MOL s 2HEA Bah i iy ote voun cmt . \" A OM, ahh ra al) ES rT =f Nes << eT ee pe s CFE haere ene. Raevaiahek HACIA: ME RAT eT ie wi eA A ty i fi } Wine wi) vy A ty tie these aoe ey i Dey : f Weceaeiri aay Leb petef MY cP ; F cr i ua j f Aieaico anu dn fie tahoe eae be ae i i Niky Pika na) nea pring A ak ; i a) mM Ay AW (ehh ; if W ) ‘i apa y ii Deel ey 1H DAA patran cua ARTE His ul Gt y Ht Uebel REDE iH s a i os UN ARSE: pt f )) i Aas VAN SiM (inibn tlt | wiht ir \ iit a A nev OK ged at Del tpt te ae se Pa 4 i du M 4 (3 Wyte Hans ee . es : ae ae ae fy on q ae i isha en ( “ite oe oe i ba ce i ae Hh Hee Ht ot aes tel a oe i sie ee ee oe Hata fi a ie sn shone Ff i risa east i ene ane cS its i iit, j i id Me ee ea w HD i t wih ANY Mt) BM th 4 i ie o ee ie a ae ee i Fen ine ba nei aneweaalbs4 oi i Hii isapalen new Rok i He ae Pe a oe ee Be - os ee ip ? sea cf ay a oo ae i st "5 bein : he ee ny fie : hn ae se mas ny sri a on oe ny tay Hi ne 4 iggy aah suuh a ee i HH iss ny ba bi ices iy an a a { lt Tie ait yi A HI by ot) i \ Sia rR AMIR ma vy bas can aha atte (i LUA aA TICE nak a CAT A In A Aa 809 A \ SH NANG HO Ta a " shen i ai ae : ( NAME HEUO MHA R MOE ‘ HE MG TAM caeauladeat es eet ale “ ae Ha ae i ys Hae Pea bi y 4 iia ‘ i hah i i i ‘i ce x | Seis 4 bud calbett ih ie eit et tH ictal Mai et vi f fe ae ass na eS aa f sian * en i Lh ‘i a ey YA ine i PAH Ue ara 5 ‘| ae a MK Bsa 5 Pe ais < y de an MO ais woie eh oe ti et Wet ON t | sy DURKEE h Coad i ‘ Pa ae teh Ie i i el Tee dean 4 nl Si eo 5 wi LAER ite hh eee eR MAKT % Ales Hei enwantt it ch i o “ih hia ie i i : an i oe a ae fur iy ; ii i) ai ) aa iy \ i Aaah heal ; ; | _ ns _— - So ua Ceres y nut oh We fort aha iy i Na MF ni a f Ka Hh aia diate ae i RAR on BF ae My ai te i ae coe | fi para man igre Nett ‘ite r 4 Ly BING ae ‘ i ib {i in aaa tat i} ee Me nt Mirani akan i Hic i ei ACH UG LAR et er f a i ae Macnee my ve Na ne oe a e he an fiat siete iA Taeats Mea hit ah Se ane on Syl i : i a coe i : byt i a ae i ae ie ae ne : si a ib i be 2 aaa i aie i 1 i ett Cary cu i : X i i ine ef ay i Ga Barta, Tay Gif CH Pht Te an Mata Pai iipieee Mallat s Washi aie) oA +4) if Me et Hania ter Fates UN hah cra date Ca Wel At i, iS 4 vy 0. niet i" Hi iW - ris i Hi ines it he Hi Mu a mists et eS a Ki ut ree ae Hie Ny Wing Na \ ALANA ; vi Bi si ts Fy sth AH Hina ae ) ON HUHaReat Ps Hi nn bia i ie i Hy ain i ihe ‘i Ha miner Hy % iy Hi iy i atten peat cae aa a = ha i bt pee i ’ AKO " et es i i a 2 Fi Th br 's STA ARGS ae Anhalt Ri GPCR ARIE E RIAL AM ATES ty i nis iin Cpu : aa Ni iy ih RY mi 4 \ i My 7 vais Dhyne iin K 1 “atin i i! is f ea q ne = Force eg . Miatagraity) ts i sin Ki Laid vi W0, Tari ah ry i rath ind bai at EAS sari CTA a TAL ASA a SUA NaN ase tes at Mie oneal ie ‘ HU a FN et ine 5 auc i a pasteles Sune tilt ‘i iN eee ALY et Wt Deiat ns ie Lilt ( WV Aik EN ‘i Kear “igh ansiie ) i auiKt os ieee y S Han iu . Tene esr ty a a Hit i ae ci co iyi is Be - Hy ti it i aN 8 senna ouennt eae ie DANNe yah ie Gi te v mee Abo HN) Ti ts teal ek (ean yi a rs Sa ag ae en st ie i < Aa ea A fie ae i oa Mica ae oe : i} ies ce ; 3 Vi wii iy i iat i th ; i ae in conse Ht at ve tei ca ee ie et ! : ee a uy il a En oe ee Soe : - ae Laas ue - tae roe Mee ee Pe 4 ee ‘S i * i i i ’ y 14 ' ; \ ) Py sWelb bl sigs fs ion in HE AMEE f : ay i iNeiaeh tS, aM eu iy ‘wh oa iy Tsar " : i a tah jueet fe Aeink i iG iirsy ae i Satin es ready pk iat (ag eit ia “hing APO ae {' oS i ae LU ae iV Wy Wintel Mf y Weaker yp nf ni AY ine : Hi ise ayiali fae side SUV aon ia alt } qin ee a if eae ! 4 oS - cia - . oe : a ee i ri efi yaaa Seed + iran iy Vania ihae iaanaes tht cat Es oe Sn iat Renal : ae = ; a Wakes} : i metessetih tee +, i) ae Shea acne eS th Tye THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES eee Jari ES x CAROLINA BOOK CARD Please keep this card in book pocket UNIVERSITY oF NORTH 75 J7E 2) 2 ye cn 67 6869 11 2 13.14 75 96-7 WO 78 ay Taare 8998999992 gag ggg 4 32 53 54 55 56 57 58 59 60 GI 62 63 64 §5 56 G7 68 69 30 7) 72 73 74 §9 P31 52 35 55 ou 57150 59 60 61 62 69 54 55 KS This BOOK may be kept out TWO pea ONLY. and is subject to 2 fine o ‘hs CENTS a day thereafter. It is DUE on indicated below: AR DAY in | Digitized by the Internet Archive in 2023 with funding from University of North Carolina at Chapel Hill https://archive.org/details/specimensofprintOOgeor y [t } q y eee AA Ws % Pea en “¥ 22 ER Shp eh eI {st Supplement to NEW-VYORK, April, 1883. $4.30. Two-LiInE PicA ORNAMENTED, No. 1,555. aye CBee == le ee 8. =) | ffir RorxpRUKKEN, BOERTENDE ZAMENSPRAAK MET AANG TUSSCHEN a 1, = ae es o- — ef +5 | peas _ e. 4 Kiass, nex Avner, ex da, ney [)RUKKER =. , 3K fe \ 3K oe me a ake ee eee Rie | : 3 ‘Per ers van pen Prrvinper per Kunst havrens Jaxszoon Koster, = ee sk 3 < S32 aye ee e 4 Cs. a : LD) Bowe [Jonpazcam, 1823. $7.40. THREE-LINE PicA ORNAMENTED, No. 1,555. i pee SUCHDRUCKERKUNST UND a 3 Atasiuesnignn PREDICT AME P Reyne 1840 MALIN (i L&E ( q Roecxet, OLDENBURG, 1840. $ -Jo-—$=4. fo Lay this First Supplement in BRUCE’S SPECIMEN BOOK of 1882, which is in your possession. 353 STYLE 1,074. ; e i a ») pera Fy ¥ ) R ral > GQONO « yi y PI EXD Long oA Rays) ie Wk Cy oe G oS a ® QI ccs @ @ oo’ - BA 8 Ib. 12 oz 12A 2 lb. 13 oz. 10A 4 lb. 14 oz 2 oirto E age no) R OT) ef@o ¥ : GC BA 7 lb. 12 oz 2) Se 3 Gi A 6 By £2 ss G 44 oe Co S one er we OG phe Ore< JD @6, © bx “> Ca) Py 2.68 Ce Dl Gi NX hal : Vi LYS 5 <<) OHS 5 2 C585 eh 4 eel cCOTOXER\O » 7 OC QPP FECA OE ; °! ty AS N ) oF c @ Four-LinE PicA ORNAMENTED, No. 1,074. Two-LInE BouRGEOIS ORNAMENTED, No. 1,074. Two-LInE PicA ORNAMENTED, No. 1,074. TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,074. al ?) ee oO Sy ) é ES BORE ? CXOG D Cy ¢ 5 6 eA @) me West Ey C @) oe y) Q : J¢ Ve) } 7 a ANC as ese DN A Ite oC Ni 4 OWEN a <6) 2 No 5 “O58 oe) Oey ( have $ on (9) een i) + Ne) Ss st; hors 2 ie Lp 36) eS EC Oy AG 354 GEORGE BRUCH’S SON & CO., Typn-FounpERS, No. 13 CHampBerrs-Strent, NEW-YORK. STYLE 541. $3.00. NONPAREIL BLACK ORNAMENTED, No. 541. 493273144 | $3.60. Brevier BLAcK ORNAMENTED, No. 541. *339nd144 K SOLID TAKE. Pope Pius J]. im 1462, wrote a letter to Quillawne le BS, a celebrated engraver, established a Plakomet whieh was printed at the Convent of Yeoidenbach, near Qologne, Tupe-foundry at Paris in 1552, and soon after bought the : a : This letter made a quarto volume of 168 pages in | punches of the famous Claude Garamond, “the whieh there are but 3 paragraphs. Chree editions of the book are known, | : , 4 father of type-founders.” Pfis grandson, Fe BS IT], last of Pladden thinks they were set at the same time by learners of printing. x the name, sold the foundry to Kournier, sexior, in 1734, $3.40. LonG-prmer BLack OrNA’D, No. 541. “2 to'e." $4.35. Pica BLACK ORNAMENTED, No. 541. 22,2454 The Redford Mfissal, a richly Whrumninated The printers of Guons, France, ook made in ffrance or flanders during the 14th : ; % ¥ # | during the first half of the XK VJth ¢en- eontury, was sold in [$15 for £637, 15s. i ed ¢ lit ury were KH X Kae ar Chis missal was a quarto more than 2 inches thick. g ? NARA RS tN: no See It contained 59 large Ulustrations, and more PILACISS. Rldus Yfanutius, tx 1598, than 1606 small miniatures, | denounced them as rogues. $6.50. GREAT-PRIMER BLACK ORNAMENTED, No. 541. ae th ide Simon de Qolines printed, in many editions, 24,000 copies of the Golloquies of Grasmus. Che sale of the book was afterward suppressed by order of the [[niversity of Paris. 15aand6A $7.20. Dousie PicA BLACK ORNAMENTED, No. 541. send (hte first six notes of Nfusi¢e are said fo have been invented, about the year 1925, by Guy Lretine, a Ronedichine monk. 12aand5A $9.85. DousLe GREAT-PRIMER BLACK ORNAMENTED, No, 541. rd Ghe Notes of Klusie now in use were perfected in 1338. GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 355 ~ ou =, 7 . o i. Eitise +1) “eae anes n 7 3 | oe aye ; lS STEN BC hagl f c Ves Ligen dP : / 4 Lin}. 1reeengeierte 14 Leer DEE btyiets ‘ — ry ; c ¥; a+. zee ras tee ® + | © a Tn a Ae ae e a E : : : cs ‘ ‘ rc) So¥eg ey? grines iz oe! re 4 mes : fn : : ti horas Mis rrr ne f ie . . re : A : t 3 - a Ess ] oe r a. ¥ FSi. Abe i = - os ¢ ? 3 4 5ST Fi . aks - 2) Pecsne & : ‘ + te Pith er i. Mg ECA 3 Sighs ys See bes 2 ey sf he Vrpeis : +42 35 a i - a 4 ; i é n ters at “] ‘2525 F 4 + 5 £4 437 c7 - tee oe eee ee . A o 7 . . - + — : : 4 oer Do mae esi fic ; aha Dp —_ SC Te nite Te aa Be! ae Tee Payor ae > rr. ee aa , a ra aoe ’ = j t : i <5 "9 SL TILE ms 2 ; “i i= ar rs syhr nr ASS Ets 8G BER LED, PES ar eA — 7 . ca ii . . trite rei Cae oe is wher See = Wy ehet ef Cor a els ed aes ol Some a an re | Seeh “Go OUL: sear oes ORBLE > Lane hse setiaie As aut lta Ap oat Be aes Lea errr” -petpasscia iveresp st ci Lvcty ey anes iiss Bee: Eqifits st ona | eee vise — ok EneuisH, No. 13. BaTAvia HISTORIA. Postea faginas formas plumbeis mutauit, has deinceps stanneas fecit, quo solidior minusque flexilis esset materia, durabiliorque : € quorum typorum reliquijs que superfuerant conflata cenophora vetustiora adhuc hodie visuntur in Laurentianis illis, quas dixi, edibus in forum prospectantibus, habitatis postea a suo pro- nepote Gerardo Thoma, quem honoris caussa nomino, ciue claro, ante paucos hos annos vita defuncto sene. Fauentibus, vt fit, inu- ento nouo studijs hominum, quum noua merx, nunquam antea visa, emptores vndique exci- ret cum huberrimo questu, creuit simulartis amor, creuit ministerium, additi familix ope- rarum ministri, prima mali labes, quos inter Toannes quidam siue is (vt fert suspicio) Faus- tus fuerit ominoso cognomine, hero suo infi- dus & infaustus, siue alius eo nomine, non magnopere laboro, quod silentum vmbras in- quietare nolim, contagione cdéscientiz quon- dam dum viuerent tactas. Is ad operas ex- cusorias sacramento dictus, postquam artem iungendorum characterum, fusilium typorum peritiam, queeque alia eam ad rem spectant, percalluisse sibi visus est, captato opportuno tempore, quo non potuit magis idoneum inu- eniri, ipsa nocte quae CHRISTI natalitijs sol- ennis est, qua cuncti promiscué lustralibus sacris operari solent, choragium omne typor- um inuolat, instrumentorum herilium ei arti- ficio comparatorum supellectilem conuasat, deinde cum fure domo se proripit, Amstelo- damum principio adit, inde Coloniam Agrip- pinam, donec Magontiacum peruentum est, ceu ad asyli aram, vbi quasi extra telorum iactum (quod dicitur) positus tuto degeret, suorumque furtorum aperta officina fructum huberem meteret. Nimirum ex ea, intra ‘aTTO$ ‘SGVHI VOId OL 9 HLIM ee BaTAVia HISTORIA. vertentis anni spacium, ad annum a nato Christo 1442, ijs ipsis. typis, quibus Harlemi Laurentius fuerat vsus, prodisse in lucem certi est Alexandri Galli doctrinale, que Grammatica celeberrimo tune in vsu erat, cum Petri Hispani tractatibus, prima foetura. Ista sunt fermé quz & senibus annosis fide dignis, & qui tradita de manu in manum quasi ardentem teedam in decursu acceperant, olim intellexi, & alios eadem referentes atte- stantesq. comperi. Memini narrasse mihi Ni- colaum Galium, pueritizs mez formatorem, hominem ferrea memoria & longa canitie venerabilem, quod puer non semel audierit Cornelium quendam bibliopegum ac senio grauem, nec octogenario minorem (qui in eadem officina subministrum egerat) tanta animi contentione ac feruore commemoran- tem rei geste seriem, inuenti (vt ab hero acceperat) rationem, rudis artis polituram & incrementum, aliaque id genus, vt inuito quo- que pre rei indignitate lachrymz erumpe- rent, quoties de plagio inciderat-mentio: tum verd ob ereptam furto gloriam sic ira exar- descere solere senem, vt etiam lictoris ex- emplum eum fuisse editurum in plagiarium appareret, si vita illi superfuisset: tum deu- ouere consueuisse diris vitricibus sacrilegum caput, noctesque illas damnare atque exe- crari, quas vndé cum scelere illo, communi in cubili per aliquot menses exegisset. Qu non dissonant 4 verbis Quirini Talesij Cos. eadem fere ex ore librarij eiusdem se olim GEORGE BRUCE’S SON & CO., Typn-FounpErRs, No. 13 CHAmBERS-STREET, NEW-YORK. 356 ud Supplement to y ) AEF ==, NEW-YORK, July, 1884. $3.00. Two-LINE NONPAREIL ORNAMEN NOs 7G: L’ARTE: TIPOGRAFIGA IN PERUGIA DURANTE ih SEGCOLG XY. E Mk PRIMA MILA DE XVI. PERU GIA, 186:8). $3.90. INE Bourt ~ IS ORNAMENT NOTICE BIOG L.-F. SERGENT, | | } i { ni \ ) Be \ Uh nif \ ( uf (Th u \\\ )) 4 mi mY) SS ) TA | = J) Laie) Ne 0EL p \ R iw a 9) 9 A pig a it $4.95. Two-LINE PICA ORNAMENTED, No. 1,076 / i WW Wi Mh ff / if | PA TN | Va WF Ali Ny Wi & & \ Wa ie ae ae ee eS AK . | Nil ii | BN i | MH) Wee ie Wa) | I laa | Vehivu (AR |) A | a \ \ y i \ JB BAB \\ \ y y) \ \ \ B\ f \ IN| ie tie i HM } ! | \ \ i | ( My) I f IT m \ h < h } A ». 402 () Y \ | \\, NTED, No. lm \ f ( ff | 3 | re | ( \ p//, \\ : ( @) C 1/ Lay this Second Supplement in BRUCE'S SPECIMEN’ BOOK of 1882, which is in your possession 357 i: ia. Leet Peary ATT it y'¢ Fo; ie = 7 ey ri s 7 wi Se : i Fi 49 eh 1 oe ye ie Sh " Eee a i a Te tans. al “a . a | re ae ie Se A oa 1poF ia AMIS AD ORE 110982) Vo ITHARUG ADUTT Boat AGUA I4 | ah a ee a aa, ye , = 2 erga 2 _ v ell a i ry ee ee 7 ‘ - , ' i - oe - a Pr wa my “ . Bu ‘ ae i a } i “e ¥ y M ad *% SS eee iG, 2 ape ae 7 os By ~ . ia — ‘ = 2o.* * 4): FAM de sy Hy cada wal wars - Tey ) Ome AA AU TOD OL C307 RAND TIATERT pa Ae ae ate ae nied © NAOT ie Fac. ey " aa . 1 Y T Y Jo 04 q ‘ee oy 7 sf are oer ae at SAY ets peut, | i” ‘ iat a mie aT Or MHPUASTAG Ac yar a a ~ . . ‘ ; a4: ap”, Kore Al BOK DORAN TRIES ART Rosa _—il eet * ; : ie im wee) BOT Of OT VORP rae 3 T | OnE 1 ihe TOT YT a ae. * : Hd evn & SM OVI Sh BAR SUITE a ests _ f ; . 7 / j , : ee Be Be heey . SI ‘{ BOPEIES. ooo Veet ok! | ae a, thf eels al oe Lee pow Zid LG ee J: 10st Qi An 721 BIUOvwdh WY Ty, DPF ERA I | , Bi ty , / iwi 7 ‘ ‘ 4 ye ee * \ . mM i . ys rire i ’ ~ i% ae 7% al . i LN 345 ‘ \ si ¥ f YH . ‘ — q \ , ‘ { \ 4 j p 7 ad 1 : 4 e P & Wepen® wow al) . + ¢s2N i te \st a Yvon: \o: so i ree \ og A wg ‘a STYLE 654. 60 a and 30 A 2 Ib. 8 oz. $2.90. NoNPAREIL Evzevir Irauic, No. 654. THOUGH WE CAN PLEAD NO ANCIENT AUTHORITY jor the shape of Letters, yet doubtless (if we judge rationally) we must conclude that the Koman Letlers were Originally invented and contrived to be made and consist of Circles, Arches of Circles and straight Lines; and therefore those Letters that have these Figures, either entire, or else properly mixed, so as the Course and Progress of the Pen may best admit, may deserve the name of true Shape, rather than those that have not. Besides, since the late made Dutch Letters are so generally, and indeed most deservedly accounted the best, as for their Shape, consisting so exactly of Mathematical Regular Figures as aforesaid, And for the commodious Fatness they have beyond other Letters, which easing the Eyes in Reading, renders them more Legible ; As also the true placing their Fats and their Leans, with the sweet driving them into one another, and indeed all the accomplishments that can render Letter regular and beautiful.— Page 14. 40 aand 20 A LONG-PRIMER Evzevir Irauic, No. 654. *3 ia‘. $2.90. AND FOR MY OWN FUTURE SATISFACTION collected my Observations into a ‘Book, which IL have inserted in my Exercises on Letter-Cutting. For therein I have ex- hibited to the orld the true Shape of Christophel Van Dijck’s aforesaid Letters, largely Engraven in Copper lates. Whence I conclude, That since common consent of Bookmen assign the Garland to the Dutch-Letters as of late Cut.— P. 15. $4.50. GREAT-PRIMER Evzevir Iraric, No. 654. 60 aand 30 A BreEVIER Evzevir Irauic, No. 654. Sen ee $3.50. FOR MY OWN PART, I LIKED THEIR LETTERS SO well, especially those that were Cut by Chrtstophel Van Dyck of Amster- dam, that I set myself to examine Proportions of all and every the parts and Members of every Letter, and was so well pleased with the Harmony and Decorum of their Symetrie, and found so much Regularity in every part and so good reason for his Order and Method, that I examined the biggest of his Letters with Glasses, which so magnified the whole Letter, that I could easily distinguish, and with small Deviders measure off the size, scituation and form of every part, and the proportion every part bore to the whole.—Page r4. 30aand15A Pica Evzevir Iraic, No. 654. a eones ‘18: BY THE HéLP of asMAGNIF VIX GLASS, or two tf occasion be, even those small Letters will appear as large as the biggest Lod- zed Letters: cAnd then tt will be no difficult Task to gudge of the Order and Decorum even of the smallest Bodted Letters.—Page 15. 25aand12A 7 Ib. 8 oz, For indeed, to my wonder and astonishment, [ have observd UO. DIFCK'S PEcARINDOTCH LEG his in glasses that have Magnified them to great Letters— Page 16. $6.60. DovusLE SMALL-PIcCA Evzevir Iraric, No. 654. 25aand12A 11 Ib. 12 oz. And found the whole Shape bear true PROPORTION TO. HIS GREAIME Gi) 2 both for the Thickness, Shape, Fats and Leans—P. 16. $9.05. DouBLE GREAT-PRIMER Evzevir Iranic, No. 654. 15 aand 8 A 16 |b, 2 oz, MOXON’S MECH-ANICK EXERCISES or the Doctrine of flandy ‘Works appled to the Art of Printing, London, 168 3. GEORGE BRUCE’S SON & CO., TypE-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK,. 360 —— # hy & n & B. NEW-YORK, duly, 1885. 15 A $3.60. TWo-LINE NONPAREIL ORNAMENTED, No. 1,077. aera LE PLUS ANCIENNE GRAVURE GONNUE AVEG UNE DATE 1418 BARON DE F. A. REIFFENBER E! TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,077. 13 hb. Lay this Third Supplement in BRUCE’S SPECIMEN BOOK of 1882, which is in your possession. 361 ea ie a eee ran eae! oF b jet ude he i = 4 i - 12 A Two-LInE NoNPAREIL ORNA’D, No. 1,078. oth’a'se D, No. 1,078. Sm $2.45. IRN Bis tome J. BAPT. MATOLINI, UDINE, 1606. =" W PFNORR, DARMSTADT, 1838. AN ESSAY OM THE ILLUSTRATION OF BOOKS. SVO, J. PLOWMAN, LONDON, 1624, 2NAMENTED, No. 1,078. ENCYGLOPAEDIE DER BUCHDRUCKERKUNST HERMANN NEUBURGER, LEIPZIG, 1644, “i eT PARIS, 1889. a er, POLYTYPEW DER HOLZSCHMITTE, a hd eo STYLE 1,079. $2.30. Two-Link NoNPAREIL OrNA’D, No. 1,079. BA $3.00. Two-Line BourGeEors Orna’p, No. 1,079. oe BUSNBRUCARA BES gRreRmatagRa, ave. Co°") BISTOIRE BR 171M: G. QRIT1G, BER, 1279, PW. DL MAROULE, PA 419, 1962, Two-LINE PicA ORNAMENTED, No. 1,079. ATFICL SBLL 10 A 4 lb. 12 oz 8 = $6.05. TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,079. Be Zz Al Ze is GB A , VY ZAZA AYA ZO ZZ] 72 ip EA AA A fl A ly Z 4AM = AA: QA AAs ZA 4) aa os Z 2) ae) e 42 ZZ AA GZ 27 GAD 3B 5 iz 2 JAD Az a ey Z A) A 4 A 5A 7 Ib, 12 oz Four-LINE PrcA ORNAMENTED, No. 1,079. GEORGE BRUCE’S SON & CO., Tyen-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 363 STYLE 1,080. $2.75. Two-Line. Bourcgors Orna’D, No. 1,080. 91.42. DER HOLLANDISCHE BUCHNANDEL SEIT COSTER, aro) THE PRINTER'S BOOK OF DESIGNS. SYS” 6, MAGHRIS, DEFROVE, MIGH., 1877. $2.05. Two-LINE NONPAREIL ORNA’D, No. 1,080. ian ee OTTO MUEHLBRECHT, LEIPZIG, 1867. Two-LinE PicA ORNAMENTED, No. 1,080. DclelcA S THMPERI Dicle SEMINHRIO DI PADOVA, J GHETANO SORGATO, PADOVA, 1843. MORIA. THE BALLANTYNE PRESS, ‘DINBURGH, 1871, $5.20. Four-LInE PiGA ORNAMENTED, No. 1,080. UR LL PEHOGRAPHEN G. SCHMALZ, LEIPZIG, 1841. ® GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBErs-STREET, NEW-YORK. 364 STYLE 1,081. $2.05. Two-linz NoNPAREIL ORNA’D, No. 1,081. 1,254, | $2.75. Two-LinE BourcEors Orna’D, No. 1,081. 2943. bh KITHOGRAPHIE APPLIQUEE W LENSEIGWEMENT A \: 7) THE BEST PORTRAITS IN ENGRAVING FES, SELVES, PARIS, 1828, em” CHS. SUMNER, NE Ne NEG 7, TG ¢ bah ey Wg XD chee fA Pee fs of Wee ORK, tBt2: $4.05. Two-LINE PicA ORNAMENTED, No. 1,081. 4 th. 8 07, { by ih ht 4 ey fo) NON at het PI, st TTT hth +, ate] +, PrAy Ne q NZ ye .) a NG AYP AV > cf ch Al ait b Bed > ) Four-LINE PICA ORNAMENTED, No. 1,081. Tee GEORGE BRUCE’S SON & CO., TypE-FounpERS, NO. 13 CHAMBERS-STREET, NEW-YORK. 365 bate ee oe ae is, oe) Geese © 2F the GM. Ms Cen) OW i Deh a Oe alt ates akg f : ° us Pe al $ag ‘4 4 Pte eR APA 112 mili Js ' AST G64 Gf a th STYLE 1,557. $3.75. Pica ORN 5 NIG Lsay oo end ae | $4.00. GREAT-PRIMER ORNAMENTED,. No. 1,557. TENTS How to Tell a Caxton, as some ae where - how the same tn ee Variétés Bibliographiques et Littéraires. ht Bo, may be Found, AUG. DE REUME, BRUXELLES, 1850. WILLIAM BLADES, LONDON, 1870. $5.60. DousLEe Pica ORN NrED, No. 1,557. American Encyclopaedia of Printing. edited by d. Luther Rival. Large 6vo. J. LUTHER RINGWALT, PHILADELPHIA, 1871. $7.70. DouUBLE GREAT-PRIMBR ORNAMENTED, No. 1,557. Kerkgeschiedenis van Nederland voor de eae Ato, W. MOL, ARNHEM, 1664. Baand5 A Anal tipografici cl “Piemontesi del secolo XV. GIUSEPPE MANZONI, TORINO, 1856. GEORGE BRUCE’S SON & CO., Type-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 366 STYLE 1,558. S75. PIcA ORNAMENTED, No. 1,558. Essai lypograp hi we et BL $7.20. DousLe PicA ORNAMENTED, No. 1,558. NL" NN (‘= GEORGE BRUCE'S SON & CO., TypE-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK. 367 5 a ; } poh AEST Ot S i ES ae ‘ “ ¢ nh r \ ; 7 4 4 At Aya’! -W)% 1.) : 115 1 — NA S\N | AAG, Yoo 48 & ‘ 7 ? A + + > . = > ‘ - \ ah) ’ > vA \ ; VR AAY { ans’ ad ai" +} 9 ;\ te AL wl ‘il bd i : .<* ») % 4 i ? a: ao ; . , . ‘¢ rhe +s AY iD Ly - = ; | A | . : | N 1 Ay ob aa A STYLE 688. $5.00. GREAT-PRIMER CHIROGRAPH, No. 688. Se ena Llmbroise Ki irmin Hidot in 1820, gave up the use of Log - -shin Fnhing Lalls, and | did all his pressworh from LJollers of Glue ad Molasses, Lis cousin ules Hidot persisted in the use of | the old-fashioned Zalls, which he, @® others, claimed inked the type more evenly by Heating, than | could be done by the LKotation of an Lnhing Zoller. Sill the Working Gressmen of Garis were violently opposed to the introduction of Inking Leollers ind Nachine Eresses, £6. 30. DovusLEe PIcA CHIROGRAPH, No. 688. Huring the FKevolution at Laris in 1530, and OVEN MS late as 1 1518 | the journeymen pressmen of Y aris sbi the offices that had Machines ® Inking Fpollers, and destroyed the offensive materials, Lhey clamored jor the restoration of Und § Cresses and Snhi ing Balls, saying that the Meu Inventions were, or Would be, their ruin, as well as the ruin of the | Srinting b USINESS, $8.80. DouBLE GREAT-PRIMER CHIROGRAPH, No. 688. 10th 1D er: Lhe Inking Fyoller and. the Machine J Cress have. not destroyed hut have tnereased the worh of pressmen, Pressmen have more steady employment, with less of hard worh @ are much better paid. dee Hidot £ssuy on Lengraving on Wood, page 256, GEORGE BRUCH’S SON & CO., TypE-Founprrs, No. 13 CHamBErS-StrEET, NEW-YORK. 368 Bed SEEreSssee 2 ‘ . ere r eee es: wee ee: Dddodods eee: Sead Peeeeeseeeeeeeesetes Ceeeseeeesseeeseesene Veseeees. ee ORK, WO-LINE NONPAREIL ORNAMENTED, No. 1,082. aia » COMPRISING TH ul Two-LINE BouRGEOIS ORNAMENTED, No. 1,082. sea LOTT CANONIGOKU j ‘ 10 WO-LINE PICA ORNAMENTED, No. 1,082. aucoee Gi * SA Two-LINE GREAT-PRIMER ORNAMENTED, No. 1,082, ee | Lay this Fourth Supplement in BRUCE’S SPECIMEN BOOK of 1882, which is in your possession. 369 on Or eae te pee $2.80. Two-Line NONPAREIL ORNA’D, No. 1,084. aah a's, | $3.25. Two-LInp BourGEors Orna’D, No. 1,084. sian. ERASM ROTERODAMI «an ANCHTRAG ZU SILVA CARMINUM, ANTEHAG NUNQUAM yas “ IMPRESSORUM: ae DEN TYPOGR. DENKMALERN, ERASMUS, BRUXELLES, 1864. ays F. GRASS, BRIXEN, 1791. “LOF DER DRUKKUNSTE; DOOR .. J. COSTER, OMTRENT 1440 MI ARNMEERKINGEN, A, HOOGVLIET, ROFFERDAM, 1740. STENOGRAPHIE. EN FAGHYGRAPHIE 7, J. LION, GRAVENHAGE, 1849 ETUDE SUR LA GRAVURE.. H. GOBIN, PARIS. 1868, STYLE 1,559, $6.00. BREVIER ORNAMENTED, No. 1,559. “Site $4.90. LONG-PRIMER ORNAMENTED, No. 1,559. 494274204 Beschriving ban tuSee prachtexemplaren der in het _ibrorum haud tha dtu ab inventa Pransch vitéedgeVven Werken Van den Heer A. de Vries, over arte typographica editorum, quibus supplest possint € [Jitiindind der Boekdrukkunst. J. J. F. NOORDSICK, HAARLEM, 1846. Annales typoéraphici Maittatriant. FRID. OTT. MENCKEN, LEIPSIG, 1640. 95:55. pe TED, NO: 1,559. “iT $7.40. GREAT-PRIMER ORNA’D, No. 1,559. ee eber die Darstellung einiger cg Ber a7 ; U 3 Bie me bee Essai historique ef critique sur Mikroscopischer Botanischer Objeckte durch Naturselbstdruck. Minvention de limprinerie ALOIS POKORNY, WIEN, 1857. CHAIROGa SARIS! (abot $10.70. DovusLE PIcA ORNAMENTED, No. 1,559. pO sana one eer) Uren, bis |_ite and Works. Several SOOPOLINOS. GVO. Pp. XVI. 324. MemeelAM b. SCOTT; LONDON, 1662. $14.05. DouBLE GREAT-PRIMER ORNAMENTED, NO. 1,55€ ribs Coloris des | jthoéra ph’ es, 9mo. One leat with 6 plate. A. ROBIN, FARIS, 1037. GEORGE BRUGE’S SON & CO., TypE-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 371 ee aes wits STYLE 1,083. 104 8B lb, 6 oz, EXEEEEERE) RRXREERS EY KEEKERERSY CEREERS TENT ETE NTED April 20, 1886. ! = = PTEPPREEUECOECCCOCOCCOCCOOUeUUUUUeUUUEUOOUR DEOL LLL LLL LLL $11.85. THREE-LINE PicA ORNAMEN ‘ED, No. 1,083. 18 Ih 12 07. PSRERERESY (EREEEES fe g Seeteeconeee eeasesseeees Sep eessevees De ecevsoseess| Seeeeesetees Roeeeeseeee Se teneeeeeeee SP Pere Ses $3 PxEERERERS show ba = bd ERERESES bi Rae EE ES PS 10.25. 5A 14 1b, 4 oz. Saas #8 SEETETEEESSSS SEPP P Ee ER SO TLE POLES SETS g 4 $ E See Setereeeereeeenseeeees : ¢ é Sie ae $ 2 br ¢ i RSET SE, Sbdoo bobo . See = * See eeeeeeeeeeeeeeeeeees 32 POO? ¢ 29 Se85: 4 > bb i $ é 3 4 Zx% : ESSE SSS RESE ESE ESSE EEE ¢ Seeeeeeseeeneeeceeees vee : 3 . Neo : k bide $ 5 He eee es GEORGE BRUCE’S SON & CO., ypE-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 372 NCW-YORK, May, 1897. $2.00. Two-LINE NONPAREIL ORNA’D, No. 1,085. 11022 or. | $2.50. Two-LInE BourGEOISs ORNa’D, No. 1,085. 232A, By Tipocnta 30s THUGHAPCS, ce, DUR GESCHUOHTE UND THEORIE DER RECUERDOS DEL ARTE De IMPRIMIR Y DE SUS Sai¥g: ieee ee LORMSCHNRIDERUNST ANTONIO ESTEBAN DEL OLMO, MADRID, 1980. | G6. X. VON RUMONR, LEIPZIG, 1837. $3.50. Two-LINE Pica ORN ED, No. 1,085. STURI STORIGC SUL “ETPOBRAEIE, INRORNG PFORIGING DERE ARTE Dek STAPH. 16M, 126 PAGES, TRANCESCO GILIBERT, PALERMO, 1870. $5.15. RIMER ORNAMENTED, No. 1,085. “eTEIBERS DRAWE EN 5 AGEES EN TERS ED, POURNIER, PARIS, 1969 Lay this Fifth Supplement in BRUCE’S SPECIMEN BOOK of 1882, which is in your possession. 373 io ee a hls a ah 9 ode ioe, ute - sre ate. ’ STYLE 1,086. $2.35. ° Tw E NONPAREIL ORNA’D, No. 1,086. 2° $3.00. Two- FHE Ul P Es ANd TIMES OF JAMES GATNAGH, LATE OF SEVEN DIALS. CHARLES HINDLEY, LONDON, 1878, ery THE PRINTERS’ CARNIVAL AND WO) ——sCOOTHER POEMS, NES KELLY, AIRDRIE, 1875, Se hf 4 q S ma £S =| E Pica ORN , No saiee NOPICE SUR LE SPECULUM HUMANAE SALUATIONIS, J. MW. GUIGHARD, PARIS, 1840, TED, No. 1,086. 7 tHE Ant oF PRINTING AND CAXTON INSARD, LONDON. 1855, OTOIKE: NE MPR ri P, DUPONT, PARIS. 1854. GEORGE BRUCE’S SON & CO., TyPE-FounpErS, No. 13 CHAMBERS-STRE 1) H i ET, NEW-YORK. be STYLE 1,087. $3.90. Two-LInre NonPAREIL OrNA’D, No. 1,087. 325A, | $5.00. TWw0-LINE BourGEOIS OrNa’D, No. 1,087. ran 10A 8 Ih. 8 oz. $7.65. lo oo & > 2 : E = = z esac G =A = 5 = se) S= We VS = : = — =A aN Sf, RRSP A 22 TI @ 2 1D MReEpyTT Ai EAD EAD EE) AD Eyer ad Sarees Se } BAND, ws SON Suny Kanan XN \ s ‘N WRRARR RRR ES) eS SS. r =) 5 0() 22 PPT AA oF i oS Sh a RA Swiih sy Maan uaa S AD). SFOS? =X FDPERE

\ MW Wn YY RAN Sanaa nad \) Sy wi) A\ NN ND OY LN ~ WO ND ) « NN” ~Y . WY \\ ZZ ZZ: TWwo-LINE GREAT-PRIMER ORNAMENTED, No. 1,087. Aap ae ) y] \ SY nw Four-LineE PicA ORNAMENTED, No. 1,087. Pa Oe. \ \, \ NY \ atu \\ 2 GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 375 ae F eee, yey ae os L a 7 xe eta . be wins A nee oe if cS be fe. STYLE 1,088. $4.00. Two-LiInr BourGEoIs OrnA’D, No. 1,088. Histone De C/iNPRINIERIC BY BE CUTENBERG-WALZER FUR im dipRAtRie A LYON DAS PIANOFORTE- J. B. MONFALCON, LYON, 1840, Fo GLEICH, LEIPZIG, (8402 $3.15. ‘Ewo-Line NonpAREIL Orna’D, No. 1,088. on. 12 $6.30. TWO0-LINE SMALL-PICA ORNAMENTED, No. 1,088. ei PIT (PD 24,4 y, AiG Y $9.65. TWO0-LINE GREAT-PRIMER ORNAMENTED, No. 1,088. im. 1 7K IN Lo Z / LY 7 ~~) Four-Line Pica ORNAMENTED, No. 1,088. 12 Ib. IOoU / PG LYON (95> ny LYON, 6 GEORGE BRUCE’S SON & CO., Typr-FounpgErs, No. 13 CHAMBERS-STREET, NEW-YORK. 376 mee IMENS OF ERINIING TYPES AT MADE STABLISHED IN 1813. ny } us NEW-YORK: CHAMBERS-STREET. 13 GEORGE BRUCEH’S SON & CO., No. 1882. wa na Heh 31 fp mit Ae al ee De alia | a ih S48 a . aa e 4 f i oli ‘“ a ) os) i Ly, : Sue 1G oy WM! Yo Jy iyo Dooly Co ee CU - Yo, fii Da Oe ; On his G (py COM 65 Cdlilion p< Cttte- | Specimen Gack, wee ae only Font of G LIL Ure Dypres Ayeliig ie U that Ate Ao as dec Wie fevesend / Aaste. ws Doman Gy b, A Wee ses ee AW a buon ee AVE Mts fore as Jee AW Mh Mook, ate Oe ee OW tc Wee: ty a. tOVIL- SG, cat. Go, ew Ae cameond, AW Ez avinliomw of Liab.” LD Cfo CZ Op We LZ Joe AW the cond of tea Les. “ell, We Gide Ww uae WZ we ey te tle Eon, as de oe 0 ee HKectn ¢_Gasmetase oy : Cpe Z/ Qs, fe Gouda GL, < OY Se ee uf Lele Feo Z a, OVI ae, Ma Laigich Ch thn De Taumlih ae caw WM Levelt teé Afi aby ¥ ne “led frenYete ES peed 1 Quality of Pvt Lee ee Ou CH railed fr Ve Eee of ype rave hs oe AW PT i. Za thin G Doundiy. Aunee 7ZO27, Ad Aaléo ME oa: a OD fpuity i a ee fr ; ctfead « ee Za fom We ie AWeattvottd , ae Meo Py ~~ OC Ce Ae set) COW- Me i AW ee Mnifaim forapotionad Anetedie Ct decease, Bou woe 7 po rey t Ad we haiig ) wn’ pM Fi idem. | Ei. es wa é Siguies GHEE Ce Gack: Zo Ee lintO ee Meay » ‘ 4 Vide OWI See cuflain€d OW / ee D2, ate wa Sowluse An Vie es os Qe ne Cub Mf His Peak See ge out yo onde, a ie the conch © ee and sae iy Beye ty uUuto. CX. nan ed sn a Meough we Darvin, chjed ghd, Meee Rc Bruce's Cy Va Of, 13 Charrtas Lisvel, eeu 44 D LOT’ ouUrV pve SIZES OF PRINTING TYPES. The following Standard for the bodies of Type originated by GzorGE Bruce, in the year 1822, has been found very satisfactory. It disturbs but trivially the sizes which are most used, while it fixes the body of every size in exact and correct proportion with the other sizes. This Standard is based on the system of Geomatrical Progression, doubling at every seventh size in any part of the series.. Hach size is, therefore, 12.2462+ per cent. larger than the size immediately above it, as shown in the following columns: Body larger | Size than that Ems and mie and BODY. in Decimals preceding it, in | Decimals of an Em} Decimals of an Em of a Decimals ina | Prise Linear Inch. of a Linear Foot. Square Foot. Linear Inch. | BAN Be Sor LOTAMOND ese sete a 0595+ 201.587+ | 40,637.46+ TN See Sarees 0668-4 0072+ 179.593+ | 32,253.97+ NCIC he A ees ae O75 O81 160. | 25,600. INO NIPANRINTL pees ya eee .O841-+ .OO91-- 142.5434 20,318.73-+ MUTNTONG eater 20S 5 09944 0103-4 126.9924 | 16,126.984 IB RGN VILE aes Pears oe .1060-- FOiel a= 113: 187 12,800. BOURGHOISan === eee 1190-- 0129+ 100.793+ 10,159.36 LONG-PRIMER ..._....... .1336- .0145-- 89.796+ | 8,063.49-+ | SMATI-PIOAs ees. 15 0163-4 80. | 6,400. lGNGi hs Cay ee 1683+ 0183+ 71.271+ | 5,079.68-+4 DINGS EG seep e neie-. 1889+ .0206-++ 63.496-+ 4,031.74 COMUMBIAN 2-25 es. 2.5. .21214 0231-4 56.5684 3,200. GREAT-PRIMER......__.. 2381+ .0259-+- 50.396-++ | 2,539.84. IRAIRAGONG \asc's-2ese. v2. 2672+ 0291+ 44,898-+ | 2,015.87-- Dovusie Smauu-Pica ..._| .3 0327+ 40. 1,600. DOUBT ETC Ay meeeee 3367+ 0367+ 35.6354 | 1,269.92 DOUBLE! HNGISH = -2.._. 3779+ O41 2+ 31.748-+ 1,007.93-4 DOUBLE COLUMBIAN ..... 42424 .0462-- 28.284 800. DOUBLE GREAT-PRIMER..| .4762+ 0519+ 25.198-+ 634.96-- DOUBLE PARAGON.......- 3454+ 0583+ 22.449-+ | 903.964 Min ANE aes ne Ser. 2 6 0654+ 20. 400. WISN ONS see bf ee 6734+ OT34+- 17.817+ 3748-4 a z d ne a Cal . e e> i SiG sel S = ae 2s = a a lon! Sia q ~~ a Ay D ‘is oS a Ho | Solas ewe 2 < d = ae) — ach 4 p S See ie og One x ag =a q = al a2 {ed} ro fo) 4 =! Be 9) oa oS 7 a5 Hoos GS) pele © & eS 2 3 <) a aS 25 A 5 2D 2 oe =) =) = oa. cee epee ee NS A = Bae. 2 Fe S's 2 ) = an) t CAy 4 os ro >), eB) H =) o) a eS) ey er ere “os a pee ee eo ety 5 ages 8 oo aS fis 2.5 £8530 a geanee GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 3 ae “yatta a apie ‘fect «hb Yui mas 9 , a! Aesth erigiy. SPH * witté , “a SUPERIOR AND INFERIOR LETTERS AND FRACTIONS, ITALIC FIGURES, PIECE-FRACTIONS AND COMMERCIAL SIGNS. and Inferior Letters and Figures; Htalte Figures, Prece- Fractions amd Commercial Signs. Superror SUPERIOR AND INFERIOR FRACTIONS. SUPERIOR AND INFERIOR RACTIONS. SUPERIOR LETTERS. INFERIOR LETTERS. PEARL. PEARL. + iy i ; > Prart—No. 2. mphabedefghijklmnopqrstuy w xyz mphabcdefghijkImnopqrstuvwxyz Prart— No. 1. 1234567890 1/o 1234567890 1/2 1934567890 1284567890 AGATE. AGATE, mphabedefghijklmnpoqrstuywxyz AGaTE—No. 1, abedefghijklmnopqrstuywxyZ ea ek: z AGaTr— No. 2. 1234567880 Tip 1234567890 NonpPAREIL. NonParEIL. 1284567890 1 Nonparem — No. 1. [2 1284567890 mphabedefghijkimnopqrstuywxyz 1234567890 1p mphal scdefghijklmnopqrstuvwxyz 1234567890 Nonrarer — No. 2. 1234567890 1/9 -4034567890 UEESHOST Minton — No. 1. 1234567890 l/o 1234567890 Minton. mphabedefghijklmnopaqrstuy wxyz mphabedefghijklmnopqrstuvywxyz Brevier —No. 1. Minton— No. 2. Vp 1234567890 BrReEVIER. BreEVIER. ‘ mphabedefghijkimnopqrstuvwxyz mphabedefghijklmnopqrstuvwxyz 1234567890 1234567890 Io 1934567890 Bourceors — No. 1. 1234567890 1/9 1234567890 * Boureeors. Bourexols. mphabe defghijklmnopqrstuvwxyz Breviex— No. 2. mphabedefghijklmnopqrstuywxyz 1234567890 l/o 1934567890 Lone-Prmerr — No. 1. aoe gah ae) 1234567890 Smau-Pica — No. 1. 1234567890 1/9 1234567890 Lone-PRmeER. Lone-PRiImMER. pmhabedefghi) klnnopqrstuvwxyz mphabdedefghij klmnopqrstuvwxyz Bourerors — No. 2. 1234567890 1/2 1934567890 Smai-Pica. SmA.t-Pica. al ghijk ‘stuVWXVZ mphe vedefghijklmnopqrstuvwxyvz n Tolanede iohykinmopartnrecys Lone-Primer — No, 2. 1234567890 1/95 1934567890 Pica— Nol. 1234567890 1 | Phe Al Pica. Pica. abedefghijklmnop« rstuvwx Vz mp h SS mp h abedefghijklmnopqrstuv wxyz 234567890 OLD-STYLE ITALIC FIGURES. | ITALIC FIGURES. PIECE-FRACTIONS. NonParem., 1234567890$ Pran., . 1234567890$ BREVIER. Brevirr, . 12384567890 3764 as eae a oles = : 8 1234567890 1234567890 a7 rz 4 to a ONPAREIL, . 12345076 : ee Bovrarors, 12345678908 FE BourGEo!s. A ; Minion, 1234507590$ Lone-Primrr, . 12345678908 36 1644 9 J : 1234567890 1234367890 | £00 92790 C2 On eer 2 7 Brevirr, . 1B 345078908 SmaALi-Pica, . 12345678908 “4 Lono-PRiMER. + 3 5 amraie 4 Rounanors 12345678908 Prea.. 12345678908 1234567890 1284567890 40 104 8 6 a - MONG: Mis 1234507590 $ Lone-Primer CancetLep Fieures. Saperte 6 99 5 / r 9§ IWS s/e5 4 123456790 1234567890 1234567890 275 264 ! Smauu-Pica, . 1234567890 $ Lone-Primer Pornrep Fieures. 9 1234567890 | Pica. a ce il 24 60 i Pica,. 1234567890$ Toner Fevers sovnepe Uicusas, 1234567890 1234567890 26 100 1020 | . Senay 1234567890 | COMMERCIAL SIGNS. AGATE. Mryion. Bovurexors. SMALL-Pica. i! 2 4 5 6 i—as 1 2 3 4 5 i i 8G) l 2 3 4 5 6 7 8 1 2 3 4 ie RE Ak DP th % % |] Oo | @ ib 9 oo @ 9 ° ’ 6% aa er DEP Ib Yo 36 a! @ P tbh % %/ ° NONPARIEL BREVIER. Lone-Primer. Proa. 1 2 3 4 5 6 tty 1 2 3 4 5 6 7 8 1 2 3 4.6 6 Sia eS 1 2 63 4 5 UOT 8 - « / 2m %H Lo! @BwR% H/o! OP dm% % | >! @3 tb % %/ © GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 4 ASTRONOMICAL, MATHEMATICAL AND APOTHECARIES’ SIGNS. Astronomical, Hathemalien) anf Ayotierariey’ Bigns. ASTRONOMICAL SIGNS. MATHEMATICAL SIGNS. NonpParel. PRARL. SOR Tel 2 V3 14." 15 $$ EVA geese Ee Fell 24 25 ’ Minion. 8 9 24 25 3d 8 Brevirr, 14 &) 29 BREVIER. BD e100 TE 912 Leia eee Oc] S| 25 26 27 28 29 30 sev YyY <= Bourgeois. 9 18 19 _ 20 21 22 23 24 25 26 27 suUpnuvasssAan Lone-Proer, No. 2. 2 3 4 T 8 git fel i) KE a & oh GE @©yoc 1 2 3 4 5 ie ate 8 9 10 iL 12 pt ae Bh EE CE KE ot HE Ee APOTHECARIES? SIGNS. 13 14 15 16 @ » ©) g NownpPaRgIL. 1 2 3 Two-Line Brevirr. 4 , 5 § 36 4 | 2 K 5 1 2 3 es s) es) & | BREVIER. Bovurexols. Ve t .— SS 3 1 2 3 4 5 r 1 2 4 Bek Tbs <2 5 epee amu Sa Two-Line Lone-Primer. Two-Line Pica. : Minion, GEORGE BRUCE’S SON & CO., TypPE-FOUNDERS, No. 5 13 CHAMBERS-STREET, NEW-YORK. BRUCE’S CIRCULAR QUADRATS. They justify with Pica quads, and their length in Pica ems is stamped on them. Each font contains 8 each Nos. 2 to 8,—4 each Nos. 819 to 17,—2 each Nos. 1819 to 34. Interior. Exterior. Price $15.00 for the set of 168 pieces. No. 2815 2415 201 181, 161, 101, blo 6 GEORGE BRUCE’S SON & CO., TYPE-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 6 CIRCULAR QUADRATS. is “So GEORGE BRUCE’S SON & CO., Type-FounprErs, No, 13 CHAMBERS-STREET, NEW-YORK, ak i coat nit sa} x - we a. ae ' a , Cl aa a j rv ey ” wes has ent i lle Wer ike Mou Dili OC ey ae ee } 1% oy 7 © ieee ' :f — a = . ee ; ae ree a, is na * eo a cal _ w * 7 ; hy, . ieee esi : ) Sasa’ ah hg ob ar) =f ie {aA nage ‘@ its NEES eemiene a RN TE ee METAL FURNITURE, CORNER QUADS AND NUMBERED SLUGS. META Bi Ran Ure ae The Metal Furniture shown below has long been in use, and is invaluable for the imposition of forms. & Tt is cast to a PICA body from Two to Hight-line in thickness and about 12 inches long, and sold either cut 7 or uncut. | _— | | =a | 7 | . . | 2 * | a ay. | 4 a | q a | HN TWwoO-LINE. THREE-LINE. FOUR-LINE. FIVE-LINE. | I] 11 oz. 4? foot. 14 02. 4) foot. L IW. 4 oz. 4 foot 1 W. 6 oz. 3 foot. | STX-LINE. SEVEN-LINE. EIGHT-LINE. ill IH i 1 Th. 8 02 4 foot. 1 TW. 11 oz. q> foot 1 Tb. 18 07, 49° foot. WAH | |) Hl ® —+~<<>> + Pica, LONG-PRIMER AND ? ; F : NONPAREIL. Corner Quads. GFow Mees, 20.) ‘+= s SRUCES NEW YORK ¢ Corner Quads are cast on Pica, Long-primer and Nonpareil bodies, and insure a better junc- tion of mitred rules by preventing them slipping past each other. Price, 20 cts. for set of four. i] | Numbered Slugs. CIMMMWYHYZ@ VY YM MMM eo Style No. 1. Style No. 2. Style No. 3. Style No. 4. Style No. 5. Style No, 6. Style No. 7. Numbered Slugs have been in use several years in the principal newspaper offices in this city. Each com- positor has a few on his stand, corresponding with his number in the printing office, and drops one at the bottom of his matter in the proof-galleys so that his number is also proved with the other matter as the record = of his work. They can be furnished with either of the above faces, electrotyped and cut to the measure of the column, for 20 cents each. , GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBrErRs-STREET, NEW-YORK. 8 LABOR-SAVING LEADS AND QUOTATIONS. These Leads (and Slugs, as they are sometimes called) are cast Six to Pica, Four to Pica, Nonpareil and Pica in thickness, and cut to 14 different lengths, viz: 4, 41, 5; 510, 6, 7, 8, 10, 12, 14, 16, 18, 20 and 22 ems Pica. The smallest assortment of either thick- ness weighs 25 tb, and by a combination of them, for example, over 800 medium 8vo. lines (22 ems Pica) can be leaded from a 25 fb font Six to Pica. | They are cut very accurately and the length of each lead stamped on it. No job office should be without them. The time saved in haying them ready cut and stamped to your hand will soon pay for them, and if you will, either singly or in combination, use them as measures for your composing sticks, you will cease to cut up leads for jobbing. Price, 45 ets. per tb for Four or Six to Pica; 40 cts. per tb for Pica or Nonpareil. 7 T (a) i | | LCL UT Dh, A, TT My CT, AT, SEA, TT, \ These Labor-Saving Quotations are accurately cast, of Two, Three and Four lines Piea in thickness, and 4, 8, 12, 16 and 20 ems Picea in length, with spaces to each size. The smallest assortment of these three thick- nesses of all lengths weighs 40 tb, and is sold at 40 cts. # tb. They may be used in all cases where ordinary wooden furniture has been used. In large assortments, pieces of 25, 37, 49 and 62 ems Pica in length can be furnished to either of the three widths. GEORGE BRUCE’S SON & CO., TypE-FouNprERS, No. 13 CHAMBERS-STREET, NEW-YORK. 9 4 Ke - is : eas Pa eR Ue vere as gars CaM peep A aes — “ ited Matis & ’ We tlw roe 4A - : quee Fe ‘pee 4 A edge " (to eed wie Gone Oat arta a a “4 ' mae ai gee ee PS See a ae ie in) we Cee ff ee a | i ; A y * a} : Aang Cera NIT AD r AHATS hale 1 | mw ibe Ales Tir ih Ail (We th! . i : . Gl , - ; 7 a e ae . DI. FRESE rv b - ean) ee Long-primer cu contains — - bine Pica Chegsy ; BOs Ss a 32 pieces of No. 1—2 each Nos. 2 to 11— nw &n, ; s 1 2, 14 to 23—6 each 12 and 13— 24 and 25. ; q Also Quads. J The smallest Font of Draughts 4 contains — 2 32 pieces of No. 1—6 each Nos. 2 and 4— 12 each Nos. 3 and 5. Also Quads. | , 2 Oe er | Z YY | 77 7 he oe 0 | Two-Line Long-primer Draughts. | 8 13 al | | ‘ r UW iM. | 2 5 | 7 ¥ sn | | Ae | hy G GY Ve =e Beecsa Wi Gow | rs 4 15 7 19 Sj re ee YYwwy7, Y ; ME ee La &y Two-Line Pica Draughts. Y Y =| Witt, = ia 1 2 3 4 5 29 93 25 ee Yipes yy y yy 2 oO VEG ; =e UTE aa U5, | | | SPACE RULE. PIECE ACCENTS. | | All these Space Rules are cast on 4 to Long-primer body, ’ eee ; bs A“ Diamond. 2 - = \ 4A 4 8) = | a Nonpareil, . .. \ SA Ace = Bourgeois, . ; Brevier,) ve) 1 o> NG iv A A Long-primer, , \ Long-primer, . . Small Pica, . = == es METAL BRACES.—$1.60 for the Set. 3 AS 3 cts. 14 A | 11 cts. | 4 ~~ A > 3 cts. 15 a Ee cts. Mme er OS a Re er | | Of eS OE th a 18 che: Ce ea 8 ee ce Rp ee NY, LHS 19 I a pag 14 ct. Ee i a 0 nm ee ti MY Tp ena 9 che: a ee 15 cts. YW OE a ET CR gga 10 cts. 29 oo ee 15 ets, 10 ots 8 eae (~~ \ aU cts, 2 ae 16 cts. Long-primer Catalogue Marks, . . \ —_ The smallest Font contains—44 each of Nos. 1 and 2—22 of No. 3—11 of No. 4. Ss. & CO. ae vax N-Y. aX Ss. is Vey Weer ZEN Se? APSE? ES GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 10 ENGLISH ERASED, No. 19. [3-Nick.] Ordered to be printed with the amendments of the Senate, viz: Omit the parts struck through and insert the parts printed in #falies. 38 shell be-crdered-yCeneress-or-are provided torby-hiay: 0) (6) Andarhenererans-departnentshatl reqaire printing te 40) Pee he Cas ay 41 ~ os 44 or—bibrary-of Coneress,-that-saidprintine hasbeen -done-tnder 46 (7) That the sum of thirteen thousand dollars, being the 47 unexpended balance of the sum appropriated by act approved 48 December fifteenth. eighteen hundred and seventy-seven, for 49 printing and binding for the Library of Congress, be, and the 50. sameishereby, reappropriated, and may be expended for complet- 51 ing the new general catalogue of the Library, now in progress. 52 Government Printing Office: For the construction of 53 outside fire-escape ladders for the Government Printing Office, 54 three thousand dollars. GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 CHamBerrs-StrEeET, NEW-YORK. ibe are ee | h vesiit) | ~~ é4on Hartt S4aes ae i Er eer ieerest ie strret tts eee “tert ¥ sh ca idk lel whe AAAS \hek | ae my ie Lay ; ye * es dy hs omnt 1 da ase 7 fo7 °2 ve pas 4 = es vA , noo vik nn gt Foe Melromviii ite ie ae say ay 2 te ee 1G. th merit abieigo. BE = Ge” i wlhede jmatogth port Hi a x Alert Heat Agar in ‘aw : iv) ee Pe wits ‘ | = ‘ by hep POT rae og ee yagi? 7 ag et eee . orf up tet “a meee a 2) vec + per * ‘> i Ten bane To cant pre gd. anh uf! +12) ele tet th mead tet ton tat Sante be a) he ye, Se - oe ve — hy ppidatigetects Sie ok se prea eect ae Nena adalat . ‘ : ae . . a i Derg-we i Om Sr a fist Pair ; i tie a nel aida tA a u 4 8 > Ly PATENT FIGURES AND FRACTIONS. : Pin lee “ ‘ay ‘g1aplog. ‘gyLOUERUIO, ‘omy sserg "9F 000'OL ‘oNY SUIAVS-LOQUT 5, 000% *SUTARS-IOGR] pus 4nd ‘YASUE [UF ‘speoT ,, OOO‘OT AJOLIBA Vas UTAAEIOS 4, OOO'OF ‘dk, ryTaMIVUIO pur qor ,, OOO'OSS “ad AT, SMON pus yoog uRMoy "ql Y00O‘OOS —srosvToind jims 0} sory -auvnb ur ‘Aroatjop roy Apvor puvy WO savy ‘YIOX-MON “LS-SUAANVHO ST ON “OO ¥ NOS SONUA ADYOA ep me Sera op OOT/08 “84 00T Sean ae 01% 00 008 OOTT eek op 0OT 00¢ Sse ae op 00 009% ears op 00T oylovg Worm (OE sensed SSTTT 9 ONTO 009/8eSE ‘OTA SOK-ULON OOT A NH SOF OOS 008 Sean’ sas op 00T 00% tree a op 00¢ ~-OLOUS OALT 00G “GEM TOL 009 0OT pores ses re "TUvd “IS OOT 006 setae sc caee Jd OME G 008 oes WEN Otokd OOT|®eGL" ~*~“ worm] 1.10989. YOG MD 9Y2 2.0fPI—W “I OS’ GI—'6S 0 ‘AVANOW “AONVHOXA MOOLS WHOA-MUN AHL LY SATVS 09G @ 0%, Fz ‘wakvnsvy £017 @ '0Gz ‘Woy -f99 S 0G @ OTE ‘spout ssvis ‘wave “grpeto SABP OG PUB OD “OL eb PlOS *°0Z, 9% @ 0% SG ‘SPOT TOF oSuv« omda1yxe 101% @ &9G op surtad + 9G, 9Z@"0r,9G “Op poos 50% CZ W'0Gz “op ivy !0FZ @ oe ez ‘svosreo Aceurp.o ‘ong—: og0nd ay “ULL. pus jgomb sva suoydiiosep [[e Loy Joyvut oy L—aaatop QATLIV 09 SOLVE OOT 918 9A0GR OT} UL popnpauy 929'F GOV'S PEGiy enna STRIOL PLL'T 681'T egg ~----7-7>--uoydumsu0g 916 L&G GGF pores seta woErmoeds 996'T 9eo'T OLE. So vias mer eo qiodx 10, ‘fiwpsaupayy aur fipp-0L, — 910M SOLVS OT, “"pojoub OPVIS 9} MOTAG IO 9AOgV 9pvAS B FTV WeYQ 9Lour you Append Ul Suraund 910}8 Ul 109309 UO paseq Ie sUOT|RIOND ILL VeLT Fe LT SLT Se LT UTPprar poor %e9T ¥e9T GAME 8e9T SULTPPUN 9T 9T ¥eeL SGI SUTPPIN MOT 8CL 8GT 9g CL 9To GTAIBUIpIO Pood JOLAYS SCT 8.1 S71 YePL ~~~” Areurpao pooy, 8ST 8,61 8,81 | aint ees ALVUIPILO ‘spiaL, “sUDIIO’N “DuDgnF ‘spundQ ° —9jonb 944 "posopo Joytvur oy} uomesorduar styy yy *Aep -SOUPAM ISLT JO SUOTYLIOND oy} L9AO SopwVas [[V LOF “QT Gb *O8¢ JO QOUBAPY UB MOYS sUOTZLIOND popuedde syp—'NOLLOD ‘SNOLLOVSNVUL TYIOUGNNWOO Zr LZ Moqge yw way souNTpUOD Ydosor yg pus [eq aur “FOOT @ OL 3B vuvurg “FOTW OL 7B utojso PUL VUUBMLYOVT “GGL IV UOAVH, MON PUB YIO{-MON "SPT OUGl@sclL@RyT i plos wouro0y oynepy otaoy, puv uojzypy FE 0} § MOIZ POAOM OLIG, PUL paLoyJaVy, ‘UOJSOG Be TP e WLP OUlpOR Ly 3 pos Med IS FeSp ye posopo nq ‘HGP 04 potoAOdo1 ‘SCH YO Jue ‘PGP ye pouodo ysequAy “OL LOF pel Yoo}s pataajord omy {F,9EW8,9E w ¢ qv UOUIMOD JSoMTION BOE WHOL BAS ye oyfovgd UoluQe = Br LG OLS OG %eLG OLS 3 10 'O S8rOL #8 pasoya 4nq Seg) 04 9), WOT, pooUvAPR 9.10 oVT Sl ye plos posareyoad oyloeg puv onuryyy “Prag 4e | PISO) PUL "86QG @WeFrRG O02 Pe LG UlOAT pOoOUVApL [BAQUIH ALOK | MON 8,66 0} poulpep Auenbesqns ynq ‘8, QOT 03 GG ULoay | PeAour puvys] Yooy FSL yey O puU coGL@%eGL@erTh @MHSL 7 PlOs WO usz9jsom BOE @ OF @ HOE @*.64 @ OF qv plos 1ddississuyy puv olyO “S8.8E 3B pessop | ‘Ye LE OF ULBSY YO [[aJ ‘SVE 0} poouvapr ‘Fy, LE 09 ye pouedo [ley ogloeg “yo aytay v OM SOOLId BSO[O VI) VV Wd 9-66 99 “LS TIVM—'SMOOLS NI SNOILOVSNVUL | 8o Fe Fg he 81 Hor F O68L9EFESL $ ‘SNOLLOVUA ONV SAUNA MAN ti =F oesLocrect # LSCCS ‘SNOILOVUH GNV SHUNDIA ATO (MOIN-Z) "ET ON ‘SLVDV 4 Fe 0q [ITM Jonpoad oy ET Aq poryd “MUL Sureq YORAM ‘Qeyy sr coqumu yey § [otreq aod PUY} ST VGA “Topyo Jo Sforivq GOT oF suvppop Sr TE IV 5 ques red G ZT puv—gueo aed %—T—"}0990 aad QT— yus0 10d G—yqueo tod g—gqueod rod 3 2—yuUV00 rod y— yu99 19d 9— yuo rad C—yu99 19d GF—"}u90 zod g—queo red Z—gqueod iad 8e—yusd r9d F— yuo Jed G ye ‘skep pl savod Z roy ‘TEs JO Jsorequr oy} St FV ‘SWATHOUd TVYOLLANALLIV Sa Grarnenn op 00% op OOTS Te OGL ae op OOT op OOT SOGiacn ene op 008 \8eG6 8 “H ¥ ‘0 ‘AN OOT 0G) 3 qe MA 8 TOL OOT|é op 008 China: @ ¥ ‘H S0g 00G -op O0O0T op 00% “op 00¢ op OOT op 00¢ op 00% op OOT op OOT op OOT op 00g LVI Ye OOO as aaa ned 4S 00Z op OOF op OOT op 009 “op O0OT op Or op OOT op 002 op OOF op 006 “op 009 op 00g op 00ST op OOT op OOT op OO8T op 0OT op 008 op O008T op O6P “op 00% op OO op 009 op 008 8.0G°--* OYlovd WON OOO! EL-~ WOU W10489 \\ OO] “Ub D OLD ayy asofag sayny toe Go 990 —AHONVHOXY MOOLS HHL LV SUTVS qMO FZ ‘ISRIOAR WO QUSTOM “aq. gb OST ye sdoy qr @ ‘00T @ 03, utoag ‘doy vor0T[o B YILM ‘s.l90}G OTTO WOUTUIOD FO Jor) puw Jos LOZ pypos AITO ‘S “94 G9 WYSIOM “Ql q Ne) ia -eest ‘23 SN SCORERS GEORGE BRUCE’S SON & CO., TypE-FounDERs, No. 13 CuamBers-StreeT, NEW-YORK. 12 STYLE 20. For fuller Specimens of these Faces, see Pages at the end of this Volume. NonpParein, No. 20. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convoca- veris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici consilii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublicze videmur, si istius furorem ac tela yitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te con- ferri pestem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statem rei- ABCDEFGHIJKLMNOPQRSTUVWXYZAE& ABCDEFGHIJKLMNOPQRSTUVWXYZA2dz $ 1234567890 £ UK UYUUYUHRKA Contemplation Upon the mystery of MAN’S regeneration in allusion to the JZystery of PRINTING. GREAT blest MASTER-PRINTER, come Into thy Composing-room ; Wipe away our foul offences; Make, O make our souls and senses The upper and the lower cases ; And thy large alphabet of Graces The Zetter, which being ever fit, O haste thou to déstrzbute it. For there is (I make account) No Imperfection in the Fount. Tf any Letters face de foul, O wash it, ere it touch the Soul; Contrition be the brush; the Lye, Tears from a penttential Eye. Thy Graces so distributed Think not thy work half finished ; On still, O LORD, no time defer, Be truly a COMPOSITER. ABCDEFGHIFELMNOPORSTUVWXVZAGE & Minton, No. 20. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? ni- hilne te nocturnum preesidium palatii, nihil urbis vigiliae, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis ? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides ? quid proxima, quid superiore nocte egeris, ubi fueris, quos conyo- caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tem- pora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit ! imo vero etiam in senatum yenit: fit publici consilii particeps: notat et des- ignat oculis ad ceedem unumquemque nostrum. Nos autem viri fortes sat- isfacere reipublicze videmur, si istius furorem ac tela vitemus. Ad mortem ABCDEFGHIJKLMNOPQRSTUVWXYZAE& ABCDEFGHIJKLMNOPQRSTUVWXYZECE $ 1234567890 £° UYUUUYAU RGN Take thy composing-Stick in hand Thy holy word, the firmest band ; For sure that work can never miss, That's truly justify’d in this. The End of Grace's distribution, Is not a meer dissolution ; But that from each part being cited, They may be again united; Let righteousness and peace then meet, Mercy and truth each other greet ; Let these Letters make a Word, Let these Words a Line afford, Then of Lines a page compose, Which being brought unto a Close, Be Thou the Direction, LORD, Let Love be the fast-binding Cord. Set O LORD, o set apace, That we may grow from grace to grace ; ABCDEFGHIFKLMNOPORSTUVWAVZAES®S I WHEN SPECIALLY ORDERED, the characters ¢, f, th, fi, fk, fl, ff, fi, fl, % (Roman and Italic), can be furnished to ALL fonts of this style. Brevisr, No. 20. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit au- dacia? nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moyerunt? patere tua consilia non sentis ? