">Long Primer Dominical Letters, Astronomical and Pharmaceutical Marks and Characters.</li>
-
- <li class="lihang1">Long Primer Fractions, 20.</li>
-
- <li>Music.―
-<ul class="ulina">
- <li class="lihang1">Great Primer, 176.</li></ul></li>
-
- <li class="lihang1">Flowers, 200.</li>
-
- <li class="lihang1">Space Rules, Metal Rules, Braces, 150.</li>
-
- <li><i>Punches.</i>―
-<ul class="ulina">
- <li class="lihang1">Some for Pica, Long Primer and Nonpareil Greek.</li>
- <li class="lihang1">Long Primer and other Punches.</li></ul>
-</li></ul></li></ul></li></ul>
-
-<p>Respecting one of the founts in this foundry a special interest exists, which
-calls for particular reference here. Among the “Meridionals” in the list is
-included a “Coptic (the new hand) 81 matrices,” an entry
-which Mores considers <span class="xxpn" id="p200">{200}</span>
-to be “a mistake of the cataloguers, who had fallen upon something they did
-not understand—we suppose the Alexandrian fount, which from the semblance
-they took to be Coptic. The number 81 was made up with something else which
-they were strangers to, and so are we.”<a class="afnanch" href="#fn376" id="fnanch376">376</a>
-Later on, in noting the various founts
-missing in the collection of John James, he again refers to this “New Coptic,”
-adding, “it certainly was the Alexandrian which they called New Coptic”;<a class="afnanch" href="#fn377" id="fnanch377">377</a>
-and
-a specimen of this Alexandrian Greek duly appears in the catalogue of James’s
-foundry, prepared by Mores in 1778. This fount, which we are thus enabled to
-trace back with tolerable certainty to an earlier date than 1700, is interesting as
-being the first attempt at facsimile reproduction by means of type. The history
-of its origin is vague, but there seems reason to believe that it may have been in
-existence at least half a century before coming into the hands of the Grovers.</p>
-
-<div class="dctr02" id="fg50">
-<img src="images/i200.png" width="600" height="402" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i200lg.png" title="display larger image">Μ</a></span>
- 50. Alexandrian Greek in Grover’s Foundry, <i>ante</i>, 1700.
- (From the Catalogue of James’s Foundry, 1782, p. 10.)</div></div>
-
-<p>In the year 1628 Cyrillus Lucaris, a native of Crete and Patriarch of Constantinople,
-sent to King Charles I, by the hand of Sir Thomas Rowe,<a class="afnanch" href="#fn378" id="fnanch378">378</a>
-English
-ambassador to the Grand Seignor, a manuscript of the Bible in four volumes,
-written in Greek uncial or capital letters, without accents or marks of aspiration,
-and supposed to be the work of Thecla, a noble Egyptian
-lady who lived in the <span class="xxpn" id="p201">{201}</span>
-sixth century. This precious work was received by Charles I and deposited in
-the Royal Library of St. James, of which at that time Patrick Young was the
-Keeper.</p>
-
-<p>Young applied himself with enthusiasm to the work of collating and
-examining the Manuscript, with a view to putting forward a literal transcript of
-its contents in print. Having published at Oxford, in 1633, an edition of the
-first epistle of <i>Clemens Romanus to the Corinthians</i>, in Greek and Latin, the text
-of which is included in the Alexandrian MS., he was encouraged to put forward,
-in 1637, his <i>Catena on Job</i>, which contained the entire text of that book transcribed
-from the same Codex. This book was printed in the Greek types of
-the Royal printing office, purchased under the peculiar circumstances already
-detailed.<a class="afnanch" href="#fn379" id="fnanch379">379</a>
-After this, says Gough, Young “formed the design of printing the
-entire text of the Codex in facsimile type, of which, in 1643, he printed a
-<i>Specimen</i>, consisting of the first chapter of <i>Genesis</i>, with notes, and left behind
-him scholia as far as to the fifteenth chapter of <i>Numbers</i>.”<a class="afnanch" href="#fn380" id="fnanch380">380</a></p>
-
-<p>Of this specimen, unfortunately, no copy can be discovered; although as to
-the existence of such a document there is no lack of contemporary evidence.
-In his Prolegomena to the <i>London Polyglot</i> of 1657, Bishop Walton, who had
-made a careful study of the Codex, and availed himself freely of Young’s notes,
-distinctly states that he had seen the specimen, and that the proposal to carry
-through the work had been discouraged by the advice of Young’s friends.<a class="afnanch" href="#fn381" id="fnanch381">381</a>
-Walton shows a few words of the Alexandrian Greek, poorly cut in wood, among
-the specimens in his Prolegomena: a circumstance which would suggest that in
-1657 the matrices used for Junius’ facsimile, if in existence, were not then
-available.</p>
-
-<p>Walton’s statement was confirmed by Grabe, Mill, and others, who made
-a study of the Codex and its history; and in 1707 Young’s biographer and
-successor in the task of preparing the Codex for print, Dr. Thomas Smith,
-repeated it with the authority of one who had also personally inspected the
-Specimen.<a class="afnanch" href="#fn382" id="fnanch382">382</a>
-<span class="xxpn" id="p202">{202}</span></p>
-
-<p>It has been assumed by later writers that both Walton and Thomas Smith
-made reference to a proposed <i>facsimile</i> reprint of the Manuscript; and Gough’s
-circumstantial statement, already quoted (which is adopted by Nichols and
-copied by others, such as Horne, Edwards, etc.), leaves little doubt that the
-chapter of <i>Genesis</i> was actually put forward in 1643, in facsimile type, as a
-specimen of the forthcoming work. The evidence as to the existence of the
-types receives further countenance from the presence of these matrices in
-Grover’s foundry, certainly before the year 1700.</p>
-
-<p>Anthony à Wood states that Young’s project excited much curiosity and
-expectation, and that in 1645 an ordinance was read for printing and publishing
-the <i>Septuagint</i>, under the direction of Whitelock and Selden. The troublous
-times which ensued, however, as well as certain doubts as to the fidelity with
-which the original text was being treated by the transcriber, led to the
-abandonment of the scheme during Young’s tenure of office, which ceased in
-1649. In that year Bulstrode Whitelock became Library Keeper, and consequently
-custodian of the MS. It would appear, however, from a sentence in
-one of Usher’s letters,<a class="afnanch" href="#fn383" id="fnanch383">383</a>
-that as late as 1651 Young retained his purpose of
-publishing the Bible from the text of the Codex, but his death in the following
-year finally stopped the enterprise.</p>
-
-<p>What became of the specimen chapter of <i>Genesis</i> it is impossible to say.
-Bishop Walton, as he himself states, acquired possession of the scholia to the
-end of <i>Numbers</i> and the remainder of Young’s Greek and Latin MSS., Wood
-informs us, came to the hands of Dr. Owen, Dean of Christ Church, Oxford.
-Assuming the matrices to have existed, their natural location would be either
-the Royal Printing Office, or the foundry in which already had been deposited
-the Greek types and matrices used in the <i>Catena on Job</i>. If, however, they
-remained in the St. James’s Library, it is possible to conceive of their disappearance
-for a considerable period, as Whitelock’s principal duties during his term of
-office appear to have been to check the depredations which in Young’s own time
-had already deprived the Library of many of its treasures.<a class="afnanch" href="#fn384" id="fnanch384">384</a>
-<span class="xxpn" id="p203">{203}</span></p>
-
-<p>At the Restoration, the Keepership of the Library was bestowed on
-Thomas Rosse, by whom was once more revived the suggestion of reproducing
-the Alexandria Codex in facsimile, not this time by means of type, but by
-copper-plate. This circumstance is thus related by Aubrey in his inedited
-<i>Remains of Gentilism and Judaism</i>, preserved among the Lansdowne MSS. in
-the British Museum.<a class="afnanch" href="#fn385" id="fnanch385">385</a></p>
-
-<blockquote class="din2">
-<p>“.&#160;.&#160;.&#160;. y<sup>e</sup> Tecla MS. in
-S<sup>t</sup> James Library .&#160;.&#160;. was sent as a
-Present to King Charles the First, from Cyrillus, Patriark
-of Constantinople: as a jewell of that antiquity not fit
-to be kept among Infidels. Mr. .&#160;.&#160;. Rosse
-(translator of Statius) was Tutor to y<sup>e</sup> Duke
-of Monmouth who gott him the place (of) Library-Keeper
-at S<sup>t</sup> James’s: he desired K. Cha. I (<i>sic</i>)
-to be at y<sup>e</sup> chardge to have it engraven in
-copper-plates, and told him it would cost but £200; but
-his Ma<sup>ty</sup> would not yeild to it. Mr. Ross sayd
-‘that it would appeare glorious in History, after his
-Ma<sup>ty’s</sup> death.’ ‘Pish,’ sayd he, ‘I care not what
-they say of me in History when I am dead.’ H. Grotius,
-J. G. Vossius, Heinsius, etc., have made Journeys into
-England purposely to correct their Greeke Testaments by
-this Copy in S<sup>t</sup> James’s. S<sup>r</sup> Chr. Wren
-sayd that he would rather have it engraved by an Engraver
-that could not understand or read Greek, than by one that
-did.”</p></blockquote>
-
-<p>The Manuscript was subsequently handed, in 1678, to Dr. Thomas Smith
-to collate and edit, with a view to its reproduction; but once again the scheme
-fell through, and (with the exception of Walton’s <i>Polyglot</i>) it was not till Grabe,
-in 1707, published his <i>Octateuch</i> (accompanying his preface by a small copper-plate
-specimen of the MS.), that any considerable portion of the Bible appeared
-from this ancient text.</p>
-
-<p>Of the subsequent successful attempt to produce the entire Manuscript in
-facsimile type we have spoken elsewhere.<a class="afnanch" href="#fn386" id="fnanch386">386</a>
-Meanwhile, we find from the
-facts here given, that in 1643 a specimen of a portion of the text of the
-Codex is said to have been issued in facsimile type; that constant efforts had
-been made during the latter half of the seventeenth century to carry out
-Patrick Young’s purpose of reproducing the entire Bible in this form; that
-in 1657 Bishop Walton was presumably unaware of the existence of any
-matrices from which to exhibit a specimen of the uncial Greek of the Codex;
-that Grabe, similarly ignorant, made use of copper-plate in 1707 for a similar
-purpose; but that prior to the year 1700, concealed under the erroneous name
-of “Coptic—the new hand,” there existed in the foundry of the Grovers (where
-already were deposited several of the “King’s House” matrices, as well as those
-of the Greek fount used in Junius’ <i>Catena on Job</i> in 1637) a set of matrices
-consisting of a single alphabet of the Alexandrian Greek, which apparently
-lay undetected until 1758, when that foundry came into
-the hands of John <span class="xxpn" id="p204">{204}</span>
-James, or more probably until 1778, when Rowe Mores applied himself to the
-task of arranging and cataloguing the various matrices of interest in that
-miscellaneous collection.</p>
-
-<div class="dctr02" id="fg51">
-<img src="images/i204a.png" width="1200" height="202" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i204alg.png"
- title="display larger image">Μ</a></span>
- 51. Scriptorial in Grover’s Foundry, 1700. (From the
- original matrices.)</div></div>
-
-<div class="dctr02" id="fg52">
-<img src="images/i204b.png" width="600" height="342" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i204blg.png" title="display larger image">Μ</a></span>
- 52. Court Hand in Grover’s Foundry, 1700. (From the
- Catalogue of James’s Foundry, 1782, p. 16.)</div></div>
-
-<div class="dctr02" id="fg53">
-<img src="images/i204c.png" width="600" height="109" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i204clg.png" title="display larger image">Μ</a></span>
- 53. Union Pearl in Grover’s Foundry, 1700. (From the
- original matrices.)</div></div>
-
-<p>It may be added that the letters of this fount (like those of the old Greek,
-Court Hand, Scriptorial and Union Pearl in the same foundry) are struck
-inverted in the copper<a class="afnanch" href="#fn387" id="fnanch387">387</a>; a peculiarity which may be due either to their foreign
-execution, or to the ignorance of the English striker, and which, in either case,
-goes far to account for the confusion which existed respecting their identity.</p>
-
-<p>Unfortunately, the link which might definitely connect these Alexandrian
-matrices with the facsimile types of Patrick Young is, in the absence of any
-copy of the specimen chapter of <i>Genesis</i> of 1643,
-wanting. But, apart even <span class="xxpn" id="p205">{205}</span>
-from this, the fount undoubtedly claims the distinction of being the first attempt
-at facsimile by means of type<a class="afnanch" href="#fn388" id="fnanch388">388</a>; on which account this somewhat lengthy note
-as to its history will, perhaps, be pardoned.</p>
-
-<p>Thomas Grover had several daughters, one of whom, Cassandra, was the
-wife of Mr. Meres<a class="afnanch" href="#fn389" id="fnanch389">389</a>; and Mr. Meres’ daughter Elizabeth was the wife of Mr.
-Richard Nutt.<a class="afnanch" href="#fn390" id="fnanch390">390</a> On Thomas Grover’s death<a class="afnanch" href="#fn391" id="fnanch391">391</a>
-his foundry became the joint
-property of all his daughters, who attempted to dispose of it by private contract
-in 1728, when it was appraised by Thomas James and William Caslon. Mr.
-Caslon actually made an offer for its purchase, but at so low a figure that it was
-not accepted. The foundry therefore remained locked up in the house of
-Mr. Nutt, who appears to have been a printer, and to have provided himself
-with type for his own use during his tenure of the matrices. Finally, on the
-death of all Grover’s daughters, the foundry became Mr. Nutt’s absolutely, and
-was by him sold on the 14th September 1758 to John James.</p>
-
-<hr class="hr24" />
-
-<h3 title="GODFREY HEAD, 1685">GODFREY
- HEAD, 1685,<a class="afnanch" href="#fn392"
- id="fnanch392">392</a></h3>
-
-<p class="pcontinue">was one of the authorised founders in
-1685, when the following record against him was entered on
-the Court minutes of the Stationers’ Company:―</p>
-
-<blockquote class="din2">
-
-<p>“The next dividend of the Stock of Mr. Godfrey Head to be detained in the
-treasurer’s hand until further order, for his not giving a due account of the letter he
-is to cast, as the Act of Parliament prescribes.—1685.</p>
-
-<p>“Godfrey Head’s dividend paid on his submission, and giving 20<i>s.</i> to the
-poor’s box.” <span class="xxpn" id="p206">{206}</span></p></blockquote>
-
-<p>His foundry, Mores informs us, was in St. Bartholomew’s Close. Whether
-Head succeeded to it or established it, we are unable to ascertain. Of his productions,
-two founts only can be traced with any certainty, the Pica Greek
-and the English Black, both of which subsequently passed into Mr. Caslon’s
-foundry. He was succeeded by</p>
-
-<h3 title="ROBERT MITCHELL">ROBERT MITCHELL,</h3>
-
-<p class="pcontinue">who
-had formerly been servant to Mr. Grover. Mitchell removed the foundry first
-to Jewin Street, and afterwards, says Mores, “lived over Cripplegate, and afterwards
-in Paul’s Alley, between Aldersgate Street and Red Cross Street. His
-foundry, containing nothing very curious, unless it were the Blacks, was on the
-26th July 1739 purchased by William Caslon and John James jointly, and
-divided between them.”</p>
-
-<div class="dkeeptogether">
-<p>The following is Mores’ summary of the contents of this foundry, at its
-partition:―</p>
-
-<ul class="dmgnfndry">
- <li><h4 title="Mr. ROBERT MITCHELL’S FOUNDERY"><span class="fsz6">“Mr.
- ROBERT MITCHELL’S FOUNDERY.</span></h4>
-<ul class="fsz6">
- <li class="pcenter padtopc"><span class="fsz6">MR.
- CASLON’S CHOICE.</span>
-<ul class="ulina">
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica.</li></ul></li>
-
- <li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lihang1">4-line Pica‡</li>
- <li class="lihang1">2-line Great Primer‡</li>
- <li class="lihang1">2-line English‡</li>
- <li class="lihang1">2-line Pica‡</li>
- <li class="lihang1">and Great Primer, English, Long Primer, Brevier,
- and Nonpareil.</li>
-</ul><span class="dright">‡full-face capitals.</span></li>
-
- <li><i>English</i> (Black).―
-<ul class="ulina">
- <li class="lihang1">Great Primer, English, Pica, Long Primer, Brevier,
- Small Pica.</li></ul></li>
-
- <li class="lihang1">The <i>Music</i> matrices.
- The <i>Flower</i> matrices.</li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">MR.
- JAMES’S SHARE.</span>
-<ul class="ulina">
- <li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lihang1">Canon, 2-line Great Primer, 2-line English, Double Pica (small
- faced), Great Primer (3 founts), English (large face), Pica,
- Brevier (3 founts), Small Pica, Minion, Pearl
- (2 founts).</li></ul></li>
-
- <li><i>Algebra.</i>―
-<ul class="ulina">
- <li class="lihang1">English.</li></ul></li>
-
- <li><i>Cancelled Figures.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica.</li></ul></li>
-
- <li><i>Almanac matrices.</i>―
-<ul class="ulina">
- <li class="lihang1">Long
- Primer.</li></ul></li></ul></li></ul></li></ul>
-</div><!--dkeeptogether-->
-
-<hr class="hr24" />
-<div class="dkeeptogether">
-<h3 title="THE “ANONYMOUS” FOUNDRY">THE “ANONYMOUS” FOUNDRY.</h3>
-
-<p>Over and above the foundries described by Mores as
-having been absorbed by that of Thomas and John James,
-there remained in his possession a certain number of
-matrices—some of them of some importance—of whose former
-owners he was unable to give us an account. “These may
-be considered as a distinct foundery,” he says, “and
-distinguished by the title of ‘anonymous,’ for we know
-not whence they came. Our account of Mr James’s purchases
-is accurate, and these are not included amongst them, but
-at the end of our scrutiny remained unclaimed. Let them
-be called ‘The Anonymous Foundry’.” <span class="xxpn"
-id="p207">{207}</span> We do not presume to step in
-where Rowe Mores fears to tread, and therefore leave
-the matrices, of which the following is his list, still
-unappropriated:―</p></div>
-
-<ul class="dmgnfndry">
- <li class="pcenter padtopc"><h4 title="THE ANONYMOUS FOUNDERY,
- absq. dat."><span class="fsz6">“THE
- ANONYMOUS FOUNDERY,</span> <i>absq. dat.</i></h4>
-<ul class="fsz6">
- <li class="pcenter padtopc"><span class="fsz6">ORIENTALS.</span>
-<ul class="ulina">
- <li><i>Arabic.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica.</li></ul></li>
-
- <li><i>Æthiopic.</i>―
-<ul class="ulina">
- <li class="lihang1">English.</li></ul></li>
-</ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">OCCIDENTALS.</span>
-<ul class="ulina">
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer.</li></ul></li>
-
- <li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer.</li>
- <li class="lihang1">English.</li>
- <li class="lihang1">Long Primer.</li>
- <li class="lihang1">Brevier.</li>
- <li class="lihang1">2-line Double Pica full face capitals.</li>
- <li class="lihang1">2-line Great Primer full face capitals.</li>
- <li class="lihang1">2-line English full face capitals.</li>
- <li class="lihang1">2-line Pica full face capitals.</li>
- <li class="lihang1">Small Pica.</li>
- <li class="lihang1">Bourgeois.</li>
- <li class="lihang1">Nonpareil.</li>
- <li class="lihang1">Pearl.</li></ul></li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">SEPTENTRIONALS.</span>
-<ul class="ulina">
- <li><i>Gothic.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica.</li></ul></li>
-
- <li><i>Anglo-Norman.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica.</li></ul></li>
-
- <li><i>English.</i>―
-<ul class="ulina">
- <li class="lihang1">English.</li>
- <li class="lihang1">Pica.</li>
- <li class="lihang1">Long Primer.</li>
- <li class="lihang1">Small Pica.</li></ul></li></ul></li></ul>
-
- <p class="psignature plh11"><span class="fsz7">(“of
- all of which a more full account will be given
- in the ensuing catalogue.”)</span></p></li></ul>
-
-<hr class="hr24" />
-
-<div class="dkeeptogether">
-<h3 title="OXFORD FOUNDERS">OXFORD FOUNDERS.</h3>
-
-<p><span class="smcap">P<b>ETER</b> W<b>ALPERGEN</b>,</span> or Walberger, as we have stated in our account of
-the Oxford Foundry, was doubtless the individual alluded to by Bagford when, in
-recounting Fell’s services to Oxford, he says: “The good Bishop provided from
-Holland .&#160;.&#160;. a Letter Founder, a Dutchman by birth, who had served the
-States in the same quality at Batavia in the East Indies.”<a class="afnanch" href="#fn393" id="fnanch393">393</a>
-Bagford, it
-is true, does not name this founder, but as there exists in the Bodleian
-Library a copy of a Portuguese version of <i>Æsop’s Fables</i>, edited by Jo. Ferreira
-d’Almeida, and printed at Batavia by Pedro Walberger in 1672,<a class="afnanch" href="#fn394" id="fnanch394">394</a>
-we have no
-hesitation in identifying our founder with this Dutch typographer, and in
-fixing his settlement at Oxford somewhere about the above date, which, it will
-be remembered, was the year in which Fell and others took upon them the
-charge of the University Press, and furnished from abroad all the necessaries for
-its use and advancement.</p></div>
-
-<p>That he was well known at Oxford in 1683 is also apparent from a casual
-reference to “Mr. Walberger of Oxford” in Moxon’s <i>Mechanick Exercises</i>,<a class="afnanch" href="#fn395" id="fnanch395">395</a>
-where the writer dwells with some minuteness on a peculiar and elaborate tool,
-called the “Joynt-Flat-Gauge,” contrived by this founder for polishing the faces
-of his punches after hardening them, and before striking
-them into the copper. <span class="xxpn" id="p208">{208}</span></p>
-
-<p>It was doubtless from this casual notice that Rowe Mores derived his scant
-reference to Walpergen, of whom he knows nothing, save that he founded at
-Oxford in 1683, was sometimes called Walperger, and by name appears to have
-been a foreigner, therefore probably a “transient,” by means of his countryman
-Michael Burghers, the University engraver.</p>
-
-<p>Of Walpergen’s work little is known beyond the fact that he appears to have
-devoted his attention chiefly to the production of Music type, impressions of which
-appear in the University <i>Specimen</i> of 1695. The punches and matrices of this
-interesting fount are still preserved at Oxford, and are singular relics of the old
-letter-founders’ art.<a class="afnanch" href="#fn396" id="fnanch396">396</a></p>
-
-<div class="dctr01" id="fg54">
-<img src="images/i208.png" width="600" height="229" alt="" />
-<div class="dcaption">
- 54. Music, cut by Walpergen, Oxford, <i>circ.</i> 1695. (From
- the original matrices.)</div></div>
-
-<p>Although the Music was the only fount cut by Walpergen of which we have
-any certain knowledge, it is probable that the experienced Dutch artist, whom
-Bagford describes as an excellent workman, did not confine his labours to that
-class of work. What were his exact relations with the University Press is also a
-matter of conjecture. But it seems probable, from the manner in which he is
-spoken of by Moxon, and in the Oxford <i>Specimen</i>, that he practised as a letter-founder
-on his own account, and not wholly as an official of the University.</p>
-
-<p>He died in 1714.<a class="afnanch" href="#fn397"
-id="fnanch397">397</a> Among the University archives
-is preserved an inventory of his chattels, which, if a
-full account of his earthly possessions, speaks <span
-class="xxpn" id="p209">{209}</span> poorly for the
-profits of the profession of letter-founding in those
-days. This highly interesting document runs as follows<a
-class="afnanch" href="#fn398" id="fnanch398">398</a>:―</p>
-
-<div class="section"><div class="dtablebox">
-<table class="fsz6" summary="">
-<thead>
-<tr>
- <td colspan="4"><div><i>An inventory of the Chattels of Peter De Walpergen,
- deceased, taken the tenth day of January 1714–5.</i></div>
- <div>Being the Moiety of a Fount of Musick.</div></td></tr>
-<tr>
- <th></th>
- <th><i>£</i></th>
- <th><i>s.</i></th>
- <th><i>d.</i></th></tr>
-</thead>
-<tbody>
-<tr>
- <td class="tdleft"><p class="phanga">Two hunderd and two pounds
- weight of Mettal (? cast type) at four pence per pound his part
- is</p></td>
- <td class="tdright">1</td>
- <td class="tdright">13</td>
- <td class="tdright">8</td></tr>
-<tr>
- <td class="tdleft"><p class="phanga">One hunderd fourty seven Matrices at
- one Shilling per piece his part is</p></td>
- <td class="tdright">3</td>
- <td class="tdright">13</td>
- <td class="tdright">6</td></tr>
-<tr>
- <td class="tdleft"><p class="phanga">Nine quadrats at two pence per piece
- his part is</p></td>
- <td class="tdright">0</td>
- <td class="tdright">0</td>
- <td class="tdright">9</td></tr>
-<tr>
- <td class="tdleft"><p class="phanga">Four moulds at two shillings six pence
- per piece his part</p></td>
- <td class="tdright">0</td>
- <td class="tdright">5</td>
- <td class="tdright">0</td></tr>
-<tr>
- <td class="tdleft"><p class="phanga">Sixty three puncheons at five shillings
- (<i>i.e.</i>, for the lot) his part</p></td>
- <td class="tdright">0</td>
- <td class="tdright">2</td>
- <td class="tdright">6</td></tr>
-<tr>
- <td class="tdleft"><p class="phanga">Four cases at four shillings his
- part</p></td>
- <td class="tdright">0</td>
- <td class="tdright">2</td>
- <td class="tdright">0</td></tr>
-<tr>
- <td class="tdleft"><p class="phanga">Two galleys at two shillings
- his part</p></td>
- <td class="tdright">0</td>
- <td class="tdright">1</td>
- <td class="tdright">0</td></tr>
-<tr>
- <td class="tdleft"><p class="phanga">A box at sixpence his
- part</p></td>
- <td class="tdright">0</td>
- <td class="tdright">0</td>
- <td class="tdright">3</td></tr>
-</tbody></table>
-<p class="psignature fsz6">Appraised by us,
- <span class="smcap">L<b>EONARD</b> L<b>ICHFIELD</b>.</span><br />
- <span class="smcap">R<b>ICHARD</b> G<b>REEN.</b></span></p>
-</div><!--dtablebox--></div><!--section-->
-
-<p>The extraordinarily low value of the punches is quite consistent with the
-esteem in which these now precious steel originals were held at the time, after
-once being struck.</p>
-
-<p>Walpergen’s music matrices were secured by the University Press, in whose
-<i>Specimens</i> the type had already figured for some years; but we have, so far,
-been unable to discover any important works in which the character was used.</p>
-
-<div class="dkeeptogether">
-<p><span class="smcap">S<b>YLVESTER</b> A<b>NDREWS</b>,</span> who succeeded to Walpergen’s foundry before the
-year 1714, was the son of Robert Andrews, the London founder. His foundry,
-which, with the exception of one alphabet of Hebrew, consisted entirely of
-Roman and Italic, was, Rowe Mores informs us, nothing compared with that of
-his father, and was indeed a part of his father’s. The following is the list of his
-matrices:―</p>
-
-<ul class="dmgnfndry">
- <li><h4 title="Mr. SILVESTER
- ANDREWS’ FOUNDERY">“<span class="smcap">M<b>R.</b></span> SILVESTER
- ANDREWS’ FOUNDERY; <i>furtim</i>:</h4>
-<ul class="fsz6">
- <li class="pcenter padtopc"><i>Hebrew.</i>
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">30</span>
- Brevier (at first 33)</li></ul></li>
-
- <li class="pcenter padtopc"><i>Roman and Italic.</i>
-<ul class="ulina">
- <li class="lihang1">2-line English Capitals <span class="sppref">...</span></li>
- <li class="lihang1"><span class="sppref">125</span>
- Great Primer Roman, large face</li>
- <li class="lihang1"><span class="sppref">82</span>
- Great Primer Italic</li>
- <li class="lihang1"><span class="sppref">148</span>
- English Roman</li>
- <li class="lihang1"><span class="sppref">98</span>
- English Italic</li>
- <li class="lihang1"><span class="sppref">153</span>
- Pica Roman, large face</li>
- <li class="lihang1"><span class="sppref">148</span>
- Pica Roman, small face</li>
- <li class="lihang1"><span class="sppref">110</span>
- Pica Italic</li>
- <li class="lihang1"><span class="sppref">27</span>
- Pica Roman, lower case</li>
- <li class="lihang1"><span class="sppref">119</span>
- Long Primer Roman</li>
- <li class="lihang1"><span class="sppref">102</span>
- Long Primer Italic</li>
- <li class="lihang1"><span class="sppref">130</span>
- Brevier Roman, large face</li>
- <li class="lihang1"><span class="sppref">135</span>
- Brevier Roman, small face</li>
- <li class="lihang1"><span class="sppref">105</span>
- Brevier Italic (2 sets of Capitals)</li>
- <li id="p210">2-line Pica Italic <span class="sppref">...</span></li>
- <li class="lihang1"><span class="sppref">146</span>
- Small Pica Roman</li>
- <li class="lihang1"><span class="sppref">28</span>
- Small Pica Italic</li>
- <li class="lihang1">Minion Roman and Italic <span class="sppref">...</span></li>
- <li class="lihang1"><span class="sppref">140</span>
- Nonpareil Roman, large face</li>
- <li class="lihang1"><span class="sppref">105</span>
- Nonpareil Italic</li>
- <li class="lihang1"><span class="sppref">94</span>
- Nonpareil Roman, small face</li>
- <li class="lihang1"><span class="sppref">98</span>
- Pearl Roman</li>
- <li class="lihang1"><span class="sppref">38</span>
- Pearl Italic</li></ul></li></ul></li></ul>
-</div><!--dkeeptogether-->
-
-<p>Although his stock of matrices was limited, he appears to have done a
-considerable business, not only with the University, in whose service he was
-probably retained, but also with other printers practising in Oxford, notably
-with John Baskett, the king’s printer, to whom, with two others, the “Chancellor,
-Masters and Scholars of the University,” leased their “privilege and interest in
-printing” for twenty-one years from March 1713.</p>
-
-<p>In the year 1719 Baskett, who had two years previously produced the magnificent
-“Vinegar” <i>Bible</i><a class="afnanch" href="#fn399" id="fnanch399">399</a>
-at Oxford, mortgaged his stock and privilege at the
-University to James Brooks, stationer, of London, as security for a loan of
-£3,000. And in a schedule attached to an indenture, dated May 23, 1720,
-having reference to this transaction, occurs an inventory of the type at that
-time in the printer’s possession, which is highly interesting, not only as throwing
-light on Andrews’ business, but as indicating the contents of a large office of the
-period, and the extent to which Dutch type at that time competed in this
-country with English. The schedule is as follows:―</p>
-
-<div class="dkeeptogether">
-<ul class="dmgnfndry">
- <li><h4 title="JOHN BASKETT'S STOCK AND IMPLEMENTS"><i>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 Staconer of London</i>:―</h4>
-
-<ul class="fsz6">
- <li class="lihang4">A Large ffount of Perle Letter Cast by Mr. Andrews.</li>
- <li class="lihang4">A Large ffount of Nonp<sup>l</sup> Letter, New-Cast by ditto.</li>
- <li class="lihang4">Another ffount of Nonp<sup>l</sup> Letter, Old, the whole standing and Sett up in a Com’on Prayer in 24mo Compleat.</li>
- <li class="lihang4">A large ffount of Min<sup>n</sup> Letter, New-Cast by Mr. Andrews.</li>
- <li class="lihang4">Another Large ffount of Min<sup>n</sup> Letter, New-Cast in Holland.</li>
- <li class="lihang4">The whole Testament standing in Brev<sup>r</sup> and Min<sup>n</sup> Letter, Old.</li>
- <li class="lihang4">A Large ffount of Brev<sup>r</sup> Letter, New-Cast in Holland.</li>
- <li class="lihang4">A very Large ffount of Lo. Prim<sup>r</sup> Letter, New-Cast by Mr. Andrews.</li>
- <li class="lihang4">A Large ffount of Pica Letter, very good, cast by ditto.</li>
- <li class="lihang4">Another Large ffount of ditto, never used, Cast in Holland.</li>
- <li class="lihang4">A small Quantity of English, New-Cast by Mr. Andrews.</li>
- <li class="lihang4">A small Quantity of Great Prim<sup>r</sup>, New-Cast by ditto.</li>
- <li class="lihang4">A very Large ffount of Double Pica, New, the largest in England.<a class="afnanch" href="#fn400" id="fnanch400">400</a></li>
- <li class="lihang4" id="p211">A Quantity of Two Line English Letters.</li>
- <li class="lihang4">A Quantity of ffrench Cannon.</li>
- <li class="lihang4">Two line Letters of all Sorts and a Sett of Silver Initiall Letters.</li>
- <li class="lihang4">Cases, Stands, etc.</li>
- <li class="lihang4">ffive Printing Presses, very good, with other
-Ap­pur­te­nan­ces, etc.</li></ul></li></ul>
-
-</div><!--dkeeptogether-->
-
-<p>The schedule is signed
-“Jno. Baskett.”<a class="afnanch" href="#fn401" id="fnanch401">401</a></p>
-
-<div class="dkeeptogether">
-<p>In 1733 Sylvester Andrews’ foundry was purchased, at the same time with
-that of his father, by Thomas James, and removed to London. His epitaph
-remains, and gives an amusing glimpse of his character and the reputation he
-bore at Oxford.</p>
-
-<blockquote>
-<div><i>On a Letter-Founder
-at Oxford.</i></div>
-
-<ul class="nowrap padtopc">
- <li class="lihang4"><span class="spqut">“</span>Underneath this stone lies honoured Syl</li>
- <li class="lihang4"><span class="spqutspc">Who</span> died, though much against his will;</li>
- <li class="lihang4"><span class="spqutspc">Yet,</span> in his fame he will survive―</li>
- <li class="lihang4"><span class="spqutspc">Learning</span> shall keep his name alive;</li>
- <li class="lihang4"><span class="spqutspc">For</span> he the parent was of letters,―</li>
- <li class="lihang4"><span class="spqutspc">He</span> founded, to confound his betters;</li>
- <li class="lihang4"><span class="spqutspc">Though</span> what those letters should contain</li>
- <li class="lihang4"><span class="spqutspc">Did</span> never once disturb his brain.</li>
- <li class="lihang4"><span class="spqutspc">Since,</span> therefore, reader, he is gone,</li>
- <li class="lihang4"><span class="spqutspc">Pray</span> let him not be trod upon.”<a class="afnanch" href="#fn402" id="fnanch402">402</a></li>
-</ul></blockquote>
-
-<div class="dctr09">
-<img src="images/i211.png" width="512" height="202" alt="" /></div>
-</div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p212">
-<img src="images/i212a.png" width="600" height="148" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER X. THOMAS AND JOHN
- JAMES, 1710.">
-<span class="hblk fsz6">CHAPTER X.</span>
-<span class="hblk"><img class="ihrch" src="images/i212b.png"
-width="242" height="34" alt="" /></span>
-THOMAS AND JOHN JAMES, 1710.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i212c.png"
-width="511" height="539" alt="T" />
-</span>HOMAS JAMES was the son of the Rev. John James,
-vicar of Basingstoke.<a class="afnanch" href="#fn403" id="fnanch403">403</a>
-He served his apprenticeship to
-Robert Andrews, but quitted his service prior to the year
-1710, in order to start business on his own account.
-Impressed, doubtless, with the present low condition of
-the art in England, and lacking the skill to regenerate
-it by his own labour, he determined to visit Holland and
-procure for himself, from that famous typographical
-market, the matrices and moulds necessary for establishing
-a successful foundry <span class="xxpn" id="p213">{213}</span>
-in London. The characteristic letters in which he describes this expedition
-to his brother are given by Rowe Mores,<a class="afnanch" href="#fn404" id="fnanch404">404</a>
-and present so instructive and entertaining
-a picture of the Dutch type-founders of the day, that we are tempted to copy
-them <i>in extenso</i>.</p>
-
-<blockquote class="din2">
-<p>“<i>Rotterdam, 22 June 1710.</i>—I have been with all the Letter Founders in Amsterdam,
-and if I would have given —— for matrices, could not persuade any of ’em but the
-last I went to, to part with any. So far from it that it was with much ado I could get
-them to let me see their business. The Dutch letter founders are the most sly and
-jealous people that ever I saw in my life. However this last man (being as I perceived
-by the strong perfume of Geneva waters a most profound sot) offers to sell
-me all his house for about —— I mean the matrices: for the punchions with them he
-will not sell for any money. But there being about as much as he would have
-—— for, Hebrew and other Oriental languages such as Syrian, Samaritan and
-Russian characters, I would not consent to buy ’em. But the rest consisting of
-about 17 sets of Roman and Italic capitals and small letters, and about 5
-sets of capital letters only, and 3 sets of Greek, besides a set or two of Black
-with other appurtenances, these I design to buy. He is not very fond of selling
-them because it will be a great while before he can furnish himself again. However
-I believe I shall have ’em for less than —— a matrice, which as he says is cheaper
-than ever they were his; but having most of the punches he can sink ’em again and
-so set himself to rights with little trouble and less charge.”</p></blockquote>
-
-<p>The next letter, dated Rotterdam, 14th July 1710, describes graphically the
-difficulties which James encountered in driving his bargain to a conclusion.</p>
-
-<blockquote class="din2">
-<p>“I took a place in the waggon for Tergoes and from thence in a scayte for
-Amsterdam, where I arrived at 5 o’clock on Monday morning 10 July. As soon
-as I thought the person I have dealt with was stirring I went to confer with him
-farther about his matrices; but instead of finding all things set in order for sale, I
-found him less provided than when I was with him before; for indeed he had lent
-about eight sets of matrices to another Letter Founder. I let him know my mind by
-an interpreter. He told me what a disposition his things were in, and said he had
-rather part with some particular sets than with all. In short, I found he had not a
-mind to part with any but those which he esteemed least, and those of which he had
-the puncheons by him to sink again when he pleased. I told him that I came
-expecting to make an end of the bargain, if he would part with all the sets I had seen
-in his proof for the price I had offered. The man hesitated a good while and at last
-told me he would advise about it. I told him I’d have him resolve presently, and
-showed him the bill .&#160;.&#160;. The sight of the bill made the man begin to be a little more
-serious than before; so after a few more words he told me he would send for his other
-sets in the afternoon. I told him <i>that</i> he might do, but in the meantime I would
-survey those he had by him; so he had a table set and he fetched his matrices to me.
-The reason why I would not stir out of his house till I had taken a survey of his
-matrices was, because I was fearful that he might pick and cull
-(as we call it) a great <span class="xxpn" id="p214">{214}</span>
-many things which are useful in printing besides just the alphabets; and indeed lest
-he might change some whole sets; though indeed the man declares he would not do a
-thing so ill for his life. However I having all the matrices brought into one room
-locked ’em up and took the key away with me, and went to dinner. In the afternoon
-I went again with my interpreter (being an Exchange Broker) where we sat all the
-afternoon viewing the matrices. At night I locked ’em up again and took the key with
-me, and on Tuesday morning presented my bill, which was accepted and paid
-immediately. But I should have told you that the afternoon before he sent his wife
-to speak to the people to send home the other sets; but she brought a note from the
-house and said the master who had the key and keeping of ’em was gone a great
-way out of town to the burial of his mother, and they did not expect him back till
-Wednesday. This news was very disagreeable to me; but not knowing how to help
-myself, on Tuesday, after having viewed all day those he had, I paid him ——, and
-took ’em along with me to my lodging when it was too late to send to you by the post
-from Amsterdam. On Wednesday I went again but could not find the man at home.
-He was gone for the other sets. So I tarried till yesterday and went again and
-received 3 of the 8 sets. The rest are not to be had yet, the man being not
-returned, only his wife who gave him those three sets. So there are wanting but five
-sets more which are all Greeks but one. I took ’em, molds and all, and packed them
-up in a box and sent ’em by an Amsterdam scayte appointed to carry goods for
-Rotterdam. This I did, fearing the <i>Catherine</i> yacht might sail if I tarried for the
-rest. At 8 o’clock last night I took scayte for Tergoes, and arrived there this
-morning. From thence I came hither by waggon and arrived here before 9.”</p></blockquote>
-
-<p>The next letter, dated Rotterdam, 27th July 1710, describes his purchase
-more in detail, and gives particulars as to the Dutch foundries visited.</p>
-
-<blockquote class="din2">
-
-<p>“You are desirous to know whether the matrices I have bought excel those which
-are in the hands of the Letter Founders in England. The beauty of letter like that
-of faces is as people opine; but notwithstanding I had no choice, 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 those. An account
-of the names that I think I shall give the sets I have bought is as follows: The
-largest size I shall distinguish by the name of <i>Four-line Pica</i>, the next by that of
-<i>French Canon</i>, the next by that of <i>Two-line Pica</i>; these three consist of Capitals
-only. The fourth size is a small <i>Canon Italic</i>, the fifth a <i>Two-line English</i> Roman
-and Italic, the sixth <i>Great Primer</i> Roman, of which I have two sets, a great face
-and a small one, with one Italic to them both. The seventh size is an <i>English</i> Roman
-and Italic; the eighth a <i>Pica</i>, of which I have three sets Roman, and one Italic;
-the ninth a <i>Small Pica</i> Roman and Italic, the tenth <i>Long Primer</i>, three sets Roman
-and one Italic, the eleventh, <i>Brevier</i> Roman and Italic. Besides these I have one
-set of <i>Great Primer Greek</i>, one of <i>English Greek</i>, one of <i>Pica Greek</i>, one of <i>Brevier
-Greek</i>, as also one set of <i>Pica Black</i> and one of <i>Brevier Black</i> together with matrices
-of divers sorts of flowers useful as ornaments in printing. To which I have 15
-molds. All the sizes except the three first have Capitals, small letters, double letters,
-figures and points, as also all the accents, amounting in the whole to the number of
-about 3500 matrices. As for sets of Nonpareil and Pearl, I am
-informed nobody in <span class="xxpn" id="p215">{215}</span>
-this country has any but the Jew whose name is Athias.<a class="afnanch" href="#fn405" id="fnanch405">405</a>
-Him I was with first of
-all, who assured me he would part with none of any size whatever, as did likewise
-another man whose name is Foskins.<a class="afnanch" href="#fn406" id="fnanch406">406</a>
-The next I went to was Cupi by name. He
-said he must consult a friend of his before he could give me my answer, which friend
-being gone out of town it would be two or three days before he could certify me.
-The next and last I went to the same day: his name was Rolij,<a class="afnanch" href="#fn407" id="fnanch407">407</a>
-a German by birth.
-Him I soon perceived I should agree with, as afterwards I did. But before I went to
-him I called upon Cupi. He told me he would sell no matrices, but he would cast
-me as much letter as I would have as cheap as anybody. I went to him before I
-agreed with Rolij because I would see which would sell cheapest. But finding them
-all so inflexible I was obliged to agree with Rolij upon his own terms, who, however,
-did not know but I had come to him first, since himself and Cupi are the only letter-cutters
-in this country, and he did not imagine but that if he would not have sold me
-matrices Cupi would, as I found by him afterwards. When Cupi perceived that Rolij
-would sell me some matrices (as, indeed, then Rolij and I had agreed and he received
-1700 gilders in part), he comes to the Exchange-Broker and told him he would sink
-his puncheons again and in half a year’s time deliver me all the matrices he has,
-perfect, after the rate of —— per matrice, but that except I would take all one with
-another, he would sell none at all.</p>
-
-<p>“His Roman letters are very handsome and his Italics ugly, but all printed upon a
-proof of the best paper; with all the care taken in composing and printing imaginable,
-which adds much to the lustre of his letter. In a book it is
-quite another thing; not <span class="xxpn" id="p216">{216}</span>
-so handsome as Rolij’s, whose letter in the proofs I could see in matter looks much
-better than it does in his printed Specimen, which is done with all disadvantage,
-being wretchedly composed and worse printed off, upon very sorry paper. However
-I can see when letters are well proportioned. I have two specimens of
-his letter in matter which look very beautiful. Rolij says whatever matrices I
-want, whether great or small, he’ll cut ’em for me as soon as I give him orders,
-provided it happens before a peace. He told me likewise he would see if he
-could procure any Nonpareil and Pearl of the Jew, I allowing him a reasonable profit
-for his pains. Rolij says he was the man who made
-Foskins<a class="afnanch" href="#fn408" id="fnanch408">408</a>
-father by the letter he cut for him.
-Foskins<a class="afnanch" href="#fn408">408</a>
-is a man of great business, having five or six men constantly
-at the furnace, besides boys to rub, and himself and a brother to do the other work.
-How many men the Jew keeps at work I do not know, for he would not permit me to
-go up into his work-house. Foskins thought I wanted letter to be cast, but when he
-knew that I was a letter founder he looked very sly, and watched me as if I had been
-a thief, being I suppose very fearful that I should steal some of their art from them.
-Cupi was not very forward to let me see his work-house, and the first time avoided it
-by saying he could not stay for he was just going out, but the second time I did see
-it though he was as loth then as before, saying he believed there was nobody at work.
-But I told him the person who was with me wanted to see the trade, and he would
-oblige me by showing it. He had places for four to work, although there was but one
-casting. I did not ask Rolij to show me his work-house the first time I went to him,
-but the second time I went up and saw places for four men and nobody at work.
-I asked him where his men were; he told me they were gone to a fair at Harlem, but
-I believe he had lent them out as well as his matrices to some other letter founder.
-As I was going along the street with him, he told me there was an English gentleman
-that had lodged at such a house (pointing to it), for whom he had cast three hundred
-pounds worth of work not long ago, which if true must have been for Tonson.</p>
-
-<p>“I have bought of Rolij in all thirty sets of matrices, besides the box of flowers
-and 15 molds made of brass as almost all the Dutch molds I saw were. Mr.
-Cupi has in all but eighteen sets of matrices, but is continually, as I hear, cutting
-more, designing in time to set up printing and bookselling too. He is a very close
-and very civil fellow. I do not know but one time or other I may take another trip
-into this country for matrices, for there’s no trusting to anybody here to manage
-business for one. There’s hardly such a thing as an honest man to be found. They
-all live by buying and selling, and whatever they can bite anyone of, they count it
-fairly got in the way of trade. I hear but a very indifferent character of the young
-man, the broker, who interprets for me. He is very expert indeed at that, and I do
-not know what I should have done without him: but I am informed that if it lay in
-his power to come at any of my money, he would contrive some way or other to
-cozen me of it, or part of it at least; for which reason I took particular care. He stood
-very hard with me for a gilder per cent. for every hundred I laid out. The moulds
-and matrices together stand me in ——. I have enquired very diligently of
-abundance of Printers, Booksellers, and of Mr. Rolij whether there are any letter
-founders at Harlem, Leyden, The Hague, Delft or Utrecht. I was told by some they
-knew of none, and by others that there were none, and Rolij assured me there were
-none at any of those places; and I myself saw at
-Foskins<a class="afnanch" href="#fn408">408</a> a
-box with letter in it, <span class="xxpn" id="p217">{217}</span>
-directed for Utrecht; and it seems very probable there may be none at any of these
-places, because letter may be sent from Amsterdam to any of these places as cheap
-by water as a porter in London will carry a burthen half a mile. The box of molds
-and matrices which I bought was brought hither from Amsterdam for twelve stivers
-into the house, the distance about forty English miles. I am told there is one letter
-founder at Tergoes, but I can’t hear of one Englishman or English house in the whole
-town. However I’ll endeavour to find the founder before I leave the country. I have
-been through Tergoes three times, and as often through Harlem, Leyden and Delft,
-but never made any stay in any one of them. I have been twice to the Hague, but
-at such times that I could not see the States House. The town is very fine. One’s
-charges thither and back again are not above a gilder. ‘Tis very easy, and travelling
-would be very pleasant if one were not destitute of company.”</p></blockquote>
-
-<p>On his return to England with his purchases, James
-established his foundry in Aldermanbury, and afterwards
-removed to the Town Ditch.</p>
-
-<div class="dkeeptogether">
-<p>The following is Rowe Mores’ summary of his original matrices:</p>
-
-<ul class="dmgnfndry">
- <li><h3 title="Mr. JAMES’S FOUNDERY">“<span
- class="smcap">M<b>R.</b></span> JAMES’S FOUNDERY.</h3>
-<ul class="fsz6">
- <li class="pcenter padtopc"><span class="fsz6">OCCIDENTALS.</span>―
-<ul class="ulina">
- <li><i>Greek</i>:
-<ul class="ulina">
- <li class="lijust">Great Primer, 191; Pica, 161; Brevier, 141; Small
- Pica, 130.</li></ul></li>
-
- <li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lijust">Two-line English Roman, 148; Italic, 90. Great
- Primer Roman, 111; another Roman, 101; Italic, 123.
- English Roman, 86; Italic, 78. Pica Roman, 109; another
- 80; another, 82; Italic, 95. Long Primer Roman, 140;
- another, 155; another, 141; Italic, 94. Brevier Roman,
- 112; Italic, 97.</li></ul></li>
-
- <li><i>Titles and Irregulars.</i>―
-<ul class="ulina">
- <li class="lijust">Four-line Pica Roman, 35. Canon Roman (Two-line Great
- Primer it is), 33. Small Canon (Two-line English)
- <i>missing</i>. Two-line Pica Roman, 31. Small Pica Roman, 136;
- Italic, 73.</li></ul></li></ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">SEPTENTRIONALS.</span>―
-<ul class="ulina">
- <li><i>English (Blacks).</i>―
-<ul class="ulina">
- <li class="lijust">Pica, 60. Brevier, 65.</li></ul></li>
- <li class="lihang1">Mathematical Marks, Flowers,
- etc.</li></ul></li></ul></li></ul>
-</div><!--dkeeptogether-->
-
-<p>James’ business appears to have thriven for a time, owing doubtless to the
-fact of his being possessed of the matrices of Dutch letter, which at that time
-had quite superseded the home productions in the popular favour. So much
-were they sought after, indeed, that we hear of a great printer like Tonson
-making a special journey to Holland, and there laying out as much as £300
-on Dutch letter. The upper floor, on which the work of the foundry was carried
-on in the house at the Town Ditch, being insufficient in strength for the weight
-of his operations, he removed to the foundry in Bartholomew Close, where he
-continued till the time of his death. “This founding House,” says Rowe Mores,
-“is an edifice disjoined from the dwelling-house, and seems to have been built
-for Mr. James’ own purpose. The dwelling-house is an irregular rambling
-place, formerly in the occupation of Mr. Roycroft, afterwards in that of Mr.
-Houndeslow, afterwards in that of Mr. S. Palmer, author of the <i>General History
-of Printing</i>, and lastly that of the two Mr. James’s, and was a part of the Priory
-of St. Bartholomew. And in this house wrought formerly
-as a journeyman <span class="xxpn" id="p218">{218}</span>
-with Mr. Palmer, a gentleman well known since in the philosophical world, Dr.
-Benj. Franklin of Philadelphia.” Franklin worked here in 1725 for about a
-year, during which time, as he himself states in the interesting note quoted from
-his autobiography at page 15, he was an occasional visitor in James’s typefoundry
-adjoining.</p>
-
-<p>James’ later years were embittered by transactions which tended neither
-to his credit nor his fortunes, and which one would be tempted to pass by
-unnoticed, but that the history of English type-founding is closely involved in
-the narration.</p>
-
-<p>In the year 1725 a Scotch printer complained to William Ged, a respectable
-goldsmith of Edinburgh, of the inconvenience of being compelled to send to
-London or Holland for type, there being no foundry in Scotland at the time,
-and urged him to undertake the business of type-founder. Ged, in considering
-the matter, was struck with the idea of producing plates from whole pages of
-composed type, and after several experiments, satisfied himself that the idea was
-practicable.<a class="afnanch" href="#fn409" id="fnanch409">409</a>
-In 1727 he entered into a contract with an Edinburgh printer to
-prosecute the invention, but the latter being intimidated by the rumoured costliness
-of the process, withdrew from the bargain at the end of two years. In 1729
-Ged entered into a new partnership with William Fenner, a London stationer,
-who offered, for one half of the profits, to find the requisite capital and work
-the undertaking. Fenner introduced him to Thomas James, the founder, and a
-company was shortly afterwards formed, consisting of Ged, Fenner, Thomas
-James, John James, his brother, an architect at Greenwich, and James Ged, son of
-the inventor. Ged’s narrative, which is simple, and to all appearances straightforward,
-represents Thomas James as having played from the first a highly
-dishonourable part in the proceedings of the new company. Being naturally
-selected to provide the necessary type, he supplied worn and battered letter, which
-Ged was compelled to reject as useless. Ged next applied to the King’s printers,
-who had recently discarded James’s type in favour of the highly superior letter of
-William Caslon, for permission to take plates from some formes of their new
-letter. The printers consulted Mr. Caslon, who not only denied
-the utility of <span class="xxpn" id="p219">{219}</span>
-the invention, but asserted that he could, if he chose, make as good plates as
-Ged.<a class="afnanch" href="#fn410" id="fnanch410">410</a>
-A wager of £50 ensued. Each of the disputants was furnished with a
-page of type, and allowed eight days for producing the plate. At the end of a
-single day Ged produced three plates to the umpire, who was bound to admit
-his success. This feat becoming known, the partners applied for, and obtained
-a privilege from the University of Cambridge in 1731, to print Bibles and Prayer
-Books by the new method.</p>
-
-<p>Ged was, however, again thwarted in every direction by the treachery of
-his colleagues, especially of Thomas James, who continued to supply imperfect
-type, and actively intrigued with the King’s printers for the purpose of upsetting
-the University contract and discrediting the invention. With wonderful courage
-and perseverance Ged struggled against the opposition, and, it is said, completed
-two Prayer Books. The printers engaged on the work, however, were influenced
-by James, the compositors making malicious errors in the text, and the pressmen
-damaging the formes with their ink balls. The complaint thus raised
-against the type was the motive for sending James in 1732 to Holland, to
-procure fresh letter. This second expedition lacked all the interesting features
-of the first, and he returned after being absent for two months and spending
-£160, with only one fount of type, far too large for the requirements of the
-undertaking. Meanwhile, however, in consequence of the persistent animosity
-of the printers, the books were suppressed by authority, and the plates sent to
-the King’s printing house, and thence to Caslon’s foundry to be broken up.<a class="afnanch" href="#fn411" id="fnanch411">411</a>
-Ged, shattered in health and fortune, returned to Edinburgh in 1733, where, by
-the assistance of his friends, he was enabled, after some delay, to finish his
-edition of Sallust.<a class="afnanch" href="#fn412" id="fnanch412">412</a> He died in 1749.<a class="afnanch" href="#fn413" id="fnanch413">413</a>
-<span class="xxpn" id="p220">{220}</span></p>
-
-<p>The dishonourable part taken by James in this business reacted on himself,
-for we find that he suffered considerably both in purse and business, in consequence
-of his connection with the undertaking. “The printers,” says Mores,
-“would not employ him, because the block printing, had it succeeded, would
-have been prejudicial to theirs.”<a class="afnanch" href="#fn414" id="fnanch414">414</a>
-The rising fame of Caslon at this particular
-period contributed also, and with equal force, to the ill-success of his later
-years.</p>
-
-<p>Before his death, however, he added considerably to his foundry, chiefly by
-the purchase of the foundries of his old master, Robert Andrews, and of his
-son Sylvester at Oxford. By the former he acquired not only a large number
-of Roman and Italics, but also several Oriental and curious founts (some of
-which had formed the foundry of Moxon), which constituted the nucleus of
-that large collection for which his foundry subsequently became notorious. He
-died in 1736,<a class="afnanch" href="#fn415" id="fnanch415">415</a>
-after a long illness, during which his son John James managed
-the business.</p>
-
-<p>The following circular, addressed to the printing trade at the time of his
-death, is interesting, not only as notifying the fact, but as being put forward as a
-specimen of the type of the foundry.</p>
-
-<blockquote class="din2">
-
-<div><span class="smcap">A<b>DVERTISEMENT.</b></span></div>
-
-<p>“The death of Mr. Thomas James of Bartholomew Close, Letter Founder,
-having been industriously published in the Newspapers, without the
-least mention of any person to succeed in his business, it is become
-necessary for the widow James to give as public notice that she
-carries on the business of letter founding, to as great exactness as
-formerly, by her son John James, who had managed it during his father’s
-long illness; the letter this advertisement is printed on being his
-performance.<a class="afnanch" href="#fn416" id="fnanch416">416</a>
-And he casts all other sorts from the largest to the
-smallest size. Also the Saxon, Greek, Hebrew, and all the Oriental
-types, of various sizes.”
-<span class="xxpn" id="p221">{221}</span></p></blockquote>
-
-<p>Although the above seems to indicate that John James was a practical
-letter-cutter, he does not appear to have contributed much to the increase of his
-foundry by his own handiwork. In 1739 he purchased, jointly with William
-Caslon, the foundry of Robert Mitchell, and took a half of the matrices.<a class="afnanch" href="#fn417" id="fnanch417">417</a>
-A
-year later he bought Ilive’s foundry. Of this purchase Rowe Mores mentions
-that the two founts of Nonpareil Greek, though duly paid for, never came to
-James’s hands. The remaining matrices, consisting of Roman and Italics and a
-few sundries, were transferred to Bartholomew Close, where they lay, apparently
-unused, in the boxes distinguished by the name of Jugge.</p>
-
-<p>A far more important purchase was made some eighteen years later, when
-Grover’s foundry, after having lain idle for thirty years in the possession of his
-family, was finally sold to James by Mr. Nutt in 1758. By this purchase James
-became possessed of a stock of matrices, the number of which nearly doubled
-his own foundry, and which included many of the most interesting relics of the
-art.<a class="afnanch" href="#fn418" id="fnanch418">418</a>
-At the same time, he combined in one no fewer than nine of the old
-English foundries, and remained, with Caslon and Baskerville, as one of only
-three representatives of the trade in the
-country.<a class="afnanch" href="#fn419" id="fnanch419">419</a></p>
-
-<p>The following table will present in a clear form the
-gradual absorption of all the old foundries into that of
-James:―</p>
-
-<div class="dctr01">
-<img src="images/i221.png" width="600" height="294" alt="" /></div>
-
-<div><span class="xxpn" id="p222">{222}</span></div>
-
-<p>With the exception of the circular already mentioned, nothing of the nature
-of a specimen of this large foundry appeared during the lifetime of its owner.
-As early as 1736, Rowe Mores informs us, a specimen was begun, designed to
-show the variety of matrices with which the foundry then abounded, and from
-which types could be supplied to the trade. But although so early begun, and
-progressed with for several years, the work was left incomplete at the time of
-James’s death in 1772.<a class="afnanch" href="#fn420" id="fnanch420">420</a></p>
-
-<p>Two causes may be assigned for this fact, one being the frequent and
-numerous additions to the foundry from time to time, which would render any
-specimen undertaken at an early stage of its existence incomplete; and the
-second and more cogent reason is to be found in the fact that the excellence and
-growing popularity of Caslon’s founts at this particular period tended rapidly to
-depreciate the productions of the old founders, and, as Rowe Mores himself
-states, to render many of their founts altogether useless in typography; so that
-a letter which in 1736 might have commanded a tolerable sale, would in 1756 be
-despised, and in 1770 scoffed at.</p>
-
-<p>At John James’s death his foundry passed by purchase<a class="afnanch" href="#fn421" id="fnanch421">421</a>
-into the hands of
-Mr. Rowe Mores,<a class="afnanch" href="#fn422" id="fnanch422">422</a>
-a learned and eccentric antiquary and scholar, who had
-devoted himself, among other matters, to the study of typographical antiquities,
-a pursuit in which he received no little stimulus from the possession of a collection
-of punches and matrices, some of which were supposed to be as old as the days
-of Wynkyn de Worde.</p>
-
-<p>Whether any motive besides a pure antiquarian zeal prompted the purchase,
-or whether he held the collection in the capacity of trustee,
-is not known, but it <span class="xxpn" id="p223">{223}</span>
-seems probable he had been intimately acquainted with the foundry and its
-contents for some time before James’s death. He speaks emphatically of it as
-“our” foundry, and his disposition of its contents for sale is made with the
-authority of an absolute proprietor. It does not appear, however, that during
-the six years of his possession any steps were taken to extend or even continue
-the old business, which we may assume to have died with its late owner.</p>
-
-<p>Mr. Mores found himself the owner of a vast confused mass of matrices,
-many of them unjustified, and others imperfect, which to an ordinary observer
-might have been summarily condemned as rubbish, but which he, with an
-enthusiasm quite remarkable, set himself to catalogue and arrange in order,
-considering himself amply repaid for his pains by the discovery of a few veritable
-relics of Wynkyn de Worde and other old English printers.</p>
-
-<p>The result of his labours he minutely relates in his <i>Dissertation</i>,<a class="afnanch" href="#fn423" id="fnanch423">423</a>
-a work
-written, as he himself says, “to preserve the memory of this Foundry, the most
-ancient in the kingdom, and which may now be dispersed,” and intended as an
-introduction to the completed specimen of its contents. Despite its eccentric
-style and crabbed diction, the work, by virtue of its learning and acuteness, will
-always remain one of the most interesting contributions to the history of English
-typography.</p>
-
-<p>The condition of the foundry will be best described in its author’s own
-words.</p>
-
-<p>After giving a list of matrices lost,<a class="afnanch" href="#fn424" id="fnanch424">424</a>
-and quoting a catalogue of the matrices
-of the learned languages in the foundry in 1767, written by James himself (which
-varies considerably from the Catalogue presented at the sale, to be given later
-on), he observes:</p>
-
-<p>“The specimen will show that several of the matrices are unjustified. This
-being but an accidental circumstance, does not in the least affect the goodness
-of the type, though it affects its appearance in <i>the casting</i>. The matrices were
-amassed at all events to augment the collection, and the operation of the file
-was suspended till a call for the type should make it necessary. So this defect
-is no more than a proof that the matrices have not been impaired by use.</p>
-
-<p>“Another circumstance it may be necessary to mention relating to the
-difference in the number of matrices of the same face and body, which may lead
-to a suspicion that those of a lesser number are imperfect.
-But this is not the <span class="xxpn" id="p224">{224}</span>
-fact. The difference arises from a difference in the quantity of ligations, which
-have been always cut in a greater or smaller number according to the humour
-or fancy of the artist. We own ourselves admirers of ligatures, for they are
-certainly ornamental and elegant, and it is to be wished that they could be used
-in typography with the same ease as they are displayed in calligraphy. But this
-is impossible; fusile types are not so tractable as the pen of a ready writer,
-and we scruple not to call a fount complete though it be destitute of every
-jugation.&#160;.&#160;.&#160;.</p>
-
-<p>“A word or two must be added in relation to the Specimen. It was begun
-by Mr. James in the year 1736, in which year, after the decease of his father, he
-entered into business for himself, and was designed to show the variety of
-matrices with which his foundery abounded. Therefore it is a specimen only of
-the types which he could cast for those who wanted; no reference being made to
-the situation of the matrices from which he would have cast them. But notwithstanding
-the number of years intermediate, the Specimen was left unfinished
-by Mr. James at the time of his death, and that which was left has been mangled
-since his decease. Not that there was any occasion for such references, for Mr.
-James was possessed of the matrices, and consequently of the secret of adapting
-them to his purpose. To supply this deficiency in a specimen of the matrices
-(for as such the specimen is now to be considered) has been attended with
-trouble incredible to anyone but one who upon a like occasion shall attempt the
-same. And such an occasion we believe there will never be.</p>
-
-<p>“For the Specimen some apology is to be made; neither the form nor the
-matter is so judicious as we could wish, but the greatest part of it was composed
-long ago, and it was almost impossible now to alter it. Incorrectness must be
-overlooked, because Letter Founders generally compose their own specimens, and
-this might be sufficient to apologise for deficiencies in the Composing part. But
-we must use another plea in extenuation of enormities in this part unavoidable;
-the confinement of large-bodied letters to a narrow measure; though for blemishes
-of this sort the just allowance will be made by those of judgement. It shows
-the letter, the common purpose of this kind of specimens.</p>
-
-<p>“We have inserted specimens of several matrices which the great improvements
-made in the art of letter-cutting have rendered altogether useless in
-typography; but these specimens will be found of critical use to an antiquary,
-for whose sake we have inserted them, regardless of the charge that we deform
-our Specimen, or of another more material accusation, that by multiplying
-particulars we endeavour to enhance the value of our foundery. The latter we
-can easily refute; for the sets we speak of, besides the rudeness of the workmanship,
-are imperfect, and consequently unsaleable, and will
-probably be taken <span class="xxpn" id="p225">{225}</span>
-from the foundery before it is disposed of to prevent the trouble of a future
-garbling,<a class="afnanch" href="#fn425" id="fnanch425">425</a>
-and this consideration must extend to those objections which may be
-made against things cast in haste without justification, for the purpose only of
-shewing the faces.</p>
-
-<p>“Hitherto we have spoken only of Matrices. The punches, though in order
-they are first, must come last; and of them we have but little to say; for these
-having performed their office by formation of the matrice are generally like
-other useful instruments which have discharged their duty, neglected, discarded
-and thrown away.</p>
-
-<p>“The entire <i>loss</i>, the <i>waste</i> and the <i>rubbish</i> in our foundery in this article are
-great. The <i>waste</i> and <i>rubbish</i> are in weight about 120 lbs., and were we to put
-down <i>tale</i> instead of <i>weight</i> (the pusils which seem to make the greater part of
-this quantity not much exceeding in largeness the little end of a poinctrel) the
-number would be very great. But covetous of preserving the remembrance of
-everything which in Mr. James’ Foundery was curious or uncommon, we have
-re-scrutinized these, and have left behind us nothing but the Roman and Italic
-in which is nothing either curious or uncommon.</p>
-
-<p>“The same likewise have we done to the matrices, the
-waste of which now remaining and disposed of in order is
-in number about 2,600,<a class="afnanch" href="#fn426"
-id="fnanch426">426</a> the rubbish in weight about
-<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub> cwt.</p>
-
-<p>“A work of some trouble but <i>virtù</i> hath been
-gratified amongst the rubbish of punches by some
-originals of Wynkyn de Worde, some punches of the 2-line
-Great Primer English.<a class="afnanch" href="#fn427"
-id="fnanch427">427</a> They are truly <i>vetustate
-formâque et squalore venerabiles</i>, and we would not
-give a lower-case letter in exchange for all the leaden
-cups of Haerlem.”<a class="afnanch" href="#fn428"
-id="fnanch428">428</a></p>
-
-<div class="dctr04" id="fg56">
-<img src="images/i226.png" width="499" height="800" alt="" />
-<div class="dcaption">
- <span class="splnklg"><a href="images/i226lg.png" title="display larger image">Μ</a></span>
- 56. From the original in the Library of the London
- Institution.</div></div>
-
-<p>Mr. Mores, unfortunately, did not live to see the
-publication of his <span class="xxpn" id="p227">{227}</span>
-<i>Dissertation</i>, or to complete the Specimen which was to accompany it. He died
-in 1778, and four years elapsed before the foundry was put up to auction, and
-the catalogue with its specimen attached finally appeared.</p>
-
-<p>Of this interesting document we need only observe that in point of
-execution and printing it calls for all the apology which Mr. Mores offers on its
-behalf;<a class="afnanch" href="#fn429" id="fnanch429">429</a>
-for one could hardly imagine a specimen doing less justice to the
-collection it represents. Yet, in spite of its imperfections, it is a work of the
-highest importance to anyone interested in the history of the old English letter-founders,
-and we regret that space forbids quoting the Catalogue in full.</p>
-
-<p>We shall, however, present our readers with an abstract of the Specimen as
-far as it relates to the matrices of the “learned” languages in the foundry; adding,
-as far as possible, the initials of the foundries through which each fount had
-come into James’ hands.<a class="afnanch" href="#fn430" id="fnanch430">430</a></p>
-
-<div class="section">
-<ul class="dmgnfndry">
- <li><p>The specimens shown are as follows:―</p>
-<ul class="fsz6">
- <li><i>Hebrew</i> (Biblical).<a class="afnanch" href="#fn431" id="fnanch431">431</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A.]<a class="afnanch" href="#fn432" id="fnanch432">432</a></span> 2-l. English Mod.</li>
- <li class="lihang1">2-line English No. 2.</li>
- <li class="lihang1"><span class="sppref">[P.]</span> 2-line English Ancient.</li>
- <li class="lihang1"><span class="sppref">[P.] [A.]</span> Double Pica.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Great Primer.</li>
- <li class="lihang1">English Antique.</li>
- <li class="lihang1"><span class="sppref">[P.] [A.]</span> English Ancient, No. 2.</li>
- <li class="lihang1">English Ancient, No. 3.</li>
- <li class="lihang1">English Modern.</li>
- <li class="lihang1"><span class="sppref">[G.?]</span> Pica Ancient.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Pica Modern.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Small Pica Antique.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Small Pica Antique. No. 2.</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1">Small Pica Modern.</li>
- <li class="lihang1"><span class="sppref">[G.?]</span> Long Primer.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Brevier.</li>
- <li class="lihang1"><span class="sppref">[S.A.]</span> Brevier. No. 2.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Nonpareil.</li></ul></li>
-
- <li><i>Hebrew</i> (Rabbinical).―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A.]</span> English German (a spurious Rashi).</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Rashi Pica.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Rashi Long Primer.*</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Rashi Brevier.*</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Rashi Nonpareil.*</li>
-</ul></li>
-
- <li><i>Samaritan.</i><a class="afnanch" href="#fn433" id="fnanch433">433</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A.]</span> Double Pica (Leusden’s).</li>
- <li class="lihang1"><span class="sppref">[P.] [G.]</span> English* (with English face).</li></ul></li>
-
- <li id="p228"><i>Syriac.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[P.][G.]</span> Double Pica.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Great Primer.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Pica.</li></ul></li>
-
- <li><i>Arabic.</i><a class="afnanch" href="#fn434" id="fnanch434">434</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[P.?][G.]</span> Double Pica (Gt. Primer?)*</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Great Primer.</li></ul></li>
-
- <li><i>Æthiopic.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[P.][A.]</span> Gt. Primer or English*.</li>
- <li class="lihang1"><span class="sppref">[Anon.]</span> English.</li></ul></li>
-
- <li><i>Greek.</i><a class="afnanch" href="#fn435" id="fnanch435">435</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[Royal][G.]</span> Double Pica.<a class="afnanch" href="#fn436" id="fnanch436">436</a></li>
- <li class="lihang1"><span class="sppref">[G.]</span> Great Primer.*</li>
- <li class="lihang1">Great Primer. No. 2.</li>
- <li class="lihang1"><span class="sppref">[R.]</span> Great Primer. No. 3.</li>
- <li class="lihang1">English.</li>
- <li class="lihang1">English. No. 2.</li>
- <li class="lihang1"><span class="sppref">[R.]</span> Pica.</li>
- <li class="lihang1">Pica. No. 2.</li>
- <li class="lihang1"><span class="sppref">[P.]</span> Small Pica.</li>
- <li class="lihang1"><span class="sppref">[R.?]</span> Small Pica. No. 2.</li>
- <li class="lihang1"><span class="sppref">[P.]</span> Small Pica. No. 3.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Brevier.</li>
- <li class="lihang1"><span class="sppref">[R.]</span> Brevier. No. 2.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Brevier. No. 3.<a class="afnanch" href="#fn437" id="fnanch437">437</a></li>
- <li class="lihang1"><span class="sppref">[A.]</span> Nonpareil.</li>
- <li class="lihang1"><span class="sppref">[N.?]</span> Pearl.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> English Alexandrian.*</li></ul></li>
-
- <li><i>Gothic.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[Anon.]</span> Pica.</li>
-</ul></li>
-
- <li><i>Anglo-Saxon.</i><a class="afnanch" href="#fn438" id="fnanch438">438</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> Great Primer.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Great Primer, No. 2.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> English (Pica).</li>
- <li class="lihang1"><span class="sppref">[A.?]</span> Long Primer.</li></ul></li>
-
- <li><i>Anglo-Norman.</i><a class="afnanch" href="#fn439" id="fnanch439">439</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A.]</span> Great Primer.</li>
- <li class="lihang1"><span class="sppref">[Anon.]</span> English.</li></ul></li>
-
- <li><i>Runic.</i>―
-<ul class="ulina">
- <li class="lihang1">Pica.</li></ul></li>
-
- <li><i>Court Hand.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> Double Pica.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> English.*</li>
- <li class="lihang1"><span class="sppref">[G.]</span> <i>Union.</i>—Double Pica.*</li></ul></li>
-
- <li><i>Scriptorial</i> (<i>Cursive</i>).<a class="afnanch" href="#fn440" id="fnanch440">440</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> Double Pica.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> English.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> English. No. 2.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Pica.*</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Small Pica.</li></ul></li>
-
- <li><i>Secretary.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> Great Primer.</li></ul></li>
-
- <li><i>Hieroglyphics.</i>―
-<ul class="ulina">
- <li class="lihang1">A Set.</li></ul></li>
-
- <li><i>English.</i><a class="afnanch" href="#fn441" id="fnanch441">441</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[De Worde?][G.]</span> 2-line Great Primer.</li>
- <li class="lihang1"><span class="sppref">[De Worde?][G.]</span> Great Primer.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Great Primer. No. 2.</li>
- <li class="lihang1"><span class="sppref">[Anon.]</span> English.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> English. No. 2*</li>
- <li class="lihang1"><span class="sppref">[G.]</span> English. No. 4.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Pica.</li>
- <li class="lihang1"><span class="sppref">[Anon.]</span> Pica. No. 2.</li>
- <li class="lihang1"><span class="sppref">[R.?]</span> Pica. No. 3.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Small Pica No. 2.</li>
- <li class="lihang1"><span class="sppref">[Anon.?]</span> Small Pica No. 3.</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Small Pica No. 6.</li>
- <li class="lihang1"><span class="sppref">[A.?]</span> Small Pica No. 7.</li>
- <li class="lihang1"><span class="sppref">[G.?]</span> Long Primer (Dutch cut).</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Long Primer No. 2.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Long Primer No. 3.</li>
- <li class="lihang1"><span class="sppref">[G.?]</span> Brevier.</li>
- <li class="lihang1"><span class="sppref">[R.?]</span> Brevier. No. 4.</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Nonpareil.*</li></ul>
-</li></ul></li></ul></div><!--section-->
-
-<p>Of Roman capitals, eight founts were shown,<a class="afnanch" href="#fn442" id="fnanch442">442</a>
-and of
-Roman and Italic from <span class="xxpn" id="p229">{229}</span>
-Canon to Diamond, there were thirty-nine founts in specimen and a hundred and
-eight not shown.</p>
-
-<div class="section">
-<p>In addition to the above, the specimen included
-ninety-seven varieties of flowers, chiefly from the
-Grovers’ foundry; while other odd flowers, with signs,
-rules, braces, and various imperfect founts (contained in
-sixteen drawers) were also sold, though not shown. At the
-end of the list of matrices came what was perhaps the most
-interesting feature of the sale, viz., a set of punches
-contained in a press named “Caxton,” consisting of twenty
-drawers. Of these the majority were Roman and Italics,
-which we will not specify, as it is impossible to determine
-whose handiwork they were in the first instance. We give,
-however, the contents of drawers <span class="smmaj">A
-E F</span> and <span class="smmaj">G,</span> which
-contained the following punches of the learned languages<a
-class="afnanch" href="#fn443" id="fnanch443">443</a>:</p>
-
-<div class="dtablebox"><div class="nowrap">
-<table class="fsz6" summary="">
-<tr>
- <td class="tdleft">A.—</td>
- <td class="tdleft">Æthiopic</td>
- <td class="tdleft">English*</td>
- <td class="tdright">[P.] [A.]</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Samaritan</td>
- <td class="tdleft">Pica* (English?)</td>
- <td class="tdright">[P.] [G.]</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Samaritan</td>
- <td class="tdleft">Long Primer</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Syriac</td>
- <td class="tdleft">English (Pica?)</td>
- <td class="tdright">[G.]</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Arabic</td>
- <td class="tdleft">Great Primer</td>
- <td class="tdright">[A.]</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Arabic</td>
- <td class="tdleft">Pica (English?)</td>
- <td class="tdright">[A.]</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Greek</td>
- <td class="tdleft">Brevier</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Saxon</td>
- <td class="tdleft">Pica</td>
- <td class="tdright">[A.]</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdleft">Hibernian<a class="afnanch"
- href="#fn444" id="fnanch444">444</a></td>
- <td class="tdleft">Pica*</td>
- <td class="tdright">[M.] [A.]</td></tr>
-<tr>
- <td class="tdleft">E.—</td>
- <td class="tdleft">Greek</td>
- <td class="tdleft"><p class="phangb">Great Primer,* points
- and ligatures</p></td>
- <td class="tdright">[G.]</td></tr>
-<tr>
- <td class="tdleft">F.</td>
- <td class="tdleft">Greek</td>
- <td class="tdleft"><p class="phangb">Pica, points
- and ligatures</p></td></tr>
-<tr>
- <td class="tdleft">G.</td>
- <td class="tdleft">Greek</td>
- <td class="tdleft"><p class="phangb">Nonpareil, points
- and ligatures</p></td>
- <td class="tdright">[A.]</td></tr>
-</table></div><!--nowrap--></div><!--dtablebox--></div><!--section-->
-
-<p>It is at least remarkable that so few punches should have existed in so large
-a foundry; but it is to be remembered that the wear and tear of the matrices in
-those days was not so great as now, and the necessity for a new set of strikes
-from the punches was consequently less frequent. We may even suppose, from
-Mr. Mores’ own reference to the subject, already quoted, that it was a common
-practice to discard a set of punches as useless as soon as they had left their
-impression in the matrices.</p>
-
-<p>The concluding items of the Catalogue are “about 60 or 70 moulds, from
-5-line Pica down to Nonpareil, some two, some three or
-more of a sort which <span class="xxpn" id="p230">{230}</span>
-will be lotted according to their bodies; also a parcel of iron ladles; a vice,
-33 lbs. weight, several gauges, dividers, blocks, setting-up sticks, dressing sticks,
-etc.,”—a meagre list, which, if it represents the working plant of the foundry,
-points to a rough and ready practice of the art which, even in Moxon’s time,
-would have been considered primitive.</p>
-
-<p>A word must be added respecting the Catalogue. Whether it was taken
-precisely as Mr. Mores left it, or whether Mr. Paterson, the auctioneer (whose
-“talent at Cataloguing” Nichols, in his <i>Anecdotes</i>, approvingly mentions),<a class="afnanch" href="#fn445" id="fnanch445">445</a>
-completed it, we cannot say. It is as precise, perhaps, as any catalogue of so
-confused a collection could be. An opening was, however, left for a good deal
-of misapprehension, by the fact that the nests of drawers in which the matrices
-were stored, instead of bearing distinguishing numbers, bore the names of
-famous old printers, which duly figured in the Catalogue.<a class="afnanch" href="#fn446" id="fnanch446">446</a>
-Misled by this
-circumstance, it seems more than likely that Paterson may have enhanced the
-importance of his lots by dwelling on the fact that one fount was “De Worde’s”,
-another “Cawood’s,” another “Pynson’s,” and so on. The absurdity of this
-delusion becomes very apparent when we see the Alexandrian Greek some years
-later puffed by its purchasers as the veritable production of De Worde (who
-lived a century before the Alexandrian MS. came to this country), and find
-Hansard, in 1825, ascribing seven founts of Hebrew and a Pearl Greek to
-Bynneman.</p>
-
-<p>What was the result of the sale financially we cannot ascertain. Of the
-fate of its various lots we know very little either, except that Dr. Fry secured
-most of the curious and “learned” matrices. How far the other foundries of
-the day, at home and abroad, enriched themselves, or how much of the
-collection fell into the hands of the coppersmiths, are problems not likely to
-find solution.</p>
-
-<p>With the sale, however, disappeared the last of the old English foundries,
-and closed a chapter of English typography, which, though not the most glorious,
-is certainly not the least instructive through which it has passed.</p>
-
-<hr class="hrblnk" />
-
-<div class="dkeeptogether">
-<p>The only specimen of this foundry is that appended to the Catalogue of the
-sale:―</p>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen">
-<p>A <span class="smcap">C<b>ATALOGUE</b></span> and Specimen of
-the large and extensive Printing-Type-Foundery of the
-late ingenious Mr. John James, Letter-founder, formerly
-of Bartholomew Close, London, deceased; including
-several other Founderies, English and Foreign. Improved
-<span class="xxpn" id="p231">{231}</span> by the late
-Reverend (<i>sic</i>) and Learned Edward Rowe Mores, deceased.
-Comprehending a great variety of punches and matrices
-of the Hebrew, Samaritan, Syriac, Arabic, Æthiopic,
-Alexandrian, Greek, Roman, Italic, Saxon, Old English,
-Hibernian, Script, Secretary, Court-Hand, Mathematical,
-Musical, and other characters, Flowers and Ornaments:
-which will be sold by Auction by Mr. Paterson at his
-Great Room (No. 6) King Street, Covent Garden, London, on
-Wednesday, 5th June, 1782, and the Three following days.
-To begin exactly at 12 o’clock. To be viewed on Wednesday,
-May 29th, and to the Time of Sale. Catalogues, with
-Specimen of the Types, may be had at the Place of Sale.
-(Price One Shilling.) 8vo. <span class="spcitr">(Lond.
-Inst.)</span></p></li></ul>
-
-<div class="dctr09">
-<img src="images/i231.png" width="512" height="200" alt="" /></div>
-</div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p232">
-<img src="images/i232a.png" width="600" height="145" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XI. WILLIAM CASLON, 1720.">
-<span class="hblk fsz6">CHAPTER XI.</span>
-<span class="hblk"><img class="ihrch" src="images/i232b.png"
-width="275" height="37" alt="" /></span>
-WILLIAM CASLON, 1720.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i232c.png"
-width="509" height="527" alt="P" />
-</span>RINTING had reached a low ebb in England in the early
-years of the eighteenth century. A glance through any
-of the common public prints of the day, such, for instance,
-as official broadsides, political pamphlets, works of literature,
-or even Bibles,<a class="afnanch" href="#fn447" id="fnanch447">447</a>
-points to a depression and degeneration
-so marked that one is tempted to believe that the art
-of Caxton and Pynson and Day was rapidly becoming
-lost in a wilderness of what a contemporary satirist terms
-<span class="spnpbk">“Brown sheets and sorry letter.”</span></p>
-
-<p>With the exception of Oxford University, no foundry of the day was contributing
-anything towards the revival of good printing, or even towards the maintenance
-of such a standard as did exist. And Oxford, as we have said, owed its
-best founts to gifts procured, almost entirely, from abroad. Grover and Andrews,
-the heritors of the old founders, originated little or nothing; and where their efforts
-were put into requisition (as in the case of Andrews’ attempt to cut the Anglo-Saxon
-for Miss Elstob’s <i>Grammar</i>) they failed. Scarcely a
-work with any <span class="xxpn" id="p233">{233}</span>
-pretension to fine printing was the impression of honest English type. Watson,
-the Scotch historian of printing, openly rebuked his brethren of the craft for not
-stocking their cases with Dutch type. Tonson, a king among English printers
-is said on one occasion to have lodged in Amsterdam while a founder there was
-casting him £300 worth of type; and James, the only English founder whose
-business showed any vitality, owed his success chiefly, if not entirely, to the fact
-that all his letter was the product of Dutch matrices; and even these, in his
-hands, were so indifferently cast as to be often as bad as English type.</p>
-
-<div class="dctr04" id="fg57">
-<img src="images/i232fp.png" width="571" height="800" alt="" />
-<div class="dcaption">
-57. From <i>Hansard</i>.</div></div>
-
-<p>What was the reason for this lamentable decline—how far it was chargeable
-on the printer, how far on the founder, or how far both were the victims of that
-system of Star Chamber decrees, monopolies, patents, restraints and privileges
-which had characterised the illiberal days of the Stuarts—this is not the place to
-inquire. Nor, happily, are we called upon to speculate as to what would have
-been the consequence to English Typography of an uninterrupted prolongation
-of the malady under which it laboured. But it is necessary to remind ourselves
-of the critical nature of that malady in order to appreciate properly the providential
-circumstance which turned the attention of William Caslon to typefounding,
-and thus served to avert from England the disgrace which threatened
-her.</p>
-
-<p>William Caslon<a class="afnanch" href="#fn448" id="fnanch448">448</a>
-was born at Hales Owen in Shropshire in the year 1692.
-He served his apprenticeship to an engraver of gun-locks and barrels in London,
-and at the expiration of his term followed his trade in Vine Street, near the
-Minories.</p>
-
-<p>The ability he displayed in his art was conspicuous, and by no means
-confined to the mere ornamentation of gun-barrels—the chasing of silver and
-the designing of tools for bookbinders frequently occupying his attention.
-While thus engaged, some of his bookbinding punches were noticed for their
-neatness and accuracy by Mr. Watts,<a class="afnanch" href="#fn449" id="fnanch449">449</a>
-the eminent printer, who, fully alive to
-the present degenerate state of the typographical art in this country, was quick
-to recognise the possibility of raising it once more to
-its proper position. He <span class="xxpn" id="p234">{234}</span>
-accordingly encouraged Mr. Caslon to persevere in letter-cutting, promising him
-his personal support, and favouring him meanwhile with introductions to some
-of the leading printers of the day.</p>
-
-<p>About the same time, it is recorded that another great printer, the elder
-Bowyer,<a class="afnanch" href="#fn450" id="fnanch450">450</a>
-“accidentally saw in the shop of Mr. Daniel Browne, bookseller,
-near Temple Bar, the lettering of a book, uncommonly neat; and enquiring who
-the artist was by whom the letters were made, Mr. Caslon was introduced to his
-acquaintance, and was taken by him to Mr. James’s foundery in Bartholomew
-Close. Caslon had never before that time seen any part of the business; and
-being asked by his friend if he thought he could undertake to cut types, he
-requested a single day to consider the matter, and then replied he had no doubt
-but he could. From this answer, Mr. Bowyer lent him £200, Mr. Bettenham<a class="afnanch" href="#fn451" id="fnanch451">451</a>
-(to whom also he had been introduced) lent the same sum, and Mr. Watts £100.”<a class="afnanch" href="#fn452" id="fnanch452">452</a></p>
-
-<p>With this assistance Mr. Caslon established himself in a garret in Helmet
-Row, Old Street, and devoted himself with ardour to his new profession.<a class="afnanch" href="#fn453" id="fnanch453">453</a>
-An
-opportunity for distinguishing himself presented itself shortly afterwards.</p>
-
-<p>In the year 1720 the Society for Promoting Christian
-Knowledge,<a class="afnanch" href="#fn454" id="fnanch454">454</a>
-acting <span class="xxpn" id="p235">{235}</span>
-on a suggestion made by Mr. Salomon Negri, a native of Damascus, and a distinguished
-Oriental scholar, “deemed it expedient to print for the Eastern
-Churches the <i>New Testament</i> and <i>Psalter</i> in the Arabic language for the benefit
-of the poor Christians in Palestine, Syria, Mesapotamia, Arabia and Egypt,
-the constitution of which countries allowed of no printing.” A new Arabic
-fount being required for the purpose, Mr. Caslon, whose reputation as a letter-cutter
-appears already to have been known, was selected to cut it. This he did
-to the full satisfaction of his patrons, producing the elegant English Arabic which
-figures in his early specimens. The Society was, according to Rowe Mores,
-already possessed of a fount of Arabic cast from the Polyglot matrices in
-Grover’s foundry. But Caslon’s fount was preferred for the text, and in it
-appeared, in due time, first the <i>Psalter</i> in 1725,<a class="afnanch" href="#fn455" id="fnanch455">455</a>
-and afterwards the <i>New
-Testament</i> in 1727.<a class="afnanch" href="#fn456" id="fnanch456">456</a></p>
-
-<div class="dctr04" id="fg61">
-<img src="images/i235.png" width="600" height="154" alt="" />
- <div class="dcaption">61. English Arabic, cut by Caslon in
- 1720. (From the original matrices.)</div></div>
-
-<p>“Mr. Caslon, after he had finished his Arabic fount, cut the letters of his
-own name in Pica Roman, and placed the name at the bottom of a specimen of
-the Arabic<a class="afnanch" href="#fn457" id="fnanch457">457</a>; and Mr. Palmer (the reputed author of Psalmanazar’s <i>History of
-Printing</i>), seeing this name, advised Mr. Caslon to complete the fount of Pica.
-Mr. Caslon did so; and as the performance exceeded the letter of the other
-founders of the time, Mr. Palmer—whose circumstances required credit with
-those who, by his advice, were now obstructed
-(<i>i.e.</i>, whose business was likely to <span class="xxpn" id="p236">{236}</span>
-suffer from this new rival)—repented having given the advice, and discouraged
-Mr. Caslon from any further progress.</p>
-
-<div class="dctr03" id="fg59">
-<img src="images/i236a.png" width="600" height="210" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i236alg.png" title="display larger image">Μ</a></span> 59. Pica Roman and Italic,
- cut by William Caslon, 1720. (From the original
- matrices.)</div></div>
-
-<p>“Mr. Caslon, disgusted,<a class="afnanch" href="#fn458" id="fnanch458">458</a>
-applied to Mr. Bowyer, under whose inspection
-he cut, in 1722, the beautiful fount of English (Roman) which was used in
-printing the edition of <i>Selden’s Works</i><a class="afnanch" href="#fn459" id="fnanch459">459</a>
-in 1726.”</p>
-
-<p>Caslon’s excellent performance of this task may best be judged of by an
-inspection of this noble work, which remains conspicuous not only as the
-impression of the first letter cast at the Caslon foundry, but as marking a distinct
-turning-point in the career of English typography, which from that time forward
-entered on a course of brilliant regeneration. The Hebrew letter used in the
-<i>Selden</i> was also of Caslon’s cutting, and must therefore share with the English
-Roman the honour of a first place in the productions of his foundry.</p>
-
-<div class="dctr03" id="fg62">
-<img src="images/i236b.png" width="600" height="88" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i236blg.png" title="display larger image">Μ</a></span> 62. Pica
- Coptic, cut by Caslon, <i>ante</i> 1731. (From the original
- matrices.)</div></div>
-
-<p>His next performance was a fount of Pica Coptic for
-Dr. Wilkins’s<a class="afnanch" href="#fn460" id="fnanch460">460</a>
-edition <span class="xxpn" id="p237">{237}</span>
-of the <i>Pentateuch</i>,<a class="afnanch" href="#fn461" id="fnanch461">461</a>
-a letter which Rowe Mores commends as superior to the
-Oxford Coptic in which Dr. Wilkins’ <i>New Testament</i> had been printed in 1716.<a class="afnanch" href="#fn462" id="fnanch462">462</a>
-This fount Caslon also cut under the direction of Mr. Bowyer, his generous
-patron, whom he always acknowledged as his master from whom he had learned
-his art.</p>
-
-<p>Caslon’s business, thus established, rapidly advanced in fame and excellence.
-Although at the outset it depended mainly on the support of his three
-chief patrons, it was soon able to stand alone and compete with the best houses
-in the trade.</p>
-
-<p>“It is difficult,” observes Mr. Hansard, “to appreciate the obstacles which
-Mr. Caslon encountered at the commencement of his career. At present the
-theory and practice of letter-founding are not, as in his time, an ‘art and
-mystery,’ and efficient workmen in every branch are easily procured. He had
-not only to excel his competitors in his own particular branch of engraving the
-punches, which to him was probably the easiest part of his task, but to raise an
-establishment and cause his plans to be executed by ignorant and unpractised
-workmen. He had also to acquire for himself a knowledge of the practical and
-mechanical branches of the art, which require, indeed, little genius, but the most
-minute and painful attention to conduct successfully. The wishes and expectations
-of his patrons were fulfilled and exceeded by his decided superiority over
-his domestic rivals and Batavian competitors. The importation of foreign types
-ceased; his founts were, in fact, in such estimation as to be frequently, in their
-turn, exported to the Continent.”<a class="afnanch" href="#fn463" id="fnanch463">463</a></p>
-
-<p>In 1728 Mr. Caslon narrowly escaped committing an error which might
-seriously have affected his after career. The foundry of the Grovers being then
-in the market, he contracted for the purchase of it.<a class="afnanch" href="#fn464" id="fnanch464">464</a>
-Fortunately for English
-typography, the business fell through, and Caslon was still left a free man to
-pursue his own method, unburdened by the incubus of a large and useless stock
-of matrices, which, had they been suffered to mingle with his own beautiful
-productions, would have degraded his foundry to a patchwork establishment
-little better than that of his competitors at home and abroad. As it was, he
-had the advantage of completing his specimens after his own plan, and impressing
-with the mark of his own genius every fount which bore his name.</p>
-
-<p>His fame in 1730 was such, that (as Ged, in his narrative
-of the invention of <span class="xxpn" id="p238">{238}</span>
-Block-Printing, states) he had already eclipsed most of his competitors, and had
-introduced his founts into some of the chief printing houses of the metropolis,
-and even secured the custom of the King’s printers to the exclusion of all
-others.<a class="afnanch" href="#fn465" id="fnanch465">465</a>
-Although Ged’s narrative goes to show that Caslon shared the
-scepticism of his contemporaries with regard to the utility of stereotyping, and
-was even ready to back his opinion with his money, it is satisfactory to observe
-that he was no party to the discreditable persecution to which that unfortunate
-inventor was subjected by other members of the craft. Indeed, the only successful
-experiment made by Ged appears to have been a cast from Caslon’s type.</p>
-
-<p>That the success of the new foundry was not achieved wholly without
-opposition is apparent from the following anecdote preserved by Mr. Nichols,
-and told in connection with the account of Bishop Hare’s <i>Hebrew Psalter</i>,
-published by Bowyer in 1733.<a class="afnanch" href="#fn466" id="fnanch466">466</a></p>
-
-<p>This work, it appears, had been originally intended to be printed at the
-press of Palmer, with whom Caslon, as we have seen, had already had dealings
-of a not altogether satisfactory character.</p>
-
-<p>“His Lordship, however,” says Nichols (quoting Psalmanazar’s account of
-the transaction), “had excepted against Mr. Palmer’s Hebrew types which were
-of Athias’ font,<a class="afnanch" href="#fn467" id="fnanch467">467</a>
-and a little battered, and insisted upon his having a new set
-from Mr. Caslon, which greatly exceeded them in beauty. But Mr. Palmer was
-so deeply in debt to him (Caslon) that he knew not how to procure it from him
-without ready money, which he was not able to spare. The Bishop likewise
-insisted upon having some Roman and Italic types cast with some distinguishing
-mark, to direct his readers to the Hebrew letters they were designed
-to answer, and these required a new set of punches and matrices before they
-could be cast; and that would have delayed the work, which Mr. Palmer was in
-haste to go about that he might the sooner finger some of his Lordship’s money.
-This put him upon such an unfair stratagem as, when discovered, quite disgusted
-his lordship against him; namely, representing Mr. Caslon as an idle,
-dilatory workman, who would in all probability make them wait several years
-for those few types, if ever he finished them. That he was indeed the only
-Artist that could supply him with those types, but that he hated work and was
-not to be depended upon; and therefore advised his Lordship to make shift with
-some sort which he could substitute and would answer the same purpose, rather
-than run the risk of staying so long and being perhaps disappointed.</p>
-
-<p>“The Bishop, however, being resolved, if possible, to have the desired types,
-sent for Mr. Bowyer, and asked him whether he knew a
-letter-founder that could <span class="xxpn" id="p239">{239}</span>
-cast him such a set out of hand, who immediately recommended Mr. Caslon;
-and being told what sad and disadvantageous character he had heard of him,
-Mr. Bowyer not only assured his Lordship that it was a very false and unjust one,
-but engaged to get the above-mentioned types cast by him, and a new font of
-his Hebrew ones, in as short a time as the thing could possibly be done. Mr.
-Caslon was accordingly sent for by his Lordship, and having made him sensible
-of the time the new ones would require to be made ready for use, did produce
-them according to his promise, and the book was soon after put to the press.”<a class="afnanch" href="#fn468" id="fnanch468">468</a></p>
-
-<p>Among the other interesting founts cut by Caslon about this time, may be
-mentioned the Pica Black, of which we show a specimen, and which received
-special commendation for its faithful following of the traditional Old English
-character first used by Wynkyn de Worde.</p>
-
-<div class="dctr02" id="fg60">
-<img src="images/i239a.png" width="600" height="118" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i239alg.png" title="display larger image">Μ</a></span> 60. Pica Black,
- cut by Caslon. (From the original matrices.)</div></div>
-
-<p>He also cut an Armenian for Whiston’s edition of
-<i>Moses Choronensis</i>,<a class="afnanch" href="#fn469"
-id="fnanch469">469</a> and an Etruscan for Mr. J. Swinton
-of Oxford, the learned antiquary and philologist, who
-published his <i>De Linguâ Etruriæ</i><a class="afnanch"
-href="#fn470" id="fnanch470">470</a> in 1738; as well as
-a Gothic and several other of the foreign and learned
-characters.</p>
-
-<div class="dctr02" id="fg63">
-<img src="images/i239b.png" width="600" height="95" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i239blg.png" title="display larger image">Μ</a></span> 63. Pica Armenian,
- cut by Caslon, <i>ante</i> 1736.
- (From the original matrices.)</div></div>
-
-<div class="dctr02" id="fg65">
-<img src="images/i239c.png" width="600" height="84" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i239clg.png" title="display larger image">Μ</a></span> 65. Pica Gothic, cut
- by Caslon, <i>ante</i> 1734.
- (From the original matrices.)</div></div>
-
-<div><span class="xxpn" id="p240">{240}</span></div>
-
-<div class="dctr02" id="fg64">
-<img src="images/i240a.png" width="600" height="82" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i240alg.png" title="display larger image">Μ</a></span> 64. Pica Etruscan,
- cut by Caslon, 1738.
- (From the original matrices.)</div></div>
-
-<div class="dctr02" id="fg66">
-<img src="images/i240b.png" width="600" height="80" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i240blg.png" title="display larger image">Μ</a></span> 66. Pica Ethiopic,
- cut by Caslon. (From the original matrices.)</div></div>
-
-<p>All of these, with exception of the Etruscan and an Ethiopic cut still later,
-were completed before 1734, in which year the first <i>Specimen</i> of his foundry
-appeared.</p>
-
-<p>This famous broadside, of which very few copies are now extant, dates
-from Chiswell Street, to which address Mr. Caslon had transferred the Helmet
-Row Foundry (after an intermediate sojourn in Ironmonger Row), about the
-year 1734.</p>
-
-<div class="dkeeptogether">
-<ul class="">
- <li><p>The sheet is ar­ranged in four col­umns, and dis­plays
- al­to­geth­er thir­ty-eight founts, namely:</p>
-
-<ul class="fsz6 dmgnfndry">
- <li><i>Titlings.</i>―
-<ul class="ulina">
- <li class="lijust">5-line Pica, 4-line Pica, 2-line Great
- Primer, 2-line English, 2-line Pica, 2-line Long Primer,
- 2-line Brevier.</li></ul></li>
-
- <li><i>Roman</i> and <i>Italic.</i>―
-<ul class="ulina">
- <li class="lijust">French Canon, 2-line Great Primer,
- 2-line English, Double Pica, Great Primer, English, Pica,
- Small Pica (2), Long Primer (2), Brevier, Nonpareil, and
- Pearl.</li></ul></li>
-
- <li><i>Saxon.</i>―
-<ul class="ulina">
- <li class="lijust">Pica and Long Primer.</li></ul></li>
-
- <li><i>Black.</i>―
-<ul class="ulina">
- <li class="lijust">Pica and Brevier.</li></ul></li>
-
- <li><i>Gothic</i>, <i>Coptic</i>, <i>Armenian</i>, <i>Samaritan</i>.―
-<ul class="ulina">
- <li class="lijust">Pica of each.</li></ul></li>
-
- <li><i>Syriac</i> and <i>Arabic</i>.―
-<ul class="ulina">
- <li class="lijust">English of each.</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lijust">English, English with points, Brevier.</li></ul></li>
-
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lijust">English, Pica, Long Primer, Brevier.</li></ul></li>
-
- <li><i>Flowers.</i>―
-<ul class="ulina">
- <li class="lijust">Seven designs.</li></ul>
-</li></ul></li></ul>
-
-</div><!--dkeeptogether-->
-
-<p>Of these, all, with three exceptions, are Caslon’s own handiwork, and
-represent the untiring industry of fourteen years. Of the excellence of the
-performance it is sufficient to say that the Specimen placed Caslon absolutely
-without rival at the head of his profession; “and,” as Nichols says, “for clearness
-and uniformity, for the use of the reader and student, it is doubtful whether
-it has been exceeded by any subsequent production.”</p>
-
-<p>The three founts referred to as not the product of Caslon’s hand, were the
-Canon Roman, from Andrews’ foundry, formerly Moxon’s, and
-exhibited in the <span class="xxpn" id="p241">{241}</span>
-<i>Mechanick Exercises</i><a class="afnanch" href="#fn471" id="fnanch471">471</a>; the English Syriac, which is from the matrices of the
-<i>Polyglot</i><a class="afnanch" href="#fn472" id="fnanch472">472</a>; and the Pica Samaritan, which was cut by a Dutchman named
-Dummers.</p>
-
-<p>Fame appears to have followed rapidly on the appearance of this Specimen.
-The sheet was included as an inset plate in the second edition of Ephraim
-Chambers’ <i>Cyclopædia</i> in 1738,<a class="afnanch" href="#fn473" id="fnanch473">473</a>
-with the following flattering notice:—“The
-above were all cast in the foundery of Mr. W. Caslon, a person who, though not
-bred to the art of letter-founding, has, by dint of genius, arrived at an excellency
-in it unknown hitherto in England, and which even surpasses anything of the
-kind done in Holland or elsewhere.”</p>
-
-<p>Caslon made a further addition to his stock of matrices in 1739 by the
-purchase of half of Mitchell’s foundry,<a class="afnanch" href="#fn474" id="fnanch474">474</a>
-of which the most interesting items were
-a Pica Greek, sets of Music and flower matrices, and six sizes of Black. The
-remainder, consisting of Romans and Italics, do not appear to have added much
-to the resources of the Chiswell Street foundry.<a class="afnanch" href="#fn475" id="fnanch475">475</a></p>
-
-<p>In the year 1742 Mr. Caslon’s eldest son, William—at that time twenty-two
-years of age—entered the business, and in the Specimen of the same year his
-name first appears in conjunction with his father’s. Unfortunately, no copy of this
-Specimen (which had evidently been seen by Nichols<a class="afnanch" href="#fn476" id="fnanch476">476</a>) is known to be extant.
-Another Specimen, also unfortunately missing, is mentioned by the same
-authority, who says, “the abilities of the second
-Caslon appeared to great <span class="xxpn" id="p242">{242}</span>
-advantage in the specimen of the types of the learned languages in 1748.”<a class="afnanch" href="#fn477" id="fnanch477">477</a>
-A further Specimen was issued in the following year, in broadside form, which
-displayed a large variety of letters, from Canon to Pearl, many of them being
-the handiwork of Caslon the younger. It is possible that this last sheet may
-have been sent, for the most part, abroad; for while no copy of it is to be found
-in this country, we find one mentioned with commendation by Fournier in
-1766,<a class="afnanch" href="#fn478" id="fnanch478">478</a>
-and another preserved to this day in the Sohmian Collection at Stockholm,
-where, along with several other rare English and foreign specimens, it has
-been recently discovered by, the indefatigable Mr. William Blades.</p>
-
-<p>In Ames’ <i>Typographical Antiquities</i>,<a class="afnanch" href="#fn479" id="fnanch479">479</a>
-published in 1749, appears a
-specimen of “Mr. Caslon’s Roman letter and the names of the sizes now in
-use,” the introductory note to which affords the first definite notice of the
-younger Caslon in connection with the foundry. “The art,” says Ames, “seems
-to be carried to its greatest perfection by Mr. William Caslon, and his son, who,
-besides the type of all manner of living languages now by him, has offered to
-perform the same for the dead, that can be recovered, to the satisfaction of any
-gentleman desirous of the same.”</p>
-
-<p>Another contemporary record of equal interest, which seems, moreover, to
-allude to one or more of the three missing Specimens above mentioned, is contained
-in a little essay on the <i>Original, Use, and Excellency of Printing</i>,
-published in 1752<a class="afnanch" href="#fn480" id="fnanch480">480</a>; in which the anonymous writer, after dealing with the
-invention, remarks: “Altho’ the chief honour is due to the Inventor, yet the
-perfection and beauty that Printing is now arrived at is very much owing to
-them that came after. Many in the present age have not a little contributed
-thereto. Among whom I cannot but particularly mention Mr. William Caslon
-and his Son, Letter Founders in Chiswell Street, who have very much by their
-indefatigable labours promoted the honour of this Art, and who have lately
-printed three broadsheet specimens of their curious types; one of them consisting
-of all the common sorts of letter used in
-printing; the second sheet is <span class="xxpn" id="p243">{243}</span>
-divers sorts of their Orientals, Old-English, and Saxon; and the third contains
-a great variety of curious Flowers and Fancies for Ornamenting of Title Pages,
-Tickets, &amp;c., also several sorts of Titling letter of Roman, Old-English and
-Greek; and the whole, for their master strokes and curious flourishes, outdo all
-that have been cast in England, Holland or any other place before.”</p>
-
-<p>The above is one of many compliments paid to Caslon at this period by his
-contemporaries. Smith, in his <i>Printer’s Grammar</i> in 1755, goes out of his way
-more than once to commend the founder by whose genius “letter is now in
-England of such a beautiful cut and shape as it never was before.” Baskerville,
-in a passage quoted elsewhere,<a class="afnanch" href="#fn481" id="fnanch481">481</a>
-frankly acknowledges him as the greatest master
-of the art. Ames and Chambers, as has been noticed, vie with one another in
-proclaiming his pre-eminence; Mores himself styles him the Coryphæus of
-modern letter founders, and Lemoine awards him the title of the English
-Elzevir.</p>
-
-<p>In 1750 Mr. Caslon’s reputation was such that his Majesty George II.
-placed him on the Commission of the Peace for Middlesex, which office he
-sustained with honour to himself and advantage to the community till the time
-of his death.</p>
-
-<p>In June of the same year, the <i>Universal Magazine</i><a class="afnanch" href="#fn482" id="fnanch482">482</a>
-contained an Article on
-Letter Founding, extracted chiefly from Moxon, and accompanied by a view of
-the interior of Caslon’s Foundry, containing portraits of six of his workmen.
-The view (of which our frontispiece is a reproduction) represents four casters at
-work, one rubber (Joseph Jackson), one dresser (Thomas Cottrell), and three
-boys breaking off, etc. Considering the extent of the business at the time, it
-may be doubted whether this represents the entire working staff of the establishment,
-or whether the view is of a portion only, in which, for the convenience of
-the artist, the four processes of the manufacture are assembled. The processes
-of punch-cutting and justifying were conducted in private by the Caslons themselves;
-yet not, as history shows, in such secrecy as to prevent their two
-apprentices, Cottrell and Jackson, from observing and learning the manual
-operation of that part of the “art and mystery.”<a class="afnanch" href="#fn483" id="fnanch483">483</a></p>
-
-<p>A movement among the workmen of the Foundry in 1757 for a higher
-scale of wages, although decided in favour of the men, resulted in the dismissal
-of the two ex-apprentices, who were supposed to have
-been ringleaders in the <span class="xxpn" id="p244">{244}</span>
-movement. With the experience acquired during their term of service at
-Chiswell Street, both these men were enabled to establish foundries of their
-own; and it is to the credit of Cottrell’s good sense, if not of his good feeling,
-that he subsequently supported his own claim to the patronage of the trade by
-announcing on his specimens that he had “served his apprenticeship to William
-Caslon, Esq.”</p>
-
-<p>The active part taken by the Second Caslon in the operations of the
-Foundry may be best judged of by a reference to the Specimen Book of 1764.<a class="afnanch" href="#fn484" id="fnanch484">484</a>
-In this book the number of founts which originally appeared on the broadside of
-1734 is more than doubled,<a class="afnanch" href="#fn485" id="fnanch485">485</a>
-most of the additions (with the exception of those
-which had formed part of Mitchell’s Foundry) being the handiwork of Caslon II.
-The following advertisement appears on the last page:―</p>
-
-<blockquote class="din2">
-
-<p>“This new Foundery was begun in the year 1720, and finish’d 1763; and will (with
-God’s leave) be carried on, improved and inlarged by William Caslon and Son, Letter-Founders
-in London.—Soli Deo Gloria.”</p></blockquote>
-
-<p>Rowe Mores, whose prejudice against the Second Caslon is undisguised,
-waxes facetious on the head of this innocent declaration,<a class="afnanch" href="#fn486" id="fnanch486">486</a>
-although he can find but
-little to blame in the Specimen itself, “in which,” he says, “is nothing censurable
-but the silly notion and silly fondness of multiplying bodies”—the Specimen
-showed a long-bodied English and a large-face Long Primer and Bourgeois—“as
-if the intrinsic of a foundery consisted in the numerosity of the heads!”
-Such animadversions, however, leave untouched the younger Caslon’s reputation
-as an able and successful typefounder, which was, indeed, so well established
-that during the later years of his father’s life he appears to have had the sole
-management of the business.</p>
-
-<p>Caslon I, having lived to see the result of his genius and industry in the
-regeneration of the Art of Printing in England, retired, universally respected,
-from the active management of the Foundry, and took up
-his residence first in <span class="xxpn" id="p245">{245}</span>
-a house opposite the Nag’s Head in the Hackney Road, removing afterwards to
-Water Gruel Row, and finally settling in what was then styled a country house
-at Bethnal Green, where he resided till the time of his death.</p>
-
-<p>“Mr. Caslon,” says Nichols, “was universally esteemed as a first-rate artist,
-a tender master, and an honest, friendly, and benevolent man.”<a class="afnanch" href="#fn487" id="fnanch487">487</a>
-The following
-anecdote, preserved by Sir John Hawkins in his <i>History of Music</i>, gives a
-pleasing glimpse into his private life, and shows that in his devotion to the
-severer arts the gentler were not neglected.</p>
-
-<p>“Mr. Caslon,” says Sir John, “settled in Ironmonger Row, in Old Street;
-and being a great lover of music, had frequent concerts at his house, which were
-resorted to by many eminent masters. To these he used to invite his friends
-and those of his old acquaintance, the companions of his youth. He afterwards
-removed to a large house in Chiswell Street, and had an organ in his concert
-room.<a class="afnanch" href="#fn488" id="fnanch488">488</a>
-After that, he had stated monthly concerts, which, for the convenience of
-his friends, and that they might walk home in safety when the performance was
-over, were on that Thursday in the month which was nearest the full moon;
-from which circumstance his guests were wont humourously to call themselves
-‘Luna-tics.’ In the intervals of the performance the guests refreshed themselves
-at a sideboard, which was amply furnished; and when it was over, sitting
-down to a bottle of wine, and a decanter of excellent ale, of Mr. Caslon’s own
-brewing, they concluded the evening’s entertainment with a song or two of
-Purcell’s sung to the harpsicord, or a few catches; and, about twelve, retired.”<a class="afnanch" href="#fn489" id="fnanch489">489</a></p>
-
-<p>Mr. Caslon’s hospitalities were not confined to his musical friends merely.
