Chapter XVI: Modern Fine Printing (1)

After the Restoration, printing and the book trade generally in England became definitely modern in their character, and the printer practically disappears from view, his work, with here and there an exception, as in the case of Robert Foulis or John Baskerville, being altogether hidden behind that of the publisher, so that it is of Herringman and Bernard Lintott and Dodsley that we hear, not of Newcomb and Roycroft.

Notwithstanding this decline in the printer's importance, there was a steady improvement in English printing. As an _art_ it had ceased at this time to exist. If a publisher wished to make a book beautiful he put in plates. If he wanted to make it more beautiful he put in more or larger plates. If he wanted to make it a real triumph of beauty he engraved the whole book, letterpress and all, as in the case of Sturt's Prayer Books and Pine's _Horace_. That a printer by the selection and arrangement of type, by good presswork and the use of pretty capitals and tailpieces, could make a book charming to eye and hand, without any help from an illustrator--such an idea as this had nearly perished. There was little loss in this, since if any artistic work had been attempted it would assuredly have been bad, whereas the craftsmen, when set to do quite plain work, gradually learnt to do it in a more workmanlike way. In this they were helped by certain improvements in printing which rendered the task of the pressman less laborious. In the middle of the seventeenth century William Blaew, of Amsterdam, invented an improved press, "fabricated nine of these new fashioned presses, set them all on a row in his Printing House and called each Press by the name of one of the Muses." Clearly Blaew was an enthusiast. His chronicler, Joseph Moxon, was a fairly good English printer, and his description of the equipment of a printing house in the second part of his _Mechanick Exercises_ (1683) contains much information still interesting. We gather from Moxon that Blaew's improvements were slowly copied in England, and we know that the English printers still continued to buy their best founts from Holland. Thus when Bishop Fell, about 1670, was equipping the University Press at Oxford with better type, he employed an agent in Holland to purchase founts for him. English founts of which we have any reason to be proud date from the appearance about 1716 of William Caslon, who established a firm of type founders which has enjoyed a long and deservedly prosperous career.

The next move came from the north. Robert Foulis (the name was originally spelt Faulls), born in 1707, the son of a Glasgow maltster, had been originally apprenticed to a barber. He was, however, a man of bookish tastes, and, when already over thirty years of age, was advised to set up in business as a printer and bookseller. With his brother Andrew, five years younger than himself and educated for the ministry, he went on a book-buying tour on the Continent, and on his return started book-selling in 1741, and printed in that year Dr. William Leechman's _Temper, Character, and Duty of a Minister of the Gospel_, and four other books, including a Phaedrus and a volume of Cicero. In March, 1743, he was appointed Printer to the University of Glasgow, and his edition of _Demetrius Phalerus de Elocutione_ in Greek and Latin was the first example of Greek printing produced at Glasgow. A _Horace_ which was hung up in proof in the University, with the offer of a reward for every misprint detected (in spite of which six remained), followed in 1744, an _Iliad_ in 1747, an edition of _Hardyknute_ in 1748, and a _Cicero_ in 1749. In 1750 as many as thirty works were printed at the Foulis press. The next two years were mainly spent in touring on the Continent, and on his return Robert Foulis unhappily started an Academy of Art at Glasgow, which he had neither the knowledge nor the taste to direct successfully, and which sapped his energies without producing any valuable results. An edition of the Greek text of Callimachus in 1755 was rewarded by an Edinburgh society with a gold medal, and other Greek and Latin texts followed, including the _Iliad_ in 1756, _Anacreon_ in 1757, _Virgil_ and the _Odyssey_ in 1758, and _Herodotus_ in 1761. Among the more notable later books of the firm were an edition of Gray's _Poems_ in 1768, and a _Paradise Lost_ in 1770. The younger brother died in 1775, and Robert, after a mortifying experience in London, where he sold the "old masters" he had bought as models for his Academy for less than a pound over the expenses incurred in the sale, followed him the next year. The two brothers had raised printing at Glasgow from insignificance to an excellence which equalled, and perhaps surpassed, the standard attained at London, Oxford or Cambridge, or, indeed, for the moment, anywhere in Europe. This was no small achievement, and their compatriots and fellow citizens may well show them honour. But they were content to work according to the best standards set by other men without making any positive advance upon them or showing any originality. They avoided the snare of bad ornaments by using none; their Greek types were modelled on the French royal types associated with the name of the Etiennes; their roman types exhibit no special excellence. Historically, their chief importance is that they proved that care and enthusiasm for fine printing was re-awakening, and that printers with high ideals would not lack support.

Meanwhile, in the English Midlands an interesting and creditable, though wrong-headed, attempt to improve on existing founts had been made by John Baskerville, a Worcestershire man, born in 1706, who worked at Birmingham, and in 1757 printed there in his own types a quarto edition of _Virgil_ which attracted considerable notice. The merit of Baskerville's type is its distinctness; its fault is the reappearance in a slightly different form of the old heresy of Aldus, that what is good, or is thought to be good, in penmanship must necessarily be good in type. In imitation of the Writing-Masters Baskerville delighted in making his upstrokes very thin and his downstrokes thick, and his serifs--that is, all the little finishing strokes of the letters--sharp and fine. It is probable that his ideals were influenced in this direction by books like Pine's _Horace_ (1733-7), in which, as already noted, the letterpress as well as the illustrations and ornament is engraved throughout. These contrasts of light and heavy lines would naturally please an engraver; but they have no advantage when transferred to type, only making the page appear restless and spotty. Contemporary opinion in England was no more than lukewarm in their favour. The _Virgil_ procured Baskerville a commission from the University of Oxford to cut a Greek fount, but this was generally condemned, though it had the merit of being free from contractions. Editions of Milton's _Paradise Lost_ and _Paradise Regained_ (1758), and other classics, were more successful, and Baskerville was appointed printer to the University of Cambridge for ten years; but his profits were small, and when he died in 1775, in default of an adequate English offer, his types were sold to a French society for L3700, and used in printing a famous edition of the works of Voltaire (1785-9).

The most conspicuous exponent of Baskerville's methods was an Italian, Giovanni Battista Bodoni, born in Piedmont in 1740. Bodoni settled at Parma, and it was at Parma that he did most of his printing. Even more notably than Baskerville, he tried to give to the pages which he printed the brilliancy of a fine engraving. He used good black ink (which is to his credit), exaggerated the differences between his thick strokes and his thin, and left wide spaces between his lines so as to let the elegance of his type stand out as brilliantly as possible against the white paper. The judgment of the best modern printers is against these vivid contrasts and in favour of a more closely set page, the two pages which face each other being regarded as an artistic whole which should not be cut into strips by a series of broad white spaces. Bodoni's books, which used to be highly esteemed, are now perhaps unduly neglected, for his work in its own way, whether he used roman type, italics, or Greek, is very good, and his editions of _Virgil_, _Homer_, and the _Imitatio Christi_ are very striking books, though built on wrong lines. Bodoni died at Padua in 1813.

While the names of Caslon, the brothers Foulis, and Baskerville in Great Britain, and of Bodoni in Italy, stand out from amid their contemporaries, the premier place in French book-production was occupied by members of the Didot family. The first of these was Francois Didot (1689-1757); his eldest son, Francois Ambroise (1730-1804), was a fine printer; his younger son, Pierre (1732-95), was also a typefounder and papermaker. In the third generation Pierre's son Henri (1765-1852) was famous for his microscopic type, while Pierre II (1760-1853), the eldest son of Francois Ambroise and nephew of Pierre I, printed some fine editions of Latin and French classics at the press at the Louvre; and his brother Firmin Didot (1764-1836) won renown both as a typefounder and engraver, and also as a printer and improver of the art of stereotyping, besides being a deputy and writer of tragedies. In the fourth generation, the two sons of Firmin Didot, Ambroise (1790-1876) and Hyacinthe, carried on the family traditions. Incidentally, Ambroise wrote some valuable treatises on wood-engraving and amassed an enormous library, which, when sold at auction in 1882-4, realized nearly L120,000.