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte ege- ris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit pub- lici consilii particeps: notat et designat oculis ad caedem unumquemque ABCDEFGHIJKLMNOPQRSTUVWXYZAHE ABCDEFGHIJKLMNOPQRSTUVWXYZAC $ 1234567890 £ 44K %'8%M WH Till tow’rds the Chace we nearer draw, The two strong Tables of thy Law, Of which the wo firm Cvosses be The Love of man, next after thee, The Head-sticks are thy majesty ; The Foot-sticks Christ’s humility ; The Supplications of the Saints, The Side-sticks, when our faith e’er faints ; Let the Quines be thy sure election, Which admits of no rejection, With which our Souls being join’d about, Not the least grace can drop out. Thy Mercies and Allurements all - Thy Shooting-stick azd Mallet cad/. But when all this done we see, Who shall the CORRECTOR be? ABCDEFGHIFKLMNOPORSTUVWXYVZAES Boureegors, No. 20. (3-NICK. ) OQuousque tamdem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum preesidium palatii, nihil urbis vigiliae, nihil timor populi, nihil consensus bonorum omni- um, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constric- tam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul ABCDEFGHIJKLMNOPQRSTUVWXYZAE& ABCDEFGHIJKLMNOPQRSTUVWXYZ ECE $ 1234567890 £ YUYMUYURAURAA O, LORD, what Thou se?’s¢ cann’t be ill, It needs then no CORRECTOR’S skill. Now tho’ these Graces all are sez Our hearts are but WHITE PAPER yet; And by Adam’s first Transgression Fit only for the worst /pression. Thy Holy Spirit the PRESS-MAN make, From whom we may perfection take ; And let Him no time defer, To print on us thy Character. Let the ink be black as et ; What though? It is comely yet, As Courtains of King Salomon, Or Kedars tents to look upon. ABCDEFGHIFRLMNOPQRSTUVWXVZAEE& 13 GEORGE BRUCE’S SON & CO., Typx-Founprers, No, 13 CHAMBERS-STREET, NEW-YORK. For fuller Specimens of these Facés, see Pages at the end of this Volume. STYLE 20. LonG-PRIMER, No. 20. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quam- diu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus lo- cus, nihil horum ora vultusque movyerunt? patere tua consilia non sentis ? constrictam jam omnium horum conscientia ten- ABCDEFGHIJKLMNOPQRSTU VWXYZAGS& ABCDEFGHIJKLMNOPQRSTUVWXYZEE $ 1234567890 FL BBY KRAUS Be Victory the Press’s Head, That o’er oppression it may tread. Let divine Contemplation be The Skrews, to raise up to Thee, The Press’s two cheeks (unsubdu’d) Strong Constancy and Fortitude ; Our slavish flesh let be the 727, Whereon lay what Zyash you will, The Nut and Spindle, Gentleness, To move the work with easiness : The Platten zs Affliction, Which makes good Work being hard set on : The Bar the Spirits Instrument To sanctifie our punishment. The Blankets a Resemblance hath Of. Mercy in the midst of Wrath. ABCDEFGHIFKIMNOPQORSTUVWXVZAGE& BV (= WHEN SPECIALLY ORDERED, the characters ¢t, {, fh, fl, fk, fl, ff, ffi, fl, ft (Roman and Italic), can be furnished to ALL fonts of this style. RiGaeeNOsec0): (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus elu- det? quem ad finem sese effrenata jactabit au- dacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil con- sensus bonorum omnium, nihil hic munitissimus ABCDEFGHIJKLMNOPORSTUVWXYZ& ABCDEFGHIJKLMNOPORSTUVWXYZAG $ 1234567890 £ The Footstep, humbleness of mind, That in it self no worth can find. If there be such a chance as this, That any Letter batterd is, Being come unto thy view, Take it out, put in a new, Or of Satan that foul Fiend, Marr, with a pretence to mend, And being at thy goodness vext, Makes blasphemy of thy pure text; MBUCDIHEGIH/JRLMNOPORS LUVWX SMALL-PICA, No. 20. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? njhilne to noc- ~ turnum presidium palatii, nihil urbis vigiliae, nihil timor populi, nihil consensus bonorum omnium, nihil hic mu- nitissimus habendi senatus locus, nihil horum ora vul- ABCDEFGHIJKLMNOPQRSTUVWXYZAIG&E& ABCDEFGHIJ KLMNOPQRSTUVWXYZACE $ 1234567890 £ WwYKYYKVKAYRBE The Frisket, thy preventing grace Keeps us from many a sully’d Face. CHRIST JESUS is the Level Stone, That our Hearts must be wrought upon, The Coffin, wherein it doth ly, Is Rest to all eternity. The Cramp Irons, that it moves on still, Are the good motions of the Well. The Rounce, the Spirits inspiration, . Working an holy Agitation. The Girts, the Gift of Continence, 4 The Tether of thunbridled Sense. The Winter, whereon all doth ly, Ls patience in adversity. ABCDEFGHIFRLMNOPORSTUVWKYZ A OG ae vw j id Ld Eneuise, No. 20. (1-NICcK.) Quousque tandem abutere, Catilina, pati- entia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum pre _ sidium palatii, nihil urbis vigilize, nihil ti- ABCDEFGHIJKLMNOPORSTUV We ABCDEFGHIJKLMNOPQRSTUVWXYZAG $ 1234567890 £ Find it, O LORD, andithen Print our hearts new o’er agen. O LORD, unto this work make hast, ‘Tis a work that long will last ; And when this white-paper’s done Work a reiteration. Extract trom ‘HISTORY OF THE ART OF PRINTING J. Wilson, Edinburgh, 1713. ABCDEFGHIFKLMNOPORS hh, 4 GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 14 STYLE 20. GREAT-PRIMER, No. 20. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatu, nihil urbis vigiliz, nihil timor popult, nihil PebCDEPGHIJKLMNOPORSTUVWXYZACGES& ABCDEFGHIJKLMNOPQRSTUVWXYZEE = 1234567890 £ Ouousque tandem abutere, Catthna, patientia nostra? guamadiu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia ? nihilne Beer GA KLMNOPORSTOVWXVLZAES DouBLE SMALL-PICA, No. 20. OQuousque tandem abutere, Catilina, patientia nostra? qu- amdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum pre mee pC DEFGHIJKLMNOPQORSTUVWXYZAG& ABCDEFGHIJKLMNOPQREC $ 1234567890 £ Quousgue tandem abutere, Catilina, patientia nostra? qu- amadiu nos ctiam furor tste tuus eludet ? quem ad finem PPBCDEFPGHIFKLMNOPORST UV AES DousBLE GREAT-PRIMER, No. 20, ITALIC. Quousgque tandem abutere, Cathna, pat- entia nostra? guamdin nos eham furor ts ABCDEFGHIFKLUNOPGS GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. } 15 eal a . Ms = I ek i rT A ; z ‘ 5 a 4 ce z . iPebyr ERE) Oo ‘i! ERS. OPES “Ayah is tosh rik ie Ape uae, WET RTT bry thE Aus ee ne ‘m if F erat ‘ f 3 ; : ' 7 mad ar Listse Rs | rpihteaeig Bites i sca | d / 7 ; ‘al ] 7 ‘ar yy - B, WACO eae Tey ve ey SERN AMEN Bhs. bt Uae aig ee. , / ete ae me She Oe Aras i ie ‘ae ened 4 Re” AN VA ou CRAVE ES nT ehh rae stiees i snip aah 2) OMT ieee eels i Maite bs UG Pint ee AO | | | | binky y vi E ong x ; ALS oe M ‘ya , wy ae y ee) WW) cae AY ob, SANSA . Wes eas a _ > Vy aes 2 “4 * ae 7 - c | -) si Wiig : ; , hii rei re Bee es 2 ae Ot : ts oe ‘ ee \ an - ee a, oo. er a ¥ ; ay NS AV, Vis oa CASh 3A8 aaa :\ Wha 2G a AQ i. wy \ we G are t . on a a «| 2 hs a eA Wee ie 2 a. pee oe, 44 ze N ae 4 We sb Pee westi Ls My ivy 7 ' Ly Liv ‘ ; ‘ ees ao 5 sen y Div 7.5 rea te - : . 2 Be 5 mye Ve a . —_ {a PALSY STYLE 100. Two-LINE PEARL OLD-sTYLE, No. 100. ee THE PECULIAR FEATURES OF DHE OED STYLE TAGE wr FIRST PRODUCED | IN TYPES BY sNIGHOLAS JENSON@ ORV NICE Two-LiInE NoNPAREIL OLD-sTyLe, No. 100. WHE OLD-STYLE FACE SiN EB Ys G12 33 pis GARAMOND, PARIS, WAS POPULAR FOR MANY YEARS. Two-LiInE BreyreR Oup-stTyLe, No. 100. GEOR FREY Shin eis PARIS, MADE RULES FOR | THE TRUE PROPORTIONS OF s@ Biss iia Two-Line LONG-PRIMER OLD-STYLE, No. LOO. ‘CHRISTOPHER VAN DJICK, @ A FAMOUS DUTCH TYPE-FOUNDER@ Two-LiInE Pica OLp-sTyLe, No. 100. DIRCK VOSKINS S@iew TYPE TO ENGLISH PRINTERS T'WO-LINE GREAT-PRIMER OLD-STYLE, No. 100. 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NTT. A amas (a yr. rf ‘SuljuLtIg radvdsMmoN jo 1L9UUVU 9} UI UMOYS puv ‘“YIOZ-MON “OO FY NOS 9.c0 0a ADUOAY Aq 3S¥O GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CuamBers-Srreet, NEW-YORK. = Ea io << 23 ire ay ae en aT: oe es vee oe ae ; on PORIARE An an he’ EGON Peet Sie aha oe] a ae Aw Bee * isla eas NL ie ‘Seda A “fi ' fz, bm iS ascii | TRE We canel all, II A et ee WAV RA St Sar oo 0s LCN! QT AGP wo ditt 7584 ade fort Tali he eat Alar Roh pita irre aay RE 1S Looker etanrerel | ile Tide aciysl ain ala — asia w yrvgeh 2.1: Bre, Lert es cae oe! ets 4 yr uee « eu nit lad , F ee ee rimigitt i Wisi a i) ee Aah mee’ : { Sel x — a : ' P } } fe wets wil) ure » be ye - wf ; mA, . ——, ee : nd) fr it % " Le i Piel ey a . r oa = | le kit tc fturat eros ae Sindy Si le an ‘ etl 7. ei Soded ea doi skh + WORF te Wie ES Ws F552 fo aaa . wd : S dite has letonds pi sy * pent as ae * » ae ) ‘ . . ‘ és — . 4 1 Pirates : | rt : 5 ; , ite :' og woon! ‘ets! 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WHA Ua Oo reeciie = a earnto ¥ wir Th iia A/Et oe er eae, Ly i, . : | i fa elt AG OV ae A 0 tema: wit R .& i ih yet Mahe g wh oer ipay si ? ponies Vena) il 40 pwr bwl pare ithe 1 Father Lele ied bat ; J \ Mintel (oi ‘ P : PASO EMAL ba ‘ d 5 4 r ke : aio a; CF eet rtd i, ‘ Dal { ‘ C - Fee tw wis fea! ites arial!) yea 2 nee) ' ‘ » oe Palen . {ge i ‘ ' ‘ rt es el ity ' } np | yh ty ah ay ; 7 . ; . bs Te Sereda bas AN ila ' tiv is Adds @iciphALsneengans Wodonga. wienitage tives cisbiseca a, a sence 4 : . «© eee wigiete nilage tiv vars & tiie (es ech) cabvaeca wal a Wier) Ae) sh ahed ' ies oe naber « ; : H ; ; ‘7 woe % ree ae ae 4 ores 2 eR Lat west tae 1.3 ee) ph pas Oo - — See eer Weir er Gort) te aw ’ Mh) are DUAR » Sfp B 2 ¢ > tawe «oy , ; ow ee agian, \a deed tee wed ate arth le. Pe nae oe AEM me pee koe: sidienss sha? 4) . cs, cr ery ity Sai bem Aim ARE Rk Wis A Ae 2m lakhs SG VE eae " WONT tS Sk atte shinee ih Mette, a Pant iy irre : f Pa re a4 { Ps 65 be = “< 7 re, —~epnre ed o* Y 74 i acon \ pth Bepees (eet . hited wrrersrdy ® ' , R WUT eAY MLE» i » ys ay sytem , in Pager 7 ‘ Lod (PS nin? i in. erry note ay) gad mee.) ' sw cist aa a ~ . we a tee are j ce ee he es Deel? emmy ” i pe Dee ) weg ot PA ee os ( ee ee ee ee ee ey eee ’ beat 42 ey st) 2p —y ; ALY aah olen goed mee i> or J Pee sheet satan oe et Ba Ae tetere eh aie arn eid etterw roma tine de an, fe Law oi Aah oh ree ee Die « } wile o eels an bab. yen 4 pats Wises is ate tide i ely = ya ie * ip Ore? ~ aaa a DIAMOND, PEARL AND AGATE. For fuller Specimens of these Faées, see Pages 142 to 151 and 165 at the end of this Volume. . Dramonp, No. 16. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tnus eludet ? quem ad finem sese effrenata jactabit xudacia? nihilne te nucturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moyerunt ? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos conyocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora,o mores! Senatus hoc intelligit. consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici consilii particeps : notat et designat oculis ad cedem unumquemqne nostrum, Nos autem fortes: satisfacere reipublice videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat:; in te conferri pestem istam, quam tu in nos omnes jamdiu machinaris, An vero yir amplissimus P, Scipio pontifex maximus. Tiberium Gracchum mediocriter Jabefac- tantem statum reipublice privatis interfecit. Catilinam vero orbem terre ewde atque jacendiis vastare eupientem nos consules perferemus? nam illa nimis antiqua preterea, quod Q. Seryilius Ahala Sp. Melium, novis rebus studentum manu sua occidit. ABCDEFGHIJKLMNOPQRSTUY WXYZAG& ABODEFGHIJKLMNOPQRSTUY WAYZDE, $ 1234567890 £ 4343 % Parent FIGURES AND Fractrons.—$ 1234567890 Iplglyig®s34 3,537 Quousque tandem abutere, Catilina, patientia nostra? quamdixu nos etiam furor iste tus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnwmn presidium palatii, nihil urbis vigilia, nihil timor populi, nihil con- ABCDEVGHIJKELMNOPQRSTUVWXYZAGE Prart, No. 11. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum pres dium palatii, nihil urbis Vigilie, nibil timor populi, nihil consensus bonorum omnium, nihil bic munitissimus habendi sena- tus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocayveris, quid consilii ceperis, qaem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoc intelligit, consul videt; hic tamen vivit. Vivit! imo vero etiam in senatum venit, fit publici consilii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublica videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te confe estem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, ABCDEFGHIJKLMNOPQRSTUYV WXYZH@& ABCDEFGHIJKLMNOPQRSTUY WXYZ AGB 1234567800 £ 4644 % 46 2534 35 6% Parent Figures anp Fracrions.—$ 1234567890 151314132534 3g5g7g Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad jinem sese effrenata jactabit audacia? nihilne te nocturnum presidium patatii, nihil urbis ABCDEFGHIJKLMNOPQRSTUVWAYZ AGL (3-NICK.) PEARL, No. 16. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum ommium, nihil hic miunitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris quos convocayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen yivit. Vivit! imo vero etiam in senatum venit: fit publici cor i particeps: notat et designat oculis ad cedem unumgquemque nostrum. Nos autem viri fortes satisfucere reipublicee videmur, si istium furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam quam tu in nos omnes jamdiu ma- chinaris. An vero vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum mediocriter libe- ABCDEFGHIJKLMNOPQRSTUY WXYZMGBE& ABCDEFGHIJKLMNOPQRSTUVWXYZA0(a (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiw nos etiam furor iste tuus eludet 2 quem ad jinem sese efrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil wrbis ABCDEFGHIJELMNOPQRSTUVWAYZ AGE PEARL, No. 20. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum preesidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi sena- tus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit; fit publici consilii particeps: notat et designat oculis ad caeedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublicae videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, ABCDEFGHIJKLMNOPQRSTUVWXYZ-EGE& ABCDEFGHIJKLMNOPORSTUV ZZEGE $ 1234567800 £ 444424434967 Quousgue tandem abutere, Catilina, patientia nostra? guamdiu nos etiam furor tste tus eludet 2 guem ad finem sese efrenata jactabit audacia? nihilne te nocturmum Presidium palatii, nihil ABCDEFGHIFKLMNOPORSTUVWAYVZAEES $ 7234567890 & PEARL, No. 21. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese efirenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus. nihil horum ora vultusque moverunt? patere tna consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convo- caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit : fit ‘publici consilii particeps: notat et designat oculis ad cedem unumquemque nostrum, Nos autem viri fortes satisfacere reipublice videmur, Si istius furorem ac tela vitemus, Ad mortem te, Catilina, duci jussu consules jam pridem oportebat : in te conferri pestem istam, quam tu in nos omnes jamdinu tmachinaris, An vero vir amplissimus P, Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statum reipubli- ABCDEFGHIJKLMNOPQRSTUVWXYZAEM & ABCDEFGHIJKLMNOPQRSTUVWXYZ Ca $ 1234567890 £ 4 PATENT FiGuRES AND Fracrions.—$ 1234567890 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor 4 u , Ca l tient stra F Mi ‘ror iste tuus eludet ? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil wrbis ABCDEFGHIJKLMNOPQRSTUV WXYZBG& Tp1g141g25 343g 53% Agate, No. 11. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum pre- sidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum ona nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri con- jurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convoeayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam ABCDEFGHIJKLMNOPQRSTUV WXYZAGE& ABCDEFGHIJELMNOPQRSTUV WXYZAGS $ 1234567800 & 3443288% 1415 4 2s 254 95 9 % Parent FiguRES AND FrActTrons.—$ 1234567890 19131418233438537 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus elu- ABODEFGHIJEKELMN OPQRSTUVWAY ZAG d Acats. No. 12. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne to noc- turnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus ponorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium ho- rum conscientia teneri conjurationem tuam non vides? quid proxima, quid supe- riore nocte egeris, ubi fueris, quos convocaveris, quid consilil ceperis, quem nos- trum ignorare arbitraris? O tempora,o mores! Senatus hoe intelligit, consul ABCDEFGHIJKLMNOPQRSTUVWXYZAGE& ABCDEFGHIJKLMNOPQRSTUVWXYZ Ga $ 12384567890 £& As4hS9BRE 46 4 i he % 34 96 5g % PATENT FIGURES AND FRACTIONS.—$ 1234567890 1515141923348g5,% Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste ABCDEFGHITELMNOPQRSTUV WXYVZAGE& AGATE, No. 18. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum om- nium nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque move- runt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora,o mores! Senatus hoe intelligit consul videt: hic tamen vivit. Vivit! ABCDEFGHIJKLMNOPQRSTUVWXYZHG& ABCDEFGHIJKLMNOPQRSTUVWXYZ@8 $ 1234567890 © 34332885 2 26 4 16 75 4 36% 76 PATENT FiGuRES AND FRACTIONS.—$ 1234567890 191314192394 3g53 7% Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus ABCDEFGHIJKLMN OPQRSTUV WXYZAGE AGATE, No. 14. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hie munitissimus habendi senatus locus, nihil horum ora yultusque moyerunt? patere tua con- silia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoe intelligit, consul videt: hie tamen vivit. Vivit! imo vero etiam in senatum yenit: fit ABCDEFGHIJKLMNOPQRSTUVWXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZHG $ 1234567890 & APRBSEZ 14 45 Y 15 Bs % 94 54 %G Parent Figures AnD Fractions.—$ 1234567890 1013141923348g5, 7, Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus ABCDEFGHIJKLMNOPQRSTUVWXYZAGE AGATE, No. 15. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noeturnum presidium palatii, nihil urbis_ Vigiliee, nihil timor populi, nihil consensus bonorum omnium, nihil hie munitissimus habendi sena- tus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, guid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbi- traris? O tempora,o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo — vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad eadem ABCDEFGHIJKLMNOPQRSTUVWXYZHGE& ABCDEFG@HIJKLMNOPQRSTUVWXYZ0 $ 1234567800 & AS4RRTERE 1545 1 1s 25% 34 94% Parent Figures AND FRActTIons.—$ 1234567890 1913141925348g5, 7 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus ABCDEFGHIJKLMN OPQRSTUVWXAYZAGE Acats, No. 21. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet’ quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vi rilise, nihil timor populi, nihil consensus bonorum omnium, nihil hie munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem — tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convoeayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit consul videt: hie tamen vivit. Vivit! imo vero etiam in senatum venit: fit ABCDEFGHIJKLMNOPQRSTUV WXYZEG& ABCDEFGHIJKLMNOPQRSTUV WXYZACE $ 1234567890 © B4448988E 3435 % 45 2% 94 56% Parent FIGURES AND F'RAcTIoNS.—$ 1234567890 151314 13233433537% Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam furor iste twus elu- ABCDEFGHIJKLMN OP QRSTUV WXYZ GE: GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CuamBers-Street, NEW-YORK. . ) NONPAREIL. For fuller Specimens of these Faces, see Pages 110 to 141 at the end of this Volume. Nonparein, No. 11. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne to noc- turnum presidium palatii, nihil urbis vigilice, nihil timor populi, nihil consensus pbonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora yultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii, ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici con- silii particeps: notat et designat oculis ad caedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublicee videmur, si istius furorem ac tela vitemus. ABCDEFGHIJKLMNOPQRSTUVWXYZAGE& ABCDEFGHIJKLMNOPQRSTUVWXYZEQ@ $ 1234567890 £ 433539885 16144414 6349656 % PATENT FIGURES AND FRACTIONS.—$ 1234567890 191514192334.3g5g7, Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noctur- num presidium palati, nihil urbis vigilic, nihil timor populi, nihil consensus bo- ABODEFGHIJKLMNOPQRSTUV WXYZAGE Nonpareit, No. 12. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? ni- hihete nocturnum preesidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis ? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides ? quid proxima, quid superiore nocte egeris, ubi fueris, quos convoca- veris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo yero etiam in senatum venit: fit publici consilii particeps: notat et desig- nat oculis ad ceedem unumqueinque nostrum. Nos autem viri fortes satis- ABCDEFGHIJKLMNOPQRSTUVWXYZHQGS& ABCDEFGHIJKLMNOPQRSTUV WXYZH@ $ 1234567890 £ 354832085 72751416 74945656 % PATENT FIGURES AND FRACTIONS.—$ 1234567890 1919141923343g5g7 sque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam ror iste twus eludet? quem ad finem sese effrenata jactabit wudacia? ni- ilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor po- ABODEFGHIJKLMNOPQRSTUVWXYZEGE ; os Nonpareit, No. 13. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil con- sensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid _proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ris, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: ‘hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad ceedem unum- quemque nostrum. Nos autem viri fortes satisfacere reipublice videmur, si ABCDEFGHIJKLMNOPQRSTUV WXYZHG& ABCDEFGHIJKLMNOPQRSTUV WXYZ $ 1234567890 £ 434552885 72747416 76949696 % PATENT FIGURES AND FRACTIONS.—$ 1234567890 1913141923313g5g7g Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilice, nihil timor populi, nihil consensus bonorum ABCDEFGHIJKLMNOPQRSTUV WXYZ GE Nonparein, No. 14. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moyerunt? patere tua consilia non sentis? constrictam jam omnium horum consci- entia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? © tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen Vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad ceedem unumquemque nostrum. Nos autem viri fortes satis- facere reipublice videmur, si istius furorem ac tela vitemus. Ad mortem te, Cati- ABCDEFGHIJKLMNOPQRSTUV WY YZAQGE& ABCDEFGHIJKLMNOPQRSTUVWXYZEG $ 1234567890 £& 444482805 76741416 75549656 76 PATENT FIGURES AND FRACTIONS.—$ 1234567890 1913 141823%.335378 | Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eldet ? sure ad finem sese efrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilice, nihil timor populi, nihil consensus bonorwm ABODEFGHIJEKELMNOPQRSTUV WXYZAGE - Nonpareit, No. 15. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjura- tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad ceedem unum- quemque nostrum. Nos autem viri fortes satisfacere reipublice videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P, Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statum reipublice privatis interfecit. Catilinam vero orbem terre cade atque incendiis vastare cupientem nos consules perferemus? nam illa nimis antiqua preeterea, quod Q. Servilius Ahala Sp. Melium, novis rebus studentum manu sua occidit, Fuit, fuit iste quondam in hae reipublica virtus, ut viri fortes suppliciis civem perni- ciosum, quam acerbissimum hostem coercerent. Habemus enim senatus consultum in te, Catilina vehemens et grave: non deest reipublice consilium, neque auctoritas, ABCDEFGHIJKLMNOPQRSTUVWXYZAGE& ABCDEFGHIJKLMNOPQRSTUVWXYZEG $ 1234567800 & AARBIBET 14141414 24549656 % PATENT FIGURES AND FRACTIONS.—$ 1234567890 191914182334335g7g Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatti, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum ABCDEFGHIJKILMNOPQRSTUV WXYZAGEé NonpareEIL, No. 16. - (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, wbi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublicee videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes jamdiu machi- naris. An vero vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statum reipublice privatis interfecit. Catilinam vero orbem terrze ceede atque incendiis vastare eupientem nos consules perferremus ? nam illa nimis antiqua preetera, quod Q. Servilius Ahala Sp. Melium, novis rebus studentum manu sua occidit. Fuit, fuit iste quondam in hac reipublica virtus, ut viri fortes suppliciis civem perniciosum, quam acerbissimum hostem coercerent. Habemus enim senatum consultum in te, Catilina vehemens et grave: non deest reipublice consilium, neque ABCDEFGHIJKLMNOPQRSTUVWXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZAG $ 1234567890 £ 4hAbBQEEE 242463416 %69496 96 % PATENT FIGURES AND FRACTIONS.—$ 1234567890 191314192394 335g7, Quousque tandem abutere, Catilina, patientia nostra? quamdiw nos etiam furor iste tuus eludet? quem ad jfinem sese effrenata jactabit audacia? nihilne te nocturnun presidium palatti, nihil urbis vigilix, nihil timor popult, nihil consensus bonorwm ABCDEFGHIJKIMN OP QRSTUVWAYZA GE NONPAREIL. No. 21. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noc- turnum presidium palatii, nihil urbis vigiliz, mil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid su- periore nocte egeris, ubi fueris, quos convocayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici con- silii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublice videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statum reipublice privatis interfecit. Catilinam vero orbem terre cede atque incendiis vastare cupientem nos consules perferremus? nam illa nimis antiqua preterea, quod Q. Servilius Ahala Sp. Melium, novis rebus studentum manu sua occidit. Fuit, fuit iste quondam in hac reipublica virtus, ut viri fortes suppliciis civem pernicio- sum, quam acerbissimus hostem coercerent. Habemus enim senatus consultum ABCDEFGHIJKLMNOPQRSTUV WXYZAGE& ABCDEFGHIJKLMNOPQRSTUVWXYZ $ 1234567890 £ 444859385 76741446 75943636 % PATENT FIGURES AND FRACTIONS.—$ 1234567890 1013141823 34335g7, Quousque tandem abutere, Catilina, patientia nostra? quamdiw nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit dudacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum ABCDEFGHIJKLMN OP QRSTUVWAYZ HEE 25 GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHampers-StreeT, NEW-YORK. Wal Bde +, ey ’ ; ; St { es © ’ > ; ' . t . - & Bu : f i i a 7 : h . } ® I Be ‘4 a »® -. Pe ea ; ae 4, 7 P t Gat wpe Le vé aratin i pourtia any "wy { ’ N Later Tre AteeytAa eh {MSS Cdr TE’ exe mi weads, dckhs ‘aie 1h) orks Dipete a 4 att on pins S“ Mites) 0 Sebial a * er. motes Said wad sey . Pk oni ee hal a on en VS Ries ya ae went fine wil) ta ERP WDE phe ' fy vie f 7 He fea { ie su ts 4 ij v ry 7 ‘ » Vana + co Paes i i's os i i i ' "% 4 i! i) i + ‘ a i ‘ . ' iT it. | i _ 4 { 3 1 x j j pile i i ly ef >a west b« * i : Fi Ay! 75 et a , ageihatily a ih ‘sare wh se CP ae Bs fe ve uneghe PPA Me 1 ctromeer alae ree a4 QIN Re Per ae tt otha SY a ¥ eer ‘Phy POPUP SAT it al, i ey Palate teat. 2 fey ina: saat ie’ telus gotet OOH TLR ho rete ® ate ue S| i sve, A Foleo ane Ab aN Gla, + ere Heimat ing moored, J inva aed roms vis Sedhon ts i plineyy Some ave +h bit “hii ly Tae Wee ty us ’ raw eaeyees en Ley ee Pl antadlg 2 phe AMS TEMP TIO Fe TT ae) Sm Wid 27 A By Prairie kay aieee se ee Vi phat ale 1 LR: 2 ee ber of Ue Sie AE Beet tide sw ov otha t girchaitge we vdiab ep peepee areata 6 pn " Het ty Leahey SenvOrtRs amie i, Sy aap § lewis tee Aveo oes abdvqw dedhet |i toe OL oy ND ERI Moy Ok WAAR ; 5 5 Tat 7 ij EP A aan inal i pb fiw set alioaeay f ft a aif uly OL. A ph oatihlag > ake wala ile alouias dl ani i mart Shales linge teen! PET ACR Cope. iil aod pyicese Cheba hep ert orenet ond ith eae cbffiet Ptred: mei aile aise? Ohi)” TNO RD &% i) wow? snr auciter Sih Fa oth Og tires sil bt: auocory aera Sal Vas aie : 7 - errr ul srabegtiag ts Yet ote ese (ee Tre ame soe Rarer iis viahine’ fein, oblate rane abe aa aa: 1 Uf Sr ee. Hedrons owiehe taetyed) Mite Hvis, HI thik) cit ITE RN a TA A ines serie fa At LO Ws Cybele, Rh, & OED e Mae? aay va ies ore eerie 1D ol , aon. i Tebay ade eto ou 20 eee A aaa me D2 is ae ‘en aciag . a, wt Nn + jul ae ; per Papier @ : Siar 4 eh, wn imseacei ' te { i TAY “) sity) ate,! mee rent tit whole Moree i Amnne erie Sete oir Wh AOL OEY erin ddes Gons'T pools bo eatin me NO. he iif - Ep arr tea eh we ani yrunlieg) tiie gh lchdd eine teat = wih C540 s elem Geddes dad 2 ’ a} joe HTN AO) lem) et Pad Lire ds sips ‘ik vai . paren? : or et thd peat ital tty lal Veii en aT : wiies ts - { erat ar bere t) Par ' i tt) ee ioely an Ae * Y us 5 a 4 ey hls aw, (perepets hyp dates bi, ¥ lay ms Pas best, Cea ridnateline. cutie i if Ups Mean oawiend, 4) by! hh PEI ee at) Ms IY cw) plies) } . . " i fi are wire aficrea 3 Nie it ae ; ! vie eA) we is, FN or Mee ay ‘ ‘ont’, i, ' YO RANG) Kio BWTALAIO Ait au | aS MAA ws thie: 1 PT OG et) ir wzertianad | is | Laokt Ping nia vied ; . : ) z whi vre% ee aed 7 bo Bayedinaer DA ipy Lnivtlan, . 7) Seek i\'A 77 = deme Sin fh hey p ‘ vipy) ay ghe vureebiriy Vaae An P wu i : > 4°59 TRS A VUIENO LOK eM. ee . , , " ~ - . i it oli georneld eidhe we sb ‘ ane vay otis vols te Ghent vl ioery ue . a ails P y xt ait wl nit : ‘ ao ae hea re \ : age ian ee ; mM" . ce er | Le AM eee tidy Ue a Bales hs ' ‘iyoe 21 Ay fi a (OM dol a. ie ‘ Pj “. ~ ‘ | . * ts ets, fea! vit Pidalils nat : Tiara? P20 2 a ANS Ah ty PT VE a | a PALE ais Nik f iy eld tidia im ’ 4 irri ; ‘ ¥ wh 15 i . oe Gurr (eigrea)) Fury j ral ; —_ a ‘ is ‘ ' hae \ - wel Rrhiio) aiael Only aay J ; : : +} ; . ie hs nyt a“ A PPC aaa ie 4 Tae dig Dongs . hy ome “nd oul mri Kit Ziad tte i Ma lt) Pe! aon DINARS Oa mite eigen is ps ge i" oes Pility iy gH (on MAG hed Alera how tlt Gin, qd ySakuais od ie d fon am ete an je ' | Aran ihe N ie aif L etidy i ids. tn 14 a 1 ey ‘Paks ae ein)! el ELS ie LU Sa bool hhh fee Fool ae reais (HAN Bi tL ANSE Ragas bohm, Js ee ee a ated aie? tel all awe ay ie if iP 3 : ’ : ) ; ; : a wh i Hy bey ab wilaver's Tis 4 Om : Me T a [rates 4 ia 2 yy Ast Fateh nhat by iyiey ory | iy. a1) Y, he ite Lo TF ray | aire, Pe rite to Vary ify vt ay ety ; , op J 7 ai rere yell . ’ i us 4 Tj a yl nee: LA Weiner Sle Vegy uid 7 tab wee} or Monee +h; Saisk! _ Db gin vy rr Nai oy won als 14s canes Mh | ley did abd Te. iy Pleats arin er Gavia UTy Cour iy care. ee) ome: lobe bas apa ting Gilipcie % «a ihe My DUDA RTL ater ee on tas ee t. ssh ctiadahad wo: Ly hy okie te ia vip said ra } aise ia Paes aerial sy cierto Ns ba: awh nb yee on | “Ci aaah bata ry Sey hatte ah Ny fele’te) ! ay ( anne ee re al oe si v a oe For fuller Specimens of these, Faces, see Pages 78 to 109 at the end of this Volume. Minton, No. 11. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum presidium palatii, nihil urbis vigilise, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora yultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjura- tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii ABCDEFGHIJKLMNOPQRSTUV WXYZAES& ABCDEFGHIJKLMNOPQRSTUVWXYZHG $ 1234567890 £ age St 1613 14 754 38 9% Parent FIGURES AND FRACTIONS.—$ 1234567890 1913141923343g5g 7 Quousque tandem abutere, Catilina; patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturmun presidium palatii, nihil urbis vigilie, nihil timor populi, nihil ABCDEFGHIJEKEILMNOPQERSTU VWXY ZA GEE Minton, No. 12. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jac- tabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt ? patere tua consilia non sentis? constrictam jam om- nium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convo- caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen ABCDEFGHIJKLMNOPQRSTUV WXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZEE $ 1234567890 £ 2333528es 444% %% % PATENT FIGURES & FRACTIONS.—$ 1234567890 1913141923343g5g7 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad finem sese effrenata jactabit audacia? mi- hilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, ABCDEFGHIJKLMNOPQRSTUV WX YZAGES Minton, No. 13. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moyerunt? patere tua consilia non sentis ! constrictam jam omnium horum conscientia teneri conjura- tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hie tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici consilii ABCDEFGHIJKLMNOPQRSTUVWXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZH@ $ 1234567800 £ 4522232882 log 4% % 96 56 7 PATENT FIGURES AND FRAcTIONS.—$ 1234567890 191314182334395g7 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenatajactabit wudacia? nihilne te nocturnum presidium palati, nihil urbis vigilie, nihil timor populi, nihil ABCDEFGHIJTELMNOPQRSTUVWXYZAGE Minton. No. 14. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum preesidiuim palatii, nihil urbis vigilia, nihil timor populi, nihil consensus bonorum omnium, nihil hie munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? con- strictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos conyo- caveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt! hie tamen yivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat ABCDEFGHIJKLMNOPQRSTUV WXYZAQG& ABCDEFGHIJKLMNOPQRSTUV WXYZ 20Ga $ 1234567890 £ 4442: hls Vy 16 2554 98 % 78 PATENT FIGURES AND FRACTIONS.—$ 1234567890 1913141923313g5g7 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam Furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia ? nihilne tenocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil ABODEFGHIJKLMNOPQRSTUVWXVZAGE MINION. - Minion, No. 15. (2-NIOK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noe- turnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem — nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublicze videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, ducijussu consules jam pridem oportebat: in te conferri pestam istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, Tiberium Gracchum mediocriter labefactantem statum reipublice privatis interfecit. Catilinam vero orbem ABCDEFGHIJKLMNOPQRSTUVWXAYZHE& ABCDEFGHIJKLMNOPQRSTUV WXYZAGE $ 1234567890 £ s32agtees 124% 1675458 234534888 Patent FrGuRES AND FRactTIons.—$ 1234567890 1913141923343g5g 7% Quousque tandem abutere, Catilina, putientia nostra? quamdiu nos etiam — Furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil ABCDEFGHIJTELUNOPQRSTUVWXYZAG& Minion, No. 16. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jJactabit audacia? nihilne te nocturnum preesidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, _ nihil horum ora vultusque moverunt? patere tua consilia non sentis? con- + strictam jam omnium horum conscientia teneri conjurationem tuam non vides? — quid proxima, quid superiore nocte egeris, ubi fueris, quos convocayeris, quid 4 consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul yidet: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad oe are a ceedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublice videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, ducijussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos — omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex — maximus, Tiberium Gracchum mediocriter labefactantem statum reipublice _ ABCDEFGHIJKLMNOPQRSTUVWXYZAG& a ABCDEFGHIJKLMNOPQRSTUV WXYZHG _ $ 1234567890 £ 342353833 454% % 545858 % PATENT FIGURES AND FRACTIONS.—$ 1234567890 1913141923343g5g7g Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad finem sese effrenata yactabit audacia ? nihilne te noc- turnum presidium palati, nihil urbis vigilie, nihil timor popult, nihil consensus ABODEFGHIJELUNOPQRSTU VWXYVZAGE Minton, No. 21. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? — nihilne to nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora yultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjura- tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora,o mores! Senatus hoe intelligit, consul videt: — hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit public consilii particeps: notat et designat oculis ad ceedem unumquemque nos- trum. Nos autem viri fortes satisfacere reipublicee videmur, si isti furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes jamdiu machinaris. An vero vir amplissimus P. Scipio pontifex maximus, ABCDEFGHIJKLMNOPQRSTUVWXYZAGS& ABCDEFGHIJKLMNOPQRSTUVWXYZAG $ 1234567890 £ agagsases 1215 4 16% 54 46% 7 PATENT FIGURES AND FRacTIONS.—$ 1234567890 1919141923343g53% Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam iste twus eludet ? quem ad finem sese effrenata jactabit audacia ? nihilne te turnum presidium palatir, nihil urbis vigilie, nihil timor populi, nihil consensus ABCDEFGHIJTKEILMUNOPQRSTUVWXVZAGd GEORGE BRUCE’S SON & CO., Typx-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 26 BREVIER. For fuller Specimens of these Faces, see Pages 62 to 77 at the end of this Volume. Brevier, No. 11. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigi- lie, nihil timor populi, nihil consensus bonorum omnium, nihil hie munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tem- ABCDEFGHIJKLMNOPQRSTUVWXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZHiG $ 1234567890 £ 344h388t 444K K*uU%*GK Parent Fies. AND FRAcT’s.—$ 1234567890 1513141929343g5g7 Quousque tandem abutere, Catilina, patientia nostra? quamdiunos etiam furor iste twus eludet? quem ad finem sese effrenata jactabit audacia ? ABCDEFGHIJKLMNOPQRSTUVWXYZAGS BREVIER, No. 12. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil consensus bonorum om- nium, nihil hic munitissimus habendisenatus locus, nihil horum ora vultusque moyerunt? patere tua consilia non sentis? con- strictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos conyocaveris, quid consilii ceperis, quem nostrum ABCDEFGHIJKLMNOPQRSTUV WXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZEQ $ 1284567890 £ 444432885 164 14% 16% 343456% Parent Figs. & Fract’s.—$ 1234567890 1913141925%43g5g7% Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad finem sese effrenata ABODBFGHIJTKLMNOPQRSTU VWXYZAGEE (3-NICK. ) Brevisr, No. 13. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigi- liz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, ABCDEFGHIJKLMNOPQRSTUV WXYZAE& ABCDEFGHIJKLMNOPQRSTUVWXYZAE $ 1234567890 £ 442h82884 161414 % 167594388 % PATENT Figs. AND FRACT’S.—$ 1234567890 1913141823343g5g 7% Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit au- ABCDEFGHIJKLMNOPQRSTUVWXYZAIGS (3-NICK.) Brevisr, No. 14. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihime te nocturnum preesidium palatii, nihil urbis vigil, nihil timor populi, nihil consensus bonorum omnium, nihil hic muni- tissimus habendi senatus locus, nihil horum ora yultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horuwm con- Scientia teneri conjurationem tuam non vides? quid proxima, quid Superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ce- peris, quem nostrum ignorare arbitraris? O tempora, 0 mores! Sena- ABCDEFGHIJKLMNOPQRSTUV WXYZAGS& ABCDEFGHIJKLMNOPQRSTUV WXYZ $ 1234567890 £ 4443Hes 161414151675 2438% % PATENT Fics. AND FRActT’s.—$ 1234567890 1913141923343g5g 7% Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad finem sese effrenata jactabit ABCDEFGHIJKLMNOPQRSTUV WXYZAiGS 27 BreviER, No. 15. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum presidium palatii, nihil urbis vigiliee, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjura- tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoc intelligit, consul videt : hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad ceedum unumquemque nostrum. Nos autem viri fortes satisfacere reipublicee videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, ducijussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes ABCDEFGHIJKLMNOPQRSTUVWXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZEE $ 1234567890 £ 44438887 Lolly 12434 3452 % PATENT Fics. AND FRACT’s.—$ 1234567890 1913141929343g5g7 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad finem sese effrenata jactabit audacia? ABCDEFGHIJKLMNOPQRSTUVWXYZAQGS BrevieR, No. 16. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjura- tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoc intelligit, consul videt: (2-NICK.) hie tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad ceedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublicee videmur, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te conferri pestem istam, quam tu in nos omnes ABCDEFGHIJKLMNOPQRSTUVWXYZAG& ABCDEFGHIJKLMNOPQRSTUV WXYZ $ 1234567890 £ 4hdhsE8e 1614146 4% 343656% PATENT Fics. AND FRAcT’s.—$ 1234567890 1513141,2343g5g7 Quousque tandem abutere, Catilina, patientia nostra! quamdiu nos etiam furor iste tuus eludet? quem ad jinem sese effrenata jactabit audacia ? ABCDEFGHIJKELMNOPQRSTUVWXYZAGES BRevIER, No. 21. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hie muni- tissimus habendi senatus locus? nihil horum ora yultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum con- scientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos conyocayeris, quid consilii ce- peris, quem nostrum ignorare arbitraris? O tempora, o mores! Sena- (2-NICK. ) tus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et desig- nat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfacere reipublice videmus, si istius furorem ac tela vitemus. Ad mortem te, Catilina, duci jussu consules jam pridem oportebat: in te ABCDEFGHIJKLMNOPQRSTUVWXYZAGHE& ABCDEFGHIJKLMNOPQRSTUV WXYZ $ 1234567890 £ 4h2h9288h 161414 % 167794 98% % PaTENT Fias. AND FRact’s.—$ 1234567890 1913141929343g5g7 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? ni- ABCDEFGHIJKLMNOPQRSTUV WXYZAiGhE GEORGE BRUCE’S SON & CO., Typr-FounprErs, No. 13 CHampers-STREET, NEW-YORK. ; : ae ; ii nos “me ‘ Lk mu rit da RY i 1a OUR eogatl a wis ove weit a ut & ! is a ee aioe | nr i | kurmeciiy 9 ai eee a tr ipebint) Pa Caley Rael en parta Wn ae MND? tba nated ne tau tePtn® tayo ee ee HeTee WE ugeayy *Y Me edi me L esl ot thit oteh pgs) ie Tube 4 nis MegTinae Pt ae: eae z : ‘ mall. my} ; y " pens, Cee * wi i Ma i Ys Tile ip Sea? tf : : ‘) a ; my: Daj, hil Fy hilar “i AAs ate ai “a Aus 44 : ary) i fi i t iu; 1 ih id chasse et hl fart bb é ‘ Aug lt hae’! icine ae Ve yieicl obelte yest, © } i) ’ ’ ee Reedy | a Rs ea pe i , a), 4 © wien e Nae Solbrhege nara eiep if Lee eek WARS. dae i? Fe $ALE La ea ; f bs Fos wihelhai ingrbeterpriertenr | . | iD ERE URES herton - 2 aren ; Synge grily vay he jod aeraye wre te iy ‘ , : : c > ow A a . eran Heyes *) Gowy a> 0 antl ’ [ L J & (% we 1 yistct ere WUD, ee, weeks haleple : : \ fe ary Sd ia var 4 wey oa a ! } =) es | ae “ Sto “VTi! iw cient Hiiaohn oetbohivng id tite arte idee i ' - : ' A 2 10 #71) weld hans mLPeNy beer eit, V5 EE Moy "hy mepdierets Saye vi G pee L Dice tien fwty lide gi fi otf > Liat ii pel EE Al wag “aipat oi ie : ¢ ; pats aut dia dit Tipe ied epee ‘a vl + EE eres sa Teiy Hit CACl ee on ee i ‘ N : ae toe iene i luis pith ae ty Diep Teale : : : ; : y i per Aad, Bertil ATT Taree ; hy 4 WY Stew 7d. Ge | ; { 4 Pee meyiet fare Urea | | i Sle “See i MTA oa Paine we ee . Tyee Gaye) inti ts, so AE, hoy scereieyy, whee ipa aly 4 Ary a ET HE VCR TA 0 AEN A OR , - ae & #1) Ae OF oxersut =f vet jer suri Lie 7m tert sored = ene) Teste po 1 Aer eee aves Welk Wii ialee cial rites hire aol ae 7 LOT dal nlnuite? 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He ih ie t ‘ alin sv ep Vit welll doula : oS ae ae hes feng. “raluele away wink F . : a ee ae Nb ae AY sy VON bE yt ent’ ~~ rh! 7 : th Vaehuie ahi OO ae a hati nnd ie ok ‘ 4 f 4 eet Maa uh men YW Pl ol ch hte , fA LD et tenet) ue ay on ; : 4 pis Wika ee alae ‘e . ‘ b i wo eTEh bie OUTeT jit aot "APSE Gro” Gn epi Mla pire Tllah 1 digas, te ib by iy ft, Fi at a hs ie ttowe!} é ’ : ; Tea buyi. 7 8 ‘Wires wean > arewpet ithe, . * : > ; oe bigeght a widplit ap al * ere ete (AT y : ry tyiye ; ~ Ue ’ t rE Rw aeeae a ati ot : » Glan dae Y ahs Lit) | Ay a ay : , ey eee, ft { ei i¥ Hate etait ue is Le to A i ‘ boa 20.45 Ls a ’ vit Ae We 1 Na ; ay he \ 1 Pa \ a Ger 4 Vishasl wh Shi et | ’ ee . , s ! whet 3 af | A? > (AVON ee Wt ATU a eet : - me ised | AAT Wilt Jo fps a4) be VEL os TEL bin 10 ‘Oe ed ho, i. ‘wane? pl Ai O14 "yes } ‘ ° ’ , , phvrrry RUBE ETY co Tris iieal hae (1 asraaan , Diieetrd hig Teale pity “s Miigt ei e thebirla s ie ‘ , ; ‘4 / 5} Sat PELL iy 6s " Lo ty) ee EO Te) ee es — ¥- * we nig arn ; id aT ive ee. baer ac! weer tart ~ asks ‘two ' a Ah ct Sites eee etn ; ‘ r a , Pie i vies 7 . be en eto) 2 aa PPPAAEY: MduAerad hts mny 5 * } - ; ; ij : ah.) s iy ers, fini ‘ wis - Br Altanteearo® Bilier thin WAY en f i a; SEA . at ed + ; Pari el atte eal ed » abies be 3 ; f . mF s . ‘ ‘ daiebtal GUN AIT gape ene Aaey D sing Wee PPI ev ers ; iy (<5 Rial Meer? an Oi oe don *) Stat SG! Spe! 4 PAS 5)| ih VES ay Fem Tare bye ctierneyt RRTATTTL cee tae Te aii Oe pat poralsnurse Lit2py 92 ie bias CLE fit re (WOT es 3 J cd foxes bye aR eT hin Beas picker sajeke) tte pre? MD inl baalerty sya O ADV) iewkvarcs wintry amy Bog Bi ; py Thane’ if ys ok a MP ros tele "sl aati Ee "ida hp MARR OM ah A bios Leste sree 8 qe bISR oriinret sire? ’ don rrr tit way serie Seeeritoyt 8 > day teeny it sf Le Ty sat, ble ah Orit Bes pedal? Cyr d Pay Tisdttes Prdihs ahh = Jigs en be dine? erage Soanneg ay ae Pew pit te) sais Suiveres apne gh pes ; } 4. teen aie = 9h wy 8s citd! a Dalit ft f NOR A AHL AEE uty. Oe: Soni 70 a th * Tey rue Cie A RULE nt Crm THA He: . : . Pe 2 HT bet 3 - re Dal tole MY, kat) can) y Ay iat ba a ais . at « . F it y 9 th BOURGEOIS. For fuller Specimens of these Faces, see Pages 50 to 61 and 157 to 159 at the end of this Volume. Bouresors, No. 11. (2-NIOK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palati, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, hihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia tenerl conjura- tionem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Se- natus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum yenit: fit publici consilu particeps: notat et designat oculis ad cedem unumquemque nostrum. ABCDEFGHIJKLMNOPQRSTUV WXYZQG& ABCDEFGHIJKLMNOPQRSTUVWXYZHE& $ 1234567890 £ 3 8857 SSTShasts Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad finem sese effrenata jac- tabit audacia ? mihalne te nocturnum presidium palati, nihil urbis ABCDEFGHIJKLMNOPQRSTUVWXYZAIGE& Boureeors, No. 13. (2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quam- diu nos etiam furor iste tuus eludet? quem ad finem sese effre- nata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sen- tis? constrictam jam omnium horum conscientia teneri conju- rationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris quos conyocayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Sena- tus hoc intelligit, consul yidet: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad ceedem unumquemque nostrum. ABCDEFGHIJKLMNOPQRSTUVWXYZEG& ABCDEFGHIJKLMNOPQRSTUV WXYZE@ $ 1234567890 £ 444432885- Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil ABCDEFGHIJKLMNOPQRSTUV WXYVZAGE Bouresors, No. 14. 2-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjuration- em tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nos- trum ignorare arbitraris? O tempora, o mores! Senatus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et desig- nat oculis ad cedem unumquemque nostrum. Nos autem viri ABCDEFGHIJKLMNOPQRSTUVWXYZEGE& ABCDEFGHIJKLMNOPQRSTUV WXYZ HCE $ 1234567890 £ 4444322284 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata Jactabit audacia? nihilne te nocturnum presidium palatii, nihil ABCDEFGHIJKLMNOPQRSTUVWXYZAQGE BourGesors, No. 15. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum preesidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omni- wn, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constric- tam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocayeris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, o mores! Senatus hoe intelligit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum venit: fit publici consilii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfacere rei- ABCDEFGHIJKLMNOPQRSTUVWXYZEG& ABCDEFGHIJKLMNOPQRSTU VWXYZ $ 1234567890 £ 444493287 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum presidium palatii, nihil ABCDEFGHITEKEIMNOPQRSTUV WXYZAGE BourGeors, No. 16. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non _ vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbi- traris? O tempora, 0 mores! Senatus hoe intelligit, consul videt: hie tamen vivet. Vivit! imo vero etiam in senatum venit: fit publici consili particeps: notat et designat oculis ad caedem unum- quemque nostrum. Nos autem viri fortes satisfacere reipublice ABCDEFGHIJKLMNOPQRSTUVWXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZEQ $ 1234567890 £ 44423885 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuwws eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palati, nihil ABCDEFGHIJKLMNOPQRSTUVWXYZAGE Bourceots, No. 21. - (2-NICK.) (Juousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omni- um, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moyverunt? patere tua consilia non sentis? con- strictam jam omnium horum conscientia teneri conjurationem — tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris ? O tempora, o mores! Senatus hoc intellegit, consul videt: hic tamen vivit. Vivit! imo vero etiam in senatum ~ venit: fit publici consilii particeps: notat et designat oculis ad cedem unumquemque nostrum. Nos autem viri fortes satisfa- ABCDEFGHIJKLMNOPQRSTUV WXYZAG& ABCDEFGHIJKLMNOPQRSTUVWXYZAiGa $ 1234567890 £ 43442845 Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum presidium palatii, nihil urbis vigi- ABCDEFGHIJKLMNOPQRSTUVWXYZAGE GEORGE BRUCE’S SON & CO., TYPE-FouNnDERS, No. 13 CuamBers-STREET, NEW-YORK. 28 = > “a ) \ i LONG-PRIMER. For fuller Specimens of these Faces, see Pages 36 to 49 and 154 to 156, at the end of this Volume. Lone-primer, No. 11. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor popul, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque move- runt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam ABCDEFGHIJKLMNOPQRSTUVWXYZAGE& ABCDEFGHIJKLMNOPQRSTUVWXYZEG $ 1234567890 £ 444429387 Quousque tandem abutere, Catilina, patientia nostra? quam- diu nos etiam furor iste twus eludet quem ad finem sese effre- ABCDEFGHIJKILMNOPQRSTUVWXYVZAGE Lone-primer, No. 13. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora yultusque move- runt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam ABCDEFGHIJKLMNOPQRSTUV WXYZACES& ABCDEFGHIJKLMNOPQRSTU VWXYZ AlGs $ 1234567890 £ 444423857 Quousque tandem abutere, Catilina, patientia nostra? quam- diu nos etiam furor iste twus eludet? quem ad finem sese ABODEFGHIJKILMNOPQRSTUVWXYZAGE LoNG-PRIMER, No. 14. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? qu- amdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum pre- sidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus ha- bendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? ABCDEFGHIJKLMNOPQRSTUVWXYZMEE& ABCDEFGHIJKLMNOPQRSTUVWXYZEQ $ 1234567890 £ 444483887 Quousque tandem abutere, Catilina, patientia nostra? qu- amdin nos etiam furor iste tuus eludet? quem ad jfinem ABCDEFGHIJKLMNOPQRSTUVWXYZAKE Lone-primer. No. 15. