LIST OF ILLUSTRATIONS.
Reading edition
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
18a.—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