-His house was a resort of literary men of all classes, of whom large parties
-frequently assembled to discuss interesting matters relating to books and studies.<a class="afnanch" href="#fn490" id="fnanch490">490</a></p>
-
-<p>Mr. Caslon was thrice married. His second and third wives were named
-respectively Longman and Waters, and each had a good fortune. By his first
-wife he had two sons and a daughter: William,
-who succeeded him at Chiswell <span class="xxpn" id="p246">{246}</span>
-Street; Thomas, who became an eminent bookseller in Stationers’ Hall Court,
-where he died in 1783, after having in the previous year served the office of
-Master of the Stationers’ Company; and Mary, who married first Mr. Shewell,
-one of the original partners in Whitbread’s brewery, and afterwards Mr. Hanbey,
-an ironmonger of large fortune. A brother of Mr. Caslon, named Samuel, is
-mentioned by Rowe Mores, and appears to have served at Chiswell Street for a
-short time as mould maker, leaving there subsequently, on some dispute, to work
-in the same capacity for Mr. Anderton of Birmingham.</p>
-
-<p>Mr. Caslon died, much respected, at Bethnal Green, on
-Jan. 23rd, 1766, aged 74, and was buried in the Churchyard
-of St. Luke’s, the parish in which his three foundries were
-all situated. The monument to his memory, kept in repair
-by bequest of his daughter, Mrs. Hanbey, is thus briefly
-inscribed:―
-
-<span class="spnpbk">W. <span
-class="smcap">C<b>ASLON</b>,</span> Esq., ob. 23rd Jan.,
-1766, ætat 74.</span>
-
-<span class="spnpg0">A life-size portrait of him by Kyte is preserved at
-Chiswell Street, representing him holding in his hand the
-famous Specimen Sheet of 1734.</span></p>
-
-<p>William Caslon II issued in the year of his father’s
-death a Specimen in small quarto, bearing his own name
-and containing the same founts as those exhibited
-in the 1764 book.<a class="afnanch" href="#fn491"
-id="fnanch491">491</a> This Specimen, consisting of
-thirty-eight leaves, was again reprinted in 1770 by
-Luckombe in his <i>History of Printing</i>,<a class="afnanch"
-href="#fn492" id="fnanch492">492</a> of which work it
-occupies pages 134 to 173.</p>
-
-<div class="dctr06" id="fg67">
-<img src="images/i246.png" width="600" height="143" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i246lg.png" title="display larger image">Μ</a></span> 67. Long Primer Syriac,
- cut by Caslon II, <i>circa</i> 1768. (From the original
- matrices.)</div></div>
-
-<p>About the year 1768 the Chiswell Street foundry was called upon to supply
-a Syriac fount for the Oxford University Press, and Caslon produced the Long
-Primer Syriac which occurs in his subsequent specimens. He had previously
-supplied the University with a Long Primer Hebrew, and the old ledgers of the
-foundry show that numerous transactions of a similar kind took place during
-the latter half of last century.</p>
-
-<p>In 1770, besides the specimen of Luckombe, another indirect specimen of
-the Caslon types was issued by a Mr. Cornish, printer,
-in Blackfriars, in a very <span class="xxpn" id="p247">{247}</span>
-small form—32mo—exhibiting a series of Romans, two founts of Black, and
-three pages of flowers.</p>
-
-<p>It was probably on the Specimen of 1766 that Rowe Mores founded his summary
-of the contents of the Caslon foundry; and it will be interesting to
-reproduce this list, as it presents a view of the state of the foundry as it then
-existed, and, at the same time, distinguishes the authors of the several founts
-with which it was supplied.</p>
-
-<p>Rowe Mores seizes the opportunity afforded by this enumeration for
-another sneer at Caslon II. “This is the best account,” he says, “we can give of
-this capital and beautiful foundery, the possessor of which refused to answer the
-natural questions, because, forsooth, ‘answering would be of no advantage
-to us; if we wanted letter to be cast, he would cast it.’ But this we can do
-ourselves.”<a class="afnanch" href="#fn493" id="fnanch493">493</a></p>
-
-<div class="section">
-<p>The summary is as follows:―</p>
-
-<ul class="dmgnfndry">
- <li><h3 title="Mr. CASLON’S FOUNDERY">“<span
- class="smcap">M<b>R.</b></span> CASLON’S FOUNDERY.</h3>
-<ul class="fsz6">
- <li class="pcenter padtopc"><span class="fsz6">ORIENTALS.</span>
-<ul class="ulina">
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- 2-line English.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Double Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Great Primer.</li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- English.</li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- English open.<a class="afnanch" href="#fn494" id="fnanch494">494</a></li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Long Primer.<a class="afnanch" href="#fn495" id="fnanch495">495</a></li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Brevier.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- 2-line Great Primer.</li></ul></li>
-
- <li><i>Samaritan.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Dummers]</span>
- Pica.</li></ul></li>
-
- <li><i>Syriac.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Polyglot]</span>
- English.</li></ul></li>
-
- <li><i>Arabic.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- English.</li></ul></li>
-
- <li><i>Armenian.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- Pica.</li></ul></li>
-</ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">MERIDIONALS.</span>
-<ul class="ulina">
- <li><i>Coptic.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- Pica.</li></ul></li>
-
- <li><i>Ethiopic.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- Pica.</li></ul></li>
-</ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">OCCIDENTALS.</span>
-<ul class="ulina">
- <li><i>Greek.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon II]</span>
- Double Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Great Primer.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- English.<a class="afnanch" href="#fn496" id="fnanch496">496</a></li>
- <li class="lihang1"><span class="sppref">[Head]-[Mitchell]</span>
- Pica.<a class="afnanch" href="#fn497" id="fnanch497">497</a></li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- Long Primer.</li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- Brevier.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Small Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Nonpareil.</li></ul></li>
-
- <li><i>Etruscan.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- English.</li></ul></li>
-
- <li><i>Roman and Italic.</i>―
-<ul class="ulina"><li class="lihang1">All the regulars.</li></ul></li>
-
- <li><i>Irregulars and Titlings.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- 5-line.</li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- 4-line.<a class="afnanch" href="#fn496">496</a></li>
- <li class="lihang1"><span class="sppref">[Moxon]-[Andrews]</span>
- Canon.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- 2-line Double Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- 2-line Great Primer.<a class="afnanch" href="#fn496">496</a></li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- 2-line English.<a class="afnanch" href="#fn496">496</a></li>
- <li class="lihang1"><span class="sppref">[Mitchell]</span>
- 2-line Pica full-face.</li>
- <li class="lihang1"><span class="sppref" id="p248">[Caslon II]</span>
- 2-line Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Paragon.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Small Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Bourgeois.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Minion.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Nonpareil.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Pearl.<a class="afnanch" href="#fn498" id="fnanch498">498</a></li></ul></li>
-
- <li><i>Proscription.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon II]</span>
- 20-line to 4-line.<a class="afnanch" href="#fn499" id="fnanch499">499</a></li></ul></li>
-</ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">SEPTENTRIONALS.</span>
-<ul class="ulina">
- <li><i>Gothic.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- Pica.</li></ul></li>
-
- <li><i>Anglo-Saxon.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon II]</span>
- English.</li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- Pica.<a class="afnanch" href="#fn500" id="fnanch500">500</a></li></ul></li>
-
- <li><i>Anglo-Saxon.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon I]</span>
- Long Primer.<a class="afnanch" href="#fn500">500</a></li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Brevier.</li></ul></li>
-
- <li><i>English.</i>―
-<ul class="ulina"><li class="lihang1"><span class="sppref">[Caslon II]</span>
- Double Pica.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Great Primer.</li>
- <li class="lihang1"><span class="sppref">[Head]-[Mitchell]</span>
- English.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- English Modern.<a class="afnanch" href="#fn501" id="fnanch501">501</a></li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Pica.<a class="afnanch" href="#fn501">501</a></li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Long Primer.</li>
- <li class="lihang1"><span class="sppref">[Caslon I]</span>
- Brevier.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- 2-line Great Primer.</li>
- <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Small Pica.<a class="afnanch" href="#fn502" id="fnanch502">502</a></li></ul></li>
-</ul></li>
- <li>
-<ul class="ulina">
- <li><span class="fsz6">MUSIC.</span>―
-<ul class="ulina">
-  <li class="lihang1"><span class="sppref">[Caslon II]</span>
- Round Head.</li></ul></li>
-
- <li><span class="fsz6">FLOWERS</span> and the rest of the
- Apparatus.</li></ul></li></ul></li></ul>
-</div><!--section-->
-
-<p>Caslon II died in 1778, aged 58, and was buried in the family vault at St.
-Luke’s, the following line being added to his father’s inscription:
-<span class="spnpbk fsz6 padtopc">Also W. Caslon, Esq. (son of the above) ob. 17 Aug.,
-  1778, ætat. 58 years.</span></p>
-
-<p class="padtopc">Of him, too, an excellent oil portrait is preserved at Chiswell Street. He
-had married a Miss Elizabeth Cartlitch,<a class="afnanch" href="#fn503" id="fnanch503">503</a>
-a lady of beauty, understanding, and
-fortune, who, during the latter years of her husband’s life, had taken an active
-share in the management of the foundry.</p>
-
-<p>Mr. Caslon dying intestate, his property was divided equally between his
-widow and her two sons, William and Henry, the chief superintendence of the
-business devolving on William Caslon III, at that time quite a young man. The
-chief event of the new <i>régime</i> was the issue of the admirable Specimen Book of
-1785, a work which, for its completeness and excellent execution, has received
-high approbation. It consists of sixty sheets, twenty-one of which are devoted to
-Romans and Italics, ten to “learned” letter<a class="afnanch" href="#fn504" id="fnanch504">504</a>
-and Blacks,
-two to Music, two to <span class="xxpn" id="p249">{249}</span>
-Script, and no fewer than twenty-six to flowers arranged in artistic combinations
-and designs. The volume is dedicated to King George III, Mr. Caslon
-assuming the title allowed a century earlier to Nicholas Nicholls, of “Letter
-Founder to His Majesty.”</p>
-
-<p>The “Address to the Public,” which prefaces this Specimen, naturally lays
-claim on behalf of the Caslon Foundry to the merit of having rescued the type
-trade in England from the hands of foreigners. But it also suggests, by the
-somewhat acrid tone in which it refers to its “opponents,” that the competition
-of the newly-established foundries of Cottrell, Fry, Wilson, and Jackson was
-already beginning to tell on the temper of the third of the Caslons, who
-evidently did not regard as flattery the avowed imitation of the Caslon models
-by some of his rivals.<a class="afnanch" href="#fn505" id="fnanch505">505</a></p>
-
-<p>The Specimen contains one new feature—a Double Pica Script—which,
-however, is of no particular merit.</p>
-
-<p>The year 1785 was prolific in Specimens of the Chiswell
-Street foundry. In addition to the book above referred to,
-two folio Specimens, one an 8 pp. large post-folio, and
-another a 6 pp. foolscap-folio, appeared, intended for
-use as <span class="xxpn" id="p250">{250}</span> inset
-plates to Encyclopædias,<a class="afnanch" href="#fn506"
-id="fnanch506">506</a> in which the principal founts
-of the foundry, Roman and Oriental, were displayed.
-In addition to this, there was issued a 2 pp. folio
-Specimen of large letter<a class="afnanch" href="#fn507"
-id="fnanch507">507</a> showing the sand-cast types of the
-foundry in sizes from 19 to 7-line Pica.</p>
-
-<p>In the preceding year Caslon III. had issued his specimen of Cast
-Ornaments—the first of the kind exhibited by an English Founder—displaying
-65 designs of various size and merit at prices ranging from 3d. to 7s. each. In his
-introductory note to the second edition, dated July 20, 1786, he takes to himself the
-credit of an invention “completed with infinite attention and at an inconceivable
-expence,” whereby the trade is in future to be supplied with typographic designs
-equal to copperplate and less costly than the commonest wood-cuts. The
-process thus originated was that of sharply impressing a wood block in cooling
-metal so as to form a lead matrix from which to “dab” further impressions as
-required. The specimen of 1785 contained a few small ships of imposing
-appearance, but these were produced by the usual method of punch and matrix.</p>
-
-<p>It does not appear that the third Caslon’s connexion with the business
-resulted in any large addition to its founts. As, however, no specimen book of
-the Foundry is known between 1786 and 1805, it is difficult to judge of its
-progress during that period.</p>
-
-<p>In the year 1792 Mr. Caslon disposed of his interest in the Chiswell Street
-business to his mother and sister-in-law. Henry Caslon had died in 1788. He
-had married Miss Elizabeth Rowe, a lady of good family,<a class="afnanch" href="#fn508" id="fnanch508">508</a>
-between whom and
-their only son, Henry (at that time an infant of two years), he left his share
-of the Foundry.</p>
-
-<p>“It will not appear extraordinary,” says Hansard, “that a property so
-divided, and under the management of two ladies, though both superior and
-indeed extraordinary women, should be unable to maintain its ground
-triumphantly against the active competition which had for some time existed
-against it. In fact, the fame of the first William Caslon was peculiarly
-disadvantageous to Mrs. Caslon, as she never could be persuaded that any
-attempt to rival him could possibly be successful.”</p>
-
-<p>Mrs. Caslon, sen., was an active member of the
-Association of Typefounders <span class="xxpn" id="p251">{251}</span>
-of her day, which first met in 1793. In this capacity she gained the esteem of her
-fellow founders as well as of the printers, and on one occasion formed one of a
-deputation of two to confer with the latter on certain questions affecting the
-price of type.</p>
-
-<p>She died from the effects of a paralytic stroke in October 1795.</p>
-
-<p>The esteem in which she was held by all who knew her was amply testified
-by numerous notices in the public prints of the day. “Her merit and abilities,”
-says one, “in conducting a capital business during the life of her husband and
-afterwards, till her son was capable of managing it, can only be known to those
-who had dealings with the manufactory. In quickness of understanding and
-activity of execution she has left few equals among her sex.” And, in the same
-strain, the <i>Freemason’s Magazine</i> of March 1796, thus speaks of her: “The
-urbanity of her manners, and her diligence and activity in the conduct of so
-extensive a concern, attached to her interest all who had dealings with her, and
-the steadiness of her friendship rendered her death highly lamented by all
-who had the happiness of being in the extensive circle of her acquaintance.”
-The latter notice is accompanied by a portrait of this worthy lady.</p>
-
-<p>Mrs. Caslon’s will becoming the object of some litigation, her estate was
-thrown into Chancery, and in March 1799, the Foundry was, by order of the
-Court, put up for auction and purchased by Mrs. Henry Caslon for £520. The
-smallness of this figure is the more remarkable since only seven years previously,
-on the retirement of Caslon III., a third share of the concern had sold for £3000.</p>
-
-<p>“On the decease of Mrs. Caslon,” writes Hansard, in 1825, “the management
-of the Foundry devolved on Mrs. Henry Caslon, who, possessing an
-excellent understanding, and being seconded by servants of zeal and ability, was
-enabled, though suffering severely under ill-health, in a great measure to retrieve
-its credit. Finding the renown of William Caslon no longer efficacious in
-securing the sale of his types, she resolved to have new founts cut. She
-commenced the work of renovation with a new Canon, Double Pica and Pica,
-having the good fortune to secure the services of Mr. John Isaac Drury, a very
-able engraver, since deceased. The Pica, an improvement on the style of
-Bodoni,<a class="afnanch" href="#fn509" id="fnanch509">509</a>
-was particularly admired, and had a most
-extensive sale. Finding <span class="xxpn" id="p252">{252}</span>
-herself, however, from the impaired state of her health, which suffered from
-pulmonary attacks, unable to sustain the exertions required in conducting so
-extensive a concern, she resolved, after the purchase of the Foundry, to take
-as an active partner Mr. Nathaniel Catherwood, (a distant relation), who by his
-energy and knowledge of business fully equalled her expectations. This
-connection gave a new impetus to the improvements of the Foundry, which did
-not cease during the lives of the partners, and their exertions were duly
-appreciated and encouraged by the printers. In 1808 the character of the
-Foundry may be considered as completely retrieved, but the proprietors did not
-long live to enjoy their well-merited success. In 1799, Mrs. Henry Caslon had
-married Mr. Strong, a medical gentleman, who died in 1802. In the spring of 1808
-she was afflicted with a serious renewal of her pulmonary attack, in consequence
-of which she was advised to try the effect of the air of Bristol Hotwells, which
-probably protracted her life during a twelvemonth of extreme suffering, but
-could not eradicate the fatal disease. Her fortitude and resignation under this
-long continued, and helpless affliction could not be surpassed, and were truly
-admirable. Her sufferings were terminated in March 1809, when she was buried
-in the Cathedral of Bristol. The worthy and active Mr. Nathaniel Catherwood
-did not long survive his associate, being seized with a typhus fever which baffled
-the medical art. He died on the 6th of June, ætat. 45, very generally
-regretted.”<a class="afnanch" href="#fn510" id="fnanch510">510</a>
-A portrait of Mrs. Strong is preserved at Chiswell Street.</p>
-
-<p>In 1805 was published the first Specimen containing the new Romans of
-Messrs. Caslon and Catherwood, among which, however, the Canon and Double
-Pica referred to by Hansard are not included. The dates affixed to the various
-specimens<a class="afnanch" href="#fn511" id="fnanch511">511</a>
-show that most of them were completed
-between 1802 and 1805, the <span class="xxpn" id="p253">{253}</span>
-earliest being the Great Primer, dated May 1802. The Specimen also contained
-the Caslon Orientals. In 1808 a further Specimen of the Romans,
-including a few additional founts, appeared as a supplement to Stower’s <i>Printers’
-Grammar</i>.<a class="afnanch" href="#fn512" id="fnanch512">512</a></p>
-
-<p>These two Specimens, which are the only ones known to have been issued
-during twenty-three years, indicate clearly the important revolution through
-which the Chiswell Street Foundry, in common with all the other foundries of
-the day, had passed in respect of the model of its characters. All the once
-admired founts of the originator of the Foundry have been discarded, and
-between the Specimen of 1785 and that of 1808 there is absolutely no feature
-in common.<a class="afnanch" href="#fn513" id="fnanch513">513</a></p>
-
-<p>On the death of his mother and her partner, Henry Caslon II assumed the
-management of the business, and fully maintained its reputation. The former
-name of the firm was retained, and a fresh specimen of Roman letters and modern
-Blacks was issued about the year 1812.</p>
-
-<p>In 1814 Mr. Caslon took into partnership Mr. John James Catherwood,<a class="afnanch" href="#fn514" id="fnanch514">514</a>
-brother to Mr. Nathaniel Catherwood, and in this association proceeded vigorously
-with the improvement of the foundry. The partnership continued until
-1821, during which period, says Hansard, “the additions and varieties made to
-the stock of the Foundry have been immense. Nothing that perseverance in
-labour and unsparing effort could effect, either to meet the fashion and evanescent
-whim of the day, or with the superior view of permanent improvement,
-has been wanted to keep the concern up to its long-established eminence, and to
-enable it to rank high among the many able competitors of the present age. The
-ancient stock can never be equalled—the modern never excelled.”<a class="afnanch" href="#fn515" id="fnanch515">515</a></p>
-
-<p>Among the more important accessions to the stock
-of the Foundry may <span class="xxpn" id="p254">{254}</span>
-be mentioned the acquisition in 1817 of the Foundry of Mr. William Martin of
-Duke Street, St. James’s, which, as elsewhere stated,<a class="afnanch" href="#fn516" id="fnanch516">516</a>
-included several good
-Roman and Oriental letters.</p>
-
-<p>The partnership between Mr. Caslon and Mr. Catherwood being dissolved
-in 1821 by the withdrawal of the latter,<a class="afnanch" href="#fn517" id="fnanch517">517</a>
-Mr. Caslon admitted to a share of
-the business Mr. Martin William Livermore, “who for many years,” says Hansard,
-“had evinced ample talent, indefatigable zeal, and obliging attention, as
-active foreman and manager of the mechanical department.”</p>
-
-<div class="dkeeptogether">
-<p>It is to be regretted that the absence of any specimen book between 1812
-and 1830, prevents us from forming any accurate idea of the development of the
-Foundry during that period. It may be interesting, however, to quote the list
-given by Hansard, of matrices of the “learned” languages in the Foundry at the
-time when he wrote, <i>i.e.</i> 1825:</p>
-
-<ul class="dmgnfndry fsz6">
- <li><i>Arabic.</i>―
-<ul class="ulina">
- <li class="lijust">English.</li></ul></li>
-
- <li><i>Armenian.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>Coptic.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>Ethiopic.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>Etruscan.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>German.</i>―
-<ul class="ulina">
- <li class="lijust">Pica, Long Primer, Brevier.</li></ul></li>
-
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica,<a class="afnanch" href="#fn518"
-id="fnanch518">518</a> Great Primer,<a class="afnanch"
-href="#fn518">518</a> English, Pica, Small Pica,
-Long Primer, Bourgeois, Brevier, Nonpareil,
-Pearl, Diamond.<a class="afnanch" href="#fn519"
-id="fnanch519">519</a></li></ul></li>
-
- <li><i>Gothic.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>Persian.</i>―
-<ul class="ulina">
- <li class="lijust">English.</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lijust">Two-line Great Primer, Two-line English, Double Pica,
-Great Primer; ditto, with points; English; ditto, with
-points; Pica; ditto, with points; Small Pica, Long Primer,
-Bourgeois, Brevier.</li></ul></li>
-
- <li><i>Samaritan.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>Sanscrit.</i>―
-<ul class="ulina">
- <li class="lijust">English.<a class="afnanch" href="#fn520" id="fnanch520">520</a></li></ul></li>
-
- <li><i>Saxon.</i>―
-<ul class="ulina">
- <li class="lijust">English, Pica, Long Primer, Brevier.</li></ul></li>
-
- <li><i>Syriac.</i>―
-<ul class="ulina">
- <li class="lijust">English (<i>Polyglot</i>) Long Primer.</li></ul></li>
-
- <li><i>Music.</i>―
-<ul class="ulina">
- <li class="lijust">Large, Small.</li></ul></li>
-
- <li><i>Black.</i>―
-<ul class="ulina">
- <li class="lijust">Two-line Great Primer, Double Pica, Great Primer,
- English, Pica, Small Pica, Long Primer, Brevier,
- Nonpareil.</li></ul></li></ul>
-</div><!--dkeeptogether-->
-
-<p>Messrs. Caslon and Livermore issued specimens in 1830 and 1834, the latter
-appearing exactly one hundred years after the first broadside published by
-William Caslon I.</p>
-
-<p>We do not propose to continue the particular history of this venerable
-Foundry beyond this date. It may, however, be interesting to take a rapid
-survey of its subsequent career. <span class="xxpn" id="p255">{255}</span></p>
-
-<p>Numerous specimens followed the issue of 1834, that of 1839 bearing the title
-of Caslon, Son, and Livermore, Letter-founders to Her Majesty’s Board of Excise—the
-new partner being Mr. Caslon’s son, the late Mr. Henry William Caslon.
-Shortly afterwards, Mr. Livermore’s connexion with the business ceased, and the
-next few specimens bear the name of Henry Caslon alone.</p>
-
-<p>In 1843 a revival of the Caslon old-style letter took place under the following
-circumstances, which, as they initiated a new fashion in the trade
-generally, call for reference here. In the year 1843, Mr. Whittingham of the
-Chiswick press, waited upon Mr. Caslon to ask his aid in carrying out the then
-new idea of printing in appropriate type <i>The Diary of Lady Willoughby</i>,<a class="afnanch" href="#fn521" id="fnanch521">521</a>
-a work
-of fiction, the period and diction of which were supposed to be of the reign of
-Charles I. The original matrices of the first William Caslon having been
-fortunately preserved, Mr. Caslon undertook to supply a small fount of Great
-Primer. So well was Mr. Whittingham satisfied with the result of his experiment,
-that he determined on printing other volumes in the same style, and eventually
-he was supplied with the complete series of all the old founts. Then followed a
-demand for old faces, which has continued up to the present time.</p>
-
-<p>An attempt to sell the Foundry in 1846,<a class="afnanch" href="#fn522" id="fnanch522">522</a>
-not being successful, the business,
-again took the style of Caslon and Son.</p>
-
-<p>Mr. Henry Caslon died May 28, 1850, and in the same year the important
-step was taken of uniting the London Branch of the Glasgow Letter Foundry
-with that of Chiswell Street, which was now carried on under the style of H. W.
-Caslon and Co., Mr. Alexander Wilson, of the Glasgow Foundry, being for some
-time associated with Mr. H. W. Caslon in the management.</p>
-
-<p>In 1873, Mr. Caslon, being in ill health, retired, and died in the following
-year. He was the last of his race, and the Chiswell Street Foundry, after an uninterrupted
-dynasty of five generations, covering a period of nearly 160 years,
-was by his death left without a Caslon to represent it. The management of the
-business devolved on Mr. T. W. Smith, in whose hands
-it has since remained. <span class="xxpn" id="p256">{256}</span></p>
-
-<div class="section">
-<h3 class="fsz7" title="LIST
- OF SPECIMENS OF THE CASLON FOUNDRY, 1734–1830">LIST
- OF SPECIMENS OF THE CASLON FOUNDRY, 1734–1830.</h3>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1734. A Specimen by William Caslon, Letter-founder in Chiswell Street, London. 1734. Large
-post broadside.
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>1738. A Specimen by William Caslon, Letter-founder in Chiswell Street, London. Large post
-broadside.
-<span class="spcitr">(Chambers’ <i>Cycl.</i>, 1738.)</span></p></li>
-
- <li class="lispecimen"><p>1742. A Specimen by Caslon and Son, (referred to by Nichols, <i>Lit. Anec.</i>, ii, 365).
-<span class="spcitr">(<i>Lost.</i>)</span></p></li>
-
- <li class="lispecimen"><p>1748. A Specimen by Caslon and Son (referred to by Nichols, <i>Lit. Anec.</i>, ii, 721).
-<span class="spcitr">(<i>Lost.</i>)</span></p></li>
-
- <li class="lispecimen"><p>1749. A Specimen by William Caslon and Son, Letter-founders in Chiswell Street, London. 1749.
-Large Broadside.
-<span class="spcitr">(Sohmian Coll., Stockholm.)</span></p></li>
-
- <li class="lispecimen"><p>1749. A Specimen of Mr. Caslon’s Roman Letter, and the names of the sizes now in use.
-<span class="spcitr">(Ames’ <i>Typ. Antiq.</i>, p. 571.)</span></p></li>
-
- <li class="lispecimen"><p>1763. A Specimen of Printing Types by William Caslon and Son. Printed by Dryden Leach,
-London, 1763, 8vo.
-<span class="spcitr">(Amer. Antiq. Soc.)</span></p></li>
-
- <li class="lispecimen"><p>1764. A Specimen of Printing Types by William Caslon and Son. Printed by Dryden Leach.
-London, 1764. 4to and 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1766. A Specimen of Printing Types by William Caslon, Letter-founder, London. Printed by
-John Towers. 1766. Small 4to.
-<span class="spcitr">(B.M. T, 320, [11].)</span></p></li>
-
- <li class="lispecimen"><p>1770. A Specimen of Printing Types by William Caslon, Letter-founder, London. 8vo.
-<span class="spcitr">(Luckombe’s <i>History of Printing</i>, pp. 134–147.)</span></p></li>
-
- <li class="lispecimen"><p>1770. A Specimen of Printing Types cast by Wiliam Caslon for the use of John Dixcey Cornish,
-at Number 4, in Printing-House-Yard, Blackfriars, London. 1770. 32mo.
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>1784. A Specimen of Cast Ornaments on a new plan by William Caslon and Son. London.
-1784. 8vo.
-<span class="spcitr">(Sohmian Coll., Stockholm.)</span></p></li>
-
- <li class="lispecimen"><p>1785. A Specimen of Printing Types by William Caslon, Letter-founder to His Majesty. London.
-Printed by Galabin and Baker, 1785. 8vo.
-<span class="spcitr">(B.M. 441, f. 14.)</span></p></li>
-
- <li class="lispecimen"><p>1785. A Specimen of Large letter by William Caslon, London, 1785. Two sheets folio.
-<span class="spcitr">(B.M. 441, f. 14.)</span></p></li>
-
- <li class="lispecimen"><p>1785. A Specimen of Printing Types by William Caslon, Letter-founder to His Majesty, 1785.
-Folio, 8 pp.
-<span class="spcitr">(Chambers’ <i>Cycl.</i>, 1784–6.)</span></p></li>
-
- <li class="lispecimen"><p>1786. A Specimen of Cast Ornaments on a new plan by William Caslon, Letter-founder to His
-Majesty. London. Printed by J. W. Galabin, 1786. 8vo.
-<span class="spcitr">(B.M. 668, g. 17, [2].)</span></p></li>
-
- <li class="lispecimen"><p>1805. Specimen of Printing Types by Caslon and Catherwood, Letter-founders, Chiswell Street,
-London. T. Bensley, printer, London. 1805. 8vo.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
- <li class="lispecimen"><p>1808. A Specimen of Caslon and Catherwood’s modern-cut Printing Types. London, 1808. 8vo.
-<span class="spcitr">(Stower’s <i>Printers’ Grammar</i>.)</span></p></li>
-
- <li class="lispecimen"><p>n. d. Specimen of Printing Types by Caslon and Catherwood, Chiswell Street, London. T.
-Bensley, printer, London. 1812? 8vo.
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>1830. Specimen of Printing Types by Caslon and Livermore, Letter-founders, Chiswell Street,
-London. Bensley, Printer, 1830. 8vo.
-<span class="spcitr">(Caxt. Cel. 4411.)</span></p></li></ul>
-
-<div class="dctr09">
-<img src="images/i256.png" width="512" height="198" alt="" /></div>
-</div><!--section-->
-
-<div class="chapter"><div class="dctr01" id="p257">
-<img src="images/i257a.png" width="600" height="141" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XII. ALEXANDER WILSON, 1742.">
-<span class="hblk fsz6">CHAPTER XII.</span>
-<span class="hblk"><img class="ihrch" src="images/i257b.png"
-width="285" height="36" alt="" /></span>
-ALEXANDER WILSON, 1742.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i257c.png"
-width="504" height="534" alt="I" />
-</span>N the early years of the 18th century, printing in Scotland
-was in a condition even more depressed and unsatisfactory
-than in England. Except in Glasgow and
-Edinburgh the art was almost wholly neglected; and in
-those two cities the disadvantages at which printers were
-placed, owing partly to restrictive patents and monopolies,
-partly to jealousies among themselves, but chiefly to the
-absence of any letter-foundry in their own country, were
-sufficient bar to all prosperity, either as an industry or an art.</p>
-
-<p>A graphic sketch of this lamentable state of affairs is given in James
-Watson’s <i>History of Printing</i>, published in Edinburgh in 1713,<a class="afnanch" href="#fn523" id="fnanch523">523</a>
-a work which,
-while professing to give a general history of the art, derives its chief interest
-from the brief account of printing in Scotland given in the preface. That the
-art was derived in that country from Holland the
-author entertains no doubt, <span class="xxpn" id="p258">{258}</span>
-and that it was indebted for its maintenance and any measure of excellence it
-might claim to the same foreign source, he boldly asserts. It was the intervention
-of Dutch workmen that mainly contributed to relieve the deadlock
-into which the monopolies and patents of the 17th century had brought the trade
-generally, and it was only by a continuous supply of Dutch workmen, Dutch
-presses, and Dutch type that printing in Scotland was to be raised from its
-present low condition. And, as a crowning argument, he exhibits with some
-pride a selection of indifferent Dutch types and “Bloomers,” with which his own
-office is provided, as a suggestion of the excellence to which Scotch Typography
-might yet attain.<a class="afnanch" href="#fn524" id="fnanch524">524</a>
-This avowal of entire dependence on foreign labour and
-workmanship is significant; and the absence of any suggestion for remedying
-the evil by the establishment of a foundry in Scotland itself only emphasises
-the helpless condition into which the art had sunk.</p>
-
-<p>But although such a notion was too wild a dream for James Watson, others
-of his countrymen were bold enough to entertain it, and we find that in 1725
-a Scotch printer clearly represented to William Ged the disadvantage under
-which the country laboured from having no foundry nearer than London or
-Holland, and urged him to undertake the business. Of Ged’s career we have
-spoken elsewhere.<a class="afnanch" href="#fn525" id="fnanch525">525</a>
-He failed, and Scotch typography, despite the rising fame
-of Caslon, might have remained many years longer in its depressed condition,
-but for the accident which directed the genius of Alexander Wilson to
-letter-founding.</p>
-
-<p>Born at St. Andrews in 1714, young Wilson was originally intended for the
-medical profession, and it was with a view to push his fortunes in that direction
-that he came up to London in 1737 and took employment as assistant to a surgeon
-and apothecary in the great city. While thus engaged he obtained an introduction
-to Dr. Stewart, physician to Lord Isla, afterwards Duke of Argyle, and in
-this way came under the notice of his lordship. A common interest in scientific
-pursuits, particularly astronomy, served to interest Lord Isla in the young
-doctor’s assistant, and during the term of his service in London Wilson devoted
-much of his leisure to scientific study under the encouragement and favour of
-his new patron.</p>
-
-<div class="dctr03" id="fg68">
-<img src="images/i258fp.png" width="558" height="800" alt="" />
-<div class="dcaption">68. From <i>Hansard</i>.</div></div>
-
-<p>Of his first introduction to typography, we quote the following account
-given by Hansard on the authority of Alexander Wilson’s son and
-grandson:<a class="afnanch" href="#fn526" id="fnanch526">526</a>― <span class="xxpn" id="p259">{259}</span></p>
-
-<blockquote>
-
-<p>“While he was thus passing his time in a manner which he considered comfortable
-for one at his first entrance upon the world, a circumstance accidentally
-occurred which gave a new direction to his genius, and which in the end led to an
-entire change of his profession. This was a chance visit made one day to a letter-foundry
-with a friend, who wanted to purchase some printing types. Having
-seen the implements and common operations of the
-workmen usually shown to
-strangers, he was much captivated by the curious contrivances made use of in
-prosecuting that art. Shortly afterwards, when reflecting upon what had been
-shown him in the letter-foundry, he was led to imagine that a certain great
-improvement in the process might be effected; and of a kind too, that, if
-successfully accomplished, promised to reward the inventor with considerable
-emolument. He presently imparted his idea on the subject to a friend named
-Baine, who had also come from St. Andrews, and who possessed a considerable
-share of ingenuity, constancy and enterprise. The consequence of this was, the
-resolution of both these young adventurers to relinquish, as soon as it could be done
-with propriety, all other pursuits, and to unite their exertions in prosecuting the
-business of Letter Founding, according to the plan which had been contemplated
-with a view to improvements. After some further deliberation, Mr. Wilson
-waited upon his patron, Lord Isla, to whom he communicated his views, and the
-design of embarking in this new scheme; and derived much satisfaction from his
-Lordship’s entire approbation and best wishes for his success.</p>
-
-<p>“Mr. Wilson and Mr. Baine then became partners in the project, and having
-taken convenient apartments, applied with great assiduity to the different
-preparatory steps of the business. At an early stage they had proofs of
-difficulties to an extent which had not been anticipated, and which, had their
-magnitude been foreseen, would probably have altogether deterred them from
-their attempt. But although they found their task grow more and more arduous
-as their experience improved, it may yet be mentioned, as a fact which bespeaks
-singular probity of mind, that they never once attempted to gain any insight
-whatever through the means of workmen employed in any of the London
-foundries, some of whom they understood could have proved of considerable
-service to them.”</p></blockquote>
-
-<p>Of the precise nature of the improved system of founding by which the two
-young Scotchmen proposed to prosecute their undertaking, the narrative given
-by Mr. Hansard affords no information. It has been suggested by some that it
-was no other than that of stereotyping by a method similar to, or better than,
-that attempted a few years earlier by Ged. But whatever it may have been,
-further experiment failed to justify the scheme as one of practical utility, and
-the two partners, who had by this time quitted the metropolis
-and returned to <span class="xxpn" id="p260">{260}</span>
-St. Andrews, determined to abandon it and to fall back on the ordinary method
-of manufacturing type. “In their attempt to prosecute this speculation,”
-continues Mr. Hansard, still quoting the narrative furnished him by Dr.
-Wilson’s successors, “they found themselves in a more sure, though still in a
-difficult track, and in which they had no guide whatever but their own talent of
-invention and mechanical ability; and it was by the aid of these that they
-carried things forward until, at length, they were enabled to cast a few founts of
-Roman and Italic characters: after which they hired some workmen, whom
-they instructed in the necessary operations, and at last opened their infant letter-foundry
-at St. Andrews in the year 1742.”</p>
-
-<p>The Scotch printers were not slow in showing their appreciation of the
-convenience afforded them by the establishment of a foundry in their midst, and
-from the first Messrs. Wilson and Baine appear to have received liberal encouragement
-in their new venture. They added steadily to the variety of their
-founts, and finding the demand for their type on the increase, not only in
-Scotland, but in Ireland and North America, they decided in 1744 to remove
-from St. Andrews to a more convenient centre at Camlachie, a small village a
-mile eastward of Glasgow.</p>
-
-<p>In 1747 the claims of their Irish business necessitated the residence of one
-of the partners in Dublin.<a class="afnanch" href="#fn527" id="fnanch527">527</a>
-Mr. Baine was selected by lot for the duty, and
-accordingly departed for Ireland, leaving Mr. Wilson at Camlachie. Two years
-later the partnership was dissolved by mutual consent, and Mr. Baine quitted
-the business to make an independent venture in type founding.<a class="afnanch" href="#fn528" id="fnanch528">528</a>
-<span class="xxpn" id="p261">{261}</span></p>
-
-<p>Left to himself, Mr. Wilson actively prosecuted his business, and although
-no specimen of the foundry is known to exist, either during the partnership
-between Wilson and Baine, or, indeed, during the entire period of its location at
-Camlachie, its productions very shortly attained some considerable celebrity.</p>
-
-<p>“During his residence at Camlachie,” says Mr. Hansard, “Mr. Wilson had
-contracted habits of intimacy and friendship with some of the most respectable
-inhabitants and eminent characters in that quarter, among whom may be particularly
-reckoned the professors of the University of Glasgow and Messrs. Robert
-and Andrew Foulis, the University printers.<a class="afnanch" href="#fn529" id="fnanch529">529</a>
-The growing reputation of the
-University Press, conducted by these latter gentlemen, afforded more and more
-scope to Mr. Wilson to exercise his abilities in supplying their types; and being
-now left entirely to his own judgment and taste, his talents as an artist in the
-line to which he had become devoted became every year more conspicuous.”</p>
-
-<p>“When the design was formed by the gentlemen of the University, together
-with the Messrs. Foulis, to print splendid editions of the Greek classics, Mr.
-Wilson with great alacrity undertook to execute new types, after a model highly
-approved. This he accomplished, at an expense of time and labour which
-could not be recompensed by any profits arising from the sale of the types
-themselves. Such disinterested zeal for the honour of the University Press was,
-however, upon this occasion, so well understood as to induce the University, in
-the preface to their folio <i>Homer</i>,<a class="afnanch" href="#fn530" id="fnanch530">530</a>
-to mention Mr. Wilson in terms as honourable
-to him as they had been justly merited.”</p>
-
-<p>Of this magnificent work—one of the finest
-monuments of Greek typography <span class="xxpn" id="p262">{262}</span>
-which our nation possesses—it is sufficient to say that if the reputation of
-Alexander Wilson depended on no other performance, it alone would give him
-a lasting title to the distinction accorded to him in the preface, of “egregius
-ille typorum artifex.”<a class="afnanch" href="#fn531" id="fnanch531">531</a></p>
-
-<div class="dctr02" id="fg69">
-<img src="images/i262.png" width="600" height="437" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i262lg.png" title="display larger image">Μ</a></span> 69. Double Pica Greek, cut by Alex. Wilson, 1756. (From
- the Glasgow <i>Homer</i> (Foulis) 1756–8.)</div></div>
-
-<p>In 1760 Mr. Wilson was honoured with the appointment of the Practical
-Astronomy Professorship in the University of Glasgow, about two years after
-which the foundry was removed to the more immediate vicinity of the college.
-After this appointment the further enlargement and
-improvement of the foundry <span class="xxpn" id="p263">{263}</span>
-devolved upon his two eldest sons; and he lived to witness its rise under their
-management to the highest reputation.</p>
-
-<p>Among the later performances of Dr. Wilson, the most important was the
-beautiful fount of Double Pica cut in 1768 for the 4to edition of <i>Gray’s Poems</i><a class="afnanch" href="#fn532" id="fnanch532">532</a>
-published by the Brothers Foulis, who in their preface made public acknowledgment
-of the excellence of the letter and the expedition with which it had been
-provided.<a class="afnanch" href="#fn533" id="fnanch533">533</a></p>
-
-<p>Another high compliment was paid to Dr. Wilson’s talents in 1775, when
-Dr. Harwood, in the preface to his <i>View of the Greek and Roman Classics</i>,<a class="afnanch" href="#fn534" id="fnanch534">534</a>
-singled out, along with Baskerville’s types, the “Glasgow Greek types which have
-not been used since the superb edition of <i>Homer</i> in 1757, and which are the
-most beautiful that modern times have produced,” as fit to form the nucleus of a
-Royal typography for England, dedicated to the improvement of the “noblest
-art which human genius ever invented.”<a class="afnanch" href="#fn535" id="fnanch535">535</a></p>
-
-<p>The first known specimen of the Glasgow Letter Foundry, as it was now
-called, was published in 1772. It is at least remarkable that no specimen of its
-types should have been issued during the first thirty years of its successful career.
-But although Rowe Mores mentions with approval a sheet by Baine, he had
-apparently seen none bearing the name of Wilson.</p>
-
-<p>The specimen of 1772, which dated from the College of Glasgow, consisted
-of twenty-four 8vo leaves, and showed Roman and Italic only, in sizes from 5-line
-to Pearl, there being several faces to most of the bodies. Certain of these, it is
-stated, are “conformable to the London types”; and the enterprising proprietors
-undertake “to cast to any body and range, on receiving a few pattern types.”</p>
-
-<p>In 1783, another specimen was issued in a broadside form, in four columns,
-and is usually to be met with in copies of Ephraim Chambers’ <i>Cyclopædia</i>,
-enlarged by Rees, where it is inserted to illustrate
-the article “Printing.” <span class="xxpn" id="p264">{264}</span>
-It shows Roman and Italic from 6-line to Pearl, with five sizes of Black, six of
-Hebrew, and five of Greek, including the famous “Glasgow Homer” Double
-Pica.<a class="afnanch" href="#fn536" id="fnanch536">536</a>
-The general appearance of the sheet is good, and the founts compare
-favourably in shape and finish with those of any other foundry of the day. A
-note to the specimen intimates that the founts shown form a portion only of the
-contents of the Foundry. A full specimen appeared in 1786, and again in 1789,
-the latter being a small 4to volume of 50 pages, showing very considerable
-advance on its predecessors.<a class="afnanch" href="#fn537" id="fnanch537">537</a>
-A further specimen appeared in 1815, showing the
-modern cut letters of the Foundry.</p>
-
-<p>With almost a monopoly of the Scotch and Irish<a class="afnanch" href="#fn538" id="fnanch538">538</a>
-trade, the Glasgow
-Foundry became in course of time a formidable rival to the London houses, whose
-productions it contrived to undersell even in the English market. Its success,
-however, raised up competitors with itself in Scotland, foremost among which
-was the foundry of Mr. Miller, a former manager in the Glasgow Foundry.</p>
-
-<div class="dkeeptogether">
-<p>In 1825 the proprietors of the Foundry were Messrs. Andrew and Alexander
-Wilson, son and grandson to the originator. Hansard summarises their foreign
-and learned founts at this date as follows:</p>
-
-<ul class="dmgnfndry fsz6">
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica (<i>Glasgow Homer</i>), Great Primer, English,
- Pica, Small Pica, Long Pri­mer (“Elzevir”), Bre­vier,
- Non­pareil.</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lijust">2-line English, Double Pica, Great Primer, English,<a
- class="afnanch" href="#fn539" id="fnanch539">539</a> Pica,
- Small Pica, Long Pri­mer, Bre­vier, Minion, Non­pareil.</li></ul></li>
-
- <li><i>Saxon.</i>―
-<ul class="ulina">
- <li class="lijust">English, Pica, Small Pica, Long Primer, Bre­vier.</li></ul></li>
-
- <li><i>Black.</i>―
-<ul class="ulina">
- <li class="lijust">2-line Great Primer, Double Pica, Great Pri­mer,
- En­glish,
- Pica, Long Pri­mer, Bre­vier, Non­pareil.</li></ul>
-</li></ul>
-
-</div><!--dkeeptogether-->
-
-<p>In 1828 another complete specimen appeared, showing the new series of
-Romans from Double Pica to Diamond, Greek, and fifteen pages of flowers.</p>
-
-<p>Mr. Andrew Wilson dying in 1830, the management of the business devolved
-on his sons Alexander and Patrick, by whom it was decided, in 1832, to establish
-a branch house in Edinburgh. <span class="xxpn" id="p265">{265}</span></p>
-
-<p>A handsome 4to specimen of the Roman letter of the Foundry was published
-in 1833. This volume is interesting as being one of the first to show the letter
-not only in the venerable “Quousque tandem” paragraph, but also in an English
-garb.<a class="afnanch" href="#fn540" id="fnanch540">540</a>
-It includes also five pages of Greek, in which the Double Pica “Homer”
-is still prominent, and two pages of Hebrew, but no other orientals.</p>
-
-<p>In 1834 the important step was taken of transferring the Glasgow Foundry
-to London, where, in premises at New Street, Gough Square, the business was
-carried on.<a class="afnanch" href="#fn541" id="fnanch541">541</a></p>
-
-<p>Briefly to trace the later vicissitudes of the Foundry we may add that, about
-1834, a further development of the business was completed by the establishment
-of a Foundry at Two-Waters in Hertfordshire, where it was expected the cost of
-production would be considerably reduced by the cheaper labour attainable in the
-country. A strike occurring in 1837 among the London workmen, the Gough
-Square House was closed. In 1840 another branch was established at Dublin.
-Despite the activity of Mr. Alex. Wilson and the continued excellence of his
-types, the business declined. The latter years of his management were spent in
-fruitless endeavours to supersede the old method of handcasting by machinery.
-The various experiments made, however, (one of which was by the present Sir
-Henry Bessemer, whose father<a class="afnanch" href="#fn542" id="fnanch542">542</a>
-had been a type-founder) failed, and tended
-further to diminish Mr. Wilson’s resources, until in 1845 be became bankrupt.</p>
-
-<p>The London and Two-Waters Foundries being offered for sale by auction,
-the principal part of the matrices were purchased by the proprietors of the
-Caslon Foundry in 1850, Mr. Wilson remaining for some time with Mr. Caslon
-as joint manager.</p>
-
-<p>The Edinburgh branch of the business, started in 1832,
-had continued for <span class="xxpn" id="p266">{266}</span>
-some time with Mr. Duncan Sinclair as managing partner. But on the latter
-withdrawing from the concern and establishing himself as an independent
-founder at Whiteford House, Edinburgh, about 1839, the management was
-entrusted to Mr. John Gallie.</p>
-
-<p>On the breaking up of the business, the plant of the Edinburgh and Dublin
-branches was acquired by Dr. James Marr, who, in association with Mr. Gallie,
-carried on the business under the firm of Marr, Gallie, and Co. In 1853 it was
-James Marr and Co., with branches in London, Edinburgh, and Dublin. Dr.
-James Marr died in 1866, from which time till 1874, the business was carried on
-by his widow, with Mr. John Blair as manager. In 1874 it was converted into
-a Limited Company under the title of the Marr Typefounding Company,
-Limited, who removed the business from the old premises in New Street,
-Edinburgh, to Whiteford House, where it is still carried on.</p>
-
-<div class="dkeeptogether">
-<p>Mr. Duncan Sinclair, between whose specimens and those of the Wilson
-Foundry there was an obvious similarity, continued for some years at Whiteford
-House, where his son, formerly manager at the Two-Waters branch of the Glasgow
-Foundry, subsequently joined him. They published specimens in 1840,
-1842, and 1846 (which latter included a fount of “Gem”). In 1861 the Whiteford
-House Foundry was in the hands of John Milne and Co., who published a quarto
-specimen. In 1870 the contents of this foundry were dispersed at public auction,
-and the premises, as already stated, were shortly afterwards taken by the Marr
-Typefounding Company.</p>
-
-<hr class="hr24" /></div>
-
-<div class="section">
-
-<h3 class="fsz7" title="SPECIMEN BOOKS,
- 1783–1834">SPECIMEN BOOKS, 1783–1834.</h3>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1772. A Specimen of some of the Printing Types cast in the Foundery of Dr. A. Wilson and
-Sons, College of Glasgow (Glasgow,) 1772. 8vo, 24 leaves.
-<span class="spcitr">(B.M., B. 722, 8.)</span></p></li>
-
- <li class="lispecimen"><p>1783. A Specimen of Printing Types .&#160;. The above are some of the sizes cast in the Letter
-Foundery of Dr. Alex. Wilson and Sons, Glasgow. 1783. Broadside.
-<span class="spcitr">(Chambers’ <i>Cyclopædia</i>, 1784–6.)</span></p></li>
-
- <li class="lispecimen"><p>1786. A Specimen of Printing Types cast in the Letter Foundry of Alex. Wilson and Sons,
-Glasgow, 1786. 8vo.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
- <li class="lispecimen"><p>1789. A Specimen of Printing Types cast in the Letter Foundry of Alex. Wilson and Sons,
-Glasgow, 1789. Small 4to.
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>1812. A Specimen of Modern Cut Printing Types by Alex. Wilson and Sons, Letter Founders,
-Glasgow, 1812. 4to.
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>1815. A Specimen of Modern Cut Printing Types by Alex. Wilson and Sons, Letter Founders,
-Glasgow, 1815. 4to.
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>1823. A Specimen of Modern Printing Types by Alex. Wilson and Sons, Glasgow, 1823.
-4to.
-<span class="spcitr">(Caxt. Cel. 4402.) <span class="xxpn" id="p267">{267}</span></span></p></li>
-
- <li class="lispecimen"><p>1828. A Specimen of Modern Printing Types by Alex. Wilson and Sons, Letter Founders,
-Glasgow, 1828. 4to.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
- <li class="lispecimen"><p>1833. A Specimen of Modern Printing Types cast at the Letter Foundry of Alex. Wilson
-and Sons, Glasgow, 1833. 4to.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1833. A Specimen of Modern Printing Types cast at the Letter Foundry of Wilsons and
-Sinclair, New Street, Edinburgh, 1833. 4to.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
- <li class="lispecimen"><p>1834. A Selection from the Specimen Book of Alex. Wilson and Sons, Glasgow Letter
-Foundry, Great New Street, Gough Square, London, 1834. 4to.
-<span class="spcitr">(Caslon.)</span></p>
-
-<div class="dctr09"><img src="images/i267.png"
- width="512" height="218" alt="" /></div></li></ul>
- </div><!--section-->
-
-<div class="chapter"><div class="dctr01" id="p268">
-<img src="images/i268a.png" width="600" height="146" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XIII. JOHN BASKERVILLE, 1752.">
-<span class="hblk fsz6">CHAPTER XIII.</span>
-<span class="hblk"><img class="ihrch" src="images/i268b.png"
-width="269" height="37" alt="" /></span>
-JOHN BASKERVILLE, 1752.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i268c.png"
-width="506" height="535" alt="J" />
-</span>OHN BASKERVILLE was Born at Wolverley, in The
-county of Worcestershire, in the year 1706. He began
-life as a footman to a clergyman, and at the age of twenty
-became a writing-master in Birmingham. This occupation
-he appears to have supplemented by, or exchanged for, that
-of engraving inscriptions on tombstones and memorials;
-a profession in which he is said to have shown much
-talent.<a class="afnanch" href="#fn543" id="fnanch543">543</a>
-In 1737 he was still engaged in teaching writing
-at a school in the Bull-Ring, Birmingham, and is said to have written an
-excellent hand. His artistic tastes led him afterwards to enter into the japanning
-business, in which he prospered and became possessed of considerable property.
-He purchased an estate on the outskirts of the town, to which he gave the name
-of Easy Hill; and here built a handsome house, in which he carried on his
-business, and lived in considerable style.<a class="afnanch" href="#fn544" id="fnanch544">544</a></p>
-
-<div class="dctr03" id="fg70">
-<img src="images/i268fp.png" width="600" height="696" alt="" />
-<div class="dcaption">
-70. From <i>Hansard</i>.</div></div>
-
-<p>About the year 1750 his inclination for letters induced
-him to turn his <span class="xxpn" id="p269">{269}</span>
-attention to typography, and to add to his business of a japanner that of a
-printer.<a class="afnanch" href="#fn545" id="fnanch545">545</a></p>
-
-<p>The condition of printing in England at this period was still anything
-but satisfactory. Fine printing was an art unknown; and although under the
-influence of Caslon’s genius the press was recovering from the reproach under
-which it lay at the beginning of the century, England was still very far behind
-her neighbours both in typographical enterprise and achievement. Once more
-it was left to an outsider to initiate the new departure; and as in 1720 the art of
-letter-founding had been roused from its lethargy by the genius of a gunsmith’s
-apprentice, so in 1750 the art of printing was destined to find its deliverer in the
-person of an eccentric Birmingham japanner. Whatever may be the judgment
-of posterity as to the merits of Baskerville’s performances, to him is undoubtedly
-due the honour of the first real stride towards a higher level of national
-typography; an example which became the incentive to that outburst of
-enthusiasm—that “matrix and puncheon mania,” as Dibdin terms it—which
-brought forth the series of splendid typographical productions with which the
-eighteenth century closed and the nineteenth opened.</p>
-
-<p>Baskerville’s first essay in his new enterprise was deliberate, and gave ample
-proof of the enthusiasm of the man. Six years elapsed before any work issued
-from his press. During that period he is said to have sunk upwards of £600<a class="afnanch" href="#fn546" id="fnanch546">546</a>
-in
-the effort to produce a type sufficiently perfect to satisfy his fastidious taste.
-He engaged the best punch-cutters that could be had,<a class="afnanch" href="#fn547" id="fnanch547">547</a>
-in addition to which he
-made his own moulds, chases, ink, presses, and, indeed, almost the entire
-apparatus of the art.</p>
-
-<p>The following extracts from letters in the possession of Mr. S. Timmins, to
-whose industrious researches the student of typography is indebted for much
-new light on the history of Baskerville’s career, and to whose courtesy we are
-indebted for the present opportunity of placing them
-before our readers, will <span class="xxpn" id="p270">{270}</span>
-best describe the marvellous industry and enthusiasm which carried our printer
-to the successful issue of his great enterprise. The letters form part of a correspondence
-between Baskerville and his friend R. Dodsley, the publisher, respecting
-the preparations for his earliest printing venture:―</p>
-
-<p><i>Baskerville to R. Dodsley.</i> 2nd October 1752.</p>
-
-<blockquote class="din2">
-<p>“To remove in some measure your impatience, I have sent you an impression of
-fourteen punches of the Two-lines Great Primer, which have been begun and finished in
-nine days only, and contain all the letters Roman necessary in the Titles and Half-titles.
-I cannot forbear saying they please me, as I can make nothing more correct,
-nor shall you see anything of mine much less so. You’ll observe they strike the eye
-much more sensibly than the smaller characters, tho’ equally perfect, till the press
-shows them to more advantage. The press is creeping slowly towards perfection. I
-flatter myself with being able to print nearly as good a colour and smooth a stroke as
-the enclosed. I should esteem it a favour if you’d send me the Initial Letters of all
-the Cantos lest they should not be included in the said fourteen, and three or four pages
-of any part of the Poem from whence to form a Bill for the casting a suitable number
-of each letter. The R wants a few slight touches, and the Y half an hour’s correction.
-This day we have resolutely set about thirteen of the same siz’d Italic Capitals, which
-will not be at all inferior to the Roman, and I doubt not to complete them in a fortnight.
-You need, therefore, be in no pain about our being ready by the time appointed. Our
-best respects to Mrs. Dodsley and our friend, Mr.
-Beckett.”</p></blockquote>
-
-<p><i>Baskerville to R. Dodsley.</i> 19th October 1752.</p>
-
-<blockquote class="din2">
-<p>“As I proposed in my last, I have sent you impressions from a candle of twenty
-Two-lines Great Primer Italick, which were begun and finished in ten days only. We
-are now about the figures, which are in good forwardness, and changing a few of those
-letters we concluded finished. My next care will be to strike the punches into copper
-and justify them with all the care and skill I am master of. You may depend on
-my being ready by your time (Christmas), but if more time could be allowed, I should
-make use of it all in correcting and justifying. So much depends on appearing perfect
-on first starting .&#160;.&#160;.”</p></blockquote>
-
-<p><i>Baskerville to R. Dodsley.</i> 16th January 1754.</p>
-
-<blockquote class="din2">
-<p>“I have put the last hand to my Great Primer, and have corrected fourteen letters
-in the specimen you were so kind to approve, and have made a good progress in the
-English, and have formed a new alphabet of Two-line Double Pica and Two-line
-Small Pica capitals for Titles, not one of which I can mend with a wish, as they come
-up to the most perfect idea I have of letters.”</p></blockquote>
-
-<p>He then details his scheme for obtaining absolutely correct texts of the
-works he is about to print, as follows:―</p>
-
-<blockquote class="din2">
-<p>“&#x200f;’Tis this. Two people must be concerned; the one must name every letter,
-capital, point, reference, accent, etc., that is, in English, must spell every part of every
-word distinctly, and note down every difference in a book prepared on purpose. Pray
-oblige me in making the experiment with Mr. James Dodsley in
-four or five lines of <span class="xxpn" id="p271">{271}</span>
-any two editions of an author, and you’ll be convinced that it’s scarcely possible for the
-least difference, even of a point, to escape notice. I would recommend and practise the
-same method in an English author, where most people imagine themselves capable of
-correcting. Here’s another great advantage to me in this humble scheme; at the
-same time that a proof sheet is correcting, I shall find out the least imperfection in
-any of the Types that has escaped the founder’s notice. I have great encomiums on
-my Specimen from Scotland.”</p></blockquote>
-
-<p>The concluding sentence of this letter probably refers to the public
-announcement of the forthcoming quarto <i>Virgil</i>,<a class="afnanch" href="#fn548" id="fnanch548">548</a>
-put forward about this time,
-together with a specimen of the type. This most interesting document, a very
-few copies of which still exist, is in the form of a quarto sheet, headed, “<i>A
-Specimen by John Baskerville, of Birmingham, in the County of Warwick, Letter
-Founder and Printer</i>.” It displays the Roman and Italic of the Great Primer
-fount, and is remarkable not only as a piece of exquisite printing,<a class="afnanch" href="#fn549" id="fnanch549">549</a>
-but as the first
-known specimen of the famous Birmingham foundry.</p>
-
-<p>The following letters refer principally to the progress and completion of the
-<i>Virgil</i>:―</p>
-
-<p><i>Baskerville to R. Dodsley.</i> Birmingham, 20th December 1756.</p>
-
-<blockquote class="din2">
-<p>“I shall have <i>Virgil</i> out of the press by the latter
-end of January, and hope to produce the Volume as smooth
-as the best paper I have sent you. Pray, will it not be
-proper to advertize how near it is finishing, and beg the
-gentlemen who intend favouring me with their names, to
-send them by that time? When this is done, I can print
-nothing at home but another Classick (a specimen of which
-will be given with it) which I cannot forbear thinking
-a grievous hardship after the infinite pains and great
-expense I have been at. I have almost a mind to print a
-pocket Classick in one size larger than the old Elzevirs,
-as the difference will, on comparison, be obvious to every
-Scholar; nor should I be very sollicitous whether it paid
-me or not.”</p></blockquote>
-
-<p><i>R. Dodsley to Baskerville.</i> 10th February 1757.</p>
-
-<blockquote class="din2">
-<p>“The account you give me of the <i>Virgil</i> pleases me much, and I hope you will
-in that have all the success your heart can wish. I beg if you have any objection,
-addition or alteration to make in the following Advertisement you will let me know by
-return of post:―
-<span class="xxpn" id="p272">{272}</span></p>
-
-<div>“&#x200f;‘<span class="smcap">T<b>O THE </b>P<b>UBLIC.</b></span></div>
-
-<p>“&#x200f;‘John Baskerville of Birmingham thinks proper to give notice that having now
-finished his Edition of <i>Virgil</i> in one Volume, Quarto, it will be published the latter end
-of next month, price one guinea in sheets. He therefore desires that such gentlemen
-who intend to favour him with their names, will be pleased to send them either to
-himself at Birmingham, or to R. and J. Dodsley in Pall Mall, in order that they may
-be inserted in the list of his encouragers.’&#x200f;”</p></blockquote>
-
-<p><i>R. Dodsley to Baskerville.</i> April 7, 1757.</p>
-
-<blockquote class="din2">
-<p>“I am very sorry I advertised your <i>Virgil</i> to be published last month as you have
-not enabled me to keep my word with the public; but I hope it will not be delayed
-any longer, as every day you lose now the season is so far advanced, is certainly a
-great loss to you. I hope I shall have the pleasure of seeing you and it together.
-However, if the delay is occasioned by your making corrections, I think that a point
-of so much consequence, that no consideration should induce you to publish till it is
-quite correct. As to the ornamented paper, I will lower the price since you think it
-proper, but am still of opinion that it will not sell at our end of the town, tho’ for what
-reason I cannot imagine. .&#160;.&#160;. I like exceedingly your specimen of a <i>Common
-Prayer</i>, and hope you are endeavouring to get leave to print one. There is an error in
-the Exhortation, <i>shall</i> for <i>should</i>. Your small letter is extremely beautiful; I wish
-I could advise you what to print with it. What think you of some popular French
-book—<i>Gil Blas</i>, <i>Molière</i>, or <i>Telemaque</i>&#x202f;? In the specimen from <i>Melmoth</i> I think you
-have used too many Capitals, which is generally thought to spoil the beauty of printing;
-but they should never be used to adjectives, verbs, or adverbs. My best compliments
-attend your whole family.”</p></blockquote>
-
-<p>At length, after repeated delays, caused mainly by the nervous fastidiousness
-of the printer, who even corrected his work <i>currenti prelo</i> up to the last moment, the
-famous <i>Virgil</i> appeared in 1757,<a class="afnanch" href="#fn550" id="fnanch550">550</a>
-and with its publication Baskerville’s reputation
-was made. Being the earliest performance of this press, the volume possesses a
-peculiar interest among the productions of English typography. Opinions
-may differ as to some of the eulogies pronounced on it by bibliographers and
-bibliophiles,<a class="afnanch" href="#fn551" id="fnanch551">551</a> but as a typographical curiosity,<a class="afnanch" href="#fn552" id="fnanch552">552</a>
-and as a pioneer of fine printing
-in our midst, it is a work to be treasured and reverenced. <span class="xxpn" id="p273">{273}</span></p>
-
-<p>From a letter-founder’s point of view its chief interest consists in
-its being the earliest book printed in the type of the new Birmingham
-foundry. The fount used is a Great Primer, slender and delicate in
-form, combining, as Dibdin says, in a singularly happy manner, the
-elegance of Plantin with the clearness of the Elzevirs. The Italic
-letter was specially admired for its freedom and symmetry—qualities in
-which it excelled even the beautiful founts of Aldus and Colinæus.</p>
-
-<p>Baskerville’s merit met with prompt recognition in many quarters, amongst
-others, by the Delegates of the Oxford Press, who, in 1758 (apparently on his
-own application), entrusted him with the cutting and casting of a new Greek
-fount for their own use. A record of this important transaction remains in the
-following Minutes of the Delegates:―</p>
-
-<blockquote class="din2">
-<p>“June 6, 1758.—Present (among others) Dr. (Sir W.) Blackstone. <i>Order’d</i> that
-this Delegacy will at their next meeting take into consideration Mr. Baskerville’s
-Proposals for casting a Set of new Greek Types.</p>
-
-<p>“July 5, 1758.—<i>Ordered</i> that Dr. Blackstone be empowered to agree with Mr.
-Baskerville of Birmingham to make a new set of Greek Puncheons, matrices and
-moulds, in Great Primer, for the Use of the University, and also to cast therein 300
-Weight of Types, at the Price of 200 Guineas for the whole. And that he and Mr.
-Prince (Warehouse-keeper) do give proper Directions for that Purpose.</p>
-
-<p>“Jan. 31, 1759.—<i>Agreed</i> that Mr. Musgrave have leave to print his <i>Euripides</i> at
-the University Press on Mr. Baskerville’s Types as soon as they arrive.<a class="afnanch" href="#fn553" id="fnanch553">553</a></p>
-
-<p>“March 11, 1761.—<i>Ordered</i>, That a Greek Testament in Quarto and Octavo be
-printed on Baskerville’s Letter, and three or four Gentlemen of Learning and Accuracy
-be desired separately to correct the Proofs.</p>
-
-<p>“June 23, 1761.—500 copies in Quarto and 2,000 in Octavo ordered to be
-printed.”</p></blockquote>
-
-<p>In the accounts for 1761 the following entry records the conclusion of the
-business:―</p>
-
-<blockquote class="din2">
- <p>“To Mr. Baskerville for Greek Types
- .&#160;.&#160;.&#160;. £210 0 0.”</p></blockquote>
-
-<p>Considerable expectation was aroused by this order, which was considered
-of sufficient importance to deserve mention in the public press, as the following
-extract from the <i>St. James’s Chronicle</i> of September 5, 1758, testifies:―</p>
-
-<blockquote class="din2">
-<p>“The University of Oxford have lately contracted with Mr. Baskerville of
-Birmingham for a complete Alphabet of Greek Types of the Great Primer size; and it
-is not doubted but that ingenious artist will excel in that Character, as he has already
-done in the Roman and Italic, in his elegant edition of <i>Virgil</i>, which has gained the
-applause and admiration of most of the literati of Europe, as well as procured him the
-esteem and patronage of such of his own countrymen as distinguish themselves by
-paying a due regard to merit.”</p></blockquote>
-
-<p>The anticipations thus expressed were destined to
-be disappointed; for <span class="xxpn" id="p274">{274}</span>
-Baskerville’s genius appears to have failed him in his efforts to reproduce a
-foreign character. Even before the appearance of the Oxford <i>Greek Testament</i>,
-which did not occur till 1763, rumours of the failure of this undertaking had
-begun to circulate. Writing in 1763, respecting a forthcoming <i>Greek Testament</i>
-of his own, Bowyer says, “Two or three quarto Editions on foot, one at Oxford,
-far advanced on new types by Baskerville,—by the way, not good ones.”<a class="afnanch" href="#fn554" id="fnanch554">554</a></p>
-
-<p>The appearance of the work in question<a class="afnanch" href="#fn555" id="fnanch555">555</a>
-justified, to some extent, the
-criticism. Regular as the Greek character is, it is stiff and cramped, and, as
-Dibdin says, “like no Greek characters I have ever seen.” Rowe Mores goes to
-the length of styling it “execrable”; and Bowyer appears to have had it specially
-in mind when he said to Jackson that the Greek letters commonly in use were
-no more like Greek than English.</p>
-
-<p>Be this as it may, Baskerville made no further excursions into the foreign
-and learned languages, and, fortunately (as we consider) for his reputation,
-confined his talents to the execution of the characters of his native tongue, a
-branch of the art in which he had no rival.</p>
-
-<div class="dkeeptogether">
-<p>The punches, matrices and
-some of the types of this interesting fount are still
-preserved at Oxford,<a class="afnanch" href="#fn556"
-id="fnanch556">556</a> and are the only relics in
-this country of Baskerville’s letter-foundry. We are
-particularly glad, therefore, to be able to present here,
-in addition to the annexed facsimile from the <i>Specimen</i>
-of 1768–70, a line printed from the actual type cast by
-Baskerville in 1761:―</p>
-
-<div class="dctr07">
-<img src="images/i274.png" width="600" height="70" alt="" />
-</div></div>
-
-<div class="dctr04" id="fg71">
-<img src="images/i274fp.png" width="457" height="800" alt="" />
-<div class="dcaption"><span class="splnklg"><a
- href="images/i274fplg.png" title="display larger image">Μ</a></span> 71.
- Baskerville’s Greek. (From the Oxford <i>Specimen</i> of
- 1768–70.)</div></div>
-
-<div><span class="xxpn" id="p275">{275}</span></div>
-
-<p>Among the other important works which, says Mr. Nichols, “Baskerville
-printed with more satisfaction to the literary world than emolument to himself,”
-his <i>Paradise Lost</i>, in 4to, printed in 1758,<a class="afnanch" href="#fn557" id="fnanch557">557</a>
-is of signal merit and beauty. As a
-work of fine printing, it equals, if it does not excel, the <i>Virgil</i>. “The type”,
-observes Hansard (who speaks of it as a Pica instead of an English) “is manifestly
-an improvement on the ‘slender and delicate’ mentioned by Mr. Dibdin;
-I should think it, on the contrary, approaching to the <i>embonpoint</i>, and admirably
-calculated by extending the size (if in exact proportion), for works of the
-largest dimensions. The Italic possesses much room for admiration. .&#160;.&#160;. This
-work will, in my opinion, bear a comparison, even to its advantage, with those
-subsequently executed by the first typographer of our age. There is a clearness,
-a soberness, a softness, and at the same time a spirit, altogether harmonising,
-in Baskerville’s book, that neither of the others with which I am comparing it, can,
-I think, fairly claim.”<a class="afnanch" href="#fn558" id="fnanch558">558</a></p>
-
-<p>In his preface to the <i>Paradise Lost</i>, Baskerville gives an interesting account
-of his own labours and ambitions as a letter-founder. He says:―</p>
-
-<blockquote class="din2">
-<p>“Amongst the several mechanic Arts that have engaged my attention, there is no
-one which I have pursued with so much steadiness and pleasure as that of <i>Letter
-Founding</i>. Having been an early admirer of the beauty of Letters, I became insensibly
-desirous of contributing to the perfection of them. I formed to myself ideas of
-greater accuracy than had yet appeared, and have endeavoured to produce a <i>Sett</i> of
-<i>Types</i> according to what I conceived to be their true proportion.</p>
-
-<p>“<i>Mr. Caslon</i> is an artist to whom the Republic of Learning has great obligations;
-his ingenuity has left a fairer copy for my emulation than any other master. In his
-great variety of <i>Characters</i> I intend not to follow him; the <i>Roman</i> and <i>Italic</i> are all I
-have hitherto attempted: if in these he has left room for improvement it is probably
-more owing to that variety which divided his attention, than to any other cause. I
-honour his merit and only wish to derive some small share of Reputation from an
-Art which proves accidentally to have been the object of our mutual pursuit.</p>
-
-<p>“After having spent many years, and not a little of my fortune, in my endeavours
-to advance this art; I must own it gives me great satisfaction to find that my edition of
-<i>Virgil</i> has been so favorably received&#160;.&#160;.&#160;.</p>
-
-<p>“It is not my desire to print many books; but such only as are <i>books</i>
-of <i>Consequence</i>, of <i>intrinsic merit</i>, or <i>established Reputation</i>,
-and which the public may be pleased to see in an elegant dress, and to
-purchase at such a price as will repay the extraordinary care and
-expence that must necessarily be bestowed
-upon them .&#160;.&#160;. If <span class="xxpn" id="p276">{276}</span>
-this performance (<i>i.e.</i>, the <i>Milton</i>) shall appear to persons of judgment and penetration
-in the <i>Paper</i>, <i>Letter</i>, <i>Ink</i>, and <i>Workmanship</i> to excel, I hope their approbation may
-contribute to procure for me, what would indeed be the extent of my Ambition, a
-power to print an Octavo <i>Prayer Book</i>, and a <span class="smcap">F<b>OLIO</b></span>
-<span class="smcap">B<b>IBLE</b>.”</span></p></blockquote>
-
-<p>Both these ambitions were in due time fulfilled. In 1758 Baskerville had
-applied for the post of Printer to the University of Cambridge, an office which
-he obtained, with permission to print the folio <i>Bible</i>, and two editions of the
-<i>Common Prayer</i> in three sizes. This learned body, however, appear to have
-been influenced in the transaction more by a wish to fill their own coffers than by
-a desire to promote the interests of the Art; and the heavy premiums exacted
-from Baskerville for the privilege thus accorded effectually deprived him of any
-advantage whatever in the undertaking. He continued to hold this unsatisfactory
-office till 1766.</p>
-
-<p>Meanwhile he had laboured assiduously to complete his promised series of
-the Roman and Italic faces. At the time of the publication of the <i>Virgil</i>, he
-put forward a quarto sheet containing specimens of the Great Primer, English,
-Pica, and Brevier Roman, and Great Primer and Pica Italic, beautifully printed.
-This sheet, which is noted by Renouard,<a class="afnanch" href="#fn559" id="fnanch559">559</a>
-and which is occasionally found bound
-up with copies of the <i>Virgil</i>, was very shortly followed, about the end of
-the year 1758, by a larger and more general specimen, consisting entirely of
-Roman and Italic letter in eight sizes, viz.:—Double Pica, Great Primer,
-English, Pica, Small Pica, Long Primer, Bourgeois and Brevier. Of the two
-last, Roman only is shown. The whole is arranged in two columns on a
-broadside sheet, with appropriate titlings, and forms a beautiful display. Although
-the only copy we have seen is printed on a greenish paper, somewhat coarse, the
-Specimen exceeds in elegance and uniformity most, if not all, the productions of
-contemporary founders.<a class="afnanch" href="#fn560" id="fnanch560">560</a></p>
-
-<div class="dctr02" id="fg72">
-<img src="images/i276fp.png" width="600" height="496" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i276fplg.png" title="display larger image">Μ</a></span>
- 72. Baskerville’s English Roman and Italic. (From the
- <i>Milton</i>, 1758.)</div></div>
-
-<p>It may be worth noting here that in point of body
-Baskerville appears to <span class="xxpn" id="p277">{277}</span>
-have followed an independent course; most of his bodies, even the Pica, varying
-from the usual standards. The punches of the Greek fount, preserved at
-Oxford, show marks of high finish, although unnecessarily, as it seems to us,
-rounded in the stem. It is probable that these and the other punches of
-his foundry were not his own handiwork, but cut by skilled artists under his
-critical supervision.</p>
-
-<p>Unfortunately, very little is known of the operations of the Birmingham
-foundry as a trade undertaking. It is even doubtful whether, at first, Baskerville
-supplied his types to any press but his own; indeed, the activity of that
-press during the period when it was in the height of its prosperity was such that
-it is unlikely its proprietor would encumber himself with the duties of a letter-founder
-to the trade in general.</p>
-
-<div class="dkeeptogether">
-<p>The magnificent works<a class="afnanch" href="#fn561" id="fnanch561">561</a>
-which between 1759 and 1772 continued to issue
-from his press not only confirmed him in his reputation, but raised his name to
-an unique position among the modern improvers of the art. The paper, the type
-and the general execution of his works were such as English readers had not
-hitherto been accustomed to, while the disinterested enthusiasm with which,
-regardless of profit, he pursued his ideal, fully merited the eulogy of the printer-poet
-who wrote:―</p>
-
-<blockquote>
-<ul class="nowrap">
- <li class="lihang4"><span class="spqut">“</span>O <span class="smcap">B<b>ASKERVILLE&#x200a;!</b></span> the anxious wish was thine</li>
- <li class="lihang4"><span class="spqutspc">Utility</span> with beauty to combine;</li>
- <li class="lihang4"><span class="spqutspc">To</span> bid the o’erweening thirst of gain subside;</li>
- <li class="lihang4"><span class="spqutspc">Improvement</span> all thy care and all thy pride;</li>
- <li class="lihang4"><span class="spqutspc">When</span> <span class="smcap">B<b>IRMINGHAM</b></span>—for riots and for crimes</li>
- <li class="lihang4"><span class="spqutspc">Shall</span> meet the long reproach of future times,</li>
- <li class="lihang4"><span class="spqutspc">Then</span> shall she find amongst our honor’d race,</li>
- <li class="lihang4"><span class="spqutspc">One</span> name to save her from entire disgrace.”<a class="afnanch" href="#fn562" id="fnanch562">562</a></li>
-</ul></blockquote>
-</div><!--dkeeptogether-->
-
-<p>Baskerville’s third specimen sheet, undated, but probably issued in 1762, is an
-exquisitely printed large folio on highly glazed white paper. It completes the
-series of Roman and Italic displayed in the former sheet with a Nonpareil, and
-the whole is surrounded by an elegant light border. It is incomparably the most
-beautiful type-specimen of its day, although it must be admitted that not a little
-of its beauty is due to the brilliancy of the ink and the gloss of the paper.</p>
-
-<p>Despite the applause be­stowed on him, and the
-ack­now­ledged ex­cel­lence of
-his work, Basker­ville failed to make his new business
-a paying one. His letter <span class="xxpn" id="p278">{278}</span>
-to Horace Walpole in 1762 best details the history of his struggles and
-dis­ap­point­ments:―</p>
-
-<blockquote class="din2">
-<div>“To the Hon’ble Horace Walpole, Esq., Member of Parliament, in
-Arlington Street, London, this:</div>
-
-<p class="psignature"><span
- class="smcap">E<b>ASY</b> H<b>ILL</b>, B<b>IRMINGHAM</b>,</span>
- 2 Nov. 1762.</p>
-
-<p>“<span class="smcap">S<b>IR</b>,</span>—As the Patron and Encourager of Arts, and particularly
-that of Printing,<a class="afnanch" href="#fn563" id="fnanch563">563</a>
-I have taken the Liberty of sending you a Specimen of Mine, begun ten Years ago at
-the age of forty-seven, and prosecuted ever since with the utmost Care and Attention,
-on the strongest Presumption, that if I could fairly excel in this divine Art, it would
-make my Affairs easy or at least give me Bread. But alas! in both I was mistaken.
-The Booksellers do not chuse to encourage Me, though I have offered them as low
-terms as I could possibly live by; nor dare I attempt an Old Copy till a Law Suit
-relating to that affair is determined.</p>
-
-<p>“The University of Cambridge have given me a Grant to print their 8vo and 12mo
-<i>Common-Prayer Books</i>, but under such Shackles as greatly hurt me. I pay them for
-the former twenty and for the latter twelve pounds ten shillings the thousand; and to
-the Stationers’ Company thirty-two pound for their permission to print one edition of
-the <i>Psalms in Metre</i> to the small <i>Prayer Book</i>; add to this the great expense of
-Double and treble carriage, and the inconvenience of a printing house an hundred
-Miles off. All this Summer I have had nothing to print at Home. My folio <i>Bible</i> is
-pretty far advanced at Cambridge, which will cost me near £2000 all hired at 5 per
-cent. If this does not sell, I shall be obliged to sacrifice a small patrimony which
-brings me in £74 a year to this business of Printing, which I am heartily tired of and
-repent I ever attempted. It is surely a particular hardship, that I should not get
-Bread in my own country (and it is too late to go abroad) after having acquired the
-Reputation of excelling in the most useful Art known to mankind; while everyone
-who excels as a Player, Fiddler, Dancer, &amp;c., not only lives in Affluence, but has it in
-their power to save a Fortune.</p>
-
-<p>“I have sent a few Specimens (same as the enclosed) to the Courts of Russia and
-Denmark, and shall endeavour to do the same to most of the Courts in Europe; in
-hopes of finding in some of them a purchaser of the whole scheme, on the Condition
-of never attempting another Type. I was saying this to a particular Friend, who
-reproached me with not giving my own Country the Preference, as it would (he was
-pleased to say) be a national Reproach to lose it: I told him nothing but the greatest
-Necessity would put me upon it; and even then I should resign it with the utmost
-reluctance. He observed the Parliament had given a handsome Premium for a great
-Medicine; and he doubted not, if My Affair were properly brought before the House
-of Commons, but some Regard would be Paid to it. I replied I durst not presume to
-Petition the House, unless encouraged by some of the Members, who might do me
-the honour to promote it; of which I saw not the least hopes or probability. Thus,
-Sir, I have taken the Liberty of laying before you my Affairs without the least
-Aggravation; and humbly hope your patronage: To whom
-can I apply for <span class="xxpn" id="p279">{279}</span>
-Protection, but the Great who alone have it in their power to serve me? I rely on your
-candour as a Lover of the Arts and to excuse this Presumption in your most obedient
-and most humble servant</p>
-
-<p class="psignature"><span
- class="smcap">J<b>OHN</b> B<b>ASKERVILLE</b>.</span></p>
-
-<p>“P.S.—The folding of the Specimens will be taken
-out by laying them for a short time between damped
-Papers. N.B.—The Ink, Presses, Chases, Moulds for
-Casting, and all the apparatus for Printing were made
-in my own shops.”<a class="afnanch" href="#fn564"
-id="fnanch564">564</a></p></blockquote>
-
-<p>The folio <i>Bible</i><a class="afnanch" href="#fn565" id="fnanch565">565</a>
-referred to in this letter has always been regarded as
-Baskerville’s <i>magnum opus</i>, and is his most magnificent as well as his most
-characteristic specimen. It duly appeared in Cambridge in 1763, in a beautiful
-Great Primer type, fully meriting the applause which it evoked. It had been
-preceded in 1760 by some very elegant editions of the <i>Book of Common Prayer</i>,<a class="afnanch" href="#fn566" id="fnanch566">566</a>
-all published at Cambridge in his capacity of University printer.</p>
-
-<p>After the publication of the <i>Bible</i>, Baskerville wearied of his profession of
-printing, disheartened alike by the poor pecuniary returns for his labours, and
-the unfriendly criticism pronounced in various quarters upon his performances.
-Despite the splendid appearance of his impressions, the ordinary English printers
-viewed with something like suspicion the meretricious combination of sharp type
-and hot-pressed paper which lent to his sheets their extraordinary brilliancy.<a class="afnanch" href="#fn567" id="fnanch567">567</a>
-They objected to the dazzling effect thus produced on the eye; they found fault
-with the unevenness of tone and colour in different parts of the same book, and
-even discovered an irregularity and lack of symmetry in some of his types, which
-his glossy paper and bright ink alike failed to disguise.</p>
-
-<p>That these strictures were not wholly the result of prejudice and jealousy, a
-careful examination of Baskerville’s printed works in the
-light of the modern <span class="xxpn" id="p280">{280}</span>
-canons of fine printing will prove. Even his warmest admirers, like Fournier,<a class="afnanch" href="#fn568" id="fnanch568">568</a>
-tempered their praise with some reservation; while hostile critics, like Mores,
-summarily denied him a place among letter-cutters at all.<a class="afnanch" href="#fn569" id="fnanch569">569</a></p>
-
-<p>Of the prejudice rife against Baskerville at this time, an amusing anecdote
-is preserved in a letter of Benjamin Franklin to our printer, dated 1760:―</p>
-
-<blockquote class="din2">
-<p class="psignature">“<span class="smcap">C<b>RAVEN</b>
-S<b>TREET</b>, L<b>ONDON</b>, 1760.</span></p>
-
-<p>“<span class="smcap">D<b>EAR</b> S<b>IR</b>,</span>—Let me give you a pleasant instance of the prejudice some have
-entertained against your work. Soon after I returned, discoursing with a gentleman
-concerning the artists of Birmingham, he said you would be a means of blinding all
-the readers of the nation, for the strokes of your letters being too thin and narrow,
-hurt the eye, and he could never read a line of them without pain. ‘I thought,’ said
-I, ‘you were going to complain of the gloss of the paper some object to.’ ‘No, no,’
-said he, ‘I have heard that mentioned, but it is not that; it is in the form and cut of
-the letters themselves, they have not that height and thickness of the stroke which
-makes the common printing so much more comfortable to the eye.’ You see this
-gentleman was a <i>connoisseur</i>. In vain I endeavoured to support your character
-against the charge; he knew what he felt, and could see the reason of it, and several
-other gentlemen among his friends had made the same observation, etc. Yesterday
-he called to visit me, when, mischievously bent to try his judgement, I stepped into
-my closet, tore off the top of Mr. Caslon’s specimen, and produced it to him as
-yours, brought with me from Birmingham, saying, I had been examining it, since he
-spoke to me, and could not for my life perceive the disproportion he mentioned,
-desiring him to point it out to me. He readily undertook it, and went over the
-several founts, showing me everywhere what he thought instances of that disproportion;
-and declared, that he could not then read the specimen, without feeling very
-strongly the pain he had mentioned to me. I spared him that time the confusion of
-being told, that these were the types he had been reading all his life, with so much
-ease to his eyes; the types his adored Newton is printed with, on which he has
-pored not a little; nay, the very types his own book is printed with (for he is himself
-an author), and yet never discovered this painful disproportion in them, till he thought
-they were yours.</p>
-
-<div>“I am, etc.,</div>
-
-<p class="psignature">“B.
-<span class="smcap">F<b>RANKLIN</b>.”</span><a class="afnanch" href="#fn570" id="fnanch570">570</a></p>
-</blockquote>
-
-<p>This occasion for the above interesting letter, was
-an application made by <span class="xxpn" id="p281">{281}</span>
-Baskerville in 1760 to his friend, Dr. Franklin, to assist him in London to sound
-the literati there respecting the purchase of his types. This attempt failing,
-a few years later Dr. Franklin undertook a similar good office in Paris,<a class="afnanch" href="#fn571" id="fnanch571">571</a>
-and with
-a similar result. “The French,” he wrote in 1767, “reduced by the war of 1756
-were so far from being able to pursue schemes of taste, that they were unable to
-repair their public buildings, and suffered the scaffolding to rot before them.”</p>
-
-<p>Having lost all spirit for the printing business, Baskerville, about 1766,
-declined to pursue it except through the medium of a confidential agent, and
-the following notice, issued about this period, announced this decision to the
-public:―</p>
-
-<blockquote class="din2">
-<p>“Robert Martin has agreed with Mr. Baskerville for the
-use of his whole printing apparatus, with whom he has
-wrought as a journeyman for ten years past. He therefore
-offers his services to print at Birmingham for Gentlemen
-or Booksellers, on the most moderate terms, who may depend
-on all possible care and elegance in the execution.
-Samples, if necessary, may be seen on sending a line to
-John Baskerville or Robert Martin.”<a class="afnanch"
-href="#fn572" id="fnanch572">572</a></p></blockquote>
-
-<p>After a retirement of three years, Baskerville resumed work in 1769, completing
-between that period and the time of his death his fine series of the 4to
-classics, which bear the marks of unabated genius even in declining days; and
-suffice, had he printed nothing else, to distinguish him as the first typographer of
-his time.</p>
-
-<p>It would appear from a passage in a letter of Franklin’s in reference to the
-fine edition of <i>Shaftesbury’s Characteristics</i>, published in 1773 (4to), that, in that
-year, Baskerville contemplated some further development of his type-founding
-business.<a class="afnanch" href="#fn573" id="fnanch573">573</a>
-His press, at any rate, seems to have continued active till that date,
-and even later; although it is doubtful whether the latest works bearing his
-imprint received his personal oversight.</p>
-
-<p>He died on January 8, 1775. Notwithstanding the poor success of his printing
-enterprise, he left behind him a fortune of £12,000, which, as he had no heir,
-went, together with the stock and goodwill of his
-business, to his widow.<a class="afnanch" href="#fn574" id="fnanch574">574</a>
-<span class="xxpn" id="p282">{282}</span></p>
-
-<p>Of Baskerville’s personal character, a biographer observes: “In private life,
-he was a humourist, idle in the extreme; but his invention was the true
-Birmingham model, active. He could well design, but procured others to
-execute; wherever he found merit, he caressed it; he was remarkably polite
-to the stranger, fond of shew; a figure, rather of the smaller size, and delighted to
-adorn that figure with gold lace. Although constructed with the light timbers
-of a frigate, his movement was stately as a ship of the line. During the twenty-five
-last years of his life, though then in his decline, he retained the singular
-traces of a handsome man. If he exhibited a peevish temper, we may consider
-that good nature and intense thinking are not always found together. Taste
-accompanied him through the different walks of agriculture, architecture, and
-the fine arts. Whatever passed through his fingers bore the living marks of
-John Baskerville.”<a class="afnanch" href="#fn575" id="fnanch575">575</a></p>
-
-<p>A less pleasing sketch of his character is given by Mark Noble in his
-<i>Biographical History of England</i>:—“I have very often”, he says, “been with my
-father at his house, and found him ever a most profane wretch, and ignorant of
-literature to a wonderful degree. I have seen many of his letters, which like
-his will, were not written grammatically, nor could he even spell well. In person
-he was a shrivelled old coxcomb. His favourite dress was green, edged
-with narrow gold lace, a scarlet waistcoat, with a very broad gold lace, and a
-small round hat, likewise edged with gold lace. His wife was all that affectation
-can describe. .&#160;.&#160;. She was originally a servant. Such a pair are rarely met
-with. He had wit; but it was always at the expense of religion and decency,
-particularly if in company with the clergy. I have often thought there was
-much similarity in his person to Voltaire, whose sentiments he was ever
-retailing.”<a class="afnanch" href="#fn576" id="fnanch576">576</a></p>
-
-<p>Professing a total disbelief of the Christian religion, he ordered that his
-remains should be buried in a tomb in his own grounds, prepared by himself for
-the purpose, with an epitaph<a class="afnanch" href="#fn577" id="fnanch577">577</a>
-expressing his contempt for
-the superstition which <span class="xxpn" id="p283">{283}</span>
-the bigoted called Religion. Here, accordingly, his body was buried upright,
-and here it remained, although the building that contained it was destroyed by
-the Birmingham riots of 1791. About half a century after his death his body
-was exhumed and exhibited for some time in a shop in Birmingham. Its final
-resting-place is to this day a matter of debate.</p>
-
-<p>There is a portrait of Baskerville by Exteth, in the possession
-of the Messrs. Longman, and another in the possession of the Rev.
-Dr. Caldecott. An engraving of the latter is given in Hansard’s
-<i>Typographia</i>; and there is a copperplate from the same portrait
-(unpublished), at the present time in the collection of Mr. Timmins of
-Birmingham.</p>
-
-<p>Mrs. Baskerville<a class="afnanch" href="#fn578" id="fnanch578">578</a>, on succeeding to her husband’s property, declined to
-continue the printing business, although continuing that of letter-founding; and
-thus advertised her intention to the public:―</p>
-
-<blockquote class="din2">
-<p>“Mrs. Baskerville, being about to decline business as a printer, purposes disposing
-of the whole of her apparatus in that branch, comprehending, among other articles, all
-of them perfect in their kind, a large and full assortment of the most beautiful types,
-with the completest printing presses, hitherto known in England. She begs leave to
-inform the publick, at the same time, that she continues the business of Letter-founding,
-in all its parts, with the same care and accuracy that was formerly observed
-by Mr. Baskerville. Those gentlemen who are inclined to encourage so pleasing an
-improvement may, by favouring her with their commands, be now supplied with
-Baskerville’s elegant types at no higher expence than the prices already established in
-the trade.”<a class="afnanch" href="#fn579" id="fnanch579">579</a>
-<i>April 6, 1775.</i></p></blockquote>
-
-<p>The following further advertisement intimates that two years later the typefounding
-business was still carried on under the same management:―</p>
-
-<blockquote class="din2">
-<p>“The late Mr. Baskerville, having taken some pains to establish and perfect
-a Letter-foundry for the more readily casting of Printing-types for sale, and as the
-undertaking was finished but a little before his death, it is now become necessary for
-his widow, Mrs. Baskerville, to inform all Printers that she continues the same business,
-and has now ready for sale, a large stock of types, of most sizes, cast with
-all possible care, and dressed with the utmost accuracy. She hopes the acknowledged
-partiality of the world, in regard to the peculiar beauty of Mr. Baskerville’s types, in
-the works he has published, will render it quite unnecessary here to say anything to
-recommend them—only that she is determined to attend to the undertaking with all
-care and diligence; and to the end that so useful an improvement may become
-as extensive as possible, and notwithstanding the extraordinary hardness and
-durability of these types above all others, she will conform to sell them at the same
-prices with other Letter founders.” <i>Feb. 25, 1777.</i> <span class="xxpn" id="p284">{284}</span></p></blockquote>
-
-<p>Notwithstanding Mrs. Baskerville’s avowed intention of continuing the
-business, many attempts had been made, and were still made, to dispose of the
-foundry. It was offered to the Universities and declined; and the London
-booksellers preferred the types of Caslon and his apprentices.<a class="afnanch" href="#fn580" id="fnanch580">580</a>
-The stock lay a
-dead weight till 1779, when the whole was purchased by Beaumarchais for the
-Société Litteraire-Typographique, for the sum of £3,700, and transferred to
-France.</p>
-
-<p>Much blame and even contempt was bestowed at the time on the bad taste
-and unpatriotic spirit of the English nation in thus allowing the materials of this
-famous press to go out of the country.<a class="afnanch" href="#fn581" id="fnanch581">581</a> <i>De gustibus non est disputandum.</i>
-Deprived
-of the master-hand of their designer, the types which startled the world into
-admiration in the <i>Virgil</i> of 1757, had lost their magic by 1779; and it seems
-hardly reasonable to blame the printers of this country for preferring the sterling
-types of Caslon and Jackson, in which works as beautiful were being produced,
-and by far simpler methods than those employed by the Birmingham genius.
-Nor does it appear that after the purchase by the French there was any general
-feeling of regret in this country at the opportunity missed. It is, however, a fact
-that for some important works produced towards the close of the century—particularly
-those of Bulmer’s press—it was considered an advantage to secure
-the services of artists of the Birmingham school, both in the formation of the
-types and the execution of the press-work. As the pioneer of fine printing in
-England, Baskerville deserves, and will receive the grateful approbation of all
-lovers of the art. But it would be idle to say that he was not speedily matched
-and even surpassed by the performance of others, or that his types, had they
-remained in this country, would have been more valuable on account of their
-intrinsic excellence than of their historical interest.</p>
-
-<p>That the French were well satisfied with their bargain, may be gathered from
-the following letter quoted by Nichols, dated Paris, August 8th, 1780:―</p>
-
-<blockquote class="din2">
-<p>“The English language and learning are so cultivated in France, and so eagerly
-learned, that the best Authors of Great Britain are now reprinting in this Metropolis:
-Shakespeare, Addison, Pope, Johnson, Hume, and Robertson, are to be published here
-very soon. Baskerville’s types, which were bought it seems for a trifle, to the eternal
-disgrace of Englishmen, are to be made use of for the purpose of propagating the
-English Language in this country.”<a class="afnanch" href="#fn582" id="fnanch582">582</a>
-<span class="xxpn" id="p285">{285}</span></p></blockquote>
-
-<p>Nichols himself adds, after deploring the comparative failure of Baskerville,
-to receive appreciation in his native land: “We must admire, if we do not imitate
-the taste and economy of the French nation, who, brought by the British arms in
-1762 to the verge of ruin, rising above distress, were able, in seventeen years, to
-purchase Baskerville’s elegant types, refused by his own country, and to expend
-an hundred thousand pounds in poisoning the principles of mankind by printing
-the <i>Works of Voltaire</i>.”</p>
-
-<p>This great work, for the express purpose of printing which Baskerville’s
-types were procured, was thus announced to the English public in 1782<a class="afnanch" href="#fn583" id="fnanch583">583</a>:―</p>
-
-<blockquote class="din2">
-<p>“A complete edition of the <i>Works of Voltaire</i>, printed by subscription, with the
-types of Baskerville.</p>
-
-<p>“This work, the most extensive and magnificent that ever was printed, is now in
-the press at Fort Kehl, near Strasburgh, a free place, subject to no restraint or
-imprimatur, and will be published towards the close of the present year. It will never
-be on sale. Subscribers only can have copies. Each set is to be numbered, and a
-particular number appropriated to each subscriber at the time of subscribing. As the
-sets to be worked off are limited to a fixed and small number, considering the great
-demand of all Europe, those who wish to be possessed of so valuable a work must be
-early in their application, lest they be shut out by the subscriptions being previously
-filled. Voltaire’s Manuscripts and Port-Folios, besides his Works already published,
-cost 12,000 guineas. This and other expenses attending the publication, will lay the
-Editors under an advance of £100,000 sterling. The public may from thence form a
-judgment of the extraordinary care that will be taken to make this edition a lasting
-monument of typographical elegance and grandeur,” etc. <i>June 4, 1782.</i></p></blockquote>
-
-<p>The “proposals” were accompanied by two pages of specimens of the type.</p>
-
-<p>Of this famous edition of <i>Voltaire</i> an interesting account is given in
-Lomenie’s <i>Beaumarchais et ses Temps</i>.<a class="afnanch" href="#fn584" id="fnanch584">584</a>
-The Society in whose name Beaumarchais
-undertook the work consisted of himself alone. Besides the Voltaire
-MSS. and the Baskerville types, he bought and set to work three paper-mills in
-the Vosges, and after much difficulty secured the old fort at Kehl as a neutral
-ground on which to establish in security his vast typographical undertaking.
-The enterprise was one involving labour, time and cost vastly beyond his
-expectations, and his correspondence with his manager at Kehl presents an
-almost pathetic picture of his efforts to grapple with the difficulties that beset
-his task. “How can we promise,” he wrote in 1780,
-“in the early months of <span class="xxpn" id="p286">{286}</span>
-1782 an edition which has neither hearth nor home in March 1780? The paper-mills
-have to be made, the type to be founded, the printing press to be put up,
-and the establishment to be formed.” And on another occasion he writes:
-“Here am I, obliged to learn my letters at paper-making, printing and bookselling.”</p>
-
-<p>It was not until 1784 that Volume One appeared; and the whole work in two
-editions was not completed till 1790,<a class="afnanch" href="#fn585" id="fnanch585">585</a>
-by which time France was in the throes of
-the Revolution, and little likely to heed the literary exploits even of one of her
-most talented sons. Of the 15,000 copies printed, only 2,000 found subscribers;
-and after the dissolution of the establishment at Kehl<a class="afnanch" href="#fn586" id="fnanch586">586</a>
-(where, besides, he printed
-an edition of <i>Rousseau</i> and a few other works) all the benefit Beaumarchais
-received from his enterprise was a mountain of waste-paper.</p>
-
-<p>The final destination of Baskerville’s types is shrouded in mystery. Most
-writers assert that the printing establishment at Kehl was entirely destroyed at
-the commencement of the French Revolution, and many suggest that the types
-performed their last service in the shape of bullets. Plausible as this story is, it
-is disproved by the existence of four works of Alfieri, all bearing the imprint,
-<i>dalla Tipografia di Kehl, co’ caratteri di Baskerville</i>, and dated severally 1786,
-1795, 1800 and 1809.<a class="afnanch" href="#fn587" id="fnanch587">587</a>
-These works, to whose existence no writer on Baskerville
-appears hitherto to have called attention, bear the strongest internal evidence of
-the accuracy of their claims, and thus enable us to trace the survival of these
-famous types to a date twenty years later than that at which they are commonly
-supposed to have perished. In England, some of Baskerville’s types are said
-to have been in use in the office of Messrs. Harris, in Liverpool, in 1820; and
-seven years later, we find a work printed by Thomas White, of Crane Court,
-London, for Pickering, claiming to be “with the types of John Baskerville”.<a class="afnanch" href="#fn588" id="fnanch588">588</a>
-But though a fount or two of the types may have survived, all search as to
-the ultimate fate of the punches or matrices is baffled.
-They may still exist, <span class="xxpn" id="p287">{287}</span>
-neglected, in the dusty drawers of some foreign press or foundry.<a class="afnanch" href="#fn589" id="fnanch589">589</a>
-If so, it is to be hoped that their discovery may in due time reward
-the patience of those whose ambition it is to recover for their native
-land these precious relics of the most brilliant of all the English
-letter-founders.</p>
-
-<hr class="hr24" />
-
-<div class="dkeeptogether">
-<h3 class="fsz7" title="LIST OF BASKERVILLE’S SPECIMENS">LIST
- OF BASKERVILLE’S SPECIMENS.</h3>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>No date. A Specimen by John Baskerville, of Birmingham, in the county of Warwick,
-Letter Founder and Printer. 4to sheet. (1752?)
-<span class="spcitr">(S. T.)</span></p></li>
-
- <li class="lispecimen"><p>No date. A Specimen by John Baskerville of Birmingham. 4to sheet. (1757?)
-<span class="spcitr">(Althorp.)</span></p></li>
-
- <li class="lispecimen"><p>No date. A Specimen by John Baskerville of Birmingham, Letter Founder and Printer.
-(1758?). Broadside.
-<span class="spcitr">(S. T.)</span></p></li>
-
- <li class="lispecimen"><p>No date. A Specimen by John Baskerville of Birmingham. (1762?). Folio.
-<span class="spcitr">(S. T.)</span></p></li></ul>
-
-<div class="dctr09">
-<img src="images/i287.png" width="512" height="200" alt="" /></div>
-</div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p288">
-<img src="images/i288a.png" width="600" height="143" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XIV. THOMAS COTTRELL, 1757.">
-<span class="hblk fsz6">CHAPTER XIV.</span>
-<span class="hblk"><img class="ihrch" src="images/i288b.png"
-width="278" height="40" alt="" /></span>
-THOMAS COTTRELL, 1757.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i288c.png"
-width="510" height="535" alt="T" />
-</span>HOMAS COTTRELL, described by Mores as <i>à primo
-proximus</i> of modern letter-founders, served his apprenticeship
-in the foundry of the first Caslon. He was
-employed there as a dresser, and the portrait of him
-which is to be seen in the <i>Universal Magazine</i> of
-1750,<a class="afnanch" href="#fn590" id="fnanch590">590</a>
-among a group of Caslon’s workmen, represents
-him as engaged in that branch of the business.</p>
-
-<p>It is not improbable that he joined with his friend
-and fellow apprentice, Joseph Jackson, in clandestinely observing the operation
-of punch-cutting, secretly practised by his master and his master’s son at Chiswell
-Street; and being assisted by natural ability, and what Moxon terms a
-“genuine inclination,” he contrived during his apprenticeship to qualify himself
-not only in this, but in all the departments of the art.</p>
-
-<p>In 1757 a question as to the price of work having arisen among Mr. Caslon’s
-workmen, Cottrell and Jackson headed a deputation on the subject to their
-employer, then a Commissioner of the Peace, residing at Bethnal Green. The
-worthy justice taking this action in dudgeon, the two ringleaders were
-dismissed from Chiswell Street, and thus thrown unexpectedly on their own
-resources.</p>
-
-<p>Cottrell, in partnership for a short time with Jackson, and (according to
-Rowe Mores), assisted also by a Dutchman, one Baltus
-de Graff, a former <span class="xxpn" id="p289">{289}</span>
-apprentice of Voskens of Amsterdam, established his foundry in Nevil’s Court,
-Fetter Lane. His first fount was an English Roman, which, though it will
-compare neither with the performance of his late master, nor with the then new
-faces of Baskerville, was yet a production of considerable merit for a self-trained
-hand.</p>
-
-<p>In 1758 an incidental record of Cottrell’s Foundry exists in the history, elsewhere
-recorded, of Miss Elstob’s Saxon types, the punches and matrices of
-which, after remaining untouched for several years at Mr. Caslon’s, were brought
-to Cottrell by Mr. Bowyer, to be “fitted up” ready for use. This task Cottrell
-performed punctually and apparently to the satisfaction of his employer,
-returning them with a small fount of the letter cast in his own mould, as a
-specimen of the improvement made in them.<a class="afnanch" href="#fn591" id="fnanch591">591</a></p>
-
-<p>In 1759 Jackson quitted the business to go to sea, and Cottrell, left to
-himself, busily proceeded with the completion of his series of Romans, which
-he carried as low as Brevier, a size “which,” says Rowe Mores, “he thinks low
-enough to spoil the eyes.”<a class="afnanch" href="#fn592" id="fnanch592">592</a></p>
-
-<p>He also cut a Two-line English Engrossing in imitation of the Law-Hand,
-and several designs of flowers.</p>
-
-<div class="dctr02" id="fg73">
-<img src="images/i289.png" width="600" height="222" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i289lg.png" title="display larger image">Μ</a></span> 73. Engrossing, cut by Cottrell,
- <i>circa</i> 1768. (From the original matrices.)</div></div>
-
-<p>The Engrossing, or as Mores styles it, the Base Secretary, was a character
-designed to take the place of the lately abolished Court Hand in legal
-documents, and appears to have been designed for Cottrell by a law printer
-named Richardson. On the completion of the fount, an impression of which we
-here give, Richardson issued a specimen of it,<a class="afnanch" href="#fn593" id="fnanch593">593</a>
-claiming the design, and
-representing its advantages as the proper character
-for leases, agreements, <span class="xxpn" id="p290">{290}</span>
-indentures, etc. The matrices, however, remained with Cottrell, and the
-inclusion of the fount in his general specimen shows that Richardson ceased to
-retain any exclusive use of it. It was the only fount of the kind in England
-when Mores wrote in 1778.</p>
-
-<p>Cottrell’s first specimen was a broadside sheet, undated, but probably issued
-about the year 1760. It shows the Roman founts, arranged in a form very
-similar to that of Caslon’s broadside of 1749. The only copy of this specimen
-known is that in the Sohmian Collection at Stockholm.</p>
-
-<p>It was followed, a few years later, by an 8vo Specimen Book, which, from
-its obvious resemblance to Caslon’s Book of 1764, we may judge to have seen
-the light about 1766.<a class="afnanch" href="#fn594" id="fnanch594">594</a>
-This Specimen exhibits the Roman and Italic Founts
-from Five-line to Brevier, the Engrossing above mentioned, and five pages of
-Small Pica Flowers elaborately arranged. The general appearance is neat, each
-page being surrounded by a border. The Romans are cut after the Caslon
-models, and are fairly good, although a close inspection would suggest that
-Cottrell’s “genuine inclination” did not extend to the justifying of his matrices
-with the same success as to the cutting of the punches.</p>
-
-<p>The following note at the foot of the Long Primer on Bourgeois specimen is,
-perhaps, the most interesting feature of this book:―</p>
-
-<blockquote class="din2">
-
-<p>“This Foundery was begun in the Year 1757, and will (with God’s leave) be
-carried on, improved and enlarged, by Thomas Cottrell, Letter Founder, in London.</p>
-
-<div>“<i>N. B.</i> Served my apprenticeship
- to William Caslon, Esq.”</div></blockquote>
-
-<p>Fournier, in the second part of his <i>Manuel Typographique</i>, 1766, mentions
-Cottrell’s Foundry, but in such a manner as to lead one to suppose he had never
-seen his specimen, or heard of it except by the vaguest hearsay. He mentions
-him as “Cottrell à Oxfort,” at the head of his
-list of English Founders.<a class="afnanch" href="#fn595" id="fnanch595">595</a>
-<span class="xxpn" id="p291">{291}</span></p>
-
-<p>A more satisfactory contemporary record is contained in Luckombe’s
-<i>History and Art of Printing</i>, 1770, where pages 169 to 174 are occupied by
-specimens of the Engrossing and Flowers already exhibited in the specimen
-book, and a fount of English Domesday.</p>
-
-<p>This latter fount, which appears to have been completed subsequent to
-the issue of the specimen book, Cottrell cut under the inspection of Dr.