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quam- diu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua con- Silia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid ABCDEFGHIJKLMNOPQRSTU VWXYZAMS ABCDEFGHIJKLMNOPQRSTU VWXYZ AIG $ 1234567890 £ 344483885 Quousque tandem abutere, Catilina, patientia nostra? quam- diu nos etiam furor iste tuus eludet? quem ad finem sese ABODEFGHIJKLMNOPQRSTUVWXVZAGEG Lone-primer, No. 16. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdia nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omni- wm, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? con- strictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoc intelligit consul videt: hic tamen vivit. Vivit! imo vero etiam in se- ABCDEFGHIJKLMNOPQORSTUVWXYZAQGHE& ABCDEFGHIJKLMNOPQRSTUVWXYZEQ 2 1I2A RETR 2 11123357 $ 1284567890 £ SAAT RISO Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste twus eludet ? quem ad finem sese effrenata ABCDEFGHIJKLMNOPQRSTUVWXYZAGHE LONG-PRIMER, No. 19. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quam- diu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilice, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua con- silia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid con- silii ceperis, quem nostrum ignorare arbitraris? O tempora, 0 mores! Senatus hoe intelligit, consul videt: hic tamen vivit. ABCDEFGHIJKLMNOPQRSTUVWXYZHA& ABCDEFGHIJKLMNOPQRSTUY WXYZ ACE $ 1234567890 £ J44429387 Quousque tandem abutere, Catilina, patientia nostra? quamdiu mos etiam furor iste tuus eludet? quem ad finem sese effrenata ABCDEFGHIJKILMNOPQRSTUVWXYZA GE LonG-PRIMER, No. 21. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? qu- amdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor popul, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque move- runt? patere tua consilia non sentis? constrictam jam om- nium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nos- trum ignorare arbitraris? O tempora, o mores! Senatus ABCDEFGHIJKLMNOPQRSTUV WXYZAAE& ABCDEFGHIJKLMNOPQRSTUV WXYZAGE $ 1234567890 £ 444429382 Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata ABCDEFGHIJKLMNOPQRSTUVWXYZAKHE 29 GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. th ie alae ve j tx inthe vie 1 a eirret aint sana vite. Fu fied tal esata ; {ra wate iy Liptiat, fi (TED TEER S eee eet mee tit T (it ee 7“ | 4 a ae | 1) eed ee oh wtar (y(tALLRD wrt ca 4) ; i, ily ono LTR Qe oe aon tbia’ ) Ai “tant Ls py aL ny aha 24k Aut VA Al, HQ ‘eS ub ahh dai shar aie iahdlent vel, wtedly st : J nila ssahererneraeit cit Sea uh lective oypook mutate 4 if doy Ab Ae ne ‘ et? ify bide + MAL AVG Ibi LANG in hte ih be he la vhs : ' seblah tie, VF ec4 ery haan Vas BAe 9 i maa ing r pfveeta 7, Beit bag week eet Wai frie i A ebane _ dnote (eR RANA wy Art) era ACHING ¢ ; oo revenge SmFALIM vie crnatd 5 | Fiithe 0 NORNRMRUE G9 - Sy eve rp re iihiy we fi OW Vie’ Yat} s auee\ iit es UU Tey I A ATROANAN wi ’ - A) att, ite étnt sabes f - obtener analy aie annie al ct Sve nyt: ¥ tin _ aghast irk! ett Ay a \ tia ii ie aay vee melt tigts jot] avanti ones (Ny ae | i. UNe Page tol eT VT r Oe eih dee ay viiity a tal ye’ wy PALL | we ols f= MAG ERIE ad ae “a x ay watts > ivi! pen Tih , MBA Fey fie! pei a reas | eee i; Witw Helin: Panto Mos fh { fi PP (HtkNy iin er : { , ' . ) Oytag : oe rh | rh . ’ - oe i 2 fei ‘ ’ } 1 teh hal ' stat ) : H 5 ' { < brik) Like i ’ 4 : : i ’ Pb fut : rail ft Atal Le | re vitta lh ie fd ‘ T wich ; ! : f a ar) o)\arake TT 5 : ; ; ‘eu 4 At ee a ety Sis hy etek}! Walvis mn ne Hiatal, pay 78 . ' Wh be | hit; hy hat He »Y ty my me pie naa ; vii) 7 weit iin ni / Efiape4 1258 ‘i whit actinte yay! pa? A his Nia Tati fre ni} “ 7 PATRIA, (01H UTE hy OE COMET PRGA IS de ey t Whkh rach mi TN AY 2 TO ; ie = He ” beh be 4 * Ne 6 ) ‘ ; sin aye hs. i “Mentone my ‘ is 00th) | 2g rae an athe ‘4 Ay) pein) Ne Pa a 4 * a — 7 iat For fuller Specimens of these Faces, see Pages 22 to 35 and 153, at the end of this Volume. SMALL-PICA. Smati-pica, No. 11. (2-NICK.) Quousque tandem abutere, Catilina, patientia nos- tra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil ur- bis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque move- ABCDEFGHIJKLMNOPQRSTUVWXYZA& ABCDEFGHIJKLMNOPQRSTUVWXYZEE $ 1234567890 £ 434832336 Quousque tandem abutere, Catilina, patientia nostra? ABCDEFG 'HIIK LMNOPQRSTUV WXYZE. SmMALL-PIcA. No. 13. (2 (uousque tandem abutere, Catilina, patientia nos- tra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia ? nihilne te nocturnum preesidium palatii, nihil ur- bis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque move- ABCDEFGHI. JKLMNOPQRSTUVWXYZ& ABCDEFGHIJKLMNOPQRSTUV WXYZACE $ 1234567890 £ 444432287 Quousque tandem abutere, Catilina, patientia nostra? ABCDEFGHIJKLMNOPQRSTUVWXYZ& -NICK.) SmALuL-PrcA, No. 15. 2-NIOK.) Quousque tandem abutere, Catilina, patientia nos- tra ? quamdiu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilise, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non ABCDEFGHIJKLMNOPQRSTUVWXYZ& ABCDEFGHIJKLMNOPQRSTUV WXYZ AGE $ 1234567890 £ 4454482885 Quousque tandem abutere, Catilina, patientia nostra ? ABCDEFGHIJKLMNOPQRSTUVWXYZ& SMALL-PICA, No. 16 (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noc- turnum preesidium palatii, nihil urbis vigiliee, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt ? patere tua consilia non sentis ABCDEFGHIJKLMNOPQRSTUV WXYZ ABCDEFGHI See mR aoe: $ 1234567890 £ 444422257 5488 Quousque tandem abutere, Catilina, patientia nostra ? ABCDEFGHIJKLMNOPQRSTUVWXYZ AGE SmMALL-PIcA, No. 17. (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te noctur- num presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil consensus bonorum omnium, nihil hie muni- tissimus habendi senatus locus, nihil horum ora vultusque moyverunt ? patere tua consilia non sentis? constrictam | jam omnium horum conscientia teneri conjurationem tuam non vides ? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, quem nos- ABCDEFGHIJ KLMNOPQRSTUVWXYZAGES ABCDEFGHIJKLMNOPQRSTUVWX YZ $ 1284567890 £ 4S444323835 Quousque tandem abutere, Catilina, patientia nostra? ABCDEFGHIJKLMNOPQRSTUVWXYZAGEé SMALL-PICA, No. 18 (2-NICK.) Quousque tandem abutere, Catilina, patientia nostra ? quamdiu nos etiam furor iste tuus eludet? quem ad _ finem sese effrenata jactabit audacia? nihilne te noc- turnum presidium palatii, nihil urbis vigilia, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sen-_ tis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid — superiore nocte egeris, ubi fueris, quos convocaveris, ABCDEFGHIJ KLMNOPQRSTUVWXYZ BES ABCDEFGHIJKLMNOPQRSTUVWXYZEQ $ 1234567890 £ 4444622886 Quousque tandem abutere, Catilina, patientia' nostra? — ABODEFGHIJKLMNOPQRSTUVWXYZAGE~ | ’ i } . Smauu-pica, No. 21. (2-NICK.) Quousque tandem abutere, Catilia, patientia nostra 4 quamdiu nos etiam furor iste tuus eludet? quem ad — finem sese effrenata jactabit audacia? nihilne te noc- — turnum presidium palatii, nihil urbis vigilie, nihil timor populi, mhil consensus bonorum omnium, nihil — hie munitissimus habendi senatus locus, nihil horum — ora vultusque moverunt? patere tua consilia non sen=, # tis? constrictam jam omnium horum conscientia tenerl — conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, ABCDEFGHIJS KLMNOPQRSTU VWXYZA ABCDEFGHIJKLMNOPQRSTUVWXYZAE $ 1234567890 £ 444433333 Quousque tandem abutere, Catilina, patientia nostra? : ABCDEFGHITKLMNOPQRSTUVWXYZAGE GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 30 PICA, ENGLISH AND COLUMBIAN. For fuller Specimens of these Faces, see Pages 7 to 21 and 152 at the end of this Volume. PICA NO LE (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet ? quem ad finem sese effrenata jacta- bit audacia? nihilne te nocturnum presidium palatu, nihil urbis vigihee, nihil timor populi, nihil consensus bonorum omnium, nihil hie ABCDEFGHIJKLMNOPQRSTUVWXY ABCDEFGHIJKLMNOPQRSTUVWXYZAiG $ 1234567890 £ 444429852 Vuousque tandem abutere, Catilina, patientia ABCDEFGHIJKILMNOPQRSTUVWXY PICA INO ls. (3-NICK. ) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum presidium palatii, nihil urbis vigilizw, nihil timor populi, nihil consensus bonorum omnium, nihil hic ABCDEFGHIJKLMNOPQRSTUVWXY ABCDEFGHIJKLMNOPQRSTUVWXYZAiG $ 1234567890 £ 444428857 Yuousque tandem abutere, Catilina, patientia ABCDEFGHIJKIMNOPQRSTUVWXY RicA, No: 16. (uousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus elu- det? quem ad finem sese effrenata jactabit au- dacia? nihilne te nocturnum presidium palatii, nihil urbis vigilize, nihil timor populi, nihil con- sensus bonorum omnium, nihil hic munitissimus ABCDEFGHIJKLMNOPQRSTUVWXYZ& ABCDEFGHIJKLMNOPQRSTUVWXYZAG $ 1234567890 £ 444429857 Quousque tandem abutere, Catilina, patientia nostra? ABCDEFGHIJKLMNOPQRSTUVWXYZEé (2-NICK. ) Pica, No. 18. Bi rtsque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus elu- det? quem ad finem sese effrenata jactabit au- dacia? nihiIne te nocturnum presidium palatii, nihil urbis vigiliz, nihil timor populi, nihil con- sensus bonorum omnium, nihil bic munitissimus ABCDEFGHIJKLMNOPQRSTUVWXYZ& ~ ABCDEFGHIJKLMNOPQRSTUV WXYZ $ 1234567890 £ g44he98R¢ Quousque tandem abutere, Catilina, patientia nostra? ABCDEFGHIJKLMNOPQRSTUVWXYZE (3-NICK.) Pica, No. 21. (3-NICK.) Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus elu- det? quem ad finem sese effrenata jactabit au- dacia? nihilne te nocturnum presidium palatii, nihil urbis vigilie, nihil timor populi, nihil con- sensus bonorum omnium, nihil hic munitissimus ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZAiGi . § 1234567890 £ 43444823837 Quousque tandem abutere, Catilina, patientia nostra? ABCDEFPGHIJKILMNOPQRSTUVWXY Eneuisu, No. 16. (1-NICK.) (Juousque tandem abutere, Catilina, patien- tia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata ABCDEFGHIJKLMNOPQRSTUVWX ABCDEFGHIJKLMNOPQRSTU VWXYZAGH $ 1234567890 £ $41428357 Quousque tandem abutere, Catilina, patient ABCDEFGHISJKLMNOPQESTU VW Eneuisy, No. 19. (1-NICK.) (Juousque tandem abutere, Catilma, patientia nostra? quamdiu nos etiam furor iste tuus elu- det? quem ad finem sese effrenata jactabit ABCDEFGHIJKLMNOPQRSTUVWXY ABCDEFGHIJKLMNOPQRSTUVWXYZ iE $ 1234567890 £ 441423867 Quousque tandem abutere, Catilina, patients ABCDEFGAHIJKILMNOPQORSTUVW CoutuMBIAN, No. 13. (1-NICK.) (Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem ABCDEFGHIJKLUMNOPQR ABCDEFGHIJKLMN OF OBS Lut XYZ $ 1234567800 £ Lisasee7 Quousque tandem abutere, Catilina, pa ABCDEFGHIJKLMNOP OR GEORGE BRUCE’S SON & CO., Type-Founpers, No. 13 CHampers-SrReET, NEW-YORK. oh lide 45 7 ee di Cth ') etic th ‘mae : hua ea CA) ct oll Fito pra"? WATE OO, wa io blab (Pr tt; ; j Ty} j te yen PY Pee if. pH fit. ) ere a ‘ 4 ee airy ae t 5A t% pennge A iy ; itl \ i | | q PhLt ( vj) bel : : | ti; eliviig 4 ‘ iif 4 > oan VV) TAA \ ries i, | * “| : ? ( ; : , evr LIN \ Toa bers He Dead AOE) - i ‘ Teeea ty} AITAVGTICE Berits cose cy livtrsryy Y preteens Ho oRae wernt erty PROP ES epee apes corr ae OC MAA DIF Me CNTY Ff TAMMIE yin) OE Reema artist a4 ae AMINES, ey ee ae es oa brad r ral 7, rey rach’) oynentntel viobiseay son ue naa » alia pak “Wator ee - - re aa Yee wide oy A a ul 2 asye’) (ate Hi eA el ‘ee f a % Vas < ar] S o Ho ; ussite it sii iis! y otis MoObmB ‘DUTP Athi GP PAgehhis <0) Sieh fol dash con wthusup 3 4 enraaLes i WAAL ae . on A WIE Dulin Dd ototidn mobup) operon gs aay oman: » o1rsttids wobasi oupewow dD Sa sia mci con dihaGgip 3 wileow wih Bhs OVA DLT EEE @ a 4 ie Cs HiVib D e 4° cohid ve Has D066 wi BM ee cyanea) mee, 0° Fe das 7 Tho Siti Vii pe : ip c wot wibaisip % Sera ‘3 taioitee ébtsi SN PiRAD ET Gc hCmrie Vi Hind ietuahhahade) sas boaened Speman 43 iy 4 : ul is) | aesiinda fs ‘mobunt | onpenon? maiyerrs Lanion ee G2 “% i tee aye bts Ser ok x . 1eN ane ona gh ae ite . ; ga a ANS om ey — os ie = oo 4 ey f ies net STYLE 1. GREAT-Primer, No. 1. ParaGon, No. 1. Quousque tandem abutere, Catilina, Quousque tandem abutere, patientia nostra ? quamdiu nos etiam | Catilina, patientia nostra?) ABCDEFGHIJKL 1876 ABCDEFGH 1876 Quousque tandem abutere, Catihna Quousque tandem abutere, DousiEé SmMAuy-Pica, No. 1. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad ABCDEFGHIJKLM 1234567890 Quousque tandem abutere, Catilina, patientia nostra? Dovusie Pica, No. 1. Quousque tandem abutere, Catilina, patien= tia nostra ? quamdiu nos etiam furor iste tuus ABCDEFGHIJKLMNO 12345 Quousque tandem abutere, Catilina, pati=- DouBLeE .ENGLISH, No. 1. Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam ABCDEFGHIJKL 12345 Quousque tandem abutere, Catilina, DousLe CotumBtIANn, No. 1. Quousque tandem abutere, Catili- ha, patientia nostra? quamdiu nos ABCDEFGHIJKL 1234 Quousque tandem abutere, Catili _ GEORGE BRUCE’S SON & CO., Typr-FounprErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 34 Quousque tandem abutere, Cati lina, patientia nostra? quamdiu ABCDEFGHIJK 1234 Quousque tandem abutere, Coll DousLE Paragon, No Quousque tandem abutere Catilina, patientia nostra ABCDEFGH 1234 Quousque tandem ABUT Quosque tandem abutere, Catilina v | S GEORGE BRUCE’S SON & CO., TypE-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. | 35 ee 39 1) a ides dD. rious ohne ounpeainei nibacop: {asnbeon nilnoiing . 18 it ae Rech ALTHO daa wD “bt vibes dw neva wopanong . Cal i a } b . one - q a pap banal ss sbaiss) oupanon i it chiming Mere i ties ts ase Epanssh onipeing stl ili : ry >. erry As v Sy ope Av 8G Aid: H aY. wee icine) oe aa sense tees rs he hae a wr ae STYLE 1. Four-.tine Pica, No. 1. A Paper Mill | IN GERWANY year 1390. FIVE-LINE Pica, No. 1. In FRANCE Year 1340. SEVEN-LINE Pica, No. 1. In Italy, 1340. GEORGE BRUCE’S SON & CO., TypPE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 36 STYLE 13. GREAT-PRIMER, No. 13. Quousque tandem abutere, Catilina patientia nostra? quamdiu nos eti- | am furor iste tuus eludet ? quem ad finem sese effrenata jactabit auda- cia? nihilne te nocturnum preesidi- ABCDE § 1234 £ $4113335% DouBLE Smauu-Pica, No. 13. Quousque tandem abutere, Catilina, patientia nostra? — quamdiu nos etiam furor iste tuus eludet? quem ad ABCDEFGH $ 1254 £ ~ Quousque tandem ABUTE, Quousque tandem abutere, CA TIL DouBLeE EnauisH, No. 13. iousque tandem abutere, Catilina, patien- tia nostra ? quamdiu nos etiam furor iste tuus ABCDEFGHIJKLMN = 1254567890 Quousque tandem abutere, CATILINA, Doust T-PrimeER, No. 13. Quousque tandem ‘abutere, Catili- na, patientia nostra? quamdiu nos ABCDEFGHIJKLM 1876. | Ruousque tandem abutere, CA TTL Quousque tandem abutere [Patilina, patientia nostra ! ee eke, 1876. , NEW-YORK. GEORGE BRUCE'S SON & CO., Typr-FoUNDERs, No. 13 CH 3ERS-STR 37 MT ‘RETA * ei eae: dineeat he ss | ee “viertineles c¢teediensal ‘ENP eevee svi Y “vod : “8 “i ~1Foe went ibeas ite bi bheeril AEBS Regd ERE] er RlE bi » “| ve et ote a a Terre iis "eon nibigetip: bis. lid bont . bee 8! pany) . Pepbeepbes LEE! be) ~t brine Heeb: variety Proegeenk seid SESS. + eee A bgt ee a best wi “DVVUPAE vibe re AVAVI *y fold wit 9 Or ea SP ole mn Ate i hie ol aa 3 “oils cari tides d pa dasha | up etion “WNT oid 1O'UTE EKITS Zon BiDeEGIp © Teo. ts — OOATUREESL AMAL Oa dah VOAAA tv . crotindyy, wn Natt “a its) orotudss abi ou peuon j co HIDAIBIP T T}eO0 BUT OTT cd ALULHk Mee vA AVAL) even wenn al sotids a rab ist : I 2h es sii EIR : . F ae a - = 7 J ,, % — « , ry q Bou bh ee a 4 rns ~" Py :4 “3 , , a ae eS i - rs yor qe / " 7 \ " hie na i ‘ a \ i < 4 Aan, ‘= ri me ean 3 2 . | e “a “a tog - oe z ji . * * p Ta fie a > i lan a P= : F a : 0 Hy ‘dl » » pe y # Mack — rh a) Fl \ Hae he sane ‘ enmcndy & i 4 fecy oa coke : - n > . 7) . 1 | ee = > = ri he a v ia er. = & oy. i hy = > dd ETA Gy, ‘o i na te ey gentler Hh Mitveiye ae, t ; r v rr pepe? ‘ tradi ae sfieel min) phei ; fe it OW) Wohi" chee eae) ee _ ' ” a aA WE ATG Spina biay alse = - = 7 Frye-rinn Pica, No. 13. 5 a and 5 A, 28 Ib.i Round Gothie. INDULGENCKES. Mentz, 1454->). Fivn-LinE Pica Irauic, No. 13. 5 a and 5 A, 28 Ib. Cast on a slanting body so that no letter overhangs: they are, therefore, as strong as Roman type. Poimted Gothic J. GUTENBERG Wentz, 1450-55. GEORGE BRUCE’S SON & CO., Typr-FounprErs, No. 13 CHamprrs-Srrret, NEW-YORK. 38 STYLE 13. SEVEN-LINE Pica, No. 13. 4 a and 4 A, 45 lb. Roman Face. At SU BIAC Italy, L465. SEVEN-LINE Pica Irauic, No. 13. 4 aand 4 A, 51 Ib. Cast on a slanting body so‘that no letter overhangs: they are, therefore, as strong as Roman type. —Ttalie Types ® VANUTIUS. Venice, ISOL GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 138 CHAMBERS-STREET, NEW-YORK. 39 Hl) om etre goretpii te oe ntey eeatls ‘ AT RE: SOTERA, sf ‘ 4 . - a é rs oo = o~ ie - \ mC eed 2 —s - ovemgp prt ye =e Aree Po pinrenaeimnt, ’ : vz. =. oft © * 4 ¢ “ . o¢ ki zx a P Awe he aa nanan hens t Oe? a ee SC pai one om MIN. > eee ee a i STYLE 13. ; i Trn-Line Pica, No. 13. 4a and 4 A, 74 lb. 87. ENSON ied L4S] TEN-LINE Pica Iraxic, No. 13. 4a and 4 A, 86 lb. 8 ' ™) } Cast on a slanting body so that no letter overhangs: they are, therefore, as strong as Roman type. OBK ted Lj2 GEORGE BRUCE’S SON &-CO., Typr-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 40 STYLE 101. Two-LInE Dramonp, No. 101. Sie wes Two-LINE Pear, No. 101. MATT. MORAVUS, FIRST PRINTER J. VASQUEZ FIRST PRINTER IN CITY OF GENOA, 1474. IN CITY OF TOLEDO, 1486. Two-Line AGaAtr, No. 101. TWwo-LINE NONPAREIL, No. 101. Ree SWEYNHEIM & DARA ER JOHN & THOS. BORCHARD, IN CITY OF ROME, 1467. IN HAMBURG, 1491. Two-Linrt Minton, No. 101. ; Two-LINE BREVIER, No. 101. BALTHAZ. AZZOGUIDI PHILIP DE LAVAGNA | BOLOGNA, 1471. IN MILAN, 1469. Two-LInp Bouraeors, No. 101. Bia Two-1inE Lona-Primer, No. 101. J.SENSENSCHMIDT MEN. UNGUT, NURNBERG, 1470 GRENADA, 1497. Two-LINE SMALL-PicaA, No. 101, WINTERBERG, VIENNA, 1482. Two-uinEe Pica, No. 101. PRINTING IN MEXICO, 1540. Two-LiIne Enauisu, No. 101. PRIN TING, IN LEMA, 1586. CAMBRIDGE, MS. 1639 GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 41 a) ‘ . MG price A Mt ta) ke tans a =e wk = ~ $j ae L Om BWANA 1.OSE FO, ¢ PEs JOXRNA NEES Thi 4.6.30). 10g a ¢ E r i ¢. i ¥ 7 é ‘ae = is 7 a ‘ ‘ “— TAU WAT i rf if. ~< v phber but. ; Bil, ne BPACAN T., ahte. eieedag eter eT ens v1 7 7 = Pi ¢ " vie i eo x . } AAT ST FUN OR Mas 0 Mit Velo me HN't Paya Fit) f 7 : 4 iG / * ‘ ~— ‘ | a >. 23 oe] ‘e cee Gran a PPTs mI ™*, ~ i Pe ~ ~ Berastt DAITZ UI UV ONIM a. a CAKE TL AAO 4 ii} 1) A5L1. ~ + fodhhe k STYLE 102. Two-LInE DrAmonp, No. 102. eta evie es. Two-LInE PEARL, No. 102. oes ALDUS MANUTIUS, THE WISE PRINTER OF PAUL MANUTIUS, THE THIRD SON Or } VENICE. BORN, 1449. DIED, 1515. ALDUS. BORN, 1512. DIED, 1574, T Ngan, No. Two-LInE NonpAREIL, No. 102. W0-LINE 02. ALDUS, JR. WAS THE on OF PAUL. JOHN BAPTIST BODONT, ITALY. BORN, 1547. DIED, 1597. BORN, 1740. DIED, 1813. Two-ninp Minion, No. 102. Two-tiné Brevisr, No. 102. BEN. FRANKLIN, BORN 1706 FRANKLIN DIED IN 1790 BOSTON, MASS. PHILADEL. PENN. CHRISTIAN WECHEL, OF PARIS...... DIED 1581. A PRINTER OF THE 16TH CENTURY. Two-.LinE LonG-Primer, No. 102. JOHN FROBEN, OF BASLE.....DIED 152% i PRINTER, PUBLISHER, EDITOR. | TWo-LINE SMALL-Pica, No. 102. C. STANHOPE, BORN 1753, DIED ‘1816, IMPROVED PRINTING PRESSES. — Two-LinE Pica, No. 102. THOMAS C. HANSARD, DIED 1833, Two-LIne Enauisu, No. 102. LUKE HANSARD, DIED 1828 GEORGE BRUCE’S SON & CO., Type-Founprrs, No. 13 CHampnrs- SrREET, NEW-YORK. 42 STYLES 103, 104 AND 107. Two-tinge DiAmMonp, No. 103. SRE ies Two-tine AGATE, No. 103. Awe ete. JOANNES SENSENSCHMIDT, FIRST PRINTER |' M. DE LA TALLE AND B. SEGURA, IN, CITY. OF NUREMBERG, 1470. IN CITY OF SEVILLE, 1477 Two-LInE Praru, No. 103. ee Two-LiInE Minton, No. 103. 3b. Ii ot SAMUEL ZORBA AND RUBAN ELIEZER, GOTHOFRIDUS DE GHEMEN me CITY OF LISBON, 1489: IN COPENHAGEN. 1493. Two-tiIne Nonparern, No. 103. Ayah BOmN FABRI & JOHN DE PETRO, Seco llY OF TURIN, 1474. Two-uine Brevier, No. 103. 4 1b. 13 on. SCHOBSER, MUNICH, 1500. Two-LinE Brevier, No. 104. pide Two-tinE Bourceors, No. 103. 3 Ib 8 on. U. ZELL AT COLOGNE 1466 | M. BRAND, LEIPSIC, 1481. Two-LINE SMALL-Pica, No. 103. 7 6 ALBERT PFISTER AT BAMBERG, 1461 Two-LinE Minion, No. 104. 3b. 12 on JOHAN SNELL, FIRST PRINTER IN CITY OF STOCKHOLM, 1483. Two-LinE Agatr, No. 107. ai dor: BERNARD CENNINI AND SONS, FIRST PRINTERS IN) FLORENCE, 1471. Two-utine Nonparein, No. 107. 3b. BERNARDUS RICHEL, BERTHOLDUS RODT, PRINTERS, BASLE, 1474 Two-LinE Minton, No. 107. 3 Ib. 13 on. FRATRES VITA! COMMUNIS, PRINTERS, BRUSSELS, 1476. Two-.LInE Brevier, No. 107. ieee NICOLAUS SPINDELAER, PRINTER, BARCELONA, 1475. GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 43 ® 7 ee bee o a ei! , PvE ‘yeack yer detrmm le Fe ‘a PA Xa Pee I a eT HOPE ATE MaARADS SP CHLA 3 ae ee Lh SDE Fe Mee ee iy ‘ an a 3 ®s 4 ’ ict ie | eo it U4 LAI AOR ies VSL ASPET LE * / ’ - = ; 4 af . ee as So IVIL?) OEY aaa a . r BS ot : ; oy “ ew i } — j so .) » ere : Mae et ‘ Lanna t ~ | 4. eral Boh A. COMM OSTA ECP 7D Eee , : ‘ j aS ‘J Pie ie ha! a * A et te Ale tO Gl res alan, ) iso aes het v J * 4 Brie eae OF A | ATT ADAG kee 4 dein Bea tee Bea Cer. ‘ - if att iy 74] (7) | Shs YSIO' twas Ps. as ) pi AL ARTEL ave Peary CLUH BAMOHT YP CHG EVOL AsO ail OF dis Baus #1. 51 en Mig UN 7 ne ; CO: VAC O.ls re Di Me ie =P med aia. “i Mah te Seem eh G it. Ye ae . Pe ner q SS e baal \ ; 2 Lei ee ih i y er , a4 ‘ » th jf] ch ay STYLE 105. Two-uiInE Acatr, No. 105. Two-Ling NonpArein, No. 105. io . CHRISTOPHER PL ANTIN ANTWERP. PLANTIN HAD 3 OFFICES, AT] “KING OF PRINTERS.” 1514...1589. ANTWERP, LEYDEN, PARIS. Tw » Minton, No. 105. Two-LIne Brevier, No. 105. ALBERT DURER, ENGRAVER | WM. BULMER. a PRINTER NUREMBERG. 14°71...1528. OF LONDON. 1757...1830. Tw NE BourG , No. 105. JNO. BASKERVILLE, OF BIRMINGHAM, PRINTER, TY PE-FOUNDER. BORN 1706.) DIED 1775. Two-LINE LONG-PRI , No. 105. WILLIAM CASLON, TYPE-FOUNDER, LONDON _ WAS BORN 1692. DIED 1766. | , No. 105. ALEXANDER WILSON. TYPE: FOUNDER, OF GLASGOW. BORN 1714. ) Now 105: THOMAS RUDDIMAN, EDINBORO’ - BORN 1674. DIED 1754. | WM. BOWYER, JR. A PRINTER OF LONDON. 1699...1777. GEORGE BRUCE’S SON & CO., TyPE-Fou NDERS, No. 13 CHAMBERS-STREET, NEW-YORK, 44 STYLE 106. Two-LInE PEARL, No. 106. age Two-Line NonpaAretn, No. 106. re, HANS HOLBEIN, OF BASLE, INEELOING Ya. OB WRG Bis DESIGNED ENGRAVINGS ON WOOD, NUREMBERG, CELEBRATED DIED 1552. En NB ee DED 1513: TWwo-LINE Brevinr, No. 106. Two-LinE Minton, No. 106. ANDREW FOULIS. _ ROBERT FOULIS. OF GLASGOW, PRINTER | HIS BROTHER, BORN BORN 1712, DIED 1774. 1707, DIED 1776. Two-LINE BourGEots, No. LOG. OCOLAUDE GARAMOND, OF PARIS, mee AMOUS AS THH FATHER OF LETTER- POUNDERS, DIED 1561. Two-LInE LonG-PrimeR, No. 106. gH05. BEWICK, OF HNGLAND, REVIVER OF ENGRAVING ON WOOD. 1753...1828. Two-ninbh SMALL-Pica, No. 106 B® RIVINGTON, OF NEW-YORK, KING'S ' PRINTER, DIED 1809, Two-.tine Pica, No. 106. WM BRADFORD, HPikst PRINTER ENS NG WY ORK (CS 693: GEORGE BRUCE’S SON & CO., Typr-FouNnpERs, No. 13 CHamBErRs-SrrEET, NEW-YORK. “45 STYLES 121 AND 600. Two-LINE DIAMOND CONDENSED, No. 121. iivé« FRANQOIS DIDOT, SYNDIC OF BOOKSELLERS, BORN 1713, WAS THE FIRST OF AN HONORABLE LINE OF TYPE-FOUNDERS, PRINTERS, PUBLISHERS AND PAPER-MAKERS, Two0-LINE NONPAREIL CONDENSED, No. 121. oi? 2m. PIERRE FRANCOIS DIDOT WAS FAMOUS BOTH AS A PRINTER AND AS A PAPER-MAKER, 1732.....1795. Two-LINE LONG-PRIM Two-LINE PEARL CoNDENSED, No. 121. 17440. FRANCOIS AMBROISE DIDOT, A CELEBRATED TYPE-FOUNDER, AND AN ACCURATE PRINTER OF THE CLASSICS, BORN 1750. DIED 1804. Two-LINE BREVIER CONDENSED, No. 121. HENRI DIDOT, TYPE-FOUNDER, ABOUT 1827, CAST A FONT OF SEMI- NONPAREIL BODY. 2 CONDENSED, No. 121. S. L. DIDOT, SON OF PIERRE, | NOTABLE PAPER-MAKER IN 1700 Two-LINE PicA CoNpD , No. 121. PIERRE DIDOT, SON OF FRAN COIS, PRINTER, 1760 18335} » ENGLI Now FIRMIN DIDOT, PRINTER SCHOLAR PUBLICIST, ITht. ISS . Two0-LINE GREAT-PRIMER CONDENSED, No. 121. A. FIRMIN-DIDOT, BORN 1790. IY ACLYTHE, Liu Two-LInE Breyer Extra ConpENnsep, No. 600. FIRMIN-DIDOT FRERES, IV 1859, PRINTED DAIL, IN THBIR PRINTING OPEICE AT PARIS, 140 my Or PAPER, ; LINE PicA Extra Co LOUIS ROBERT, OF FRANCE, I 798, WADE BOOK PAPERS bY MACHER TWO0-LINE ‘ON ExtTRA ConpEensep, No. 600. H, LOURDRIMIER SPENT 6p (00 ON PAPER VACUUMS, Oi ee ee So NO. 6005 GEORGE BRUCE’S SON & CO., Typr-FOUNDE rs, No. 138 CHamBrrs-Streer, NEW-YORK. STYLES 122 AND 123. Two-LINE PEARL CONDENSED, No. 122 we Two-LinE NONPAREIL CONDENSED, No. 12% LOUIS ELZEVIR, se NE. THE FOUNDER MATTHEUS BLZEVIR, OF AN ILLUSTRIOUS FAMILY OF SCHOLARS AND | SON OF, AND SUCCESSOR TO, LOUIS OF Two-l1NE Brevier Conp , No. 122 oA. Two-LINE Bot Ms CONDENSED, No. 122. gid os LOUIS BLZBVIR IL IN 1590, G,. ELZ BVIR OF LEYDEN, & PRINTED AT THE HAGUE. HE | JOOST OF UTRECHT, WERE DIED THERE IN 1621, SONS OF IST LOUIS. Tw ~ LONG-PRIMER CONDENSED, No. 12 BONAVENTURE BLZEVIR, “AND ABRAHAM BLZBVIR WERE CO-PARTNERS IN 1626. BOTH DIED IN 1652. JAN AND DANIEL ELZEVIR SUCCEEDED TO ‘THE BUSINESS OF M. BLZEVIR IN 1642 LOUIS IIL AND DANIEL, HIS COUSIN, WERE — OO-PARTNERS & PRINTERS, 1654-1670. , No. 123. DANIEL. ELZEVIR. DIED AD. 1680. 4 oz THE ELZEVIRS. RB BOOKS NEW-YORK. GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 Cu ERS-STREET, AT vs ROM HAN 3 i “a we ¥ y: f Wy ee : iS os = . be “es a oa ' wa ee eae ee fifa eae a ana STYLES 124, 125 AND 160. Two-LInE DiAMOND ConpDENSED, No. 124. iit fax. Two-LiInE PEARL ConpDENSED, No. 125. 1.79308 HENRY STEPHENS, OF PARIS, ROBERT STEPHENS, THE SON OF HENRY, FIRST OF A FAMILY OF SCHOLARLY PRINTERS, WAS BORN 1460, A GREAT SCHOLAR AND AUTHOR, WAS BORN IN PARS DIED 1520. COMMENCED TO PRINT IN 1502. 1508, DIED AT GENEVA, 1559, TWO-LINE PEARL ConpENSED, No. 124. 142%4., Two-LInE NONPAREIL CONDENSED, No. 125. oi dn CHARLES STEPHENS, SON OF HENRY, . ROBERT STEPHENS PHYSICIAN & SAVAN, BORN IN PARIS 1505, DIED 1564, PRINTED 11 EDITIONS OF THE BIBL Two-LINE BREVIER CONDENSED, No. 124. gu 60 Two-LINE BREVIER CONDENSED, No. 125. 31,43) HENRY STEPHENS UH. DIED 1598. PAUL STEPHENS, DIED IN 1627 1p ‘ >) Two-LiInE LonG-PriImeR CONDENSED, No. 124. 472 wn. Two-LinE PicA ConpEensep, No. 124. 5 ih 12a ANTHONY STEPHENS, 1674. A PRINTER 50) YA TOS) TWwo-LINE COLUMBIAN ConpENSED, No. 160. j Four-LinE Pica Conpensep, No. 125. FivE-LINE PicA ConpENSED, No. 125. 12 ih a STEPHENS PRINTED SIX-LINE Pica ConDENSED, No. 125. 15 Ib. 8 02. RED AND BLACK EIGHT-LINE PICA CONDENSED, No. 125. 1 RUBRICAT GEORGE BRUCE’S SON & CO, TyrE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. - 48 STYLES 140, 141 AND 142. 60 a and 30 A PHARL Tite, No. 140. rie STEREOTYPE PLATES WERE FIRST MADE IN 1725, By WILLIAM GED, a goldsmith, of Edinburgh. The process was kept secret. Wis plates appear to have been well made, but they encountered Great opposition from Pressmen, and were Rejected by the Trade. Nonparers Tirin, No. 142. STEREOTYPING, IN MOULDS OF CALCINED GYPSUM, By immersing the mould in fluid type-metal, is the popular modern It was perfected in 1802, by Earl Stanhope, to whom Typography is indebted for 60 aand 30 A 3 Ib. process. Many Improvements. Nonpareit Trrte Roman, No. 140. STEREOTYPING IN PREPARED CLAY 60 a and 30 A 3 lb. 6 oz, ‘Was suggested and imperfectly developed in 1820, by Brunel, of England. He Stereotyped one column of a Daily Newspaper within 20 Minutes. Brevier Tirte Roman, No. 140. Anso on BourGcnots Bopy. Sry ' STEREOTYPING BY THE PAPIER MACHE Process, by Genoux, Paris, 1829, and first used on Nonpareil quarto Dictionary of the French Academy printed at Brussels. 60 aand 30 A 5 lb, 1 Lone-Primer Tirte Roman, No. 140.’ ALSO ON SMALL-Pica Bopy. STEREOTYPING 40 aand 20 A 5 lb. 4 oz 40a an 20A 5 lb. PRACTICALL Y Introduced into America, by the firm of D. & G. Bruce, New-York, 1813. Pica Tirte Roman, No. 140. 20 ane THE LARGER CATECHISM. The first book ever stereotyped in America. John Watts & Co., New-York, June, 181535. Agate Tirie, No. 140. Soa STEREOTYPE PLATES WERE MADE BY M. CAREZ, of France, in the year 17S6. His process was to make a mould by pressure in semi-fluid type metal, and then to fill this mould or matrix with melted metal. It found no favor from other printers. Minton Tire, No. 140. ELECTROTYPE PLATES FOR PRINTING were made at the same time, without 6Oaand 30 A 4 lb. 5 oz Mutual knowledge or concert, by Professor Jacobi, of St. Petersburgh, and J. C. Jordan, of England, im 1839. 60 a and 30 A 3 lb. 9 oz. Nonparnit Tirne Iraric, No. 141. ALEXANDER ©. TVILLOCH, Editor of Philosophical Wagazine, assisted by WM. FOULIS, printer to the University of Glasgow, after many trials, made plates in 1780, that gave impressions as clear as types. Brevier Tirne Iranic, No. 141. Me ae ee Aso oN BourGgEots Bopy. 60a aut 308 FRAWVCOIS IGNACE JOSEPH HOFER WAN, of Alsace, in the latter part of the Last Century, made Stereotype plates with a mould of plaster, sum and starch. Feb. 16, 1792. LONG=ERIMER ELT ER ET AbICs wNOws1 4 ees te oe 5 lb. 40 aand 20A 5 Ib. 12 oz Mm. GATTEAUX and WM. AUFRY’, Printers, of France, in 1795, made plates by pressing types in a plate of hot lead, and casting therefrom. AuLso oN SmMALL-PicA Bopy. Pica Tirte Iraric, No. 141. woth Boa. 3 THE WEW TESTAWUENVT Was first stereotyped in America by D. & G. Bruce, of Wew- York, on Bourgeois, in 181A. GREAT-PRiMER TITLE Roman, No. 140. Bee ae THE FIRST AMERICAN STEREOTYPE BIBLE Dated June, 1815, composed in Nonpareil types, | and Stereotyped by D. & G. Bruce, New-York. GREAT-PRimeR TrrLe ITaAuic, No. 141. THE STEREOTYPE SELAVEYG ed C HVE Invented by David Bruce, VWew=- Vork, in 181A. First ased on above mentioned Bible. GEORGE BRUCE'S SON & CO., 49 Typr-Founpers, No. 13 CHamBers-Srreet, NEW-YORK. ete eh Bs » ie a a : a ” he yy 3.95 STYLES 145, 144 AND 145. 143. JOB PRINTING is as old as, if not older than, Book Printing. Three Forms of Letters of Indulgence, a half-sheet demy blank, printed Nonparett Trrte Roman, No. een aor in black ink, and on one side of the parchment, bearing Dates of 1454 and 145 subsequently used by John Gutenburg. 5, were printed in Mentz, with types like those 143. 60 a and 30 A 5 lb 3REVIER Tirte Roman, No. PRINTING COLORED INKS was first Shown in the rubrics and the colophon of the Mentz Psalter of 1457 by Peter Sch6ffer. The ornamental initial letters were engraved on wood, The Impressed lines were painted by a brush. in and impressed without ink, on the paper. Long-Prmer Tirnn Roman, No. 143. VERY LARGE TYPES, Were made and used in 1540 by the famous 40 a and 20 A 5 Th. size not given, Robert Stephens, of Paris, for printing the Decalogue, in the form of a poster. 380 a and 15 A 5 th. 14 02, Pica Trrue Roman, No. 143. The First Book ever printed with PTALIC lowercase letters was a Virgil, dated April, 1501, by ALDUS MANUTIUS, of Venice. It had Roman Capitals. Nonpareit Tirue Iraric, No. 144. 80 a an eee lb, 2 oz. A PRINTED ALMANAGC, or more properly a Calendar, / 57, was discovered by M. Fischer among a bundle of old Manuscript Documents in the archives of Mentz. Y From the peculiarities in the cut of the types, it is supposed to have been printed by Gutenberg. ¢ For BrevieR Tirte Iraric, No. 144. 00S Re LEADS for the WIDENING of LINES of TYPE, Were first used by Peter Schéjffer in an edition of Cicero, — printed by Fust & Schoffer, Mentz, 1465. i The composition of the Constitutions of Pope Clement V. | printed by Schoffer in 1460, has been much admired for its skilful workmanship. Ao No. 144. GUILLARD was the : Shehada printing office in Paris for 50 years, | from 1506 to 1556, and was justly celebrated for the correctness of her books. Lone-Primer Tirne Iraric, CHARLOTTE First distinguished female printer. 40 a and 20 A 5 Ib. Pica Tirrue Iranic, No. 144. 20 0 ait CAPITAL LETTERS, or Fd LITERH MAJUSCULA, were first” ; used together, or in a body, — as a text type, by some printers of Strasburg, Germany, 1480. 604 and 30 A No. 145. HIGHLY: ORNAWUBNTIAL CAPITAL T7 PHS: LITERA FPLORENTES, were first used together in display lines by Erhardus Ratdolt of Venice, 7477. Nonparei, ENGRAVERS’ [TrAxic, He enjoys the honor of being the first io print in letters of gold, which may be seen tin his edition of EUCLID, und of STM PLICIUS, 7499, and of AMMONTIUS, 7500. LonG-Primer ENGRAvpRS’ Iratic, No. 145. 4° and 20a LXPENSIVE BOOKS Tn separate parts, PUBLISH LD as early as the year 7589. /n this year Robert Stephens of FP arts , Printed and published the Mebrey Ser tplures tn twenty-four parts. 60 a and 30 A Brevirk EnGRAvers’ Iranic, No. 145. Vion [TRHEK TVPHS OF CORRHCT KORA q Were first made and used by Sweinheim and Pannarta, oe a a Lane Ee near aoe as Be hese is 76 57 6. The pie of Wapien were printed tn Ltaly in 7486. Pica ENGRAVERS’ Irauic, No. 145. *°\=0ia . LEMALE COMPOSITORS. Women were employed, and commend as book compositors, tn the offices Of Llaly, as early as 7Z£87. GEORGE BRUCEH’S SON & Co., TypE-Founprrs, No, 13 CHamBers-Streer, NEW-YORK. 50 STYLE 160. BrevIER TITLE ConpDENSED, No. 160. °34,'"°04 Lone-PrimerR Tirte Conpensep, No. 160. 4°,%j4?0 4. sO ROLLERS. FIESE “MENTIONED MELCHIOR of STANHEIM FOUNDED A PRINTING In the patent for printing machine, granted to Bacon and Donkin, mat DD <¢ Q 5) “ing ic D “iN Noy. 23, 1813, in which a mixture of glue and treacle is Office in 1472, at a cost of 102 florins, of which 73 florins plainly described, B. & D. claim the method were paid for five printing presses. of making Rollers, but not of mixing composition, which appears to have been then in use in the Staffordshire Potteries, GREAT-PRIMER TITLE CONDENSED, No. 160. 7°22 4 Pica TirLE Conpensep, No. 160. OCF f EARL STANHOPE, in 1 98, THREE HUNDRED SHEETS PER DAY was the : : ? aa ae “ Performance of a German pressman in 1475. 300 or Made a new Hand I BESS: all ire n, 600 impressions? White paper or Perfect? with platen as large as the bed. DousLe SmMAuL-PicA TrrLeE ConpENSED, No. 160. aac rsiene TWO THOUSAND DMPRESSIONS were rated as a day's “fair work by the French Master Printers of the 16th apie DousBLe ENGLISH CONDENSED, No. 160/ Inking Rollers, passing between Bed and Platen. Patent of JONAS BOOTH & SONS, 1829. DousLE PARAGON ConpENsED, No. 160. ‘12 TOKENS, task of 1820 in N eW- York CANON CONDENSED, No. 160. CYLINDER Press. A.D. 1813 Four-LINE PicA CONDENSED, No. 160. he Rust PRESS, 1821 as an & 4 TEN-LINE PicA CONDENSED, No. 160. SEVEN-LINE PicA CONDENSED, No. 160. 4) iy RU | { GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAmMBERS-STREET, NEW-YORK. 51 ‘tea = Fae #FE as 3 ry 7 LOY. oak | 1s se | ‘9 tol STYLE 161. } PEARL Aupine, No. 161. 30 aiand aoe NonpareiL. Aupine, No. 161. 00,8 aad 30.8 | WILLIAM CAXTON, THE FIRST ENGLISH PRINTER, AT 15 YEARS OF AGE WILLIAM CAXTON WAS APPRENTICED to _ Was born about 1412. Undertook to learn the art at Cologne, when he was nearly 57 years of age. Robert Large, mereer, of Londons at 80 he left England for the Netherlantill Introduced. printing in England, at Westminster, in 1471, and, before his death, in 1491, had translated and printed not less than 5000 quarto pages. at 52 he was one of a special commission to make a treaty with the Netherlands, and for many years acted as English Consul. * Brevier Aupine, No. 161. Oth. 44 05 Lone-Primer Anping, No. 161. 40 a and 20.4 |p n ny YA N IT AVE Ab ‘ 7 . ube sane aramiardaparn sed teres eS CAXTON’S ENGLISH PRINTING OFFICE rranslated out of the Frenche, and Emprynted by me, William Was in the precincts of Westminster Abbey, but no Caxton. Fynysshid the last day of Marche, the yer : of our Lord God, a thousand foure hundred in the Chapel. He sold his books in 1482, and Ixxiiij, 1474. at the Red Gate of the Almonry. Pica Axupinr, No. 161. SOS GREAT-PRIMER ALDINE, No. 161. 76 Ib. 14 onl THE RECUYELL of the HISTORIES of THE GOLDEN LEGENDE, TROYE, by Raoul le Fevre, the Ab ° ° > : ist: ook of 464 folios, is the F First Book printed in English by Caxton. of 464 folios, is t nS Printed at Cologne, 1470. Specimen of Caxton’s Printing. DouBLE SMALL-PicA ALDINE, No. 161. ee ’ a 1 12 THE DICTES AND SAYINGES OF THE PHILOSOPHERS. Was Printed by Caxton, with date, 1477 It has no Title-page, Folios, Catchwords or Signatures. “I, in my manere, folowed my copye.” DousLe EnGiisn ALpINE, No. 161. Ae aaa THE LIBER FESTIALIS, in Folio. Enprynted at Westmynster by Wm. Caxton, the! laste daye of Juyn, A.D. mececlxxxiij, 1483. i f ( } | DousLe GREAT-PRimpR ALDINE, No. 161. aye WYNKYN DE WORDE, : Successor of Caxton, a type-founder and printer, died at London, 1534. GEORGE BRUCE'S SON & CO,, Typr-Founprrs, No. 13 CHamMBERS-STREET, NEW-YORK. 52 - / s STYLE 161. Canon Aupine, No. 161. i2eapandaseA 20) IbsiSnoz. PY NSON, in 1498, first use Roman types in England. Srx-LiInE Pica Auping, No. 161. 5 a and 5 A, 31 lb. 8 oz. FAQUES, Printe in London, Lit E1GHT-LiInE Pica AxLpINnE, No. 161. 4 a and 4 A, 48 lb. 8 oz. Rich. Grafton BIBLE 1559 GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 53 Lee, eee J Pes 2 eae rc L yrewegyt 9. ein) tis (ives 5? Se © ae zi ~ RRivA Wilt) RUE, nha le | ns Cait A aac t EAMG ZARA RTA) Oh > ,FHIAHOOUNT YO HOT SATZ) Dads a agit Wil avbliah Me Petidaitnt mol ol tn. MOTE Yo GIT) ely ot iat aw yaesdtaTO) Mma hae 7) oy) wrod. mii itty viessitla 1 my duit ban xlerdivo gniining uo ovsetie ly 26k RENT . aie Yo Vind dul ARPT tee ; Bacsissn agin senelioth an! ; sit ye hopatqanas ew title leeanldy fol afd ad nf Paes eeenimaly i. ihvitlif yaetod cet OL sodiny rod HORT oh . le a mgdvonnd vohtile re , wer anevada) 31 i mya : see reyry OT! ay : ny) i] i Tat ZOU tH | fH) i D - ‘ie ® ; 44 : > . a mu ‘ , anPe i. ; =f ant ' ; Bae) mnie fa ti ae buuell vilenel we . tt | ¢ Age . ; at Thee bite ity the | ti lipt H*} isi! lili ae 4 te } 1») Annie ' : . “ : “yi : nt HUG Wad Fh 6 Hye hed » teens hi waged oy nT al Pat sa A i 7 \ ' 4 > ie ats} TPA | ery es art eee ot die iy lddy of oo) FORETO A \¥ | Hitt at ee 5 : 4 : 2 ; . { te q eo Hivod lis hobeiiamlll joo ist Hall oslt tn gqun memoie 614 to Hol) winigoliy dil) fy vege] iis ae . P ee J ) miimuezt wi! ta na T atl) gu febolainer) ‘1 r , my! : * : 1a ane j | ton ol ney elf ji ok Lae : : a TOL Elulob Tle th Hd ATA LATN Hn hehe ABW vhidia Casas tad | 5 Bena) 110 ie ae , mate O} atoDitte) SP nO Bare 2097 Aor Put" ne Dn . HW hLiOrterts ‘yf dole erret) Be ana Th AO AO START GUE LAL AOL Bi Tithe if ys borwd 2pw bos OLL tis = oe | | ay al VIAL WO) CHEETA AL w 1 -grodiisith () A110 H( balding HOM G64 a mh v spree tne Dd feinvtd Pull aire vn fee . i - ” Br i? + Rasiya rea die AOrd 7009 STYLES 162, 163 AND 601. BREVIER CONDENSED, No. 162. oo ia cena LonG-PRIMER CONDENSED, No. 162. 495,470. 4 t JOHN GUTENBERG, INVENTOR OF TYPOGRAPHY, JOHN FUST, A FAMOUS MONEY-LENDER, OF MENTZ, Son of Frielo Gensfleisch and Else Gutenberg, was born in the City of Mentz, | Lent to John Gutenberg 1,550 (uilders, for Five Years, securing it b about 1400; experimented fruitlessly with types at Strasburg from Klee ; ; ft 1424 to 1439; formed a partnership with John Fust of Mentz, 1450, for the Mortgage on printing materials, and half profits of the Bible. Printing of the Bible in 2 volumes, which was completed by Peter The Mortgage was foreclosed, Schiffer, Gutenberg’s successor in the firm, 1455, November 16, 1455, before Ulrich Helmasperger, Notary. PicA ConpENSED, No. 162. S0im and 1D e ENGLISH CONDENSED, No. 162. uteri. PETER SCHOFFER, ILLUMINATOR, Letter-designer and Punch-cutter to John Gutenberg, THE SCHRLEORN OU s and subsequently partner with, and successor to, Usually Bound up in 3 Volumes, is supposed by 1 John Fust, was born 1430, and died 1502, authors to have been made by John Gutenberg, — Lon@-PRIMER CONDENSED, No. 163. “4y"2 oe. * Pica ConpENSED, No. 163. *re ih 6 oa : COLOPHON TO THE FIRST VOLUME OF THE BIBLE OF 42 LINES, COLOPHON to 2d VOLUME of the BIBLE of 42 LINES) As may be found in a Tattered and Mutilated copy of the Book This Book, Illuminated and Bound by Henry Cremer, ! In the National Library at Paris. Here ends the first part of the Bible or Vicar of the Collegiate Church of St. Stephen at Mentz, waslt Old Testament, Illuminated, or Rubricated, and Bound by Henry Albech or Cremer, on St. Bartholomew’s day, August 24, A.D. 1456 Thanks be to God. Hallelujah ! Completed on the Feast of the Assumption of the blessed ~ Virgin Mary. Thanks be to God. Hallelujah! Y DousLe Pica CONDENSED, No. 163. 2% 474,124 PARAGON CONDENSED, No. 163. opie suena GUTENBERGS BIBLE was sold at Arehbishop Adolph IT. nensioned | Various Prices, ranging from 12 Guulders to JOHN GUEENBERG in 1465, He 60 Crowns of Gold, unbound. Died February 24, L468, | Dousie En@uish ConpENSsED, No. 163. ae JOHN FUSE, THE PARTNER OF JOHN GUTENBERG, died i in Paris, 1466, and was buried at Chureh of Saint Victor DouBLE GREAT-PRIMER CONDENSED, No. 163. THE LEPPERS OF INDULGENCE, date Ld and 1455, were printed by John (iutenbere: OL Menta. | | } I SEVEN-LINE PicA ExTrrRA-CoNDENSED, No. 601. “a8 ic, 5aand 5 A 17 lb. 4 07 THE Mea PNALAer, GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHamBers-StreET, NEW-YORK. 54 FivkE-LINE PicA ExTRA-CoNDENSED, No. 601. STYLES 164 AND 602. NONPAREIL CONDENSED, No. 164. 60 a and 30 A 2 Ib, 4 oz. PLAYING CARDS were the first Merchantable Fruits of Printing. Previously made by Stencil Plates, they were cheapened by being Engraved on Wood, and Printed under Press. The Manufacture of these Cards is supposed to have been a distinct trade in Holland and Germany before 1400. Lonea-PrRimMER CONDENSED, No. 164. See CHILDREN’S ALPHABETS AND SCHOOL GRAMMARS, Engraved and printed from solid Wood Plates or Blocks, were the next productions of the art. 2 Single Leaves or Blocks of a Latin Grammar, Engraved about 1450, are in the BREVIER CONDENSED, No. 164. SO a and S18 b. 6 oz. PICTURES OF SAINTS AND RELIGIOUS SUBJECTS, With and without explanatory words, were Engraved on Wood and Printed by Monks, to counteract the evil tendencies of Playing Cards, A Print of St. Christopher, dated 1423, is in existence, Pica CONDENSED, No. 164. Bo acand 2BeA THE SPECULUM SALUTIS, WAS PRINTED In 4 editions, from 2 faces of Cast Types. by an Unknown Printer, near Utrecht, between the years 1462 and 1480. National Library at Paris. DousLe SmAui-PIcA ConpENsED, No. 164. = 7°,%,3n 22 4 J. BELLAERT of HAARLEM, _ Was the First Typographer in that Town: began to Print Books there in 1483. 20a a 10 A 28 wand 3214 Great-Primer ConpENsED, No. 164. ate LOURENS JANSZOON COS TER, Imaginary Inventor of Typography, Tallow Chandler and Inn-keeper. Left Haarlem in Year 1485. DousBLE ENGLISH CoNnpDENSED, No. 164. THE ABECEDARIUM, a work of the Unknown Pr inter, Contains but 8 pages, and has 9 lines to the page. DovusLr GREAT-PRIMER CONDENSED, No. 164. ROuEBOFOR ANDRIESZOON, 2d Printer at Haarlem, [486 12aand7 A Canon ConpENSED, No. 164. 24 Ib. HASBACK, third Printer, 1502 60 a and 30 A 3 Ib, 2 oz. LonG-PRimeR ExTrRA-CONDENSED, No. 602. THE TYPE WORK OF ALL THE EDITIONS OF THE SPECULUM SALUTIS Still retains its Black Color, in marked contrast with the Brown Tint of the lines and letters Engraved on Wood, The Ink that is now Black was Mixed with Oil, and keeps its first (olor; the Ink that is now Brown was Black mixed with Water and Gum. BREVIER ExTRA-CONDENSED, No. 602. ° 8,780 4 | THE WOOD-CUTS OF THE BIBLIA PAUPERUM, AND THE SPECULUM SALUTIS, ht Speculum Humane Salvationis, The Mirror of Human Redemption, as it is sometimes called, were Printed on one side only of the Paper, and now appear of a Dull Brown Color. Vide Description, as given by Hadrian Junius, Batavia p. 253, ed. Lugd. Bat. 1588 410A ExrRA-CONDENSED, No. 602. aa Pic x TWO KINDS OF INK AND TWO IMPRESSIONS WERE USED in Printing the Barlier Books of the Unknown Printer of the Netherlands : thin fluid watery Ink for the Wood Cuts, and a thick oily Ink for the Metal Types. The accidental overlapping of the colors in Printing proves both the double Impression and the use of two kinds of Ink. Curious Blemishes of Presswork prove that the work was Printed on a Press provided with a Frisket. GEORGE BRUCE’S SON & CO., Typr-FounpErRS, No, 13 CuamBers-Srrent, NEW-YORK, 55 al diy ee ane aan ee orf ly ‘ soltahet hi uli vaibe tile erat tl ial) te 20409 anit any How bakers yore af ie sak? wpe, Avene cont Aah [eames ns f Y ’ ; ! a? Die roi # eal seed f Te as “eR ba woe ae Fatt | she | ‘ we see 1 oat gwiet cana lie Hache th Wihied ae sin! La aie a > ee st MY ee ce ah ae atid ae) ne 4 Ga ‘ . 3 > a ' Wal (tT - PLATA th JOOP EEE eA vi ae A mo i a oe sMewitll ne hel) lawl? ile an vl [ uit ing bog d : ' ‘ bs af i fo aitieal Staal & hus oH Weep epi erty ieee eh i my bah : ; ee iia? mS Ms ont cet dhe pote: bey aca oe ae , { arin) i Pail lao bbnt t a a ; q . . ) . = ae oe a ’ , as, aa TOMA oe em | rue gy ls, ; TAL ot 4 TPA /OONATRL Pyar rb kk 5 mam | CLE ROg lad lo. Toro va a 00 a a bens rol bens) 70 ecb pet tt nob use lt tise ps ‘i WNC hed eit NY AE Altera pure’ arse vb ARLES WIL ete TT ih Pee ee ae ‘ha be tr hefles mails if és poi tgen ti camel! * writ ff imei fh eriertt Hid at grin et eh ura Wee dhe watt allt Ye ihe % 4a "s he Re (yest ‘ wereett wv ane R * : : , b . the Ae ahi hivtva th } 1 WW editen’h wanda Pili Ma shi fakind odty yet: " imi wa 6 SLT measles br d > ep says: | tuvgirsodf NLD ¢ tie 4 ve Wot 9 9° Ii an Stet he tee fhe lah aT ay, ey = J Sai Ly ' fi ; at RS ents Hy he Peat hy es | Neate pal i ey ‘ me “herve py, eae ee a CAPT eo, cS Slee RTP Rc oe aay \ * Vee} q eg he pha a ih oe anal 7 a ae | ove MP te f mad ate fy si Ves 7 ae ae Pree 1K ie: ‘ash a f ee eP iA c if 7) 1) re vce a4! ns © bm is . > “4 af is ‘ v i ae ; Aq : ee! t - ee ae. iy i ; ; ne uA MSH HY) Th deea vadeti Ts end bane vie DTD HOME out ti Sah 2 A gaa acanld Soe yi th Pel i | ab wD Hee a) ee a seit i rt 1 i peeret { : , se “ : ; Pi! Re Mehioie an ij lathes VOMETA@ if Bie > j wie Te haigsn' P-4 ; ian JOUA TEU O aS terri ht alt il) “Ay ii m Hy 7" ay hile tM advil Wve” att a Bi Aisi Hvis Why Wie, MAN ‘yy 4 Bis We MME | Mi vil tne Ta | ) nail hy _* ei LAweG BPS Wit Pity amen . ORO Hi Ht iva PL EAM CATR TGC Meh LT Am { ne | laid etal 1 bh AN call iw NS. ean Me Re UST en} UL Ss Whe Mm (ane VT Pr MANUAL RALARAY | De - Ei i il a ieee ee Shi ff isi) | fT jy MN Ah) WAL 1 a il pal aWs ail | = i> ' | . a '- "* 4) SA) va wy wii rt Al Hil (i ch fl Ae \th ‘ibd rm iy I ii, sit a i \y AN) i HN ma iy ug ee ne i Lise a ssa i ui Ot ai 2 Shed are e + diag ¥ Mae | ~ Coe 7s . rick! .- a 7 ee / i tf ee ae STYLE 603. BrEVIER ExTRA-ConDENSED, No. 603. “245.” Lone-Primer Exrra-ConpENnsep, No. 603. 4°3437422 4 CADMUS, FOUNDER OF GADMBA, AND THE INVENTOR OF LETTERS, 1493, B.C., THE ALPHABETS OF NATIONS, HAVING PRETENSIONS TO LITERATURE, Ds a dei lea gets LS. Contain the following Letters, exelusive of Dipthongs, Double Letters, Accents, and Contractions; Hebrew, Assyrian or Phenician Characters, and w radually changed in form u ntl they Became the ground of all Letters now used ata rope, os - Teith seaannata , of Argos, added Bnelish, 26. French, 25, Talia, 20, Spanish, = 27, German, 2 | 4 Letters, 1224, B.C. ; Simonides added 4 more, 489, B.C, The Gre ph nae Slavonic, 42, Russian, 35, Latin, 22 © Greek, 24. = Hebrew, 22, | ee, ine sae Aa oc : e or me eo es te i Arabic, 28. Persian, 32, Turkish, 28. Sanserit, 44, Armenian, 38, of much later invention, and were used only where rapid w se as pert The Chinese Radical Characters number 214. | Pica ExrrRA-CoNDENSED, No. 603. *4 474.5." GREAT-PRIMER EXxTRA-CONDENSED, No. 603. 3,040 * WRITTEN AND PRINTED ALMANACS AND YEAR BOOKS THAT HAVE FRANCE SURPASSES ALL OTHER NATIONS IN ALMANACS, ) PE SU MULAN 8 (ne publisher announced 30 diferent Almanacs for 1870, Regiomontants, in German and Lat, . . . . 1475-1006, oi Firs printed in England by Richard Pn ‘iG ee 497, The Alnanach Imperial and Almanach de France, each contams Tall’ Poquoson, 1533, Alana Legos, 1630, about 1000 solid and closely-printed octavo Pages, Me ‘tish Merlin. =. =. 1658, vas y | ils es fee eae ne Some are Statistical s more ate Astrulogical and Neeromantie | Moore's AImanac =. 1698, Nautical Almanac, =. (767, i Connaissance des Temps. 1609. Chambers’ Book of Days, 1862. Most of them are of @& Humorous characte ( DouBLE SMALL-P1cA ExTRA-CONDENSED, No. 603. TIE ALANACTE DE GOTTA TAS THE OST HONORABLE RECORD OF ALL EXISTING mn | Being We TTT Tear of Poti, Tbs 4 tard Biogael and Sasha Author on all mates en etl le Genealiwy of Sovereiens, a the alimustration of the Puble ti if Euroyean Governments | DouBLE ENGLISH EXTRA-CONDENSED, No. 603. BEMANIN FRANALEVS QEMINE DUP CELBORATED AMANNG, | Too Ried Mine, yas st Priel im the City of Pe, tm 732, Tt vase st Rat Alaae of 8 chass, The Tene exstine Copies when sold, command Great Pres, DouBLE GREAT-PRIMER ExTRA-CONDENS sED, No. 608. THE MAAC (H4in-Lo06) OF RECHOMONTANTS, OP HLA | Care onl) the Eeles ad Places of te Planes, sold Wie 10 Chowns of Gal, l Wi bi lal ni ant Lath tk He leo oF Mattias Corvinus GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 56 : STYLE 180. SOF a and 30 A 2 lb, 14 oz. No. 180. WILLEM JANSEN BLAEW, OF AMSTERDAM, PEARL EXPANDED, A Mathematical Instrument Maker, and Assistant to the Astronomer Tycho Brahe, in 1601, made a very Great Improvement in the Mechanism of Hand AGATE ExpANpED, No. 180. sae tia ALL HAND PRESSES MADE BEFORE 1790 WERE OF WOODEN FRAMES, IRON BEING USED ONLY WHERE ITS USE WAS UNAVOIDABLE. THE BED WAS OF SLATE OR MARBLE; > Presses, by using Springs to give a Quick Return Movement | THE PLATEN OF HARD WOOD, AND BUT HALE to the Platen after Impression. He built Nine Presses THE SIZE OF THE BED. TWO IMPRESSIONS for his own use, and named them after WERE NECESSARY TO PRINT THE NINE MUSES. s A FULL SHEET. IRON PLATENS FIRST USED IN He was born in 1571, and died in 16838. THE APOLLO AND ROWORTH PRESSES. NoNPARFIL ExpANpED, No. 180. Sains IN 1798, EARL STANHOPE ENTIRELY RECONSTRUCTED THE HAND PRESS. He took no Patent for this or any other of his Inventions. His was the first press built entirely of Iron; the Bar was attached to the near side of the Frame; the Power was applied by a connected series of Compound Ievers which gave an Increasing Impression with a Decreasing Exertion. Breyier Expanpep, No. 180. ened oe THE RUTHVEN PRESS was Patented by John Ruthven, Nov. 1, 1818. ‘WG was the First Press in which the Bed was Fixed. The Platen moved to and from the Bed on Friction Rollers....Power was appled through Compound Levers working under the Bed. It seems to have been the Model for many features of the present valuable Adams Power Press. No. 180. “Ge 14 Oe THEH CLYMER PRESS was Patented in England Nov. 1, 1817, ‘By George Clymer, of Philadelphia. The Bar was fixed to the offside of the fee Power applied through a Combination of 3 Levers and a Counterpoise. Much Bproved for Heavy Work. LONG-PRIMER EXPANDED, 30 a and 15 A Pica ExpAnpeEp, No. 180. 