With the names of Bodoni and the Didots we may link that of the German publisher and printer Georg Joachim Goeschen, grandfather of the late Viscount Goschen. He was born in 1752, died in 1828, and worked the greater part of his life at Leipzig. He brought out pretty illustrated editions, made experiments with Greek types, much on the same lines as Bodoni, and devoted his life to the improvement of printing and bookmaking and the spread of good literature, enjoying the friendship of Schiller and other eminent German writers.

Coming back to England, we may note the beginning of the Chiswick Press in 1789, the year of the French Revolution. Charles Whittingham was then only twenty-two (he had been born at Coventry in 1767), and for his first years as his own master he was content to print hand-bills and do any other jobbing work that he could get. He began issuing illustrated books in 1797, and after a time the care he took in making ready wood-blocks (the use of which had been revived by Bewick) for printing gained him a special reputation. From about 1811 to his death in 1840 he left one branch of his business in the city under the charge of a partner, while he himself lived and worked at Chiswick, whence the name the Chiswick Press by which the firm is still best known.

His nephew, Charles Whittingham the younger, was born in 1795, was apprenticed to his uncle in 1810 and worked with him until 1828. Then he set up for himself at Tooks Court off Chancery Lane, and came rapidly to the front, largely from the work which he did for William Pickering, a well-known publisher of those days.

On his uncle's death in 1840 the younger Whittingham inherited the Chiswick business also. Four years after this, in 1844, he led the way in the revival of old-faced types. The examples of Baskerville at home and of Bodoni and other printers abroad had not been without effect on English printing. Brilliancy had been sought at all costs, and in the attempt to combine economy with it the height of letters had been increased and their breadth diminished so that, while they looked larger, more of them could be crowded into a line. The younger Whittingham had the good taste to see that the rounder, more evenly tinted type, which Caslon had made before these influences had come into play, was much pleasanter to look at and less trying to the eyes. He was already thinking of reviving it when he was commissioned by Longmans to print a work of fiction, _So much of the Diary of Lady Willoughby as relates to her Domestic History and to the Eventful Period of the Reign of Charles the First_, and it occurred to him that the use of old-faced type would be especially in keeping with such a book. A handsome small quarto was the result, and the revival of old-faced type proved a great success.

Not content with reviving old type, the younger Whittingham revived also the use of ornamental initials, causing numerous copies to be cut for him from the initials used in French books of the sixteenth century. Some of these are good, some almost bad, or while good in themselves, suitable only for use with black-letter founts and too heavy for use with roman letter. Still the attempt was in the right direction, and the books of this period with the imprint of the Chiswick Press are worth the attention of collectors interested in the modern developments of printing. During the succeeding forty years there is little by which they are likely to be attracted save the issues of the private press kept and worked by the Rev. C. H. O. Daniel of Worcester College, Oxford, of which he is now Provost. While he was yet a lad Mr. Daniel had amused himself with printing, and a thin duodecimo is still extant entitled _Sir Richard's Daughter, A Christmas Tale of Olden Times_, bearing the imprint "Excudebat H. Daniel: Trinity Parsonage, Frome, 1852." In 1874 Mr. Daniel resumed his old hobby at Oxford, printing _Notes from a catalogue of pamphlets in Worcester College Library_, and in 1876 _A new Sermon of the newest Fashion by Ananias Snip_, of which the original is preserved in the library of Worcester College. It was, however, in 1881, by an edition of thirty-six copies of _The Garland of Rachel_ "by divers kindly hands," that the Daniel Press won its renown. Rachel was Mr. Daniel's little daughter, and the eighteen contributors to her "Garland" included Frederick Locker, Robert Bridges, Austin Dobson, Andrew Lang, Edmund Gosse, John Addington Symonds, Lewis Carrol, W. Henley, and Margaret Woods. Each poet was rewarded by a copy in which his name was printed on the titlepage, and the "Garland" soon came to be regarded as a very desirable possession. Mr. Daniel subsequently printed numerous little books by interesting writers (Robert Bridges, Walter Pater, Canon Dixon, and others), and while neither his types nor his presswork were exceptionally good, succeeded in investing them all with a charming appropriateness which gives them a special place of their own in the affections of book-lovers.

Another venture in which a high literary standard was combined with much care for typography was _The Hobby-Horse_, a quarterly magazine edited by Herbert P. Horne and Selwyn Image between 1886 and 1892, after which it appeared fitfully and flickered out. The change in the type, the setting it close instead of spaced, and the new initials and tailpieces which may be noted at the beginning of Vol. III (1888), constituted a landmark in the history of modern printing of an importance similar to that of the return to old-faced type in _Lady Willoughby's Diary_. The progress of the movement can be followed (i) in the catalogue of the Exhibition of Arts and Crafts Exhibition Society, held at the New Gallery in the autumn of 1888, with an article on printing by Mr. Emery Walker; (ii) in three books by William Morris, viz. _The House of the Wolfings_, _The Roots of the Mountains_, and the _Gunnlaug Saga_, printed under the superintendence of the author and Mr. Walker at the Chiswick Press in 1889 and 1890. In 1891 William Morris gave an immense impetus to the revival of fine printing by setting up a press at No. 16 Upper Mall, Hammersmith, close to his own residence, Kelmscott House. "It was the essence of my undertaking," he wrote subsequently, "to produce books which it would be a pleasure to look upon as pieces of printing and arrangement of type," and no one will be inclined to deny that the Kelmscott Press books fulfil this aim. The gothic type, whether in its larger or smaller size (the Troy type designed for the reprint of Caxton's _Recuyell of the Histories of Troy_, and the Chaucer type designed for the great _Chaucer_), will hold its own against any gothic type of the fifteenth century. The Golden type (designed for the reprint of Caxton's _Golden Legend_) cannot be praised as highly as this. "By instinct rather than by conscious thinking it over," Morris confessed, "I began by getting myself a fount of Roman type," and it is no unfair criticism of it to say that it betrays the hand of a man whose natural expression was in gothic letter forcing roman into yielding some of the characteristic gothic charm. The _Golden Legend_ would have been a far finer book if it had been printed in the Chaucer type, and the Shelley, Keats, Herrick and other books which Morris printed in it to please F. S. Ellis or other friends cannot stand the test of comparison with _The Wood Beyond the World_ and the other romances which he printed entirely to please himself. But whether he used his roman or his gothic type the exquisite craftsmanship which he put into all his books enabled Morris to attain his aim, and his wonderful borders and capitals crown them with the delight which this king of designers took in his work. No other printer since printing began has ever produced such a series of books as the fifty-three which poured from the Kelmscott Press during those wonderful seven years, and no book that has ever been printed can be compared for richness of effect with the Chaucer which was the crowning achievement of the Press.

