But the chief honours of book production in London during the present century have been rightly awarded to the Chiswick Press.

Charles Whittingham the elder was born at Calledon, near Coventry, in 1767, and was apprenticed to a printer of that city. As soon as his time was out he came to London, and set up a press in Fetter Lane, his chief customers being Willis, a bookseller of Stationers' Court, Jordan of Fleet Street, and Symonds of Paternoster Row. His beginning was humble enough, his chief work lying in the direction of stationery, cards, and small bills. His first important publisher was a certain Heptinstall, who set him to print new editions of Boswell's Johnson, Robertson's America, and other important works. This was enough to set him going, and in 1797 he moved to larger premises in Dean Street, Fetter Lane, and then began to issue illustrated books. In 1803 he took a second workshop at 10 Union Buildings, Leather Lane, and again in 1807 he moved to Goswell Street. In 1811 he took his foreman Robert Rowland into partnership, and shortly afterwards left him to manage the city business, while he himself set up a press at Chiswick and took up his abode at College House. Here he continued to work until his death in 1840. For a short time, from 1824 to 1828, he was joined with his nephew Charles, to whom at his death he left the Chiswick business.

There is not much to be said of the work of the elder Whittingham. He confined his attention to the issue of small books, such as the British Classics, which he began to print in 1803. His books are chiefly notable for the printing of the woodcuts, which by the process known as overlaying, he brought to great perfection. His relations with the publishers were, however, none of the best. They accused him of piracy, and considered it to be against the best interests of the trade to issue small and cheap books. The productions of the elder Whittingham's press have, moreover, been largely overshadowed by those of his nephew.

Charles Whittingham the younger was a genuine artist in printing. He loved books to begin with, and thought no pains too great to bestow upon their production. Born at Mitcham, on October 30th, 1795, he was apprenticed to his uncle in 1810. In 1824 he was taken into partnership, but this lasted only four years, and he then set up for himself at 21 Took's Court, Chancery Lane. A near neighbour of his at that time was the publisher William Pickering, who since 1820 had been putting in the hands of the public some excellently printed and dainty volumes. It is stated in the Dictionary of National Biography that the series known as the Diamond Classics was printed for Pickering at the Chiswick Press. But this was not the case. He had no dealings whatever with the Whittinghams or the Chiswick Press before his introduction to Charles Whittingham the younger in 1829. The Diamond Classics, which he began to issue while he was living in Lincoln's Inn Fields in 1822, were printed by C. Corrall of Charing Cross, and the Oxford English Classics, in large octavo, chiefly by Talboys and Wheeler of Oxford, while most of his other work, amongst it the first eleven volumes of the works of Bacon, was done by Thomas White, who is first found at Bear Alley, and subsequently at Johnson Court and Crane Court in Fleet Street.



Few of these early books of Pickering's had any kind of decoration beyond a device on the title-page. Simplicity, combined with what was best in type and paper, seem to have been the publisher's chief aim at that time; but in some of the Diamond Classics will be found the small and artistic border-pieces which he afterwards used frequently.

The first of Pickering's books in which anything of a very ornamental character occurs is The Bijou, or Annual of Literature, a publication which fixes very clearly his association with Whittingham. The Bijou first appeared in 1828, printed by Thomas White, with one or two charming head-pieces designed by Stothard. The volume for 1829 was also printed by White, and is noticeable as having the publisher's Aldine device, showing that this came into use during the year 1828. The volume for 1830 was printed by C. Whittingham of Took's Court. The meeting between the two men had been brought about by Basil Montagu in the summer of 1829. They found themselves kindred spirits on the subject of the artistic treatment of books, and a friendship sprang up between them, that ceased only with Pickering's death in 1854, and was productive of some of the most beautiful books that had ever come from an English press. Mr. Arthur Warren in his book, The Charles Whittinghams, Printers (p. 203), tells us: 'The two men met frequently for consultation, and whenever the bookseller visited the press, which he often did, there were brave experiments toward. The printer would produce something new in title-pages, or in colour work, or ornament, and the bookseller would propound some new venture in the reproduction of an ancient volume.... They made it a point, moreover, to pass their Sundays together, either at the printer's house or at Pickering's.'



In the artistic production of books they were ably assisted by Whittingham's eldest daughter Charlotte, and Mary Byfield. The former designed the blocks, many of which were copied from the best French and Italian work of the sixteenth century, and the latter engraved them.

Among the notable books produced by these means were the Aldine Poets, editions of Milton, Bacon, Isaak Walton's Complete Angler, the works of George Peele, reprints of Caxton's books, and many Prayer-books. In 1844 Pickering and Whittingham were in consultation as to the production of an edition of Juvenal to be printed in old-face great primer, and the foundry of the latest descendant of the Caslons was ransacked to supply the fount. The edition was to be rubricated and otherwise decorated, and this, or the printer's stock trouble, 'lack of paper,' occasioning some delay, the revived type first appeared in a fiction entitled Lady Willoughby's Diary, to which it gave a pleasantly old-world look in keeping with the period of which the story treats. By the kindness of Mr. Jacobi, the present manager of the Chiswick Press, an exact copy of the title-page of this book is here given, and with it, examples of the decorative initials and devices, in the revival of which also the Chiswick Press led the way.