-Morton for the forthcoming issue of Domesday Book, begun in 1773, and
-“which”, Rowe Mores sarcastically observes, “if the undertakers go on as they
-have begun, will by domes-day hardly be finished.”</p>
-
-<p>The work was, however, finished and printed, but not in Cottrell’s type, his
-performance having been eclipsed by that of his old colleague and partner
-Jackson, who, after returning from sea in 1763, had worked for a short time
-at the Nevil’s Court Foundry, and then left to start business for himself,
-taking with him two of Cottrell’s workmen.</p>
-
-<p>Cottrell was at this period a private in the Life Guards; a position
-considered highly respectable in those days, and not at all incompatible with
-business pursuits. His military ardour evidently had its effect in the Foundry,
-for we find that Robinson and Hickson, his two workmen who left with
-Jackson, were also enlisted in the same service.</p>
-
-<p>He does not appear to have extended his foundry very much as regards its
-Roman letter. According to Rowe Mores, however, he produced “some uncommon
-founts of proscription, or posting letter of great bulk and dimensions as
-high as to the measure of twelve-line Pica.”<a class="afnanch" href="#fn596" id="fnanch596">596</a>
-Of these founts (which were
-no doubt cast, like Caslon’s, in sand), a specimen is in existence, consisting of
-two broadside sheets, showing about eleven sizes from two-line Double Pica to
-twelve-line Pica.</p>
-
-<p>No specimen, however, is to be found of the Russian fount, which Mores,
-writing in 1778, hopes Cottrell is about to cut “for a gentleman who compiles
-a Russian Dictionary; the same gentleman who translated into English, <i>The
-Grand Instructions of Her Imperial Majesty Catherine II, for a new Code of Laws
-for the Russian Empire. London, 1768, 4to.</i>, to whom we wish success.”</p>
-
-<p>Cottrell died in 1785. He is described as obliging, good-natured, and
-friendly, rejecting nothing because it is out of the common way, and expeditious
-in his performances. Nichols, in recording his death, says “Mr. Cottrell died, I
-am sorry to add, not in affluent circumstances, though to his profession of a letter-founder
-were superadded that of a doctor for the toothache,
-which he cured by <span class="xxpn" id="p292">{292}</span>
-burning the ear; and had also the honour of serving in the Troop of His Majesty’s
-Life Guards.”<a class="afnanch" href="#fn597" id="fnanch597">597</a></p>
-
-<div class="dkeeptogether">
-<p>The following is the summary of his foundry as gathered
-from his specimen book, together with the additional founts
-cut subsequently:―</p>
-
-<h3 title="MR. COTTRELL’S FOUNDRY">MR. COTTRELL’S FOUNDRY.</h3>
-
-<ul class="dmgnfndry fsz6">
- <li><i>Roman.</i>―
-<ul class="ulina">
- <li class="lijust">5-line, 4-line, 2-line Double Pica,
- 2-line Great Primer, 2-line English, 2-line Small Pica,
- 2-line Long Primer.</li></ul></li>
-
- <li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lijust">Canon, 2-line Great Primer, 2-line
- English, Double Pica, Great Primer, English, Pica 1, Pica
- 2, Small Pica, Long Primer 1, Long Primer 2, Bourgeois,
- Brevier.</li></ul></li>
-
- <li><i>Flowers.</i>―
-<ul class="ulina">
- <li class="lijust">Small Pica, 29 varieties.</li></ul></li>
-
- <li><i>Engrossing.</i>―
-<ul class="ulina">
- <li class="lijust">2-line English.</li></ul></li>
-
- <li><i>Script.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica.</li></ul></li>
-
- <li><i>Domesday.</i>―
-<ul class="ulina">
- <li class="lijust">English.</li></ul></li>
-
- <li><i>Large letter.</i>―
-<ul class="ulina">
- <li class="lijust">From 4-line up to
- 12-line.</li></ul></li></ul>
-</div><!--dkeeptogether-->
-
-<p>Of the history of the Foundry during the nine years following Mr. Cottrell’s
-death, no record remains. In 1794 it became the property of Robert Thorne,
-a former apprentice of Cottrell’s, who removed the business from Nevil’s Court
-to No. 1, Barbican, whence he issued in that year his first specimen and a price list
-announcing his new undertaking.<a class="afnanch" href="#fn598" id="fnanch598">598</a></p>
-
-<p>The specimen book consists entirely of elegantly shaped large letters cast
-in sand, from five-line up to nineteen-line, a then unprecedented size. The bulk
-of these, comprising the sizes from five to twelve-line, advancing by one pica em
-in body, it may be surmised, are from Cottrell’s models; the thirteen, sixteen, and
-nineteen-line, being added by Thorne. For his specimen of ordinary-sized letter,
-Thorne probably made use at first of Cottrell’s book as it stood.<a class="afnanch" href="#fn599" id="fnanch599">599</a></p>
-
-<p>But it is evident by the specimen published four years later, in 1798, that
-if he ever was possessed of the matrices of these founts, he entirely discarded
-them, in conformity with the passing fashion, in favour of others more closely
-resembling the beautiful faces of Jackson and Figgins. His specimen of 1798 is
-indeed one of the most elegant of which that famous
-decade can boast. For <span class="xxpn" id="p293">{293}</span>
-lightness, grace, and uniformity, the series of Romans and Italics which are
-exhibited excels that of almost all his competitors. The book, which contains
-not a single fount which had previously appeared in Cottrell’s book, consists of
-forty-eight leaves, of which thirty are devoted to Roman and Italic, and the
-remainder to Titlings, Shaded letters, and Flowers, with one fount of Double-Pica
-Script. A postscript to the specimen states that four more founts were
-nearly ready, completing the series, the preparation of which had evidently been
-the labour of many years.<a class="afnanch" href="#fn600" id="fnanch600">600</a>
-It is therefore the more to be regretted, that
-Thorne, in common with all his contemporaries, was compelled almost immediately,
-by the sudden change of public taste in favour of the new style of Roman,
-to abandon the further prosecution of this excellent series, and devote himself
-to the production of founts according to “modern” fashion.</p>
-
-<p>In 1801 a revised price list was issued announcing a rise in the price of type
-owing to the advanced cost of raw material and journeymen’s wages<a class="afnanch" href="#fn601" id="fnanch601">601</a>; and in
-1803 appeared the specimen of the new Roman series, representing the product
-of five years’ incessant toil and sacrifice. It cannot be said that this specimen of
-“Improved Types”<a class="afnanch" href="#fn602" id="fnanch602">602</a>—one of the first completed in the trade—bears any comparison
-with the artistic elegance of its predecessor.</p>
-
-<p>It exhibits the new Roman and Italic in ten, seven, and five-line Pica,
-Canon, two-line Great Primer (two faces), two-line English (two faces), Double
-Pica (two faces), Great Primer (two faces), English, Pica, Long Primer (two
-faces), Bourgeois, Brevier, and Minion. Ornamenteds—two-line Pica (two faces),
-two-line Small Pica (two faces). Shadeds—two-line Small Pica (two faces), two-line
-Nonpareil (three faces). Script—Double Pica.</p>
-
-<p>Thorne, indeed, having once abandoned the old style for the new, appears in
-the van of the innovating fashion. Not sharing in the regret expressed by his
-brethren in the art at the new departure, he still further advanced upon it by
-the production of some exceedingly thick and fat (and we may add unsightly)
-jobbing letters, which, though subsequently followed and even exceeded by
-others, were at the time unique for boldness and deformity. <span class="xxpn" id="p294">{294}</span></p>
-
-<p>In Oriental and “learned” letters he appears to have achieved nothing; as
-not a single fount, not even Cottrell’s Domesday, appears in this specimen, or in
-the subsequent inventory of the Foundry.</p>
-
-<p>A curious document entitled <i>Rules and Regulations of the Letter-Foundry
-of Robert Thorne, London, Jan. 1806</i>, exists, and gives an interesting glimpse
-into the order and customs of the Barbican Foundry. To the general scope of
-these rules we have referred in another place<a class="afnanch" href="#fn603" id="fnanch603">603</a>; but as being personal to Thorne
-in his relations with his men, we may mention here that he constituted himself
-Treasurer of the fines for “Footale,” imposed by the men on all new workmen,
-with an obligation to account for and distribute the sum every Christmas Eve,
-and also made himself liable, equally with his men, to a fine of a shilling if he
-left his light burning when quitting the Foundry for the night.</p>
-
-<p>For some time (though the exact dates cannot be fixed), Mr. Thorne had a
-partner in Mr. Hugh Hughes, an able engraver and designer of music and other
-characters, who afterwards commenced a foundry in Dean Street, Fetter Lane.<a class="afnanch" href="#fn604" id="fnanch604">604</a>
-This association does not appear to have lasted long, or to have involved any
-alteration in the style of the firm.</p>
-
-<p>About the year 1810 Mr. Thorne removed from Barbican to Fann Street,
-Aldersgate,<a class="afnanch" href="#fn605" id="fnanch605">605</a>
-where, in premises formerly occupied by a brewery, he continued his
-business under the name, which it still bears, of the Fann Street Foundry.</p>
-
-<p>Considerable additions were made to the faces of the Foundry during the
-next ten years. Two new Scripts were cut, the “Sanspareil” matrices were
-adopted for the large letters, and a few new book founts appeared with light
-faces, which contrasted agreeably with the fat style generally predominating in
-Thorne’s specimens.</p>
-
-<p>In 1817, declining health induced Mr. Thorne to attempt to dispose of his
-business to his fellow-founders; but his offer being declined, he resumed his labours
-and continued actively at work until the time of his death, which occurred in
-1820, at the age of sixty-six. He was buried in Holloway Churchyard, where a
-tablet is erected to his memory.</p>
-
-<p>No complete specimen of his type remains later than that of 1803;
-although the numerous loose sheets which appeared after that date, and the
-fact that as many as 132 pages of composed specimens were left in type at the
-time of his death, show that one, if not several books had been issued during the
-interval. <span class="xxpn" id="p295">{295}</span></p>
-
-<p>On June 21st, 1820, the Foundry was put up to auction,<a class="afnanch" href="#fn606" id="fnanch606">606</a>
-and purchased
-entire by Mr. William Thorowgood.</p>
-
-<p>This gentleman was previously unconnected with the typographical profession,<a class="afnanch" href="#fn607" id="fnanch607">607</a>
-having been engaged as London manager and agent to a Patent Roller
-Pump business at Stone, in Staffordshire, of which concern he was one of the
-principal proprietors.</p>
-
-<p>With the proceeds, it is said, of a fortunate draw in one of the State
-Lotteries,<a class="afnanch" href="#fn608" id="fnanch608">608</a>
-he became possessor of the Fann Street Foundry, and proceeded at
-once to throw himself into the new business with great energy and no small success.</p>
-
-<p>His first specimen book, issued in January 1821, a few months after the
-purchase, may be taken as representing the contents of the Foundry pretty much
-as Thorne left it; although even in this short space of time some additions are
-apparent, which formed no part of his predecessor’s stock.<a class="afnanch" href="#fn609" id="fnanch609">609</a>
-<span class="xxpn" id="p296">{296}</span></p>
-
-<p>In the following year Mr. Thorowgood was sworn Letter-Founder to His
-Majesty, and put forth a specimen of a Greek fount of good cut, which, at the
-time, was the sole representative of the “learned” languages in his Foundry.
-Further progress was, however, made in this direction during the next few years;
-as Hansard, writing in 1825, mentions three sizes of German, two of Greek, one
-of Hebrew, and four of Russian, as forming part of his stock. The Germans,
-and the Pica and Bourgeois Russian, were procured from the Foundry of Breitkopf
-and Härtel of Leipzig.<a class="afnanch" href="#fn610" id="fnanch610">610</a></p>
-
-<p>A new specimen book was issued in 1828. In the same year, the retirement
-of Dr. Fry presented Mr. Thorowgood with the opportunity of making a most
-important addition to his business by the acquisition of the Type Street Foundry.
-This purchase transferred to the Fann Street Foundry not only the whole of Dr.
-Fry’s interesting collection of oriental and “learned” founts, which included many
-relics of the old foundries, but augmented his stock of book founts, Blacks,
-Titlings, and Flowers, to almost double their former extent.</p>
-
-<p>The transfer was completed in 1829, and early in the following year a
-specimen of additions to the Foundry contained an announcement that “a new
-edition of the Greeks, Hebrews, and foreign characters of the Polyglot Foundry,
-late the property of Dr. Fry, is in preparation.”</p>
-
-<p>This promised specimen duly appeared in 1830, the sheets still bearing Dr.
-Fry’s imprint; and after this date frequent supplementary specimens marked the
-development of the business of this now extensive foundry.</p>
-
-<p>As the scope of this history does not extend beyond the period now
-reached, it will suffice to state that about 1838, Mr. Thorowgood admitted into
-partnership Mr. Robert Besley, who, since the year 1826, had been in the service
-of the Foundry as traveller and in other capacities. The firm then became
-known as Thorowgood and Co., or more commonly Thorowgood and Besley.
-This partnership ceasing by the withdrawal of Mr. Thorowgood in 1849, Mr.
-Benjamin Fox, a practical punch cutter of much talent, joined Mr. Besley as
-Robert Besley and Co. On the retirement of Alderman Besley in 1861, Mr.
-(afterwards, Sir) Charles Reed, a printer, entered the business, which took the
-style of Reed and Fox. Mr. Fox died in 1877, when the firm became Sir <span class="xxpn" id="p297">{297}</span>
-Charles Reed and Sons. Sir Charles Reed died in 1881, and the business is
-now in the hands of his two sons.</p>
-
-<hr class="hr24" />
-<div class="dkeeptogether">
-<h3 class="fsz7" title="LIST OF SPECIMENS, 1760–1830">LIST
- OF SPECIMENS, 1760–1830.</h3>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>No date. A specimen by Thomas Cottrell. (1760?) Broadside.
- <span class="spcitr">(Sohmian Coll. Stockholm.)</span></p></li>
-
- <li class="lispecimen"><p>No date. A specimen of Printing Types by Thomas Cottrell, Letter
-Founder, in Nevil’s Court, Fetter Lane, London. (1766?) 8vo.
-<span class="spcitr">(T.B.R.)</span></p></li>
-
- <li class="lispecimen"><p>1770. A specimen of Cottrell’s Engrossing, Flowers, and Domesday
-Letters. 8vo.
-<span class="spcitr">(Luckombe’s <i>History of Printing</i>, pp. 169–174.)</span></p></li>
-
- <li class="lispecimen"><p>No date. A specimen of Large Letters by Thomas Cottrell, in Nevil’s
-Court, Fetter Lane, London. (1785?) 2 sheets, Broadside.
-<span class="spcitr">(Sohmian Coll. Stockholm.)</span></p></li>
-
- <li class="lispecimen"><p>1794. Specimen of Printing Types by R. Thorne, Letter Founder, No.
-11, Barbican, London. Printed by W. Glindon, 1794. Sm. 4to.
-<span class="spcitr">(T.B.R.)</span></p></li>
-
- <li class="lispecimen"><p>1798. Specimen of Printing Types by R. Thorne, Letter Founder,
-Barbican, London, Printed in the year 1798. Sm. 4to.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
- <li class="lispecimen"><p>1803. Thorne’s Specimen of Printing Types, 1803. 8vo.
-<span class="spcitr">(W.B.)</span></p></li>
-
- <li class="lispecimen"><p>1821. Thorowgood’s New Specimen of Printing Types, late R. Thorne’s,
-No. 2, Fann Street, Aldersgate Street, London. 8vo.
-<span class="spcitr">(T.B.R.)</span></p></li>
-
- <li class="lispecimen"><p>1822. A specimen sheet of Greek Type,
-W. Thorowgood, June, 1822. 8vo.
-<span class="spcitr">(T.B.R.)</span></p></li>
-
- <li class="lispecimen"><p>1828. Thorowgood’s, late Thorne’s, Specimen of Printing Types, 1828.
-8vo. <span class="spcitr">(T.B.R.)</span></p></li>
-
- <li class="lispecimen"><p>1830. Additions to the Specimen of the Fann Street Letter Foundry, W.
-Thorowgood, Letter Founder to His Majesty, London, 1830. 8vo.
-<span class="spcitr">(Caxt. Cel. 4418.)</span></p></li>
-
- <li class="lispecimen"><p>1830. Fann Street Letter Foundry, London. Thorowgood’s Specimens of
-Greeks, Hebrews, and Foreign Characters, late the property of Dr.
-Edmund Fry. 1830. 8vo.
-<span class="spcitr">(Caxt. Cel. 4413.)</span></p></li></ul>
-
-<div class="dctr09">
-<img src="images/i297.png" width="512" height="192" alt="" /></div>
-</div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p298">
-<img src="images/i298a.png" width="600" height="143" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XV. JOSEPH AND EDMUND
- FRY, 1764.">
- <span class="hblk fsz6">CHAPTER XV.</span>
- <span class="hblk"><img class="ihrch" src="images/i298b.png"
- width="285" height="33" alt="" /></span>
- JOSEPH AND EDMUND FRY, 1764.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i298c.png"
-width="506" height="532" alt="T" />
-</span>HIS foundry, first known as Fry and Pine’s, had its
-origin in Bristol in the year 1764.</p>
-
-<p>Mr. Joseph Fry, a prominent and enterprising Bristolian,
-was the son of Mr. John Fry, and was born in the
-year 1728. He entered the medical profession, where,
-says a biographer,<a class="afnanch" href="#fn611" id="fnanch611">611</a>
-“his affable, courteous manners and
-sound Christian principles soon secured to him a large
-practice amongst the highest class of his fellow citizens.
-Possessing uncommon energy and activity of mind, he was led to take a part in
-many new scientific undertakings, actuated more by the desire to be useful to
-society and advance the arts than by any hope of individual profit.”</p>
-
-<p>This spirit of enterprise induced him, in the year 1764, to turn his attention to
-letter-founding, which, though hardly to be called a new scientific undertaking,
-was at least a novel industry for a provincial city. The success of Baskerville’s
-foundry at Birmingham, at that time in the height of its celebrity, was
-undoubtedly an incentive to the adventurers of Bristol, whose first founts were
-avowedly cut in close imitation of those famous models.</p>
-
-<div class="dctr02" id="fg73a">
-<img src="images/i298fp.png" width="600" height="388" alt="" />
-<div class="dcaption">
-73<span class="smmaj">A.</span> Joseph Fry and Dr. Edmund Fry.
-From Silhouettes in the possession of Francis Fry,
-Esq., of Bristol.</div></div>
-
-<p>William Pine, Mr. Fry’s partner, was a practical printer of some note in his
-native city. He was the first printer of the <i>Bristol Gazette</i>, and carried on a
-considerable business at his premises in Wine Street.
-The new foundry was <span class="xxpn" id="p299">{299}</span>
-attached to his office, and its productions may be traced in several works which
-issued from his press between the years 1764 and 1770.<a class="afnanch" href="#fn612" id="fnanch612">612</a>
-Messrs. Fry and Pine’s
-manager was one Isaac Moore, who (Rowe Mores informs us) was originally
-an ingenious whitesmith of Birmingham before he removed to Bristol. The
-practical superintendence of the foundry, if not the actual cutting of its
-punches, devolved on him; and his services appear to have been acknowledged
-by his admission into the partnership at an early stage of the undertaking, the
-business being carried on in his name.</p>
-
-<p>Renouard mentions a <i>Specimen by Isaac Moore, Bristol</i>, in 1768, of which
-he possessed a copy mounted on linen,<a class="afnanch" href="#fn613" id="fnanch613">613</a>
-and which he describes as displaying
-“caractères assez bien gravés, et imitant ceux de Baskerville.” If this was, as
-it would appear from the title, issued at Bristol, we must conclude that the
-removal of the foundry to the metropolis took place in the same year, as there
-exists in the Sohmian Collection at Stockholm, where it was recently discovered
-by Mr. W. Blades, a broadside <i>Specimen by Isaac Moore and Co. in Queen Street,
-near Upper Moorfields, London</i>, showing the Roman series from five-line to Brevier,
-bearing the same date. Whether the two specimens are the same or not, it is
-hardly likely that their contents could have varied much during the brief
-interval. Two years later, however, the progress of the undertaking was
-announced by the issue of a fresh broadside sheet containing the complete
-series of Romans, cut after the Baskerville models, from eight-line to Pearl,
-with Italics to most of the founts, besides a fair display of flowers. The general
-appearance of the letters is elegant, especially in the larger sizes.</p>
-
-<p>Appended to the specimen, in the form of a postscript, is the following
-address to the public (the first of a series of florid effusions which characterised
-the specimens of this foundry), in which the proprietors announce the principles
-on which their venture is to be conducted, and refer with satisfaction to the
-success already achieved by their productions:―</p>
-
-<blockquote class="din2">
-<p>“The Proprietors of the above Foundery having nearly compleated all the Roman
-and Italic Founts, desire with great Deference, to lay this Specimen before the Trade;
-and intreat the Curious and critical, before any decisive Judgement be passed, on the
-Merits or Demerits of the Performance, to make a minute Examination and Comparison
-of the respective letters and founts of each Size, with the same Letters and Founts
-of the most respectable Founders in the Kingdom; For as all Letters, whether Roman
-or Italic, bear a great Similitude to each other, to apprehend the peculiar Beauty or
-Deformity of them are only to be discovered by such
-a Comparison. In making <span class="xxpn" id="p300">{300}</span>
-which they hope the Candid and Judicious will set aside the Influence of Custom and
-Prejudice (those Great Barriers against Improvement) and attend to Propriety,
-Elegance and Mathematical Proportion. And as these have been objects particularly
-attended to in the Course of the Work, they apprehend it will appear on such a
-Disquisition, that all the above sizes bear a greater Likeness to each other, than those
-of any other Founder. They have been already favoured with the Encouragement and
-Approbation of several very respectable printers, who have wrought off many large
-Editions on their Founts, which have been Experienced to wear extremely well; owing
-to the Letter being clearly and deeply cut and to the Goodness of the Metal, which
-they make of an Extraordinary Composition; the Singular Advantage of which
-cannot but be obvious. Therefore hope that others will likewise make Trial of them,
-as they doubt not but they also will find it greatly to their Satisfaction.”<a class="afnanch" href="#fn614" id="fnanch614">614</a></p></blockquote>
-
-<p>It is doubtful whether the encouragement accorded to the new foundry on
-its first establishment in the metropolis came up to the expectations of the proprietors;
-and a circular issued shortly afterwards by two of the partners, suggests
-that some fillip was deemed necessary to awaken a more extended patronage
-of the concern. This curious document is entitled <i>Proposals for discovering a
-very great Improvement which William Pine, printer of Bristol, and Isaac Moore,
-Letter Founder, in Queen Street, Upper Moorfields, London, have made in the Art
-of Printing, both in the Construction of the Press and in the Manner of Beating
-and Pulling</i>, and publicly offers the secret of the invention (the precise nature of
-which is not apparent) to any customer of the new foundry ordering type to the
-value of ten pounds and upwards.<a class="afnanch" href="#fn615" id="fnanch615">615</a>
-<span class="xxpn" id="p301">{301}</span></p>
-
-<p>How far this ingenuous offer had the effect of stimulating the type business
-is not recorded; but the proprietors were forced before long to recognise the
-desirability of adopting other and surer methods for gaining the popular favour.</p>
-
-<p>Although Luckombe, writing in 1770,<a class="afnanch" href="#fn616" id="fnanch616">616</a>
-mentions Moore along with Caslon
-and Jackson, as one of the three London founders, the same authority makes a
-decidedly disparaging reference to his types<a class="afnanch" href="#fn617" id="fnanch617">617</a>; a circumstance which may be
-accounted for by the then growing prejudice amongst metropolitan printers
-against the Baskerville form of letter adopted by the new foundry.</p>
-
-<p>Representations of a similar nature having been made from several
-influential quarters, it became evident to the proprietors that if they were to
-retain public favour at all, it must be by adapting themselves to public taste, and
-abandoning the formal, delicate models of Baskerville for the more serviceable,
-dashing characters of Caslon.</p>
-
-<p>This laborious task occupied several years in completion. Meanwhile the
-original founts were not discarded.</p>
-
-<p>The printing office connected with the foundry distinguished itself in the
-interval by the production of two highly interesting <i>Bibles</i>, the one a folio,
-published in 1774, and the other an 8vo, in five volumes, published 1774–6.<a class="afnanch" href="#fn618" id="fnanch618">618</a>
-Both are elegantly printed in the clear Great Primer letter shown in the 1770
-Specimen; the latter being in long lines specially for the use of the aged. The
-general appearance of the folio edition compares not unfavourably with the
-Baskerville <i>Bible</i> of 1772.</p>
-
-<p>In 1774, Pine printed at Bristol a very neat <i>Bible</i> in the Pearl type of the
-foundry, “being”, says the preface, “the smallest a Bible was ever printed with,
-and made on purpose for this work.”<a class="afnanch" href="#fn619" id="fnanch619">619</a>
-<span class="xxpn" id="p302">{302}</span></p>
-
-<p>Moore’s connection with the business appears to have terminated in 1776,
-after which the style of the firm became J. Fry and Co., who in the following
-year issued, in their own name, reprints of the folio and octavo <i>Bibles</i> above
-referred to.<a class="afnanch" href="#fn620" id="fnanch620">620</a>
-No specimen-sheet of their types appeared till seven years later,
-by which time Mr. Pine had also withdrawn from the business.<a class="afnanch" href="#fn621" id="fnanch621">621</a>
-He continued
-to print the <i>Bristol Gazette</i> in Wine Street, Bristol, till the time of his death,
-which occurred in 1803, at the age of sixty-four years.</p>
-
-<p>Left to himself, Mr. Fry, in the year 1782, admitted his sons Edmund and
-Henry into partnership, under whose supervision the work of re-cutting the
-Romans of the foundry made active progress.</p>
-
-<p>Edmund Fry, probably the most learned letter-founder of his day, had, like
-his father, been educated for the medical profession, and had taken his doctor’s
-degree. But the infirmity of deafness prevented him from following that walk
-in life, and he abandoned it for typefounding, applying himself to that pursuit,
-not only with the enthusiasm of an ardent philologist, but also with considerable
-natural ability for conducting the practical operations of the art.</p>
-
-<p>The year of his entry into the business (1782) was signalised by an
-important event in the typefounding world—the sale of James’s foundry. This
-event has been fully alluded to elsewhere,<a class="afnanch" href="#fn622" id="fnanch622">622</a>
-but it is interesting to note that the
-Frys were considerable purchasers on the occasion, securing amongst other
-items the chief part of the “learned” and foreign matrices, for which that
-collection was noted.</p>
-
-<div class="section">
-<p>The following list of their purchases forms an interesting connecting link
-between the old and the new letter-foundries; particularly as either punches or
-matrices of all the founts (and in some cases both) still exist, many of the latter
-being to this day in occasional use:― <span class="xxpn" id="p303">{303}</span></p>
-
-<ul class="dmgnfndry fsz6">
- <li><i>Blacks.</i><a class="afnanch" href="#fn623" id="fnanch623">623</a>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A.]</span> English</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Pica</li>
- <li><span class="sppref">[A.]</span> Small Pica</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Long Primer</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Brevier</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Nonpareil</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A?]</span> English</li>
- <li class="lihang1">Small Pica</li>
- <li class="lihang1">Long Primer (or Bourgeois)</li>
- <li class="lihang1">Brevier</li></ul></li>
-
- <li><i>Rabbinical Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A.]</span> Small Pica</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Brevier</li>
- <li class="lihang1"><span class="sppref">[A.]</span> Nonpareil</li></ul></li>
-
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> Alexandrian</li>
- <li class="lihang1"><span class="sppref">[G.]</span> Great Primer</li>
- <li class="lihang1"><span class="sppref">[R?]</span> Another</li>
- <li class="lihang1"><span class="sppref">[R?]</span> Pica</li></ul></li>
-
- <li><i>Arabic.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A?]</span> Great Primer</li></ul></li>
-
- <li><i>Irish.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[M.] [A.]</span> Small Pica</li></ul></li>
-
- <li><i>Ethiopic.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[P.] [A.]</span> English</li>
- <li class="lihang1">Pica</li></ul></li>
-
- <li><i>Samaritan.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[P.] [G.]</span> English</li>
- <li class="lihang1">Long Primer</li></ul></li>
-
- <li><i>Scriptorial.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> Pica</li>
- <li class="lihang1"><span class="sppref">[G.]</span> English</li></ul></li>
-
- <li><i>Union Pearl.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> Double Pica</li></ul></li>
-
- <li><i>Court Hand.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.]</span> English</li></ul></li>
-
- <li><i>Flowers.</i>—
-<ul class="ulina">
- <li class="lihang1">Nearly all</li></ul></li></ul>
-</div><!--section-->
-
-<p>The business was shortly afterwards removed to Worship Street, hard by
-the old premises; and here, in 1785, the first specimen-book of the foundry was
-issued. This volume exhibits the greater part of the new Caslon series of
-Romans, which the proprietors in their “Advertisement” frankly admit to have been
-cut in the closest possible imitation of that ingenious artist’s models.<a class="afnanch" href="#fn624" id="fnanch624">624</a>
-It includes
-also two pages of Hebrew type. Later in the same year appeared a large
-broadside sheet printed both sides, containing an epitome of the specimen-book,
-and displaying, besides the Arabic, Hebrews,
-Greek and Samaritan <span class="xxpn" id="p304">{304}</span>
-recently acquired at James’s sale,one or two fresh Hebrew founts
-lately finished. Considerable variety is thrown into this and later
-specimens by showing each size not only on its own body, but upon the
-bodies next larger and next smaller,—short descending sorts being
-specially cut for the latter. The broadside also includes a Diamond
-Roman, the first in England, for which the founders claim that it is
-“the smallest letter in the world,” adding subsequently that it “gets
-in considerably more than the famous Dutch Diamond.”</p>
-
-<div class="dctr04" id="fg74">
-<img src="images/i304a.png" width="600" height="219" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i304alg.png" title="display larger image">Μ</a></span> 74. The Alexandrian
- Greek (formerly Grover’s), rejustified by Dr. Fry, 1786.
- (From the original matrices.)</div></div>
-
-<div class="dctr04" id="fg74a">
-<img src="images/i304b.png" width="600" height="303" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i304blg.png" title="display larger image">Μ</a></span> 74<span
- class="smmaj">A.</span> Two-line Great Primer Hebrew,
- cut by Dr. Fry, <i>circa</i> 1785. (From the original
- matrices.)</div></div>
-
-<p>Another Specimen followed in 1786, showing several more of the new
-founts, and including seven pages of Orientals. This volume is dedicated to the
-Prince of Wales, and is prefaced by an address to the public of the usual self-laudatory
-character, with a somewhat aggressive reference to the rival foundry at
-Chiswell Street.<a class="afnanch" href="#fn625" id="fnanch625">625</a></p>
-
-<p>In the following year Mr. Joseph Fry retired from the business. Besides
-founding a chocolate business in his native city, and
-becoming a considerable <span class="xxpn" id="p305">{305}</span>
-partner in the new Bristol Porcelain Works, he had added to his other
-enterprises that of a Chemical Works at Battersea, and later still had established
-some important Soap Works in partnership with Mr. Alderman Fripp of Bristol.</p>
-
-<p>He did not long survive his retirement, and died, after a few days’ illness,
-on March 29, 1787, aged fifty-nine, greatly respected. He was buried in the
-Friends’ burial-ground at the Friars, Bristol. A silhouette portrait of him is to
-be seen in Mr. Hugh Owen’s <i>Two Centuries of Ceramic Art in Bristol</i>, where
-also many interesting details of his life are to be found.<a class="afnanch" href="#fn626" id="fnanch626">626</a></p>
-
-<p>In 1787 was issued a <i>Specimen of Printing Types by Edmund Fry and Co.</i>—the
-first mention of the firm under its new title. This was followed in the
-next year by a full specimen of the foundry, with a preface and dedication
-similar to those of the 1786 edition, but showing several fresh additions,
-particularly among the Orientals, which occupy twelve pages. Of the latter,
-several founts had been cut by Dr. Fry himself.</p>
-
-<p>The specimen of 1787 was included in the <i>Printer’s Grammar</i><a class="afnanch" href="#fn627" id="fnanch627">627</a>
-published in
-that year—a work which makes considerable reference to the Frys’ foundry, whose
-specimens and standards are used in illustration of the various subjects dealt
-with. The introductory note to the specimen gives the following account of the
-then condition of the foundry. It “was begun in 1764 and has been continued
-with great perseverance and assiduity, at a very considerable expence. The
-plan on which they first sat out, was an improvement of the Types of the late
-Mr. Baskerville of Birmingham, eminent for his ingenuity in his line, as also for
-his curious Printing, many proofs of which are extant and much admired: But
-the shape of Mr. Caslon’s Type has since been copied by them with such accuracy
-as not to be distinguished from those of that celebrated Founder. They have at
-present Twenty-seven complete Founts in punches and matrices of Roman and
-Italic, besides many sizes of larger Letter cast in Sand; also an elegant assortment
-of Blacks, with Hebrews and Greeks, and many other Orientals: They
-have also a greater variety of Flowers than are to be met with in any other
-Foundery in this Kingdom.”</p>
-
-<p>The premises at Worship Street becoming inadequate for the type and
-printing business combined, Dr. Fry took a plot of ground opposite Bunhill
-Fields in Chiswell Street—then open fields—and there built the foundry which
-gave its name to Type Street. To these premises the business was removed in
-1788; and the Specimen of that year dates from
-the Type Street Foundry. <span class="xxpn" id="p306">{306}</span></p>
-
-<p>Among many elegant works printed at this time in the types of this
-foundry was the Rev. Mr. Homer’s fine edition of the classics,<a class="afnanch" href="#fn628" id="fnanch628">628</a>
-printed
-by Millar Ritchie,<a class="afnanch" href="#fn629" id="fnanch629">629</a>
-in which the somewhat rare compliment was paid the
-founder, of adding his name to the list of typographers engaged on the work.</p>
-
-<p>The printing business was about the same time dissociated from the type-founding,
-and remained at Worship Street under the management of Henry
-Fry, who styled his office the “Cicero Press.”<a class="afnanch" href="#fn630" id="fnanch630">630</a></p>
-
-<p>In the year 1794 Dr. Fry took Mr. Isaac Steele into partnership, and the
-specimen of this year, under the title of Edmund Fry and Isaac Steele, Letter-Founders
-to the Prince of Wales, shows a marked advance on its predecessors.
-Besides the additional Romans, it includes the Irish fount originally cut by
-Moxon in 1680, and is further supplemented by a considerable display of
-“Metal Cast Ornaments, curiously adjusted to paper”, of which a specimen had
-already appeared in the preceding year. Rude as many of these cuts now
-appear, they were much affected at the time, while a few of their number bear
-evident testimony to the wholesome revolution then being effected in the art of
-engraving by Mr. Bewick. A distinct improvement in the same direction may
-be traced in the series of “Head and Fable Cuts” for <i>Dilworth’s Spelling Book</i>,
-a specimen of which was issued shortly afterwards.<a class="afnanch" href="#fn631" id="fnanch631">631</a></p>
-
-<p>In 1798 Dr. Fry put forth proposals for publishing the important philological
-work on which he had for sixteen years been engaged, and which, in the
-following year, was issued under the title of <i>Pantographia</i>, with a dedication
-to Sir Joseph Banks, President of the Royal Society. <span class="xxpn" id="p307">{307}</span></p>
-
-<p>This important work,<a class="afnanch" href="#fn632" id="fnanch632">632</a>
-which displays great learning and research, was
-favourably received. It exhibits upwards of 200 alphabets, amongst which are
-18 varieties of the Chaldee and no less than 39 of the Greek. Many of the
-letters were cut by the author expressly for the work, under the direction or
-with the advice of some of the most eminent scholars of the day, and not a few
-subsequently found a place among the specimens of the foundry.</p>
-
-<p>In 1799 Mr. George Knowles was admitted into partnership, and the firm
-became Fry, Steele and Co.</p>
-
-<p>A new revolution in the public taste necessitated at this stage the abandonment
-of the Caslon Old Style faces, and the adoption of the modern cut
-Roman letter then coming into vogue; and the specimens between 1800 and
-1808 are interesting as marking the gradual accomplishment of this task. The
-specimen of 1803 showed the first of the new Romans, and in 1808 Stower’s
-<i>Printer’s Grammar</i> contained the series almost complete.<a class="afnanch" href="#fn633" id="fnanch633">633</a></p>
-
-<p>The new style may have been considered an improvement at the time,
-but a later judgment has endorsed the regret with which Dr. Fry and others
-witnessed the then entire abandonment of the time-honoured and graceful
-Elzevir-cut characters of the first Caslon.</p>
-
-<p>Naturally conservative in most matters pertaining to his art, Dr. Fry viewed
-with the utmost displeasure another innovation of the same period, in the introduction
-of ornamental type; and to the end of his career he strenuously resisted
-the “pernicious fashion,” as he styled it; yielding only to the extent of one
-small series of flowered titling-letters, which crept into his later specimens.
-But, although opposed to ornaments in this form, the Type Street specimens
-show no lack of flowers, and Stower’s book includes a profuse specimen of
-these ornaments, arranged in fantastic designs by Mr. Hazard, the printer, of
-Bath.<a class="afnanch" href="#fn634" id="fnanch634">634</a></p>
-
-<p>Both Mr. Steele and Mr. Knowles appear to have retired about the year
-1808, when Dr. Fry assumed the sole management of the business. In the
-specimen of 1816 he styles himself Letter Founder
-to the King and Prince <span class="xxpn" id="p308">{308}</span>
-Regent. Soon afterwards, his own health failing, he admitted his son, Mr.
-Windover Fry, into partnership, and the firm became Edmund Fry and Son.</p>
-
-<p>The subsequent specimens of the foundry are not marked by any special
-feature of interest, if we except the introduction of M. Firmin Didot’s Great
-Primer Script in 1821, containing upwards of sixty lower-case sorts, in a system
-of ligatures and connectors so elaborate as to necessitate the printing of a
-scheme to facilitate their composition, and the manufacture of special cases to
-hold them.</p>
-
-<p>Dr. Fry’s philological studies had not ceased with the publication of
-<i>Pantographia</i>, and he was constantly adding to the stock of punches and
-matrices of the “learned” languages, in which his foundry was already rich. His
-excellence as a cutter of Oriental punches led to his selection by the University
-of Cambridge<a class="afnanch" href="#fn635" id="fnanch635">635</a>
-to execute several founts for that learned body; in addition to
-which he was employed to produce types for the works of the British and
-Foreign Bible Society, and similar biblical publications.</p>
-
-<p>His most important effort in this direction was an English Syriac for Bagster’s
-<i>Polyglot</i>, with the points cast on the body, the entire fount consisting of
-nearly 400 matrices.</p>
-
-<p>The specimen of 1824, which was issued both in octavo and (more sumptuously)
-in quarto, for presentation, signalised the completion of his efforts in
-this department, and at the same time notified that the name of the foundry had
-been changed—not inappropriately—to the Polyglot Foundry.</p>
-
-<p>It is to be regretted that Dr. Fry’s energy in one particular branch of his
-art, congenial as it was to his own tastes, did not turn out lucrative from a
-business point of view; and the last few years of his career as a type-founder
-were not prosperous. His latest specimen was a broadside sheet of Newspaper
-founts in 1827.</p>
-
-<p>In the same year he produced a raised type for the blind, under the following
-circumstances:—The Scotch Society of Arts, anxious to promote the welfare
-of the blind, and desirous to determine, among the many systems at that time
-proposed, which was the most suitable method of printing for their instruction,
-offered a gold medal of the value of £20 for the best communication on the
-subject. Twenty designs were sent in in 1833, of which Dr. Fry’s was the only
-one retaining the ordinary alphabetical characters. His specimen consisted
-of large and small square “sanseriff” capitals working in combination, with
-no deviation from the regular form. The committee occupied four years in
-arriving at a decision; employing the time in corresponding
-with and eliciting <span class="xxpn" id="p309">{309}</span>
-the opinion of all the chief persons interested and experienced in the education
-of the blind, in reference to the various designs. Amongst others they received
-a long communication from the Rev. W. Taylor of York, who commended Dr.
-Fry’s system, approving specially of the absence of a “lower-case” letter.<a class="afnanch" href="#fn636" id="fnanch636">636</a>
-The
-report was published May 31st, 1837, awarding the medal to Dr. Fry, who, however,
-was at that time no more, his death having occurred two years previously.</p>
-
-<p>The following summary of the contents of the Polyglot Foundry, as far as
-its foreign and rare founts were concerned, is taken from the Specimen Book of
-1824, and corresponds closely to the list given in Hansard’s <i>Typographia</i> in the
-following year. With the exception of the founts purchased at James’ sale in
-1782 (which are distinguished by the initials), most of the characters were cut
-by, or under the direction of, Dr. Fry himself.</p>
-
-<div class="section">
-<ul class="dmgnfndry">
- <li><h3 class="fsz6" title="DR. FRY’S FOUNDRY">DR.
- FRY’S FOUNDRY.</h3>
-
-<ul class="fsz6">
- <li><i>Arabic.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[J?]</span> Great Primer</li>
- <li class="lihang1">Great Primer, No. 2.</li>
- <li class="lihang1">English.</li></ul></li>
-
- <li><i>Amharic.</i>―
-<ul class="ulina">
- <li class="lihang1">English.</li></ul></li>
-
- <li><i>Ethiopic.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[P.][A.][J.]</span> English</li>
- <li class="lihang1">English, No. 2.</li>
- <li class="lihang1"><span class="sppref">[J.]</span> Pica.</li></ul></li>
-
- <li><i>German.</i>―
-<ul class="ulina">
- <li class="lihang1">Long Primer.</li></ul></li>
-
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica.</li>
- <li class="lihang1">Great Primer.</li>
- <li class="lihang1">English.</li>
- <li class="lihang1">Pica.</li>
- <li class="lihang1">Pica, No. 2.</li>
- <li class="lihang1">Small Pica.</li>
- <li class="lihang1">Long Primer.</li>
- <li class="lihang1">Long Primer, No. 2.</li>
- <li class="lihang1">Brevier.</li>
- <li class="lihang1">Nonpareil.</li></ul></li>
-
- <li><i>Greek Alexandrian.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[G.][J.]</span> Pica.</li></ul></li>
-
- <li><i>Guzerattee.</i>―
-<ul class="ulina">
- <li class="lihang1">Great Primer.</li>
- <li class="lihang1">Long Primer.</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lihang1">2-line Great Primer.</li>
- <li class="lihang1">2-line English.</li>
- <li class="lihang1">Double Pica with points.</li>
- <li class="lihang1">English with points.</li>
- <li class="lihang1">Pica.</li>
- <li class="lihang1">Small Pica.</li>
- <li class="lihang1">Long Primer.</li>
- <li class="lihang1">Bourgeois.</li>
- <li class="lihang1">Brevier.</li>
- <li class="lihang1">Nonpareil.</li></ul></li>
-
- <li><i>Hebrew Rabbinical.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[A.][J.]</span> Small Pica</li>
- <li class="lihang1"><span class="sppref">[A.][J.]</span> Brevier</li>
- <li class="lihang1"><span class="sppref">[A.][J.]</span> Nonpareil.</li></ul></li>
-
- <li><i>Irish.</i>―
-Pica.
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[M.][A.][J.]</span> Small Pica</li>
- <li class="lihang1">Small Pica, No. 2.</li></ul></li>
-
- <li><i>Malabaric.</i>―
-<ul class="ulina">
- <li class="lihang1">English.</li>
- <li class="lihang1">Pica.</li></ul></li>
-
- <li><i>Russian.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica.</li></ul></li>
-
- <li><i>Samaritan.</i>―
-<ul class="ulina">
- <li class="lihang1"><span class="sppref">[P.][G.][J.]</span> Pica</li>
- <li class="lihang1"><span class="sppref">[J.]</span> Long Primer</li></ul></li>
-
- <li><i>Saxon.</i>―
-<ul class="ulina">
- <li class="lihang1">Double Pica.</li>
- <li class="lihang1">Great Primer.</li>
- <li class="lihang1">English.</li>
- <li class="lihang1">Pica.</li>
- <li class="lihang1">Small Pica.</li>
- <li class="lihang1">Long Primer.</li>
- <li class="lihang1">Brevier.</li></ul></li>
-
- <li><i id="p310">Syriac.</i>―
-<ul class="ulina">
- <li class="lihang1">English.</li>
- <li class="lihang1">Long Primer.</li></ul></li>
-
- <li><i>Music.</i>―
-<ul class="ulina">
- <li class="lihang1">Large Plein Chant.</li>
- <li class="lihang1">Small Plein Chant.</li>
- <li class="lihang1">Psalm.</li></ul></li>
-
- <li><i>Blacks.</i>―
-<ul class="ulina">
- <li class="lihang1">4-line.</li>
- <li class="lihang1">2-line Great Primer.</li>
- <li class="lihang1">2-line English.</li>
- <li class="lihang1">Double Pica.</li>
- <li class="lihang1">Great Primer.</li>
- <li class="lihang1"><span class="sppref">[A.][J.]</span> English, No. 1.</li>
- <li class="lihang1">English, No. 2.</li>
- <li class="lihang1">Pica, No. 1.</li>
- <li class="lihang1"><span class="sppref">[A.][J.]</span> Pica, No. 2.</li>
- <li class="lihang1">Small Pica.</li>
- <li class="lihang1"><span class="sppref">[A.][J.]</span> Long Primer.</li>
- <li class="lihang1">Brevier.<a class="afnanch" href="#fn637" id="fnanch637">637</a></li></ul>
-</li></ul></li></ul>
-</div><!--section-->
-
-<p>In 1828, being now of an advanced age, and after 46 years’ incessant labour,
-Dr. Fry decided to dispose of his foundry; and a circular was issued announcing
-the fact to the public. This document, throwing as it does considerable light
-on the history of the Type Street Foundry, is interesting enough to quote at
-length. After enumerating generally the contents of the foundry and stating the
-conditions of sale, Dr. Fry remarks:</p>
-
-<blockquote class="din2">
-
-<p>“The Substructure of this Establishment was laid about the year 1764; commencing
-with improved imitations of Baskerville’s founts, of which every size was
-completed, from the largest down to the Diamond: but they did not meet the encouraging
-approbation of the Printers, whose offices generally, throughout the kingdom,
-were stored from the London and Glasgow Founderies with Types of the form introduced
-by the celebrated William Caslon, early in the last century; chiefly from the
-admired Dutch models, which gained so much credit to the Elzevirs of Amsterdam,
-Leyden, &amp;c.</p>
-
-<p>“By the recommendation, therefore, of several of the most respectable Printers of
-the Metropolis, Doctor Fry, the proprietor, commenced his imitation of the Chiswell
-Street Foundery, which he successfully finished throughout all it’s various sizes, at a
-vast expense, and with very satisfactory encouragement, during the completion of it.
-At which period a rude, pernicious, and most unclassical innovating System was
-commenced, which, in a short time was followed by the most injurious and desolating
-ravages on the property of every Letter Founder and Printer in the kingdom, by the
-introduction of fancy letters of various anomalous forms, with names as appropriate—disgraceful
-in a Profession, once held so <i>Sacred</i>, as to have it’s operations confined
-to consecrated Buildings, and those of the highest class.</p>
-
-<p>“The Baskerville and Caslon imitations, all completed with Accents, Fractions,
-&amp;c., were, in consequence of this revolution, laid by for ever; and many thousand
-pounds weight of new letter in Founts, estimated on the average at selling prices, at
-2<i>s.</i> 6<i>d.</i> per pound, were taken from the shelves, and carried to the melting-pot to be
-recast into Types, no doubt, in many instances, more beautiful; but no instance has
-occurred to the attentive observation of the Proprietor of this Foundery, where any
-Founts of book letter on the present system, have been found
-equal in service, or <span class="xxpn" id="p311">{311}</span>
-really so agreeable to the reader, as the true <i>Caslon</i>-shaped Elzevir Types; and this
-is the undisguised sentiment of many judicious Printers.</p>
-
-<p>“When that eminent Printer, the late William Bowyer, gave instructions to
-Joseph Jackson to cut his beautiful Pica Greek, he used to say “Those in common use
-were no more Greek than they were English.” Were he now living, it is likely he
-would not have any reason to alter that opinion.</p>
-
-<p>“The Greeks of this Foundery were many of them made in Type Street, copied
-from those of the celebrated Foulis of Glasgow; and there are two, a Pica, and a
-Long Primer, on the Porsonian plan. The Codex Alexandrinus was purchased at
-James’ Sale in 1782.<a class="afnanch" href="#fn638" id="fnanch638">638</a></p>
-
-<p>“The Hebrews were also chiefly cut by Dr. Fry, subject to the direction and
-approbation of the most learned Hebraists.</p>
-
-<p>“The two Arabics,<a class="afnanch" href="#fn639" id="fnanch639">639</a>
-Great Primer and English, were cut from the original
-drawings of, and under the personal direction of Dr. Wilkins, Oriental Librarian to
-the East India Company; and have no rival either in beauty or correctness.</p>
-
-<p>“The Syriac<a class="afnanch" href="#fn640" id="fnanch640">640</a>
-has been made within the last two years, with all it’s vowel points,
-reduced to an English body, from the Double Pica of the eminent Assemann’s edition
-of Ludolph’s Testament.</p>
-
-<p>“The English, No. 1, and Pica Ethiopics—the Pica and Long Primer Samaritans,
-were purchased at James’s sale. The other Orientals, viz. two Malabarics—the
-Amharic—Ethiopic, No. 3, and Guzerattee, were all cut at this Foundery. As was the
-fine collection of Blacks, or pointed Gothics, except the English, No. 1,—Pica, No. 2,—Long
-Primer, No. 1,—and Brevier, which were collected by the late John James. There
-is good authority for believing that this Pica Black, No. 2,
-was once the property of <span class="xxpn" id="p312">{312}</span>
-William Caxton<a class="afnanch" href="#fn641" id="fnanch641">641</a>; Doctor Fry having recut for a reprint of a work published by the
-celebrated man, all the contractions and accented letters exhibited in the Specimen
-Book.</p>
-
-<p>“The Occidentals, as termed by Moxon, Mores, and others, viz. the Saxons,
-Hibernians,<a class="afnanch" href="#fn642" id="fnanch642">642</a>
-German, and Russian, were also produced at this Foundery. As were
-the two Plein Chants, and the Psalm Music.</p>
-
-<p>“The Great Primer Script, which, it must be acknowledged, is the <i>Ne plus ultra</i>
-of every effort of the Letter Founder in imitation of writing, was made for the
-Proprietor by the celebrated Firmin Didot, at Paris; the Matrices are of Steel, and
-the impressions from the Punches sunk in <i>inlaid Silver&#x202f;!</i><a class="afnanch" href="#fn643" id="fnanch643">643</a></p>
-
-<p>“In taking leave of a Profession, which has for many years engaged his
-whole attention, the Proprietor begs to convey, through this channel,
-the high sense of obligation he hopes to retain during his life, for
-the great encouragement with which he has been favoured for so long a
-period; as well as for the generous assistance and advice of many of
-his learned Friends, in the <i>getting up</i>, and accurate completion of
-various undertakings. It is also with much gratification, that he can
-look back and recall to recollection, that he has carefully followed
-their advices, in not admitting into <span class="xxpn" id="p313">{313}</span>
-his Foundery any article degrading or disgraceful, or unbecoming the dignity of that
-Art, which deserves to be looked up to and revered as the ‘Head of the republic of
-letters:’—claiming Permission to recommend to his Successor and Contemporaries,
-the steady pursuit of that plan which will secure the reputation of the <i>once Sacred</i>
-Profession, and restore to it the honourable Character it obtained several Centuries
-ago, of</p>
-
-<div>“<span class="smcap">A<b>RS</b> A<b>RTIUM</b></span>
-<span class="smmaj">OMNIUM</span>
-<span class="smcap">C<b>ONSERVATRIX</b>.”</span></div>
-
-<p class="pcontinue">“<i>Polyglot Letter Foundery, 2nd month 14th,
-1828.</i>”</p></blockquote>
-
-<p>The foundry met with a purchaser in Mr. William Thorowgood, of Fann
-Street, to whose premises the entire stock was removed in 1829, where it now
-forms part of the Fann Street Foundry.</p>
-
-<p>Dr. Fry retired to his residence at Stratford Green, and subsequently
-removed to Dalby Terrace, City Road, where he died Dec. 22, 1835.<a class="afnanch" href="#fn644" id="fnanch644">644</a></p>
-
-<p>He was an old Member of the Stationers’ Company. In private life he
-was a man of genial disposition. A portrait of him, painted by Frederique
-Boileau, was exhibited in the Caxton Exhibition of 1877 by his son, the late
-Arthur Fry, and an excellent silhouette is also in possession of the family of
-the late Mr. Francis Fry, F.S.A., of Bristol, to whom we are indebted for our
-copy.</p>
-
-<hr class="hr24" />
-
-<div class="section">
-<h3 class="fsz7" title="LIST OF SPECIMENS, 1768–1827">LIST
- OF SPECIMENS, 1768–1827.</h3></div>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1768. A specimen by Isaac Moore, Bristol, 1768. Broadside.
-<span class="spcitr">(Renouard, <i>Cat.</i> ii, 310.)</span></p></li>
-
- <li class="lispecimen"><p>1768. A specimen of Printing Types by Isaac Moore &amp; Co., Letter Founders, in Queen
-Street, near Upper Moorfields, London, 1768. Broadside.
-<span class="spcitr">(Sohmian Coll., Stockholm.)</span></p></li>
-
- <li class="lispecimen"><p>1770. A specimen of Printing Types by Isaac Moore &amp; Co., Letter Founders, of Queen
-Street, near Upper Moorfields, London, 1770. Broadside.
-<span class="spcitr">(Caxt. Cel., 4371.)</span></p></li>
-
- <li class="lispecimen"><p>1785. A specimen of Printing Types made by Joseph Fry and Sons, Letter Founders
-and Marking Instrument Makers by the King’s Royal Letters Patent. London, Printed in the
-year 1785. 8vo.
-<span class="spcitr">(B. M., 679, e. 16.)</span></p></li>
-
- <li class="lispecimen"><p>1785. A specimen of Printing Types by Joseph Fry &amp; Sons, Letter Founders, Worship
-Street, Moorfields, London, 1785. Broadside.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1786. A specimen of Printing Types by Joseph Fry &amp; Sons, Letter Founders to the
-Prince of Wales. London, Printed in the year 1786. 8vo.
-<span class="spcitr">(W. B.)</span></p></li>
-
- <li class="lispecimen"><p>1787. A specimen of Printing Types by Edmund Fry &amp; Co., 1787. 8vo.
-<span class="spcitr">(<i>Printer’s Grammar</i>, pp. 273–316.)</span></p></li>
-
- <li class="lispecimen"><p>1788. A specimen of Printing Types by Edmund Fry &amp; Co., Letter Founders to the
-Prince of Wales. London, Printed in the year 1788. 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1790. A specimen of Printing Types by Edmund Fry &amp; Co., Letter Founders to the
-Prince of Wales. London, Printed in the year 1790. 8vo.
-<span class="spcitr">(Sohmian Coll., Stockholm.) <span class="xxpn" id="p314">{314}</span></span></p></li>
-
- <li class="lispecimen"><p>1793. Specimen of Metal Cast Ornaments, curiously adjusted to Paper by Edmund Fry
-&amp; Co., Letter Founders to the Prince of Wales, Type Street, London. Printed by T. Rickaby,
-1793. 8vo.
-<span class="spcitr">(Amer. Antiq. Soc.)</span></p></li>
-
- <li class="lispecimen"><p>1794. A specimen of Printing Types by Fry &amp; Steele, Letter Founders to the Prince of
-Wales, Type Street, London. Printed by T. Rickaby, 1794. 8vo.
-<span class="spcitr">(B. M., 11899, i. 18.)</span></p></li>
-
- <li class="lispecimen"><p>1794. Specimen of Metal Cast Ornaments, curiously adjusted to paper by Edmund Fry
-and Isaac Steele, Letter Founders to the Prince of Wales, Type Street, London. Printed by
-T. Rickaby, 1794. 8vo.
-<span class="spcitr">(W. B.)</span></p></li>
-
- <li class="lispecimen"><p>1795. A specimen of Printing Types by Fry &amp; Steele, Letter Founders to the Prince of
-Wales, Type Street, London. Printed by T. Rickaby, 1795. 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1800. A specimen of Printing Types by Fry, Steele and Co., Letter Founders to the
-Prince of Wales, Type Street, London. Printed in the year 1800. 8vo.
-<span class="spcitr">(T. B. R.)</span></p>
-
-<div class="fsz7">Reprinted 1801 and 1803.</div></li>
-
- <li class="lispecimen"><p>1805. A specimen of Printing Types by Fry &amp; Steele, Letter Founders to the Prince of
-Wales, Type Street, London. Printed in the year 1805. 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1805. Specimen of Metal Cast Ornaments, curiously adjusted to paper by Fry and Steele,
-Letter Founders to the Prince of Wales, Type Street, London. Printed in the year 1805. 8vo.
-<span class="spcitr">(W. B.)</span></p></li>
-
- <li class="lispecimen"><p>No date. Specimen sheet of Head and Fable Cuts for Dilworth’s Spelling Book, cast on
-hard metal, and curiously adjusted to paper on the best Turkey Box, by Fry and Steele, Letter
-Founders, Type Street, London. Price £4 4<i>s.</i> (1805?). Broadside.
-<span class="spcitr">(Caxt. Cel., 4386.)</span></p></li>
-
- <li class="lispecimen"><p>1808. Specimens of Modern Cut Printing Types from the Foundry of Messrs. Fry and
-Steele; together with a Specimen of Flowers. 1808. 8vo.
-<span class="spcitr">(Stower’s <i>Printer’s Grammar</i>.)</span></p></li>
-
- <li class="lispecimen"><p>1816. A specimen of Printing Types by Edmund Fry, Letter Founder to the King and
-Prince Regent, Type Street, London, 1816. 8vo.
-<span class="spcitr">(B. M., 11899, h. 11.)</span></p></li>
-
- <li class="lispecimen"><p>1820. Specimen of Modern Printing Types by Edmund Fry and Son, Letter Founders
-to the King, Type Street, London, 1820. 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1824. Specimen of Modern Printing Types by Edmund Fry, Letter Founder to the King
-(Polyglot Foundry), Type Street, London. 1824. 4to. and 8vo.
-<span class="spcitr">(B. M., 11899, h. 12.)</span></p></li>
-
- <li class="lispecimen"><p>1825. A specimen of Diamond, by Edmund Fry, March 1825. 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1827. Fry’s Newspaper Specimen, Type Street, 1827. Broadside.
-<span class="spcitr">(J. F.)</span></p>
-<div class="dctr09">
- <img src="images/i314.png"
- width="512" height="201" alt="" /></div></li></ul>
-
-<div class="chapter"><div class="dctr01" id="p315">
-<img src="images/i315a.png" width="600" height="137" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XVI. JOSEPH JACKSON,
- 1763.">
- <span class="hblk fsz6">CHAPTER XVI.</span>
- <span class="hblk"><img class="ihrch" src="images/i315b.png"
- width="284" height="34" alt="" /></span>
- JOSEPH JACKSON, 1763.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i315c.png"
-width="511" height="538" alt="J" />
-</span>OSEPH JACKSON,
-apprentice to Caslon I, was born in
-Old Street, London, on Sept. 4, 1733. He was the first
-child baptised in St. Luke’s, and received his education at
-a school in that neighbourhood, the gift of a Mr. Fuller.
-During the term of his service at Chiswell Street, he was,
-says Nichols,<a class="afnanch" href="#fn645" id="fnanch645">645</a>
-exceedingly tractable in the common
-branches of the business. Rowe Mores states that he was
-an “apprentice to the whole art,”<a class="afnanch" href="#fn646" id="fnanch646">646</a>
-but this term evidently
-does not comprehend the most important branch of that art, namely the cutting
-of punches. This was kept a profound secret at Chiswell Street, Mr. Caslon and
-his son constantly locking themselves into the apartment in which they practised it.
-Jackson, who had a great desire to learn the mystery, bored a hole through the
-wainscot, and was thus, at different times, able to watch his employers through
-the process, and to form some idea how the whole was performed; and he afterwards
-applied himself at every opportunity to the finishing of a punch. “When
-he had completed one to his own mind, he presented it to his master, expecting
-to be rewarded for his ingenuity: but the premium he received was a hard
-blow, with a threat that he should be sent to Bridewell if he again made a
-similar attempt. This circumstance being taken in dudgeon, his mother bought
-him what tools were necessary, and he improved himself at her house whenever
-he had an opportunity.” <span class="xxpn" id="p316">{316}</span></p>
-
-<p>“He continued,” adds Nichols, “to work for Mr. Caslon after he came out of
-his time,<a class="afnanch" href="#fn647" id="fnanch647">647</a>
-till a quarrel arose in the foundery about the price of work; and a
-memorial, which terminated in favour of the workmen, being sent to the elder
-Caslon (who was then in the Commission of the Peace, and had retired to Bethnal
-Green), young Jackson and Mr. Cottrell were discharged, as supposed ringleaders.</p>
-
-<p>“Compelled thus to seek employment, they united their slender stock in a
-partnership, and went on prosperously till, Jackson’s mother dying, he entered
-in 1759, on board the “Minerva” frigate, as armourer; and in May 1761 was
-removed, with Capt. Alexander Hood, into the same situation in the “Aurora”;
-and proved somewhat successful, having about £40 prize money to receive at the
-Peace of 1763. During the time he was at sea, he was visited by a severe fit of
-sickness, in which he vowed, if he recovered, to lead in future a very penitent
-life; which promise he punctually fulfilled.”</p>
-
-<p>Quitting the navy, he returned to London and rejoined once more his
-old comrade and partner, now a fully-established type-founder in Nevil’s
-Court, Fetter Lane. He worked for some time under Cottrell, but at length,
-at the instigation, it would appear, of two of his fellow workmen, Robinson and
-Hickson (who shared with Cottrell the distinction of serving as privates in the
-Life Guards), he determined to set up in business for himself.</p>
-
-<p>The necessary capital for the new concern was found by Robinson and
-Hickson, who agreed to allow Jackson, as his salary for conducting the business
-under the partnership, the sum of £62 8s. per annum, and to supply money for
-carrying on the trade for two years.</p>
-
-<p>A small house in Cock Lane was taken for the purpose, and such was
-the modest beginning of this famous foundry.</p>
-
-<p>The hazardous adventure succeeded, thanks to the genius of Jackson,
-who was able soon to satisfy his partners that the business would be productive
-before the time promised.</p>
-
-<p>“When he had pursued his labours about six months, Mr. Bowyer
-accidentally calling to inspect some of his punches (for he had no specimen),
-approved them so much, that he promised to employ him; adding, ‘My father
-was the means of old Mr. Caslon riding in his coach, how do you know but I
-may be the means of your doing the same?’</p>
-
-<div class="dctr04" id="fg75">
-<img src="images/i316fp.png" width="600" height="698" alt="" />
-<div class="dcaption">
- 75. From <i>Nichols’ Literary Anecdotes</i>.</div></div>
-
-<p>“A short time after this, he put out a small specimen of one fount; which
-his former young master carried to Bethnal Green with an air of contempt. The
-good old justice treated it otherwise; and desired his son
-‘to take it home and <span class="xxpn" id="p317">{317}</span>
-preserve it; and whenever he went to cutting again to look well at it.’ It is but
-justice to the third William Caslon to add that he always acknowledged the
-abilities of Mr. Jackson; and though rivals in an art which requires the greatest
-exertions of ingenuity, they lived in habits of reciprocal friendship.”</p>
-
-<p>It is much to be regretted that no copy of Jackson’s first specimen sheet
-(which we may assume to have been issued about 1665) is now to be discovered.</p>
-
-<p>Business increasing, he removed from Cock Lane to more commodious
-premises in Dorset Street, Salisbury Square, Fleet Street, and here his foundry
-and reputation made rapid advances.</p>
-
-<p>“About the year 1771”, Nichols relates, “he was applied to by the Duke of
-Norfolk to make a mould to cast a hollow square. Telling the Duke that he
-thought this was practicable, his Grace observed that he had applied to all the
-skilful mechanicks in London, Mr. Caslon not excepted, who declared it impossible.
-He soon convinced the Duke of his abilities, and in the course of three
-months, producing what his Grace had been years in search of, was ever after
-held in great estimation by the Duke, who considered him as the first mechanick
-in the kingdom.”</p>
-
-<p>In 1773, it would appear that Jackson issued a further specimen of his
-now increasing foundry. Of this performance Rowe Mores makes flattering
-mention in presenting his summary of the contents of the foundry as it stood
-in that year:―</p>
-
-<div class="dkeeptogether">
-<p>“Mr. Jackson,” he says, “lives in Salisbury Court in Fleet Street. He is
-obliging and communicative, and his Specimen will, <i>adjuvante numine</i>, have
-place amongst the literate specimens of English letter cutters. The prognostics
-are these:―</p>
-
-<ul class="dmgnfndry">
- <li>
-<h3 title="Mr. JACKSON’S FOUNDERY">“<span
- class="smcap">M<b>R.</b></span> JACKSON’S FOUNDERY.</h3>
-<ul class="fsz6">
- <li class="pcenter padtopc"><span class="fsz6">ORIENTALS:</span>
-<ul>
- <li><i>Hebrew.</i>―
-<ul class="ulina"><li class="lijust">Double Pica.</li></ul></li>
-
- <li><i>Persic.</i>―
-<ul class="ulina">
- <li class="lijust">English.</li></ul></li>
-
- <li><i>Bengal.</i>―
-<ul class="ulina">
- <li class="lijust">(or Modern Sanskrit), a corruption of the older characters of the
-Hindoos, the ancient inhabitants of Bengal.</li></ul></li>
-</ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">OCCIDENTALS:</span>
-<ul>
- <li>
-<i>Greek.</i>―
-<ul class="ulina">
- <li class="lijust">English, Long Primer, Brevier.</li></ul></li>
-
- <li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lijust"><i>sicut et reliqui.</i></li></ul></li>
-</ul></li>
-
- <li class="pcenter padtopc"><span class="fsz6">SEPTENTRIONALS:</span>
-<ul>
- <li>
-<i>English.</i>―
-<ul class="ulina">
- <li class="lijust">2-line Great Primer.</li></ul></li>
-
- <li><i>Scriptorial.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica, nearly finished.</li></ul>
-</li></ul></li></ul></li></ul>
-</div><!--dkeeptogether-->
-
-<p>“He has likewise Proscription letters beginning at 12-line Pica, the same
-with those of Mr. Cottrell, the first who cut letters of this dimension.”</p>
-
-<p>With regard to the Bengalee letter, Rowe Mores states that this was
-cut by Jackson “for Mr. William Bolts, Judge of the Mayor’s Court of
-Calcutta, for a work in which he had been engaged at the time of his sudden
-departure from England about 1774.”<a class="afnanch" href="#fn648" id="fnanch648">648</a>
-<span class="xxpn" id="p318">{318}</span></p>
-
-<p>The work here referred to was the <i>Grammar of the Bengal Language</i>, projected
-by the East India Company as part of a scheme for the dissemination of
-a knowledge of the Indian Languages in Europe. It appears, however, that
-although Mr. Bolts was supposed to be in every way competent for the fabrication
-of this intricate character, his models, as copied by Jackson, failed to give
-satisfaction, and the work was for the time abandoned;<a class="afnanch" href="#fn649" id="fnanch649">649</a>
-to be revived and
-executed some few years later in a more masterly and accurate manner by
-Mr. Charles Wilkins,<a class="afnanch" href="#fn650" id="fnanch650">650</a>
-then in the service of the East
-India Company in Bengal, <span class="xxpn" id="p319">{319}</span>
-who with an extraordinary combination of talents, succeeded, by the work of his
-own hand, in designing, engraving, casting and printing the <i>Grammar</i> published
-at Hoogly in 1778.</p>
-
-<p>Mr. Bolts’ failure in this particular reflects no discredit on Jackson, who
-faithfully reproduced the models given him, and who displayed his talent in the
-same direction shortly after by the production of a fount of Deva Nagari, cut
-under the direction of Captain William Kirkpatrick, of the East India Service,
-and Persian Secretary to the Commander-in-Chief for India, for the purpose
-of printing a <i>Grammar and Dictionary</i> in that language.</p>
-
-<p>Of this fount a specimen remains—the only specimen extant, we believe,
-bearing Jackson’s name. It is a broadside, displaying in table form the alphabet
-and combinations of the Sanscrit, and exhibits no small delicacy of workmanship,
-not only in the Oriental character itself, but in the few lines of Roman letter
-composing the title. There is no date to the specimen.</p>
-
-<p>Captain Kirkpatrick’s <i>Dictionary</i> was never completed. One part only
-appeared in 1785,<a class="afnanch" href="#fn651" id="fnanch651">651</a>
-containing the Glossary of the Arabic and Persian words
-incorporated with the Hindu, and in this no Nagari is used. All the remaining
-parts of the work, as first projected, depended on the new type; but as they
-never appeared, the object for which the fount was cut was lost.</p>
-
-<p>The next important undertaking which engaged Jackson’s talents was one
-of national interest. The House of Lords had, in the year 1767, determined
-upon printing the Journals and Parliamentary records,
-“a work, which,” says <span class="xxpn" id="p320">{320}</span>
-Nichols, “will ever reflect honour on the good taste and munificence of the
-present reign” (George III). Jackson had been employed to cut several
-varieties of letter for this work; and he was now called upon to assist in a further
-outcome of the same good taste and munificence, in the production of type for
-the splendid facsimile of the <i>Domesday Book</i>, begun in 1773. This important
-work was projected and carried through by Dr. Nichols himself, and a brief
-account of the circumstances under which it saw the light may be interesting
-and not out of place here.</p>
-
-<p>The Lords, it appears, being petitioned to sanction the printing of the <i>Domesday
-Book</i>, the most important of the Anglo-Saxon records, as a matter of national
-importance, referred, through the Treasury Board, to the Society of Antiquaries
-as to the mode in which it should be published, whether by printing-types,
-or by having a copy of the manuscript engraved in facsimile. By the
-examination of several eminent printers, it was learned that according to the
-first plan very many unavoidable errors would occur; a tracing of the record was
-then proposed, to be transferred to copper plates. An estimate of the expense
-of this was next ordered by the Treasury Board, which amounted to £20,000
-for the printing and engraving of 1250 copies, each containing 1664 plates; but
-this sum, however proportionate, was considered too large, and the first plan
-was again reverted to.</p>
-
-<p>It was then proposed by the learned Dr. Morton that a fount of facsimile
-types should be cut under his superintendence. This undertaking, however,
-failed, and Dr. Morton received £500 for doing little or nothing, and nearly £200
-more for types that were of no use. The founder to whom Dr. Morton applied
-was Thomas Cottrell, a specimen of whose unsuccessful fount appeared shortly
-afterwards in Luckombe’s <i>History of Printing</i>, 1770.</p>
-
-<p>Dr. Morton’s plan being abandoned, on account of the difficulty of producing
-in type letters which, in the manuscript, were constantly differing in their forms, the
-work was entrusted to Mr. Abraham Farley, F.R.S., a gentleman of great Record
-learning, and who had had access to the ancient MSS. for upwards of forty
-years. His knowledge, however, did not induce him to differ from his original
-in a single instance, even when he found an apparent error; he preserved in his
-transcript every interlineation and contraction, and his copy was ultimately placed
-in Mr. Nichols’ hands. Jackson was then employed to cut the types, and
-successfully accomplished the difficult undertaking.<a class="afnanch" href="#fn652" id="fnanch652">652</a>
-The work occupied ten <span class="xxpn" id="p321">{321}</span>
-years in printing, and appeared in 1783, in two folio volumes.<a class="afnanch" href="#fn653" id="fnanch653">653</a>
-The type was
-destroyed in the fire which consumed the printing-office of Mr. Nichols in 1808,
-previous to which, however, it was used in Kelham’s Introduction and Glossary
-to the <i>Domesday Book</i> in 1788.<a class="afnanch" href="#fn654" id="fnanch654">654</a></p>
-
-<p>It was Jackson’s success, no doubt, in his facsimile letter for the <i>Domesday
-Book</i>, which led to his selection shortly afterwards by Mr. Nichols to cut the
-type for Dr. Woide’s<a class="afnanch" href="#fn655" id="fnanch655">655</a>
-facsimile of the New Testament of the <i>Alexandrian Codex</i>
-in the British Museum. To the history of this priceless relic reference has been
-made once or twice in the course of this work.<a class="afnanch" href="#fn656" id="fnanch656">656</a>
-Only one attempt had previously
-been made to reproduce its character in type,—that of Dr. Patrick Young, in 1643,
-within a few years of the arrival of the manuscript in this country. In this letter was
-printed a specimen containing the first chapter of Genesis. But the project was
-abandoned, and the matrices, there is reason to believe, subsequently passed
-into Grover’s Foundry, and afterwards, through James, into the possession of
-Dr. Fry in 1782.<a class="afnanch" href="#fn657" id="fnanch657">657</a>
-That Mr. Nichols was acquainted with their existence in 1778
-is almost certain, since they are mentioned in Rowe Mores’ <i>Dissertation</i>, which
-he himself edited and annotated. But not being sufficiently exact for the
-purpose, and, at the same time, it being decided that the facsimile should
-be produced through the medium of type in preference to other process,<a class="afnanch" href="#fn658" id="fnanch658">658</a>
-Mr. Jackson was fixed on to cut a new set of punches from the transcript made
-by Dr. Woide’s own hand. To this task he proved fully equal, and the work
-issued from Mr. Nichols’ press in 1786<a class="afnanch" href="#fn659" id="fnanch659">659</a>—a splendid folio edition,
-worthy alike of <span class="xxpn" id="p322">{322}</span>
-its subject and the artists who produced it. The unusual compliment was, in this
-instance, paid to the letter-founder of mentioning his name on the title-page as
-the author of the types employed in the work.</p>
-
-<p>The matrices were afterwards deposited in the British Museum, and were
-again brought into requisition when, in 1812, Mr. Baber produced his facsimile of
-the <i>Psalms</i><a class="afnanch" href="#fn660" id="fnanch660">660</a>
-from the Alexandrian MS., and afterwards, in 1816–21, at the press of
-Messrs. R. and A. Taylor, completed the entire <i>Old Testament</i>.<a class="afnanch" href="#fn661" id="fnanch661">661</a>
-Thus concluded
-this great enterprise, which has been justly characterised by the Abbé Jager as
-“<i>opus plane aureum</i>.”</p>
-
-<p>Jackson having now become famous for his skill in this particular branch
-of his art, was called upon shortly before his death to execute a work of scarcely
-less importance than the facsimile of the Alexandrian Greek. This was to cut
-the punches for Dr. Kipling’s facsimile of the celebrated <i>Codex Bezæ</i> preserved
-at the University of Cambridge. The character of this MS. differs considerably
-from that of the Alexandrine; and, being less regular in its execution, the difficulty
-of reproducing it in type is proportionately greater. Jackson, however,
-accomplished his task faithfully and with marked success. Unhappily his death
-in 1792 prevented him from seeing in print the fruit of his labours, as the
-work did not appear till the following year, when it was published at Cambridge
-in two beautiful folio volumes,<a class="afnanch" href="#fn662" id="fnanch662">662</a>—a work which, says its reviewer, “reflects honour
-on the University of Cambridge, and its editor, and, we may add, on the late
-excellent letter-founder, Mr. Jackson, who cut the types for this handsome book,
-as well as for the Alexandrine MS. and for <i>Domesday</i>.”<a class="afnanch" href="#fn663" id="fnanch663">663</a></p>
-
-<p>Jackson’s reputation was not by any means wholly dependent on his skill in
-expressing in type the character of ancient and difficult manuscripts.</p>
-
-<p>During the time he was occupied in the works above described, he made
-several useful additions to his foundry. Amongst others,
-he cut a beautiful <span class="xxpn" id="p323">{323}</span>
-fount of Pica Greek for Mr. Bowyer, “who,” says Nichols,<a class="afnanch" href="#fn664" id="fnanch664">664</a>
-“used to say that
-the types in common use were no more Greek than they were English.”</p>
-
-<p>“He had also, under the direction of Joseph Steele, the ingenious author of
-<i>Prosodia Rationalis</i>,<a class="afnanch" href="#fn665" id="fnanch665">665</a>
-augmented the number of musical notes by such as
-represent the emphasis and cadence of prose.” This curious work, designed
-to show how the recitation of Garrick and other eminent speakers might be
-transmitted to posterity in score, was printed by Nichols in 1779, being an
-amplified edition of a treatise published four years previously,<a class="afnanch" href="#fn666" id="fnanch666">666</a>
-in which
-Jackson’s “expression symbols” were made use of.</p>
-
-<p>The most important work of his later years was undoubtedly the splendid
-fount of 2-line English Roman, cut for Mr. Bensley, about the year 1789, for
-Macklin’s <i>Bible</i>.<a class="afnanch" href="#fn667" id="fnanch667">667</a>
-As in the case of the Bezæ <i>Gospels</i>, he did not live to see the
-completion of his labours in the publication of this grand edition, which did not
-appear till some years after his death, and then in a type not wholly his own, but
-supplemented, in close facsimile, by a fount cut by his former apprentice and
-manager, Vincent Figgins.<a class="afnanch" href="#fn668" id="fnanch668">668</a>
-Jackson’s grand letter is justly counted among his
-greatest achievements, exhibiting, as Nichols observes, a pattern of the most
-perfect symmetry to which the art had at that time arrived.”<a class="afnanch" href="#fn669" id="fnanch669">669</a></p>
-
-<p>A crowning monument to the skill of this excellent artist is Robert Bowyer’s
-sumptuous edition of Hume’s <i>History of England</i>, printed by Bensley<a class="afnanch" href="#fn670" id="fnanch670">670</a>
-in 1806,
-in a Double Pica type, on which Jackson was engaged at the time of his death.
-On the execution of this fount he appears to have staked his reputation; “Mr.
-Jackson,“ says his biographer in the <i>Gentleman’s Magazine</i>,<a class="afnanch" href="#fn671" id="fnanch671">671</a>” had been engaged
-to cut the letter for the projected edition of Hume’s <i>History of England</i>, which
-he declared should ‘be the most exquisite performance of the kind in this or any
-other country.’ And accordingly he had, in a great degree, accomplished his
-purpose, but his anxiety and application were so intense that his health suffered
-and he fell a victim to the great undertaking.” <span class="xxpn" id="p324">{324}</span></p>
-
-<p>This circumstance was made the occasion of a curious and affecting Elegy,
-of which we will venture to inflict a specimen on the reader, not on account of
-its merit, but as being a rare instance of a letter-founder becoming the object of a
-poetical tribute:―</p>
-
-<blockquote class="dkeeptogether">
-<ul class="nowrap">
- <li class="lihang4"><span class="spqut">“</span>Patrons of merit,
- heave the sadden’d sigh&#x202f;!</li>
- <li class="lihang4"><span class="spqutspc">Ye</span> brilliant
- dewdrops, hang on Beauty’s eye&#x202f;!</li>
- <li class="lihang4"><span class="spqutspc">Let</span> heavy hearts
- beat with the tolling bell,</li>
- <li class="lihang4"><span class="spqutspc">And</span> mourn the
- fatal hour when <i>Jackson</i> fell&#x202f;!</li>
- <li class="lihang4"><span class="spqutspc">His</span> were the
- gifts the Gods alone impart―</li>
- <li class="lihang4"><span class="spqutspc">A</span> <i>tow’ring
- genius</i> and a <i>tender heart</i>&#x202f;!</li>
- <li class="lihang4"><span class="spqutspc">A</span> greatness
- equalled only by his skill―</li>
- <li class="lihang4"><span class="spqutspc">A</span> goodness
- greater
- than his greatness still&#x202f;;</li>
- <li class="lihang4"><span class="spqutspc">An</span> ardent zeal
- each purpose to <i>obtain</i>,</li>
- <li class="lihang4"><span class="spqutspc">Which</span> Virtue
- and the Arts might entertain.</li>
- <li class="lihang4"><span class="spqutspc">But</span> Fate in
- jealous fury snatched him hence</li>
- <li class="lihang4"><span class="spqutspc">The</span> moment he
- accomplished excellence&#x202f;!</li>
- <li class="lihang4"><span class="spqutspc"><i>Tenax
- propositi</i></span>—his art he tried,</li>
- <li class="lihang4"><span class="spqutspc">Achieved</span>
- perfection—and achieving died&#x202f;!&#x202f;” etc.</li>
-</ul></blockquote>
-
-<p>Although anxiety and overwork may have contributed to Jackson’s death,
-the immediate cause was a severe attack of scarlet-fever, which carried him off
-on January 14th, 1792, in the 59th year of his age. The last few years of his
-life had been considerably troubled. In 1790 his foundry was destroyed by a
-fire, in which his moulds and matrices were seriously damaged. The shock of
-this calamity affected both his health and his energy, and the management of
-his business was, during his later years, left almost entirely in the hands of his
-trusted servant, Mr. Vincent Figgins. The foundry was rebuilt, and the damaged
-materials were, as far as possible (though not wholly), replaced at the time of his
-death.</p>
-
-<p>Mr. Jackson was twice married—first to Miss Elizabeth Tassell, originally a
-whinster in Spitalfields, “a very worthy woman,” says Nichols, “and an excellent
-wife, who greatly contributed by her care and industry to his getting forward in
-his first entering into business” She died in 1783, and, in the following year,
-Mr. Jackson married Mrs. Pasham, widow of a well-known
-printer in Blackfriars,<a class="afnanch" href="#fn672" id="fnanch672">672</a>
-a union which materially assisted him in the means of
-carrying on his <span class="xxpn" id="p325">{325}</span>
-business. This lady died in 1791, her husband surviving his bereavement only
-a few months. He was buried in the same grave with his two wives in the
-ground of Spa Fields Chapel.</p>
-
-<p>Of Jackson’s private character his contemporaries concur in speaking very
-highly. “By the death of this ingenious artist and truly worthy man,” says
-Nichols, “the poor lost a most excellent benefactor, his own immediate connexions
-a steady friend, and the literary world a valuable coadjutor in their
-labours.” He was a deacon at the Meeting-House in Barbican, where a funeral
-sermon was preached by the Rev. Mr. Towers, who also delivered a “neat funeral
-oration,” at the grave. He died possessed of some considerable property.
-There is an oil portrait of him in the possession of Mr. Blades, and an engraved
-portrait in Nichols’ <i>Literary Anecdotes</i>, from which our copy is taken.</p>
-
-<p>It is unfortunately impossible to ascertain in what condition his foundry was
-left at the time of his death—how far it had recovered from the consequences
-of the fire, or how far that calamity had destroyed, beyond replacing, any of its
-contents.</p>
-
-<p>It was offered for sale in 1792, and Mr. Figgins, the presumptive successor
-to the business, not finding himself in a position to become its purchaser, it was
-acquired by William Caslon III, who had recently disposed of his share in the
-Chiswell Street Foundry, over whose affairs he had for some years been presiding.<a class="afnanch" href="#fn673" id="fnanch673">673</a>
-He removed the Foundry from Dorset Street to Finsbury Square,
-where for a few years it remained located; but presently transferred it back to
-its old quarters, leaving the house in Finsbury Square to be converted by James
-Lackington, the celebrated bookseller, into the “Temple of the Muses,” one of
-the largest and most popular old book-shops of the day.</p>
-
-<p>In the hands of Mr. Caslon, Jackson’s foundry was greatly enlarged and
-improved. The specimen of 1798, dedicated to the King, exhibits 19 pages of
-Titlings and open letters, 1 of Ornamental, 35 of Roman and Italic, 8 of foreign
-letter and Blacks, 1 of Script, 5 of sundry specimens, and 12 of Flowers.”<a class="afnanch" href="#fn674" id="fnanch674">674</a></p>
-
-<p>The book has many features in common with the Chiswell Street specimen
-of 1785, many of the founts in which re-appear here. Indeed, it would seem
-that on relinquishing his share in the parental business, William Caslon III had
-provided himself with duplicate matrices of several of
-the Chiswell Street founts, <span class="xxpn" id="p326">{326}</span>
-particularly of the Foreign and Oriental letters, which figure prominently in this
-and subsequent specimens of the Salisbury Square Foundry.</p>
-
-<p>Bound with the book is a specimen of Cast Ornaments, a species of a
-typographical embellishment which Caslon III had had the merit of introducing
-into this country in 1784, while still at Chiswell Street. In this particular too,
-the Salisbury Square specimen is a reproduction of that of the Chiswell Street
-house.</p>
-
-<p>About the year 1803 Mr. Caslon took his son, the fourth William Caslon,
-into partnership, and the firm became W. Caslon &amp; Son. The specimen of this
-year exhibits a slight increase on that of 1798, the chief additions being in the
-modern-faced Romans, then becoming fashionable. The learned and Oriental
-founts remain unaltered from the 1798 specimen, and as this is the last specimen
-of the foundry in which these occupy a prominent place, it will be convenient to
-give the list here:</p>
-<div class="dkeeptogether">
-
-<ul class="dmgnfndry fsz6">
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica, Great Primer, English,
- English new, Pica, Small Pica, Long Primer, Brevier,
- Nonpareil.</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lijust">2-line Great Primer, 2-line English,
- Double Pica, Great Primer, ditto with points, English,
- ditto with points, Pica, ditto with points, Small Pica,
- Long Primer, Brevier.</li></ul></li>
-
- <li><i>Syriac.</i>―
-<ul class="ulina">
- <li class="lijust">English, Long Primer.</li></ul></li>
-
- <li><i>Arabic.</i>―
-<ul class="ulina">
- <li class="lijust">English.</li></ul></li>
-
- <li><i>Armenian.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>Samaritan.</i>―
-<ul class="ulina">
- <li class="lijust">Pica.</li></ul></li>
-
- <li><i>Saxon.</i>―
-<ul class="ulina">
- <li class="lijust">English, Pica, Brevier.</li></ul></li>
-
- <li><i>Blacks.</i>―
-<ul class="ulina">
- <li class="lijust">2-line Great Primer, Double Pica, Great
- Primer, English 1, English 2, Pica 1, Pica 2, Small Pica,
- Long Primer, Brevier.</li></ul></li></ul>
-
-</div><!--dkeeptogether-->
-
-<p class="pcontinue">The
-whole of these founts, with the exception of the new English Greek, are
-identical with those shown in the Chiswell Street Specimen of 1785.</p>
-
-<p>The Specimen Book of 1803 appears to have served the foundry for several
-years; as copies exist in which the date is altered by hand to 1807, and the name
-of the firm changed from “W. Caslon &amp; Son” to “W. Caslon, Junior.”</p>
-
-<p>This last alteration was consequent on the retirement of William Caslon III
-from the business in 1807. Although this gentleman’s connection with type
-founding ceases here,<a class="afnanch" href="#fn675" id="fnanch675">675</a>
-we cannot refrain from quoting the few sentences in which
-Mr. Hansard, in 1825, describes his personal character, while the subject of his
-notice was yet living:―</p>
-
-<div class="dctr05" id="fg76">
-<img src="images/i326fp.png" width="558" height="800" alt="" />
-<div class="dcaption">
- 76. From <i>Hansard</i>.</div></div>
-
-<p>“If his friends had not yet the pleasure of occasionally receiving his lively
-salutations—of enjoying the gay and gentlemanlike converse, the whim, the
-anecdote, and the agreeable bagatelle of William Caslon aforesaid, I might be
-induced to amplify on these points .&#160;.&#160;. The mention, however, of one thing
-must not be omitted. Some years ago he was deprived
-of sight by the <span class="xxpn" id="p327">{327}</span>
-formation of a cataract in each eye; still his musical ear furnished the faculty of
-distinguishing persons whom he knew by their voices; and his cheerful spirits
-enabled him to sustain the calamity with a becoming temper of mind. At length,
-his courage, in undergoing the operation of couching three several times, was
-rewarded with the perfect restoration of his sight; and his friends again experience
-the delight of hearing him truly say, ‘Ah! I’m happy to see you, by
-——.’ But although ever ready with anecdote and whim to enliven, still more
-to his honour as a man, may it be added, that he can at once turn the cheerful
-smile into serious solicitations, for the assistance of a decayed old friend, his
-orphan, or his widow.” Mr. Caslon died in 1833. The portrait here given is
-taken from that in Hansard’s <i>Typographia</i>.</p>
-
-<p>William Caslon IV, being left in sole possession of the foundry, made considerable
-progress in extending the business, especially by the addition of the
-new fashioned fat-faced types, at that period so largely affected. His chief improvement,
-however, was the introduction in 1810 of the Sanspareil matrices for
-large letters.<a class="afnanch" href="#fn676" id="fnanch676">676</a>
-This invention, which Hansard somewhat extravagantly describes
-as the greatest improvement in the art of letter-founding that has taken
-place in modern times, consisted in the substitution of pierced, or rather built-up
-matrices, in place of the old sand moulds hitherto in use, and it rapidly secured
-favour in the trade, and was as early as possible adopted by the other founders.</p>
-
-<p>In 1812, Mr. Caslon also took out a patent for a new form of type for
-imposing on a cylinder, of a size from <sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>3</sub> to
-<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>7</sub>th that of ordinary type, and cast
-wedge-shaped, or larger at the end containing the face than at the foot; an
-attempt which reflected more credit on the ingenuity of its author than upon
-his practical judgment, and which was not proceeded
-with.<a class="afnanch" href="#fn677" id="fnanch677">677</a></p>
-
-<p>Although no complete specimen book of Caslon IV has occurred to our
-notice of a later date than that of 1807 (which is itself the 1803 book altered by
-pen and ink), the numerous sheets appearing from time to time, and collected in
-the first specimen of his successors, prove that one or more specimens of the
-foundry must have appeared during the interval.</p>
-
-<p>In 1819, Mr. Caslon, Junr. disposed of his foundry to Messrs. Blake,
-Garnett &amp; Co., of Sheffield, to which town the entire stock was removed.</p>
-
-<p>After his retirement from type-founding, he devoted himself
-actively to the <span class="xxpn" id="p328">{328}</span>
-scheme for lighting London with coal-gas. For some of his appliances in connection
-with this business—the sliding water-joints for pendants and chandeliers
-amongst others—he received the medal of the Society of Arts (his only reward,
-for he did not patent his invention). In 1832 he went to reside at Henley,
-and ten years later was afflicted with total blindness, an operation for cataract
-having proved unsuccessful. In this state he continued for twenty-seven years,
-“tired,” as he said, “of having been so long in the dark,” but serene in temper,
-and his mind illuminated with Christian hope. He taught himself to read the
-embossed printing for the blind, and was able to write by the aid of a simple
-apparatus constructed for that purpose. He lived, in spite of his affliction,
-to a cheerful old age, and died in 1869, aged 88. He left no son.</p>
-
-<p>To estimate the complete revolution which had taken place in the productions
-of this foundry during the interval between 1807 and 1819, it is only
-necessary to glance through the first specimen book of the new proprietors,
-issued in the latter year, which may be taken to represent the state of the
-foundry pretty nearly as it was at the time of its transfer to Sheffield. There
-is not a single fount in the one book which reappears in the other. The
-modern fat-face Romans and Egyptians<a class="afnanch" href="#fn678" id="fnanch678">678</a>
-take the place of Jackson’s elegant
-old-style letters. The Orientals have completely disappeared, and the general
-appearance of the book reflects as much as any specimen of the period the
-prevalent taste of a so-called improved art.</p>
-
-<p>It was, apparently, highly esteemed in its day. “Mr. Caslon,” says
-Hansard, writing only six years after the event, “transferred to the Sheffield
-founders such a specimen of type and flowers as will ever cause us printers
-to regret the loss of such a competitor for fame in this difficult business.”</p>
-
-<p>Messrs. Blake, Garnett &amp; Co., a firm formed for the special purpose
-of acquiring the type business, issued their first specimen, above referred to,
-very shortly after the transfer of the business to its new quarters. Their
-prefatory note is interesting, not only as recording the transaction, but as
-intimating that the Oriental and Foreign founts, which had formed so conspicuous
-a feature of the previous specimens of the foundry, had also found
-their way to Sheffield:―</p>
-
-<blockquote class="din2">
-<p>“Blake, Garnett and Co. beg leave respectfully to inform the trade that they have
-purchased the whole of Mr. Caslon’s Foundery, which, in addition to the Specimens
-here offered to their inspection, contains founts of Greek, Hebrew, Syriac, Arabic,
-Saxon, German, etc. from Brevier to Double Pica, chiefly modern, also every kind
-of Accented letters, .&#160;.&#160;.&#160;.&#160;.&#160;. and a variety of other Sorts, of which Specimens are
-not yet printed.” <span class="xxpn" id="p329">{329}</span></p></blockquote>
-
-<p>The activity of the new proprietors resulted in a rapid increase in the
-extent and business of the foundry. Supplementary specimens were frequently
-issued between 1820 and 1830, when the style of the firm became Blake and
-Stephenson. Mr. Stephenson was a man of great energy, practical skill and
-artistic taste, and it is to his exertions that the rapidly-achieved eminence of
-the house was chiefly due. In 1841, the firm took its present style of Stephenson,
-Blake &amp; Co. Mr. Stephenson directed the operations of the Sheffield foundry
-until 1860, when the management devolved on his son, Mr. Henry Stephenson,
-in whose hands it still remains.</p>
-
-<hr class="hr24" />
-
-<div class="section">
-
-<h3 class="fsz7" title="LIST OF SPECIMENS, 1765–1831">LIST
- OF SPECIMENS, 1765–1831.</h3>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>No date. Jackson’s first Specimen of one fount. 1765? (Referred to by Nichols, <i>Lit. Anec.</i>,
-ii, 360.)
-<span class="spcitr">(<i>Lost.</i>)</span></p></li>
-
- <li class="lispecimen"><p>1783. Jackson’s second Specimen (described by Mores, <i>Dissert.</i>, p. 83.)
-<span class="spcitr">(<i>Lost.</i>)</span></p></li>
-
- <li class="lispecimen"><p>No date. Specimen of the Deo Nagri or Hindvi Type, cut for the purpose of printing
-a Grammar and Dictionary of that Language under the Direction of William
-Kirkpatrick, Captain in the Service of the Honourable East India Company, and
-Persian Secretary to the Commander in Chief in India. By Joseph Jackson, Letter
-Founder, Salisbury Court, Fleet Street. 1784? Broadside.
-<span class="spcitr">(J. F.)</span></p></li>
-
- <li class="lispecimen"><p>1798. A Specimen of Printing Types by William Caslon, Letter Founder to the King, Salisbury
-Square, London. 1798. 8vo.
-<span class="spcitr">(W. B.)</span></p></li>
-
- <li class="lispecimen"><p>1798. A Specimen of Cast Ornaments by William Caslon, Letter Founder to the King.
-London. Printed by C. Whittingham. 1798. 8vo.
-<span class="spcitr">(W. B.)</span></p></li>
-
- <li class="lispecimen"><p>1803. A Specimen of Printing Types by W. Caslon and Son, Letter Founders to the King.
-London. Printed by C. Whittingham, Dean Street, Fetter Lane. 1803. 8vo.
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>1807. The above Specimen, with additions, and title, altered from “W. Caslon and Son,
-1803,” to “W. Caslon, junr., 1807.”
-<span class="spcitr">(Caslon.)</span></p></li>
-
- <li class="lispecimen"><p>No date. A Specimen of Printing Types, etc., by Blake, Garnett and Co. (successors to
-Mr. W. Caslon, of London), Letter Founders, Sheffield. (1819.) 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li>
-
- <li class="lispecimen"><p>1826. Supplement to Blake, Garnett and Co.’s Specimen, 1826. 8vo.
-<span class="spcitr">(Caxt. Cel., 4405.)</span></p></li>
-
- <li class="lispecimen"><p>1827. Specimen of Printing Types by Blake, Garnett and Co. (successors to Mr. W. Caslon of
-London), Letter Founders, Allen Street, Sheffield. 1827. 8vo.
-<span class="spcitr">(Caxt. Cel., 4406.)</span></p></li>
-
- <li class="lispecimen"><p>1827–8. Supplements to Blake, Garnett and Co.’s Specimen, 1827 and 1828. 8vo.
-<span class="spcitr">(Caxt. Cel., 4408.)</span></p></li>
-
- <li class="lispecimen"><p>1830. Select Specimen of Printing Types by Blake and Stephenson, Sheffield. 1830. 8vo.
-<span class="spcitr">(Caxt. Cel., 4414.)</span></p></li>
-
- <li class="lispecimen"><p>1831. Specimen of Printing Types by Blake and Stephenson (successors to Mr. W. Caslon of
-London), Letter Founders, Sheffield. 1831. 8vo.
-<span class="spcitr">(S. B. &amp; Co.)</span></p></li></ul>
-
-</div><!--section-->
-
-<div class="chapter"><div class="dctr01" id="p330">
-<img src="images/i330a.png" width="600" height="144" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XVII. WILLIAM MARTIN,
- 1790.">
- <span class="hblk fsz6">CHAPTER XVII.</span>
- <span class="hblk"><img class="ihrch" src="images/i330b.png"
- width="278" height="38" alt="" /></span>
- WILLIAM MARTIN, 1790.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i330c.png"
-width="516" height="540" alt="W" />
-</span>ILLIAM MARTIN
-was brother to Robert Martin,<a class="afnanch" href="#fn679" id="fnanch679">679</a>
-Baskerville’s
-apprentice and successor. He appears to have
-acquired his first knowledge of the art at the Birmingham
-foundry, and about the year 1786 to have come to
-London and entered into the service of Mr. George
-Nicol,<a class="afnanch" href="#fn680" id="fnanch680">680</a>
-as a punch cutter. Mr. Nicol was at that time
-engaged in maturing his plans for the production of a
-magnificent edition of <i>Shakespeare</i>, and kept Martin at his
-own house “to cut sets of types after approved models in imitation of the sharp
-and fine letter used by the French and Italian printers.”</p>
-
-<p>On the establishment of the famous “Shakespeare
-Press,”<a class="afnanch" href="#fn681" id="fnanch681">681</a>
-by Messrs. <span class="xxpn" id="p331">{331}</span>
-Boydell and Nicol, in 1790, at Cleveland Row, St. James’s, with William
-Bulmer as presiding genius, Martin was established in premises hard by, in
-Duke Street; his foundry being a sort of private foundry in connection with the
-Press. Here it was that he produced the founts in which the magnificent
-works, issued during the next twenty years from Bulmer’s Press, were printed.</p>
-
-<p>The appearance of the first part of the <i>Shakespeare</i><a class="afnanch" href="#fn682" id="fnanch682">682</a>
-in 1791 at once established
-the fame of the printer and his types; and the completion of the work, in
-nine volumes, in 1810, may be regarded as marking an epoch in British typography.
-“No work of equal magnitude”, says the enthusiastic Dibdin, “ever
-presented such complete accuracy and uniform excellence of execution. There is
-scarcely one perceptible shade of variation from the first page of the first
-volume, to the last page of the work, either in the colour of the ink, the hue of
-the paper, or the clearness and sharpness of the types.”<a class="afnanch" href="#fn683" id="fnanch683">683</a></p>
-
-<p>The <i>Milton</i>,<a class="afnanch" href="#fn684" id="fnanch684">684</a>
-which followed, is considered a still finer specimen of typography.
-The enthusiasm animating all concerned in the new undertaking was
-remarkable, and attracted universal attention. “The nation,” says Dibdin,
-“appeared to be not less struck than astonished; and our venerable monarch,
-George III, felt anxious not only to give such a magnificent establishment every
-degree of royal support, but, infected with the matrix and puncheon mania, he
-had even contemplated the creation of a royal printing office within the walls of
-his own palace.” One of the King’s great ambitions was for England to rival
-Parma in the productions of Bodoni,<a class="afnanch" href="#fn685" id="fnanch685">685</a>
-and Dibdin alludes to a story current at
-the time of “his majesty being completely and joyfully taken in, by bestowing
-upon the efforts of Mr. Bulmer’s press that eulogy which he had supposed was
-due exclusively to Bodoni’s”.<a class="afnanch" href="#fn686" id="fnanch686">686</a></p>
-
-<p>In the advertisement of his edition of the <i>Poems of Goldsmith and Parnell</i>,<a class="afnanch" href="#fn687" id="fnanch687">687</a>
-printed in 1795 and dedicated to the Messrs. Boydell and Nicol, the founders
-of the Shakespeare Press, Bulmer thus bears testimony to the talents of those
-who had contributed to the performance:—“The present
-volume, in addition to <span class="xxpn" id="p332">{332}</span>
-the <i>Shakespeare</i>, the <i>Milton</i>, and many other valuable works of elegance which
-have already been given to the world through the medium of the Shakespeare
-Press, are (<i>sic</i>) particularly meant to combine the various beauties of printing,
-type founding, engraving, and paper making; as well as with a view to ascertain
-the near approach to perfection which those arts have attained to (in) this
-country, as to invite a fair competition with the typographical productions of
-other nations. How far the different artists who have contributed their exertions
-to this great object have succeeded in the attempt, the public will now be fully
-able to judge.”</p>
-
-<p>In all these encomiums, Martin claims a share; and, regarded simply as type
-specimens, the productions of the Shakespeare Press justify his reputation as a
-worthy disciple of his great master Baskerville. His Roman and Italic types
-were cut in decided imitation of the famous Birmingham models; although
-Hansard points out with disapproval that in certain particulars he attempted
-unwisely to vary the design. “As to the type”, he says, “the modern artist, Mr.
-Martin, has made an effort to cut the ceriphs and hair strokes excessively sharp
-and fine; the long ſ is discarded, and some trifling changes are introduced; but
-the letter does not stand so true or well in line as Baskerville’s, and, as to the
-Italic, the Birmingham artist will be found to far excel.”<a class="afnanch" href="#fn688" id="fnanch688">688</a></p>
-
-<p>The Shakespeare Press, along with all the other presses of the land, had to
-bow before the revolution which in the closing years of last century swept aside
-the beautiful old-face Roman, and set up in its stead the modern character; and
-Hansard’s strictures above-quoted doubtless refer to Martin’s endeavour, while
-adhering to the Baskerville form as his model, to modify it so as to conform to
-the new fashion. We are among those who deplore the change thus inaugurated;
-but at the same time it must be admitted that Martin succeeded as well in the
-new departure as any of his contemporaries.</p>
-
-<p>Nor did he confine himself to Roman and Italic. He produced several
-founts of Greeks and Orientals, which eventually came to form the most valuable
-part of his collection.<a class="afnanch" href="#fn689" id="fnanch689">689</a>
-His Greek character, however, like the Greeks
-attempted by Baskerville and Bodoni, was not a success; and the otherwise
-beautiful edition of <i>Musæus</i>, printed in 1797,<a class="afnanch" href="#fn690" id="fnanch690">690</a>
-and bearing on the title-page his
-name as the cutter of the type, is marred by the cramped and inelegant effect of
-that character. <span class="xxpn" id="p333">{333}</span></p>
-
-<p>Although Martin’s foundry was entirely supported by, and, indeed, belonged
-to, the Shakespeare Press, he appears occasionally to have supplied his types
-to outsiders—amongst others to McCreery, the author of the well-known poem
-on the <i>Press</i>, and himself a very elegant printer. <i>The Press</i>,<a class="afnanch" href="#fn691" id="fnanch691">691</a>
-was printed
-in 1803 from Martin’s type, as a specimen of typography, and in his preface
-the author pays the following tribute to that artist’s abilities:—“The extraordinary
-efforts which have of late years been made to produce the finest models
-of Printing Types, must be highly gratifying to those who have in any measure
-interested themselves in raising the credit of the British Press. The spirit for
-this species of beauty has long been gaining an ascendancy, having received a
-strong impulse from the talents of Baskerville, who endeavoured to combine
-sharpness and perfection of impression with graceful types, giving to his
-works a finish which was before unknown in this kingdom. Mr. Martin, whose
-abilities are so conspicuously displayed in the productions of the Shakespeare
-Press, is a pupil of that celebrated school. By the liberality of George Nicol,
-Esq., I am enabled to boast of being the first who has participated with Mr.
-Bulmer in the use of these types, a mark of kindness for which my warmest
-acknowledgements are the least recompense he has a right to expect.” Several
-of the other productions of McCreery’s press were also printed from Martin’s
-type.</p>
-
-<p>Among the finest specimens of the Shakespeare Press printed in Bulmer’s
-time, the three great bibliographical works of Dibdin, viz., the <i>Typographical
-Antiquities</i>,<a class="afnanch" href="#fn692" id="fnanch692">692</a> the <i>Bibliotheca Spenceriana</i>,<a class="afnanch" href="#fn693" id="fnanch693">693</a>
-and the <i>Bibliographical Decameron</i>,<a class="afnanch" href="#fn694" id="fnanch694">694</a>
-will always take a foremost place. Martin, whose Roman type rarely appeared
-to greater advantage, unfortunately did not live to see the completion of the
-whole of these typographical masterpieces, as he died in the summer of 1815.
-He was buried in St. James’s Church, Westminster.</p>
-
-<p>After his death, the foundry (of which unfortunately no specimen-book
-exists), appears to have been continued for a short time
-by Mr. Bulmer, who, <span class="xxpn" id="p334">{334}</span>
-between 1815 and 1819, when he himself retired, produced several fine
-works.<a class="afnanch" href="#fn695" id="fnanch695">695</a></p>
-
-<p>Prior to that event—in 1817—Mr. Nichols states that the foundry was united
-with that of the Caslons.<a class="afnanch" href="#fn696" id="fnanch696">696</a>
-There is, however, reason for supposing that some of
-the matrices were retained for the use of the Shakespeare Press, and that
-others went into the market and were secured by other founders.<a class="afnanch" href="#fn697" id="fnanch697">697</a></p>
-
-<div class="dkeeptogether">
-<p>The Shakespeare Press, under the supervision of Mr. W. Nicol, continued in
-active operation till 1855, when he retired, and his printing materials were
-sold; thus closing one of the most memorable chapters in the history of
-Bri­tish typo­graph­i­cal en­ter­prise.</p>
-
-<div class="dctr09">
-<img src="images/i334a.png" width="512" height="201" alt="" /></div></div>
-
-<div class="chapter"><div class="dctr01" id="p335">
-<img src="images/i335a.png" width="600" height="140" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XVIII. VINCENT
- FIGGINS, 1792.">
- <span class="hblk fsz6">CHAPTER XVIII.</span>
- <span class="hblk"><img class="ihrch" src="images/i335b.png"
- width="270" height="39" alt="" /></span>
- VINCENT FIGGINS, 1792.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i335c.png"
-width="507" height="534" alt="T" />
-</span>HIS
-excellent letter-founder was bound ap­pren­tice to Joseph
-Jackson in the year 1782, at the age of 16, and remained
-in his service till Jackson’s death in 1792. During the last
-three years of his master’s life, as has been already said, the
-entire manage­ment of the foundry devolved on him; and
-the experience and connection so acquired fully qualified
-him to succeed to and increase the business to whose
-success he had materially contributed.</p>
-
-<p>Contrary to expectation, however, Vincent Figgins found himself, on Jackson’s
-death, left in the position of an ordinary outsider; and not being able or willing
-to pay the sum demanded, which was in excess of what he conscientiously considered
-the concern to be worth, he failed in succeeding to the foundry, which
-was purchased by William Caslon III.</p>
-
-<p>Left thus to his own resources, Mr. Figgins was constrained to enter on an
-independent undertaking. Encouraged by the advice of Mr. John Nichols, (who,
-as the intimate friend of Jackson, had had many opportunities of observing the
-character and talent of his apprentice), he determined to rear a foundry in his
-own name. “A large order,” says Hansard, “for two founts, Great Primer and
-Pica, of each 2,000 lbs—even before he had printed a single specimen—gave
-the young adventurer the best heart to proceed; neither did his liberal patron
-suffer him to want the sinews of trade as long as such assistance was required.”
-Writing to Mr. Nichols, fifteen years afterwards, in reference to
-a passage in <span class="xxpn" id="p336">{336}</span>
-the <i>Literary Anecdotes</i>, Mr. Figgins thus gracefully acknowledged the generosity
-which befriended him at the beginning of his career:―</p>
-
-<blockquote class="din2">
-
-<p>“I am greatly obliged to you for the very flattering mention of my name, but you
-have not done yourself the justice to record your own kindness to me: that, on
-Mr. Jackson’s death, finding I had not the means to purchase the foundry, you
-encouraged me to make a beginning. You gave me large orders and assisted me
-with the means of executing them; and during a long and difficult struggle in pecuniary
-matters for fifteen years, you, my dear Sir, never refused me your assistance, without
-which I must have given it up. Do mention this—that, as the first Mr. Bowyer was
-the means of establishing Mr. Caslon—his son, Mr. Jackson—it may be known that
-Vincent Figgins owes his prosperity to Mr. Bowyer’s successor.”<a class="afnanch" href="#fn698" id="fnanch698">698</a></p></blockquote>
-
-<p>Mr. Figgins established himself in Swan Yard, Holborn, and at the outset
-of his undertaking an opportunity occurred which served as largely as any
-other to establish his reputation as an excellent artist. This was the completion
-of Macklin’s <i>Bible</i>, for which, as has already been narrated, Mr. Jackson
-had, in 1789, cut the beautiful 2-line English Roman fount, in which the first part
-of the work is printed. “When Mr. Bensley had proceeded some way in the work
-he wished to renew the fount; but not choosing to purchase it of Mr. Caslon,
-the then possessor of Jackson’s matrices, he applied to Mr. Figgins to cut a fount
-to correspond with that he had begun upon. Mr. Figgins undertook the task;
-and the fount, which was a perfect imitation of the other, was put into use to
-begin <i>Deuteronomy</i> about the year 1793.”<a class="afnanch" href="#fn699" id="fnanch699">699</a>
-Of the excellence of this performance
-both as a facsimile and as a work of art, a reference to the splendid <i>Bible</i><a class="afnanch" href="#fn700" id="fnanch700">700</a>
-itself
-and the no less splendid edition of Thomson’s <i>Seasons</i>,<a class="afnanch" href="#fn701" id="fnanch701">701</a>
-in which the same type was
-used in 1797, is the most eloquent testimony. Mr. Figgins received the
-honour of being named on the title-page of the latter work, which still remains one
-of the finest achievements of English typography.<a class="afnanch" href="#fn702" id="fnanch702">702</a>
-His services were also
-employed in a similar manner to complete the Double Pica fount for R. Bowyer’s
-edition of <i>Hume</i>, which, it will be remembered, was in course of execution by
-Jackson at the time of his death. The splendid types in which these masterpieces
-of the typographic art were executed, established Mr. Figgins at once in all the
-reputation he could desire. <span class="xxpn" id="p337">{337}</span></p>
-
-<div class="dctr02" id="fg77">
-<img src="images/i337.png" width="600" height="348" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i337lg.png" title="display larger image">Μ</a></span> 77. Two-line English Roman
- cut by Vincent Figgins, 1792. (From the original
- matrices.)</div></div>
-
-<p>In 1792, he put forward a single-leaf specimen of the 2-line English fount
-on its completion. In the following year, having added a “long-bodied” English
-and a Pica, he issued his first Specimen Book. This interesting document of
-five leaves (title, address, and three specimens) was printed by Bensley, and contained
-the following prefatory note, which will be read with interest as the first
-public announcement of this Foundry:―</p>
-
-<blockquote class="din2">
-
-<p>“At a period when the Art of Printing has, perhaps, arrived to a degree of
-excellence hitherto unknown in the annals of literature, the improvement of Types will
-no doubt be generally considered an object worthy of attention. Vincent Figgins
-having had the advantage of ten years’ instruction and servitude under the late
-ingenious Mr. Joseph Jackson (great part of which time he had <i>the management of</i>
-his Foundery), flatters himself he shall not be thought arrogant in soliciting the
-patronage of the Master Printers, and other Literary Gentlemen, when he has commenced
-an entire new Letter Foundery, every branch of which, with their support and
-encouragement, he hopes he shall be enabled to execute in the most accurate and
-satisfactory manner; assuring them that his best endeavours shall be exerted to
-complete so arduous an undertaking. Although as yet he has but few founts finished,
-he is anxious to submit a specimen for approbation. All orders he may be favoured
-with shall be duly attended to and punctually executed.&#160;.&#160;. The Italics of the following
-founts, with a Long Primer, Brevier and English, are in great forwardness—specimens
-of which shall be printed as soon as possible. <i>May 1793.</i>”</p></blockquote>
-
-<p>One of the first public appearances of the English fount was in the 8vo
-edition of Milton’s <i>Paradise Lost</i>, begun in 1794 in monthly
-parts, and published <span class="xxpn" id="p338">{338}</span>
-by Parsons in 1796.<a class="afnanch" href="#fn703" id="fnanch703">703</a>
-The announcement accompanying Part I makes special
-reference to “a new and beautiful Type cast on purpose for this work by Vincent
-Figgins.” The Italic of this fount is specially elegant.</p>
-
-<p>Mr. Figgins’ indefatigable industry enabled him to issue in the next year
-an enlarged Specimen Book with the same title and address as before, but containing
-twelve sheets of specimens, four of which were dated 1794.</p>
-
-<p>He met with further encouragement in his new undertaking by the patronage
-of the Delegates of the Oxford Press, under whose direction he completed a fount
-of Double Pica Greek, the progress of which had been interrupted by the death
-of Mr. Jackson. In connection with this circumstance, Mr. Vincent Figgins the
-younger, in the remarks appended to his facsimile reprint of Caxton’s <i>Game of
-the Chesse</i>, has preserved an anecdote, which it will be interesting to repeat here,
-not only as having reference to Mr. Figgins’ early productions, but as illustrating
-a curious phase of the mystery of type founding at that day:―</p>
-
-<p>“The mystery thrown over the operations of a Type foundry,” says Mr.
-Vincent Figgins II in 1855, “within my own recollection (thirty-four years), and
-the still greater secrecy which had existed in my father’s experience, testifies
-that the art had been perpetuated by a kind of Druidical or Masonic induction
-from the first. An anecdote of my father’s early struggles may illustrate this.
