← Table of contents
A History of the Old English Letter Foundries

NOTES

Reading edition

INTRODUCTORY CHAPTER THE TYPES AND TYPE FOUNDING OF THE FIRST PRINTERS

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 ″ )

1. THE ENGLISH TYPE BODIES AND FACES

2. THE LEARNED, FOREIGN, AND PECULIAR CHARACTERS

3. THE PRINTER LETTER-FOUNDERS, FROM CAXTON TO DAY

4. LETTER FOUNDING AS AN ENGLISH MECHANICAL TRADE

5. THE STATE CONTROL OF ENGLISH LETTER-FOUNDING

6. THE OXFORD UNIVERSITY FOUNDRY

“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.”

7. THE STAR CHAMBER FOUNDERS, AND THE LONDON POLYGLOT

(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).

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.

8. JOSEPH MOXON

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.)

9. THE LATER FOUNDERS OF THE SEVENTEENTH CENTURY

10. THOMAS AND JOHN JAMES, 1710

11. WILLIAM CASLON, 1720

“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.

12. ALEXANDER WILSON, 1742

13. JOHN BASKERVILLE, 1752

“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.”

14. THOMAS COTTRELL, 1757

“I remain, your obedient Servant, ROBERT THORNE.”

“Barbican, 1803.

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).

15. JOSEPH AND EDMUND FRY, 1764

The Same, in 5 vols., 8vo:—Vols. 1, 2, 3, 1774; Vol. 4, 1776; Vol. 5 (Apocrypha) 1775.

The Same, 4 vols., 1777. 8vo.

16. JOSEPH JACKSON, 1763

17. WILLIAM MARTIN, 1790

18. VINCENT FIGGINS, 1792

19. MINOR FOUNDERS OF THE EIGHTEENTH CENTURY

“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.

20. WILLIAM MILLER, 1809

21. THE MINOR FOUNDERS, 1800–1830

Illustration from A History of the Old English Letter Foundries with Notes, Historical and Bibliographical, on the Rise and Progress of English Typography.

Notes in this chapter

Note 1 · 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 TheNote 2 · We have nowhere met with the suggestion that Primer may be connected with the Latin “premere,” a word familiar in typography, and naturalizeNote 3 · The religious origin of the names of types is in harmony with the occurrence in typographical phraseology of such words as chapel, devil, juNote 4 · 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 greNote 5 · “Liber presens, directorium sacerdotum, quem pica Sarum vulgo vocitat clerus,” etc., is the commencement of a work printed by Pynson in 1497Note 6 · Both the Cicero of Fust and Schoeffer at Mentz, 1466, and of Hahn at Rome, 1469, were in type of about this size.Note 7 · This Prymer of Salysbury use, is set out a long, wout ony serchyng, etc. Paris, 1532. 16mo. Many editions were printed in England and abroadNote 8 · Fournier (ii, 144) shows a specimen of the lettre de Somme with exactly a Bourgeois face.Note 9 · The first of the family of Paris printers of this name, mentioned by De la Caille, flourished in 1615.Note 10 · The German Brevier, corresponding to our Small Pica, is of more frequent occurrence in these works.Note 11 · De Germaniæ Miraculo. Lipsiæ, 1710, 4to, p. 37.Note 12 · The Lactantius, published the same year, and usually claimed as the first book printed in Italy, appears, according to a note of M. Madden’sNote 13 · “Il (Jenson) forma un caractère composé des capitales latines, qui servirent de majuscules; les minuscules furent prises d’autres lettres laNote 14 · 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. nNote 15 · Lettres d’un Bibliographe, iv, 60.Note 16 · 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, Note 17 · Annales de l’Imprimerie des Alde. Paris, 1803–12, 3 vols., 8vo.Note 18 · Renouard and others claim that these famous characters were cut by the French artists Garamond and Sanlecques. This legend is, however, dispNote 19 · Pynson was the first to introduce diphthongs into the typographical alphabet.Note 20 · Mr. Figgins, apparently misled by the irregularities in form consequent on the touching-up of Type No. 2, concluded that the whole of the tyNote 21 · The General History of Printing. London, 1732, 4to, p. 343.Note 22 · Among the rubbish of James’s foundry, Mores, who evidently credited the legend, states that he discovered some of the punches from which theNote 23 · Pynson was not the first English printer who “put out” his work to foreign typographers. Caxton, in 1487, employed W. Maynyal of Paris to pr
Explore with AITake your curiosity a little further.

Reading settings