Morris's example brought into the field a host of competitors and plagiarists and a few workers in the same spirit. By his side throughout his venture had stood Mr. Emery Walker, who had no small part in starting the whole movement, whose help and advice for more than twenty years have been freely at the service of any one who has shown any inclination to do good work, and who, whenever good work has been achieved, will almost always be found to have lent a hand in it. After Morris's death Mr. Walker joined with Mr. Cobden Sanderson in producing the Doves Press books, printed, all of them, in a single type, but that type a fine adaptation of Jenson's and handled with a skill to which Jenson not only never attained but never aspired. The first book printed in it was the _Agricola_ of Tacitus, and this and Mr. Mackail's lecture on Morris and other early books are entirely without decoration. Woodcut capitals and borders, it was thought, had reached their highest possible excellence under the hand of William Morris, and since not progress but retrogression would be the certain result of any fresh experiments, decoration of this sort must be abandoned. The reasoning was perhaps not entirely cogent, since the decoration appropriate to the Doves type would hardly enter into any direct competition with Morris's gothic designs. Later on, however, it was more than justified by the use in the _Paradise Lost_, the Bible, and most subsequent books (these later ones issued by Mr. Sanderson alone) of very simple red capitals, which light up the pages on which they occur with charming effect.

Similar capitals on a less bold scale, some in gold, others in red, others in blue, are a conspicuous feature in the masterpieces of the Ashendene Press belonging to Mr. St. John Hornby. This was started by Mr. Hornby at his house in Ashendene, Herts, in 1894, and was for some time worked by Mr. Hornby himself and his sisters, with, as at least one colophon gratefully acknowledges, "some little help of Cicely Barclay," who subsequently, under a different surname, appears as a joint proprietor. The early books--the _Journals_ of Joseph Hornby, _Meditations_ of Marcus Aurelius, _Prologue_ to the _Canterbury Tales_, etc.--are not conspicuously good, but in 1902, in a type founded on that used by Sweynheym and Pannartz at Subiaco, Mr. and Mrs. Hornby produced the first volume of an illustrated _Divina Commedia_ which cannot be too highly praised. Its story is told in the red-printed colophon, the wording of which is very prettily turned:

Fine della prima Cantica appellata Inferno della Commedia di Dante
poeta eccellentissimo. Impressa nella Stamperia Privata di Ashendene a
Shelley House, Chelsea, per opera e spesa di St. John & Cicely Hornby
coll' aiuto del loro cugino Meysey Turton. Le lettere iniziali sono
l'opera di Graily Hewitt, le incisioni in legno di C. Keates secondo
disegni fatti da R. Catterson Smith sopra gli originali dell' edizione
di 1491. Finita nel mese di Dicembre dell' anno del Signore MCMII, nel
quale dopo dieci secoli di bellezza cadde il gran Campanile di San
Marco dei Veneziani.

The third type happily inspired by the example of Morris was the Greek type designed by Robert Proctor on the model of that used for the New Testament of the Complutensian Polyglott in 1514, with the addition of majuscules and accents, both of them lacking in the original. An edition of the _Oresteia_ of Aeschylus in this type was being printed for Mr. Proctor at the Chiswick Press at the time of his death, and appeared in 1904. In 1908 it was followed by an edition of the _Odyssey_ printed at the Clarendon Press. Like Morris's gothic founts, this Greek type may or may not be admired, but that it attains the effects at which it aims can hardly be denied. No page of such richness had ever before been set up by any printer of Greek.

To write of books printed in types which for one reason or another seem less successful than those already named is a less grateful task, but there are several designers and printers whose work approaches excellence, and who worked independently of Morris, though with less sure touch. Foremost among these must be placed Mr. Charles Ricketts,[70] whose Vale type, despite a few blemishes, is not very far behind the Golden type of the Kelmscott Press, and whose ornament at its best is graceful, and that with a lighter and gayer grace than Morris's, though it cannot compare with his for dignity or richness of effect. In a later type, called the Kinge's Fount from its use in an edition of _The Kinges Quair_ (1903), Mr. Ricketts's good genius deserted him, for the mixture of majuscule and minuscule forms is most unpleasing.

The Eragny books printed by Esther and Lucien Pissarro on their press at Epping, Bedford Park, and the Brook, Chiswick, were at first (1894-1903, Nos. 1-16) printed by Mr. Ricketts's permission in the Vale type. In June, 1903, a "Brook" fount designed by Mr. Pissarro was completed, and _A Brief Account of the Origin of the Eragny Press_ printed in it. Mr. Pissarro's books are chiefly notable for their woodcuts, which are of very varying merit.

In the United States, in addition to some merely impudent plagiarisms, several excellent efforts after improved printing were inspired by the English movement of which Morris was the most prominent figure. Mr. Clarke Conwell at the Elston Press, Pelham Road, New Rochelle, New York, printed very well, both in roman and black letter, his edition of the _Tale of Gamelyn_ (1901) in the latter type being a charming little book. Mr. Berkeley Updike of the Merrymount Press, Boston, and Mr. Bruce Rogers during his connection with the Riverside Press, Boston, have also both done excellent work, which is too little known in this country. The artistic printing which Mr. Rogers did while working for the Riverside Press is especially notable because of the rich variety of types and styles in which excellence was attained.

FOOTNOTE:

[70] Like Proctor, Mr. Ricketts had no press of his own. His books were
printed for him by Messrs. Ballantyne.

SELECT BIBLIOGRAPHY

GENERAL WORKS

FERGUSON, J. _Some Aspects of Bibliography._ Edinburgh, 1900.

PEDDIE, R. A. _A List of Bibliographical Books published since the
foundation of the Bibliographical Society in 1893_ (_Bib. Soc.
Transactions_, vol. x., pp. 235-311). London, 1910.

* * * * *

BIGMORE and WYMAN. _A Bibliography of Printing._ With notes and
illustrations, 2 vols. London, 1880.

REED, T. B. _A List of Books and Papers on Printers and Printing under
the Countries and Towns to which they refer._ (Bibliographical
Society.) London, 1895.

* * * * *

BIBLIOGRAPHICAL SOCIETY. _Transactions._ London, 1893, etc.

EDINBURGH BIBLIOGRAPHICAL SOCIETY. _Transactions._ Edinburgh, 1896,
etc.

* * * * *

_Le Bibliographe Moderne._ Paris, 1897, etc.

_Bibliographica._ 3 vols. London, 1895-7.

_Centrallblatt fur Bibliothekswesen._ Leipzig, 1888, etc.

_The Library._ London, 1889, etc.

* * * * *

_Zeitschrift fur Bucherfreunde._ Bielefeld, 1897, etc.

BRUNET, J. C. _Dictionnaire de Geographie ancienne et moderne a
l'usage du libraire et de l'amateur de livre. Par un Bibliophile._
Paris, 1870.

With notes on the introduction of printing into the places named.

CRANE, W. _Of the Decorative Illustration of Books Old and New._
Second edition. London, 1901.

DUFF, E. G. _Early Printed Books._ (_Books about Books._) London,
1893. 8vo.

HUMPHREYS, H. N. _Masterpieces of the Early Printers and Engravers_:
Series of facsimiles from rare and curious books, remarkable for
illustrative devices, beautiful borders, decorative initials,
printers' marks, and elaborate titlepages. Fol. London, 1870.

KRISTELLER, P. _Kupferstich und Holzschnitt in vier Jahrhunderten._
4to. Berlin, 1905.

LANG, A. _The Library._ With a chapter on modern English illustrated
books by Austin Dobson, London, 1881.

---- Second edition. London, 1892.

LIPPMANN, F. _Druckschriften des xv. bis xviii. Jahrhunderts in
getreuen Nachbildungen herausgegeben von der Direction der
Reichsdruckerei unter Mitwirkung von Dr. F. Lippmann and Dr. R.
Dohme._ Fol. Berlin, 1884-7.

MORGAN, J. P. _Catalogue of Early Printed Books from the libraries of
William Morris, Richard Bennett, etc., now forming portion of the
library of J. P. Morgan._ [By S. Aldrich, E. G. Duff, A. W. Pollard,
R. Proctor.] 3 vols. Large 4to. London, 1907.