-At the death of Mr. Joseph Jackson, whom my father had served ten years as
-apprentice and foreman, there was in progress for the University Press of Oxford
-a new fount of Double Pica Greek, which had progressed under my father’s entire
-management. The then delegates of that Press—the Rev. Dr. Randolph and the
-Rev. W. Jackson—suggested that Mr. Figgins should finish the fount himself.
-This, with other offers of support from those who had previously known him,
-was the germ of his prosperity (which was always gratefully acknowledged).
-But when he had undertaken this work, the difficulty presented itself that he did
-not know where to find the punch-cutter. No one knew his address; but he was
-supposed to be a tall man, who came in a mysterious way occasionally, whose
-name no one knew, but he went by the <i>sobriquet</i> of ‘<i>The Black Man</i>.’ This old
-gentleman, a very clever mechanic, lived to be a pensioner on my father’s
-bounty—gratitude is, perhaps, the better word. I knew him, and could never
-understand the origin of his <i>sobriquet</i>, unless Black was meant for dark,
-mysterious, from the manner of his coming and going from Mr. Jackson’s
-foundry.”</p>
-
-<p>Shortly after the completion of the Greek fount, Mr.
-Figgins was called upon <span class="xxpn" id="p339">{339}</span>
-to execute a fount of Persian under the direction of the eminent Orientalist, Sir
-William Ouseley.<a class="afnanch" href="#fn704" id="fnanch704">704</a> This type was used in Francis Gladwin’s <i>Persian Moonshee</i><a class="afnanch" href="#fn705" id="fnanch705">705</a>
-in
-1801, and other works; and was commended by Dr. Adam Clarke as a beautiful
-letter in the finest form of the Nustaleek character.</p>
-
-<p>About the same time, he cut a fount of English Télegú from a MS., for the
-East India Company, in whose library, says Hansard, the “matrices or moulds”
-were afterwards deposited. Of this fount he issued two specimens about 1802,
-one a folio, the other a quarto; and about the same time put forward a specimen
-of “Two-line letters” in the same form.</p>
-
-<p>In the year 1800, Mr. Figgins was engaged by Messrs. Eyre and Strahan, His
-Majesty’s Printers, to cut and cast an improved fount of Small Pica Domesday;
-and, in 1805, a new Pica of the same character, expressly for the purpose of
-printing the splendid and valuable publications of the Commission of Enquiry
-into the State of the Records of the Kingdom.<a class="afnanch" href="#fn706" id="fnanch706">706</a>
-In the years 1807 and 1808, he
-was also employed by His Majesty’s Printers in
-Scotland on three further <span class="xxpn" id="p340">{340}</span>
-founts (Pica, Long Primer, and Brevier) for the purpose of printing the Records
-of that portion of the Empire.<a class="afnanch" href="#fn707" id="fnanch707">707</a>
-This improved Domesday (a specimen of which
-may be seen in Johnson’s <i>Typographia</i>), differs considerably from that of
-Jackson, in which the <i>Domesday Book</i> had been printed in 1783,<a class="afnanch" href="#fn708" id="fnanch708">708</a>
-and became,
-subsequently, the uniform character adopted for extracts from Domesday and
-other ancient Charters and Records quoted in modern topographical works.</p>
-
-<p>Mr. Figgins’ good fortune in the first results of his new business was somewhat
-tempered by the fact that, within a few years of the establishment of his
-foundry, the public taste with regard to the ordinary Roman letter experienced
-a complete revolution, setting aside the elegant models on which the punches of
-Jackson and his contemporaries had been cut, in favour of the new fashion which
-came in with the nineteenth century.</p>
-
-<p>To accommodate himself to this fashion must have involved Mr. Figgins in
-a considerable sacrifice of his early labour and industry, and the circumstance
-may possibly account for the somewhat remarkable absence of any specimen
-bearing his name for a lengthened period.</p>
-
-<p>In the appendix to Stower’s <i>Printers’ Grammar</i>, 1808, which exhibits the
-“modern faces” of Caslon and Fry, the compiler regrets not being able to show
-specimens of the new cut types from Mr. Figgins’ foundry, “but understands
-that in a few months Mr. F. will have fully completed his specimens.”</p>
-
-<p>These new founts appear in a specimen of 1815, a book which contains
-24 pages of large letter from 16-line to 4-line; 35 pages of Roman and Italic from
-French Canon to Pearl; together with Titlings, Black Letter, and Flowers, and a
-few Orientals.</p>
-
-<p>Two years later, Mr. Figgins put forward a specimen of Newspaper founts,
-showing a series of eight sizes, on a broadside sheet,—the first specimen of the
-kind, we believe, specially addressed to the proprietors of the public press.
-The title of this sheet is printed in the 5-line German Text, which Hansard
-describes as a typographical curiosity.</p>
-
-<p>Speaking of Mr. Figgins about 1812, Mr. Nichols remarks (in the passage
-which called for the acknowledgment already quoted): “With an ample portion
-of his kind instructor’s reputation, he inherits a considerable share of his talents
-and industry, and has distinguished himself by the many beautiful specimens he
-has produced, and particularly of Oriental Types.”<a class="afnanch" href="#fn709" id="fnanch709">709</a>
-<span class="xxpn" id="p341">{341}</span></p>
-
-<p>The foundry had, in the year 1801, been removed from Swan Yard,
-Holborn, to West Street, West Smithfield, where, besides the work of completing
-the founts most commonly in use, several important and interesting tasks
-of a special character had engaged Mr. Figgins’ attention. Among these may
-be mentioned the Small Pica Hebrew for <i>Bagster’s Polyglot</i>,<a class="afnanch" href="#fn710" id="fnanch710">710</a>
-in 1817, which
-had the distinction in its day of being the smallest Hebrew with points in England.
-Dibdin, in his <i>Bibliographical Decameron</i> (ii, 408), while specially commending
-the <i>Polyglot</i>, quotes a letter from Mr. Bagster in reference to the Figgins Hebrew
-fount, which it will be interesting to repeat here. Writing to Dibdin, Mr. Bagster
-remarks:</p>
-
-<blockquote class="din2">
-
-<p>“The difficulty to the compositor of the Hebrew with points far exceeds every
-other language. You are doubtless aware that every line is composed of three distinct
-lines; i.e., points and accents both above and below the line of letters. I wrote to the
-printer and letter founder to display these, and one of the letters (<i>that of Mr. Figgins
-which follows</i>) is enclosed as their accounts nearly agree. The difference between the
-fount with points, and that which is without them is very striking. The former
-requires 25 points and accents and 136 mixed letters; whereas the latter has only 32
-altogether and one stop—a difference between the founts of 132 characters—the first
-with points exceeding by so considerable a number, and some are so minute that one
-ounce is found to contain no less than 236.</p>
-
-<p>“When I embraced the design of this work, no suitable fount of Hebrew existed.
-It became therefore necessary to cut the steel punches and the brass (<i>sic</i>) matrices
-before the fount of letter could be cast; and thus our country is enriched by the
-<i>creation</i> of this new fount.</p>
-
-<p>“The Greek and Roman type I think will also be admired for the delicate neatness
-of their execution. The Hebrew and Greek types are of the neatest form, and the
-latter is that of Porson.”&#160;.&#160;.&#160;.</p></blockquote>
-
-<div class="section">
-<p class="pcontinue">Mr. Figgins’ letter enclosed is as follows:―</p>
-
-<blockquote class="din2">
-
-<p>“The number of Hebrew matrices are 82; these are
-all first cast on a minion body, and 54 of them are
-again cast on a diamond body, to admit of marks and
-accents being put over them. The accents and points
-are 25 in number, of which there are, of the thinnest
-sort, about 240 to the ounce. The number of boxes
-required to contain the fount are:― <span class="xxpn"
-id="p342">{342}</span></p>
-
-<div class="nowrap">
-<table summary="">
-<tr>
- <td class="tdleft"><span class="spqut">“</span>Minion Hebrew</td>
- <td class="tdright">82</td></tr>
-<tr>
- <td class="tdleft"><span class="spqutspc">Spaces</span> (4), em and en quads (2), large quad (1)</td>
- <td class="tdright">7</td></tr>
-<tr>
- <td class="tdleft"><span class="spqutspc">Diamond</span> Hebrew</td>
- <td class="tdright">54</td></tr>
-<tr>
- <td class="tdleft"><span class="spqutspc">Spaces</span> same as Minion</td>
- <td class="tdright">7</td></tr>
-<tr>
- <td class="tdleft"><span class="spqutspc">Minikin</span> accents and marks</td>
- <td class="tdright">25</td></tr>
-<tr>
- <td class="tdleft"><span class="spqutspc">Spaces</span>, etc., same as Minion</td>
- <td class="tdright">7</td></tr>
-<tr>
- <td class="tdleft"></td>
- <td class="tdright tdsum">182</td></tr>
-</table></div>
-
-<div>“I am, Sir, your obedient servant,</div>
-<div class="spsgtrflt fsz6">V. FIGGINS.”</div>
-<p class="pfirst">“West Street, London, 16th Oct.,
-1816.<br class="brclearfix" /></p>
-</blockquote></div><!--section-->
-
-<p>The Syriac used in Bagster’s <i>Polyglot</i><a class="afnanch" href="#fn711" id="fnanch711">711</a>
-was not cut by Mr. Figgins; but he
-had previously produced three sizes of this character, viz.: a Double Pica,
-English, and Long Primer (two founts), under the direction and partly at the
-expense of Dr. Claudius Buchanan, the eminent Indian missionary and Orientalist,
-whose work on <i>Christian Researches in Asia, with notices of translations of the
-Scriptures into the Oriental Languages</i>, had been published at Cambridge,
-in 1811. At the time of his death, in 1815, Dr. Buchanan was engaged in editing
-for the British and Foreign Bible Society a Syriac <i>New Testament</i>, which
-appeared in the following year, printed in Figgins’ type.<a class="afnanch" href="#fn712" id="fnanch712">712</a></p>
-
-<p>The founts already specified—to which may be added a Small Pica Irish,
-copied from the copper-plate engravings in Charles Vallancey’s <i>Irish Grammar</i>,
-and some additional Greeks, cut under Porson’s superintendence—constituted
-the chief features of Mr. Figgins’ foundry in respect of the learned and
-foreign founts. With regard to its progress in the characters of more general
-use, it will be sufficient to quote Mr. Hansard’s note, written in 1825, and
-based doubtless on an examination of the excellent, specimen of 1821, with its
-additions in 1822 and 1823:—“No foundry existing is better stocked with
-matrices for those extraneous sorts which are cut more with a view to accommodation
-than profit; such as astronomical, geometrical, algebraical, physical,
-genealogical, and arithmetical sorts; and I feel it particularly incumbent on me
-to add that, as his specimen bears equal rank with any for the number and beauty
-of its founts, so he has strayed less into the folly of fat-faced preposterous disproportions,
-than either Thorne, Fry or Caslon. I consider his Five-line Pica
-German text a typographical curiosity.”<a class="afnanch" href="#fn713" id="fnanch713">713</a>
-<span class="xxpn" id="p343">{343}</span></p>
-
-<div class="dkeeptogether">
-<p>The following is Hansard’s summary of the foreign and learned founts contained
-in this foundry in 1825:―</p>
-
-<h3 title="MR. FIGGINS’ FOUNDRY.">MR. FIGGINS’ FOUNDRY.</h3>
-
-<ul class="dmgnfndry fsz6">
- <li><i>Domesday.</i><a class="afnanch" href="#fn714" id="fnanch714">714</a>―
-<ul class="ulina">
- <li class="lijust">Pica, Small Pica.</li></ul></li>
-
- <li><i>German Text (Ornamental).</i>―
-<ul class="ulina">
- <li class="lijust">Five-line Pica.</li></ul></li>
-
- <li><i>Greek.</i><a class="afnanch" href="#fn715" id="fnanch715">715</a>―
-<ul class="ulina">
- <li class="lijust">Great Primer, English, Pica, Small
- Pica, Long Primer, Brevier.</li></ul></li>
-
- <li><i>Hebrew.</i>―
-<ul class="ulina">
- <li class="lijust">English with points, Pica,
- Small Pica, Ditto with points.<a class="afnanch"
- href="#fn716" id="fnanch716">716</a>—Long Primer,
- Nonpareil.</li></ul></li>
-
- <li><i>Irish.</i>―
-<ul class="ulina">
- <li class="lijust">Small Pica.</li></ul></li>
-
- <li><i>Persian.</i>―
-<ul class="ulina">
- <li class="lijust">Paragon.</li></ul></li>
-
- <li><i>Saxon.</i>―
-<ul class="ulina">
- <li class="lijust">Pica, Small Pica, Long Primer, Brevier.</li></ul></li>
-
- <li><i>Syriac.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica, English, Long Primer, Brevier.</li></ul></li>
-
- <li><i>Télegú.</i><a class="afnanch" href="#fn717" id="fnanch717">717</a>―
-<ul class="ulina">
- <li class="lijust">English.</li></ul></li>
-
- <li><i>Black.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica, Great Primer, English, Pica, Long Primer.</li></ul>
-</li></ul>
-</div><!--dkeeptogether-->
-
-<p>Further specimens were issued in 1824 and 1826, each indicating the rapid
-growth of the rising foundry between those dates. They were followed in 1827 by
-a compact little 16mo volume; and from that date specimens are frequent.</p>
-
-<p>Mr. Figgins died at Peckham, Feb. 29th, 1844. He was for several years
-Common Councillor for the Ward of Farringdon Without; “an amiable and
-worthy character, “says Nichols,” and generally respected.“ He had relinquished
-business in 1836, leaving it to his two sons, Vincent Figgins II and James Figgins,
-who issued their first specimen book, a handsome quarto, under the style of V. &amp;
-J. Figgins, in 1838. Mr. Vincent Figgins II died in 1860,<a class="afnanch" href="#fn718" id="fnanch718">718</a>
-when the business
-was carried on by Mr. James Figgins I and his son, Mr. James Figgins II. On
-the retirement of the former, then Mr. Alderman Figgins, M.P., the entire
-management devolved on his son, the present proprietor. The foundry was
-removed from West Street, Smithfield, to Ray Street, Farringdon Road,
-in 1865. <span class="xxpn" id="p344">{344}</span></p>
-
-<div class="section">
-<h3 class="fsz7" title="LIST OF SPECIMENS, 1792–1832">LIST
- OF SPECIMENS, 1792–1832.</h3></div>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>No date. A Specimen of Printing Types by Vincent Figgins, Letter Founder, Swan Yard,
-Holborn Bridge, London. (1792.) 4to, 2 pp.,
-<span class="spcitr">(J. F.)</span></p></li>
-
-<li class="lispecimen"><p>No date. A Specimen of Printing Types by Vincent Figgins, Letter Founder, Swan Yard,
-Holborn Bridge, London. (1793.) 4to, 5 pp.
-<span class="spcitr">(J. F.)</span></p></li>
-
-<li class="lispecimen"><p>1794. A Specimen of Printing Types by Vincent Figgins, Letter Founder, Swan Yard, Holborn
-Bridge, London. 1794. 4to.
-<span class="spcitr">(W. B.)</span></p></li>
-
-<li class="lispecimen"><p>1802. Specimen of a fount of Télegú Types cast by V. Figgins, London. 1802. folio.
-<span class="spcitr">(J. F.)</span></p>
-
-<div class="fsz6">(Also in quarto.)</div></li>
-
-<li class="lispecimen"><p>No date. Specimen of 2-line Letters cast by Vincent Figgins, West Street, West Smithfield,
-London. Broadside. (1802.?)
-<span class="spcitr">(J. F.)</span></p></li>
-
-<li class="lispecimen"><p>1815. Specimen of Printing Types by Vincent Figgins, Letter Founder, West Street, West
-Smithfield, London, 1815. 8vo.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
-<li class="lispecimen"><p>1817. Newspaper Founts cast by Vincent Figgins, West Street, West Smithfield, London, 1817.
-Broadside.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
-<li class="lispecimen"><p>1821. Specimen of Printing Types by Vincent Figgins, Letter Founder, West Street, West
-Smithfield, London, 1821. 8vo.
-<span class="spcitr">(J. F.)</span></p>
-<div class="fsz6">(Re-issued with additions 1822 and 1823.)</div></li>
-
-<li class="lispecimen"><p>1824. Specimen of Printing Types by Vincent Figgins, Letter Founder, West Street, West
-Smithfield, London, 1824. 8vo.
-<span class="spcitr">(Caxt. Cel. 4403.)</span></p></li>
-
-<li class="lispecimen"><p>1826. Specimen of Printing Types by Vincent Figgins, Letter Founder, West Street, West
-Smithfield, London, 1826. 8vo.
-<span class="spcitr">(J. F.)</span></p></li>
-
-<li class="lispecimen"><p>1827. Specimen of Printing Types by Vincent Figgins, Letter Founder, London, 1827. 16mo.
-<span class="spcitr">(Caxt. Cel. 4408.)</span></p></li>
-
-<li class="lispecimen"><p>1832. Specimen of Printing Types by Vincent Figgins, Letter Founder, West Street, West
-Smithfield, London, 1832. 8vo.
-<span class="spcitr">(Caxt. Cel. 4417.)</span></p></li></ul>
-
-<div class="chapter"><div class="dctr01" id="p345">
-<img src="images/i345a.png" width="600" height="140" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XIX. MINOR FOUNDERS
- OF THE EIGHTEENTH CENTURY.">
-<span class="hblk fsz6">CHAPTER XIX.</span>
-<span class="hblk"><img class="ihrch" src="images/i345b.png"
-width="275" height="36" alt="" /></span>
-MINOR FOUNDERS OF THE EIGHTEENTH CENTURY.</h2>
-
-<hr class="hr42" />
-
-<h3 title="SKINNER, circ. 1710">SKINNER, <i>circ.</i> 1710.</h3>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i345c.png"
-width="509" height="537" alt="T" />
-</span>HIS founder is mentioned by Mores as a contemporary of
-Robert Andrews and Head. Nothing, however, is known
-of his types.</p>
-
-<hr class="hr24" />
-<div class="dkeeptogether">
-<h3 title="DUMMERS, circ. 1734">DUMMERS, <i>circ.</i> 1734.</h3>
-
-<p>Mores says he was a Dutchman who founded in this
-country, where he cut the fount of Pica Samaritan which
-appears in Caslon’s Specimen of 1734.<a class="afnanch" href="#fn719" id="fnanch719">719</a>
-He subsequently
-returned to his native country. Smith, in his <i>Printers’ Grammar</i>, after referring
-to the genius of Van Dijk, mentions Voskin and Dommer (<i>sic</i>) as having “been
-considered as two Worthies, for their abilities in their profession.” We append
-a specimen of the Samaritan fount:―</p></div>
-
-<div class="dctr06" id="fg78">
-<img src="images/i345d.png" width="600" height="118" alt="" />
- <div class="dcaption"><span class="splnklg"><a
- href="images/i345lg.png" title="display larger image">Μ</a></span> 78. Pica Samaritan, cut by
- Dummers for Caslon, <i>circ.</i> 1734. (From the original
- Matrices.)</div></div>
-
-<div><span class="xxpn" id="p346">{346}</span></div>
-
-<hr class="hr24" />
-<div class="dkeeptogether">
-<h3 title="JALLESON, circ. 1734">JALLESON, <i>circ.</i> 1734.</h3>
-
-<p>This man appears to have served, in 1733, as punch cutter to Mr. R. Wetstein
-of Amsterdam, for whom he produced, amongst other founts, the accented
-Roman with which the Dutch East India Company printed their Malay Edition
-of the <i>Bible</i> in that year. He came to London, and lived in the Old Bailey, where
-he attempted an economical way of multiplying founts by casting six different
-bodies of letter from three sets of punches, viz., Brevier and Long Primer from
-one set, Pica and English from another, Great Primer and Double Pica from
-a third. “Accordingly,” says Smith, “he charged his Brevier, Pica, and Great
-Primer with as full a face as their respective bodies would admit of, and, in order
-to make some alteration in the advancing founts, he designed to cut the ascending
-and descending letters to such a length as should show the extent of their different
-bodies. But though he had cast founts of the three minor sorts of letters, he
-did not bring the rest here to perfection.”<a class="afnanch" href="#fn720" id="fnanch720">720</a></p></div>
-
-<p>While in England, “he printed the greatest part of a Hebrew <i>Bible</i> with
-letter of his own casting; but was, by adverse fortune, obliged to finish the said
-work in Holland.” Jalleson’s system, though apparently unsuccessful at the
-time, was eventually adopted, to a certain extent, by English founders.</p>
-
-<hr class="hr24" />
-<div class="dkeeptogether">
-<h3 title="JACOB ILIVE, circ. 1730">JACOB ILIVE, <i>circ.</i> 1730.</h3>
-
-<p>This eccentric individual was a connection of the James’s, his mother,
-Elizabeth, being the daughter of Thomas James, the printer, and consequently
-cousin to Thomas James, the founder.<a class="afnanch" href="#fn721" id="fnanch721">721</a>
-His father was a printer resident in
-Aldersgate Street,<a class="afnanch" href="#fn722" id="fnanch722">722</a>
-and his two brothers, Abraham and Isaac, also followed the
-same calling.</p></div>
-
-<p>About the year 1730, he applied himself to letter-founding, and carried
-on a foundry and printing house together in Aldersgate Street over against
-Aldersgate Coffee-house, where he was resident in 1734.</p>
-
-<p>“But, afterwards,” says Mores, “when <i>Calasio</i><a class="afnanch" href="#fn723" id="fnanch723">723</a>
-was to be reprinted under the
-inspection of Mr. Romaine, or of Mr. Lutzena, a Portuguese
-Jew who corrected the <span class="xxpn" id="p347">{347}</span>
-Hebrew—as we ourselves did sometimes another part of the work—he removed
-to London House (the habitation of the late Dr. Rawlinson) on the opposite
-side of the way, where he was employed by the publishers of that work. This
-was in the year 1746.”</p>
-
-<div class="dkeeptogether">
-<p>His foundry was only a small one, and does not appear to have received
-much patronage or to have issued a specimen. The following is Mores’
-summary of its contents:―</p>
-
-<h4 class="fsz6" title="MR. ILIVE’S FOUNDERY, 1734">“MR.
- ILIVE’S FOUNDERY, 1734.</h4>
-
-<ul class="fsz6 dmgnfndry">
- <li class="pcenter padtopc"><span
- class="fsz6">OCCIDENTALS:</span>
-<ul>
- <li><i>Greek.</i>―
-<ul class="ulina">
- <li class="lijust">Nonpareil, 200; another, 80 lb.</li></ul></li>
-
-<li><i>Roman.</i>―
-<ul class="ulina">
- <li class="lijust">2-line English, the small letters only,
- 27; Pica, similiter, 27; Brevier broadface, 54; Small
- Pica, 70; another, the small letters and double only, 39;
- Nonpareil cap. 27.</li></ul></li>
-
-<li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lijust">Double Pica, 154; Great Primer, 212;
- English, 236; Pica, 214; Long Primer, 230; Brevier, 255;
- Sm. Pica, 248.</li></ul></li>
-
-<li><i>Figures.</i>―
-<ul class="ulina">
- <li class="lijust">Pica fractions, 20; Mercantile marks, Pica, 17.</li></ul></li>
-
- <li class="lijust"><i>Braces, Rules and Flowers</i>, 30.”</li>
-</ul></li></ul>
-</div><!--dkeeptogether-->
-
-<p>In 1740 (July 3) the foundry was purchased by John James, in whose premises,
-says Mores, it lay in the boxes named <i>Jugge</i>, and underwent very little alteration.
-With regard to the sets of Greek matrices, Mores also states that though James
-paid for these they never came to his hands.</p>
-
-<p>Although abandoning type-founding early, Ilive continued to print until the
-time of his death in 1763. Mores says he was an expeditious compositor and
-knew the letters by touch. He was, however, less noted for his typography than
-for his opinions.</p>
-
-<p>Nichols tells us he was somewhat disordered in his mind. In 1733 he published
-an <i>Oration</i> proving the plurality of worlds, that this earth is hell, that the
-souls of men are apostate angels, and that the fire to punish those confined to
-this world at the day of judgment will be immaterial. This discourse was composed
-in 1729, and spoken at Joiners’ Hall pursuant to the will of his mother,
-who died in 1733 and held the same singular opinions in divinity as her son.<a class="afnanch" href="#fn724" id="fnanch724">724</a>
-A second pamphlet, entitled <i>A Dialogue between a Doctor of the Church of
-England and Mr. Jacob Ilive upon the Subject of the Oration</i>, also appeared in
-1733. This strange <i>Oration</i> is highly praised in Holwell’s third part of <i>Interesting
-Events relating to Bengal</i>.<a class="afnanch" href="#fn725" id="fnanch725">725</a></p>
-
-<p>In 1751 Ilive perpetrated a famous literary forgery
-in a pretended <span class="xxpn" id="p348">{348}</span>
-translation of the <i>Book of Jasher</i>,<a class="afnanch" href="#fn726" id="fnanch726">726</a>
-said to have been made by one Alcuin of Britain.
-“The account given of the translation,” says Mores, “is full of glaring absurdities,
-but of the publication, this we can say, from the information of the Only-One
-who is capable of informing us, because the business was a secret between the
-Two: Mr. Ilive in the night-time had constantly an Hebrew <i>Bible</i> before him
-(<i>sed qu. de hoc</i>) and cases in his closet. He produced the copy for <i>Jasher</i>, and it
-was composed in private, and the forms worked off in the night-time in a private
-press-room by these Two, after the men of the Printing-house had left their
-work. Mr. Ilive was an expeditious compositor, though he worked in a nightgown
-and swept the cases to <i>pye</i> with the sleeves.”<a class="afnanch" href="#fn727" id="fnanch727">727</a></p>
-
-<p>In 1756, for publishing <i>Modest Remarks on the late Bishop Sherlock’s
-Sermons</i>, Ilive was imprisoned in Clerkenwell Bridewell, where he remained for
-two years, improving the occasion by writing and publishing <i>Reasons offered for
-the Reformation of the House of Correction in Clerkenwell</i>, in 1757. He also projected
-several other reforming works.<a class="afnanch" href="#fn728" id="fnanch728">728</a></p>
-
-<p>In the last year of his life, 1762, he once more became notorious as the
-ringleader of a schism among the members of the Stationers’ Company, of which
-the following narrative (communicated by Mr. Bowyer) is given by Gough:―</p>
-
-<blockquote class="din2">
-
-<p>“He called a meeting of the Company for Monday the 31st of May, being Whit-Monday,
-at the Dog Tavern, on Garlick Hill, ‘to rescue their liberties,’ and choose
-Master and Wardens. Ilive was chosen chairman for the day; and, standing on the
-upper table in the hall, he thanked the freemen for the honour they had done him—laid
-before them several clauses of their two charters—and proposed Mr. Christopher
-Norris and some one else to them for Master; the choice falling upon Mr. Norris.
-He then proposed, in like manner, John Lenthall, Esq., and John Wilcox, Gent., with
-two others for Wardens; when the two first nominated were elected. A Committee was
-then appointed by the votes of the Common Hall to meet the first Tuesday in each
-month at the Horn Tavern, in Doctors’ Commons, to inquire into the state of the
-Company, which Committee consisted of twenty-one persons, five of whom (provided
-the Master and Wardens were of the number), were empowered to act as fully as if
-the whole of the Committee were present. July the 6th being the first Tuesday in the
-month, the newly-elected Master, about twelve o’clock, came into the Hall, and being
-seated at the upper end of it, the Clerk of the Hall was sent for and desired to swear
-Mr. Norris into his office; but he declined, and Mr. Ilive officiated
-as the Clerk in <span class="xxpn" id="p349">{349}</span>
-administering the oath. A boy then offered himself to be bound; but no Warden
-being present, he was desired to defer until next month, when several were bound;
-some freemen made; and others admitted on the livery; one of whom, at least, has
-frequently polled at Guildhall in contested elections.”<a class="afnanch" href="#fn729" id="fnanch729">729</a></p></blockquote>
-
-<p>No particular notice appears to have been taken of the proceedings, and
-the rebellion was short lived. Previous to its outbreak, Ilive had published a
-pamphlet on <i>The Charter and Grants of the Company of Stationers; with
-Observations and Remarks thereon</i>, in which he recited various grievances and
-stated the opinion of counsel upon several points. “I have a copy of this
-pamphlet,” says Mr. Hansard, “now lying before me, the twentieth page of which
-concludes with the line, ‘Excudebat, edebat, donabat, Jacob Ilive, Anno 1762.’&#x200f;”
-Ilive died in the following year.</p>
-
-<hr class="hr24" />
-<div class="dkeeptogether">
-<h3 title="THE WESTONS">THE WESTONS.</h3>
-
-<p>Some founders of this name are mentioned by Ames; but Mores supposes
-that Ames, “who,” he adds, “was an arrant blunderer,” has made Englishmen
-of the Wetsteins of Amsterdam, who founded in that city about 1733–43. The
-Wetsteins, though they doubtless had considerable type dealings with this country,
-are not known at any time to have practised type-founding
-in England.</p>
-
-<hr class="hr24" /></div>
-<div class="dkeeptogether">
-<h3 title="JOHN BAINE, 1749">JOHN BAINE, 1749.</h3>
-
-<p>After the dissolution of partnership between Wilson and Baine in 1749,<a class="afnanch" href="#fn730" id="fnanch730">730</a>
-the
-latter appears to have come to London, where, Rowe Mores informs us, “he
-published a specimen (very pretty) without a date. It exhibits Great Primer
-and Pica Greek and (we take no notice of title letters) the Roman and Italic
-regulars beginning at Great Primer; and the bastard Small Pica. Mr. Baine
-left England and is now (1778), we think, alive in Scotland.” He appears
-to have carried his foundry with him, for we find in a specimen of types
-belonging to a printer, John Reid, in Edinburgh, in 1768,<a class="afnanch" href="#fn731" id="fnanch731">731</a>
-two founts, a Small
-Pica and a Minion marked as having been supplied by him. In 1787 was
-published a <i>Specimen by John Baine and Grandson in Co.</i> at Edinburgh, a copy
-of which is in the Library of the American Antiquarian Society, Worcester,
-Massachusetts. <span class="xxpn" id="p350">{350}</span></p></div>
-
-<p>About the same date they established a foundry in Philadelphia, the
-grandson having probably taken charge of the new venture before being joined
-by his relative. Isaiah Thomas<a class="afnanch" href="#fn732" id="fnanch732">732</a>
-speaks in high praise of the mechanical ability
-of the elder Baine, and adds that his knowledge of type-founding was the effect
-of his own industry; for he was self-taught. Both, he says, were good workmen
-and had full employment. They appear to have been moderately successful in
-America.<a class="afnanch" href="#fn733" id="fnanch733">733</a>
-The elder Baine died in 1790, aged 77. His grandson relinquished
-the business soon after, and, says Mr. Thomas, died at Augusta in Georgia about
-the year 1799.</p>
-<div class="dkeeptogether">
-<h4 class="fsz7" title="SPECIMENS">SPECIMENS.</h4>
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>No date. Specimen by John
-Baine, London, 1756 (?). (Noted by Mores.) <span
-class="spcitr">(<i>Lost.</i>)</span></p></li>
-
-<li class="lispecimen"><p>1787. A Specimen of Printing
-Types by John Baine &amp; Grandson in Co., Letter Founders,
-Edinburgh, 1787. <span class="spcitr">(Amer. Ant.
-Soc.)</span></p></li></ul>
-
-<hr class="hr24" /></div>
-
-<div class="dkeeptogether">
-<h3 title="GEORGE ANDERTON, 1753">GEORGE ANDERTON, 1753.</h3>
-
-<p>George Anderton, of Birmingham, appears to have been one of the earliest
-of English provincial letter founders. Mores says he “attempted” letter founding,
-and in the year 1753 printed a little specimen of Great Primer Roman and Italic.
-Samuel Caslon, brother to Caslon I, worked as a mould maker in this foundry
-after having left the latter on account of some dispute.</p>
-
-<h4 class="fsz7" title="SPECIMEN">SPECIMEN.</h4>
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>1753. A Specimen of Great Primer
-by George Anderton, Birmingham, 1753. (Noted by Mores.)
-<span class="spcitr">(<i>Lost.</i>)</span></p></li></ul>
-
-<hr class="hr24" /></div>
-
-<div class="dkeeptogether">
-<h3 title="HENRY FOUGT, circ. 1766">HENRY
- FOUGT, <i>circ.</i> 1766.</h3>
-
-<p>This man, a German, lived in St. Martin’s Lane about the year 1766, and, in
-the following year, took out a patent for “Certain new and curious types by me
-invented for the printing of music notes as neatly and as well, in every respect,
-as hath usually been done by engraving.” The Invention consisted in the use of
-sectional types “in many respects similar to what in former ages was used in
-printing-offices and known by the name of choral type.”
-An explanatory note, <span class="xxpn" id="p351">{351}</span>
-setting forth the details of his scheme, accompanies the specification.<a class="afnanch" href="#fn734" id="fnanch734">734</a>
-Fougt
-issued a specimen of his new type in 1768, and is said to have been the only
-printer of music from type of his day who produced any good work. Mores says
-that he returned to Germany, after selling his patent to one Falconer, a disappointed
-harpsichord maker.</p>
-
-<h4 class="fsz7" title="SPECIMEN">SPECIMEN.</h4>
-
-<ul class="ullh11 fsz7">
- <li class="lispecimen"><p>1768. Specimen of a New Type
- for Music by H. Fougt. In Six Sonatas by Uttini. 3 vols.
- London, 1768. Folio. <span class="spcitr">(Bibl. Pr. i,
- 226.)</span></p></li></ul>
-
-<hr class="hr24" />
-</div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="JOSEPH FENWICK, circ. 1770">JOSEPH FENWICK,
- <i>circ.</i> 1770.</h3>
-
-<p>Mores’ quaint account of this unlucky person is as
-follows:—“Mr. Joseph Fenwick was a locksmith, and worked
-as a journeyman in David Street in Oxford Road. Invited
-by an advertisement from Mr. Caslon for a smith who could
-file smooth and make a good screw, he applied, and is now
-mould-mender in ordinary to Mr. Caslon. But his ingenuity
-hath prompted him to greater things than a good screw.
-He hath cut a fount of Two-line Pica Scriptorial for a
-divine, the planner of the Statute at Plaisterers’ Hall
-for demising and to farm letting servants of both sexes
-and all services. Of him Mr. Caslon required an enormous
-sum when he thought that nobody could do the work but
-himself. Mr. Fenwick succeeded at a very moderate expence;
-for he has not been paid for his labour. The plausible
-design of the fount was the relief and ease of our rural
-vineyarders, and the service of those churches in which the
-galleries overlook the pulpit.” In the synopsis of founts
-given at the end of Mores’ book, Fenwick’s Scriptorial,
-or Cursive, is mentioned as being at that time (1778)
-obtainable.</p>
-
-<hr class="hr24" />
-</div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="T. RICHARDS, 1778">T. RICHARDS, 1778.</h3>
-
-<p>Mores says he lived near Hungerford Bridge, and called himself letter
-founder and toyman; but appeared to be an instrument maker for marking the
-shirts of soldiers “to prevent plunder in times of peace.” “But we have seen no
-specimen,” he adds, “either on paper or on rags.”</p>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="McPHAIL, 1778">McPHAIL, 1778.</h3>
-
-<p>Mores describes him as a Scotchman without address. “It is said that
-he hath cut two full-faced founts, one of Two-line English, the other
-of Two-line Small Pica; hath made the moulds, and casts the letter
-his self. If this be true <span class="xxpn" id="p352">{352}</span> (and we have reason to believe it
-is not altogether false) he must travel like the circumforanean
-printers of names from door to door soon after the invention of the
-art, with all the apparatus in a pack upon his shoulders; for he is
-a <i>nullibiquarian</i>, and we cannot find his founding house.” To this
-account Hansard adds in 1825:—“I have reason to believe that, some
-years ago, the foundry of McPhail, which Mores has commemorated by a
-most humorous paragraph, was carried on either by the same individual
-or a descendant; but it continues to be screened from observation by
-the same cloud which obscured it from the curiosity of that illustrious
-typographical historian.”</p>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="IMISSON, 1785">IMISSON, 1785.</h3>
-
-<p>Lemoine mentions an ingenious person of this name,
-“who, among other pursuits, made some progress in the art
-of Letter Founding, and actually printed several small
-popular novels at Manchester with wood-cuts cut by himself.
-But other mechanical pursuits took him off, and death
-removed him in 1791.”<a class="afnanch" href="#fn735"
-id="fnanch735">735</a></p>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="MYLES SWINNEY, 1785">MYLES SWINNEY, 1785.</h3>
-
-<p>This provincial typographer was printer and proprietor
-of the <i>Birmingham Chronicle</i> in 1774, and appears to have
-commenced a letter foundry shortly after the breaking up
-of Baskerville’s establishment. His shops were in the High
-Street, Birmingham; and in Bisset’s <i>Magnificent Directory</i>
-(1800) a view of his premises is given, including the
-Type Foundry. He is styled Letter Founder, Bookseller and
-Printer, in the Directories of 1785, and subsequently
-added to his other pursuits that of Medicine Vendor. In
-1793 he was a member of the Association of Founders at
-that time in existence; and, about the year 1803, issued
-a neat Specimen Book of twenty pages, comprising a series
-of Roman and Italic and a few Ornamented and Shaded
-letters. The notice accorded to him in the <i>Magnificent
-Directory</i> is very complimentary:—“This useful Branch of
-the Typographic Art, immediately on the demise of the late
-celebrated Baskerville, was resumed and is now continued,
-with persevering industry and success, by Mr. Swinney,
-whose elegant Specimens of Printing add celebrity to the
-other manufactures of this Emporium of the Arts.” <span
-class="xxpn" id="p353">{353}</span></p>
-</div><!--dkeeptogether-->
-
-<p>The <i>Poetic Survey round Birmingham</i> accompanying the Directory, immortalizes
-our founder in the following couplet:</p>
-
-<blockquote><ul class="nowrap">
- <li class="lihang4"><span class="spqut">“</span>The
- Gods at Swinney’s Foundry stood amaz’d,</li>
-
- <li class="lihang4"><span class="spqutspc">And</span>
- at each curious Type and Letter gaz’d.”</li>
-</ul></blockquote>
-
-<div class="dkeeptogether">
-<p class="pcontinue">Among his workmen was John Handy, a former punch
-cutter for Baskerville.<a class="afnanch" href="#fn736" id="fnanch736">736</a>
-Mr. Swinney died in 1812, aged 74; having been printer and proprietor of
-the <i>Birmingham Chronicle</i> for nearly fifty years.</p>
-
-<h4 class="fsz7" title="SPECIMEN">SPECIMEN.</h4>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>No date. Specimen of part of the Printing Types cast by Myles Swinney, of Birmingham.
-Swinney and Hawkins, Printers, Birmingham. (1802?) 8vo.
-<span class="spcitr">(S.T.)</span></p></li></ul>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="SIMEON &amp; CHARLES STEPHENSON, 1789">SIMEON
- &amp; CHARLES STEPHENSON, 1789.</h3>
-
-<p>This short-lived foundry was established in the Savoy prior to 1789, in
-which year it appears to have been known as Bell and Stephenson’s British
-Letter Foundry, and to have issued a specimen. In 1793 the style was altered
-to Simeon Stephenson &amp; Co., and subsequently to Simeon and Charles
-Stephenson, who removed the foundry to Bream’s Buildings, Chancery Lane.
-Both the partners were members of the Association of Founders existing at that
-time.</p></div>
-
-<p>Of their foundry little is known beyond what may be
-gathered from their elegant Specimen Book of Types and
-Ornaments issued in 1796. The title-page of this volume
-states that their punches were cut by Richard Austin; and
-the address to the trade<a class="afnanch" href="#fn737"
-id="fnanch737">737</a> (which is dated 1797) refers to
-the flat­ter­ing en­cour­age­ment hitherto received by the
-proprietors from the public. The specimen exhibits ten
-pages of large titling letters, fourteen pages of Roman
-and Italic, from Double Pica to Minion, and the remainder
-chiefly ornaments. The types, especially in the larger
-sizes as well as some of the ornaments, are very good.
-<span class="xxpn" id="p354">{354}</span></p>
-
-<div class="dkeeptogether">
-<p>Despite the merit of its productions the British Foundry was not successful,
-and in 1797 was put up for auction. Whether it was purchased as a whole by
-some other founder, or whether it was dispersed, we cannot say. It seems
-probable, however, that Austin recovered some of the punches cut by him, and
-used them when starting his own foundry in Worship Street.</p>
-
-<h4 class="fsz7" title="SPECIMENS">SPECIMENS.</h4>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>1789. A Specimen of Printing
-Types cast at Bell &amp; Stephenson’s British Letter
-Foundry in the Savoy. London, 1789. 8vo. <span
-class="spcitr">(Bodleian.)</span></p></li>
-
-<li class="lispecimen"><p>1796. First part of a specimen
-of Printing Types cast at the Foundry of S. &amp; C.
-Stephenson, Bream’s Buildings, Chancery Lane. The
-punches cut by R. Austin. London, 1796. 8vo. <span
-class="spcitr">(W. B.)</span></p></li>
-
-<li class="lispecimen"><p>1797. Catalogue of the Stock
-in Trade of S. &amp; C. Stephenson, which will be
-sold by Auction by Mr. C. Heydinger. 1797. 8vo. <span
-class="spcitr">(W. B.)</span></p></li></ul>
-
-<div class="dctr09">
-<img src="images/i354.png" width="512" height="205" alt="" /></div>
-</div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p355">
-<img src="images/i355a.png" width="600" height="141" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XX. WILLIAM MILLER, 1809.">
-<span class="hblk fsz6">CHAPTER XX.</span>
-<span class="hblk"><img class="ihrch" src="images/i355b.png"
-width="281" height="39" alt="" /></span>
-WILLIAM MILLER, 1809.</h2>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i355c.png"
-width="515" height="544" alt="W" />
-</span>ILLIAM MILLER, the originator of this now great
-foundry, was for some time a foreman in the Glasgow
-Letter Foundry. About the year 1809 he left that service
-to begin a foundry of his own in Edinburgh under the
-style of William Miller and Co. The first specimen is
-stated to have been published in this year,<a class="afnanch" href="#fn738" id="fnanch738">738</a>
-but no copy
-unfortunately has been found still to exist.</p>
-
-<p>A further specimen was issued in 1813, followed in
-the ensuing year by another of 28 pages, consisting entirely of Roman
-and Italic letter, of which there was a complete series from Double Pica to
-Pearl, with 2-line letters and one page of borders. As Hansard observes
-respecting early founts of this foundry, the letters so much resemble those of
-Messrs. Wilson as to require minute inspection to distinguish the one from the
-other.<a class="afnanch" href="#fn739" id="fnanch739">739</a></p>
-
-<p>The business, once started, made rapid progress, and in due time became a
-formidable rival not only to the Glasgow foundry, but to the London founders.
-The specimen of 1815 showed further additions to the founts, some of which,
-we have it on Hansard’s authority, were cut by Mr. Austin, of London.<a class="afnanch" href="#fn740" id="fnanch740">740</a></p>
-
-<p>In 1822, the firm is described as William Miller only, Letter Founder to
-His Majesty for Scotland. The energy and care displayed by
-Mr. Miller in the <span class="xxpn" id="p356">{356}</span>
-prosecution of his business rapidly brought his foundry to the front rank, and
-secured for him the support not only of English printers but of some of the
-most important newspapers of the day, including <i>The Times</i>.</p>
-
-<p>In 1832, Mr. Richard was admitted a partner; and the style of the firm
-became once more William Miller and Co., and so continued until 1838, when it
-became Miller and Richard.</p>
-
-<p>Of the later history of this foundry it is beyond the scope of this work to
-treat, further than to say that it was the first house successfully to introduce
-machinery for the casting of type in this country; and that on the revival of the
-old style fashion about 1844, it took a prominent and successful part with
-its series of “Modern Old Face” letter. For the Exhibition of 1851, the
-proprietors produced a “Brilliant” type, the smallest then in England,<a class="afnanch" href="#fn741" id="fnanch741">741</a>
-and subsequently
-cut a “Gem” expressly for Mr. Bellows’ <i>French Dictionary</i><a class="afnanch" href="#fn742" id="fnanch742">742</a>—a book
-which for clearness and minuteness combined ranks as a typographical curiosity.</p>
-
-<div class="dkeeptogether">
-<p>After the death of Mr. Miller in 1843, the business was carried on by Mr.
-Richard and his son, until 1868; when, on the retirement of Mr. Richard, senior,
-the active management of the Foundry (which since 1850 has had a branch
-house in London) devolved upon his sons, Mr. J. M. Richard, and Mr. W. M.
-Richard, the present proprietors.</p>
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 class="fsz7" title="LIST OF SPECIMENS, 1809–33">LIST
- OF SPECIMENS, 1809–33.</h3>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>[1809. Specimen of Printing Types by W. Miller and Co., Edinburgh, 1809.]
-<span class="spcitr">(B. P. ii, 42.)</span></p></li>
-
-<li class="lispecimen"><p>1813. Specimen of Printing Types by William Miller and Co., Edinburgh, 1813. 4to.
-<span class="spcitr">(B. P. ii, 42.)</span></p></li>
-
-<li class="lispecimen"><p>1814. Specimen of Printing Types by William Miller and Co., Letter Founders, Edinburgh.
-Edinburgh, printed by A. Balfour. 1814. 4to.
-<span class="spcitr">(M. &amp; R.)</span></p></li>
-
-<li class="lispecimen"><p>1815. Specimen of Printing Types by William Miller and Co., Letter Founders, Edinburgh.
-Printed at the Stanhope Press by R. Chapman. 1815. 4to.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li>
-
-<li class="lispecimen"><p>1822. Specimen of Printing Types by William Miller, Letter Founder to His Majesty for
-Scotland, Edinburgh. Printed by James Ballantyne and Co. 1822. 4to.
-<span class="spcitr">(Caxt. Cel. 4401.)</span></p></li>
-
-<li class="lispecimen"><p>1833. Supplement to William Miller and Company’s Specimens of Printing Type, Edinburgh,
-1833. 4to.
-<span class="spcitr">(Ox. Univ. Pr.)</span></p></li></ul>
-
-</div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p357">
-<img src="images/i357a.png" width="600" height="142" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHAPTER XXI. THE MINOR FOUNDERS,
- 1800–1830.">
-<span class="hblk fsz6">CHAPTER XXI.</span>
-<span class="hblk"><img class="ihrch" src="images/i357b.png"
-width="220" height="37" alt="" /></span>
-THE MINOR FOUNDERS, 1800–1830.</h2>
-
-<hr class="hr42" />
-
-<h3 title="G. W. BOWER, circ. 1810">G. W. BOWER, <i>circ.</i> 1810.</h3>
-
-<p class="pfirst"><span class="spdrpcp">
-<img class="idrpcp" src="images/i357c.png"
-width="508" height="536" alt="T" />
-</span>HIS foundry was begun in Sheffield about the beginning of
-the present century. In 1810, Mr. Bower issued a price
-list below those of the London founders, whose founts he
-succeeded occasionally in underselling. Hansard mentions
-the foundry in 1824, under the style of Bower, Bacon
-and Bower. No specimen is known with an earlier date
-than 1837, when the firm was G. W. Bower, late Bower
-and Bacon.</p>
-
-<p>A later specimen bears the name of Mr. G. W. Bower alone, and in 1841
-the firm was Bower Brothers, who published <i>Proposals for establishing a graduated
-scale of sizes for the bodies of Printing Types, and fixing their height-to-paper, based
-upon Pica as the common standard</i>.<a class="afnanch" href="#fn743" id="fnanch743">743</a></p>
-
-<div class="dkeeptogether">
-<p>After the death of Mr. G. W. Bower, the foundry was continued by Mr.
-Henry Bower till his death about 1851, in September of which year the plant
-and stock were sold by auction and dispersed among the other founders. The
-Catalogue of this Sale contained about 50,000 punches and matrices; many of
-them, however, being obsolete or of small value. <span class="xxpn" id="p358">{358}</span></p>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="BROWN, 1810.—LYNCH, 1810">BROWN, 1810.—LYNCH, 1810.</h3>
-
-<p>These two individuals are included among the Letter Founders whose names
-are given in Mason’s <i>Printer’s Assistant</i><a class="afnanch" href="#fn744" id="fnanch744">744</a>—the former having had his place of
-business in Green Street, Blackfriars, and the latter in Featherstone Buildings.
-They do not appear to have continued long in business, and their names are not
-included in the list of Letter Founders given in Johnson’s <i>Typographia</i> in 1824.</p>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="MATTHEWSON, circ. 1810">MATTHEWSON, <i>circ.</i> 1810.</h3>
-
-<p>This man was founding in Edinburgh in 1810, at which date he had some
-correspondence with the Associated Founders respecting prices. Hansard mentions
-him as an incipient founder even in 1825, and a competitor of Mr. Miller’s.
-Nothing is known of the fate of his foundry; nor has any Specimen of his types
-come under notice.</p>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="ANTHONY BESSEMER, 1813">ANTHONY BESSEMER, 1813.</h3>
-
-<p>Anthony Bessemer was a man of remarkable inventive genius. In his twentieth
-year he distinguished himself by the erection at Haarlem in Holland of pumping-engines
-to drain the turf pits; and before he had attained the age of twenty-five,
-he was elected a member of the Académie at Paris for improvements in the microscope.
-He subsequently turned his attention to letter founding, and established
-a foundry at Charlton, near Hitchin. Of the exact date of this undertaking we
-are uncertain; but, as his son, the present Sir Henry Bessemer, was born at
-Charlton in 1813, it is evident that the father was already settled there at that
-date. Hansard states<a class="afnanch" href="#fn745" id="fnanch745">745</a>
-that “Mr. Bessimer” cut the Caslon Diamond letter. If
-the person referred to is Mr. Anthony Bessemer, as is probable, it would appear
-that during the early years of his business as a founder, he placed his energies
-occasionally at the disposal of his brethren in the art.</p>
-</div><!--dkeeptogether-->
-
-<p>In 1821 he issued a specimen of Modern-cut Printing Types, and shortly afterwards
-took into partnership Mr. J. J. Catherwood, formerly a partner of Mr. Henry
-Caslon II, who, since his retirement from that business, appears for a short time
-to have had a foundry of his own at Charles Street,
-Hoxton.<a class="afnanch" href="#fn746" id="fnanch746">746</a>
-Messrs. Bessemer <span class="xxpn" id="p359">{359}</span>
-and Catherwood issued a Specimen in 1825, on the title-page of which the new
-partner styles himself “late of the Chiswell Street Foundry, London.”</p>
-
-<p>Bessemer’s Romans were, in conformity with the fashion of the day, somewhat
-heavy, but finely cut. His chief performance was a Diamond, which was,
-as Hansard informs us, cut to eclipse the famous Diamond of Henri Didot, of
-Paris, at that time the smallest known. The execution of this feat, particularly
-in the Italic, was highly successful. The partnership between Messrs. Bessemer
-and Catherwood was not of long duration, and terminated either by the death or
-the retirement of the latter prior to 1830. Mr. Bessemer then removed his
-foundry to London, and established it at 54, Red Lion Street, Clerkenwell,
-whence, in 1830, he issued his final specimen book, consisting almost entirely of
-Roman founts.</p>
-
-<p>In 1832 he retired from the business, and his foundry was put up to auction
-and dispersed. The Catalogue of the Sale mentions that the 2,500 punches
-included in the plant had been collected at an expense of £4,000, and that not a
-single strike had been taken from them but for the proprietor’s own use. From
-a marked copy of the Catalogue in our possession, it appears that several of the
-lots of punches and matrices fetched high prices. The list of implements and
-utensils shows that the foundry employed about seven casters and an equal
-number of rubbers and dressers.</p>
-
-<p>Mr. Bessemer’s son, Henry, appears to have been for some time in his
-father’s foundry, where he mastered the mechanics of the trade. In 1838, being
-then twenty-five years old, he took out a patent for improvements in type-founding
-machinery, embodying several ingenious contrivances, some of which
-have since been adopted.</p>
-
-<div class="dkeeptogether">
-<h4 class="fsz7" title="SPECIMENS">SPECIMENS.</h4>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>1821. Specimen of the last modern cut Printing Types by A. Bessemer, Letter Founder,
-Hitchin, Herts. 1821. 8vo.
-<span class="spcitr">(Caxt. Cel., 4400.)</span></p></li>
-
-<li class="lispecimen"><p>1825. Specimen of the last modern cut Printing Types by A. Bessemer &amp; J. J. Catherwood,
-Letter Founders, Hitchin, Herts. (J. J. Catherwood, late of the Chiswell Street
-Foundry, London.) 1825. 8vo.
-<span class="spcitr">(W. B.)</span></p></li>
-
-<li class="lispecimen"><p>1830. Specimen of the last modern cut Printing Types by A. Bessemer, Letter Founder, 54,
-Red Lion Street, Clerkenwell, London. 1830. 8vo.
-<span class="spcitr">(T. B. R.)</span></p></li></ul>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="RICHARD AUSTIN, circ. 1815">RICHARD AUSTIN, <i>circ.</i> 1815.</h3>
-
-<p>Richard Austin began business as a punch cutter in the employ of Messrs.
-S. and C. Stephenson of the British Type Foundry, about the year 1795. On
-the Title-page of the specimen issued by that foundry in 1796,
-his name is <span class="xxpn" id="p360">{360}</span>
-mentioned as the cutter of the punches, and the excellent specimen itself is no
-mean testimony to his abilities.</p>
-</div><!--dkeeptogether-->
-<p>The activity prevailing throughout the trade generally at that period, consequent
-on the transition of the Roman character from the old style to the modern,
-brought the punch cutter’s services into much request, and Hansard informs us
-that Mr. Austin executed most of the modern founts both for Messrs. Wilson of
-Glasgow and Mr. Miller of Edinburgh.</p>
-
-<p>Prior to the year 1819 he began a foundry of his own at Worship Street,
-Finsbury, in which subsequently his son, George Austin, joined him; and, in the
-year 1824, succeeded to the business. This foundry was styled the Imperial Letter
-Foundry, and carried on under the style of Austin &amp; Sons. The earliest known
-specimen was issued in 1827. This 8vo volume is prefaced by a somewhat
-lengthy address to the Trade, in which, after criticising the letter founding of the
-day, the proprietors boldly claim to be the only letter founders in London who cut
-their own punches, which they do in a peculiar manner so as to insure perfect
-sharpness in outline. They also announce that they cast their type in an extra
-hard metal.</p>
-
-<p>Mr. Austin appears to have been a man of considerable force and independence
-of character. It is related of him that once, on receiving—what to any
-founder at that day must have been a momentous
-mandate—an intimation that
-<i>The Times</i> wanted to see him, he replied, with an audacity which sends a shudder
-even through a later generation, “that if <i>The Times</i> wanted to see him, he supposed
-it knew where to find him!”</p>
-
-<p>On the death of Mr. Austin, his foundry was acquired by Mr. R. M. Wood,
-who subsequently, in partnership with Messrs. Samuel and Thomas Sharwood,
-transferred it to 120 Aldersgate Street, under the title of the Austin Letter
-Foundry. Messrs. Wood and Sharwoods’ first specimen was issued in 1839. In
-their preface, reference is again made to the late Mr. Austin’s hard metal, the
-superiority of which, it is stated, “was owing to one peculiar article being used in
-the mixture which is unknown to our brethren in the Art.”</p>
-
-<p>Mr. Wood died in 1845, and the firm subsequently became S. and T. Sharwood,
-who, in 1854, published two specimens, one of Types, the other of Polytyped
-Metal Ornaments.</p>
-
-<p>This latter collection had been begun more than twenty years previously by
-Vizitelly, Branston &amp; Co.,<a class="afnanch" href="#fn747" id="fnanch747">747</a>
-who, in 1832, had issued
-a specimen of Cast Metal <span class="xxpn" id="p361">{361}</span>
-Ornaments, “produced by a new improved method.” This method appears to
-have consisted of the soldering of the casts on metal mounts—at that time a
-novelty. The Sharwoods subsequently acquired this collection of blocks and
-considerably increased it.</p>
-
-<p>On the death of the two Sharwoods, which occurred about the same time in
-1856, the Austin Foundry was thrown into Chancery and put up for auction,
-and its contents dispersed among the trade.</p>
-
-<div class="dkeeptogether">
-<h4 class="fsz7" title="SPECIMENS">SPECIMENS.</h4>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>1827. Specimens of Printing Types
-cast at Austin’s Imperial Letter Foundry, Worship Street,
-Shoreditch, London. 1827. 8vo. <span class="spcitr">(Caxt.
-Cel., 4407.)</span></p></li>
-
-<li class="lispecimen"><p>1839. A Specimen Book of the
-Types cast at the Austin Letter Foundry, by Wood &amp;
-Sharwoods. No. 120, Aldersgate Street, London. 1839. 4to.
-<span class="spcitr">(Caxt. Cel., 4429.)</span></p>
-
-<hr class="hr12" /></li>
-
-<li class="lispecimen"><p>1832. Specimen of Vizitelly,
-Branston &amp; Co.’s Cast Metal Ornaments produced by a
-new and improved method, greater in number and variety,
-superior in design and execution, and considerably
-cheaper in price than any collection hitherto offered
-to the notice of printers. 76, Fleet Street, London,
-January 1832. 4to. <span class="spcitr">(Caxt. Cel.,
-4416.)</span></p></li></ul>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="LOUIS JOHN POUCHÉE, circ. 1815">LOUIS
- JOHN POUCHÉE, <i>circ.</i> 1815.</h3>
-
-<p>This Frenchman started a foundry in Great Wild Street, Lincoln’s Inn.
-He had probably been established a few years when his first specimen was
-issued in 1819, the most interesting portion of which was a somewhat lengthy
-address to the public, setting forth the principles on which his “New Foundry”
-was to be conducted. He mentions that “only four Type Foundries (exclusive
-of mine) are worked in London at this time,” and declares his intention of
-breaking down the monopoly they assumed. The specimen itself is not
-remarkable.</p></div><!--dkeeptogether-->
-
-<p>In 1823, he took out the patent for this country for Henri Didot’s system of
-polymatype<a class="afnanch" href="#fn748" id="fnanch748">748</a>
-which consisted of a machine capable of casting from 150 to 200
-types at each operation, each operation being repeated twice a minute. This
-result was to be obtained by means of a matrix bar which formed one side of a
-long trough mould into which the metal was poured; and, when opened, “the
-types are found adhering to the break bar like the teeth of a comb, when they
-are broken off and dressed in the usual way.” Pouchée became agent in England
-for this novel system of casting which, says the editor of the partial reprint
-of Hansard’s <i>Typographia</i>, writing in 1869, was still used successfully in France
-at that date. <span class="xxpn" id="p362">{362}</span></p>
-
-<p>The attempt to introduce this system into England went far to ruin
-Pouchée; and, according to the above authority, “on his failure to sustain the
-competition of the associated founders,<a class="afnanch" href="#fn749" id="fnanch749">749</a>
-Didot’s machine and valuable tools
-were purchased by them through their agent, Mr. Reed, Printer, King
-Street, Covent Garden, and destroyed on the premises of Messrs. Caslon and
-Livermore.”</p>
-
-<p>Despite this unfortunate speculation, Pouchée (who appears for some time
-to have had a partner named Jennings),<a class="afnanch" href="#fn750" id="fnanch750">750</a>
-issued another Specimen Book in 1827,
-dated from Little Queen Street, London, in the advertisement of which he again
-referred to the fact that there were still only four letter-foundries in London
-(exclusive of his own), and took credit to himself for bringing about a reduction
-of 12 per cent. in the prices of his opponents. The specimen, which
-shows Titlings, Roman and Italic, Egyptians, Blacks and Flowers, is of little
-merit and is marked by a great preponderance of heavy faces.</p>
-
-<p>About the same time,<a class="afnanch" href="#fn751" id="fnanch751">751</a>
-he issued a price list of all kinds of printers’
-materials, styling himself “Type Founder and Stereotype Caster.” In the
-beginning of 1830 he abandoned the business, which was sold by auction. The
-Catalogue included a large quantity of stereotype ornaments, as well as
-20,000 matrices and punches, moulds, presses, and 35 tons of Type. The
-lots were variously disposed of at low prices among the other founders.</p>
-
-<div class="dkeeptogether">
-<h4 class="fsz7" title="SPECIMENS">SPECIMENS.</h4>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>1819. Specimen of Printing
-Types by L. J. Pouchée, at the New Foundry, Great Wild
-Street, Lincoln’s Inn Fields, London. 1819. 8vo. <span
-class="spcitr">(Caxt. Cel., 4397.)</span></p></li>
-
-<li class="lispecimen"><p>1827. Specimens of Printing
-Types by Louis J. Pouchée, Little Queen Street,
-London. 1827. 8vo. <span class="spcitr">(Ox. Univ.
-Pr.)</span></p></li></ul>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="RICHARD WATTS, circ. 1815">RICHARD
- WATTS, <i>circ.</i> 1815.</h3>
-
-<p>Richard Watts, a printer of Crown Court, Strand, who, from 1802–9, had
-held the office of printer to Cambridge University, distinguished himself towards
-the close of the first quarter of the present century as a cutter and founder of
-Oriental and foreign characters, of which he accumulated a considerable collection.
-His first printing office was at Broxbourne, whence in 1816 he removed
-to Crown Court, Temple Bar, and here, chiefly under the
-patronage of the Bible <span class="xxpn" id="p363">{363}</span></p></div>
-
-<p>Society and the Mission Presses in India and elsewhere, he produced the punches
-of a large number of languages hitherto unknown to English typography. He
-received the assistance and advice of many eminent scholars in his work, some
-of whom personally superintended the execution of certain of the founts. His
-collection increased at a rapid rate, and at the time of his death included almost
-every Oriental language in which, at that time, the Scriptures had been
-printed. His death occurred in 1844 at Edmonton, in which place his foundry
-appears to have been for some time located.</p>
-
-<div class="dkeeptogether">
-<p>He was succeeded in business by his son, Mr. William Mavor Watts, who
-printed a broadside specimen of the founts, numbering 67 languages and
-dialects, of which several were shown in different sizes of character. This
-number was largely augmented during the following years, and, in the specimen
-prepared by Mr. Watts for the Exhibition of 1862, nearly 150 versions were
-exhibited. To this specimen was prefixed an interesting note respecting the
-origin of many of the founts. The collection was subsequently acquired by
-Messrs. Gilbert and Rivington, in whose possession it still remains and increases.</p>
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="HUGH HUGHES, 1824">HUGH HUGHES, 1824.</h3>
-
-<p>This artist, described as a very able engraver, was for some time in
-partnership with Robert Thorne at the Fann Street Foundry. In 1824, he
-commenced a foundry of his own in Dean Street, Fetter Lane, whence he
-published a specimen of Book and Newspaper type, without date, which, besides
-Romans, Scripts, and Egyptians, included also Saxon, Greek, Flowers, and Music.</p></div>
-
-<p>He appears specially to have applied himself to the production of this last-named
-character, and attained the reputation of being the best music type cutter
-in the trade. Savage, in his <i>Dictionary of Printing</i>, shows a specimen of Hughes
-music, observing that “the English musical types have never to my knowledge
-undergone any improvement till within a few years, when Mr. Hughes cut two
-new founts,” (Nonpareil and Pearl), “which are looked upon as the best we have
-and the largest of which I have used for this article (‘Music’).” Hughes’ system
-appears to have been that originally introduced by Breitkopf in 1764, and the
-scheme of a pair of cases by which his specimen is accompanied shows that a
-complete fount comprised as many as 238 distinct characters. Besides music of
-the modern notation, Hughes had matrices for the Gregorian Plain Chant Music,
-of which a specimen is also shown by Savage.</p>
-
-<p>After the death of Mr. Hughes, which took place before 1841, the punches
-and matrices of his different music founts, Gregorian and modern, were purchased
-by Mr. C. Hancock, of Middle Row, Holborn, by whom
-they were considerably <span class="xxpn" id="p364">{364}</span>
-improved, and who, subsequently, after his removal to Gloucester Street, Queen
-Square, issued a specimen. Of the disposal of the other contents of Mr. Hughes’
-foundry we have no information.</p>
-
-<div class="dkeeptogether">
-<h4 class="fsz7" title="SPECIMENS">SPECIMENS.</h4>
-
-<ul class="ullh11 fsz7">
-<li class="lispecimen"><p>No date. A Specimen of Book and
-Newspaper Printing Types by Hugh Hughes, Letter Cutter
-and Founder, 23 Dean Street, Fetter Lane. 8vo. <span
-class="spcitr">(Caxt. Cel., 4398.)</span></p></li>
-
-<li class="lispecimen"><p>No date. Specimen Sheet of
-Modern Music Types by H. Hughes, 23 Dean Street, Fetter
-Lane, together with a scheme of Music Cases. 8vo. <span
-class="spcitr">(T. B. R.)</span></p></li></ul>
-
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="BARTON, 1824">BARTON, 1824.</h3>
-
-<p>Hansard states that this founder was early initiated in mechanical science
-by Mr. Maudsley, the engineer; he was formerly in partnership with Mr. Harvey,
-an engraver, by whom his founts were principally cut. His foundry was in
-Stanhope Street, Clare Market, and is mentioned by Johnson as one of the
-nine foundries carried on in London in the year 1824. No Specimen has come
-under observation.</p>
-<hr class="hr24" /></div><!--dkeeptogether-->
-
-<div class="dkeeptogether">
-<h3 title="HEAPHY, 1825; SIMMONS, 1825; BLACK, 1825">HEAPHY,
- 1825; SIMMONS, 1825; BLACK, 1825.</h3>
-
-<p>To complete the list of minor founders prior to 1830, should be added the
-names of these three individuals, who are mentioned by Hansard in his <i>Typographia</i>
-as distinct London letter founders in 1825.</p>
-
-<div class="dctr09">
-<img src="images/i364.png" width="512" height="206" alt="" /></div>
-</div><!--dkeeptogether-->
-
-<div class="chapter"><div class="dctr01" id="p365">
-<img src="images/i365.png" width="600" height="86" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="CHRONOLOGICAL TABLE OF ENGLISH
- LETTER-FOUNDERS’ SPECIMENS NOTED IN THIS WORK. 1665–1830.">
- <span class="hblk fsz6">CHRONOLOGICAL TABLE</span>
- <span class="hblk fsz8">OF</span>
- <span class="hblk fsz6">ENGLISH LETTER-FOUNDERS’ SPECIMENS</span>
- <span class="hblk fsz8">NOTED IN THIS WORK.</span>
- <span class="hblk fsz7">1665–1830.</span></h2>
-
-<div id="dp365">
-<table class="fsz6" summary="">
-<tr>
- <th colspan="2"></th>
- <th class="tdright fsz7">PAGE</th></tr>
-<tr>
- <td class="tdleft">1665.</td>
- <td class="tdleft">Nicholls</td>
- <td class="tdright"><a class="aindexlnk" href="#p179"
- title="to page 179">179</a></td></tr>
-<tr>
- <td class="tdleft">1669.</td>
- <td class="tdleft">Moxon</td>
- <td class="tdright"><a class="aindexlnk" href="#p192"
- title="to page 192">192</a></td></tr>
-<tr>
- <td class="tdleft">1693.</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p162"
- title="to page 162">162</a></td></tr>
-<tr>
- <td class="tdleft">1695.</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p162"
- title="to page 162">162</a></td></tr>
-<tr>
- <td class="tdleft">1706.</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p162"
- title="to page 162">162</a></td></tr>
-<tr>
- <td class="tdleft">(1708?)</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p162"
- title="to page 162">162</a></td></tr>
-<tr>
- <td class="tdleft">1734.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1749.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1749.</td>
- <td class="tdleft">Caslon and Son</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1749.</td>
- <td class="tdleft">Caslon and Son</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">(1752?)</td>
- <td class="tdleft">Baskerville</td>
- <td class="tdright"><a class="aindexlnk" href="#p287"
- title="to page 287">287</a></td></tr>
-<tr>
- <td class="tdleft">1753.</td>
- <td class="tdleft">Anderton</td>
- <td class="tdright"><a class="aindexlnk" href="#p350"
- title="to page 350">350</a></td></tr>
-<tr>
- <td class="tdleft">(1756?)</td>
- <td class="tdleft">Baine</td>
- <td class="tdright"><a class="aindexlnk" href="#p350"
- title="to page 350">350</a></td></tr>
-<tr>
- <td class="tdleft">(1757?)</td>
- <td class="tdleft">Baskerville</td>
- <td class="tdright"><a class="aindexlnk" href="#p287"
- title="to page 287">287</a></td></tr>
-<tr>
- <td class="tdleft">(1758?)</td>
- <td class="tdleft">Baskerville</td>
- <td class="tdright"><a class="aindexlnk" href="#p287"
- title="to page 287">287</a></td></tr>
-<tr>
- <td class="tdleft">(1762?)</td>
- <td class="tdleft">Baskerville</td>
- <td class="tdright"><a class="aindexlnk" href="#p287"
- title="to page 287">287</a></td></tr>
-<tr>
- <td class="tdleft">(1760?)</td>
- <td class="tdleft">Cottrell</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1763.</td>
- <td class="tdleft">Caslon and Son</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1764.</td>
- <td class="tdleft">Caslon and Son</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">(1765?)</td>
- <td class="tdleft">Jackson</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1766.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">(1766?)</td>
- <td class="tdleft">Cottrell</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1768.</td>
- <td class="tdleft">Moore (London)</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1768.</td>
- <td class="tdleft">Fougt</td>
- <td class="tdright"><a class="aindexlnk" href="#p351"
- title="to page 351">351</a></td></tr>
-<tr>
- <td class="tdleft">1768–70.</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p163"
- title="to page 163">163</a></td></tr>
-<tr>
- <td class="tdleft">1770.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1770.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1770.</td>
- <td class="tdleft">Cottrell</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1770.</td>
- <td class="tdleft">Moore</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1772.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p266"
- title="to page 266">266</a></td></tr>
-<tr>
- <td class="tdleft">(1778?)</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p163"
- title="to page 163">163</a></td></tr>
-<tr>
- <td class="tdleft">1782.</td>
- <td class="tdleft">James</td>
- <td class="tdright"><a class="aindexlnk" href="#p230"
- title="to page 230">230</a></td></tr>
-<tr>
- <td class="tdleft">(1783?)</td>
- <td class="tdleft">Jackson</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1783.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p266"
- title="to page 266">266</a></td></tr>
-<tr>
- <td class="tdleft">1784.</td>
- <td class="tdleft">Caslon and Son</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1785.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1785.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1785.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">(1785?)</td>
- <td class="tdleft">Cottrell</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1785.</td>
- <td class="tdleft">Fry and Sons</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1785.</td>
- <td class="tdleft">Fry and Sons</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1786.</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p163"
- title="to page 163">163</a></td></tr>
-<tr>
- <td class="tdleft">1786.</td>
- <td class="tdleft">Caslon</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1786.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p266"
- title="to page 266">266</a></td></tr>
-<tr>
- <td class="tdleft">1786.</td>
- <td class="tdleft">Fry and Sons</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1787.</td>
- <td class="tdleft">E. Fry and Co.</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1787.</td>
- <td class="tdleft">Baine</td>
- <td class="tdright"><a class="aindexlnk" href="#p350"
- title="to page 350">350</a></td></tr>
-<tr>
- <td class="tdleft">1788.</td>
- <td class="tdleft">E. Fry and Co.</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">1789.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p266"
- title="to page 266">266</a></td></tr>
-<tr>
- <td class="tdleft">1789.</td>
- <td class="tdleft">Bell and Stephenson</td>
- <td class="tdright"><a class="aindexlnk" href="#p354"
- title="to page 354">354</a></td></tr>
-<tr>
- <td class="tdleft">1790.</td>
- <td class="tdleft">Fry and Co</td>
- <td class="tdright"><a class="aindexlnk" href="#p313"
- title="to page 313">313</a></td></tr>
-<tr>
- <td class="tdleft">(1792)</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1793.</td>
- <td class="tdleft">E. Fry and Co.</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">(1793)</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1794.</td>
- <td class="tdleft">Oxford</td>
- <td class="tdright"><a class="aindexlnk" href="#p163"
- title="to page 163">163</a></td></tr>
-<tr>
- <td class="tdleft">1794.</td>
- <td class="tdleft">Thorne</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1794.</td>
- <td class="tdleft">Fry and Steele</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1794.</td>
- <td class="tdleft">Fry and Steele</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1794.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1795.</td>
- <td class="tdleft">Fry and Steele</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1796.</td>
- <td class="tdleft">S. and C. Stephenson</td>
- <td class="tdright"><a class="aindexlnk" href="#p354"
- title="to page 354">354</a></td></tr>
-<tr>
- <td class="tdleft">1797.</td>
- <td class="tdleft">S. and C. Stephenson</td>
- <td class="tdright"><a class="aindexlnk" href="#p354"
- title="to page 354">354</a></td></tr>
-<tr>
- <td class="tdleft">1798.</td>
- <td class="tdleft">Thorne</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">(1798?)</td>
- <td class="tdleft">Jackson</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1798.</td>
- <td class="tdleft">Caslon III</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1798.</td>
- <td class="tdleft">Caslon III</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1800.</td>
- <td class="tdleft">Fry, Steele, and Co.</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1801.</td>
- <td class="tdleft">Fry, Steele, and Co.</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1802.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">(1802?)</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1802.</td>
- <td class="tdleft">Swinney</td>
- <td class="tdright"><a class="aindexlnk" href="#p353"
- title="to page 353">353</a></td></tr>
-<tr>
- <td class="tdleft">1803.</td>
- <td class="tdleft">Fry, Steele, and Co.</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1803.</td>
- <td class="tdleft">Thorne</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1803.</td>
- <td class="tdleft">Caslon III and Son</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1805.</td>
- <td class="tdleft">Caslon &amp; Catherwood</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1805.</td>
- <td class="tdleft">Fry and Steele</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">(1805?)</td>
- <td class="tdleft">Fry and Steele</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1807.</td>
- <td class="tdleft">Caslon IV</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1808.</td>
- <td class="tdleft">Caslon &amp; Catherwood</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1808.</td>
- <td class="tdleft">Fry and Steele</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">(1809)</td>
- <td class="tdleft">Miller</td>
- <td class="tdright"><a class="aindexlnk" href="#p356"
- title="to page 356">356</a></td></tr>
-<tr>
- <td class="tdleft">(1812?)</td>
- <td class="tdleft">Caslon and Catherwood</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1812.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p266"
- title="to page 266">266</a></td></tr>
-<tr>
- <td class="tdleft">1813.</td>
- <td class="tdleft">Miller</td>
- <td class="tdright"><a class="aindexlnk" href="#p356"
- title="to page 356">356</a></td></tr>
-<tr>
- <td class="tdleft">1815.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p266"
- title="to page 266">266</a></td></tr>
-<tr>
- <td class="tdleft">1815.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1815.</td>
- <td class="tdleft">Miller</td>
- <td class="tdright"><a class="aindexlnk" href="#p356"
- title="to page 356">356</a></td></tr>
-<tr>
- <td class="tdleft">1816.</td>
- <td class="tdleft">Ed. Fry</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1817.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">(1819)</td>
- <td class="tdleft">Blake, Garnett</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1819.</td>
- <td class="tdleft">Pouchée</td>
- <td class="tdright"><a class="aindexlnk" href="#p362"
- title="to page 362">362</a></td></tr>
-<tr>
- <td class="tdleft">1820.</td>
- <td class="tdleft">Ed. Fry and Son</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1821.</td>
- <td class="tdleft">Thorowgood</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1821.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1821.</td>
- <td class="tdleft">Bessemer</td>
- <td class="tdright"><a class="aindexlnk" href="#p359"
- title="to page 359">359</a></td></tr>
-<tr>
- <td class="tdleft">1822.</td>
- <td class="tdleft">Thorowgood</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1822.</td>
- <td class="tdleft">Miller</td>
- <td class="tdright"><a class="aindexlnk" href="#p356"
- title="to page 356">356</a></td></tr>
-<tr>
- <td class="tdleft">1823.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p266"
- title="to page 266">266</a></td></tr>
-<tr>
- <td class="tdleft">1824.</td>
- <td class="tdleft">Ed. Fry</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1824.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">(1824?)</td>
- <td class="tdleft">Hughes</td>
- <td class="tdright"><a class="aindexlnk" href="#p364"
- title="to page 364">364</a></td></tr>
-<tr>
- <td class="tdleft">1825.</td>
- <td class="tdleft">Bessemer and Catherwood</td>
- <td class="tdright"><a class="aindexlnk" href="#p359"
- title="to page 359">359</a></td></tr>
-<tr>
- <td class="tdleft">1826.</td>
- <td class="tdleft">Blake, Garnett</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1826.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1827.</td>
- <td class="tdleft">Fry</td>
- <td class="tdright"><a class="aindexlnk" href="#p314"
- title="to page 314">314</a></td></tr>
-<tr>
- <td class="tdleft">1827.</td>
- <td class="tdleft">Blake, Garnett</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1827.</td>
- <td class="tdleft">Figgins</td>
- <td class="tdright"><a class="aindexlnk" href="#p344"
- title="to page 344">344</a></td></tr>
-<tr>
- <td class="tdleft">1827.</td>
- <td class="tdleft">Austin</td>
- <td class="tdright"><a class="aindexlnk" href="#p361"
- title="to page 361">361</a></td></tr>
-<tr>
- <td class="tdleft">1827.</td>
- <td class="tdleft">Pouchée</td>
- <td class="tdright"><a class="aindexlnk" href="#p362"
- title="to page 362">362</a></td></tr>
-<tr>
- <td class="tdleft">1828.</td>
- <td class="tdleft">Wilson</td>
- <td class="tdright"><a class="aindexlnk" href="#p267"
- title="to page 267">267</a></td></tr>
-<tr>
- <td class="tdleft">1828.</td>
- <td class="tdleft">Thorowgood</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1828.</td>
- <td class="tdleft">Blake, Garnett</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1830.</td>
- <td class="tdleft">Caslon and Livermore</td>
- <td class="tdright"><a class="aindexlnk" href="#p256"
- title="to page 256">256</a></td></tr>
-<tr>
- <td class="tdleft">1830.</td>
- <td class="tdleft">Thorowgood</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1830.</td>
- <td class="tdleft">Thorowgood</td>
- <td class="tdright"><a class="aindexlnk" href="#p297"
- title="to page 297">297</a></td></tr>
-<tr>
- <td class="tdleft">1830.</td>
- <td class="tdleft">Blake and Stephenson</td>
- <td class="tdright"><a class="aindexlnk" href="#p329"
- title="to page 329">329</a></td></tr>
-<tr>
- <td class="tdleft">1830.</td>
- <td class="tdleft">Bessemer</td>
- <td class="tdright"><a class="aindexlnk" href="#p359"
- title="to page 359">359</a></td></tr>
-</table></div><!--dtablebox-->
-
-<div class="chapter"><div class="dctr01" id="p366">
-<img src="images/i366.png" width="600" height="89" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="LIST OF THE PRINCIPAL
- AUTHORITIES CONSULTED OR REFERRED TO.">LIST OF THE
- PRINCIPAL AUTHORITIES CONSULTED OR REFERRED TO.</h2>
-
-<hr class="hr24" />
-
-<p class="fsz7 phanga"><span class="smcap">A<b>MES</b></span> (<span class="smcap">J<b>OSEPH</b></span>), Typographical Antiquities;
-being an Historical Account of Printing in England.
-London, 1749, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">A<b>MES</b></span> (<span class="smcap">J<b>OSEPH</b></span>), Typographical Antiquities;
-augmented by William Herbert. 3 vols. London, 1785–90, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">A<b>MMAN</b></span> (<span class="smcap">J<b>OST.</b></span>), Eygentliche Beschreibung aller Stände
-und...Handwerker. Frankfurt, 1568, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">A<b>RBER</b></span> (<span class="smcap">E<b>DWARD</b></span>), Transcripts of the Registers of the Stationers’ Company. London, 1875–77,
-4 vols. 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">A<b>STLE</b></span> (<span class="smcap">T<b>HOS.</b></span>), The Origin and Progress of Writing. London, 1784, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>ELOE</b></span> (W.), Anecdotes of Literature and Scarce Books, 6 vols. London, 1807–12, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>ERJEAU</b>,</span> (J. <span class="smcap">P<b>H.</b></span>), Speculum Humanæ Salvationis: Reproduit en facsimile. Londres, 1861, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>ERNARD</b></span> (A. J.), Antoine Vitré et les Caractères orientaux de la Bible Polyglotte de Paris. Paris,
-1857, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>ERNARD</b></span> (A. J.), Les Estienne et les types grecs de Francis
-1er. Paris, 1856, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>ERNARD</b></span> (A. J.), De l’Origine et des Débuts de l’Imprimerie en
-Europe, 2 vols. Paris, 1853, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>IBLIANDER</b></span> (T.), In Commentatione de ratione communi omnium linguarum et literarum. Tiguri, 1548.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>IGMORE</b></span> and <span class="smcap">W<b>YMAN</b>,</span> A Bibliography of Printing, 3 vols. London, 1880–6, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>LADES</b></span> (<span class="smcap">W<b>ILLIAM</b></span>), Life and Typography of William
-Caxton, 2 vols. London, 1861–3, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>LADES</b></span> (<span class="smcap">W<b>ILLIAM</b></span>), Some Early Type Specimen Books of
-England, Holland, France, Italy and Germany. London, 1875, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>ODONI</b></span> (G.), Manuale Tipografico, 2 vols. Parma, 1818, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>OWERS</b> B<b>ROS.</b>,</span> Proposals for Establishing a Graduated Scale of Sizes for the Bodies of Printing Types.
-Sheffield, 1841, 12mo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>RITISH</b> M<b>USEUM</b>,</span> Catalogue of Early English Books to 1640, 3 vols. London, 1884, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">B<b>UTLER</b>,</span> (A. J.), Ancient Coptic Churches of Egypt, 2 vols. Oxford, 1884, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">C<b>AILLE</b></span> (J. <span class="smmaj">DE LA</span>), Histoire de l’Imprimerie et de la Libraire. Paris, 1689, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">C<b>AXTON</b> C<b>ELEBRATION</b></span>....Catalogue of the Loan Collection at South Kensington. London, 1877, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">C<b>HALMERS</b></span> (<span class="smcap">A<b>LEX.</b></span>), The General Biographical Dictionary, 32 vols. London, 1812–17, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">C<b>HAMBERS</b></span> (<span class="smcap">E<b>PHRAIM</b></span>), Cyclopœdia, 2 vols., 1728, folio (also editions, 1738 and 1784–6).</p>
-
-<p class="fsz7 phanga"><span class="smcap">C<b>HEVILLIER</b></span> (A.), L’Origine de l’Imprimerie de Paris. Paris, 1694, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">C<b>OTTON</b></span> (<span class="smcap">H<b>Y.</b></span>), A Typographical Gazetteer attempted. 1st series, 2nd ed., Oxford, 1831, 8vo; second
-series, 1866, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>’ANVERS</b></span> (Mrs.), Academia, or the Humours of the University of Oxford, 1691.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>AUNOU</b></span> (P. C. F.), Analyse des opinions diverses sur l’Origine d l’Imprimerie. Paris, 1810, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>E</b> G<b>EORGE</b></span> (<span class="smcap">L<b>ÉON</b></span>), La Maison Plantin à Anvers. 2nd ed. Bruxelles, 1878, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>E</b> V<b>INNE</b></span> (<span class="smcap">T<b>HEODORE</b></span>), The Invention of Printing. New York, 1877, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>IBDIN</b></span> (T. F.), The Bibliographical Decameron, 3 vols. London,
-1817, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>IBDIN</b></span> (T. F.), Introduction to the Knowledge of the rare and
-valuable Editions of the Classics. 4th ed., 2 vols. London, 1827, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>ICKSON</b></span> (R.), The Introduction of the Art of Printing into Scotland. Aberdeen, 1885, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>IDOT</b></span> (<span class="smcap">P<b>IERRE</b></span>), Epitre sur les Progrès de l’Imprimerie. Paris, 1784, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>UNTON</b></span> (<span class="smcap">J<b>NO.</b></span>), The Life and Errors of. London, 1705, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>UPONT</b></span> (<span class="smcap">P<b>AUL</b></span>), Histoire de l’Imprimerie, 2 vols. Paris, 1854, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">D<b>ÜRER</b></span> (<span class="smcap">A<b>LB.</b></span>), Unterweissung der Messung. Nuremburg, 1525, folio.</p>
-
-<p class="fsz7 phanga">[<span class="smcap">D<b>UVERGER</b></span> (E.)], Histoire de l’invention de l’Imprimerie par les Monuments. Paris, 1840, folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">E<b>DWARDS</b></span> (E.), Libraries and Founders of Libraries. London, 1865, 8vo.</p>
-
-<p class="fsz7 phanga">[<span class="smcap">E<b>NCYCLOPÆDIA</b></span>], Article sur Fonderie en Caractères de l’Imprimerie. Paris, n. d., folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">E<b>NSCHEDÉ</b>,</span> Specimen de Caractères Typographiques Anciens.
-Harlem, 1867, 4to.</p>
-
-<p class="fsz7 phanga" id="p367">
- <span class="smcap">E<b>SSAY</b></span> on the Original,
- Use, and Excellency of the Noble Art and Mystery of
- Printing. London, 1752, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">E<b>VELYN</b></span> (<span class="smcap">J<b>NO.</b></span>), Diary and Correspondence, 4 vols. London, 1850–2, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>AULMAN</b></span> (C.), Geschichte der Buchdruckerkunst. Vienna, 1882, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>IGGINS</b></span> (V.), Facsimile of Caxton’s Game of the Chesse; with remarks. London, 1855, folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>INESCHI</b></span> (V.), Notizie Storiche sopra la Stamperia di Ripoli. Fiorenze, 1781, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>ISCHER</b></span> (G.), Essai sur les Monumens typographiques de Jean Gutenberg. Mayence, 1802, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>OURNIER</b></span> (P. S.), Manuel Typographique, utile aux gens de lettres, 2 vols. Paris, 1764–66, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>RANKLIN</b></span> (<span class="smcap">B<b>ENJ.</b></span>), Works of, 2 vols., London, 1793, 8vo; also Bigelow’s edition, 3 vols. Philadelphia,
-1875, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>REEMASON’S</b> M<b>AGAZINE.</b></span> London, 1796, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">F<b>RY</b></span> (<span class="smcap">E<b>DMUND</b></span>), Pantographia. London, 1799, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>AELIC</b> S<b>OCIETY</b></span>
-<span class="smmaj">OF</span>
-<span class="smcap">D<b>UBLIN</b>:</span>
-Transactions of, Dublin, 1808, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>AND</b></span> (M. J.), Recherches Historiques et Critiques sur la Vie et les Editions de Thierry Martens.
-Alost, 1845, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>ED</b></span> (<span class="smcap">W<b>ILLIAM</b></span>), Biographical Memoirs of. London, 1781, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>ENTLEMAN’S</b> M<b>AGAZINE.</b></span> Vols. for 1792, 1793, 1803, 1836.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>OUGH</b></span> (R.), British Topography, 2 vols. London, 1780, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>RESWELL</b></span> (W. P.), A View of the Early Parisian Greek Press, 2 vols. Oxford, 1838, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>UIGNES</b></span> (J.
-<span class="smmaj">DE</span>), Essai Historique sur la Typographie Orientale et Grecque de l’Imprimerie Royale.
-Paris, 1787, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">G<b>UTCH</b></span> (<span class="smcap">J<b>NO.</b></span>), Collectanea Curiosa, 2 vols. Oxford, 1781, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">H<b>ANSARD</b></span> (T. C.), Typographia. London, 1825, 8vo.</p>
-
-<p class="fsz7 phanga">[<span class="smcap">H<b>ANSARD</b></span> (T. C.), the Younger.] Treatises on Printing and Type-founding (from the Encycl. Britan.).
-Edinburgh, 1841, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">H<b>ARLEIAN</b></span> MSS.—The Bagford Collections.</p>
-
-<p class="fsz7 phanga"><span class="smcap">H<b>ARLEIAN</b> M<b>ISCELLANY</b>,</span> 8 vols. Lond., 1744–46, 4to. Vol. 3.</p>
-
-<p class="fsz7 phanga"><span class="smcap">H<b>ARWOOD</b></span> (<span class="smcap">E<b>DW.</b></span>), A View of the Various Editions of the Greek and Roman Classics. Lond., 1775,
-12mo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">H<b>AWKINS</b></span> (<span class="smcap">S<b>IR</b> J<b>OHN</b></span>), A General History of the Science and Practice of Music. London, 1776, 4to.
-Vol. 5.</p>
-
-<p class="fsz7 phanga"><span class="smcap">H<b>EARNE</b></span> (<span class="smcap">T<b>HOS.</b></span>), Reliquiæ Hernianæ. Oxford, 1869, 4to, Vol. 2.</p>
-
-<p class="fsz7 phanga"><span class="smcap">H<b>ODGSON</b></span> (T.), An Essay on the Origin and Progress of Stereotype Printing. Newcastle, 1820, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">I<b>MPRIMERIE</b> R<b>OYALE</b></span> (de Paris). Specimen: Ancienne Typographic. Paris, 1819, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">J<b>AMES</b></span> (<span class="smcap">J<b>OHN</b></span>), Catalogue and Specimen of the large and extensive Printing Type Foundry of. London,
-1782, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>ABORDE</b></span> (<span class="smcap">L<b>ÉON</b></span>), Débuts de l’Imprimerie â Strasbourg. Paris, 1840, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>A</b> C<b>ROIX</b>, F<b>OURNIER</b></span>
-et
-<span class="smcap">S<b>ERÉ</b>,</span>
-Histoire de l’Imprimerie, etc. Paris, 1852, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>AMBINET</b></span> (<span class="smcap">P<b>IERRE</b></span>), Origine de l’Imprimerie, 2 vols. Paris, 1810, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>ANSDOWNE</b></span> MSS., No. 231.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>ATHAM</b></span> (H.), Oxford Bibles and Printing in Oxford. Oxford, 1870, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>AUD</b></span> (Arch.), Works of, 7 vols. Oxford, 1847–60, 8vo. Vol. 5.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>EMOINE</b></span> (<span class="smcap">H<b>Y.</b></span>), Typographical Antiquities. London, 1797, 12mo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>INDE</b></span> (M. A.
-<span class="smmaj">VAN DER</span>), The Haarlem Legend of the Invention of Printing by L. J. Coster, critically
-examined. Lond., 1871, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>OMÉNIE</b></span> (L. <span class="smmaj">DE</span>), Beaumarchais et ses Temps. Edwards’ translation, 4 vols. London, 1856, 8vo. Vol. 3.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>ONDON</b> P<b>RINTERS</b>’ L<b>AMENTATION.</b></span> (London, 1660) 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>ONG</b></span> (J. <span class="smmaj">LE</span>), Discours Historique sur les principales editions des Bibles Polyglottes. Paris, 1713, 12mo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">L<b>UCE</b></span> (L.), Essai d’une nouvelle typographie. Paris, 1771, 4to.</p>
-
-<p class="fsz7 phanga">[<span class="smcap">L<b>UCKOMBE</b></span> (P.)], A Concise History of the Origin and Progress of Printing. London, 1770, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>CCREERY</b></span> (<span class="smcap">J<b>NO.</b></span>), The Press, a Poem. Published as a Specimen of Typography. Liverpool, 1803–27,
-4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>ADDEN</b></span> (J. P. A.), Lettres d’un Bibliographe, 5 vols. Paris, 1868–78, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>ASON</b></span> (<span class="smcap">M<b>ONCK</b></span>), Life of William Bedell, D.D. London, 1843, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>EERMAN</b></span> (G.), Origines Typographicæ. 2 vols. Hagæ Com., 1765, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>ILTON</b></span> (<span class="smcap">J<b>OHN</b></span>), Areopagitica. (Arber’s Reprint.) London, 1868, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>ORES</b></span> (E. <span class="smcap">R<b>OWE</b></span>), A Dissertation upon English Typographical Founders and Founderies. London,
-1778, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>OXON</b></span> (<span class="smcap">J<b>OSEPH</b></span>), Regulæ Trium Ordinum Literarum
-Typographicarum. London, 1676, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>OXON</b></span> (<span class="smcap">J<b>OSEPH</b></span>), Mechanick Exercises, or the Doctrine
-of Handy-Works, 2 vols. London, 1677–83, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">M<b>OXON</b></span> (<span class="smcap">J<b>OSEPH</b></span>), Tutor to Astronomy and Geography, 4th
-ed. London, 1686, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">N<b>ICHOLS</b></span> (<span class="smcap">J<b>NO.</b></span>), Biographical and Literary Anecdotes
-of William Bowyer, Printer, F.S.A. London,
-1782, 4to.</p>
-
-<p class="fsz7 phanga" id="p368">
-<span class="smcap">N<b>ICHOLS</b></span> (<span
-class="smcap">J<b>NO.</b></span>), Literary Anecdotes of
-the Eighteenth Century, 9 vols. London, 1812–15, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">N<b>ICHOLS</b></span> (<span class="smcap">J<b>NO.</b></span>), Illustrations of the Literary History
-of the Eighteenth Century, 8 vols. London, 1817–58, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">N<b>OBLE</b></span> (<span class="smcap">M<b>ARK</b></span>), Continuation of Granger’s Biographical History of England, 3 vols. London, 1806, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">O<b>TTLEY</b></span> (W. Y.), An Inquiry concerning the Invention of Printing. London, 1863, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">O<b>WEN</b></span> (<span class="smcap">H<b>UGH</b></span>), Two Centuries of Ceramic Art in Bristol. 1873, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>ACIOLI</b></span> (<span class="smcap">L<b>UCA</b></span>), De Divinâ Proportione. Venice, 1509, folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>ALMER</b></span> (<span class="smcap">S<b>AM.</b></span>), A General History of Printing. London, 1732, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>ANIZZI</b></span> (<span class="smcap">S<b>IR</b></span> A.), Chi era Francesco da
-Bologna? London, 1858, 16mo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>ANZER</b></span> (G. W.), Annales Typographici, 11 vols. Nuremberg, 1793–1803, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>ARR</b></span> (<span class="smcap">R<b>ICHD.</b></span>), The Life of James Usher,
-Archbishop of Armagh. London, 1686, folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>ATENTS FOR</b> I<b>NVENTIONS.</b></span> Abridgments of Specifications relating
-to Printing (1617–1857). London, 1859, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>ATER</b></span> (<span class="smcap">P<b>AULUS</b></span>), De Germaniæ miraculo, optimo, maximo,
-Typis Literarum .&#160;. Dissertatio. Lipsisæ, 1710, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>HILIPPE</b></span> (J.), Origine de l’Imprimerie â Paris. Paris, 1885, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>RINTER’S</b> A<b>SSISTANT</b>,</span> The. London, 1810. 12mo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>RINTER’S</b> G<b>RAMMAR</b>,</span> The. London, 1787, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">P<b>SALMANAZAR</b></span> (<span class="smcap">G<b>EO.</b></span>), Memoirs of. London, 1765, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>EID</b></span> (<span class="smcap">J<b>NO.</b></span>), A Specimen of the Printing Types and Flowers belonging to. Edinburgh, 1768, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>ENOUARD</b></span> (A.), Annales de l’Imprimerie des Alde. 3 vols.
-Paris, 1825, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>ENOUARD</b></span> (A.), Catalogue de la Bibliotheque d’un Amateur. 4
-vols. Paris, 1819, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>ICHARDSON</b></span> (<span class="smcap">R<b>EV.</b></span> J.), A History of the Attempts that
-have been made to convert the Popish Native of Ireland. 1712, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>ICHARDSON</b></span> (<span class="smcap">W<b>M.</b></span>), A Specimen of a New Printing Type,
-in Imitation of the Law-hand. London, n.d. broadside.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>IVINGTON</b></span> (C. R.), Records of the Company of Stationers.
-London, 1883, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>OCCHA</b></span> (<span class="smcap">A<b>NGELO</b></span>), Bibliotheca Apostolica Vaticana. Rome, 1591, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>OSSI</b></span> (J. B. <span class="smmaj">DE</span>), De Hebraicæ Typographiæ Origine ac Primitiis. Parma, 1776, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">R<b>USHWORTH’S</b></span> Historical Collections, 8 vols. London, 1659–1701, folio. Vol. 2.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>ARDINI</b></span> (G.), Storia Critica di Nicolao Jenson, 3 vols. Lucca, 1796–98, folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>AVAGE</b></span> (<span class="smcap">W<b>M.</b></span>), A Dictionary of the Art of Printing.
-London, 1841, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>AVAGE</b></span> (<span class="smcap">W<b>M.</b></span>), Practical Hints on Decorative Printing.
-London, 1822, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>CHOEPFLIN</b></span> (J. D.), Vindicisæ Typographiæ. Argentorati, 1760, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>CHWAB</b></span> (M.), Les Incunables Orientaux. Paris, 1883, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>HENSTONE</b></span> (<span class="smcap">W<b>M.</b></span>), Works in Verse and Prose, 3 vols. London, 1791, 12mo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>KEEN</b></span> (W.), Early Typography. Colombo, 1872, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>MITH</b></span> (<span class="smcap">J<b>NO.</b></span>), The Printer’s Grammar. London, 1755, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>MITH</b></span> (<span class="smcap">T<b>HOS.</b></span>), Vitæ quorundam eruditissimorum et illustrium Virorum. London, 1707, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>TAR-CHAMBER.</b></span> A Decree of Starre Chambre concerning Printing (11 June, 1637). London,
-1637, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>TATE</b> P<b>APERS</b>,</span> Domestic, Calendars of, Various years.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>TOWER</b></span> (C.), The Printer’s Grammar. London, 1808, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">S<b>TRYPE</b></span> (<span class="smcap">J<b>NO.</b></span>), Life and Acts of Matthew Parker. London, 1711, folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>HIBOUST</b></span> (C. L.), De Typographiæ Excellentiâ; Carmen. Paris, 1718, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>HOMAS</b></span> (<span class="smcap">I<b>SAIAH</b></span>), The History of Printing in America, (2nd ed.), 2 vols., Albany, 1874, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>IMPERLEY</b></span> (C.), Encyclopædia of Literary and Typographical
-Anecdote. London, 1842, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>IMPERLEY</b></span> (C.), Songs of the Press, London, 1833, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>ODD</b></span> (H. J.), Memoirs of the Life and Writings of the Rt. Rev. Brian Walton, D.D., 2 vols. London,
-1821, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>ORY</b></span> (<span class="smcap">G<b>EOFROY</b></span>), Champ-Fleury. Paris, 1529, sm. folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>RITHEMIUS</b></span> (<span class="smcap">J<b>OH.</b></span>), Annales Hirsaugienses, 2 vols. St. Gall, 1690, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">T<b>WYN</b></span> (<span class="smcap">J<b>NO.</b></span>), An Exact Narrative of the Tryal and Condemnation of. Lond., 1664, 4to.</p>
-
-<p class="fsz7 phanga"><span class="smcap">U<b>NIVERSAL</b> M<b>AGAZINE</b>,</span> London, 1750, 8vo.</p>
-
-<p class="fsz7 phanga">[<span class="smcap">W<b>ATSON</b></span> (<span class="smcap">J<b>AMES</b></span>)], The History of the Art of Printing. Edinburgh, 1713, 8vo.</p>
-
-<p class="fsz7 phanga"><span class="smcap">W<b>ETTER</b></span> (<span class="smcap">J<b>OH.</b></span>), Kritische Geschichte der Erfindung der Buchdruckerkunst. Mainz, 1836, 8vo., and
-atlas of plates.</p>
-
-<p class="fsz7 phanga"><span class="smcap">W<b>ILLEMS</b></span> (A.), Les Elzevier; Histoire et Annales Typographiques. Bruxelles, 1880.</p>
-
-<p class="fsz7 phanga"><span class="smcap">W<b>ILKINS</b></span> (<span class="smcap">D<b>AVID</b></span>), Concilia Magnæ Britanniæ et Hiberniæ. London, 1737, folio. Vol. 4.</p>
-
-<p class="fsz7 phanga"><span class="smcap">W<b>OOD</b></span> (<span class="smcap">A<b>NTHONY À</b></span>), Athenæ Oxonienses, 2 vols. Lond., 1791–2, folio.</p>
-
-<p class="fsz7 phanga"><span class="smcap">Y<b>CAIR</b></span> (J. <span
-class="smmaj">DE</span>), Orthographia Practica. Caragoça,
-1548, 4to.</p>
-
-<div class="chapter"><div class="dctr01" id="p369">
-<img src="images/i369a.png" width="600" height="86" alt="" />
-</div></div><!--chapter-->
-
-<h2 class="h2herein" title="INDEX.">
- <span class="hblk fsz6">INDEX.</span> <span
- class="hblk"><img class="ihrch" src="images/i369b.png"
- width="292" height="36" alt="" /></span></h2>
-
-<p class="pndx"><i>Acta Apostolorum, Gr., Lat.