Pickering died in 1854, and though Charles Whittingham the younger lived to the age of eighty-one, his death not taking place till 1876, he had retired from business in 1860. The business was afterwards acquired by Mr. George Bell.

In the English provinces Messrs. Clay, of Bungay, in Suffolk, have made for themselves a reputation both as general printers and more particularly for the careful production of old English texts; and Messrs. Austin, of Hertford, are well known for their Oriental work. But the pre-eminence certainly rests with the Clarendon Press at Oxford, whose work, whether in its innumerable editions of the Bible and Prayer-book, its classical books, or its great dictionaries, is probably, alike in accuracy of composition, in excellence of spacing and press-work, and in clearness of type, the most flawless that has ever been produced. Book-lovers have been known to complain of it as so good as to be uninteresting, but it certainly possesses all the distinctive virtues of a University Press.

If England has no lack of good printers at the present day, in Scotland they are, at least, equally plentiful.

The Ballantyne Press was founded by James Ballantyne, a solicitor in Kelso, with the aid of Sir Walter Scott. Ballantyne and Scott had been school-fellows and chums, and an incident in their school life recorded by Ballantyne aptly illustrates the characters of the two men. Ballantyne was studious but not quick, and often when he was bothered with his lessons, Scott would whisper to him, 'Come, slink over beside me, Jamie, and I'll tell you a story.' Although their roads lay apart for some years, while Scott was studying in Edinburgh and Ballantyne was carrying on the Kelso Mail, they met and renewed their friendship in the stage coach that ran between Kelso and Glasgow. Shortly afterwards, Ballantyne called on Scott, and begged him to supply a few paragraphs on legal questions of the day to the Kelso Mail. This Scott readily undertook to do, and when the manuscript was ready he took it himself to the printing-office, and with it some of the ballads destined for Lewis's collection then publishing in Edinburgh. Before he left he suggested that Ballantyne should print a few copies of the ballads, so that he might show his friends in Edinburgh what Ballantyne could do. Twelve copies were accordingly printed, with the title of Apologies for Tales of Terror. These were published in 1799, and Scott was so pleased with their appearance that he promised Ballantyne that he should be the printer of a selection of Border ballads that he was then making. This selection was given the title of Minstrelsy of the Scottish Border, and formed two small octavo volumes, with the imprint, 'Kelso, 1802.'

Ballantyne's work, as shown in these volumes, was equal in every way to the best work done by Bensley and Bulmer at this time. Good type and good paper, combined with accuracy and clearness, at once raised Ballantyne's reputation. Longman and Rees, the publishers, declared themselves delighted with the printing, and Scott urged his friend to remove his press to Edinburgh, where he assured him he would find enough work to repay him for the removal. After some hesitation Ballantyne acquiesced in the proposal, and having found suitable premises in the neighbourhood of Holyrood House, set up 'two presses and a proof one,' and shortly afterwards, in April 1803, printed there the third volume of the Minstrelsy of the Scottish Border. From this time forward Scott made it a point that whatever he wrote or edited should be printed at the Ballantyne Press. The first quarto, the Lay of the Last Minstrel, was published in January 1805. The poem was printed in a somewhat heavy-faced type; but in other respects the typography left nothing to be desired. In the same year Ballantyne and Scott entered into partnership, Scott taking a third of the profits of the printing-office. So rapidly did James Ballantyne extend his business that in 1819 Scott, in a letter to Constable, says that the Ballantyne Press 'has sixteen presses, of which only twelve are at present employed.' In 1826 the firm became involved in the bankruptcy of the publishers Messrs. Constable. After this Ballantyne was employed as editor of the Weekly Journal, and the literary management of the printing-house. He died on the 17th January 1833. The firm is now known as Ballantyne, Hanson and Co., and admirably sustains its old traditions.

Another great Scottish printing-house, that of T. and A. Constable, was founded by Thomas Constable, the fourth son of Archibald Constable the publisher. He learned his art in London under Mr. Charles Richards, and on returning to Edinburgh, in 1833, he founded the present printing-house in Thistle Street. Shortly afterwards he was appointed Queen's Printer for Scotland, and the patent was afterwards extended to his son Archibald, the present titular head of the house. Some years later he received the appointment of Printer to the University of Edinburgh. Thomas Constable inherited and incorporated with his own firm the printing business of his maternal grandfather, David Willison, a business founded in the eighteenth century. The firm has always been noted for its scholarly reading and the beauty of its workmanship; and only the fact that this volume is being printed by it prevents a longer eulogy.

Among other Scottish firms who are doing excellent work mention may be made also of Messrs. R. and R. Clark of Edinburgh, who tread very closely on the heels of the Clarendon Press, and Messrs. Maclehose, the printers to the University of Glasgow. In America also there is much good work being done, that of Mr. De Vinne and of the Riverside Press, Cambridge, being of the very highest excellence.

In the history of English printing, the close of the nineteenth century will always be memorable for the brilliant but short-lived career of the Kelmscott Press.