8 Ib, 6 oz. THE TREADWELL PRESS was Patented in Mosland, January 25, 1820, by Daniel Treadwell, of the (Wnited States. The Power was applied by Treadle working a heavy Weight or Counterpoise. | 25 aand12A 14 lb. 6 oz, mere CURT PRESS. was once A favorite in the New-England states —6 Otis Tufts, Boston, Patented I&8&13. | Its peculiarity, the ‘Vogele-joint. GREAT-PRIMER EXPANDED, No. 180. 10 A 12 |b. 2 oz. UNO. JJ. WELLS PRESS, PATENT FEB. &, 1819. GEORGE BRUCE’S SON & CO., Two-tinge Pica Expanpen, No. 180. Typr-Founprers, No. 13 CHAMBERS-STREET, NEW-YORK. 57 > : CG a i” MS 1 IAL ne * 4 WF 3 a pe if “Wy fae BE PL ee oe i - . as he hina i ee ets eee ete Te | " dori kee i" 1) a th, = ates : F494 cat rT yere v Aoy ts ih oP ee " : ear a : } : i ohd) Bog t le ix Vv +f iF TES, es eqennl Has r d ; 1} a. Q ' ei » i ‘ : ; ‘ pdt y rie orbryh we ALY v , : . r - 147 i vi! + a4 del ween, asee Ai 7 , : F 5 i eS an i dios Oy é beeees 1) pet 2s A ‘\ # &#. 8 \ ide i i« y * s car rT ue Rae’ s a MEOGA ae pea POT vax tes, . > 5 ee & ; mee eC iy tt Friel S32 02579 | » ; RRC Di mn: SH pasate ier ft (f49> i: votes 408 ei Dey aties i. a aap feo hE Sach) eae 7 >. ‘Ne By ce ; SY » a OM Ml 2a nan G. Feige | se weber: ‘pai hes § . = ra = -_ Bee .ca abe ‘wa oe . i c i of a ‘ A : ‘: ie > : on Fr. d's : ; - 7 Ag. i Pee, biacbae is ri ie tn /) IP. < : we Sk 4." e ‘? ® 4 ax . oe 4 STYLES 181, 182 AND 183. NonPAREIL ExTeNDED, No. 181. sane "Eh Ee ES Re =" -~ TP? Hee. fF ™“.) "s- = P 7S EB Be ‘S'S “AR Ss eH SA = PE BE WY -D,aPEE DS 42. 8) 2” 2 OD BEE BE Ea. . EE ES BaP Fe E— _ a ee BREVIER ExtTENDED, No. 181. rote "EH Ea h—_: Wane BCH CA HWE FM, ESE ESE B— Fs A oaks Dn YY mw aR _UBa@RP 2RPDE- — 4 GDH BSE ES 2DE 82°2235<2 FE” 4 Ge BS. Two-LIne Paar Exrenpep, No. 181. 4 tb 6 of. EH A CQ” HEHE FH” QA GE QD "ER “BEES EE EH ES Bu. a< He SS <= a'@d€apHu.G Wt @S arPax a2 HUF , Hc Sse NONPAREIL TrrLe ExpAnpep, No. 182. %2,76804 BrREVIER TITLE EXPANDED, NO. 182. “76228 COVERDALEH’S BIBLE. THE BREECHES BIBLE, The Hirst Bible in English, supposed to have been So called from its rendering of Aprons ri Aad Zurich, Switzerls 4 5 A orate HE asnted sng Zurich gS witzoxan ae as Breeches, book of Genesis iii. 7, By CHRISTOPHER HROSCHOV ER, intean L 1 ~ Was Published October 4, 1535. Nene dat me eearny ae ee CHRISTOPHER BARKER, 1578. 40 a and 204 6 Tb. 0%, Ib, 12 30 aand 15 A B lb. LONG-PRIMER TITLE EXPANDED, No. 182. 4 Dy SHOPS’ $I =D) EEE ae ae 1Bj iad A ROMAN CATHOLIC RPBmOo CAaALeC 9IeCAUSEG | Authorized Version of Kight of the fourteen Translators ; | were Bishops, was Printed by ‘Testaments, Hirst Printed: RICHARD JUGGE, New, at RELEITIMS, L582. London, 156s. | Old, at DOU AY, 1609. Pica Tirne ExpANvEn, No. 182. | GREAT-PRIMER Titty Expanpep, No. 182. oO IM THE POPULAR KING JAMES’ BIBLE, - ‘Phe present accepted Protestant Version of | the Holy Scriptures, was Printed by 7) ROBERT BARKER, of LONDOR, 1G. . 10 aand5 A 15 lb Dousie Pica Tirte Exrenpep, No. 183. En EL EBERLE EEQD EES WW ED, S68 8. GEORGE BRUCE’S SON & CO., TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 58 First euh Pie WC THE GAZETTE DE FRANCK Dr. Theophraste Renaudot. May I, Mil. 4 pages..1 Sol The First Mlustrated WERCURIUS CIVICUS tinulin. Wb, WU 9 a i 4 Le . a4 : te FY UEP bet tie 4 r iz rr. a «ae ’ [ » crise sm bgtmy : iy 2 he oy Eid dye Pe | o hal Me c J ry - be ans ST2aqnKkaoaNWT | Pas tan TAR VASY3. BelitH#savOA AO TAsSHe q a BHA | WARRUA YA Bo5uwa5 » : ye Ut 2bOR 1 ao1n4 HAC “Ts | st ; cr i . A : _” : + , ae , t= <1 LAS a a a Peat! :’ Ld » ony i. gi Z j a. ae t ~~ is wae Se Gaal STYLE 200. Nonpargit Gorutc, No. 200. a Beato | Brevier Goruic, No. 200. Pee LA GAZETTE DE FRANCE AND LA FEUILLE DU BUREAU DOCTOR THEOPHRASTE RENAUDOT, WERE USED BY DOCTOR RENAUDOT, FOR | EVERY SATURDAY, THE ESTABLISHMENT OF A GREAT INTELLIGENCE OFFICE FOR THE PRINTED A SHEET OF ADVERTISEMENTS ONLY: LA FEUILLE DU BUREAU D’ADRESSES, PRICE | SOL. JUNE 1/4, 1631. CONVENIENCE OF HIS ADVERTISERS. MET WITH WONDERFUL SUCCESS: WITHIN 3 MONTHS, HE HAD 50 CLERKS. : Two-LInE NonpArert Goruic, No. 200. 3 ban Two-LineE Prart Goruic, No. 200. ee ’ p. 6 on, IN THE EIGHTEENTH CENTURY DURING OCTOBER, !79I, THE PRICE PER ANNUM OF A FRENCH AT LEAST 500 PAPERS WERE WEEKLY PAPER WAS 48 FRANCS. | PRINTED IN PARIS. ap B G No. 200. Nea Two-uine Lonc-Primer Gorutc, No. 200. 6134. WO-LINE REVIER FOTHIC, NO. BARK Sie 28 NEWSPAPERS FIRST DAILY WERE PRINTED IN THE PAPER AT PARIS, YEAR 1774 AT PARIS. | YEAR 1777. Two-LiInE Pica Goruic, No. 200. we 5) 8 Ib. 2 oz. lOS LICENSED, 20 UNLICENSED, PRINTERS IN PARIS, 1665. TWO-LINE GREAT-PRIMER Goruic, No. 200. vane ULRICH GERING, PARIS. DIED AUG. 23, I5I!0. Four-LINE Pica Goruic, No. 200. j i 5 15 Ib. 4 o GEOFFREY TORY DIED 1550. GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK, 60 STYLE 201. Nonparem Goruic, No. 201. aan Brevier. Goruic, No. 201. EGE: THE FOLLOWING STANDARD FOR BODIES OF TYPE, THE NUMBER OF EMS IN A SQUARE FOOT Adopted by GEORGE BRUCE, in the year 1822, has been found very satisfactory, When Cast according to the Foregoing Sater) is as follows, It disturbs but trivally the sizes which are most frequently used, while it fixes the in ems and decimals: body of every size in exact and correct proportion with other sizes. Par Half Minion, 64,507.95 English, 4,031.74 These are the number of Ems and Decimal Parts in a Running Foot: Half Brevier, 52,000. Columbian, 3,200. Half Minion, 253.98 English, 63,49 Diamond, 40,637.46 Great-Primer, 2,539.84 a eee Saat se ie 56.56 Pearl, 32,253.97 Paragon, 2,015.87 iamond, 201.5) reat-Primer, 50.93 ’ Gear|, ieaee eeracant wales Agate, 25,600. Dbl. Small-Pica, 1,600. Agate, 160. Double Small-Pica, 40. Nonpareil, 20,318.73 | Double Pica, 1,269.92 Nonpareil, 142.54 Double Pica, 35.63 Minion, 16,126.98 | Double English, 1,007.93 Minion, 126.99 Double English, 31-74 Brevier 12,800. Dbl. Columbian 800. Brevier, 113.13 Double Columbian, 28.28 B re , 6 Dit Ga Pr ee 6 6 Bourgeois, 100.79 Double Great-Primer, 25.19 ourgeois, TORO | DI. Grr rimer, 34:9 Long Primer, 89.79 Double Paragon, 22.44 Long-Primer, 8,063.49 | Double Paragon, 503.96 Small-Pica, 80. Meridian, 20. Small-Pica, 6,400. Meridian, 400. Pica, TMi2z Canon, 17.81 Pica, 5,079: 68 | Canon, 317.48 lg etdard is aed ep Sh paar pee ae Oceare Lee A study of these Tables will raw that every Body is adjusted can be evenly increased by extension at evenly gradua ; a Squares, which should be made Larger or Smaller by increasing or diminishing in in exact proportion to all other Bodies. The per- centage of in- Geometrically exact proportion the area within the Square. An evenly-graduated crease or decrease between Sizes is Uniform. Minion is as much increase by extension of Line will unequally increase the Size of the Body, larger than Nonpareil in proportion, as English is larger than Pica LONG-PRIMER Goruic, No. 201. ene BRUCE’S STANDARD FOR BODIES OF TYPE Is based on the System of Geometrical Progression. It fixes the Sizes at distances apart which seem unequal when the Different Bodies are Measured on a Line, but at distances which are Geometrically correct when the different Bodies are set up in Pages or Columns. The Sizes Double at every 7th progression in any part of the series: each Size is, therefore, 12.2462 per cent. Smaller than the Size following. Pica Goruic, No. 201. Hye eee 4 |b. 2 oz. Timemetey POGRAPHIC POINT.., THE FRENCH STANDARD OF BODIES Was Introduced by Fournier the younger, of Bree in 1737, and is based on the System of Arithmetical | Progression. Types are known only by Numerical Names. Body One is the 72d part of the | old French Body, Cicero. Didot’s Typographic Points are based on the old French | Foot, or Pied-du-roi, which is equal to 12.7862 American inches. | GREAT-PRIMER GOTHIC, No. 201. Saas | ’ BOOKIANDI NEWSPAPER PRINTING TY PES Weigh about 40 Pounds to the Square Foot. To set up 40 Pounds, | it is necessary to have 60 Pounds in Case. A Provision of Extra Types must be made for the Irregularities of peculiar Copy which may Run on Sorts. DousLE Pica Goruic, No. 201. Oe 2 lb. 3 oz AMERICAN AND BRITISH TYPES Are cast g2 hundredths of an inch in height. The European Printing Types are of Many Different Heights. GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 61 ANS 1 ? Lig he f \ yt iF a STYLES 202. Nonparemy Gorurc, No. 202. Cates tee INSCRIPTION ON THE TOMBSTONE OF WILLIAM BRADFORD, IN TRINITY CHURCHYARD, IN THE CITY OF NEW-YORK. Here lies the Body of Mr. WILLIAM BRADFORD, Printer: who Departed this Life May 23, 1752, Aged 92 Years: He was Born in Leicestershire in Old England, in _ 1660, and came over to America in 1682: He was Printer to this Government for Upwards of 50 Years: and being quite Worn out with Old age and....our: He left this Mortal State in...... ly Hopes of a Bleesed Immortality. Here lies also the Body of Elizabeth, Wife to the said William Bradford: who Departed this Life June 8, 1731, Aged 68 Years. Brevier Goruic, No. 202. Soe ae BRADFORD PRINTED IN NEW-YORK, 1693. His First Book was a Small Folio of the Laws of the Colony, He styles himself ‘‘ Printer to their Majesties.” His Printing Office was ‘‘at the Sign of the Bible.” Bradford lived with his Son William in Hanover Square. In 1728, he owned a Paper Mill at Elizabethtown, New Jersey, the First Mill of the kind in that State. Lona-primer Gornic, No. 202. “3 ih 19 oa JOHN PETER ZENGER, IN THE YEAR 1726 Printed in Smith-Street, New-York. In 1734, he Removed to ‘‘ Broad-Street, near the upper end of the Long Bridge.’ In 1733, he Issued the First Number of the New-York Weekly Journal. For an attack on the Government he was Imprisoned 8 Months. He Died August, 1746, and his Widow succeeded to his Business. Pica Gornic, No. 202. SCA RIVINGTON’S NEWSPAPER, THE NEW-YORK GAZETEER, First Issued April 22, 1773, from the Printing Office ‘‘fronting Hanover Square.” Circulation of 3600 Copies. It had a James Rivington Died in July, 1802, Aged 78 Years. GREAT-PRIMER Goruic, No. 202. eRe THE NEW-YORK PACKET AND AMERICAN ADVERTISER, Was Printed and Published by Samuel Louden, in Water-Street, between the Coffee House and the Old Slip, January, 1776. DousLe SMALL-PICA Gorunic, No. 202. LONStees THE NEW-YORK GAZETTE, PUBLISHED : By William Wyman, made its First Appearance on the 16th Day of February, in the year 1759. DousLeE Enauisu Goruic, No. 202. oe a THE NEW-YORK EVENING POST Appeared before 1746. H. De Foreest, Printer. DouBLeE GREAT-PRIMER Gornic, No. 202. ae ‘tb. it THE NEW-YORK MERCURY By Hugh Caines, Printer. Aug.3, 1/52 GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 62 | I } j STYLE 203. PEARL Goruic, No. 203. Be CONSEQUENCES OF MONOPLY OR OF SPECIAL PRIVILECES. Between the Years 1672 and 1773, only 3 Newspapers were allowed to be Published in Paris. During this period, more than 30 Newspapers in French, Printed Abroad, and Smuggled Into France, to the Disgust of the King, who was Lampooned without Mercy. When this Monopoly was broken by the French Revolution, Paris was flooded with Newspapers. Brevier Goruic, No. 203. eee 8 eee LE JOURNAL DES SAVANTS. The tst Scientific and Critical Journal in Paris was Established by Dennis Sallo. The Ist Number Appeared on the 5th Day of January, 1665. This Journal is Flourishing to this Day. Pica Goruic, Nonparei. Goruic, No. 280. Uae THE MUSE HISTORIQUE, OR RHYMINC CAZETTE, A Newspaper, entirely in Rhyme, was Founded in Paris, by Jacques Loret, in 1650. It Died with Loret in (665. Loret was the most beloved of Editors. The Market women attended his Funeral in a body, and {2 Noblemen were his Pall Bearers. 300 Printers threw Flowers on his Crave. LONG-PRIMER GorHic, No. 203. aaa ee es THE MERCURE CALANT. A Journal of Humor and very Stinging Personalities, was Founded by Donneau de Visé. Was Popular as a Paper for 137 Years. No. 203. 20 aul 15 6b SIR WILLIAM BERKELEY, COVERNOR OF VIRGINIA, Writing in 1670, remarks: ° “I thank God there is no Free Schools, nor Printing, and | hope we shall not have any for these Hundred Years. GREAT-PRIMER GOTHIC, ‘God keep us from both.”’ No. 203 25 a and 12 A 10 lb, 4 oz. THE PENNY MACAZINE OF LONDON Was Established March 31, 1832, 1846. and Died It had a Circulation, at one time, of 200,000 Copies. DouBLe Pica GOTHIC, , 203: ANDREW MARVELL IN 1676. Lead when Moulded into Bullets is not so Mortal, as when it Is Founded into Letters. GEORGE BRUCE’S SON & CO., Typr-FounpErRS, No. 13 CHAMBERS-STREET, NEW-YORK. ' . ~~ fh vim NOM ao ssousUD hs cash Hhae¥ Ww ; array atrecniiy® Hilo * el pence £ OTe | STYLE 240. Nonparein Goruic ConpENSED, No. 240. Cee DR. VAN DER LINDE’S DEFINITION OR EXPLANATION OF THE PRINCIPLE UNDERLYING THE INVENTION OF PRINTING IS ADMIRABLE, The Character of Typography is not Pressing and Printing, but Mobilization, The winged A is its symbol. The elements unchained, the Letters freed from every bond in which the Pen or Chisel of — .Calligrapher or Xylographer held them entangled; the Cut Character risen from the Tomb of the solitary Tablet into the substantive life of the Cast Types—that is the Invention of Printing.—See the Haarlem Legend, of the Invention of Printing, by Lourens Janszoon Coster, critically examined by Dr, A. Van Der Linde, page 19. BREVIER GOTHIC CoNDENSED, No. 240. °3 4°24 MARCHMONT NEEDHAM, THE PATRIARCH OF JOURNALISTS, Was born at Burford in 1620, died, 1678. He was, says D'Israeli, a Man of Versatile Talents and more Versatile Politics, a Chemist, a Captain, a Violent Royalist, a Virulent Presbyterian, a Schoolmaster, a Physician, an Editor, and a Hungry Courtier, Pica GorHic CONDENSED, No. 240. Sore eae COUNTRY GENTLEMAN’S COURANT, 1685. Seeing that Promotion of Trade is a matter that ought to be encouraged, the Price of Advertisements is Advanced to 2 Pence per Line. DOUBLE SMALL-PICA GOTHIC CONDENSED, No. 240. 753,422 4 BLACKWOOD'S MAGAZINE, Founded, Edinburgh, April, 1817. DouBLE GREAT-PRIMER THE DAILY NEWSPAPER OF ROME The Acta Diurna, from Ist to 3d Century, Four-Linge Pica Goruic WILLIAM COBBETT, Journalist, died, June, 1835, CANon Goruic ConpENsED, No. 240. ze paaou ie CONDENSED, No. 240. ORDINARI ZEITTUNGEN OF 1568, A Mss. Commercial Paper. LONG-PRIMER GOTHIC CONDENSED, No. 240. 49 4,77020 4 OZ. + CASE AND PROPOSALS OF THE FREE JOURNEYMEN Printers in and about London, Oct. 23, 1666, Protest of the 140 Regular Printers at work in that City, against all Foreigners and Interlopers. GREAT-PRIMER GOTHIC CONDENSED, No. 240. 753,42? # M. BEAUMARCHAIS, IN 1798, Paid £3,/00 for the Type- Foundry of Baskerville of Birmingham. DovusLe ENGiIsH Goruic ConpENSsED, No. 240, 79aanqjo4 GIAMBATTISTA BODONI, Born 1/40, Died Nov. 20,1813 | ne i” 8 lb. 8 ii ue GEORGE BRUCE’S SON & COvee T'ypr-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. STYLE 241, NoNPAREIL Goruic CoNDENSED, No. 241. Beatin a cee FOX’S ACTS AND MONUMENTS. FOLIO, LONDON, A. D. 1632. ... lt pleased God to open to man the Art of Printing, the time whereof was shortly after the Burning of John Hus, 1416, and Hierome. Printing being opened, incontinently ministered unto the Church, the Instruments and Tooles of Learning and Knowledge, which were Good Bookes, and Authors which before lay hid and unknowne. The Science of Printing being found, immediately followed the Grace of God; which stirred up good Wits aptly to conceive the light of knowledge and of judgement; by which light Darkness began to be espied, and Ignorance to be detected, Truth from Error, Religion from Superstition to be discerned, as is above more largely discoursed when was touched the Inventing of Printing. Vol. 2, page 57. BREVIER GOTHIC CONDENSED, No. 241. °,3,2n480.4 THE COMMENDATION OF THE ART OF PRINTING, BY JOHN FOX. Admirable Example of English of the Time of Queen Elizabeth. .. The reason thereof is this: for that hereby Tongues are Knowne, Knowledge groweth, ludgement encreaseth, Bookes are dispersed, the Scripture is seene, the Doctors be Read, Stories be opened, Times compared, Truth discerned, Falshood detected, and with finger pointed, and all, as | said, through the benefit of Printing. Acts and Monu- ments of John Fox, folio, London, 1632, vol. 1, page 927. LONG-PRIMER GOTHIC CONDENSED, No. 241. 49 3,s4,20 4 WIMPHELING’S EPIGRAM, DATED ANNO DOMINI 1449 Blessed Gensfleisch! John Gutenberg. Through you, Germany reaps glory every where: for you, John, supported by Divine Knowledge, Printed, first of all, with Letters of Metal. Religion, the Wisdom of Greece, the Language of the Latins, is much indebted to you. Pica GorHic CONDENSED, No. 241. SO Cyto THE: OBSERVATION OF JEHAN MOLINET. .| have seen a great multitude of Printed Books made to beguile the poor to study with the expenditure of little money. Thanks be to these new fashions, many a Scholar will obtain Decrees, Bibles and Codes, without having much to Pay. Jehan Molinet, 1498. GREAT-PRIMER GOTHIC CONDENSED, No. 241. ee OBSERVATION OF THE AUTHOR OF COLOGNE CHRONICLE, 1499. What unspeakable edification is derived from Printed Books! How great the advantages to be derived from them who make Printed Books! DouBLE SMALL-PICA GOTHIC CONDENSED, No. 241. en ee _ THE SONG OF CELTES, WRITTEN BETWEEN 1480 & 1500. You wind yourself, 0 broad waved Rhine! to the City of Mayence, which, first of all, Printed with Metal Types. | DousLeE ENGLISH GOTHIC CONDENSED, No. 241. oan ee — T0 JOHN GENSFLEISCH, INVENTOR OF PRINTING. — of the highest honors. From tablet put up, 1475. DouBLE GREAT-PRIMER GOTHIC CONDENSED, No. 241. Te ae GUTENBERG. WHO INVENTED LETTERS In Brass Matrices, Wittig s Tablet of 1508. GEORGE BRUCE’S SON & CO., Typr-FounDERs, No, 13 CHAMBERS-STREET, NEW YORK. 65 . wren ; VitRvt oto THIMUMOM GRA ZTOK Z ‘02 aie t : nities ne ot ser . itvorla ew: hbowide: sae) ft Hoyt ‘to WR onP, nie a aes a re ones ' 2 hive | frst i ; vf head srw doltw phalwont ton qaieiesd te eplve? bok eineiietadt end soni HD oR obit bowh fa Ses ot vite f an wife. 4otdy WW fo oom olf bowdtial estslsminl tind gaiod onlson’t Yo sangiee gat 3 k vit A ! , ne hit’ @ jane hen bee ad of angest wean Iipit otc yt; leeepbal fo ‘. os ; Y haiigttol erm rloriw Doe oo elie wie fenie alas renwal ad <7 \ an : : .4 ‘ ? ; a4 mG b- os lntereetne ) SOETOV) & rout ‘ A f tie (SMW (H7 WHOL YF AVITBIRG 10 THA FHT 46 WOrTAQHIM » Fy ; iv fiotest3 asauQ teemiy olf lo detigat te aiqosx? wide j u" dail 9 iwonk ste eaegne? ydewsd Jad? tot self ef Tasvadt ae ur 0 ‘ : {LOR Gel Aly Chepete 4) aif deewqen sie astcod “stherser 314 Inantioghal soa fi ; ty bean tery nt anit boned ad ee .bsah a6 aradoot 40) .9noae ae 4 : = he bulwiog vent tive bas betastah Boadela’ ,barmenaih dherk ' : OH me “ih now haa ated enlist to Heasd ‘ot Aquat? bine fs g: oO SUAPOTBY Sf) TSP spsq .} fov Shalt wotniod .oifal x04 itdal hrTAVO3Aaa ~~ ; ; i ita VR ee .3HT . if sliuged. ef obem aoc? betnind to sbutitinm tesip & ede B¥E isin. 2noitest wan, seedt of sd exist ysaom eifil To s1otibineg floum onived tnodtiw .eatod bas asldid zeatoeth! ai U. AGHTUA JHT 40 MOITAVAI2a0) fii iseip woh ‘eteod betnit matt havingh ef noitsotibe sldsisede 2m 1 a; ata riob ad ot 2ODSIIS VDE, & o OW foal fioHW pav F sonayel to ytid. ot of Lanid hove ie 0 Heewoy boi savi isioli tiw Hitn 1 ils Yo jet sloidw : a re et ‘ , * s OWITMIAS 10 AOTHAVE ‘HO2taI2MId. WHOL 0 \4I qu jug taldst movd .2ronod tesdhpid ails to TV 2 of ¢ F3 oie | . se we a3 ' + , i 4 BLE 3 efaltii daT Mav OHW: Da: | 802 10 lds a esoittsM qe : Ahoy wae. RRC aie neta) inte ‘peat 203 ae ’ ie Ss Bs . fo 8 “Py ie ae Aa 5 * raed 1 a maetas OMITHIAT WO THORI A 3991)0R- BeoOmA OCHO GP eR3TT3) HTW = oe an e 207 Ievnmaatiur} ‘my Divin? ai anth yylow la ee) y Pe a _ 1 thr 1 = STYLE 242. BREVIER GOTHIC CONDENSED, No. 242. qitctoa THE RECORDS OF HARVARD COLLEGE STATE THAT MR, JOSS. GLOVER GAVE, ABOUT 1638, TO THE COLLEGE A FFONT OF PRINTING LETTERS, AND SOME GENTLEMEN OF AMSTERDAM GAVE TOWARDS FURNISHING OF A PRINTING PRESS WITH LETTERS, 49 POUNDS AND SOMETHING MORE. GLOVER DIED BEFORE THE PRINTING OFFICE WAS ESTABLISHED, TWo-LINE PEARL GoTHIC CONDENSED, No. 242. 110160. | Two-LINE NONPAREIL GOTHIC CONDENSED, No. 242. }iA AT A GENERAL COURT HELD AT BOSTON, ON THE 8TH DAY §. DAY MORTGAGED 27 ACRES OF LAND, UNTO OF THE 8TH MONETH, 1641, STEEVEN DAY, BEING THE eras | JOHN WHYTE, IN PAYMENT OF 1 COW, CALF FIRST THAT SEIT VPON PRINTING, IS GRAUNTED 300 ACRES OF LAND, WHERE IT MAY BE CONVENIENT, | AND HEIFER, MORTGAGE DATED THE WITHOUT PREJUDICE TO ANY TOWN. | 20TH OF STH MONTH, 1642. TWoO-LINE BREVIER GOTHIC CONDENSED, No. 242. HEZEKIAH USHER, BOOKSELLER OF BOSTON, IN 1659, PAID GREEN 40 POUNDS © “FOR PRINTING THE PSALMS AND MR. PIERSON’S CATTECHISME.” PARAGON GOTHIC CONDENSED, No. 242. 104 Reams of Paper for the New Testament in the INDIAN LANGUAGE DovuBLE PicA GorTHic CONDENSED, No. 242. Green Printed the INDIAN BIBLE, Cost £234 Ils. Bd. DousLe GREAT-PRIMER GOTHIC CONDENSED, No. 242. OLD TESTAMENT, at £3 10s. a Sheet Four-LINE PicA Goruic ConpENSED, No. 242. 1b 10 0 Binding 200 BIBLES... £25, SIX-LINE PIGA GorHic ConpENSED, No. 242. ; We also make an Kight-line Pica and a Twelve-line Pica Gothic Condensed, No. 242, like the above. GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 66 STYLE 243, PEARL GotHic ConDENSED, No. 243. fone 12 oz, THE AMOUNT OF COMPOSITION WHICH WILL BE REQUIRED FOR THE MANUFACTURE OF 1 ROLLER FOR A DOUBLE MEDIUM ADAMS OR CYLINDER PRINTING PRESS, NOT EXCEEDING 38 INCHES IN LENGTH, WILL BE ABOUT 12 POUNDS. THE PRICE OF PREPARED COMPOSITION VARIES, ACCORDING TO QUALITY, FROM 25 CENTS TO 60 CENTS PER POUND, Nonparem Goruic Conpensep, No. 243. ; 2°, BREVIER GOTHIC CONDENSED, No. 243. ats FOR 1 ROLLER, FOR A SUPER ROYAL CYLINDER OR ADAMS PRINTING PRESS, A FOLIO POST CYLINDER, WITH ROLLERS NOT MORE THAN NOT EXCEEDING 30 INCHES IN LENGTH, ABOUT 10 POUNDS OF | 23 INCHES LONG, WILL REQUIRE 8 POUNDS OF ROLLER COMPOSITION WILL BE REQUIRED. | COMPOSTION FOR EACH ROLLER. Two-LinE Prart GoTHIc CONDENSED, No. 243. te ROLLER COMPOSITION SHOULD NOT BE OVER COOKED: IF IT IS BOILED 40 OR GO MINUTES, OR MORE, THE SYRUP WILL CANDY, AND THE COMPOSITION WILL BE SPOILED. Two-Linr NoNPARFIL GOTHIC CONDENSED, No. 243. 2A, 2 Two-LInE BourRGEOIS GoTHIC CONDENSED, No. 248. 5 hey, COMPOSITION ROLLERS WERE FIRST USED IN THE CITY OF NEW-YORK, IN 1829, IN COMPOSITION ROLLERS FIRST THE OFFICE OF JONATHAN SEYMOUR. USED IN PARIS, IN 1819. Two-LinE Pica GorHic CONDENSED, No. 243. Bin aie LEFEVRE & DESEILLE, OF PARIS, 1853, MADE ROLLERS OF GUTTA PERCHA AND GLUE. ['Wo-LINE GREAT-PRIMER CONDENSED, No. 243. Sik A ROLLER, ONLY 24 HOURS OLD, IS NOT YET FIT FOR USE. Four-LINE PicA CONDENSED, No. 243. INDIA RUBBER ROLLERS BANDONED, 1894. | GEORGE BRUCE’S SON & CO., TypE-FounpERS, No 13 CHAMBERS-STREET, NEW-YORK, 67 SAW MTIAT) Ri TAN IME AU) TOM 28184 OMLT HERA 90eh FS A RAGA MORO FRdOd 4 aGT RIOR Ce AUTORUN AM IT AO SIRI Oe “sew aoe nore UWIM 03 10 Oh OF108'St TE AI 107003 avo 38 TOH qiuaHe 2 worTieosMad CAor O1gaG 10. 319230 B. 7A\ ewe i Ba fi Hy ; a oes a ake AE a 3 ea Ry) SS ae A ad ae aie. YHA ee Ay , va ug et G19 2TH29 ie UY 2TH VOT? FTE AUY OT EROIIA JTHRAY KATTEOIMOT CIMAVERT WD RLY SHY | SeNURT C1 THGEA TE 7,7) aa - Tete cee A " h pak he Sy, a FES A, oan) Soot at Ae + AICMLIVD FaaR 110% A 2279 anrining @MAGA 80 RIGKLIYS JAvOR 83902 A ni iW OMG! 2aROME BE . , WO etMnot OL THeRA WTANAI: wi, aaeame Oe OIG: Mr waiT2z0qgMos : GUAR 38 Jie enh ee ie i TAGE re ‘ 2 tb? t if t “hlir-wa£ ' ; ; ay 141092 38 JW MOTIZOIMOS INT GHA .YOMAD JW qUAYE aut : b a ‘Ting HOrTIA 000 » G42 TeAtt SRW ORIUIOR: ne 120 JOR HOITIeOH WE 2881 HE JUROY-WAH 90 YTIO a HAAS (32u AUOMYSS MARTAHOL 40 3917 i. ATTUa 20 i 40g; f SE LAACrh “ioe ie any We paHeL BAW WiNOAIM OWA 2 TRT TUNA DHIDR FOLUTAWIM A Ade Ty Fea ute 1 AY hae a Fs5AY, tag ape OF rts Mae WE PIAS TRMTOR FO CIATIGAO TW TORG YA TIEI AS, ST ey . ty 5 nw RET CMA MOTOS In AAPHALLD MA 8) BARK i645") Wns) ares) Beacon’ yO} Mi BITMAVAAS 40 BAOW BHT 8 1 vi fa JAYOR WO ROR BHT 4 wind § N00 G24 ws i 10 AMI09 3H) OVASoR eee ; nA wee mY MARDOAYT 1298 HT 90 23 /9MAKI PO Ane svaoni ya garuiny BES oO oath 4 on? Vs EEA AS Z } ; ry way + ie mii "OnAl , A rity Trr31) f } A ; 4 : { : - i j \ Vj aif is, “oldi | AVIRG 4 Uy Lee eele iq i? 1A j PIVOOHAA » if } ti 1A GQ iA ‘i c A IABCURH ne TUDHY 4 1G WARY i] fe ee RE? wand EMD i OAD © VTURIT ONO LIAVGAM IQ DNGAN OMIV) HALODIIC YIUAIG AUG! Z AVHAV 1() OUnAU I € Wit yA 19 AACA TAOt IN UNITIOAGYI PIGAG QUT Th Neel 40 WOMIGO9K @lAAS SHIT TA Shh Ses WiAg eAH MOGMO! YTI1008 quale HeiTiaa 010,840 an 1200... 24.1418 000,000,00 ye ay i4ev ives) rere eat AAROOT aH ~. + y VU STYLE 244, NONPAREIL GOTHIC CONDENSED, No. 244. pers THE FRENCH-ENGLISH DICTIONARY OF GEORGE BELLOWS, OF GLOUCESTER, ENGLAND. A MINIATURE BOOK, ABOUT THE SIZE OF 48M0. MEDIUM WAS PUBLISHED IN 1865. IT IS COMPOSED IN TYPES ON BRILLIANT BODY, ABOUT 22 LINES TO THE INCH. DISPLAY IS MADE WITH CAPITALS OF GOTHIC FACE ON SAME BODY. THE BORDER AND TABLE RULES ARE PRINTED IN CARMINE, WITH FAULTLESS REGISTER, IT 1S AN ADMIRABLE PIECE OF COMPOSITION AND PRESS WORK, | Brevierk Goruic ConpENSED, No. 244. oto Two-LInE PEARL GoTrHic ConDENSED, No. 244. , ,2%4), SCHILLER, PRINTED IN THE FORM OF ROYAL 8VO. BY COTTA, OF THE WORKS OF CERVANTES. IN 12 VOLUMES. 8VO. STUTTGARDT, IN THE YEAR 1859-62, 1S AN EXQUISITE SPECIMEN OF GERMAN 1867, AND THE POEMS OF ALFONSO ONGENO, 8V0. 1863, ARE TYPOGRAPHY. !T JS REPLETE WITH ENGRAVINGS ON WOOD, EXAMPLES OF THE BEST TYPOGRAPHY OF SPAIN. PHOTOGRAPHS, ORNAMENTS IN GOLD, SILVER AND DELICATE TINTS IN THE PUREST TASTE, PRINTED BY RIVADENEYRA, OF MADRID. Two-LIne NoNPAREIL GOTHIC CONDENSED, No. 244. ob A MISSAL, IN FOLIO, RED AND BLACK, FROM THE NATIONAL PRINTING OFFICE AT LISBON, WAS MUCH. ADMIRED AT THE PARIS EXPOSITION OF 1867. Two-LiIne Brevier Gornic ConpENSED, No. 244. 31h LES ARDENNES, BY VICTOR JOLY, A SUMPTUOUS FOLIO IN 2 VOLUMES, WAS PRINTED. BY M. VAN BUGGENHOUT, OF BRUSSELS, IN 1854, | Two-LInE LONG-PRIMER GOTHIC CONDENSE pb, No. 244. Bik dio RUSSIAN PLAYING CARDS, OF MARVELLOUS BEAUTY, WERE ADMIRED AT THE PARIS EXPOSITION OF 1867, Two-LINE Pica Gornic CoNDENSED, No. 244. BRITISH BIBLE SOCIETY, LONDON, HAS PRINTED 60,000,000 BIBLES... COST £5,948,610, TWo-LINE GREAT-PRIMER GoTruic ConpR NSED, No. 244. barat THE TIPOGRAFIA POLIGLOTTA ve : PROPAGANDA WAS FOUNDED IN 1626 GEORGE BRUCE’S SON & CO.) TyPn: Founprrs, No. 13 CHAMBERS- STREET, NEW-YORK, 68 2 ke i} Ih , STYLES 620 AND 621, Pica Gornic Extra ConpEnsep, No. 620. °9 4,120.4 GREAT-PRIMER GoTHIc Ex. Conpensep, No. 620, 25,3412 4 FOUR FRENCH BOOKS of Irreproachable Typography: The HENRIADE, THE BIRD, by Michelet, an Octavo of 1 volume, with Printed by Firmin-Didot, 1819; the DANTE, by Lahure, 1861; the GOSPELS, by Illustrations hy Eiacomelli Printed by Claye, af Paris, 1887, Imperial Printing Office, 1862; the BIBLE of Doré, by Mame, of Tours, 1866, is a Fine Specimen of French Wood-cut Presswork, DousLe Pica Goruic ExrRA ConpENSED, No. 620. Bae THE WORKS OF JOSEPH LOUIS LAGRANGE, A FRENCH MATHEMATICIAN, Printed by Gauthier-Villars, in the year of 1867, unequalled for Skillful Composition, 7 volumes, folio DoUBLE GREAT-PRIMER GOTHIC ExtRA CONDENSED, No. 620. THE CELEBRATED PRINCE OF WALES BIBLE, Was Printed by Mackenzie, of Glasgow, Scotland, in the year of 186, Canon Goruic ExrrRA CONDENSED, No. 620. HAUTE-COMBE, Bv, by Fontana, of Tun, lly, 164 Peart Goruic ConpENseD Harr Line, No. 621. 3,4 NONPAREIL GOTHIC CONDENSED Harr Ling, No. 621. %°,' EVELYN’S NOTICE OF THE INVENTION OF MEZZOTINTO ENGRAVING, WENCESLAUS HOLLAR, OF PRAGUE, BORN 1607, DIED 1677, WAS AN EMINENT TRIS AFTERNOON, MARCH 13, 1661, PRINGE RUPERT SHOWED ME THE NEW WAY OF GRAVING CALLED COPPER-PLATE ENGRAVER, HE USED TO WORK FOR LONDON PUBLISHERS AT THE RATE MEZZOTINTO, WHICH, AFTERWARD, BY HIS PERMISSION, | PUBLISHED IN MY HISTORY OF OF 4 PENCE AN HOUR, HE MADE 240 PRINTS OF VALUE, BUT DIED IN POVERTY. CHALCOGRAPHY....1T IS SUPPOSEO THAT PRINGE RUPERT RECEIVED HIS SUGGESTION FROM SEEING A SOLDIER POLISH A RUSTY SWORD, Brevien Gornic ConpENSED Harr Line, No. 621. 1 ies. Two-LINE Peart Goruic Conn. Harr Lane, No. 621. 11793 | __ INTRODUCTION OF COPPER-PLATE PRINTING IN ENGLAND, ANOTHER WRITER GIVES AN EARLIER DATE. \CCORDING TO JOHN BAGFORD, THE COPPER-PLATE PRESS WAS FIRST BROUGHT INTO ENGLAND BY JOHN SPEED, WHO PROGURED aI See FEES RET chea a ONE FROM ANTWERP IN THE YEAR 1610. ot ‘ Two-LInp NoNPAREIL Gornic ConpENSED Harr Ling, No. 621. )OPPER-PLATE PRINTS WERE FIRST SEEN IN ENGLAND IN THE ° BYRTH OF MANKIND, " WHICH WAS PUBLISHED BY THOMAS RAYNALD, OF LONDON, IN 1540. ENGRAVER IS UNKNOWN, GEORGE BRUCE’S SON & CO., Typr-Founprrs, No, 13 CHamBers-Srreer, NEW-YORK, 69 - ’ FPWR 3 Cy eae , =i re Vs Mats le, ~ on : ~ a 7 ee a uy {i see en) y ote ei oc ne 4 i i] mie beer OFT \ } Viral “Say 5 vVae oor RE rae ni op iso aay WO \eorneard ni fj 7-t , : | iv! ha ei 4 Ath 3 ofa 3 cee) ia emecen viltmiberntri caus 4 sae ” r \ ) -s STHMSIM 2H Breen. Sb 7O 2 = ns” retivy Mater Me Ubmas re Ts my C) : ; st. - “ bas tewa adok ¥ : << | J ) hh > ed i a Jil * eo ae co 4 E> i ms : r a . “ is Sn . oh ; : iV .' > ene ia \ ; / at , 0 £ —_ 2 P 5 » : j on . P $ i d ee ry oe | a 3 | we erased! of : | Sew” eat Pe ~ - 4] | Z.10T esolvuy. sabsM at na ern SD0A eg STYLE 250. oS hal Brevier GorHic ExTENDED, No. 250. °3i,"to'n.* NonPAREIL Goruic ExrenpEp, No. 250. THE NEW ARABIC FIGURES THE SYSTEM OF ARITHMETICAL NOTATION By 9 figures and 0 was known and used in Hindostan Were Introduced in Spain by the Moors about in 6th Century of Christian era. Was Introduced the year 950; in France, by Gerbert, 991; in Arabia about the Year goo. VWhen adopted | ara England, 1253: Their advantages in Europe, these figures were known | are immediately recognized. everywhere as Arabic Figures. Pica Goruic ExTENDED, No. 250. 73 4,"%o'R." he ES MieINii ZS eee LONG-PRIMER GoTHic ExrENDED, No. 250. 73477. ROMAN SMALL CAPITALS 4 : First Made by Aldus Manutius, in the Or Bible of 42 Lines, of 1455, year 1501. Were used as Initials Puncuated with the Period, in Proper Names and Lines of Poetry. | Colon and Hyphen. GREAT-PRIMER GOTHIC EXTENDED, No. 250. Bratton THE MENTZ PSALTER OF 1457, Was Printed by John Fust and Peter Schceffer Contains Commas of the Modern Form. DousLE PicA Goruic ExTeNDED, No. 250. 10 :a‘and 10 A SEMI-COLONS WERE USED By Printers between 1455 & 1501, As Signs of Abbreviation. DouBLE GREAT-PRIMER GOTHIC ExrENDED, No. 250. Fa tales GEOFFREY TORY, Made Rules for Use of Accents, Paris, 1528. hes Cie E a CANON Goruic Exrenpep, No. 250. Binnhe ae ABBREVIATIONS Discarded, 1540. GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. a 70 a STYLES 260 AND 261. Brevier Goruic ConpDENSED Ivraic, No. 260. ACER cs THE PRICES OF EARLY PRINTED BOOKS. A small Folio, Printed by William Caxton, was sold by him for 6s. 8d. A price equal to that of a Quarter of Wheat. Compared with old Manuscript Books the price was cheap; compared with modern Books, excessive. Pica Goruie Conpensep Irauic, No. 260, #154 TONSON, THE PUBLISHER, Was indignant, because Dryden, the Poet, charged 50 Guineas for 1,446 lines. He expected 1,578 lines for 40 Guineas. LONG-PRIMER GOTHIC CONDENSED I'ranic, No. 260. 402304204 ACCOUNTS OF ELIZABETH OF YORK, Show that, in 1505, 20d. were Paid for a Primer and a Psalter. This sum was equal to 1 week's wages of a Farm Laborer of that period. CoLUuMBIAN GoTuic ConpENSED Iranic, No. 260, 2°74 15 4 POPE HAD ONE GUINEA A Volume for his 6 quarto volumes of the Iliad. Pope's Shakspeare was also 6 Guineas for 6 volumes. PARAGON GOTHIC CONDENSED Iranic, No. 260. DAVID HUME’S HISTORY OF ENGLAND. The First Volume was issued in 1754, Millar, the Publisher, said That only 45 copies were ee me the First Year. Four-LInE Pica Goruie CONDENSED Irauic, No. 261. j 9 Sh, BUT ONE DAILY PAPER IN LONDON IN 1709 S1ix-LINE PrcA Goruic ConpENSED IrAuic, No. 261. SEMI-WEEKLY GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. Tal a we tint 1 Sort “tat a Aye il sh ia: ¢ 7 5 oo i) PAVAS Yat y , ; oar at - ' a4 ‘i _ shi's Te sion’ oe x ea , i: * . “ound ay a ge Art AST ‘ibd A, od ; he cr VI a i MON ilered Se Arn, bese pYyost rad S: Sh At Al a ; . - 4 » = Ss Vi We i Ass, 3? eee CDA NAPE Lit £.. “ASR LY.LY por! 6101.08 20¢ DIBG eS V\ : Ky = ai ih é — = = ere oe ort KT STYLE 300. Brevier AnriquE, No. 300. Seraph LONG-PRIMER ANTIQUE, No. 300. *°'i"S tn“ RICHARD DE BURY, BISHOP OF DURHAM, | BOOKS ARE TEACHERS | Whose Instructions are unaccompanied | with Blows or harsh Words; who de- mand neither Food nor Wages; you visit them, they are alert; if you want them, they secrete not themselves...nor ridiculé your ignorance be it ever so gross. Phitg biblon of 1599. Said, in year 13844: As it is necessary for a State to provide Military Arms, and prepare plentiful Stores of provisions for Soldiers who are about to fight, so it is evidently worth the labor of the Church Militant to fortify itself against the attacks of Pagans and Heritics with a multitude of sound Books. Pica AntTIQUE, No. 300. 80 and 15 A RICHARD AUNGERVILLE, BORN | 1287) DIED MWistoreAy. Let there be a mature decorum in Opening and Closing of Volumes, that they may neither be Unclasped with Precipitous Haste, nor Thrown Aside after Inspection, without being duly Closed. GREAT-PRIMER ANTIQUE, No. 300. eee: PIERS” BAU DUMIN teircamiee( ©! Was Paid 20 Shillings for Binding 2 Books, and 64 Shillings for 4 Books. 20s. would then buy an Ox. 110A Dovusie Pica AnTIQUE, No. 300. Sa apie BAU DUNS eiSisee Specifies 6 yards of Velvet, 6 yards of Silk... Lace, Tassels, Clasps, Nails. DOUBLE GREAT-PRIMER ANTIQUE, No. 300. eae THOMAS, A LIMNER, Was paid 5Os. 2d. for a Book” he had Made in 1467. Canon ANTIQUE, No. 300. gli ig til CHARLES V. 137 Owned 900 Books. GEORGE BRUCH’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 72 STYLE 301. Acars, Antriqur, No. 301. ey eee NonPAREIL ANTIQUE, No. 301. ae a | THE FIRST AMERICAN PRINTING OFFICE EARLY NEW ENGLAND BOOKS. Was Established in the City of Mexico, in the year 1555, and was provided The first dated Books or Pamphlets Printed in New England with a full Assortment of Types. The First Book Printed in the | New World was done in this Office. It was called Vocabulario en Lengua | Castellana y Mexicana. The Author of the Book was the Missionary Alfonso de Molina. were The Freeman’s Call, and the Almanac for New England. Both works were Printed in Cambridge, in the Year 1639. But few copies have been preserved, and they are highly valued by their owners. Brevirr ANTIQUE, No. 301. Aa Ps 5 LoNG-PrIMER ANTIQUE, No. 301. 498,420 4 EARLY REGULATIONS FOR THE TRADE. A \In May, 1571, the Authorities of Paris undertook to WARNING TO PUBLISHERS. Seeriste the Trade. Article 6G, of the It sha ate ice a peep ne year 1571, that Ordinance passed that day, prohibits Pressmen and € syndics oO at City should be fully Compositors from Free Indulgence in Holidays, Authorized to Seize and Confiscate all Books or from Assembling for a Strike. | which were Printed on Bad Paper. Pica ANTIQUE, No. 301. Ae Greav-PRIMER AnTIQuE, No. 301; *s=4124 APPRENTICESHIP REQUIRED. SWORDS. Decreed in France, 1571, . That no Printer or Bookseller should A French Ordinance, 1971, be Licensed unless he had Served Authorizes Printers to Apprenticeship of 8 years. Carry Swords. DousLE SMALL-PicA ANTIQUE, No. 3801. SHAG Wre Pe ARISTOTLE purchased the Books of fee ppus at his death, and Paid for them 8 Talents, or about $3000. DousLe EnauisH ANTIQUE, No. 3801. 20 aed ore PLATO gave 100 Mine, For 3 Small Books by Philolalus, } the Pythagorean. DouBLr GREAT-PRIMER ANTIQUE, No. 301. 24 Ih. 2 ox A QUIRE of Paper, in 573. to make “4 bokes of Salmes, cost 4d. GEORGE BRUCE'S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-StREET, NEW-YORK. 73 * Wi ae a PV 2 Aer). 6 av apee ware, oa oo) : ¥t ‘a > J3QD.” BORE 2 OTA TS “4 ' > gry Prone FD eee [L6G cc % es are , >) Se oe ah? re , ; < A / ad " ‘ol - j VI 2 ; ae et ee / yo, = : ive! é et natty. Seth yr « mT i meee At ti 4 qireyW “omer lay GPU): us 5 Sei ce Oe ee a hel ie . mm. 1 Ww Be: ne Tei! lt 3 s i ne 7. . is j : + goed awe ie bela = | ae er < ag © u : Foal Ee ¥ eee he f STYLE ¢ ew =) N PRARL ANTIQUE, No. 302. pone O le Nonparrit ANTIQUE, No. 302. eos ke ae ITALIC TYPES WERE FIRST MADE BY ALDUS MANUTIUS, ROMAN TYPES WITH LOWER-CASE, At Venice, about the year 1501, for the exclusive use of which in Italy, he Modeled after the Cursive Writing of the 12th Century, was first Obtained a Brief from Alexander VI. This Neat Letter was Reduced to Symmetry, and made a Text Type in 1471, by Modeled after the Hand-writing of Petrarch. : . : g Nicholas Jenson, a Famous Printer of Venice. BrevierR ANTIQUE, No. 302. 68 Sian 30 A Lone-Primer ANTIQUE, No. 302. 4. 10mem THE FIRST POLYGLOTT BIBLE HEBREW TYPE WITH POINTS, Was Published at Genoa in 1516, under the Supervision of Were First Used in an Edition of the Hebrew Peter Paul Porrus. It tained Heb Arabi . ; 5 Cee nek eas rect nstmierad eee iS ee rar) Scriptures Printed at Soncino, 1488. Chaldaic, Greek and Latin. GREAT-PRIMER ANTIQUE, No. 302. 25 5 and =a Pica Antiqun, No. 302. Ue THE COMPLUTENSIAN 38 HUNDRED COPIES, Polyglott of Cardinal Ximenes, was | A Large Edition of any Book Printed by Arnao Guillen de Brocar In the X Vth. Century. at Alcala, Spain. 1502-1514. | Dousie’ EnGuisnh Anriqun, No. 302. 7° sea ULRIC GERING, MUSIC Printed First Printer in France From Metal Types 40 years in Paris. At Mentz, 1490. DouBLE Greatr-PrimerR ANTIQUE, No. 302. Qe EN NSS 1 20 Ih. 8 0% YRARLY ALMANACS. ‘First Appeared in the 16th va Four-Lint PicA ANTIQUE, No. 302. 20 Ih 8 oz NINE-LINE Pica AnriquE, No. 302. ioe SEVEN-LINE PICA ANTIQUE, No. 302. 56 lk. 8 es 7 qQ GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK, 74. STYLE 308. Nonparemt Doric, No. 303. SOT seul GOrs Brevier Doric, No. 303. eoannataleon STEPHEN DAYE, FIRST PRINTER IN THE COLONIES, THE AUTHORIZED VULGATE BIBLE, Was born in England, 1611, died in Cambridge, Mass., 1688. Authorized by the Council of Trent, in 1546, and His First Publication was the Freeman’s Oath; his Printed in 1590, in 3 Volumes, by the Special First book, the Bay Psalm Book of 1640. Order, and under the Supervision of In 1641, the General Court of Massachusetts granted him, Pope Sixtus V, and Famous for its Errors, has been for Services Rendered, 300 Acres of Land. In 1649 he Sold for $240 to $300. It was Superseded by Relinquished his Business to Samuel Green. Edition of Clement V, in 1592. Lone-PRimER Doric, No. 303. SIRT LS COVERDALE’S GREAT BIBLE WAS PRINTED AT ZURICH. A Fragment of this Famous Book was Offered for Sale in 183%, at the Price of £18, 18s. A Copy Entirely Perfect is not known to be in existence. Pica Doric, No. 303. 30 a and 15 A TYNDAL’S FAMOUS NEW TESTAMENT Was Printed at Worms, in the year 1523. It contains 353 Leaves, besides the Epistle to the Reader, and the | Errata. The Initial Letters were Illuminated. GREAT-PRmER Doric, No. 303. spanner A COPY OF THE FIRST EDITION Of this New Testament, in English, dated 1526, | Was Sold in 1776, for the Comparatively Small Sum of 20 Guineas. DousLE Pica Doric, No. 303. nee TWO SPURIOUS Editions, 5000 Copies each, of this Book, Were Printed in Holland. DouBLE GREAT-PRIMER Doric, No. 303. ‘TYNDALL’S EDITION Was Sold for 3 Shillings GEORGE BRUCE’S SON & CO., Type-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 75 “" , i n 1 , ‘ P a ek Be “Phi *) ek Voit ete ory ‘trata STACY asx} tA ; . ERR OCO GIT, AL RATERS Fea wr As mace % i bart cel ‘| - ra he roitbut t eo, otbratoe) a) bale 3th bAnag® a “4 Citron ‘ ; ; Fa ista't ' fla a aawaat elt eer Anat cole tat 1 ee ate ms to nolet+ 1 ; Oba WNL 10 Moull niteet ¢oil on) Rot Ce ee { as at 5 +. otort : raryye : biiviiiddeanM™ Jo lias Lareea to) edly : a = ea ' biok suing wi t . Ve a no. Ae te hat anc? H ron > Jeb nsee af awarient eit hh RCT . [VIBES 2@AW GSaAgio§h TAAAYD S2atTAGEaVOO a ee. ae ‘t ot af ‘oh borshO eow Mook avomst aid? to Susur es £ TY mH 7 af 3 tras viesitn4d vVigqolD. A #61 69S : WAN 20U0MAT @IACVYT Sa8 en * . yeov od? ob perro W ie botaivtd es goed ad ji ot aobiesd).zovasie vr atrodtal Lettinlk ae RB TE f ees Tt vA x cre y> E fond L wd ( ¥ iv) tiv biecre 4, ba | = oitiba - ame LAU Te t - , o> ¥ -basiloH ap be otaieh o1eNe | 7 ar Pos! Uo iLride ee y ay et ee 2 guillited en ‘ vf n ’ sie ieee. 4 CU We ‘ . uae ' ~~ i ere. « e win, nd Weer x ¢ suk see, UE), Geter, a + “Tu : ; 4 4G: ed ‘ ‘ \ Ay canes \ \ y eh { ‘ , ie fol oO OR. 30O11 \ a - \ a Ae nisuic*] he 4 , Pert Pe (PONWOs TO ers AK ' a fein bent ov Ber Sehaiigd od) bavovege) of Wii sot ,JoTik eli oy ‘a ' ; Lay Sore gvws refacils A ok tot S90 DVsW Pe cvrons Bi Ae f : . ‘ ‘ 7 i ‘yt ‘ke Vy i = FF 9 wt Ly a « SANG 2 wie Ro Pigl Tay be cid: : >" te boviess® wio¥-woVv bai inf bas . * CAOr . beve & zor SPali a SP | }4 f fogmre@ doir aS c0'0) bo" “S ‘ ‘ y ‘ ‘ Bees h' - rg he ave mo iVA: YJ"! ina BDAUAS WHACMA Ove Simos aang 5 Zz - : : } ‘aa pireig sis HoO©rw To ¥ .8 DORBUORTES : . a Moe OF rica — ) i 7, " a t " : aS. Xe TO vi Pris «ek + Pe Cpetee Suton yiejosl ll, ; a “t OF 401 #japDis wig ; ; ; “05 at : ‘ "z as pL eee Od a ? — saw doldw Zo - = E- c m STE al asl br jidwr eel tine D owt” Ixt Yt pod ile Act. hese caret iow args 5, * \@ esvt 258g a Lie} i ee me OLIGO OSU. el 4 hele = ha ovina.’ : ‘. 7 . ’ gate é " yr 2 »¥ - * oF ert = ra Mere ) I , >. ss 4 ’ ] ; ar % ‘ ; bed mt " . ' 4 i , . 7 oe a i -_ A 4 - iJ a rr ¢ |-s { rr ¢ 6 >. “< ize ti. ikea = hu Denctthe then ? ‘ ae STYLE 320. LONG-PRIMER CLARENDON ConDENSED, No. 320. “3 i,"toe.” PrcA CLARENDON ConDENSED, No. 820. *{4°3%4 | RAR ON THIN PLATES OF COPPER ENGRAVING ON BLOCKS OF WOOD, | Is said to have been invented by Tomasso Finiguerra, a gold- Was practised in Italy during the 13th C entur” smith of Florence, about 1440, but prints by this process were then made in Germany. First dated print 1461. Blocks were used to print Textile Fabrics. ' CoLUMBIAN CLARENDON CoNDENSED, No. 320. *3i,"2u." GFREAT-PRIMER CLARENDON CONDENSED, No. 320. “G'v"} te MEZZOTINTO ENGRAVING, AQUA. TINTA EN GRAVING, Said to be invented by Col. de Siegen, 1643, | Was introduced by St. Non of France Improved by Prince Rupert in 1648. during the year 1662. DoUBLE SMALL-PIGCA CLARENDON CONDENSED, No. 320. ENGRAVING AND TRANSFER ON SOFT STEEL, | Is the invention of Perkins and Heath, of Philadelphia, oe DouBLE ENGLISH CLARENDON CONDEN , No. 320. CHIARO-OSCURO OR MONOCHROME PRINTS, Invented by Ugo de Carpa, Italy, in the 16th Centar Dous NDON CONDE , No. 320. LITHOGRAPHY OR STONE PRINTING. Is the Invention of Senefelder, Munich, 17 06 MERIDIAN CLARENDON CONDENSED, No. 320. PHOTOGRAPHY, _— By Niépce, 1814, and Daguerre 1824 , No. 320. q — PHOTO- LITHOGRAPHY, : M. Lemercier, of France, 1859. GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 80 STYLE 321. NONPAREIL ANTIQUE CONDENSED, No. 321. %1ing i?“ BREVIER ANTIQUE CONDENSED, No. 321. 9,52 204 NOUVELLE PRESSE A GRANDE VITESSE, DE MARINONI. THE BULLOCK NEWSPAPER WEB PRESS. H, Marinoni, of Paris, has Invented a Printing Machine, which he claims Prints William Bullock, of Philadelphia Inventor of this Machine, died 1867 ) i] . Perfect on Both Sides, 18,000 Copies per Hour. In September, 1868, it was used in Printing Le Petit Journal of Paris, This is the First Press which successfully Printed Perfect on Both Sides from an Endless Roll of Dampened Paper. LONG-PRIMER ANTIQUE CONDENSED, No. 321. *33,24204 PicA ANTIQUE CONDENSED, No. 321. ARTES MITCHEL'S TYPE-SETTING MACHINE, David Bruce, Jr. Patented March 17th, 1838, William H. Mitchel, of New-York, Patented in 1853, 1854 the Model of all American and most 57, a Machine which h in use 19 and 18 he ern Seas he ears European TYPE-CASTING MACHINES, DouUBLE SMALL-PicA ANTIQUE CONDENSED, No. 321, 7° “4324 GREAT-PRIMER ANTIQUE CONDENSED, No. ‘3821. 753224 | THE HYDROSTATIC PRESS © PAPER-RULING MACHINE. Was Patented by J. Bramah, 1785, Patented by D. Brewer, of Used by Printers in 1829. Pennsylvania, igs 22, 1796. ma LOA DouBLE ENGLISH ANTIQUE CONDENSED, No. 321. IMPROVEMENT IN COMPOSITION ROLLERS. Patented by Lewis Francis, N.Y., June, 1864 and 1869. DovusLE GREAT-PRIMER ANTIQUE CONDENSED, No. 321. RE WASHINGTON PRESS, by 8. Rust, May. 102. CANON ANTIQUE CONDENSED, No. 321. NEW MUSIC TYPES, Geo. Bruce, 1830, Four-LInE PicA ANTIQUE CONDENSED, No. 321. Pees AIR. BLAST, George Bruce, 1854, EIGHT-LINE PicA ANTIQUE CONDENSED, No. 321. | Pive-tine Pica ANTIQUE CONDENSED, No. 321. 243", nt, UT. i ‘4 r GEORGE BRUCE’S SON & CO., Typr-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 81 a rab 9 (ee SL ariere P > ; wee ¢ 7 5 eur 4 : 4 eee eh by ; 4 . fi i whkgt RM ee ARATE CR A + i ; ‘ : i ; OPTI § de Nee shy bane wistig Oe A Detteleh abe Re es” anes He j Fae Re ny ane ee : 1 5 ‘4 = % Were ht } OATES a4 " iw wadey 4 rebee ae » uc a 7 1. Aye J : : pdiea’ tec brick wb bite ae y ' r {ef * ee t 7 4 : e2 taq°y3 he £ fr tO AS WR eid IPA «chee ae r | Jha ‘ . \ ‘ ; Ags > ee alii Ey. gh ’ ~ ; y' ee — ee a TA LETEUI FES L viet tet to age i 8 {7 tT ‘ f mB .Ad8! bts LOS ortnl LYM tome) Sree vo ee of ‘ n 7) a ¥ fh 64 RY dee A vais 17 a oe ei STYLES 322 AND 630. NONPAREIL CLARENDON, No. 322. ae JOHN DAY, THE FIRST ENGLISH PRINTER WHO ACQUIRED AND MERITED A CONTINENTAL REPUTATION, Born 1522, died 1584, is equally Renowned as a Type-founder and Publisher, He cut New Fonts of Roman, Italic, Saxon and Gr eek, He Printed and Published Fox's Book of | Martyrs and Tyndall's Bible of 1549, and many Classic Works, in all 245 Books, many o of them containing Engravings on Wood. He was the first English Printer : who preferred Roman to Black Letter, wisely saying that Black was not fit for a Classic Book, He had 2 Wives and 26 Children, BREVIER CLARENDON, No. 322. SOje and 80:2 THE RUGGLES PRINTING ENGINE OR JOB PRESS, S. P. RUGGLES, of Boston, Received a Patent, Nov. 10th, 1840, for a Small J ob Printing Press of Novel Design. In this Press the position of Bed and Platen were Reversed; the Platen below and the Bed above, with the Face of the Type Pointing Downward. It was a Quick Press, but objectionable for its Reversion of the Form, and its Liability to Drop Types on the Platen, i = T ts 30 a and 15 A PicA CLARENDON, No. 322. AGG fos IMPROVED HAND PRESSES. A. RAMAGE, of Philadelphia, Received a Patent, May, 1818, for a Press which was popular for many years in the Middle States. Superseded by the Simpler and the more Powerful Presses of Samuel Rust and Peter Smith. LonG-PrRiMER CLARENDON, No. 3822. 40 ne ee THE TYPE-REVOLVING PRINTING MACHINE, Or the Rotary Press, as it is oftenest called, is the Invention of RICHARD M. HOE. It was Patented in 1847. It was first used on the Philadelphia Ledger in 1847, and on the London Times in 1858. As a fast Newspaper Press it had no Rival or Superior for many years. GREAT-PRIMER CLARENDON, No. 322. sia 0k REGISTERING PRINTING PRESS, — S, NEWTON, New-York, Feb. 28, 1833 Patented a Double-Cylinder Press. A Cylindrical Press was Patented by W. C. Williams, in 1829. | DouBLe SMALL-PIcA CLARENDON, No. 322. THE ADAMS POWER PRINTING PRESS | Was Patented by ISAAC ADAMS, of Boston, Massachusetts, | October 4, 1830, and March 2, 1836. DouBLE ENGLISH CLARENDON, No. 322. IMPROVED HAND-PRINTING PRESS. Was Patented by SETH ADAMS, of Boston, on September 27th, A D. (1844. Two-LINE BourRGEOIS SKELE ron, No. 630. THE ROTARY SELFFERDING AND SELF-PERFRCTING PRINTING PRESS, WAS PATENTED a | WILLIAM BULLOCK, OF PHILADELPHIA, APRIL 14, 1863 ) TWO-LINE PICA SKELETON, No. 630. Th TYPE SBTTING MACHINE OF FREDERIC ROSENBORG, F SED WAS PATENTED IN THE UNITED STATES. SEPTEMBER 9, 1843. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 82 STYLES 323, 324 AND 631. Two-LiIne Nonparbit ANTIQUE CONDENSED, No: 323. aio, Two-LinE LonG-PRiMER ANTIQUE CONDENSED, NO. 323. 5 feu. THE FIRST TYPE-SETTING CHURCH PROPOSED TO CAST AND MACHINE WAS INVENTED BY WILLIAM CHURCH, SPT 7H 000 TYPES PER HOUR OF CONNECTICUT, WAS PATENTED, 1821. | . ; TWO-LINE GREAT-PRIMER ANTIQUE CONDENSED, No. 323. ,,°8 Two-1inE Pica ANTIQUE CONDENSED, No. 323. 4 1°, ADR. DELCAMBRE’S MACHINE J, MAZZINI’S MACHINE, PATENTED MARCH, 1840. PATENTED, 1343. Four -LINE PicA ANTIQUE CONDENSED, No. 323. BREVIER ANTIQUE CONDENSED, No. 324. 3° a BOS LoNG-Primer ANTIQUE r NSHD UN Oma 4am. hee ome JONAS BOOTH, Sen., and his sons James, Thomas, Jeremiah and Jonas, Jun., of RICHARD M. HOE, of New-York, has received many New-York, were granted a Patent, Sept. 1, 1829, for a POWER PRINTING Patents: one is dated May 1842. for an Improved MACHINE, WITH PLATEN IMPRESSION. It was the First Power Platen DOUBLE CYLINDER PRINTING MACHINE | Press made in this Country. The Rollers passed between the Bed and Platen. ; Pics Ant1QUE CONDENSED, No. 324. 3.4 GREAT-PRIMER ANTIQUE CONDENSED, No. 324. ?5,sindt2 4 DEGENER & WEILER’S LIBERTY PRESS. THE POPULAR FRANKLIN PRESS. Prize Medals were awarded by the | London Exhibition, of 1862, and by the Great George P. Gordon Received his First | Paris Exposition, ne 1867, | Patent, August Sth, 1851. Four-LinE Pica ANTIQUE EXTRA-CONDENSED, No. 631. pie nde) | FIve-LINE PIGA ANTIQUE EXxTRA-CONDENSED, No. 631. rai aes SpVEN-LINE PicA AnTIQUE ExTRA-CONDENSED, No. 631. nantes T A010; all hour GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 83 A ‘ ‘ ir f y TRAY OF IROCB HE nAvHD parte FER mt ig 22a Va Af ae ee HOSUHD MALLIW YS C7 TvSTHl af! ai E UUY, St oe ars ITHATAT EAW. TOSI : 4 L i a : . 