Chapter 11

65“In quo precipue tractat: An amico sepe ad scribendum prouocato ut scribat, non respondenti sit amplius scribendum.”66It was probably from his Horae plates that Plantin illustrated thererum Sacrarum Liberof Laur. Gambara in 1577. They are printed with the text and are of average merit.67They were bought to accompany the fine set of De Bry collected by Mr. Grenville, but have since been transferred to the Department of Prints and Drawings.68Contributed to the work by Sir Sidney Colvin,Early Engravers and Engraving in England, already quoted.69This was an early proof of the portrait which is found in a slightly different state in copies of the third edition, and seemed to be an insertion in the first edition rather than an integral part of it.

65“In quo precipue tractat: An amico sepe ad scribendum prouocato ut scribat, non respondenti sit amplius scribendum.”

66It was probably from his Horae plates that Plantin illustrated thererum Sacrarum Liberof Laur. Gambara in 1577. They are printed with the text and are of average merit.

67They were bought to accompany the fine set of De Bry collected by Mr. Grenville, but have since been transferred to the Department of Prints and Drawings.

68Contributed to the work by Sir Sidney Colvin,Early Engravers and Engraving in England, already quoted.

69This was an early proof of the portrait which is found in a slightly different state in copies of the third edition, and seemed to be an insertion in the first edition rather than an integral part of it.

CHAPTER XVI

MODERN FINE PRINTING

Afterthe 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 anartit 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’sHorace. 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 fashionedpresses, 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 hisMechanick 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’sTemper, 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 ofDemetrius Phalerus de Elocutionein Greek and Latin was the first example of Greek printing produced at Glasgow. AHoracewhich 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, anIliadin 1747, an edition ofHardyknutein 1748, and aCiceroin 1749. In 1750 as manyas 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 theIliadin 1756,Anacreonin 1757,Virgiland theOdysseyin 1758, andHerodotusin 1761. Among the more notable later books of the firm were an edition of Gray’sPoemsin 1768, and aParadise Lostin 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 Étiennes; 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 typesa quarto edition ofVirgilwhich 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’sHorace(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. TheVirgilprocured 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’sParadise LostandParadise 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 £3700, 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 possibleagainst 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 ofVirgil,Homer, and theImitatio Christiare 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 François Didot (1689-1757); his eldest son, François 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 François 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 £120,000.

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 outpretty 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 pleasanterto 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 entitledSir 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, printingNotes from a catalogue of pamphlets in Worcester College Library, and in 1876A 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 ofThe 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 wasThe 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 inLady 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 theGunnlaug 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,” andno 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’sRecuyell of the Histories of Troy, and the Chaucer type designed for the greatChaucer), will hold its own against any gothic type of the fifteenth century. The Golden type (designed for the reprint of Caxton’sGolden 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. TheGolden Legendwould 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 withThe Wood Beyond the Worldand 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 theAgricolaof 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 theParadise 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—theJournalsof Joseph Hornby,Meditationsof Marcus Aurelius,Prologueto theCanterbury 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 illustratedDivina Commediawhich cannotbe 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 theOresteiaof 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 theOdysseyprinted 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,70whose 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 ofThe 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, andA Brief Account of the Origin of the Eragny Pressprinted 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 theTale 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.