In May 1891 Mr. William Morris, whose poems and romances had delighted many readers, issued a small quarto book entitled The Story of the Glittering Plain, which had been printed at a press that he had set up in the Upper Mall, Hammersmith.

Lovers of old books could recognise at once that in its arrangement, and, to some extent, in its types, this first-fruit of the Kelmscott Press went straight back to the fifteenth century, resembling most nearly the quartos printed at Venice about 1490. Until within a few years of that date printed books, like the old manuscripts, had dispensed altogether with a title-page. Their first few pages might be occupied with a prologue or a table of contents, and though, when the text was reached, it was usual to herald it with an Incipit or Incomincia, followed by the title of the work, the information as to date of issue, printer or publisher, and place of imprint or sale, which we look to find in the title-page, was only given in a crowning paragraph or colophon at the end of the book, save for one or two accidental instances. The full title-page, as we know it, is not found before about 1520, and did not come into general use, so as to supersede the colophon, until many years after that date. But about 1480 the advantage of getting the short title of the book clearly stated at its outset was becoming pretty generally recognised, and from this date onwards what may be called the label title-page—that is, a first page containing the title and nothing else—is very frequently found. Ten years later a practice occasionally adopted elsewhere became common at Venice, and the first page of the text of a book was decorated with an ornamental border, and occasionally with a little picture as well. It was this temporary fashion which commended itself to Mr. Morris, and The Story of the Glittering Plain was issued with one of these label title-pages and with the first page of the story surrounded by a very beautiful border cut on wood from a design by Mr. Morris himself, here reproduced by the kind permission of his executors. It contained also a number of decorative initial letters, to use the clumsy phrase which the misappropriation of the word capitals to stand for ordinary majuscules, or 'upper case' letters, makes inevitable. Mr. Morris's initials were, of course, true capitals—i.e. they were used to mark the beginnings of chapters, and the only fault that could be found with them was that they were a little too large for the quarto page. These also were from Mr. Morris's own designs, ideas in one or two cases having been borrowed from a set used by Sweynheym and Pannartz, the Germans who introduced printing into Italy; but the borrowing, as always with Mr. Morris, being absolutely free. As for the type, it was clear that it bore some resemblance to that used by Nicolas Jenson, the Frenchman who began printing in Venice in 1470, and whose finer books, especially those on vellum, are generally recognised as the supreme examples of that perfection to which the art of printing attained in its earliest infancy. Mr. Morris's type was as rich as Jenson's at its best, and showed its authorship by not being quite rigidly Roman, some of the letters betraying a leaning to the 'Gothic' or 'black-letter' forms, which had found favour with the majority of the mediaeval scribes. At the end of the book came the colophon in due fifteenth-century style, with information as to when and where it was printed. The ornamental design bearing the word 'Kelmscott,' by way of the device or trade-mark without which no fifteenth-century printer thought his office properly equipped, was not used in this book, but speedily made its appearance.



Pretty as was this edition of the The Story of the Glittering Plain, it yet raised a doubt—the doubt as to whether there was any real life in this effort to start afresh from old models, or whether it was a mere antiquarian revival and nothing more. The history of printing—or rather of the handwriting which the first printers took as their models—recorded, at least, one instance in which an antiquarian revival had been of permanent service; for the Roman letter, which the printers have used now for four centuries, was itself a happy reversion on the part of the fifteenth-century scribes to the Caroline minuscules of 600 years earlier, which had gradually been debased past recognition. There was no room for a second such sweeping reform as this, but those who compared the best modern printing with the masterpieces of the craft in its early days knew that the modern books by the side of the old ones looked flat and grey; and the new Glittering Plain, though not entirely satisfactory, was certainly free from these faults. A few months later the appearance of the three-volume reprint of Caxton's version of the Golden Legend of Jacobus de Voragine, sufficed to show that the Kelmscott Press was capable of turning out a book large enough to tax the resources of a printing-office, and the new book was not only larger but better than its predecessor. It became known that this, but for an accident, should have been the first book issued from the new press; and it was evident that the initial letters were exactly right for this larger page, while the splendid woodcuts from the designs of Sir Edward Burne-Jones revived the old glories of book-illustration. In the Golden Legend also appeared the first of those woodcut frontispiece titles which formed, as far as we know, an entirely new departure, and confer on the Kelmscott books one of their chief distinctions. Printed sometimes in white letters on a background of dark scrollery, sometimes in black letters on a lighter ground, these titles are always surrounded by a border harmonising with that on the first page of text, which they face. They thus carry out Mr. Morris's cardinal principle, that the unit, both for arrangement of type and for decoration, is always the double page. How persistently even the best printers in the trade ignore this principle is known to any one who has asked for a specimen of how a book is to be printed, it being almost impossible to get more than a single page set up. If a double page is insisted on, the craftsman, ingenious in avoiding trouble, will print the same page twice over, thus confusing the eye by the exact parallelism of line with line and paragraph with paragraph. But Mr. Morris, who had all the capacity of genius for taking pains, understood that, when a book lies open before us, though we only read one page at a time, we see two, and in the selection of the type, the adjustment of letterpress and margins, and finally in the pursuit of a decorative beginning, either to the book itself, or to its sections, he never arranged a single page except in relation to the one which it was to face.