With many facsimiles.

ROUVEYRE, E. _Connaissances necessaires a un bibliophile._ 10 vols.
Paris, 1899.

I.--COLLECTORS AND COLLECTING

ELTON, C. I. and M. A. _The Great Book Collectors._ London, 1893.

FLETCHER, W. Y. _English Book-Collectors._ London, 1902.

QUARITCH, B. _Contributions towards a Dictionary of English Book
Collectors._ London, 1892-9.

DAVENPORT, C. _English Heraldic Book-Stamps._ London, 1909.

With biographical notes.

GUIGARD, J. _Nouvel Armorial du Bibliophile. Guide de l'amateur des
livres armories._ 2 tom. Paris, 1890.

With biographical notices of many French collectors.

* * * * *

_Book Prices Current._ London, 1893, etc.

_American Book Prices Current._ New York, 1895, etc.

LIVINGSTON, L. S. _Auction Prices of Books._ 1886-1904. 4 vols. New
York, 1905.

LAWLER, J. _Book Auctions in England in the Seventeenth Century._
London, 1898.

ROBERTS, W. _Catalogues of English Book Sales._ London, 1900.

---- _Rare Books and their Prices._ London, 1896.

WHEATLEY, H. B. _Prices of Books_: An inquiry into the changes in the
price of books which have occurred in England at different periods.
London, 1898.

* * * * *

BRUNET, J. C. _Manuel du libraire et de l'amateur de livres, contenant
1^o un nouveau dictionnaire bibliographique_, etc. Cinquieme Edition.
6 vols. Paris, 1860-5.

GRAESSE, J. G. T. _Tresor de livres rares et precieux: ou Nouveau
Dictionnaire bibliographique._ 7 vols. Dresde, 1859-69.

These two books mark the close of the fashion of General Collecting.

II.--BLOCK-BOOKS

SOTHEBY, S. L. _Principia typographica._ The block-books issued in
Holland, Flanders, and Germany during the fifteenth century, etc. 3
vols. Fol. London, 1858.

SCHREIBER, W. L. _Livres xylographiques et xylo-chirographiques.
Fac-similes des livres xylographiques._ (_Manuel de l'amateur de la
gravure sur bois et sur metal au xv^e siecle_, tomes 4, 7, 8.) 8vo and
fol. Leipzig, 1895, 1900, 1902.

PILINSKI, A. _Monuments de la xylographie ... reproduits en fac-simile
sur les exemplaires de la Bibliotheque Nationale, precedes des notices
par Gustave Pawlowski._ Fol. Paris, 1882-3.

1. Apocalypse. 4. Ars Moriendi.
2. Bible des Pauvres. 5. Oraison Dominicale.
3. Ars Memorandi. 6. Cantica Canticorum.

BIBLIA PAUPERUM. _Biblia pauperum. Nach dem Einzigen in 50
Darstellungen herausgegeben von P. Heitz, W. L. Schreiber._ 4to.
Strassburg, 1903.

CUST, L. H. _The Master E. S. and the Ars Moriendi._ 4to. Oxford,
1898.

III. AND IV.--THE INTRODUCTION OF PRINTING--HOLLAND AND MAINZ

GROLIER CLUB. _A description of the Early Printed Books owned by the
Grolier Club_, with a brief account of their printers and the history
of typography in the fifteenth century. Fol. New York, 1895.

Quotes numerous early references to the invention of printing, and
gives some facsimiles.

ENSCHEDE, C. _Laurens Jansz. Coster de uitvinder van de
boekdrukkunst._ Haarlem, 1904.

---- _Technisch onderzoek naar de uitvinding van de boekdrukkunst._
Haarlem, 1901.

HESSELS, J. H. _Gutenberg: Was He the Inventor of Printing?_ London,
1882.

---- _Haarlem the Birthplace of Printing, not Mentz._ London, 1887.

---- Article "Typography" in the _Encyclopaedia Britannica._

GUTENBERG GESELLSCHAFT. _Veroffentlichungen._ Mainz, 1902, etc. 4to.

I. ZEDLER, G. _Die alteste Gutenbergtype._ 1902.

II. SCHWENKE, P. _Die Donat- und Kalendertype._ 1903.

III. _Das Mainzer Fragment vom Weltgericht. Der Canon Missae vom
Jahre._ 1458.

IV. ZEDLER. _Das Mainzer Catholicon._

V-VI. _Das Mainzer Fragment vom Weltgericht. Die Type B^42 im
Missale von 1493. Die Missaldrucke P. und Joh. Schoffers. Die
Bucheranzeigen P. Schoffers._

VIII-IX. SEYMOUR DE RICCI. _Catalogue raisonne des premieres
impressions de Mayence_ (1445-67).

DZIATZKO, C. _Was wissen wir von dem Leben und der Person Joh.
Gutenbergs?_ [1895.]

---- _Gutenberg's fruheste Druckerpraxis auf Grund einer ...
Vergleichung des 42-zeiligen und 36-zeilgen Bibel._ (Sammlung, No. 4.)
1890.

HESSELS, J. H. _Gutenberg: Was He the Inventor of Printing?_ London,
1882.

---- _The So-called Gutenberg Documents._ (Reprinted from _The
Library._) London, 1912.

V.--OTHER INCUNABULA

PANZER, G. W. _Annales Typographici ab artis inventae origine ad annum
MD._ (_ad annum MDXXXVI_). 11 vols. 4to. Norimbergae, 1793-1803.

HAIN, L. _Repertorium Bibliographicum, in quo libri omnes ab arte
typographica inventa usque ad annum MD. typis expressi ordine
alphabetico vel simpliciter enumerantur vel adcuratius recensentur._
Stuttgartiae et Tubingae, 1826.

---- _Indices uberrimi opera C. Burger._ Lipsiae, 1891.

COPINGER, W. A. _Supplement to Hain's Repertorium Bibliographicum._
(Index by Konrad Burger.) 3 vols. London, 1895-1902.

REICHLING, D. _Appendices ad Hainii Copingeri Repertorium
Bibliographicum. Additiones et emendationes._ 7 pt. Monachii, 1905-11.

PELLECHET, M. L. C. _Catalogue general des Incunables des
bibliotheques publiques de France._ [Continued by M. L. Polain.] Vols.
i.-iii. Paris, 1897, etc.

PROCTOR, R. _An Index to the Early Printed Books in the British
Museum, with notes of those in the Bodleian Library, Oxford._ 2 vols.
London, 1898.

BRITISH MUSEUM. _Catalogue of Books Printed in the Fifteenth Century,
now in the British Museum._ Vols. i-ii. [Block-books and Germany,
Mainz-Trier.] 4to. London, 1908, etc.

PROVIDENCE, R.I. ANNMARY BROWN MEMORIAL. _Catalogue of Books mostly
from the Presses of the First Printers, showing the progress of
printing with movable metal types through the second half of the
Fifteenth Century._ Collected by Rush C. Hawkins. Catalogued by A. W.
Pollard. 4to. Oxford, 1910.

BURGER, K. _Monumenta Germaniae et Italiae typographica. Deutsche und
italienische Inkunabeln in getreuen Nachbildungen._ Parts 1-8. Fol.
Berlin, 1892, etc.

GESELLSCHAFT FUR TYPENKUNDE DES 15. JAHRHUNDERTS.
_Veroffentlichungen._ Fol. Uppsala, 1907, etc.

TYPE FACSIMILE SOCIETY. _Publications._ (1900-4 edited by R. Proctor;
1904-8 by G. Dunn.) 4to. Oxford, 1900, etc.