-(Laud. Codex)</i>, Oxford 1715; <a class="aindexlnk" href="#p321"
- title="to page 321">321</a></p>
-
-<p class="pndx"><i>Acta Sanctorum Hiberniæ</i>, Louvain, 1645; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a></p>
-
-<p class="pndx">Adams (Geo.), successor to Moxon, <a class="aindexlnk" href="#p192"
- title="to page 192">192</a></p>
-
-<p class="pndx">Advertisement of Caxton, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a></p>
-
-<p class="pndx"><i>Ælfredi Res Gestæ</i>, Lond. 1574; <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a></p>
-
-<p class="pndx"><i>Ælfric’s Paschal Homily</i>, Lond. 1567; <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>: Lond. 1623; <a class="aindexlnk" href="#p073"
- title="to page 73">73</a></p>
-
-<p class="pndx"><i>Æneas Silvius</i>, Louvain, 1483; <a class="aindexlnk" href="#p043"
- title="to page 43">43</a></p>
-
-<p class="pndx"><i>Æsop’s Fables</i>, Milan, 1480; <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>: Louvain, 1513; <a class="aindexlnk" href="#p059"
- title="to page 59">59</a></p>
-
-<p class="pndx">Aldus Manutius, Specimen, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>, <a class="aindexlnk" href="#p169"
- title="to page 169">169</a>; ‘Silver type’, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a>; Greek, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>;
-Hebrew, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>; Initials, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Italic, <a class="aindexlnk" href="#p050"
- title="to page 50">50</a>; Ornaments, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; Roman, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a></p>
-
-<p class="pndx">Alexandrian Greek, matrices, Grover, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p204"
- title="to page 204">204</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>; James, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>,
-<a class="aindexlnk" href="#p321"
- title="to page 321">321</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>; Jackson, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>, <a class="aindexlnk" href="#p322"
- title="to page 322">322</a></p>
-
-<p class="pndx"><i>Alfieri, Works of</i>, Kehl, 1786–1809; <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx"><i>Alphabet Irlandais</i>, Paris, 1804; <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a></p>
-
-<p class="pndx"><i>Alphabetarium Runic-Swed.</i>, Stockholm, 1611; <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx"><i>Alphabetum, Heb., Gr.</i>, Paris 1507; <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>: Paris 1516; <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx">Amerbach, Roman type of, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a></p>
-
-<p class="pndx">America, first letter-founders in, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Ames (Jos.) on Caxton’s types, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>, <a class="aindexlnk" href="#p242"
- title="to page 242">242</a>; on Caslon’s, <a class="aindexlnk" href="#p242"
- title="to page 242">242</a>; inaccuracy
-of, <a class="aindexlnk" href="#p349"
- title="to page 349">349</a></p>
-
-<p class="pndx">Amharic, same as Ethiopic, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Castell’s, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Oxford, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Fry,
-<a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a></p>
-
-<p class="pndx">Amman (Jost), <i>Book of Trades</i>, <a class="aindexlnk" href="#p104"
- title="to page 104">104</a></p>
-
-<p class="pndx">ANDERTON (<span class="smcap">G<b>EO.</b></span>) founder, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a>; specimen of, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">ANDREWS (<span class="smcap">R<b>OB.</b></span>) <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>–<a class="aindexlnk" href="#p197"
- title="to page 197">197</a>; succeeds Moxon, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>; punches
-cut by, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; summary of foundry, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; foundry sold, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a></p>
-
-<p class="pndx">——— Matrices: Anglo-Norman, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; Arabic, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Blacks, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>;
-Ethiopic, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p193"
- title="to page 193">193</a>; Greek, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>; Hebrew, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Irish, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>;
-Music, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; Roman and Italic, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Saxon,
-<a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; Secretary, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; Signs, etc., <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; Syriac, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a></p>
-
-<p class="pndx">ANDREWS (<span class="smcap">S<b>YL.</b></span>) son of above, <a class="aindexlnk" href="#p149"
- title="to page 149">149</a>, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a>; supplies Baskett,
-<a class="aindexlnk" href="#p210"
- title="to page 210">210</a>; foundry sold, <a class="aindexlnk" href="#p211"
- title="to page 211">211</a>; epitaph, <a class="aindexlnk" href="#p211"
- title="to page 211">211</a></p>
-
-<p class="pndx">ANDREWS (<span class="smcap">S<b>YL.</b></span>) Matrices: Hebrew, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a>; Roman and Italic, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a>,
-<a class="aindexlnk" href="#p210"
- title="to page 210">210</a></p>
-
-<p class="pndx">‘ANONYMOUS FOUNDRY,’ <a class="aindexlnk" href="#p206"
- title="to page 206">206</a></p>
-
-<p class="pndx">——— Matrices: Anglo-Norman, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; Arabic, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; Black, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; Ethiopic,
-<a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; Gothic, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; Greek, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; Roman, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a></p>
-
-<p class="pndx">Anglo-Norman Matrices: Andrews, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; ‘Anon,’, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; James, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a></p>
-
-<p class="pndx">Anglo-Saxon; <i>see</i> Saxon</p>
-
-<p class="pndx"><i>Anthologia, Gr.</i>, Florence 1494; <a class="aindexlnk" href="#p057"
- title="to page 57">57</a></p>
-
-<p class="pndx">Antimony, discovered, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>; use of in type metal, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a>; prices of, <a class="aindexlnk" href="#p118"
- title="to page 118">118</a></p>
-
-<p class="pndx">Antiqua, German name for Roman, <a class="aindexlnk" href="#p042"
- title="to page 42">42</a>; Italian ditto, <a class="aindexlnk" href="#p042"
- title="to page 42">42</a></p>
-
-<p class="pndx"><i>Antiques linguæ Brit, rudimenta</i>, Lond. 1621; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx">Applegarth (A.) type-casting machine of, <a class="aindexlnk" href="#p121"
- title="to page 121">121</a></p>
-
-<p class="pndx">Apprentice-founders, regulation of, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>; in France, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a></p>
-
-<p class="pndx"><i>Aquinas (St. Th.) Summa</i>, 1462; <a class="aindexlnk" href="#p054"
- title="to page 54">54</a></p>
-
-<p class="pndx">Arabic, first types of, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>; printed in Black or Hebrew, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>; early in
-Italy, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>; Paris, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>; Leyden, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>; Upsala, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a></p>
-
-<p class="pndx">——— in England, first types, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>; printed in Italic, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>; written by
-hand, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>; De Worde’s, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Bedwell’s, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p145"
- title="to page 145">145</a>; none at Oxford, 1639,
-<a class="aindexlnk" href="#p066"
- title="to page 66">66</a>: Flesher’s, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#fg34"
- title="to Figs. 34–38">147</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Polyglot, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>,
-<a class="aindexlnk" href="#p177"
- title="to page 177">177</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; Andrews, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Grover, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>; ‘Anon,’ <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; James, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>,
-<a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Caslon, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Fry, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>;
-Caslon III, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a></p>
-
-<p class="pndx">——— Punches: James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a></p>
-
-<p class="pndx"><i>Arabian Trudgman</i>, Lond. 1615; <a class="aindexlnk" href="#p066"
- title="to page 66">66</a></p>
-
-<p class="pndx"><i>Arba Turim</i>, Pheibia, 1475; <a class="aindexlnk" href="#p062"
- title="to page 62">62</a></p>
-
-<p class="pndx">Arber (E.) on early English printers, <a class="aindexlnk" href="#p125"
- title="to page 125">125</a></p>
-
-<p class="pndx"><i>Archaionomia</i>, Lond. 1568; <a class="aindexlnk" href="#p095"
- title="to page 95">95</a></p>
-
-<p class="pndx"><i>Areopagitica</i> of Milton, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a></p>
-
-<p class="pndx"><i>Aristotle</i>, Venice, 1495; <a class="aindexlnk" href="#p058"
- title="to page 58">58</a></p>
-
-<p class="pndx">Armenian, first types, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>; at Rome, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>; Paris, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>; Amsterdam, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>;
-Marseilles, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>; Constantinople, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Caslon, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>,
-<a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Caslon III, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a></p>
-
-<p class="pndx">Aspinwall (T.) type-casting machine of, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a></p>
-
-<p class="pndx">Astle (T.) on early type ‘bills,’ <a class="aindexlnk" href="#p028"
- title="to page 28">28</a>; on Day’s Saxon, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a></p>
-
-<p class="pndx">Atanasia, Spanish type body, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx">Athias (Jos.) Dutch founder, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>; Hebrew type of, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a></p>
-
-<p class="pndx"><i>Attempts to convert the Native Irish</i>, Lond., <i>n.d.</i>, <a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p>
-
-<p class="pndx">Augustin, a type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx"><i>Augustini, De Civitate Dei</i>, Rome, 1474; <a class="aindexlnk" href="#p037"
- title="to page 37">37</a>: Basle, 1506; <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx">AUSTIN (<span class="smcap">R<b>ICHD.</b></span>) letter founder, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a>; cuts punches for
-Stephenson, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a>; Wilson, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; and Miller, <a class="aindexlnk" href="#p355"
- title="to page 355">355</a>, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; starts a
-foundry, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; specimen and advertisement, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; anecdote of, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; his
-successors, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a></p>
-
-<p class="pndx">——— Matrices, Roman and Italic, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a></p>
-
-<div class="section">
-<p class="pndx">Baber (H. H.) facs. of Alexandrian <i>Codex</i>, <a class="aindexlnk" href="#p322"
- title="to page 322">322</a></p></div>
-
-<p class="pndx">Badius Ascensius, French printer, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>; device, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a>; Greek, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>; Hebrew,
-<a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Roman, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a></p>
-
-<p class="pndx">Bagford (Jno.) notes on printing, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>, <a class="aindexlnk" href="#p139"
- title="to page 139">139</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>, <a class="aindexlnk" href="#p146"
- title="to page 146">146</a>, <a class="aindexlnk" href="#p165"
- title="to page 165">165</a>; on
-Oxford Specimen, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>; on Oxford Printing House, <a class="aindexlnk" href="#p156"
- title="to page 156">156</a></p>
-
-<p class="pndx">Bagster (S.), Polyglot <i>Bible</i> of, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p341"
- title="to page 341">341</a>; Hebrew, cut for,
-<a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p341"
- title="to page 341">341</a>; Syriac, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a></p>
-
-<p class="pndx">BAINE (<span class="smcap">J<b>NO.</b></span>) partner with Wilson, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>; begins a foundry
-in London, <a class="aindexlnk" href="#p349"
- title="to page 349">349</a>; in Edinburgh, <a class="aindexlnk" href="#p349"
- title="to page 349">349</a>; specimens, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>, <a class="aindexlnk" href="#p349"
- title="to page 349">349</a>, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Barclay (R.) patent punches of, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a></p>
-
-<p class="pndx">Barker (Chr.) report on printers, 1582: <a class="aindexlnk" href="#p126"
- title="to page 126">126</a></p>
-
-<p class="pndx">Barker (F.) printer of ‘Wicked’ <i>Bible</i>, <a class="aindexlnk" href="#p142"
- title="to page 142">142</a>, <a class="aindexlnk" href="#p143"
- title="to page 143">143</a></p>
-
-<p class="pndx">Barnes (Jos.) Oxford printer, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">BARTON—letter founder, <a class="aindexlnk" href="#p364"
- title="to page 364">364</a></p>
-
-<p class="pndx">Base-Secretary, peculiar type, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a></p>
-
-<p class="pndx">BASKERVILLE (<span class="smcap">J<b>NO.</b></span>) <a class="aindexlnk" href="#p268"
- title="to page 268">268</a>–<a class="aindexlnk" href="#p087"
- title="to page 87">87</a>; early training, <a class="aindexlnk" href="#p268"
- title="to page 268">268</a>; first types
-cut by, <a class="aindexlnk" href="#p268"
- title="to page 268">268</a>, <a class="aindexlnk" href="#p269"
- title="to page 269">269</a>, <a class="aindexlnk" href="#p275"
- title="to page 275">275</a>; letters to Dodsley, <a class="aindexlnk" href="#p270"
- title="to page 270">270</a>–<a class="aindexlnk" href="#p002"
- title="to page 2">2</a>; <i>Virgil</i>, 1757, <a class="aindexlnk" href="#p271"
- title="to page 271">271</a>,
-<a class="aindexlnk" href="#p272"
- title="to page 272">272</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>; specimens, <a class="aindexlnk" href="#p271"
- title="to page 271">271</a>, <a class="aindexlnk" href="#p276"
- title="to page 276">276</a>, <a class="aindexlnk" href="#p277"
- title="to page 277">277</a>, <a class="aindexlnk" href="#p287"
- title="to page 287">287</a>; preface to <i>Milton</i>, <a class="aindexlnk" href="#p275"
- title="to page 275">275</a>;
-tribute to Caslon, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p275"
- title="to page 275">275</a>; employed by Oxford Press, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>;
-dazzling impressions of, <a class="aindexlnk" href="#p275"
- title="to page 275">275</a>, <a class="aindexlnk" href="#p279"
- title="to page 279">279</a>; relics of, at Oxford, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p162"
- title="to page 162">162</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>;
-privilege from Cambridge, <a class="aindexlnk" href="#p276"
- title="to page 276">276</a>, <a class="aindexlnk" href="#p278"
- title="to page 278">278</a>; type bodies, <a class="aindexlnk" href="#p276"
- title="to page 276">276</a>; punch-cutters
-for, <a class="aindexlnk" href="#p269"
- title="to page 269">269</a>, <a class="aindexlnk" href="#p277"
- title="to page 277">277</a>, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>; letter to H. Walpole, <a class="aindexlnk" href="#p278"
- title="to page 278">278</a>; prejudice against, <a class="aindexlnk" href="#p278"
- title="to page 278">278</a>,
-<a class="aindexlnk" href="#p279"
- title="to page 279">279</a>, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>; folio <i>Bible</i>, 1763, <a class="aindexlnk" href="#p279"
- title="to page 279">279</a>; tries to sell business, <a class="aindexlnk" href="#p278"
- title="to page 278">278</a>,
-<a class="aindexlnk" href="#p281"
- title="to page 281">281</a>, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>; correspondence with Franklin, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>, <a class="aindexlnk" href="#p281"
- title="to page 281">281</a>; various tributes
-to, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>, <a class="aindexlnk" href="#p272"
- title="to page 272">272</a>, <a class="aindexlnk" href="#p277"
- title="to page 277">277</a>, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>; retires from printing, <a class="aindexlnk" href="#p281"
- title="to page 281">281</a>, resumes <a class="aindexlnk" href="#p281"
- title="to page 281">281</a>;
-death, <a class="aindexlnk" href="#p281"
- title="to page 281">281</a>; personal notices of, <a class="aindexlnk" href="#p282"
- title="to page 282">282</a>; epitaph and burial, <a class="aindexlnk" href="#p282"
- title="to page 282">282</a>, <a class="aindexlnk" href="#p283"
- title="to page 283">283</a>;
-portrait, <a class="aindexlnk" href="#p283"
- title="to page 283">283</a>; his influence on English typography, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>,
-<a class="aindexlnk" href="#p332"
- title="to page 332">332</a>, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a>; destination of his types, <a class="aindexlnk" href="#p287"
- title="to page 287">287</a>, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx">——— Matrices: Roman, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>, <a class="aindexlnk" href="#p270"
- title="to page 270">270</a>, <a class="aindexlnk" href="#p271"
- title="to page 271">271</a>, <a class="aindexlnk" href="#p275"
- title="to page 275">275</a>, <a class="aindexlnk" href="#p276"
- title="to page 276">276</a>, <a class="aindexlnk" href="#p277"
- title="to page 277">277</a>, <a class="aindexlnk" href="#p279"
- title="to page 279">279</a>, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>,
-<a class="aindexlnk" href="#p284"
- title="to page 284">284</a>; Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>; Initials, <a class="aindexlnk" href="#p081"
- title="to page 81">81</a>, <a class="aindexlnk" href="#p270"
- title="to page 270">270</a></p>
-
-<p class="pndx">Bakerville (Mrs.) notice of, <a class="aindexlnk" href="#p282"
- title="to page 282">282</a>, <a class="aindexlnk" href="#p283"
- title="to page 283">283</a>; her advertisements, <a class="aindexlnk" href="#p283"
- title="to page 283">283</a>; book
-printed by, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a></p>
-
-<p class="pndx">Baskett (Jno.) printer at Oxford, <a class="aindexlnk" href="#p210"
- title="to page 210">210</a>; his ‘Vinegar’ <i>Bible</i>, 1717–16,
-<a class="aindexlnk" href="#p210"
- title="to page 210">210</a>; inventory of his types, <a class="aindexlnk" href="#p210"
- title="to page 210">210</a>; ‘silver initials’ of, <a class="aindexlnk" href="#p107"
- title="to page 107">107</a>, <a class="aindexlnk" href="#p211"
- title="to page 211">211</a></p>
-
-<p class="pndx">Batarde, a class of type, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a></p>
-
-<p class="pndx">Bay (Jno.) early American founder, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Beaumarchais, purchases Baskerville’s foundry, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>; typographical
-establishment at Kehl, <a class="aindexlnk" href="#p285"
- title="to page 285">285</a>; editions of <i>Voltaire</i>, <a class="aindexlnk" href="#p285"
- title="to page 285">285</a>, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx"><i>Beauties of the Poets</i>, Lond. 1788; <a class="aindexlnk" href="#p306"
- title="to page 306">306</a></p>
-
-<p class="pndx">Bebel, Hebrew type of, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx"><i>Bede’s Works</i>, Camb. 1644; <a class="aindexlnk" href="#p074"
- title="to page 74">74</a></p>
-
-<p class="pndx">Bedell (Bp.) <i><span class="nowrap">A B C.</span> or Catechism</i>, Dublin, 1631, <a class="aindexlnk" href="#p188"
- title="to page 188">188</a>; Irish <i>Old
-Testament</i>, Lond. 1685; <a class="aindexlnk" href="#p188"
- title="to page 188">188</a></p>
-
-<p class="pndx">Bedwell (Wm.) buys Arabic abroad, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p145"
- title="to page 145">145</a></p>
-
-<p class="pndx">BELL and STEPHENSON, letter founders, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a></p>
-
-<p class="pndx"><i>Bellows’ French Dictionary</i>, Edinburgh, 1873; <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">Bengalee matrices, Jackson, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a>; Wilkins, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a></p>
-
-<p class="pndx">Bensley (T.) printer, employs Figgins, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a></p>
-
-<p class="pndx">Bernard (A.) on sculpto-fusi types, <a class="aindexlnk" href="#p008"
- title="to page 8">8</a>; sand-cast type, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>, <a class="aindexlnk" href="#p012"
- title="to page 12">12</a>; ‘getté
-en molle,’ <a class="aindexlnk" href="#p013"
- title="to page 13">13</a>; on early founts, <a class="aindexlnk" href="#p027"
- title="to page 27">27</a></p>
-
-<p class="pndx">Berte (A. F.) type-casting machine of, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a></p>
-
-<p class="pndx">Berthelet (T.) types of, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a>; <i>Boke named the Governour</i>, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx">BESLEY (<span class="smcap">R<b>OBT.</b></span>) partner of Thorowgood, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a></p>
-
-<p class="pndx">BESSEMER (<span class="smcap">A<b>NT.</b></span>) letter founder, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>; starts at
-Charlton, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>; joined, by J. J. Catherwood, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>; removes to London,
-<a class="aindexlnk" href="#p359"
- title="to page 359">359</a>; minute types cut by, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a>; foundry sold, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a>; specimens, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>,
-<a class="aindexlnk" href="#p359"
- title="to page 359">359</a></p>
-
-<p class="pndx">——— Matrices:—Roman and Italic, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a></p>
-
-<p class="pndx">Bessemer (H.) son of above, type casting machine of, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a></p>
-
-<p class="pndx">Bettenham (Jas.) printer, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; assists Caslon, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a></p>
-
-<p class="pndx">Bewick (T.) wood-engraver, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a>, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a></p>
-
-<p class="pndx"><i>Bible</i> (<i>Polyglot</i>), Complutum, 1514–17;
- <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>, <a class="aindexlnk" href="#p169"
- title="to page 169">169</a>, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>; Antwerp,
- 1569–72; <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p169"
- title="to page 169">169</a>, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>; Heidelberg, 1586; <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>; Hamburg, 1596;
-<a class="aindexlnk" href="#p170"
- title="to page 170">170</a>; Nuremburg, 1599; <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>: Paris, 1645; <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p169"
- title="to page 169">169</a>, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a>;
-London, 1657; <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p136"
- title="to page 136">136</a>; account of, <a class="aindexlnk" href="#p168"
- title="to page 168">168</a>–<a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; London,
-1817–28, &amp;c., <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p341"
- title="to page 341">341</a></p>
-
-<p class="pndx">——— (<i>Hebrew</i>) Soncino, 1488; <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>; Basle, 1534: <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Hamburg, 1587
-and 1603; <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>; Amsterdam, 1639; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>; Amsterdam, 1667; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>;
-Amsterdam, 1705; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx">——— (<i>Greek</i>) Alexandrian Codex, Lond. 1816–21; <a class="aindexlnk" href="#p322"
- title="to page 322">322</a></p>
-
-<p class="pndx">——— (<i>Latin</i>) Mentz <i>n.d.</i>, <a class="aindexlnk" href="#p026"
- title="to page 26">26</a>, <a class="aindexlnk" href="#p027"
- title="to page 27">27</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a></p>
-
-<p class="pndx">——— (<i>English</i>) Lond. 1539 (Grafton’s) <a class="aindexlnk" href="#p124"
- title="to page 124">124</a>; Edinburgh 1576 (Bassendyne)
-<a class="aindexlnk" href="#p046"
- title="to page 46">46</a>; Lond. 1631 (Barker) <a class="aindexlnk" href="#p142"
- title="to page 142">142</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; Lond. 1653 (Field) <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>; Oxford,
-1717–16 (Baskett) <a class="aindexlnk" href="#p210"
- title="to page 210">210</a>; Cambridge 1763 (Baskerville) <a class="aindexlnk" href="#p279"
- title="to page 279">279</a>; Lond. 1774–6
-(Moore) <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>; Bristol, 1774 (Pine) <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>; Lond. 1776 (Pasham) <a class="aindexlnk" href="#p324"
- title="to page 324">324</a>; Lond.
-1777 (Fry) <a class="aindexlnk" href="#p302"
- title="to page 302">302</a>; Lond. 1800 (Macklin) <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a></p>
-
-<p class="pndx">——— (<i>Armenian</i>) Amsterdam, 1666; <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">——— (<i>Irish</i>) Lond. 1685; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p190"
- title="to page 190">190</a>; Lond. 1690; <a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p>
-
-<p class="pndx">——— (<i>Russian</i>) Prague, 1517–19; <a class="aindexlnk" href="#p071"
- title="to page 71">71</a></p>
-
-<p class="pndx">——— (<i>Sclavonic</i>) Ostrog, 1581; <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>: Moscow, 1663; <a class="aindexlnk" href="#p071"
- title="to page 71">71</a></p>
-
-<p class="pndx">——— (<i>Syriac</i>) Lond. 1829; <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">Bible-height at Oxford, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a></p>
-
-<p class="pndx">Bible-printing, complaints of, <a class="aindexlnk" href="#p232"
- title="to page 232">232</a></p>
-
-<p class="pndx">Bibliander, on wooden types, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a></p>
-
-<p class="pndx"><i>Bibliotheca Apostolica Vaticana</i>, Rome, 1591; <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">‘Bill’ of early founders, <a class="aindexlnk" href="#p028"
- title="to page 28">28</a></p>
-
-<p class="pndx">Bill (Jno.) Hebrew type of, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx">Binneman (H.) types of, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a></p>
-
-<p class="pndx">BLACK, a founder, <a class="aindexlnk" href="#p364"
- title="to page 364">364</a></p>
-
-<p class="pndx">Black letter, early use of in England, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a>, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a>; Caxton’s, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a>,
-<a class="aindexlnk" href="#p089"
- title="to page 89">89</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; De Worde’s, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a>, <a class="aindexlnk" href="#p090"
- title="to page 90">90</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>; Faques’,
-<a class="aindexlnk" href="#p093"
- title="to page 93">93</a>; fashions in, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a>; semi-gothic, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a>; mixed with Roman, <a class="aindexlnk" href="#p045"
- title="to page 45">45</a>, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a></p>
-
-<p class="pndx">——— Matrices:—Oxford, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Polyglot, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Andrews, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>;
-Grover, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>; Head, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; Mitchell, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; ‘Anon.’,
-<a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; James, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a>, <a class="aindexlnk" href="#p214"
- title="to page 214">214</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Caslon, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>,
-<a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Wilson, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p334"
- title="to page 334">334</a>; Thorne, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Caslon III,
-<a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Figgins, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">Blades (Wm.) on early schools of typography, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a>; on page by page
-printing, <a class="aindexlnk" href="#p026"
- title="to page 26">26</a>; <i>Life of Caxton</i>, <a class="aindexlnk" href="#p083"
- title="to page 83">83</a>; on early letter-founding, <a class="aindexlnk" href="#p102"
- title="to page 102">102</a></p>
-
-<p class="pndx">BLAKE, GARNETT &amp; CO., purchase Caslon IV’s foundry, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a>; specimen, <a class="aindexlnk" href="#p328"
- title="to page 328">328</a>;
-Orientals, <a class="aindexlnk" href="#p328"
- title="to page 328">328</a></p>
-
-<p class="pndx">Blind type: Haüy’s, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>; Lucas, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>; Frere, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>; Moon, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>; Braille, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>;
-Carton, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>; Alston, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>; Fry, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a></p>
-
-<p class="pndx">Block books, not typographical, <a class="aindexlnk" href="#p002"
- title="to page 2">2</a>; latest printed, <a class="aindexlnk" href="#p002"
- title="to page 2">2</a></p>
-
-<p class="pndx">Block-printing, <i>see</i> Stereotype</p>
-
-<p class="pndx">Bodies, <i>see</i> Type-bodies</p>
-
-<p class="pndx">Bodman on wooden types, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a></p>
-
-<p class="pndx">Bodoni (G. B.) notice of, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>; specimens, <a class="aindexlnk" href="#p050"
- title="to page 50">50</a>, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>; influence on
-English typography, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>; <i>Manuale Tipografico</i>, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>; Etruscan
-letter of, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>; Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>; Roman, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>; Russian, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx"><i>Boëthius de Consolatione</i>, Oxon. 1698; <a class="aindexlnk" href="#p151"
- title="to page 151">151</a></p>
-
-<p class="pndx"><i>Boke named the Governour</i>, Lond. 1531; <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx">Bolts (W.) Bengalee type cut for, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a>, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a></p>
-
-<p class="pndx">Bomberg, Hebrew type of, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a></p>
-
-<p class="pndx">Bourgeoise, a class of type, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a></p>
-
-<p class="pndx">Bourgeois, an English type-body, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Bourgeois (J. de) Rouen printer, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a></p>
-
-<p class="pndx">BOWER (G. W.) Sheffield founder, <a class="aindexlnk" href="#p357"
- title="to page 357">357</a>; specimen, <a class="aindexlnk" href="#p357"
- title="to page 357">357</a>; partners of, <a class="aindexlnk" href="#p357"
- title="to page 357">357</a>;
-attempt to regulate type bodies, <a class="aindexlnk" href="#p035"
- title="to page 35">35</a>, <a class="aindexlnk" href="#p357"
- title="to page 357">357</a>; foundry sold, <a class="aindexlnk" href="#p357"
- title="to page 357">357</a></p>
-
-<p class="pndx">Bowyer (Wm.) printer, account of, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; Saxon type used by, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>,
-<a class="aindexlnk" href="#p289"
- title="to page 289">289</a>; fire of his office, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a>, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; his aid to Caslon, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>,
-<a class="aindexlnk" href="#p236"
- title="to page 236">236</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a></p>
-
-<p class="pndx">Bowyer (Wm. II) his aid to Jackson, <a class="aindexlnk" href="#p315"
- title="to page 315">315</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a></p>
-
-<p class="pndx">Boydell (Jno.) founder of the Shakespeare press, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a></p>
-
-<p class="pndx">Boyle (R.) Irish type cut for, <a class="aindexlnk" href="#p189"
- title="to page 189">189</a></p>
-
-<p class="pndx">Bradshaw (Henry) on the type of the <i>Mentz Psalter</i>, <a class="aindexlnk" href="#p011"
- title="to page 11">11</a>; on the first
-Oxford types, <a class="aindexlnk" href="#p138"
- title="to page 138">138</a></p>
-
-<p class="pndx">Branston, engraver and maker of cast ornaments, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; his stereoplates
-for music, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a></p>
-
-<p class="pndx">Breaking off, process in founding, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a>, <a class="aindexlnk" href="#p115"
- title="to page 115">115</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a>, <a class="aindexlnk" href="#p131"
- title="to page 131">131</a></p>
-
-<p class="pndx">‘Breaks’ of early types, <a class="aindexlnk" href="#p022"
- title="to page 22">22</a></p>
-
-<p class="pndx">Breitkopf (J. G.) Leipzig founder, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; German type of, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Map type,
-<a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Music, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Russian, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a></p>
-
-<p class="pndx">Brèves (Sav. de) Arabic cut for, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>; Syriac, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx"><i>Breviary</i> (<i>Icelandic</i>), Hoolum, 1531; <a class="aindexlnk" href="#p073"
- title="to page 73">73</a></p>
-
-<p class="pndx">Brevier, a type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>; English, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a>, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a>; German, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Brilliant, an English type body, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx"><i>British Theatre</i>, Lond. 1791–2; <a class="aindexlnk" href="#p052"
- title="to page 52">52</a></p>
-
-<p class="pndx">Brotherly Meeting of Printers, <a class="aindexlnk" href="#p165"
- title="to page 165">165</a>, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a>, <a class="aindexlnk" href="#p178"
- title="to page 178">178</a>, <a class="aindexlnk" href="#p193"
- title="to page 193">193</a>, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a></p>
-
-<p class="pndx">BROWN, letter-founder, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a></p>
-
-<p class="pndx">Browne (J.) Hebrew used by, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx">Bruce (D.) type-casting machine of, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a></p>
-
-<p class="pndx">Buchanan (Cl.) Syriac cut for, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a></p>
-
-<p class="pndx">Buck (T.) Cambridge printer, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a></p>
-
-<p class="pndx">Buel (Abel) early American founder, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx"><i>Bullock’s Oratio</i>, Camb. 1521; <a class="aindexlnk" href="#p141"
- title="to page 141">141</a></p>
-
-<p class="pndx">Bulmer (W.) fine printer, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a>, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a>; employs Birmingham cutters,
-<a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>; prints for Roxburghe club, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>, <a class="aindexlnk" href="#p334"
- title="to page 334">334</a></p>
-
-<p class="pndx">Burghers (M.) Oxford University engraver, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p210"
- title="to page 210">210</a></p>
-
-<p class="pndx">Bus (J.) Dutch founder, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a></p>
-
-<div class="section">
-<p class="pndx"><i>Cædmon’s Paraphrase of Genesis</i>, Amsterdam, 1655; <a class="aindexlnk" href="#p074"
- title="to page 74">74</a></p></div>
-
-<p class="pndx"><i>Calasio Concordantiæ</i>, Lond. 1747; <a class="aindexlnk" href="#p346"
- title="to page 346">346</a></p>
-
-<p class="pndx">Cambridge University, early printing at, <a class="aindexlnk" href="#p139"
- title="to page 139">139</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; offer to buy the
-Paris Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; Greek types at, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; borrow type from Oxford,
-<a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; Saxon types of, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>; privilege to Ged for stereotype, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a>; to
-Baskerville, <a class="aindexlnk" href="#p276"
- title="to page 276">276</a>, <a class="aindexlnk" href="#p278"
- title="to page 278">278</a>; Orientals, cut by Fry for, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a></p>
-
-<p class="pndx"><i>Cambro-brytannicæ .&#160;.
- lingua Institutiones</i>, Lond. 1592; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx">Canon, a type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a>; Tory’s definition of, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a></p>
-
-<p class="pndx"><i>Carmen Tograi</i>, Oxon. 1661; <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">Cartlitch (Miss), married Caslon II, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">W<b>M.</b></span>) the First, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>–246; gunsmith’s apprentice, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>;
-first attempts at typography, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>–6; first foundry, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; early patrons,
-<a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; Palmer’s conduct to, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>; early difficulties, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a>; offers for
-Grover’s foundry, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a>; reputation of, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a>; first specimen, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>;
-view of his foundry, <a class="aindexlnk" href="#p108"
- title="to page 108">108</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; specimens, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p242"
- title="to page 242">242</a>, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>;
-various tributes to, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p242"
- title="to page 242">242</a>, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p275"
- title="to page 275">275</a>; wager with Ged, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>;
-rival to James, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a>, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>; buys half Mitchell’s foundry, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>,
-<a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; made a Justice, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>; his workmen, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p315"
- title="to page 315">315</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a>,
-<a class="aindexlnk" href="#p351"
- title="to page 351">351</a>; family, <a class="aindexlnk" href="#p245"
- title="to page 245">245</a>, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>; retires, <a class="aindexlnk" href="#p244"
- title="to page 244">244</a>; anecdote of private life, <a class="aindexlnk" href="#p245"
- title="to page 245">245</a>;
-dies, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>; influence on English typography, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a></p>
-
-<p class="pndx">——— Matrices: Armenian, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Arabic, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>,
-<a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Black, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Coptic, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>,
-<a class="aindexlnk" href="#p236"
- title="to page 236">236</a>, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; Ethiopic, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Etruscan, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>,
-<a class="aindexlnk" href="#p247"
- title="to page 247">247</a>,<a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Flowers, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; Gothic, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>;
-Greek, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Hebrew, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Initials,
-<a class="aindexlnk" href="#p081"
- title="to page 81">81</a>; Music, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Roman and Italic, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>, <a class="aindexlnk" href="#p159"
- title="to page 159">159</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>,
-<a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Saxon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>;
-Syriac, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">W<b>M.</b></span>) the Second, son of above, enters business, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>;
-specimens, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>; Mores’ prejudice against, <a class="aindexlnk" href="#p244"
- title="to page 244">244</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>; anecdote of, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>;
-dies, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; wife and family of, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a></p>
-
-<p class="pndx">——— Matrices: Black, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; Greek, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>; Hebrew, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>; Music, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>;
-‘Proscription-type,’ <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; Saxon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; Syriac, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">M<b>RS.</b></span> W.) wife of above, formerly Miss Cartlitch, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>;
-manages for her husband, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; succeeds to the business in 1792, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>;
-member of trade Association, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>; death, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>; tributes to, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>; decline
-in value of foundry under, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">W<b>M.</b></span>) the Third, son of W. Caslon II, succeeds to the
-business, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; specimens, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>; founder to His Majesty, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>;
-altercation with Frys, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>; large sand cast type of, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>;
-cast ornaments, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; leaves Chiswell Street, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>; relations with
-Jackson, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a></p>
-
-<p class="pndx">——— Matrices (Chiswell Street): Script, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a></p>
-
-<p class="pndx">——— Buys Jackson’s foundry, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a>; uses Chiswell Street Orientals
-and Cast Ornaments, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a>, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; specimens, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a>, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; retirement and
-character, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a></p>
-
-<p class="pndx">——— Matrices (Salisbury Square): Arabic, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Armenian, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Black,
-<a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Greek, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Hebrew, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Samaritan, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Saxon, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Syriac, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">H<b>ENRY</b></span>) the First, son of W. Caslon II, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; joint heir
-to foundry, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; wife of, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>; death, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a></p>
-
-<p class="pndx">CASLON (Mrs. <span class="smcap">H<b>ENRY</b></span>) wife of above, formerly Miss Rowe, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a>,
-<a class="aindexlnk" href="#p250"
- title="to page 250">250</a>; joint proprietor of foundry, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>; sole proprietor, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>;
-regenerates foundry, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>; cuts new founts, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>; her partner, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>;
-marries Mr. Strong, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>; illness and death, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>; specimen, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a></p>
-
-<p class="pndx">——— Matrices: Roman and Italic, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">H<b>ENRY</b></span>) the Second, son of above, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>; infant
-proprietor of foundry, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>; sole proprietor, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>; partners of, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>,
-<a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; additions to foundry, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p334"
- title="to page 334">334</a>; state of foundry in 1825,
-<a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; revives the Old Style, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a>; death, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a></p>
-
-<p class="pndx">——— Matrices: German, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Greek, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Persian, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Diamond Roman,
-<a class="aindexlnk" href="#p358"
- title="to page 358">358</a>; Sanscrit, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">H<b>Y.</b> W<b>M.</b></span>) son and partner of above, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>; unites Glasgow
-and Caslon foundries, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>; offers foundry for sale, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a>; dies, the
-last of his name, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a></p>
-
-<p class="pndx">CASLON (<span class="smcap">W<b>M.</b></span>) the Fourth, son and partner of Wm. Caslon III,
-<a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; succeeds to Salisbury Square Foundry, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a>; improved types,
-<a class="aindexlnk" href="#p120"
- title="to page 120">120</a>, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a>; ‘Sanspareil’ matrices, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a>; sells foundry to Blake, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a>;
-character, <a class="aindexlnk" href="#p328"
- title="to page 328">328</a></p>
-
-<p class="pndx">Caslon (Saml.) mould-maker, brother to Wm. Caslon I. <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Caslon (Thos.) bookseller, son of Wm. Caslon I, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a></p>
-
-<p class="pndx">Caslon Foundry, type bodies in 1841, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a>; changes in the value of, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>,
-<a class="aindexlnk" href="#p255"
- title="to page 255">255</a>; relics preserved at, <a class="aindexlnk" href="#p245"
- title="to page 245">245</a></p>
-
-<p class="pndx">Cast Ornaments, introduced by W. Caslon III, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Fry’s, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>;
-Vizitelly, Branston’s, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>, <a class="aindexlnk" href="#p361"
- title="to page 361">361</a></p>
-
-<p class="pndx">Castell (E.) his <i>Heptaglot Lexicon</i>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a></p>
-
-<p class="pndx">Casting, primitive methods of, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a>; early irregularity of, <a class="aindexlnk" href="#p018"
- title="to page 18">18</a>, <a class="aindexlnk" href="#p025"
- title="to page 25">25</a>; in
-sand, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a>, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>, <a class="aindexlnk" href="#p012"
- title="to page 12">12</a>; in clay, <a class="aindexlnk" href="#p011"
- title="to page 11">11</a>, <a class="aindexlnk" href="#p012"
- title="to page 12">12</a>; Moxon’s account of, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a>; improvements
-in, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>–22</p>
-
-<p class="pndx"><i>Castle of Otranto</i>, Parma, 1791; <a class="aindexlnk" href="#p251"
- title="to page 251">251</a></p>
-
-<p class="pndx"><i>Catechism and Articles in Irish</i>, Dublin, 1571; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p187"
- title="to page 187">187</a></p>
-
-<p class="pndx"><i>Catechism in Irish</i>, Lond. 1680?; <a class="aindexlnk" href="#p189"
- title="to page 189">189</a></p>
-
-<p class="pndx"><i>Catena on Job</i>, Lond. 1637; <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p201"
- title="to page 201">201</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a></p>
-
-<p class="pndx">CATHERWOOD (<span class="smcap">N<b>ATL.</b></span>) partner of Mrs. H. Caslon, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a></p>
-
-<p class="pndx">CATHERWOOD (J. J.) brother to above, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>; partner of Hy. Caslon II,
-<a class="aindexlnk" href="#p253"
- title="to page 253">253</a>; leaves Chiswell Street, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; notice of, by Johnson, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; starts a
-foundry, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>; joins A. Bessemer, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>; retires, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a></p>
-
-<p class="pndx"><i>Catholicon</i>, Mentz, 1460; <a class="aindexlnk" href="#p016"
- title="to page 16">16</a></p>
-
-<p class="pndx">Caxton (Wm.) first English printer, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>; early training, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>, <a class="aindexlnk" href="#p085"
- title="to page 85">85</a>;
-probable methods of type founding, <a class="aindexlnk" href="#p085"
- title="to page 85">85</a>, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; type cast by, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>, <a class="aindexlnk" href="#p085"
- title="to page 85">85</a>,
-<a class="aindexlnk" href="#p102"
- title="to page 102">102</a>; mould of, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a>; types of, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>–9; Black, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a>; Secretary, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>,
-<a class="aindexlnk" href="#p086"
- title="to page 86">86</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a>; Initials, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>; type ornaments, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; first books of, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>; his
-advertisement, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>; printed page by page, <a class="aindexlnk" href="#p026"
- title="to page 26">26</a>; translation of <i>Ovid’s
-Metamorphoses</i>, by, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; employs a foreign printer, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; facsimiles of
-his types, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>, <a class="aindexlnk" href="#p344"
- title="to page 344">344</a></p>
-
-<p class="pndx">Celtis, his reference to cut types, <a class="aindexlnk" href="#p007"
- title="to page 7">7</a></p>
-
-<p class="pndx">Certificate, letter founders’, form of, <a class="aindexlnk" href="#p135"
- title="to page 135">135</a></p>
-
-<p class="pndx">‘Chalcographia,’ derivation of, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a></p>
-
-<p class="pndx"><i>Champfleury</i>, Paris, 1529; <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p>
-
-<p class="pndx">Chapel (a founders’), account of, <a class="aindexlnk" href="#p112"
- title="to page 112">112</a>, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p186"
- title="to page 186">186</a></p>
-
-<p class="pndx">Chapman, prints with Baskerville’s types, <a class="aindexlnk" href="#p283"
- title="to page 283">283</a></p>
-
-<p class="pndx">Charles II and the <i>London Polyglot</i>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; on the Alexandrian <i>Codex</i>
-facsimile, <a class="aindexlnk" href="#p203"
- title="to page 203">203</a></p>
-
-<p class="pndx">Chevillier (A.) on the <i>London Polyglot</i>, <a class="aindexlnk" href="#p172"
- title="to page 172">172</a></p>
-
-<p class="pndx">Chinese type cast in plaster moulds, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a></p>
-
-<p class="pndx"><i>Christian Doctrine</i>, Dublin 1652; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p188"
- title="to page 188">188</a></p>
-
-<p class="pndx"><i>Christianæ Pietatis prima Institutio</i>, Lond. 1578; <a class="aindexlnk" href="#p098"
- title="to page 98">98</a></p>
-
-<p class="pndx"><i>Chronological account of Irish writers</i>, Dublin 1820; <a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p>
-
-<p class="pndx"><i>Chrysostomi Homiliæ</i>, Lond. 1543; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>: <i>Opera</i>, Oxon. 1586; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>,
-<a class="aindexlnk" href="#p140"
- title="to page 140">140</a>; <i>Translations from</i>, Oxon. 1602; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>: <i>Opera</i>, Eton 1610–12; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">Church (W.) Type casting machine of, <a class="aindexlnk" href="#p121"
- title="to page 121">121</a></p>
-
-<p class="pndx">Cicero’s suggestion of mobile types, <a class="aindexlnk" href="#p003"
- title="to page 3">3</a></p>
-
-<p class="pndx">Cicero, a type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx"><i>Cicero de Officiis</i>, Mentz 1465; <a class="aindexlnk" href="#p038"
- title="to page 38">38</a>, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>; Rome 1469; <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">——— <i>de Oratore</i>, Rome 1465; <a class="aindexlnk" href="#p040"
- title="to page 40">40</a></p>
-
-<p class="pndx">Civilité, Lettre de, a French cursive, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>; Plantin’s, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a></p>
-
-<p class="pndx">Clarendon Printing House, Oxford, <a class="aindexlnk" href="#p156"
- title="to page 156">156</a></p>
-
-<p class="pndx">Clarke (S.) Oxford architypographus, <a class="aindexlnk" href="#p146"
- title="to page 146">146</a></p>
-
-<p class="pndx">Classical ‘height-to-paper’ at Oxford, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a></p>
-
-<p class="pndx">Claudin (A.) old Lyonnaise types of, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>; on early type markets, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a></p>
-
-<p class="pndx">Clayton (Robt.) patent matrices, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a>, <a class="aindexlnk" href="#p121"
- title="to page 121">121</a></p>
-
-<p class="pndx"><i>Clemens Romanus ad Corinthios</i>, Oxon. 1633; <a class="aindexlnk" href="#p143"
- title="to page 143">143</a>, <a class="aindexlnk" href="#p201"
- title="to page 201">201</a></p>
-
-<p class="pndx"><i>Codex Alexandrinus</i>, history of, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a>; attempts to facsimile, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a>–5,
-<a class="aindexlnk" href="#p321"
- title="to page 321">321</a></p>
-
-<p class="pndx"><i>Codex Bezæ</i>, facsimile of, Camb. 1793; <a class="aindexlnk" href="#p322"
- title="to page 322">322</a></p>
-
-<p class="pndx"><i>Collection of Hymns</i>, Bristol 1769; <a class="aindexlnk" href="#p299"
- title="to page 299">299</a></p>
-
-<p class="pndx">Colonel, a Dutch and German type body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx"><i>Commentary on the Pentateuch</i>, Reggio 1475; <a class="aindexlnk" href="#p062"
- title="to page 62">62</a></p>
-
-<p class="pndx"><i>Common Prayer</i>, Lond. 1550; <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>: Cambridge 1760–2; <a class="aindexlnk" href="#p279"
- title="to page 279">279</a></p>
-
-<p class="pndx">——— (<i>Irish</i>) Dublin 1608; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p187"
- title="to page 187">187</a>; Lond. 1712; <a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p>
-
-<p class="pndx">Complutensian <i>Polyglot</i>, types of, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>, <a class="aindexlnk" href="#p169"
- title="to page 169">169</a></p>
-
-<p class="pndx">Copland (R.) printer, types of, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx">Coptic types of the Propaganda, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>; Voskens, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>; Fournier, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#fg34"
- title="to Figs. 34–38">147</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Grover, ‘new-hand,’
-<a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a>; Caslon, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a>, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a></p>
-
-<p class="pndx">Cornish (J. D.) his specimen of Caslon’s types, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a></p>
-
-<p class="pndx">Corpus, a German type body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Coster legend disposed of by Van der Linde, <a class="aindexlnk" href="#p002"
- title="to page 2">2</a></p>
-
-<p class="pndx">COTTRELL (<span class="smcap">T<b>HOS.</b></span>) <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>–92; apprentice to Caslon, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>,
-<a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; starts a foundry, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; his tribute to Caslon, <a class="aindexlnk" href="#p244"
- title="to page 244">244</a>,
-<a class="aindexlnk" href="#p290"
- title="to page 290">290</a>; specimens, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>; repairs the Elstob Saxon, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>;
-Fournier’s notice of, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>; private in the Guards, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; Nichols’
-notice of, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>; his foundry, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a></p>
-
-<p class="pndx">——— Matrices: Domesday, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a>; Engrossing, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>,
-<a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Flowers, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>; “Proscription,” <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>,
-<a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Roman and Italic, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>; Russian, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a></p>
-
-<p class="pndx">Court Hand, early English, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a></p>
-
-<p class="pndx">——— Matrices: Grover, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p204"
- title="to page 204">204</a>; James, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a></p>
-
-<p class="pndx">Cromwell (Oliver), his aid to the London <i>Polyglot</i>, <a class="aindexlnk" href="#p172"
- title="to page 172">172</a>, <a class="aindexlnk" href="#p175"
- title="to page 175">175</a></p>
-
-<p class="pndx">Cupi, a Dutch punch cutter, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>, <a class="aindexlnk" href="#p216"
- title="to page 216">216</a></p>
-
-<p class="pndx">Cursiv, a German name for Italic, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a></p>
-
-<p class="pndx">‘Cut matrices,’ a misnomer, <a class="aindexlnk" href="#p008"
- title="to page 8">8</a></p>
-
-<p class="pndx"><i>Cyclopædia</i>, E. Chambers, Lond. 1728; <a class="aindexlnk" href="#p038"
- title="to page 38">38</a>: Lond. 1738; <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>: Lond.
-1784–6; <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>, <a class="aindexlnk" href="#p203"
- title="to page 203">203</a></p>
-
-<div class="section">
-<p class="pndx">Danish type at Oxford, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a></p></div>
-
-<p class="pndx">Dawks (I.) Script type of, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a></p>
-
-<p class="pndx">Day (Jno.) printer, account of, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>–101; a letter-founder, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>; his Star
-Chamber case <i>v.</i> Ward, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a>. His types: Greek, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; Hebrew, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>;
-Italic, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>; Music, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; Roman, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>;
-Saxon, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a></p>
-
-<p class="pndx"><i>De Antiquitate Britannicæ Ecclesiæ</i>, Lond. 1572; <a class="aindexlnk" href="#p097"
- title="to page 97">97</a></p>
-
-<p class="pndx"><i>De Arte Supputandi</i>, Lond. 1522; <a class="aindexlnk" href="#p092"
- title="to page 92">92</a></p>
-
-<p class="pndx"><i>De Divinâ Proportione</i>, Venice, 1509; <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p>
-
-<p class="pndx"><i>De Emendatâ Structurâ</i>, Lond. 1524; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a></p>
-
-<p class="pndx"><i>De Linguæ Arabicæ Utilitate</i>, Oxon, 1639; <a class="aindexlnk" href="#p066"
- title="to page 66">66</a></p>
-
-<p class="pndx"><i>De Linguâ Etruriæ</i>, Oxon. 1735; <a class="aindexlnk" href="#p239"
- title="to page 239">239</a></p>
-
-<p class="pndx"><i>De Siglis Arabum</i>, Lond. 1648; <a class="aindexlnk" href="#p066"
- title="to page 66">66</a></p>
-
-<p class="pndx">De Vinne (Theo.) on early type moulds, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a>, <a class="aindexlnk" href="#p017"
- title="to page 17">17</a></p>
-
-<p class="pndx"><i>De Visibili Romanarchiâ</i>, Lond. 1573; <a class="aindexlnk" href="#p097"
- title="to page 97">97</a></p>
-
-<p class="pndx">De Worde. <i>See</i> Worde (W. de)</p>
-
-<p class="pndx">Demetrius of Crete, Greek types of, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a></p>
-
-<p class="pndx"><i>Demetrius Phalereus</i>: Glasgow, 1743; <a class="aindexlnk" href="#p261"
- title="to page 261">261</a></p>
-
-<p class="pndx">Descendiaen, a Dutch type body, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Deva Nagari matrices: Jackson, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a>; Wilkins, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a></p>
-
-<p class="pndx">Diamond, an English type body, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>; a Dutch body, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>; matrices in
-Grover’s foundry, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; founts cut in by Wilson, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; Fry, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>;
-Bessemer, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a></p>
-
-<p class="pndx"><i>Diary of Lady Willoughby</i>, Lond. 1844; <a class="aindexlnk" href="#p255"
- title="to page 255">255</a></p>
-
-<p class="pndx">Dibdin (T. F.) on Black letter fashions, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a>; on Caxton’s types, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>;
-Bibliographical Works of, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a></p>
-
-<p class="pndx"><i>Dictes and Sayings of the Philosophers</i>, Westminster, 1477; <a class="aindexlnk" href="#p086"
- title="to page 86">86</a></p>
-
-<p class="pndx">Didot (A. F.) improved Script type, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>.</p>
-
-<p class="pndx">Didot (F.) on Polytype printing, <a class="aindexlnk" href="#p013"
- title="to page 13">13</a>, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a></p>
-
-<p class="pndx">Didot (F. A.) typographical points of, <a class="aindexlnk" href="#p035"
- title="to page 35">35</a>; Roman type of, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a></p>
-
-<p class="pndx">Didot (H.) Semi-Nonpareil cut by, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>; Diamond, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a>; Patent type-casting
-machine, <a class="aindexlnk" href="#p121"
- title="to page 121">121</a>, <a class="aindexlnk" href="#p361"
- title="to page 361">361</a></p>
-
-<p class="pndx"><i>Dilworth’s Spelling Book</i>, Lond. <i>n.d.</i> <a class="aindexlnk" href="#p306"
- title="to page 306">306</a></p>
-
-<p class="pndx"><i>Dives et Pauper</i>, Lond. 1493; <a class="aindexlnk" href="#p091"
- title="to page 91">91</a></p>
-
-<p class="pndx"><i>Diurnale Gr. Arab.</i> Fano, 1514; <a class="aindexlnk" href="#p065"
- title="to page 65">65</a></p>
-
-<p class="pndx"><i>Doctrinale</i>, ‘getté en molle,’ <a class="aindexlnk" href="#p013"
- title="to page 13">13</a></p>
-
-<p class="pndx">Domesday matrices:—Cottrell, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a>; Jackson, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>,
-<a class="aindexlnk" href="#p320"
- title="to page 320">320</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>; Figgins, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx"><i>Domesday Book</i>, Lond. 1783; <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a></p>
-
-<p class="pndx"><i>Domesday Book Illustrated</i>, Lond. 1788; <a class="aindexlnk" href="#p321"
- title="to page 321">321</a></p>
-
-<p class="pndx"><i>Donlevey’s Irish Catechism</i>, Paris, 1742; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a></p>
-
-<p class="pndx">Double Pica, an English type body, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a></p>
-
-<p class="pndx">Dressing, an operation in founding, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a>, <a class="aindexlnk" href="#p115"
- title="to page 115">115</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a></p>
-
-<p class="pndx">Drury (J. I.) letter cutter to Mrs. H. Caslon, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a></p>
-
-<p class="pndx"><i>Ductor in Linguas</i>, Lond. 1617; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a></p>
-
-<p class="pndx">DUMMERS, a letter founder, <a class="aindexlnk" href="#p345"
- title="to page 345">345</a>; Samaritan type cut for Caslon, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>,
-<a class="aindexlnk" href="#p345"
- title="to page 345">345</a></p>
-
-<p class="pndx">Dürer (A.) on the shape of letters, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p>
-
-<p class="pndx">Dutch Founders, notices of, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>, <a class="aindexlnk" href="#p213"
- title="to page 213">213</a>–217; type of, in England, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>,
-<a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p210"
- title="to page 210">210</a>, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>; in Scotland, <a class="aindexlnk" href="#p257"
- title="to page 257">257</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>; cessation of trade with,
-<a class="aindexlnk" href="#p237"
- title="to page 237">237</a>, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a></p>
-
-<p class="pndx">Dutch ‘Bloomers,’ <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a></p>
-
-<p class="pndx">Duverger (E.) on early type moulds, <a class="aindexlnk" href="#p023"
- title="to page 23">23</a></p>
-
-<div class="section">
-<p class="pndx">East (T.) Music type of, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a></p></div>
-
-<p class="pndx">East India Company, types cut for, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a>, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a>, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a></p>
-
-<p class="pndx"><i>Elementa Linguæ Persicæ</i>, Lond. 1649; <a class="aindexlnk" href="#p066"
- title="to page 66">66</a></p>
-
-<p class="pndx">Elstob (Eliz.) Saxon works of, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>; account of her, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a>: her
-<i>Saxon Grammar</i>, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a></p>
-
-<p class="pndx">Elzevirs, types of: Greek, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; Hebrew, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>; Orientals, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; Roman,
-<a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a></p>
-
-<p class="pndx">Emerald, an English type body, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a></p>
-
-<p class="pndx">English, an English type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a>; a name for Black Letter, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a>,
-<a class="aindexlnk" href="#p053"
- title="to page 53">53</a></p>
-
-<p class="pndx">English Two-line, an English type body, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a></p>
-
-<p class="pndx"><i>English-Saxon Homily on St. Gregory’s Day</i>, Lond. 1709; <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p156"
- title="to page 156">156</a></p>
-
-<p class="pndx">Engrossing matrices; Cottrell, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a></p>
-
-<p class="pndx">Enschedés, Dutch letter founders, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>; leaden matrices in their
-foundry, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>; specimens of their old Italic, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>; Gothic, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>; Flamand,
-<a class="aindexlnk" href="#p054"
- title="to page 54">54</a>; Civilité, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>; Initials, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a></p>
-
-<p class="pndx">Enschedé (J.) on wooden types, <a class="aindexlnk" href="#p006"
- title="to page 6">6</a></p>
-
-<p class="pndx">Erasmus at Cambridge, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a></p>
-
-<p class="pndx">Erpenius, Oriental matrices and types of, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a></p>
-
-<p class="pndx"><i>Essai sur l’Education des Aveugles</i>, Paris, 1786; <a class="aindexlnk" href="#p078"
- title="to page 78">78</a></p>
-
-<p class="pndx"><i>Essay on the Original, Use and Excellency of Printing</i>, Lond. 1752; <a class="aindexlnk" href="#p242"
- title="to page 242">242</a></p>
-
-<p class="pndx"><i>Essay towards a Real Character</i>, Lond. 1668; <a class="aindexlnk" href="#p191"
- title="to page 191">191</a></p>
-
-<p class="pndx"><i>Essay on Melody of Speech</i>, Lond. 1775; <a class="aindexlnk" href="#p323"
- title="to page 323">323</a></p>
-
-<p class="pndx">Estienne (H.) Greek types of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>; flowers, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a></p>
-
-<p class="pndx">Estienne (P.) his compliment to Norton, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">Estienne (R.) type of, Greek (Royal), <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>; Hebrew, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Initials, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a></p>
-
-<p class="pndx">Ethiopic, early founts at Rome, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>; Leyden, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>; Frankfort, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>;
-Amsterdam, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Polyglot, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>,
-<a class="aindexlnk" href="#p177"
- title="to page 177">177</a>, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Andrews, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; ‘Anon.’, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; James, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Caslon, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>,
-<a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a></p>
-
-<p class="pndx">——— Punches: James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a></p>
-
-<p class="pndx">Eton, Greek printing at, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">Etruscan type at Rome, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, Parma, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx">——— Matrices: Caslon, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a></p>
-
-<p class="pndx"><i>Eusebii Præparatio</i>, Venice, 1470; <a class="aindexlnk" href="#p041"
- title="to page 41">41</a></p>
-
-<p class="pndx"><i>Eusebius</i>, Paris, 1544; <a class="aindexlnk" href="#p059"
- title="to page 59">59</a></p>
-
-<p class="pndx">Everingham (R.) printer in Irish, <a class="aindexlnk" href="#p189"
- title="to page 189">189</a>, <a class="aindexlnk" href="#p190"
- title="to page 190">190</a>; works printed by his widow,
-<a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p>
-
-<p class="pndx"><i>Exposicio Simboli</i>, Oxon. ‘1468’; <a class="aindexlnk" href="#p137"
- title="to page 137">137</a>, <a class="aindexlnk" href="#p138"
- title="to page 138">138</a></p>
-
-<p class="pndx"><i>Exposition on St. John</i>, Wesel? 1557; <a class="aindexlnk" href="#p045"
- title="to page 45">45</a></p>
-
-<div class="section">
-<p class="pndx">Facsimile types, the earliest, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a>, <a class="aindexlnk" href="#p204"
- title="to page 204">204</a></p></div>
-
-<p class="pndx">Faques (W.) printer, trained at Rouen, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>; types of, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>; used by
-De Worde, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx">Fann Street Foundry, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>, <a class="aindexlnk" href="#p313"
- title="to page 313">313</a></p>
-
-<p class="pndx">Farley (Abr.) Domesday type cut for, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a></p>
-
-<p class="pndx">Fell (Jno.) his services to Oxford Press, <a class="aindexlnk" href="#p146"
- title="to page 146">146</a>, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>; gift of matrices,
-&amp;c., <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>; report on Oxford printing, <a class="aindexlnk" href="#p149"
- title="to page 149">149</a>; his printing house, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>;
-Moxon’s compliment to, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p>
-
-<p class="pndx">Fenner (W.) partner of Ged, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a>, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a></p>
-
-<p class="pndx">FENWICK (Jos.) founder, account of, <a class="aindexlnk" href="#p351"
- title="to page 351">351</a></p>
-
-<p class="pndx">——— Matrices:—Scriptorial, <a class="aindexlnk" href="#p351"
- title="to page 351">351</a></p>
-
-<p class="pndx">Fergusson’s proposal for regulating type bodies, <a class="aindexlnk" href="#p035"
- title="to page 35">35</a>, <a class="aindexlnk" href="#p357"
- title="to page 357">357</a></p>
-
-<p class="pndx"><i>Fidelis Servi Responsio</i>, Lond. 1573; <a class="aindexlnk" href="#p097"
- title="to page 97">97</a></p>
-
-<p class="pndx">FIFIELD (Alex.) founder, nominated, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p165"
- title="to page 165">165</a>; account of, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a></p>
-
-<p class="pndx"><i>Fifteen O’s</i>, Westminster, 1490; <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>, <a class="aindexlnk" href="#p085"
- title="to page 85">85</a></p>
-
-<p class="pndx">FIGGINS (<span class="smcap">V<b>INCENT</b></span>) the First, apprentice and foreman to
-Jackson, <a class="aindexlnk" href="#p324"
- title="to page 324">324</a>, <a class="aindexlnk" href="#p335"
- title="to page 335">335</a>, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>; fails to succeed to that foundry, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a>, <a class="aindexlnk" href="#p335"
- title="to page 335">335</a>;
-Nichols’ aid to, <a class="aindexlnk" href="#p335"
- title="to page 335">335</a>, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a>; his first foundry, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a>, <a class="aindexlnk" href="#p341"
- title="to page 341">341</a>; facsimile
-Romans cut by, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a>, <a class="aindexlnk" href="#p337"
- title="to page 337">337</a>; employed by Oxford Press, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>; cuts type for
-the Record Commission, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>; for Bagster, <a class="aindexlnk" href="#p341"
- title="to page 341">341</a>; various tributes to,
-<a class="aindexlnk" href="#p340"
- title="to page 340">340</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>.</p>
-
-<p class="pndx">——— Matrices:—Black, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Domesday, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; German Text,
-<a class="aindexlnk" href="#p340"
- title="to page 340">340</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Greek, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Hebrew, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p341"
- title="to page 341">341</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Irish, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>,
-<a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Persian, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Roman and Italic, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a>, <a class="aindexlnk" href="#p337"
- title="to page 337">337</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>;
-Saxon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Syriac, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Télegú, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">FIGGINS (<span class="smcap">V<b>INCENT</b></span>) the Second, son of above, enters business,
-<a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; his anecdote of a punch-cutter, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>; his facsimile of Caxton’s
-type, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; body-standards in his foundry in 1841, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a></p>
-
-<p class="pndx">FIGGINS (<span class="smcap">J<b>AMES</b></span>) the First, son of V. Figgins I, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">FIGGINS (<span class="smcap">J<b>AMES</b></span>) the Second, son of above, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">Filosofia, an Italian type body, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Finance (Lettre de) a Script letter, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a></p>
-
-<p class="pndx">Fischer (G.) on wooden types, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a></p>
-
-<p class="pndx">Flamand, a Dutch Black-letter, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a></p>
-
-<p class="pndx">Flemish school of typography, <a class="aindexlnk" href="#p102"
- title="to page 102">102</a></p>
-
-<p class="pndx">Flesher (Jas.) printer, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a>, <a class="aindexlnk" href="#p178"
- title="to page 178">178</a>; Arabic type of, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>; Polyglot specimen
-of, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a></p>
-
-<p class="pndx">Flesher (Miles) printer, Arabic type of, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a></p>
-
-<p class="pndx">Flowers, early type-, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; H. Estienne’s, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; Day’s, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a></p>
-
-<p class="pndx">——— Matrices:—Oxford, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>; Grover, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; James, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Caslon, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>,
-<a class="aindexlnk" href="#p240"
- title="to page 240">240</a>; Cottrell, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>; Thorne, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a></p>
-
-<p class="pndx">Forme, (Lettre de) Black-letter, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a></p>
-
-<p class="pndx">FOUGT (H.) Founder of music type, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a>; Specimen, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">——— Matrices:—Music, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Foulis (R. and A.) Scotch printers, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>; to Glasgow University,
-<a class="aindexlnk" href="#p261"
- title="to page 261">261</a>; employ Wilson, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>; their Glasgow <i>Homer</i>, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>; beautiful
-impressions of, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>; the poet Gray’s tribute to, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a></p>
-
-<p class="pndx">Foulis (Andrew), son of above Robert, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>; his patent for stereotype,
-<a class="aindexlnk" href="#p230"
- title="to page 230">230</a>, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a></p>
-
-<p class="pndx">Founts of early printers, size of, <a class="aindexlnk" href="#p026"
- title="to page 26">26</a>, <a class="aindexlnk" href="#p027"
- title="to page 27">27</a></p>
-
-<p class="pndx">Fournier, (P. S.), on wooden types, <a class="aindexlnk" href="#p005"
- title="to page 5">5</a>; typographical points of, <a class="aindexlnk" href="#p035"
- title="to page 35">35</a>;
-notes on English founders, <a class="aindexlnk" href="#p242"
- title="to page 242">242</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>; account of founding in France,
-<a class="aindexlnk" href="#p117"
- title="to page 117">117</a>; his types; Coptic, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>; Etruscan, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>; Irish, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>; Music, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>;
-Roman, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>; Russian, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx">FOX (<span class="smcap">B<b>ENJ.</b></span>) partner in Fann Street Foundry, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a></p>
-
-<p class="pndx">Fractur, a German Black-letter, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a></p>
-
-<p class="pndx">France, first Gothic type in, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>; Letter Founding in, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>; control
-of founders in, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a>; typographical superiority of, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a></p>
-
-<p class="pndx">Francesco da Bologna, cut Aldine punches, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a></p>
-
-<p class="pndx">Frankfort, Letter founding at, in 1568, <a class="aindexlnk" href="#p105"
- title="to page 105">105</a>, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a></p>
-
-<p class="pndx">Franklin (Benj.), a journeyman in London, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a>, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>; experiments
-in casting, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>; letters to Baskerville, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>, <a class="aindexlnk" href="#p281"
- title="to page 281">281</a>; starts foundry in
-America, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Frères de la Vie Commune, Roman type of, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a>, <a class="aindexlnk" href="#p042"
- title="to page 42">42</a></p>
-
-<p class="pndx">Froben (J.) his supposed acquaintance with Pynson, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; his types;
-Greek, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>; Hebrew, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Initials, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Roman, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a></p>
-
-<p class="pndx">Froschouer (Chr.) Roman type of, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a>;</p>
-
-<p class="pndx">Froschouer (Jno.) Music type of, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a></p>
-
-<p class="pndx">FRY (<span class="smcap">J<b>OSEPH</b></span>) begins a foundry in Bristol, <a class="aindexlnk" href="#p298"
- title="to page 298">298</a>; imitates
-Baskerville’s Romans, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; first specimens, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>; removes
-to London, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>; <i>Bibles</i> printed by, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a>; his partners, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>, <a class="aindexlnk" href="#p300"
- title="to page 300">300</a>,
-<a class="aindexlnk" href="#p302"
- title="to page 302">302</a>; adopts Caslon models, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; purchases at James’
-sale, <a class="aindexlnk" href="#p230"
- title="to page 230">230</a>, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; quarrel with Caslon III, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>; retirement and
-death, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a></p>
-
-<p class="pndx">——— Matrices: Roman, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>, <a class="aindexlnk" href="#p300"
- title="to page 300">300</a>, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a></p>
-
-<p class="pndx">FRY (<span class="smcap">E<b>DMUND</b></span>) son and partner of above, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a>; philological
-talents, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a>; specimens, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p313"
- title="to page 313">313</a>; removes foundry
-to Type Street, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>; his types used by Millar Ritchie, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>; his
-<i>Pantographia</i>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>; his partners, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>; new Romans of,
-<a class="aindexlnk" href="#p307"
- title="to page 307">307</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; dislike to ornamented type, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a> <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; letter founder to the
-King, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>; cuts Orientals for Cambridge, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>; contents of foundry,
-<a class="aindexlnk" href="#p309"
- title="to page 309">309</a>; retires, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; his Address to the Public, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; sells foundry to
-Thorowgood, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>, <a class="aindexlnk" href="#p313"
- title="to page 313">313</a></p>
-
-<p class="pndx">FRY (<span class="smcap">E<b>DMUND</b></span>) Matrices: Alexandrian Greek, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>,
-<a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Amharic, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Arabic, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Black, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>;
-Blind, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>; Cast Ornaments, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>; Ethiopic, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>;
-Flowers, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>; German, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Greek, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Guzerattee,
-<a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Hebrew, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Irish, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>;
-Malabaric, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Music, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; Roman, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>;
-Russian, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Saxon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>,
-<a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Script, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Syriac, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a></p>
-
-<p class="pndx">FRY (<span class="smcap">H<b>ENRY</b></span>) brother and partner of above, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a>; becomes a
-printer, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a></p>
-
-<p class="pndx">FRY (<span class="smcap">W<b>INDOVER</b></span>) son and partner of Edmund Fry, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a></p>
-
-<p class="pndx">Fust and Schoeffer, music types of, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>; Initials, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a></p>
-
-<p class="pndx">‘Fusus,’ use of word in colophons, <a class="aindexlnk" href="#p008"
- title="to page 8">8</a></p>
-
-<p class="pndx">Fyner (C.), Hebrew type of, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a></p>
-
-<div class="section">
-<p class="pndx">Gaillarde, a French type-body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p></div>
-
-<p class="pndx"><i>Galenus de Temperamentis</i>, Camb. 1521; <a class="aindexlnk" href="#p141"
- title="to page 141">141</a></p>
-
-<p class="pndx"><i>Gallicantus</i>, Lond. 1498; <a class="aindexlnk" href="#p092"
- title="to page 92">92</a></p>
-
-<p class="pndx">Gallie (Jno.) manager to Wilson, <a class="aindexlnk" href="#p266"
- title="to page 266">266</a>; partner with Dr. Marr, <a class="aindexlnk" href="#p266"
- title="to page 266">266</a></p>
-
-<p class="pndx"><i>Game and Play of the Chesse</i> (facs.), Lond. 1855; <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">Garamond (Cl.) mould of, <a class="aindexlnk" href="#p023"
- title="to page 23">23</a>; Roman cut by, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>; Greek, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a></p>
-
-<p class="pndx">Garmond, a foreign type body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Ged (Wm.) inventor of Stereotype, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a>, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a>, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a>; misfortunes and
-failure of, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>; <i>Biographical Memoirs of</i>, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a></p>
-
-<p class="pndx">Gem, an English type body, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">Gering, first Paris printer, Greek type of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>; Roman, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a></p>
-
-<p class="pndx">German matrices: Caslon, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Thorne, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Thorowgood, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Fry, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>,
-<a class="aindexlnk" href="#p312"
- title="to page 312">312</a></p>
-
-<p class="pndx">German-Text matrices: Figgins, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">Geschreven Schrift, a German Script, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a></p>
-
-<p class="pndx">‘Getté en molle’, signification of, <a class="aindexlnk" href="#p013"
- title="to page 13">13</a>, <a class="aindexlnk" href="#p014"
- title="to page 14">14</a></p>
-
-<p class="pndx">Glasgow University; fine printing at, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a></p>
-
-<p class="pndx">Glosa, a class of type, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a></p>
-
-<p class="pndx">Glosilla, a Spanish type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Goes (H.) York printer, used De Worde’s types, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a></p>
-
-<p class="pndx"><i>Golden Legend</i>, Westminster, <i>n. d.</i>; <a class="aindexlnk" href="#p088"
- title="to page 88">88</a></p>
-
-<p class="pndx"><i>Goldsmith and Parnell</i>, Lond. 1795; <a class="aindexlnk" href="#p331"
- title="to page 331">331</a></p>
-
-<p class="pndx">GORING (<span class="smcap">T<b>HOS.</b></span>) letter-founder, <a class="aindexlnk" href="#p193"
- title="to page 193">193</a>; nominated <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>, <a class="aindexlnk" href="#p193"
- title="to page 193">193</a>; notice
-of, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a></p>
-
-<p class="pndx">Gothic letter, origin of, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>; Petrarch’s aversion to, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>; Prevost’s
-eulogy of, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a></p>
-
-<p class="pndx">Gothic language; types of at Amsterdam, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; ‘Anon.’, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; James, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>,
-<a class="aindexlnk" href="#p225"
- title="to page 225">225</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; Caslon, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a></p>
-
-<p class="pndx">Gough (Jno.) his anecdotes of Jackson, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>; of Ilive, <a class="aindexlnk" href="#p348"
- title="to page 348">348</a></p>
-
-<p class="pndx">Gourmont (G. de) Greek type of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>; Hebrew, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx">Graff (Baltus de), partner of Cottrell, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a></p>
-
-<p class="pndx">Grafton (Rd.) Bible printed by, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a>; Music type of, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>; Dibdin’s
-tribute to, <a class="aindexlnk" href="#p101"
- title="to page 101">101</a></p>
-
-<p class="pndx"><i>Grammar of the Bengal Language</i>, Hoogly, 1778; <a class="aindexlnk" href="#p318"
- title="to page 318">318</a></p>
-
-<p class="pndx"><i>Grammar of the Sanskrita Language</i>, Lond. 1808; <a class="aindexlnk" href="#p319"
- title="to page 319">319</a></p>
-
-<p class="pndx">Granjon (N.) French, letter-cutter, Greek types of, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>; Music, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>;
-“Civilité”, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a></p>
-
-<p class="pndx"><i>Gray’s Poems</i>, Glasgow, 1768; <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>: Parma, 1793; <a class="aindexlnk" href="#p251"
- title="to page 251">251</a></p>
-
-<p class="pndx"><i>Great Charter</i>, Oxford, 1759: <a class="aindexlnk" href="#p159"
- title="to page 159">159</a></p>
-
-<p class="pndx">Great Primer, an English type body, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a>, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a></p>
-
-<p class="pndx">Greek: earliest, Schoeffer’s, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>; early founts, Italy, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>;
-France, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>; Netherlands, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>; Spain, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>; Germany, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>;
-Switzerland, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>; Lascaris “litteræ majusculæ,” <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>; French “Characteres
-Regii,” <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a></p>
-
-<p class="pndx">——— In England: De Worde’s, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Siberch’s, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; Pynson’s, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>,
-<a class="aindexlnk" href="#p093"
- title="to page 93">93</a>; Day’s, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; Wolfe’s, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>; Mierdman’s, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>; Oxford, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>;
-Eton, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a>, <a class="aindexlnk" href="#p145"
- title="to page 145">145</a>; Royal founts, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p142"
- title="to page 142">142</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>, <a class="aindexlnk" href="#p167"
- title="to page 167">167</a>, <a class="aindexlnk" href="#p201"
- title="to page 201">201</a>, <a class="aindexlnk" href="#p202"
- title="to page 202">202</a>; borrowed
-by Cambridge from Oxford, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; Dutch founts in England, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>;
-Cambridge offers for Paris Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; large number of ligatures,
-<a class="aindexlnk" href="#p061"
- title="to page 61">61</a>; minute sizes, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; fashions in, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>; Porson’s
-improvement in, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>; Polyglot, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>;
-Andrews, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>; Grover, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a>; Head, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>; Mitchell, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>,
-<a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; “Anon.”, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>: James, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p213"
- title="to page 213">213</a>, <a class="aindexlnk" href="#p214"
- title="to page 214">214</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>,
-<a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Caslon, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Wilson, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>;
-Baskerville, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>; Thorowgood, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>,
-<a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Jackson, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>, <a class="aindexlnk" href="#p322"
- title="to page 322">322</a>; Caslon III, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Martin, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>;
-Figgins, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Ilive, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a></p>
-
-<p class="pndx">——— Punches: James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a></p>
-
-<p class="pndx">Greek, Alexandrian; <i>see</i> Alexandrian Greek</p>
-
-<p class="pndx">Grierson (G.) Irish printer, his patent, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>; establishes
-letter-founding, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a></p>
-
-<p class="pndx">Grierson (Boulter), son of above, his petition, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a></p>
-
-<p class="pndx">GRISMAND (<span class="smcap">J<b>OHN</b></span>) Star Chamber founder, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p165"
- title="to page 165">165</a>; notices of,
-<a class="aindexlnk" href="#p165"
- title="to page 165">165</a>, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a></p>
-
-<p class="pndx">Gromors, Arabic types of, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a></p>
-
-<p class="pndx">Gros Bâtarde, a French Secretary type, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>; Colard Mansion’s, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a></p>
-
-<p class="pndx">Gros Romain, a French type body, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx">GROVER (<span class="smcap">J<b>AS.</b></span>) letter-founder, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a></p>
-
-<p class="pndx">GROVER (<span class="smcap">T<b>HOS.</b></span>) son of above, letter-founder, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>,
-<a class="aindexlnk" href="#p197"
- title="to page 197">197</a>–205; Royal founts in his foundry, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p203"
- title="to page 203">203</a>; Caslon offers for
-foundry, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a>, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a>; disposal of it, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a></p>
-
-<p class="pndx">——— Matrices: Alexandrian Greek, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>–205; Arabic, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; Blacks, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>,
- <a class="aindexlnk" href="#fg25"
- title="to Fig. 25">109</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>; Cursives, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; Greek, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; Hebrew, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; Music, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>;
-Roman and Italic, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; Saxon, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>;
-Scriptorials, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; Signs, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; Syriac, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a></p>
-
-<p class="pndx">Gutenberg’s types, migrations of, <a class="aindexlnk" href="#p028"
- title="to page 28">28</a></p>
-
-<p class="pndx">Guzerattee matrices: Fry, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a></p>
-
-<div class="section">
-<p class="pndx">Hahn (Ul.) Roman type of, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a>; his <i>Cicero</i>, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a>; his <i>St. Augustine</i>, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p></div>
-
-<p class="pndx">Halhed (N. B.) his <i>Bengal Grammar</i>, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a>; his account of C. Wilkins, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a></p>
-
-<p class="pndx">Hanbey (Mr.) son-in-law of Caslon I, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a></p>
-
-<p class="pndx">Hancock (C.) buys Hughes’ Music matrices, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a></p>
-
-<p class="pndx">Handy (J.) a punch-cutter employed by Baskerville, <a class="aindexlnk" href="#p269"
- title="to page 269">269</a>, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a></p>
-
-<p class="pndx">Hansard (T. C.) on type fashions, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>; notices of founders from his
-<i>Typographia</i>, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>, <a class="aindexlnk" href="#p328"
- title="to page 328">328</a>,
-<a class="aindexlnk" href="#p332"
- title="to page 332">332</a>, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>, <a class="aindexlnk" href="#p352"
- title="to page 352">352</a>, <a class="aindexlnk" href="#p355"
- title="to page 355">355</a>, <a class="aindexlnk" href="#p361"
- title="to page 361">361</a>, <a class="aindexlnk" href="#p364"
- title="to page 364">364</a></p>
-
-<p class="pndx">Hare (Bp.) transactions with Caslon, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a></p>
-
-<p class="pndx">Harris (Messrs.) use Baskerville’s types, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx">Hautin, Music type of, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a></p>
-
-<p class="pndx">Haüy, Blind type of, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a></p>
-
-<p class="pndx">Hawkins (Sir J.) his anecdote of Caslon, <a class="aindexlnk" href="#p245"
- title="to page 245">245</a></p>
-
-<p class="pndx">Hazard, Bath printer, notice of, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a></p>
-
-<p class="pndx">HEAD (<span class="smcap">G<b>ODFREY</b></span>) letter founder, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a></p>
-
-<p class="pndx">——— Matrices: Black, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>; Greek, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a></p>
-
-<p class="pndx">HEAPHY, letter founder, <a class="aindexlnk" href="#p364"
- title="to page 364">364</a></p>
-
-<p class="pndx">Hebrew type, first use of, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>; early founts in Italy, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>; France, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>,
-<a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Spain, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Germany, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Netherlands, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a></p>
-
-<p class="pndx">——— in England: De Worde’s, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Day’s, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; at Oxford, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>;
-London, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#fg34"
- title="to Figs. 34–38">147</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Polyglot, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a>,
-<a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>; Andrews, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Grover, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; James, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>, <a class="aindexlnk" href="#p227"
- title="to page 227">227</a>,
-<a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Caslon, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Wilson, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; Fry,
-<a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p304"
- title="to page 304">304</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Jackson, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Caslon III, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Figgins, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p341"
- title="to page 341">341</a>,
-<a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Thorowgood, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Jalleson, <a class="aindexlnk" href="#p346"
- title="to page 346">346</a></p>
-
-<p class="pndx"><i>Hebrew Dictionary</i>, Louvain, 1520? <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx"><i>Hebrew Grammar</i>, Paris, 1508; <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Leipsic, 1520, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>; Paris, 1520; <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>:
-Louvain, 1528; <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx">Height-to-paper of sand-cast types, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>; of old Lyons types, <a class="aindexlnk" href="#p021"
- title="to page 21">21</a>; of old
-Cologne types, <a class="aindexlnk" href="#p025"
- title="to page 25">25</a>; varieties of at Oxford, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a></p>
-
-<p class="pndx">Heilman, Gros Bâtarde type of, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a></p>
-
-<p class="pndx">Henfrey (J.) type-casting machine of, <a class="aindexlnk" href="#p121"
- title="to page 121">121</a></p>
-
-<p class="pndx">Herbert (W.) his account of Caxton’s types, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>; on early use of Roman
-and Italic, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a></p>
-
-<p class="pndx"><i>Herodotus</i>, Oxford, 1590; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">Hibernian type, <i>see</i> Irish</p>
-
-<p class="pndx"><i>Hickes’ Thesaurus</i>, Oxon. 1703–5; <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p156"
- title="to page 156">156</a></p>
-
-<p class="pndx">——— <i>Saxon Grammar</i>, Oxon. 1711; <a class="aindexlnk" href="#p074"
- title="to page 74">74</a></p>
-
-<p class="pndx"><i>History of England</i> (Hume’s) Lond. 1806; <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a></p>
-
-<p class="pndx">Hogarth and Baskerville’s types, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a></p>
-
-<p class="pndx"><i>Homeri Opera</i>, Florence, 1488; <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>: Glasgow, 1756–58; <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>:
-Parma, 1808; <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>: Lond. 1831; <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a></p>
-
-<p class="pndx">——— <i>Batrachomyomachia</i>, Venice, 1486; <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>: Paris, 1507; <a class="aindexlnk" href="#p058"
- title="to page 58">58</a></p>
-
-<p class="pndx">Hooght (Van der) Hebrew types of, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx"><i>Horæ</i> (<i>Greek</i>), Louvain, 1516; <a class="aindexlnk" href="#p059"
- title="to page 59">59</a></p>
-
-<p class="pndx"><i>Horatii Opera</i>, Sedan, 1627; <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>: Glasgow, 1744; <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>: Birmingham, 1762;
-<a class="aindexlnk" href="#p277"
- title="to page 277">277</a></p>
-
-<p class="pndx">Horman (W.) his indenture with Pynson, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a></p>
-
-<p class="pndx">Hostingue, a Rouen printer, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a></p>
-
-<p class="pndx">HUGHES (<span class="smcap">H<b>UGH</b></span>) partner with Thorne, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a>; starts a foundry,
-<a class="aindexlnk" href="#p363"
- title="to page 363">363</a>; specimen, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a>; his music type, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a></p>
-
-<p class="pndx">——— Matrices: music, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a></p>
-
-<p class="pndx">Hunte (Thos.) early Oxford printer, <a class="aindexlnk" href="#p137"
- title="to page 137">137</a>, <a class="aindexlnk" href="#p138"
- title="to page 138">138</a></p>
-
-<p class="pndx">Hutter, curious Hebrew type of, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>; his Polyglot <i>Bible</i>, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a></p>
-
-<div class="section">
-<p class="pndx"><i>Iberno-Celtic Society’s Transactions</i>, Dublin, 1820; <a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p></div>
-
-<p class="pndx">Iceland, early printing in, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a></p>
-
-<p class="pndx">Icelandic matrices at Oxford, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a></p>
-
-<p class="pndx">ILIVE (<span class="smcap">J<b>ACOB</b></span>) letter founder, <a class="aindexlnk" href="#p346"
- title="to page 346">346</a>–9; his eccentricities, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a>,
-<a class="aindexlnk" href="#p348"
- title="to page 348">348</a>; forged <i>Book of Jasher</i>, <a class="aindexlnk" href="#p348"
- title="to page 348">348</a>; heads schism in Stationers’ Company,
-<a class="aindexlnk" href="#p348"
- title="to page 348">348</a>; his foundry bought by James, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a></p>
-
-<p class="pndx">——— Matrices: Greek, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a>; Roman, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a></p>
-
-<p class="pndx">IMISSON, letter founder, <a class="aindexlnk" href="#p352"
- title="to page 352">352</a></p>
-
-<p class="pndx">Imprimerie Royale, Paris, establishment of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>; Greek type of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>,
-<a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>; Roman, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a></p>
-
-<p class="pndx">Initials of Mentz <i>Psalter</i>, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>; early cutters of, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a>, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Caxton’s,
-<a class="aindexlnk" href="#p079"
- title="to page 79">79</a>; Day’s, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; ‘Two-line letters,’ <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Pictorial, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Dutch, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Bible,
-<a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Armorial, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; pierced, <a class="aindexlnk" href="#p081"
- title="to page 81">81</a>; Oxford copperplate, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>, <a class="aindexlnk" href="#p159"
- title="to page 159">159</a>; fashions
-in, <a class="aindexlnk" href="#p081"
- title="to page 81">81</a>; Baskett’s ‘Silver initials,’ <a class="aindexlnk" href="#p107"
- title="to page 107">107</a>, <a class="aindexlnk" href="#p211"
- title="to page 211">211</a></p>
-
-<p class="pndx"><i>Introductio ad Lectionem Ling. Oriental.</i> London, 1655; <a class="aindexlnk" href="#p172"
- title="to page 172">172</a></p>
-
-<p class="pndx">Ireland, letter foundry in, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; printing patent for, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>; Scotch
-and English type supplied to, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>. Vernacular printing in, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>,
-<a class="aindexlnk" href="#p186"
- title="to page 186">186</a>, <a class="aindexlnk" href="#p187"
- title="to page 187">187</a>, <a class="aindexlnk" href="#p188"
- title="to page 188">188</a></p>
-
-<p class="pndx">Irish type in Dublin, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p186"
- title="to page 186">186</a>, <a class="aindexlnk" href="#p187"
- title="to page 187">187</a>; Antwerp, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>; Louvain, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p188"
- title="to page 188">188</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>;
-Rome, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>; Paris, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>; revival of Irish printing, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a></p>
-
-<p class="pndx">——— Matrices: Moxon, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p186"
- title="to page 186">186</a>, <a class="aindexlnk" href="#p189"
- title="to page 189">189</a>, <a class="aindexlnk" href="#p190"
- title="to page 190">190</a>, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>; Andrews,
-<a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Fry, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Figgins, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>,
-<a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">——— Punches: James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a></p>
-
-<p class="pndx">Iron, an ingredient in type metal, <a class="aindexlnk" href="#p021"
- title="to page 21">21</a>, <a class="aindexlnk" href="#p112"
- title="to page 112">112</a></p>
-
-<p class="pndx">Irregular type bodies, origin of, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a></p>
-
-<p class="pndx">Isla (Lord) patron of Wilson, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a></p>
-
-<p class="pndx">Italic, first cut by Aldus, <a class="aindexlnk" href="#p050"
- title="to page 50">50</a>; early foreign founts, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>; Van Dijk’s,
-<a class="aindexlnk" href="#p052"
- title="to page 52">52</a>; various uses for, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a></p>
-
-<p class="pndx">——— In England, fashions in, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>; De Worde’s, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Day, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>,
-<a class="aindexlnk" href="#p097"
- title="to page 97">97</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; Vautrollier, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; James, <a class="aindexlnk" href="#p214"
- title="to page 214">214</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>; Caslon, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>;
-Baskerville, <a class="aindexlnk" href="#p275"
- title="to page 275">275</a></p>
-
-<p class="pndx">——— See also <i>s.v.</i> Roman and Italic</p>
-
-<p class="pndx">Italy, first Roman type in, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>; first Gothic type in, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a></p>
-
-<div class="section">
-<p class="pndx">JACKSON (<span class="smcap">J<b>OS.</b></span>) apprentice to Caslon I, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p315"
- title="to page 315">315</a>; first
-punch cut by, <a class="aindexlnk" href="#p315"
- title="to page 315">315</a>; dismissed, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; partner with Cottrell,
-<a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; goes to sea, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; starts a foundry, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>; first
-specimens, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Bowyer’s aid to <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>; removes to Salisbury
-Square, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; makes a hollow square, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; his foundry, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; employed by
-Nichols, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>; Bensley, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>; Oxford Press, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>; fire of foundry,
-<a class="aindexlnk" href="#p324"
- title="to page 324">324</a>; elegy on, <a class="aindexlnk" href="#p324"
- title="to page 324">324</a>; death and tributes to, <a class="aindexlnk" href="#p324"
- title="to page 324">324</a>, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a>; portraits of, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>,
-<a class="aindexlnk" href="#p316"
- title="to page 316">316</a>, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a></p></div>
-
-<p class="pndx">——— Matrices: Alexandrian Greek, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>; Bengalee, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Black, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>;
-Codex-Bezæ Greek, <a class="aindexlnk" href="#p322"
- title="to page 322">322</a>; Deva Nagari, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a>; Domesday, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>;
-Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>; Hebrew, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Music symbols, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>; Persian,
-<a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; ‘Proscription’ letter, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Roman, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>; Script, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a></p>
-
-<p class="pndx">JALLESON, letter founder, <a class="aindexlnk" href="#p346"
- title="to page 346">346</a>; his system of type bodies, <a class="aindexlnk" href="#p346"
- title="to page 346">346</a>; Hebrew
-type, <a class="aindexlnk" href="#p346"
- title="to page 346">346</a></p>
-
-<p class="pndx">JAMES (<span class="smcap">T<b>HOS.</b></span>) letter founder, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p212"
- title="to page 212">212</a>–220; his family, <a class="aindexlnk" href="#p212"
- title="to page 212">212</a>;
-apprentice to R. Andrews, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>, <a class="aindexlnk" href="#p212"
- title="to page 212">212</a>; his letters from Holland, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>,
-<a class="aindexlnk" href="#p213"
- title="to page 213">213</a>–17; his foundry, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>; buys Greek of Grover, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>; rivalry with
-Caslon, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a>, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>; transactions with Ged, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a>, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a>; second visit to
-Holland, <a class="aindexlnk" href="#p219"
- title="to page 219">219</a>; decline of his business, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>; buys Andrews’ foundry,
-<a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p211"
- title="to page 211">211</a>, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>; death, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>; advertisement by his widow, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a></p>
-
-<p class="pndx">JAMES (<span class="smcap">T<b>HOS.</b></span>) Matrices: Black, <a class="aindexlnk" href="#p214"
- title="to page 214">214</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>; Greek, <a class="aindexlnk" href="#p213"
- title="to page 213">213</a>, <a class="aindexlnk" href="#p214"
- title="to page 214">214</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>:
-Roman and Italic, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, <a class="aindexlnk" href="#p213"
- title="to page 213">213</a>, <a class="aindexlnk" href="#p214"
- title="to page 214">214</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a></p>
-
-<p class="pndx">JAMES (<span class="smcap">J<b>NO.</b></span>) son and successor of above, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>; buys half
-Mitchell’s foundry, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>; Ilive’s, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a>; Grover’s, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a>, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>;
-his projected specimen, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>, <a class="aindexlnk" href="#p224"
- title="to page 224">224</a>; dies, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>; last of the Old English
-Founders, <a class="aindexlnk" href="#p221"
- title="to page 221">221</a>, <a class="aindexlnk" href="#p230"
- title="to page 230">230</a></p>
-
-<p class="pndx">——— Matrices and Punches: Anglo-Norman, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; Arabic, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>;
-Black, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>. <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Court Hand, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Ethiopic, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>;
-Flowers, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Gothic, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; Greek, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Hebrew,
-<a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>, <a class="aindexlnk" href="#p227"
- title="to page 227">227</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Irish, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Runic, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p227"
- title="to page 227">227</a>,
-<a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Saxon, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>; Scriptorial, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Secretary, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>;
-Syriac, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a></p>
-
-<p class="pndx">James (Dr. T.) first Bodleian Librarian, <a class="aindexlnk" href="#p212"
- title="to page 212">212</a></p>
-
-<p class="pndx">James (Elianor) aunt of Thos. James the founder, <a class="aindexlnk" href="#p212"
- title="to page 212">212</a></p>
-
-<p class="pndx">James (George) son of above, City Printer, <a class="aindexlnk" href="#p212"
- title="to page 212">212</a></p>
-
-<p class="pndx">James (Jno.) architect, brother of Thos. James the founder, <a class="aindexlnk" href="#p212"
- title="to page 212">212</a>;
-partner with Ged, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a></p>
-
-<p class="pndx">James’ Foundry acquired by Mores, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>; arranged for sale, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>;
-catalogue and specimen, <a class="aindexlnk" href="#fg56"
- title="to fig. 56">226</a>–30, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; matrices lost,<a class="aindexlnk" href="#p223"
- title="to page 223">223</a>, <a class="aindexlnk" href="#p227"
- title="to page 227">227</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>;
-punches lost, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>; obsolete founts, <a class="aindexlnk" href="#p224"
- title="to page 224">224</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>; leaden matrices, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>;
-moulds, &amp;c., <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>, <a class="aindexlnk" href="#p230"
- title="to page 230">230</a>; sale of, <a class="aindexlnk" href="#p230"
- title="to page 230">230</a>, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a></p>
-
-<p class="pndx">Jannon, Sedan printer, Roman type of, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a></p>
-
-<p class="pndx">Jansson, Hebrew type of, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a></p>
-
-<p class="pndx"><i>Jasher, Book of</i>, Lond. 1751; <a class="aindexlnk" href="#p348"
- title="to page 348">348</a></p>
-
-<p class="pndx"><i>Jason</i>, Westminster (1477), <a class="aindexlnk" href="#p086"
- title="to page 86">86</a></p>
-
-<p class="pndx">Jenson, Greek type of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>; Roman, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a></p>
-
-<p class="pndx">Jerome’s suggestion of mobile types, <a class="aindexlnk" href="#p003"
- title="to page 3">3</a></p>
-
-<p class="pndx">Joly, a Dutch type body, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a></p>
-
-<p class="pndx">Journeyman founders, regulation of, <a class="aindexlnk" href="#p131"
- title="to page 131">131</a>, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a></p>
-
-<p class="pndx">Jungfer, a German type body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Junius (Fr.) his gift to Oxford, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>; Dr. Nicholson’s note on,
-<a class="aindexlnk" href="#p151"
- title="to page 151">151</a>; portrait of, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a></p>
-
-<p class="pndx">Junius (Pat.) <i>see</i> Young (Pat.)</p>
-
-<p class="pndx">Jurisson, <i>see</i> Imisson</p>
-
-<p class="pndx">Justifying of matrices, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a>, <a class="aindexlnk" href="#p186"
- title="to page 186">186</a>; a secret operation, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a></p>
-
-<p class="pndx"><i>Justinian</i>, Mentz, 1468; <a class="aindexlnk" href="#p049"
- title="to page 49">49</a></p>
-
-<div class="section">
-<p class="pndx">Kehl, typographical establishment at, <a class="aindexlnk" href="#p285"
- title="to page 285">285</a>, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a>; <i>Voltaire’s Works</i>,
-printed at, <a class="aindexlnk" href="#p285"
- title="to page 285">285</a>, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a>; Works by <i>Alfieri</i> at, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p></div>
-
-<p class="pndx">Kerning, a process in founding, <a class="aindexlnk" href="#p022"
- title="to page 22">22</a>, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a></p>
-
-<p class="pndx">‘King’s House,’ Roman types, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p203"
- title="to page 203">203</a></p>
-
-<p class="pndx">Kipling (T.) his facsimile of <i>Codex Bezæ</i>, <a class="aindexlnk" href="#p322"
- title="to page 322">322</a></p>
-
-<p class="pndx">Kirkpatrick (W.) Sanscrit type cut for, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a></p>
-
-<p class="pndx">KNOWLES (G.) a partner of Ed. Fry, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a></p>
-
-<p class="pndx"><i>Koran</i>, Venice, 1518; <a class="aindexlnk" href="#p065"
- title="to page 65">65</a></p>
-
-<div class="section">
-<p class="pndx">Laborde (Leon) on wooden types, <a class="aindexlnk" href="#p005"
- title="to page 5">5</a></p></div>
-
-<p class="pndx">Lackington (Jas.) bookseller, <a class="aindexlnk" href="#p325"
- title="to page 325">325</a></p>
-
-<p class="pndx"><i>Lactantius</i>, Subiaco, 1465; <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a></p>
-
-<p class="pndx"><i>La Lèpre morale</i>, Cologne, 1476; <a class="aindexlnk" href="#p024"
- title="to page 24">24</a></p>
-
-<p class="pndx">Lambinet (P.) on early polytype printing, <a class="aindexlnk" href="#p012"
- title="to page 12">12</a></p>
-
-<p class="pndx"><i>Lascaris Anthologia</i> (in Greek Capitals), Florence, 1494; <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>: <i>Greek
-Grammar</i>, Milan, 1476; <a class="aindexlnk" href="#p057"
- title="to page 57">57</a></p>
-
-<p class="pndx"><i>Last Judgment</i>, Irish poem on, Dublin, 1571; <a class="aindexlnk" href="#p187"
- title="to page 187">187</a></p>
-
-<p class="pndx">Laud (Archbp.) his services to Oxford press, <a class="aindexlnk" href="#p142"
- title="to page 142">142</a>–5, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>; letter to,
-from King Charles I, <a class="aindexlnk" href="#p143"
- title="to page 143">143</a></p>
-
-<p class="pndx">Le Bé (G.) cuts punches for Plantin, <a class="aindexlnk" href="#p107"
- title="to page 107">107</a>; his Arabic, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>; Hebrew, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>;
-Music, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a></p>
-
-<p class="pndx">LEE (<span class="smcap">J<b>OS.</b></span>) letter founder, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p193"
- title="to page 193">193</a></p>
-
-<p class="pndx">Lee (Dr. S.) Orientals cut for by Dr. Fry, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a></p>
-
-<p class="pndx">L’Estrange (R.) Surveyor of Imprimery, <a class="aindexlnk" href="#p132"
- title="to page 132">132</a></p>
-
-<p class="pndx">Le Tailleur, Rouen printer for Pynson, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a></p>
-
-<p class="pndx">Letter-cutting by eye, not by rule, <a class="aindexlnk" href="#p184"
- title="to page 184">184</a></p>
-
-<p class="pndx">Letter Founders, one named in 1597, <a class="aindexlnk" href="#p128"
- title="to page 128">128</a>, <a class="aindexlnk" href="#p164"
- title="to page 164">164</a>; regulations of, in
-1622, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a>, <a class="aindexlnk" href="#p164"
- title="to page 164">164</a>; in 1637, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>; in 1662, <a class="aindexlnk" href="#p132"
- title="to page 132">132</a>; in 1674, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>; in 1693,
-<a class="aindexlnk" href="#p134"
- title="to page 134">134</a>; called to account, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>, <a class="aindexlnk" href="#p134"
- title="to page 134">134</a>, <a class="aindexlnk" href="#p193"
- title="to page 193">193</a>, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a>; petition and ‘Cause of
-Complaint’ of one, in 1637, <a class="aindexlnk" href="#p167"
- title="to page 167">167</a>; To His Majesty, <a class="aindexlnk" href="#p178"
- title="to page 178">178</a>, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>,
-<a class="aindexlnk" href="#p329"
- title="to page 329">329</a>, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a>; limited number of, <a class="aindexlnk" href="#p118"
- title="to page 118">118</a>, <a class="aindexlnk" href="#p134"
- title="to page 134">134</a>; Association of, <a class="aindexlnk" href="#p118"
- title="to page 118">118</a>, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a>, <a class="aindexlnk" href="#p352"
- title="to page 352">352</a>,
-<a class="aindexlnk" href="#p353"
- title="to page 353">353</a>, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a></p>
-
-<p class="pndx">Letter Founding of the first printers, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a>, <a class="aindexlnk" href="#p012"
- title="to page 12">12</a>, <a class="aindexlnk" href="#p014"
- title="to page 14">14</a>, <a class="aindexlnk" href="#p018"
- title="to page 18">18</a>; early secrecy of,
-<a class="aindexlnk" href="#p028"
- title="to page 28">28</a>; spread of, <a class="aindexlnk" href="#p028"
- title="to page 28">28</a></p>
-
-<p class="pndx">——— In France: State control of, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a>; Thiboust’s account of, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>; views
-of in <i>Encyclopædia</i>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>; Fournier’s account of, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a></p>
-
-<p class="pndx">——— In Germany: at Frankfort, in 1568, <a class="aindexlnk" href="#p105"
- title="to page 105">105</a></p>
-
-<p class="pndx">——— In Netherlands: Plantin’s Foundry, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a>; James’ account of Dutch
-founders, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>, <a class="aindexlnk" href="#p213"
- title="to page 213">213</a>–7</p>
-
-<p class="pndx">——— In England: came after printing, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>; earliest record of, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>;
-early practice of, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>; curious cut in the Bagford MSS., <a class="aindexlnk" href="#p105"
- title="to page 105">105</a>; divorce
-from printing, <a class="aindexlnk" href="#p164"
- title="to page 164">164</a>; practised by Day, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>; early unlicensed, <a class="aindexlnk" href="#p128"
- title="to page 128">128</a>; the
-London <i>Polyglot</i> a land-mark of, <a class="aindexlnk" href="#p175"
- title="to page 175">175</a>; Moxon’s account of, 1683,
-<a class="aindexlnk" href="#p107"
- title="to page 107">107</a>–13, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a>–6; at Oxford, in 1695, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>; custom of lending casters and
-matrices, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>, <a class="aindexlnk" href="#p216"
- title="to page 216">216</a>; division of trades in, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p184"
- title="to page 184">184</a>; trade jealousies
-in, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p118"
- title="to page 118">118</a>; <i>Universal Magazine</i>, 1750, account in, <a class="aindexlnk" href="#p108"
- title="to page 108">108</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>; secret
-operations in, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p315"
- title="to page 315">315</a>, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>; rules of Thorne’s Foundry, 1806,
-<a class="aindexlnk" href="#p117"
- title="to page 117">117</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>; conservatism of, <a class="aindexlnk" href="#p118"
- title="to page 118">118</a>; competition in, <a class="aindexlnk" href="#p118"
- title="to page 118">118</a>; State-control of,
-<a class="aindexlnk" href="#p123"
- title="to page 123">123</a>–136; liberty of, <a class="aindexlnk" href="#p134"
- title="to page 134">134</a>; final emancipation of, <a class="aindexlnk" href="#p135"
- title="to page 135">135</a></p>
-
-<p class="pndx">Lettres Tourneures, initials, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a></p>
-
-<p class="pndx">Lettres de Forme, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a></p>
-
-<p class="pndx">Lettres de Somme, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a></p>
-
-<p class="pndx">Lettou and Machlinia, types of, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a></p>
-
-<p class="pndx">Leusden, simplified Greek types of, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a></p>
-
-<p class="pndx">Lever-mould, introduced, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a></p>
-
-<p class="pndx"><i>Lexicon Heptaglotton</i>, Lond. 1669; <a class="aindexlnk" href="#p176"
- title="to page 176">176</a></p>
-
-<p class="pndx"><i>Liber de laudibus Mariæ</i>, Cologne? 1478? <a class="aindexlnk" href="#p024"
- title="to page 24">24</a></p>
-
-<p class="pndx"><i>Life of Jewell</i>, Lond. 1573; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a></p>
-
-<p class="pndx">Ligatures in old founts, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>, <a class="aindexlnk" href="#p027"
- title="to page 27">27</a>, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a>, <a class="aindexlnk" href="#p050"
- title="to page 50">50</a>, <a class="aindexlnk" href="#p224"
- title="to page 224">224</a></p>
-
-<p class="pndx"><i>Liguarum XII AIphabeta</i>, Paris, 1538; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx">Linde (A. Van der) on the essence of typography, <a class="aindexlnk" href="#p002"
- title="to page 2">2</a>; on ‘getté en
-molle,’ <a class="aindexlnk" href="#p013"
- title="to page 13">13</a></p>
-
-<p class="pndx">Literæ Florentes, initials, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a></p>
-
-<p class="pndx"><i>Littleton Tenures</i> (Pynson’s), Lond. 1527; <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>; (Redman’s), Lond. <i>n.
-d.</i>, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx">LIVERMORE (<span class="smcap">M<b>ARTIN</b></span>) partner to Henry Caslon II, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; retires
-from Chiswell Street, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a></p>
-
-<p class="pndx"><i>Logique d’Okam</i>, 1488, contractions in, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a></p>
-
-<p class="pndx"><i>London Printer’s Lamentation</i>, 1660: <a class="aindexlnk" href="#p127"
- title="to page 127">127</a>, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p165"
- title="to page 165">165</a></p>
-
-<p class="pndx">Long Primer, an English type-body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Long ſ, disappearance of, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a></p>
-
-<p class="pndx">Louvain, Irish type at, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p188"
- title="to page 188">188</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a></p>
-
-<p class="pndx">Lübeck, leaden matrices at, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a></p>
-
-<p class="pndx">Lucas (M.) printer of the ‘Wicked’ <i>Bible</i>, <a class="aindexlnk" href="#p142"
- title="to page 142">142</a>, <a class="aindexlnk" href="#p143"
- title="to page 143">143</a></p>
-
-<p class="pndx">Luce (L.) Roman type of, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a></p>
-
-<p class="pndx"><i>Lucerna Fidelium</i>, Rome, 1676; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a></p>
-
-<p class="pndx">Luckombe (P.) his <i>History of Printing</i>, Lond. 1770; <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a></p>
-
-<p class="pndx">Ludolf, Ethiopic type used by, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a></p>
-
-<p class="pndx"><i>Ludolph’s Grammatica Russica</i>, Oxon. 1696; <a class="aindexlnk" href="#p071"
- title="to page 71">71</a></p>
-
-<p class="pndx">LYNCH, letter founder, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a></p>
-
-<p class="pndx"><i>Lyndewode Constitutiones</i>, Oxon. <i>n.d.</i>; <a class="aindexlnk" href="#p139"
- title="to page 139">139</a></p>
-
-<p class="pndx">Lyons, early printing at, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>; fifteenth century types at, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>; nicks
-used at, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a></p>
-
-<p class="pndx">Lyons (Israel) Hebrew type cut for, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a></p>
-
-<div class="section">
-<p class="pndx"><i>McCuirtin’s Irish Dictionary</i>, Paris, 1732; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a></p></div>
-
-<p class="pndx">McCreery (J.) prints with Martin’s types, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a>, his poem on <i>The Press</i>,
-<a class="aindexlnk" href="#p277"
- title="to page 277">277</a>, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a></p>
-
-<p class="pndx">Machine for type casting, first, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a></p>
-
-<p class="pndx">Machlinia and Lettou, types of, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a></p>
-
-<p class="pndx">McPHAIL, letter founder, <a class="aindexlnk" href="#p351"
- title="to page 351">351</a></p>
-
-<p class="pndx">Madden (J. P. A.) on 15th Century type, <a class="aindexlnk" href="#p024"
- title="to page 24">24</a>; on the Wiedenbach
-typographers, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a></p>
-
-<p class="pndx">Malabaric matrices:—Fry, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a></p>
-
-<p class="pndx">Mansion (Colard) Caxton’s master, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>, <a class="aindexlnk" href="#p085"
- title="to page 85">85</a>, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, Gros Bâtarde type of,
-<a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a></p>
-
-<p class="pndx">Marcel (J. J.) his <i>Oratio Dominica</i>, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>; his <i>Alphabet Irlandais</i>,
-<a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>; Russian type of, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>; Irish, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a></p>
-
-<p class="pndx"><i>Marprelate Tracts</i>, types of, <a class="aindexlnk" href="#p127"
- title="to page 127">127</a></p>
-
-<p class="pndx">MARR (<span class="smcap">D<b>R.</b></span> J.) acquires part of Glasgow Foundry, <a class="aindexlnk" href="#p266"
- title="to page 266">266</a></p>
-
-<p class="pndx">Martens (Th.) Greek type of, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>; Hebrew, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx">Martin (Robert) agent and manager for Baskerville, <a class="aindexlnk" href="#p281"
- title="to page 281">281</a>, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a>; works
-printed by, <a class="aindexlnk" href="#p281"
- title="to page 281">281</a></p>
-
-<p class="pndx">MARTIN (<span class="smcap">W<b>M.</b></span>) brother to above, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a>; cuts punches in London,
-<a class="aindexlnk" href="#p330"
- title="to page 330">330</a>; starts foundry, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a>; employed by Shakespeare Press, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>–3;
-tributes to, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a>; supplies McCreery, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a>; foundry sold to
-Caslon, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>, <a class="aindexlnk" href="#p334"
- title="to page 334">334</a>; Orientals of, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a></p>
-
-<p class="pndx">——— Matrices:—Greek, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>; Roman and Italic, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a></p>
-
-<p class="pndx">Mascall (W.) proposal to register founders, <a class="aindexlnk" href="#p134"
- title="to page 134">134</a></p>
-
-<p class="pndx">Mathematical signs in type, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a></p>
-
-<p class="pndx">Matrices, early forms of, <a class="aindexlnk" href="#p014"
- title="to page 14">14</a>; of lead, <a class="aindexlnk" href="#p014"
- title="to page 14">14</a>, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; of clay, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>;
-of wood, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a>, <a class="aindexlnk" href="#p121"
- title="to page 121">121</a>; justification of, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a>; struck inverted, <a class="aindexlnk" href="#p204"
- title="to page 204">204</a>; without
-sides, <a class="aindexlnk" href="#p208"
- title="to page 208">208</a>; of steel, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; ‘Sanspareil,’ <a class="aindexlnk" href="#p327"
- title="to page 327">327</a></p>
-
-<p class="pndx">MATTHEWSON, letter founder in Edinburgh, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a></p>
-
-<p class="pndx">Maynyal, Paris printer for Caxton, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a></p>
-
-<p class="pndx">Mediaan, a Dutch type body, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Meerman on sculpto-fusi types, <a class="aindexlnk" href="#p007"
- title="to page 7">7</a></p>
-
-<p class="pndx">Mentelin, Roman type of, <a class="aindexlnk" href="#p042"
- title="to page 42">42</a></p>
-
-<p class="pndx">Mentz, Sack of, <a class="aindexlnk" href="#p028"
- title="to page 28">28</a>; school of typography of, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a></p>
-
-<p class="pndx">Meres (Jno.) son-in-law of T. Grover, <a class="aindexlnk" href="#p205"
- title="to page 205">205</a></p>
-
-<p class="pndx">Metals used in type alloy, <a class="aindexlnk" href="#p019"
- title="to page 19">19</a>, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a>, <a class="aindexlnk" href="#p112"
- title="to page 112">112</a>, <a class="aindexlnk" href="#p121"
- title="to page 121">121</a>; softness of, in early
-types, <a class="aindexlnk" href="#p026"
- title="to page 26">26</a>; Moxon’s directions for mixing, <a class="aindexlnk" href="#p112"
- title="to page 112">112</a></p>
-
-<p class="pndx">Meurs (Dr. Van) on ‘getté en molle,’ <a class="aindexlnk" href="#p013"
- title="to page 13">13</a></p>
-
-<p class="pndx">Mierdman, Greek types of, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a></p>
-
-<p class="pndx">Miller (Peter) American printer, anecdote of, <a class="aindexlnk" href="#p017"
- title="to page 17">17</a></p>
-
-<p class="pndx">MILLER (<span class="smcap">W<b>M.</b></span>) manager for Wilson, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p355"
- title="to page 355">355</a>; starts foundry,
-<a class="aindexlnk" href="#p355"
- title="to page 355">355</a>; his early founts, <a class="aindexlnk" href="#p355"
- title="to page 355">355</a>; employed by the <i>Times</i>, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a>; specimens,
-<a class="aindexlnk" href="#p355"
- title="to page 355">355</a>, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a>; partner and successors of, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">——— Matrices:—Roman and Italic, <a class="aindexlnk" href="#p355"
- title="to page 355">355</a>, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">MILNE &amp; Co., founders, <a class="aindexlnk" href="#p266"
- title="to page 266">266</a></p>
-
-<p class="pndx">Milton (Jno.) <i>Areopagitica</i>, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>; <i>Works</i>, Birmingham, 1758; <a class="aindexlnk" href="#p275"
- title="to page 275">275</a>;
-Lond. 1794–7; <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>; <i>Paradise Lost</i>, Lond. 1796; <a class="aindexlnk" href="#p337"
- title="to page 337">337</a>, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a></p>
-
-<p class="pndx">Minion, an English type body, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a>, <a class="aindexlnk" href="#p210"
- title="to page 210">210</a>; a foreign body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Minsheu’s <i>Ductor in Linguas</i>, Lond. 1617; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a></p>
-
-<p class="pndx">Missal, a German type body, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a></p>
-
-<p class="pndx"><i>Missal</i>, printed at Lyons, 1485; <a class="aindexlnk" href="#p076"
- title="to page 76">76</a></p>
-
-<p class="pndx">MITCHELL (<span class="smcap">R<b>OBT.</b></span>) founder, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>; partition of his foundry, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>,
-<a class="aindexlnk" href="#p221"
- title="to page 221">221</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a></p>
-
-<p class="pndx">——— Matrices; Black, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; Greek, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; Music, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>;
-Roman and Italic, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>; Signs, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a></p>
-
-<p class="pndx">Mitchelson, first American founder, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Mittel, a German type body, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx">Model types for clay or sand moulds, <a class="aindexlnk" href="#p011"
- title="to page 11">11</a>; as punches for lead or clay
-matrices, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a></p>
-
-<p class="pndx">Moderne, Italian name for Black letter, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a></p>
-
-<p class="pndx">Molloy’s <i>Lucerna Fidelium</i>, Rome, 1676; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>: <i>Irish Grammar</i>, Rome,
-1677; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a></p>
-
-<p class="pndx"><i>Monasticon</i>, Lond. 1655; <a class="aindexlnk" href="#p074"
- title="to page 74">74</a></p>
-
-<p class="pndx">MOORE (<span class="smcap">I<b>SAAC</b></span>) manager and partner of Fry and Pine, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>;
-specimens of, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>; inventions of, <a class="aindexlnk" href="#p300"
- title="to page 300">300</a>; retires, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a></p>
-
-<p class="pndx">Moreau, Script type of, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a></p>
-
-<p class="pndx">Mores (Ed. Rowe) account of, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>; possessor of James’ foundry, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>,
-<a class="aindexlnk" href="#p223"
- title="to page 223">223</a>; his <i>Dissertation</i>, <a class="aindexlnk" href="#p222"
- title="to page 222">222</a>, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>; account of early printers by, <a class="aindexlnk" href="#p084"
- title="to page 84">84</a>,
-<a class="aindexlnk" href="#p090"
- title="to page 90">90</a>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a>, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a>; of Miss Elstob, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>; his correspondence as to her Saxon
-matrices, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a>, <a class="aindexlnk" href="#p159"
- title="to page 159">159</a>; his account of James’ foundry, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>; strictures on
-Oxford specimen, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>; allusion to Coster, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>; prejudice against Caslon
-II; <a class="aindexlnk" href="#p244"
- title="to page 244">244</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>; against Baskerville, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>; notice of Fry’s specimen,
-<a class="aindexlnk" href="#p300"
- title="to page 300">300</a>; as a compositor, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a></p>
-
-<p class="pndx">Morton (Dr.) Domesday type cut for, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a></p>
-
-<p class="pndx"><i>Moses Choronensis</i>, Lond. 1736; <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a></p>
-
-<p class="pndx">Motteroz (M.) ideal Roman letter of, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a></p>
-
-<p class="pndx">Mould, <i>see</i> Type-mould</p>
-
-<p class="pndx">MOXON (<span class="smcap">J<b>OS.</b></span>) letter founder, <a class="aindexlnk" href="#p180"
- title="to page 180">180</a>–192; specimen, <a class="aindexlnk" href="#p181"
- title="to page 181">181</a>; a
-printer, <a class="aindexlnk" href="#p182"
- title="to page 182">182</a>; his offices, <a class="aindexlnk" href="#p181"
- title="to page 181">181</a>, <a class="aindexlnk" href="#p182"
- title="to page 182">182</a>; his <i>Regulæ Trium Ordinum</i>, <a class="aindexlnk" href="#p182"
- title="to page 182">182</a>;
-his <i>Mechanick Exercises</i>, <a class="aindexlnk" href="#p107"
- title="to page 107">107</a>–112, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a>–186; his standards of type
-bodies, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a>; employed by Boyle, <a class="aindexlnk" href="#p189"
- title="to page 189">189</a></p>
-
-<p class="pndx">——— Matrices: Irish, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p186"
- title="to page 186">186</a>–191; Roman and Italic, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p181"
- title="to page 181">181</a></p>
-
-<p class="pndx"><i>Musæus, Hero and Leander</i>, Lond. 1797; <a class="aindexlnk" href="#p332"
- title="to page 332">332</a></p>
-
-<p class="pndx">Music; De Worde’s, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>,<a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; early printing abroad, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>; improvements
-in, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>; Grafton’s, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>; Day’s, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; Vautrollier’s, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>; East’s, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>;
-‘new-tyed note’, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>; at Aberdeen, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Walpergen, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p208"
- title="to page 208">208</a>;
-Andrews, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; Grover, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; Mitchell, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; Caslon, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>,
-<a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; Fry, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Fougt, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a>; Branston’s (stereo), <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>;
-Hughes, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a>, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a>; Jackson’s symbols, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a></p>
-
-<p class="pndx">Myllar (A.) Scotch printer, types of, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a></p>
-
-<div class="section">
-<p class="pndx">Negus (S.) list of printers by, <a class="aindexlnk" href="#p346"
- title="to page 346">346</a></p></div>
-
-<p class="pndx"><i>Neilson’s Irish Grammar</i>, Dublin, 1808; <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a></p>
-
-<p class="pndx"><i>New Testament</i> (<i>Greek</i>), Basle, 1516; <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>: Sedan, 1628; <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>: Cambridge,
-1632; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>: Oxford, 1763; <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>: Lond. 1786 (<i>Codex
-Alex.</i>); <a class="aindexlnk" href="#p321"
- title="to page 321">321</a></p>
-
-<p class="pndx">——— (<i>Latin</i>), Lond. 1574; <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a></p>
-
-<p class="pndx">——— (<i>Arabic</i>), Lond. 1727; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a></p>
-
-<p class="pndx">——— (<i>Coptic</i>), Oxon. 1716; <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a></p>
-
-<p class="pndx">——— (<i>Ethiopic</i>), Rome, 1548; <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>: Lond. 1826 (<i>Gospels</i>); <a class="aindexlnk" href="#p069"
- title="to page 69">69</a></p>
-
-<p class="pndx">——— (<i>Irish</i>), Dublin, 1602; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p187"
- title="to page 187">187</a>; Lond. 1681; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p189"
- title="to page 189">189</a></p>
-
-<p class="pndx">——— (<i>Russian</i>), St. Petersburg, 1819–23; <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx">——— (<i>Saxon</i>), Lond. 1571 (Gospels), <a class="aindexlnk" href="#p095"
- title="to page 95">95</a></p>
-
-<p class="pndx">——— (<i>Sclavonic</i>), Ugrovallachia, 1512 (<i>Gospels</i>), <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>: Moscow, 1564
-(<i>Acts and Epistles</i>), <a class="aindexlnk" href="#p071"
- title="to page 71">71</a></p>
-
-<p class="pndx">——— (<i>Syriac</i>), Paris, 1539; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>: Vienna, 1555; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>: Cothon, 1621; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>:
-Hamburg, 1663; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>: Lond. 1816; <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a></p>
-
-<p class="pndx">——— (<i>Tamulic</i>), Tranquebar, 1714–19; <a class="aindexlnk" href="#p234"
- title="to page 234">234</a></p>
-
-<p class="pndx">NICHOLLS (<span class="smcap">A<b>RTHUR</b></span>) letter founder, nominated, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p165"
- title="to page 165">165</a>;
-petition to Archbishop Laud, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p167"
- title="to page 167">167</a>; ‘Cause of Complaint,’ <a class="aindexlnk" href="#p167"
- title="to page 167">167</a></p>
-
-<p class="pndx">NICHOLLS (<span class="smcap">N<b>ICHOLAS</b></span>) son of above, letter founder, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>;
-his father’s account of, <a class="aindexlnk" href="#p168"
- title="to page 168">168</a>; his petition to the king, <a class="aindexlnk" href="#p178"
- title="to page 178">178</a>; his
-specimen, <a class="aindexlnk" href="#p178"
- title="to page 178">178</a>, <a class="aindexlnk" href="#p181"
- title="to page 181">181</a>; letter founder to the king, <a class="aindexlnk" href="#p178"
- title="to page 178">178</a></p>
-
-<p class="pndx">NICHOLS, an Oxford letter founder, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p178"
- title="to page 178">178</a></p>
-
-<p class="pndx">Nichols (Jno.) his <i>Anecdotes of Bowyer</i>, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>; <i>Domesday</i>, facsimile
-of, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a>; assists Figgins, <a class="aindexlnk" href="#p335"
- title="to page 335">335</a>, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a></p>
-
-<p class="pndx">Nicholson (W.) patent for type casting, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a></p>
-
-<p class="pndx">Nicks, origin of, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a>; early substitutes for, <a class="aindexlnk" href="#p022"
- title="to page 22">22</a></p>
-
-<p class="pndx">Nicol (Geo.) founder of the Shakespeare Press, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a>; employs W. Martin,
-<a class="aindexlnk" href="#p330"
- title="to page 330">330</a></p>
-
-<p class="pndx">Nicol (W.) son of above, succeeds to the Shakespeare Press, <a class="aindexlnk" href="#p330"
- title="to page 330">330</a></p>
-
-<p class="pndx"><i>Nomenclator Syriacus</i>, Rome, 1622; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx">Nonpareil, an English type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a>, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a>; a foreign body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Norfolk (Duke of) employs Jackson, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a></p>
-
-<p class="pndx">Norton (J.) printer of the Eton <i>Chrysostom</i>, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a>; distinctions
-conferred on, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">Nutt (Richd.) successor to Grover’s foundry, <a class="aindexlnk" href="#p203"
- title="to page 203">203</a></p>
-
-<div class="section">
-<p class="pndx"><i>O’Brien’s Irish Dictionary</i>, Paris, 1768; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a></p></div>
-
-<p class="pndx">Ogilby (Jno.) Roman letter of, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a></p>
-
-<p class="pndx"><i>O’Hussey’s Irish Catechism</i>, Antwerp, 1611; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>: Rome; 1707, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a></p>
-
-<p class="pndx"><i>O’Kearney’s Irish Catechism</i>, Dublin; 1571; <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p187"
- title="to page 187">187</a></p>
-
-<p class="pndx">Oporinus, Greek type of, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a></p>
-
-<p class="pndx"><i>Opusculum Musices</i>, Bologna, 1487; <a class="aindexlnk" href="#p076"
- title="to page 76">76</a></p>
-
-<p class="pndx"><i>Oratio Dominica</i>, Lond. 1700; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>,
-<a class="aindexlnk" href="#p177"
- title="to page 177">177</a>, <a class="aindexlnk" href="#p190"
- title="to page 190">190</a>: Lond. 1713; <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>, <a class="aindexlnk" href="#p190"
- title="to page 190">190</a>: Amsterdam, 1715; <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>,
-<a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a>: Paris, 1805; <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>: Parma; 1806, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx"><i>Oratio in pace nuperrimâ</i>, Lond. 1518; <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a></p>
-
-<p class="pndx"><i>Oratio trium linguarum</i>, Lond. 1524; <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a></p>
-
-<p class="pndx"><i>Oriental Collections</i>, Lond. 1797–1800; <a class="aindexlnk" href="#p339"
- title="to page 339">339</a></p>
-
-<p class="pndx">Ornamental type, introduced, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a></p>
-
-<p class="pndx">Ornaments, <i>see</i> Type ornaments</p>
-
-<p class="pndx"><i>Orthographia Practica</i>, Saragossa, 1548; <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p>
-
-<p class="pndx">Orwin, Arabic type of, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a></p>
-
-<p class="pndx">Ottley (W. Y.) on early clay moulds, <a class="aindexlnk" href="#p011"
- title="to page 11">11</a></p>
-
-<p class="pndx">Ouseley (Sir W.) Persian type cut for, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a></p>
-
-<p class="pndx"><i>Ovid’s Metamorphoses</i>, Lond. 1819; <a class="aindexlnk" href="#p312"
- title="to page 312">312</a></p>
-
-<p class="pndx">Oxford University Press, first printing at <a class="aindexlnk" href="#p137"
- title="to page 137">137</a>–9; types of the early
-press, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p137"
- title="to page 137">137</a>, <a class="aindexlnk" href="#p138"
- title="to page 138">138</a>; Scolar’s press, <a class="aindexlnk" href="#p139"
- title="to page 139">139</a>; revival of printing, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a>;
-early Greek founts, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>, <a class="aindexlnk" href="#p145"
- title="to page 145">145</a>; lends Greek type to
-Cambridge, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; Laud’s services to, <a class="aindexlnk" href="#p142"
- title="to page 142">142</a>–5, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>; charter in 1632, <a class="aindexlnk" href="#p142"
- title="to page 142">142</a>;
-early Oriental types, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>: Archi-typographus appointed, <a class="aindexlnk" href="#p146"
- title="to page 146">146</a>;
-Fell’s services to, <a class="aindexlnk" href="#p146"
- title="to page 146">146</a>–150; loyalty of, <a class="aindexlnk" href="#p146"
- title="to page 146">146</a>; large purchases in 1672,
-<a class="aindexlnk" href="#p149"
- title="to page 149">149</a>; Junius’ gift to, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>; fine printing at, <a class="aindexlnk" href="#p159"
- title="to page 159">159</a></p>
-
-<p class="pndx">——— Foundry established, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>; state of, in 1665, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>; matrices lost at,
-<a class="aindexlnk" href="#p151"
- title="to page 151">151</a>; removed to Sheldonian Theatre, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>; first specimen, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>; types
-used in the <i>Oratio Dominica</i>, 1700, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>; heights to paper in, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>;
-removed to Clarendon Building, <a class="aindexlnk" href="#p156"
- title="to page 156">156</a>; gift of Elstob Saxon to, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a>, <a class="aindexlnk" href="#p159"
- title="to page 159">159</a>;
-Greek cut for, by Baskerville, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>; specimens, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p162"
- title="to page 162">162</a>;
-types cut for, by Caslon, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>; by Figgins, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>; inventory of,
-in 1794, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>, <a class="aindexlnk" href="#p162"
- title="to page 162">162</a>; relics at, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p159"
- title="to page 159">159</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p162"
- title="to page 162">162</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a></p>
-
-<p class="pndx">——— Matrices: Amharic, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Arabic, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#fg34"
- title="to Figs. 34–38">147</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Armenian,
-<a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Coptic, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#fg34"
- title="to figs. 34–38">147</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p149"
- title="to page 149">149</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Danish,
-<a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>; Ethiopic, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Gothic, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>,
-<a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Greek, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a>, <a class="aindexlnk" href="#p274"
- title="to page 274">274</a>, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>; Hebrew, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#fg34"
- title="to figs. 34–38">147</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>,
-<a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Icelandic, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>; Initials, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Music, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>,
-<a class="aindexlnk" href="#p154"
- title="to page 154">154</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a>; Roman and Italic, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p152"
- title="to page 152">152</a>, <a class="aindexlnk" href="#p179"
- title="to page 179">179</a>; Runic, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>,
-<a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Russian, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Saxon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>;
-Sclavonic, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Swedish, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>; Syriac, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#fg34"
- title="to figs. 34–38">147</a>,
-<a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a></p>
-
-<div class="section">
-<p class="pndx">Pacioli (L.) on the shape of letters, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p></div>
-
-<p class="pndx">Palmer (S.) his note on De Worde, <a class="aindexlnk" href="#p090"
- title="to page 90">90</a>; his printing-house, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>; <i>History
-of Printing</i>, <a class="aindexlnk" href="#p090"
- title="to page 90">90</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a>; projected account of letter-founding, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>;
-discreditable conduct to Caslon, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a></p>
-
-<p class="pndx"><i>Pantographia</i>, Lond. 1799; <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a></p>
-
-<p class="pndx"><i>Paradigmata de IV Linguis</i>, Paris, 1596; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx">Paragon, an English Type body, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a>, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; a foreign body, <a class="aindexlnk" href="#p036"
- title="to page 36">36</a></p>
-
-<p class="pndx">Parker (Archp. M.) patron of Day, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>; Saxon cut for, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>; Roman and
-Italic for, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a></p>
-
-<p class="pndx">Patents relating to letter-founding, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>–122</p>
-
-<p class="pndx">Pater (Paulus) on wooden types, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a></p>
-
-<p class="pndx">Paterson, the auctioneer, notice of, <a class="aindexlnk" href="#p230"
- title="to page 230">230</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a></p>
-
-<p class="pndx"><i>Pauli de Middleburgo Epistola</i>, Louvain, 1488; <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx">Pearl an English type body, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a></p>
-
-<p class="pndx">Peek (Jno.) type-casting machine of, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a></p>
-
-<p class="pndx"><i>Pentateuch</i> (Polyglot) Constantinople, 1546; <a class="aindexlnk" href="#p170"
- title="to page 170">170</a></p>
-
-<p class="pndx">——— (<i>Coptic</i>) Lond. 1731; <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p237"
- title="to page 237">237</a></p>
-
-<p class="pndx">——— (<i>Irish</i>) Lond. 1819 (<i>Gen. and Exod.</i>), <a class="aindexlnk" href="#p312"
- title="to page 312">312</a></p>
-
-<p class="pndx">Perforated wooden types, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a>, <a class="aindexlnk" href="#p005"
- title="to page 5">5</a>; sand-cast types, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>; mould-cast types,
-<a class="aindexlnk" href="#p022"
- title="to page 22">22</a>, <a class="aindexlnk" href="#p025"
- title="to page 25">25</a></p>
-
-<p class="pndx">Perle, a French type body, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a></p>
-
-<p class="pndx">Persian Matrices: Caslon, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Jackson, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Figgins, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx"><i>Persian Moonshee</i>, Lond. 1801; <a class="aindexlnk" href="#p339"
- title="to page 339">339</a></p>
-
-<p class="pndx">Petit, a French and German type body, <a class="aindexlnk" href="#p039"
- title="to page 39">39</a></p>
-
-<p class="pndx">Petit Romain, a French type body, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Petrucci, music type of, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a></p>
-
-<p class="pndx"><i>Phalaridis Epistolæ</i>, Oxon. 1485; <a class="aindexlnk" href="#p137"
- title="to page 137">137</a>, <a class="aindexlnk" href="#p138"
- title="to page 138">138</a></p>
-
-<p class="pndx">Philosophie, a French type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Pica, an English type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx"><i>Picas</i> or <i>Pies</i>, of the early Church, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a>, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a></p>
-
-<p class="pndx">Pickering (W.) minute Greek used by, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; book printed for, in
-Baskerville’s types, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx">PINE (<span class="smcap">W<b>M.</b></span>) Bristol printer and founder; partner with Fry, <a class="aindexlnk" href="#p298"
- title="to page 298">298</a>;
-his inventions, <a class="aindexlnk" href="#p300"
- title="to page 300">300</a>; <i>Bible</i> printed by, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>; retires from founding, <a class="aindexlnk" href="#p302"
- title="to page 302">302</a></p>
-
-<p class="pndx">Plantin (Chr.) his foundry, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a>; supposed silver type of, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a>; Types:
-Greek, <a class="aindexlnk" href="#p059"
- title="to page 59">59</a>; Hebrew, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>; Italic, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>; Lettre de Civilité, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>; Roman, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a>;
-Syriac, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx"><i>Plinii Secundi Epistolæ</i>, Lond. 1790; <a class="aindexlnk" href="#p306"
- title="to page 306">306</a></p>
-
-<p class="pndx">Ploos van Amstel, Dutch founders, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a></p>
-
-<p class="pndx"><i>Polychronicon</i>, Westminster, 1495; <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a></p>
-
-<p class="pndx">Polyglot <i>Bibles</i>, account of, <a class="aindexlnk" href="#p169"
- title="to page 169">169</a></p>
-
-<p class="pndx">——— the London, <i>see Bible</i> (<i>Polyglot</i>) Lond. 1657</p>
-
-<p class="pndx">POLYGLOT FOUNDRY Matrices: Arabic, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Black, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>;
-Ethiopic, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Greek, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>; Hebrew, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>;
-Roman and Italic, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; Syriac, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>,
-<a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a></p>
-
-<p class="pndx">Polytype, supposed early system of, <a class="aindexlnk" href="#p012"
- title="to page 12">12</a>; later attempts at, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a>, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a></p>
-
-<p class="pndx">Porson’s improvement in Greek letter, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a></p>
-
-<p class="pndx">Postel’s <i>Arabic Grammar</i>, Paris 1539–40, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>; Syriac type used by, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx">POUCHEE (L. J.) Letter Founder, starts a foundry, <a class="aindexlnk" href="#p361"
- title="to page 361">361</a>; agent for
-Didot’s ‘polymatype,’ <a class="aindexlnk" href="#p121"
- title="to page 121">121</a>, <a class="aindexlnk" href="#p361"
- title="to page 361">361</a>; specimen, <a class="aindexlnk" href="#p362"
- title="to page 362">362</a>; abandons business, <a class="aindexlnk" href="#p362"
- title="to page 362">362</a>;
-dispersion of his foundry, <a class="aindexlnk" href="#p362"
- title="to page 362">362</a></p>
-
-<p class="pndx"><i>Practical Sermons</i> (Irish) Lond. 1711; <a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p>
-
-<p class="pndx"><i>Press, The, a Poem</i>; Liverpool, 1803; <a class="aindexlnk" href="#p277"
- title="to page 277">277</a>, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a></p>
-
-<p class="pndx">Primer, an English type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a>; derivation of, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx"><i>Primers</i> of the Early Church, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a>, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Printing, invention of, <a class="aindexlnk" href="#p001"
- title="to page 1">1</a>; degeneration of, in England, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p136"
- title="to page 136">136</a>, <a class="aindexlnk" href="#p232"
- title="to page 232">232</a>,
-<a class="aindexlnk" href="#p269"
- title="to page 269">269</a>; comprehensiveness of the early trade of, <a class="aindexlnk" href="#p123"
- title="to page 123">123</a>; statutes relating
-to, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a>–136; rise of fine printing, <a class="aindexlnk" href="#p269"
- title="to page 269">269</a>, <a class="aindexlnk" href="#p272"
- title="to page 272">272</a></p>
-
-<p class="pndx">Printers, their own founders, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a>, <a class="aindexlnk" href="#p102"
- title="to page 102">102</a>, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>, <a class="aindexlnk" href="#p123"
- title="to page 123">123</a>, <a class="aindexlnk" href="#p125"
- title="to page 125">125</a>; number of, in
-London, <a class="aindexlnk" href="#p126"
- title="to page 126">126</a>, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p132"
- title="to page 132">132</a>, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>, <a class="aindexlnk" href="#p134"
- title="to page 134">134</a></p>
-
-<p class="pndx"><i>Prodromus Coptus</i>, Rome, 1636; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a></p>
-
-<p class="pndx">Propaganda Press, specimens, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>; Types of:—Arabic, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>;
-Coptic, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>; Ethiopic, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>; Irish, <a class="aindexlnk" href="#p075"
- title="to page 75">75</a>, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>; Sclavonic, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>;
-Syriac, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx">‘Proscription’ letter, Matrices:—Caslon, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; Cottrell, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>;
-Thorne, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>; Jackson, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a></p>
-
-<p class="pndx"><i>Prosodia Rationalis</i>, Lond. 1779; <a class="aindexlnk" href="#p323"
- title="to page 323">323</a></p>
-
-<p class="pndx">Psalmanazar (G.) anecdotes of Palmer by, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p238"
- title="to page 238">238</a></p>
-
-<p class="pndx"><i>Psalms</i> (<i>Polyglot</i>) Paris, 1513; <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>: Genoa, 1516; <a class="aindexlnk" href="#p063"
- title="to page 63">63</a>, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>:
-Cologne, 1518; <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a></p>
-
-<p class="pndx">——— (<i>Hebrew</i>) Tübingen, 1512, (<i>Septem pœnit.</i>), <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx">——— (<i>Heb. Lat.</i>) Lond. 1736; <a class="aindexlnk" href="#p238"
- title="to page 238">238</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a></p>
-
-<p class="pndx">——— (<i>Greek</i>) Milan, 1481; <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>: Venice, 1486, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>: Lond. 1812 (<i>Cod.