As far as permanent influence is concerned Mr. Morris's Roman letter, the 'Golden type,' as it was dubbed, from its use in the Golden Legend, is the most important of the three founts which he employed. His own sympathies, however, were too pronouncedly mediaeval for him to be satisfied with it, and for the next large book which he took in hand, a reprint of Caxton's Recuyell of the Histories of Troy, the first work printed in the English tongue, he designed a much larger and bolder type, an improvement on one of the 'Gothic' founts used by Anton Koberger at Nuremberg in the fifteenth century. This 'Troy' type was subsequently recut in a smaller size for the double-columned Chaucer, and in both its forms is a very handsome fount, while the characters are so clearly and legibly shaped that, despite its antique origin, any child who knows his letters can learn to read it in a few minutes. With these three founts the Kelmscott Press was thoroughly equipped with type; but until his final illness took firm hold on him Mr. Morris was never tired of designing new initials, border-pieces, and decorative titles with a profusion which the old printers, who were parsimonious in these matters, would have thought extravagantly lavish. Including those completed by his executors after his death, he printed in all fifty-three books in sixty-five volumes, and this annual output of nine or ten volumes of all sizes, save the duodecimo, which he refused to recognise, gave his work a cumulative force which greatly increased its influence. Had he printed only a few books his press might have been regarded as a rich man's toy, an outbreak of aestheticism in a new place, of no more permanent interest than the cult of the sunflower and the lily in the 'eighties. Even the great Chaucer by itself might not have sufficed to take his press out of the category of experiments. But when folio, quarto, octavo, and sexto-decimo appeared in quick succession, each with its appropriate decorations, and challenging and defying comparison with the best work of the best printers of the past, the experimental stage was left far behind, and publishers and printers awoke to the fact that a model had been set them which they would do well to imitate.



As to what will be the permanent result of Mr. Morris's efforts to reform modern printing it is too soon as yet to speak, but signs of their influence are already abundantly visible. The books issued from the 'Vale Press' of Messrs. Ricketts and Shannon have their admirers; but they have that rather irritating degree of likeness which makes every difference—and the differences are numerous—appear a wilful and regrettable divergence.



The 'Macmillan Greek type,' designed by Mr. Selwyn Image, which has now been in use for some time, may be regarded as another offshoot of Mr. Morris's theories, and deserves all the praise due to a brave experiment. By permission of the Messrs. Macmillan a page of it, taken from their 'Parnassus' Homer, is here shown, and few modern types will bear comparison with it. That it is not wholly and entirely successful is due to the fact that for so many centuries Greek types have been dominated by the models set by Aldus and the other printers of the early sixteenth century, who tried to imitate the rapid cursive hand of the Greek scholars of their day. Had the introduction of printing been preceded by a revival of the beautiful Greek book-hand of the eleventh century, similar to the revival of the Caroline minuscules, all would have been well. But in going back himself to the eleventh century Mr. Image was obliged perpetually to conciliate eyes used to the later cursive forms, and the result is too obviously eclectic. The mere fact, however, that such an effort has been made is full of promise for the future, for it is only by new effort, joined with constant reference to old models, that types can be improved.

[Footnote 20: The History of Printing. London: Printed for the Society for Promoting Christian Knowledge, 1855, 8vo.]



INDEX OF PRINTERS, TYPEFOUNDERS, ETC.

Abree, J., 253.

Alday. See Alde.

Alde, Edward, 163, 169.

Alde, Elizabeth, 169.

Alde, John, 101, 163.

Allen, Edward, 271.

Allen, John, 220.

Alsop, Bernard, 171, 172, 179, 181, 194, 221.

Andrewe, Laurence, 53, 57, 58.

Andrews, J. and R., 210.

Arbuthnot, A., 146 sq.

Archer, T., 171.

Aspley, W., 163.

Asplyn, ——, 137.

Austin, Messrs., 307.

Austin, R., 221.

B. T., i.e. Brudnell, T., 190.

Badger, R., 179.

Baker, J., 102.

Baldwyn, Richard, 101.

Baldwyn, W., 101.

Ballantyne, Hanson and Co., 309.

Ballantyne, James, 307 sq.

Bankes, Richard, 55, 59, 60, 133.

Barber, John, 233, sq.

Barbier, Jean, 30.

Barker, Christopher, 97, 118 sq.,154, 208, 230.

Barker, Robert, 154 sq., 176, 216, 218, 230.

Barnes, Joseph, 124, 183.

Baskerville, John, xiii, 265 sq., 274.

Baskett, John, 230, 231, 232.

Bassandyne, T., 146 sq.

Beale, John, 179.

Bell, Jane, 221.

Bensley, Thomas, 271 sq., 284, 289.

Bentley, W., 221.

Berthelet, Thomas, 61 sq., 69, 82.

Bignon, J., 41.

Bill, John, 155, 160.

Bishop, George, 112, 120, 155.

Bishop, Richard, 166, 179, 183, 194, 221.

Bliss, Joseph, 251, 252.