5 a } iis a ‘itak eae ‘ , tf AHAROIR G , G:k adem Sele teil oat ica. euemrart Soe. ie " ¢é ¢ TS she o 7 2 ryt a wl Ret: sik. ieetes -| ‘ bal cae ota : : 2 UP 4 7a ¢ i. weet teH9 ht eet i AALS adeur: “2TA.14 HES . b, , 8 alt Ack tet fet mere: at t- yitewn wth . , ; 7 tied * + ae ie oN, uf E ; ( TT fF i ey > a VOEPET CPT [pay ert ¥ 5" y y q Nd68 FH Gd WEASEL 2a TW é Bt 7 oli yo hebiewh ovew eishel : 7) eh ml qs * — © | - r ; ‘ | x inetd sd3-yd bas S68) Yo noitidid O48: to woitiaoqxd airnd STYLE 632. Brevier ANTIQUE ExTRA-CONDENSED, No. 682. °S47Ioo." Lone-Primer ANTIQUE ExTRA-CONDENSED, No. 632. “Di TB on THE APOLOGY OF JOHN FROBEN FOR HIS TYPOGRAPHICAL ERRORS. THE NOTICE OF A VENETIAN PRINTER, IN THE YEAR 1503, _ I do every thing I can to produce Correct Editions, In this Edition of the New Testament in Aldus Manutius put this Notice on his Door: Whoever you are, Aldus begs I have engaged with diffictlty many correctors of the highest ability, among them John : : ‘ Ecolompadius, a Professor of three Languages. Erasmus himself has AS Soon as possible, unless you are disposed to take hold and help him. He has Done his best to help me, ‘This Book, a folio, was in Press for One Year, but with all this - always enough of Work for you aud for all the friends care it was Published with an Errata of a page and a half... Vide Crapelet, page 223. you may bring with you. Pica ANTIQUE EXTRA-CONDENSED, No. 682. AN EXAMPLE FOR IMITATION, When Francis I, King of France, visited the Celebrated Prin tng 08 Otlee Of Robert Stephens, in 1543, he found Stephens diligently engaged in Correcting a Proof Respecting the man aud the exacting nature of his work, the King waited, and did not address the Printer until he had finished the Proof, Grrar-Promr ANTIQUE Exrra-Conpensep, No. 632. DOUBLE Gyno Dace ExtTra-Conp., No. 682. JEROME HORNSCHUCH, a Prot Redo te EQ PREVENT SYPOGRAPHICAL Err, 17th Century, says that he found nearly 2000 Errors in One ©» He proposed to Instruct the Authors. See lis Manuscript, the mdoubted Fault of the Author, Pamphlet. Leipsic, 1680, 32 paces. DousLe Enenish ANTIQUE ExTRA-CoNDENSED, No. 632. THE PROOF READER, says Horuschuch Inst ‘ately | Reftain ftom Anger, from Love, from Sadness, from all Intense Emotion, at ive Wis mind entirely to his work....Se6 Crapelet, nage Jel DousLE PARAGON ANTIQUE ExTRA-CONI YENSED, No. 682. JUDUCUS BADIUS, of the Netherlands, a Learle of CO elt Ol the French Press, Wega to Pi int in Pars in 4498 CANON ANTIQUE ExrRA-ConpENsED, No. 632. THE 3 DAUCHTERS of BADIUS Marvel & tua PTIMMelS, SteUNEUS, Vaseosall aud De Rowny. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamBers-Srrert, NEW-YORK. 84. STYLE 634. NonPAREIL ANTIQUE ExTRA Con’p, No. 634. BOE BREVIER ANTIQUE ExTRA Con’p, No. 634. HEBER, THE BOOK-COLLECTOR, SAID NO MAN CAN COMFORTABLY DO WITHOUT THE AUCTION-SALE OF HRBER’S BOOKS LASTED 202 DAYS, 1 MUST BE FOR HIS OWN USE AND REFERENCE; 1 MUST BE T0 LEND TO HIS free gorse 117,613 VOLUMES WERE SOLD FOR 56,775 POUNDS. a P ne 5 Siesta Wg Cate. OP Two-LInE NONPAREIL ANTIQUE ExTRA Con’p, No. 634. 14 WO-LINE PEARL ANTIQUE ExTRA Con’p, No. 634. ”°' AT THE PERKINS SALE OF 1873, A COPY OF THE AT THE ROXBURGH SALE IN 1812, MAUARINE BIBLE ON VELLUM WAS SOLD FOR 3,400 POUNDS: A COPY OF BOCCACCIO, PRINTED BY C. VALDARFER, ANOTHER GOPY ON PAPER FOR £2,690, WAS SOLD FOR £2,260. Two-LinE Bourceors ANTIQUE ExTRA CONDENSED, No. 684. THE OLD MASTERS OF RICHING....REMBRANDT VAN RHYN, BORN AT LEYTE, JULY 10, 1606; DIRD AT AMSTERDAM, IN OCTOBER, 1668 Two-LinE PicA ANTIQUE ExTRA CONDENSED, No. 634. ANTHONY VANDYCK, BORN AT ANTWhnr, MARGH 22 1. DIED AT LONDON, DECEMBER 9, 164) TWwo-LINE GREAT-PRIMER ANTIQUE ExTRA CONDENSED, No. 634. ADRIAN VAN OSTADE, BORN AT LUBEC, 1610: DIRD AT AMSTERDAM, Lodo Four- ee Pica ANTIQUE ExTRA CONDENSED, No. 634. CLAUDE GELAE, OF LORRAINE, WAS BORN, 1600; DIBD AT ROME, 1682 GEORGE BRUCE’S SON & CO., Type-Founprers, No. 13 CHAmBERS-STREET, NEW-YORK. 841 | | b An BO oj ap stirvia? nthe , sPatniWe . 7 re pny Aa) ey i tle Ley: Siyaypes ‘a7 ‘Ae ae a tae 7 ens ple 6 - r . . Ls Two-LINE PEARL CONDEN , No. 126. WM. HASLETT MITC “HE ib oF BROOKLYN. N. Y., PATENT FOR COMPOSING MACHINE, 1853. Two-LiIne MINIO ~ Now 126: THOS. W. GIL! \IER. OF VIRGINIA, PATENT TY PESG ITER Gi os Gt Two-LInE BouRGEOIS CONDENSED, No. 126. mies D, B. RAY, OHIO, PATENT, 1862, EXPEDITING COMPOSTTTON. VICTOR BEAUMONT INVENTED A TYPE-DISTRIBUTING MACHINE IN 1852. HENRY HARGER, IOWA, PATENT TYPESETTER, 1860. WM. H. HUSTON, IN 186 PATENT TYPE-SETTER: TWO0-LINE SMALL-PICA CONDENSED, No. 126. TIMOTHY ALDEN BEGAN WORKK ON HIS [Ye SETTING AND DISTRIBUTING MACHINE IN 1838. s PicA CONDENSED, No. 126. THE ALDEN MACHINE WAS Ke PATENTED IN 1800, BY H. W. ALDEN AND W. MACKAY. , No. 126. THE MACKIE DISTRIBUTING AND TYPE: SETTING MACHINE, ENGLAND, 1860. » 126. Oe BROWN, BOSTON. PATENT IN 1862, EXPEDITING COMPOSITION. | STREET, NEW-YORK, STYLE 310. Nonparein ANTIQUE, No. 310. Ne Brevinr Antique, No. 310. 60 a and 30 A WILLIAM CHURCH, A CIVIL ENGINEER OF AMERICA, | The SPECIFICATIONS OF DR. CHURCH’S PATENT received, March 24, 1822, a patent in Great Britain for of February 18, 1823, describe the fixing of Types “radiantly” “Improved Apparatus for Printing.” For a description of his proposed on a rotating cylinder, and the placing of three pressing Type-setting Apparatus, see Hansard’s Typographia, pages 665.to 677. or printing cylinders against the central cylinder. Long-primer ANTIQUE, No. 310. #0 #4204 Pica Antique, No. 310. ce) JAMES HADDEN YOUNG, of England, | JOHN CLAY and FREDERICK and ADRIEN DELCAMBRE, of France, were ROSENBORG were granted a patent in granted a British patent for a Type-setting Great Britain, 1842, for a new and Distributing Machine on March 13, 1840. Composing and Distributing Machine. GREAT-PRIMER ANTIQUE, No. 310. 2b evand® 12-8 JOSEPH MAZZINI, of Italy, in May, 1843, was granted a British Patent for improvements in Type-setting and Type-making Apparatus, which were entirely impracticable. ’ DouBLE SMALL-PICA ANTIQUE, No. 310. oe eee ETIENNE ROBERT GAUBERT, in 1840, tTeceived a British Patent for Apparatus which he | f “| claimed would distribute type with great speed. DousLe EnGiisH ANTIQUE, No. 310. and 20 HESSINGER, KLI EGEL, SORRENSON, BOULE, CAILLARD, | | Inventors of Composing Machines. GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 84.3 _ tee >. eee ; % “sy ¥ STYLE, 653. NONPAREIL CELTIC, No. 653. He BREVIER CeLtTic, No. 653. S0RN f ALEXANDER AND JAMES ROBERTSON, | THE FIRST PRINTING IN CONNECTICUR FIRST PRINTERS IN THE CITY OF ALBANY, N. Y., IN 1774. | WAS DONE BY THOS. SHORT, IN THE TOWal HAD A PRESS AT NORWICH, CONN., IN 1775. OF NEW LONDON, IN THE YEAR 1702 | Two-tinge NONPAREIL Creuric, No. 653. ed Two-LInE PEARL Crvtic, No. 653. BEGAN PRINTING ABOUT 1686, PRESS IN MARYLAND @ “NEAR PHILADELPHIA.” ANNAPOLIS #i Two-LIneE BourGEors CeLric, No. 653. THERE VAS Al EE IXIN ING linet omens OR NEAR WILLIAMSBURG, VA. IN 168755% Two-LinE Pica Crexric, No. 653. ER] NING eae eeal eis DAVIS IN NEW BER INSIN, © On Of. Two-Line Enerisn Ceiric, No. 653. | ELEAZAR PHILLIPS, if CHARLESTON, S Cla GEORGE BRUCE’S SON & CO., TypE-Founpers, No. 13 CHamBrrs-StrEET, NEW-YORK. 84.4 STYLES 330, 331 AND 332. NoONPAREIL ANTIQUE EXTENDED, No. 330. 5's" tp 4 Brevier ANTIQUE ExTENDED, No. 380. *°,*@4 18 JEROME, WEO DIED 420. EKING ALFRED, 872, Says that he Ruined himself by Gawe a Large Estate for a Buying a Copy of Origen. Bool on Cosmogsgraphy. val Nua 7 Ne ada bh 7 20 a d 10 Lonc-PRIMER ANTIQUE ExTENDED, No. 330. 2%3an104 PicA ANTIQUE EXTENDED, No. 380. Oa and 10 THE ROMANCE A HOondAILsyw Of the Rose was Sold Was Traded for for 80 Pounds. BOO Sheep. PrarL ANTIQUE EXTENDED, No. 331. “ee Gk In BNGLAND, DURING THE REIGN OF BDWARD vViI-, OR IN A- D- 1552, BOOKS OF ASTRONOMY AND GEOMETRYZ Ware ORDERED TO BH DESTROYED FOR THEY WHERE SUYFPYFrOsSsED TO TREAT OF MAGIC. Prart ANTIQUE ExTENDED, No. 382. twa tore | NONPAREIL ANTIQUE EXTENDED, No. 882. 22? Au, 3553 VOLUMES PUBLISHED IN ENGLAND IN 2,082 VOLUMES WERE PUBLISHED IN THE YHAR 1864. BINGLAIND IN 1889. Two-LinE PEARL ANTIQUE EXTENDED, No. 382. 931793. BREvVIER ANTIQUE EXTENDED, No. 382. Bore 3.859 NEW BOOKS PUBLISHED IN JEONG S597 MISts) (spies) WAGAEAD tia BNGLAND IN 1852. ISSUED IN 1842. Two-Lins NonpARIEL ANTIQUE EXTENDED, No. 382. ete mao BOOKS WHR PUBLISHED IN PARIS IDOI SAIN A Eas ra ys) 2G Stopk. Two-LINnE BrReviIER ANTIQUE ExTENDED, No. 382. aay Be BOOKS WITH DHAVES USHD BY KING ATTALUS, 198 B. C. Two-LINE LONG-PRIMER ANTIQUE EXTENDED, No. 332. Lae Mss. OF HERCULANEHU™M, ARE 9 INCHES LONG. Two-LiIngE PicA ANTIQUE EXTENDED, No. 382. cee og NO. GROLLIER, 1520- Two-ninn Enauish ANTIQUE ExrEnDED, No. 382. isn, GPR. RITTER, 1540 GEORGE BRUCE’S SON & CO., Typr-Founpers, No, 13 CHAMBERS-STREET, NEW-YORK. 85 b t aia A as Vee a et *r Wi: paren Le ; Ws WYT Tics BP, | fee y Perry Pet m: i aes ie Ome CEC oErve “owe: : : 7 eh Se, oct ieweeeoetiet” borsattiey PK Sch Peickst i > it by \ pitete* a : JER EID to wey oO a arabe bs re oe . z ¥ i: *“ 4 f WH anvft statuses altered yobs E a > . » , me + : ‘ . “Ss is ap SP 48 a ws SS eet: @ _ ‘ ess Vv Od FL ori - Perro OSB sore | + : = rh . + reee ee 1&2 STS TSA WA SaSSoOowes = ‘ me T4 : . ; fi lL EETIW: SStce oF . . i ope Se Se EO,” 4" ee a 4 f a te J Fe ] Lo Ct - =< A Uh >= ¥ = feng Wie THIS ctriee A B ie ae eee i. 1 is ie - Piha 3 J mee 04 SAM IOY OF Ri Distt TO CT ne : oe OS > iy. } a ~ JY ‘) mo LAH : i . nm ct . { | ' - ie “. hh i ACaH -- CVAHIA Te ACAGA ci JAG AgAS ay Rava se LY if 2 (| /| A A : | 4 NG . SAG aa OM et ViaHE rs iG U4 “einai 4 vp. a. * Pe ee d 7 ye ha ee i v Foxes > a - oO i 7 ne: Pip Ae + v¥ se STYLE 640. BrevieR Runic, No. 640. SUNDRY NOTES ABOUT PROOF-READING. LE JAY, EDITOR OF A POLYGLOT BIBLE IN 10 VOLUMES FOLIO, WHICH WER’ 17 YEARS UNDER PRESS, PUBLISHED 1645, IN THE HOUSE OF ANTOINE VITRE, PAID PHILIPPE D’AQUIN, 4,000 LIVRES FOR THE CORRECTION OF THE OLD TESTAMENT IN THE 2 LANGUAGES OF HEBREW AND CHALDAIC...A SUM EQUAL TO ABOUT $2,100 GOLD. Two-LiInr Prart Runic, No. 640. Te ee A PUBLISHER OF PARIS, IN 1825, PAID 48 FRANCS FOR THE READING OF EACH LEAF OF A COLLECTIO! OF THE LATIN CLASSICS, IN 32M0. THIS PAYMENT WAS EXCLUSIVE OF ANOTHER CHARGE FOR REVISING AND PREPARING THE TEXT OF THE COPY. Two-LINE NONPAREIL Runic, No. 640. CHRISTOPHER PLANTIN, BORN 1514, DIED 1589....A THOROUGH PRINTER. COULD SET TYPES, WORK PRESS, AND READ PROOF. HAD WORKED IN MANY FOREIGN OFFICES. THE EMINENT CORNELIUS KILLIAN WAS ONE | OF HIS READERS OR CORRECTORS OF THE PRESS. TWoO-LINE BREVIER Runic, No. 640. MICHL. SERVETUS READ PROOF FOR: THE BROTHERS FRELLON AND TRESCHEL, OF LYONS. WAS BURNED AT TE STAKE IN 1503, FOR HERESY, AT THE AGE OF 44 YEARS. Two-LInE Lona-primer Runic, No. 640. ROBERT STEPHENS, WHO DIED 1559, MADE. LATIN: THE LANGUAGE OF HIS HOUSEHOLD. | TWO-LINE Pica Runic, No. 640. READERS FOR H. STEPHENS’ THESAURUS, 1972: SCAPULA AND SYLBURGE. i TWO-LINE GRBEAT-PRIMER Runic, No. 640. i" FRANCIS MODIUS READ FOR | FEYERABEND FOR 200 CROWNS. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CuamBers-StrReET, NEW-YORK. 86 STYLE 641. Nonparem Runic, No. 641. Sphere ae WOOD in the form of Tablets was in use for the Purpose of Writing before the days of HOMER: see Iliad vi. ver. 168. Wooden Tablets, at first Plain and afterwards Coated with Wax of various Colors or Chalk, were in Ordinary Use among the ROMANS. Tables of Wood were used for the Publication in distant Provinces of THE LAWS OF THE EMPIRE in the 4th Century. long after Papyrus was known. Lone-PprimprR Runic, No. 641. Soe VARRO observes that the practice of Writing on Papyrus was first Introduced into EGYPT during the Reign of Alexander the Great, but, Sir J. G. WILKINSON states that the style of Hieroglyphic found on some Papyrus, corresponds with that in use during THE AGE OF CHEOPS, say B. C. 1082. BreEvIER Runic, No. 641. vee In CHINA, Letters appear to have been Painted on Linen and Silk before the Discovery of Paper. Specimens of Hieroglyphical Writing on Linen have been found within many EGYPTIAN MUMMY CASES, of the period B. C. 2000. Pica Runic, No. 641. Parchment is said to have been iventen by EUMENES, of Pergamus, the Founder of the Celebrated Library at that place about 190 B.C. Cotton Paper, an Eastern Invention, was used in the 9th Century. GREAT-PRIMER Runic, No. 641. MONTFAUCON was unable, after a Diligent Search tibia ltaly and France, to find a leaf of Linen Paper dated anterior to 1270. PARAGON R unIc, No. 641. The first Paper Mill in ENGLAND was oe at aenfordl In the Reign of Henry VII. by JOHN TATE the younger. Dovusue Pica Runic, No. 641. Parchment Paper was Invented in Paris by _ FIGUIER AND POUMAREDE, 1846. Canon Runic, No. 641. Paper Hangings were Made in GEORGE BRUCE’S SON & CO., TyPpE-FOUNDERS, 87 HOLLAND & SPAIN, about 1590. No. 13 CHAMBERS-STREET, NEW-YORK. ; i Le fear acs i } hy URE A> aa igire? banaas LMERY af 4), GAC PR h ot Fat bee oa eee auies cit ’ ' 8 fl ie eee? aati ye a seg? bi heil wae Va ea A 2 RTE RY qiven » alti or ay Rais wa oratyd nay t¢y ig zit P > j Ba 44 Ea Cbs he iy al ra . ; C io paiw te logity one Jest 28 vad ia Ait vrub TH409 olnt bsothowrt lei: aewe ? 7 ‘ \ tud Jsai oft *AsbaaxstA- io » oan dy iyvigdwil Jo elyte ori indi esiaie Wie ay i‘ F z - nyu é : vy 2zbaoees Tea .2UIvVGBY emon ae *) : a + ‘ ao a + -— mt j ye iy Gy G03H2 40, 303A SHI tid , 5 i fh ; 4 . Moonilid s is olden zew FOUR aa 0 np A oa 9 be inom Y ’ q ce me "desu STYLES 642 AND 643. 60 a and 30 A 3 y Nonpargei Cruric, No. 642. THE PROOF-READING OF SPAIN...1600-1700. During the Sixteenth Century, Books were so badly Printed in Spain, that the Government thought proper to appoint a Censor. No Book could be Published until the Censor had certified to its accuracy, except as to the faults, which should be fully specified in the Errata. See Certificate in the Antiquidades de Espana, by Ambrose Morales, of Alcala, 1577 40 a and 20 A 5 Jb. 6 oz. A FRENCH: ORDINANCE WMG4e, Article XX VI. Requires all Publishers to Insert in Catechisms, Breviaries, Missals, LonG-prRiMpR Critic, No. 642. Lives of Saints, etc., a Certificate that the Text is Correct. GREAT-PRIMER BReEvVIER CeutTic, No. 642. AMisN=y VENSKOXOND aus AIDVIUNGES Oust JP /NIL SY j Erasmus says that the Books Printed in Italy, in) 60 a and 30 A 5 lh. his life time, were, without any exception, full ojf Errors. He attributes the Errors to the parsimony | of the publishers, who would not pay Readers Eye proper price, See his) Epistles, lbs xx cere 1,027 as quoted by G A. Crapelet, a Printer, Page 178} Pica CxEuric, No. 642. THES PIR Sta Aes Is found in a Juvenal. Was Printed by Gabriel Petrus, Venice, 1478. | Occupies 23fulls pages: | 30a and 15 A 6 Ib. 2 oz, Cruric, No. 642. 25 a and 12 A 9 Ib. 8 oz, AY GHEE VIMEI ERO INS El EG: Ee peey eo PRINTER Of 16th Century: They used Execrable Paper, | and their Texts were Intolevably minceukeer DouBLE Pica Crrric, No. 642. 20 a and 10 A 15 |b. A BOOK OF PICUS MIRANDOLA Printed by Knoblench, of Strasburg, in 1507; has 16 pages Ofaaiegarer Brevier Extraenpep Runic, No. 643. THE ANATOMY OF THE MASS OF 1561. In this octavo of 172 Pages, the Editor says that the Devil, to stop the Publication of the Book, Drenched the Manuscript Copy in a Kennel, and obliged the Printers to make more Blunders than had ever been known in so Small a Book. 60 a and, 30 A 4) It has an Errata of 15 pages. Pica ExTenpEp Runic, No. 643. Se Ihe oe ke 6 Ib, 2 oz. THE BARON DE GRIMM Says, a very Irritable French Author Died in a Fit when he saw that his Book had been Printed with 300 Errors. i | | \e | I : LONG-PRIMER ExTENDED Runic, No. 643. 4°48 22" THE LUSIAD OF LOUIS CAMOENS Was Magnificently Printed in the city of Lisbon, by Dom Jose Souza, in 1817, who flattered himself that it would be without a single Error. But an Error was quickly found, and in the first section. j a | GREAT-PRIMER ExTENDED Runic, No. 643. 7% 4s74 28 ANTONY CAMPANUS Corrector for Hahn, of Rom allowed but 3 Hours for — Sleep. Died at 50. GEORGE BRUCE'S SON & CO., Type-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 88 7O-LINE GEOIS GRECIA i ’ MOUTON WAS CORRECOR AND OORT 20 YAKS, TOS PEBLISED THE OEE OF ASELE OF HRTURER WILLIAM WITTINGHAM, A FAMOUS PRIVTER OF TH C(TY OF LONDON. ITED 179 TWO-LINE GREAT-PRIMER GRECIAN, No. 633. 6,244. | Four-Line Pica Grecian, No. 633. Pot | | b A | SEVEN-LINE Pica Grecian, No. 633. Bee FIve-LIne Pica GRECIAN, No. 633. te des ; ee” TEN-LINE Pica Grecian, No. 633. 24 Ib. 10 | | TWELVE-LINE Pica Grecian, No. 633. alee | ) } i i | . | SE let Eee 8 2 en eee GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERs-Strert, NEW-YORK. i = Ore 'y om sm i ia Tn ‘ Sv 2 ROR STYLE 340. _ Two-LinE Praru Iranian, No. 340. ease THe SOOK-ROLLING MACHINE: Tila SUSSTITUTES FOR Tita SOOH-BINDER'S BEATING HAMMER, WAS INVENTED BY WILLIAM SURR, ENGLAND, ABOUT 183SQ) Two-LinE Minton Irantan, No. 340. ae FINISHING TOOLS HEATED BY GAS STOVES WERd a Usk IN BINGCLAND ASB0CUT THE YEAR 1550. Two-LINE BREVIER ITALIAN, No. 340. SOCLS WERE SOUND IN CLOTH CASES. AID WITH TYPE-PRINTING ON COVERS, 1284. ‘TWO-LINE SMALL-PICA ITALIAN, No, 340. DEROME, BOOK-EINDER, PARIS, “4550 TWO-LINE GREAT-PRIMER [TrALIAN, No. 340. ROGER PAYNE...4847 Fivk-LINE Pica Irautan, No. 340. 33 Ib. 8 07. moAM...LS40 SEVEN-LINE Pica Iranian, No. 340. 4.5 "Sat , INORAW 90 STYLE 341. NonpareiL ITALIAN CONDENSED, No. 341. "9404 BREVIER ITALIAN ConDENSED, No. 341. °,#,r4224 PRINTING IN COLORS AS PRACTISED BY THE EARLIER PRINTERS. SOME EMINENT ENGRAVERS IN CHIARO OSCURO. ‘Two Colors were used by Peter Schoffer in Printing the Initial Letter of the Mentz Psalter o Ugo da Carpi, of Italy, in 1518—Louis i i 1457. Gold was used by a Printer of Venice in 1477. Red was in common use by g D : P 'p f ae ne is : ae a : : Germanye se Printers of all countries at a very early date. But in no case did any Printer OMenICo, SeCcaum yO Tht Albert Altdorfer and of the 16th, 16th or 17th Conturies attempt the Printing of Finished Hans Baldung, of Germany, and Lucas Jacobs Leyden, of Pictures by Contrasting and Overlapping Colors. Holland, in the early part of the 16th century, | There was no Printing Press in use for many Centuries that could be trusted for Register. All Engraved Wood Blocks in sections, for Different Tones of the Same attempts at Color Printing were in Chiaro Oscuro, many tints of the same color, in Color, which were Printed together with good effect, which inaccurate register was not regarded as a fatal fault. LONG-PRIMER ITALIAN CoNDENSED, No. 341. 4°32") 204 Ib. 8 oz JOHN BAPTIST JACKSON, OF VENICE, | “Was the first to attempt the use of Contrasting Colors. JOHN BAPTIST MICHAEL PAPILLON His first essay was in Venice, where, in 1744, he | Published at arise in 1766, a Treatise upon Published Six Landscapes. He states that he Engraving on Wood. in which he was obliged to Invent an entirely New Pres for this Work. He also attempted Cameo Printing, | Exhibits a few Specimens In Colors made Paper Hangings, ec. | in the roughest style. PICA ITALIAN CONDENSED, No. 341. °7a,mat5 4 GREAT-PRIMER ITALIAN CONDENSED, No. 341. 2 2A 5 te WILLIAM SAVAGE, of London, in 1819-1822, Published Hints on Dee Printing. One of his Illustrations, Mercy, was produced by 29 Blocks, all from Wood. DouBLE SMALL-PICA TTALIAN CONDENSED, No. 341. popiee Tae “10 Ib SEORGE BAXTER, of London, in 1836, Patented a Seer : of Steel, Stone, Wood, and Aquatint Blocks and Plates. DousLE ENGLISH ITALIAN CONDENSED, No. 341. x. (. LEIGHTON, of London, in 1849, used stched Zine Plates and Wood ati marked success. DouBLE GREAT-PRIMER ITALIAN CONDENSED, No. 341. FIRST Colored Prints in Illustrated London News, December, 1856. Canon ITALIAN CONDENSED, No. 341. ee acu VHROMO-Lithograph, Paris ‘59 GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 91 CPDL een at PPP SET a ‘ Bs! - : A 4 4 , a. + the : 2 W2TorT AVA ier lh. catia SS aoe Cf é J ’ Ge, TN: very cn Ananth Wahd” Sei eee eee its io . \ seh ie es OG. eit oe =e sok! doe +— ie: i @, Grete fess seed AS -bSh cae toe - ake + , u A i . a z ‘ é ms ees } iN 7 - ele st uo a talk ~eencar ile 3F ae si 4 ; s pee ; ” bd pulps be gees of ee 7" : a E i. ; = bot 1th) Bele eS “wrt. : i i tae i? eo bt 1 Gn? Dee eR u-- he inc. pS a SE + - ‘ We rs he ce ' ‘- A y 4 ri : re i J.i4 ‘ 7 “ i a mre Ter, ey woes Kis PA A ee ? ee ‘ ‘ wie ¥ * }e @ = OR OSS es = 6 ee < v ? ig & Z i : - : : : ; : Pa » a “ bate co i i , i 4 Live \ WAV Ag . E ca Pees: : my * 7 : \ d \ nV als na <= ios alt orn w i : + 26 ~~ " COPS A i Lok i ale SLT os GE oe 0 > » we. 7? 7 re: | ah idle ett VV ee Oe * Lot Bre: | . i va, 1 ay ul - : Ay A ; De ae A » he ah v¥ d if \ Tip - Pe. . aay Wee: vr : % = ‘Rl ot x | | ’ ~ i a Pe Th . , : ‘ ce: ec Nad sie an ae eee nd ror *y a F , iA Vat te bh , ere A bat ‘ . — ; “ , ve : . ra, | ESS a BY See Bee Real al OI J) Bk: fy ” ¥ } ’ a F rae ne “ . is L Adade ca Wak cio | | ee ee 2: #4 Fj . ee ; i, ra - 5 j y si Bal oeg Ly STYLES 800 TO 818. BREVIER ORNAMENTED, No. 800. ‘ ihe 2 on. FIORDOAUS BADVOS, ONGE READER FOR TRECHS IL, BIRGAN FO BIRT AT JOAGRES, TS 4498.) TWwo-LINE PEARL ORNAMENTED, No. 801. Senn | Two-LInE PEARL ORNAMENTED, No. 802. 21,7 o'o, PANTALEON READ PROOF Air BASILE TY ENE ISWWEWRIIN PRINTING OWFICIE | Two-LINE PEARL ORNAMENTED, No. 803. Aero PANT ALTON, APTCBUR WW AGRI A GRUB ACHR, GRYOUR. HOUND PUREE, FS23 Two-LINE PEARL ORNAMENTED, No. 804. ee Two-LInk PEARL ORNAMENTED, No. 805. 9° ¢ on | J. CHOPPUNS, A } RIGMAR, | READ RROOT, 1501, FOR WERICH GORING, Two-LINE PEARL ORNAMENTED, No. 806. Bye Sie BASTIUBORANCIEIRIRO@IUID IRIBAID IPIROOR AM BASIUB coolSS9coo MANY ab Two-LINE PEARL ORNAMENTED, NO. B07. oit's'. Two-Line NONPAREIL ORNAMENTED, No. 808. eo: 80m PREDERIC MOREL READ PROOF FOR CHARLOTTE GUILLARD Two-LinE NoONPAREIL ORNAMENTED, No. 809. 3 Ib. 8 on BRASMUS READ ENOUGH TO EHREP 3 PRESSES AT WORE. Two-iiInr NoNPAREIL ORNAMENTED, No. 810. 2 ,2°,2,,. | Two-LinE NoNPARED ORNAMENTED, No. 811. 21h? on G. JUNCERMANN OF LEIPSIC | READ POR C, WHORL, FRAMKPORE Two-.tine NoNPAREIL ORNAMENTED, No. 812. 3 Wh. 12 on, ALDUS WAMULUUS, 1500-1S10, HAD SBVMBRAL BRADBRSS, as ee es Eee : 4 | a ps > NONDAPRT oar eer ? . Bu | ia ‘ ['wo-.Line NoNpAREIL ORNAMENTED.. No. 813. , 2A, | Two-Linrt NONPAREIL ORNAMENTED, No. 814. 31100, | BE we DY RRS. Two-LiIne Nonpareim ORNAMENTED, No. 815. 15 A 2 Ih, 15 oz. KUNNEN CORCERRRRL GERD LLSO FORK RRDREW WEGREL OK WEE. i? 15 A mm +e r ss b a Lib. 13 ¢ | I'wo-LINE NONPAREIL ORNAMENTED, No. 817. 51.320) Mh CARELESS PROOP-READER MAKES | WIE PO OO, YOO GTS Two-Linge NONPAREUL ORNAMENTED, No. 816. Two-LInE NONPAREIL ORNAMENTED, No, 818. meat RY ALSTEDIUS REMARKS THAT A BOOK BADLY PRENTED 1S A LITERARY CORPS. Sent, GEORGE BRUCE'S SON. & CO., Typr-Founprers, No. 13 CHAMBERS-STREET, NEW-YORK. 92 STYLES 819 TO 834. TWO-LINE BREVIER ORNAMENTED, No. 819. “HE FIRST PUBLIC LIBRARY IN ITALY ae AT FLORENCE, BY Two-LINnE BREVIER ORNAMENTED, No. 820. 4 ih’ s\o. Two-LINr BREVIER ORNAMENTED, No. 821. 4 4, ‘HEGKHOLAS NEICCOLT ace -E TO THE | PUBLIC Two-LINE BOURGEOIS ORNAMENTED, No. 822. BRDGDDEDEEDG ere PE DDD EDED AD OG DS Bat seis IN iesvoepeanrsvanerencvanocoanvnasencenneaovtonneeeeneugvenne cee veevavevacevivnuve COVOveUuQonenan8UOUUUEENVEFUEEOEENOTOONDUrVECOEOOOOOVOQUGOOUEQUOOOOGQTEGUUEENSEODInU® EHUQNHUK COVVONQREATUAUEKOOUADHVGvOGE cannes HONVOOURUEFUNEEKUTODE EOUHO GG AKOTHOOGEUENEOONGVO440UVATUNOGNIQQSOSQUOGOQOGeovennncovoveeOOGUHOG( dOUAEOGELOvOWoUCetavusnenvovvoTE0QvavesvanuCenvovecauovsoosnvvonnrancnireayivvanciauvovectudviauearcinvyaneanvddiviny: arty. Two-LIne BOURGEOIS ORNAMENTED, No. 823. 5iv 6 Two-LInE LONG-PRIMER ORNAMENTED, No. 824. 5}? A,. “GREEK, HEBREW, ARABIC Two-LINE LONG-PRIMER ORNAMENTED, No. 825. = — #A a THE) VATICAN LIBRARY MSO AT AMET Te THe OT OUR LON Te oT Te he Two-LIne L ONG-PRIMER ORNAMENTED, No. 827. Two- LINE LONG-PRIMER ORNAMENTED, No. 826. 4 i75', WIGHOLAS V. © SIXTUS TV. ALVED Two-LINE LONG-PRIMER ORNAMENTED, No. 828. WE YATIUAM LIBRARY HAS 160,000 YOLS. As 10,000 WSS. | ~Lfwo-tine Lonc-prRIMER ORNAMENTED, No. 829. 40713 ox. | 'TWO-LINE LONG-PRIMER ORNAMENTED, No. 830. HMPERHAL LIBRARY «=U THE SITY OF YIEMIA TWo0-LINE SMALL-PICA ORNAMENTED, No. 831. Was FUCHS) BY PASSEAN EIN a, ald oY TWo0-LINE SMALL-PICA One ain nrED, No: 832. on ¢e. BS ECURIAL BOOKS OP Pee we ES TWO-LINE SMALL-PICA ORNAMENTED, No. 833. 7 ih? Au. TWo-LINE SMALL-PICA ORNAMENTED, No. 834. 6h AIGHARD 08 BY AY. 5 MAST b LIBRARY IN SNGLAND, 1844 GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 93 0%, } J WI909 TERIA MHOE HE Sa oer galeria Tes a ae yee rn STYLES 835 TO 850. Two-LINE SMALL-PICA ORNAMENTED, No. 835. nie Y 10-1363), BY ‘'y PARIS, (350 16) Bs 'T'wo-LINE SMALL-PICA ORNAMENTED, No. 837. rare | Two-LINE SMALL-PICA ORNAMENTED, No. 838. ta ax Ay Nd fe PFA TERAwR CG RES : ye ¥ i Gi OS, , G4,U 600 SS. TWO-LINE SMALL-PICA ORNAMENTED, No. 839. 7 Two-LINE SMALL-PICA ORNAMENTED, No. 840. 12 A] COPTONTAN, BEGAN IN 1800. Two-LINE SMALL-PICA ORNAMENTED, No. 841. @ Wb. 14 07. oe = —_— ED FREE IN 1LvoOol, Two-Ling PrcA ORNAMENTED, No. 842. pike ene 'Two-LINE PicA ORNAMENTED, No. 843. 72 A @ J | RTIALLY DESPD 173. 210N COLLEGM) | Two-LIneE Pica ORNAMENTED, No. 8 Ib 2 oz. PEOMOED we Two-LIne PICA ORNAMENTED, No. 845. Baca v "oy (@m @)) ,0,0,° ~y Ber ea te eet ne ee SX ho WRG: Leeeoew fa Two-LInE PIcA ORNAMENTED, No. 847. Two-LiInE PIcA ORNAMENTED, No, 849. Pay i 7 OPENED, MDCHI. TWoO-LINE PIGA ORNAMENTED, No. 850. Mean NEARLY 490,000 YOLUMES AND 30,000 33. aa eee a ee = - 2 GEORGE BRUCE’S SON & CO., Typn-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 94. STYLES 851 TO 863. Two-LINE PrcA ORNAMENTED, No. 851. on BARR GUL eo, EA tO OO Voie Wie ay dood. 1 PicA ORNAMENTED, No. 853. Races > Ib. 8 02, Soy SOME ME SOCIETY LIBRARY Two-LInr ENGLISH ORNAMENTED, No. 854 ate TWwo-LINE ENGLISH ORNAMENTED, No. 855. 10 T'wo-LinE ENGLISH ORNAMENTED, No. 856. 6 1°%3 TwOo-LINE ENGLISH ORNAMENTED, No. 857. eee FOR FOUNDING OF A LIBRARY IN PHILADELPHIA \ ALA\ 20, | | ——_- — = == j TWO-LINE ENGLISH ORNAMENTED, No. 858. 71's‘. TWwo-LINE ENGLISH ORNAMENTED, No. 859. 9 11°:3 | CO Two-LInn ENGLISH ORNAMENTED, No. 860. Siiks ree | ee : sc a0 SS. ee : SF WASEUCLOM LARGEST We GS ENS \\\ Wn. LK IN } : oWo | TWwo-LINE ENGLISH ORNAMENTED, No. 861. 710 | Two-LINE ENGLISH ORNAMENTED, No. 862. 6 °%3 THR AVHENKUM CITY OF BOSTON, Two-LINE COLUMBIAN ORNAMENTED, No. 863. ana OMoffo | WYO] o il — | RAL ‘| p' a8 | 7 | ° o} ° J) On GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13: CyamBrrs-STREET, NEW-YORK, 95 7 cy 7. % > vi Aen Mu ves 1 An e Te fe ee 2 Ue oe af a - STYLES 864 TO 874. Two-LINE COoLUMBIAN ORNAMENTED { ‘ , No. 864. Be TWo-LINE GREA'T-PRIMER ORNAMENTED, No TI LO Wy 34 Wit —s mai [Wo-LINE GREAT-PRIMER ORNAMENTED, No. 866 TWO-LINE GREAT- PRIMER ORNAMENTED, TWO-LINE GREAT-PRIMBR ORNAMENTED é 8 ) No. 868. 10 Ib. to 07, CHNEATNS ANTE MLN WOES, TWo-LINE GREAT-PRIMER ORNAMENTED, No. 870 12 Ik TWwo-LINE GREAT-PRIMER ORNAMENTED, No. 871. ois son ee CAS roo ANE NANWE SYA ney @ i Y U \ WHY $ Kee PWo-LINE GREAT-PRIMER ORNAMENTED, No. 872 “Y Som WZ = BY) x TWO0-LINE GREAT-PRIMER ORNAMENTED, No. 874. 8 TWO-LINE GREAT-PRIMER ORNAMENTED, No. 873. 5; ake toe LUBRY JOB I. ASTOR GEORGE BRUCE’S SON & GO , Typn-FounpDrErRS, No. 13 CHamMBERs-StREET, NEW-YORK. 96 STYLES 875 TO 884. TWO-LINE GREAT-PRIMER ORNAMENTED, No. 875. SCHOEFFER DIED, 1503. Two-LINE GREAT-PRIMER ORNAMENTED, No. 876. 84 | TWO0-LINE PARAGON ORNAMENTED, No. 877, 11h, | p = = 3 ) | o = | | l SN = | } | A\= * | Chat Toraenec Set = TWo0-LINE PARAGON ORNAMENTED, NO. 878. 8 Ib. 14 of ICOM OME Bc MUS hie, 1g C2 — FOUR-LINE PIcA ORNAMENTED, No. 879. 4130 fo anise | FIVE-LINE PIcA ORNAMENTED, No. 883. siaReeten y Y UU UY : SS BN Five-LInE PicA ORNAMENTED, No. 884. GEORGE BRUCE’S SON & CO., Typr-FoUNDERS, NO. 13 CHAMBERS-STREET, NEW-YORK, oa Scheele men » fren i ~ - eae? ~ a Pes a- = by w Be - = ty way a J, of oe = ‘ = , if = | = FRY - : > y ee cy | nf ar | d , Fm sf _ | es ne . f i why ‘ p os : 2 > ia - noe, » am =, = J —_ % ned ow hy ; | | : . | é t : | 3 : 3 an ~ ~ ny ‘ 3 se & i me Fy SRT 7 2 ¢ ¥ > r B Po > pv 4 > ¢ , i ry ‘ R 4 t >| ¥ ? . <7 | ’ he ; » ty “ iy! - Lae Lael 5 he : - 4 4 Ph q t 1A # ie i“ if ; ome ot le -! ie if Ae: f ‘ rPP vey h x or f ; i \ f he y/ o “ an ayets wavald sol Ss "me Te led STYLES 885 TO 893. FIve-LINE PicA ORNAMENTED, No. 885. BEd Se | TW i 1D OA L U FIVE-LINE PICA ORNAMENTED, No. 886. ot ie FIVE-LINE PICA ORNAMENTED, No. 887. 15 Re —- a Six-LINE PrcA ORNAMENTED, No, 889. 32 th. 7. S1x-LINnE Pica ORNAMENTED, No. 890. 2: Bn SEVEN-LINE P1cA ORNAMENTED, No. 891. 26 th , t p SEVEN-LINE PICA ORNAMENTED, No. 892. Ht \ \ ISSR GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. ~f 98 | STYLES 894 TO 900. EIGHT-LINE PICA ORNAMENTED, No. 896. 27 th BU, EIGHT-LINE PIcA ORNAMENTED, No. 897. UTENE NINE-LINE PICA ORNAMENTED, No. 898. a, 240. Nig $C GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 99 Serie in i eer Clea Se aa > > 4 ae at = s- 5, =, if hal ‘oy AVEO Tate i aor = ie 4 “4 C1 2 ere ee - 4 os ee ert re -. rin - * * : ' re .o Uae. « | ok | cy tay tri , “ is ti Ao Al YTASAT SHY Ue a tat & : » e . > « ' i nf a 2 Jil WORE Io ie SORE de 5 bode UNS eH hi? Hie tachi) si A A » + st, taser STYLES 1,030 AND 1,031. BREVIER ORNAMENTED, No. 1,030. Ears Two-LInE PEARL ORNAMENTED, No. 1,030. 2 irda PUREST ULEIGe LS AML CwWIOSNS, TERS PRESS, A POBM:, J2 MCCRBBRY, TLEVBREOOL, 1LSOS, A SEBCLIMBEY OF CLYSOGRARAY cho oo LES ORLEGLY AND LVS EESTORE, BE An SUARBIE, LOWDORM, BS83.a Two-LInE NONPAREIL ORNAMENTED, No. 1,030. 3 i)?o\u2 aoa WOO Ow ni REPL CG} GIS Sa Two-LINE SMALL-PICA ORNAMENTED, No. 1,030. 5 a4 o. A PREP CSeS SRECS SOO, GC. SHOW, Ad. Wak GHA Os Two-LInp LONG-PRIMER ORNAMENTED, No. 1,051. aia BY HENRY COTTON, 1825. Two-LInE PicA ORNAMENTED, No. 1,031. ane SHRENRETTUNG J GUTTENBERGS Two-LINE ENGLISH ORNAMENTED, No. 1,081. 10 Ih. 4 oz, THE PRINTERS’ GRAMS » te &, i) FA AA ANA VA Aw WHY) CPR Sk PLCS VL =—/a\= ae A TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,081. Rohe te oe ) ) \ [TAS Fae "ORI ) PO PS Neh) ») : GEORGE BRUCE’S SON & CO. TypE-FounprERSs, No. 13 CuHambBers-StrEET, NEW-YORK. 108 5 i Segara rs = ae. STYLES 1,032, 1,033, 1,034 AND 1,035. Two-LInE PEARL ORNAMENTED, No. 1,082 ois’, Two-LInE NoNPAREIL ORNAMENTED, No. 1,032. 22544, | k TREATISH ON ENGLISH PUNCTUKTION: THR AMEBICKN PRINTER: AORN WILSON, 16850. THOMAS WACKELLAR, PHULAD, 1866, TWo-LINE BOURGEOIS ORNAMENTED, No. 1,032. rae Wer POGRAPHIX. THOS. F. ADAMS, PHILADELPHLS, 1887, BREVIER ORNAMENTED, No. 1,033. 2 Ib. 10 on. Two-LINE PEARL ORNAMENTED, No. 1,033. 912%. HAIN DBUOCE DAR BUOCRMIDRO Ck aR OIN ST. CAIN IDIBO GE DER BUOCENDIRG Ck iR= FRAINKEFURG A Mi. 1827. KUINST., WEIMAR, 1876. 30 A NONPAREIL ORNAMENTED, No. 1,034. wean BREVIEBR ORNAMENTED, No. 1,034. ae JOHN GUTENBERG, THE FATHER OF PRINTING. | JOHN FUST WAS A PATRON OF THE ART OF PRINTING. | TWoO-LINE PEARL ORNAMENTED, No. 1,034. Seem PETER SCHOEFFER, MENTZ, CUT BUT THREE FACES OF TYPE IN FORTY-FIVE YEARS, Two-Line BouRGEOIS ORNAMENTED, No. 1,035. Pas LABRENS LAUREK Oy a Two-LINE LONG-PRIMER ORNAMENTED, No. 1,035. aoe ; | HE O10 PRINTER AND MODERN PRESS. CHARLES KNIGHT, 184 : ; Two-LINE PicA ORNAMENTED, No. 1,035, (IRB ee dove te YS. ye Vas, Lt aa a Te Ob Loe, ~ STYLES 1,036, 1,037 AND 1,038. Two-LiInE NONPAREIL ORNAMENTED, No. 1,036. 5 ihs’n. Two-LInE BouRGEOIS ORNAMENTED, No. 1,036. 437126 J ANG SENT 7 Gp Tot SHYVOC TC HSH IFAC ed XE Te we SG ANNAN IDR PVIPOGCRAP EONS, ACI SO IE SSC Ie ILO Re eM, 1695 O71. J iq LEIPZIG, 1889. HI IOIO BCs. | il Two-LINE PicA ORNAMENTED, No. 1,036. nO gy (C3 ISO Ve) 3 INCE proc; vi x) 2 Jo 40 Y 0 (C3 OER GORIRESP ORO, tole? 206 Two-LINE PEARL ORNAMENTED, No. 1,087. 2°x4 Two-Line NoNnPAREIL ORNAMENTED, No. 1,037. 5 i?don | He PRINTER'S MANUAL. TY POGRAPHIA ESPANOILAS | A. NL SHERMAN, NEW — YORK, 1834 ew a MAINO Zi, MICA R00) 1796. ‘ TWwo-LINE SMALL-PICA ORNAMENTED, No. 1,037. ia Two-LINE BOURGEOIS ORNAMENTED, No. 1,087. 5th 2: é f a THe, BIBLIOMANLA, THE PRINTER a 10: S. #, DIBDIN, 1309. NES WA OUR. Two-LINE ENGLISH ORNAMENTED, No. 1,037. He BOOK HOW TER....1863, Two-LINE PEARL ORNAMENTED, No. 1,038. ,7°s,, Two-tinp NONPAREIL ORNAMENTED, No. 1,088. 5 hte STORLA ORLA LALCBRATTRA LCALLANA, SPISEE PPEQIITSPIAER’S WEA Ash. CIRABOSCHL, MOORWMA, 1793S. €, LYNCH, CLNCINNATL, 1859. | Two-LIne LONG-PRIMER ORNAMENTED, No. 1,088. cae DE GAERT LON (D3 IO MEPIRTMUSIS, eOwe {e0) Two-LInE PicA ORNAMENTED, No. 1,038. Bihdo LELLOIUS SOPRA LA SRAMPA, 1728 GEORGE BRUCE’S SON & CO., Typn-FounpERS, No. 13 CHuamBers-StrEET, NEW-YORK, 110 STYLES 1,039, 1,040 AND 1,041. TwO-LINE NONPAREIL ORNAMENTED, No. 1,089. 210 oz. Two-Line LONG-PRIMER ORNAMENTED, No. 1,039. 15 A TYPOGRAPHIA ESPANGLA. DRINTRA'S MA RM ETAL, FRANC, MENDEZ, MADRID, 1796. SHERMAN, 1834. Two-Link PrcA ORNAMENTED, No. 1,039. eine aes BHANDBUCH BER BUCHORUCKERKUNST, 1855. C. A. FRANKE, WIEMAR, NONPAREIL ORNAMENTED, No. 1,040. 1b B02 BREVIER ORNAMENTED, No. 1,040. 20 4 2 tb. A CHRONOLOGY OF PAPER AND PAPERSMAKING. A HISTORY OF THE ART OF PRINTING, &C. JOEL MUNSELL, ALBANY. Ho No. HUMPHREYS, LONDON. TWo-LINE PEARL ORNAMENTED, No. 1,040. 2 3°s' 2 Ib. 3 07 | TWwo-LINE NONPAREIL ORNAMENTED, No. 1,040. 21) 3., PALZZEOGRAPHIA SACRA PICTORIA. LA BIBLIOGRAPHIE GANTOISE. | Two-LiInB P1cA ORNAMENTED, No. 1,040. ne ee | HELVETISGHE TYPOGRAPHIA. | 2 = | || | TWO-LINE PEARL ORNAMENTED, No. 1,041. 2 7°, Two-LINE NONPAREIL ORNAMENTED, ‘No. 1,041. .,2%3.. | way § a ORF ID HF OR ATC RP) WW We oR Ae Wy 3 Cl ARCHIV FUR BUCHDRUCKERKUNSTY. Zeke PRINZERS GEREGELARP Two-LINE BOURGEOIS ORNAMENTED, No. 1,041. 12 A 4 lb. 10 02, Two-LIne PrcA ORNAMENTED, No. 1,041. tite Two-LINE GREAT-PRIMER ORNAMENTED, No. 1,041. LOuE Ve lo Vv Cc | CMC MOY 2 | 9 > ) G } = »\ A Y 2) A @ GEORGE BRUCE’S SON & CO., Typr-FounprERS, No. 13 CHAMBERS-STREET, NEW-YORK. ibilal Bf — Ho) v a9 mig vil oD wy SAON IM, JROMMSARDST a \) LABUG cell AG, Ue en JORG 26th. Ua rae $ eek hy 7 Bic ja)\83030089: ie, ip Be eSOgh 2UiAD 0 fe nA ¥ ‘2 STYLES 1,042, 1,048 AND 1,044. Two-LINE BREVIER ORNAMENTED, No. 1,042. Two-LINnE ENGLISH ORNAMENTED, No. 1,042. rg Two-LINE BouRGEOIS ORNAMENTED, No. 1,043. BIBLIOGRAPH! Ht JAL GUIDE TO AMERICAN LITE ERATURE, N. TRUBNER, Lane 1859. Two-LINE LONG-PRIMER ORNAMENTED, No. 1,043. ese Bice 2RAPHICAL DICTIONARY OF ENGRAVERS! JOSEPH STRUTT, 1785. Two-LInE PicA ORNAMENTED, No. 1,043. = S2 "JOEL “MUNSELL, 1850 | BIOG ANY, Two-LinE ENGLISH ORNAMENTED, No. 1,048. BLIOTHECA } MOGUNTINA, &G, WURDTWEIN, 1787. BI V Two-LINE BREVIER ORNAMENTED, No. 1,044. Te, BIOGRAPHICAL MEMOIRS OF WILLIAM GED: INCLUDING AN ACCOUNT oF HIS PROGRESS IN BLOCK, PRINTING. JOHN NICHOLS, 1781). TWwo-LINE LONG-PRIMER ORNAMENTE pv, No. 1,044. HISTOIRE ET LES PROCEDES DU POLYTYPAGE ET DE LA STEREOTYPIE. PAR A. G. CAMUS, 1802. | GEORGE BRUCE’S SON & CO., Typr-FounDERS, NO. 13 CHAMBERS-STREET, NEW-YORK. LD STYLES 1,045 AND 1,046. _ Two-LInE BREVIER ORNAMENTED, No. 1,045. 4b. ESSAI BIBLIOGRAPHIQUE SUR LES EDITIONS BES ELZEVIRS, 6. AUGUSTE I g S. L, BERARB, PARIS, 1822. Two-LiIne PicA ORNAMENTED, No. 1,045. serie e 5 DER Two-LINE BREVIER ORNAMENTED, No. 1,046. eg EY ok pce Two-LINnE LONG-PRIMER ORNAMENTED, No. 1,046. | > 2 (-) 9) } @ 3 hes E Gy >. sAM. sHCEL TE GO a Y WW 8 YO): | ww) ANID A Te ALO AUK L (a (ee od cd ~~ nnd) FJ POOLS OE 4) wd Oa ) ‘ eS VY & —/ we, er) ee! 2S J) LY) Nove) >) WD HK Aw "YY MA X A, {i Two-LInE PicA ORNAMENTED, No. 1,046. Pea | BESLIG eee | SS) Pe Pawan CS OM. Kre SAD ai DICTIONS DE LA cal AN Ho Ae, r Cau J. | v) LVL, ; ) AN. YO ‘ ” pA WK ” elie le > | dad) GEORGE BRUCE’S SON & CO., Typr-FounpErRS, No. 13 CHamBers-StREET, NEW-YORK. alics STYLE 1,047. Two-lInE NONPAREIL ORNAMENTED, No. 1,047. 3°3 Two-LINE BourGEOIS ORNAMEN , No. 1,047. sijcane DEI PRIMI MIBRI A STAMPA IN ITALIA. LA TYPOGRAPHI oa PORME. -—-FUMAGALLI, LUGANO, 1878. L. PELLETIER, GHNEYVE, 1888. , No. 1,047. 'y. PRIEVEN OP DE UL'YINDING DER DRUEEUNSY , No. 1,047. PLA 7 = ‘LA TYPOCRAPEIE aD Ir a C2 jee "G Oo- No. 1,047. — RAPHICA, STRASBOURG, 1811. (C GEORGE BRUCE’S SON & CO., TypE-FouNDE Rs, No 13 CHAMBERS-STREET, NEW-YORK, — a we STYLE 1,048. Two-LINE PEARL ORNAMENTED, No. 1,048. re Two-LInge None AREIL ORNAMENTED, No. 1,048. PT aoe Beas ENCYCLOPAEDIA OF LITERARY A . Rate D AN HISTORICAL SKETCH OF THE ORIGIN AND ay ie A OF LITERARY AN PROGRESS OF THE ART OF PRINTING. : TYPOGRAPHICAL ANECDOTE, T. ©. HANSARD, LONDON, 1825, | C, tt. TIMPERLEY, 1839, TWO-LINE BouRGEOIS ORNAMENTED, No. 1,048. THE PRINTER, HIS LAMENTATION, OR THE PRESS, OPPREST AND OVERPREST, LONDON, 1660. TTWO-LINE PICA ORNAMENTED, No. 1,048. ANNUS TERTIUS ARTIS TYPOGRAPHICA. J, CH. SEIZIUS, HARLEM, 1742. . TWO-LINE) GREAT-PRIMER ORNAMENTED, No. 1,048. GENERAL HISTORY OF PRINTING MER, LONDON, 1733, — a 8, PrL Four-LINE PicA ORNAMENTED, No. 1,048. PRINTERS’ CRAMM - ¢, STOWER, 1808, GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBers-Srrert, NEW-YORK. 115 re e-nies a ; Ca Me & i N = if 23 40 i * mt ‘ 1 : ‘ } t ES Repuy ye” ths a 0 7. , A * ‘ pe he ‘ $2 fhlk Fy , eS ee ee re ay ‘ ~ if ¥ 1 - " oe (i ye x ae) ci? % a RR Ot ae ae a © _—. : ' a } a x 1 < iy a Sid “ewer 0 ‘ ~ ’ ‘ . \ va | ' U a \ _ . ’ . ent a £ ty : 2 a8 rd <> f 7 ’ ’ ee ee ' = 1 . ane = » x i 449 : > ‘ 7 Ser | eee 6 ; ar at e ms 1 . é ng ) i : % - © ar pe A 2 \ re J ¢ ; ae: | “te 4 ‘ i bod . ad 4 a bd é af oy ; .-< AS y . : , , ee a a. Sah ao &. were mee F, % a ax > “hia F is | rae, | » ; * == t.% x Sine ee ee Sn al te aM Da Ge A ea A eer 4 Z P : ' Sad “eyotas Le STYLE 1,049. In this Series, the letters A, F, L, T, U, V, W and Y are kerned at the sides, one-twelfth of the body, and are accompanied by a space to use when the kern is unnecessary. Two-LINE NONPAREIL ORNAMENTED, No. 1,049. 3 ib 8 oz. ie i { y =the at ten E>: , , y ecu hed + 9 thy lu 7 4 A i a * fats 7 ra f ™ Me Aggie s OEY tb . 4 ; ot TP. Fs MAAR) mixes wi a Tey » : Le | yen | oa Vn A 1) wre | THEN? TAL EAH ALLY ML - Tha UM ERECT RET i Hoe thai II | had thde ili , 4 } rank | tH) wh Whew BOWS WE9 HLA A ee || Fotos TTL) 4 A WH 4 Wit, Ry? Way A i vis oa Ai bs nti le Sa ‘i6l AANAOL ® STYLES 1,056 AND 1,057. ; Y ra 10A ' TWO-LINE BoURGEOISE ORNAMENTED, No. 1,056. TWO-LINE PICA ORNAMENTED, No. 1,056. 4uS3ce. | SILBERMANN, STRASBURG, 1840. " \k RENEE 1 1869, L868 Tw0-LINE GREAT-PRIMER ORNAMENTED, No. 1,056. Bate tities QZ any f Ze QW ® BQ IS 2 ol E X ¢ TT + a * FAS oie A 4 - g Q KAA J S Two-Line NonPAREIL ORNAMENTED, No. 1,057. 1 h5s4,, BIBLIOPEGIA, OR THE ART OF BOOKBINDING, IN ALL ITS BRANCHES: WITH ENGRAVINGS, JOHN HANNETT, LONDON, 1848, TWO0-LINE GREAT-PRIMER ORNAMENTED, NO. 1,057. sn°bo THE PRINTING TIMES, Tw0-LINE BOURGEOIS ORNAMENTED, No. 1,057. oth d'un | TRAITE HISTORIQUE BT PRATIQUE D) LA GRAVORE RN BOIS, | JEAN By My PAPILLON. PARTS. 1766) Two-LInE PicA ORNAMENTED, No. 1,057. gibson. | TRAITE DE LA TYPOGRAPHIE: LONDON, 1873, FOURNIER, PARIS, 189%) | Four-Linr Pica ORNAMENTED, No. 1,057. Bian | | TREATING, 0 MOOD-ENGRANING. Ot HN JWCHSMS LONDON, 39 GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHaMBERs-STREET, NEW-YORK. 122 Two-LINE NONPAREIL ORNAMENTED, No. 1,058. ,.254,,. TWO0-LINE BOURGEOIS ORNAMENTED, No. 1,058. A POCKET TYPOSRAPHIA. A BRIEF ANNALES DE LA TYPOGRAPHIE PRACTICAL GUIDE 18 THE ART OF PRINTING. FRANGAISE ET ETRANGERE. ___ * TRUMBULL, ALBARY, 1848. | AINE ALKAN, PARIS, 1847. DISCRIPTION D'UNE NOUVELLE PRESSE EXECUTEE POUR LE SERVICE DU ROL PARIS, 178%. BUIDE PRATIQUE DE COMPOSITEUR V IMPRINERIE. THEOTISTE LEFEVRE, PARIS, 1872 LA SCIENCE PRACTIOUE DE _-VIMPRIMERIE. FERTEL, ST. OMER, 1723 , ) Es aie r + id Pineeaisc ‘ ry i. et! A ave paneeeatt) eisai crane NGARDOGYT “AI WC BU WKS TAG A; AIBSARRESYT Lane & | IaAY HASIA - I WA OSSD YHARJA LIVEMUAT 2 AS ‘ x any A on vi 10H “Tad Horr it JOR VO WOAH 2 AU | = Cet iM AAR leah, Medi AY hae di AA Bid ‘i L, Ay Bk ‘ 2. e8 | oa ae Bai i 7 } oe # hs & Li A Cuts weer : ¥' ¥ a 10 AUDITORY uae ae. ik AML AIME , Ext] Fen) TG ald MHOL MAL an ile adh ui} Mi pane, ig aL § AE , ; i wiate pvt) war eiaeivH A i\ ‘ f vt all aa haope p) SUES Fare Be mill ORR Laker rnd é peeurT mule an Lali aly . ia) pperiins Te Calvaiaue Weuuhed me LWOtoMIM UZ ut. > sd pi | itunes mL my s hy t SPOT! Alle SGU Bt BAUUITIUS WY tig «i hh oe ot VIR Meath! Suede a -_ soma = STYLE 1,059. Two-LINE NoNPAREIL ORNAMENTED, No. 1,059. 3°, ~*BIERRE FP. BASAM, BARIS, 1727. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 124 STYLE 1,060. Two-LINE NONPAREIL ORNAMENTED, No. 1,060. 14 Two-LInE BouRGEOIS ORNAMENTED, No. 1,060. 124 IMPRIMERIE, EDITIONS TYPOGRAPHES DE BIBLIOPHILES. KT GENS DE LETIRES. . AOVAST, PARIS, WP rE < , D. JOUAST, PARIS, 1872. PARIS, 1864. TWO-LINE PicA ORNAMENTED, No. 1,060. MANUEL DE WIMPRIME UR. A. DE GERNOVAL, PARIS, 1826. SS Two-LINE GREAT-PRIMER ORNAMENTED, No. 1,060. AREOPAGITICA. J. MILTON, LOND. 1644. FOUuUR-LINE PICA ORNAMENTED, No. 1,060. 4 a atiaey 1874. GEORGE BRUCE’S SON & CO., Type-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 124! - & os or LATTA AC eye Te ALTO Lah Hey eLarkhe - ever Sta Vee | | ; eda tl (ih At, De alah a 14 ie yj | PLRITETDOLTIS | 2 STTEEGE eet f a A ilk om Vac ae Va ; = i a vs mS | | ak Td TOUMAD ag a |: ‘ I 4 ‘y a A OG Sobor cig 207 Cong . : a iu, 1 1 . , 4 = BOT HSI ayant yt esr s/ emmy AI ni - . - i 2 J is 17 ow Sat STYLE 1,061. | Two 5 NON EIL ORNAMEN SIN. JAMail, Two-LINE BOURGEOIS S ORNAMENTED, No. 1,061. 14) } TRAPTE PRAYIORE COMPEEY om T¥POGRAPH, O8 BOOK WEMPRESSION PHOPOGRAPHMEE G9) ar guerra ABK ENCRES GRASSES, L. MOOEK, PARES, 4874, ©. H. HARBPEL, 4876. , No. 1,061. TH EEFERENG BEE RUCHDRECKIE: KUNST XG BEBE TORGEN, Ck, SCHARABE, RIEPHIG, 1840, TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,061. HANDBY-BOGK ABOWE BOOKS, }. PAWARE, LONDON, 4876. , No. 1,061. PRESSMAN § BIDE, BROGKEL EN, 4873, GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-ST REET, NEW-YORK. 124? STYLE 1,062. BD NOs 062i SSAl HISTORIQUE ET ORI pd, No. 1,062. 1° THE SEWSPAPER PRESS: ITS E TAU NTIQNE DE L’IMPRIMERIE. t (pall Ban all || (tan pw Za) \ SNES g Sky 2) < Ase: 3s pee a Ff ZS F) 88 JAMES GRANT, LONDON, 1971-72. E (6% AND PRESENT POsITion. &.% , No. 1,062. M. J. J: MARQEL, ALEXANORIE, 1798. No. 1,062. Bua ED, No. 1,062. No. 13 CHAMBERS-STR GEORGE BRUCE’S SON EET, NEW-YORK. & CO., TypE-FOUNDERS, 1243 eae ; aes an j / im > uy ee LH THAN a ' Siieren dove Oa HEM i) a see ea (the | + » e Py : ; i DS BRR rT aaa sate, TO a Sai: ear! ie Soret oyst hate Bt aermege CTAREN: OI 1 e ; GsIG2". Be | “ AAT si ats aR we oma ae re . 7 SAORI TURD. OA THANG (7c? ¥ 4 “LD cars naan. ei TDA at) q ye) Berk eee yy A aed Sak Rb dae aR tn UDRa te ae + ede ee mm) ai i’ gee , Mia ae nose AN :: 5 “ : 7 — ame eee - } — i, Wy eeey Vener wy ere i ALA RC AGE y ha tr eee = ah Spa Ria E> ee Ce et Sy be on ‘ D0, rt Ae ei ‘ e t . ot hegre i é p r : . | NF ly aie 4 4AS rae cy ait > ‘8 ‘by eae OE Ost He retii 'y | ae | ae ae v 7) wl Pat j ‘ : 7 ay £ ets a ey eG ‘ i fas dy 4 1¥ oa its 1X 947. EC @Gii 4 cf ety ww PUR AKG Ce Ce sigh ig Cc ( a | ‘ Ret ‘ F080) Hii in Ach va AACA AYA Pale od Ay roy oli oo 2 tee yt Tee maha Ke ee EE PRED UALR SAT STYLE 1,063. Two-rinr NonParert ORNAMENTED, No. 1,063. 14 Two-LInp BouRGEOIS ORNAMENTED, No. 1,063. 14 | WMOWUMERNY DH YU, OU fuk AR EXPLANARION GP PLUS ANGIRNNEA INSERIPNON PE = = PLPWMENPARY CHARAQTER: BAe OF THE GHIMESR. 408. WAGER, PARIS, 1805. | 7, RCER, LONDON, 180m E Pica ORN , No. 1,063. BESSER ‘ENTERRIGHT VOR DER SIWVESER SGHRIPPF UD DRuOk AD. WULLEAR, BERMIA, 1680. ED, No. 1,063. MUSH SiNIGEM, PS. BAEER, PRTROPORI, 130, GEORGE BRUCE’S SON & CO., Typré-FouNnpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 1244 STYLE 1,064. TWO-LINE PICA ORNAMENTED, No. 1,064. EA N MI i 2 Ay “S ye /B\ Hy (eae) Wl a | l WO y NAS 7? eo. OW i 2 H ‘S ~\" \ J | ) = EDF < J¢ =) \4 } | - i) F 5 , > \ —7 yS— Sa & 7 9 = qs = 7) ——= Ss sy Ss Zz TS ( GN) NC » We >. C \W) wf) [h (aay aN Wo CA ie wa fa S , ) CAT Oh } Oye F PTL EF & » XD) ES co QA FY ¢ ) e— Se Se Oe hy > ee Way ~ ll Y 5 \FS 2 A /N ) 2 Mi { (AGN las ) ra ~ san) i < =) ed } Lo wt \ iL? @ N OY Y ¢ BE AAAGYU Ac ESSENTEY Oct. 26, 1880. TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,064. pote FourR-LINE PIcA ORNAMENTED, No. 1,064. GEORGE BRUCE’S SON & CO., TypE-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. od 1246 x i#h F a Crass. 4a ms an? -onT mK: ees AP Be C.F ae Pee Gles eG neat sit Bee LOCO JRE ae HAGE, MONDE ee) erie I — WIG ROTS sat avbressa xy , Mi wot ERS Kt mat) aarvanil } eh eat a Na PeeVOSSI GARTH AO. Szld Me GEA MUSRZANYD, MAADLAD OMA OR I a PI He NOIAAWNIOD i - , | its i gi 38 ie ‘= j + 2 i hy . J ey, 4 ‘ he ai . z : ms rs 7 { « I / } wit \ e : : : ALN \ 4 ‘itp. 2 4 L » : —— i Att Tree > Ad i ae ’ (& 2 PAOLA? USHe ¢ daalsds 8O0u! To 2k @ 'G88r NAOD Seas | ae ? 7 EQ - i roy” ate i hie is a "i Rat Ae STYLE 1,065. NONPAREIL ORNAMENTED, No. 1,065. we BREVIER ORNAMENTED, No. 1,065. MEMORARDA, GRIEFLY CORGCERRIRG CARLY | A LBISG OR MEDALS, JEGGORS, GORERS, 8G. PRIRGED BOOKS ARD MRARUSCRIPGS, ARD GRE OLDER | IR GORREGGION WIGR PRIRGERS & PRIRGIN LIGERHGURE OF RAGIORS. RERRY BRADSRAD, CAMBRIDGE, 1885, OIEETAR BLADES, LORDOR, 1889. By ad Two-LINE NONPAREIL ORNAMENTED, No. 1,065. @*) TWo-LINE PEARL ORNAMENTED, No. 1,065. GRE INVERSION OF PHPER GHRGIBLE GYPOGRHPRY, OF ARD GRE IRVERGION OR PRIRGING. ROU GRE BIRD REAP. RERRY RALLAMW, LORDO, 1852. &.G. JORRSOR, LORDOR, 18am Two-LINE BOURGEOIS ORNAMENTED, No. 1,065. JOURRALISS IR GRE AURIGED SGHGts EKROM 1690 60 (872 FREDERICK RUPSOR, Rad+4ORk, 18¢3. Two-LIngE PIcA ORNAMENTED, No. 1,065. HIROY Yt Ais RECOLLEGGIONS OF Ak ObD BOORStLBEGK. TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,065. PRIRGERS ASSISGANG. © WS. SAGRAGR, LOR, 1808. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 1246 STYLE, 1,066. Two-LINE PEARL ORNAMENTED, No. 1,066. aoce ACCOUNT OF THE MATHOD OW Two-LINE NONPAREIL ORNAMENTED, No. 1,066. 1° 4 ANNALIUM TYPOGRAPH Y. Ob. Wt ICHA HIALBS; Are PAIR it SUE PLR RN WMICHARL DENNIS, VIENNA, 1789. qe VTE ENT DY May 17, 1881. X Ta GHARLAS BRIGHTLY, BUNGAY, 1809, | TW0-LINE BOURGEOIS ORNAMENTED, No. 1,066. ue ANNALES DE LA UYPOGRAPHIE NEEBLANDAISE AU AV* SURGLE MW. B.A. G. CAMPBELL, LA HAYS, 1874. Two-LINE PICA ORNAMENTED, No. 1,066. AMBRIGAN VBXI-BOOK OF L MN. DEARBORN, & RNY fan NI >) IRS. BOSTON, 1846. TWo-LINE GREAT-PRIMER ORNAMENTED, No. 1,066. BA (EBER BUCHEE-COBRROTUR, AL, LION, GOURIVGAN, 1882, GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 1247 Pte WRITE. oe. “DAL Tid posal FMR A IT eg seth — 3 ‘a Le ne Ae Cott eee ea ity aaa j TA Ya A CSSLPOANT BA GaToarere t ait ) ne? ae ee. aT ROLEe Remtowe reg a * ¥ : ’ 7 its Nie 2 Amor SAS ct ARIUS AVE e iD fry 7 , BELLAS ~ ey ay ne me \7 ie (AS a tA day sAAwn 104¥4 i Ad ag ai Li Oat oe oe K WAR Ba” daweeas fy a a be , it Ay rae | Pye Hor Bee eT nd sa a ee ry’, 4r el _Agesnanaies viiletaeagd bey BP eh A aa aon ae aca = xe ie Palas Ue soli ie | f ; STYLE, 1,068. i a Two-LIne PEARL ORNAMENTED, No. 1,068. °° Two-tixe Nonpareit ORNAMENTED, No. 1,068. 4 CERDI STORICI SULL’ ARTE TIPOGRAFICA. ESSAI DE BIBLIOGRAPHIE YPROIS. GIOVARRI MARCHIGIAN, | ALPHONSE DIEGERICK, LORIGO, 1850. | YPRES, 1873. Two-LINE PIcA ORNAMENTED, No.1,068. Two-tinn BourGHOIS ORNAMENTED, No. 1,068. 124 | : ‘ ey DOTTER GDC , FREITE DE LITHOGRAPHIE, = P (} LIGRAP H ICE. F. TUDOT, WILLIAM SALMON, PARIS, 1834. LORDOR, 1701. TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,068. VERT DE LA LITHOGRAPHIE. DENEFELDER, PARIS, 1819. Four-LINE PicA ORNAMENTED, No. 1,068. DIE GAIL VSIROGRAPHIE, KOHELL, MURCHER, 1846. — GEORGE BRUCE’S SON & CO., Typr-FounpDERSs, No. 13 CHAMBERS-STREET, NEW-YORK. 1249 my | ” a j , - _ - > a > i. ih W Aer aie Al "wn 4 FASE A 1 LRM oleae a STYLES 1,069 anp 1,070. ee i ' Two-LinE NONPAREIL ORNAMENTED, No. 1,069. 4) . } NOTICE SUR LIMPRIMERIE XWEVERS. (kG J ART OF ETCHING ON COPPER P. BEGET, NEVERS, 1864. ‘| | &. ESHLEY, LONDON, 1849. Two-Linr PEARL ORNAMENTED, No. 1,069. ae INTED, No. 1,069. SULLE VICENDE DELLA TYPOGRAPHIA COSENTINA. - A. LOMBARDI, COSENZK, 1816. ENTED, No. 1,069. D. ALONNIER, PARIS, 1964. TYPOGRAPHES ET GENS ‘DE LETTRES: TENTED, No. “1,069. DAS BUCHDRUCKER- WAPPEN BRK K ih, ARMS TAUT, 163. E Bou TED, No. 1,070. enon POUR LA ‘COMPOSITION pu. GREG. T. LEFEVRE, PARIS, 1847. ENTED, No. 1,070. STENOGRAPHIE EN TACHYGRAP HIE. I. d. LION, 'SGRAVENHAGE, 184, PRIMER ORNAMENTED, No. 1,070. LITHOGRAPHY, H. BANKES, alder 1813. GEORGE BRUCE’S SON & CO., Typx-Fou pERS, No. 13 CHAMBERS- STREET, NEW-YORK. 12410 ‘ g ad a -* 7 | HQUIDE ¢ POs 2? VPOaE eee B BBADNZLL, LONDON, | DIE SCHRIFTCIESSERES. BINGER, AMSTERDAM, 18: STYLES 1,071 anv 1,072. A, V, W and Y in this series are kerned at the sides one-twelfth of the body, and are accompanied by a space to use where the kern is unnecessary TWo-LINE NONPAREIL ORNAMENTED, No. 1,071. *° * 12A Two-Line NoNPAREIL ORNAMENTED, No. 1,072. sian. Two-LINnE BoURGEOIS ORNAMENTED, No. 1,072. 4 ARS PICTORIA. BROWNE, LON.1675 Two-LINE PIcA ORNAMENTED, No. 1,072. 10 A GLYPHOGRAPHIE. J. Hi. BACHMANN, tae. 5 Ih. TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,072. ARS TYPOCRAPHIAE. BOLT, HARLEM, 17 6) cow 6. GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 1241 Win : Pr, aie i’ itis - b ? =s 9 STYLE, 1,073. A, lL, V, W and Y, in this series, are kerned at the sides one-twelfth of the body, and are accompanied by a space to use where the kern is unnecessary. Two-LInE NONPAREIL ORNAMENTED, No. 1,073. ay PRINTS ILLUSTRATIVE OF THE HISTORY OF ENGRAVING GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 12412 DOUBLE GREAT-PRIMER TiINT-GrouND, No. 3. 2 Ib. 4 oz. 82 83 84 85 ENN ae a Po z | Dous.te GREAT-PRIMER TinT-GRouND, No. 4. 2 Ib. 4 oz. ae Ib. 4 oz 91 92 93 94. 34 95 96 97 98 e} (¢ | BRR ON 4 | Bey Vave See / @ Fy ae iS «a Rist RK OR ) Sh DouBLE GREAT-PRIMER TINT-GrounpD, No. 6. 2 Ib. 4 oz. 99 100 101 102 103 104. @eecesceceoe cedcce e009 a5 CR Ser aees | | a Hie \ Ne Ka Beeeccescccs secces e898 Suir” mnnnannnesene Heeeeeesegseoeee NTRODUCED ) __ IN CONSTANTINOPLE, sn BAIAIET | I, ) | PRINTING AT MACAO, f IN CHINA IN THE YEAR i590. =i Poe See Ue ae SS aD yay ie RINTING IN GOA, F INDIA, 4563. ERAN te & le 3 ty = T; ls les: ae C46) con 5 sel 25 GOA if WAS LIGHT.” | ce 4(i a es ; iS GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHamBers-Street, NEW-YORK. 12415 axtosttiverT shim nie, Asse Se tw oer ERO baeeee ooboee Rete tu pdeone dhe t ees 006 hee ee ee OC het ait MOHD m1 OMIT sooner perers 1 Tad *“i\*. tae a rid pecnvre nn 10 (, a eyes PS THOLT Saw oy | el ne A ge. J > Teas De fol Ovi a < OAS y No Hi y Ava Uisv. Teai7 | a Fe “ i SR} = = 7. Tr , f y io N16 rl voacie) " ube 4) ; ae | dined AAVAMA\ AOLMY ‘ Le te | "nade, ‘Rie. a = | fh) | | i) hj HH) il WU HUH —— 9 i vil i . k Y (die RUM Ue hi aioe anh =. POG | ez | i So ae > 4) ib cai ; {TTT Ml a Hedge hi Mid hy oe AAA Ki a tal Hi = ne a 08 wrnasgund, ae im ip il ee an HL Wy the ely ty tet who eo 9 Catalogue Memory, « E Sy) ie ge 2s ALN LE BE, ger. GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHampBers-Srreet, NEW-YORK. a " ie 12434 “) Te re. > TIA Maa Md OH | on’ Suen itp lft ys isla ex Uy ae SEeS5 Ae fei V4 & A.) ve dk, Jamel chiihta | iy dosdnsbiaW ‘to inavaod, de ded o “ ee ya ow KERR YS eke ae # Hatt jt ative Reece tel Pon aaa) ra por ais F hye 7 STYLE 1,490. hen We he alee Et ee 9 eo @AlUinG isa _ fSSreo je) isi ‘su iui a on i cng i MEW WES ES WE < a2! hibufan EWC Fai 1 qu a Gr va lelorae RI) Al f Hs iii S fia 4 oa = | | Weouamnoget is a | Wine (les ii 2 —~ Dousip PicA ORNAMENTED, No. 1,490. ewaiers sie aug le rw) Will ae os Tomer Sqn ain il na i Ho OE iets ga3 2 2a = rE al “Oy, OMT con Ww i if . 