-Alex.</i>) <a class="aindexlnk" href="#p322"
- title="to page 322">322</a></p>
-
-<p class="pndx">——— (<i>Latin</i>) Mentz, 1457; <a class="aindexlnk" href="#p011"
- title="to page 11">11</a>, <a class="aindexlnk" href="#p013"
- title="to page 13">13</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>: Mentz, 1490; <a class="aindexlnk" href="#p076"
- title="to page 76">76</a></p>
-
-<p class="pndx"><i>Psalms</i> (<i>Arabic</i>) Rome, 1614; <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>: Lond. 1725; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a></p>
-
-<p class="pndx">——— (<i>Armenian</i>) Rome, 1565; <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">——— (<i>Ethiopic</i>) Rome, 1513; <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>: Frankfort, 1701; <a class="aindexlnk" href="#p069"
- title="to page 69">69</a></p>
-
-<p class="pndx">——— (<i>Saxon</i>) Lond. 1640; <a class="aindexlnk" href="#p073"
- title="to page 73">73</a></p>
-
-<p class="pndx">——— (<i>Sclavonic</i>) Cracow, 1491; <a class="aindexlnk" href="#p071"
- title="to page 71">71</a></p>
-
-<p class="pndx">——— (<i>Syriac-Lat.</i>) Paris, 1625; <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx">Pump for type-casting machine, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a></p>
-
-<p class="pndx">Punches, probable earliest, <a class="aindexlnk" href="#p014"
- title="to page 14">14</a>; of copper, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a>; of wood, <a class="aindexlnk" href="#p014"
- title="to page 14">14</a>, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>,
-<a class="aindexlnk" href="#p016"
- title="to page 16">16</a>; small value put on, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a>; defects of French, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>;
-Barclay’s patent, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a></p>
-
-<p class="pndx">Punch-cutting, account of, <a class="aindexlnk" href="#p108"
- title="to page 108">108</a>, <a class="aindexlnk" href="#p185"
- title="to page 185">185</a>; a distinct trade in Holland, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>;
-independent artists in England, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a>, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a>, <a class="aindexlnk" href="#p358"
- title="to page 358">358</a>, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; secrecy of <a class="aindexlnk" href="#p117"
- title="to page 117">117</a>,
-<a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p315"
- title="to page 315">315</a>, <a class="aindexlnk" href="#p338"
- title="to page 338">338</a></p>
-
-<p class="pndx">Pynson (R.) servant to Caxton, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; correspondence with Rouen printers,
-<a class="aindexlnk" href="#p091"
- title="to page 91">91</a>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a>, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>; types of, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a>, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>; his Roman, the first in England, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a>,
-<a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a>; his indenture with Horman, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a>; Greek types cast by, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>;
-apology for, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a></p>
-
-<div class="section">
-<p class="pndx">Quatremère, Coptic type used by, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a></p></div>
-
-<p class="pndx">Quintilian’s suggestion of mobile types, <a class="aindexlnk" href="#p003"
- title="to page 3">3</a></p>
-
-<p class="pndx">‘Quousque tandem,’ formula for type specimens, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a></p>
-
-<p class="pndx">Rabbinical Hebrew, Matrices:—Andrews, <a class="aindexlnk" href="#p194"
- title="to page 194">194</a>, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; James, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p227"
- title="to page 227">227</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>;
-Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a></p>
-
-<p class="pndx">Raphelengius, Arabic type of, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p145"
- title="to page 145">145</a></p>
-
-<p class="pndx">Ratdolt, initials of, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a></p>
-
-<p class="pndx"><i>Rasselas</i>, Banbury, 1804; <a class="aindexlnk" href="#p119"
- title="to page 119">119</a></p>
-
-<p class="pndx">Rastell (W.) types of, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx"><i>Rastell’s Grete Abridgement</i>, Lond. 1534; <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx"><i>Readings on Jonah</i>, Lond. 1579; <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a></p>
-
-<p class="pndx">Record Commission, types cut for, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a></p>
-
-<p class="pndx">——— <i>Reports</i>, Lond. 1800–19; <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>: Edinburgh, 1811–16; <a class="aindexlnk" href="#p340"
- title="to page 340">340</a></p>
-
-<p class="pndx">‘Real Character,’ Moxon’s, cut for Wilkins, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a></p>
-
-<p class="pndx"><i>Recuyell of the Histories of Troye</i>, Bruges, 1474; <a class="aindexlnk" href="#p086"
- title="to page 86">86</a></p>
-
-<p class="pndx">Redman (R.) Pynson’s quarrel with, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>; types of, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<p class="pndx">REED (<span class="smcap">C<b>HARLES</b></span>) partner in the Fann Street Foundry, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a></p>
-
-<p class="pndx">Registration of founders, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>, <a class="aindexlnk" href="#p135"
- title="to page 135">135</a></p>
-
-<p class="pndx"><i>Regulæ Trium Ordinum</i>, Lond. 1676; <a class="aindexlnk" href="#p182"
- title="to page 182">182</a>, <a class="aindexlnk" href="#p185"
- title="to page 185">185</a></p>
-
-<p class="pndx"><i>Reliques of Irish Poetry</i>, Dublin, 1789; <a class="aindexlnk" href="#p191"
- title="to page 191">191</a></p>
-
-<p class="pndx">RICHARD (<span class="smcap">M<b>R.</b></span>) partner of Mr. Miller, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">RICHARD (J. M.) son of above, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a>; ‘Brilliant’ type of, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a>; ‘Gem’ type
-of <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">RICHARD (W. M.) brother of above, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">RICHARDS (T.) a letter founder, <a class="aindexlnk" href="#p351"
- title="to page 351">351</a></p>
-
-<p class="pndx">Richardson (Rev. J.) Irish works of, <a class="aindexlnk" href="#p190"
- title="to page 190">190</a></p>
-
-<p class="pndx">Richardson (W.) Engrossing type cut for, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a></p>
-
-<p class="pndx">Ripoli Press, metals used in the foundry of, <a class="aindexlnk" href="#p019"
- title="to page 19">19</a>; matrices bought by, <a class="aindexlnk" href="#p028"
- title="to page 28">28</a></p>
-
-<p class="pndx">Ritchie (Millar), fine printer, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a></p>
-
-<p class="pndx">Robijn, a Dutch type body, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a></p>
-
-<p class="pndx">Roccha (Ang.) on early perforated types, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a>; his <i>Bibliotheca Apostolica
-Vaticana</i>, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">Rolij (or Rolu), Dutch letter cutter, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>, <a class="aindexlnk" href="#p216"
- title="to page 216">216</a></p>
-
-<p class="pndx">Roman letter, origin of, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>; early founts in Italy, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a>; Germany,
-<a class="aindexlnk" href="#p042"
- title="to page 42">42</a>; France, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a>, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>; Netherlands, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a>, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>; Switzerland, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a></p>
-
-<p class="pndx">Roman letter, in England: introduction of, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Pynson’s, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>; <a class="aindexlnk" href="#p092"
- title="to page 92">92</a>; De
-Worde’s, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Redman’s, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a>; Day’s, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>, <a class="aindexlnk" href="#p144"
- title="to page 144">144</a>; Vautrollier’s,
-<a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; degeneration of, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p232"
- title="to page 232">232</a>; called ‘White letter,’ <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; mixed
-with Black, <a class="aindexlnk" href="#p045"
- title="to page 45">45</a>, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a>; followed Dutch models, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>; first <i>Bible</i> in, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>;
-in Scotland, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>; Roycroft’s, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; Ogilby’s, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>; Field’s, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>;
-Moxon’s rules for, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p182"
- title="to page 182">182</a>, <a class="aindexlnk" href="#p184"
- title="to page 184">184</a>, <a class="aindexlnk" href="#p185"
- title="to page 185">185</a>; Caslon’s influence on, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>,
-<a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>; narrow faces, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>; Baskerville’s influence on, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>,
-<a class="aindexlnk" href="#p284"
- title="to page 284">284</a>, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>, <a class="aindexlnk" href="#p333"
- title="to page 333">333</a>; French influence on, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>; Bodoni’s influence
-on, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>; revolutions in, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>, <a class="aindexlnk" href="#p328"
- title="to page 328">328</a>, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>; French
-obligations to, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>; heavy faced, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>; revival of the Old Face, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>;
-Rusher’s improved, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>; Motteroz ideal, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a></p>
-
-<p class="pndx">——— and Italic matrices: Oxford, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p152"
- title="to page 152">152</a>; Polyglot, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; Moxon,
-<a class="aindexlnk" href="#p181"
- title="to page 181">181</a>; Andrews, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Grover, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; Mitchell, <a class="aindexlnk" href="#p206"
- title="to page 206">206</a>; ‘Anon,’ <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; James,
-<a class="aindexlnk" href="#p213"
- title="to page 213">213</a>, <a class="aindexlnk" href="#p214"
- title="to page 214">214</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>; Caslon, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p159"
- title="to page 159">159</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a>, <a class="aindexlnk" href="#p253"
- title="to page 253">253</a>;
-Wilson, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; Baskerville, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>, <a class="aindexlnk" href="#p270"
- title="to page 270">270</a>, <a class="aindexlnk" href="#p271"
- title="to page 271">271</a>,
-<a class="aindexlnk" href="#p275"
- title="to page 275">275</a>, <a class="aindexlnk" href="#p276"
- title="to page 276">276</a>, <a class="aindexlnk" href="#p277"
- title="to page 277">277</a>, <a class="aindexlnk" href="#p279"
- title="to page 279">279</a>, <a class="aindexlnk" href="#p280"
- title="to page 280">280</a>, <a class="aindexlnk" href="#p284"
- title="to page 284">284</a>; Cottrell, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>; Fry,
-<a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p299"
- title="to page 299">299</a>, <a class="aindexlnk" href="#p300"
- title="to page 300">300</a>, <a class="aindexlnk" href="#p301"
- title="to page 301">301</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a>, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a>; Jackson, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>, <a class="aindexlnk" href="#p323"
- title="to page 323">323</a>; Figgins,
-<a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p336"
- title="to page 336">336</a>, <a class="aindexlnk" href="#p337"
- title="to page 337">337</a>, <a class="aindexlnk" href="#p340"
- title="to page 340">340</a>; Thorne, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Thorowgood, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Martin, <a class="aindexlnk" href="#p332"
- title="to page 332">332</a>,
-<a class="aindexlnk" href="#p333"
- title="to page 333">333</a>; Ilive, <a class="aindexlnk" href="#p347"
- title="to page 347">347</a>; Stephenson (S. and C.), <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>; Miller, <a class="aindexlnk" href="#p355"
- title="to page 355">355</a>, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">Rood (Theo.) Oxford printer, <a class="aindexlnk" href="#p137"
- title="to page 137">137</a>, <a class="aindexlnk" href="#p138"
- title="to page 138">138</a></p>
-
-<p class="pndx">Rosart, music type of, <a class="aindexlnk" href="#p078"
- title="to page 78">78</a></p>
-
-<p class="pndx">Rouen, an early type market, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>, <a class="aindexlnk" href="#p093"
- title="to page 93">93</a>, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a></p>
-
-<p class="pndx">Rowe (Sir T.) family of, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a></p>
-
-<p class="pndx">Rowe (Eliz.) married H. Caslon, <a class="aindexlnk" href="#p200"
- title="to page 200">200</a>, <a class="aindexlnk" href="#p250"
- title="to page 250">250</a></p>
-
-<p class="pndx">Roxburghe Club, works printed for, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>, <a class="aindexlnk" href="#p334"
- title="to page 334">334</a></p>
-
-<p class="pndx">Royal Typography in England, proposal for a, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a></p>
-
-<p class="pndx">Roycroft (Thos.) printer of the London <i>Polyglot</i>, <a class="aindexlnk" href="#p171"
- title="to page 171">171</a>, <a class="aindexlnk" href="#p172"
- title="to page 172">172</a>;
-distinction conferred on, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; printing house of, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>; fire of his
-office, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>; epitaph, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; types used by, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>–177</p>
-
-<p class="pndx">Rubbing, a process in founding, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a></p>
-
-<p class="pndx">Ruby, an English type body, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a></p>
-
-<p class="pndx">Runic, early foreign founts of, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; James, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a></p>
-
-<p class="pndx">Running Secretary, a French Cursiv, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a></p>
-
-<p class="pndx">Rusher (Ph.) his improved types, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>; his <i>Rasselas</i>, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a></p>
-
-<p class="pndx">Russian type, chief foreign founts, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>; none in England in 1778; <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx">——— Matrices: Cottrell, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p291"
- title="to page 291">291</a>; Fry, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Thorowgood, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a></p>
-
-<div class="section">
-<p class="pndx">St. Alban’s, printing at, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a>, <a class="aindexlnk" href="#p139"
- title="to page 139">139</a></p></div>
-
-<p class="pndx">St. Augustin, a French type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx"><i>Sallust</i>, Edinburgh, 1739; <a class="aindexlnk" href="#p219"
- title="to page 219">219</a></p>
-
-<p class="pndx">Samaritan type, chief founts abroad, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p154"
- title="to page 154">154</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Polyglot, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>,
-<a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; Andrews, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>; Grover, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>; James, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>, <a class="aindexlnk" href="#p227"
- title="to page 227">227</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>;
-Caslon, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Caslon III, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Fry, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>,
-<a class="aindexlnk" href="#p311"
- title="to page 311">311</a>; Dummers, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p345"
- title="to page 345">345</a></p>
-
-<p class="pndx">——— Punches: James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a> Sand moulds, early use of, <a class="aindexlnk" href="#p016"
- title="to page 16">16</a></p>
-
-<p class="pndx">Sanscrit matrices: Caslon, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Jackson, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a>; Wilkins, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a>, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a></p>
-
-<p class="pndx">‘Sanspareil’ matrices invented, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a></p>
-
-<p class="pndx">Savile (Sir H.) his Eton <i>Chrysostom</i>, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">Saxon, early types of, in England, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>; in Amsterdam, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a></p>
-
-<p class="pndx">——— Matrices: Day, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a>; Oxford, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p150"
- title="to page 150">150</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a>, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Andrews
-(for Elstob), <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p156"
- title="to page 156">156</a>, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a>, <a class="aindexlnk" href="#p158"
- title="to page 158">158</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>, <a class="aindexlnk" href="#p289"
- title="to page 289">289</a>; Grover, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; James, <a class="aindexlnk" href="#p223"
- title="to page 223">223</a>,
-<a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; Caslon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p248"
- title="to page 248">248</a>; Caslon III, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Wilson, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; Fry, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>,
-<a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Figgins, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p>
-
-<p class="pndx">——— Punches: James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a></p>
-
-<p class="pndx">Schoeffer (P.) advertisement of, <a class="aindexlnk" href="#p028"
- title="to page 28">28</a>, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>; his Lettre de Somme, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a>;
-Greek, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a>; Initials, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a></p>
-
-<p class="pndx">Schoepflin on sculpto-fusi types, <a class="aindexlnk" href="#p007"
- title="to page 7">7</a></p>
-
-<p class="pndx"><i>Schola Syriaca</i>, Utrecht, 1672; <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>, <a class="aindexlnk" href="#p174"
- title="to page 174">174</a></p>
-
-<p class="pndx"><i>Scholar’s Instructor</i>, Camb. 1735; <a class="aindexlnk" href="#p247"
- title="to page 247">247</a></p>
-
-<p class="pndx">Sclavonic, various founts abroad, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a></p>
-
-<p class="pndx">——— modern: <i>see</i> Russian</p>
-
-<p class="pndx">Scolar (J.) early Oxford printer, <a class="aindexlnk" href="#p139"
- title="to page 139">139</a></p>
-
-<p class="pndx">Scoloker, Ipswich printer, device of, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a></p>
-
-<p class="pndx">Scotland, first types in, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>; early use of Dutch types in, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, <a class="aindexlnk" href="#p257"
- title="to page 257">257</a>,
-<a class="aindexlnk" href="#p258"
- title="to page 258">258</a>; condition of printing in, before 1720, <a class="aindexlnk" href="#p257"
- title="to page 257">257</a>; no foundry in 1725,
-<a class="aindexlnk" href="#p218"
- title="to page 218">218</a>, <a class="aindexlnk" href="#p257"
- title="to page 257">257</a>, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a></p>
-
-<p class="pndx">Script type, origin of, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p204"
- title="to page 204">204</a>; Dutch, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>; French and German, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>;
-Moreau’s, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>; Didot’s, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>; Dawks’, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a></p>
-
-<p class="pndx">——— Matrices: Caslon, <a class="aindexlnk" href="#p249"
- title="to page 249">249</a>; Cottrell, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a>, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>; Fry, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p312"
- title="to page 312">312</a>;
-Jackson, <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>, <a class="aindexlnk" href="#p317"
- title="to page 317">317</a>; Thorne, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a></p>
-
-<p class="pndx">Scriptorial matrices: Grover, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p204"
- title="to page 204">204</a>; James, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>;
-Fenwick, <a class="aindexlnk" href="#p351"
- title="to page 351">351</a></p>
-
-<p class="pndx">‘Sculpto-fusi’ types, theory of, <a class="aindexlnk" href="#p007"
- title="to page 7">7</a>, <a class="aindexlnk" href="#p008"
- title="to page 8">8</a></p>
-
-<p class="pndx">‘Sculptus,’ use of the word in colophons, <a class="aindexlnk" href="#p007"
- title="to page 7">7</a></p>
-
-<p class="pndx">Secretary type, early, at Paris, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>; Rouen, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a>; Caxton’s, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p086"
- title="to page 86">86</a>,
-<a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p088"
- title="to page 88">88</a>; Berthelet’s, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a>, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>; variations of, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>; disappearance, <a class="aindexlnk" href="#p055"
- title="to page 55">55</a>, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a>,
-<a class="aindexlnk" href="#p095"
- title="to page 95">95</a></p>
-
-<p class="pndx">Secretary matrices: Andrews, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>; Grover, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>; James, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a></p>
-
-<p class="pndx">Sedan, small Roman type at, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>; small Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a></p>
-
-<p class="pndx">Sedan, a French type body, <a class="aindexlnk" href="#p035"
- title="to page 35">35</a></p>
-
-<p class="pndx"><i>Seldeni Opera Omnia</i>, Lond. 1726; <a class="aindexlnk" href="#p236"
- title="to page 236">236</a></p>
-
-<p class="pndx">Semi-Nonpareil, a French type body, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a></p>
-
-<p class="pndx">Set-Court, <i>see</i> Court Hand</p>
-
-<p class="pndx">Setting-up, an operation in founding, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a>, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a></p>
-
-<p class="pndx"><i>Shakespeare</i>, Lond. 1792–1802; <a class="aindexlnk" href="#p330"
- title="to page 330">330</a>, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a></p>
-
-<p class="pndx">Shakespeare Press, established, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>; works issued by, <a class="aindexlnk" href="#p331"
- title="to page 331">331</a>–3</p>
-
-<p class="pndx">Sheldonian Theatre, Oxford, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a></p>
-
-<p class="pndx">Shewell (Mr.) son-in-law of Caslon I, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a></p>
-
-<p class="pndx">Siberch (Jno.) first Cambridge printer, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a>; Greek types of, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a></p>
-
-<p class="pndx">Signs cut by Moxon, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a></p>
-
-<p class="pndx">Silver, alleged use of for type metal, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p106"
- title="to page 106">106</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a></p>
-
-<p class="pndx">SIMMONS, a letter founder, <a class="aindexlnk" href="#p364"
- title="to page 364">364</a></p>
-
-<p class="pndx">SINCLAIR (<span class="smcap">D<b>UNCAN</b></span>) manager for Wilson, <a class="aindexlnk" href="#p266"
- title="to page 266">266</a>; starts a foundry in
-Edinburgh, <a class="aindexlnk" href="#p266"
- title="to page 266">266</a></p>
-
-<p class="pndx">SINCLAIR (<span class="smcap">J<b>NO.</b></span>) son of above; manager for Wilson, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; joins
-his father, <a class="aindexlnk" href="#p266"
- title="to page 266">266</a></p>
-
-<p class="pndx">Skeen (W.) on wooden types, <a class="aindexlnk" href="#p006"
- title="to page 6">6</a>; on sculpto-fusi types, <a class="aindexlnk" href="#p008"
- title="to page 8">8</a>; on ‘getté en
-molle,’ <a class="aindexlnk" href="#p014"
- title="to page 14">14</a></p>
-
-<p class="pndx">SKINNER, a letter founder, <a class="aindexlnk" href="#p345"
- title="to page 345">345</a></p>
-
-<p class="pndx">Small Pica, an English type-body, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p038"
- title="to page 38">38</a></p>
-
-<p class="pndx">Smart (W.) purchased Baskerville remainders, <a class="aindexlnk" href="#p281"
- title="to page 281">281</a></p>
-
-<p class="pndx">Smith (Jno.) his tribute to Caslon, <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>; body-standards given by, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a></p>
-
-<p class="pndx">Smith, (Dr. T.) his tribute to Laud, <a class="aindexlnk" href="#p145"
- title="to page 145">145</a>; note by, on the Alexandrian
-<i>Codex</i>, <a class="aindexlnk" href="#p201"
- title="to page 201">201</a>, <a class="aindexlnk" href="#p203"
- title="to page 203">203</a></p>
-
-<p class="pndx">Smith (T. W.) manager to H. W. Caslon, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a></p>
-
-<p class="pndx">Society for Promoting Christian Knowledge, notice of, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; their press
-at Tranquebar, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; their Arabic <i>Psalms and Testament</i>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a></p>
-
-<p class="pndx">Somme, Lettre de, <a class="aindexlnk" href="#p054"
- title="to page 54">54</a></p>
-
-<p class="pndx">Soncino, Hebrew type at, <a class="aindexlnk" href="#p062"
- title="to page 62">62</a></p>
-
-<p class="pndx"><i>Sophologium</i> (Wiedenbach? 1465?) <a class="aindexlnk" href="#p042"
- title="to page 42">42</a></p>
-
-<p class="pndx">Sower (Chr.) early American founder, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Spaces, early contrivances for, <a class="aindexlnk" href="#p021"
- title="to page 21">21</a></p>
-
-<p class="pndx">Specimens, <i>see</i> Type-specimens</p>
-
-<p class="pndx">Specklin on wooden types, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a></p>
-
-<p class="pndx"><i>Speculum</i>, not printed with wood type, <a class="aindexlnk" href="#p004"
- title="to page 4">4</a>, <a class="aindexlnk" href="#p005"
- title="to page 5">5</a>, <a class="aindexlnk" href="#p006"
- title="to page 6">6</a>; nor with sculpto-fusi
-types, <a class="aindexlnk" href="#p006"
- title="to page 6">6</a>; possible sand-cast types of, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>; curious ‘turn’ in <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>;
-possible clay-cast types of, <a class="aindexlnk" href="#p011"
- title="to page 11">11</a>; quantity of types and contractions in,
-<a class="aindexlnk" href="#p027"
- title="to page 27">27</a></p>
-
-<p class="pndx">Star Chamber; case of Day <i>v.</i> Ward, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a>; decrees affecting printers
-and founders, <a class="aindexlnk" href="#p126"
- title="to page 126">126</a>, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p167"
- title="to page 167">167</a>; abolished, <a class="aindexlnk" href="#p131"
- title="to page 131">131</a></p>
-
-<p class="pndx">Starr (E.) Type-casting machine of, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a></p>
-
-<p class="pndx"><i>Statham’s Abridgments</i>, Rouen, <i>n.d.</i>, <a class="aindexlnk" href="#p092"
- title="to page 92">92</a></p>
-
-<p class="pndx">Stationers, early brotherhood of, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a></p>
-
-<p class="pndx">Stationers’ Company, incorporation of, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a>; powers against printers,
-<a class="aindexlnk" href="#p127"
- title="to page 127">127</a>, <a class="aindexlnk" href="#p128"
- title="to page 128">128</a>, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a>; minutes relating to founders, <a class="aindexlnk" href="#p128"
- title="to page 128">128</a>, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a>, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>, <a class="aindexlnk" href="#p134"
- title="to page 134">134</a>, <a class="aindexlnk" href="#p164"
- title="to page 164">164</a>,
-<a class="aindexlnk" href="#p165"
- title="to page 165">165</a>, <a class="aindexlnk" href="#p193"
- title="to page 193">193</a>; schism in, <a class="aindexlnk" href="#p348"
- title="to page 348">348</a></p>
-
-<p class="pndx">Statutes affecting printers and founders, <a class="aindexlnk" href="#p124"
- title="to page 124">124</a>, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>, <a class="aindexlnk" href="#p131"
- title="to page 131">131</a>, <a class="aindexlnk" href="#p132"
- title="to page 132">132</a>, <a class="aindexlnk" href="#p133"
- title="to page 133">133</a>, <a class="aindexlnk" href="#p134"
- title="to page 134">134</a></p>
-
-<p class="pndx">STEELE (<span class="smcap">I<b>SAAC</b></span>) partner of Edmund Fry, <a class="aindexlnk" href="#p306"
- title="to page 306">306</a>, <a class="aindexlnk" href="#p307"
- title="to page 307">307</a></p>
-
-<p class="pndx">STEPHENSON (S. and C.) London founders, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>; first foundry, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>;
-specimens, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>, <a class="aindexlnk" href="#p354"
- title="to page 354">354</a>; punch-cutter for, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>, <a class="aindexlnk" href="#p359"
- title="to page 359">359</a>; foundry sold, <a class="aindexlnk" href="#p354"
- title="to page 354">354</a></p>
-
-<p class="pndx">——— Matrices:—Roman and Italic, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>; Ornaments, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a></p>
-
-<p class="pndx">STEPHENSON (<span class="smcap">H<b>ENRY</b></span>) Sheffield founder, <a class="aindexlnk" href="#p329"
- title="to page 329">329</a></p>
-
-<p class="pndx">Stereotype, early suggestion of, <a class="aindexlnk" href="#p013"
- title="to page 13">13</a>; first attempts at, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a>; history of
-Ged’s invention, <a class="aindexlnk" href="#p218"
- title="to page 218">218</a>; re-invention by Tilloch, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>; perfected by
-Wilson and Lord Stanhope, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>; Didot’s method of, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a></p>
-
-<p class="pndx">Strong (Mr.) married Mrs. H. Caslon, <a class="aindexlnk" href="#p252"
- title="to page 252">252</a></p>
-
-<p class="pndx">Strype’s note on Day, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; on early types, <a class="aindexlnk" href="#p097"
- title="to page 97">97</a></p>
-
-<p class="pndx">Subiaco, Roman type at, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>; Greek, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a></p>
-
-<p class="pndx">Swedish Matrices:—Oxford, <a class="aindexlnk" href="#p073"
- title="to page 73">73</a>, <a class="aindexlnk" href="#p151"
- title="to page 151">151</a></p>
-
-<p class="pndx">SWINNEY (<span class="smcap">M<b>YLES</b></span>) Birmingham founder, <a class="aindexlnk" href="#p269"
- title="to page 269">269</a>, <a class="aindexlnk" href="#p352"
- title="to page 352">352</a>; specimen of,
-<a class="aindexlnk" href="#p352"
- title="to page 352">352</a>, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a>; poetical tribute to, <a class="aindexlnk" href="#p353"
- title="to page 353">353</a></p>
-
-<p class="pndx">Swynheim and Pannartz, Roman types of, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a>; Greek, <a class="aindexlnk" href="#p057"
- title="to page 57">57</a></p>
-
-<p class="pndx">SYMPSON (<span class="smcap">B<b>ENJ.</b></span>) the first recorded English letter-founder,
-<a class="aindexlnk" href="#p128"
- title="to page 128">128</a>, <a class="aindexlnk" href="#p164"
- title="to page 164">164</a></p>
-
-<p class="pndx">Syriac, chief founts abroad, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>; printed in Hebrew, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>; Usher’s attempt
-to procure types of, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">——— Matrices: Oxford, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#fg34"
- title="to figs. 34–38">147</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p155"
- title="to page 155">155</a>, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p161"
- title="to page 161">161</a>; Polyglot, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p173"
- title="to page 173">173</a>,
-<a class="aindexlnk" href="#p174"
- title="to page 174">174</a>, <a class="aindexlnk" href="#p177"
- title="to page 177">177</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; Andrews, <a class="aindexlnk" href="#p195"
- title="to page 195">195</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; Grover, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; James, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>,
-<a class="aindexlnk" href="#p241"
- title="to page 241">241</a>; Caslon, <a class="aindexlnk" href="#p160"
- title="to page 160">160</a>, <a class="aindexlnk" href="#p240"
- title="to page 240">240</a>, <a class="aindexlnk" href="#p241"
- title="to page 241">241</a>, <a class="aindexlnk" href="#p246"
- title="to page 246">246</a>, <a class="aindexlnk" href="#p247"
- title="to page 247">247</a>, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a>; Fry, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>, <a class="aindexlnk" href="#p308"
- title="to page 308">308</a>, <a class="aindexlnk" href="#p309"
- title="to page 309">309</a>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>,
-<a class="aindexlnk" href="#p342"
- title="to page 342">342</a>; Caslon III, <a class="aindexlnk" href="#p326"
- title="to page 326">326</a>; Figgins <a class="aindexlnk" href="#p068"
- title="to page 68">68</a>, <a class="aindexlnk" href="#p342"
- title="to page 342">342</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a>; Watts, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">——— Punches:—James, <a class="aindexlnk" href="#p229"
- title="to page 229">229</a></p>
-
-<div class="section">
-<p class="pndx">Télegú matrices: Figgins, <a class="aindexlnk" href="#p339"
- title="to page 339">339</a>, <a class="aindexlnk" href="#p343"
- title="to page 343">343</a></p></div>
-
-<p class="pndx">Tertia, a German type body, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx">Teste, a size of type, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a></p>
-
-<p class="pndx">Testo, a Spanish type body, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p037"
- title="to page 37">37</a></p>
-
-<p class="pndx">Thiboust (C. L.) his account of French founding, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p115"
- title="to page 115">115</a>; his
-<i>Typographiæ Excellentia</i>, <a class="aindexlnk" href="#p115"
- title="to page 115">115</a></p>
-
-<p class="pndx">Thomas (Isaiah) his <i>Printing in America</i>, <a class="aindexlnk" href="#p017"
- title="to page 17">17</a>; note on the first
-American founders, <a class="aindexlnk" href="#p350"
- title="to page 350">350</a></p>
-
-<p class="pndx">Thomson (Jas.) his patent for type-casting, <a class="aindexlnk" href="#p012"
- title="to page 12">12</a>, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a></p>
-
-<p class="pndx"><i>Thomson’s Seasons</i>, Parma, 1794: <a class="aindexlnk" href="#p251"
- title="to page 251">251</a>: Lond. 1799: <a class="aindexlnk" href="#p336"
- title="to page 336">336</a></p>
-
-<p class="pndx">THORNE (<span class="smcap">R<b>OBT.</b></span>) apprentice and successor to Cottrell, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>;
-removes to Barbican, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>; and to Fann Street, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>; regulations of his
-foundry, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>; specimens, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>; new fashions of Roman,
-<a class="aindexlnk" href="#p293"
- title="to page 293">293</a>; sale of his foundry, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a></p>
-
-<p class="pndx">——— Matrices: Blacks, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Engrossing, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Flowers, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; German,
-<a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Ornamented, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; ‘Proscription,’ <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>; Roman and Italic, <a class="aindexlnk" href="#p292"
- title="to page 292">292</a>,
-<a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Script, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p294"
- title="to page 294">294</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Shaded, <a class="aindexlnk" href="#p293"
- title="to page 293">293</a>, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a></p>
-
-<p class="pndx">THOROWGOOD (<span class="smcap">W<b>M.</b></span>) purchases Thorne’s foundry, <a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; specimens,
-<a class="aindexlnk" href="#p295"
- title="to page 295">295</a>, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; purchases Dr. Fry’s foundry, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>, <a class="aindexlnk" href="#p313"
- title="to page 313">313</a>; successors, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>;
-standards of type bodies in 1841, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a></p>
-
-<p class="pndx">——— Matrices: German, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Greek, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Hebrew, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a>; Roman and Italic,
-<a class="aindexlnk" href="#p295"
- title="to page 295">295</a>; Russian, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>, <a class="aindexlnk" href="#p296"
- title="to page 296">296</a></p>
-
-<p class="pndx">Tilloch’s patent for stereotype, <a class="aindexlnk" href="#p220"
- title="to page 220">220</a>, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a></p>
-
-<p class="pndx">Timmins (S.) Baskerville relics of, <a class="aindexlnk" href="#p268"
- title="to page 268">268</a>, <a class="aindexlnk" href="#p269"
- title="to page 269">269</a>, <a class="aindexlnk" href="#p271"
- title="to page 271">271</a>, <a class="aindexlnk" href="#p279"
- title="to page 279">279</a></p>
-
-<p class="pndx">Tonson (J.) buys type in Holland, <a class="aindexlnk" href="#p216"
- title="to page 216">216</a>, <a class="aindexlnk" href="#p217"
- title="to page 217">217</a>, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a></p>
-
-<p class="pndx">Tory (Geof.) on shapes of types, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a>; his <i>Champfleury</i>, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>,
-<a class="aindexlnk" href="#p183"
- title="to page 183">183</a>; Greek type of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>; Initials, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>; Roman, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a></p>
-
-<p class="pndx"><i>Tractatus contra Judæos</i>, Esslingen, 1475 <a class="aindexlnk" href="#p062"
- title="to page 62">62</a></p>
-
-<p class="pndx">Trafalgar, an English type body, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a></p>
-
-<p class="pndx">Tranquebar, Scriptures printed at, 1714–19; <a class="aindexlnk" href="#p234"
- title="to page 234">234</a></p>
-
-<p class="pndx"><i>Treatise of Love</i>, Westminster, 1491&#x202f;?; <a class="aindexlnk" href="#p089"
- title="to page 89">89</a></p>
-
-<p class="pndx"><i>Treatyse of Fysshynge with an Angle</i>, Lond. 1827; <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx">Trithemius on the Invention of Printing, <a class="aindexlnk" href="#p007"
- title="to page 7">7</a></p>
-
-<p class="pndx"><i>Turner’s Herbal</i>, Lond. 1551; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a></p>
-
-<p class="pndx">Turner, a dishonest Oxford printer, <a class="aindexlnk" href="#p145"
- title="to page 145">145</a></p>
-
-<p class="pndx">Two-line letters, early mention of, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>; use of, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a></p>
-
-<p class="pndx"><i>Twyn’s Tryal and Condemnation</i>, Lond. 1664; <a class="aindexlnk" href="#p132"
- title="to page 132">132</a></p>
-
-<p class="pndx">Types, early; first suggestion of mobile, <a class="aindexlnk" href="#p003"
- title="to page 3">3</a>; wooden, <a class="aindexlnk" href="#p003"
- title="to page 3">3</a>; perforated,
-<a class="aindexlnk" href="#p004"
- title="to page 4">4</a>; Wetter’s specimen of, <a class="aindexlnk" href="#p005"
- title="to page 5">5</a>; Laborde’s specimen, <a class="aindexlnk" href="#p005"
- title="to page 5">5</a>; ‘sculpto-fusi,’ <a class="aindexlnk" href="#p007"
- title="to page 7">7</a>;
-sand-cast, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>; clay-cast, <a class="aindexlnk" href="#p011"
- title="to page 11">11</a>; irregularities in, <a class="aindexlnk" href="#p018"
- title="to page 18">18</a>; 15th century types
-at Lyons, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>–23; and at Cologne, <a class="aindexlnk" href="#p024"
- title="to page 24">24</a>–26; ligatures and contractions, <a class="aindexlnk" href="#p022"
- title="to page 22">22</a>,
-<a class="aindexlnk" href="#p027"
- title="to page 27">27</a>; quantities of, in founts, <a class="aindexlnk" href="#p026"
- title="to page 26">26</a>, <a class="aindexlnk" href="#p027"
- title="to page 27">27</a>; one size only in a book, <a class="aindexlnk" href="#p126"
- title="to page 126">126</a>;
-markets for, <a class="aindexlnk" href="#p020"
- title="to page 20">20</a>, <a class="aindexlnk" href="#p028"
- title="to page 28">28</a>, <a class="aindexlnk" href="#p090"
- title="to page 90">90</a>, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>; trade in, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>, <a class="aindexlnk" href="#p123"
- title="to page 123">123</a>; early control over,
-<a class="aindexlnk" href="#p126"
- title="to page 126">126</a></p>
-
-<p class="pndx">Type-bodies, origin of, <a class="aindexlnk" href="#p031"
- title="to page 31">31</a>, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>; names of early, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>–40; irregular, <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>;
-standards of <a class="aindexlnk" href="#p033"
- title="to page 33">33</a>, <a class="aindexlnk" href="#p034"
- title="to page 34">34</a>; attempts to regulate, <a class="aindexlnk" href="#p035"
- title="to page 35">35</a>, <a class="aindexlnk" href="#p357"
- title="to page 357">357</a>; names of foreign, <a class="aindexlnk" href="#p035"
- title="to page 35">35</a></p>
-
-<p class="pndx">Type-casting, Moxon’s account of, <a class="aindexlnk" href="#p111"
- title="to page 111">111</a>; machine for, origin of, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a>;
-patents for, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>–22; early machines, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>, <a class="aindexlnk" href="#p356"
- title="to page 356">356</a></p>
-
-<p class="pndx">Type-ornaments, first at Subiaco, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; Aldus’, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; Caxton’s, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; H.
-Estienne’s, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a>; used in combination, <a class="aindexlnk" href="#p082"
- title="to page 82">82</a></p>
-
-<p class="pndx">Type patented, Rusher’s, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>; Caslon III, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a>, <a class="aindexlnk" href="#p327"
- title="to page 327">327</a></p>
-
-<p class="pndx">Type-mould, invention of, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a>; of sand, <a class="aindexlnk" href="#p010"
- title="to page 10">10</a>; clay, <a class="aindexlnk" href="#p011"
- title="to page 11">11</a>, plaster, <a class="aindexlnk" href="#p015"
- title="to page 15">15</a>;
-earliest adjustable, <a class="aindexlnk" href="#p014"
- title="to page 14">14</a>; in four pieces, <a class="aindexlnk" href="#p017"
- title="to page 17">17</a>, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a>; peculiarities of
-early, <a class="aindexlnk" href="#p023"
- title="to page 23">23</a>, <a class="aindexlnk" href="#p105"
- title="to page 105">105</a>; Garamond’s, <a class="aindexlnk" href="#p023"
- title="to page 23">23</a>; Dutch, of brass, <a class="aindexlnk" href="#p113"
- title="to page 113">113</a>, <a class="aindexlnk" href="#p216"
- title="to page 216">216</a>; ‘drags’ in
-<a class="aindexlnk" href="#p026"
- title="to page 26">26</a>; Moxon’s description of, <a class="aindexlnk" href="#p108"
- title="to page 108">108</a>, <a class="aindexlnk" href="#p186"
- title="to page 186">186</a>; abandonment of hand, <a class="aindexlnk" href="#p119"
- title="to page 119">119</a>; lever
-introduced, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a>, <a class="aindexlnk" href="#p186"
- title="to page 186">186</a></p>
-
-<p class="pndx">Type-specimens, English, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>, <a class="aindexlnk" href="#p050"
- title="to page 50">50</a>; Dibdin on, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>; Bodoni’s, <a class="aindexlnk" href="#p050"
- title="to page 50">50</a>, <a class="aindexlnk" href="#p251"
- title="to page 251">251</a></p>
-
-<p class="pndx">Type Street Foundry established, <a class="aindexlnk" href="#p305"
- title="to page 305">305</a></p>
-
-<p class="pndx">‘Typi tornatissimi,’ initials, <a class="aindexlnk" href="#p079"
- title="to page 79">79</a></p>
-
-<p class="pndx"><i>Typographical Antiquities</i>, Lond. 1749; <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>, <a class="aindexlnk" href="#p242"
- title="to page 242">242</a></p>
-
-<p class="pndx"><i>Typographiæ Excellentia, Carmen</i>, Paris, 1718; <a class="aindexlnk" href="#p115"
- title="to page 115">115</a></p>
-
-<p class="pndx">Typography, essence of, <a class="aindexlnk" href="#p002"
- title="to page 2">2</a>; and xylography, <a class="aindexlnk" href="#p002"
- title="to page 2">2</a>; two early schools of, <a class="aindexlnk" href="#p009"
- title="to page 9">9</a>;
-a mathematical science, <a class="aindexlnk" href="#p184"
- title="to page 184">184</a></p>
-
-<div class="section">
-<p class="pndx">Union-Pearl matrices: Grover, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p204"
- title="to page 204">204</a>; James, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a>; Fry, <a class="aindexlnk" href="#p303"
- title="to page 303">303</a></p></div>
-
-<p class="pndx"><i>Universal Magazine</i>, 1750: account of letter-founding in, <a class="aindexlnk" href="#p108"
- title="to page 108">108</a>, <a class="aindexlnk" href="#p116"
- title="to page 116">116</a>,
-<a class="aindexlnk" href="#p243"
- title="to page 243">243</a>, <a class="aindexlnk" href="#p288"
- title="to page 288">288</a>, <a class="aindexlnk" href="#p316"
- title="to page 316">316</a></p>
-
-<p class="pndx"><i>Unterweissung der Messung</i>, Nuremburg, 1525; <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p>
-
-<p class="pndx">Usher’s attempt to procure Oriental types, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a>, <a class="aindexlnk" href="#p141"
- title="to page 141">141</a></p>
-
-<p class="pndx">Van Dijk (Chr.) Dutch letter cutter, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>; Moxon’s praise of, <a class="aindexlnk" href="#p182"
- title="to page 182">182</a>,
-<a class="aindexlnk" href="#p184"
- title="to page 184">184</a>; Roman letter of, <a class="aindexlnk" href="#p040"
- title="to page 40">40</a>, <a class="aindexlnk" href="#p044"
- title="to page 44">44</a>, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>, <a class="aindexlnk" href="#p182"
- title="to page 182">182</a>, <a class="aindexlnk" href="#p184"
- title="to page 184">184</a>; Italic, <a class="aindexlnk" href="#p052"
- title="to page 52">52</a>; Black, <a class="aindexlnk" href="#p047"
- title="to page 47">47</a></p>
-
-<p class="pndx">Vatican Press, Oriental types of, <a class="aindexlnk" href="#p065"
- title="to page 65">65</a>, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a>, <a class="aindexlnk" href="#p069"
- title="to page 69">69</a></p>
-
-<p class="pndx">Vautrollier (Th.) Roman type of, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>; Italic, <a class="aindexlnk" href="#p051"
- title="to page 51">51</a>; Music, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a></p>
-
-<p class="pndx"><i>Virgil</i>, Paris, 1648; <a class="aindexlnk" href="#p056"
- title="to page 56">56</a>: Lond. (Ogilby’s) <a class="aindexlnk" href="#p047"
- title="to page 47">47</a>: Florence, 1741; <a class="aindexlnk" href="#p204"
- title="to page 204">204</a>:
-Birmingham, 1757; <a class="aindexlnk" href="#p272"
- title="to page 272">272</a>, <a class="aindexlnk" href="#p273"
- title="to page 273">273</a></p>
-
-<p class="pndx">Vitré, French printer, Arabic types of, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>; Syriac, <a class="aindexlnk" href="#p067"
- title="to page 67">67</a></p>
-
-<p class="pndx">Vizitelly, Branston and Co.’s cast ornaments, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a></p>
-
-<p class="pndx"><i>Vocabularia</i>, St. Petersburg, 1786–9; <a class="aindexlnk" href="#p072"
- title="to page 72">72</a></p>
-
-<p class="pndx"><i>Vocabulary</i> (<i>Arabic</i>), Granada, 1505; <a class="aindexlnk" href="#p065"
- title="to page 65">65</a></p>
-
-<p class="pndx"><i>Vocabulary, Persian, Arabic and English</i>, Lond. 1785; <a class="aindexlnk" href="#p319"
- title="to page 319">319</a></p>
-
-<p class="pndx"><i>Voltaire, Œuvres de</i>, Kehl, 1784–9; <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx">Voskens (Dirk) Dutch founder, <a class="aindexlnk" href="#p114"
- title="to page 114">114</a>, <a class="aindexlnk" href="#p215"
- title="to page 215">215</a>, <a class="aindexlnk" href="#p216"
- title="to page 216">216</a>, <a class="aindexlnk" href="#p290"
- title="to page 290">290</a></p>
-
-<p class="pndx">——— Matrices of: Coptic, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>; Runic, <a class="aindexlnk" href="#p072"
- title="to page 72">72</a>; Russian, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a>; Samaritan, <a class="aindexlnk" href="#p070"
- title="to page 70">70</a>;
-Saxon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>; Sclavonic, <a class="aindexlnk" href="#p071"
- title="to page 71">71</a></p>
-
-<div class="section">
-<p class="pndx">Wages in Caslon’s foundry, dispute concerning in, 1757; <a class="aindexlnk" href="#p243"
- title="to page 243">243</a>: in
-Thorne’s foundry, 1806; <a class="aindexlnk" href="#p118"
- title="to page 118">118</a></p></div>
-
-<p class="pndx">Waldegrave (R.) a disorderly printer, <a class="aindexlnk" href="#p127"
- title="to page 127">127</a></p>
-
-<p class="pndx">WALPERGEN (P.) Oxford founder, <a class="aindexlnk" href="#p149"
- title="to page 149">149</a>, <a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; book printed by, at Batavia,
-<a class="aindexlnk" href="#p207"
- title="to page 207">207</a>; his Music type, <a class="aindexlnk" href="#p077"
- title="to page 77">77</a>, <a class="aindexlnk" href="#p148"
- title="to page 148">148</a>, <a class="aindexlnk" href="#p153"
- title="to page 153">153</a>, <a class="aindexlnk" href="#p162"
- title="to page 162">162</a>, <a class="aindexlnk" href="#p208"
- title="to page 208">208</a>, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a>; inventory of his
-chattels, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a>; small value of his punches, <a class="aindexlnk" href="#p209"
- title="to page 209">209</a></p>
-
-<p class="pndx">Walpole (Horace) Baskerville’s letter to, <a class="aindexlnk" href="#p278"
- title="to page 278">278</a></p>
-
-<p class="pndx"><i>Walsingham, Historia Brevis</i>, Lond. 1574; <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>, <a class="aindexlnk" href="#p096"
- title="to page 96">96</a></p>
-
-<p class="pndx">Walton (Brian) editor of the London <i>Polyglot</i>, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>; his Proposals and
-Specimen, <a class="aindexlnk" href="#p170"
- title="to page 170">170</a>; his <i>Introductio ad lectionem</i>, <a class="aindexlnk" href="#p172"
- title="to page 172">172</a>; timeservice of,
-<a class="aindexlnk" href="#p175"
- title="to page 175">175</a>; rewards to, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>; note by, on the Alexandrian <i>Codex</i> facsimile,
-<a class="aindexlnk" href="#p201"
- title="to page 201">201</a></p>
-
-<p class="pndx">Wanley (Humphrey) designs Saxon letter for Miss Elstob, <a class="aindexlnk" href="#p157"
- title="to page 157">157</a></p>
-
-<p class="pndx">Ward (Roger) a disorderly printer, <a class="aindexlnk" href="#p125"
- title="to page 125">125</a>, <a class="aindexlnk" href="#p127"
- title="to page 127">127</a></p>
-
-<p class="pndx">Watson (Jas.) Scotch printer, <a class="aindexlnk" href="#p257"
- title="to page 257">257</a>; his <i>History of Printing</i>, <a class="aindexlnk" href="#p257"
- title="to page 257">257</a>;
-Specimen, <a class="aindexlnk" href="#p046"
- title="to page 46">46</a>, <a class="aindexlnk" href="#p049"
- title="to page 49">49</a>, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a>; his Dutch Initials, <a class="aindexlnk" href="#p080"
- title="to page 80">80</a>, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a></p>
-
-<p class="pndx">WATTS (<span class="smcap">R<b>ICHARD</b></span>) Cambridge University printer, <a class="aindexlnk" href="#p362"
- title="to page 362">362</a>; printer
-and founder in London, <a class="aindexlnk" href="#p362"
- title="to page 362">362</a>; Oriental types of, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a>; specimen by his
-successors, <a class="aindexlnk" href="#p363"
- title="to page 363">363</a></p>
-
-<p class="pndx">——— Matrices: Syriac, <a class="aindexlnk" href="#p068"
- title="to page 68">68</a></p>
-
-<p class="pndx">Watts (Jno.) printer, assists Caslon, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>, <a class="aindexlnk" href="#p234"
- title="to page 234">234</a>; Franklin his
-apprentice, <a class="aindexlnk" href="#p233"
- title="to page 233">233</a>, <a class="aindexlnk" href="#p235"
- title="to page 235">235</a></p>
-
-<p class="pndx">Wechels, Frankfort printers, Greek types of, <a class="aindexlnk" href="#p058"
- title="to page 58">58</a>, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p140"
- title="to page 140">140</a>; Hebrew, <a class="aindexlnk" href="#p063"
- title="to page 63">63</a></p>
-
-<p class="pndx">Wertheimer (Jno.) Hebrew type cut for, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a></p>
-
-<p class="pndx">Weston, <i>see</i> Wetstein</p>
-
-<p class="pndx">Westfalia (Jno. de) Roman type of, <a class="aindexlnk" href="#p043"
- title="to page 43">43</a></p>
-
-<p class="pndx">Wetstein, Dutch founders, <a class="aindexlnk" href="#p346"
- title="to page 346">346</a>, <a class="aindexlnk" href="#p349"
- title="to page 349">349</a>; Greek types of, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a></p>
-
-<p class="pndx">Wetter’s unhistorical wooden types, <a class="aindexlnk" href="#p005"
- title="to page 5">5</a></p>
-
-<p class="pndx">White (Elihu) type-casting machine of, <a class="aindexlnk" href="#p120"
- title="to page 120">120</a></p>
-
-<p class="pndx">White (Thos.) printer, uses Baskerville’s types, <a class="aindexlnk" href="#p286"
- title="to page 286">286</a></p>
-
-<p class="pndx">‘White letter,’ a name for Roman, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a></p>
-
-<p class="pndx">Whittaker (Jno.) Caxtonian restorations by, <a class="aindexlnk" href="#p344"
- title="to page 344">344</a></p>
-
-<p class="pndx">Whittingham (C.) printer, revives the Old Style Roman, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a></p>
-
-<p class="pndx"><i>Whitintoni Grammatices</i>, Lond. 1519; <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>: <i>De heteroclytis
-nominibus</i>, Lond. 1523; <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>: <i>Lucubrationes</i>, Lond. 1527; <a class="aindexlnk" href="#p091"
- title="to page 91">91</a></p>
-
-<p class="pndx">Wiedenbach, typographical school at, <a class="aindexlnk" href="#p041"
- title="to page 41">41</a>, <a class="aindexlnk" href="#p042"
- title="to page 42">42</a>; Roman type at, <a class="aindexlnk" href="#p042"
- title="to page 42">42</a></p>
-
-<p class="pndx">Wilkins (Dr. C.) Librarian to East India Company, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a>; typographical
-achievements of, <a class="aindexlnk" href="#p318"
- title="to page 318">318</a>, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a>; Bengal type cut by, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a>; Deva Nagari cut by,
-<a class="aindexlnk" href="#p319"
- title="to page 319">319</a>, <a class="aindexlnk" href="#p320"
- title="to page 320">320</a>; fire at his office, <a class="aindexlnk" href="#p319"
- title="to page 319">319</a>; Sanscrit cut for, <a class="aindexlnk" href="#p254"
- title="to page 254">254</a></p>
-
-<p class="pndx">Wilkins (Dr. D.) notice of, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a>; Coptic works of, <a class="aindexlnk" href="#p236"
- title="to page 236">236</a></p>
-
-<p class="pndx">Wilkins (Dr. Jno.) Philosophical or Real character of, <a class="aindexlnk" href="#p191"
- title="to page 191">191</a>, <a class="aindexlnk" href="#p196"
- title="to page 196">196</a>, <a class="aindexlnk" href="#p310"
- title="to page 310">310</a></p>
-
-<p class="pndx">WILSON (<span class="smcap">A<b>LEX.</b></span>) the First; begins as a doctor’s assistant in
-London, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a>; patronised by Lord Isla, <a class="aindexlnk" href="#p258"
- title="to page 258">258</a>; starts a foundry, <a class="aindexlnk" href="#p259"
- title="to page 259">259</a>;
-his partner Baine, <a class="aindexlnk" href="#p259"
- title="to page 259">259</a>, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>; attempts new method of founding, <a class="aindexlnk" href="#p259"
- title="to page 259">259</a>;
-earliest founts of, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>; settles at St. Andrew’s, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>; Irish and
-foreign business, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; removes to Camlachie, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>; casts types for
-the Foulis, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>; the Glasgow <i>Homer</i> Greek type, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>; retires, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>;
-tributes to, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>; specimens, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>; foundry removed to Glasgow, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a></p>
-
-<p class="pndx">——— Matrices: Black, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; Greek, <a class="aindexlnk" href="#p061"
- title="to page 61">61</a>, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>, <a class="aindexlnk" href="#p262"
- title="to page 262">262</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; Hebrew, <a class="aindexlnk" href="#p261"
- title="to page 261">261</a>,
-<a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; Roman and Italic, <a class="aindexlnk" href="#p048"
- title="to page 48">48</a>, <a class="aindexlnk" href="#p260"
- title="to page 260">260</a>, <a class="aindexlnk" href="#p263"
- title="to page 263">263</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; Saxon, <a class="aindexlnk" href="#p074"
- title="to page 74">74</a>, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a></p>
-
-<p class="pndx">WILSON (<span class="smcap">A<b>NDREW</b></span>) son of above; assists and succeeds his father,
-<a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; state of the foundry in 1825; <a class="aindexlnk" href="#p264"
- title="to page 264">264</a></p>
-
-<p class="pndx">——— Matrices: Greek, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; Roman, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, <a class="aindexlnk" href="#p355"
- title="to page 355">355</a></p>
-
-<p class="pndx">WILSON (<span class="smcap">A<b>LEX.</b></span>) the Second, son of above, joins his father,
-<a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; succeeds to the foundry, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a>; establishes branches at Edinburgh,
-<a class="aindexlnk" href="#p264"
- title="to page 264">264</a>, London, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>, and Two Waters, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; type casting machine of, <a class="aindexlnk" href="#p122"
- title="to page 122">122</a>,
-<a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; fails in business, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; sells foundry, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a>; joins Mr. Caslon, <a class="aindexlnk" href="#p255"
- title="to page 255">255</a>,
-<a class="aindexlnk" href="#p265"
- title="to page 265">265</a></p>
-
-<p class="pndx">WILSON (<span class="smcap">P<b>ATRICK</b></span>) brother and partner of above, <a class="aindexlnk" href="#p264"
- title="to page 264">264</a></p>
-
-<p class="pndx">Wilson Foundry, type standards in 1841; <a class="aindexlnk" href="#p034"
- title="to page 34">34</a>: division and dispersion of,
-<a class="aindexlnk" href="#p255"
- title="to page 255">255</a>, <a class="aindexlnk" href="#p265"
- title="to page 265">265</a></p>
-
-<p class="pndx">Woide (Dr.) his facsimile of the Alexandrian <i>Codex</i>, <a class="aindexlnk" href="#p311"
- title="to page 311">311</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a></p>
-
-<p class="pndx">Wolfe (Jno.) disorderly City printer, <a class="aindexlnk" href="#p125"
- title="to page 125">125</a></p>
-
-<p class="pndx">Wolfe (Rey.) types of, <a class="aindexlnk" href="#p095"
- title="to page 95">95</a>; Greek of, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a></p>
-
-<p class="pndx">Wolsey (Cardinal) his influence on printing, <a class="aindexlnk" href="#p139"
- title="to page 139">139</a></p>
-
-<p class="pndx">Women, employment of, in foundries, <a class="aindexlnk" href="#p117"
- title="to page 117">117</a></p>
-
-<p class="pndx">WOOD AND SHARWOODS, founders, successors to Austin, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a>; Cast Ornaments
-of, <a class="aindexlnk" href="#p360"
- title="to page 360">360</a></p>
-
-<p class="pndx">Wooden types, the legend of, <a class="aindexlnk" href="#p003"
- title="to page 3">3</a>–6; Specimens of at Oxford, <a class="aindexlnk" href="#p006"
- title="to page 6">6</a>; used in
-England, <a class="aindexlnk" href="#p129"
- title="to page 129">129</a></p>
-
-<p class="pndx">Worde (Wynkyn de) account of, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a>–91; used Caxton’s types, <a class="aindexlnk" href="#p087"
- title="to page 87">87</a>, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a>; and
-Faques’, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a>; bought type abroad, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>; employed a Paris printer, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; his
-own letter founder, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a>, <a class="aindexlnk" href="#p090"
- title="to page 90">90</a>, <a class="aindexlnk" href="#p103"
- title="to page 103">103</a>; types of: Arabic, <a class="aindexlnk" href="#p066"
- title="to page 66">66</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Black, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>,
-<a class="aindexlnk" href="#p089"
- title="to page 89">89</a>, <a class="aindexlnk" href="#p090"
- title="to page 90">90</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>, <a class="aindexlnk" href="#p197"
- title="to page 197">197</a>, <a class="aindexlnk" href="#p199"
- title="to page 199">199</a>, <a class="aindexlnk" href="#p225"
- title="to page 225">225</a>, <a class="aindexlnk" href="#p239"
- title="to page 239">239</a>; Greek, <a class="aindexlnk" href="#p060"
- title="to page 60">60</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Hebrew, <a class="aindexlnk" href="#p064"
- title="to page 64">64</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Italic,
-<a class="aindexlnk" href="#p051"
- title="to page 51">51</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Music, <a class="aindexlnk" href="#p076"
- title="to page 76">76</a>, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a>; Roman, <a class="aindexlnk" href="#p091"
- title="to page 91">91</a></p>
-
-<p class="pndx">WRIGHT (<span class="smcap">T<b>HOS.</b></span>) Star Chamber Founder, <a class="aindexlnk" href="#p165"
- title="to page 165">165</a>, <a class="aindexlnk" href="#p166"
- title="to page 166">166</a>; nominated, <a class="aindexlnk" href="#p130"
- title="to page 130">130</a>,
-<a class="aindexlnk" href="#p165"
- title="to page 165">165</a></p>
-
-<p class="pndx">Wyer (R.) types of, <a class="aindexlnk" href="#p094"
- title="to page 94">94</a></p>
-
-<div class="section">
-<p class="pndx"><i>Xenophon’s Anabasis</i>, Glasgow, 1783; <a class="aindexlnk" href="#p220"
- title="to page 220">220</a></p></div>
-
-<p class="pndx">Xylography, a distinct art from Typography, <a class="aindexlnk" href="#p006"
- title="to page 6">6</a>; extinction of, <a class="aindexlnk" href="#p002"
- title="to page 2">2</a></p>
-
-<p class="pndx">Ycair on the shapes of letters, <a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>; his <i>Orthographia Practica</i>,
-<a class="aindexlnk" href="#p032"
- title="to page 32">32</a>, <a class="aindexlnk" href="#p053"
- title="to page 53">53</a>, <a class="aindexlnk" href="#p183"
- title="to page 183">183</a></p>
-
-<p class="pndx">York, early printing at, <a class="aindexlnk" href="#p089"
- title="to page 89">89</a>, <a class="aindexlnk" href="#p139"
- title="to page 139">139</a></p>
-
-<p class="pndx">Young (Patrick) Royal Librarian, <a class="aindexlnk" href="#p143"
- title="to page 143">143</a>, <a class="aindexlnk" href="#p167"
- title="to page 167">167</a>; his <i>Catena on Job</i>, <a class="aindexlnk" href="#p098"
- title="to page 98">98</a>,
-<a class="aindexlnk" href="#p144"
- title="to page 144">144</a>, <a class="aindexlnk" href="#p176"
- title="to page 176">176</a>, <a class="aindexlnk" href="#p198"
- title="to page 198">198</a>, <a class="aindexlnk" href="#p201"
- title="to page 201">201</a>, <a class="aindexlnk" href="#p228"
- title="to page 228">228</a>; his facsimile from the Alexandrian <i>Codex</i>,
-<a class="aindexlnk" href="#p201"
- title="to page 201">201</a>, <a class="aindexlnk" href="#p321"
- title="to page 321">321</a></p>
-
-<p class="pndx">Zainer (Gunther) Roman type of, <a class="aindexlnk" href="#p042"
- title="to page 42">42</a></p>
-
-<p class="pndx">Zell (Ulric) his narrative of the invention of printing, 1</p>
-
-<div class="dctr09"><img src="images/i379.png"
- width="512" height="212" alt="" /></div>
-
-<div class="chapter">
-<h2 class="h2herein" id="idents" title="NOTES">NOTES</h2></div>
-
-<h3 class="fsz7">INTRODUCTORY CHAPTER<br />
-THE TYPES AND TYPE FOUNDING OF THE FIRST PRINTERS</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch1" id="fn1">1</a>
-<i>The Haarlem Legend of the Invention of Printing by
-Lourens Janszoon Coster, critically examined.</i> From the Dutch by J.
-H. Hessels, with an introduction and classified list of the Costerian
-Incunabula. London, 1871. 8vo.</p></div>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch2" id="fn2">2</a>
-Xylography did not become extinct for more than half a
-century after the invention of Typography. The last block book known
-was printed in Venice in 1510.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch3" id="fn3">3</a>
-“Hic ego non mirer esse quemquam qui sibi persuadeat
-.&#160;.&#160;.&#160;. mundum effici .&#160;.&#160;.&#160;. ex concursione fortuitâ! Hoc qui existimet
-fieri potuisse, non intelligo cur non idem putet si innumerabiles
-unius et viginti formæ litterarum, vel aureæ, vel qualeslibet, aliquò
-conjiciantur, posse ex his in terram excussis, annales Ennii, ut
-deinceps legi possint, effici” (<i>De Nat. Deor.</i>, lib. ii). Cicero was
-not the only ancient writer who entertained the idea of mobile letters.
-Quintilian suggests the use of ivory letters for teaching children
-to read while playing: “Eburneas litterarum formas in ludum offere”
-(<i>Inst. Orat.</i>, i, cap. 1); and Jerome, writing to Læta, propounds the
-same idea: “Fiant ei (Paulæ) litteræ vel buxeæ vel eburneæ, et suis
-nominibus appellentur. Ludat in eis ut et lusus ipse eruditio fiat.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch4" id="fn4">4</a>
-<i>In Commentatione de ratione communi omnium linguarum et
-literarum.</i> Tiguri, 1548, p. 80.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch5" id="fn5">5</a>
-In <i>Chronico Argentoratensi</i>, <i>m.s.</i> ed. Jo. Schilterus,
-p. 442. “Ich habe die erste press, auch die buchstaben gesehen, waren
-von holtz geschnitten, auch gäntze wörter und syllaben, hatten löchle,
-und fasst man an ein schnur nacheinander mit einer nadel, zoge sie
-darnach den zeilen in die länge,” etc.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch6" id="fn6">6</a>
-<i>De Bibliothecâ Vaticanâ.</i> Romæ, 1591, p. 412.
-“Characteres enim a primis illis inventoribus non ita eleganter et
-expedite, ut a nostris fieri solet, sed filo in litterarum foramen
-immisso connectebantur, sicut Venetiis id genus typos me vidisse
-memini.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch7" id="fn7">7</a>
-<i>De Germaniæ Miraculo</i>, etc. Lipsiæ, 1710, p. 10.
-“&#160;.&#160;.&#160;.&#160;. ligneos typos, ex buxi frutice, perforatos in medio, ut zonâ
-colligari unâ jungique commode possint, ex Fausti officina reliquos,
-Moguntiæ aliquando me conspexisse memini.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch8" id="fn8">8</a>
-<i>Essai sur les Monumens Typographiques de Jean Gutenburg.</i>
-Mayence, an 10, 1802, p. 39.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch9" id="fn9">9</a>
-<i>Débuts de l’ Imprimerie à Strasbourg.</i> Paris, 1840, p.
-72.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch10" id="fn10">10</a>
-<i>Erfindung der Buchdruckerkunst.</i> Mainz, 1836. Album, tab.
-ii.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch11" id="fn11">11</a>
-The history of these “fatal, unhistorical wooden types”
-is worth recording for the warning of the over-credulous typographical
-antiquary. Wetter, writing his book in 1836, and desirous to illustrate
-the feasibility of the theory, “spent,” so Dr. Van der Linde writes,
-“really the amount of ten shillings on having a number of letters made
-of the wood of a pear-tree, only to please Trithemius, Bergellanus,
-and Faust of Aschaffenburg. .&#160;.&#160;. His letters, although tied with
-string, did not remain in the line, but made naughty caprioles. The
-supposition—that by these few dancing lines the possibility is
-demonstrated of printing with 40,000 wooden letters, necessary to
-the printing of a quarternion, a whole folio book—is dreadfully
-silly. The demonstrating facsimile demonstrates already the contrary.
-Wetter’s letters not only declined to have themselves regularly
-printed, but they also retained their pear-tree-wood-like impatience
-afterwards.” The specimen of these types may be seen in the <i>Album</i>
-of plates accompanying Wetter’s work, where they occupy the first
-place, the matter chosen being the first few verses of the Bible,
-occupying nineteen lines, and the type being about two-line English in
-body. M. Wetter stated in his work that he had deposited the original
-types in the Town Library of Mentz, where they might be inspected by
-anyone wishing to do so. From this repository they appear ultimately
-to have returned to the hands of M. Wetter’s printer. M. Bernard,
-passing through Mentz in 1850, asked M. Wetter for a sight of them,
-and was conducted to the printing office for that purpose, when it was
-discovered that they had been stolen; whereupon M. Bernard remarks,
-prophetically, “Peutêtre un jour quelque naïf Allemand, les trouvant
-parmi les reliques du voleur, nous les donnera pour les caractères de
-Gutenberg. Voilà comment s’établissent trop souvent les traditions.”
-This prediction, with the one exception of the nationality of the
-victim, was literally fulfilled when an English clergyman, some years
-afterwards, discovered these identical types in the shop of
-a curiosity-dealer at Mayence, and purchased them as
-apparently veritable relics of the infancy of printing. After being
-offered to the authorities at the British Museum and declined, they
-were presented in 1869 to the Bodleian Library at Oxford, where they
-remain to this day, treasured in a box, and accompanied by a learned
-memorandum setting forth the circumstances of their discovery, and
-citing the testimony of Roccha and other writers as to the existence
-and use of perforated types by the early printers. The lines (which we
-have inspected) remain threaded and locked in forme exactly as they
-appear in Wetter’s specimen. It is due to the present authorities of
-the Bodleian to say that they preserve these precious “relics,” without
-prejudice, as curiosities merely, with no insistence on their historic
-pretensions.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch12" id="fn12">12</a>
-Van der Linde, <i>Haarlem Legend</i>. Lond., p. 72.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch13" id="fn13">13</a>
-Skeen, in his <i>Early Typography</i>, Colombo, 1872, takes
-up the challenge thrown down by Dr. Van der Linde on the strength
-of Enschedé’s opinion, and shows a specimen of three letters cut in
-boxwood, pica size, one of which he exhibits again at the close of
-the book after 1,500 impressions. But the value of Skeen’s arguments
-and experiments is destroyed when he sums up with this absurd dictum:
-“Three letters are as good as 3,000 or 30,000 or 300,000 to demonstrate
-the fact that words are and can be, and that therefore pages and whole
-books may be (and therefore also that they may have been) printed from
-such separable wooden types.”—P. 424.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch14" id="fn14">14</a>
-<i>Annales Hirsaugienses</i>, ii, p. 421: “Post hæc inventis
-successerunt subtiliora, inveneruntque modum fundendi formas omnium
-Latini Alphabeti literarum quas ipsi matrices nominabant; ex quibus
-rursum æneos sive stanneos characteres fundebant, ad omnem pressuram
-sufficientes, quos prius manibus sculpebant.” Trithemius’ statement, as
-every student of typographical history is aware, has been made to fit
-every theory that has been propounded, but it is doubtful whether any
-other writer has stretched it quite as severely as Meerman in the above
-rendering of these few Latin lines.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch15" id="fn15">15</a>
-<i>Origines Typographicæ</i>, Gerardo Meerman auctore. Hagæ
-Com., 1765. Append., p. 47.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch16" id="fn16">16</a>
-The constant recurrence in more modern typographical
-history of the expression “to cut matrices,” meaning of course to
-cut the punches necessary to form the matrices, bears out the same
-conclusion.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch17" id="fn17">17</a>
-<i>Origine et Débuts de l’Imprimerie en Europe.</i> Paris,
-1853, 8vo, i, 38.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch18" id="fn18">18</a>
-<i>Life and Typography of William Caxton.</i> London, 1861–3, 2
-vols, 4to, ii, xxiv.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch19" id="fn19">19</a>
-<i>The Invention of Printing.</i> New York, 1876. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch20" id="fn20">20</a>
-<i>Origine de l’Imprimerie</i>, i, 40.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch21" id="fn21">21</a>
-Mr. Blades points out that there are no overhanging
-letters in the specimen. The necessity for such letters would be, we
-imagine, entirely obviated by the numerous combinations with which the
-type of the printers of the school abounded. The body is almost always
-large enough to carry ascending and descending sorts, and in width,
-a sort which would naturally overhang, is invariably covered by its
-following letter cast on the same piece.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch22" id="fn22">22</a>
-It is well known that until comparatively recently the
-large “proscription letters” of our foundries, from three-line pica and
-upwards, were cast in sand. The practice died out at the close of last
-century.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch23" id="fn23">23</a>
-<i>An Enquiry Concerning the Invention of Printing.</i> London,
-1863, 4to, p. 265.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch24"
-id="fn24">24</a> In a recent paper, read by the late Mr.
-Bradshaw of Cambridge, before the Library Association, he
-points out a curious shrinkage both as to face and body
-in the re-casting of the types of the Mentz <i>Psalter</i>,
-necessary to complete the printing of that work. The
-shrinking properties of clay and plaster are well known,
-and, assuming the new type to have been cast in moulds of
-one of these substances formed upon a set of the original
-types, the uniform contraction of body and face might be
-accounted for. If, on the other hand, we hold that the
-types of this grand work were the product of the finished
-school of typographers, the probability is that the new
-matrices (of the face of the letter only) were formed in
-clay, as suggested at
-p. <span class="nowrap"><a href="#p015" title="to page 15">15</a>,</span>
-and that the adjustable mould
-was either purposely or inadvertently shifted in body to
-accommodate the new casting.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch25" id="fn25">25</a>
-In connection with the suggested primitive modes of
-casting, the patent of James Thomson in 1831 (see Chap. iv, <i>post</i>),
-for casting by a very similar method, is interesting.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch26" id="fn26">26</a>
-<i>Origine de l’Imprimerie.</i> Paris, 1810, 2 vols., 8vo, i,
-97.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch27" id="fn27">27</a>
-<i>Origine de l’Imprimerie</i>, i, 99, etc. The following
-are the citations:—“<i>Escriture en molle</i>,” used in the letters of
-naturalisation to the first Paris printers, 1474. “<i>Escrits en moule</i>,”
-applied to two Horæ in vellum, bought by the Duke of Orleans, 1496.
-“<i>Mettre en molle</i>,” applied to the printing of Savonarola’s sermons,
-1498. “<i>Tant en parchemin que en papier, à la main et en molle</i>,”
-applied to the books in a library, 1498. “<i>Mettre en molle</i>,” applied
-to the printing of a book by Marchand, 1499. “<i>En molle et à la main</i>,”
-applied to printed books and manuscripts in the Duke of Bourbon’s
-library, 1523. “<i>Pièces officielles moulées par ordre de l’Assemblée.</i>”
-Procès verbaux des Etats Généraux, 1593.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch28" id="fn28">28</a>
-<i>Coster Legend</i>, p. 6.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch29" id="fn29">29</a>
-<i>Ibid.</i>, p. viii.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch30" id="fn30">30</a>
-A calculation given in the <i>Magazin Encyclopédique</i> of
-1806, i, 299, shows that from such matrices 120 to 150 letters can be
-cast before they are rendered useless, and from 50 to 60 letters before
-any marked deterioration is apparent in the fine strokes of the types.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch31" id="fn31">31</a>
-Several writers account for the alleged perforated wooden
-and metal types reputed to have been used by the first printers, and
-described by Specklin, Pater, Roccha and others, by supposing that they
-were model types used for forming matrices, and threaded together for
-safety and convenience of storage.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch32" id="fn32">32</a>
-<i>Works of the late Dr. Benjamin Franklin, consisting of
-his Life, written by himself</i>, in 2 vols. London, 1793, 8vo, i, 143.
-It is a very singular fact that in a later corrected edition of the
-same work, edited by John Bigelow, and published in Philadelphia in
-1875, the passage above quoted reads as follows: “I contrived a mould,
-made use of the letters we had as puncheons, struck the <i>matrices in
-lead</i>, and thus supplied in a pretty tolerable way all deficiencies.”
-Whichever reading be correct, the illustration is apt, as proving the
-possibility of producing type from matrices either of clay or lead in a
-makeshift mould.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch33" id="fn33">33</a>
-<i>Origine de l’Imprimerie</i>, i, 144.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch34" id="fn34">34</a>
-From this method of forming the matrices (says a note
-to the Enschedé specimen) has arisen the name Chalcographia, which
-Bergellanus, among others, applies to printing.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch35" id="fn35">35</a>
-<i>Printer’s Grammar.</i> Lond., 1755, p. 10.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch36" id="fn36">36</a>
-It has been suggested by some that wood could be <i>struck</i> into lead or pewter; but the
-possibility of producing a successful matrix in this manner is, we consider, out of the question.
-In 1816 Robert Clayton proposed to cast types in metal out of <i>wooden</i> matrices punched
-in wood with a cross grain, which has been previously slightly charred or baked.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch37" id="fn37">37</a>
-In the specimen of “<i>Ancienne Typographie</i>” of the Imprimerie Royale of Paris, 1819,
-several of the old oriental founts are thus noted: “les poinçons
-sont en cuivre.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch38" id="fn38">38</a>
-In the 2nd edition of Isaiah Thomas’ <i>History of Printing
-in America</i>, Albany, 1874, i, 288, an anecdote is given of Peter
-Miller, the German who printed at Ephrata in the United States in 1749,
-which we think is suggestive of the possible expedients of the first
-printers with regard to the mould. During the time that a certain work
-of Miller was in the press, says Francis Bailey, a former apprentice
-of Miller’s, “particular sorts of the fonts of type on which it was
-printed ran short. To overcome this difficulty, one of the workmen
-constructed a mold that could be moved so as to suit the body of any
-type not smaller than brevier nor larger than double-pica. The mold
-consisted of four quadrangular pieces of brass, two of them with
-mortices to shift to a suitable body, and secured by screws. The best
-type they could select from the sort wanted was then placed in the
-mold, and after a slight corrosion of the surface of the letter with
-aquafortis to prevent soldering or adhesion, a leaden matrix was cast
-on the face of the type, from which, after a slight stroke of a hammer
-on the type in the matrix, we cast the letters which were wanted. Types
-thus cast answer tolerably well. I have often adopted a method somewhat
-like this to obtain sorts which were short; but instead of four pieces
-of brass, made use of an even and accurate composing-stick, and one
-piece of iron or copper having an even surface on the sides; and
-instead of a leaden matrix, have substituted one of clay, especially
-for letters with a bold face.” De Vinne describes an old mould
-preserved among the relics in Bruce’s foundry at New York, composed
-(with the matrix) of four pieces, and adjustable both as to body and
-thickness. Bernard also mentions a similar mould in use in 1853.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch39"
-id="fn39">39</a> A curious instance of this occurs in the
-battered text of the <i>De Laudibus Mariæ</i>, shown at
-p. <span class="nowrap">
-<a href="#fg06" title="to Fig. 6">24</a>,</span>
-where the rubricator has added his red dashes to capital
-letters at the beginning, middle and end of a palpably
-illegible passage.</p></div>
-
-<div class="dftnt">
-<p class="pfirst" title="anchored page 19">
-<a class="afnlabel" href="#fnanch40" id="fn40">40</a>
-<i>Notizie storiche sopra la Stamperia di Ripoli.</i>
-Firenze, 1781, p. 49. <i>Prezzi de’ generi
-riguardanti la Getteria (letter foundry).</i></p>
-
-<div class="dkeeptogether">
-<div class="dtablebox">
-<table summary="">
-<tr>
- <th colspan="7"></th>
- <th><i>s.</i></th>
- <th><i>d.</i></th></tr>
-<tr>
- <td class="tdleft">Acciaio</td>
- <td class="tdleft">(steel)</td>
- <td class="tdleft">liv.</td>
- <td class="tdleft">2</td>
- <td class="tdright">8</td>
- <td class="tdleft">0</td>
- <td class="tdleft">la lib.</td>
- <td class="tdleft">(&#160;=&#160;9</td>
- <td class="tdleft">0</td>
- <td class="tdleft">per&#160;lb.)</td></tr>
-<tr>
- <td class="tdleft">Metallo</td>
- <td class="tdleft">(type-metal?)</td>
- <td class="tdleft">&#160;″</td>
- <td class="tdleft">0</td>
- <td class="tdright">11</td>
- <td class="tdleft">0</td>
- <td class="tdleft">&#160;&#160;″</td>
- <td class="tdleft">(&#160;=&#160;2</td>
- <td class="tdleft">0&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td>
- <td class="tdright">″&#160;&#160;&#160;)</td></tr>
-<tr>
- <td class="tdleft">Ottone</td>
- <td class="tdleft">(brass)</td>
- <td class="tdleft">&#160;″</td>
- <td class="tdleft">0</td>
- <td class="tdright">12</td>
- <td class="tdleft">0</td>
- <td class="tdleft">&#160;&#160;″</td>
- <td class="tdleft">(&#160;=&#160;2</td>
- <td class="tdleft">3</td>
- <td class="tdright">″&#160;&#160;&#160;)</td></tr>
-<tr>
- <td class="tdleft">Rame</td>
- <td class="tdleft">(copper)</td>
- <td class="tdleft">&#160;″</td>
- <td class="tdleft">0</td>
- <td class="tdright">6</td>
- <td class="tdleft">8</td>
- <td class="tdleft">&#160;&#160;″</td>
- <td class="tdleft">(&#160;=&#160;1</td>
- <td class="tdleft">3</td>
- <td class="tdright">″&#160;&#160;&#160;)</td></tr>
-<tr>
- <td class="tdleft">Stagno</td>
- <td class="tdleft">(tin)</td>
- <td class="tdleft">&#160;″</td>
- <td class="tdleft">0</td>
- <td class="tdright">8</td>
- <td class="tdleft">0</td>
- <td class="tdleft">&#160;&#160;″</td>
- <td class="tdleft">(&#160;=&#160;1</td>
- <td class="tdleft">6</td>
- <td class="tdright">″&#160;&#160;&#160;)</td></tr>
-<tr>
- <td class="tdleft">Piombo</td>
- <td class="tdleft">(lead)</td>
- <td class="tdleft">&#160;″</td>
- <td class="tdleft">0</td>
- <td class="tdright">2</td>
- <td class="tdleft">4</td>
- <td class="tdleft">&#160;&#160;″</td>
- <td class="tdleft">(&#160;=&#160;0</td>
- <td class="tdleft">5&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub></td>
- <td class="tdright">″&#160;&#160;&#160;)</td></tr>
-<tr>
- <td class="tdleft">Filo di ferro</td>
- <td class="tdleft">(iron wire)</td>
- <td class="tdleft">&#160;″</td>
- <td class="tdleft">0</td>
- <td class="tdright">8</td>
- <td class="tdleft">0</td>
- <td class="tdleft">&#160;&#160;″</td>
- <td class="tdleft">(&#160;=&#160;1</td>
- <td class="tdleft">6</td>
- <td class="tdright">″&#160;&#160;&#160;)</td></tr>
-</table>
-</div><!--dtablebox--></div><!--dkeeptogether-->
-</div><!--dftnt-->
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch41" id="fn41">41</a>
-It would be more correct to say the discovery of the
-properties of antimony, which were first described by Basil Valentin
-about the end of the 15th century, in a treatise entitled <i>Currus
-triumphalis Antimonii</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch42" id="fn42">42</a>
-Printing was practised at Lyons in 1473, three years only
-later than at Paris. From the year 1476 the art extended rapidly in
-the city. Panzer mentions some 250 works printed here during the 15th
-century by nearly forty printers, among whom was Badius Ascensius. The
-earlier Lyons printers are supposed to have had their type from Basle,
-and their city shortly became a depôt for the supply of type to the
-printers of Southern France and Spain.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch43" id="fn43">43</a>
-<i>Histoire de l’Invention de l’Imprimerie par les
-Monuments.</i> Paris, 1840, fol., p. 12.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch44" id="fn44">44</a>
-<i>Lettres d’un Bibliographe.</i> Paris, 1875, 8vo, Ser. iv,
-letter 16.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch45" id="fn45">45</a>
-Begins “<i>Incipit Liber de Laudibus ac Festis Gloriose
-Virginis Matris Marie alias Marionale Dictus per Doctores eximeos
-editus et compilatus</i>”; at end, “<i>Explicit Petrus Damasceni de laudibus
-gloriose Virginis Marie</i>.” The book is mentioned in Hain, 5918. The
-drawn-up type occurs on the top of folio b 4 verso.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch46" id="fn46">46</a>
-It will be understood that in each case the outline of the
-types being merely a depressed edge in the original, the black outline
-of the facsimiles represents shadow only, and not, as might appear
-at first glance, inked surface. M. Madden’s facsimile is apparently
-drawn. In the photograph facsimile of the “<i>De laudibus</i>” type, the
-distribution of black represents the distribution of shadow caused by
-the somewhat uneven or tilted indentation of the side of the type in
-the paper.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch47" id="fn47">47</a>
-Such projections or “drags” in the mould are not unknown
-in modern typefounding, where they are purposely inserted so as to
-leave the newly cast type, on the opening of the mould, always adhering
-to one particular side.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch48" id="fn48">48</a>
-<i>Life of Caxton</i>, i, 39. Later on (p 52), Mr. Blades
-points out, as an argument against the supposed typographical
-connection between Caxton and Zel of Cologne, that the latter, from an
-early period, printed two pages at a time.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch49" id="fn49">49</a>
-<i>Haarlem Legend</i>, p. xxiii.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch50" id="fn50">50</a>
-Mr. Skeen (<i>Early Typography</i>, p. 299) speaks of 300
-matrices as constituting a complete fount; he appears accidentally, in
-calculating for two pages instead of one, to have assumed that a double
-number of matrices would be requisite for the double quantity of type.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch51" id="fn51">51</a>
-<i>Origin and Progress of Writing.</i> London, 1803. 4to.
-Chapter ix.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch52" id="fn52">52</a>
-The cost-book of the Ripoli press contains several entries
-pointing to an early trade in type and matrices. In 1477 the directors
-paid ten florins of gold to one John of Mentz, for a set of Roman
-matrices. At another time they paid 110 livres for two founts of Roman
-and one of Gothic: and further, purchased of the goldsmith, Banco of
-Florence, 100 little initials, three large initials, three copper
-vignettes, and the copper for an entire set of Greek matrices.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst" title="anchored page 29">
-<a class="afnlabel" href="#fnanch53" id="fn53">53</a></p>
-
-<blockquote id="np29"><ul class="nowrap">
-<li class="lihang4"><span class="spqut">“</span>Natio
- quæque suum poterit reperire caragma</li>
-<li class="lihang4"><span class="spqutspc">Secum</span>
- nempe stilo præminet omnigeno.”</li>
-</ul></blockquote></div>
-
-<div class="section">
-<h3 class="fsz7">1. THE ENGLISH TYPE BODIES AND FACES</h3>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch54" id="fn54">54</a>
-<i>Unterweisung der Messung.</i> Nuremberg, 1525. Fo.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch55" id="fn55">55</a>
-<i>Champfleury.</i> Paris, 1529. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch56" id="fn56">56</a>
-<i>Orthographia Practica.</i> Caragoça, 1548. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch57" id="fn57">57</a>
-Both <i>Testo</i> and <i>Glosilla</i> subsequently became the
-names of Spanish type-bodies, the former being
-approximately equivalent to our Great Primer, and the latter to our
-Minion.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch58" id="fn58">58</a>
-<i>Dissertation upon English Typographical Founders and
-Founderies.</i> London, 1778. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch59" id="fn59">59</a>
-See <i>post</i>, chap. v.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch60" id="fn60">60</a>
-See <i>post</i>, chap. v.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch61" id="fn61">61</a>
-Hansard’s <i>Typographia</i>. London, 1825, 8vo, p. 388.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch62" id="fn62">62</a>
-See <i>post</i>, chap. xxi.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch63" id="fn63">63</a>
-In several of the German specimens thus examined, not only do the bodies of one
-founder differ widely from those of others, but the variations of each body in the same foundry
-are often extraordinary. Faulman, in his <i>Geschichte der Buchdruckerkunst</i>, Vienna, 1882, 8vo,
-p. 488, has a table, professing to give the actual equivalents of each body to a fraction; but
-we conceive that, in the absence of a fixed national standard, such an
-attempt is futile.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch64" id="fn64">64</a>
-Two-line English, Mores points out, was originally a
-primitive, and not a derivative body, corresponding to the old German
-Prima.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch65" id="fn65">65</a>
-Henry VIII, in 1545, allowed his subjects to use an
-English Form of Public Prayer, and ordered one to be printed for their
-use, entitled <i>The Primer</i>. It contained, besides prayers, several
-psalms, lessons and anthems. <i>Primers</i> of the English Church before the
-Reformation were printed as early as 1490 in Paris, and in England in
-1537.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch66" id="fn66">66</a>
-We have nowhere met with the suggestion that Primer may
-be connected with the Latin “premere,” a word familiar in typography,
-and naturalized with us in the old word “imprimery.” Great Primer might
-thus merely mean the large print letter.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch67" id="fn67">67</a>
-The religious origin of the names of types is in harmony
-with the occurrence in typographical phraseology of such words as
-<i>chapel</i>, <i>devil</i>, <i>justify</i>, <i>hell</i> (the waste type-pot), <i>friars</i> and
-<i>monks</i> (white and black blotches caused by uneven inking), etc.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch68" id="fn68">68</a>
-Ulric Hahn’s <i>St. Augustini De Civitate Dei</i>, Rome, 1474,
-is printed in a letter almost exactly this body. Others derive the name
-from the great edition of <i>St. Augustine</i> printed by Amerbach at Basle
-in 1506.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch69" id="fn69">69</a>
-“Liber presens, directorium sacerdotum, quem <i>pica</i> Sarum
-vulgo vocitat clerus,” etc., is the commencement of a work printed by
-Pynson in 1497.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch70" id="fn70">70</a>
-Both the <i>Cicero</i> of Fust and Schoeffer at Mentz, 1466,
-and of Hahn at Rome, 1469, were in type of about this size.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch71" id="fn71">71</a>
-<i>This Prymer of Salysbury use, is set out a long, wout
-ony serchyng</i>, etc. Paris, 1532. 16mo. Many editions were printed in
-England and abroad.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch72" id="fn72">72</a>
-Fournier (ii, 144) shows a specimen of the lettre de Somme
-with exactly a Bourgeois face.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch73" id="fn73">73</a>
-The first of the family of Paris printers of this name,
-mentioned by De la Caille, flourished in 1615.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch74" id="fn74">74</a>
-The German Brevier, corresponding to our Small Pica, is of
-more frequent occurrence in these works.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch75" id="fn75">75</a>
-<i>De Germaniæ Miraculo.</i> Lipsiæ, 1710, 4to, p. 37.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch76" id="fn76">76</a>
-The <i>Lactantius</i>, published the same year, and usually
-claimed as the first book printed in Italy, appears, according to a
-note of M. Madden’s (<i>Lettres d’un Bibliographe</i>, iv, 281), not to have
-been completed for a month after the <i>Cicero de Oratore</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch77" id="fn77">77</a>
-“Il (Jenson) forma un caractère composé des capitales
-latines, qui servirent de majuscules; les minuscules furent prises
-d’autres lettres latines, ainsi que des espagnoles, lombardes, saxones,
-françoises ou carolines.” (<i>Man. Typ.</i>, ii, 261.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch78" id="fn78">78</a>
-M. Philippe, in his <i>Origine de l’Imprimerie à Paris</i>,
-Paris, 1885, 4to, p. 219, mentions two books printed in this fount,
-which contain MS. notes of having been purchased in the years 1464 and
-1467 respectively.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch79" id="fn79">79</a>
-<i>Lettres d’un Bibliographe</i>, iv, 60.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch80" id="fn80">80</a>
-For a full account and analysis of Jenson’s Roman and
-other type, the reader is referred to Sardini’s <i>Storia Critica di Nic.
-Jenson</i>. Lucca, 1796–8, 3 parts, fol.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch81" id="fn81">81</a>
-<i>Annales de l’Imprimerie des Alde.</i> Paris, 1803–12, 3 vols., 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch82" id="fn82">82</a>
-Sardini (iii, 82) cites an interesting document wherein Zarot, in
-forming a typographical
-partnership with certain citizens of Milan, covenants
-to provide “tutte le Lettere Latine, e Greche, antique, e moderne.”
-Bernard points out that “antique” undoubtedly means Roman type, the
-traditional character of the Italians, while “moderne” applies to the
-Gothic, which was at that time coming into vogue as a novelty among
-Italian printers.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch83" id="fn83">83</a>
-Renouard and others claim that these famous characters
-were cut by the French artists Garamond and Sanlecques. This legend
-is, however, disposed of by Mr. Willems, in his work, <i>Les Elzevier</i>.
-Brussels, 1880, 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch84" id="fn84">84</a>
-Pynson was the first to introduce diphthongs into the
-typographical alphabet.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch85" id="fn85">85</a>
-Garamond’s Roman was cut for Francis I. The Roman
-character was an object of considerable royal interest in France during
-its career. In 1694, on the re-organisation of the press at the Louvre
-under Louis XIV, arbitrary alterations were made in the recognised form
-of several of the “lower-case” letters, to distinguish the “<i>Romain du
-Roi</i>” from all others, and protect it from imitations. The deformity of
-the letters thus tampered with was their best protection.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch86" id="fn86">86</a>
-Amongst which should be named Vautrollier’s edition of
-Beza’s <i>New Testament</i> in 1574, which, both in point of type and
-workmanship, is an admirable piece of typography. The small italic is
-specially beautiful. Renouard says this type was cut by Garamond of
-Paris.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch87" id="fn87">87</a>
-<i>History of the Art of Printing.</i> Edinburgh, 1713. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch88" id="fn88">88</a>
-The <i>Horace</i>, printed in 1627, may be mentioned as one
-of the most interesting of these little typographical curiosities. The
-type is exactly the modern pearl body. The text is 2&#x202f;<sup>5</sup>&#xfeff;&#x2044;&#xfeff;<sub>6</sub> inches in
-depth, and 1&#x202f;<sup>1</sup>&#xfeff;&#x2044;&#xfeff;<sub>2</sub> inch wide.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch89" id="fn89">89</a>
-<i>The Holy Bible, containing the Old and New Testaments.</i>
-London, printed by John Field, 1653, 32mo. The inexperience of
-English compositors and correctors in dealing with this minute type
-is illustrated by the fact that Field’s Pearl Bibles are crowded with
-errors, one edition, so it is said, containing 6,000 faults.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch90" id="fn90">90</a>
-In one of the Bagford MSS. (Harl. 5915) appear, with the
-title “Mr. Ogilby’s Letters,” the
-drawings and proofs of this alphabet in capital and lower-case.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch91" id="fn91">91</a>
-See Specimen No. 21, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch92" id="fn92">92</a>
-Tradition has asserted that Hogarth
-designed Baskerville’s types.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch93" id="fn93">93</a>
-In recent years a French typographer, M. Motteroz, has
-attempted to combine the excellences of the Elzevir and modern Roman,
-with a view to arrive at an ideally legible type. The experiment is
-curious but disappointing. For though the new “typographie” of M.
-Motteroz justifies its claim to legibility, the combination of two
-wholly unsympathetic forms of letter destroys almost completely the
-beauty of each.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch94" id="fn94">94</a>
-<i>Specimen Bibliorum Editionis Hebr. Gr. Lat.</i> (folio
-sheet); no date.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch95" id="fn95">95</a>
-<i>Bibliographical Decameron</i>, ii, 381–2.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst" title="anchored page 51">
-<a class="afnlabel" href="#fnanch96" id="fn96">96</a>
-<i>Origine de l’Imprimerie de Paris</i>, Paris, 1694, 4to,
-p. 110. Chevillier gives a curious instance of this tendency of the
-old printers to contract their words. The example is taken from
-<i>La Logique d’Okam</i>, 1488, fol., a work in which there scarcely
-occurs a single word not abbreviated.
-<span class="nowrap">
-“Si<img class="iglyph-c" src="images/ctilde.png"
-width="46" height="101" alt="c&#x303;" /></span> hic ẽ
-<span class="nowrap">
-fa<img class="iglyph-c" src="images/ltilde.png"
-width="35" height="101" alt="ɫ" /></span>
-<span class="nowrap">
-<img class="iglyph-c" src="images/stilde.png"
-width="40" height="101" alt="s&#x303;" />m</span>
-<span class="nowrap">
-<img class="iglyph-c" src="images/qtilde.png"
-width="57" height="101" alt="q&#x303;" />d</span> ad
-<span class="nowrap">
-simp<img class="iglyph-c" src="images/ltilde.png"
-width="35" height="101" alt="ɫ" />r</span> a ẽ
-<span class="nowrap">
-<img class="iglyph-b" src="images/p50n-phook.png"
-width="32" height="58" alt="p with hook" />ducibile</span>
-a Deo
-<img class="iglyph-c" src="images/gtilde.png"
-width="57" height="101" alt="g&#x303;" />
-a ẽ &amp; sir hic a
-<img class="iglyph-c" src="images/ntilde.png"
-width="62" height="101" alt="n&#x303;" /> ẽ
-<img class="iglyph-c" src="images/gtilde.png"
-width="57" height="101" alt="g&#x303;" /> a
-<img class="iglyph-c" src="images/ntilde.png"
-width="62" height="101" alt="n&#x303;" /> ẽ
-<span class="nowrap">
-<img class="iglyph-b" src="images/p50n-phook.png"
-width="32" height="58" alt="p with hook" />ducibile</span>
-a Do,”-which means: “Sicut hic est fallacia secundum
-quid ad simpliciter; A est producibile a Deo; ergo A est. Et similiter
-hic. A non est; ergo A non est producibile a Deo.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch97" id="fn97">97</a>
-Sir A. Panizzi, in his tract, <i>Chi era Francesco da
-Bologna&#x202f;?</i> London, 1858, 16mo, shows that this artist was the same as
-the great Italian painter, Francesco Francia.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch98" id="fn98">98</a>
-The German practice of inserting proper names and
-quotations, occurring in a German book, in Roman type, probably
-suggested a similar use of the Italic in books printed in the Roman
-letter.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch99" id="fn99">99</a>
-This reform, which was an incident in the general
-typographical revolution at the close of last century, is usually
-credited to John Bell, who discarded the long ſ in his
-<i>British Theatre</i>, about 1791. Long before Bell’s time, however, in
-1749, Ames had done the same thing in his <i>Typographical Antiquities</i>,
-and was noted as an eccentric in consequence. Hansard notes the
-retention of the long ſ in books printed at the Oxford University press
-as late as 1824.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch100" id="fn100">100</a>
-The suggestion that <i>Lettres de Forme</i> may have meant
-merely letters commonly used in print (adopting the early printers’
-use of the word <i>forma</i> as type), appears to be somewhat far-fetched.