Blomefield, F. (private press), 279.

Blount, Edward, 163.

Blythe, Robert, 101.

'Bonere.' See Bonham, W.

Bonham, John, 101.

Bonham, William, 52, 53, 74, 75, 76, 101, 129.

Bonny, W., 250.

Bourgeois, Jean le, 44.

Bourman, N., 101, 129.

Bourne, C., 254.

Bourne, N., 171.

Bowyer, William, the elder, 236 sq.

Bowyer, William, the younger, 238 sq.

Boyden, Thomas, 101.

Bradford, Andrew, 257, 258.

Bradford, W., 220, 221, 256.

Bremer, alias Bulle. See Bulle J.

Brice, Andrew, 252, 253.

Bridges, H., 224.

Broad, Alice, 218.

Broad, T., 218, 221.

Brodehead, G., 101.

Broke, R., 101.

Browne, E., 101.

Brudenell, J., 201, 208, 225.

Brudenell, T., 190, 222.

Bryan, S., 253.

Buck, J., 222.

Buck, T., 216, 222.

Bucks. See Buck, T.

Bulkeley, S., 218, 219.

Bulle, alias Bremer, J., 26.

Bullock, R., 112.

Bulmer, William, 271, 274, 288, 289.

Burges, F., 248, 249; his widow, 249.

Burtoft, J., 101.

Butter, N., 171, 173, 189.

Byddell, John, 37, 66, 68 sq., 76.

Bye, Deodatus, 296.

Bylton, T., 101.

Bynneman, H., 137.

Caley, R., 102.

Case, J., 101.

Caslon I., letterfounder, xiii, 239 sq., 269; his widow, 270.

Caslon II., letterfounder, 269, 287; his widow, 270, 287.

Caslon III., letterfounder, 269.

Cater, E., 101.

Catherwood, N., typefounder, 287.

Cawood, Gabriel, 112.

Cawood, John, 83, 101, 109 sq.

Caxton, William, ix, 1 sq., 33, 57.

Chandeler, G., 102.

Chandler, R., 255.

Charlewood, J., 102.

Charteris, H., 144, 149 sq.

Charteris, Robert, 151.

Chase, W., 250.

Chepman, Walter, 139 sq.

Child, Mr., 225.

Chiswick Press, xii, xiii, 300.

Clarendon Press, xiii, 214, 307.

Clark, Messrs. R. and R., 311.

Clarke, J., 101.

Clarke, Mrs., 233.

Clay, Messrs., 307.

Cleston, N., 101.

Clowes, John, 189, 222.

Clowes, William, 297 sq.

Coates. See Cotes, R.

Coe, A., 222, 224, 227.

Cole, P., 222.

Coles, A., 222.

Collins, Freeman, 250.

Constable, R., 222.

Constable, T., 310.

Cooke, Henry, 83, 101.

Cooke, W., 101.

Copland, Robert, 37, 47 sq., 61

Copland, William, 76, 101.

Corrall, C., 301.

Coston, S., 101.

Cotes, R., 222.

Cotes, T., 179, 182.

Cotes, Mrs., 224, 226.

Cottesford, H., 101.

Cottrel, J., 200, 222, 224, 225.

Cottrell, Thomas, typefounder, 270.

Cowper, E., 285.

Crespin, J., 147.

Croke, A., 101.

Crosse, R., 101.

Crossgrove, H., 250.

Crost, A., 101.

Crouch, E., 222.

Crouch, J., 222.

Crouch, N., 224, 227.

Crowndale, C., 248.

Dabbe, H. See Tab, H.

Daniel, R., 216.

Darby, J., 209, 225, 227.

Darker, S., 251.

Davidson, T., 142.

Davison, T., 292, 293.

Davy, Rev. William (private press), 281.

Dawson, Gertrude, 194, 222.

Dawson, J., 179, 194.

Day, John, 29, 79 sq., 101, 106, 137, 154, 158, 198, 211.

Day, Stephen, 185.

Devell, T., 101.

De Vinne, F., 311.

Dexter, Gregory, 175.

Dicey, W., 251.

Dockwray, T., 101.

Doesborch, J. van, 57.

Dover, Simon, 206.

Drury, J., typefounder, 287.

Dugard, William, 191, 222.

Duxwell, T., 101.

East, T., 165, 169.

Eld, George, 169.

Ellis, W., 222.

Eyre, Charles, 294.

Eyre and Spottiswoode, 293.

Faques, R. See Fawkes, R.

Faques, W., 40, 44.

Farley, Edward, 253.

Farley, Samuel, of Bristol, 251; of Exeter, 251 sq.

Farmer, Thomas, 278, 280.

Fawcett, Rev. John (private press), 280.

Fawcett, T., 172.

Fawkes, R., 45, 58.

Fayreberne, J., 101.

Field, John, 194, 222, 224.

Field, Richard, 117 sq., 162.

Fifield, Alexander, typefounder, 180.

Figgins, V., typefounder, 272.

Fleet, Thomas, 259.

Flessher. See Fletcher.

Fletcher, James, 194, 197, 206, 209, 222, 224, 225.