WOOLLEY PHOTOGRAPHS. _Woolley Photographs. Photographs of fifteenth
century types of the exact size of the originals, designed to
supplement published examples, with references to Robert Proctor's
Index of Books in the British Museum and Bodleian Library._ [Edited by
George Dunn, with a list of the 500 photographs.] Fol. Woolley,
1899-1905.

HAEBLER, K. _Typenrepertorium der Wiegendrucke._ 3 vols. Leipzig,
1905, etc. 8vo.

This supplies the measurement and some guide to the characteristics
of every recorded fifteenth century type, with helps to the
identification of the printers of unsigned books by means of the
different forms of M, Qu, etc.

BERNARD, A. J. _De l'Origine et des Debuts de l'Imprimerie en Europe._
2 vols. Paris, 1853.

Valuable for its numerous references to notes and dates in individual
copies.

HAWKINS, RUSH C. _Titles of the First Books from the Earliest Presses
established in different Cities, Towns, and Monasteries in Europe,
before the end of the Fifteenth Century. With brief notes upon their
printers._ 4to. New York, 1884.

CLAUDIN, A. _Histoire de l'imprimerie en France._ Vols. i.-iii. 4to.
Paris, 1900, etc.

THIERRY-POUX, O. _Premiers monuments de l'imprimerie en France au xv^e
siecle._ [40 sheets of facsimiles.] Fol. Paris, 1890.

HOLTROP, J. W. _Monuments typographiques des Pays-Bas au quinzieme
siecle._ [130 plates of facsimiles.] Fol. La Haye, 1868.

CAMPBELL, M. F. A. G. _Annales de la Typographie Neerlandaise au xv^e
siecle._ (With four supplements.) La Haye, 1874 (1878-90).

FUMAGALLI, G. _Lexicon typographicum Italiae. Dictionnaire
geographique d'Italie pour servir a l'histoire de l'imprimerie dans ce
pays._ Florence, 1905.

HAEBLER, K. _Bibliografia iberica del siglo 15._ La Haya, 1904.

---- _The Early Printers of Spain and Portugal._ [Bibliog. Soc.
Illust. Monographs, 4.] 4to. London, 1897.

---- _Typographie iberique du xv^e siecle. Reproduction en fac-simile
de tous les caracteres typographiques employes en Espagne et en
Portugal jusqu'a 1500._ Fol. La Haye, 1902.

VI.--THE DEVELOPMENT OF THE PRINTED BOOK

POLLARD, A. W. _An Essay on Colophons._ With specimens and
translations, by A. W. Pollard, and an introduction by R. Garnett
(Caxton Club). Chicago, 1905.

---- _Last Words on the History of the Titlepage._ 4to. London, 1890.

ROBERTS, W. _Printers' Marks: A Chapter in the History of Typography._
London, 1893.

BUCHERMARKEN. _Die Buchermarken oder Buchdrucker und Verlegerzeichen._
4to. Strassburg, 1892, etc.

1. _Elsassische Buchermarken bis Anfang des 18. Jahrhunderts._
Herausgeg. von P. Heitz, 1892.

2. _Die Italienischen Buchdrucker- und Verlegerzeichen bis 1525._
Herausgeg. von P. Kristeller, 1893.

3. _Die Basler Buchermarken bis Anfang des 17. Jahrhunderts._
Herausgeg. von P. Heitz, 1895.

4. _Die Frankfurter Drucker und Verlegerzeichen bis Anfang des 17.
Jahrhunderts._ Herausgeg. von P. Heitz, 1896.

5. _Spanische und Portugiesische Bucherzeichen des xv. und xvi.
Jahrhunderts._ Herausgeg. von. K. K. Haebler, 1898.

6. _Kolner Buchermarken bis zum Anfang des xvii. Jahrhunderts._
Herausgeg. von Dr. Zaretzky, 1898.

7. _Genfer Buchdrucker, und Verlegerzeichen von xv. xvi. und xvii.
Jahrhundert._ Von P. Heitz, 1908.

SILVESTRE, L. C. _Marques typographiques, ou recueil des monogrammes
... des libraires et imprimeurs en France, depuis l'introduction de
l'imprimerie jusqu'a la fin du xv^e siecle._ Paris, 1853-67.

JENNINGS, O. _Early Woodcut Initials._ London, 1908.

VII.--EARLY GERMAN AND DUTCH ILLUSTRATED BOOKS

DODGSON, C. _Catalogue of early German and Flemish woodcuts preserved
in the Department of Prints and Drawings in the British Museum._ Vols.
i.-ii. London, 1903, 1911.

MUTHER, R. _Die deutsche Bucherillustration der Gothik und
Fruhrenaissance (1460-1530)._ 2 Bde. 4to. Munchen, 1884.

SCHREIBER, W. L. _Catalogue des incunables a figures imprimes en
Allemagne, en Suisse en Autriche-Hongrie et en Scandinavie, avec des
notes critiques et bibliographiques._ (_Manuel de l'amateur de la
gravure sur bois et sur metal au xv^e siecle_, tom. 5 & 6.) Leipzig,
1910.

COCKERELL, S. C. _Some German Woodcuts of the Fifteenth Century._ 4to.
Hammersmith, 1897.

CONWAY, Sir W. M. _The Woodcutters of the Netherlands in the Fifteenth
Century._ Cambridge, 1884.

VIII.--EARLY ITALIAN ILLUSTRATED BOOKS

LIPPMANN, F. _The Art of Wood-Engraving in Italy in the Fifteenth
Century._ London, 1888.

POLLARD, A. W. _Italian Book-Illustrations, chiefly of the Fifteenth
Century._ (Portfolio monographs, 12.) London, 1894.

KRISTELLER, P. _Early Florentine Woodcuts._ With an annotated list of
Florentine illustrated books. London, 1897.

ESSLING, PRINCE D'. _Les Missels imprimes a Venise de 1481 a 1600.
Description, illustration, bibliographie. Ouvrage orne de planches sur
cuivre et de 250 gravures._ Fol. Paris, 1894.

---- _Etudes sur l'art de la gravure sur bois a Venise. Les livres a
figures venitiens de la fin du 15^e siecle et du commencement du
16^e._ Fol. Paris, 1907, etc.

IX.--EARLY FRENCH AND SPANISH ILLUSTRATED BOOKS

MURRAY, C. F. _Catalogue of a collection of early French Books in the
library of C. Fairfax Murray._ Compiled by H. W. Davies. 4to. London,
1910.

VINDEL, P. _Bibliografia grafica_: Reproduccion en facsimil de
portadas, retratos, colofones y otras curiosidades utiles a los
bibliofilos, que se hallan en obras unicas y libros preciosos o raros.
2 tom. Madrid, 1910.

1224 facsimiles of titlepages, illustrations, etc., of Spanish books,
unfortunately neither well selected, nor well arranged, but still
useful.

X.--LATER FOREIGN BOOKS

PROCTOR, R. _An index to the Early Printed Books in the British
Museum. Part II._ 1501-20. Germany. London, 1903.

NIJHOFF, W. _Bibliographie de la typographie neerlandaise des annees
1500 a 1540._ La Haye, 1901, etc.

---- _L'art typographique dans les Pays-Bas, 1500-1540_: Reproduction
en fac-simile des caracteres, typographiques, des marques
d'imprimeurs, etc. Fol. La Haye, 1902, etc.

RENOUARD, A. A. _Annales de l'imprimerie des Aldes, ou histoire des
trois Manuces, et de leurs editions. Troisieme edition, avec notes de
la famille des Juntes, etc._ 3 vols. Paris, 1834.