-The term, though apparently distinctly typographical, was used both by
-Tory and Ycair to denote a class of letter which the former denominated
-<i>Canon</i>, or cut according to rule, as opposed to the more fanciful
-<i>lettres bâtardes</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch101" id="fn101">101</a>
-Petrarch expressed a strong aversion to the character;
-but some Italian and French printers adopted it, to the exclusion of
-the Roman, and, like Nicholas Prevost in 1525, boasted of it as the
-type “most beautiful and most becoming for polite literature.” Gothic
-printing began in Italy about 1475 and in France in 1473.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch102" id="fn102">102</a>
-See specimen No. 15, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch103" id="fn103">103</a>
-See specimen No. 49, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch104" id="fn104">104</a>
-<i>Bibliographical Decameron</i>, ii, 407.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch105" id="fn105">105</a>
-The first part of this work is without date or printer’s
-name; but the types are those of the 1462 Bible. The <i>Secunda Secundæ</i>
-was printed by Schoeffer at Mentz in 1467, in the types of the
-<i>Rationale</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch106" id="fn106">106</a>
-See specimens Nos. 5 and 6, <i>ante</i>, and 18<span class="smmaj">A,</span> <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch107" id="fn107">107</a>
-See specimen No. 27, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch108" id="fn108">108</a>
-See specimen No. 52, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch109" id="fn109">109</a>
-See specimen No. 73, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch110" id="fn110">110</a>
-See specimen No. 51, <i>post</i>.</p></div>
-
-<div class="section">
-<h3 class="fsz7">2. THE LEARNED, FOREIGN, AND PECULIAR CHARACTERS</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch111" id="fn111">111</a>
-Thus, Ὁτι ἶσα τὰ ἁμαρτήματα appears
-Oτίcaτaaκaρτηaκaτa.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch112" id="fn112">112</a>
-Lascaris caused to be printed at Florence, in 1494, an
-<i>Anthologia Græca</i>, and several other works wholly in Greek capitals,
-“litteris majusculis.” In the preface to the <i>Anthologia</i> he vindicates
-his use of these characters, which he says he has designed after the
-genuine models of antiquity to be found in the inscriptions on medals,
-marbles, etc.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch113" id="fn113">113</a>
-Robert Estienne was not the first to hold this title, Conrad Néobar, his predecessor,
-having enjoyed it from 1538–40. In some of his early impressions before 1543, Estienne used
-occasionally Greek types, apparently the same as those of Badius.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch114" id="fn114">114</a>
-The Imprimerie Royale at the Louvre, of which the present Imprimerie
-Nationale is the
-direct successor, was not founded till 1640, by Louis XIII. Francis I granted the letters patent
-in 1538, whereby Néobar and his successors received the title of Royal Printers, but did not
-create a royal printing establishment.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch115" id="fn115">115</a>
-Renouard states that the last of the Greek founts of the
-Aldine press was without doubt designed from Garamond’s models.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch116" id="fn116">116</a>
-Gresswell mentions an <i>Alphabetum Græcum</i>, published in
-1543, as a preliminary specimen.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch117" id="fn117">117</a>
-The history of these famous types, the matrices of which
-for some years lay in pawn at Geneva, whence they were released at a
-cost of 3,000 livres in 1619, may be read in M. Bernard’s <i>Les Estienne
-et les types grecs de François
-<span class="nowrap">I&#x2009;<sup>er</sup></span></i>. Paris, 1856. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch118" id="fn118">118</a>
-Greek printing did not become common in Spain till a later
-period. A book printed at Oriola in 1603 contains an apology for the
-want of Greek types.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch119" id="fn119">119</a>
-See specimen No. 28, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch120" id="fn120">120</a>
-See specimen No. 29, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch121" id="fn121">121</a>
-See specimen No. 69, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch122" id="fn122">122</a>
-See specimen No. 71, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch123" id="fn123">123</a>
-<i>De Hebraicæ typographiæ origine.</i> Parma, 1776. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch124" id="fn124">124</a>
-<i>Les Incunables Orientaux.</i>
-Paris, 1883. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch125" id="fn125">125</a>
-<i>Recherches .&#160;. sur la Vie et les Editions de Thierry Martens.</i>
-Alost, 1845. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch126" id="fn126">126</a>
-See specimens Nos. 34 and 35, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch127" id="fn127">127</a>
-See specimen No. 47, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch128" id="fn128">128</a>
-The English were in negotiation for the founts when Vitré
-received his orders to purchase.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch129" id="fn129">129</a>
-See <i>Calendar State Papers</i>, 1637–8, p. 245. Raphlengius
-died in 1597. Among Laud’s MSS. at the Bodleian is a printed work by
-Bedwell, entitled <i>The Arabian Trudgman</i>, London, 1615, 4to, but no
-Arabic type is used in it. An attempt to buy the Oriental matrices of
-Erpenius for Cambridge, in 1626, was forestalled by the Elzevirs, who
-secured them for their own press.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch130" id="fn130">130</a>
-See specimen No 37, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch131" id="fn131">131</a>
-See specimen No. 61, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch132" id="fn132">132</a>
-Parr’s <i>Life and Letters of Usher</i>. London, 1686, fol., p. 488.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch133" id="fn133">133</a>
-See specimen No. 38, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch134" id="fn134">134</a>
-See specimen No. 41, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch135" id="fn135">135</a>
-See specimen No. 63, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch136" id="fn136">136</a>
-See specimen No. 39, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch137" id="fn137">137</a>
-See specimen No. 66, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch138" id="fn138">138</a>
-See specimen
-No. 40, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch139" id="fn139">139</a>
-See specimen No. 36, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch140" id="fn140">140</a>
-See specimen No. 62, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch141" id="fn141">141</a>
-See specimen No. 42, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch142" id="fn142">142</a>
-See specimen No. 78, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch143" id="fn143">143</a>
-James’s foundry also had a set of punches in Long Primer,
-but these appear never to have been struck.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch144" id="fn144">144</a>
-See specimen No. 64, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch145" id="fn145">145</a>
-See specimen No. 65, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch146" id="fn146">146</a>
-See facsimile
-No. 20, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch147" id="fn147">147</a>
-See specimen No. 48, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch148" id="fn148">148</a>
-See specimen No. 45, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch149" id="fn149">149</a>
-Music engraved on wood was used as late as 1845, in
-Oakley’s <i>Laudes Diurnæ</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch150" id="fn150">150</a>
-See specimen No. 54, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch151" id="fn151">151</a>
-<i>Essai sur l’Education des Aveugles.</i> Dedié au Roi. À
-Paris. Imprimé par les Enfants Aveugles. 1786. 4to. The work is printed
-in the large script letter of the press, but not in relief. Appended
-are specimens of circulars, addresses, etc., printed in ordinary type,
-for the use of the public.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch152" id="fn152">152</a>
-A curious collection of these may be seen in the <i>Quincuplex Psalterium</i>, printed by Henri
-Estienne I, at Paris, in 1513.</p></div>
-
-<div class="section">
-<h3 class="fsz7">3. THE PRINTER LETTER-FOUNDERS,
- FROM CAXTON TO DAY</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch153" id="fn153">153</a>
-<i>The Life and Typography of William Caxton, England’s first
-Printer.</i> 2 vols. London, 1861–3. 4to.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch154" id="fn154">154</a>
-Mr. Figgins, apparently misled by the irregularities in
-form consequent on the touching-up of Type No. 2, concluded that the
-whole of the types in which this book was printed were cut separately
-by hand.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch155" id="fn155">155</a>
-<i>The General History of Printing.</i> London, 1732, 4to, p. 343.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch156" id="fn156">156</a>
-Among the rubbish of James’s foundry, Mores, who evidently
-credited the legend, states that he discovered some of the punches from
-which the two-line Great Primer matrices had been struck. “They are,”
-he observed, “truly <i>vetustate formâque et squalore venerabiles</i>, and
-we would not give a lower-case letter in exchange for all the leaden
-cups of Haerlem” (<i>Dissertation</i>, p. 76). Hansard, in 1825, appears
-also to have believed in the survival of De Worde’s punches, the form
-of which he professed to recognise among the Black-letter shown in
-Caslon’s specimen-book of 1785.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch157" id="fn157">157</a>
-The first Roman, or (as it was sometimes called)
-White-letter, noticed by Herbert in any of De Worde’s books was in the
-<i>Whitintoni de heteroclytis nominbus</i>, 1523.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch158" id="fn158">158</a>
-<i>Roberti Wakefeldi .&#160;.&#160;. oratio de laudibus et utilitate
-trium linguarum Arabice, Chaldaicæ et Hebraice atque idiomatibus
-Hebraicis quæ in utroque testamento inveniuntur. Londini apud Winandum
-de Vorde</i> (1524). 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch159" id="fn159">159</a>
-This is probably the first appearance of Italic type in
-England.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch160" id="fn160">160</a>
-Pynson was not the first English printer who “put out”
-his work to foreign typographers. Caxton, in 1487, employed W. Maynyal
-of Paris to print a Sarum <i>Missal</i> for him; and one book, at least, is
-known to have been printed for De Worde by a Parisian printer.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch161" id="fn161">161</a>
-<i>Oratio in Pace nuperrimâ, etc. Impressa Londini, Anno
-Verbi incarnati</i> <span class="smmaj">MDXVIII</span> <i>per Richardum Pynson, Regium
-Impressorem</i>. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch162" id="fn162">162</a>
-<i>Thomæ Linacri de emendatâ structurâ Latini sermonis.
-Londini, apud Richardum Pinsonum.</i> 1524. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch163" id="fn163">163</a>
-<i>i.e.</i>, “Greeting to the Reader: Of thy candour, reader,
-excuse it if any of the letters in the Greek quotations are lacking
-either in accents, breathings or proper marks. The printer was not
-sufficiently furnished with them, since Greek types have been but
-lately cast by him; nor had he the supply prepared necessary for the
-completion of this work.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch164" id="fn164">164</a>
-Redman, who began to print about 1525, in Pynson’s old
-house, is supposed to have succeeded to the types of his predecessor.
-His edition of <i>Littleton’s Tenures</i> (no date) shows the Roman letter
-in Long Primer body.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch165" id="fn165">165</a>
-<i>D. Joannis Chrysostomi homiliæ duæ, nunc primum in lucem æditæ</i> (Greek and Latin)
-<i>a Joanne Cheko. Londini</i> 1543. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch166" id="fn166">166</a>
-<i>Ælfredi Regis Res Gestæ</i> (without imprint or date), fol. The work was bound up and
-published with Walsingham’s <i>Historia Brevis</i>, printed by Binneman, and his <i>Ypodigma
-Neustriæ</i>, printed by Day, both in 1574. The text of the <i>Ælfredi</i>, though in Saxon characters,
-is in the Latin language.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch167" id="fn167">167</a>
-<i>i.e.</i>, “And inasmuch as Day, the printer, is the first (and, indeed, as far as I know, the
-only one) who has cut these letters in metal; what things have been written in Saxon characters
-will be easily published in the same type.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch168" id="fn168">168</a>
-Astle, in his <i>History of Writing</i>, p. 224, remarks: “Day’s Saxon types far excel in neatness
-and beauty any which have since been made, not excepting the neat types cast for
-F. Junius at Dort, which were given to the University of Oxford.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch169" id="fn169">169</a>
-Parker, who, according to Strype (<i>Life of Parker</i>, London, 1711, fol., p. 278), extended
-his patronage to Binneman as well as to Day, and at whose expense the <i>Historia</i> was
-published, may possibly have claimed the disposal of founts specially cut for his own use, and
-in this manner secured for Binneman founts cast from Day’s matrices. Binneman is described
-as a diligent printer, who applied through Parker for the privilege of printing certain Latin
-authors, accompanying his petition by a small specimen of his typography, “which the Archbishop
-sent to the Secretary to see the order of his print. The Archbishop said he thought he
-might do this amply enough, and better cheap than they might be brought from beyond the
-seas, standing the paper and goodness of his print. Adding, that it were not amiss to set our
-own countrymen on work, so they would be diligent, and
-take good characters.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch170" id="fn170">170</a>
-Timperley, <i>Encyclopædia</i>, p. 381.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch171" id="fn171">171</a>
-<i>Life of Parker</i>, pp. 382, 541.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch172" id="fn172">172</a>
-<i>Typographical Antiquities</i>, i, 656.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch173" id="fn173">173</a>
-<i>Fidelis servi, subdito infideli Responsio. Lond.</i> 1573. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch174" id="fn174">174</a>
-<i>De Visibili Romanarchia. Londini, apud J. Dayum.</i> 1572. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch175" id="fn175">175</a>
-<i>De Antiquitate Britannicæ Ecclesiæ. Londini in ædibus Johannis
-Daij.</i> 1572. Fol.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch176" id="fn176">176</a>
-An illustration of this maybe seen in Vautrollier’s Latin
-Testaments, where both Roman and Italic are exquisitely cut founts, but
-not being of uniform gauge, mix badly in the same line.</p></div>
-
-<div class="section">
-<h3 class="fsz7">4. LETTER FOUNDING AS AN ENGLISH MECHANICAL TRADE</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch177" id="fn177">177</a>
-<i>Introduction of the Art of Printing into
-Scotland.</i> By R. Dickson. Aberdeen, 1885. 8vo. Appendix.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch178" id="fn178">178</a>
-<i>Eygentliche Beschreibung aller Stände und .&#160;.&#160;.
-Handwerker. Frankfurt</i>, 1568. 4to. <i>Der Schrifftgiesser.</i></p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch179" id="fn179">179</a>
-<i>Harleian MS.</i> 5915, No. 201. The cut is undated. The
-following sentence from Mr. T. C. Hansard’s <i>Treatises on Printing and
-Typefounding</i>, Edinburgh, 1841, 8vo, p. 223, may possibly refer to the
-same device. “This evidence” (of the process employed by the early
-letter-founders) “is afforded us by the device of Badius Ascensius, an eminent printer of
-Paris and Lyon, in the beginning of the sixteenth century, and also by that of an English
-printer, Anthony Scoloker of Ippeswych, who modified and adopted the device of Ascensius,
-as indeed did many other printers of various countries. This curious design exhibits in one
-apartment the various processes of printing, the foreground presenting a press in full work, the
-background on the left the cases and the compositor, and on the right the foundery; the
-matrix and other appliances bearing a precise resemblance to those at present in use.” If the
-above be a description of the block here shown (in which case Mr. Hansard has confused the
-matrix with the mould), we are able to fix the date approximately at 1548, in which year
-Scoloker printed at Ipswich.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch180" id="fn180">180</a>
-A description of this interesting establishment will be
-found in M. De George’s <i>La Maison Plantin à Anvers</i>. 2nd ed. Brussels,
-1878, 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch181" id="fn181">181</a>
-The legend of the silver types has been a favourite one
-in the romance of typography. Giucciardini states that
-Aldus Manutius used them; and Hulsemann describes the Bible printed
-by Robert Estienne in 1557 as “typis argenteis sanè elegantissimis.”
-The same extravagance was attributed to Plantin. Possibly the famous
-productions of these great artists impressed their readers with the
-notion that their beautiful and luxurious typography was the result of
-rare and costly material; and, ignoring the fact that silver type would not
-endure the press, they credited them with the absurdity
-of casting their letters in that costly material. It is difficult to
-believe that any practical printer, however magnificent, would make
-even his matrices of silver, when copper would be equally good and more
-durable. Didot was said, as late as 1820, to have cast his new Script
-from steel matrices inlaid with silver. The use of the term “silver” as
-a figurative mode of describing beautiful typography is not uncommon.
-Sir Henry Savile’s Greek types, says Bagford, “on account of their
-beauty were called the Silver types.” Field’s Pearl Bible in 1653 has
-been spoken of as printed in silver types. Smith, in 1755, referred to
-the fiction, still credited, that “the Dutch print with silver types.”
-On the other hand, we have the distinct mention in the inventory of
-John Baskett’s printing-office at Oxford, in 1720, of “a sett of Silver
-Initiall Letters,” which we can hardly believe to be a purely poetic
-description, and probably referred to the coating of the face of the
-letter with a silver wash. It should be stated here that Ratdolt, the
-Venetian printer, in 1482 was reported to have printed one work in
-types of gold!</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch182" id="fn182">182</a>
-Among the itinerant punch-cutters of Plantin’s day was the
-famous French artist Le Bé who came to Antwerp to strike the punches
-for the Antwerp <i>Polyglot</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch183" id="fn183">183</a>
-<i>Mechanick Exercises, or the Doctrine of Handy-Works
-applied to the Art of Printing.</i> The Second Volume. London, 1683. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch184" id="fn184">184</a>
-The index-letters following each part refer to Moxon’s
-illustration of a mould in the <i>Mechanick Exercises</i>, a reduced copy of
-which is placed by the artist of the <i>Universal Magazine</i>, 1750, at the
-foot of his View of the Interior of Caslon’s Foundry, of which we give
-a facsimile in the frontispiece.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch185" id="fn185">185</a>
-Iron does not appear to have continued much longer as a
-staple ingredient of English type-metal. There was, however, no rule as
-to the composition of the alloy. The French type-metal at the beginning
-of the eighteenth century was notoriously bad, and drove many printers
-to Frankfort for their types, where they used a very hard composition
-of steel, iron, copper, brass, tin and lead.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch186" id="fn186">186</a>
-See <i>post</i>, chapter ix.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch187" id="fn187">187</a>
-See <i>post</i>, chapter x.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch188" id="fn188">188</a>
-Psalmanazar, in referring to Samuel Palmer’s projected second part to his <i>History of
-Printing</i>, which should describe all the branches of the trade, says that this project, “though
-but then as it were in embryo, met with such early and strenuous opposition from the respective
-bodies of letter-founders, printers and bookbinders, under an ill-grounded apprehension that
-the discovery of the mystery of those arts, especially the two first, would render them cheap
-and contemptible .&#160;.&#160;. that he was forced to set it aside” (<i>Timperley</i>, p. 647).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch189" id="fn189">189</a>
-<i>Typographiæ Excellentia. Carmen notis Gallicis
-illustratum à C. L. Thiboust, Fusore-Typographo-Bibliopôlâ.</i> Paris,
-1718. 8vo.</p></div>
-
-<div class="dftnt">
-<div class="dkeeptogether">
-<p class="pfirst" title="anchored page 115"><a class="afnlabel"
- href="#fnanch190" id="fn190">190</a></p>
-<blockquote id="np115">
-<div>“<span class="fsz6">LIQUATOR.</span></div>
-<ul class="nowrap padtopc">
- <li class="lihang4"><span class="spqut">“</span>Ecce Liquator adest; en crebris ignibus ardet</li>
- <li class="lihang4"><span class="spqutspc">Ejus</span> materies; præbet Cochleare, Catillum</li>
- <li class="lihang4"><span class="spqutspc">Et</span> Formas queis mixto ex ære fideliter omnes</li>
- <li class="lihang4"><span class="spqutspc">Conflat</span> Litterulas; Hic paret sponte Peritis,</li>
- <li class="lihang4"><span class="spqutspc">Sive</span> Latina velint conscribere, Græcáve dicta;</li>
- <li class="lihang4"><span class="spqutspc">Sive</span> suam exoptent Hebræâ dicere mentem</li>
- <li class="lihang4"><span class="spqutspc">Linguâ,</span> seu cupiant Germanica verba referre,</li>
- <li class="lihang4"><span class="spqutspc">Cunctas</span> ille suâ fabricabitur arte figuras.</li>
- <li class="lihang4"><span class="spqutspc">Cernis</span> quâ fiat cum dexteritate character</li>
- <li class="lihang4"><span class="spqutspc">Singulus</span> Archetypo, quod format splendida signa,</li>
- <li class="lihang4"><span class="spqutspc">Cum</span> mollis fuerit solers industria scalpri.</li>
- <li class="lihang4"><span class="spqutspc">Illum</span> opus est fusi digito resecare metalli</li>
- <li class="lihang4"><span class="spqutspc">Quod</span> superest, Ferulisque Typos componere lêves,</li>
- <li class="lihang4"><span class="spqutspc">Ut</span> queat exæquans illos Runcina parare.</li>
- <li class="lihang4"><span class="spqutspc">Sed</span> solet esse gravis nimiis ardoribus æstus.”</li>
-</ul></blockquote></div>
-</div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch191" id="fn191">191</a>
-<i>Fonderie en caractères de l’Imprimerie.</i> 4 pp., and 4 pp.
-of plates. Fol. No date.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch192" id="fn192">192</a>
-Smith (<i>Printers’ Grammar</i>, p. 8) blames the French
-founders of his day for the shallow cut of their punches, which
-being naturally reproduced in the types, was the cause of much bad
-printing. Some sorts, he said, as late as 1755, only stood in relief
-to the thickness of an ordinary sheet of paper. He contrasts English
-punch-cutting favourably with French in this particular.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch193" id="fn193">193</a>
-<i>Manuel Typographique, utile aux gens de lettres.</i> 2 tom.
-Paris, 1764–6. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch194" id="fn194">194</a>
-<i>Patents for Inventions.—Abridgments of
-Specifications relating to Printing</i> (1617 to
-1857). London, 1859. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch195" id="fn195">195</a>
-This misguided reformer lived at Banbury, where, in 1804, he printed an edition of
-<i>Rasselas</i>, 8vo, in his “improved” types. The result is more curious than beautiful, and the
-public remained loyal still to the alphabets of Aldus, Elzevir, Caslon, Baskerville, and Bodoni.
-Nevertheless, Rusher’s edition of <i>Rasselas</i>, “printed with patent types in a manner never before
-attempted,” will always claim a place among typographical curiosities.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch196" id="fn196">196</a>
-This is apparently the first suggestion in England of the “hand-pump,” which was
-subsequently adopted by all the founders, and formed, in combination with the lever-mould, the
-intermediate stage between hand
-and machine casting.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch197" id="fn197">197</a>
-The origin of type-nicks is doubtful. Some have considered
-them to have resulted from a modification of the old alleged system of
-perforation, and to have been intended as a receptacle for the wire or
-string used to bind the lines together. The types of the first printers
-were certainly without them, and as late as 1540 French moulds had
-none. A nick forms part of Moxon’s moulds in 1683. In French founding
-the nick is at the back of the type, while in England it is always on
-the front. In Fournier’s day the Lyonnaise types were an exception to
-the general French rule, and had the nick on the front, as also did the
-types of Germany, Holland and Flanders. Some of the old founts procured
-abroad by English founders were struck in the copper inverted, so that
-when cast in English moulds they have always had the nick at the back.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch198" id="fn198">198</a>
-The lever mould was first used in America about 1800.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch199" id="fn199">199</a>
-Clayton issued a pamphlet printed from plates produced by
-this process.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch200" id="fn200">200</a>
-It was calculated that 75,000 types could be produced by
-two men in an hour.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch201" id="fn201">201</a>
-See <i>post</i>, chap. xxi. Prior to Pouchée’s introduction of
-this system of casting into England, Hansard informs us, Henry Caslon
-made trial of it, but it was not found eligible to pursue it.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch202" id="fn202">202</a>
-The type-casting machine, of which this is the first
-patented attempt in England, was not generally adopted till after
-the International Exhibition of 1851, at which the hand-mould alone
-was shown. The model generally adopted was the machine patented in
-America in 1838, by David Bruce, which Alexander Wilson introduced in
-this country about 1853. Previous to David Bruce’s machine, a machine
-invented by Edwin Starr had been introduced at Boston in 1826, and
-tried for five years.</p></div>
-
-<div class="section">
-<h3 class="fsz7">5. THE STATE CONTROL OF ENGLISH LETTER-FOUNDING</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch203" id="fn203">203</a>
-The reader is referred to the concise summary given under
-the title “Parliamentary Papers,” in Bigmore and Wyman’s <i>Bibliography
-of Printing</i>, also to the <i>Abridgments of Specifications relating to
-Printing</i>, 1617 to 1857, published by the Commissioners of Patents in
-1859, and for more minute particulars to Mr. Arber’s <i>Transcript of the
-Registers of the Stationers’ Company</i>, and the <i>Calendars of Domestic
-State Papers</i>.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch204" id="fn204">204</a>
-Notwithstanding this flattering announcement, we find that
-five years later Grafton and Whitchurch, who held the King’s Bible
-patent, received the royal permission to print the revised edition of
-Matthews’s Bible in Paris, “because at that time there were in France
-better printers and paper than could be had here in England.” The
-project, as history records, was cut short by the Inquisition; but the
-presses, types, and workmen were with great difficulty brought over
-from Paris to London, where the Bible was finished in 1539.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch205" id="fn205">205</a>
-A brotherhood of Stationers, consisting of “writers of
-text letter,” “lymners of bokes,” and subsequently admitting printers
-to its fellowship, had existed since 1403. The term Stationer, at the
-time of the incorporation, included booksellers, printers, bookbinders,
-publishers, type-founders, makers of writing-tables, and other trades,
-amongst which were “joiners and chandlers.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch206" id="fn206">206</a>
-Arber’s <i>Transcripts</i>, ii, 753–69.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch207" id="fn207">207</a>
-This unruly printer troubled the Company’s peace for
-eleven years, and demonstrated, by his persistent defiance of their
-authority, the insufficiency of their powers to execute the control
-they nominally possessed. John Wolfe, the City printer, distinguished
-himself in a similar way.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch208" id="fn208">208</a>
-Arber’s <i>Transcripts</i>, ii, 22.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch209" id="fn209">209</a>
-A commission appointed to inquire into the disputes at
-that time agitating the Company, gave as one of its chief reasons
-why the monopolies should be sustained, that if anyone were to print
-any book he chose, this inconvenience would follow, viz., “want of
-provisions of good letters,” in other words, the quality both of type
-and printing would degenerate.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch210" id="fn210">210</a>
-Arber’s <i>Transcripts</i>, i, 114, 144.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch211" id="fn211">211</a>
-A return of presses and printers made in the same year to the Master and Wardens of
-the Company after the publication of the decree, shows that this provision had reduced the
-number to twenty-five printers, with fifty-three presses. A list of these is given in Mr. C. R.
-Rivington’s <i>Records of the Company of Stationers</i> (London, 1883, 8vo), p. 28.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch212" id="fn212">212</a>
-The provisions of this decree were commended in The <i>London Printer his Lamentation</i>,
-published in 1660, and reprinted in the third volume of the <i>Harleian Miscellany</i>. The writer
-contrasts it favourably
-with subsequent decrees.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch213" id="fn213">213</a>
-Arber’s <i>Transcripts</i>, ii, 816.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch214" id="fn214">214</a>
-A licensed stationer might, with the leave of the Company, employ an unlicensed
-stationer to reprint a work of his own, on payment of a fine.
-(<i>Ibid.</i>, ii, 19.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch215" id="fn215">215</a>
-In France, as early as 1539, typefounding had been
-legally recognised as a distinct trade. The edict of 1539 contains the
-following clause, applying the provisions and penalties of the decree
-to typefounders: “Et pour ce que le métier des fondeurs de lettres
-est connexe à l’art de l’imprimeur, et que les fondeurs ne se disent
-imprimeurs, ne les imprimeurs ne se disent fondeurs, lesdicts articles
-et ordonnances auront lieu .&#160;.&#160;. aux compagnons et apprentifs fondeurs,
-ainsi qu’en compagnons et apprentifs imprimeurs, lesquels oultre les
-choses dessus dictes seront tenus d’achever la fonte des lettres par
-eux commencée et les rendre bonnes et valables.” The whole decree is
-in curious contrast with the Acts regulating English printing and
-founding. The French “compagnons” are forbidden to band together for
-military, festive, or religious purposes, to carry arms, to beat and
-neglect their apprentices, to leave any work incomplete, to use any
-printer’s marks but their own; and so great is the fatherly solicitude
-of the Crown for the honour of the press, that printers are made
-amenable to law for typographical errors in their books. (Lacroix,
-<i>Histoire de l’Imprimerie</i>. Paris, 8vo, pp. 124–8.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch216" id="fn216">216</a>
-In 1635 the journeymen printers presented a petition to
-the Stationers’ Company respecting certain abuses which they desired
-to have reformed. The report of the referees appointed to inquire into
-the matter, with their recommendations, is still preserved. Amongst
-other things is a provision against standing formes; also that no
-books printed in Nonpareil should exceed 5,000 copies, in Brevier
-3,000 (except the privileged books); and further, that compositors
-should keep their cases clean, and dispose of “all wooden letters, and
-two-line letters, and keep their letter whole while work is doing, and
-after bind it up in good order.” The Company approved of the report,
-and ordered it to be entered on the books. (<i>Calendar of State Papers,
-Domestic</i>, 1635. London, 8vo, 1865, p. 484.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch217" id="fn217">217</a>
-<i>A Decree of Starre-Chamber, concerning Printing. Made the eleventh day of July last
-past, 1637.</i> London, 1637, 4to. The “London Printer,” previously quoted, writing in 1660,
-styles this decree “the best and most exquisite form and constitution for the good government
-and regulation of the press that ever was pronounced, or can reasonably be contrived to keep
-it in due order and regular exercise.” It was the lapse of its authority in 1640 which led to
-the abuses over which he lamented.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch218" id="fn218">218</a>
-This famous speech has been reprinted by Mr. Arber among his <i>English Reprints</i>,
-together with a verbatim copy of the decrees which evoked it.
-London, 1868, 12mo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch219" id="fn219">219</a>
-That is, the Master and Wardens are obliged to find
-employment for all honest journeymen out of work, the master-printers
-and founders being bound to give work to anyone thus brought to them.
-Masters requiring additional hands can compel the services of any
-journeyman out of work, who can only refuse the summons at his peril.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch220" id="fn220">220</a>
-In a rare tract entitled <i>An Exact Narrative of the
-Tryal and Condemnation of John Twyn, for Printing and Dispersing
-of a Treasonable Book, etc.</i> (London, 1664, 4to), several curious
-particulars are given as to the operation and enforcement of this Act
-as regards printers. But although a bookseller and bookbinder were
-arraigned at the same time, no reference was made to the founder of
-the types, who was apparently not held responsible for a share in the
-offence. In the evidence given by L’Estrange, however, as to Dover,
-one of the prisoners, we have a curious glimpse of the technical
-duties devolving on the Surveyor of the Imprimery and Printing Presses
-under this Act. He states, “I was at his (Dover’s) house to compare a
-<i>Flower</i> which I found in the <i>Panther</i> (a dangerous Pamphlet), that
-flower, that is, the very same <i>border</i>, I found in his house, the same
-mixture of Letter, great and small in the same Case; and I took a Copy
-off the Press.” The sentence passed upon the unfortunate John Twyn
-gives a vivid idea of the amenities of a printer at that period: “That
-you be led back to the place from whence you came, and from thence to
-be drawn upon an Hurdle to the place of Execution, and there you shall
-be hanged by the Neck, and being alive shall be cut down, and your
-privy Members shall be cut off, your Entrails shall be taken out of
-your body, and you living, the same to be burnt before your eyes: your
-head to be cut off, your body to be divided into four quarters, and
-your head and quarters to be disposed of at the pleasure of the King’s
-Majesty. And the Lord have mercy upon your soul.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch221" id="fn221">221</a>
-Printers were ordered to enter into a bond of £300 to the
-Crown not to misconduct themselves, but no bond appears to have been
-exacted by this Act from letter-founders.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch222" id="fn222">222</a>
-The Act of 1662 was a probationary Act for two years. In
-1664 it was continued till the end of the next session, and again until
-the end of the session following; and in 1666 again until the end of
-the first session of the next Parliament. In 1685 it was revived for
-seven years, at the end of which, in 1692, it was continued for one
-year more, after which it dropped. According to this account, it must
-have been dormant at any rate between 1679 and 1685.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch223" id="fn223">223</a>
-In 1724, according to the list presented by Samuel Negus
-to Lord Townsend, the number of printers in London had increased to
-seventy-five, and in the provinces to twenty-eight. There were also at
-that time eighteen newspapers.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch224" id="fn224">224</a>
-<i>A Proposal for Restraining the great Licentiousness of
-the Press throughout Great Britain, etc.</i> No date.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch225" id="fn225">225</a>
-<i>An Act for the more effectual Suppression of Societies
-established for Seditious and Treasonable Purposes; and for better
-preventing Treasonable and Seditious Practices.</i> [12 July, 1799.]</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch226" id="fn226">226</a>
-“VI. FORM <i>of Notice to the Clerk of the Peace that any
-person carries on the Business of a Letter Founder, or Maker or Seller
-of Types for Printing, or of Printing Presses</i>.—To the Clerk of the
-Peace for (<i>as the case may be</i>) or his Deputy.—I, A. B., of ————
-do hereby declare, That I intend to carry on the Business of a Letter
-Founder, or Maker or Seller of Types for Printing, <i>or</i> of Printing
-Presses (<i>as the case may be</i>), at ———— and I hereby require this
-Notice to be entered in pursuance of an Act passed in the 39th Year of
-the Reign of His Majesty, King <i>George</i> the Third.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch227" id="fn227">227</a>
-“VII. FORM <i>of Certificate that the above Notice has been
-given</i>.—I, G. H., Clerk (or Deputy Clerk) of the Peace for ————
-do hereby certify that A. B. of ———— hath delivered to me a Notice
-in Writing, appearing to be signed by him, and attested by E. F. as
-a Witness to his signing the same, that he intends to carry on the
-Business of a Letter Founder, or Maker or Seller of Types for Printing
-or of Printing Presses, at ———— and which Notice he has required
-to be entered in pursuance of an Act of the 39th Year of His Majesty,
-King <i>George</i> the Third.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch228" id="fn228">228</a>
-The clauses relating to printers and typefounders were
-repealed by the 32 and 33 Vict., cap. 24: <i>An Act to Repeal certain
-enactments relating to Newspapers, Pamphlets, and other Publications,
-and to Printers, Type-founders, and Reading Rooms</i>. [12 July, 1869.]</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst" title="anchored page 136">
-<a class="afnlabel" href="#fnanch229" id="fn229">229</a></p>
-
-<blockquote id="np136"><ul class="nowrap">
-<li class="lihang4"><span class="spqut">“</span>Now
- register’d—now ticketed we move,</li>
-<li class="lihang4"><span class="spqutspc">Our</span>
- slightest works the double label prove.”</li></ul>
-
-<p class="psignature">(McCreery, <i>The Press</i>, p. 25.)</p>
-</blockquote></div>
-
-<div class="section">
-<h3 class="fsz7">6. THE OXFORD UNIVERSITY FOUNDRY</h3>
-
-<div class="dftnt">
-
-<p class="pfirst" title="anchored page 137">
-<a class="afnlabel" href="#fnanch230" id="fn230">230</a></p>
-
-<blockquote id="np137"><ul class="nowrap">
-<li><span id="spnp137">.&#160;</span>.&#160;.&#160;.&#160;. “O Veneti,</li>
-<li>Que fuerat vobis ars primum nota Latini,</li>
-<li>&#160;&#160;&#160;Est eadem nobis ipsa reperta premens.”</li></ul>
-</blockquote></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch231" id="fn231">231</a>
-In the following observations on the first Oxford types
-we are mainly indebted, in common with all students of the subject,
-to the careful researches and notes of the late Mr. Henry Bradshaw of
-Cambridge.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch232" id="fn232">232</a>
-Bagford attributes this general cessation of printing
-in Oxford, Cambridge, York, Tavistock, St. Albans, Canterbury and
-Worcester to Cardinal Wolsey’s interference while legate.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch233" id="fn233">233</a>
-<i>S. Joannis Chrysostomi opera Græce, octo voluminibus.
-Etonæ, in Collegio Regali, Excudebat Joannes Norton, in Græcis &amp;c.
-Regius Typographus.</i> 1610–13. Fol.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch234" id="fn234">234</a>
-Sir Henry Savile (who is not to be confounded with his
-kinsman and namesake, Long Harry Savile, Camden’s friend) was formerly
-Greek tutor to Queen Elizabeth. In 1585 he was made Warden of Merton,
-and in 1596 became Provost of Eton College, where he died in 1621,
-ætat. 72.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch235" id="fn235">235</a>
-<i>Anecdotes of Literature and Scarce Books.</i> London,
-1807–12. 6 vols., 8vo, v, 111, 122.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch236" id="fn236">236</a>
-The passage referred to is the following vague reply to an
-inquiry addressed by Sir Henry Savile to Casaubon: “De characteribus
-Stephanicis longa historia, longæ ambages. Itaque melius ista coram.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch237" id="fn237">237</a>
-Dupont, <i>Histoire de l’Imprimerie</i>. Paris, 1854. 2 vols.,
-8vo, i, 488.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch238" id="fn238">238</a>
-<i>Diary and Correspondence.</i> London, 1850–2. 4 vols. 8vo,
-iii, 300.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch239" id="fn239">239</a>
-Printing was introduced into Cambridge in 1521, when John
-Siberch printed Bullock’s <i>Oratio</i> and seven other works. He styled
-himself the first printer in Greek in England, although none of his
-works were wholly printed in that language. The fount used for the
-quotations in the <i>Galeni de Temperamentis</i> was probably procured from
-abroad. The residence of Erasmus at Cambridge lent undoubted impetus
-to the art, which progressed actively while the Oxford press was idle.
-The first University printers, three in number, were appointed in 1534,
-by virtue of a charter granted by Henry VIII, in terms considerably
-more liberal than those first granted to Oxford. At no period of its
-career has the Cambridge press boasted of a type-foundry. In 1626
-Archbishop Usher made an effort to procure from Leyden, for the use
-of the press, matrices of Syriac, Arabic, Ethiopic and Samaritan
-letters, which, had he been successful, might have formed the nucleus
-of a foundry. Unfortunately, the Archbishop was forestalled by the
-Elzevirs, who secured the matrices for their own press (Parr’s <i>Life of
-Usher</i>. London, 1686, fol., p. 342–3). The University made an effort
-in 1700 to enrich their press by the purchase of a fount of the famous
-Paris Greek types of Francis I, known as the King’s Greek. But as the
-French Academy insisted, as a condition of the purchase, that all works
-printed in these characters should bear the imprint “characteribus
-Græcis e Typographeo regio Parisiensi,” the Cambridge Syndics, unable
-to accede to the terms, withdrew from the negotiations (Gresswell’s
-<i>Early Parisian Greek Press</i>. Oxford, 1833, i, 411; and De Guignes’
-<i>Typographie Orientale et Grecque de l’Imprimerie Royale</i>. Paris, 1787,
-p. 85).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch240" id="fn240">240</a>
-<i>Novum Testamentum. Cantabrigiæ. Apud Tho. Buck.</i> 1632.
-8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch241" id="fn241">241</a>
-<i>Anecdotes</i>, i, 119. Elsewhere (v, 111) Beloe asserts that
-the type thus used was the Greek of Sir Henry Savile. Although the same
-size, and in many points closely resembling this letter, it differs
-from it materially in other respects. This may possibly be accounted
-for on the supposition that some of the Savile characters having been
-lost, they had been replaced either by new matrices, or by the addition
-of letters from some other fount. Buck discarded many of the cumbrous
-abbreviations used in the <i>Chrysostom</i>, greatly to the advantage of his
-text (see <i>4th Report Historical MSS. Commission</i>, p. 464).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch242" id="fn242">242</a>
-<i>Rushworth’s Collections</i>, ii, 74.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch243" id="fn243">243</a>
-<i>Works of Laud.</i> Oxford, 1847–60. 7 vols., 8vo, v, 80.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch244" id="fn244">244</a>
-<i>The Holy Bible, containing the Old Testament and the New,
-etc. Printed at London by Robert Barker .&#160;.&#160;. and by the Assignes of
-John Bill.</i> <i>Anno</i> 1631. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch245" id="fn245">245</a>
-Bagford and others erroneously mention the fine as £3,000.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch246" id="fn246">246</a>
-<i>Clementis ad Corinthios Epistola prior.</i> 4to. Oxonii, 1633.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch247" id="fn247">247</a>
-Augustin Linsdell.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch248" id="fn248">248</a>
-<i>Wilkins (D.) Concilia</i>, iv, 485.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch249" id="fn249">249</a>
-According to documents in the Record Office, the fine
-was entered Feb. 18, 163&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub>, “Fined for errors in printing the
-Bible, Barker £200, Lucas £100.” It was allowed to stand over from
-time to time, “to see whether they would set up their press for the
-printing of Greek.” On June 23, 1635, it was ordered that all Bibles
-now in Stationers’ Hall which had been erroneously printed should be
-redelivered to them “with charge to see all the gross faults amended
-before they vent the same.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch250" id="fn250">250</a>
-<i>Catena Græcorum Patrum in Beatum Job .&#160;.&#160;. operâ et studio
-Patricii Junii, Bibliothecarii Regii, etc. Londini, ex Typographio
-Regio.</i> 1637. Fol. In his dedication to the Archbishop, Young thus
-refers to the care taken by Laud in the purchase of the type: “Quod
-quidem si eâ fronte acceperis .&#160;.&#160;. quâ Britanniam denique characterum
-elegantiâ in omni linguarum genere locupletas, ac vicinis gentibus, non
-minus pulchrâ, quam politâ et accuratâ veterum scriptorum editione,
-invidendam reddis, etc.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch251" id="fn251">251</a>
-The matrices of this fount, as will be seen hereafter,
-passed into Grover’s foundry, and were sold at the dispersion of
-James’s foundry in 1782.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch252" id="fn252">252</a>
-<i>State Papers, Domestic</i>, 1637–8. No. 75.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch253"
-id="fn253">253</a> Probably from the Elzevirs, who in 1626
-(as noticed p. <span class="nowrap">
-<a href="#fn128" title="to endnote 128">66</a>,</span> <i>note</i>) had succeeded in outbidding the
-representatives of Cambridge University for the Oriental
-press and matrices of Erpenius.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch254" id="fn254">254</a>
-Thomas Smith at a later date referred to the same
-gift:—“Circa id temporis .&#160;.&#160;. D. Guilielmus Laudus .&#160;.&#160;. postquam
-ingentem Codicum omne genus manu exaratorum molem pecuniis largissime
-effusis, ubi ubi merx ista literaria erat reperienda, conquisivisset,
-elegantissimos typos, omnium ferè linguarum, quæ hodie obtinent,
-efformari procuravit” (<i>Vitæ, quorundam Virorum .&#160;.&#160;. Patricii Junii</i>,
-London, 1707, 4to., p. 27).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch255" id="fn255">255</a>
-<i>Works of Laud</i>, v. 168.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch256" id="fn256">256</a>
-<i>Ibid.</i>, v, 236.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch257" id="fn257">257</a>
-Latham’s <i>Oxford Bibles and Printing in Oxford</i>. 1870, p.
-46.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch258" id="fn258">258</a>
-The University supplied a press and type to King Charles
-I during the Civil War (Gutch, <i>Collectanea Curiosa</i>. Oxford, 1781. 2
-vols., 8vo., i, 281).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch259" id="fn259">259</a>
-Lemoine, <i>Typographical Antiquities</i>. London, 1797. 8vo,
-p. 87. The office of Archi-typographus had been
-instituted by Laud, about 1637.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst" title="anchored on page 146">
-<a class="afnlabel" href="#fnanch260" id="fn260">260</a>
-He it was on whom Tom Brown wrote his famous epigram:―</p>
-
-<blockquote><ul class="nowrap">
-<li class="lihang4"><span class="spqut">“</span>I
- do not love thee, Doctor Fell,</li>
-<li class="lihang4"><span class="spqutspc">The</span>
- reason why, I cannot tell;</li>
-<li class="lihang4"><span class="spqutspc">But</span>
- this alone I know full well,</li>
-<li class="lihang4"><span class="spqutspc">I</span>
- do not love thee, Doctor Fell.”</li>
-</ul></blockquote></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch261" id="fn261">261</a>
-Bagford (<i>Harl. MS.</i> 5901, fo.
-89) mentions that Dr. Fell encouraged the fitting-up of a paper mill
-at Wolvercote, by Mr. George Edwards, “who was a cutter in wood of
-the great letters, and engraved many other things made use of in the
-printing of books, and had a talent in maps, although done with his
-left hand.” Of this mill, Hearne wrote in 1728, “Some of the best paper
-made in England is made at Wolvercote Mill” (<i>Reliq.</i>, ii, 85, ed.
-1869).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch262" id="fn262">262</a>
-This list, which was appended to the specimen of 1695,
-doubtless includes a few items acquired by the Press since Dr. Fell’s
-death. (<i>Harl. MSS.</i> 5901, 5929.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch263" id="fn263">263</a>
-The Coptic fount included in his gift is said to have been cut, not only at his expense,
-but under his personal supervision, from a character (Mores states) delineated by Mr. Wheeler,
-rector of St. Ebbe’s, in Oxford.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch264" id="fn264">264</a>
-<i>Harl. MS.</i> 5901, fol. 85.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch265" id="fn265">265</a>
-Gutch,
-<i>Collect.</i>, i, 271.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch266" id="fn266">266</a>
-<i>Athenæ Oxonienses.</i> London, 1691–2. 2 vols., fol., ii,
-604. Wood, in speaking of Mill’s <i>Greek Testament</i>, begun in 1681,
-says that the first sheets were begun at his Lordship’s cost, “at his
-Lordship’s printing house, <i>near the Theater</i>” (<i>Fasti Oxon.</i>, 3rd ed.,
-ii, 381). This was probably the hired house occupied by the University
-press prior to its removal to the Theatre, concerning the site of which
-Hearne remarks (<i>Reliq.</i>, i, 254), “One part of the wall, being a sort
-of bastion, is now to be seen, just as we enter into the Theater-yard,
-at the west corner of the north side of the Schools, viz., where the
-late printing-house of Bp. Fell stood.” Moxon, in 1683, recognised the
-Bishop’s “ardent affections to promote Typographie” in England, by
-dedicating to him the second volume of his <i>Mechanick Exercises</i>, the
-first practical work on printing written by an Englishman.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch267" id="fn267">267</a>
-A copy of this letter may be seen in the preface to
-Hickes’ <i>Thesaurus</i>, 1705, p. xliii.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch268" id="fn268">268</a>
-The Gothic and Runic punches, and the punches and matrices
-of the Saxon, formed part of the interesting exhibit of the Oxford
-University Press at the Caxton Exhibition in 1877.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch269" id="fn269">269</a>
-Nichols, <i>Literary Anecdotes</i>, iv, 147.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch270" id="fn270">270</a>
-The Oxford Ethiopic types appear to have gone astray, if
-not at this period, shortly afterwards; for Dr. Mawer, writing to the
-Archbishop of Canterbury in 1759 respecting his proposed Supplement
-to Walton’s <i>Polyglot</i>, says that the use of the University types had
-been offered him (in 1743) for printing a specimen of his work, “but,”
-he adds, “an obstruction was here thrown in my way by reason of the
-Ethiopic types being most of them lost, and incapable of printing half
-a page.” (Todd’s <i>Life of Walton</i>, London, 1821, i, 332.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch271" id="fn271">271</a>
-Nichols, <i>Lit. Anec.</i>, iv., 146. One of the first works
-printed in the recovered types was King Alfred’s Saxon version of
-Boethius’ <i>Consolationis Philosophiæ Libri</i>. Oxford, 1698, 8vo. It
-was edited by Mr. Christopher Rawlinson, from a transcript by Francis
-Junius among the MSS. at Oxford. Opposite the title is a head of Junius
-by Burghers, from a sketch by Van Dyck, in the Picture Gallery.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch272" id="fn272">272</a>
-A. J. Butler, <i>Ancient Coptic Churches of Egypt.</i> Oxford,
-1884. 2 vols., 8vo, ii, 257.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch273" id="fn273">273</a>
-These additions duly appeared in the second Oxford
-specimen of 1695, from which the inventory
-at p. <a href="#p148" title="to page 148">148</a> is quoted.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch274" id="fn274">274</a>
-There is an amusing account of a visit to the University
-Press in 1682 in Mrs. D’Anvers’ <i>Academia: or the Humours of the
-University of Oxford, in Burlesque verse</i> (1691),
-pp. 25–27.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch275" id="fn275">275</a>
-<i>Harl. MS. 5901</i>, fo. 4. The <i>Specimen</i> is given in 5929.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch276" id="fn276">276</a>
-<i>Oratio Dominica</i>, πολύγλωττος
-πολύμορφος, <i>nimirum, plus centum Linguis, Versionibus, aut
-Characteribus reddita et expressa</i>. <i>Londini</i>, 1700, 4to. 76 pp. The
-editor was B. M(otte). Typogr. Lond.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch277" id="fn277">277</a>
-This circumstance is thus frankly noted in the preface:
-“Porrò, ne Characterum alienorum copiâ me jactitare videar, scias
-velim, schedas duas, Linguas Hebraicam, et cæteras usque ad Slavonicam
-complexas, in Typographéo instructissimo inclytæ Academiæ Oxoniensis
-excusas esse, cui faustissima quæque comprecator quisquis est qui
-patriam amat, et bonam mentem colit.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch278" id="fn278">278</a>
-These include the Malabaric, Brahman, Chinese, Georgian,
-Sclavonic (Hieronymian), Syriac (Estrangelo), and Armenian. The
-Anglo-Saxon versions are from type, as is also the Irish, which is
-Moxon’s fount cut for Boyle.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch279" id="fn279">279</a>
-A second edition appeared in 1713. In 1715 a similar
-work was published by Chamberlayne in Amsterdam, entitled <i>Oratio
-Dominica in diversas omnium fere gentium linguas versa et propriis
-cujusque linguæ characteribus expressa</i>. <i>Amstelodami</i> 1715. 4to, with
-dissertations by Dr. Wilkins and others. This production is superior
-in general appearance to the English book, but the Oriental and other
-foreign characters being almost entirely copperplate, its typographical
-value is decidedly inferior.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch280" id="fn280">280</a>
-The Bible-side height is slightly above the ordinary
-English height. The Learned-side height is about the same as the French
-height. Ancient jealousies between the two rival “Sides” have much to
-answer for in the growth of this anomaly. Happily, the difference of
-“height” is now the only difference between the Bible and the Learned
-Presses.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch281" id="fn281">281</a>
-Writing in 1714, Bagford boasted that the Sheldonian
-Theatre, Plantin’s Office at Antwerp, the King’s Office in Paris, the
-King of Spain’s Printing House, (Plantin’s Office at Leyden—since
-Elzevir’s—is a sorry shed), Janson’s in Amsterdam, and that of the
-Jews in the same city, were not to compare with the Oxford House
-(<i>Harl. MS. 5901</i>). The imprint, <i>E Theatro Sheldoniano</i>, was continued
-on Oxford books till 1743.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch282" id="fn282">282</a>
-<i>Linguarum Vett. Septentrionalium Thesaurus
-Grammatico-Criticus et Archæologicus.</i> <i>Oxon.</i> 1703–5. Fol., 3 vols.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch283" id="fn283">283</a>
-This learned lady, mistress of eight languages besides
-her own, was the daughter of Ralph Elstob, a Newcastle merchant,
-and was born in 1683. Besides making the English translation which
-accompanies her brother’s Latin version of the <i>Homily on St. Gregory’s
-Day</i>, she transcribed and translated many Saxon works at an early
-age. “Miss Elstob,” says Rowe Mores, “was a northern lady of ancient
-family and a genteel fortune. But she pursued too much the drug called
-learning, and in that pursuit failed of being careful of an one thing
-necessary. In her latter years she was tutoress in the family of the
-Duke of Portland, where we have visited her in her sleeping-room at
-Bulstrode, surrounded with books and dirtiness, the usual appendages
-of folk of learning. But if any one desires to see her as she was when
-she was the favourite of Dr. Hudson and the Oxonians, they may view
-her pourtraiture in the initial G of the <i>English-Saxon Homily on the
-Birthday of St. Gregory</i>” (<i>Dissertation</i>, p. 29). Miss Elstob died in
-1756, and was buried at St. Margaret’s, Westminster.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch284" id="fn284">284</a>
-It is interesting to note that among the money
-contributors on this occasion (a list of whom is preserved in Nichols’
-<i>Anecdotes of Bowyer</i>, pp. 496–7), Robert Andrews and Thomas James,
-the letter-founders, appear as donors of five guineas each, and Thomas
-Grover of two guineas.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch285" id="fn285">285</a>
-Humphrey Wanley, son of Nathaniel Wanley, was secretary to
-the Society for Promoting Christian Knowledge, and afterwards librarian
-to the Earl of Oxford. He was an adept in the Saxon antiquities and
-calligraphy, and was an important contributor to Hickes’ <i>Thesaurus</i>,
-for which work he compiled the historical and critical catalogue of
-Saxon and other MSS. He died in 1726, aged fifty-four. Much of his
-correspondence is preserved among the Harleian MSS.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch286" id="fn286">286</a>
-Nichols’ <i>Anecdotes of William Bowyer</i>. London, 1782,
-4to., p. 498.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch287" id="fn287">287</a>
-<i>The Rudiments of Grammar for the English Saxon Tongue.</i>
-London, 1715. 4to. A specimen of the letter is given in chapter ix,
-post.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch288" id="fn288">288</a>
-“This type Miss Elstob used in her <i>Grammar</i>, and in
-her <i>Grammar</i> only. In her capital undertaking, the publication of
-the <i>Saxon Homilies</i>, begun and left unfinished, whether because the
-type was thought unsightly to politer eyes, or whether because the
-University of Oxford had cast a new letter that she might print the
-work with them, or whether (as she expresses herself in a letter to
-her uncle, Dr. Elstob), because ‘women are allowed the privilege of
-appearing in a richer garb and finer ornaments than men,’ she used a
-Saxon of the modern garb. But not one of these reasons is of any weight
-with an antiquary, who will always prefer the natural face to ‘richer
-garb and finer ornaments.’ And on his side is reason uncontrovertible.”
-(Rowe Mores, <i>Dissert.</i>, p. 29.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch289" id="fn289">289</a>
-<i>i.e.</i>, William Caslon.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch290" id="fn290">290</a>
-Nichols’ <i>Anecdotes of Bowyer</i>, p. 319. <i>Literary
-Anecdotes</i>, ii, 361, etc.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch291" id="fn291">291</a>
-<i>Dissertation</i>, p. 28.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch292" id="fn292">292</a>
-A few of the punches and matrices were shown in the Caxton
-Exhibition of 1877.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch293" id="fn293">293</a>
-<i>The Great Charter and Charter of the Forest.</i> Oxford, at
-the Clarendon Press, 1759, 4to. This fine work is printed in Caslon’s
-Great Primer Roman. The copperplate initials and vignettes are very
-fine, the former containing views of several of the different colleges
-and public buildings at Oxford.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch294" id="fn294">294</a>
-<i>Novum Testamentum, juxta exemplar Millianum. Typis
-Joannis Baskerville. Oxonii e Typographeo Clarendoniano 1763. Sumptibus
-Academiæ</i>, 4to &amp; 8vo. (See also <i>post</i>, chap.
-xiii). The Baskerville Greek punches, matrices and types still
-preserved at Oxford, are supposed to be the only relics in this country
-of the famous Birmingham foundry.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch295" id="fn295">295</a>
-Though dated 1768 on the title, this specimen appears not
-to have been completed for two years, as it bears the date Sept. 29,
-1770, on the last page, and includes specimens of purchases made in
-that year.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch296" id="fn296">296</a>
-<i>Dissertation</i>, p. 45. These strictures we cannot but
-regard as somewhat hypercritical. It was no uncommon thing to cast a
-small face of letter on a body larger than its own; and in the case
-of Hebrew and other Orientals, where detached points were cast to
-work over the letter, it was by no means unusual at that time, and
-till a later period, to designate the latter by the name of the body
-which it and the point in combination collectively formed. With regard
-to the gradual lapse of obsolete and superannuated founts from the
-specimen, Mr. Mores’ antiquarian zeal appears to have blinded him to
-the fact that the Oxford press may have issued their specimens as an
-advertisement of their present resources, rather than as an historical
-collection of their typographical curiosities.</p></div>
-
-<div class="section">
-<h3 class="fsz7">7. THE STAR CHAMBER FOUNDERS,
- AND THE LONDON POLYGLOT</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch297" id="fn297">297</a>
-<i>Harl. Miscell.</i>, Lond., 1745, 4to, iii, 277. The full
-title and description of this curious tract is as follows:—“<i>The
-London Printer, his Lamentation; or the Press oppressed, or
-over-pressed. September 1660. Quarto, containing 8 pages. In this
-sheet of Paper is contained, first, a short account of Printing in
-general, as its Usefulness, where and by whom invented; and then a
-Declaration of its Esteem and Promotion in England by the several Kings
-and Queens since its first Arrival in this Nation; together with the
-Methods taken by the Crown for its better Regulation and Government
-till the year 1640; when, says the Author, this Trade, Art and Mystery
-was prostituted to every vile Purpose both in Church and State; where
-he bitterly inveighs against Christopher Barker, John Bill, Thomas
-Newcomb, John Field and Henry Hills as Interlopers, and, under the
-King’s Patent, were the only instruments of inflaming the People
-against the King and his Friends, etc.</i>”</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch298" id="fn298">298</a>
-Mores makes a serious mistake in calling this founder
-Arthur Nicholas.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch299" id="fn299">299</a>
-In the British Museum <i>Catalogue of Early English Books to
-1640</i>, the name of John Grismand appears as publisher of twenty-four
-books between 1597 and 1636. It is probable that the earlier of these,
-at any rate, were issued by the father of our founder. The name of one
-Thomas Wright also occurs as a publisher in 1610.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch300" id="fn300">300</a>
-<i>Harl. MS. 5910</i>, pt. i, p. 148.</p></div>
-
-<div class="dftnt dkeeptogether">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch301" id="fn301">301</a>
-Moxon, in his account of the Customs of the Chapel
-(<i>Mechanick Exercises</i>, ii, 363), gives a full description of this
-yearly Feast, which, he says, “is made by Four Stewards, <i>viz.</i>, two
-Masters and two Journey-men; which Stewards, with the Collection
-of half a Crown apiece of every Guest, defray the Charges of the
-whole Feast.” The List of Stewards, above referred to, contains,
-among others, the names of nearly all the seventeenth century
-letter-founders. Seventy feasts were held between 1621 and 1681, the
-first few probably being half-yearly. Three or four Stewards officiated
-at each. The names of the founders occurring in the list are as
-follows, the figures appended to each indicating the number of the
-feast at which each served his stewardship, with the approximate date:</p>
-
-<blockquote><ul class="nowrap">
-<li>(24) Thomas Wright (1635).</li>
-<li>(26) Arthur Nichols (1637).</li>
-<li>(31) Alexander Fifield (1642).</li>
-<li>(42) Nicholas Nichols (1653).</li>
-<li>(61) James Grover (1672).</li>
-<li>(63) Thomas Grover (1674).</li>
-<li>(64) Joseph Leigh (Lee?) (1675).</li>
-<li>(66) Godfrey Head (1677).</li>
-<li>(67) Thos. Goring (1678).</li>
-<li>(69) Robert Andrews (1680).</li></ul></blockquote>
-</div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch302" id="fn302">302</a>
-Arber’s <i>Transcripts</i>, iii, 363–8.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch303" id="fn303">303</a>
-<i>Calendar of State Papers, Domestic</i>, 1649,
-pp. 362, 523. Among the entries of admission to Merchant
-Taylors’ School occurs: “Johannes Grismond, filius unicus Johannes
-Grismond, Typographi, natus Londini, in parœciâ de Giles, Cripplegate,
-Aprilis 1, 1647: an. agens 8. Admissus est Aprilis 3, 1654.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch304" id="fn304">304</a>
-<i>Domestic</i>, 1637–8. Vol. 376, Nos. 13 and 14.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch305" id="fn305">305</a>
-The list of matrices is given on
-p. <a href="#p173" title="to page 173">173</a>&#xfeff;, <i>post</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch306" id="fn306">306</a>
-<i>Dissertation</i>, p. 40.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch307" id="fn307">307</a>
-The first project of a Polyglot Bible is due to Aldus
-Manutius, who, probably between 1498 and 1501, issued a specimen-page
-containing the first fifteen verses of Genesis, in collateral columns
-of Hebrew, Greek and Latin. The typographical execution is admirable. A
-facsimile is shown in Renouard’s <i>Annales de l’Imprimerie des Aldes</i>,
-2nd and 3rd editions.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch308" id="fn308">308</a>
-It was begun in 1502; completed in 1517, but not published
-till 1522.</p></div>
-
-<div class="dftnt dkeeptogether">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch309" id="fn309">309</a>
-In addition to the four great <i>Bibles</i>, the following
-polyglot versions had also appeared before 1657:―</p>
-
-<ul class="din2 fsz6">
-<li><p class="phangd">1516.
-<i>Psalter</i> in Hebrew, Arabic, Chaldee, Greek and
- Latin, published by Porrus at Genoa.</p></li>
-
-<li><p class="phangd">1518. <i>Psalter</i> in Hebrew, Greek, Latin and Ethiopic,
- published by Potken at Cologne.</p></li>
-
-<li><p class="phangd">1546. <i>Pentateuch</i> in Hebrew, Chaldee, Persian and Arabic,
- published at Constantinople (but all in Hebrew type).</p></li>
-
-<li><p class="phangd">1547. <i>Pentateuch</i> in Hebrew, Spanish and modern Greek,
- published at Constantinople.</p></li>
-
-<li><p class="phangd">1586. <i>Bible</i> in Hebrew, Greek and Latin (two versions),
- published at Heidelberg.</p></li>
-
-<li><p class="phangd">1596. <i>Bible</i> in Greek, Latin and German, published by
- Wolder at Hamburg.</p></li>
-
-<li><p class="phangd">1599. <i>Bible</i> (portions) in Hebrew, Chaldee, Greek,
- Latin, German, Sclavonic, etc., published by Hutterus at
- Nuremberg.</p></li>
-</ul>
-</div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch310" id="fn310">310</a>
-These <i>Proposals</i> were printed by R. Norton for Timothy
-Garthwaite at the lesser North Gate of St. Paul’s Church, London, 1652.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch311" id="fn311">311</a>
-It is described by the Rev. H. J. Todd in his <i>Memoirs of
-the Life and Writings of the Right Rev. Brian Walton, D.D.</i> London, 2
-vols., 8vo, 1821. Mr. Todd’s work contains much valuable information
-respecting the <i>Polyglot</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch312"
-id="fn312">312</a> Among the MSS. in Sydney College is a
-letter written by Abraham Wheelock to the Vice-Chancellor
-of Cambridge, dated Jan. 5, 1652, in which, referring to
-the specimen, he says: “When the sheete, here sent, was
-printed off, I corrected at least 80 errata in it. It as
-yet serves to show what letters Mr. Flesher, an eminent
-printer, my friend and printer of my booke, hath” (Todd’s
-<i>Memoirs</i>, i, 56). James Flesher, son (?) of Miles Flesher
-(one of the twelve Star Chamber printers named in the Act
-of 1637), entered into a bond of £300 to the Stationers’
-Company in 1649, and held the office of City printer in
-1657. His name occurs in the list of the <i>Brotherly Meeting
-of Printers</i> as Steward at the 42nd Feast. In 1664 he
-served, together with Roycroft, on the jury at the trial of
-John Twyn; see <i>ante</i>, p.
-<a href="#p132" title="to page 132">132</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch313" id="fn313">313</a>
-Walton’s <i>Polyglot</i> is supposed to be the second book
-printed by subscription in England. In 1617, Minsheu’s <i>Dictionary in
-Eleven Languages</i> was published by subscription, the names of those
-who took a copy of the work being printed. Minsheu’s venture, however,
-turned out a failure. In Dr. Walton’s case this mode of publication
-was, owing to the energy of the promoter and the number of his friends,
-successful. The subscription was £10 per copy, or £50 for six copies.
-The estimated cost of the first volume was £1,500, and of succeeding
-volumes £1,200 each. Towards this, £9,000 was subscribed four months
-before the first volume was put to press.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch314" id="fn314">314</a>
-Parr’s <i>Life and Letters of Usher</i>. Lond., 1686, fol., p. 590. Dr. Walton received the
-Protector’s permission to import the paper for his work, duty free.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch315" id="fn315">315</a>
-<i>Origine de l’Imprimerie de Paris.</i> Paris, 1694, 4to, p. 59.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch316" id="fn316">316</a>
-<i>Discours Historique sur les principales editions des Bibles Polyglottes.</i> Paris, 1713, 12mo,
-p. 209.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch317" id="fn317">317</a>
-This useful little tract was reprinted with improvements in the following year, entitled:
-“<i>Introductio ad lectionem linguarum Orientalium, Hebraicæ, Chaldaicæ, Samaritanæ, Syriacæ,
-Arabicæ, Persicæ, Æthiopicæ, Armenæ, Coptæ .&#160;.&#160;. in usum tyronum .&#160;.&#160;. præcipuè eorum
-qui sumptus ad Biblia Polyglotta (jam sub prelo) imprimenda contulerunt. Londini. Imprimebat
-Tho. Roycroft</i>, 1655. 18mo.” Republished at Deventer in 1658. The Armenian and
-Coptic alphabets were cut in wood, and reappeared in the Prolegomena
-of the <i>Polyglot</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch318" id="fn318">318</a>
-“The latter part,” says Bowyer, “is much more incorrectly
-printed than the former, probably owing to the editor’s absence from
-the press, or to his being over-fatigued by the work. The Hebrew text
-suffered much in several places by the rapidity of the publication.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch319" id="fn319">319</a>
-Rev. Mr. Twells, author of <i>Life of Dr. Pocock</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch320" id="fn320">320</a>
-<i>Biblia Sacra Polyglotta, complectentia Textus Originales,
-Hebraicum cum Pentateucho Samaritano, Chaldaicum, Græcum; Versionumque
-antiquarum, Samaritanæ Græcæ LXX Interpr. Chaldaicæ, Syriacæ, Arabicæ,
-Æthiopicæ, Persicæ, Vulg. Lat. Quicquid comparari poterat. Cum
-Textuum et Versionum Orientalium Translationibus Latinis .&#160;.&#160;.
-Omnia eo ordine disposita, ut Textus cum Versionibus
-uno intuitu conferri possint. Cum Apparatu, etc. etc. .&#160;.&#160;.
-Edidit Brianus Waltonus, S.T.D. Londini. Imprimebat Thomas
-Roycroft</i>, 1657. 6 vols., fol.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch321" id="fn321">321</a>
-One of the compositors employed on the work was Ichabod
-Dawks (grandfather to Wm. Bowyer), of whose son and his curious script
-type, see <i>The Tatler</i>, No. 178, etc.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch322" id="fn322">322</a>
-See <i>ante</i>, p.
-<a href="#p098" title="to page 98">98</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch323" id="fn323">323</a>
-In some cases a few of the matrices have undergone
-renovation in the hands of their successive owners.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch324" id="fn324">324</a>
-“The Æthiopic of the Congregation,” <i>i.e.</i>, of the
-Propaganda at Rome, “is not to be compared with ours. And Ludolphus,
-whose abode was at Gotha, sent his Lexicon to be published at London,
-where it was printed by Mr. Roycroft upon the type of the English
-<i>Polyglot</i>” (Mores, p. 12).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch325" id="fn325">325</a>
-“The elegant face of the Samaritan is justly attributed by
-Cellarius to the English, for it was first used in our <i>Polyglot</i>. It
-differs widely from the type used by Scaliger in his <i>Emend. Temp.</i>,
-and by Leusden at the end of his <i>Scholæ Syriacæ</i>, and from another
-used in an encomiastic of Abr. Ecchelensis upon F. Kircher, which type
-belonged to the Congregation at Rome; and which was afterwards more
-neatly cut by Voskens” (<i>ibid.</i>, p. 13).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch326" id="fn326">326</a>
-In his “loyal” dedication, Walton asserts that from the
-outset he had intended to dedicate the work to Charles II, and that
-Cromwell’s patronage of the work had been offered only as the price of
-a public compliment for himself (Todd, i, 82 <i>et seq.</i>).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch327" id="fn327">327</a>
-“The first view of this dedication,” he says, “will prove
-it to have been printed with different and inferior types, the hasty
-produce of a courteous after thought” (<i>Introd. Classics</i>, i, 27).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch328" id="fn328">328</a>
-“Thomas Roycroft died August 10, 1677. In 1675 he was
-master of the Stationers’ Company, and in 1677 he gave to them two
-silver mugs, weight 27 ozs. 3 dwts. In the rear of the altar at St.
-Bartholemew’s the Great is this epitaph:—‘M.S. Hic juxta situs est
-Thomas Roycroft, armiger, linguis Orientalibus Typographus Regius,
-placidissimis moribus et antiquâ probitate ac fide memorandus, quorum
-gratiâ optimi civis famam jure merito adeptus est. Militiæ civicæ
-Vicetribunus. Nec minus apud exteros notus ob libros elegantissimis
-suis typis editos, inter quos sanctissimum illud <i>Bibliorum
-Polyglottorum</i>, opus quam maxime eminet. Obiit die 10 Augusti, ann.
-Reparatæ Sal. <span class="smmaj">MDCLXXVII,</span> postquam <span class="smmaj">LVI</span> ætatis suæ
-annum implevisset. Parenti optimè merito, Samuel Roycroft, filius
-unicus, hoc monumentum pie posuit.’&#x200f;”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch329" id="fn329">329</a>
-<i>Lexicon Heptaglotton</i>, <i>Hebraicum</i>, <i>Chaldaicum</i>,
-<i>Syriacum</i>, <i>Samaritanum</i>, <i>Æthiopicum</i>, <i>Arabicum</i>, conjunctim; <i>et
-Persicum</i> separatim, <i>etc.</i>, <i>etc.</i> <i>Authore Edmundo Castello, S.T.D.</i>,
-<i>etc.</i> <i>Londini, Imprimebat Thomas Roycroft, L.L.</i> <i>Orientalium
-Typographus Regius, 1669</i>. Two vols., fol.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch330" id="fn330">330</a>
-<i>State Papers, Domestic</i>, 1665. Vol. 142, No. 174.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch331" id="fn331">331</a>
-<i>State Papers, Domestic</i>, 1667. <i>Ent. Book 23</i>, p. 337.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch332" id="fn332">332</a>
-In the List of Stewards of the <i>Brotherly Meeting</i> of
-printers referred to p. 166, Nicholas Nicholls’ name occurs with James
-Flesher’s as a Steward at the 42nd Feast.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch333" id="fn333">333</a>
-<i>Dissertation</i>, p. 46.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch334" id="fn334">334</a>
-See <i>ante</i>, p.
-<a href="#p148" title="to page 148">148</a>&#xfeff;.</p></div>
-
-<div class="section">
-<h3 class="fsz7">8. JOSEPH MOXON</h3>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch335" id="fn335">335</a>
-Nicholas Nicholls’ tiny specimen, printed four years
-earlier, exhibited only a few lines specially cut, and dedicated
-privately to the King.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch336" id="fn336">336</a>
-In 1677 he published <i>Geometrical Operations</i>, London,
-4to, translated by himself from Dutch into English.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch337" id="fn337">337</a>
-<i>Regulæ Trium Ordinum Literarum Typographicarum; or
-the Rules of the Three Orders of Print Letters, viz.: the Roman,
-Italick, English,—Capitals and Small; showing how they are compounded
-of Geometrick Figures and mostly made by Rule and Compass. Useful
-for Writing Masters, Painters, Carvers, Masons and others that are
-Lovers of Curiosity; by Joseph Moxon, Hydrographer to the King’s Most
-Excellent Majesty. London. Printed for Joseph Moxon on Ludgate Hill at
-the Sign of Atlas.</i> 1676. 4to. (Dedicated to Sir Christopher Wren.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch338" id="fn338">338</a>
-The theory of the proportion of letters had been dealt with by several foreign authors in
-the sixteenth century. In 1509 Fra Luca Pacioli’s book, entitled <i>De Divinâ Proportione</i>, was
-printed at Venice, containing woodcut illustrations of the various letters of the alphabet. In
-1525 Albert Dürer published in Nuremberg his <i>Unterweisung der Messung mit dem Zirkel
-und Richtscheit</i>, reducing all letters to a combination of circles and straight lines. In 1529
-Geofroy Tory’s <i>Champfleury</i> appeared at Paris, an extraordinary treatise, deriving every letter of
-the Latin alphabet from the goddess IO, of the letters of whose name every other letter is
-formed; and proportioning each to the human body and countenance in their various poses
-and aspects. Fantastic as his work was, it is credited with having revolutionised the form of
-the Roman letter in France. Like Moxon, Tory sub-divided the square of each letter into a
-number of minute squares, in which he constructed his model letters. A somewhat similar
-work was published at Saragossa, in Spain, in 1548, by Ycair, entitled <i>Orthographia Practica</i>,
-containing specimens of alphabets, and intended, like all of the above-named works, more for
-the use of the caligrapher and sculptor than for the printer.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch339" id="fn339">339</a>
-<i>Mechanick Exercises, or the Doctrine of Handy-Works. Began Jan. 1, 1677. And
-intended to be Monthly continued. By Joseph Moxon, Hydrographer to the King’s Most
-Excellent Majesty. London. Printed for Joseph Moxon on Ludgate Hill at the Sign of the
-Atlas.</i> Two vols., 4to.</p>
-
-<p>Vol. I (14 numbers). <i>The Smiths, the Joyners, the Carpenters, and the Turner’s Trades.</i>
-1677–80.</p>
-
-<p>Vol. II (24 numbers). <i>Applied to the Art of Printing</i>, 1683–6. (Dedicated to Dr. Fell,
-Bishop of Oxford.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch340" id="fn340">340</a>
-Mores says that before Moxon’s time letter-cutters worked by eye and hand only, and
-practised their art by guess-work (<i>Dissert.</i>, p. 43).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch341" id="fn341">341</a>
-See chap. iv.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch342" id="fn342">342</a>
-Or rather a hair space, of which seven go to the body;
-so that one such space divided
-by six would give a 42nd part!</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch343" id="fn343">343</a>
-See <i>ante</i>, p.
-<a href="#fg25" title="to Fig. 25">109</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch344" id="fn344">344</a>
-Of the eighteen letters of the alphabet, the b, c, h, l,
-m, n, o, s, u, are in Roman, the <i>a</i> and <i>e</i> in Italic.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch345" id="fn345">345</a>
-A copy of this rare broadside is in the Library of Corpus
-Christi College, Cambridge.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch346" id="fn346">346</a>
-The full title of this rare little tract, consisting of
-eight leaves only, is translated as follows:—<i>Aibidil Gaoidheilge
-Caiticiosma, etc.</i> (<i>The Irish Alphabet and Catechism, precept or
-instruction of a Christian, together with certain articles of a
-Christian faith which are proper for everyone to adopt who would be
-submissive to the ordinance of God and the Queen of this Kingdom.
-Translated from Latin and English into Irish by John O’Kearney .&#160;.
-Printed in the town of the Ford of Hurdles, (Dublin), at the cost of
-Master John Ussher, Alderman, at the head of the Bridge, the 20th of
-June 1571, with the privilege of the great Queen.</i> 1571.) 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch347" id="fn347">347</a>
-<i>Tiomna Nuadh, etc.</i> (<i>The New Testament of our Lord and
-Saviour Jesus Christ, faithfully translated from the Greek into the
-Irish by William O’Donnell.</i>) <i>Séon Francke: a mBaile athá Cliath</i>
-(<i>Dublin</i>), 1602. Fol. This work was printed in the house of Sir
-William Ussher, Clerk of the Council.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch348" id="fn348">348</a>
-<i>Leabhar na nurnaightheadh gcomhchoidchiond agus
-mheinisdraldachda na Sacrameinteadh, etc.</i> (Translated from the English
-by W. Daniel, Archbishop of Tuam), <i>a dtigh Shéon Francke, alias
-Franckton, a Mbaile athá Cliath</i> (<i>Dublin</i>), 1608. Fol. Not published
-till 1609. In his dedication, Daniel says that, “having translated the
-book, I followed it to the presse with jealousy and daiely attendance,
-to see it perfected; payned as a woman in travell desirous to be
-delivered.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch349" id="fn349">349</a>
-<span class="nowrap"><i>A B C</i>,</span> <i>or the</i> <i>Institution of a Christian</i>.
-<i>Printed by the Company of Stationers</i>.
-Dublin, 1631. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch350" id="fn350">350</a>
-<i>The Catechism, with the Six points of W. Perkins</i>,
-<i>translated into Irish by Godfrey
-Daniel</i>. Dublin, 1652. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch351" id="fn351">351</a>
-“The publication of everything valuable in this language
-by the fathers of Donegal was unfortunately prevented by the troubles
-of the time of Charles I, by Cromwell’s usurpation. These fathers
-had procured a fount for this purpose, which, when forced to fly,
-they carried with them to Louvain, where some fragments of this fount
-are yet to be found” (<i>Theoph. O’Flanagan on the Ancient Language of
-Ireland. Transac. of the Gaelic Soc.</i> 8vo, Dublin, 1808,
-p. 212). Others stated that the fount had been removed to Douay, and
-there used to print several Catholic tracts. No Irish work whatever is
-known to have been printed at Douay. Respecting the various foreign
-Irish founts, the reader is referred to the account given in chapter
-ii, p. <a href="#p075" title="to page 75">75</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch352" id="fn352">352</a>
-<i>Life of William Bedell, D.D.</i>, by H. J. Monck Mason.
-Lond., 8vo, 1843, p. 287.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch353" id="fn353">353</a>
-In addition to the
-<span class="nowrap"><i>A B C</i></span> <i>and</i> <i>Catechism</i>, already
-referred to as published by Bedell in 1631, some of his biographers
-record that he had printed a later edition about 1641, and at the same
-time the following tracts in Irish, viz.: Some forms of prayer, a
-selection of passages from Scripture, the first three of Chrysostom’s
-Homilies on the rich man and Lazarus, and some sermons by Leo. Copies
-of these have not been seen.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch354" id="fn354">354</a>
-Most of the copies were stated to have been bought up,
-like the type, by Roman ecclesiastics.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch355" id="fn355">355</a>
-Of this work a copy has not yet been seen.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch356" id="fn356">356</a>
-<i>Tiomna Nuadh.</i> (<i>The New Testament of our Lord and
-Saviour Jesus Christ, faithfully translated from the Greek into the
-Irish by William O’Donnell</i>). London. Robert Everingham. 1681. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch357" id="fn357">357</a>
-“Mr. Everingham and Mr. Whiteledge,” says Dunton (<i>Life</i>,
-p. 331), “were two partners in the trade; I employ’d ’em very much,
-and look’d upon ’em to be honest and thriving men. Had they confin’d
-’emselves a little sooner to Household Love, they might possibly have
-kept upon their own Bottom; however, so it happen’d, that they lov’d
-themselves into Two Journey-men Printers again.” Everingham was the
-printer, in 1680, of a <i>Weekly Advertisement of Books</i> for some London
-publishers.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch358" id="fn358">358</a>
-Writing to Dr. Marsh of Dublin, Jan. 17th, 1681–2, Boyle
-refers to a projected Irish Grammar, and offers the use of his type. “I
-am glad that so useful a designe as that of frameing a compendious
-Irish Grammar has been conceived by one that is so able to execute
-it well; but I presume you will want letters for many of the Irish
-words; in which case you may please to consider what use may be made
-of those I have already, that may be consistent with the printing of
-the Old Testament in the language they relate to; for all the designe
-I had in having them cut off was, that they might be in a readiness to
-print useful bookes in Irish, whether there or here” (Mason’s <i>Life of
-Bedell</i>, p. 301).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch359" id="fn359">359</a>
-Leabhuir na Seintiomna, etc. (<i>The Books of the Old
-Testament translated into Irish by Dr. William Bedell, late Bishop of
-Kilmore.</i> <i>London.</i>) 1685. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch360" id="fn360">360</a>
-<i>An Biobla Naomhtha.</i> (<i>W. Bedell’s and W. O’Donnell’s
-Irish Bible, revised, and printed at London by R. Everingham.</i>) 1690.
-8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch361" id="fn361">361</a>
-Mason’s <i>Life of Bedell</i>, p. 305.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch362" id="fn362">362</a>
-<i>The Book of Common Prayer, Irish and English, with the
-Elements of the Irish Language</i>, by John Richardson. London, 1712. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch363" id="fn363">363</a>
-<i>Practical Sermons.</i> London, 1711.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch364" id="fn364">364</a>
-<i>Dissertation</i>, p. 33. It is worthy of note that at the
-date when Mores wrote an almost universal cessation in Irish printing
-was taking place at home and abroad. At Louvain no work had appeared
-since 1663, at Rome since 1707, or at Paris (with the exception of the
-specimen in Fournier’s <i>Manuale Typographique</i>, 1764), since 1742.
-In the few Irish works issued at home during this period (with the
-notable exception of Miss Brooke’s <i>Reliques of Irish Poetry</i>, printed
-by Bonham of Dublin in 1789, in a new fount, apparently privately cut)
-the Irish character is generally rendered in copperplate, or in Roman
-type. It was not till Marcel published his <i>Alphabet Irlandais</i>, at
-Paris in 1804, and Neilson his <i>Irish Grammar</i>, at Dublin in 1808, that
-a revival of Irish typography took place, both abroad and at home.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch365" id="fn365">365</a>
-<i>An Essay towards a Real Character and a Philosophical
-Language, by John Wilkins, D.D., Dean of Ripon. London, printed .&#160;.&#160;. for
-the Royal Society.</i> 1668. Fol.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch366" id="fn366">366</a>
-<i>Dissertation</i>, p. 43. Mores mentions a James Moxon who
-in 1677 lived near Charing Cross, and sold Joseph Moxon’s
-books at his house (p. 44).</p></div>
-
-<div class="section">
-<h3 class="fsz7">9. THE LATER FOUNDERS OF THE SEVENTEENTH CENTURY</h3>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch367" id="fn367">367</a>
-Joseph Leigh (<i>sic</i>) served at the sixty-fourth Feast
-(<i>i.e.</i>, about 1675), and Thos. Goring at the sixty-seventh (1678). In
-the same List occurs the name of John Goring, probably a relative of
-Thomas Goring, at the forty-sixth Feast (1657).</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch368" id="fn368">368</a>
-His name occurs in the list of Masters and Workmen
-Printers, as having served as Steward at the sixty-ninth Feast (1680).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch369" id="fn369">369</a>
-Mores’ <i>Dissert.</i>, p. 13.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch370" id="fn370">370</a>
-See <i>ante</i>, p.
-<a href="#p157" title="to page 157">157</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch371" id="fn371">371</a>
-The names of both occur among the stewards who had served office at the annual
-Brotherly Meetings of Masters and Workmen Printers; James Grover at the sixty-first Feast
-(1672), and Thomas Grover at the sixty-third (1674).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch372" id="fn372">372</a>
-See <i>ante</i>, p.
-<a href="#p096" title="to page 96">96</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch373" id="fn373">373</a>
-See <i>ante</i>, p.
-<a href="#p090" title="to page 90">90</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch374" id="fn374">374</a>
-See <i>ante</i>, p.
-<a href="#p144" title="to page 144">144</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch375" id="fn375">375</a>
-“The Arabic (of the <i>Polyglot</i>) is Great Primer, in our
-(<i>i.e.</i>, James’s) foundery; and it came from Mr. Grover” (Mores’
-<i>Dissert.</i>, p. 13; and again, p. 63). Mores, however, only mentions an
-imperfect set of Double Pica matrices in the summary of this foundry,
-whereas Andrews possessed a complete fount of Great Primer. A few odd
-punches of the <i>Polyglot</i> Arabic are still in existence.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch376" id="fn376">376</a>
-Mores’ <i>Dissert.</i>, p. 46.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch377" id="fn377">377</a>
-<i>Ibid.</i>, p. 67.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch378" id="fn378">378</a>
-This distinguished ambassador belonged to an honourable
-family, of whom by no means the least worthy member was Miss Elizabeth
-Rowe, who in 1785 married Henry Caslon, and subsequently—first with
-her mother-in-law, and afterwards by her own exertions—ably conducted
-the affairs of the Chiswell Street foundry. See <i>post</i>, chap. xi.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch379" id="fn379">379</a>
-See <i>ante</i>, p.
-<a href="#p144" title="to page 144">144</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch380" id="fn380">380</a>
-<i>Gent. Magaz.</i>, vol. 56, p. 497. Nichols’ <i>Lit. Anec.</i>, ix, 9.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch381" id="fn381">381</a>
-Proposuit quidem D. Junius multis antehac annis MS. hoc
-typis evulgare, cujus etiam specimen impressum vidi; sed consilium
-illius, multis viris doctis merito improbatum, ejus progressum
-retardavit; dum multa pro arbitrio ex MS. detruncaret et mutaret,
-idque cùm nulla
-premebat necessitas, prout ex Catalogo satis magno
-vocabulorum per pauca <i>Geneseos</i> capita, quæ ipse mutaverat et
-expunxerat (quem mihi ostendit Typographus) constat (<i>Proleg.</i>, sec.
-ix, § 34).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch382" id="fn382">382</a>
-<i>Vitæ quorundam eruditissimorum et illustrium
-Virorum.—Patricii Junii. Lond.</i>, 1707. 4to. “Utcunque futuri operis
-specimen, quod jam præ oculis meis habeo, primum nimirum
-caput libri <i>Geneseos</i>, una cum doctissimis Scholiis,
-edere placuit. Omnes illud certamen arripiunt, avidisque oculis legunt
-perleguntque, ac optimâ spe de promissâ editione, quam cum maximo et
-vix continendo affectu exspectant efflagitantque, conceptâ, quasi moram
-pertæsi, Orbem Christianum hoc eximio thesauro, quod dudum fuisset
-locupletandus, nimium diu hactenus caruisse amicè queruntur” (p. 32).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch383" id="fn383">383</a>
-Parr’s <i>Life of Usher</i>, 1686, p. 621. Usher to Boate, June
-1651: “&#160;.&#160;.&#160;. the Alexandrian copy (in the Library of St. James) which
-he intendeth shortly to make publick, Mr. Selden and myself every day
-pressing him to the work.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch384" id="fn384">384</a>
-Wood, <i>Athen. Ox.</i>, 1691, i, 796; also Edwards, <i>Libraries
-and Founders of Libraries</i>, Lond., 1865, 8vo, p. 168.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch385" id="fn385">385</a>
-<i>Lansd. MSS.</i>, No. 231, fo. 169.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch386" id="fn386">386</a>
-See <i>post</i>, chap. xvi.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch387" id="fn387">387</a>
-The matrices of all these curious founts have survived to the present day, and, indeed,
-lie before us as we write. They bear strong evidence of having been justified and finished by
-the same hand.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch388" id="fn388">388</a>
-From this assertion we except, of course, the letter of
-the first printers, which, if not imitating the actual handwriting of
-one particular scribe, was a copy of the conventional book-writing hand
-of the period. Some of the earliest scripts, italics and cursives are
-also reputed to have been modelled on the handwriting of some famous
-caligrapher or artist. One of the first instances of printing with
-facsimile types was the copy of the famous Medicean <i>Virgil</i>, produced
-at Florence in 1741. The types are for the most part ordinary Roman
-capital letters with a certain number of “discrepants” or peculiar
-characters. The title of this fine work is:—<i>P. VergiliI Maronis Codex
-Antiquissimus .&#160;. qui nunc Florentiæ in Bibliotheca Mediceo-Laurentiana
-adservatur. Bono publico Typis descriptus Anno MDCCXLI. Florentiæ.
-Typis Mannianis.</i> 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch389" id="fn389">389</a>
-This is possibly the printer respecting whom Nichols
-(<i>Illust. Lit.</i>, viii, 464) notes that on Nov. 20, 1732, John Mears,
-bookseller, was taken into custody for publishing a <i>Philosophical
-Dissertation on Death</i> .&#160;.&#160;. Meares succeeded to the business of Richard
-Nutt, and printed the <i>Historical Register</i>. Among the Bagford
-Collections (<i>Harl. MS.</i> No. 5915) is a <i>Specimen by H. Meere, printer,
-at the Black Fryar, in Blackfriars, London</i>. No date.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch390" id="fn390">390</a>
-Richard Nutt, printer in the Savoy, died March 11, 1780,
-aged 80 years.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch391" id="fn391">391</a>
-Grover contributed £2 2<i>s.</i> in 1712 towards defraying the
-loss incurred by the elder Bowyer on the occasion of the fire at his
-printing-house.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch392" id="fn392">392</a>
-His name occurs in the List of Masters and Workmen
-Printers in 1681; see <i>ante</i>, p.
-<a href="#p166" title="to page 166">166</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch393" id="fn393">393</a>
-See <i>ante</i>, p.
-<a href="#p149" title="to page 149">149</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch394" id="fn394">394</a>
-Cotton’s <i>Typographical Gazetteer</i>. Second Series, 1866, p. 17.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch395" id="fn395">395</a>
-Vol. ii, p. 120.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch396" id="fn396">396</a>
-Some of the matrices are without sides, which were probably
-supplied by a peculiar
-adaptation of the mould.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch397" id="fn397">397</a>
-Bagford (writing in 1714) states that Walpergen “was succeeded by his son, who has
-long since been succeeded by Mr. Andrews.” If this be the case, the Peter Walpergen whose
-death occurred in 1714 was probably the son, of whom nothing is known as distinguished from
-his father.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch398" id="fn398">398</a>
-We are indebted to the kindness of Mr. F. Madan, of the
-Bodleian Library, for our transcript.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch399" id="fn399">399</a>
-<i>The Holy Bible, containing the Old Testament and the
-New, etc. Oxford, Printed by John Baskett, Printer to the King’s Most
-Excellent Majesty, for Great Britain; and to the University</i>, 1717,
-1716. 2 vols., folio. The running title of Luke xx reads, “<i>The parable
-of the vinegar</i>.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch400" id="fn400">400</a>
-This, in all probability, was the fount
-used for printing the “Vinegar” <i>Bible</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch401" id="fn401">401</a>
-The contents of this very interesting document were
-communicated to the <i>Athenæum</i> of September 5, 1885, by Mr. J. H.
-Round, in whose possession the original is.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch402" id="fn402">402</a>
-Timperley’s <i>Songs of the Press</i>. London, 1833, 8vo, p.
-85.</p></div>
-
-<div class="section">
-<h3 class="fsz7">10. THOMAS AND JOHN JAMES, 1710</h3>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch403" id="fn403">403</a>
-Nichols’ note on the James family (<i>Anecdotes of Mr.
-Bowyer</i>, pp. 585, 609) is at variance with the account given by Rowe
-Mores. According to the former, Thomas, John and George James were
-all brothers, and sons of the notorious half-crazy Elianor James,
-whose husband, Thomas James, the printer, was a large benefactor
-to Sion College, and died in 1711. On this point, however, Mores,
-whose relations with the family gave him special opportunities for
-information, may be considered as more correct in representing
-Thomas and John as sons of the Rev. John James. George James, the
-son of Thomas and Elianor, was City Printer in 1724. His office was
-in Little Britain, where he wrote and printed the <i>Post Boy</i>. He
-was Common Councilman for the Ward of Aldersgate Without, and died
-in 1735. His greatgrandfather, Dr. Thomas James, Dean of Wells, was
-the first Keeper of Bodley’s Library at Oxford in 1605. Portraits
-of this Dr. Thomas James, and of Thomas and Elianor, the parents of
-George James, are preserved in Sion College, as is also a portrait of
-Elizabeth, their daughter, who married Jacob Ilive, the printer, and
-who was herself a benefactor to the College. Nichols mentions another
-member of the family, one Harris James, who, he says, was originally
-a letter-founder, and “formerly of Covent Garden Theatre, where he
-represented fops and footmen.”</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch404" id="fn404">404</a>
-<i>Dissertation</i>, p. 51, <i>et seq.</i></p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch405" id="fn405">405</a>
-Rabbi Joseph Athias, son of Tobias Athias, who printed a Spanish Bible for the use of
-the Jews, was a printer, publisher and typefounder in Amsterdam. He succeeded to the
-Elzevir foundry as improved and added to by Van Dijk. In 1662–3 he issued an edition of
-the <i>Old Testament</i> printed in Hebrew type, specially cut by Van Dijk, for the accuracy
-and beauty of which he received great renown; and in 1667, when a new edition of the
-<i>Bible</i> was published, the Government of the United Provinces signified their satisfaction by
-presenting him with a gold medal and a massive gold chain. He is said to have printed a
-great number of English Bibles. Van Dijk, whose models were so warmly applauded by
-Moxon, was a letter-cutter only, and worked for various foundries. His founder was John
-Bus, who cast in Athias’ house, as the title of the following specimen-sheet, issued about
-1700, indicates:—<i>Proeven van Letteren die gesneden zijn door Wylen Christoffel van Dijck,
-welke gegoten werden by Jan Bus, ten huyse van Sr. Joseph Athias woonst in de Swanenburg
-Street, tot Amsterdam</i>. Demy broadside (showing five Titlings, sixteen Roman and
-Italic, eight Black and two Music). After passing through several hands, Athias’ foundry was
-purchased by John Enschedé of Haerlem in 1767, in whose family it still remains.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch406" id="fn406">406</a>
-This should be Dirk Voskens of Amsterdam, who bought the foundry of Bleau in 1677,
-and was the first Dutch founder who kept types for the Oriental and recondite languages.
-Like Athias and others, he was a founder only, his punches and matrices being cut and sunk
-by Rolij. The foundry descended to his great-grandson, and was ultimately put up to auction
-in 1780, and purchased by the brothers Ploos Van Amstel, and subsequently became absorbed
-by the Enschedé foundry.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch407" id="fn407">407</a>
-Rolij seems to be Rowe Mores’ way of spelling Rolu, of
-whose types the following specimen-sheet exists:—<i>Proeven van Letteren
-dewelcke gegooten worden by Mr. Johannes Rolu, Letter-Snyder woonende
-tot Amsterdam in de laetste Lelydwars-streat</i>, <i>c.</i> 1710 (probably
-the specimen referred to by James further on).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch408" id="fn408">408</a>
-Voskens.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch409" id="fn409">409</a>
-“The matter was first composed in the usual way, then
-the form was affused with some sort of <i>gypsum</i>, which after it was
-indurated, became a complication of matrices for casting the whole
-page in a single piece” (<i>Mores</i>, p. 59). As early as the year 1705
-a Dutchman, named J. Van der Mey, had, with the assistance of Johann
-Muller, a German clergyman, devised a method of soldering together
-the bottoms of common types imposed in a forme, so as to form solid
-blocks of each page. By this method, two Bibles, a Greek Testament and
-a Syriac Testament with Lexicon were produced, the plates of all of
-which, except the last named, were preserved in 1801. See T. Hodgson’s
-<i>Essay on the Origin and Progress of Stereotype Printing</i>, Newcastle,
-1820, 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch410" id="fn410">410</a>
-“Being called into our company,” says Ged, in his
-<i>Narrative</i>, “he bragged much of his great skill and knowledge in all
-the parts of mechanism, and particularly vaunted, that he, and hundreds
-besides himself, could make plates to as great perfection as I could:
-which occasioned some heat in our conversation.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch411" id="fn411">411</a>
-Hansard (<i>Typog.</i> p. 823), shows an impression of two
-pages of a <i>Prayer Book</i>, from plates which had escaped “Caslon’s
-cormorant crucible.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch412" id="fn412">412</a>
-<i>C. Crispi Sallustii Belli Catilinarii et Jugurthini
-Historiæ. Edinburgi; Guilielmus Ged, Aurifaber Edinensis, non typis
-mobilibus, ut vulgo fieri solet, sed tabellis seu laminis fusis,
-excudebat.</i> 1739, 8vo (reprinted 1744). According to the account given
-by Ged’s daughter in the narrative above referred to, the <i>Sallust</i> was
-completed in 1736. No copy of that date is, however, known. Some of the
-plates of the work are still in existence.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch413" id="fn413">413</a>
-The story may be read in detail in <i>Biographical Memoirs
-of William Ged, including a particular account of his progress in the
-art of Block printing</i>. London, 1781, 8vo. Fenner died insolvent about
-the year 1735. James Ged, after working for some time with his father,
-engaged in the rebellion of 1745, and narrowly escaped execution. He
-ultimately went to Jamaica, a year before his father’s death.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch414" id="fn414">414</a>
-Despite Mores’ prophecy that Ged’s invention, even if at
-first successful, would soon have sunk under its own burden, the method
-was successfully revived, or rather re-invented, about the year 1781
-by Dr. Tilloch of Edinburgh, in conjunction with Mr. Foulis, printer
-to the University of Glasgow, at whose press were printed a stereotype
-edition of <i>Xenophon’s Anabasis</i> in 1783, and several chap-books.
-Messrs. Tilloch and Foulis did not persevere with their venture, which
-was about the year 1800 successfully revived and perfected by Mr.
-Wilson, a London printer, aided by Earl Stanhope. In France, Firmin
-Didot, in 1795, attempted a method similar to that of Van de Mey in
-1705; but abandoning this, succeeded in 1798 in producing good stereo
-plates by a system of <i>polytypage</i>, as described <i>ante</i>,
-p. <a href="#p013" title="to page 13">13</a>&#xfeff;. The
-reader is referred to Hodgson’s <i>Essay</i> for specimens and particulars
-of the successive efforts to perfect the stereotype process at home and
-abroad.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch415" id="fn415">415</a>
-Mores contradicts himself as to this date, giving it as
-1738 in one place, and 1736 in another. As, however, he is particular
-to mention that John James, in 1736, <i>after his father’s death</i>,
-commenced his specimen of the foundry, the earlier date may be assumed
-to be correct.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch416" id="fn416">416</a>
-Timperley, who quotes this document (<i>Encycl.</i> p. 655),
-gives no particulars as to the letter in which it is printed.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch417" id="fn417">417</a>
-See <i>ante</i>, p.
-<a href="#p206" title="to page 206">206</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch418" id="fn418">418</a>
-See <i>ante</i>, p.
-<a href="#p205" title="to page 205">205</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch419" id="fn419">419</a>
-The Oxford University foundry must, of course, be included as a fourth foundry
-existing at this time, but does not rank as a trading establishment. Cottrell’s foundry was
-also started in 1757, but it is doubtful whether he had yet finished cutting his punches. Smith,
-in <i>The Printer’s Grammar</i>, 1755, in comparing the standard bodies in use at that time in
-England, names Caslon and James as the
-only English founders.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch420"
-id="fn420">420</a> Smith’s <i>Printer’s Grammar</i>, 1755,
-in referring to the use of flowers in typography, makes
-mention of “the considerable augmentation which Mr. Caslon
-has made here in flowers, and in which Mr. James likewise
-has so far proceeded that we may soon expect a specimen of
-them” (p. 137).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch421" id="fn421">421</a>
-Nichols, <i>Illust. Lit.</i>, viii, 450.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch422" id="fn422">422</a>
-Edward Rowe Mores was born about the year 1729, at Tunstall in Kent, of which place
-his father was rector. He was educated at Merchant Taylors’ School and Queen’s College,
-Oxford, and being originally intended for holy orders, took his M.A. degree. He did not,
-however, enter the Church, but devoted himself to literary and antiquarian pursuits. Besides
-his <i>Dissertation upon English Typographical Founders</i>, he spent some time in correcting Ames,
-and in other investigations into the early history of printing. On one occasion, as he himself
-narrates, he assisted Ilive in correcting the Hebrew proofs of <i>Calasio’s Concordance</i> for the
-press. His latter life was marred by habits of negligence and intemperance, which hastened
-his death in 1778 at Low Leyton. His valuable library of books and MSS. was sold by
-auction by Paterson in August 1779, on which occasion the eighty copies of the <i>Dissertation</i>,
-being the entire impression, were bought up by Mr. Nichols and given to the public with a
-short Appendix.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch423" id="fn423">423</a>
-<i>A Dissertation upon English Typographical Founders and Founderies, by Edward Rowe
-Mores, A.M. and A.S.S.</i> (London) 1778. 8vo (only 80 copies printed).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch424" id="fn424">424</a>
-Consisting of eight founts of Hebrew, four of Samaritan, three of Arabic, four of Greek,
-five of Roman or Italic, three of Saxon, one of Anglo-Norman, and
-four of Black.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch425" id="fn425">425</a>
-“Such as those which being uniques cannot be perfected
-without new punches, and if they were made complete, it would be no
-more than <i>oleum et operam, etc.</i>, because they are either out of
-use or the times afford better, as the Antique Hebrew (spec. 7);
-Leusden’s Samaritan (spec. 27); 2-line Great Primer Hebrew (spec. 38);
-the Runic, Gothic, and some other recondites, the matrices for which
-are incomplete or useless. But of the founts which are in daily use
-the imperfects will continue, as they mutually aid and help out one
-another. For the same reason also will continue those which have been
-cast aside (not by their owner) under the name of <i>waste</i>.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch426" id="fn426">426</a>
-In another place Mr. Mores states that the “waste and pye”
-of the foundry contained upwards of 6,000 matrices.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch427" id="fn427">427</a>
-This is the old Black from Grover’s foundry; see <i>ante</i>,
-p. <a href="#p199" title="to page 199">199</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch428" id="fn428">428</a>
-This sly allusion leaves little doubt as to the light in
-which Mr. Mores viewed the Coster legend so industriously defended by
-such writers of his own day as Meerman, Bowyer and Nichols.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch429" id="fn429">429</a>
-“Excusatos nos habeant eruditi quibus obvenerit typorum
-<i>Jamesianorum</i> specimen accuratis perlustrare oculis, quod minus
-quam expetendum esset, in linguis præsertim reconditoribus, elimatum
-prodeat; in animo erat de dedisse emendatissimum et si sat se fecisse
-existiment opifices, si, posthabitis preli, ceterisque maculis,
-ostendatur literarum facies—limæ non defuit labor,—at cessante Fusore
-cessavit Fornax et defuerunt fusi ad emaculandum typi.”—<i>Preface to
-the Specimen.</i></p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch430" id="fn430">430</a>
-<i>i.e.</i>, [P.] Polyglot, [A.] Andrews, [G.] Grover, [R.]
-Rolij, [N.] Nicholls, [S.A.] Sylvester Andrews, [Anon.] “Anonymous.” Of
-founts marked *, punches or matrices still exist.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch431" id="fn431">431</a>
-Two sets of Small Pica and two sets of Pearl not shown in
-Specimen, were also sold. A Canon, 2-line Great Primer, three Great
-Primers, an English, Pica, and Bourgeois, had been lost.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch432" id="fn432">432</a>
-It is to be borne in mind that Andrews’ foundry included
-that of Moxon, from whom many of his oldest founts doubtless came.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch433" id="fn433">433</a>
-A Great Primer, Pica, Small Pica and Long Primer had been
-lost, but the Long Primer punches remained.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch434" id="fn434">434</a>
-A 2-line English, Double Pica and Pica had been lost.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch435" id="fn435">435</a>
-There were also, not in Specimen, a 2-line Great Primer,
-Double Pica, Pica, two Small Picas and a set of 2-line Nonpareil
-Capitals. A Paragon, Bourgeois and two sets of Nonpareil had been lost.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch436" id="fn436">436</a>
-This was the fount used in the <i>Catena on Job</i>, 1637.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch437" id="fn437">437</a>
-“Remarkably beautifully cut and justified.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch438" id="fn438">438</a>
-A Double Pica, Pica and Long Primer had been lost.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch439" id="fn439">439</a>
-A 2-line English had been lost.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch440" id="fn440">440</a>
-Also a Double Pica not in specimen.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch441" id="fn441">441</a>
-<i>i.e.</i>, Black—of which the following sets, not in
-Specimen, were also sold:—Double Pica, two Great Primers, two English,
-four Small Picas, Long Primer, three Breviers and Nonpareil. A 2-line
-Great Primer, Double Pica, Long Primer and Bourgeois had been lost.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch442" id="fn442">442</a>
-Of these, one was a 4-line, to which belonged a set of
-“leaden” lower-case matrices.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch443" id="fn443">443</a>
-There is more difficulty in tracing these to their
-original sources than in the case of the matrices, as not only are the
-numbers not given, but the bodies named may very likely vary from the
-actual bodies to which the matrices were justified.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch444" id="fn444">444</a>
-See p. <a href="#p191" title="to page 191">191</a>&#xfeff;.
-Though the matrices of this fount do not
-appear in the Catalogue, they were evidently in James’s foundry, as
-they are mentioned in the list drawn up by James in 1767, and are not
-specified among the matrices lost. They were acquired at the sale of
-Dr. Fry, and may possibly have been included with the Saxons, or with
-the imperfect lots.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch445" id="fn445">445</a>
-<i>Lit. Anec.</i>, iii, 438.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch446" id="fn446">446</a>
-See our facsimiles from the Specimen at pages
-<a href="#fg50" title="to Fig. 50">200</a>
-and <a href="#fg51" title="to Fig. 51">204</a>&#xfeff;, <i>ante</i>.</p></div>
-
-<div class="section">
-<h3 class="fsz7">11. WILLIAM CASLON, 1720</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch447" id="fn447">447</a>
-In 1703, in the Convocation of Clergy in the Lower House,
-a complaint was exhibited against the printers of the <i>Bible</i> for the
-careless and defective way in which it was printed by the patentees.
-The editions specially complained of were those printed by Hayes,
-of Cambridge, in 1677 and 1678, and an edition in folio printed in
-London in 1701. The printers continued, however, to print the <i>Bible</i>
-carelessly, with a defective type, on bad paper; and when printed, to
-sell copies at an exorbitant price.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch448" id="fn448">448</a>
-The following sketch of William Caslon is mainly taken, and in parts quoted, from the
-interesting particulars of his career preserved in Nichols’ <i>Anecdotes of Bowyer</i> and the larger
-work into which that was subsequently expanded. The elder Bowyer’s intimate connection
-with Caslon’s first ventures in letter-founding give Nichols’ work a special authority in the
-matter. At the same time there exists a certain confusion in the earlier part of the narrative
-which it is difficult completely to harmonise.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch449" id="fn449">449</a>
-John Watts, a printer of first-rate eminence, for some time partner with Jacob
-Tonson II in Covent Garden. It was in Watts’ printing office in Great Queen Street, Lincoln’s
-Inn, that Benjamin Franklin worked as journeyman in 1725. Watts died in
-1763, aged 85.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch450" id="fn450">450</a>
-William Bowyer, the elder, regarded as one of the foremost
-printers of his time, was born in 1663. In 1699 he had his office in
-Dogwell Court, Whitefriars. His premises were burnt in 1713, and in
-the conflagration he lost all his types and presses. By the liberality
-of his fellow-printers, however, this loss (estimated at over £5,000)
-was partly made good, and he was enabled to start again and rise
-once more to a foremost place in his profession. For all particulars
-respecting Mr. Bowyer and his learned son, see Nichols’ <i>Anecdotes of
-William Bowyer</i>, London, 1782, 4to, and <i>Literary Anecdotes of the 18th
-Century</i>, London 1812–15, 9 vols., 8vo, a work the foundation of which
-is a bibliography of the productions of this celebrated press. See also
-<i>ante</i>, p.
-<a href="#p157" title="to page 157">157</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch451" id="fn451">451</a>
-James Bettenham, husband of the elder Bowyer’s
-step-daughter, was born 1683. He printed in St. John’s Lane, and
-attained to considerable eminence as a printer, although after sixty
-years’ labour he left behind him only £400. “He died,” says Rowe Mores,
-“in 1774, <i>ferè centenarius sanæque mentis et memoriæ</i>.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch452" id="fn452">452</a>
-<i>Anecdotes of Bowyer</i>, p. 585.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch453" id="fn453">453</a>
-A tradition in the Caslon family that William Caslon began
-his career as a letter-founder in 1716, induced the late Mr. H. W.
-Caslon to adopt this as the date of the establishment of the Foundry.
-In the absence, however, of any testimony in support of the statement,
-and in the face of the clear announcement by Caslon himself that his
-Foundry was begun in the year 1720, there seems to be no ground for
-attaching any importance to the use of this earlier date.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch454" id="fn454">454</a>
-This Society, which was established in 1698, had already
-displayed considerable activity in the introduction of printing into
-the distant fields of its missionary effort. In 1711 it sent out to
-the missionaries of Tranquebar, on the Coromandel Coast, a printing
-press furnished with Portuguese types, paper, etc., which, after an
-adventurous voyage, in which the vessel was plundered by the French
-of all her other cargo, reached its destination and enabled the
-missionaries to commence the printing of a Tamulic <i>New Testament</i>, of
-which the <i>Gospels</i> appeared in 1714, with the imprint “<i>Tranquebariæ
-in littore Coromandelino, typis Malabaricis
-impressit G. Adler</i>, 1714.” It is related that the
-publication of the remainder of the work was delayed from a scarcity of
-paper, their types being very large; till at length the expedient was
-adopted of casting a new fount of letter from the leaden covers of some
-Cheshire cheeses, which had been sent out to the missionaries by the
-Society. The attempt succeeded, and with these new and smaller types
-the remainder of the <i>Testament</i> was printed, the whole being published
-together in 1719. (Cotton, <i>Typographical Gazetteer</i>, 2nd edit., p.