Fletcher, Rev. John (private press), 281.

Fletcher, Miles, 169, 170, 179, 194, 237.

Foster, John, 220.

Foulis, A. and R., 261 sq.

Fowle, D., 260.

Fox, John, 101.

Franklin, B., 258.

Franckton, J., 152.

Freez, F., 122.

Frenche, P., 101.

Fry, Edmund, Henry, and Joseph, typefounders, 268 sq.

Gamlyn or Gammon, A., 101.

Gammon. See Gamlyn.

Ged, William, stereotype founder, 235.

Gee, Thomas, 101.

Gent, Thomas, 246, 254 sq.

Gibson, Thomas, 65, 79.

Gilbert, Richard and Robert, 296.

Gilbert and Rivington, 295.

Gilfillan, J., 255.

Glover, Joseph, 185.

Godbid, William, 200, 224, 225.

Goez, H., 122.

Goez, M. van der, 122.

Gonneld, James, 101.

Gough, John, 37, 53, 54 sq., 60, 101.

Grafton, Richard, 66, 70 sq., 73, 76, 113.

Green, S., 219.

Green, S., the younger, 220.

Grene, R., 101.

Griffin. See Griffith, E.

Griffith, E., 170, 179, 222.

Griffith, W., 90, 101, 138.

Grismand, J., typefounder, 180, 194, 200, 222.

Grismond. See Grismand.

Grover, James, 211.

Grover, T., 211, 212.

Gryffyth, Sarah, 224, 227.

Guine, H., 257.

Hacket, Thomas, 102.

Hall, H., 222.

Hamilton, A., 275.

Hare, A., 222.

Harper, Thomas, 169, 179, 192, 194, 222.

Harris, B., 220.

Harrison, John, 108.

Harrison, Luke, 108.

Harrison, Martha, 222.

Harrison, R., 101.

Harvey, R., 101.

Haviland, John, 166, 170, 179.

Hayes, J., 200, 202, 208.

Hayes, Mr., 225.

Heldersham, F., 222.

Herford, John, 127 sq.

Heron, John, 53.

Hester, Andrew, 101.

Hills, Henry, 194, 222.

Hinton, Thomas, 251.

Hodge, Robert, 257.

Hodgkinson, R., 179, 195, 200, 224.

Hodgkys. See Hoskins.

Holder, R., 101.

Holt, J., 257.

Holyland, J., 101.

Hopyl, W., 43.

Hoskins or Hodgkys, 139.

Hostingue, L., 140.

Huke, G., 101.

Hunscott, J., 222.

Hunt, J., 222.

Hunt, T., 24.

Hurdis, Rev. J. (private press), 281.

Husbands, E., 222.

Huvin, J., 30.

Hyll, J., 101.

Hyll, R., 101.

Hyll, W., 101.

Ibbitson, Robert, 189, 200, 222.

Ireland, R., 101.

Islip, A., 179.

Jackson, Joseph, typefounder, 270 sq.

Jacobi, T., 43.

Jaggard, Isaac, 163.

Jaggard, William, 163.

James, J., 212.

James, T., letterfounder, 229 sq., 235, 239.

Jaques, J., 102.

Johnson, M., 219.

Johnson, T., 224, 227.

Jones, William, 173 sq., 180.

Judson, J., 102.

Jugge, Richard, 97, 102, 111, 112 sq., 147.

Keball, J., 102.

Keimer, S., 258.

Kele, John, 102.

Kele, Richard, 60, 75, 133.

Kele, Thomas, 53, 76.

Kelmscott Press, xiii, 311 sq.

Kerver, Theilman, 47.

Kevall, R., 102.

Kevall, Stephen, 102.

Kingston, Felix, 162, 179.

Kirgate, Thomas, 278.

Kneeland, S., 259.

Kyng, J., 102.

Kyrforth, C, 124.

Lacy, ——, 137.

Lant, R., 76, 102.

Law, Henry, 296.

Leach, Thomas, 209, 224, 227.

Lee, W., 222.

Legate, John, 135 sq., 179.

Legg. See Legge, C.

Legge, Cantrell, 136, 168.

Lekpreuik, R., 143 sq.

Lettou, John, 11, 26, 27.

Leyborne, R., 222, 225.

Leybourne. See Leyborne, R.

Lichfield, John, 183.

Lichfield, Leonard, 184, 223.

Lillicrapp, P., 224, 227.

Lillicropp. See Lillicrapp.

Lloyd, H., 224, 227.

Lobel, M., 102.

Lownes, H., 167.

Lownes, M., 167.

Lucas, M., 176.

Lyon, B., 250.

Mabb, Thomas, 200, 205, 223.

Maclehose, Messrs., 311.

Machlinia, W. de, 27, 29.

Macmillan, Messrs., xiii.

Mansion, Colard, 4, 6, 10.

Markall, T., 102.

Marsh, Thomas, 97, 102.

Marshall, John, 295.

Marten, W., 102.

Martin, William, typefounder, 273.

Mathewes, Augustine, 173, 180.

Maxey, John, 192.

Maxey, T., 223.

Maxwell, Mr., 227.

Maxwell, Anne, 224.