---- _Annales de l'imprimerie des Estiennes ou histoire de la famille
des Estiennes et de ses editions._ 2^e edition. Paris, 1843.

ROOSES, MAX. _Christopher Plantin, imprimeur anversois. Biographie et
documents._ 2^e edition. Fol. Anvers, 1896.

WILLEMS, A. _Les Elzevier. Histoire et annales typographiques._
Bruxelles, etc., 1880.

GOLDSMID, E. M. _Bibliotheca curiosa._ A complete catalogue of all the
publications of the Elzevir presses. Edinburgh, 1888.

XI.--SIXTEENTH CENTURY ILLUSTRATIONS

*** Many of the books entered under VII, VIII, and IX relate also to
this period.

BUTSCH, A. F. _Die Bucherornamentik der Renaissance, eine Auswahl
stylvoller Titeleinfassungen, Initialen, Leisten, Vignetten und
Druckerzeichen hervoragender italienischer, deutscher, und
franzosischer Officinen aus der Zeit der Fruhrenaissance._ 4to.
Leipzig, 1878.

XII.--ENGLISH PRINTING, 1476-1580

HAZLITT, W. C. _Handbook to the Popular, Poetical and Dramatic
Literature of Great Britain, from the Invention of Printing to the
Restoration._ London, 1867.

HAZLITT, W. C. _Collections and Notes._ Three series with supplements.
London, 1876-89.

---- _A General Index to Hazlitt's Handbook and his Bibliographical
Collections, 1867-1889._ By G. T. Gray. London, 1893.

BRITISH MUSEUM. _Catalogue of Books in the Library of the British
Museum printed in England, Scotland, and Ireland, and of Books in
English printed abroad, to the year 1640._ [Mainly by G. W. Eccles.] 3
vols. London, 1884.

DUFF, E. G. _Catalogue of Books in the John Rylands Library,
Manchester, printed in England, Scotland, and Ireland, and of Books in
English printed abroad to the end of the year 1640._ 4to. Manchester,
1895.

SAYLE, C. E. _Early English Printed Books in the University Library,
Cambridge, 1475-1640._ Cambridge, 1900-7.

The books are arranged under the printers.

AMES, J. _Typographical Antiquities_: Being an historical account of
printing in England; with some memoirs of our antient printers, and a
register of the books printed by them, 1471-1600. With an appendix
concerning printing in Scotland and Ireland to the same time. 4to.
London, 1749.

---- Considerably augmented.... By W. Herbert. 3 vols. 4to. London,
1785-90.

---- Greatly enlarged, with copious Notes and Engravings by T. F.
Dibdin. Vols. i.-iv. 4to. London, 1810-19.

DUFF, E. G. _English Printing on Vellum to the end of 1600._
(Bibliographical Society of Lancashire.) 4to. Aberdeen, 1902.

---- _A Century of the English Book Trade_: Short notices of all
Printers, Stationers, Bookbinders, and others connected with it,
1457-1557. 4to. Bibliographical Society, London, 1905.

---- _The Printers, Stationers, and Bookbinders of Westminster and
London, 1476-1535._ (Sandars Lectures.) Cambridge, 1896.

---- _Early English Printing_: A series of facsimiles of all the types
used in England during the fifteenth century. Fol. London, 1896.

---- (and others.) _Handlists of English Printers, 1501-1557._ Parts
1-3. 4to. Bibliographical Society, London, 1896, etc.

ARBER, E. _A Transcript of the Registers of the Company of Stationers
of London, 1554-1640._ 5 vols. 4to. London, 1875-94.

BLADES, W. _The Life and Typography of William Caxton._ 2 vols. 4to.
London, 1861-3.

---- _Biography and Typography of Caxton._ London, 1882.

DUFF, E. G. _William Caxton._ (Caxton Club of Chicago.) 4to. Chicago,
1905.

RICCI, SEYMOUR DE. _A Census of Caxtons._ (Bibliographical Society,
Illust. Monographs, 15.) London, 1909.

* * * * *

PLOMER, H. R. _A Short History of English Printing, 1476-1898._
(English Bookman's Library.) London, 1900.

REED, T. B. _History of the Old English Letter Foundries._ 4to.
London, 1887.

XIII.--EARLY PRINTING IN ENGLISH OUTSIDE LONDON

ALLNUTT, W. H. _English Provincial Presses._ (Bibliographica, Parts
5-7.) London, 1895.

DUFF, E. G. _The English Provincial Printers, Stationers, and
Bookbinders to 1557._ (Sandars Lectures.) Cambridge, 1912.

BOWES, R. _A Catalogue of Books Printed at or relating to the
University, Town and County of Cambridge, 1521-1893._ Cambridge, 1894.

MADAN, F. L. Oxford Books. Vol. 1. _The Early Oxford Press_: A
Bibliography of Printing and Publishing at Oxford "1468-1640."

---- ---- Vol. 2. _Oxford Literature, 1450-1640, and 1641-1650._
Oxford, 1895, 1912.

---- _A Chart of Oxford Printing, "1468"-1900._ With notes and
illustrations. 4to. Oxford, 1903.

---- _A Brief Account of the University Press at Oxford._ With
illustrations, together with a chart of Oxford printing. 4to. Oxford,
1908.

DAVIES, R. _A Memoir of the York Press._ With notices of Authors,
Printers, and Stationers in the 16th, 17th, and 18th centuries.
Westminster, 1868.

DOBSON, A. _Horace Walpole: A Memoir._ With an Appendix of Books
Printed at the Strawberry Hill Press. New York, 1893.

ALDIS, H. G. _A List of Books Printed in Scotland before 1700,
including those Printed furth of the realm for Scottish Booksellers._
With brief notes on the Printers and Stationers. 4to. Edinburgh
Bibliographical Society, Edinburgh, 1904.

DICKSON, R., and EDMOND, T. P. _Annals of Scottish Printing: from the
Introduction of the Art in 1507 to the beginning of the 17th Century._
4to. Cambridge, 1890.

DIX, E. R. MCC. _A List of Irish Towns and Dates of Earliest Printing
in each._ Second edition. Dublin, 1909.

---- _The Earliest Dublin Printing._ With list of books, etc., printed
in Dublin prior to 1601. Dublin, 1901.

GILBERT, SIR J. T. _Irish Bibliography._ Two papers. With an
introduction, notes, and appendices by E. R. McC. Dix. Dublin, 1904.

WATKINS, G. T. _Bibliography of Printing in America_: Books, etc.,
relating to the history of printing in the New World. Boston, 1906.

EVANS, C. _American Bibliography...._ A Chronological Dictionary of
all books, pamphlets, and periodical publications printed in the
United States from 1639 to 1820. 4to. Chicago, 1903, etc.

THOMAS, J. _The History of Printing in America._ With a Biography of
Printers, etc. Second edition. 2 vols. Albany, 1874.

RODEN, R. F. _The Cambridge Press, 1638-1692_: A history of the first
printing press in English America, together with a bibliographical
list of the issues. New York, 1905.

XIV.--ENGLISH WOODCUT ILLUSTRATIONS

CHATTO and JACKSON. _A Treatise on Wood Engravings_: Historical and
Practical. Second edition. London 1861.

LINTON, W. J. _The Masters of Wood-Engraving._ Folio. London, 1889.

XV.--ENGRAVED BOOKS--ILLUSTRATIONS

HIND, A. M. _A Short History of Engraving and Etching for the use of
Collectors and Students._ With full bibliography, classified list, and
index of engravers. Second edition, revised. London, 1911.

COLVIN, SIR S. _Early Engraving and Engravers in England, 1545-1695._
Fol. British Museum. London, 1905.