3 +a GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHamBers-STREET, NEW-YORK. 124% STYLE 1,490. GSO Casa ae ibsaMt T Ti il | Pp many BiB | ry mi : RO AIAL LHS NH AG 2a gcd ea hla barag fd if TH a } Mn ity ype tee TULA LUIATISS | Hu iy lal WU ODA UNO UGH a er LAE @ LES G vf cam‘feant ny aN Ki il AH Ari oe, lls) Neat J 51 62) 53.54.55 650 57 58 59 Ns Ww hy CRA es GEORGE BRUCE’S SON & CO., Typn-FounpERs, No. 13 CuamBers-StREET, NEW-YORK. 125 is STYLE 1,491. coy oo cA) NS LA Gs oe) al Fr LTT cnuthyy ay TTT | \ 1 if vy | ‘N p ( I iu) ! } i= Rae ae SUE al ty mu \, f Mea pe Uy vy Si HOEFFER 1p ih Altair ee Ui s DOUBLE GREAT-PRIMER ORNAMENTED, NO. 1,491. WIJKOMN GEORGE BRUCE’S SON & CO., Type-FounDERS, No 13 CHAMBERS-STREET, NEW-YORK. 126 STYLES 1,500 AND 1,501. BREVIER ORNAMENTED, No. 1,500. po grand Doe ssais sur ws WHomumments WyPoscrabpDmiames ace GF. Gutvemberg, UmySmicwmr Ge LatwawprimnSerics | GSOtcm CPlietrshos iM LMU SS Sree SOF MAY AALS DEAL Sig USOe. LONG-PRIMER ORNAMENTED, No. 1,500. Pn ae ANU Scrmaesimes CihnSsorst. Lraetht’seh®es WYoesrtsriowmcein Ger 1BMmeMdlremelseeserey wine HPemristtgqressereyec Co Oo CHP ANRLEOSTEB THI WITHA AY AY, 28308. GREAT-PRIMER ORNAMENTED, No. 1,501. ERE ae Urspru Fe Wachsthum und Bostgang de: £ Recwee en DouBLE SMALL-PICA ORNAMENTED, No. 1,501. Sa ates ; fListoire de “l*imprimerie e@ des Avis qui se rattachent a la Typographie. ©) % Mm eee Po LA GROLX, Fournier et Sere, 1852. DousBLe ENGLISH ORNAMENTED, No. 1,501. AY Ee ag» mz ) An £ssay on the Origin and Progress of ae Printing. LIS | A. HODG GSOW, Newcastle, 1820. DoUBLE GREAT-PRIMER ORNAMENTED, No. 1,501. mandbuch der Schrifttqiesserei, A. HENZE, 1844. a GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 127 ‘Girne Doge we. 6 oe - B 7 P is W 4 Le = , 4 ‘ al. = ds @ ' Sf iy fue : ( y Dba ~ MAO MELA eens? strain) V4 ed ——_ baie ae ' we htm te UL i \ ‘ ra Pe A 5 2 , i? Peele a Kor ¥ favtiodt 4g STYLES 1,502, 1,503 AND 1,504. Pica ORNAMENTED, No. 1,502. ieee The Printers’ Manual: containing Instructions te learners, . With Scales of Impositic eee and Numerous Calculations, Recipes, &é. ‘. B. PIMPERLEY, LONDON, 1838. GRBEAT-PRIMER ORNAMENTED, No. 1,502. LENS Memoria Biblisgratica sulla | Scoperta @una ediziene Gel Son een del $8cele oY, A. MARSAN ST, VRNEAIA, 1825. DousLE PicA ORNAMENTED, No. 1,503. aa Neer tee rd a Soecimen Historicum Tupographice Romane, XV. Seculi PB LAIR, ROMA, MDCCLAXVIL, GREAT-PRIMER ORNAMENTED, No. 1,504. De 2 ) 6 lb. 14 02, Brachygraphy, or An Easy and Compendious Systery of Shorthand, J, GURNEY, LONDON, 1825. 7 DouBLE SMALL-PICA ORNAMENTED, No. 1,504. aT ib 6 0 The Pens Dexterity; er the Art of Writing Shorthal J. Rich, LONDON, 1654. DousLe ENGiIisH ORNAMENTED, No. 1,504. “Bik 14 ox. fachygraphy, or the Art of Short Writing T. SHELTON, LONDON, 1655. 7 GEORGE BRUCE’S SON & CO., TypE-FounprrRs, No. 13 CHamBeErs-StrEET, NEW-YORK. 128 STYLES 1,505 AND 1,506. DOUBLE SMALL-PICA ORNAMENTED, No. 1,505. Se ae Essai SUR L“ORIGINE DE LA GRAVURE EN TAILLE- DOUCE ET SUR LA ‘CONNOISSANCE DES ESTAMPES DewelowET. 16 STECLES. Gy 9) 220K Day NE HGR Days DOG DA DG VP DESCX CHEN ORCIEE PRIN ES ORNS ER ER ORIEL SS 1808. History, ‘ORIGIN AND FIRST INVENTION Ree FEV SREP PVPiCHAO RACK HENRY ALE MOIN CORENBAR 1797 DouBLE GREAT-PRIMER ORNAMENTED, No. 1,505. Prec aaieas i DISSERTATION SUR L* ‘ORIGINE ET LES PROGRES DE LA DE GRAVER EN Bois, 5 RT & aS Pens eee irs GNECPRBT RS. BROURNTERSCESEONES PARIS) 2 1758 cal 2 Sei) &) (QE? we € ry CYs( (5 PicA ORNAMENTED, No. 1,506. So Mend 1b) A GREAT-PRIMER ORNAMENTED, No. 1,506. 7° *@ni?? 4 iigine e Progressi della Stampa, osia del! Arte Essai Bibliosgraphique sur les adittons - | Imrpressoria all’ anno 1500. | des Elzevirs., - PELLEG. ANT. ORLANDI, BONON, 1722 | AUG. S. b. BERARD, PARIS, 1822. | i DouBLE PICA ORNAMENTED, No. 1,506. Hl A Dissertation, Concerning the Oriéua of Printing i in 1 Engl and, CONYERS MIDDLETON, CAMBRIBGE, i730. GEORGE BRUCE’S SON & CO., Typr-FounpERs, No, 13 CHamBers-STREET, NEW-YORK. 129 neh abhi ¥ ¥ k > oe a om STYLES 1,507 AND 1,508. 1 Pica ORNAMENTED, No. 1,507. oe oak | GREAT-PRIMER ORNAMENTED, No. 1,507. 734," naa 4 Histoire de la gravare en maniére noire. Mistoue de I’ (mprimerie. | LEON DE LA BORDE, PARIS, 1839. P. DUPONT, PARIS, 1654) DousLe Pica ORNAMENTED, No. 1,507. ee aa He pe NONPAREIL ORNAMENTED, No. 1,508. sence | LoNG-PRIMER ORNAMENTED, No. 1,508. 40 « and 20 RESKARCHES INTO CE HISTORY OF PLAYING ARDS, thastorka, Poy-pedrenp hore albeperot PAaFESLONS UL WITH TLLESTRATVONS OF THE ORTGIN OF PRINTING AND ENGRAVING ON WOOD, | SW, SINGER, MDCGO¥E, Vitas of tetbres Complectens, MICHAEL: MAPELAERE, TTL, ( PrcA ORNAMENTED, No. 1,508. Se Gai iiummated Ovnaments, selected from Manuscripts and Rarkhy Pxpated Books HENRY SHAW, LONDON, 1833, | PARAGON ORNAMENTED, NO. 1,508. ab sane : Annales ‘Typographici ab axtis iavoutan origine ad cH LEE 1500. GEORGE Wot GANGE PANAHR, IT97. DovusLe PicA ORNAMENTED, No. 1,508. ak rar is Incunabua Lets Typodraphtea Syed J. EL. SCHRODER, 1842, § GEORGE. BRUCE’S SON & CO., Typn-FounpErs, No. 13 Cuampers-Srreer, NEW-YORK. — vig . 130 ¥ fe ; | STYLES 1,509 AND 1,510. PicA ORNAMENTED, No. 1,509. : meee onic qm , a a deiwapmsaca cane WPWetedmea dea Pimuwien ANALYSE deg Opimions diverges sue Origine de Vizprimerie, 30 a and 1 4 8 lb Th. Qo HAPOPe, GG. PARAGON ORNAMENTED, No. 1,509. Ccenielaes ps Wl A Recheze ees | estab sux leg J. 8. BO Cl ws LF y on. DousBLe PicA ORNAMENTED, No. 1,509. rt at a Jo a a perce cant HAD OM CRU, wo DouBLE SMALL-PICA ORNAMENTED, No. 1,510. Srinath Gn the various Applications of Anastatic Printing. SN P.H. DE LA MOTTE, LONDON, 1849. | DouBLE GREAT-PRIMER ORNAMENTED, No. 1,510. eee dicate ; 9 A? au ‘emt of the Art of Printing WE. A ) ad A VE OP OR Ne d LQ L WILLIAM SAVAGE. LONDON, 1841. GEORGE BRUCE’S SON & CO., TypE-FounpreRS, No, 13 CHAMBERS-STREET, NEW-YORK. 131 4 J , eet eS A en oiiey a 4 int aM of H ie, hat e i pat A ere STYLES 1,511 AND 1,512. ‘ VE P1a Or No 15110 Gam Paragox Onwawenren, No. 1511. "2.84 | ce es Les PINTER hee us. e { short rrethe i the ist Rise and Pronrel i quantal He He ‘ vite n Job Printing byinting, With a compleat List of the first Books the FRANCIS HART & CO,, 63 Cortlandt-Styeet, NEW-YORK, 186g, Were Printed, J, PARKER, oe 1753, | The Oyiginal and Growth if Can ting, ey | s ve Demonstrated hat hatha : Appeytaineth to the Prerogative Royal: and is a Flower of the Crown of England, Collecte Out of History and the Records of this Kingdome. RICHARD ATKYNS, London, 1664, reD, No. 1,511. An Historical tect f the Silstanes Which have hh Used Jo descyibe Events and to Convey Ideas from the Eayliest Date to the invention of Paper, MATTHIAS KOOPS, London, 1800. NONPAREIL ORNAMEN , No. 1,512 a. BREVIER ORNAMENTED, No. 1,512. °U3 ete Inquiry into the Mature and Form of the Books of the Ancients, Jugement de tout ce qui a été imprimé contre mAh @ Histor OF She tio Beck SNeeet en ie le Cardinal Mazarin, depuis le 6 janvier Times of the Greeks and) Romans to the Fs ® tea Diaseiueaes ARS jusqu’ 4 la Declaration du premier Avril 1649. Le JOHN ANDREWS ARNE 7 LONDON, 1837. GABRIEL NAUDE, PARIS. ae f ‘ . | GREAT-PRIMER ORNAM , No. 1,512 ua PICA ORNAMEN , No " il 512. SO: afer ue A j wi aa "Typographill | Eloge Historique a as J. Guttenberg, _ GUIL. MOLLERI, na J. F, NEE, de la Rochelle, 1) PARIS, 1841. Altorfii, 1692. DouBLE PicA ORNA TED, No. 1,512. Debut de rleprimarte a Strasbourg, 8c. LEON DE LA BORDE, PARIS, 1840. GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHamBers-STREET, NEW-YORK. 132 STYLE 1,513. Pica ORN NO: old: A, Concise ee of the Origin and Progress of Printing; with Practical Instructions to the Trade in General. PARAGON ORNAM NO elo. a ore sik une fallzctio d eEstampes, DouBLE PICA ORNAY eNO wa olla, The History of Printing i im i meriog : THOMAS, WORCESTER, Mass. 1810 ORNAME , No. 1,513. De Inventione Lypog besphial J. SAUBERTUS, 1643. UN Ose l sco ltese Laudes Typographic oe ELC ie 1740 GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 CHAMBERS-STREET, NEW-YORK. 135 wl Sis Wi di a Reretaaee se yb 20 . y ed ia i” - i. # - ani ole be oe 2 hao ne. | Spi’ si eaieenc STYLE 1,514. Raye Pica ORNAMENTED, No. 1,514. ana Mechanick Exercises; or the Doctrine of HMandy-works, applied to the Art of Printing. | JOSEPH MOXON, LONDON, 4683. COLUMBIAN ORNAMENTED, No. 1,514. Conjectura Verosimilis de Prima Inventicnl Typographiae. JOHN TOLAND, LONDON, 1726. DouBLE SMALL-PICA ORNAMENTED, No. 1,514. Typographical Antiquities, &e JOSEPH AMES, LONDON, 1749 Two-LINE ENGLISH ORNAMENTED, No. 1,514. PRINTERS’ GUIDE: : CORN. S. VAN WINELE NEW-YORK, 1848. TWO-LINE GREAT-PRIMER ORNAMENTED, No. 1,514. | PANTOGRAPHIA, ‘{Y, LOND. 1799. GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHamBers-Street, NEW-YORK. 134 | SPYLEM W515. LONG-PRIMER ORNAMENTED, No. 1,515, 29 3,420 4 PicA ORNAMENTED, No. 1,515. | | Della Prima Origine Della Stampa | Mésnoizes initcerapniaene di Venezia, per Opera di | Giovanni da Spira, | et Littéraires, PELLEGRINI, VENEZIA, 1794, & FF DELANDINE, 1817, GREAT-PRIMER ORNAMENTED, No. 1,515 An Inquiry inte | Pocigin and Early History of Engraving» W, YOUNG OTTLEY, LONDON, 1816, DousiE PICA ORNAMENTED, No. 1,515. Origin and Progress of Writing TT, ASTLE, LONDON, 1784. DouBLE GREAT-PRIMER ORNAMENTED, No. 1,515. -Manuale Tipografico. G. B, BODONYT, 1818. Four-LINE PICA ORNAMENTED, No. 1,515. TYPOGRAPHIA Johnson, 1824 GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHaAMBERS-STREET, NEW-YORK. 135 alies s6hg ee “eee rd aah a « “a 6 ‘ Acs " - £S- SSsercs 39 “ a eee Be yy avin @k. sachanast> a Di ll we. ae > | re Sree Ss ar oe > Fest: f >" bars ae i \ * > e ree 2 , 4 " ‘ = hie a ee ae | . ~ oe - +e oO - i Dine . « ee : : , yp aa x a > a atta ope ee eal , ; ee ee ny age ee m® i STYLES 1,516 AND 1,517. DouBLe ENGLISH ORNAMENTED, No. 1,516. Venezia la prima eutta faorr della Civ ewe sb Eisercite Carte della Stampa. IT Mo PAIPONT Venezia, £756. Pica ORNAMENTED, No. 1,517. Art de Pimprimerie Librairie, composé 1795, quant aw Mécanisme Typographiaue, GUYOFf ‘PIES, PARIS, 1836. GREAT-PRIMER ORNAMENTED, No. 1,517. ipesratia del Torrentini itn stonaeeh. DousBLe PicA ORNAMENTED, No. 1,517. Sur les Maladies des Imprimeurs A. CHREVY ALELIHR, Paris, 1835 DouBLE GREAT-PRIMER ORNAMENTED, No. 1,517. iphia del see. Xv. 4A BUS, 1834. GEORGE BRUCE’S SON & CO., Type-FounpErs, No, 13 CHAMBERS-STREET, NEW-YORK. 136 STYLES 1,518 AND 1,519. LONG-PRIMER ORNAMENTED. No. 1,518. “55 2“ PicA ORNAMENTED, No. 1,518. Ape ah | Versyeh der Ursprung der Spielkarten, die Court ffand Restored: of the Stydents Assistant in Einfiihrung des Leinenpapicrs und den Dufang der THolzsehneider~ Ren ding of Deeds, Charters, Records, ge Kunst in Europa zy ebforschen. . oe diiet re He, 2) 1. G. J. BREITHOPE, LEIPZIG, 1782. | ANDREW WHCHT, WT. GREAT-PRIMER ORNAMENTED, No. 1,518. Be eae Geschichic der Bychdryckerkuysi iy ihrer Episichyng ynd Dyshildung. Lin Denkinal zur bierten Sicylar-Eeier der Erfindung der Typographic. KARL FALKENSIESN, LEIPZIG, 1820. PicA ORNAMENTED. No. 1,519. ce ane Mi tanden von J —— Gutter pune verbessert durch P. Schoeffer J. K. DAHL, MAINZ, 1832. GREAT-PRIMER ORNAMENTED, No. 1,519. ee Introduction to the Study of Bibliography, | T. H. HORNE, LONDON, : 1814. Dousip PIcA ORNAMENTED, No. 1,519. HS eRe Manuel N 1 Nouveau . A. FREY, PAR tI - 8 aand 8 e DouBLE GREAT-PRIMER ORNAMENTED, NO. 1,519. Soa H Traité de l’Imprime erie. BER 1 Le Dor eee TET, PARIS, 1799. GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 137 er Ny . ue ‘ae Tu . Ne ee aoe aioe ETM RAY HAMA SY . oo : eli ‘ae am - . ies ny . bon i he siiy Ge ey Pa pis ye te Prey) aig iy hey weal a le a ‘isk 4 $ “tig ‘ vaste 155 metus..0c8 hy fate wi vii fei § oh iF Vays r, + : MAHAL ir acorn, fil. tag a : a LA raha ECE ie RST; Face ee. SPORT aE t x ee a : | | : ; | | | : | | , , ‘> ee . wei ae (Pad AGE | : Mere he Lael : } ti i : H {STH ‘at iJ itli til iziity Vigan ve Soa 459 oid ewounl 96 pagar. i966: isistislighe qarisid “IANS 4 i ~ 4 F m~ 4 4 a > “s ; ; Ped © ria LaiFa tb : il {eit A % : i tA ry Te AL tral a TeAUAARADURAGHOUE MIG : wotioosoer «ok doroh tueaaedsaye grodmotinw oandoh HOY man ~«C8Ak SLAM PHA ae - ; y ’. i,’ th Ri = tis Ftd, a PE i srt} dy hegss acre ' | Ou YlGrnondi te 9 brite od wr sae iomie ok tiel WVOGKVOL GAVAOM oe | Sit¢uardogy au ap rsoviro lox” kre 41. CIAL eR ee ! 4. aiedae si catl oceienbhioraae ih peel YT q oat. eb, Ort » PAS | i 3 ; a Eis “aurpinoiedl rei Aig totitl tcc <& se é re pe UY Th a <> J Sf Ye Ste i Cots OT a> ‘he SS ie eee ae ei ie v1 et 4 bo © :j ie Te 2 h 98.0 im ig Un 3) a ‘se eA pit Ht * U “ STYLES 1,520 AND 1,521. GREAT-PRIMER ORNAMENTED, No. 1,520. 25 a and 12 & , Origine de Vimprimerie de Paris; Dissertation Historique ot Critique A. CHRVILLIER, PARIS, 1694. Dousir PIcA ORNAMENTED, No. 1,520. DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,520. d in ee la be ° Doge DouBLE GREAT-PRIMER ORNAMENTED, No. 1,521. i oe ees pe IL | iP. ne nales de Vimprimerie des “Mace! Sr PAP nis, 4 Lee CANON ORNAMENTED, No. 1,521. | ‘ GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-StREET, NEW-YORK. 138 PicA ORNAMENTED, No. 1,522. Sere GREAT-PRIMER ORNAMENTED. No. 1.522. 10 a and 10 A Mameel de Ic Ty pogruphic Pewnte]esise. FP. OAPELLE, PARIS, 1526. DousLE PICA ORNAMENTED, No. 1,522. Cae } y] 12 |b, DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,522. ‘Tel GEORGE BRUCE’S SON & CO., Typr-FounpEerS, No. 13 CHAMBERsS-SrrerT, NEW-YORK. 139 q as aie uF he ; = = = ny (o> lp oat. wks. ee eres FL °y 3 he oe 3.43 =e <> 3 fe <> teice > OE DMA DSRS A CE +2 Eso > Te Eee EE i £<*= is PAS ] i = " m on par Se ' } * + Pa. a PRG Cae ce At Mereierias 1.0"), “ene on + _ 0 ’ < B atnildn’ ¥ r STYLES 1,523 AND 1,524. A cetera a GREAT-PRIMER ORNAMENTED, NO. 1,523. Oren ve; utile aux gens de lettxes et & ceux gui emexcent les dite | Panties s de Tie & & Pi ge epg: apy ee 3 PRS (Rr ase eset aiacts ac ie Dousie Pica ee eee No. 1,523. Sitar oa elie oF ae ea = Ginter i 7 ya{%) Me 2) : ome BRE a. . DouBLE GREAT-PRIMER ORNAMENTED, No. 1,523. Taine cx. aS oe Comumodis 2 BOA AC IE} f iy ce Se) oe 3 i > nie Fe at red oyt ae By) 2h) i m Ste HY Ae oF OF FIVE-LINE PicA ORNAMENTED, No. 1,524. oe Scribbleomanta’ a Sublime F LONDON, GEORGE BRUCE’S SON & CO., TYPE-FounDERS, No, 13 CHAMBERS-STREET, NEW-YORK. . 140 STYLE 1,525. PicA ORNAMENTED, No. 1,525. GREAT-PRIMER ORNAMENTED, No. 1,525. 7° 2,204,124 Annalium Typographor. selecta Panegyrica Decamatio, qua Artis Typographice Initia Progressus, Nobilitas et Utilitas Celebrantur. Quaedam Capita. &. RIVINUS, LIPSIAK, 1640. LACKMAN, WAMBURGI, 1740. Peatee pour ee De Suite au Traité sur VOrigine de lImprimerie. P. S. FOURNIER, PARIS, 1761. DouBLE GREAT-PRIMER ORNAMENTED, No. 1,5 De Initiis Tvpographicze Phisiologicis Sn pene URSTENAU, RINTELLAT, 1740. CANON ORNAMENTED, No. 1,5 De Ortu et I Progressu Rrtis . Typographice. ‘B. peliancanes, 16390. GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 141 ’ —. i ee ied ri y A — eos hg aid “an le tl pc nt ‘ Lie t Soh.1 0 wrathaeenat) ABD) ee Aa eittt niurp items Sot aie eitilitods ‘Hint note os Aninesds(s) annie $9 a OLyT || L Woon | OpOt, GAIA) Bu ae » eke | vo ify oe *y «* (ie +] ah JH PT hSMoge = ‘ated ig 0" ue. S367, us9erri nad Tra lO’: 4 o4e- -@ & BE )TUEOlO!) ET BOLE KT20q vi ALOR Es J . ol shoreiG i | i ‘ are , i a lf ; pis aes VAG refs ith. weaoreosT Jo mt 104 acini: igomlig. BUN Whi THU pecan oh ee 5 : of — cas & [Ww a re | a % Ol ees oe ' ea AP FF ROR Sb wroiaili'} aia = agi A bh SY | bipoTH we.) 7 5 : fut Sonlecreo ry tT » pa een Ff ca a F | ora : | : Fri POI! es TATA IOP ji PARE | Tyee el Ch Sy am | i irene ky » ; qaasy] /SLS1904, 990 STYLE 1,526. PicA ORNAMENTED, No. 1,526. 80 a and 15 A Hsgai Historique gut Origine de l’Imprimerie, ainsi que sux I Histoite de gon fitabliggement dang ley Villes, Bour'gs, Monagtétes et autifes endroits de VKurope; aveé la Notice deg Impsian qui y ont Exercé cet art Jugsqu’a lan 1500. M. de LASERNA-SANTANDER, BRUXELLES, 1805. GREAT-PRIMER ORNAMENTED, No. 1,526. eerie Memorie Trevigiane sulla Tipografia Pel Seéolo XV. pet Servite alla Storia Letteraria e delle Belle Arti d'Italia ). M. FREDERICI, VENEZIA, 1805. DouBLE PICA ORNAMENTED, NO. 1,526. ayn: Verhandeling over den Oorsprong, Vitvinding en Verbetering det Boekditukkunst. J. KONING, HAARLEM, 1810. DoUuBLE GREAT-PRIMER ORNAMENTED, No. 1,526. a a tistoria Artis Typographice in Marchia. G. G. KUSTHAK, BEROLINT, 1746. CANON ORNAMENTED, No. 1,526. 13 be 12 on. Lezione Sopra la Stampa. VERNAZZA, Cagliari, 178 GEORGE BRUCE’S SON & CO., Typr-FounbDERs, No. 13 CHamBers-StREET, NEW-YORK. 142 CI ne SE STYLE 1,527. PicA ORNAMENTED, No. 1,527. 80 a and 15 A Origine de VImprimerie, dapres les Titres authentigues; UOpinion de Mr. Daunou ¢ éelle de Mr. Van Praet; suivie des Htablissements de éet art dans la Belgigue, et de U Histoire de la Stéréotypie,; Ornée de Calgues, de Portraits et d’Héussons. P, LTAMBINET, PBPPIS 1810. | ASENED March 6, 1877. GREAT-PRIMER ORNAMENTED, No. 1,527. ab a end ee Lettre aux rédacteurs de la Galerie deg éontemporaings Wr la Nééessité de Pectifier VAtiLe Conéernant Mr. Jacques Koning. 4. eval LA HAYH, 18109. Se DousBLE PIcA ORNAMENTED, No. 1,527. SEO Religuien von der Dre ee Vyd Ubrisen Ober sichsischen Buchdrucher-Histor te. CP. FRYVBYRG, PRHSSDHN, 1741 DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,527. poland 6s ™e IMuminated Books of the Middle Aeses. BUMPHRHYS, LONDON, 1849. CANON ORNAMENTED, No. 1,527. Sa De Hebraicwe Typosraphix. DH ROSSL HR LA, 1778. GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHamBers-StrEET, NEW-YORK. 143 ed ee ; y : 7 ws ne ae Me ee xi wnt , aes Ae , erent ary By dans S roma SA Sh HOw Vt Ass wl’ Wasysmsies ae” ye % shies NRE aM! Cre WOODY ati Paugre’) Ns syarely 4 Ret ti sh p WW AN A eee Wi -~TAAM Sy) ‘wSSy) 8) sh GSS DSA Tne SVR i , i ' Ll. AWARD Yer \ \ wst\ri \ ih Wink : A. SCP RAL | PAPERS ap ; i seen weve) por haa act | NCS W225 ASW RON ASAD TS AE 7 * ' . ‘oud s : s : 12 . be i a | : os VAL "N he AY W \’ We. WSW Be \ BA AQ BOXED ; UT VANTCUCO RRA: SON wd WORK rs) an 1 TAH Saeed Sok s\n rail ~ oa DSR kh OXON ve \ ) w [ 0) A V2 h CON DIAN \ v7 % ASG OK serene wove LA 2 —_ esc sO 4 vl lh sera S| ¥ ' _ pad oe a " ‘ i HEAT 3itte 1 a | ! ue { , ‘ + | dee te | Me “— 7 be bom a, 2 a a * fee eute , 1 AGE te VStt. o3 s . id oe ry fen sp = any . ; 2 . . 2 \ * . q ’ | | 1t < y , ‘ Pd Pr. y Poo 11 .900. ®, SO8 aoa 15 ele reentanan’) EOF eax oe ta Al ? d 4 “yr "ee f i Wt its c.f ~ < : 7 STYLE 1,528. PicA ORNAMENTED, No. 1,528. Bissertation sur Art toner SEs eK. pendant le XV. et ie xv sive &. H. M. GELPRAT, UTRECHT, 1820. | GREAT-PRIMER ORNAMBE , No. 1,528. Be henna Artis eons a Inventoribus Biecertati M. Z. BEXHGRN, LUGE. BATAV. 1648. E Pic , No. 1,528. Brittes Jubel- fone ‘den Suchdraolerieill W. J. J. SCLESSEN, GETHA, 1740, , No. 1,528. Sricines Typographicae. GERAREGE MEERMAN, Has. 1786 FourR-LINE PICA ORNAMENTED, No. 1,528. Bes Brevets iimprimeu CRAPHLET, Paris, 1840, GEORGE BRUCE'S SON & CO., TypE-FouNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. p 3 =. | 144 STYLE 1,529 GREAT-PRIMER ORNAMENTED, No. 1,529 Notizia Istoriche sopra la Stamperia di Tripoli, Le quali possano servire all’ [llustrazione della storia Typographica Florentina. G. TIRABOSCHI, FIRENZE, 1781. DouBLE PICA ORNAMENTED, No. 1,5 Origine ¢ Progressi della Brit 0 sid iell’ Arte Impressoria e Notizie dell’ opere Stampate dall’ anno 1457. P. A. ORLAND!, BONONIAE, 1722. DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,52 Osservazioni sulla Chirotipografia, Ossia Antica Arte di Stampare a mano...Opera di D. VINCENZO REQUENO, ROMA, 1810. CANON ORNAMENTED, No. 1,58 Cw iC —s Saggio di WV lemorie su La Tipografia Parmense del $. J. AFFO, PARMA, 1791. GEORGE BRUCE’S SON & CO., Typr-FounpErS, No. 13 CHAMBERS-STREET, NEW-YORK. 145 < } i fe { } : » \ | ib, aimephste 6! noon edoateh Sinem wiped 1a biafe, gales Sreisatieghh TE qasuaaa otedecg em 26 Ash i pilus ‘ Uap fi} y a bs; ¢ symaiG siied, feeetpen > sy Sarpy 5 t 7. a 5 [ om ‘Healt ateatieiian aie d stage, igh sitet ¢ snoceatall — ) " if ake R eer we ¥ UY A aA Waid ta SU LEY A ey re) = iInoissyageeQ 6M. & Stamos h Uh Siam Solin iy Mom. Os t ig3 Osmo ree ata Me one is A Sag ers a a az a Ve ieuee. .* B eligvuose eT , a 1 ser 7 ‘am Pg ~ i . . r 5 i et | qini'sl aoe he f eglveeun® wk Cokin 4: - ‘ s, Oe ee i, ee ee) ee r yee a eee r vr el. cower" STYLE 1,530. RS! DousLE PicA ORNAMEN , No. 1,530. Notice guraiilagigna et Raisonnde Bes Livres avee et sans Date, Imprimés avant tot m. . VISSER, Paris, ies. DouBLE GREAT- [FR ORNAMENTED, No. 1,530. Tresor de bivees Precious Neuveau Dietionnaire Bibliegr graphiqui G ‘RABSSE, f Uresden, 1853-63. N ORNAME , No. 1,530. = fh ly Estate do ae =tnall HELBIG, Brussels, 3S. wy? 29 Sx? GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. | STYLE 1,531. GREAT-PRIMER ORNAMENTED, No. 1,531. ops and 12 A Reshersiss sur loriging st ls premisr usages des anes Des Signatures, des Reslames st dss Chilirss de pags dans les Livess Imprimés. MAGNS BS MARDLLES, PARIS, 1782. DouBLE PicA ORNAMENTED, No. 1,531. Typographical Marks, used in ‘Barrssting Proof, Bxplainsd and Bxsmolifisd; for ths uss of Authors, Syo. GC, STOWER, LONDON, 180¢. DouUBLE GREAT-PRIMER ORNAMENTED, No. 1,531. Dis Befindung der Buchdruckerkunst Brit tisshs Abhandlungen sur Urisnturung auf &. B. UMBREBIT, Leipsic, 1843. CANON ORNAMENTED, No. 1,531. Dis Geschichte der Brftndung, Buchdrucksrkunast SCH AAB, 1830. AF SF SY GEORGE BRUCE’S SON & CO., TyprE-FounpERS, No 13 CHAMBERS-STREET, NEW-YORK. 147 am Auowy Une ak a STYLE 1,532. GREAT-PRIMER ORNAMENTED, No. 1,532. et leon Rees Cas Sy Tee SP eee e eS The Life and Typography of William Caxton, a, ope VAY ie j ; tay " 5) : Lowland s | oo a OW M aucun on Ae $ iieal Connection will ¢.%. 1+ Gt | 0 ? f > Vier niwel & Seer (iy igioal yc) KAA FS A RARER A ox, { Stan stants Ov AFAR OS WA: 7. © j| © A wny 4 Wh Wat acy Bo, Rote Aoate alls cpa ds NN arate A Aste Aoste } \a\ fe Ww oy We )) > ©) Aa) a IDG JLIOUQLE0P Wy" Ck QW ONORROP SUC AS Be SF SS SE SA gly SO A "€ } - 1 - 7 = 4 A f\p NENA WAN HI ) { | | } QHEABAAAM IP AS AN, Oo ~ - = =— VOR ~~ at, Va / — . | aN \ y OO (CC Q NANA REN © GEORGE BRUCE’S SON & CO., TyPE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 148 STYLE 1,533. GREAT-PRIMER ORNAMENTED, No, 1,533. Bese Get Pkg completed in a fan maOKe dessa lm Ye Ox ; YY) YY IYI DovusLE PicA ORNAMENTED, No. 1,533. aang 10-4 van; or the Avt of Shor eweiéing by a t Com apendions and Speedy Way, , NOR, GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK. 149 veh ' bitir sas swe STYLES 1,534, 1,535 AND 1,536. NONPAREIL ORNAMENTED, No. 1,534. aleeneo JOINS JAVELIN, JAGER, JUVENILE, Kixsuex HILL KIXSMEN, KINSMEN KINDRED KILL ! Lanovr, LOW LEVELS LOFTIEST, LONGEST LINES j ‘Nex MARCH ’MID MOUXDS, NID MOLES, “MID MURDEROUS MINES Now NOISY NOXIOUS NUMBERS NOTICE NOUGKT oa AJP OUTWARD OSTACLES, OPPOSIXG OUGHT j aes & ’ i 0 : 5 GGENERALS 'GAINST GENERALS G LE, GRIMLY GREAT} (200g, PATRIOTS, PARTLY PURCHASED, PARTLY PRESSED, o GS Glow Hono menoio HEARTS HARD HAGGARD Have, QUITE QUAILING, QUAKING, QUICKLY QUARTER, QUEST j os gi SOK ‘ ? XFURIATE, INDISCRIMINATE IN Ub, GREASON RETURNS, RELIGION’S RIGHT RESOUXDS, 60 a and 80 A 1 lb, 14 oz. Swanrow STOPS SUCH SANGUINARY SOUNDS. “Truce THEN TO “Tonner, TRIUMPH TO THY TRAIN, Gixsusn, UNWISE, UNMERCIFUL Gxnarxe | esx Yaxish varx yicrory! vaxisu vicrory varx | Wry WISH WE WARFARE? WHEREFORE WELCOME WERE Xenses, Minenes, X GRERTES) «ce » om ANTHEUS, Xaviege? Yreto! vyiero!l ye yourus! Ve YEOMEN, YIELD YOUR YELL Ber ah lees oe Geno's, Zanparnue’s, Zonoasren’s zeat, Au, ALL Anouse! ALL acainsT aus. xppeat }] PARAGON ORNAMENTED, No. 1,535. Ten aon athe Oi ey Ce hy Dx LA PROFESSION ~’ EMPRIMEUR, DIES SarrRES JO MPRINOCURS, Z a i Ds) AEN _ iG is LAS NEGESSIIOE ANGIE OIG eae IC amo ONIN ey Lee MOPRIMOLRIE IVES: REGELMENS PROMIS PAR LES a I we as 30 a and 4 1b, U Ye 2 ETIENNE POLET: Rumson A Lyon AU 166 SIECLE, AVEG UN NO@ic® LONG-PRIMER ORNAMENTED, No. 1,536. * 4°50." PicA ORNAMENTED, No. 1,536. JHE LIFE OF MaysTER WYLLYAM (AXTON, OF THE WEALD OF KENT, THE FIRST PRINTER IN #NGLAND; IN WHICH IS. GIVEN AN ACCOUNT OF THE RISE AND PRO- LIBRAIRES ET IMPRIMEURS AUTEURS UE I GRESS OF THE PRT OF PRYNTING IN ENGLAND ACHR A a aN < - A PU DECOUVRIR JUSQU'’ A CE JOUR. 1 FNEE PE LA ROPHEEEE, PARIS 9 DURING HIS TIME TILL 14099. PPT CEM Same Ne Naso ; 25 a and 12 A GREAT-PRIMER ORNAMENTED, No. 1,586. 6 iz. DousLE PicA ORNAMENTED, No. 1,536. "Sy" ow TO ‘J ELL A PAXTON, WITH ; PERICHT VON FERFINDUNG DEI SOME Hints WHERE 4 HOW THE SAME UCHDRUCKEREY IN TRASBU tI PLE ae May BE FOUND. YW: BEAPES: FPNPPN, 1870 DouBLE GREAT-PRIMER ORNAMENTED, No. 1,536. care” 13 Ib. Pp UCHDRUCKERKUNST. ey pe) PRET ROE Pate 150 7 hae ae a: STYLE 1,537. LONG-PRIMER ORNAMENTED, No. 1,587. 402370404 PicA ORNAMENTED, No. 1,537. ee tT eLUIGENCER, THE BOSTON NEWS-LETTER, By Sir Robert L’Estrange, eae first real The first Newspaper Published in the Newspaper eh tee Yours and continued United States, April 24, 1904. . When it ceased on the oopunenes of the Gazette. Was Printed by Bartholomew Green. GREAT-PRIMER ORNAMENTED, NO. 1,537. mdi THE BOSTON GAZETTE. FURST ISSUED | PECEMBEI R oe 1719. | Printed by James Frank i The Second Newspaper Published in the United States. | eae ee pp bee oe ee ron 3 ree THE AMERICAN WEEKLY MERCURY. Tssued, Philadelphia, Dec. 22, 1719. Printed by A. lbradford. The Third Newspaper Published in the United States. DouBLE ENGLISH ORNAMENTED, No. 1,537. me LK NEW-ENGLAND COUR NL Iboston, Aug. 7, 1721. Primted by J. Franklin. Fourth Newspaper in the United States. DouBLE GREAT-PRIMER ORNAMENTED, No, 1,587. THE NEW-YORK GAZETTE, Wetober 16, 1725, by W. Bractordl. | Fitth Paper in the United States. =a GEORGE BRUCGE’S SON & CO., TypE-Founprers, No 13 CHamBers-StrEET, NEW-YORK. 151 STYLE 1,538. 60 a and 30°A 2 Vb. 13 oz. BREVIER ORNAMENTED, No. 1,538. PATENTS FOR INVENTIONS, Abridgments of the Specifications relating to Printing, including therein the production of copies on all kinds of materials (excepting felted and textile fabrics, ) by means of Types, Stereotype—blocks, Plates, Stone, Dies, Stencil Plates, Paper Writings, Electro—chemicals and Light. ; Printed by order of the Commissioners of Patents, LONDON, 1859, Pica Orwamenrep, No. 1,538. "5409 28 PATENTS FOR INVENTIONS, Abridgments of the Specifications relating to the Manufacture of Paper, Pasteboard and Papier Maché. Printed by order of the Commissioners of Patents, LONDON, 1858, DousiEe PicA ORNAMENTED, No. 1,538. Essai sur la Calligraphie des manuscrits du moyen-age, et sur Urnements des permiers livres d’heures imprimes : E. H, LANGLOIS, ROUEN, 1841. : | De prima Typographie Hispanice elate specimen: RAYMUNDO DICSDADO-CABALLERO, Roma, 1798. LONG-PRIMER ORNAMENTED, No. 1,538. *° °3n) 294) 9 A CRITICAL AND HISTORICAL ACCOUNT | of all the Celebrated Libraries in Foreign Countries, as well ancient as. modern; with general reflections upon | the choice of books, and the method of furnishing libraries, By a gentleman of the Temple. ' LONDON, 1739, GREAT-PRIMER ORNAMENTED, No. 1,538. "e822 Trailé élémentaire de |imprimerie, ou le Manuel de limprimeur ; | avec 40 planches ep taille-douce, ANT, FRANC, MOMORO. | Paris, 1793. 20 aand 10 A 8 lb. 4 oz. a a 11 Ib. 14 oz. GEORGE BRUCE’S SON & CO., TypE-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 152 | STYLE 1,539. GREAT-PRIMER ORNAMENTED, No. 1,539. Ua el Storxreo- exitico sulla Tipogratia Man’ 10 aand 10 A 11 lb _ Primer € 0 f ; On oe Baand 5 A i NE A NAME} iD, i 20 Ib, a a — ee a : Z ZN \ (« lax ) AP f ? Ya —— = — >, A ( = ~ = —— Y (C YY ~ ce. / \ SY . 5 ( AC, ) a /, \ / S . @ ( tas {a a } ~ \ . : ( ( IM m, WZ 7 \ a ; a = = e)) ) — —_ — ‘ S - eS SS —— Se Se 8) ~ 7 ) GEORGE BRUCE’S SON & CO., TyprE-FounpERS, No. 13 CuamBers-Street, NEW-YORK. 153 STYLE 1,540. PicA ORNAMENTED, No. 1,540. SONGS OF THE PRESS, and other Poems, relative to the Ant of Printers and Printing: OC, HW. TIMPERLEY, LOWDOWN, 1845, GREAT-PRIMER ORNAMENTED, No. 1,540. 12's audi A lettre sull’ anno WNatalizio d’Aldo Pio Manuzio, ed aleune stampe Manuztane: ANTONMARIA AMORETTT, Roma, 1804, DovusLE PicA ORNAMENTED, No. 1,540. Index quorumdam, Uibrorum Im pressorum Bee. ee C.G. SCIIWARS, Wortmbers, Ive7. DouBLE GREAT-PRIMER ORNAMENTED, No. 1,540. De Wetusta quadam, editione Lactantii J. G, SHELHORN, Yraite de Lithogra ohie. RIS, 1834 0. 13 CHAMBERS-STREET, NEW-YORK. ag Raa a — a a am a a A ae c— —S GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, N 154 STYLE 1,541. | PicA ORNAMENTED, No. 1,541. Se ceee | Boeraphie Encomium von der Hochleblichen freyen Kunst-Buchdr rooney in einem I Feinen Gesangevertasst,. LL. ROTH, LEIPSIG, 1609. GREAT-PRIMER ORNAMENTED, No. 1,541. Se ee ‘Hecatomba Laudum et Gratiarum ob Inventam in res abhine Amnis CC. Caleographiam. A. RIVINUS, LIPSLA, 1648. DOUBLE SMALL-PICA ORNAMENTED, No. 1,541. De Typographie in rem Christianam Meritis ue "Poccatia Programma. C. H. THEUNK, SORAVIA, 17408. DousBLE ENGLISH ORNAMENTED, No. 1,541. Be Artis Dypographiz Prestantia, ‘Oratio, A. RAVINUS, VITHE BURG A, 1706. DouBLE GREAT-PRIMER ORNAMENTED, No. 1,541. De ty pographiw Hxecllentia ¢ carmen THIBOUST, PARES, 1718. Buehdrucker Philosophie. ZANTLER, 1708. GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHampBers-StreeT, NEW-YORK. 155 5 , s a or e ah io x oi , STYLE 1,542. PrcA ORNAMENTED, No. 1,542. a : Typographical Antiquities; History, Oriee and Progress of ite Art of Printing, from its First Invention in Germany to the end of the 17th Century, and from its Introduction into England, by Caxton, ete. HENRY LEMOINE, LONDON, 1797. GREAT-PRIMER ORNAMENTED, No. 1,542. gee one Hssame sul principi della Francese a Italiana Typografia, ovvero Storia Critica di N. Jen on. G. SARDINI, LUCCA, 1796-98. DouBLE PicA ORNAMENTED, No. 1,542. Hssay towards a Real Charnctea ole Philosophical Language. JOHN WILKINS, D. D., LONDON, 1668. De € Originibus Typographine A. HOLTER, 8. / 40) CANON ORNAMENT IN Us er Buckdrucker. oe SCHWARZ 4 AU GEORGE BRUCE’S SON & CO., TypE-FounpErs, No, 13 Cuampers-Srreet, NEW-YORK. 156 Sas Sane am a | STYLE 1,543. | =e | i Pica ORNAMENTED, No. 1,543. Tem Gas me | GREAT-PRIMER ORNAMENTED, NO. 1,543. 7° 3nd 124 ) x x y x | 2 x x | Chaleographiana: The Printseller’s Chronicle and | Annales bLebraco-typographici ab annum Collector's Cuide io the Knowledge and Yalue of | ay» AV 7 | MBI ad MUAL. Hngraved British Portraits. JAMES CAULFIELD, LONDON, IS. JOE. BERN, HE ROSSI, PARMA, 1799, Doustr Pica ORN AMENTED, No. 1,548. Precis blistorique sur limprimere National af Ses a ve Pr. A. DUPRAT, PARIS, 1846. DouBLE GREAT-PRIMER ORNAMENTED, No. 1,543. Manuel de Labrare et de Canateur ioe JACAUES (. BRUNBT, PARIS, 1842. CANON ORNAMENTED, No. 1,543. Aratio de {ypographiae fivinitate JDL BOBCLER, ARGENT, 1610. GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 157 ee ee | i s) mS ATE! Saeniie at. olin yy aed | K : . Pi op: fo eee, Vad L ea. TERED | SEE | ‘eer OH ; i | a | a7) igs r P oe “i : te J (ik 4 ACE Me. oat ssl tny Ch ii adie: : ¥, + ia eye kG Uy ee Ae eee ee Pro Wintel | patil ait tr wie a : , . a MYVYOL: aa Beri) i | ,. a RIG of rvtare ; aa “ih shi Haid 3 STYLE 1,544. PicA ORNAMENTED, No. 1,544. Soren Lo GREAT-PRIMER ORNAMENTED, No. 1,544. 25 a and 12 4 i XK History of Advertising trom the Jkarlest Times, | The Manntacture oF Paper ; . tllustrated by Anee dotes, | UN ays) ae oe 1 Curious 8 Opec iMens ¢ and Biograp! | Notes. rom Wood the United ctates, ¥. SAMPSON, Ji oe (STI, K. TY. BROWN, PHU, 1866, DousLE PICA ORNAMENTED, No. 1,544. Meeherches Historic ues, jxittéraires et Gritiques sur UOrigine de Uonprioerie PERAK LAMBOOT, BRICKS, 1798. TI | DOUBLE GREAT-PRIMER ORNAMENTED, No. 1,544. Annales ‘Typographiey, q | ab Avtis tyventae Orieine ad Annum (GO, MO WAPPYP ARR, HAGA (790-40 7 CANON ORNAMENTED, No. 1,544. Missertatio de ‘T’ypographis | R. YRRTSCHUUB, Jen, (G00, GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 158 STYLE 1,545. , 1 Prca ORNAMENTED, No. 1,545. 80 a and 15 A | GREAT-PRIMER ORNAMENTED, No. 1,545. 7 ,2nd12 4 | Bssai sur les livres dans | A. Biographical and Critical TAntiquité, partiewlitrement chez les Romaine. — Dietionary of Painters and Engravers H. CHRAND, PARIS, 1840. MICHAEL BRYAN, 1816, DouBLE PIcA ORNAMENTED, No. 1,545. De Typographus eartonque wits et mere ere In reeno Poloniae et Lithuantae. JQ. DAN. GOPRMAN, DAN IUOSCL 1740. DouBLE GREAT-PRIMER ORNAMENTED, No. 1,545. De Vera Typographiae Origine Paracnosis JAC. MORN TOWCUGS, PACS US, 1650. Origin & Progress of Letters W. MASSEY, LONDON, 1763 GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 159 aT EA Sat « i‘ peewee’ Bre aN. - a” o ~ SO es STYLE 1,546. 5 GREAT-PRIMER ORNAMENTED, No. 1,546. *% ut Assai d'une Liste des Ourrages concernant [Histoire Histoire de l’@r igine et Premier ey | de I’imprimerie en italie. Frogres de limprimerie. P| : SIENTE | PicA ORNAMENTED, No. 1,546. DovusLe PicA ORNAMENTED, No. 1,546. i upon fnglish ®ypographical Poumnden snd Hounderiés. HOWAED SOWH MORES, LONDON, 1778. DouBLE GREAT-PRIMER ORNAMENTED, No. 1,546. arene | Bébtts de ’imprimerie 3 Mayence et | Sambery. LEON DE LA BORBE PARIS 16m Be Fy pographiae Inventionél XM. IG DL, Coruna. 1009, GEORGE BRUCE’S SON & CO., TypE-FounpvErs, No. 13 CHAMBERS-STREET, NEW-YORK, 160> = 9 * ahs 5 ft ‘ , ae oad al © pe STYLE 1,551. GREAT-PRIMER ORNAMENTED, No. 1,551. 12 a and 12 4 hist of the Fonnis of Type and Woodent used by Printers im Helland in the Fifteenth Geniury. HENGyY BRADREAW, LONDON, 18H. QssENTEY August 6, 1878. Bete Gam Gg GD Triniers euiyersal Dov DouBLb PicA ORNAMENTED, No. 1,551. 1Ola: and! 100A s\ jy a NGS x y CO) iA ALO PASO fas y Qe fp AD DOD) WO SP A OD eur aiines Ge Ogee PERCE ; op . yes) oy ae } ve pS GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK, 160! ¢ eon pee } Wee es ee 4 ST Pe latte i i $4 end ane me ile’ eativarsn ye yt odd. co hornood sits ii. io beak S15 aie Vs he.) te HoWartijeat nod ofl} hat borsyiiel Ester Oa £0 WEE : RAAT yr. 4. 1 FTL oy pi Pie a Pit. O14 PERE es ou ort aoe ; a OF AN a ae omnpibyrin peed | moe SAT PAH WK Oa . ~ soe aye ee ~ * il ey, ey oa iy ; : % q > z Pom 3 woe A 4 £ 4 4 . 3 7 (beta ar gem rie Fo ser’ ey, ~ * 4

Ve: Bee #, fp. e im :, i ane i eas ae. ay § My a5 “ } + oF) te eae an { cot. Pee! qvan'| 109 siete Sttisidid eee gees Y, £ a ve RB: et Pern bh Gee Sa By Bushs ee ELS | ; he? ee ny ‘gsi £ Fat ea aie sp 42 Piyihs ssi TF tig eet} eis Se at ae a ) , ; : Be tf TDA a KU eh, 2 an Ae ay ’ /- ‘ i ts 44 ¥ fr, 7 i rapt 1 hi foudbnstt bien BO Kami gone SBSMR UNE rraitly. mnhgy SPS Aisin colnet yee ge Bie aise mi radu result as | } JomusssAguMbA we’ toh Baubniis® veh RE: RIT 2: 0 _ OM! MIN. PMOL fot Fe hail . ; , Ib poietic nBOe Ot) fo Guboleds? | mene af) RW solosnnog” 2oanbilng A” bre. e9iyidoiny? CUE e ATRIA et) ve om - i pee 2 GPP EA eg ntl raja * ot Pe Wetgh ae ¥ ws a ; GR , No. 1,554. > Prac isthes ‘Handbuch ur ASE) Buchdrucker im Verkehr mit. Schrifigiessereier Ye. SMALIAN, DANZIG, 18tq. PicA ORNAMENTED, No, 1,554. : Die Puchdrucker-Geschichte Ulm’s cur vierten Sicularieier at der Erfindund der Buchdruckerkunst. DR. K. D. FASSLER, VEM, £830. DouBLE PICA PEN @s ooo, Catalogue of ke “Lom Collect tion of | Xntiquities, Curiosities and Peppliances connected with the Art of Printing CAATON CLELPRATION, LONDON 18%. Int ono. ‘ + Pani ilo Cast al da Feltre e alla Xnvenzione Carattert FWkobilt per la Stampa BERNARD, WILANO, 1266. , No. 1,554. Vechorches sur la Vie et les Travan i Imprimeurs “Belées et Seéerlandais. “van der r WEETSC TH (5h UCE’S SON & CO., Typr-FounprERs, No 13 Cu RS-SPREET, NEW-YORK. 1604 STYLE 1,547. . b Prat Oe A x No. 1,547. sand 15 A GREAT-PRIMER ORNAMENTED, No. 1,547. 25 3,214,124 “Fistor Aoréote de jie son -tab- Pesagi eee enh Arte de = lissement en France, ete. lg Stampa. F. A. PELANDPINE, LYON, 1814. OR DaNVLOH Eien nl slots Ee DousiE-PrcA ORNA ; No. 1,547. : De Origine et des Se elions de Fimorimene primitive. WeG. FUGGER. PARIS, 1759. DouBLE GREAT- IER ORNAMEN , No. 1,547. ettre Sur Min vénion He Mieathinare S. ENGEL, 1741. INTED, No. 1,547. De of ‘ypographia Dissertatio kL. MORMANN, 1740. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamBers-SrreeT, NEW-YORK. STYLE 1,548. GREAT-PRIMER ORNAMENTED, No. 1,548. Shaner lkettve sur ’'Origine de I'mprimeric, servant de réponse a aux Observations publiées par Fournier le jeune sur POuvrage de Schoepilig, (ntitulé: Windiciae T'ypographicae. 6. BAER, STRASBOURE, 176. Dousne P1ca ORNAMENTED, No. 1,548. suas | Mlonumenta Typographica, quae : | artis hujus Prasstantissimas Originem, laudem et abusum Posteris Produnt, ste. | DousLE GREAT-PRIMER ORNAMENTED, No. 1,548. Tw 14 on. “Recueil de Witfsrents 24 2 2) [ Oo eth ae -e \ -aités sur Pimprimerie et les Garactére CANON ORNAMENTED, No. 1,548. Ba ae The Printer’s tee ; & EQATTAN, PHIL 184 GEORGE BRUCE’S SON & CO., Tyrx-Founprrs, No. 13 Cuampers-Srrent, NEW-YORK. me 162 4 mee - re" oe ie oe ae . eke Lo Rig Sea ot ae *y g ke eee >: saad wie» Lule ; f ? ‘ ‘ 4 ") aN =i ‘ STYLES 1,549 AND 1,550. , No. 1,549. Some ecount af the Book . ol it bt 188, in Title of Bxposi a Sane ina Simbato - tolorum ss This is the Book generally supposed to have been printed hy Rrederick cn gain stat WEEEBR SINGER: LONDON: 1812s E Pica ORN , No. 1,549. Baan (ua Dyvoeraphine annun 1440 | inventae estum seculare indictum: 9 G | p | @ 9 3 20° 229K i MEP Nib Yo fe a‘ opepe Pica OR ED, No. 1,550. s.spet as A GREAT-PRIMER ORN NG 5505 ee BP rhanore um tere Vita ipsorum ac Pacts we OMS ratiaie on COMES CORA a the dhistory of Playing-Cards MICHAGA MAE PAdS | | rp | ENT pjondon, 1709. UV. A. CHA Ph —), S38. DousLe PicA ORNAMEN , No. 1,550. ire sur la @itho-t nog bani presente par PALA DUPONT, Paris, i839. GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 163 v4 ee eke th bel By ae, . ; Aah dbl + (oe) Pan ie | Mal ae Siam i ont " ; ppt eae os | . f — ee ee ot es ef Pt nar +4 - 3) es ij i * inthe’? HA Bcbig + anence A Le apt ok vi) bexas Syed ‘ 1am anid Ba gt bora P ‘ bd Founding, exercises a Free and Independent Art STYLES 644 TO 648. . St i Oh PraRL ENGRAVERS’ Harr-Line, No. 644. 99749) 4 Wir that of the boke losende were the claspis: The margent was illumynid all with golded railles, And byse, enpicturid with gressoppes and waspis, With butterflyis and freshe pecocke taylis, Enflorid with flowris, and slymy snaylis; Enuyuid picturis well towchid and quikly; It wolde haue made a man hole that had be ryght sekely, To beholde how it was garnyschyd and bounde, Encouerde ouer with gold of tisseu fyne; The claspis and builyons were worth a thousande pounde; With balassis and charbuncles the borders did shyne:; With aurum mosaicum every other lyne Was wrytin. JOHN SKELTON, Born 1450, Drmp 1529. NonPAREIL’ ENGRAVERS’ Harr-“ing, No. 644. 937690 4 Anp also of your charyte bear in remembraunce The soule of Witztam Caxron, first printer of this book In Laten tongue at Coleyn, himself to advaunce, That every well-disposyd man may thereon loke, And John Tate the younger, joy mote he broke Whiche late hath in Bnglande do make this paper thynne, That now in our English this boke is prynted inne. WyNEYN DE WoRDE, In A Boox or 16504. LoNG-PRIMER ENGRAVERS’ Hatr-1ine, No. 644. *%43"3%.* COMPLAINT OF CORNELIUS KILIAN, 1580. PROOF-READER FOR PLANTIN. Ir is our duty to correct the errors of books, and to make sense of defective passages. But the incompetent author who is afflicted with a desire to write makes a compilation without sagacity and piles up fault on fault; he covers paper with blots and scratches, and disfigures his copy. He does not spend nine years on his work; he takes no pains to amend or polish it; but he makes haste to have his vagaries printed by the fastest presses. When the critics say that what he has written is in defiance of Apollo and the Muses, our scrawler is furious. NonpAREIL OUTLINE, No. 646. TBs WPI OF WEI SIECOND BIBL. | THE BIBLE OF THIRTY-SIX LINES, ATTRIBU’ TO GUTENBURG, IS ON DOUBLE-PICA BOI PRINTED ABOUT MCCCCLX. BREVIER OurLINE, No. 646. , BENJAMION IPIRAINIMILION 3 BORN IN BOSTON, JANUARY 17, LIOE DIED WW PEILADELPEIA, APIRIL 17, 1 LONG-PRIMER OUTLINE, No. 646. The Type of GUTENBERG’S PORST BIBLE A. very bold Gothic om Paragom oy Bible was Primted 1450-1455. ENGLISH OUTLINE, No. 646. IBIEINS AMUN INRAINTOGI Im his 12th Year was Bow A\pprentice to learm Primt LoneG-PRIMER IraLic HArr-LInE, No. 645. 43 4,™5°2 4 OGEIGZONS Sata OD) GP iy QUE ANOURe EG) MANGE Ia), Fis defence is vigorous ; he says, it is the Proof-Reader who made all the errors! # pitiful excuse, my blundering author, to attribute your own fault to the Reader. Has any thing really good in your book been spoiled? Henceforth, blunderer, correct your faults. (Won't you know that who- ever corrects the faults of another receives neither thanks nor honor for the service. He only exposes himself to abuse. Pica Iranic Harr-1ine, No. 645. *° 7 @eter Van der fifi, an emim bookseller, born at Leyden, wn 16 had a large printing office, and W eminent as a Map LHngraver am printed and published nearly volumes tn folvo. PicA CONDENSED HArr-Linn, No. 647, 2% 32nd 25 4 The Typographer who to his knowledge of Printing adds that of Type- He can work in all Cities of the Realm, even im Paris, where by the simple formality of registering his name 10 the Books of the Pratemity of Printers, he becomes a Member of their Association, and enjoys all their rights. The Printer can become a member of the Fraternity only by a Decree of Council... .. Pierre Simon Fournier, jun, Manuel Typographique, Paris, 1764, 2 vols, cap 8vo. vol. 2p. uxiij Pica Hatr-Line SHADED, No. 648. 347 JOAGHIM IBARRA, NATIVE OF SARAG Printer to the King of Spain, Died in 4786, a He was the best Printer in Spain. His most Books are, the Bible, the Mozarabic Missal, G vpanish translation of Sallust, Don Quixote a ana’s History of Spain. His printing ink w admired for its blackness. GEORGE BRUCE'S SON & Oe Type-FouNpins No. 13 cmos, PRR a | STYLES 146 649, AND 650. | Grear-primr Franc Harr Live, No. 649. 20 gules | THE COMPANY OF STATIONERS Or Lext Writers, who wrote and sold all sorts of Books then in use, namely_A B C.or, by Quick pronounciation, Absies, with the Pater Voster_Ave Mary, Creed, Graces, &c., Dwelt in and about Pater Noster Row, London, before the Year 1ho5. Brevier Law Irauic, No. 146. Sonne S08 JUST AS THE UNIVERSITY QUARTER of the Paris Booksellers and Transcribers of the 14th Century is still called the Latin Quarter, so do some London places derive their names from the labors of the said Company, as Pater Noster Row, Creed Lane, Amen Corner, Ave Maria Lane. The Stationers’ Com- pany consists of Printers, Stationers und Booksellers. LonG-PRIMER Law ITAuic, No. 146. *°*3¢204 SLOWAVINGHIS SURVEY OFVLONDON. 1598, says, Turners of Beads, who were called Pater Noster Makers, belonged to the company, as may be seen in the Re- cord of one R. Nikke, Pater Noster Maker and Citizen, in the reign of Henry IV. Pica Law Irauic, No. 146. a ae THIS FRATERNITY was very old even before Printing was tnvented, but no Privilege or Charter of incorporation has been discovered. The earliest known Document giving the Stationers’ Company authority over the manufacture of Printed Books ts the Charter of Philip and Mary tn the Year 1556. LONG-PRIMER VENETIAN, No. 650. *°* 975,70 4 THIS DOCUMENT begins: The King and Queen 2 all to whom these Presents shall come, Greeting: . (now ye, that we, considering and manifestly perceivin g hat several Seditious and Heretical Books both in Verse | nd Prose are daily Published, Stamped and Printed by wwers Scandalous, Schismatical and Heretical Persons, 1ot only exciting our Subjects and Liegemen to S edition nd Disobedience against Us, our Crown and Dignity, ut also to the renewal and propagating very great and _ \etestable heresies against the faith and sound catholick octrine of Holy Mother, the Church, ana being willing ? ) provide a oe remedy in this case. ated at London, May 4, 1550. PicA VENETIAN, No. 650. ie ee SECTION 13. Moreover we will Grant, Ordain and Constitute ....that the foresard Master and Keepers or Wardens, shall very lawfully search as often as they please, any Place, Shop, House, Chamber, or Building of any Printer within our Kingdom, for any Book or things printed, and seize, take away, or burn any Book or things which shall be Printed contrary to Statute. GREAT-PRIMER VENETIAN, No. 650. 7 Ih 12 on. SECTION 14. And if any person shall hender the aforesad Master and eepers or Wardens, then the foresaad Master, Keepers and Wardens shall send To gaol the sad hinderer for 3 months, and he shall pay 100 shallings, Lawful money of England, one Motety to us, and the other Moiety to the foresad Master, Keepers or Wardens. GEORGE BRUCE’S SON & CO., Type-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. r | ome “© ¥ att ors % id -« BIyn— Aelia adit ty Wey Se ast HOTTIE paar etiotene & rh i Roe la —. 7 = Wiest te... a ene ane Yess, 6 az “a oe * ‘ . ‘ Aid Pea ras TW mies oP 4 fa? soya ; Pek, Pity 350 "4 pe St PG iif j Vy, fy 44 2) 7 ; AAs, 4 Us ¢ {47 Pithial wise ai dtd SFR Ustsiiad FABTLIBY ED BA BD SI AEA ME (a Snviitte £100 D9 SF H401P AIR OT Dita ,Ruted } Sa és * aday VP, Jt) Sida. - ° - vation a3 Wire Cs . CET ED oi oF wh Pd Sd TAP a PERL F 4 ‘if AEDES IT 181 SIF bit BAG fae Pes 4A 7 24h i ii > -, F389 D404) OT Dhpwvsin YORU 98st Agia Seton wha veyed tof yew bi, By, PBL TV IHOS VO al LATTA A FLAT A eI bi. #9940 ») PT STI LIOOT S| outs fi OD SF MIMLL9 I NLA OMS IOC 90 is COL AI TIIIEY ISN DL, MLAS Peeewia lt) eu"! . , . % W\ PEAY ¥ \s 4 « \ q Ss Y a At DC ee » ‘ a or as Vash Wy >. yl PARA \ 9 ane AL olf sas Cites a Sb \ me ’ ; } \ f \ i Ay i Ages i , ma) s ya oe 3 a é&\ Wh pe eth Links LV ay Ge WW * a . ey esetias Tf iy bae-le* SANNA PSIAVIVALMA 4 \ ‘a . Ayia . at AY Wihsrvoky ‘2 Lee ; - as , Sy ie o : AM» AR ; SAN Wie SAAN yy) AM . a Tal \ P 7 ' 9 .'@ : x a. MY tate Wat Vo? ) WARVEN,. Pov MN lyst ANE RTCA >’ eV , '« CAs ehea DA ea pak i \ — “AS Yas LAs) .. .aWoeyanascs wie oy\ rome on. Bt ’ ; y ? a Nea) a * pi veatu Re nowy Rainabh) - 7m fil 2 rf Sav eA. iW ey bn iM Rese a — 4 Bs.) Wihosiwe rely alt: al me Mi geahuit | eile An A) SAN \iivi Come ad i) : EA : my - = 7 i Cue Page 7 va amas © i eT Ninny aie aien Salt ‘i oe 7) : a 7 | | % A STYLES 651 AND 652. | Pica ParnT-BruSsH, No. 651. 14, 38, 42°. &e. GREAT-PRIMER Parnr-BrusH, No. 651. 7371224 ROMAN LETTERS | SQUARDB GAPITALS AtLamed Wer greatest beauty wm he yverron oF Augousius, and the style hen | Used on Nivral Nonuments, used kept Mm jason 500 years. Vr | WTI OOD OY | gave place to a degenerate character | and Medars ’ UNG NLS, | known as Rustic, wm uric the Letters ‘Rounded Caprrats UN ‘Books, sloped backward, and were Jantast- . - . ; BE aren cal and fine Nanuser pts. 600. 25 a and 12 A Dousie SMALL-pIcA Painr-Brusu, No. 651. 20 6 and SMALL LEVTERS, or Loner-case, were used Sor Deeds, Accounts and Corveshrondence. They were vare before Whe Wh Cenkury) Common Lm ne Sth and worvweersal lo the 10M. LONG-PRIMER MADISONIAN, No. 652. 49,8,0n¢ 20 4 Pica MADISONIAN, No. 652. 14, 25 Se'in &. igehar ease Gothic, which lkecame a distinct Greek Manuscripts. were usually uritten stule in the 78th. century, ts improperly named. 7, 1K : ; | LG aS oe ft erie : in Fquare Fapitals, without spaces between : ; : pole eek uae the words, and with kut uery feu Points of Pa ea ae US) made lu the scriles whe usote tiadlu, and uh gq 5 oS tried ta conceal thelr errors lat er-namentation. Punctuation, The Gussian yy rahaket, of Gothic writing ts Latin uriting corrupted. 3D letters, ts deriued from. the Greek. — DousLe SMALL-PICA MADISONIAN, No. 652. 44, Be bap &e GREAT-PRIMER MADISONIAN, No. 652. 14, BFousct Ft g ii Ih pi Modern Gothic writing sfiread 7 auer all Gurape, except Ftaly, in gneuclopedia of 7830 saus: 72th and 13th genturies. _Ftaly @ nalish Statute ie aut Ta adhered ta Shaman. chatacters, — ip tinted tn L#l acle Be Chek. DOUBLE GREAT-PRIMER’ MADISONIAN, No. 652. WGent@ Steel {fens de ts SOZ3 Fleel fens made by At, (Wise, 7SO2 CANON MApbigontiAn, No. 652. os Gold {fens, Hawhkins,’2F) GEORGE BRUCE'S SON & CO., TYPE-FOUNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 166 STYLE 680. LONG-PRIMER SHOw Carp, No. 680. _ ANCIENT CUSTOMS IN PRINTING HOUSES. Bvery Printing House is by the Custom, time out of Mind, called a Chappel; @ro all the Workmen that belong to it are Members of the Chappel: ( the oldest Freeman is Father of the Chajjel. Moxon, Mechanick Exercises, page 356. Pica SHow Carp, No. 680. Bone au MOXON, MECHANICK EXERCISES, [a Page 357... There have been formerly Customs Coe 5 au rn jor the Government of the Chappel ( for the Deportment of its Members. Penalty for breakind them, a Solace. GREAT-PRIMER SHOW CARD, No. 680. a onl tice a J. Swearing in the Chappel, a Solace. 7. Three Letters (S a Space under a SOMPOSTITER’S Case, a Solace. 8. i a PRESSMAN let fall his Ball or Balls, @w ancther take it up, a Solace. The price of Sclaced varie. DovusiE Pica SHow Carp, No. 680. Tf a COMPOSITER jut a Wisp of Hin in the PRESSMAN'S Ball-Rackd, the Preddiman lajind 6d. on the Stone will furchase a Solace of S2d. DoUBLE GREAT-PRIMER SHOW CARD, No. 680. THE COMPOSITERS are ie ralley Slaves, allusively to their beind bound to Galley an Case of Tyjie... Pade 862. Canon SHOw Carp, No. 680. — PRESSMEN are ae Lorie, laborind sorely all day at Bar w Reounce.. Page I6Z, | GEORGE BRUCE’S SON & CO., Typr-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 167 ' : taal 4 "ah : ; “uy ¥,' WAYVeAVS "FA 4 ' ¢ \ PA ‘st wot) Bwit . eis = sn . oy Sie onal ; ¢ a : | 335% ue Ww? at of” c o a CD 4 b> 4 L “AY © 4 te 2S \ s\AS\. (AMA NY RAL: el SAVERY. GaN WNC, oy : y \ ay ee} VAY). \\ \\\iyn cy) WY NOG Oeticaday OG are ‘ie <= , * 5 EG 4 my | ¢' 7 i \ ; ¢ e,, ‘ ow A EES YX \) y ko we y VANS iV yy WN) ¥ Asteye 04: Sev eamnid iy’ on . ste fi wig mt ‘ ae F - pert ca c - 6 . o- Ls ’ we cer iee anced hy 7 BOWED) OV Tiere hs 1 ia Su is! Gite! te Veoh i i) pe ahait: 70) iit) my ‘ n bee: ¥ 1 hy) a ‘J 7 t Th 7 * Md OU Remotes 01) 4 soli. one Px) Hoyded!) oy Kidaht Oh HP Savi (OH ‘ral byloh wis) Tit oo’, ase ge ! coe | aa Biii I) Jolson pd J9G0Mtohe if Babli: Noo) uv oni | an bib, mie ee ; ) fj “ih ahats i) bre. both if tt 6 (THY! fe | ear Jor pol aiid 000,88 ales IPI wl! eal —ary< eras _ ea oa: he Ve. My be C a) - m3 Je 7 Aire | an i Bie ene a Prichiagges eee m e P rh * x ae he as ‘ ~ ie STYLE 681. Pica Enearossine, No. 681. Se ace GREAT-PRIMER ENGROSSING, No. 681. 