Maxwell, D., 200.

Maycock, J., 209, 223, 224, 225.

Mayhewes, W., 53.

Mayler, J., 76.

Maynyal, George, 16.

Meredith, C., 223.

Meredith, H., 258.

Meteren, J. van, 72.

Middleton, ——, 76.

Middleton, W., 68.

Milbourne, T., 224, 225.

Miller, A., 223.

Miller, G., 179.

Milner, Ursyn, 123.

Moravus, Matthew, 26.

Mosley, E., 296.

Mottershead, E., 223.

Moxon, James, typefounder, 194.

Moxon, Joseph, typefounder, 210, 223.

Mychell, John, 75, 132.

Myllar, A., 139 sq.

Neale, F., 223.

Newbery, R., 120, 155.

Newcomb, T., 194 sq., 209, 223, 224, 225.

Nichols, Arthur, typefounder, 180.

Nichols, John, 289 sq.

Nichols, J. Bowyer, 292.

Nichols, J. Gough, 292.

Norton, Bonham, 75, 155, 161 sq., 169.

Norton, H., 102.

Norton, John, 155, 158 sq., 180, 194.

Norton, Mark, 112.

Norton, Roger, 194, 197, 224, 225.

Norton, William, 75, 102.

Notary, Julian, 30, 32, 37.

Nuthead, W., 221.

Nutt, R., 212.

Oakes, E., 225, 227.

Okes, J., 172, 182.

Okes, Nicholas, 167, 172, 180

Oporinus, ——, 86.

Os, Godfried van, 22.

Oswen, John, 131 sq.

Oulton, Richard, 182.

Ouseley, Mr., 225.

Overton, J., 130.

Paget, R., 102.

Paine. See Payne, T.

Palmer, Samuel, 240.

Parker, J., 257.

Parker, P., 210.

Parker, Thomas, 102.

Parsons, M., 179, 180.

Partridge, J., 223.

Pattenson, Thomas, 102.

Payne, T., 223.

Pelgrim, J., 43.

Pepwell, Henry, 37, 43, 49, 75, 129.

Petit, T., 66, 76.

Pickering, W., 102.

Pierce, R., 220.

Pigouchet, F., 60, 140.

Playford, J., 223.

Powell, H., 102, 151 sq.

Powell, Thomas, 63, 102.

Powell, W., 68, 102.

Purfoot, T., 98, 102, 179.

Purslowe, Elizabeth, 182, 194, 223, 227.

Purslowe, G., 170, 179.

Purslowe, Thomas, 175, 179, 180, 194, 224.

Pynson, Richard, xi, 28 sq., 39 sq., 57, 68.

Radborne, R., 102.

Raikes, Robert, 251.

Rastell, John, xi, 51 sq., 74, 76.

Rastell, W., 110.

Ratcliffe, T., 223, 224, 225.

Rawlins, William, 225, 227.

Raworth, John, 179.

Raworth, Richard, 176, 180.

Raworth, Ruth, 176, 191, 223.

Redman, Elizabeth, 68.

Redman, John, 224, 227.

Redman, Robert, 66, 67 sq.

Regnault, F., 72.

Reynes, John, 109.

Reynes, Lucy, 109.

Richardson, R., 102.

Richardson, Samuel, 241 sq.

Richel, Wendelin, 86.

Riverside Press, 311.

Rivington, Messrs., 246, 295 sq.

Roberts, J., 97, 154.

Robinson, William, 277.

Roger, G., 260.

Rogers, J., 102.

Rogers, O., 102.

Rood, Theodoric, 24.

Ross, J., 148.

Ross, T., 223.

Rothwell, J., 223.

Roycroft, Thomas, 194, 198, 200, 206, 209, 223, 224, 225.

Royston, J., 223.

Royston, R., 223.

Rycharde, Dan Thomas, 127.

Ryddall, W., 102.

Sawyer, T., 102.

Scolar, J., 123, 125.

Scoloker, A., 81, 129 sq.

Scot or Skot, John, 142 sq.

Seres, William, 76, 79 sq., 102, 130, 154.

Shereman, J., 102.

Sherewe, J., 102.

Shober, F., 257.

Short, J., 183.

Siberch, J., 125 sq.

Simmes, V., 139.

Simmons, Mathew, 190, 194, 223, 224, 226.

Singleton, H., 102.

Skot. See Scot, J.

Skot, John, 54, 62.

Smethwicke, J., 163.

Smith, H., 68.

Smyth, A., 102.

Smyth, R., 151.

Snodham, T., 169.

Solemne or Solempne, A. de, 133 sq.

Solempne. See Solemne, A.

Sparke, Michael, 173, 174.

Spottiswoode, A., 295.

Spylman, S., 102.

Stansby, W., 165, 170.

Staples, A., 255.

Steward, W., 102.

Strahan, W., 294.

Streator, J., 200, 224, 225.

Stroud, J., 137.

Sutton, E., 102.

Sutton, H., 102.

Symonds. See Simmons.

Tab, Henry, 59.

Tab, J., 129.

Talboys and Wheeler, 301.

Talleur, Le, 29, 41.