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

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New York, 1895.Quotes numerous early references to the invention of printing, and gives some facsimiles.Enschedé, 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 theEncyclopædia Britannica.Gutenberg Gesellschaft.Veröffentlichungen.Mainz, 1902, etc. 4to.I.Zedler, G.Die älteste 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 B42im Missale von 1493. Die Missaldrucke P. und Joh. Schöffers. Die Bucheranzeigen P. Schöffers.VIII-IX.Seymour de Ricci.Catalogue raisonné des premières impressions de Mayence(1445-67).Dziatzko, C.Was wissen wir von dem Leben und der Person Joh. Gutenbergs?[1895.]——Gutenberg’s früheste 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 fromThe Library.) London, 1912.V.—OTHER INCUNABULAPanzer, G. W.Annales Typographici ab artis inventæ origine ad annum MD.(ad annum MDXXXVI). 11 vols. 4to. Norimbergæ, 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.Stuttgartiæ et Tubingæ, 1826.——Indices uberrimi operâ C. Burger.Lipsiæ, 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 général des Incunables des bibliothèques 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 für Typenkunde des 15. Jahrhunderts.Veröffentlichungen.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 Débuts 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 xvesiècle.[40 sheets of facsimiles.] Fol. Paris, 1890.Holtrop, J. W.Monuments typographiques des Pays-Bas au quinzième siècle.[130 plates of facsimiles.] Fol. La Haye, 1868.Campbell, M. F. A. G.Annales de la Typographie Néerlandaise au xvesiècle.(With four supplements.) La Haye, 1874 (1878-90).Fumagalli, G.Lexicon typographicum Italiae. Dictionnaire géographique d’Italie pour servir à 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 ibérique du xvesiècle. Reproduction en fac-similé de tous les caractères typographiques employés en Espagne et en Portugal jusqu’à 1500.Fol. La Haye, 1902.VI.—THE DEVELOPMENT OF THE PRINTED BOOKPollard, 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.Büchermarken.Die Büchermarken oder Buchdrucker und Verlegerzeichen.4to. Strassburg, 1892, etc.1.Elsässische Büchermarken 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 Büchermarken 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 Bücherzeichen des xv. und xvi. Jahrhunderts.Herausgeg. von. K. K. Haebler, 1898.6.Kölner Büchermarken 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’à la fin du xvesiècle.Paris, 1853-67.Jennings, O.Early Woodcut Initials.London, 1908.VII.—EARLY GERMAN AND DUTCH ILLUSTRATED BOOKSDodgson, 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 Bücherillustration der Gothik und Frührenaissance (1460-1530).2 Bde. 4to. München, 1884.Schreiber, W. L.Catalogue des incunables à figures imprimés 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 métal au xvesiècle, tom. 5 & 6.) Leipzig, 1910.Cockerell, S. C.Some German Woodcuts of the Fifteenth Century.4to. Hammersmith, 1897.Conway, SirW. M.The Woodcutters of the Netherlands in the Fifteenth Century.Cambridge, 1884.VIII.—EARLY ITALIAN ILLUSTRATED BOOKSLippmann, 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 imprimés à Venise de 1481 à 1600. Description, illustration, bibliographie. Ouvrage orné de planches sur cuivre et de 250 gravures.Fol. Paris, 1894.——Études sur l’art de la gravure sur bois à Venise. Les livres à figures vénitiens de la fin du 15esiècle et du commencement du 16e.Fol. Paris, 1907, etc.IX.—EARLY FRENCH AND SPANISH ILLUSTRATED BOOKSMurray, 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 útiles á los bibliófilos, que se hallan en obras únicas y libros preciosos ó 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 BOOKSProctor, 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 néerlandaise des années 1500 à 1540.La Haye, 1901, etc.——L’art typographique dans les Pays-Bas, 1500-1540: Reproduction en fac-similé des caractères, 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 éditions.Troisième édition, 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 éditions.2eédition. Paris, 1843.Rooses, Max.Christopher Plantin, imprimeur anversois.Biographie et documents.2eédition. 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 ILLUSTRATIONSMany of the books entered under VII, VIII, and IX relate also to this period.Butsch, A. F.Die Bücherornamentik der Renaissance, eine Auswahl stylvoller Titeleinfassungen, Initialen, Leisten, Vignetten und Druckerzeichen hervoragender italienischer, deutscher, und französischer Officinen aus der Zeit der Frührenaissance.4to. Leipzig, 1878.XII.—ENGLISH PRINTING, 1476-1580Hazlitt, 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 LONDONAllnutt, 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., andEdmond, 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 ILLUSTRATIONSChattoandJackson.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—ILLUSTRATIONSHind, 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 à gravure du 18esiècle, 6eédition, augmentée par Seymour de Ricci.Paris, 1912.Levine, J.Bibliography of the 18th Century Art and Illustrated Books.London, 1898.Béraldi, 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 PRINTINGStraus, R., andDent, 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.Études 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.

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.

BigmoreandWyman.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 für Bibliothekswesen.Leipzig, 1888, etc.

The Library.London, 1889, etc.

Zeitschrift für Bücherfreunde.Bielefeld, 1897, etc.

Brunet, J. C.Dictionnaire de Géographie ancienne et moderne à 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 nécessaires à un bibliophile.10 vols. Paris, 1899.

I.—COLLECTORS AND COLLECTING

Elton, C. I.andM. 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 armoriés.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 1oun nouveau dictionnaire bibliographique, etc. Cinquième Édition. 6 vols. Paris, 1860-5.