744,03" | Setipt Cypes rote fist made in Pay. KN Sooman Punter, Ph hilip Pigouchet, of Pais, wa) the Pint a named Heimann, in the year 190, cut the Punches for a wude form a4 ta ill of Setipt, in imitation of aw fashion of totit ig then known af Batarde who intioduce the [as hion of profusely | usbiating, aiiee eh the gel re ae of meni tail- a text of types with miniatwie woodcuts, in imitation’ mans form of disconnected fetter tas much ge y the “Cype- ie of Syory. “She Batavde Aneidune, the Bataude Buisée, ‘ the dtl (uminated ) Lanusctipty of that petiod. Hy the Bataide Coulée ae the he Swaive Srangoise— variation of this fist woth, of this chatactet Wo Book of ow, fashion, ave sy by YP. S. Fowenier, in his )anuel “Cypoguaphique, Aten 180. Nelust tiation) woete on a Bbc yiou nd. Pay, 17 700, vol. 2, pp. “130-412 SE" CShielmann JKewet, Jehan 2, in Pion: “Youate, Simon Yo oa other piintery of Paris, weve prompt in adopting the new fashion. “Che ‘Wissalh, Books of Nowy, Peayer Books, Poemy and Romances printed by thew and ta suiccesdov) between 1493 and 1500 ate iegatded af masteipiece) of typography. Chae Pail piinter) made fiee wse of gold and wd ink. Some copie) of ie woth) wete punted on vellum, and wete adoimed by Jtluminator. - 4 Sebastian ))Cunastet, of Basle, no Celet te 15 38 jcuy) | that he and biy piinter Storchoved, had invented a method of piinting Sypogtap bie ) apy, ond o of casting (Gomplete Word). 4 CANON ENGROSSING, No. 681. Wie Seting, died at Vary in the ja 1510. Jn 0 year) he punted O57 book). Xe bequ cathed 25,000 liviey to a boll GEORGE BRUCE’S SON & CO., Typr-FounpERs No. 13 CHAMBERS- STREET, NEW-YORK. 168 « TrirJt@® ©. «\ he. eee , ath ee an, £9 og pale ae J. — .. j STYLES 682 AND 683. E GREAT-PRIMER CrrcuLAR, No. 682. 14, 28, 42'Ib, &e. ; CONNECTED SCRIPT TYPES were not attempted before the 1Sth century. None of many varieties then made were popular. Rowe Mores, in 1778, says “the Cursortal ts a flimsy * Flansard, in 1825, says that the early English Seripls were “clumsy imitations of a hind of ing ae Savage, in 1841, says that the early English Seripts were ‘notoriously stiff and formal.” failures of the type-founders were occasioned by their ability to make inclined faces on square Lo evade this difficulty, Seripls were made on rhombotdal bodies, or on fractional bodies. Three or four distinct types were required, in some fonts, for the formation of a single letter. DouBLE SMALL-PICA CrrcuLAR, No. 682. 14,38, aoe ae, A CANON of a Council of the 7th Century: ‘They that tear My cut Books of the Old or New ‘Lestament, or the Holy Doctors, ow sell them to the Depravers of Books, or to the Apothecaries, are communicated for a Year. ‘They that buy them to corrupt them, them be excommunicated. ‘limperley’s Encyclopaedia, p. 55. c Pica BorussiAn, No. 683. BOS et a GREAT-PRIMER BORUSSIAN, No. GS3o eaters oben's Gomplaint against Picatical Publishers... Alany ace they who What the Crities of the Fifteenth Century said to Caxton nit for Ftoben, aud fave almost Conspieed for his euin. Mhon any Some Boutylinen blamed me, sayeing thet in my Crans- ‘appears, which promises to be Saleable, they surreptitiously procure ; or ; } . : lacyions J had over cucyous Germs swhiche coude not be nd print it, and sell it for a mece trifle. They pay nothing for the ondecstande of Comyn People, and desived me to vse fie fe Froben incurs great expenses for the payment of Gorrectors and | th muechase of Original Manuscripts. Froben died at Basle, L427. and Homeley Cermes... Caxton s Boke of Cneydos, 1490. DovusLe PicA BorusstAn, No. 683. ng oe Br: s Complaint of the Grvors of the Gext-Hooks of the 1th Century... hen F was bung, said Foseph Scatiger, J would bet, that, with eyes shut, whecever J opened Constantine s tceek Lexicon, thece J would be suce to find an ecror J would win the bet. Seal, pp. Meh, 174 - GEORGE BRUCE’S SON & CO., Typx-Founprrs, No. 13 Cuampers-Srreet, NEW-YORK. : 169 an Vi os Y He ; y $ - uy i io aes s Teer) , 4 Yr # ws J Baas re ae :\ j ) OI ' pile OEP ess U Pte eee ay a Ptiwhe ab cit ‘ ~ gee obs hj a AO ned 445 Leet s fut STYLES 684 AND 685. DousLe SMALL-PICA ITALIAN Secrerary, No. 684. oe aa cia Peholar’ & EN ations avout Book Offoargins. oan Jt deems ves me, that they do nob ow Rooks usho f Ree Chew Ofloargine Sloan and eee and ushe ore nob con slot enoqad ed | aus the work ie Berrectina/ Suro, au d Offoaki UW of oles and Olscrsations | ¢ eat ve 1 the Oflocrgine rasmus, Os quoted iy Shesllier, chap | Us. lv. 105“) DouBLE SMALL-PICA CALIGRAPH, No. 685. TvisOnLnen DousuE PicA CALIGRAPH, No. 685. ao | he Lagat Boke Eee AN a) achap b the Ahoran, eats a Sahoo, XN. ih Ag As 168 } “yak mad. jer ak pander) lap a emalee db the Baht Sad 0) Inyo in enn natn.» AR li A AR Reel Gh cfeamns Mel asnen ha aa es Gat oe O00 aww a pas ) ") Dee en goat stings hye, st Mande a wi 3 inka bg. Sha Lady a 5 ha foe Sad 8 a oi Sonaptaedleoeh tha ae ae af be ide © doh’. Waimea ger Jac thisa, 2) coke Bindings ‘s eral be sacfub le apron Kho | Maal, oh Lae ore he tae cy oe ros - ae, anal mauling EL oer a a DousLE ENGLIsH CALiGRAPH, No. 685. 15, 30 Th, Be. S soon dhe the | nly) ol those acho afighl goods tren iene hice 7 Neat ), ay ag he TNE AW Tow AWAD disingpidhedo te wy thie elecnme | an ive Boj Bordon Ii WAN teomecnren i ate ckegames ama Ow Wilkow tn a) Ne RMD) lace by ol the ANSE YS they nesheclincly) « emblaned ar Weed AT4G= 13) Canon Caticrapn, No. 685. BO Te ke so Bvicentalo — ‘Stich a A the aye 706. ad, lal 1 Qe Sifu oll ee GEORGE BRUCE’S SON & COs TyPr -FounpErs, No. 13 Cuamprrs-Strerr, NEW- YORK, ‘a 170 | ae a+ ey = - i Sn eten nee Re * on hit oer STYLES 686 AND 687. Dousite SmMALu-PicaA Ronpe, No. 686. 15°30 Ib, Be. “Re oem Aw Me OP usentatvory yen Onglih Sy fogralshical leaden cel Bll yee es ow ere es om } hat ie Ong lal tens ' aes owned Ay or Sel hone of ie Lee, apy dhe N ouman. aay Maumee: einen ed ov bones Ayes ae Ley Jprefrared, ave’ dhe’ g ob OF ies Base’ Seerelary ) ae Meee Rouwningy Seovetauy, hes Count a jury mevev’ saw ow /rajev, mov wv oA v f, al / that we evel’ alt. he! Bases “ie Ona hectelaee aku al iol te ee | hy Bie fy. the geen Aemauns “ Her & ow aloud ¢f Ong lana 1 Ahoy heen on Jpont Sensdenee, yn thes RCA eauecieny OV al wey ok, Gus Founninyy Roar joa of ther shyly of Hier seh voeol eaveoudh a Vranjon “f Loyons, (556. DovusLEe Pica Ronpe, No. 686. 14) 28 Ib, &e, it Gunsouol ; Ms {fray une, jmutatingy a /weudo Mahan Ahand-wilong, and fitted fev , laden Hreawe-canduletes jou jaw cvces dowolwe) , wt Ne cowl a Aeittow! ; to juve dite: Rola Arowble and, val Ahew management a ipew ; adhe cfuntor of Roowe! Moores jwa/ Aus Dissertation upon tore Founders ‘s Foundries, Kondow! at. 68. Gdward Hoowe Moores lo. oMo, 1 A. 9. Pica Srecrerary, No. 687. Oe neo ENGLISH SECRETARY, No. 687. Star “On Petitions from the Justices of the peace, Centlemen, Theiv Petitions set foul, that the @randjurymen were py Brel Uruecholdots of the County of fork, the feqis- obliged to make Afheve Oe seatnents Aw Language awhich the year, 47 33, thought ab meet to abolish a character they did mot understand, and in @ Charactev aunknowwn to could mot read, a qrand and moble character adapted aw but the Beamed AW the Baw pen om which que theve d ad | ie ation -to jrosteruby, nie Hecate eirterusiiclom tren tecotos of Worshijis to great Gxprense Ay eeu Counsel draw the avere wiitten.'/C) ) Alllores, qu 34. came. y~ Powe Alloores, a Bf =e A GREAT-PRIMER SECRETARY, No. 687. 25 a and 8 A On the 220 Gi ice, 1730, the Committee - rejrorted uThat the Proceedings of the Haw. bemg an Law v, abbreviated, and awitter aw Coust- hands, and Characters - auuntelligille and nob Leqible to the ee pot of ; 2 0 concemed, eopectally 1 AW Criminal Cases, aie the qieat COMMdSe of delay of Lustice, and cccasion «most yew Flrauds."'—~o_ Gdward Mer Mores, pr. 32, Dousie SmMALL-PICA SrcreTaRy, No. 687. ae os Bi xc0: “Oadus that a Bil Le Brought in sto ta said Tegan and these Us bet Lons were adopted by the OGousen. Fad these honest Centlemen who thus confessed ic ss tn f jonny om Stag f the Midings, thee would bo no cause of complaint....Cut the Bill cutstaips the Roesolu- tic a on OE toe Sllores fu. 82. ob a : ic GEORGE BRUCE'S SON & CO., TYPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. ATE a ae , tae Mare oe ers eee “* sae 4 : = ‘s 7 wee ‘ L STYLE 2,000. DousLE SMALL-PICA Scripr, No. 2,000. ig ae ae eee ASSENT ED Nov. 9, 1812. ZF a€ She Sit Batent ff? a deny n. MN bhe’ United VA, Caled of Chmetica, Me NG rar: 4 i yoanted 0 Geotge Biuce’ fe? Ahes Doulle’ Gi mall: Bica Soufil dite Now We S42, undeP bheé’ act of Congtefo afiproved bugust LUT S42, enti «< Cty Chet ww addon’ fo an’ Chit M0 frome’ Mh! fogtep of. he! Useful A and so Aepeal ate Chels and fools of Chet» hereto bbe! nade f# Ahat Yifione , GREAT-PRIMER Scripr, No. 2,000. 14, 38) 42 Ib, Be. Suit 2 {y fet, to called, were Aaigely. pnade/ jr Sanco, fi phe’ Lye? 1550, Ay Wed Grangont of Y, O14, who cul Ahe/ fucrohel f° an pmitatton’ of a Atyle/ of pweting’, then by Ww a phe! Prench Cursive, Lhe’ Ay feed of, Aha chavacte/ puese’ not_nelined nor connected - the’ Cafu Wwee/ fatye, prey Mucqula, exceedingly” poleyue’ feeeta Ahe/ oodinary” jeadley, undecippherablle/ _.. tut Me fe a fipilar fre Many Bhinters pnade pbe/ of jt a a bulstilute f° Stati, and Brinted Lefaces A rttaduchions with Mh chatvacter.~0— Hen 2nd, Hiny of SPrances poe Geangon Abhe! eaclustve’ of, pnanipactibe/ f° 7O Yous. See/ Sournir’s Manuel Sypoyraphuguer pwnd Apille/ of Cutsive/ Pas CZ vol. 2, froges Ff, OE She’ Jnprevements of node Sy Lefounding” ae’ agnally. shown te Ge Eneuisu Scripr, No. 2,000. 14, 28, 42° &e, Lengamin Prankter’ to Wlhbaw Yrahans wunder” date’ of Ctug: LO oA ISL, ek pemembeg one olbewminy” to me’ tn’ the’ Hause’ of Commons that no two founeynen Bintew Meee (ous? tnowledge, fea with puch suceefs ao oursclved. You MCE Ahew at the fecal of yous? Leofifaion; and Joon’ of teward. Me 26 Memb ef? of Bo lament: CF jad a Ctgent for a feu Provinces, tut mow PP act: Ahem’ al GB. fade! WIEA ty different nodes, of ai a Licpublican Qipeten Ahehed a Horm woedl Yoned. Dowej being 0 Ahiode’ Quetbeaiing” Setters that tela thet feels 20 high ad lo frrcvent MhetP peighlors fom of freainy. , ; Pica Script, No. 2,000. 14, 28, 42 To, Be, You, as a Monarchist, chose/ to pork on/ Crown! Puprer, and found A profitable, pvhibst CP worked Mepor! io Patra ynudect, called Foolscap, pwtih, Mo bess advantage, Both uz? pears told out jue pwell, and jue, SCCM Aihely, fo anake/ a pwouks of Yh Mt seems to me/ that the! Compostlors jt your Chapel do not cast fff thet Copy nuell, mov perfectly / Sinprosing , fhe” Fovms ar’ continually’ frestew ty the! Cuts and Doutles that aru! not casy’ fo- te’ couccted. Ctnd oF they ME, jong yp, saying astde/ some! iuces, and poeuteculaar “yy JOC’ Aiudopuives thik would paved feen! tooth pesofiul anh But Courage vA She! Piusiness nay std flowrsh Lae good management, and the! CHaster fecome/ as pih ad Company. Prat tas Pufsy, NCO Faia, August HOB GENT, obo 6 BB. Franklin, GEORGE BRUCE’S SON & CO., Typr-Founprers, No. 13 CHAMBERS-STREET, NEW-YORK. ie 172 ye 1a ida tail => fi iil oa aie Ly wae oe ee i ere hoes . ao ae | LN aie pt We ee a SAS Oe ek aes ito Tk Ce eeraee Te Si oy oF . eee Na Rint Nae! Sree ee ke ee : : STYLE 2,001. a i GREAT-PRIMER Soret, No. 2,001. "so So. DouBLE SMALL-PICA Script, No. 2,001. 147285 Go, ‘ eee YA Ce ‘ouufiet aM Sp C oF, i Ob fi Zs Yiusd Bx wpcwinent tn ae fo YOSO42 132 VILLE of oo My Dea Suter I dhe a hanow bat tn VLE against onion Pilih is. yf cceed to fh Kieeg of tbolf, og Callads GAPS Vaile alwys jatil thi (Books were the coalsenefs Cf, my praprer. we wasted ta much iS oa e PP so aie a onetous Stl of men. Wo tn the 0c fuccsene v4 could accem plese wy hing beyille Bil faa td ety y fone ve intend ta nif CY, Ae iigentOouds lara of: the town 2 mate me a laiger CUE. ha C tase’) The fo a ae ME that they have fi aid me AMUN, Mie SF season lt COMfUwWiM.... Wy Be had on “ ee uf et ho title, til thal J have wtidéen too much. | A mastiffi .. William Coupe, ALEL-S EOC. Samu fhrsn, vA ae vi ; DousiEe ENGLiIsH Script, No. 2,001. 14" 28 Ib. Be. fa | (Operttee SVO8: We tywue bo gy tn the pands op //, iu A, thé ay el ee Ly Bi vl Gla ee / ihe his thé Np DE PI WOH f° caching CZ thé AMLCMMCI il he Chews as we tn bicatuse, as tn the frqpet aed of hs Vig dfn. DousBLe GREAT-PRIMER Script, No. 2,001. 38 Ibn he. |G. Os. YB, Ufc 7 diyjfet Myf CE EE ., YE EOE 1d BAZ yt PIPE, fe Ee Od, Mhiih, opulent Pike | .” uf LAAT OIE yong Uhewvif.. YD: 1007 | Dun Sine, on 7 yes hated Ould Gf 4 TIS Es ; Mal eer ad Yirulbe henth WMS the ye f Valder 5 it PELL. Vuntes of Suland. - GEORGE BRUCE’S SON & CO., ‘TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. ONES a 173 3 ee vor 4 . : Me 4 * » ort ) 2 + . + Ci Curt eo ty hg rr er Se ee aS ; — : vy 4” ° ee SO aA gS na a. Es} oa : a ‘ : a eh hla s ‘ ' 5, hens Lae Ope as ses - + ‘ ¥ an £ , : r, ‘ mrad A ; : “ -, vas 2 ; sora aha eae ee eee ‘ i ‘ . ys wes a Fb aie Bits aN ey ea ek ER tiaras oe eae Pre a a wi + 2 6 eee eee ae A bh v=, Se ee ld oie ih Ae Seis | a hae Ce en) ae STYLES 2,002 AND 2,003. DouBLE GREAT-PRIMER COPPERPLATE ys, No. 2,002. SM alsa | : i S Lhe oy ey Wa Ye AH wig aay en ee Wee whe Meu G danons Tee 7 biue Lids wy M0, Ma Ye dE df by ypepufh Ties pred at foes 4/7 6, pod ey at st wid he pe, ZA se be to } a aaa ia fe th oe soy A Naw ay C0! ly 4 We_wod Jo Ce Sy BA 6 byy. 0. cud , ia laa Wl DY, ee: ue A: pres by ey es, BPC SM jhe lip He be wud as the! wee cosa Jt0 ff / (i . "ak - ff, es, fo Mec’ 0 fo ‘i lompentos pow. Ud rea Liffeeut lopies DouBLE SMALL-PicA RunninG Hann, No. 2,009. VES a a | CLs Ce Wasted Wis Z _eeteled pt, thal, Com feotetote y, Aiorwcecclitygdy se | ae ee: DPofpeep pete tye Big ett ‘ ose &¢fee- ALE re. é Z- eo Aa j ae ss tae eee es oe ee, TR Cy oo | CECAPZLOP2 FO iS Dibaee, pes) ie i Bos. 3 pe y Gite YA 7A a ES W* ete Eee & f the Cetoscreingy Str a, ya Ie Sie Dovusie PicA GRAPHOTYPE, No. 2,010. 14, 28, 43 Te, &e. (She! Consequences of Composing! Ladin! ot Latonized Hames fon! Dictahion, ate jell My dascuted fb Bayle pi! his Didonery, winder the heading! Souokel, in which he ay comma” the book f ie {abhes, one Dem, Gebel do He, Geenauld, thal Gls Printed soar a Pd Matheer! of Prope! Names, afer Me ceumpll of several of fui Lbaobion," — Slew aloo Madea Lbhes band Bblegsapbe, Seuss 1, aboid phd Guets fo Printed ab Cologne, civa “aba DouBLeE Gamat: -PRIMER GRAPHOTYPE, No. 2,010. 14, 28, 42 Th. &e, Lhe) Oervations f Bayle concerning! othe ae Si eo Oval Oli) eee Mf Holland an he yor bs, a j / Cecrshand, She prrvited here U with Piirling/ Has, for ha Fou, a pot es Phe! OT errgues f thes Spek Ue ee bo Doubs pronted WW ; ie Ponoh, IQ, and. German, Languages | GEORGE BRUCE’S SON & CO., Typr-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. aa ; | 176 hae P . “Ae tee ey STYLES 2,011 AND 2,012. ., Dousie SmMavu-pPica IratAN Script, No. 2,011. Gass Minreuu, of Gop, wn the por 7 G40, deseyned @ Meu Pom o of ing Syfres ut. Weld and eccentuc Gapttats, tut with straight and unconnected Lower=case leblers, nol! untéhe Mase 3 bane ad Secretary, bud of much move wngpacefiul. Hhafe Ae dedialed the lyfe bo Lous 13th. te vewarded him with the lille of Kings Genter. Merean used thus fore of tye os Ue Seat- Heer of many tacks. Fl was used by other farrters fr Prefaces and Introductions DouBLE Conte, -PRIMER ITALIAN Soripr, No. 2,011. Blond Glial one fa os Sees eat for bs by oa sg th, @ pe Zee, povided ti To en ant coe be fatlege of Yifiening th @ Sf, ee we es ay Be ben os Merip1an Irantan Script, No. 2,011. ‘ ) tasnbathia Gj odin, ti! If 9 1 , frvidited, Wi, Pe hee ae MERIDIAN ORNAMENTED Script, No. 2,012. a a/ Leetsaty te al’ Gooner, oe DS Kiel - Aibrt ia | | Mlaminater ofeent Gd) pe Ate later | i Breese ratte SON & CO., TyPE-FouNDERS, No. 13 CHAMBERS-STREET, 17634 a ; wk 7; > as : = NEW-YORK. >< aa : : te ‘ - * y } 2 a ie ue Ny te P 1 (ee “tae f & +) @ is za A i . ; . * ht ) | ‘ gts 8 ERAS pi lt aa ; ’ Post > im : RY + io “Te Ag ag mite CYUAE aT anaes bl (is ie Se a bh aie bs regia OAs Jako. o10..20eyuntvolot off iw uoila andi booths iit tas Miat wrebiesan of Miiw aoolmdet boo vhod? edt yrolod. ayistiol my ” pF } { ‘ | Ai mB esilt Teo wrth isin soreness etettsL best An oat ot tapas oh rae ‘ val Sips th meaee 0 ayae spoil? do vailrdipan oil wri 3 “Sarin Prat yr} .7 . ee i total moihn reo 63 alubasmtooon of fwretle t aes (ti iW “nionde ‘ we - weer ees 2 roi ailitanyp ot oleae a) hoe wWermaroh ; Fass we i : a v ae “4 : Le BRIE ake Hr onmierrnvoh jan al) baie .owt. eoursei Moi ' i ees erties s ein Sel) fine owt ain tae ots. c0e-10970! soul VW La th BoE te ifot ainee sil) of Spire! sane rat Sr onty Oy Tw. Derg stant ore boy o2 Jitons bitk 4998s odt ad POT re Bite Tet LT It! yee Oe | nites ov teatino noi Papo) fe é kL ae DART at gonad ‘to tact 8 otathedos “rotoetads, uittivnollo) oll + * «/ f & ‘ ‘é RN M's, ae ys 1 Wl diy ARIA WD SA a i. 7 % . ae - j i ‘ y ut) oly Yue sored: sodainiold 2tinig eqns to Jsot « yuryollot vit boa , t ‘ * : ie Re @ i a : } a WwW — x ~~ » NS ‘. ac x ~ N s be " TX —_ ‘“ cy ya 4 ; 7 Ahbh / | , : | es aS Ss vi X. wR Sutnr ~~ eo Keres wy y £ / f % PENS tre BN EAS ee Ree OVAT YP ) : , 4 , fr. ps ' oa a Pyare. ui ia ; Ag , a ¥ Ai a (f~ m ‘ > , =F P a ¥ Pi ee a? piukts: al dA tted “ al o 5 is : & oye reed fondly _ Pry 4 ( y 4 An kins neering. a oe > see oa Ad. vd aelionds a ae eee eo . Z v gets F fe nd bast aitatano ly HET ba (0k! es ila “ull fy ak we nt seihied aon! reih sae oe ls tal Aegutbe JWinobe fom @ “i bn fle ane and , tw Me mahi. (isl after ee. pihich IS Se Mpa CoLUMBIAN PEnMAN, No. 2,051. 1-nrcK. "938924 Your ate katate C Freda! pvtetles I Big ie LH , Aa Goch Ghana of, LE ae ee foe pootioni) Lo, ee he. eS ve Ve Aypogiefhioal clack Liat» és fo ee Ww otyfro ap hioale jfpacedies ae ta is ee Vs daily tut Geol fo shjpudluta past, O bovond pryself/ Sp Hite ae dee cantilys ee ee SEE, is we ty UY comiveg) a a fwd Pee pre yee (fas it reed, Ly eee i bbs fash, cverrpel fom Mire’ acerifrations er of Pi ee eee hot eR ag end domestic oor celn. L lorrred VA w rad tbo wey abide FEE Po. ew few fined pn’ ome ae Caps, Figures, Flourishes, Points, Spaces ¢_ PSiby Gort an ATEN CM eae bE ee ee Soe Lower-case Letters, No. 2,051, l-nick --.. 41b. 22. Lower-case Letters, No. 2)053, o-nick -.-. 4b. O oz. Font, with both Lower-cases .. 16 lb. 8 oz. CoLUMBIAN PeEn., No. 2,053. L-cAsE (ONLY) 3-NICK. °93jm24 Gram Cheus capragilica, SOLE. . nee “2 ies ELE: MAE a Sfuely ey Ly Bee Wd any SE, Wile MWe AbME We MAld Ml. smote iff? oe. ee Ae CALLA oe ctods VOL fo OE OG: ally a Bal: Ma wilde codon Le a Vee oud APU LO Ve VES ea guty te MEOW DOTS Faguett MW ti : h 2%) cigs ae Aon maa rere hae ‘ ” GEORGE BRUCE’S SON & CO., Typr-Founpers, No. 13 Cuampers-Srreer, NEW-YORK, bea! an is VA Y V/, L Vi VA Ve ee Wie ee ee Uhre LS Se: previa fe nae Gua Avo A — STYLES 2,051, 2,052 AND 2,053. Caps, Figures, Flourishes, Points, Spaces and Quads -- ag Ib. 1 Lower-case Letters, No. 2,051, 1-nick .......--.------ Lower-case Letters, No. 2,052, 2-nick .........------- Lower-case Letters, No. 2,053, 3-nick ....-...--.----- , Font, with the three Lower-case -.---.---- Paragon Penman, No. 2,051. 1-nicK. Say as ee acca Sater Gate ‘the earliest, Yutiig Che | Gg cle Dates was wre of ~The enttrest) Ur y/ C asters i BAVC ,| / —~ 7 Ma p Y, ee YC CZ : ‘ 7 ea. AS a } Lee CS [JeecurPeved Ongtardd ON Copper plates, Ox 4 OG Ps), Da VA 3 YA VA / Ze hbo y Va hfs . : 2 | Vy Y YA ews y, VG? Uy, y, “ : : JEM bto atl g 0) frowned. Sees AUONMM, aMhough fpohnion ett ighloen CA Tm NE tae and Aiifffeoséd Ao command a Asleadier -AandO) i, LIMO We he Yay, (- J by py / Y / Y, é 7 Se Vig eee a AtCCOTL a edsthvow f (tt Yuieg CT vodougsting ' PARAGON PrenMAN, No. 2,052. Lowr-CASE (ONLY) 2-NICK. SPER _ Cala publshia tue Cditiays off a Gractioal Duatie on Venmanshipl) ip Grist) Cdlon was nthe. Clpe Wisi Cohrotrastey, onlemig tia Chiba, On fa eoond Chilton of ths teed, te insole neises commencaleiyy Gill wit and shell, Jaume 18 diffnonb, adhe, CA iponimmns of hs Tamanshja Paragon Prnman, No. 2,053. Lownr-casp (ONLY) 3-NICK. so ee | Se Gt bli MN, 7s ae Oe, MNe002s fei volumes by age te a Aesbibhd by Aencvildd succoldols.... CL pie wey ee Cee aga ay lew 1 0 end be eZ nihil of book Gr ae, suffer conti M1 fom a mile Z “ conliaiies Mh - j com/fuailion; 10 4 Lil fund YW feudinee f cleike, by. Lie a Ahely bach poyitp Ue debt, of naluit Hit a hvieddate Fsaiad hile, and a 300, (may Me Ase Aft; Ue Me Sik of. “Ue 200 decoustd, and wat sayhy off, Cusine be FO, a iif. pe fe dead, and yol nih dead, for he Jilh lift a sone) Nicteard de GEORGE BRUCE’S SON & CO., Typ-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 178 STYLES 2,051, 2,052 AND 2,053. Caps, Figures, Flourishes, Points, Spaces and Quads .- 13 Ib. 4. oz. i Lower-case Letters, No. 2 VOD Me elo eee eee oa 5 lb. 12 oz. Lower-case Li etters, No. 2) O52 2-11. Gigas ae ee ene 4 1b. 402. ‘Lower-case Letters, No. 2/053, Orlele-! Sheree eye see _5 lb. 4 02. Font, with the three Lower-cases ---..__-- 28 1b. 8 02 Dousie Pica Penman, No. 2,051. 1-nick. eos Mow POA MAedwice. Of pane boon eh the Clement ita ateve YO yous, ond D, Ves: aa es. Vi Aad ar a welluntther de ae that Ot tys WOVE | as cepectally? le you, ee Ce You aoe preotaidl Ae ged chaige wn bagel? fe’ 4 weep ee lowe es ge of Ih. M72 ee ee ok desvtie ppow nel flo ME, segs b oi DousitE Pica Prnman, No. 2,052. LowrR-CASE (ONLY) 2-NICK. ST | Ex is “oid Op, la. 00 7 vA Lh sa ve of (Gai de ey) y UD Si Me | 6 Sorccichs of) the Cnt A brthweip (gfe yy Se C. Ye 15th day off Wi gual, a) Mote Oban | Oe inns, in Me ee he, fan 19 esount, Ye fronen ttt Gy ae ba Yolen Ae Bop ae Y Bis sort) Pah, whe pi frcrnibe lo fray ad Cr of LL, Y ab deculsly es tts fpucldow and goods ez. Dp or. voyale fi , ns a, £, Dp gS DouBLe Pica Penman, No. 2,053. Lowrr-CAsb (ONLY) 3-NICK. ae 9 Grom Me WA a f° Villon @ G Gawu Yt me whe ti Oleu: on Ay tit, and begie oS We se Seon? Sounds Va ate Mit f | Ou ass Me Comp oi; i? Mb fl of . 1A oa re Conuetsalion; he i eee f quant: MOM ib (Yash jb wel 9 Ganda “Yi; Milas 6 OG y, y “ihe 044, Va) 2 ee ue dl tn (pews ip foe AG Vag ayiziie a) an 3 few eh gomlnwtan © Vista VLE MIt hy y “Ahh 4 yy, LLL, I mi J GEORGE BRUCE’S en & CO., Typr-Founprers, No. 13 CHAMBERS- STREET, NEW-YORK. 129 i m ‘Fe +t | a * ~> | “4 ey 5 , a ~~ ’ Na kc? etal, mcg oy Set aa * abate a aa 4 x a hea i: he ae nea ss ® hs STYLES 2,051, 2,052 AND 2,053. Caps, Figures, Flourishes, Points, pares and Quads - Lower-case Letters, No. 2,051, l-nick .--.-.-.-.--.--- . Lower-case Letters, No. 2,052 52-nick = pes=-se acer eee Lower-case Letters, No. 2,053, 3-nick ......---..----- Font, with the three Lower-cases ....----- DousLE CotumMBIAN PEnmAN, No. 2,051. 1-NiIcK. Breen Ope eZ wa cudtlomnt Cx rae oo O72. AV ee ay Lite ise. COALCD , : i COU a E CU TLC Se ae toe Asands ft DovusiEe CoLtumMBIAN Penman, No. 2,052. Lownr-case (ONLY) 2-NICK. AS Ga bul aps lof tee ob 1, Leuk tins, of (ee Mn the oa TO b] ade JE Dotujed G ypat, Lop vA ve nlendéo , a A iil 4a «_ mod J fo en FZ, L. poet £ adie teiul a hi 4 eunvcde d execmftrlatie Y OW Y, A ji ) fe A YE fot t/ ; X é 1) il Ufiful cndie a se: COV ~fUi0e!. WE Sy Paes: a Be UME DousBLe CoLUMBIAN PENMAN, No. 2,053. LLowER-CASE (ONLY) 3-NICK. Sona oes A Cbd Cuma f 1 Va tbh Can Yi aa te Oye C4 Lie of Vide f. Mil sea WEE it A hid min | 7, ae Whe ee, VA Uh hotd’ 2 gles valle yy, juice dnl Ye Mile of Pe GEORGE BRUCE’S SON & CO., Typn-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 180 ) STYLES 2,053 AND 2,054. Cay igures, Flo Lower-case Lette Lower-case Lette Font, a ee See | a Vy oy LB ee A, “teamed utube ee D | a V, LG Ly ee / f a Bio hing Finliiy’ MM VD les y Gio, MG fe : Be fron: Wiul a OT, Wit J] 1 bot CH) Vi (Bichon tebe wn Ub, Je Ghd) ff CE ton bo Me We —Whul Al we8t Up MV Va ” ei Mh) . J YY | 6 a son a eee ay Bi yy Wi Wife) ( J tMnuls Sele 4) = A010 wind = ) MeripiAN Penman, No. 2,054. LowEr-CASE (ONLY) 2-NICK. pean SS Tee DG Deh y / Yp oe Pili Voom MW whit W L,, % we ia aus VA Deh “7 ee hind VA CG Mihi), 0 fo } hile Mike Owint il Wf tod Ae vont VIL Cypha tht). 50. 7 / LG at Diopoil WH) GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 181 IN tomo i vi asi STYLES 2,053 AND 2,054. Japs, Figures, Flourishes, Points, Spaces and nae ads .. 21 lb. 0. r-Case r a, 0 -nic Sue te . Frve-Line Pica PENMAN, No. 2,053. 1-NICK. Y, (abitig A | sail tie ( Dra a Y yy og BD Mh Cathal 7 Jif Mish hy alli My ah Ma WS fr Mn / Edit ge dda | ) GEORGE BRUCE’S SON & CO., Typn-Founprrs, No 13. Caamprrs-Srreer NEW-YORK. 182 Yt) Y MW y he & STYLES 2,053 AND 2,054. Caps, Figures, Flourishes, Points, Spaces and Quads -- 39 Ib. 8 oz. Lower-case Letters, No. 2,053, I-nick ...........-..-- 16 Ib. 10 oz. Lower-case Letters, No. 2,054, 2-nick -.....--.---..-.- 15 lb. 2 02. Font, with both Lower-cases ..-..-.-.----- 71 lb. 402. SEVEN-LINE PicA Penman, No. 2,053. 1-NICK. Sas ee 4 Ly SmvEN-LInE Pica PENMAN, No. 2,054. Lowmr-cAsm (ONLY) 2-NICK. ae GEORGE BRUCE’S SON & CO., Typn-FounpERS, No. 13 CHAMBERS-StreET, NEW-YORK. 183 , at D> ne og Hawenls 330 +epriae | msec avis: | . mpi T- 0 ' ‘Bi hhh a ; re pao: Pia So . ie ae ; eT ae . . | "3 . Lies se iz PIITGS LOI pene | ’ j TET LY ( - : | Loc wot. eiptih es il) a] it vk aa STYLES 400 AND 500. NonpAreIL BuAck, No. 400. SO aan 2004 Brake, in his Wistorn and Antiquities of Boston, page 421, thus Deseribes James the Printer: Another notorious apostate Hho had the address to sabe his neck from the halter fas James the Wrinter, an Indian Who oentured to surrender on the strength of the JProclamation... After Bing Philip's War 1676... We had professed Christianity, and was skilled tn the art of | Printing, Dut he beeame a notorious apostate, and, like a false Hillian, rat away front his master, and became chief scribe to the hostile indians. On profession of penitence, his Life Was spared. lit sain he was the only man able to compose the sheets, [topes,] and correct the proof of the Indian Bible. We learned his trade of Samuel Gereen, of - Cambringe, and followed the printing business until 1679. We was employed bn the Society for Propagating the Gospel among the Enbdians until 1708. We died 1714. | BREVIER BuAcK, No. 400. LS oe LonG-PRIMER BuLAcK, No. 400. eter HAercurius Bibrarius, a faithful Account of all Books, EAH at has once Passev the Press is Mvre- FABCBXNXN., All Booksellers are Vesived to send to us, ae the Anvertakers, any Book, Pamphlet, or Sheet, they would pocable... A Printing House may properly te Habe in it. They will expect but Strpence for inserting any compared to the ¥nfernal Regions for facility Book, and Twelbepence tor any other Adbertisenvent relating fe { to the trade, unless it Be ereesstbe long, of entr we. . Sant, Pohyusow v1 the Rambler, ' Pica Buack, No. 400. yA ie . Cardinal Bellavaiw was so provoked with the blunders of His Printer | That he rewrote the copy, and sent it te a famous Printer of Tenice who returned Printed Copies with more ervovse than there were in the Hirst Loition. | GREAT-PRIMER BuacK, No. 400. Ee | Bernard says that German ECvpes, ov Black Wetter, ave corruptions of the Roman Face. | Kevwiaes woula wot gave Roman Twpe. DousLe GREAT-PRIMER Buack, No. 400. 20 Ihe 12 on ILC Champ “, Mavis Meri1an Brack, No. 400. ae Four-ling Pica BuacK, No. 400. *"s ane ;REAT-PRIMER FP K AN. IN j 25 aand 8 4 ; GREAT-PRIMER BLACK OPEN, No. 500. Ate Dovusie SMALL-PICA BLACK Open, No. 500. "?s'0"6 on Reevs were used before Quills cae witth Ouilts. Paper. DOUBLE GREAT-PRIMER BLACK OPEN, No. 500. TORTS =. Grpphi ius a Prtwter, MERIDIAN Buiack Open, No. 500. Sapte Four-Ling Pica BLACK OPEN, No. 500. oe | Simonve Colines GEORGE BRUCE'S SON & CO., Typx-Founprrs, No. 13 CHAMBERS-STREET , NEW-YORK. 184. STYLES 401, 501, 502 AND 503. Brevier Brack, No. 401. ROCs ee oh LONG-PRIMER Buack, No. 401. Sr ertos: ee’ a trict perioy, took the leav of all Swepnheim and Pannart;, first Printers in | Guropean Cities in Book-Paking. BWernard says, detore the year Rome, ina Petition to the Pope, dated March 20, 1472 FAD., there were tn that City Two Wundred Printing Offices, ®ave the Gitles of 38 oats rinted b ‘ We estimates theitv production at Two Willion them bet ihateti ih Q Copies of Books and Pamphlets, Me Sp he nae abies EnauisH Buacx, No. 401. eee sae Pica Buack, No. 401. aes ‘ coo Of most Books, they printed 275 copies; of Competition and Civil po reduced the Hany, 550 copies; of a few, $25 copies; of two books, Mapper. an AG0U, there were a Printing Offices. LAO copies. Readers were then Sew in Number. In the XVIth Centurp, Waris took the lead. DOUBLE SMALL-PICA Biack, No. 401. 734,34 GREAT-PRIMER BuAcK, No. 401. gpa onde 5 lb 9 J Swepnheim and Pannarts, in 17a ; St is thus Plain that the . Said, in a petition, that then had printed Colien of the Roman Printers More Books than they could Sell. was 275 Copies. S1x-LINE Pica Brack, No. 401. eae yi I. De Spira, Printer | Six-Line Pica Buack Open, No. 501. 10 Ibn 4 on Srx-LINE PicA BuAck OPEN, No. 502. bea sand oe Cc het tt OKCN. tions | Pica Anato Brack, No. 503. 30 a and 10 A | GREAT-PRIMER ANGLO Brack, No. 503. 73°53" Nicholas Jenson, of Cours, France, | N. Jenson designed a Ffoodel he Best Printer of the 15th Century, began | Roman Face. All his Characters : fePrint in Venice, A.D. 1471. | Cut on 73 Punches. | DouBLE SMALL-PIGA ANGLO Buack. No. 503. Pena eo inde Torresani, of Asola, became the Uwner of Jenson’s Uffice in 1487. Aldus Manutius married the Daughter of Corresani. GEORGE BRUCE’S SON & CO., TypE-FounpERs, No, 13 CuambBrrs-Srreet, NEW-YORK. 185 4 ' > q 2A. JON eesoyoue bevitongy AB e666 AL ‘ “0% > ‘ens i, a Barts naw 4 fi Ing en Gash wt a Te . | . iMigh J - ii Bp rsieouites ts TEU hSacirg ; % be ray Bis! fue 9) | . | 4 v . t. : 7 : ’ ’ ‘J Ree | f r oF PF peut 1% \ a / . ¢ i H . a best ACLUTT if i MTT. 11 4D ) a ; tery ft ; Rite Pi te 7 } 7 : on V i a J “i fy Wil} 2 is | ALM Ly it uv i a gyi Tih fh Sy We eee rit HE 1p i» it; siryany etait ) a hy ; vip, winds ayaa i TINT a YE OT hth ull Ie ate ail insta: aro oyun ae om aidiattte oat Bl duis dhe ‘ii! ie ny % HON Mecetigs) wetaeee E ih. hi | infin iy i mitt 2 oy a aN ait ‘igh ee le tate ~ a = oa * = ais j ‘ ; ae atsbt, 097 BAL Cian l'Rs J . - sn & 4 \ Srieetwaitteareo DY writ SOOT C9 tas , bbe fae a“ 7 —? - ¥% - : - ‘, : sad ox? stisi m= pa,t¢) ioriim anit ~ereceis Pleased. tay 3 —- : : ch ; hain Tisai wasy a yom distri raeereiot. be ss 41s EX: feral - mice pei-ar3 if =i? rrerats 63 “gs see io vu rs > aterscs Javzaa-verw atte: Thet-tatetes = j isa ines +43! é be Sasa! 83313 332s ti °s/ Ts +1 roms dee?) 7233 ealayo JF saathts sak hoe mri wf ~€ a4 a? { pre rs ce SS s- : i, I st tes DouBLE GREAT-PRIMER TExT, No. 515. 15 sand 6 A if : Px@ Q Pousari’s Beto in 1825: (eo Compositor's charge for Composition, add one-fourth fo cover the cost of the Feading of the Proot.- Canon Text, No. 515. ae rae ( 0 this (fofal, add one-half... @/ppoaraphia, page £193, GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. ihe Ml eT * Es) pues erly st et Eh Tlic cul j aeern sco t15 SarreYrc”’ a2 ‘te Tear £ . u : f eh “ead * Preah re hvtisacss miyve** : ‘ , * é . ¢ “* - i t 4 gar - { a a. ee y Papo ie ie Ge ] or, : if ] 4 J ! (os * Psi > Le! my % é. Hi Mia pi bide eit 1 tobif] nin 9 i ¥. d i ' ae &: sodatea acy aft ag thar Si hep fey ‘ : ‘ *~ f | 4 onl) ofanott se ’ - ” » 4 ort ‘th , ya, an — Sennen © ‘an ots ; MOA OtHIG 1) ; mihi}? -# fOTAOU ILO 1) (} 1) -Ccal it hostta ff < DT + iW aM. +4 bead ull to taoy oylt tos of ptioteapto ph i 405% opsq sidgorgoqa yy ... tsjl-o0 bbs fate ve Sf > , tg ory Fe - gies ae | ANOTWAG rueret ss Pemsaronitaticy 4000 08 " eg = meets Arivntt ase Ania on not ‘ eal sane Fo eKhain”) © vee me tainis't eid ie STYLES 516, 517 AND 518. Dousne SMAtn-PIcA BLACK ORNATE, No. 516, 7 smi 4 Dovsre SMALE-PIcA BLACK ORNATE SHADED, No. 517.°3i%2) €o Make his Books Salable in Northern | Giobanna Dt Golonns of Denice, [raises th | Encope, Henson tvas obliged to se ‘Black ilietter ot his Printed books is | Black Letter or Pointed Gotbic. | & Most Sublime letter, DousLE ENGLISH BLACK ORNATE, No. 516. 34,5197," DousLe EnGuisH BLACK ORNATE SHADED, No. 517. 73 i747, Grich Gering, Paris, wis also Perbort saps bis J Black is the inns obliged to Discontinue Loman | Abavirable Ccactr Hnoton, | rnd Levert to Black Letter. | Gxcelling all other letters, | DousLE ENGLISH TEUTONIC ORNAMENTED, No. 518. | i} Nidolas “Wrevest, of Waris, said it 1393, vas the “Wlost “Beautiful Hace d jis “Black Che “Wlost Graceful Kora. DouUBLE GREAT-PRIMER TEUTONIG ORNAMENTED, No. 518. Chevalon, of Waris, 1520, said Sis Whack Vetter was the West Vlegaul Sorat 1 Use. CANON TEUTONIC ORNAMENTED, No. 518. Like Wankon' S, Bruges 147 GEORGE BRUCE’S SON & CO., Typu-FounpERs, No. 13 CHamBrrs-STREET, NEW-YORK. 192 rie STYLES 519, 520 AND 521. GREAT-PRIMER SAXON ORNATE, No. 519. Ghe pit 2 Dutch Penwsylirania as hw sesenl avelling, Philately 8B os DousLe Pica SAxon Ornate, No. 519. i eee insetts =). ut Vearle uf Fiberty AN urrester. Stone ) DouBLE GREAT-PRIMER SAXON ORNATE, No. 519. a3 rat Gureties alt qr iwagton 3 A buevtise Le Xe) wo GREAT-PRIMER SAXON ORNATE SHADED, No. 520. tt Boveri g vilabelybische Staatshote, hu 3. Ail ler, Piilobia Dousi® Pica SAxon ORNATE SHADED, No. 520, ie South pelins & American General thazette, RA U) pelt DouUBLE GREAT-PRIMER SAXON ORNATE SHADED, No. 520. Tee Betinonss 3 HMerenen anh Wi ably 2 GREAT-PRIMER SAXON ORNATE SHADED, No. 521. ‘he ptican dlagaaine altub Histavical ol heowirle, hy a ma a atiehart SA poe Pica, SAXON ORNATE Bo No. 521. © Baltinunre it lheriitser, oF. ( (Gostash DouBLE GREAT-PRIMER SAXON ORNATE SHADED, pee 521. CSP nieuw és wal Sal (elu Dobie nee ta Hau = e MERIDIAN SAXON ORNATE SHAD ED, No. 521. hany ae ia u, BY. & & Garton '@ & ZS avuland eine! nal wx - Ea) | | g. . : # Pe) Fi ' : 7 e) “© - GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No, 13 CHAMBERS-STREET, NEW-YORK,. 193 p. oy ee! ree o> & - Coe EAE ore i is Sg Cas 4 thee 2 F AA +P i.) 3 aa, Ark Akt be A denne. be Bes igcra ike uit dys it all rinniyoninke a) ua = ? { fi Lore (VERE wey oe aren + “Fy shui if ue faite . 3 ifdef shen ‘1 if L aftusuad va ) Rud 7 tank “m eal ane Eb }) Levins 0 mainte ra fe! ined idee ida tie saree ‘raul of y ity tr rare ; ©. Art wist- oY ‘ oy , , ; ‘ ’ * = * 4 , 7h i ' ile 1a. haat i} Haig 2 its end The ae 8g ce ib | | Pte ia Te earn: craigs LE if Nx ’ j i se ‘ ie noe cebge (MLR ed des ge Ne i a ‘ if Ch ; A, eh Aida} mgenhndin) ol Sy aithawnZ E's eth gan oh Ly whinglpls ko in Se bf Gooiph PTindN wagolenly Ksyym i {Oyo} eopne ono OS Pt) ae ij, i 4 : Hae.&¢ ect Sane 5’ @ = Gi a= >’ + Bary Souk é Lio eee ‘ my ag? i ae STYLES 522 AND 523. GREAT-PRIMER ITALIAN TExT, No. 522. Sntiong Barot, Hirst Urine in Milan, hat a Gartner, “Barn agreed in make us Bayes anf he ae Be Pour Bariners agrerh io dermis We Moun. Shey tegan work with Bowen Grover | which were most Jargely aera in Mrinking we Palin Glasstrs, : DousBLE EnGuisH IraAuiAN Text, No. 522. ans Cre Siecestzatic, Gobriel te Orsini, who wes Brenanrer of the delitan Sine os, mas qa til th One Goon of Seuery Bork Hen “Mein. = Be Gorrettor ant the Neoot Qteaiiers were alae gait with “rintet “Books, | } | DouBLE SMALL-PICA TEUTONIC SHADED, No. 523. | Unthony Barot beqan to Vriat in Wilda, 1470. S3e sais titi! 1500, when he Died. Sis Correctors wore Vhilelpus and Dualcinio.— Dousie Eneuisn Tevuronic SHADED, No. 523. o— Lavagia and Woitanirs, a (473, sade a ‘Coutsal with Chris. Valarfer for i use of 2 Vresses. — Shristopher Baldarfe t “agreed fo Set-ay 20) 2 Solio Yages for 24 Buperials. Sie Sopy of the Decasiecl 201d for 2.260 pounds. GEORGE BRUCE’S SON & CO., Typn-Founprers, No. 13 CHamBerrs-StREET. NEW-YORK. 194 es STYLES 524 AND 525. DouBLE SMALL-PICA Mmpinyar, No. 524. —-Oherefore X ate WPractpfed & Lerned at mp grete Gharge and Ditgeat fo Orbepne this Said Book in Jrpnte, after the Manner and Forme as pe map Here ser, and is not Greton with JPenne and Wnke as offer Bookes ben... All fhe Bookes thus Enprpnted... ere begonne in on Dap and alfa Epnpshed in Oon Dap... William Garton, cirra 147]. GREAT-PRIMER ITALIAN BLACK ORNAMENTED, No. 525. _ Bay to ox the Soul of tgs oe ae axto rt, @ x XE5 SAY am as lap « =| ~A >) rama SGP ~ ; “REE 4 ‘ / La : C Js : r, 1 eget See LF” || 4 € I) OL OSP ‘| o) Tae ( Ce ae II: Vm & re ) SS Z | a } ee UC \ i) ) Owl Gal Ze 0 aa) () (| Zao) Sea) a) (} | al 9 ecesed tll WIELDVEIMLY 5 VILE QiKSK fs Dousie Pica ITALIAN BLACK ORNAMENTED, NO. 525. m Caxton have done m sClOn@ rinte it In Gree. rouffite Tilo —~- DousLe GREAT-PRIMER ITALIAN BLACK ORNAMENTED, NO. 255. GS, ‘wi @4ae P f SOLE PG, a : Be hes én a ‘WLOX TTI y | Tee o See tl P 14 ter es VIJU. Trent. GEORGE BRUCE’S SON & CO., TypE-FounpEeRS, No, 13 CHAMBERS-STREET, NEW-YORK. 195 AG 41a ‘ he nevoth ~ f vom at pater $ tagnert sed Y v10l4 TO na f snl a) ite inert nb Aogell 6 bind: ait a Bi. | ioe afntk ne son ‘ia 1oiTD ion zi inal . a i! o®. absinopad view’, dshieien® audi alanel at BS cotap mall... ga no@ ni dfeqng hss u. ; ¥ may apy ‘ tee’ er ye - 7% a . oF LS; he ; is ig “3 Sh A av dwice 2 # » wes URIs "ehe / oe Say: 3 fo Apes nee ae 2 8 . «oi a Pe r ere . e Sst 7 any PIN TT Ba es “TS Of gtnarg ot ot FRE: tai . , e * % x . ‘ “ ‘s os aii ? 4) ae ee ee bys ere | ee 2 ese | J wt Sn Lif 2 te Ss 2 c 2 2 3 Ls, Oi: 4 ttS . i$% Sy , « ¥ 5 a Ent Dw s nig ads AG) TE nile bere es Ree 5 z . ' +p a * . < Page a ae : ++ hi i } :. te ite oe 4 ons ie . bh \age 2 > Jf o. eS . , ao ~ a Sek => eo SB eBUN Biss tnt rida, i A bea Whos Gag hy r: a et a A out tie oy AVE Bee in » Mey aT vohue onvield ta lanes il ont naneuy meee fy auitsnl | OL yi ovnioaselp “dt ah Syatoesed!) acemoll de ayrebelh to i aa Ste 209 2 VIS pee GE Hee Ly. Gaue meee. eli pire ae pelaritiinn€ alee wine at Fe diene SU ey WLS es a, Sadie (ad) Ley. 3 + We | a ect ® iA ; Pe. | { , a s +: ge v Sal Detect ‘wai iit nod eases iiegiit. i aS saiinsy xD ATO hosentt int 10 P potas Jnasttit eee: am St | pa + i | STYLES 526 TO 529. DousLe Pica Exrra ConpENSED BLACK, No. 526. 20g uate [be {pense | Pook: i the Nioli ) Presi af A i natier the qe t Api 23d, 1477, sys that one fb i, 8 a 8 soll Ww af i tices of oman (baracters ta lire ued, foe 10 Placing of (ll . ya J DouBLE GREAT-PRIMER ExTRA CONDENSED BLACK, Nor 526. Man dat | [i Fi (jldzwith, Jenvenut, af florenr (ut Panchos for 3 Paes of apes i na Canon ExrrA CONDENSED BuAcK, No. 526. "Ibe do | 2 Paces a jen L oi (othe, the | Pino Press pail 10 [ive LONG-PRIMER Buack Ouriine, No. 527. ohne A Hloventine Wook-ublisher made this Agreement With Mominir, Wivector of the Mipolt Press, Mecember Strteen, PICCCCUAA UN ¢ Domine should IArint Choo a nored Copies of a Wook of forip-six or forty-eight pages, “ordinary Quarto or Mopal Octabo,” for the Sum of Cen Livres, exclugibe of Waper. IM he Printed move than Cwo Wundred Copies, the Contract should be Wotd. Womtnte completed the | Book February Cwentp-two, PICCCCLAXXX. Wook tag in Press about eight months. GREAT-PRIMER BLACK SHADED, No, 528. "Ea Aolen GHz Hlovswmting Golly pee Bie, Bolly ty the Riooli Press, Ong Aupiveey see a ils, Uese Big Dritials, Dye re Uovose Digneties, Sanity 0 3 tor an eubively Mew dnee of Week, | 7 | . DousLe Pica Buack Ray SHADED, No. 529. SETS 1h bought for Manutiz ae red Oil, Turper enfine, Rosin, dln L iutgal Is, Wit friml, or Sige DouBLE GREAT-PRIMER BLACK RAY SHADED, No. 529. ee nag oe ar ine oh h & H ana oe R | KK ASS GEORGE BRUCE’S SON & CO., Typn-FounpE RS, No. 13 CHAMBERS-STREET, NEW- YORK. 196 ZZ Le ue STYLES 530 AND 531. Douste Pica Monocram, No. 530. oes Sex i in the your said: | sell fplesent fooks, Jfieety Printed, al Pralteg Prtees, DouBLE. GREAT-PRIMER MoNoGR an No. 530. SHAE ‘ nin s, in the year of 1468, had frat en TD Price 80 per vent ‘Canon Monogram, No. 530. Toes ‘he fhe Boo whieh cost 100) {frowns | Te {450, could De had for 20 {Powys m the Vevr {2H}, Customers desiring both of these Styles, need only order One Font of the Capitals. Douste Pica Monogram, No. 531. msmenicns NOT TO fowrranicr AND foxrurs, Sup ee [fesse AND Fonsinn. fous fooxs ARE TO BE TED, {\runas TO BE fwauLowno, fous flew TO BE [}osseeo. pon acon, BORN 1561. DouBLE GREAT-PRIMER Monocram, No. 531. sea DING [loxere A fou fos foNFERENGE, A feaoy Iles AND | \ferese, AN foxscr flew | [or facon, DIED 1626. Canon Monogram, No. 531. 12 a and 5 A \ERTHOLD fieusouor DURING THE Year IO0G, SAID AM NOT &,REEDY 2 | seu Rooxs {reKaP. a _ GEORGE BRUCE'S SON & CO., ‘TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. ' LORE ao a = ty Beiiso!t dayGnnjh ia ee Ae “FA ’ f STYLE 532. | DousBLe PicA BLACK ORNAMENTED, No. 532. oP apes a Q Q 9. 68, oe ROG Cy M9 q | Gi OLN gNeN BOOS © M000 g DG NOON GO “Bo eros qatENTEy Noy. 11, 1873 ‘Sy DouBLeE GREAT-PRIMER BLACK ORNAMENTED, No. 532, ere 2 a, eC d POOP UONONIO AQ 00) @ye ) yy G yo) | MONO 705) Mas SOE JMR PROD Y | Canon BLAcK ORNAMENTED, No. 532. Te ie 12 on Co 2 DOUG (at a0} il “dl in D ffir) ¢ MED) BQ) G G 6G 7 (ED Or~ EH GOs OSC, Sra GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS, No. 13 CuamMBErRs-STREET, NEW-YORK,. 198 | STYLES 533 AND 534. Dovusie Pica Buack Rivmep, No. 533. Che German Language, says the 2 Aechbishop, = Cannot worthily vender Absteuse Speculations that have been Written in Geeck ov in Latin, DovuBLE GREAT-PRIMER BLACK Rimmep, No. 533. Aeligion is Lis Dishonored b bn Seavutatic ons an w the . . : ae a Women Pica LirHocrapHic BuacK, No. 534. Kooks, says Hiejarth te Bary, ave Teachers, whose | Pectruptienel ave Utsecompanien wif Riows ov Harsh} Werts: whe Memanh neither Poot wor Wayes; Youn visit Hem, auth Hey ave Alert; GREAT-PRIMER LITHOGRAPHIC Brack, No. 534. Hy on Want hem, Mea s Kieceete pot emarlies ; Shaul Ot ape Wiatake hee Meaning, Hey Complam not, nor Ridicule spate Equa uatanee, fe if ever so Gross, dieharh be Lows, AGhot of Bt, AlGans. i DousLE GREAT-PRIMER LirHoGRAPHIC BuacKk, No. 534. t The Cratte of Laneynting Hooliys Hegan ina City of Almane, GEORGE BRUCE’S SON & CO., TyrE Founpers, No, 13 CHamprrs-StREET, NEW-YORK. 199 STYLES 535 AND 536. DouBLE SMALL-PICA BLACK Row SHADED, No. 530. te 6 the at the esis chommomachia, 1456, Iternate Lines of Black and Red. ZZ) DousLe EnGiisH Buack Rim SHADED, No. 530. Oe at es tf] ws. it eens a duced Gireck DouBLE GREAT-PRIMER BLACK Rot SHADED, No. 535. LER says that J ui rinted nearly 100 Bes Canon Buack Rim SHApED, No. 535. Ter == | Spice wie ivat used: IWOPRAW 200 STYLES 537 AND 538. GREAT-PRIMER BLACK ORNAMENTED, No. 537. SU SELNT the Es: a 7a =€ y ' SH a, b an al NO Jareboas Of ch) NK ¢ Tri GAGs Neh f& OH <0 TT $c: ) ais \> puna Tort | > i Yan _f\ Ra NY \< SOS Dy | \’ ~ ¢ PicA BLACK ORNAMENTED, No. 538. *% 4,074 104 GREAT-PRIMER BLACK ORNAMENTED, No. 5388. 72,054 Y TMUENTY PENCE Wr 1700, the prices of books Meee yeteé tr (208, for an English in NULIT half-shevt fy UEMY, Veimer and Poulter, a sum cyual to etre week's weyers of # laborer. Ranged front 10 to 1%s. Dousie PicA BLACK ORNAMENTED, No. 538. ee ULV RUNS verge in price from 3s. to Os. cack or Vopies Foughly Bound in Bourds. rc i { DouBLE GREAT-PRIMER BLACK ORNAMENTED, No. 538. SOUEHS BIBLE, Eerimantonn, Peunsyleania, 1743. Typr-Founpers, No. 13 CHamMBers-STREET, NEW-YORK. 201 GEORGE BRUCE’S SON & CO., ia Xt). bay, ese bo Jj ; res MiPici: coe ethab ine re Fst wife : Soe he . Vers Se aie She an " ‘ Pt} {6 oe es ipeaij 2, 4 teow +h f« as i - ee > %*e_ ** 94/4‘ &, : ) Hitebe a | rhe MiMi a) phe! , 5 ey, o!%! %/Selamm @ leree- x OY wi a aan — iutlgna an cud) BBs hia ve , aie i Lipase ti ar 2 hla at hag satutal « ta sunnut x daatg i} jer » Most suisg th hagugs SO Oous hited plvguaeh sada s ag a ita * tie a wig" \ witialye , Pre > > tn y al z ; pete... (a : ty 1. j ‘| 1h Yes : ay Dabs ing ( Ai ni dlavaiaee % eink ® dige bonmmay al!) fis’) arinnctl Nie Soap Aa .onitnovggd: 1nd alae sone. 1 th i ie on PLT EEL Agignnis icin Sas SHES Bt Peat Noemie, ale: | eee ape ae | ; OR 4 tye . ; . f) 4 solar! uit is initia ih] hint, tenn Avni. ei ‘ Iie qinniiaduaill tas Ms non a yalenne 4 re ms gant ‘f ati | a atatiatgad ad} dan -eriil af i is ie Pe > ee yy GS yt tn atin dyna t as incerigo) foot Galtitard Unde rin a tnialf pun, oil tail uy Siaith 19 ler sift aot, iD: is 4 ai aan J. h 4 ingens” say i ioe ie oT | ee sas ith Bake “He STYLE 539. GREAT-PRIMER BLACK ORNAMENTED, No, 539. SMa i command, ail aa Hovvtecnth in 1649, that a eefarth Mee all eit itt Lat itt, “ understanding ep DousiEn PicA BLACK ORNAMENTED, No. 539. parr | MAK ape: sae ES aan 4th 49, t hd enden d Aparentice must obtain fl (SS ( Oniver sila, Hlaster’ g a OO livres and the forfeiture of his ¥ Wi irense. DOUBLE GREAT-PRIMER BLACK ORNAMENTED, No. 539. a that be ma (] aX Four-Linp PrcA BLACK ORNAMENTED, No. 539. 17 Ih 4 on ‘ ~ * ‘ EV’ As" we, Vor \ \ 5 AAS fa fl fe Ie he AA NS IN N me BY SU UM, YS KAKA OK KONG % GEORGE BRUCE’S SON & CO., TYPE-FounpErs, No. 13 CHampBers-STREET, NEW-YORK. 202 BrevieR Victoria, No. 540. Seip EXODUS, CHAPTER XNVTTT, I. 11. With the work of an Engraver in stone, like the Engravings of a Fi Signet, shalt thou engrave the two Stones with the names of the Children of Israel: thou shalt make them to be set in Ouches of Gold, EECLESIASTES, CHAPTER XIT, i. 12. And further, by these, my Son, be admonished: of making many Books there is no end; aml much Study is a weariness of the Flesh, Pica Victoria, No. 540. See BARA, CHARTER Bi, VERSES 1 ANH 2. Then Harius the hing made a decree, and search was made in the house of the rolls, where the treasures were laid ap in Babylon, And there was found at Achmetha, in the palace that is in the province of the tWtedes, a roll, and therein was a record thus written : LONG-PRIMER VicTrorta, No. 540. eeepige JOR, CHARGER XIX, VERSBS 23 AV 24. @h that my Cords were now written! Oh that they weye Printed in a Book! Ghat they weye Graven with an inon sen and lead in the Roch foy ever! JOB, CHAPGER XXX, VERSE 35. @®h that one would Heay me! behold, my desine is, that the Almighty would answey me, and that mine Adveysary had wryritten a Book. GREAT-PRIMER Vicrorta, No. 540. ae JEREMIAH, CHAR, XVII, VW. 1, The sin of Judah is written with a Pen of iron, and with the point of a Diamond: i is graven upon the Vable of the Heart, and upon the Horns of your Altars ; DousLe SMALL-PIcA VicrortA, No. 540. ea 9 Ib ISAIAH, CHAPTER XIX, WHRSH 7. The Paper-Reeds by the Brooks, by the Mouth of the Brooks, and every Thing sown by the Brooks, shall wither, be driven away, and be no mare, SOOI EPIST Oar DOR, Wide 12, Having many Things to write unto you, T world not write with Paper and Ink: unto you, and speak Hace to face, but 1 trust to come GEORGE BRUCE’S SON & CO., TypE-FouNpERS, No. 13 CHAMBERS-STREET, NEW-YORK. ) ne? 2 oa a Aer: M ; Ob 4 Aint Sarit : he | eee te tee ere ACh : ; uth sil Alia DAR ipluagee set jt onttt jon wik wt we reget! ne ty iva 4 ij ipo } ‘ nb ne Bs date uv ay peli Aeghivn dndt Hi dee j ’ taal. adiitt tidlbe sve sit; laweat Vk noch dla ty e af aad oft Teak A a ‘1% ie yet Serebiag iy # ; 3 F pou i tor qe ard wilt Wi faitazatiat wt nak it ee ial nd 4 Ba ee tee MG, ES RUE es ‘< pal } : { : if tj nyt? re 5° ek) 6 Bit 19079 Bivitten: VG} 96 nadarihsy ai agit = ae SL NTU 219g oe , ITI ed}: PT Pe DM a f a Bek. sf 1 2) | a : 4 a ait PHeITOe AIGA fim ryt: fi eat : Se | UE CalcAac Ors vee. e a ay , “2a a " Pm. om. : ie : + li Avie j : 4 a y ’ 4 au) VWAWU4s) ; 4} if 136. aos Dok é i STAG) Gia &? Fe Sih in We F nit piptin 3 fiers ies. Mage hn B yiitree | nf? : ' ; “< aE S\Tin} imerater Oa i TED Ga ta eit ir : abel MSO ne St Gat ose ae Wid u ll Anbessti4 : Ba ios is i wie a Babes det ee | 0) -miyisiG WE, gaolusoniining . uatin= a f vit}} “ : @ , cy JM hs WOHITID i UOT 4 0 MUI Bihan ent ve mers ADR DIE — ORASVGRESIA OPE AMRVT OM aa geet ; BS? Wlic an ma utod 136 inl wmoitnuposl stn end prin teats ie iH ellie 136 ee vacuity) 90. iain) sid thislpu; POTMAREK As ATP TimiheoAdei ern an, ess cacanmeis SA SETRSY a NoONPAREIL GERMAN CONDENSED, No. 491. Die Buchorucerfinjt, deren Erjindung als eine? der folgenreiditen Greigniffe in die Welt gejdidte eingetreten ijt, wie farm cit amdereds auf die Entivicelung der Menjeyheit ein gewirtt hat, cine Kiunft, die nach ihrer Vollendung in weniger Sahrhunderter die Geftalt der Welt geiindert, fajt alle Joeen, die frither das Cigenthun weniger iifer thre Zeit hervorragenden Ropfe waren, jt ecient Gemeingute Wer gemacht, die Sutetligens, dic friiber mir den HohHeret Standen cigen oder erreidbar war, auch den interen mitgetheilt, und da, wo fie wirfen fonnte, die Bolfer mit vajejent Grjolge aus der Barbaret geviffen, eine folche Suntit ift e8 werth, dak man die Gefhicte bres Urfpriungs erforjdt. AVCDEFGHIKLMNOPOR $1234567890 LONG-PRIMER GERMAN CONDENSED, No. 491. Cin Buch vder fonftiqes Drucwert ann aber mittelft awwelerlet Verfahren vervielfaltint werden: Dadurd, DAB man den F Tert in ganze Dafelu in verfehrter Midtung cinicueidet 1d Yo Diefen aboruct, vder dadurd, dak man cinzelue beweglide Buchitaben fiir den augenblicflicven Sweet szufanunenfest, unt jie wad deren Moorucl wieder 3u tremmen und 3u anderen Qwerfen 3 verwendet ABCDBEFGHIKLMMNO — $1234567890 ENGLISH GERMAN CONDENSED, No. 491. Vou Sohaunes Gutenberg war der gliiclice, Der qrobe und frudthare Gedanfe MUSHeGatgen, cinzelie Vuchjtaben su bilden 1nd jie 3 qanzen Seiten sulammensufegen. wit Diefem Ge- batten liegt Das ganze 2 Rerprent Der Crjinding. AVBCDBEFGHIKL — $1234567890 BREVIER GERMAN CONDENSED, No. 491. Vt was befteht da3 Wefentlide der Buchdracerfinft, a8, woourd ji von verwandten Gitnften unterfdeidet und die groper Wirhunger He vorbrachte, deren Ucberjicht in Gritaunen fest? Dies ift die erfte Fray die fic) uns sur Beantwortung darbietet. Die auberordentlicen Wirt gen der Buchorucerfunft rithren daber, da mittelft derfelben Bid mid ecinjelne Blatter mit ungemeiner Scpuelligteit vervielfaltigt und 1 cine verhaltuipmabig aupertt geringen reis geliefert werden fom AVCDEFGHIKLMI $1234567890 PicA GERMAN CONDENSED, No. 491. Nur durd das Sujammenjesen einzeluer bemeglid) Buchitaben fan eine duperft fcuetle und billige Vervic faltiquirg Der Viicher wud damit die jjuellfte Verbreitn Der Sdeeit erzielt werden; nur diejes Verfahren verdie! Dew walyren wd eigeutlicjen Yamen der Buchoruderfun) AVBCDEFGHIR — $1234567890 GREAT-PRIMEBR GERMAN CONDENSED, No. 491. Mar Der, welder den gittlicjen, Folger reidjen (edanteu, mit beweglihen Bud ftaben Biicher sitfammensitieben, ze jagte, ift werth, dab fein Mame water de qefeiertiten Namen aller Zeiten glin; ABCDEFGH —$1234567890 DovurLe SMALL-PICA GERMAN CONDENSED, No. 491. Die Stadt Weain;, das alte Mogquutiacnm, Hat doen doppelten un sughetd) dic Geburtsftitte des Grinders und der Grinding der Buchornderfunit su fein. $ 123456 : DovusLe ENGLISH GERMAN CONDENSE pb, No. 491. Gutenberg wurde us Jahr 1399 in Main geboren Wid ftarb dajelbjt am 24. Februar 1468. GEORGE BRUCE’S SON & CO., TyPE-FounpErs, No. 13 CHampers-Street, NEW-YORK. S 491 AND 590. , No. 491. De Ralender Des Sates 1497 lwar cin Dructwert Gutenberg’s in qropem Folioformat. eNO o Le Der Bialter wurde von alift wid Schiffer im sare 1457 vollenoet. pie jtarb in oad 68. | SMALL-PICA GERMAN OPEN, No. 590. ites Gering und Mii acl geet burger Spite Die erties ‘Druderpe efre it ti | Smuts eten Die erften Buchdruckereien in Pari {and wade tt Gdinburg aufgeftellt. . | ABCHEFSHIKLM 1234567890 AUVBCDEFG 1234567890 DouBLE PicA GERMAN OPEN, No. 590. 