Taverner, N., 102.

Taylor, William, 175.

Thomas, T., 135.

Thomlyn, A., 139.

Thompson, G., 223.

Tottell, Richard, 97, 102, 110, 113 sq.

Tottell, W., 116.

Toye, Elizabeth, 111.

Toye, Robert, 74 sq., 83, 111.

Treveris, Peter, 56.

Turke, J., 102.

Turner, William, 173, 183.

Twyn, John, 205.

Tyer, R., 102.

Tyler, E., 224, 225.

Tysdale, J., 102.

Tyton, F., 223.

Urie, Robert, typefounder, 262.

Vaughan, Mr., 225.

Vautrollier, Thomas, 97, 116 sq., 150.

Waldegrave, Robert, 138, 149, 150.

Waley or Walley, C., 102.

Waley, J., 102, 110.

Walkley, T., 191, 223.

Wallys, R., 102.

Ward, Caesar, 255.

Ward, Roger, 98.

Warren, Alice, 195, 200.

Warren, Thomas, 195, 223.

Warren, Mr., 225.

Watkins, Richard, 97, 154.

Watts, J., 239.

Watts, W. M., 296.

Way, R., 102.

Wayland, John, 102.

Weyman, William, 257.

Whitchurch, Edward, 70, 73.

White, Grace, 254.

White, John, 254, 255.

White, John, jun., 254, 256.

White, Robert, 224, 225.

White, Thomas, 301, 303.

Whitney, J., 102.

Whittingham, Charles, the elder, 299, 300.

Whittingham, Charles, the younger, 300 sq.

Wilde, J., 241.

Wilkes, John (private press), 279.

Willison, D., 310.

Wilson, Dr. A., typefounder, 263.

Wilson, W., 223.

Windet, J., 165.

Winter, John, 225, 227.

Wolfe, John, 98, 195.

Wolfe, Reginald or Reyner, 102, 103 sq.

Wolfgang, 43.

Wood, Mr., 225

Woodcock, T., 112.

Woodfall, Henry, 243 sq.

Worde, Wynkyn de. See Wynkyn, Jan, de Worde.

Wrench, W., 183.

Wright, J., 223.

Wright, Thomas, typefounder, 180.

Wright, W., 223.

Wyer, Robert, xi, 47, 57 sq., 76, 102.

Wynkyn, Jan, de Worde, 4, 16, 17, 18, 20 sq., 31 sq., 47, 54, 68, 69, 140, 211.

Young, R., 170.

Zenger, J. P., 257.



INDEX TO PLACES

Abingdon, 125.

America, 219 sq., 256, 311.

Antwerp, 16, 57, 72, 122.

Basle, 86.

Birmingham, 256.

Bishopstone, Sussex, 281.

Boston, Mass., 220, 259.

Brearley Hall, 280.

Bristol, 129, 218, 219, 250, 268.

Bruges, 4, 7.

Bungay, co. Suffolk, 307.

Cambridge, 10, 125 sq., 135 sq., 216, 222, 236, 248.

Cambridge, Mass., 219, 311.

Canterbury, 75, 132, 253.

Chester, 256.

Cirencester, 251.

Cologne, 4, 6, 24, 25.

Coventry, 139.

Darlington, 278 sq.

Dublin, 152.

Edinburgh, 139 sq., 309.

Ewood Hall, 280.

Exeter, 218, 251.

Fawsley, near Daventry, 139.

Fersfield, co. Norfolk, 279.

Gateshead, 219.

Geneva, 147.

Glasgow, 261 sq., 311.

Glynde, Sussex, 281.

Gouda, 22.

Ham, East, 137.

Haseley, near Warwick, 139.

Hemel Hempstead, 137.

Hempstead. See Hemel Hempstead.

Hertford, 307.

Ipswich, 129 sq.

Ireland, 151 sq.

Kelso, 308, 309.

Liverpool, 256.

Lustleigh, co. Devon, 281.

Madeley, Shropshire, 281.

Molesey, East, 138.

Naples, 26.

Newcastle, 218, 219, 236, 256.

New England, 185 sq.

New Haven, Conn., 257.

New York, 220, 221, 256, 257.

Norwich, 133, 248 sq.

Nottingham, 256.

Oxford, 23, 24, 123 sq., 183 sq., 214, 222, 223, 228, 247 sq., 301, 307.

Paris, 16, 30, 46, 47, 60, 72.

Pennsylvania, 220.

Philadelphia, 257.

Plymouth, 219.

Portsmouth (N. H.), 260.

Rome, 26.

Rouen, 29, 44, 140.

St. Albans, 25, 127.

Scotland, 139 sq.

Shrewsbury, 219.

Southwark, 56, 222.

Stonor Park, 138.

Strasburg, 86.

Strawberry Hill, 276.

Tavistock, 126.

Tunbridge Wells, 253.

Virginia, 221.

Westminster, 7, 10, 14, 30.

Wolston Priory, 139.

Woodbridge (N. J.), 257.

Worcester, 131, 253.

York, 122 sq., 218, 219, 254.

Edinburgh: T. and A. CONSTABLE, Printers to Her Majesty

THE END