Graesse, J. G. T.Trésor de livres rares et précieux: 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-similés des livres xylographiques.(Manuel de l’amateur de la gravure sur bois et sur métal au xvesiècle, tomes 4, 7, 8.) 8vo and fol. Leipzig, 1895, 1900, 1902.

Pilinski, A.Monuments de la xylographie ... reproduits en fac-similé sur les exemplaires de la Bibliothèque Nationale, précédés des notices par Gustave Pawlowski.Fol. Paris, 1882-3.

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.

Enschedé, 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 theEncyclopædia Britannica.

Gutenberg Gesellschaft.Veröffentlichungen.Mainz, 1902, etc. 4to.

I.Zedler, G.Die älteste 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 B42im Missale von 1493. Die Missaldrucke P. und Joh. Schöffers. Die Bucheranzeigen P. Schöffers.VIII-IX.Seymour de Ricci.Catalogue raisonné des premières impressions de Mayence(1445-67).

Dziatzko, C.Was wissen wir von dem Leben und der Person Joh. Gutenbergs?[1895.]

——Gutenberg’s früheste 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 fromThe Library.) London, 1912.

V.—OTHER INCUNABULA

Panzer, G. W.Annales Typographici ab artis inventæ origine ad annum MD.(ad annum MDXXXVI). 11 vols. 4to. Norimbergæ, 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.Stuttgartiæ et Tubingæ, 1826.

——Indices uberrimi operâ C. Burger.Lipsiæ, 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 général des Incunables des bibliothèques 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 für Typenkunde des 15. Jahrhunderts.Veröffentlichungen.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 Débuts 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 xvesiècle.[40 sheets of facsimiles.] Fol. Paris, 1890.

Holtrop, J. W.Monuments typographiques des Pays-Bas au quinzième siècle.[130 plates of facsimiles.] Fol. La Haye, 1868.

Campbell, M. F. A. G.Annales de la Typographie Néerlandaise au xvesiècle.(With four supplements.) La Haye, 1874 (1878-90).

Fumagalli, G.Lexicon typographicum Italiae. Dictionnaire géographique d’Italie pour servir à 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 ibérique du xvesiècle. Reproduction en fac-similé de tous les caractères typographiques employés en Espagne et en Portugal jusqu’à 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.

Büchermarken.Die Büchermarken oder Buchdrucker und Verlegerzeichen.4to. Strassburg, 1892, etc.

1.Elsässische Büchermarken 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 Büchermarken 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 Bücherzeichen des xv. und xvi. Jahrhunderts.Herausgeg. von. K. K. Haebler, 1898.

6.Kölner Büchermarken 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’à la fin du xvesiècle.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 Bücherillustration der Gothik und Frührenaissance (1460-1530).2 Bde. 4to. München, 1884.

Schreiber, W. L.Catalogue des incunables à figures imprimés 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 métal au xvesiècle, tom. 5 & 6.) Leipzig, 1910.

Cockerell, S. C.Some German Woodcuts of the Fifteenth Century.4to. Hammersmith, 1897.

Conway, SirW. 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 imprimés à Venise de 1481 à 1600. Description, illustration, bibliographie. Ouvrage orné de planches sur cuivre et de 250 gravures.Fol. Paris, 1894.

——Études sur l’art de la gravure sur bois à Venise. Les livres à figures vénitiens de la fin du 15esiècle et du commencement du 16e.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 útiles á los bibliófilos, que se hallan en obras únicas y libros preciosos ó 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 néerlandaise des années 1500 à 1540.La Haye, 1901, etc.

——L’art typographique dans les Pays-Bas, 1500-1540: Reproduction en fac-similé des caractères, 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 éditions.Troisième édition, 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 éditions.2eédition. Paris, 1843.

Rooses, Max.Christopher Plantin, imprimeur anversois.Biographie et documents.2eédition. 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 Bücherornamentik der Renaissance, eine Auswahl stylvoller Titeleinfassungen, Initialen, Leisten, Vignetten und Druckerzeichen hervoragender italienischer, deutscher, und französischer Officinen aus der Zeit der Frührenaissance.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., andEdmond, 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

ChattoandJackson.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 à gravure du 18esiècle, 6eédition, augmentée par Seymour de Ricci.Paris, 1912.

Levine, J.Bibliography of the 18th Century Art and Illustrated Books.London, 1898.

Béraldi, 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., andDent, 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.Études 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

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