HIND, A. M. _List of the Works of Native and Foreign Line-Engravers in
England from Henry VIII to the Commonwealth._ British Museum. London,
1905.

Reprinted from Sir S. Colvin's work.

COHEN, H. _Guide de l'amateur de livres a gravure du 18^e siecle, 6^e
edition, augmentee par Seymour de Ricci._ Paris, 1912.

LEVINE, J. _Bibliography of the 18th Century Art and Illustrated
Books._ London, 1898.

BERALDI, J. H. _Estampes et livres, 1872-1892._ 4to. Paris, 1892.

A catalogue of the compiler's own collection of French illustrated
books.

XVI.--MODERN FINE PRINTING

STRAUS, R., and DENT, R. K. _John Baskerville: A Memoir._ 4to.
Cambridge, 1907.

GOSCHEN, VISCOUNT. _The Life and Times of Georg Joachim Goeschen,
Publisher and Printer of Leipzig, 1752-1828._ 2 vols. London, 1903.

WERELET, E. _Etudes bibliographiques sur la famille des Didot,
imprimeurs, etc., 1713-1864._ (Extrait de l'Histoire du Livre en
France.) Paris, 1864.

WARREN, A. _The Charles Whittinghams, Printers._ (Grolier Club.) New
York, 1896.

MORRIS, W. _A Note by William Morris on his Aims in Founding the
Kelmscott Press._ With a short description of the Press by S. C.
Cockerell, and an annotated list of the books printed thereat.
Hammersmith, 1898.

RICKETTS. _A Bibliography of the Books issued by Hacon and Ricketts._
(The Vale Press.) London, 1904.

STEELE, R. _The Revival of Printing._ London, 1912.

INDEX

Abbeville, illustrated books, 145 _sq._

Aberdeen Breviary, printed at Edinburgh, 239 _sq._

Abingdon, printing at, 226

Acqui, colophon, 80

_Ad te levavi_ woodcut, 144

Aesop, illustrated editions, 106, 111, 120, 124, 125, 139, 141, 162,
251, 256, 289

Alcala, Cardinal Ximenes' Polyglott printed at, 176; Greek Testament
type imitated by Proctor, 307

Aldus Manutius. _See_ Manutius.

Alexander Gallus, early edition of his _Doctrinale_ "jete en moule,"
42; colophon of Acqui ed. quoted, 80 _sq._; Venice ed. of, 126;
Pynson's, 213

Alexander of Villedieu. _See_ Alexander Gallus

Allan, George, private press, 238

Allnutt, W., on English provincial printing, 233, 238

_Alphabeti noua effictio._ De Bry's, 280, 285

Altdorfer, Albrecht, illustrator, 188 _sq._

-- Erhard, Bible illustrated by, 190

Alunno di Domenico. _See_ Bartolommeo di Giovanni

American colonies, early printing in, 243-9

Ammann, Jost, book-illustrations, 193, 278

Amsterdam, English books printed at, 232; engravings, 289, 292;
presses improved at, 297

Anabat, Guil., his _Horae_, 156

Andrea, Hieronymus, wood-cutter, 188

_Antichristus_, block-book, 27

Antwerp, printing, 72, 175 _sq._; woodcuts, 202 _sq._; English books
printed, 229 _sqq._; engraved illustration, 274 _sqq._

_Apocalypsis S. Johannis_, block-book, 26

Aquila, good roman type, 89; illustrated _Aesop_, 141

Arbuthnot, Alexander, Edinburgh printer, 242

Ariosto, Lodovico, _Orlando Furioso_, illustrated editions, 277, 283,
296

_Ars Moriendi_, block-book, 25

_Art de bien vivre et de bien mourir_, Verard's edition, 149, De
Worde's, 254

Arundel, Earl of, Caxton's cut of his device, 251

Ascensius. _See_ Badius Ascensius

Ashendene Press, 306

Audran, Benoit, engraver, 290

Augsburg printing, 62, 169; book-illustration, 102 _sqq._, 184 _sqq._

Augustine, S., Abbeville edition of his _De Ciuitate Dei_, 146

.b., woodcuts signed, 128 _sq._

Bacon, Francis, engraved title to _Novum Organum_, 288

Badius Ascensius, Jodocus, printer at Lyon and Paris, 170

Bagford, John, his copies from block-books, 19

Bamler, Johann, illustrated books, 104

Bankes, Robert, London printer, 216

Banks, Sir Joseph, his natural history books, 5

Barbier, Jean, partner of Julyan Notary, 214

Barcelona, early printing, 75; illustration, 162

Barclay, Alexander, translator of Sallust, 217; of Gringore's
_Chasteau de Labeur_, 230, 254, 256

Barker, Robert, Royal Printer, 216 _sq._

Barnes, Dam Julyan, "her boke of huntyng," 208

-- Joseph, Oxford printer, 235

Bartholomaeus Anglicus, editions of his _De Proprietatibus Rerum_,
121, 159; printed by Caxton, 204; by De Worde, 212, 253; edited by S.
Bateman, 263

Bartolommeo di Giovanni, Mr. Berenson's attribution of Florentine
woodcuts to, 136

Bartolozzi, F., portrait of Lunardi, 296

Basel printing, 60, 170, book-illustration, 109, 191 _sq._

Basiliologia engravings, 285

Baskerville, John, Birmingham printer, 299 _sq._

Bassandyne, Thomas, Edinburgh printer, 242

Bateman, Stephen, illustrated books by, 263

_Bay Psalter_, first book printed in North America, 244 _sq._

Beck, Leonhard, illustrator, 186, 188 _sq._

Beham, Hans Sebald, illustrator, 183

Belgium, early printing, 73

_Belial siue Consolatio peccatorum. See_ Theramo, Jac. de

Bellaert, Jacob, illustrated books, 120 _sq._

Bellini, Gentile, woodcut after, 130

Benlowes, E., _Theophila_, 289

Berenson, Bernhard, attributes all early Florentine cuts to "Alunno
di Domenico," 135

Berghen, Adriaen von, English books printed by, 230

Bergomensis, Jac. Phil., his _Supplementum Cronicarum_, 126; _De
claris mulieribus_, 140

Berkeley, Sir William, on free schools and printing, 249

Berrutus, Amadeus, engraving in his _Dialogus_, 273

Berthelet, Thomas, connection with Pynson, 213, 258; Royal Printer,
216, 259

Bettini, Ant., illustrated editions of his _Monte Santo di Dio_, 124,
268 _sq._

Bible, English, early editions, 217, 231 _sq._, 260, 281; French
_Bible historiee_, 150; German, illustrated editions of, 108, 112,
113, 114; Indian (Narraganset), 246 _sq._; Italian, illustrated
editions of, 125, 128; Latin, the 42-line, 47 _sqq._, 96; the
36-line, 51 _sq._, 83; of 1462, 57; of 1472, 57; Polyglott, 175, 176,
275; Scottish, 242

_Biblia Pauperum_, block-book, 25, 118; its plan imitated in _Horae_
borders, 152, 155

Biel, Fried., illustrated books, 162

Binneman. _See_ Bynneman

Birmingham, Baskerville's press at, 299

_Birth of Mankind_, first English book with engravings, 280

Bladen, William, Dublin printer, 243

Bladi, printers at Rome, 169

Blaew, William, improves printing-press, 297

Block-books, 19-31, 118

Blomefield, Francis, private press, 238

Boccaccio, Giov., _De Casibus Illustrium virorum_, 144, 159, 186,
213, 256, 258 note, 270; _De claris mulieribus_, 106, 122, 162, 186;
_Decamerone_, 291