-289.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch455" id="fn455">455</a>
-<i>Liber Psalmorum .&#160;. una cum decem Præceptis .&#160;. et
-Oratione Dominicâ .&#160;. Arabicè; sumptibus Societatis de Propagandâ
-Cognitione Christi apud Exteros.</i> London, 1725. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch456" id="fn456">456</a>
-<i>Novum Testamentum, Arabicè. Londini. Sumptibus Societatis
-de Propagandâ Cognitione Christi apud Exteros.</i> 1727. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch457" id="fn457">457</a>
-“This circumstance,” says Nichols (<i>Anec. Bowyer</i>, p. 317)
-“has lately been verified by the American, Dr. Franklin, who was at
-that time a journeyman under Mr. Watts, the first printer that employed
-Mr. Caslon.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch458" id="fn458">458</a>
-Dibdin, in repeating this anecdote, uses rather stronger
-language. “Caslon,” he says, “after giving (I would hope) that wretched
-pilferer and driveller Samuel Palmer (whose <i>History of Printing</i> is
-only fit for chincampane paper) half a dozen good canings for his
-dishonesty, betook himself to Mr. Bowyer.” (<i>Bibl. Decam. II.</i>, 379.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch459" id="fn459">459</a>
-<i>Joannis Seldeni Jurisconsulti Opera Omnia, tam edita
-quam inedita. In tribus voluminibus. Colligit ac recensuit .&#160;.&#160;. David
-Wilkins, S.T.P. .&#160;.&#160;. Londini, Typis Guil. Bowyer.</i> 1726. Fol. (Begun in
-1722.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch460" id="fn460">460</a>
-Dr. David Wilkins, F.S.A., was Keeper of the Lambeth
-Library under Archbishop Wake, and drew up a Catalogue of all the
-MSS. and books there in his time. Besides editing the <i>Selden</i> and
-the <i>Coptic Testament</i> and <i>Pentateuch</i>, he published some important
-works in Anglo-Saxon Literature, and edited the learned Prolegomena
-to Chamberlayne’s <i>Oratio Dominica</i> in 1715. He died in 1740. Rowe
-Mores considers that in his Coptic studies Dr. Wilkins was indebted to
-Kircher, the Jesuit, whose <i>Prodromus Coptus</i>, published in Rome in
-1636, the Doctor had severely handled.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch461" id="fn461">461</a>
-<i>Quinque Libri Moysis Prophetæ in Linguâ Ægyptiâ.
-Ex M.S.S. .&#160;.&#160;. descripsit ac Latine
-vertit Dav. Wilkins. Londini</i> 1731. 4to. Only 200 copies were printed.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch462" id="fn462">462</a>
-See <i>ante</i>, p.
-<a href="#fg34" title="to figs. 34–38">147</a>&#xfeff;.
-Nichols, writing about 1813, mentioned that the Coptic fount, having
-escaped the conflagration of his printing office in 1808, was still in his possession.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch463" id="fn463">463</a>
-<i>Typographia</i>, p. 349.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch464" id="fn464">464</a>
-See <i>ante</i>, p.
-<a href="#p205" title="to page 205">205</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch465" id="fn465">465</a>
-See <i>ante</i>, p.
-<a href="#p218" title="to page 218">218</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch466" id="fn466">466</a>
-<i>Anec. Bowyer</i>, p. 537.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch467" id="fn467">467</a>
-See <i>ante</i>, p.
-<a href="#p215" title="to page 215">215</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch468" id="fn468">468</a>
-<i>Psalmorum Liber. (Heb. et Lat.) in Versiculos metrice divisus, etc. Londini</i> 1736.
-2 vols., 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch469" id="fn469">469</a>
-<i>Moses Choronensis Historiæ Armeniacæ Libri iii. Armeniacè ediderunt, Latinè
-verterunt notisq: illustr. Guil. et Geo. Whistoni. London</i>, 1736. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch470" id="fn470">470</a>
-<i>De Linguâ Etruriæ. J.
-Swinton. Oxon.</i>, 1738.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch471" id="fn471">471</a>
-This fount may be seen also in Nichols’ Appendix to Rowe Mores’ <i>Dissertation</i>, p. 96,
-and in <i>Ames’ Typographical Antiquities</i>, 1st edit., p. 571.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch472"
-id="fn472">472</a> If these were the matrices which Mores,
-in his summary of the Polyglot Foundry (p.
-<a href="#p172" title="to page 172">172</a>&#xfeff;, <i>ante</i>),
-described as Great Primer, it is difficult—unless they
-were duplicates—to determine through whose foundry they
-passed into Caslon’s hands. Andrews had a Great Primer,
-and Grover a Double Pica and Pica; but all these came to
-James, in whose foundry they remained when Mores wrote in
-1778.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch473" id="fn473">473</a>
-<i>Cyclopædia, or an Universal Dictionary of the Arts and Sciences, etc.</i>, by E. Chambers,
-F.R.S., London, 1738. 2 vols., fol. (Caslon’s Specimen faces the article “Letter.”) The first
-edition of this valuable work—the first repertory of general knowledge published in Britain—appeared
-in 1728. It subsequently formed the basis of Rees’ <i>Encyclopædia</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch474" id="fn474">474</a>
-See <i>ante</i>, p.
-<a href="#p206" title="to page 206">206</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch475" id="fn475">475</a>
-Rowe Mores’ account of the Caslon foundry in 1778, wherein he attributes several of the
-founts which originally appeared in the 1734 Specimen to Mitchell, might suggest at first sight
-that Caslon had acquired Mitchell’s foundry prior to 1739. Mores is, however, particular to
-give the exact date of the purchase, 26th July 1739. It seems more probable that, finding the
-bodies in Caslon’s Specimen corresponding generally with the description of the matrices he
-was known to have bought from Mitchell, he concluded hastily that the founts shown were
-Mitchell’s, whereas a reference to the Specimen would have proved that Caslon preferred his own
-original faces, in most cases, to those he had bought.
-See also our notes, <i>post</i>, pp.
-<a href="#p247" title="to page 247">247</a>&#xfeff;,
-<a href="#p248" title="to page 248">248</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch476" id="fn476">476</a>
-<i>Anec. Bowyer</i>, p. 317.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch477" id="fn477">477</a>
-<i>Anec. Bowyer</i>, p. 586.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch478" id="fn478">478</a>
-“Les caractères de Caslon ont été gravés, pour la plus grande partie, par Caslon fils, avec
-beaucoup d’adresse et de propreté. Les epreuves qui on out été publiées en 1749 contiennent
-beaucoup de sortes différentes de caractères” (<i>Man. Typog.</i>, <span class="smmaj">II,</span> xxxviii).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch479" id="fn479">479</a>
-<i>Typographical Antiquities.</i> London, 1749, 4to, p. 571. The names of William Caslon,
-sen., and William Caslon, jun., letter-founders, figure among the subscribers to the work; and
-the plate of facsimiles of Caxton’s types is dedicated “to Mr. Wm. Caslon, a good promoter of
-this work, and as suitable to the principal Letter Founder.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch480" id="fn480">480</a>
-<i>An Essay on the Original, Use, and Excellency of the Noble Art and Mystery of Printing.</i>
-London, 1752. 8vo. The work is of little interest apart from the references to the Caslons, and
-a curious poem
-at the end.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch481" id="fn481">481</a>
-See <i>post</i>, chap. xiii.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch482" id="fn482">482</a>
-<i>The Universal Magazine of Knowledge and Pleasure.</i> London. Vol. vi. June 1750,
-p. 274.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch483" id="fn483">483</a>
-See <i>post</i>, chap. xvi.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch484" id="fn484">484</a>
-A copy of this Specimen, dated 1763, evidently an advance
-copy, is in the library of the American Antiquarian Society, the gift
-of Isaiah Thomas, the printer, and is, as far as is known, the only
-copy in existence bearing this date. Copies of the 1764 Specimen occur
-in 8vo and 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch485" id="fn485">485</a>
-Forty-four new founts appear in all, viz.: 2 Titlings,
-15 Romans, 4 Greeks, 9 Hebrews, 1 Ethiopic, 1 Etruscan, 2 Saxons, 8
-Blacks, and 2 Music, while the Flowers now number 63 varieties.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch486" id="fn486">486</a>
-“&#x200f;‘This New Foundery was begun in the year 1720 and
-finished 1763.’ So we are told by a note at the end of their Specimen
-published in 1764, although the same note tells us that though it was
-finished, yet it was not finished, ‘but would (with God’s leave) be
-carried on, etc.’ Amen!” (<i>Dissert.</i>, p. 80.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch487" id="fn487">487</a>
-Among the relics of the Caslon Foundry is a copy of
-the 1764 specimen book presented by Mr. Caslon to his friend Phil.
-Thicknesse the poet. At the end of the book appears Mr. Thicknesse’s
-letter of thanks to the donor, execrably printed by the poet himself,
-in type given him by Mr. Caslon.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch488" id="fn488">488</a>
-This Concert Room remains at Chiswell Street in pretty
-much its old form, and is now the repository of the interesting
-collection of portraits and relics, still preserved, of this venerable
-Foundry.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch489" id="fn489">489</a>
-<i>A General History of the Science and Practice of Music.</i>
-London. 1776. 4to. Vol. v, 127.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch490" id="fn490">490</a>
-The Rev. Dr. Lyttelton writes to Ames, April 25, 1744,
-“Some unforeseen business prevents Dr. Pococke and myself dining
-with Mr. Caslon to-morrow. I give you this notice that you may defer
-your visit till some day next week, when we will endeavour to meet
-there.”—<i>Nichol’s Illustrations of Literature</i>, iv, 231.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch491" id="fn491">491</a>
-Copies of which he continued to circulate, erasing with
-pen and ink the words “and Son” from the title-page and advertisement.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch492" id="fn492">492</a>
-<i>A Concise History of the Origin and Progress of Printing,
-etc.</i> London, 1770. 8vo. Reprinted in the following year with the
-title:—<i>The History of the Art of Printing, in two Parts, etc., J. P.
-Luckombe, M.T.A.</i> London, 1771. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch493" id="fn493">493</a>
-<i>Dissertation</i>, p. 81.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch494" id="fn494">494</a>
-Mores calls this “excavated” or “Hutter’s leading-string”
-Hebrew. A specimen may be seen in <i>The Scholars Instructor</i>. <i>An Hebrew
-Grammar of Israel Lyons</i>, Cambridge, 1735, 8vo. The open Hebrew is
-here used to distinguish the servile from the radical letters. Lyons
-in his preface deprecates Hutter’s method of printing the entire
-<i>Bible</i> in this character, thereby keeping the learners “too long in
-leading-strings” (see also <i>ante</i>, p.
-<a href="#p063" title="to page 63">63</a>&#xfeff;).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch495" id="fn495">495</a>
-Mores omits a Small Pica Hebrew, which is the same as the
-Brevier shown in the sheet of 1734.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch496" id="fn496">496</a>
-These founts are not Head’s or Mitchell’s, as Mores
-states, but were cut by Caslon I, and shown on the 1734 sheet.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch497" id="fn497">497</a>
-The Pica Greek shown on the 1734 sheet was discarded in
-favour of this fount.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch498" id="fn498">498</a>
-“But,” adds Mores, “Mr. Caslon is cutting a <i>Patagonian</i>
-which will lick up all these diminutives as the ox licketh up the grass
-of the field.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch499" id="fn499">499</a>
-“Supported by arches.” Doubtless cast in sand.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch500" id="fn500">500</a>
-These were not cut, as Mores states, by Caslon II, but by
-Caslon I, and appeared on the sheet of 1734, when Caslon II was but 14
-years of age.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch501" id="fn501">501</a>
-“These,” says Mores, “are one and the same. The Acts of
-Parliament are printed in them, therefore we call them as Dr. Ducarel
-and the Act call them, ‘the common legible hand and character.’&#x200f;”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch502" id="fn502">502</a>
-Mores omits here the Pica Black, cut by Caslon I, and
-shown on the sheet of 1734.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch503" id="fn503">503</a>
-Not Cartledge, as erroneously given by Nichols. This lady
-was the only child of Mr. Cartlitch, an eminent refiner in Foster Lane,
-Cheapside, and was born May 31, 1730.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch504" id="fn504">504</a>
-With the addition of the Long Primer Syriac cut for Oxford
-University, the “learned” founts in the 1785 Specimen are precisely the
-same as those which appeared in the book of 1764.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch505" id="fn505">505</a>
-The address is a literary curiosity: “The acknowledged
-excellence of this Foundry, with its rapid success, as well as its
-unexampled Productions having gained universal Ecomiums on its
-ingenious Improver and Perfecter (whose uncommon Genius transferred
-the Letter Foundry Business from HOLLAND to ENGLAND, which, for above
-Sixty years, has received, for its beauty and Symmetry, the unbounded
-praises of the Literati, and the liberal encouragement of all the
-Master Printers and Booksellers, not only in this Country but of all
-EUROPE and AMERICA) has excited the Jealousy of the Envious and the
-Desires of the enterprising, to become Partakers of the Reward due to
-the Descendants of the Improver of this most useful and important Art.</p>
-
-<p>“They endeavour, by every method to withdraw, from this Foundry, that
-which they silently acknowledge is its indisputable Right: Which is
-conspicuous by their very Address to the Public, wherein they promise
-(in Order to induce Attention and Encouragement) that they will use
-their utmost Endeavours to IMITATE the Productions of this Foundry;
-which assertion, on inspection, will be found impracticable, as the
-Imperfections cannot correspond in size.</p>
-
-<p>“The Proprietor of this Foundry, ever desirous of retaining the
-decisive Superiority in his Favour, and full of the sincerest Gratitude
-for the distinguished Honour, by every Work of Reputation being printed
-from the elegant Types of the Chiswell Street Manufactory, hopes,
-by every Improvement, to retain and merit a Continuance of their
-established Approbation, which, in all Quarters of the Globe, has given
-it so acknowledged an Ascendency over that of his Opponents.”</p>
-
-<p>The address prefixed to the 1785 Specimen Book of the Worship Street
-Foundry had evidently been the inspiration of this tirade, which in
-turn evoked a spirited reply from the Frys in the following year. See
-<i>post</i>, chap. xv.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch506" id="fn506">506</a>
-The sheets appear (along with some of Fry &amp; Son’s and
-Wilson’s) in <i>Chambers’ Cyclopædia—incorporated in one Alphabet by
-Abraham Rees, London</i>, 1784–86. 4 vols. folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch507" id="fn507">507</a>
-These are sometimes (as in the case of the British Museum
-copy) bound up with the 1785 8vo specimen book as folding plates.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch508" id="fn508">508</a>
-See <i>ante</i>, p.
-<a href="#p200" title="to page 200">200</a>&#xfeff;.
-Hansard observes that besides Queen
-Elizabeth’s Ambassador, the same family had produced Sir Henry Rowe, a
-Lord Mayor of London; and Owen Rowe, the Regicide.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch509" id="fn509">509</a>
-This celebrated typographer was born at Saluzzo, in
-the Sardinian States, in 1740. At an early age he visited Rome, and
-obtained a situation in the printing office of the Propaganda, where
-he gained great credit for his printing. In 1768 he settled at Parma,
-where he published many famous works, and established a European
-reputation. His <i>Homer</i> in 3 vols. folio, published in 1808, is his
-most famous work. He never visited England, although one or two works
-were printed by him in our language, viz., Lord Orford’s <i>Castle of
-Otranto</i>, 1791, 8vo, <i>Gray’s Poems</i>, 1793, 4to, <i>Thomson’s Seasons</i>,
-1794, folio and quarto. He died in 1813, and his widow finished and
-published in 1818 the <i>Manuale Tipografico</i>, 2 vols., royal 4to, a most
-sumptuous work, containing upwards of 250 exquisite
-specimens of type and ornaments. A monument was erected to him in
-Saluzzo in 1872. Of Bodoni’s office at Parma the following interesting
-particulars are preserved in Dr. Smith’s <i>Tour on the Continent</i>, 2nd
-edit., vol. iii: “A very great curiosity in its way, is the Parma
-printing-office, carried on under the direction of M. Bodoni, who
-has brought that art to a degree of perfection hardly known before
-him. Nothing could exceed his civility in showing us numbers of the
-beautiful productions of his press, of which he gave us some specimens,
-as well as the operations of casting and finishing the letters. The
-materials of his type are antimony and lead, as in other places, but
-he showed us some of steel. He has sets of all the known alphabets,
-with diphthongs, accents, and other peculiarities in the greatest
-perfection. His Greek types are peculiarly beautiful, though of a
-different kind of beauty from those of old Stephens, and perhaps less
-free and flowing in their forms.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch510" id="fn510">510</a>
-<i>Typographia</i>, p. 352.</p></div>
-
-<div class="dftnt">
-<div class="dkeeptogether">
-<p class="pfirst" title="anchored page 252">
-<a class="afnlabel" href="#fnanch511" id="fn511">511</a></p>
-
-<ul class="nowrap" id="np252">
-<li>2-line Gt. Primer—1803</li>
-<li>Great Primer—May, 1802</li>
-<li>English 1—August, 1802</li>
-<li>English 2—April, 1805</li>
-<li>Pica 2 and 3—March, 1805</li>
-<li>Small Pica 1, 2, and 3—July, 1804</li>
-<li>Long Primer 1, 2, and 3—July, 1804.</li>
-<li>Bourgeois 1 and 2—July, 1802</li>
-<li>Brevier 1 and 2—May, 1805</li>
-<li>Minion—May, 1805</li>
-<li>Nonpareil 1, 2—October, 1803.</li></ul>
-</div><!--dkeeptogether-->
-</div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch512" id="fn512">512</a>
-<i>The Printers’ Grammar, etc., by C. Stower, Printer.</i>
-London, 1808. 8vo. The following note is prefixed to the specimen: “A
-4-line Pica, Canon and Double Pica of a bold and elegant shape, were
-not quite ready to introduce with these specimens.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch513" id="fn513">513</a>
-Savage, in his <i>Hints on Decorative Printing</i>, London,
-1822, 4to, chapter ii, shows specimens of Mrs. Caslon’s Roman letter
-contrasted with the old models of the Foundry on the one hand, and its
-more recent developments on the other.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch514" id="fn514">514</a>
-“Chiswell Street, January 19, 1814. Henry Caslon
-respectfully informs his friends and the printers in general, that the
-term of his partnership with the executors of the late Mr. Nathaniel
-Catherwood having expired, he has entered into a new engagement with
-Mr. John James Catherwood, brother to his late partner, and that
-the firm is now carried on under the firm of Henry Caslon and J. J.
-Catherwood. He embraces this opportunity of expressing his grateful
-sense of the distinguished patronage the Foundry has received, and the
-kind encouragement he has individually experienced from his friends in
-the printing business, since the death of his mother and late partner.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch515" id="fn515">515</a>
-<i>Typograpia</i>, p. 353.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch516" id="fn516">516</a>
-See <i>post</i>, chap. xvii.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch517" id="fn517">517</a>
-See <i>post</i>, chap. xxi, s.v. Bessemer. In the Directory at
-the end of Johnson’s <i>Typographia</i>, 1824 (ii, 652), a Catherwood is
-mentioned among the Letter Founders, Charles’ Sq., Hoxton.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch518" id="fn518">518</a>
-Cut by William Martin.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch519" id="fn519">519</a>
-This beautiful little fount was cut for Pickering’s <i>Greek
-Testament</i> 1826, and for clearness and minuteness eclipses both the
-Sedan Greek, and that of Blean of Amsterdam. It was also used in the
-<i>Homer</i> of 1831. Dibdin (<i>Introd. to the Classics</i>, 1827, i, 166) shows
-a specimen of the type.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch520" id="fn520">520</a>
-Cut for Dr. C. Wilkins, Oriental Librarian to the East
-India Company.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch521" id="fn521">521</a>
-<i>The Diary of Lady Willoughby, as relates to her Domestic
-History in the Reign of King Charles I.</i> London, 1844. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch522" id="fn522">522</a>
-<i>Particulars of a most valuable property for Investment
-called the Caslon Letter Foundry; also a most extensive Modern Foundry
-on which has been expended upwards of £50,000, which will be sold by
-auction by W. Lewis and Son .&#160;.&#160;. on Wednesday, Dec. 16, 1846, at 11 for
-12 precisely (unless previously disposed of by private contract).</i> In
-the list of matrices catalogued, the cutters’ names are added, those of
-Hughes, Bessemer, and Boileau being among the most frequent.</p></div>
-
-<div class="section">
-<h3 class="fsz7">12. ALEXANDER WILSON, 1742</h3>
-
-<div class="dftnt">
-<p class="pfirst">
-<a class="afnlabel" href="#fnanch523" id="fn523">523</a>
-<i>The History of the Art of Printing, containing an Account
-of its Invention and Progress in Europe, with the names of the famous
-Printers, the places of their birth and the works printed by them, and
-a Preface by the Publisher to the Printers in Scotland. Edinburgh,
-printed by James Watson. Sold at his shop opposite the Lucken Booths,
-and at the shops of David Scot in the Parliament Close, and George
-Stewart a little above the Cross</i>, 1713, 12mo. Watson’s preface is
-stated to have been written by John Spotswood, Advocate. The historical
-portion is a condensed translation of De la Caille’s <i>Histoire de
-l’Imprimerie</i>, published at Paris in 1689.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch524" id="fn524">524</a>
-<i>Specimen of Types in the Printing House of James Watson.</i>
-1713. 48 pp., of which 26 are devoted to Dutch “Bloomers” or Initials,
-and the remainder to Romans and Italics from French Canon to Nonpareil,
-with a fount of Greek, one of Black, and a few signs, etc.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch525" id="fn525">525</a>
-See <i>ante</i>, p.
-<a href="#p218" title="to page 218">218</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch526" id="fn526">526</a>
-<i>Typographia</i>, p. 362.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch527" id="fn527">527</a>
-Ireland, during a portion of the eighteenth century
-appears to have been well supplied with type from native sources. Of
-the fortunes of Wilson’s branch foundry here alluded to, we have no
-further record, unless we are to connect the following statement with
-the enterprise of the Scotch typographers:—Boulter Grierson in 1764
-petitioned the Lord Lieutenant for a renewal of the Patent granted
-to his distinguished father George Grierson by George II in 1731,
-for King’s printer in Ireland. Among other reasons in support of his
-prayer, he states: “That the art of making types for printing was
-unknown in Ireland until very lately, when your petitioner’s father
-encouraged it by laying out about One Thousand pounds in that article
-alone, in order to establish that art in the said kingdom, and there
-are now as good types made here as any imported, by which means there
-is a great saving to the public, and great part of the money that would
-be otherwise sent to foreign country’s is left in this kingdom.” (We
-are indebted to the kindness of a lady descendent of
-George Grierson for this interesting extract.) According to a note
-of Lemoine which we quote at p. <span class="nowrap">
-<a href="#fn538" title="to endnote 538">264<i>n</i></a>,</span> Dublin printers in 1797 were
-getting their types either from Wilson of Glasgow, or from London.
-It is therefore probable that, whether George Grierson’s enterprise
-may have consisted in the encouragement of Wilson’s foundry or in the
-establishment of another foundry of his own, the art did not long hold
-its ground in Ireland, and was discontinued in the latter half of the
-century, only to be once revived, and that for a short period only, by
-Dr. Wilson’s grandsons in 1840. See p.
-<a href="#p265" title="to page 265">265</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch528" id="fn528">528</a>
-For an account of Baine’s subsequent career as a
-type-founder, see <i>post</i>, chap. xix.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch529" id="fn529">529</a>
-These eminent printers, the most elegant typographers of
-which Scotland can boast, produced in their day some of the finest
-editions ever printed. Robert was originally a barber, but began
-as a printer in 1740. In 1743 he was appointed printer to Glasgow
-University, one of his first productions being an edition of <i>Demetrius
-Phalereus</i> in that year. In 1744 he brought out his famous “immaculate”
-edition of <i>Horace</i> in 12mo at Glasgow. Shortly afterwards his brother
-Andrew, who had been a teacher of French at the University, joined him,
-and the two together, by great industry and excellent artistic taste,
-produced a large number of beautifully printed works, some of which
-will rank with the finest achievements of Bodoni, or Barbou, or even
-the Elzevirs. Their classics, both Greek and Latin, were as remarkable
-for their exactness as for their beauty, and it is recorded that the
-brothers, following the example of some of the old masters, were in
-the habit of publicly exhibiting their proof sheets and offering a
-reward for the detection of any error. Andrew Foulis died in 1775, and
-Robert in the following year. The business was carried on under the old
-name of R. &amp; A. Foulis for some years by Andrew Foulis, son of Robert.
-This printer it was who was associated with Tilloch in his patent for
-stereotype in 1784. He died in 1829 in great poverty.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch530" id="fn530">530</a>
-<i>Homeri Opera, Græce (ex edit. Sam. Clarke). Glasguæ;
-in Ædibus Academicis excudebant Robertus et Andreas Foulis, Academii
-Typographi 1756–8</i>, 4 vols., fol. This work is one of the most splendid
-editions of Homer ever printed. Each sheet was corrected six times
-before being finally worked. Flaxman’s illustrations were designed for
-the work.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch531"
-id="fn531">531</a> After stating that it was the
-ambition of the publishers of this work to rival the
-finest productions of the Stephani of Paris, the preface
-continues (p. viii):—“Omnes quidem tres regios Stephanorum
-characteres græcos expresserat jam apud nos, atque
-imitatione accuratissimâ repræsentaverat <i>Alexander
-Wilson</i>, A.M., egregius ille Typorum artifex, quem et
-hoc nomine adscripserat sibi Alma Mater. In his autem
-grandioris formæ characteribus Stephanianis id unum
-desiderari quodammodo videbatur, scilicet, si res ita ferre
-posset, ut, salvâ tamen ilia solidæ magnitudinis specie quâ
-delectantur omnes, existeret una simul elegantiæ quiddam,
-magis atque venustatis. Rogatus est igitur ille artifex,
-ut, in hoc assequendo solertiam suam, quâ quidem pollet
-maximâ, strenue exercet. Quod et lubenter aggresus est, et
-ad votum usque videtur consecutus vir ad varias ingenuas
-artes augendas natus.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch532" id="fn532">532</a>
-<i>Poems of Mr. Gray. Glasgow, printed by Robert and Andrew
-Foulis, Printers to the University.</i> 1768. 4to. This edition was
-published simultaneously with Dodsley’s first collected edition of
-<i>Gray’s Poems</i>, in London; and far exceeded it in beauty of typography
-and execution. Writing to Beattie in 1768, Gray says, “I rejoice to be
-in the hands of Mr. Foulis (the famous printer of Glasgow) who has the
-laudable ambition of excelling the Etiennes and the Elzevirs as well in
-literature as in the proper art of his profession.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch533" id="fn533">533</a>
-“This is the first work in the Roman character which they
-(A. and R. Foulis) have printed with so large a type, and they are
-obliged to <span class="smcap">D<b>OCTOR</b> W<b>ILSON</b></span> for preparing so expeditiously, and
-with so much attention, characters of so beautiful a form.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch534" id="fn534">534</a>
-<i>A View of the Various Editions of the Greek and Roman
-Classics.</i> London, 1775. 12mo. Improved editions in 1778, 1782, and
-1790.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch535" id="fn535">535</a>
-Renouard, speaking of the twenty volume edition of
-<i>Cicero</i> printed by the Foulis in 1749, prefers its type to that of the
-Elzevirs. <i>Catalogue de la Bibliothèque d’un Amateur.</i> Paris, 1819. 4
-vols. 8vo. ii, 75.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch536" id="fn536">536</a>
-Hansard states that the Long Primer Greek matrices of the
-foundry were “from the type cast in which the Elzevirs printed some of
-their editions”—(<i>Typographia</i>, 404).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch537" id="fn537">537</a>
-In a later specimen is shown a “New Small Pica Italic” cut
-for the King’s printer in Edinburgh, 1807.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch538" id="fn538">538</a>
-Lemoine, <i>Typographical Antiquities</i>, 1797, says,
-“Ireland, by its connection with London and Scotland, produces some
-very neat printing; Wilson’s types are much approved of at Dublin.
-Alderman George Faulkner may be considered as the first printer in
-Ireland in his time; but it must be remembered his letter was all cast
-in London.” p. 99.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch539" id="fn539">539</a>
-This fount (according to Savage, <i>Dict. of Printing</i>, p.
-320) was cut after the classical and elegant type of Athias, for Mr.
-Jno. Wertheimer, of Leman Street, and was used in printing the Rev. D.
-A. De Sola’s edition of the <i>Prayers of the Sphardim</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch540" id="fn540">540</a>
-“In conformity,” says the preface, “with ancient
-immemorial usage, we have in Part I displayed our Founts in the Roman
-Garb—the venerable <i>Quousque tandem</i>—but lest it should be supposed
-we had adopted the flowing drapery of Rome for the purpose of shading
-or concealing defects, we have in Part II shown off our founts in a
-dress entirely English.” Mr. Figgins was the first to introduce this
-practice in his Specimens.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch541" id="fn541">541</a>
-The following extract from the preface to the 1834
-Specimen, announces the removal: “We had the honour some time ago of
-announcing the removing of the Glasgow Letter Foundry to London, and
-we beg leave to inform you that we have now carried our intentions
-into execution, and are prepared to receive your commands in our
-establishment in Great New Street, Gough Square, London. The operative
-department will be conducted by Mr. John Sinclair, whose integrity
-of conduct and thorough knowledge of his profession we now reward by
-making him a partner in our business.” London, Aug. 1, 1834. The London
-Foundry was carried on under the old name of Alex. Wilson &amp; Sons,
-or occasionally Wilsons and Sinclair; the Edinbro’ branch, and that
-subsequently started in Dublin, being styled A. &amp; P. Wilson.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch542" id="fn542">542</a>
-See <i>post</i>, chap. xxi.</p></div>
-
-<div class="section">
-<h3 class="fsz7">13. JOHN BASKERVILLE, 1752</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch543" id="fn543">543</a>
-There still exists, in Mr. Timmins’ collection of
-Baskerville relics, a slate tablet beautifully engraved with the words
-“Grave Stones cut in any of the Hands by John Baskervill, Writing
-Master,” in which the admirable models of Roman and Italic for which he
-afterwards became famous are clearly prefigured.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch544" id="fn544">544</a>
-“His carriage,” says Nichols, “each panel of which was a
-distinct picture, might be considered the pattern-card of his trade,
-and was drawn by a beautiful pair of cream-coloured horses” (<i>Lit.
-Anec.</i>, iii, 451).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch545" id="fn545">545</a>
-He appears to have continued his original business to the
-end of his days. Writing in 1760, Mr. Derrick, in a letter to the Earl
-of Cork, dated July that year, after describing Baskerville’s printing
-achievements, adds: “This ingenious artist carries on a great trade
-in the Japan way, in which he showed me several useful articles, such
-as candlesticks, stands, salvers, waiters, bread-baskets, tea-boards,
-etc., elegantly designed and highly finished.” The name of Baskerville
-had previously been associated with typography, as we find in the lists
-of the Stationers’ Company a Gabriel Baskerville, who took up his
-freedom in 1622, and a John Baskerville, who took up his freedom in
-1639.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch546" id="fn546">546</a>
-Dibdin (<i>Intr. to Classics</i>, ii, 555) says £800.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch547" id="fn547">547</a>
-“Towards the end of 1792 died Mr. John Handy, the artist
-who cut the punches for Baskerville’s types, and for twelve years
-was employed in a similar way at the Birmingham Typefoundry of Mr.
-Swinney.” (<i>Gent. Mag.</i>, 1793, p. 91.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch548" id="fn548">548</a>
-“John Baskerville proposes, by the advice and assistance
-of several learned men, to print from the Cambridge Edition, corrected
-with all possible care, an elegant edition of <i>Virgil</i>. The work will
-be printed in quarto, on a very fine writing Royal paper, and with the
-above letter. The price of the Volume in sheets will be one guinea, no
-part of which will be required till the Book is delivered. It will be
-put to press as soon as the number of subscribers shall amount to five
-hundred, whose names will be prefixt to the work. All persons who are
-inclined to encourage the undertaking, are desired to send their names
-to John Baskerville in Birmingham, who will give specimens of the work
-to all who are desirous of seeing them. Subscriptions are also taken
-in, and specimens delivered by Messieurs R. and J. Dodsley, Booksellers
-in Pall Mall, London.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch549" id="fn549">549</a>
-Of the two copies in the possession of Mr. S. Timmins, one
-is printed on very fine banknote paper, and the other, more heavily,
-on a coarse brown.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch550" id="fn550">550</a>
-<i>Publii Virgilii Maronis Bucolica, Georgica, et Æneis.
-Birminghamiæ Typis Johannis Baskerville.</i> 1757. 4to. As Baskerville
-reprinted this work in 1771 with the old date 1757 on the title-page,
-it is necessary to note that, in the genuine edition, among other
-peculiarities, the 10th and 11th Books of the <i>Æneid</i> are headed “Liber
-Decimus. Æneidos”, and “Liber Undecimus. Æneidos”, whereas in
-the re-impression they appear, uniform with the other titles, “Æneidos
-Liber Decimus.” “Æneidos Liber Undecimus.” A <i>Virgil</i> was printed in
-8vo, in 1766.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch551" id="fn551">551</a>
-“I have always considered this beautiful production as one
-of the most finished specimens of typography” (Dibdin, <i>Introduction to
-the Classics</i>, 2nd ed. II, 335).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch552" id="fn552">552</a>
-“My neighbour Baskerville at the close of this month
-(March 1757) publishes his fine edition of <i>Virgil</i>; it will for <i>type</i>
-and <i>paper</i> be a perfect curiosity” (<i>Shenstone’s Letters and Works</i>,
-1791, Letter 88).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch553" id="fn553">553</a>
-Other type was used for this work.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch554" id="fn554">554</a>
-<i>Lit. Anec.</i>, ii, 411.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch555" id="fn555">555</a>
-“Η Καινη Διαθηκη”. <i>Novum Testamentum juxta exemplar
-Millianum. Typis Joannis Baskerville. Oxonii e Typographeo
-Clarendoniano.</i> 1763. <i>Sumptibus Academiæ</i>, 4to and 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch556" id="fn556">556</a>
-Some of the Punches were exhibited by the University Press
-at the Caxton Exhibition in 1877. Since then, thanks to the energy of
-the present Controller, Mr. Horace Hart, to whom we are indebted for
-the above extracts and specimens, the matrices of the fount have come
-to light as well as the punches and matrices of the two-line letters
-and figures belonging to it. These were exhibited at the British
-Association Meeting at Birmingham in August 1886, being catalogued as
-follows:―</p>
-<ul class="din2">
-<li><p class="phangd">“<span class="smcap">P<b>UNCHIONS</b></span> of the Great Primer Greek—a large proportion of
-the fount, but not the whole.</p></li>
-
-<li><p class="phangd">“<span class="smcap">M<b>ATRICES</b></span>
-of the same.</p></li>
-
-<li><p class="phangd">“<span
-class="smcap">P<b>UNCHIONS</b></span> of the Two-line Great
-Primer, with Initial Letters. Complete.</p></li>
-
-<li><p class="phangd">“<span
-class="smcap">M<b>ATRICES</b></span> of the same, also
-complete.</p></li>
-
-<li><p class="phangd">“<span
-class="smcap">P<b>UNCHIONS</b></span> of one set of
-Figures, supplied with the above.</p></li>
-
-<li><p class="phangd">“<span
-class="smcap">M<b>ATRICES</b></span> of the same.”</p></li></ul>
-
-<p>Still more recently, Mr. Horace Hart has been fortunate enough
-to discover part of the actual type in its original cases. It is
-interesting to note that these types, which are of rather a soft metal,
-are cast to the Oxford Learned-Side “height-to-paper.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch557" id="fn557">557</a>
-<i>Paradise Lost, etc.</i>, <i>Paradise Regain’d, etc.</i>
-Birmingham, 1758. 2 vols., 4to. The work was also published in the same
-year in 8vo, and again in 4to in 1759. The 4to edition of 1758 appears
-to be overlooked by some bibliographers, Hansard, among others, who
-refers in the extract here given to the reprint of 1759.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch558" id="fn558">558</a>
-<i>Typographia</i>, p. 310. It is worthy of note that the very
-high gloss on the paper which characterised most of Baskerville’s later
-works, is not always observable either in the <i>Virgil</i> of 1757, or the
-<i>Milton</i> of 1758.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch559" id="fn559">559</a>
-<i>Catalogue de la Bibliothéque d’um Amateur</i>, i, 310.
-After noticing the folio specimen following, he says: “Un autre essai
-de Baskerville, sur une plus petite feuille, contient seulment quatre
-caractères romains et deux en italique .&#160;.&#160;. Outre cette épreuve de grand
-essai, j’ai l’un et l’autre réunis à la fin de son <i>Virgile</i> in 4.”
-The only example we have met with is that bound up with Lord Spencer’s
-beautiful copy of the <i>Virgil</i> in the Althorp Library.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch560" id="fn560">560</a>
-Writing to Mr. R. Richardson of Durham on Oct. 29, 1758,
-Dr. Bedford says: “By Baskerville’s specimen of his types, you will
-perceive how much the elegance of them is owing to his paper, which he
-makes himself, as well as the types and ink also; and I was informed
-whenever they came to be used by common pressmen and with common
-materials they will lose of their beauty considerably. Hence, perhaps,
-this specimen may become very curious (when he is no more, and the
-types cannot be set off in the same perfection), and a great piece of
-<i>vertû</i>.” (Nichols, <i>Illust. Lit.</i>, i, 813).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch561" id="fn561">561</a>
-Amongst which should be particularly singled out the
-<i>Horace</i> in 12mo printed in 1762, which Dr. Harwood describes as “the
-most beautiful little book, both in regard to type and paper, I ever
-beheld.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch562" id="fn562">562</a>
-<i>The Press, a poem. Published as a Specimen of Typography
-by John McCreery.</i> Liverpool, 1803, 4to. p. 19.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch563" id="fn563">563</a>
-An interesting notice of Lord Orford’s famous private
-press at Strawberry Hill, with a Catalogue of the—many of them—finely
-printed works that issued from it, is given in Lemoine’s <i>Typographical
-Antiquities</i>, p. 91.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch564" id="fn564">564</a>
-The original of this important letter, with the specimen
-attached, is in Mr. Timmins’s possession.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch565" id="fn565">565</a>
-<i>The Holy Bible, containing the Old Testament and the
-New, translated out of the Original Tongues, and with the former
-translations diligently compared and revised. By His Majesty’s special
-command. Appointed to be read in Churches. Cambridge: printed by John
-Baskerville, Printer to the University.</i> 1763. <i>Cum Privilegio.</i> Fol.
-The prospectus of this work, with a specimen of the type, appeared
-in 1760. The folio <i>Bible</i>, printed at Birmingham in 1772, is a much
-inferior performance.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch566" id="fn566">566</a>
-<i>The Book of Common Prayer, Cambridge</i>, 1760, roy. 8vo,
-(with long lines); 1760, roy. 8vo, (in double columns); 1761, roy. 8vo;
-1762, roy. 8vo (with long lines): 1762, 12mo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch567" id="fn567">567</a>
-He appears always to have kept a large number of hot
-plates of copper always ready, between which, as soon as printed, just
-as they were discharged from the tympan, the sheets were inserted. The
-moisture was thus expelled, the ink set, and the smooth, glossy surface
-put on all simultaneously. However well the method may have answered at
-the time, the discoloration of his books still preserved in the British
-Museum and elsewhere, shows that the brilliance thus imparted was most
-tawdry and ephemeral.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch568" id="fn568">568</a>
-“Les caractères sont gravés avec beaucoup de hardiesse,
-les italiques sont les meilleures qu’il y ait dans toutes les Fonderies
-d’Angleterre, mais les romains sont un peu trop larges.” .&#160;. And of his
-editions he adds, “Quoiqu’elles fatiguent un peu la vue, on ne peut
-disconvenir que ce ne soit la plus belle chose qu’on ait encore vue en
-ce genre.” (<i>Man. Typ.</i>, ii, xxxix.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch569" id="fn569">569</a>
-“Mr. Baskerville .&#160;.&#160;. made some attempts at letter-cutting,
-but desisted, with good reason. The Greek cut by him or his for the
-University of Oxford is execrable. Indeed, he can hardly claim a place
-amongst letter-cutters. His typographical excellence lay more in trim,
-glossy paper to dim the sight.” (<i>Dissert.</i>, p. 86.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch570" id="fn570">570</a>
-<i>The Life of Benjamin Franklin, written by himself, etc.</i>
-(Bigelow’s edition). Philadelphia, 1875, i, 413. Nichols, in error,
-gives the date of this letter as 1764.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch571" id="fn571">571</a>
-The apparatus was first offered, it is said, to the French
-Ambassador in London for £8,000. Subsequently Baskerville wrote, on
-Sept. 7, 1767: “Suppose we reduce the price to £6,000. .&#160;.&#160;. Let the
-reason of my parting with it be the death of my son and intended
-successor, and having acquired a moderate fortune, I wish to consult my
-ease in the afternoon of life.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch572" id="fn572">572</a>
-The following works were printed by Martin between
-1766 and 1769, viz., <i>Christians’ Useful Companion</i>, 1766, 8vo;
-<i>Somerville’s Chace</i>, 1767, 8vo; <i>Shakespeare</i>, 9 vols., 1768, 12mo;
-<i>Bible with cuts</i>, 1769, 4to; and editions of the <i>Lady’s Preceptor</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch573" id="fn573">573</a>
-Letter dated 21 Sept. 1773. “You speak of enlarging your
-Foundery” (<i>Works</i>, viii, 88).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch574" id="fn574">574</a>
-The remaining copies of Baskerville’s impressions, were,
-after his death purchased for £1,100 by W. Smart, bookseller, of
-Worcester, and publisher of the <i>Worcester Guide</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch575" id="fn575">575</a>
-Hutton, <i>History of Birmingham</i>, 1835, p. 197.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch576" id="fn576">576</a>
-<i>Biographical History of England</i>, ii, 362.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst">
-<a class="afnlabel" href="#fnanch577" id="fn577">577</a></p>
-
-<blockquote id="np282">
-<ul>
- <li class="licntr">“Stranger,</li>
- <li class="licntr">beneath this cone, in <i>unconsecrated</i> ground,</li>
- <li class="licntr">a friend to the liberties of mankind directed his</li>
- <li class="licntr">body to be inurn’d.</li>
- <li class="licntr">May the example contribute to emancipate thy mind</li>
- <li class="licntr">from the idle fears of <i>Superstition</i>,</li>
- <li class="licntr">and the wicked arts of Priesthood.”</li></ul>
-</blockquote>
-
-<p class="pcontinue">Touching this epitaph Archdeacon
-Nares has the following note:—“I heard John Wilkes, after
-praising Baskerville, add, “But he was a terrible infidel;
-he used to shock <span
-class="nowrap">me&#x200a;!”</span></p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch578" id="fn578">578</a>
-“On Friday last, Mr. Baskerville, of this town, was
-married to Mrs. Eaves, widow of the late Richard Eaves, Esq., deceased”
-(<i>Birmingham Register</i>, June 7, 1765). Mrs. Baskerville d. 1788.
-Two works exist, printed at Birmingham, with the imprint, Sarah
-Baskerville.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch579" id="fn579">579</a>
-In 1776, Chapman used Baskerville’s type for Dr. W.
-Sherlock’s <i>Discourses concerning Death.</i> 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch580" id="fn580">580</a>
-This preference was so marked, that about this time the
-proprietors of Fry and Pine’s foundry, who had begun with an avowed
-imitation of the Baskerville models, were constrained to admit their
-mistake, and discard that fashion for new founts cut on the model of
-Caslon.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch581" id="fn581">581</a>
-As early as 1775, Dr. Harwood, in the preface to his <i>View
-of the Editions of the Classics</i>, had pleaded urgently for the purchase
-of Baskerville’s types, and Wilson’s famous Greek, as the nucleus of a
-Royal Typography in England.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch582" id="fn582">582</a>
-<i>Lit. Anec.</i>, iii, 460.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch583" id="fn583">583</a>
-<i>Proposals for Printing by Subscription a Complete Edition
-of the Works of Voltaire, printed with the Types of Baskerville for
-the Literary and Typographical Society</i>, 1782, 12 pp. 8vo, with 2 pp.
-specimens of the type. The French proposal appears to have been put
-forward in 1780.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch584" id="fn584">584</a>
-<i>Beaumarchais and His Times. Translated by H. S. Edwards.</i>
-London, 1856. 4 vols. 8vo (iii, chap. 24).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch585" id="fn585">585</a>
-<i>Œuvres Complètes de Voltaire. De l’Imprimerie de la
-Société litteraire et typographique</i>, (Kehl) 1784–1789. 70 vols. in
-8vo; and 92 vols. in 12mo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch586" id="fn586">586</a>
-Renouard mentions having seen at Paris a broadside
-specimen of all the Baskerville types transported to Beaumarchais’
-establishment: “Ce sont les mêmes types,” he adds, “mais quelle
-différence dans leur emploi!” (<i>Catalogue</i>, i, 310).</p></div>
-
-<div class="dftnt">
-<div class="dkeeptogether">
-<p class="pfirst"><a class="afnlabel"
-href="#fnanch587" id="fn587">587</a></p>
-<ul class="nowrap" id="np286">
-<li><i>La Virtu Sconosciuta Dialogo</i>, 1786, 8vo.</li>
-<li><i>Del Principe e delle Lettere</i>, 1795, 8vo.</li>
-<li><i>L’Etruria Vendicata Poema</i>, 1800, 8vo.</li>
-<li><i>Della Tirannide</i>, 1809, 8vo.</li>
-</ul></div><!--dkeeptogether-->
-</div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch588" id="fn588">588</a>
-<i>The Treatyse of Fysshynge wyth an Angle. Attributed to
-Dame Juliana Berners, reprinted from the Book of St. Albans. London;
-printed with the types of John Baskerville for William Pickering.</i>
-(Thos. White, imp.) 1827. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch589" id="fn589">589</a>
-A statement that they were acquired at the beginning of the century for the printing
-offices of the Imperial Academy of Sciences at St. Petersburg, appears, after careful inquiry, to
-rest on no further foundation than rumour.</p></div>
-
-<div class="section">
-<h3 class="fsz7">14. THOMAS COTTRELL, 1757</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch590" id="fn590">590</a>
-See frontispiece. Cottrell is the
-figure marked 4.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch591" id="fn591">591</a>
-See <i>ante</i>, p.
-<a href="#p158" title="to page 158">158</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch592" id="fn592">592</a>
-<i>Dissertation</i>, p. 82.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch593" id="fn593">593</a>
-<i>A Specimen of a New Printing Type, in Imitation of the Law-Hand. Designed by
-William Richardson, of Castle Yard, Holborn.</i> London,
-n. d. Broadside.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch594" id="fn594">594</a>
-The Double Pica Script sheet occasionally bound in with
-this specimen, is evidently an interpolation of a later date, as it
-neither has the border round, nor does it conform to the measure or
-gauge of theother sheets. It was not finished in 1778 when Mores wrote.
-See <i>Dissert.</i>, p. 83.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch595" id="fn595">595</a>
-<i>Manuel Typographique</i>, ii, xxxviii. This whole notice is
-so exceedingly incorrect as to call for mention here. “L’Angleterre a
-peu de Fonderies, mais elles sont bien fournies en toutes sortes de
-caractères: les principales sont celles de Thomas Cottrell à Oxfort; de
-Jacques Watson à Edimbourg, de Guillaume Caslon &amp; Fils à Londres, et de
-Jean Baskerville à Birmingham”! It would almost appear as if, having
-before him the names of Cottrell, Oxford, James, Wilson of Glasgow,
-Caslon of London, and Baskerville of Birmingham, the then existing
-foundries in this kingdom, Fournier had taxed his ingenuity to make
-four foundries out of six and had succeeded, altering Wilson’s name to
-that of his long defunct fellow citizen, Queen Anne’s printer, in the
-process. This feat has, however, been eclipsed in his notice of the
-Voskens’ foundry at Amsterdam, which, after the death of Dirk Voskens,
-passed to his widow and sons. “Cette Fonderie” Fournier informs us, “a
-passée à sa veuve et au Sieur Zonen”!</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch596" id="fn596">596</a>
-Mores (<i>Dissert.</i>, p. 83), says he was the first to produce letters
-of this size.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch597" id="fn597">597</a>
-<i>Lit. Anec.</i>, ii, 358.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch598" id="fn598">598</a>
-“R. Thorne, Letter-Founder, takes the Liberty of informing
-the Trade in general that he has begun business upon his own account,
-and intends serving them at the following old-established prices: [here
-follows price list]. He respectfully informs those gentlemen that
-choose to favour him with their orders, that they may depend upon the
-best workmanship and materials. Barbican, July 1, 1794.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch599" id="fn599">599</a>
-It appears to have been no uncommon practice in the trade
-to make use of a predecessor’s book, corrected on the title-page in pen
-and ink. Our copy of Cottrell’s specimen is thus altered to the name of
-a broker; and the specimens of the Type Street Foundry are many of them
-similarly corrected to adapt them for the frequently changing style of
-that firm.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch600" id="fn600">600</a>
-In a note, he says, “R. T. informs those gentlemen to whom he is at present unknown,
-that the Types of the Barbican Foundry are cast to the usual Height and Body; and that
-great care has been taken to have the Counterpart deeply cut, by which means they will wear
-much longer than any hitherto in use.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch601" id="fn601">601</a>
-Pica, which in 1798 had been 1<i>s.</i> per lb., is raised to 1<i>s.</i>
-2&#x202f;½<i>d.</i>, and Nonpareil is advanced
-from 5<i>s.</i> to 5<i>s.</i> 6<i>d.</i> The other sizes are in similar proportion.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch602" id="fn602">602</a>
-“Sir,—Having published a Specimen of Improved Printing
-Types, I have taken the liberty of sending you a Copy,
-which I hope you will approve of; and be assured that every
-possible exertion shall be used in completing those orders
-you may favor me with.</p>
-
-<p class="spsgtrflt">“I remain, your obedient Servant, <span class="smcap">R<b>OBERT</b></span>
-<span class="smcap">T<b>HORNE</b>.”</span></p>
-
-<p class="pcontinue">“Barbican, 1803.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch603" id="fn603">603</a>
-See <i>ante</i>, p.
-<a href="#p117" title="to page 117">117</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch604" id="fn604">604</a>
-See <i>post</i>, chap. xxi.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch605" id="fn605">605</a>
-In the Directory at the end of <i>Stower’s Printers’ Grammar</i>, 1808, Thorne’s name is given
-without address.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch606"
-id="fn606">606</a> <i>Particulars of the Lease and Valuable
-Plant of the Type Foundry of Mr. Robert Thorne, deceased,
-situate in Fann’s Street, Aldersgate Street,.........which
-will be Sold by Auction by Mr. W. Davies, at Garraway’s
-Coffee House, on Wednesday, the 21st of June, 1820, at
-Twelve o’clock, in One Lot.</i> Besides the lease, plant, and
-fixtures, the Catalogue comprised 316 lots of matrices and
-about 340 moulds. The matrices were as follows:―</p>
-
-<div class="dkeeptogether">
-
-<ul class="dmgnfndry">
-<li><i>Roman and Italic.</i>―
-<ul class="ulina">
- <li class="lijust">5-line (3), 4-line (3), Canon (4), 2-line Double
- Pica (3), 2-line Great Primer (4), 2-line English (4),
- 2-line Pica (1), Double Pica (4), Great Primer (4),
- English (5), Pica (6), Small Pica (3), Long Primer (6),
- Bourgeois (3), Brevier (5), Minion (1), Nonpareil Roman
- (2), Pearl (1)</li></ul></li>
-
-<li><i>Black (plain or open).</i>―
-<ul class="ulina">
- <li class="lijust">5-line (5), 4-line (2), Canon (2), 2-line Great Primer
- (5), 2-line English (2), Double Pica (2), Great Primer
- (2), English (1), Pica (1), Small Pica (1), Long Primer
- (2), Bourgeois (1).</li></ul></li>
-
-<li><i>Shaded.</i>―
-<ul class="ulina">
- <li class="lijust">5-line to Brevier (21).</li></ul></li>
-
-<li><i>Flowers.</i>―
-<ul class="ulina">
- <li class="lijust">All bodies (15).</li></ul></li>
-
-<li><i>Ornamented.</i>―
-<ul class="ulina">
- <li class="lijust">Canon to 2-line Bourgeois (6).</li></ul></li>
-
-<li><i>Egyptian.</i>―
-<ul class="ulina">
- <li class="lijust">2-line Great Primerto Brevier (6).</li></ul></li>
-
-<li><i>Script.</i>―
-<ul class="ulina">
- <li class="lijust">2-line Pica, Double Pica, Great Primer.</li></ul></li>
-
-<li><i>Engrossing.</i>―
-<ul class="ulina">
- <li class="lijust">2-line English.</li></ul></li>
-
-<li><i>German.</i>―
-<ul class="ulina">
- <li class="lijust">English.</li></ul></li>
-
-<li><i>Two-line Letters, Signs</i>, etc., etc.</li>
-
-<li><i>Sanspareil Founts.</i>―
-<ul class="ulina">
- <li class="lijust">14-line to 4-line (24).</li></ul></li></ul>
-
-</div><!--dkeeptogether--></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch607" id="fn607">607</a>
-He had a brother (?) a printer, in Wood Street, Cheapside.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch608" id="fn608">608</a>
-It is curious to note that the matter of not a few of
-Thorowgood’s early specimens has reference to the lucky numbers “always
-found in great variety in the Grand State Lotteries.” Such gratuitous
-advertisements are no doubt so many grateful acknowledgments of his own
-obligations to a time-honoured institution.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch609" id="fn609">609</a>
-The address to the printers, prefixed to this specimen,
-is as follows: “I cannot omit the opportunity offered in presenting my
-first specimen to your notice, to return my most sincere thanks to the
-profession for that portion of their patronage which I have received
-since my succession to Mr. Thorne. Although some difficulties presented
-themselves in redeeming the pledge I made of renovating my small founts
-and casting them of metal more durable than those in common use, yet
-I flatter myself that those friends who relied on my professions will
-bear ample testimony that they have not been disappointed, and that
-the superior facilities of manufacturing types possessed by myself in
-common with the other founders of the metropolis has been used to their
-advantage,” etc.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch610" id="fn610">610</a>
-This famous foundry, which still exists, was established
-by Bernard Christopher Breitkopf in 1719. His son, Johann Gottlieb
-Immanuel Breitkopf, was the inventor (simultaneously with Haas of
-Basle) of the art of map printing with movable types, and is claimed
-also as the inventor of movable music types about 1748. Many eminent
-punch cutters were employed on the founts of this foundry, which was
-in 1800 one of the largest in Germany. The first specimen appeared in
-1739.</p></div>
-
-<div class="section">
-<h3 class="fsz7">15. JOSEPH AND EDMUND FRY, 1764</h3>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch611" id="fn611">611</a>
-Hugh Owen. <i>Two Centuries of Ceramic Art in
-Bristol</i>, 1873, 8vo.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch612" id="fn612">612</a>
-Of these books we have one before us—<i>A Collection of Hymns adapted for Public
-Worship</i>. Bristol, (1769), 12mo, in the Long Primer of the foundry, showing, besides, several
-varieties of title-letters and flowers.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch613" id="fn613">613</a>
-<i>Catalogue</i>, i, 310, “Grande feuille collée sur une toile
-ou batiste fine.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch614" id="fn614">614</a>
-Rowe Mores, after quoting the above, adds drily: “Their
-letter is neat. We <i>do</i> ‘set aside the influence of custom,’ and call
-it the law of fools, but we must recommend to the consideration of
-the proprietors the difference between scalping and counterpunching.”
-(<i>Dissertation</i>, p. 84.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch615" id="fn615">615</a>
-“The Inventors, sensible of the great utility of their
-Discovery, have mentioned it to several of the Trade, who have made
-very considerable offers to encourage the laying open the Secret:
-But as their desire is, that every Printer in the Kingdom might be
-benefited by it they propose to make the Discovery as universal as
-possible, by making an honourable and generous present of it to the
-whole trade: To many of whom they are under some Obligations for the
-kind encouragement of their new Foundery. And as that is an object they
-desire here to recommend, they would further propose, (as they have
-nearly compleated all their founts, and can serve the Trade on as good
-Terms as any in the Kingdom, and with Types they will warrant to wear
-as long) that every Printer who shall give them an order for Ten Pounds
-worth of Type or more (Five Pounds of which to be paid on ordering
-and the Remainder on the Delivery) shall be made acquainted with the
-above improvements. So that the whole Advantage proposed is the selling
-some Founts of Letter which every Printer does or will want. And as
-they expect that the Trade in general will approve of their Plan,
-they beg that the Encouragers of it would send their orders with all
-convenient Speed to the above Foundery; (as they intend as soon as they
-have got a sufficient Number to lay open the whole) which they hope
-will not be less universal than the desire of being made Partakers of
-so interesting a Discovery: for it merits nothing less than the most
-cordial Encouragement of every Printer in Europe, though here so freely
-offered. And
-it will appear when laid open to be of such Service as
-nothing like it has been discovered in Printing for some Centuries.
-.&#160;.&#160;. The whole expence of altering the present presses to the above
-Improvement will be but about forty shillings.” A notice of this
-invention, as well as of a patent type-case designed by the same
-partners, is found in the <i>Abridgments of Specifications for Printing,
-1617–1857</i>, London, 1859. 8vo, p. 88.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch616" id="fn616">616</a>
-<i>History and Art of Printing</i>, p. 244.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch617"
-id="fn617">617</a> After commending Caslon and Jackson,
-he says: “As to the productions of other Founderies we
-shall be silent, and leave them to sound forth their own
-good qualifications, which by an examiner are not found to
-exist” (p. 230).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch618" id="fn618">618</a>
-<i>The Holy Bible, containing the Old and New Testament,
-with Notes Explanatory, Critical and Practical, selected from the Works
-of several Eminent Divines. London, I. Moore and Co., Letter Founders
-and Printers in Queen Street, near Upper Moorfields.</i> 1774. Folio.</p>
-
-<p><i>The Same</i>, in 5 vols., 8vo:—<i>Vols.</i> 1, 2, 3, 1774; <i>Vol.</i> 4, 1776;
-<i>Vol.</i> 5 (<i>Apocrypha</i>) 1775.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch619" id="fn619">619</a>
-<i>A Commentary on the Holy Bible, containing the Whole
-Sacred Text of the Old and New Testaments, with Notes, etc. Bristol,
-Printed and Sold by William Pine.</i> 1774, 12mo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch620" id="fn620">620</a>
-<i>The Holy Bible, containing the Old and New Testament,
-with Notes Explanatory, Critical and Practical, selected from the Works
-of several Eminent Authors. London. Printed and Sold by J. Fry and Co.,
-Letter Founders and Printers in Queen Street, near Upper Moorfields.</i>
-1777. Folio.</p>
-
-<p><i>The Same</i>, 4 vols., 1777. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch621" id="fn621">621</a>
-Amongst other works printed by him there is preserved a
-tract, entitled <i>An Answer to a Narrative of Facts .&#160;.&#160;. lately published
-by Mr. Henry Burgum as far as relates to the Character of Wm. Pine.
-Bristol. Printed in the year 1775.</i> 8vo. This is a letter of rejoinder
-addressed by Pine to Burgum, repelling charges relating to the
-publication of an offensive pamphlet. Pine also printed several works
-for the Wesleys.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch622"
-id="fn622">622</a> See p.
-<a href="#fg56" title="to fig. 56">226</a> <i>et seq.</i></p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch623" id="fn623">623</a>
-The pedigree of the matrices is indicated, as far as
-can be ascertained, by the initials (see our
-<a href="#fn430" title="to endnote 430">note 2</a> at p.
-227); but
-in several cases, particularly in the case of the Blacks, the origin
-is considerably more remote than the foundry named. The error of
-inferring anything as to their origin from the names of famous old
-printers appearing on the drawers in which they were stored at James’s
-foundry has already been pointed out—see <i>ante</i>, p.
-<a href="#p230" title="to page 230">230</a>&#xfeff;. Several of
-these founts Dr. Fry appears to have received in a defective state,
-necessitating in some cases a complete re-justifying of the matrices,
-and in others the cutting of a considerable number of punches, and
-casting on bodies which did not always agree with those named in the
-sale Catalogue. This circumstance will account for many of the apparent
-discrepancies between the original founts and the renovated founts as
-they appear in the Type Street specimens.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch624" id="fn624">624</a>
-“It affords them”—the proprietors—“great Satisfaction
-to observe that the original Shape of their Roman and Italic Letters
-continues to meet the Approbation of the Curious, both in and out of
-the Printing Trade: nevertheless, to remove an Objection which the
-difference in Shape, from the letters commonly used here, raised in
-some, whereby their Introduction into several Capital Offices have been
-prevented; they have cut entire new sets of Punches, both Roman and
-Italic; and they flatter themselves they have executed the Founts, as
-far as they are done, in an elegant and masterly Manner, which in this
-Specimen are distinguished by the title NEW, and which will mix with
-and be totally unknown from the most approved Founts made by the late
-ingenious Artist, William Caslon.” For Caslon’s acknowledgment of this
-compliment, see <i>ante</i>, p.
-<a href="#p249" title="to page 249">249</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch625" id="fn625">625</a>
-“However desirous the proprietor of another Foundery
-may be to persuade the public into an idea of a superiority in his
-own favour, owing to <i>Rapid</i> improvements for upwards of <i>Sixty</i>
-years, a little time may, perhaps, suffice to convince impartial and
-unbiassed Judges that the very elegant Types of the
-<span class="smcap">W<b>ORSHIP</b></span> <span class="smcap">S<b>TREET</b></span>
-<span class="smcap">M<b>ANUFACTORY</b>,</span> though they cannot indeed boast of their existence
-longer than about <i>Twenty</i> years&#x202f;! will yet rank as high in Beauty,
-Symmetry, and intrinsic Merit as any other whatever, and ensure equal
-approbation from the Literati not only in this Country but in every
-quarter of the Globe.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch626" id="fn626">626</a>
-For a short time following Mr. Fry’s death his widow
-is said to have been associated with her sons in the conduct of the
-letter-foundry. Mrs. Fry lived at Great Marlow, and afterwards in
-Charterhouse Square, London, where she died, Oct. 22, 1803, aged 83.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch627" id="fn627">627</a>
-<i>The Printer’s Grammar. London, printed by L. Wayland.</i>
-1787. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch628" id="fn628">628</a>
-We have the following volume very beautifully
-printed:—<i>C. Plinii Cæcilii Secundi Epistolarum Libri x. Sumptibus
-editoris excudebant M. Ritchie et J. Samuells. Londini</i>, 1790. 8vo. At
-end:—<i>Typis Edmundi Fry</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch629" id="fn629">629</a>
-This excellent artist was a Scotchman, and printed in
-Bartholomew Close in 1785. He was one of the first who started in
-emulation of Baskerville as a fine printer; his series of Mr. Homer’s
-Classics (<i>Sallust</i>, 1789; <i>Pliny</i>, 1790; <i>Tacitus</i>, 1790; <i>Q.
-Curtius</i>; <i>Cæsar</i>, 1790; <i>Livy</i>, 1794) established his reputation. His
-quarto <i>Bible</i> and the <i>Memoirs of the Count de Grammont</i> are also
-celebrated. He printed on Whatman’s paper with admirable ink and most
-careful press-work, and is stated to have produced most of his books by
-his own personal and manual labour.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch630" id="fn630">630</a>
-From this press the following elegantly printed volume
-was issued in 1788:—<i>The Beauties of the Poets, being a Collection of
-Moral and Sacred Poetry, etc., compiled by the late Rev. Thomas Janes
-of Bristol. London, printed at the Cicero Press by and for Henry Fry,
-No. 5 Worship Street, Upper Moorfields.</i> 1788. 8vo. At one time Henry
-Fry appears to have had a partner named Couchman.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch631" id="fn631">631</a>
-<i>A New Guide to the English Tongue in five parts by Thomas
-Dilworth .&#160;.&#160;. Schoolmaster in Wapping. Stereotype Edition. London.
-Andrew Wilson, Camden Town.</i> 8vo. Contains portraits, tail piece and 12
-fable cuts.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch632" id="fn632">632</a>
-<i>Pantographia; containing accurate copies of all the known
-Alphabets in the World, together with an English explanation of the
-peculiar Force or Power of each Letter; to which are added specimens of
-all well authenticated Oral Languages; forming a comprehensive Digest
-of Phonology. By Edmund Fry, Letter Founder, Type Street, London,
-1799.</i> Roy. 8vo. A few copies were printed on vellum, one of which is
-in the Cambridge University Library.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch633" id="fn633">633</a>
-<i>The Printer’s Grammar or Introduction to the Art of
-Printing: containing a concise History of the Art, etc., by C. Stower,
-Printer. London. Printed by the Editor.</i> 1808, 8vo. The same work also
-shows extracts and specimens from <i>Pantographia</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch634" id="fn634">634</a>
-Hazard was also the designer of a pair of cases, a plan of
-which is shown by Stower, p. 463.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch635" id="fn635">635</a>
-The Rev. Samuel Lee, B.D., Regius Professor of Hebrew
-at Cambridge, was a constant visitor at Type Street, and personally
-directed the cutting of many of the founts.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch636" id="fn636">636</a>
-Dr. Fry’s system was virtually that first introduced by
-Mr. Alston, of Glasgow, to which reference is made <i>ante</i>,
-p. <a href="#p078" title="to page 78">78</a>&#xfeff;, where
-details are also given as to the other principal systems of type for
-the Blind. A “lower-case” was subsequently added to Dr. Fry’s fount
-by his successors, and in this form the type was largely used by the
-various Type Schools following Mr. Alston’s method. Full particulars of
-this award, with specimens, maybe seen in Vol. I of the <i>Transactions
-of the Royal Scottish Society of Arts</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch637" id="fn637">637</a>
-Hansard mentions a Two-line English Engrossing, two sizes
-of Music, and the matrices of Dr. Wilkins’ <i>Philosophical Character</i>;
-none of which, however, formed part of this Foundry.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch638" id="fn638">638</a>
-Of the supposed antiquity of this interesting fount an
-account has already been given at pages 200–5, <i>ante</i>. By a curious
-confusion of names and dates, Dr. Fry, in his specimens stated that
-“this character was cut by <i>Wynkyn de Worde</i>, in exact imitation
-of the <i>Codex Alexandrinus</i> in the British Museum”&#x202f;! This absurd
-anachronism—the more extraordinary as emanating from an antiquary of
-Dr. Fry’s standing—appears to have arisen from the fact that at the
-sale of James’ Foundry the matrices lay in a drawer which bore the
-name, “De Worde.” This circumstance misled Paterson, the auctioneer,
-into advertising the fount as the genuine handiwork of De Worde, a
-printer who lived a century before the Codex was brought into this
-country. The further coincidence that Dr. Woide of the British Museum
-was, at the time of the sale, engaged in producing an edition of
-the <i>Codex</i>, with facsimile types prepared by Jackson the founder,
-doubtless added—by the similarity of the names De Worde and Dr.
-Woide—to the confusion. After its purchase, the fount first appeared
-in Joseph Fry and Sons’ Specimen of 1786, without note. But, in the
-subsequent specimens of the Foundry, bearing his own name, Dr. Fry
-introduced the fiction, which remained unchallenged for a quarter of a
-century.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch639" id="fn639">639</a>
-In addition to which Dr. Fry possessed, in an imperfect
-condition (many of the characters having been recut), the Great Primer
-Arabic of Walton’s <i>Polyglot</i>. According to Hansard he also had a
-set of matrices, English body, from the first punches cut by William
-Caslon; but this seems to be an error.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch640" id="fn640">640</a>
-Used in Bagster’s <i>Polyglot</i>. The same fount was cast on
-Long Primer with movable points. Hansard is in error in stating that
-Dr. Fry cut a Nonpareil Syriac.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch641" id="fn641">641</a>
-An error still less explicable than that of the
-Alexandrian Greek, but which not only Dr. Fry’s successors, but Hansard
-himself has copied. The following seems to be the “good authority”
-on which the assertion is based. In 1819, Mr. Bulmer, the eminent
-printer, printed for the Roxburghe Club, Mr. Hibbert’s transcript of
-the MS. fragment of the translation of <i>Ovid’s Metamorphoses</i>, made by
-Caxton about 1480, and preserved in the library of Pepys at Magdalen
-College, Cambridge. The body of the work was set in the English Black
-bought by Dr. Fry at James’ Sale—but in two places a smaller size of
-type was required to print passages omitted in Caxton’s translation,
-but supplied by the Editor in the original French of Colard Mansion’s
-edition. For these passages the Pica Black was selected, and as the
-French text contained several accents and contractions, these had to
-be specially cut. This task Dr. Fry performed, and understanding that
-the letter was to be used for printing a work of Caxton’s, he appears,
-without further enquiry, to have assumed that the work in question was
-a fac-simile reprint, and that his old matrices had been discovered to
-bear the impress of the veritable character used by that famous man.
-Had he seen the book in question he would have discovered that not only
-was it a transcript from a MS. of which no printed copy had ever been
-known to exist, but that the very passages in which the boasted type
-was used, were passages which did not even appear in a work of Caxton
-at all. The matrices are very old. They were in Andrews’ foundry about
-1700, and in all probability came there from Holland, as they closely
-resemble the other old Dutch Blacks in James’ Foundry.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch642" id="fn642">642</a>
-In the Small Pica, No. 2, was printed <i>The Two First Books
-of the Pentateuch, or Books of Moses, as a preparation for learners
-to read the Holy Scriptures. The types cut by Mr. Edmund Fry, Letter
-Founder to His Majesty, from Original Irish Manuscripts, under the care
-and direction of T. Connellan (2nd Edit.) Printed at the Apollo Press,
-London, J. Johnson, Brook Street, Holborn, 1819.</i> 12mo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch643" id="fn643">643</a>
-Whatever singularity M. Didot may have indulged in in the
-first strikes from his famous punches for his own use, the matrices now
-in the possession of Dr. Fry’s successors are of most unmistakeable
-copper throughout. And it does not appear that more than one set of the
-strikes was needed to meet all the demands made upon this complicated
-letter by the printers of the day.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch644" id="fn644">644</a>
-<i>Gentleman’s Magazine</i>, May, 1836.</p></div>
-
-<div class="section">
-<h3 class="fsz7">16. JOSEPH JACKSON, 1763</h3>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch645" id="fn645">645</a>
-Nichols’ <i>Lit. Anec.</i>, ii, 358–9;
-and <i>Gentleman’s Magazine</i>, 1792, p. 93.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch646" id="fn646">646</a>
-<i>Dissert.</i>, p. 83.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch647" id="fn647">647</a>
-Probably as a rubber, in which occupation he is
-represented as engaged in the View of the Caslon Foundry given in the
-<i>Universal Magazine</i> for June 1750 (see frontispiece).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch648" id="fn648">648</a>
-<i>Dissertation</i>, p. 83.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch649" id="fn649">649</a>
-Mr. Halhed thus refers to this circumstance in the introduction to his <i>Bengal
-Grammar</i> (see post): “That the Bengal letter is very difficult to be imitated in steel will
-readily be allowed by every person who shall examine the intricacies of the strokes, the unequal
-length and size of the characters, and the variety of their positions and combinations. It was
-no easy task to procure a writer accurate enough to prepare an alphabet of a similar and
-proportionate body throughout, with that symmetrical exactness which is necessary to the
-regularity and neatness of a fount. Mr. Bolts (who is supposed to be well versed in this
-language) attempted to fabricate a set of types for it with the assistance of the ablest artists in
-London. But, as he has egregiously failed in executing even the easiest part, or primary
-alphabet, of which he has published a specimen, there is no reason to suppose that his project
-when completed would have advanced beyond the usual state of imperfection to which new
-inventions are constantly exposed.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch650" id="fn650">650</a>
-This distinguished scholar and self-made typographer was born in the year 1751. He
-entered the East India Company’s Civil Service, where he devoted himself not only to the
-study of the Oriental languages, but to the actual production of the types necessary to extend
-the study of those languages among his fellow-countrymen, with extraordinary skill and perseverance.
-He succeeded in cutting the punches and casting the types for Halhed’s <i>Grammar
-of the Bengal Language</i>, published at Hoogly in Bengal in 1778, 4to. In his preface to that
-work, Mr. Halhed, after referring to Mr. Bolts’ failure, in the passage quoted in the preceding
-note, thus describes the undertaking:—“The advice and even solicitation of the Governor-General
-prevailed upon Mr. Wilkins, a gentleman who has been some years in the India
-Company’s Civil Service in Bengal, to undertake a set of Bengal Types. He did, and his
-success has exceeded every expectation. In a country so remote from all connection with
-European artists, he has been obliged to charge himself with all the various occupations of the
-Metallurgist, the Engraver, the Founder, and the Printer. To the merit of invention he
-was compelled to add the application of personal labour. With a rapidity unknown in
-Europe, he surmounted all the obstacles which necessarily clog the first rudiments of a difficult
-art, as well as the disadvantages of solitary experiment; and has thus singly, on the first effort,
-exhibited his work in a state of perfection which in every part of the world has appeared to
-require the united improvements of different projectors and the gradual polish of successive
-ages.” Mr. Wilkins persevered in his noble undertaking of rendering the Oriental languages
-available to the English scholar through the medium of typography. With this view he
-compiled from the most celebrated native Grammars and Commentaries a work entirely new
-to England on the Structure of the Sanskrita tongue. Of the difficulties and discouragements
-attendant on the execution of this self-imposed task he thus speaks in his Preface:—“At the
-commencement of the year in 1795, residing in the country and having much leisure, I began
-to arrange my materials and prepare them for publication. I cut letters in steel, made
-matrices and moulds, and cast from them a fount of types of the Deva
-Nagari character, all
-with my own hands; and, with the assistance of such
-mechanics as a country village could afford, I very speedily prepared
-all the other implements of printing in my own dwelling-house; for by
-the second of May of the same year I had taken proofs of 16 pages,
-differing but little from those now exhibited in the first two
-sheets. Till two o’clock on that day everything had succeeded to my
-expectations; when alas! the premises were discovered to be in flames,
-which, spreading too rapidly to be extinguished, the whole building
-was presently burned to the ground. In the midst of this misfortune,
-I happily saved all my books and manuscripts, and the greatest part
-of the punches and matrices; but the types themselves having been
-thrown out and scattered on the lawn, were either lost or rendered
-useless.” About ten years afterwards the Directors of the East India
-Company encouraged Dr. Wilkins, then Librarian to the Company, to
-resume his labours and cast new types, as the study of the Sanskrita
-had become an important object in their new College at Hertford. Dr.
-Wilkins complied, and the <i>Grammar of the Sanskrita Language</i>, London,
-1808, 4to, duly appeared from Bulmer’s Press, and was allowed to be a
-monument at once of beautiful typography and erudite industry. Dr.,
-subsequently Sir Charles, Wilkins died May 13th, 1836, at the advanced
-age of 85. Specimens of his Bengali and Sanskrit may be seen in
-Johnson’s <i>Typographia</i>, ii, 389–94.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch651" id="fn651">651</a>
-<i>A Vocabulary, Persian, Arabic, and English, containing
-such words as have been adopted from the two former of these languages,
-and incorporated into the Hindvi; together with some hundreds of
-compound verbs formed from Persian or Arabic nouns and in universal
-use. Being the seventh part of the new Hindvi Grammar and Dictionary.</i>
-London, 1785. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch652" id="fn652">652</a>
-The Domesday letter of Cottrell and Jackson may be seen in
-juxtaposition in Fry’s <i>Pantographia</i>, 1799, pp. 50 and 314; also in
-Stower’s <i>Printer’s Grammar</i>, 1808, p. 253. Jackson’s also appears in
-Johnson’s <i>Typographia</i> (ii, p. 248), from which work our account is
-chiefly taken.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch653" id="fn653">653</a>
-<i>Domesday Book seu Liber Censualis Willelmi primi
-Regis Angliæ inter Archivos Regni in Domo capitulari Westmonasterii
-asservatus. Jubente Rege Augustissimo Georgio Tertio prelo mandatus.
-Londini. Typis J. Nichols.</i> 2 vols. Folio. 1783.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch654" id="fn654">654</a>
-<i>Domesday Book Illustrated.</i> London. 1788. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch655" id="fn655">655</a>
-Dr. Woide was appointed Assistant Librarian at the British
-Museum in 1782.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch656" id="fn656">656</a>
-See <i>ante</i>, p.
-<a href="#p200" title="to page 200">200</a>&#xfeff;–5.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch657" id="fn657">657</a>
-A specimen of this letter may be seen in Dr. Fry’s
-specimens, also in his <i>Pantagraphia</i>, p. 126.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch658" id="fn658">658</a>
-Gough, writing in the <i>Gentleman’s Magazine</i>, vol.
-lvi, p. 497,
-says:—“It was reserved, therefore, for the industry and application
-of Dr. Woide .&#160;.&#160;. to rescue this valuable MS. from the fate which befel
-a MS. of the Septuagint in the Cottonian Library of equal antiquity,
-type, and, value, of which a very few fragments escaped the fire in
-1733, by adopting the facsimile mode of reproduction, which, from the
-great expense attending it, has unfortunately been adopted in so few
-instances.” The facsimile of the Laudian Codex, comprising the <i>Acts
-of the Apostles</i>, published by Hearne at Oxford in 1715, had been the
-only previous successful attempt of this kind in England. Hearne’s
-facsimile, however, was engraved, and not from type. A list of the most
-important subsequent facsimile reproductions from Codices of the Holy
-Text is given in Horne’s <i>Introduction</i> (edit. 1872), iv, pp. 682–3.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch659" id="fn659">659</a>
-<i>Novum Testamentum Græcum è Codice MS. Alexandrino qui
-Londini in Bibliothecâ Musei Britannici
-asservatur, descriptum a Carolo Godofredo Woide .&#160;.&#160;. Musei Britannici
-Bibliothecaria Londini. Ex prelo Jeannis Nichols. Typis Jacksonianis,
-1786.</i> Folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch660" id="fn660">660</a>
-<i>Psalterium Græcum è Codice MS. Alexandrino qui Londini in
-Bibliothecâ Musei Britannici asservatur Typis ad similitudinem ipsius
-Codicis Scripturæ fideliter descriptum. Curâ et labore H. H. Baber.
-Londini, 1812.</i> Folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch661" id="fn661">661</a>
-<i>Vetus Testamentum Græcum è Codice MS. Alexandrino
-qui Londini in Bibliothecâ Musei Britannici asservatur, Typis ad
-similitudinem ipsius Codicis Scripturæ fideliter descriptum. Curâ et
-labore H. H. Baber, Londini, 1816–21.</i> 4 vols., Folio. Mr. Baber, the
-better to preserve the identity of the original in his fac-similes,
-introduced a considerable number of fresh types as well as numerous
-woodcuts.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch662" id="fn662">662</a>
-<i>Codex Theodori Bezæ Cantabrigiensis, Evangelia et Acta
-Apostolorum complectens, quadratis literis, Græco-Latinus. Academia
-auspicante summâ qua fide potuit, adumbravit, expressit, edidit,
-codicis historiam præfixit, notasque adjecit T. Kipling. Cantabrigiæ è
-prelo Academico, impensis Academiæ, 1793.</i> 2 vols., Folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch663" id="fn663">663</a>
-<i>Gent. Mag.</i>, 1793, p. 733.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch664" id="fn664">664</a>
-Mores’ <i>Dissert.</i>, Appendix, p. 98.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch665" id="fn665">665</a>
-<i>Prosodia Rationalis, an Essay towards establishing the
-Melody and Measure of Speech by Symbols.</i> London, 1779. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch666" id="fn666">666</a>
-<i>An Essay towards Establishing the Melody and Measure of
-Speech, to be expressed and perpetuated by peculiar Symbols.</i> London,
-1775. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch667" id="fn667">667</a>
-<i>The Holy Bible, embellished with Engravings from Pictures
-and Designs by the most eminent Artists. London: printed for Thomas
-Macklin by Thomas Bensley, 1800. 7 vols.</i> Folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch668" id="fn668">668</a>
-See p. <a href="#p336" title="to page 336">336</a>&#xfeff;,
-<i>post</i>. Jackson’s fount is used to the end of
-<i>Numbers</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch669" id="fn669">669</a>
-<i>Lit. Anec.</i>, ii, 360.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch670" id="fn670">670</a>
-<i>The History of England from the Invasion of Julius
-Cæsar to the Revolution in 1688. By David Hume. London: printed by T.
-Bensley, for Robert Bowyer, 1806.</i> 10 vols. Folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch671" id="fn671">671</a>
-<i>Gent. Mag.</i>, 1792, p. 166.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch672" id="fn672">672</a>
-John William Pasham, originally of Bury St. Edmund’s,
-where he published the <i>Bury Flying Weekly Journal</i>. He removed to
-Blackfriars in London, where, in 1776, he published a beautiful
-pocket edition of the <i>Bible</i> in 24mo, which obtained the title of
-the <i>Immaculate Bible</i>, on account of the rarity of its errors. It
-had foot-notes, which could be cut off in the binding if required. Of
-this <i>Bible</i>, Lemoine says “it is spoiled by being dried in a kiln,
-which has entirely changed the colour of the paper; besides, the colour
-of the print is uneven, one side being darker than the other.” This
-<i>Bible</i> is said to have been printed in a house on
-Finchley Common. Mr. Pasham died Dec. 1783.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch673" id="fn673">673</a>
-See <i>ante</i>, p.
-<a href="#p250" title="to page 250">250</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch674" id="fn674">674</a>
-The prefatory note to this specimen runs as
-follows:—“Sir, Having completed my new Specimen, I take the
-opportunity of sending you a copy, and flatter myself it will meet
-with your approbation. I shall be happy to receive your future orders,
-and you may be assured of every possible attention being paid to the
-execution of those you may favour me with. I remain, your obedient
-humble servant, William Caslon. Salisbury Square, Jan. 1, 1798.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch675" id="fn675">675</a>
-He made an offer in 1817 to travel on commission for the founders generally, but his
-services in this direction were not
-made use of.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch676" id="fn676">676</a>
-The Circular announcing this improvement is dated Salisbury Square, Jan. 1, 1810. The
-new types are offered at 1<i>s.</i> 10<i>d.</i> per lb., and, as an encouragement to buyers, 1<i>s.</i> per lb. is
-offered for old metal.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch677" id="fn677">677</a>
-See <i>ante</i>, p.
-<a href="#p120" title="to page 120">120</a>&#xfeff;.
-This appears to have been intended as an improvement on
-the invention of Nicholson, who was the first (in 1790) to
-suggest the casting of types wedge-shaped, for fixing on
-cylinders. (p. 119.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch678" id="fn678">678</a>
-Considerable prominence is naturally given to the large letters “cast in moulds and
-matrices” by the new “Sanspareil” method.</p></div>
-
-<div class="section">
-<h3 class="fsz7">17. WILLIAM MARTIN, 1790</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch679" id="fn679">679</a>
-See <i>ante</i>, p.
-<a href="#p281" title="to page 281">281</a>&#xfeff;.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch680" id="fn680">680</a>
-George Nicol was born in 1741, and was for many years
-bookseller to King George III. He married a niece of the first Alderman
-Boydell in 1787. The idea of the Boydell <i>Shakespeare</i> originated with
-him. He was a prominent member of the literary clubs of his day, and a
-personal friend of the Duke of Roxburghe. He died in 1829, aged 88.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch681" id="fn681">681</a>
-A history of this celebrated Press would almost involve a
-history of fine printing in the first quarter of the present century.
-Dibdin, in the second volume of his <i>Bibliographical Decameron</i>, has
-given a list of its most famous impressions. Bulmer was a personal
-friend of Thomas Bewick, the engraver, many of whose blocks were cut
-for his books. He spared no pains to render the typography of his press
-the most correct and beautiful England had hitherto known. He retired
-in 1819, leaving Mr. Wm. Nicol, only son of his friend George Nicol, to
-carry on the business. Mr. Bulmer died Sept. 9, 1830, in his 74th year,
-greatly honoured and respected.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch682" id="fn682">682</a>
-<i>The Dramatic Works of William Shakespeare. Revised by G.
-Steevens.</i> London: 1792–1802. 18 parts in 9 vols. Atlas folio. With 100
-engravings.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch683" id="fn683">683</a>
-<i>Bibl. Decam.</i>, ii, 384.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch684" id="fn684">684</a>
-<i>The Poetical Works of John Milton, with a life of the
-Author by William Hayley.</i> London: 1794–7. 3 vols. Folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch685" id="fn685">685</a>
-See <i>ante</i>, p.
-<a href="#p251" title="to page 251">251</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch686" id="fn686">686</a>
-<i>Bibl. Decam.</i>, ii, 384.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch687" id="fn687">687</a>
-<i>Poems by Goldsmith and Parnell.</i> London: 1795. 4to. This
-work was illustrated with woodcuts by Bewick. It is said that George
-III ordered his bookseller to procure the blocks of the engravings for
-his inspection, that he might convince himself they were wood and not
-copper.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch688" id="fn688">688</a>
-<i>Typographia</i>, p. 311.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch689" id="fn689">689</a>
-Nichols, <i>Illust. Lit.</i>, viii, 485.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch690" id="fn690">690</a>
-<i>Musæus. The Loves of Hero and Leander. (Greek and
-English.) London. Printed by W. Bulmer &amp; Co. Typis Gulielmi Martin.</i>
-1797. 4to. This work was privately printed by Mr. Bulmer for Mr.
-Grosvenor Bedford, the translator.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch691" id="fn691">691</a>
-<i>The Press: a Poem. Published as a
-Specimen of Typography by John <span
-class="nowrap">M&#x2009;<sup>c</sup>Creery.</span>
-Liverpool: printed by J. <span
-class="nowrap">M&#x2009;<sup>c</sup>Creery.</span></i>
-Houghton Street, 1803. 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch692" id="fn692">692</a>
-<i>Typographical Antiquities, &amp;c., greatly enlarged, with
-copious notes, by T. F. Dibdin</i>, London: 1810–12–16–19. 4 vols. 4to.
-The work was not completed. The first volume was not printed at the
-Shakespeare Press.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch693" id="fn693">693</a>
-<i>Bibliotheca Spenceriana; or, a Descriptive Catalogue of
-Books printed in the XV Century, and of many valuable First Editions
-in the Library of George John, Earl Spencer.</i> London: 1814–15. 4 vols.
-8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch694" id="fn694">694</a>
-<i>The Bibliographical Decameron; or, Ten Days’ Pleasant
-Discourse upon Illuminated Manuscripts, and Subjects connected with
-early Engraving, Typography and Bibliography.</i> London, 1817. 3 vols,
-8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch695" id="fn695">695</a>
-Amongst which were the early publications of the Roxburghe
-Club, instituted by Earl Spencer, in 1812, for the republication of
-rare books or unpublished MSS. M. Renouard censures Bulmer for the use
-of worn type in the Edition of <i>Ben Jonson’s Works</i>, 1816. 9 vols. 8vo.
-“L’habile M. Bulmer aurait dû jeter à la fonte les caractères usés
-dont il a fait usage pour cette volumineuse édition, et les libraires
-entrepreneurs n’auroient pas dû lui en permettre l’emploi.”</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch696" id="fn696">696</a>
-<i>Illust. Lit.</i>, viii, 485.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch697" id="fn697">697</a>
-An early specimen of Thorowgood’s shows a Black, the
-matrices of which, it is stated, “were purchased by Messrs. Fry &amp;
-Steele at the breaking up of the Cleveland Row Foundry.” As, however,
-Messrs. Fry &amp; Steele’s partnership terminated about 1808, we consider
-the whole statement doubtful.</p></div>
-
-<div class="section">
-<h3 class="fsz7">18. VINCENT FIGGINS, 1792</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch698" id="fn698">698</a>
-<i>Lit. Anec.</i>, ii, 361.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch699" id="fn699">699</a>
-Hansard. <i>Typographia</i>, 359.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch700" id="fn700">700</a>
-See <i>ante</i>, p.
-<a href="#p323" title="to page 323">323</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch701" id="fn701">701</a>
-<i>The Seasons. By James Thomson. Illustrated with
-Engravings by F. Bartolozzi, R.A., and P. W. Tomkins, Historical
-Engraver to their Majesties, from original pictures painted for the
-work by W. Hamilton, R.A. London: Printed for P. W. Tomkins, New Bond
-Street. The letter press by T. Bensley. The Types by V. Figgins.</i> 1799.
-Folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch702" id="fn702">702</a>
-<i>Typographia</i>, p. 360.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch703" id="fn703">703</a>
-<i>Paradise Lost, by John Milton, with Notes and Life of the
-Author. .&#160;.&#160;. By Samuel Johnson, LL.D. Engravings by Heath, &amp;c. London:
-Printed for J. Parsons, 1796.</i> 2 vols. 8vo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch704" id="fn704">704</a>
-Sir William Ouseley was born in 1771, and accompanied his
-brother Sir Gore Ouseley, the ambassador to Persia, to that country as
-secretary. He published <i>Persian Miscellanies</i> in 1795, and <i>Oriental
-Collections</i> in 1797–1800. In the advertisement at the close of the
-1st volume of the latter work, he states, “I have employed a few
-leisure hours in superintending the execution of a new Persian Type,
-which will, I trust, exhibit as faithful a representation of the
-true Taleek character as can be effected by any imitative powers of
-the Typographick Art.” Of this new fount he shows a single line as
-specimen, which, however, if cut by Mr. Figgins, is not the Paragon
-Persian which subsequently appeared in his specimen books. Nor did
-it appear, as promised, in the <i>Oriental Collections</i> of 1798, the
-quotations in which continued to be printed in Arabic characters.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch705" id="fn705">705</a>
-<i>The Persian Moonshee, by Francis Gladwin, Esquire.
-Calcutta. London, reprinted 1801.</i> 4to.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch706" id="fn706">706</a>
-This important enquiry was the result of an address of
-the House of Commons to the King, in 1800, setting forth the necessity
-of a better provision for the arrangement, preservation and use of
-the various Public Records scattered among the numerous offices of
-the kingdom. The Commission thereupon appointed were empowered to
-take all necessary measures to “methodize, regulate and digest the
-records, etc.”, preserved in all Public Offices and repositories, and
-“to superintend the printing of such calendars and indexes and original
-records and papers” as it should be deemed desirable to print. With
-this large task before them, the Commissioners went actively to work,
-and in 1800 and 1806 published their first Reports. The following
-important publication, issued under the Direction of the Commission,
-was commenced in 1800:—<i>Reports from the Commissioners appointed to
-execute the measures recommended by a Select Committee of the House of
-Commons respecting the Public Records of the Kingdom, etc.</i>, London,
-1800–19, 2 vols., folio. The appendix forming the second volume
-contains facsimiles of all the Charters (including Magna Charta) and
-Inrollments from Stephen to William and Mary, with the Seals inserted
-in the several works printed under the Commission. The list of the
-subsequent publications of the Commission is very extensive, and
-includes verbatim copies, with all abbreviations and contractions, of
-the most important documents in the kingdom.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch707" id="fn707">707</a>
-The first important work in connection with the Scotch
-Record Commission was <i>Inquisitionum ad Capellam Domini Regis
-retornatarum quæ in publicis Archivis Scotiæ adhuc servantur Abbrevatio
-cum Indicibus</i>, Edinburgh, 1811–16, 3 vols., folio, and a Supplement.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch708" id="fn708">708</a>
-These types perished in the fire of Mr. Nichols’ printing
-office in 1808, see <i>ante</i>, p.
-<a href="#p321" title="to page 321">321</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch709" id="fn709">709</a>
-<i>Lit. Anec.</i>, ii, 361.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch710" id="fn710">710</a>
-<i>Biblia Sacra Polyglotta, Textus Archetypos, Versionesque præcipuas ab Ecclesiâ Antiquitùs
-receptas complectentia.</i> London: 1817–28. 5 parts, 4to, 4 vols., 8vo. This Bible
-comprises the original Hebrew text of the Old Testament, the Samaritan Pentateuch, the
-Septuagint Greek version of the Old Testament, the Vulgate Latin and the Authorised English
-version of the entire Bible, the original Greek of the New Testament, and the venerable
-Peschito or Syriac version of it. This <i>Polyglot</i> was republished with the addition of
-Spanish, French, Italian, and German versions in 1831, with learned prolegomena by Dr.
-Samuel Lee.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch711" id="fn711">711</a>
-See <i>ante</i>, p.
-<a href="#p308" title="to page 308">308</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch712" id="fn712">712</a>
-<i>Novum Testamentum Syriace denuo recognitum atque ad fidem Codicum MSS. emendatum.
-Impressit R. Watts.</i> London 1816, 4to. Dr. Buchanan was born in 1766 and went
-to India in 1796, where his researches led to the discovery, among other things, of some interesting
-Hebrew Manuscripts of portions of the Bible, on goat skins and tablets of brass. He died
-in the year 1815. The Syriac <i>Testament</i> was corrected by him as far as the <i>Acts</i>, and completed
-by Dr. Lee, Arabic Professor at Cambridge. See <i>ante</i>, p.
-<a href="#p068" title="to page 68">68</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch713" id="fn713">713</a>
-<i>Typographia</i>, p. 360.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch714" id="fn714">714</a>
-The matrices of the Long Primer and Brevier cut for the
-Scotch Record Commission were given up to the Government.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch715" id="fn715">715</a>
-Hansard omits the Double Pica Greek cut for Oxford
-University, the matrices of which were retained by Mr. Figgins. A
-specimen appears in the book of 1823.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch716" id="fn716">716</a>
-The fount for Bagster’s <i>Polyglot</i>.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch717" id="fn717">717</a>
-The punches, matrices and moulds of this fount were
-deposited in the East India Company’s Library.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch718" id="fn718">718</a>
-It would be an omission not to mention here Mr. Vincent
-Figgins II’s interesting reprint of the 2nd Edition of Caxton’s
-<i>Game of the Chesse</i>, London, 1855, sm. folio. Mr. Figgins cut a
-fount of type after the original, “which” he remarks, “is a mixture
-of black-letter and the character called secretary,” the black
-predominating. The “Caxton Black” so produced has been the only
-attempt made to approach a facsimile of Caxton’s letter by means of
-type. In his remarks, Mr. Figgins gives his reasons for concluding,
-from the variety in the form of the letters, that they were not cast
-from a matrix but cut separately by hand. This theory Mr. Blades, in
-his “<i>Life of Caxton</i>,” disproves, pointing out that the Type No.
-2* used in the second edition of Caxton’s work is really
-an old fount originally cast
-from matrices, and, when worn, trimmed up by hand to form the punches for a new fount—a circumstance
-amply sufficient to account for the irregularities observed. These irregularities are,
-of course, sufficient to prevent the absolute possibility of anything like an exact facsimile by
-means of type. It is, however, interesting to note that John Whittaker’s famous restorations
-of Caxtonian and other early printed works, were to a certain extent accomplished by
-means of typography. Mr. Dibdin, in his <i>Bibliographical Decameron</i> (ii, 415), describes
-the operation as follows:—“He has caused to be engraved or cut four founts of Caxton’s letter.
-These are cut in the manner of binders’ tools for lettering, and each letter is separately
-charged with ink, and separately impressed on the paper. Some of Caxton’s types are so
-riotous and unruly that Mr. Whittaker found it impossible to carry on his design without
-having at least twenty of such irregular letters engraved. The process of executing the text
-with such tools shall be related in Mr. Whittaker’s own words:—‘A tracing being taken with
-the greatest precision from the original leaf, on white tracing paper, it is then laid on the leaf
-(first prepared to match the book it is intended for) with a piece of blacked paper between the
-two. Then by a point passing round the sides of each letter, a true impression is given from
-the black paper on the leaf beneath. The types are next stamped on singly, being charged
-with old printing ink prepared in colour exactly to match each distinct book. The type being
-then set on the marks made by tracing, in all the rude manner and at the same unequal distances
-observable in the original, they will bear the strictest scrutiny and comparison with their prototype;
-it being impossible to make a facsimile of Caxton’s printing in any other way, as his
-letters are generally set up irregularly and at unequal distances, leaning
-various ways,’&#x200f;” etc.</p></div>
-
-<div class="section">
-<h3 class="fsz7">19. MINOR FOUNDERS OF THE EIGHTEENTH CENTURY</h3>
-
-<div class="dftnt">
-
-<p class="pfirst">
-<a class="afnlabel" href="#fnanch719" id="fn719">719</a>
-See <i>ante</i>, p.
-<a href="#p241" title="to page 241">241</a>&#xfeff;.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch720" id="fn720">720</a>
-<i>Printers’ Grammar</i>, p. 31.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch721" id="fn721">721</a>
-See <i>ante</i>, p.
-<a href="#p212" title="to page 212">212</a>&#xfeff;, <i>n.</i></p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch722" id="fn722">722</a>
-Mr. Ilive the elder is named in Samuel Negus’s list of
-Printers, published by Bowyer in 1724, as one of those “said to be high
-flyers”. He was a benefactor to Zion College, and printed the classical
-catalogue of their library from the letter P.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch723" id="fn723">723</a>
-<i>Marius de Calasio. Concordantiæ Bibliorum Hebr. et Lat.
-edente Guil. Romaine</i>, 4 vols., Lond. 1747, folio.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch724" id="fn724">724</a>
-<i>Anecdotes of Bowyer</i>, p. 130.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch725" id="fn725">725</a>
-“Emboldened by his first adventure, he determined to become the public teacher of
-infidelity. For this purpose he hired the use of Carpenters’ Hall, where for some time he
-delivered his Orations, which consisted chiefly of scraps from Tindal and other similar writers”
-(Chalmers’ <i>Biog.
-Dict.</i>, xix, 228).</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch726" id="fn726">726</a>
-<i>The Book of Jasher. With Testimonies and Notes
-explanatory of the Text. To which is prefixed various Readings.
-Translated into English from the Hebrew, by Alcuin of Britain, who went
-a Pilgrimage into the Holy Land, etc. Printed in the year 1751.</i> 4to.
-The fraud was immediately detected and exposed. The work was reprinted,
-without acknowledgment and with some variations, at Bristol in 1829, by
-a Rev. C. R. Bond. Both editions are now rare.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch727" id="fn727">727</a>
-<i>Dissert.</i>, p. 65.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch728" id="fn728">728</a>
-These are enumerated in Gough’s <i>British Topography</i>, i,
-637.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch729" id="fn729">729</a>
-<i>British Topography</i>, i, 597.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch730" id="fn730">730</a>
-See <i>ante</i>, p.
-<a href="#p260" title="to page 260">260</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch731" id="fn731">731</a>
-<i>A Specimen of the Printing Types and Flowers belonging to
-John Reid, Printer, Bailie Fyfe’s Close, Edinburgh, etc.</i> Edinburgh,
-1768. 8vo. All the other founts shown are either Wilson’s or Caslon’s.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch732" id="fn732">732</a>
-<i>History of Printing in America. 2nd Edit. Albany</i>, 1874.
-i, 31.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch733" id="fn733">733</a>
-The first attempt to introduce type-founding in America
-had been made by Mitchelson, a Scotchman, in 1768, and failed. In 1769,
-Abel Buel, of Connecticut, succeeded in casting several founts of Long
-Primer. Christopher Sower, in 1772, brought over a foundry from Germany
-to Germantown in Pennsylvania. John Bay also founded in the same town
-about 1774. Benj. Franklin and his grandson Bache brought over a
-foundry from France in 1775 to Philadelphia, which, however, had ceased
-its operations when Baine and his grandson, some ten years later,
-established their foundry in the same city.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch734" id="fn734">734</a>
-See <i>Abridgments of Specifications relating to Printing</i>, p. 87. See also
-<i>ante</i>, p.
-<a href="#p078" title="to page 78">78</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch735" id="fn735">735</a>
-<i>Typog. Antiq.</i>, p. 81. This appears to be the person whom
-Gough, in his list of departed worthies of the eighteenth century,
-includes among the letter founders, as “Jurisson, d. 1791”. (<i>Gent.
-Magaz.</i>, lxxiii, part i, p. 161.)</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch736" id="fn736">736</a>
-See <i>ante</i>, p.
-<a href="#p269" title="to page 269">269</a>&#xfeff;.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch737" id="fn737">737</a>
-“British Foundry. S. &amp; C. Stephenson respectfully submit
-the present edition of their Specimen to the public with the hope that
-they shall continue to experience the flattering encouragement hitherto
-received, and for which they beg to return their most sincere thanks.</p>
-
-<p>“To those of the Trade who have not hitherto used the Types of the
-British Foundry, it may be necessary to observe, that they are composed
-of the very best Metal, and that they are justified to paper and body
-agreeable to the usual standard.</p>
-
-<p>“As the Establishment of this Foundry comprises eminent engravers on
-wood and brass, orders in either of these branches will be executed in
-the best stile of the Art. <i>February</i>, 1797.”</p>
-
-<p>A first part of the specimen appears to have been issued in 1796, and
-the whole book in 1797.</p></div>
-
-<div class="section">
-<h3 class="fsz7">20. WILLIAM MILLER, 1809</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch738" id="fn738">738</a>
-<i>Bibliography of Printing</i>, ii, 42.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch739" id="fn739">739</a>
-<i>Typog.</i>, p. 366.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch740" id="fn740">740</a>
-<i>Ibid.</i>, p. 361.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch741" id="fn741">741</a>
-A specimen of this type “the smallest ever manufactured in this country,” was exhibited,
-and contains the whole of Gray’s <i>Elegy</i> in 32 verses, in 2 columns,
-measuring 3&#x202f;<sup>3</sup>&#xfeff;&#x2044;&#xfeff;<sub>4</sub> inches each
-in depth.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch742" id="fn742">742</a>
-<i>Dictionary for the Pocket; French and English; English and French, &amp;c., by John
-Bellows, Gloucester, from type cast specially for the work by Miller and Richard, Type
-founders to the Queen,
-Edinburgh.</i> 1873. 24mo.</p></div>
-
-<div class="section">
-<h3 class="fsz7">21. THE MINOR FOUNDERS, 1800–1830</h3>
-
-<div class="dftnt">
-<p class="pfirst"><a class="afnlabel" href="#fnanch743" id="fn743">743</a>
-Sheffield, 3rd edit., 1841, 12mo. A similar proposal, only with Nonpareil as the
-standard, was made about 1824 by James Fergusson, whose scheme is quoted <i>in extenso</i> by
-Hansard in his <i>Typographia</i>, p. 388.</p></div></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch744" id="fn744">744</a>
-<i>The Printer’s Assistant, containing a Sketch of the
-History of Printing, etc. London, 1810.</i> 12mo.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch745" id="fn745">745</a>
-<i>Typog.</i>, p. 382.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch746" id="fn746">746</a>
-See <i>ante</i>, p. <span class="nowrap">
-<a href="#p253" title="to page 253">253</a>–4;</span>
-also Johnson’s <i>Typographia</i>, ii,
-652.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch747" id="fn747">747</a>
-Mr. Branston was an engraver, and resided at Beaufort
-Buildings, Strand, in 1824. He attempted a new system of printing
-music, by striking the punches deeper than usual in the plate, so that
-when a stereo cast was taken from it, the notes appeared sufficiently
-in relief to be printed at a type press.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch748" id="fn748">748</a>
-See <i>ante</i>, p.
-<a href="#p121" title="to page 121">121</a>&#xfeff;. M. Didot’s invention had been previously tried by Henry Caslon, but
-unsuccessfully.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch749" id="fn749">749</a>
-This appears to be an anachronism. There was no
-association of Type Founders between 1820 and 1830.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch750" id="fn750">750</a>
-Hansard, <i>Typog.</i>, p. 361.</p></div>
-
-<div class="dftnt">
-
-<p class="pfirst"><a class="afnlabel" href="#fnanch751" id="fn751">751</a>
-Johnson, in 1824, gives a list of nine founders (including
-Pouchée), at that time trading in London. (<i>Typog.</i>, ii,
-652.)</p></div>
-
-<div class="chapter"><div class="dctr09">
-<img src="images/i380.jpg" width="252" height="361" alt="" /></div></div>
-
-<div class="chapter">
-<div class="transnote">TRANSCRIBER’S NOTE
-
-<p>Original spelling and grammar have generally been
-retained, with some exceptions noted below. Original
-printed page numbers are shown like this:
-<span class="smmaj">{52}.</span> The
-transcriber produced the cover image and hereby assigns it
-to the public domain. Footnotes have been renumbered 1–751
-and converted to <a href="#idents" title="go to Endnotes"><span
-class="fsz6">ENDNOTES</span></a>.</p>
-
-<p>Many images have been moved slightly from their original
-locations, so the original page numbers shown in the List
-of Illustrations may be wrong. In order to keep the total
-size of the epub and mobi files reasonably small,
-almost all of the
-images are smaller than 601 by 801 pixels, and
-file sizes are less than 100kb. Larger image
-files with better resolution are available for many images.
-<i>In the <span class="fsz6">HTML</span> edition only</i>, these
-are linked with the symbol “Μ” in the caption, for example
-in <a href="#fg09">Figure 9</a>. Alternatively, all of the
-images are available from the Project Gutenberg download
-page for this book. The scanned images of the original
-printed pages are available from archive.org — search for
-<span class="spnpbk">“historyofoldengl00reed”.</span></p>
-
-<p>Ditto marks have often been eliminated, using text replication
-when necessary. Large curly brackets “{&#x2009;}” used as graphic devices to
-combine information over two or more lines have been removed from the
-text everywhere. For example, in the table on page
-<a href="#p035" title="go to page 35">35</a>, first column, 9th
-and 10th rows, there was a two-row bracket suggesting that “9.”
-applies to both rows. Herein, “9.” was simply duplicated to indicate
-that fact. The row headed by “17. Pearl” contains in the second
-column, in the original printed book, two rows containing “Parisienne
-or Sedan.” and “Perle.”, enclosed in two-row brackets. Herein,
-table-cell borders have been drawn to suggest this combination.</p>
-<p class="psignature"><span class="fsz7">
-<a href="#p-xi" title="go to page xi">CONTENTS</a></span></p>
-<p class="psignature"><span class="fsz7">
-<a href="#p-xiii" title="go to page xiii">LIST OF ILLUSTRATIONS</a></span></p>
-
-<ul class="padtopc">
-<li class="litn">
- <p class="phangd"><span class="nowrap">Page <a
- href="#p-xi" title="go to page xi">xi</a>, <span
- class="fsz6">CONTENTS</span>.</span> The chapter 3 page
- reference was changed to 83, from 13.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p032" title="go to page 32">32</a>n.</span> “fromer” to
-“former”.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p035" title="go to page 35">35</a>.</span> “Grobe” to “Große”, in two
-places in the table.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p038" title="go to page 38">38</a>.</span> “Geeek” to “Greek”.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p049" title="go to page 49">49</a>.</span> The left double quotation
-mark in ‘observed in 1825, “have left’ has no closing mark.
-Several other puzzling usages of quotation marks elsewhere
-have also been retained.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p156" title="go to page 156">156</a>.</span> The illustration has been
-changed from number 41 to 31, to agree with the List of
-Illustrations.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
- <a href="#p190" title="go to page 190">190</a>n.</span>
- The phrase <i>or here (Mason’s</i> was changed to <i>or here”
- (Mason’s</i>, by inserting the missing right double quotation
- mark.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p205" title="go to page 205">205</a>n.</span> The phrase “P. VergiliI
-Maronis Codex” is retained as printed.</p></li>
-
-<li class="litn dkeeptogether"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p221" title="go to page 221">221</a>.</span>
-The illustration is provided
-below in tabular transcription form.</p>
-
-<div class="dtablebox">
-<table class="fsz7 borall" summary="">
-<tr>
- <td class="tdtree">(<i>De Worde</i>)</td>
- <td class="tdtree">(<i>Day</i>)</td>
- <td class="tdtree"></td>
- <td class="tdtree"></td>
- <td class="tdtree"></td>
- <td class="tdtree"></td>
- <td class="tdtree"></td></tr>
-<tr>
- <td class="tdtree"></td>
- <td class="tdtree">(<i>Priv­i­leged prin­ters</i>)</td>
- <td class="tdtree"></td>
- <td class="tdtree"></td>
- <td class="tdtree"></td>
- <td class="tdtree"></td>
- <td class="tdtree"></td></tr>
-<tr>
- <td class="tdtree borbtmtree"></td>
- <td class="tdtree borbtmtree">The Poly­glot Foun­ders 1637–1667</td>
- <td class="tdtree borbtmtree">Mox­on 1659–1683</td>
- <td class="tdtree"></td>
- <td class="tdtree">(Wal­per­gen) 1673–1714</td>
- <td class="tdtree"></td>
- <td class="tdtree"></td></tr>
-<tr>
- <td class="tdtree">Jas. Gro­ver 1680–1700</td>
- <td class="tdtree"></td>
- <td class="tdtree borbtmtree">R. An­drews 1683–1733</td>
- <td class="tdtree borbtmtree">(<i>Rolij</i>) 1710</td>
- <td class="tdtree borbtmtree">S. An­drews 1714–1733</td>
- <td class="tdtree">Ilive 1730–1740</td>
- <td class="tdtree">Head 1685–1700 (?)</td></tr>
-<tr>
- <td class="tdtree borbtmtree">Thos. Grover 1700–1758</td>
- <td class="tdtree borbtmtree"></td>
- <td class="tdtree borbtmtree"></td>
- <td class="tdtree borbtmtree">Thos. James 1710–1736</td>
- <td class="tdtree borbtmtree"></td>
- <td class="tdtree borbtmtree"></td>
- <td class="tdtree borbtmtree">Mitchell 1700–1739</td></tr>
-<tr>
- <td class="tdtree" colspan="6">John James 1736–1772<br />
- the last of the Old English Letter Founders.</td>
- <td class="tdtree">Caslon</td></tr>
-</table></div></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p274" title="go to page 274">274</a>n.</span>
-A matching right
-double quotation mark was inserted after ‘Η Καινη
-Διαθηκη’.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page
-<a href="#p320" title="go to page 320">320</a>.</span>
-Changed “emploeyd” to “employed”.</p></li>
-
-<li class="litn"><p class="phangd"><span
-class="nowrap">Page <a href="#p369" title="go to page
-369">369</a> <span class="fsz6">INDEX.</span></span> The use of punctuation,
-particularly semicolons, colons, and the 3-em dashes
-that function as ditto marks, seems often inconsistent
-or strange. It is generally retained herein as printed.
-The organization and structure of the original index is
-retained as well.</p></li></ul>
-
-</div><!--transnote--></div><!--chapter-->
-
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of A History of the Old English Letter
-Foundries, by Talbot Baines Reed
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