Bodleian Library, effect of its foundation on private
book-collecting, 3

Bodoni, Giovanni Battista, printer at Parma, 300

_Boec von der Houte. See_ Cross, the Holy

Boitard, Peter, illustrator, 296

Bonaventura, S., illustrations to his _Devote Meditatione_, 123, 125,
138

Bonhomme, Jean, his illustrated books, 144, 158

Book-illustration, natural method of, 100; in Germany and Holland,
102-22, 181-94; in Italy, 123-42, 194-6; in France and Spain, 143-64,
197-202; in England, 250-66; engraved, 267-96

Borderpieces, stamped by illuminators, 125; Venetian, 125, 133;
Florentine, 133; other Italian, 140, 142; Spanish, 162; Basel, 191;
London, 252, 256, 258 _sq._, 266

Boston, Mass., early printing, 247; modern, 308

Boucher, Francois, illustrator, 290

Bradford, Andrew, printer at Philadelphia, 248

-- William, first printer at Philadelphia, 247; and at New York, 248

Bradshaw, Henry, his claim for bibliography, 12; on the printer of
the _Speculum_, 40

Brandis, Lucas, first Lubeck printer, 64, 114

Brant, Sebastian, connected with book-illustration, 110, 112, 161,
213, 254, 256

Brass, types made of, 212 note

Breidenbach, Bernhard von, his arms on a Mainz _Agenda_, 114; his
_Peregrinatio in Montem Syon_, 115, 161, 162, 270

Brinckley, Stephen, Jesuit printer, 228

Bristol printing, 237 _sq._

British Museum, bequests to, 4-6; block-books in, 31

Brosamer, Hans, Bibles illustrated by, 190

Broughton, Hugh, plates in his _Concent of Scripture_, 283

Bruges early printing, 73, 122, 205 _sq._; engravings in books
printed at, 270-3

Brussels early printing, 73

Brydges, Sir Egerton, private press, 239

Buckner, John, Virginia printer, 249

Bulkley, Stephen, printer at York, 237

Bulle, John, printer at Rome, Lettou's relation with, 210

Bunyan, John, portrait in _Pilgrim's Progress_, 289

Burghers, Michael, engraver, 294

Burgkmair, Hans, illustrator, 185 _sq._, 188 _sq._

Burgundy, Margaret Duchess of. _See_ Margaret

Bynneman, Henry, London printer, 220, 228

Cagli, good roman type, 89

_Calendar of Shepherds_, French editions, 145; English, 254, 256

Cambridge, printing at, 225, 234 _sq._, 300

Cambridge, Mass., printing at, 244 _sq._, 308

_Canon Missae_, Mainz edition of, 55; Crucifixion woodcut to, 109,
129

Canterbury, printing at, 227

_Canterbury Tales. See_ Chaucer

_Canticum Canticorum_, block-book, 26, 118

Caoursin, Gulielmus, woodcuts in books by, 107

Capell, Edward, bequeaths his Shakespeare books to Trin. Coll.,
Camb., 5

Capitals, pictorial and heraldic, 69, 104, 197, 259 _sqq._

Carmelianus, Petrus, pictures in his _Carmen_, 257

Cartwright, Thomas, his tracts printed at a secret press, 228

Caslon, William, typefounder, 298

_Catholicon_, possibly printed by Gutenberg, 52

Caxton, William, 204, 208; press at Bruges, 73, 205 _sq._; at
Westminster, 76, 207 _sq._; method of printing in red, 86;
illustrated books, 250-2; possible engraved portrait of, 272 _sq._

Cazotte, J., his _Le diable amoureux_, 292

Cecill, Thomas, engraver, 286

Cennini, Bernardo, first printer at Florence, 67; colophon of his
_Virgil_, 80

Cervicornus, Eucharius, printer at Cologne, 225

Chapman, Walter, printer at Edinburgh, 239

Charteris, Henry, printer at Edinburgh, 242

Chaucer, Geoffrey, early editions, 207, 251, 255, 258

Chauveau, Francois, engraver, 289

_Chess, Game and Play of the_, 205, 251

Chester, printing at, 237, etc.

Chiromantia, block-book, 28

Choffard, P. P., _fleurons_ by, 291 _sq._

_Christian Prayers, Book of_ (Queen Elizabeth's Prayer Book), 264

Christopher, S., early woodcut of, 119

Ciripagus, meaning of the word, 43

Civil War, its effects on Oxford printing, 236

Clark, John, engraver, 294

Classics, first editions of the, 6

Claudin, Anatole, his _Histoire de l'Imprimerie en France_, 143

Clement V, 1460 edition of his _Constitutiones_, 56

Clemente of Padua, self-taught printer at Venice, 67, 89

Cochin, C., Paris engraver, 290 _sq._

Cock, Hieron, Antwerp engraver, 274

-- Peter, Alost engraver, 281

Cockson, Thomas, London engraver, 283

Colines, Simon, his _Horae_, 157; relations with the Estiennes, 171;
illustrated books, 199

Collectors and Collecting, 1-18, 83

Cologne, printing at, 61, 169, 205, 225, 231; book-illustration at,
113

_Cologne Chronicle_, its story of the invention of printing, 34

Colonna, Francesco. _See Hypnerotomachia Poliphili_

Colophons, 14; specimens quoted, 80 _sq._; in manuscript, 91

Colour-printing in incunabula, 129 _sq._, 253

Columna, Aegidius, his _Regimiento de los principes_, 163

Colvin, Sir Sidney, his _Early engravings_ quoted, 281, 300

Complutensian Polyglott. _See_ Alcala

Constance, _Das Conciliumbuch_, illustrated editions of, 106, 186

Conway, Sir M., his _Woodcutters of the Netherlands_

Conwell, Clarke, American printer, 308

Copland, Robert, London printer, 215, 258

-- William, London printer, 215, 260

Cornelis, the bookbinder, of Haarlem, 37 _sq._, 41

Corrozet, Gilles, his verses to Holbein's cuts, 192; other
illustrated books by, 200 _sq._

Coryat, Thomas, _Crudities_, 285

Coster, Lourens, legend of his inventing printing, 37 _sqq._

"_Costeriana_," group of books so called, 39-41, 72

Cotton, Sir Robert, his collections, 2

Cranach, Lucas, his bookwork at Wittenberg, 190

Cremer, Heinrich, copy of 42-line Bible rubricated by, 47 _sq._

Creussner, F., Nuremberg printer, 63, 108

Cromwell, Thomas, Earl of, arms on title of Great Bible, 260

Croquet, Jean, of Geneva, first edition of _Roman de la Rose_
attributed to, 160 note

Cross, the Holy, block-book history of, 118

Cunningham, William, his _Cosmographicall Glasse_, 218, 261

Dalles, Jean, Lyonnese wood-cutter, 159

Daniel, Rev. C. H. O., private press, 303

_Danse Macabre_, illustrations to, 145, 151

Dante Alighieri, illustrated editions of _Divina Commedia_, 129, 269,
306 _sq._

Darmstadt Prognostication, printer of the, forged dates in his books,
58

Davidson, Thomas, Edinburgh printer, 240 _sq._

Day, John, London printer, 218 _sq._, 234; illustrated books, 260
_sq._

-- Matthew, printer at Cambridge, Mass., 245

-- Stephen, first printer in North America, 244

De Bry, family of engravers, 278-80, 282

_Defensorium inviolatae castitatis Virginis Mariae_, block-book, 127

Defoe, Daniel, plates to _Robinson Crusoe_, 294

Delaram, Francis, engraver, 285 _sq._

Delft, early printing at, 72

Denham, Henry, London printer, 220

Derrick, John, _Image of Ireland_, 264