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GR” SANG Y {SSS OSoEEY CRERKEREED POCO, { SK C) (“ CG ps + = + \e: « 78) Cn A } eye) ¢ i yp OR, ee eg a, | tO444444664 CERRY Leewarteccans 4 SN _ : seers WY es KA Sle Sic ole) Sie) Se Se Se) SS) Sie) Se Se) GEORGE BRUCE’S SON & CO., Tyrr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 218 » NONPAREIL-AND-A-HALF BORDERS, Nos. 37 To 54. => (e> ad III I III I ae = el le ee le eee ne ee ee he Pe ee ee ee ee ee ee ee EDIE III IIE DIDPOLDOOFP_QOQ ae SS } ? ) ) H ) H } «) ) (+) M (+) Ss) See | a! ~ U7, (Min " = Ld Matilll lly PPI IIIA % i ae reresti ma y = ; a KS) NONPAREIL-AND-A-HALY BOR Pur FORD ee 3 ) ay wy ay i |? $ 4 ; 2 —a a a oe SSIES SSIS {(\ \ Ni ) 2 — > —— > ol BYPASS ) A j We ; ce . 07] cA esis + ae See TS a Ba . ‘) \ | x7 Ss ne | | \ cS i i Dy Kt)> } } 4 + ee wy <4 xl 507 rx { YP 19 US Nee i It Se is see A y A a KE aM Soe eee Vv GEORGE BRUCE’S SON & CO., Typrn-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 219 ? : ‘ fe set ae k eT a on Oe ha» eo at ey a te pea ad ‘ ° 2) = oes >» pe ee m mye. 7 | "ig ae Ga % : ae? af aie ie - y aw 70) SMe eh oni) Lae - iit ~ ora i : 7 d - 7 z - ‘a ™ » ‘. 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DRAR RAR RRR AR ARR DRIER RRR IRR ff LL Ss G2 86 AS EBS So J Anon oes Le e HRD io) si x (3%) GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. ~ 222 PICA BORDERS, Nos. 90 to 115. a) RES RESIRES a ce WA fe Suita SaSiis5 SSSsesess SSS Ss Sse ox Gas NW Se 91 eon 5 = ; eo a f ae Sy, Sees ee ae / i) —— 5) ) — SSS Se ey) LE EE Se yaaa Hy O 9) mm) Hi] @ es = 96 3 1 Hil or <== 96 ( s 2 i ¢ Po29087 | 4) 3 ee Se Os poo Ts SOO; OC) == LOGY cate ceccst OR Gxsse ‘ } 9, =<) = 54 p\ 7 (f Si gh 14 ge) SEEERERERER ER EEE ne EO NU WAR AAAAA AA AAA AA RARAes= ESS ESS ESSE SSIS SOS OS ele ete ele ele ete oe ele ete ole oor GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 223 ‘fees (j + er ew oe ae ae ARP | mee ee a Se ee “| Ae So NG Dis uA Oiing at ‘; fbb = : apni same octyl Bama it ig yd {Ente ASE ee ook 794s dahl Rd ee ae wMA ps Eommecinitinitiiror = tena aa <= > ie ah 5 en, il Ki cer My “e i=: 2 Ca ed) tee mem) wan Giwim ie 4 ¥ = “ax = “ =< EOS, SP hs tilt S 4 >) “Mi: ’ ’ SC'iGaeeN C sy . tery an pak ek) gz ote. ores Arti Se ae dad i, “y¥ ott - eae ey ae a Aik Reha i = QEZO : aoe PICA BORDERS, Nos. 116 Tro 141. ¢ () @ oj] es = Se mil) . ~) RSS Ui HUUNGNCOE SAAN AAAEGTLAGOGERLEONEEEEOAOOEELFOOOEELEUOOOEEEEOOOREGEOUOOOEOUEOOOOOGEEOOOEEEOEOGOEEALGGOOEEEOUOOOOEEEELOOOEOEONEEOOOOOOOEEOOOOOEEEOOOOEELEOGOUE SS PAGA Pu ep 116 ¥ Beoctociociacinciacincincioctactaciog 4) 118 =O) VE 121 (x) NAR RENARD WN ee ee = Ser Sea APD Cra! ¢ ‘ Sy 124 7 ON ON Od Pw/ DIA INI INIA IA IAD | ew NORIO SK. 126 Fits PX SEK ae 1 9 YEE IE IE KEY PODOL OL M% CALL nN TT ov) < vy \ WP aa aa aaa eaeseeS586566886 NY, : WE i a ms BORO GRS. 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= =abs WE SIE SIE le c nf >) AL ee >_> > <*> + eo ae eee , i WK ( BONES TERS GEORGE BRUCE’S SON & CO., TYPE-FouNDERS, No. 13 CuampBrrs-STREET, NEW-YORK. 226 THREE-LINE NONPAREIL BORDERS, Nos. 35 to 51. EET oe 6 Oe 88 me 88 ee 88 ee 88 88 8 Oe 8 S| = Q 1A poseeeesseceem a a : % sme ~~ a fo gee ee ae rites ; . ag (dint val peng are he r i Wace oo 3 i eo TWO-LINE PICA BORDERS, Nos. 11 To 36. | WAANANANANASIAS IAS AS VANIAR IANA NZ Z, c ay | ay ss ETT TTT TT Wooo e TT TTT tS ) : — SOE ACAI AICI UC = TWOLING PICA BORDERS. 5 >} Wom EGR D RMR LZR DRDO ——— — wt oh ere 6s WE J ‘e. WZ. ‘ = as Br Zz At ce q y Se ee eee oe © 99 B i Ate VII IPIPID Ws 56S ce TG POLO) SAOTO 2OSZ0D)92 DIZDOG)9 S) wira Gs) oftn ax ante) ofa 3S im SOFOP fam fier =0907 7) 6a Ses 6) S62) SEs) 853 852 G 45 NES te GB er Ws Wa —ENWYW ies WA eo — Z =, a 2 TaN 2 2 j GEORGE BRUCE’S SON & CO.,. Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. " 228 TWO-LINE PICA BORDERS, Nos. 37 Tro 58. \\S aS OS =| iy il NY DAN uly AME on OS nh ela EZOOSD p \ iy) Ne) ( ) \ ( ( 42 43 aS ; j ie | A | | iB i Ms 44 é Za Lim GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 229 aie sa! ee toate Se es TWO-LINE PICA BORDERS, Nos. 59 To 80. .) aN aah SN be yo hg Mp VES Z ay ley AW why CMP Sude eA LE LAL LE ai WANA \\\ Z Reese an Ley — J YO —, eee = 1B Z SS DI 2 fe ae 04) OS EG - AA is AAs AIA ¢ loves Caw 7 AMES ORE oS LG QO e Se Yee = OE Vo Ge CO hi Puley/ ae “pp = | Sas ee Pas aes — i: ae j “2 GEORGE BRUCE’S SON & CO., TypE-FounpERSs, No. 13 CHAMBERS-STREET, NEW-YORK. 230 ss THREE-LINE PICA BORDERS Nos. 1 To 18. 7 4 m~cp/ co Fale —<| PERER- LTR PICA BORDERS, IEE ee ste hs V = Aa are a > Y Lelaisisioiojsicicic(>; — eo ae zy — (SANA Sissi eis(shole/ —i\—\—N—)\—\— > \—) Ns a Ne Ne a aN Ne mV A ASK ~A—A ~~, SMeoljeicicjeleicicicleisjejcicijciciejcisiciclcicciejeieisies: NS HE VOVS) OSS} ISS hs, vw HSS te! NNN aaa Naha hahah Ny NV NN NN NNN NNN ANN NNN NNN et nent ett SHeejejeieloieisjcicieleisjeisiciciciaisisieieis wejeelefeisjcicic|sisiejeieieic ehsieieicics jsteleieisiclsisicisisisisicieisish y Neha oases Seisieieje/<} i saisisisiaisicisish 16 Bh Oo 00 YF 1) ONL OO KP io OS se ~ eZ, > ttt Sisieieist cisisisisicisisicis) cy ® ' ~ wer r AA Ah A oh oO OI en Neanhkhohelkalaholoncictolcaisiololeloleke le /\olenlerkoevkevieeleriekekerioliole ete heh oh Noh oh hh 6 Pisisisisicicicleisicisisicisicjsisieieiisiciri= lejslelsisicleisisjcisleisleiiclejslelsieisleisisisieloisjelsisijcisisicicisicieisisieisisisioisia' at a at a a a a a a) a ar a ee Sd | GEORGE BRUCE’S SON & CO., Typr-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. | ; 231 e i. a s r SS ae aS = *h is ee ume te eer a a ew a i aie a het ahem +) rat's, He OO SRS EL, te Tass ‘i VY res me a nee J ee ve vine nine meas : ' ’ ; iat) Sg emt ey es : t. . % 1B = * ee i= i - Aas MP Revol Cm ~~ Ree en arn ” aap ‘ yy ; . | THREE-LINE PICA BORDERS, Nos. 19 To 34. ‘ PHREE-LINE PICA BORDERS. ATA T ALAA AAA AAA AAAS, 6G ey RS 5 GEORGE BRUCE’S SON & CO., Type-FounpErRs, No. 13 CHamMBrErs-STREET, NEW-YORK. - 232 FOUR-LINE PICA BORDERS, Nos. 6 ro 15. = = = Fe = WEG ee ane Se Sa TRE fe ee OY Ai WD) WD) | OO @O @ Vy ; OY aan a a € x —— Wee ~ Sk | << _ FSUR-LINE PICA BERBERS. ~ Py SSS Ss Se ee x | = 7 =WaA is Ne »e (oe \Ieeee ays | Wee? e Wa DS | S\ | | , | | ) \/ SS | x = J >| | oe * q™ | x =— = SES & \ | 2 eh: Re 4 S| | De sc | \AS, FY 4 4 SF | S 1 e 15 So | a _ ¢ =< pu AH lS 8 fae (AGN (AG (AG\: wv Ne ¢e \\ . \ - . \ fi y All D y oy yy oe IN ; Xx @ qq ¢ ” @ @ W)) « ) ¢ ) a Mm (( ™m aM aM « TM) Be res Eee Sb OO NCOP A : SN SCG ha OS hag OS ME ME OS OG GEORGE BRUCE’S SON & CO., Typr-FounprErRs, No. 13 CHamBerrs-STREET, NEW-YORK. 233 NM RATE Sey Ve RS Spent ony oes =s? { ado ae § pp er ' teay c P ; f oe 4 Ee ee Se ee ee -—~ ae q FOUR-LINE PICA BORDERS, Nos. 16 To 23. Att : Aor ie ere oop eel ee ae, aiplareerern eloronsia hi = > INGNGUGUGRGRGRORONONG RONG NONGUG NOLO NG NO NORGNRONGRG OO Aara FSS 0 Te G&S) f @) GS) >) Or \WAYZ7 ODN Li COSY \SLY/ NG ING LENG LS oN © pala © pili Hy / H 10 6 At 9) SOIT AAAI eto nRcoooooot GEORGE BRUCE’S SON & CO., TyprE-FounpDERS, No. 13 CuamBers-Street, NEW-YORK. 234 FOUR-LINE PICA BORDERS, Nos. 24 To 31. oa Em 2 (/\ — '(_FOUR-LINE Pica BORDERS = N GEORGE BRUCE’S SON & CO., Type-Founpers, No. 13 CHAMBERS-STREET, NEW-YORK. 235 ' eit 7 or : te AES _ ie —, oe 7 a ~ a % FOUR-LINE PICA BORDERS, Nos. 32 To 41. ~~ eS Vim Nae eye a SSIS CARS MS : four-line Pica Borders. | Vann OCIA PEI ZAP eG id: | L : ole ete 2S A= i y eek ANY 33 (| Y SS “"@ Rey ie cen ay WX WOMAN VLC “e- =e AS yeoS Sy 5 *°Z 54-7 \ So, Wo WIS SW. RY SNS SSA RY NSS A); Pe Wa NOR = = = 2 ay ~ 2 iii Ws Bo 5 We 2 Yu Be: a 7 WE Y S/7A\\ SW/LA\\S Z NY IS NH? WR ! a ar G aN (ara Be @ Ey cg bo Neg WY Bs ( we Loss =f; = he: Zp SS ; UKs : x: = EAS HE/ZIE YS Cy ARN £ (Ak? LSS -~ AD 77S =9 RR ZN GMA FB WAS EN YE2F5Ci N\ | OYA Coy ip, : Ry: N D e= I ow le U { \\ on \ KY \ Ve SS * a NIN L \ x < ‘> | ? Ai VI \/ Lg I: t | 4 y o%e ° Y es Bh \e / \ Ve \ | 2 < | ! Ns Sey pei. (UE TERN hél MANY ae xe | ws HINA || Hit AGHA MUI HAMANN = 4 | zy : ms) = 4 = = 4 Ms; — a —4 =) - 0. is eS | Mill li W/ saiinlatlgs iM | HII INN | = = | | =e i 2 as ‘ = J \\ — = A a StS - Te, | | = = } =| i } S=a939 = = =. S=—S) my | I, I I, I, >, >, SI >, I >, NI >, NOT >) NT >, NPS >) NI 9) NV) SUT) SI) f NE re ee ee | mM Mil aA A AAG A TA A HT | MTT A Mt Ma | GEORGE BRUCE’S SON & CO., Typr-FounpEers, No. 13 CHAMBERS-STREET, NEW-YORK. 237 HG ma ayo ea FIVE-LINE PICA BORDERS, Nos. SS 7 i \ 4 i ap. ni a i oN) ar mn A UA ||) \t| Sea eS! NAT Tt aay VL AR Bi Nai NU ae I vA GEORGE BRUCE’S SON & CO., Typn-FounpErs, No. 13 CHamBers-StrEET, NEW-YORK. 243 3 A T ny) (With? Wl i) my NRO my iy D CULT, ? i \ iti TIT, a2 s Ae 5 \ ff | : wall witty ss - | i a rye 1 . H Y VA) ny EE ; Ny h\ . We j , { > lip TTT a0 / WHOL Vee 4 a samen 9 ste preteen age Ee Fee bee arlene, le i ag eo mn oe ete be Rone eccaae ae mene et: ah ‘ 5 ee “ i . r2% te apes ey 4 Neeser (0k * COMBINATION BORDER, No. 1. DQ 2 NO, 2 NOs } ee Mo. C Sombination Border, No.1.» ¢ b { ¢ SS OS Yo / i ye ? ‘ i t e : Be ON fo") 2 3 4 5 1 SQ mz) Z aay a ap 295 0: Se BC 8 BCS a Jone. 76 me Cae, O>B 2> fe ire le I y ( *S) Bf CYA FX Wzz . > al Li ne = iG 4 ys & OF PAN si . > “We Xn oF A 5 | ee < Pl lis é { K G arse diy § ig MG A bd tA 7 5 L Y : \' eG X f ani AMA ) “oy My ay i Co AI XR, r } Z| |Namenel| [D> ‘ ae & Ko Uys Pay he $2 fe ale fy SW : I Gor { BS \ ) NI A a OnPOR hon The smallest Font contains— 4 each, Nos. 14, 15, 22, 23, 25. 27 8 us 1 9 12 c 1, 2, 8, 9, 12, 13, 18, 20, 21, 24, 26 5 17 SR ERE RE A a RR EE LE BS Ce ee ESS = vy ~ a Rs ) ln : Rr Tea Gi 42 Diol ae On i SPORE OREO GEORGE BRUCE’S SON & CO., TypE-FouNpERs, No. 13 CHAMBERS-STREET, NEW-YORK, ~ 244 COMBINATION BORDERS, Nos. 2 anv 3. & =~ LE ad ~~ CW a at = 2 NVEQDO-WY¥CV.DL CDE WE9IO OVO (C.DO-DMY(C.DL (DL) DO-DYESS wi ip >. S\\> 3 cS — Site) IZ | Q | 6)| \@ (c | & | PK @ Cv a ee ON | We 5 (C~9DC~e)) 3 S | A 1 & 4 Gy Vo eee ALEX )\ UN) 1626 (Nos. 7 and 8 are mortised.) ZAG (CD yr) ( fa \ HG Z ») | fe) Q) (9g | 9) e . 6) © | | 6) CH) | eS S) S Z i 1 Ki (a AS) all Gl CHK? Qu A Q i) | 9 | ° Gi 6) e) \ \ bg Q ( | ) 6) e ho) ey), | re & To) | ¢ \(@) OO 12> 5) i~ Sr (Q~ e ey) "a be Cc Ne) 1G GRO Sa NGOS = KZ i\o— Ss Sr D AVEDA GO-— Aaa = SS =| SS S| SS SAECO) AGL AG—LVUWG DOL OO ODD The smallest Font contains — 200 pieces of No. 1— 16 each, Nos. 2 to 5. & Cc Pa \, Avs A C YY, RS ‘1 oQoC gogootr VMV YY Noo cie DAA A AAA AA VA AVA VAY DODDDO®DO®DO®O®@2@2OO.@@ A SOOOO0@ YANN <@) << BAG OGYGOYOPYLYLYOLYPLYIYYYYYYEYYOWe: < @ KO OOO OM MINNA ES °@ qC y, dc d 2 . = ‘ C GO CG fe) C C QO <0 Bens, Fare KO a RA AAA AA AAA a 245 : i A a eee ee ay eee ce Ce Ly Cee % 8 rere te “ 2 : NN fA, yy age i Tar healt ect " sf 5 SARI SE eR a aig EN ae te ry Pub bad Toke dy nt Sulphide gis = , z re ciated M , se AAD i bali ek oi Pe i AA f + a COMBINATION BORDERS, Nos. 4 anv 5. DS A COMCOCA ASCO SCIG ASAD SPRRE San ep 3 (Qpasneanene (ep oD —~ C ale! ADC yVF RTT Si ao D> gre lo é 7 h (AS>., oe. 3 OX = S)) < \ : Sesqeurs ress e A LOS AS a As OMe s o ‘ Ben SSESSSS Se See sees ess jj ) 2) Gy 2 oY.) @) « ah: : ts Y~ a Say ey aa) | eel - j ALG Ze S %ee Fy CAR ax G CC A a) | (ae \S5. y)) ¢ 22) iw) Ee Oe G AGA / Sy i; 7 ) ) iu8 GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. 246 » | COMBINATION BORDERS, Nos. 6 anv 7. 912 OCX©O. ra<2 (0 SO Val ~ GEORGE BRUCE’S SON & CO., Type-FoUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 247 \@ LS wii S ; mh ys bes ie J? COMBINATION BORDERS, Nos. 8 AnD 9. ie Combination Border, Ne, 8. ah (Nos. 15, 16, 17 and 18 are mortised.) The smallest Font contains — 20 of each Character, and also Quads. ES ZEL® / Bh SO es Vices COMBINATION BORDER No. 9 - cS) \<3 Y yA BINS SE Ge \ Ne The smallest Font contains—48 pieces of No. 1—16 each, Nos. 2 to 5. = Vir x) )((exS es SDI) (Cos yO Oe oe lan Ree fae WS OE Hw fe ) le. a eS oa \ GEORGE BRUCE’S SON & CO., TYPE-FOUNDERS No. 13 CHAMBERS-STREET, NEW-YORK 248 COMBINATION BORDER, No. 10. Wy (99 [OSB Aad ODO S On « (i HAMIL mes TTT TT DI 2c MUTTON in i CE ST Ne Hf SOT 2 NSS Ke ew aa ey ae Combination Border, No, \ \ (iT ee SIs — LO. ni Ce a Mey iia! Y Neuy y ee W2Sise ib Deas vy NY \ GE SC De ee a ToT MTT TN x vas Hn aM! p SS TAOS pic me aa SAUL Tas O° sXe ay eS ico — >: ae ars PRG [ccrove! 2. —~ iia a Re ee Fe AON MT sy aU TT 5 °ORGoo x SEs tt WY ‘Vl \ ii SB ANG) Gi D) ~ AZ y i YER \, VA | \ ' at iy ay MTT > ae ae =< UY Bane LS =p dep oN Whe ie 1 ‘oe sp fs Ye | vung i ona < =) SL. SS ABR, (F A. se 2 SSH > a a £5 SoM TTT The smallest Font contains—48 pieces of No. 1—8 do of No. 81— 12 each, Nos. 3, 4, 13 to 29—24 do, Nos. 5 to 12— 16 do, Nos. 2 and 30. ee en ee ee ee ee ee ee ean mics o \2 i) v > s@ ss Nee vee we: rr = (a ae oe ee

a ee ae =e erp > a Sex eS Sex SSC 6 o 3 < = Sa ar = 6 3 SUIS SG Serna Sate L/ AGIR > GEORGE BRUCE’S SON & CO., Typre-FoUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 249 os . Nt ala ba ees oe — ’ é i doce me ote Ww) A yg erg aA . ‘ hs 4 7 ¥ : ‘ é eee Te ee ee ne ult ai a ': Se ce atk oe ; ’ 7. ’ oy . ~ oI : a COMBINATION BORDERS, Nos. 11 anp 12. am A= ——<—— i \ \ | 4 bo} ) Py | f ess Ss } Behe \ eS \ aN Ge Sas Ss | fae He ; A ie, AX Ney Nay IN NG | SK yy v7 poe (Camm EE , ui - | << COMBINATION BORDER, NO.12 ~ K ss ON ee ee aN The smallest Font contains—16 each, Nos. 7, 8 and 9—24 do, Nos. 1 and 3 to 7—100 pieces of No. £ a. ne} GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHamBers-StrEET, NEW-YORK. 250 COMBINATION BORDERS, Nos. 13 anp 14. NOGNUGNOGEO) [OO Olanrcarcol Alle LONGO /( oars GN ie 3 ‘ xt op (come. Ge s2 on OSS CaNGOIa WarGancaneen GEN Sees GS OON' ~~ & PD QGLAOLIOWLOOLAOGLIAOMION a —\ Roos The smallest Font contains —52 pieces of Nos. 1 and 2— 8 do of No. 5—12 each, Nos. 3 and 4. ZN DER Nea BS aes Sac: Bice GCG) ORDOR. SOG) OY (2 OGD OES) B88 <216) DERGGROSRH OG as ROGROGROOROG o OOROK ROOK: YOY.) XO. 2 J es ERIGROGRINIE SOIGR OG OG OG LOGO G OG OG OG OG OG OG OG) OGUG OG OX QOGHOARCS SOR SORT ar ~) IGySS NY, (‘ Ox ) © ING 35 The smallest Font contains—35 each, Nos. 4 to 7 and 10 to 13—71 do, Nos. 2 and 9— BNO CLANS Ge) 140 pieces of No. 3—280 do of Nos. 1 and 8. 9/99 KO ae) S) ( oa CVGIGVS) 6G) 9 Yo) (Q ay ne OLY .G) XD) sox @0) all2 ~ Qo ( ‘ Lc ‘ (6) BOOSH DOIN TWIG ODSOOSS : ) IQ CDGDCDOD COOGIOOGD OG GEORGE BRUCE’S SON & CO., Typr-FounprERS, No. 13 CHAMBERS-STREET, NEW-YORK. 251 i ete ‘Boigtdit coe Via49 ’ : » ‘At Oo tg Rigg Pe Reet ee ft hag te ‘ j 7) + Wey a Suit da% site ° wag a ey Lh ee ee " < COMBINATION BORDERS, Nos. 15 anp 16. iat WE KRIS nD AB L KAS vw CO roy *) vy, i ORG REECE PELE D4 S75 WS % ¥: Hl ep spade a AE oa KC ¢\ Pye eee t A "ae es “ Combination Border, Ho, $5 5 6 ex 1 a — IBADAN ANY AN ORGORGORKGOROG. G 0 HOY ER, IGROIGSWIC BIN qe ) OVE G VO KOXD) oe LN DION SIND DD GO OS SOx@ The smallest Font contains — 280 pieces of Nos. 1 and 8—140 do of No. 3— 71 do of Nos. 2 and 9—35 each, Nos. 4 to 7 and 10 to 13. RE ay COMBINATION BORDER, No. 17. Ve d\n é KN é 2a? P The smallest Font contains — 24 each, Nos. 1,4 and 6— ~ 16 pieces of No. 5—40 do of No 7— 8 each, Nos. 2, 3 and 8 to 12. & GEORGE BRUCE’S SON & CO., TyprE-FounpDERs, No. 13 CHAMBERS-STREET, NEW-YORK, 253 : te We out ey ow Rp. Bye ke RT a a Reed ee wae Pe Wd ih 390-2 eR Re DAN IRS te te TEE é ' Whe te > eye WORE, fee ee oF WT its Oey ler ela i lenis meaelions, a , Ne. 18. (Nos. 23 to 84 are mortised.) ay he 38. 4 5) 6 af 8 9 10 lal 12 6) 6 % G& 2@ «wit bm SY CB Ww YW = YO ee ‘ 13 14 15 16 ING rs Te EB Ale eer 19 2 22 ai 18 20 21 ZG 3% 34 of each Character — and also Quads. Pe thea: 1 aes 2 adh Si Ma Te ele _— COMBINATION BORDERS, Nos. 19 anp 20. aw — Bape |: Kae \ « Bx 5 A \ ay Eve Ja Nea wo) Na) LER IERY, A 2 "ej 2, a= ) z lee ©, a } io ss \on HORROR UR CHL wi is i be Ms ‘ ete) y QP NV NUN ARS x Wi BAe d Hons GEORGE BRUCE’S SON & CO., Typr-FounDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 255 ¥ ae 5 Fy: PESTLE RS ae COMBINATION BORDER, No. 21. COMBINATION BORDER, == No. 21 = BURT RAREST BURT RAREST a . ALAAAAAAAAAAAAAAALALAA AL mae ag te Va oe ge oes Ue LODROee eas MAhAhAhAhAAAAAA4d»d»ddbdbd ddd dR dD a hhh bb bbbbbh dddddddddd The smallest Font cont ains— 280 By ieces of No. 1—70 do of Nos. 8 and 9— 140 each, Nos. 2 to 7 and 10—and also Quads. + + + es ae oed roo44 LAA 4 rN GMO POO AAA AA A AA A A A GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK, 256 . j; COMBINATION BORDERS, Nos. 22 anp 23. & /- ») CG =)) Oe COMBINATION BORDER, Ne. 2 =) bay : re Aole The smallest Font contains— 64 each, Nos. 1 to 6— it MGs 32 pieces of Nos. 7 and 8—8 do of Nos. 9 and 10. | Dp @)/ Vead 0. ae a SS > ya = Pend& = | . GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. i= . 257 quie> « ke, Tippee eR ae Al : — ¥ . t ‘| é ie £ oo se if sea oth et ee oth ce wy et ee ee ¥ " ¥ oy hE my ene? —) Tap tt on 0: gy a None eee Sor! ae toralar Seailt tt! - COMBINATION BORDERS, Nos. 24 anp 25. BORDER, No. 4 of () sh COMBINATION 2 3 6 FRVAX O LIN pe ZV DINAN = — : B COMBINATION BORDER, No. 25. 2 3 = an Hn f (A) ith = oie Q ) o¢ % SIV PS \ = KS y ® Seg » 3 Se" \ A\ i SY 6) o(Ss \ Q ORS i So SY <%o Q els Nt O/ KS ee of 3s ENG ee eS eee: yas vs The smalles eee noe —24 each, Nos. 1 to 5—8 pi eres s of No. 6— , 8a nd 9— 4 pi eces « Ome! er a eee wont So () ) ( ) ) TELELEDE GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CuHAmBERS-STREET, NEW-YORK. ‘ 259 ' bs abs Py Pl , ea fdkay < a. » 7 ¢y 93 y* ‘ry A, re 3 oe) - we oD Signings) =—4) aA £4, in ees \ re Ta & COMBINATION BORDER, No. 27. A! A nO) AMC INMINGs @ \ ip Nin piss A ie sta SN alle pil ee re Pel I -=— G FONaT U Ba yay $i, a [LSE yy Fy ESSN, vwwwwy ow) MF eee | ui owe == 4 Fils o 5 =r =| Bie h SS th = hy Yn LOT eae Vodage kee Nig ail Shi silt fin Ne Fo i eat = — 5} F i -. re. —_ SEED) y= O°) GINS CNS GINS SIND coy a < At VY (>) 8 ZA weve8 RS ORS 6) \ NES < o re) [Peeeet teeeeh tee oe %e S00 ORO: | eC UR SORTS Cries hey a aC ary ae ae RC henner ous Cogn8 se DA GOON nga s : Svan : con “ee c z y : a 8 : : : : : : 2 s 7 as . ° sige : . 2 PC ete Soci | | tes aty | elawist® 0 Suc Feec et) eigsiese®l) | | ae geet Boer is I | Sle, 2906 Meet PASCHAL AS - ls ° 2 S ORO 3. ge8endecandoondedder & 3 F g Pe ib pr akoresoreepesy 8) S00 Ine ris oe, Be ee Bo ate Oe Decides free, “4 teat Oy ner oo | | ., ee : . og *| . oi 6 Seemie : : ae s.” ons exc ae : 6 s . Ong A? . | rs e | °3 : . | $ é . ° } ry . “eeeee i e | . CY ane % | i i OMe” 2 55',\5\9* * © 5 feo | a . ° = 9 . cs . . sims *° OOOO OL) . 40 os O85 . . . : |*Siaeee, Poey Ze oy) Noon enneewe® 4, < i LFS a Z aS - Po PM hi Pe ces, ce ee Sey mens re fe : ‘<> . ou oes A Wns a a ase 6 oe me Fs oT 6 . . . . oy . hy * ( 4 % a a - = —— . | i OFA ae e . . . e . . . ; : : COMBINATION BORDER, NO. 29 : hie $ : i ° ° S 7 ) . Cae : 1 8 4 5 6 7 8 9 10 1 12 oe . , 4 a e Ota i co aoe, . . . ee Te ee ce * oh I Og 8S es rere ee ° y rR ® f e ° - te ee ° 5 . . & *. . . . . . Soare . Os ' Ls ride : r . eR y . re Fe Nos. 11 and 12 are Mortised. Oo < . . . . ee . e ~ — _ = = or oo —— e . . ee Sie ee oe Sanaa of . 5 ee Ogee ¥ The smallest Font contains—96 pieces of No. 1—24 each, Nos. 2 to 12. oh hes ° eo, ° . eee . . i © . Ob. wooo . - . oe . , . f . . . . . . 2 ° . . . ° . i ° rr . ert . . . a 5 . “eee e ° . . . . . e . . . . 2S QO0 ee oette 4 ce Ca oF rsce as Ce . . et . . me *.° - “ Fac . *, ‘ ide . by ‘ - o ore éé . oe My . . a . om se . ay ce . or A : . ’ =, : es! . - Rea . . .s Os . esse” Pas ie che ae Daa Sree ° . . "eaiee ee ca® GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 261 > z e a 7 “ ee ey he) § cain COMBINATION BORDERS, Nos. 30 anv 31. ES CT ene ees ees 67 on ; gcse MRE a Se ~. WBINATION BORDER, No. 30. 7 Se daeagn precy See a (Sa hy (OE eA rms é Sta Ne) Sone Sy = et SA aN WN Ps fren Toye EX ee (i lo e (eS) Ay: fe) A ich ty pS AT] e The smallest Font contains —16 each, Nos. 1 to 6—8 do, Nos. 7 and 9—24 pieces of No. 8—and also Quads. ~ : wf ve ae == on Winlesiae ue ue SBS : AWN PEasDes Sees “a : i REVOOOOOOOK HOO % % Combination Border, No. 31. he 4 ¢ if 2 3 4 - 5 we & ~ r A, PAS ? a ( x ” S es S| — ——S=—— Ly SS = Ve CASS e FS aS nS) The smallest Font contains —16 each, Nos. 1, 2 and 3— 32 do, Nos. 4 to 8. ® GEORGE BRUCE’S SON & CO., Typre-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 262 ‘COMBINATION BORDER, No. 32. A(22S-Gy a 0D PIES nes SB on GR SE esos EE eS — oi CES — SaaS a een ED > essen es Za i << od C—=—S FF SSH af Sete Qi | “ } . ale WL ee if ha SSS SS W eS to rs oO ———— | - L& <= SSS EAA eA aS SS SSS SSS SSS 7 SS OC SSS SSS553 = Sf ae The smallest Font contains — 16 each, Nos. 1, 2, and 5 to 8—12 pieces of No. 3— 8 do of No. 4—4 do of WY >} ied ee | — =< = ma § ey ———) SS AY “ S iu > —— == — eee lll As ) ‘ ny ie 444i; DD WA i Wi y ae SENS Puss ows a = GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBEKS-STREET, NEW-YORK. 263 COMBINATION BORDER, No. 33. ESSA De RAR RA Tg VA j CG, ead LRU, GEOL Senge ae CE % (Con (Con (Come (Cae Cae f BDYSBPYVSB”ALSA”™AY SS D eyes IRIID: BE The smallest Font contains—16 each, Nos. 1 to 6—24 do, Nos. 7, 10, 11 and 12— 8 do, Nos. 8 and 9—4 do, Nos. 13 and 14. GEORGE BRUCE’S SON & CO., Typre-FounpDERS, No, 13 CHAMBERS-STREET, NEW-YORK. a | 264 COMBINATION BORDERS, Nos. 34 anp 35 N Ney 9 RS es i) eA i (gay SS eel sa oS Os cel Nes ett rie aoe uy ul we () [ = Combination Worder, anther The smallest Font contains—12 each, Nos. 1, 3, 20 pieces of No. , 8 and 9— 64 do, Nos. 6 and 7— 2—4 do of No nee Dae also Quads. ul A= me KOT = Ne: l Y q Y ) f, = SSS === 7 KS) ( iS. (TS Oo Gedeem = od WW) me wolelg C289) Sie. Sj) CO) LAS \ ) . c YA Ye tiff oh eo ae Y & COMBINATION BORDER, NO. 36. a; “Ves Gy) A= LOG R g ~~ ? ; “" be ‘ A TRI el AB AB i. 5S D owcrmpon seceamme nce ab Ta ae “s ry ; y~. > = : iy P ee é : a : r =e oe Se P.% ra % taf dino eS Bes re . ri ; i. : i ‘ mS J 4 road $5 # r ‘ tind _ a “s oar, erp } + “«} Ms cS COMBINATION BORDERS, Nos. 36 AaNnpd 37. Fa OM ME OME oO A . Vaay JEN Vaay 2 Vatay GS Vey GS ae 5) Car WE (6 ¢ Go ON 2s VEE 6) @\ Weed (5 ©.) @) WE © 6) @) We OG 71. WE OOO. 0. RIO) BO Py eee on nO. 0) eveae Box. xe aXe ae she Ye sXe aXe KT > 2 axe aXe se sXe Xe se aXe oXe Ree 7X07) LENCE EERE C565) ON ED EENENENEEME) gp BK), i AE EE SE ae Se Sa tn PN Ccts Ps hs Sy Ly By Ly By Py Nia eae Al A; ) ~ i i a = . ) Pic - {i Be Af iG = 4 Neo) if “ Co io Lcd AioX mg) Wes At ASE 4 via | ? ee , SES) 8) (o> ic } SYLANS Lan8 2REES Pee The smallest Font contains —16 each, Nos. 1, 3 and 4—8 do, Nos. 5 to 9— 1, ade ; } 100 pieces of No. 2—4 do of No. 10. Exe i) sae } 92) s) (ap ms)/(cope 49 )(E8) p A © ‘ (& eur) TTX) OFX is )( aD, SEDO'S) OD) SV A Ghor 5s: ae } Ge q (Qk E Cpe AY) @ 16) 9 ) 169) Bia <: Le) 9) Dg i) d — (eS i< 16 each, Nos. 1 to 7 and 12. ¥ . Ost 39) fe 08 Oand 10! (% Coys * (| ; 24 pieces of No. 11. AY) Om /)) K Q And also Quads. > eww S mS) ied) \G ( } . ne) °Q@@lor<4 KY Cy, , : I S = 3 yb aS y 2 nk < = Gy, Nei () , a> et > — rv, — wo WAY PS FR BS PR FR BI Ba BOBS FS EY POPS SHREW ROLE SCIOL SIGN OL EE ICIOLELICIOL ) OLE CIOL ESC NOL ER CHOL ER ICIOLELICID) ) a: 4e)o)4 A A Katja) ay j = 3 . ; \ agro \2ESe 2) , Lew y, vN aA ee OO DOS AONwr an oN y\\ é BR - ew € € < < < GEORGE BRUCE’S SON & CO., TyYPE-FOUNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 266 COMBINATION BORDER, No. 38. * 11 and 16. And also Quads. —_.™. ih y A ~ D> - J < : . 5 z VS STN ee “Sees int — ry, » v BEY a ‘ a) LC ae SSS ie — PET Sw = “< mn Wii f LNG a G GEORGE BRUCE’S SON & CO., Typr-FouNnDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 267 ‘ ye ni) tar 16 ry a y ; aah ; ie : ‘| f > coe ae. ele \ Se ‘ip ae: 7 ee ae OW ee 4 be ay 4s ym reel Seed Ay ve e 22 - ws") iw 7 ‘ “a0 Ww AD % + Fag as ee ey bin @ ee hest ASE 4 \oua a sivifit roe actaeh iy “Fr sa Oho nari SAS core SN Ne oN Ie ee COMBINATION BORDERS, Nos. 39 anp 40. The smallest Font contains—12 each, Nos. 1 to 5— ® pieces of No. 6—4 do of No. 7. GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CuamBrrs-Street, NEW-YORK. 268 COMBINATION BORDER, No. 41. Ne O¢/ | ty v. x Y 9 f ¢ f 3 The smallest Font contains—12 each, Nos. 1, 2 and 5— 8 pieces of No. 4—4 each, Nos. 3 and 6. PAIN “Op GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK, - 269 | COMBINATION BORDERS, Nos. 42 anp 43. q / fone = i a Va Ole) 3 GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHamBErs-STREET, NEW-YORK. ° 270 COMBINATION BORDERS, Nos. 44 anp 45. The smallest Font contains— 24 each Nos. 1, 2, 4, 6, 7 and 8— 16 do No. 3—8 do No. 5—4 do No. 9. —S—= ZEW QTE Me tle ORF Combination Border, do. 49 $ 4 5 6 7 8 Fy = Fy =e ¢ YS) ( Ya) Oy Za —CaG Z ? ) aed | f = OS =e GEORGE BRUCE’S SON & CO., Typr-FounprERs, No. 13 CHAMBERS-STREET, NEW-YORK. 273 COMBINATION BORDERS, Nos. 50 anv 51. AIC) aes ns Cay Ses ESAS Ie ae SA > A ACC \ Hy = The smallest Font contains— 24 each Nos. 1 to 5—16 each Nos. 6 to 14. Also, Quads. ae FEE TIGA GCI IEEE SS Bare COMBINATION BORD The smallest Font contains — 32 each Nos. 1 to 6—16 of No. 7. CV vg ey pzae (ere ae eh FEL . Nea ae GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CuampBers-Street, NEW-YORK. 274 53. AND 2 5 COMBINATION BORDERS, Nos. ——K— 3 EE om ee es || =i 5. RNG Ve £5) (oe RED i) ~< 2 and 4— 24 do Nos. 3 and 5—4 of No. 6. ks _—~ : —<—'s === SE = oF Combination Border, No. 53. S se | S lee) ZA i=) Z $9 The smallest Font contains —48 each Nos. 1 to 4—16 of No. 5. or ny "ie ne aWe Aw ) Vari —9e— i — 90 90 oe Ja eawejwe(® 10 CG Te a a aaa a iz +) The smallest Font contains—16 each Nos. 1, : = —. r AS GEORGE BRUCE’S SON & CO., TypE-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. Te i PU GMT} yea Nae we Ae Nee! © ‘ =< oe ty . i, & wena” ra te COMBINATION BORDER, No. 54. Soffa: Cates pe CLI } (jm - / P/N GS 3 oh SS EH WY Sw ( —~/ @\\S—\— 7 G, \ y << O) o z \" Bs y) 5 r Sy nian ASS 7 = WY) FZ 7 (Bf 1 G ——ae \ LA S % \ “Vos SS Ap) S Zp ro ) = S LM S SFY yx & 1) ( y — WZ Z \ ee C )) =) e oo { | The smallest Font contains— | 16 each Nos. 1, 2, 5, 6, 9 & 10. fh 8s x66 “3 and 4. | che aN ‘7, Sand 11. Oi ; BE VES IB VR PS LG eR eR OTK OURO Cerys creer GEORGE BRUCE’S SON & CO., Typn-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. 276 COMBINATION BORDER, No. 55. . i - “ we rc TTT i ii Sve ENTRY Sasiy D 1b Snr p CESS Bo, SAD e raat rat Arba ame sane t aus dt Comey asi WM Uh line yt adele ir ca a iii oN = = U @ =. rg ——__——¢ | SON | i i inn iu eee va@Gez oS ns we eres oh oc a AR, ois —e ecie elitr” al The smallest Font contains — ’ 4each, Nos. 21 to 41 and 66 to 81, 9 4 » $8 do, Nos, 42 to 45 and 58 to 65, WHEN 16 do, Nos. 46 to 50, 52, 53 and 57, “s&s f&:, 60 do, Nos. 51 and 56. And also Quads. son in 0 (QS) GEORGE BRUCE’S SON & CO., Typr-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 277 Teena | COMBINATION BORDER, No. 56. 5 RE Nee eS ” EG COMBE NO. 56, B74 3] DA Ss 4 Y ik eu - <, IK > a2 aD The Characters 19 to 34 are Mortised. 6 7 9 10 ® & “RO RL a The smallest Font contains— 24 each, Nos. 1 and 2. \, LE LERNER PUL ERE ELDER DID RR III PIII RP RII INTE £3 £3 bs ks ks bs Ss ko ks bs bs BBB GEORGE BRUCE’S SON & CO., TypE-FouNpERS, No. 13 CHamMBERs-STREET NEW-YORK. 278 a COMBINATION BORDER, No. 56. \ 5 oo) YC a UAV AUAUAUAUAUAUAUAUAUAUAUAUAuauaual OD) ys PME) y° = x NVA ae Grr: VON SO SN “A >), S Mi (4 y NK =~ Wy 44 & AG Gea AFIS IE GEORGE BRUCE’S SON & CO., TypE-FounpERS, No, 13 CHAMBERS-STREET, NEW-YORK. 279 ep oe » ve Fn) a * f me Fs ' Le Ta et “un ee ee ee ee ae = 7 4 Pte - wy COMBINATION BORDER, No. 57. 7 8 9 10 11 12 13. «14 5 6 7 Il @ XB AY for) —) Ver: VA Zs \ i Ie = le x > —— ¢ Ny 0 es nO OG = OO a OG OG GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBers-STREET, NEW-YORK. : 280 COMBINATION BORDER, No. 57. | =e .< p> I — aA e SF Ave ZENA ANN NAN NN ! Hl I WM i Ny AI 1 WI ili HU \ WII aE HI HAM Hit Hi WW HMM Wi I] Hh ii I Hi] ANTI | Hi WAN WMI i i] Hi HWM i i aN | Ait ! Hi HM Zara ee aaa TT | i qa > SB/Z hi — AMEE ME SMEMEMEI A GEORGE BRUCE’S SON & CO., Typs-FounpErs, No. 13 CHamBeErs-STREET, NEW-YORK. 281 MaMa adil ik ene 91 ome peli hE Nd Pa — eal isa OR mae ee ak ~ a ee Coy vie eed . beets Pre CAA AA A\i/ = Ge oe pel of eo a ——— ee i ee stl yc metre AE a ~~ thenpatgyie ¥: afm a Pres pases bd P¥) eS? e r Sina & Teer ene oar ie } CUNPTRGES eg 8 Ra ges COMBINATION BORDER, No. 57. The smallest Font contains — 70 each, Nos. 1 to 4, 18 and 31. $5 HF Bite 1 vo To . 16 “ “ 16, 63, 65 and 66. “ 17 to 20, and 30. “ 93 to 29, 42 to 50, 55, 56, 57, 68 to 71, | 73, 75, 77, 79 to 83. | 12 pieces of No. 62. | And also Quads é i PB BE EEDA a a) Whe aE < Z al | VA aoe eZ COT LOHR Se! ww Ni ti i a 2 I = Y 5 E a } Kt AST Donel Wy3s Sy INuescon Nery oor n Neos Cop Neos eae eae on X tS > os ees 5 nN it ANIS 7 YY ts ms = > é > } ‘ : 2 MAD MY SAS dep eek, sepa Joey. CSE, USUI SS CUES EIS EAS } f i ) } Zo = 77 GEORGE BRUCE’S SON & .CO., TypE-FoUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 282 ery a See ome. 3 a Sik RA ee: COMBINATION BORDER, No. 57. WE ANG SKS = ae ee ik aaa sia Tt of =| ca 5 Ly Fal » iL ii =| [3 NI WA ZX SS Uf SNCS EY 6 ee , AR IMIMIS SNS belay Nae SoZ | S&S ER I” “yz | SS yah Ss a | Za \ ZINN WOK . INS /\ AOE JI ANAS HN FOG ISS = atl a GEORGE BRUCE’S SON & CO., Typr-FounpgERs, No. 13 CHAaMBERS-STREET, NEW-YORK, , 283 « a , : P 2% Bis ae . Asaak ate ae Se to en eee wee i eed ad a pe ae COMBINATION BORDER, No. 58. The smallest Font contains —12 each, Nos. 1, 2, 3, and Nos. 6 to 15— 24 pieces of No. 4—100 do of No. 5—8 each, Nos. 16, 30 and 387 — 4 do, Nos. 17 to 29, and 31 to 36—and also Quads. 7 8 9 10 1] 12 13 14 15 16 Ke & DL wh Ie Te TF Saath GEORGE BRUCE’S SON & CO., TypPE-FouNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 284. COMBINATION BORDER, No. 58. ) AG ala ala ala ' VAM AY +4) yy my) SS a7 Somers le VERE VEEN Noes, NO DES \ NS Ao © ) ES GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAmMBErs-STREET, NEW-YORK. 285 YP Pibetoh. fe detop a a COMBINATION BORDER, No. 59. | | 55 56 HE (Ee) “e)\ The smallest Font contains — 1 each, Nos. 77 to 89, 98 to 109, 116 to 128. Die re 1 to 28, 89, 40, 41, 54, 68, 64, 71 to 74. ‘ 45 to 48, 59, 60, 76, 93 to 97, 110, 111 and 112. “44, 52, 58, 56 and 57. ‘ 49, 50, 51, 55, 66 to 70, 75, 113, 114 and 115. ‘ 29 to 38, 42, 48, 58, 61, 62, 65, 90, 91 and 92—and also Quads. Gh) De GEORGE BRUCE'S SON & CO., Typre-FounpEers, No. 13 CHAmMBERS-STREET, NEW-YORK. 286 COMBINATION BORDER, No. 59. HS if I wy | a. SNA) Ar PV GI MGI NGI COM CON CIV GOV GOV GOVE ole ne 4 4M) ly | ss : NZ) Ne Nal fe * XOXO PERE ERE ERT a: — cy =— = — es / OOOO EF OKOKER RRR RRRRRERE GS GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 287 ty tg + ty get hth 1} ’ ee ee e 4% 59. COMBINATION BORDER, No. SRR RRRRRE GS may NY yi = SS —— = W/ lino 1 (Cra CIES) RRRAAARAY A \V/ y aes ( ( NIST A VIN, HEH ih | | a [ (I il iv) | a nn Ds SZ CAS Mal faltaldel le fede tate ts NE IE! | EI AEH SAUSZTISZ P24 | EAS b SL aiff ee if’ iN . gs GEORGE BRUCE’S SON & CO., Typr-FouNpDERS, No. 13 CHaAmBEers-STREET, NEW-YORK. 288 7 See — (Wes ESSSSSSS NG ghee Be pr NZS NIN Me \ 6 R MAN Y, ANIA 1\ 7) | \ | Hill {Ii} AYN a 7 = URES AE AY Hee Ss EL EE S\ SSIS D) Wie A AN SA) AN) x! | A 9 4 = ee = \W | \ —— —S 2 d VV AVIV, nen | WY, EVA a l i bd Ea ZA\ZA\VA by IA PAS : Mc 1 IN OZ SON NZ Wes TEINS YU Meat: VE x \, \\ Z4i 289 EXEREESIES |\/ SZ Eg COMBINATION BORDER, No. 59. MY Esl \y GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. a = a ae | pe 8 a = — 1 nl —— ae res Se a a fg en em T+ ; ah ® ' ae { } ; 5 i . Ti ua, * ; a ‘Oo Gf 136608 noilaniitne, COMBINATION BORDER, No. 60. hee ombination Border, Bo. 60 11 12 W sf +. Waa aes ¥ A Re YS iy vi Cex RXERUKUEECREREMEOEUALEC EES YEREESENEE SP Se Wee” Se ee ae ee “yy “yy ~iy oa RIAL ALA LALA AIA TATA ATA AYE a> AIA AIA AA ATA ATA AA yy D> 7 Eee ese ES EEE REESE Ty 44 “LY sp sP aD nis AE WL Mi “SY vy Ma ‘y ‘¥ oa vi ly + x The smallest Font contains — 17 each, Nos. 1 to 14, 28 and 38. Gi ub ‘« “15 to 28, 29, 31, 32 and 33. ue «24 to.27. ‘+ 30, 34 to 37, 39 to 45. ‘ 46 and 47. ue “48 to 69. And also Quads. = Swale Ly GEORGE BRUCE’S SON. & CO., Typr-FounpvERs, No. 13 CHAMBERS-STREET, NEW-YORK. 290 COMBINATION BORDER, No. 60. , VEINS dh Peper mn a lt a! ue uly. 5 | seeesssssssesssessseegg 9G Dee ee ee ae (OS Ul). ») i ine Le % | | lu | > 7 [eal —_— O = O O a = = © x big aaa ARAMA EG ee SS SSS SS SS — I —— (ee SSS SS SS SS SS | Bi | =|) | = i , ral | TT ar Da ip.¢ GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. | 291 mW . ne nad pegs Motes Pa iP MG in 7} pe: y tyne init i ~ ve lpee . OF Lae oy ae AAR See ‘taht we Oe nae te Ab Me i 3 orm xianseitslin vealed Tinian eae —e a - BEGROO SESE SEH SEEOT? eat Ahhh hh eA bhks ph hha AA Ad VOI Sa Sreartge eas yA Ai BR BB SBR ih BB eS eh aa LET eT EVEN ET ae ae - EU tee AAA he kk A lt #. ut i. AKA Adhd a i laos in = a <_ i. " 7a Sah Fok Sd an tae, lee ete a 4 4 H ee he Aan — vo BS Se 308 3E oe 58 ee LT Oe > ae ne te a ' i ' ee a COMBINATION BORDER, No. 60. XY > AS AS ARS 2 ( Y «Pp Pp «J , { \ i — Le wy POUICUCUCN a) W qi WF sp sp ah ap ab < i, lA a ee 4 = Com 3) \A} yy Ym) O ARS Pi SS 4 y YZ a FEELS TEES A 4 G@ pZ\i3 pe ‘36S BEBBEEBEI = NS oh AMAUM AV AN ta iN gi NS Sat . Ml) GC LE “Al ev 4 —_ aa MAA AAA GAYA PLPLPLEL PL ay Pe pF ata a . ROOS OOo. ia A NN Wy GEORGE BRUCE’S SON & CO., TyprE-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 292 ph | ip i i bey Merida tian. et te ae COMBINATION BORDER, No. 61. SS A elZ WEVA () (Nos. 32 to 48 are mortised.) ieee: 4 bs GT, 8 YO al 11 12 13 14 15 16 17 mee aan LT ROD 6 PY ES ect re 18 19 20 21 22 23 24 25 26 G N 2 BA $ Et aN ‘e : sr i WH I PCL 32 33 ie 27 28 29 30 aA © R 9 ae 5) HPS 8A my BSP ® eS B4 35 36 37 9 CRE AED 7 Neg DREH RG The smallest Font contains — 12 each Nos. 1 to 24— 6 each Nos. 25 to 44— and also Quads. UNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. GEORGE BRUCE’S SON & CO., Typx-Fo Sa ey . ey. oe »293 ail ah |= hie ar A ae rats ie a a . oY: i - 4 a; . ” ws ies : i ar oo . fos wy Bee nk Piasles be + v ms p: fhe BEE cee Te y COMBINATION BORDER, No. 62. 3 : Sa D 2 BESSSSSSCGSGSGSSSHSW * (Nos. 6 to 10 are mortised.) hS oes So Sew Sa oe, Sea 2 Pe Sao Fe) ye zr) Wy Je CEE) GE oS or ) g i 2 3 ro a 7 ats. oe AL CED) CRED, CED aoe doctodneefoapocfodoata Rs x JA K te ——, Sa j i 4 wi C ‘ NANA NAN ANON ANA LY GPa? Lay PS A £0 OV DADAML NAML ra (eee (K = BD a. > A bK {] Rm VD L ) = | 1 2 3 4 5 6 Vf 8 . J dm YF A es Go ¥( VW & Y ween m A SS TVR 10 11 12 13 14 ) 7 0 15 ) \ YY DON > XC) 21 [r: vi \ ZS va oS N se Ne ed ) ¥ 16 17 —_S270 Ro — & 7) <> SEEDS << *K A SSO Do ) PUVUUY = \ = \ / emcee) yh ey /\ ence omar IN X KK Od (Se) ey \)«/ K ()\).( = \ ss ) y | Y 4% ll VV —=— KR till yt — = \ fre i \ JANG RY ——— ZV —— j ! MOE OETA \ ) —_— ENEEMESTA ‘ = (dy The smallest Font contains — NG 50 each of Nos. 3 and 20. “< — 17 te “8 and 18. y 8 es “1, 2, 4 to 7, 9 to 17, 19 and 21. 4 “22 to 39. And also Quads. | TZ \ ‘y —— = / bos =I n BX —= NEN es ee ° y f xy yo = WNL NS > GEORGE BRUCE’S SON & CO., Typr-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 298 64. COMBINATION BORDER, No. BS aw aN f SSsee ——h = =! =) = NK a ee ) / ZS S =! SSNS | N he a = | S11 ee I Z er ae f > . (PS) e = 4 AE | ne . ee Pe othe me) . : {ei Aenea 20 Ab anamutemmaner ah nel i i ee ae i : . pea ole : ee a? & Ww, » ¢ ass 2 f « 7 & c , “ ye nie bt — siyect Border, NO. 63. ¢ \ 1 2 3 10 ib] = SCS Bk We OLE 14 ss 16 aye 18 19 20 21 > ® W 4G ee be OS yh 23 24 25 26 27 ~ ea ae neon ~eSs Gs as Dak Ji JES CPO 66 LI OL ca LA ahs e \ : * “Gs “G Fe en pe men iS} Cy) CD) Ee ae 1e9; pee gp! Ye CS bit The smallest Font contains — 17 each of Nos. 2 and 3. 3 * 1, 7, 8 and 33. 4 f * 4 to 6, 9 to 26, 29, 30, 34 to 39, 41, 42 and 46. 2 p “27, 28, 31, 82, 40, 48 to 45 and 47, and also Quads. GEORGE BRUCE’S SON «& CO., TypE-FounpErRs, No. 13 CuamBers-STREET, NEW-YORK. ~ ve) a ; thea ; 300 ; aca. in aoe ie. p y ip 9 5 = ; ’ a * ee a Soh hg es z via i ; goad oil i ie 16 Za) iS) A & iS) a 4 © ia) Z e) a st | jaa) = © Oo lee | a STF K aca NEC Sa, ANG y JB) B S SSIEXA a ZR). ee ! . SCENE oe i watig Maw mawNy ||| |= \ oe 2 SSW | CZ 4 GEORGE BRUCE’S SON & CO., Typr-FounprrRs, No. 13 CHAMBERS-STREET, NEW-YORK. re, seh * i 1S fa TN _ Serr Se ¥ + Faia 7 orth Rares - ers Ne Se s fs = Porc teen me ate a at mer ee NE £ i 4 Fem re a aoe 2 ee | | ee ye vigtads Dads jetionnts tcf ao fhet ¥1 Oh ntl eh fon 12) a ary) bale Ith Wait Tort ine - ’ “saath COMBINATION BORDER, No. 66. LI 3 2! weed Ong, ft b S YO EWE | & . We ee © Ng @ E ! > _ < whew OE. 20 ahh SP ae) ce! 9 \ fhe Meo oh ee Pt 7 KS » C Wiese r vo Gs | jj ® @ 15 16 7 18 10} ‘Go \ ow a = aS > ; <0 eM ° \ ( O} =e SS vOoY | , y Die es g ® 19 20 21 22 9 Nee AH © € ibe. ~ @ S < a oO MAC Y EN ) ICIS aA J a « Nhe 6) Ve @4) ee A Cue, mee Ss Die a | | 1s pSe | : ® ; bes Bk oto of [O} @® The smallest Font contains— 70 of No. 11—8 each Nos. 1 to 10, 12 to 27— 4 each Nos. 28 to 31, and also Quads. (EES 302 NS 7 N SX & aN WO 12 eS na pap ran 21 yr War Ls Ww r\ a } [7 q a) x KO en ae COMBINATION BORDER, NO. 67. PE = a a Te RS cae “GM s 5 6 7 ©) 10 il! 12 13 Se Ae ee 23 24 25 if Vs 2? 7® ie He @ 8 29 14 15 aa > ° I 32 33 JP vr ev OF SC > ve a cht The smallest Font contains — 17 each Nos. 1 to 6—8 each Nos. 7 to 15— ¢° 4 each Nos. 16 to 34, and also Quads. Ne \S Ww /\]\ W/\*] \N/\ rN Ae th: VON BF ss ‘ ‘ ‘ & ) ZA ye V9) fr P iat cal MS. - ab es 308 ee), aA ei a i, ey a a GEORGE BRUCE’S SON & CO., TypE-FounprRs, No. 13 CHAMBERS-STREET, NEW-YORK. 7 + oe a eee a0 pe a = th Oe rw erwin dd apenas ney Bowl eee a ee eb - » . » We ~—F -. ‘ = : i " wove Se pk» alle earn aie (:nldllpepttinansannainr ata teas a” Bae Cee Se os oft at » tha her BR” . 4 ras oy: - ae - re "RARE RRR a +errhetee \{ me teaee < aa) Li hy = ha s he Oe eT eee eee ’ _% Ps ar? = * CR RNR, LN SC SA SRS eee a Fe -) Teepe (eee eee eee eee COMBINATION BORDER, No. 68. er uy Seeseeseecenece® AL IO eeoe ron GS on a Combination Border, No. 68. / Ste ees oer == G) } al} mg? e es e e e e e e e e e e e ec e e e e e e e e e e e es ° e e e e e e e e e e e es e e e e e e e e e ° ° es ° e e e e e e se e TIMI Ve | hy 16 Woy, The Smallest Font contains — 35 of No. 4—8 each of Nos. 1 to 3, 5 to 7—4 each of Nos. 8 to 15, 18 to 26, and 37 — 2 each of Nos. 16, 17, 27 to 36, 38 to 42, and also Quads. GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 304 j COMBINATION BORDER, No. 68. <= + <> —=—D- —p- eVeeesoseseoeeeeoes ee eceeeeeoe <2 :—~< >< + -~— + —D - -—D- —D- —~—<—D@- -—W- ~—®- ~—- —w ES COI <>< >-<> HC) ct EE ale, AN: AO RM:

atten oe el oer) 4 ale 40 dp aah as Pa DAS SO, YL Bic COMBINATION BORDER, Ro. 69. Pas we eva) one >) «eo “y -a x te 2. ta. ob “»Y ¢«c gle of tea (S i) (— 2) (< foe Rule No. 316 can be used with this Border. The smallest Font contains—17 each Nos. 1, 2and 5—4 each 3 and 4, 6 to 24. GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, * ‘ be ‘ avs } eae SOC.” ail it er } ‘ i Pes NEW-YORK, . < Cran ot ye wee a by. COMBINATION BORDER, No. 70. DET, OPA Bi! iN iP (ni pA Rule, No. 357 | n a4 { wae Sa ie this Border 3 4 5 6 7 8 9 10 11 20 21 22 = The smallest Font contains — 35 of No. 10—8 each of Nos. 1 to 9—11 to 183—18 to 22— 4 each of Nos. 14 to 17, 23 and 24. GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 307 Sateen dei acne - e+ +? aaa eh A > . ole ~ Py A, ai ea it a i 6 <— mA a er RI = seti0 bated senate kt eo ° ge at ¥ > —_ oT CO TEEN IAD! TFs beg ot 47 % Aaa Y \e es 4 ia a 5 of ea 7 ot 5 6 9 14 . } 7/8 WSR ES, ne aah eS 5 ov | Rule No. 3064 can b ed with this Border, (0) The Smallest Font contains — s. 1 to 11—8 each of Nos. 12 and 13—4 of No. 14. so 6 ) SEATS Lap. 1 2 10 11 if mG 5 aa oe MAO BSL Gabe ne 20 each of No Vl tar GEORGE BRUCE’S SON & CO., TyPe-Fouxpers, No. 13 CHAMBERS-SteueT, NEW-YORK. —S>_ i ‘ SORE : - ; oa * Sees Le 7 ¥ “od ave, ©) > Pete ane # 4 BNW a SS > x ° ij fee tea: | ta : -| Se s) ~ Z| / a= e ° ° | ts LA ae Ne <-> = & e i 2 Dag = 7 aa Sone i ae aa Ricca hay Ags ; Baw els See SOS Pa : A | Vane, a WN, res acs celal AAT; poeeae dl . : 7 ae 4 a sen te se ae > BRASS RULE. iN EBS at Sold in strips of TWO feet each. (See pages 314 and 315 for Ornamental Corners to fit every kind without justification on the outside.) Number. Body of Rule. Number Body of Rule 301 ———— —— 1/16 PICA. a ——————————— = —— 1/4 Pica. — —__ ns li, «¢ So eee 303 (RRS RESETS TS ACESS ENE RT 1g e 339 3 8 ‘ 3 ————— | te . 2 a eee eee eee ee 305 ——____—____— BE ee 2 SS a ee eee et —[—[— ee 300 = mas Se OG : 3063 je) SOC ea ae aignaaiig i, Kae aia en 5lg + 307 —— 3. i, TEA os 338 re eat eal PME oe _— a . Sa eee 339 1 ‘ RA NTI BS A 340 — ee ee == = Cys, ub a = == = ———————— Lace the ee WO I se 1‘ | 312 = = ——— ~ Hy ax | DO cc | 2 6“ 313 as Bla : i ? ee ee eee a éé a = SSS es | Bs 28) oF 8 if = = = eS SS | 315 = = ses — 3) a ()) (Pea AE is} Oe | is aan Oe Ae A at oe Se ee as = bee L Le | | 317 ae igo - 3/ ' — = —— 18 346 | ee ed 3/g oe 318 ayy We 347 = SSS — Ie * | 319 jak oe = lg eee ye 349 : 1S Bas. eee 350 era EN NR ASE SEE oan — : Tg + SO ———- — SS | on Cc _ 3 g a i — SS RS EE RE IT EE SS SS e 395 3/0 ‘ 353 = = 1/5 ¢ | | 22) A |) | = SSS Bole 32] —_—__—— ee OC 355 ee ——— SSS ST ao ee rat i —ooO—__e_—e——_ 3,“ = NE SE SRE ES CRORES SIE REE TE Se i iT: SS eT GEORGE BRUCE’S SON & CO., Typr-FouNpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 309 c A ot aD — 2 n : ba Le Abas et Sy Si sane a me vba yy eeaetetiesnprin Cm Eek COR eeene tI cn Swe feet te ae oe . Wwe ri (RRA ir ers, LE LE SF Ae Rigs Ta at : ms, peach , = agit s ar Pu ye — a ce ae ee ead eee Take, Otte ee ay? 4 Vm SERB OA oe ies ca . i St AY ‘ - - P| RS OS ee Ne BRASS RULE. Number 358 359 360 ~ IN 9 N R 3) x > JS \ we Ce Rw ‘ TNO FUNIW FR LE {IO (See pages 314 and 315 for Ornamental Corners to fit every kind without justification on the outside.) Sold in strips of TWO feet each. \uansusseaeucusanenceusneseseseueuenuceeeeaussscencueuesescensaeeceueuesesusennescouseusen PIPPEITIISIIIIISIITII ITT AODUEAUOQOUUENOUOROUOSEODOOOREOUOOORUROUGUOCGERCCOOUGULUDEOUOUSUCHOONEUNUNURCERECHOEOOUEOE DODDODDDUEOOUDEDUOODOGOUOUDNDGODDDADDRUUDDOQSDHUDOUURERADORDODDODDDOOBOROOBOOG0B0000000000 aa ee Sennen eee eee eee eee eee SESSA SSS SSS eee TTT ETT TTT TTT Delle alee lletatet eet aLet et lale Leet llLele tee Lelatate tebe babel (BBR RSE RRR RTE Ree ee ee eee eee PRR EBB RBBB ERR RPeeeeeeee|s CN a a a a eS ON RR RR RR oa) aaa oe oe oe oe oe oe ore we oe on oe we oe oe cere cone aaa aa eal lla a ale el Pia Ae ie MATEO LT ATO LT Tate aa aaa al aaa aia al il ial ail Aa il Pi ae el Pare Body of Rule. 1/g PICA. Ig se a 3/e “ 3) 8 “ 1/4 “ 3/e “e 3) a Ig Me 1/¢ 6“ 1/4 “ 1/4 “6 “ee TON Number. 388 389 390 391 WW TIMI OOOO» — Ee > —— —_~— — Dae Se = —— Body of Rule. 1/4 Pica. d/g oe GEORGE BRUCE’S SON & CO., TypE-FounvERs, No. 13 CHAMBERS-STREET, NEW-YORK. 310 BRASS RULE. Number 416 417 Sold in strips of TWO feet each. (See pages 314 and ee oe ss hhththethentheththenthenthenthen han hrecerlaxtadendandheathecdhehathectadcdecdhcdhadhededechechecdhertecterhendeahecd 4 a S BUUH. 315 for Ornamental Corners to fit every kind without justification on the outside.) Body of Rule. PICA. Number Ce 440 eee eee reese sere eseeeees 448 449 Body of Rule 9/8 on GEORGE BRUCE’S SON & CO., TypE-FOUNDERS, NO. 13 CHAMBERS-STREET, NEW-YORK,. 311 PICA wees FeUEe, | mek POL Rg AG > edmeroom bn CUR: Lee > AL engage eee beer tral LAE oo oo ee oS SO bs Bees SES FS ss 6 ee es Fs 4 : ed ERIE 8 ee ET nN ES 2 yO - - i . Pe } ‘ aN Eh ee hae y ott Cy pe 4 cs « “oud > sselthed? eee ret eee re A 4 PO RSA ORNAMENTAL CORNERS. CORNERS POR BRASS RUIGE: These Ornamental Corners (Mortised) are made to fit, without justification, every kind of Brass Rule shown on pages 309, 310, 311. Price for a set of 4, Double Pica, 30 cents; Three-line Pica, 50 cents; Four-line Pica, 75 cents. 2302. 2303. 2304. 2305. 2306. ‘ 2307. 2308. Rule 302, Rule 303 Rule 302. Rule 302. Rule 302 to 317. Rule 301 to 306. Rule 301 to 306. 372 to 376. 311 to 315. 311 to 316. 388 to 393. 372 to 376. 388 to 393, ( oan Q) ye an MGS ASN ORG ¢ WG . LE e CEN @ y a ICY a2) \ S = Ss} 2309. 2310. as Sale be 2312. 2313. 2314. 2315. 2316. Rule : Rule 301 to 806, Rule 811, Rule 312 to 888. Rule 313. Rule 314, 389, 391. Rule 315, 392. Rule 316, 390, 393. E 311 to 315 c WE SAV etc 3 pe) va LACE ors ait i (ANG) (| SOK 2317. 2318. 2319. 2320. 2321. 2322. 2323. Rule 318. Rule 319. Rule 320, Rule 321, Rule 322, Rule 323, MN FQ) Lees h e\ Mee YC} ( S| SS F Cy, C | 1 ~) ects) 2325. 2326. 2327. 2328. 2329. 2330. 2331. Rule 825, Rule 326. Rule 328. Rule 329 Rule 830, 394, Rule 331, 395, 397, 400, 398) 401 2332. 2333. 2334. 2335. 2336. 2337. 2338. 2339. Rule 332, 403, Rule 333, 396. Rule 334, 399, 404 Rule 835, 407, Rule 336, 405, Rule 337, 408. Rule 338. Rule 339. 402, 406. * (ou) 2340. 2341. 2341 19, 2342. 2343. 2344, 2345. Rule 841 Rule 341, 430, 481. Rule 342. Rule 344. Rule 345. Mowe / or 4 or lard . > « AQ 2346. 2347. 2348. 234819. 2349. 2350. 2351. Rule 346. Rule 347 Rule 348, 430, 431 Rule 348, 430, 431. Rule 349, Rule 350, Rule 351. | 5 = GEORGE BRUCE’S SON & CO., Type-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 314 ORNAMENTAL CORNERS. COM Nini ior IBA Itoi 2377. Rule 377 2385. Rule 384, 385. BR 2378. Rule 378, 379, hottom of 301, 2380. Rule 380, bottom of 804. 2381. Rule 381, 2382. Rule 382 2396. Rule 394 to 398, 400, 401, 403, 406, ie 2410. 2411. 2416. 2436. 2438. 2439. 2440. Rule 409, 410, Rule 411, 415. Rule 416 to 420 Rule 436, 487, 441. Rule 438. Rule 439, Rule 440, 412 to 414. = 2454. Rule 453, 454, arpeoy 2452, Rule 451, 452. 2456. Rule 455, 456. reece 2450." Rule 448, 449, 450 2447. Rule 445, 446, 447 2443. 2444, Rule 444. 2465, 246510, Rule 465, 2466, Rule 466, 2463. 2464, Rule 463. 2460. Rule 459, 460, 2462. Rule 461, 462. Rule 464, Vy Le ae a 2473. Rule 473. 247319, Rule 473, a 2474. Rule 474. 2471. Rule 471, 2472, Rule 472 2468, Rule 468 2470. Rule 469, 470. Rec These Ornamental Corners (Mortised) are made to fit, without justification, every kind of Brass Rule shown on pages 309, 310, . Price for a set of 4, Double Picea, 30 cents; Three-line Pica, 50 cents; Four-line Picea, 75 cents. 2352. 2353. 2354. 2356. Rule 352. Rule 353, 432. Rule 354, 434. Rule 356, 435. 2358. 2421. 2359. 2360. 2364. 2368. Rule 358, 383, Rule 358, 383, Rule 359, 386, 387 Rule 360. Rule 361 to 364. 421 to 429. 421 to 429. 311. 2357. Rule 357. 2371. Rule 869 to 371 botiom of 305. 2405. Rule 399, 404, 405, 402, 407, 408, bottom of 303. 2442. Rule 442. 2458. Rule 457, 458. 2467. Rule 467. GEORGE BRUCE’S SON & CO., Typr-FounpErS, No. 13 CHAMBERS-STREET, NEW-YORK. 315 | . Pe ee ew EEO Thee PUREE DL TESTER ee OT OMET SC TED Fees a 4 . Ca ee oe ene ae i : ; eo ‘ ri a ee oe ‘ A « at iwd aa —fr tel (@ took Nev Mee ae {rege (plotd 410. 8)} ul ; pene eth the tee dey TAMaitees > nrttin Citas hens! ae in seen hit es de 4 ton A ee) ngiiartlh emer 1 awl aideath 2 to Me « aol ell : I Cn * - ah : ‘ 4 Sars ; hy ane ¥ mm oe oon » Rae” tt SS y 7 ate ire 2G wha . Soe a & ae tr 9 eee ak x IC (* Dy wig to p =A tie : HnRy ; LT = ee SS oid den ive wef re at AP oe ec 6 wea . he 4 Ee . n a 4 ‘ = &* Wace le : ef Gees ' \ ie tes 3 To 2 s Me a F . { ra a 7 vals : #39, A wuahe lly 2 ¢) $a side Sha ~ Rte De ee Pv ree Taga ati Ls Dohanee A Metta b AM BB Plt Bl Led 22 Bonbon BB TS 6 L AM ttle A Lt b> Sate Bird Me Me. re RSIS SE GSD, ra SLE ER Ta A ey A a re ae) b . os > = ee Ore TRF REITING? BGT SEITE 7 . - i. -« © we d jeae a . ~ ' ne i ET ae Ly ae ip Ai Nae a eal Sk ae ayy tere al ae a . we LABOR-SAVING BRASS RULES. HH TAA EAT = : 4 | | | af : qy 2 : 5 p ae ye 5 WT TE || WTAE AT WH) WL jv wien; Qf TG) Be AE AA | || Hl \BOR-SA V NG LB SUAS g | | | ‘ae = = = as! — a as eae a 1H] 1 | | | | , i uu & {I ||| Hilton | || WO TEAL | FOR g | £ \ fee | a | I| | WHT BORA SHIa AIOTa IIIA A | LABELS, TABLES, AND GENERAL WORK. ; | | i |] | | | | V1] | 2 a \ 3 $ | | | \| | 5 ES) EIT ALATA | \| 4 THE SINGLE, PARALLEL AND DOUBLE RULES ARE st a Ba iI WA HNN alee 5 SOLD BY THE FOLLOWING SCHEME: Sil ‘Se Sy tt | | ° 2) | - rte | | = 12 each of 1to 6 ems, rising a Pica en, being 132 pieces. ceil. 2 | || = : : Gab {| | || || y ne 7 to 16 we GN iGray, OF alae 8 Sate EZ | | | | = 17 +026 “ a HS em, as COM cata 3 | | A S | 1 & yi \| \| % 27 to 86 Beem, 40 eo ety & 1 || | | | s mitred pieces, 2, 219, 3, 319, 4, 449 ems, 96 = ati eth 4 i \| 2 Cee a is Z Making a Total of 428 pieces. =| 1 a log Hi Ps eee , Paha 8 = | 3 With such a set of Rules, any Printing Office is adequately Be a ry Rn Ss | = supplied with sufficient to set up every description of Tables, ey ; \ iI fm | | 4, Labels, or other Jobs requiring even or uneven lengths of \ ie ‘ipa a cs iS | Rule. They are executed with great nicety (so that, if it 2) 4 b | Ee | > is required to piece them, the joints cannot be discovered), an ' ! iS | (ea = : ; ~ r : ft | a By Ee] and being all cut to regular measures, render unnecessary e! Uh \ | | | a the constant cutting and consequent waste of Brass Rule. eI H 2 er — \ oat Z == = F a eer bs SS = ; ———— eee eee eae TY a 1 | = E a= = = = & ! Per yet dl atl rn i - 1 oy f Eee a = Taped end 1 ae ee ———— a ' 1 aelateeligag ; | ———————————— —————EEe ol, HiT a ra i mh aa 1 at ' ——————————— Se AQ! ' Na Goat ht h n 7th Series. | Ce bth Series. Smallest Font weighs 18 1b. 0 oz. — - ——— - Price, $1.50 per lb. | | Smallest Font weighs | | 9 Ib. 0 oz | | | = | | Price. $1.60 per 1b | The 4th to the 11th Series are put up in Fonts of one-half the quan- tities mentioned in the above scheme. Series 10 and 11 are cut without | | a shoulder on the heavy side of the Rule. and with inside and outside mitres, so that they may be used double, as in Series 10 surrounding this | | paragraph. | | 10th Series. 8th Series, Smallest Font weighs 9 Ib. Smallest Font weighs 9 lb, O oz 8 oz. Price, $1.60 per Jb Price, $1.60 per lb. 9th Series 11th Series, Smallest Font weighs 19 Ib. 0 oz. Smallest Font weighs | 18 lb. O oz | Price, $1.50 per Ib. | Price, $1.50 per Ib. GEORGE BRUCE’S SON & CO., Typr-FounpERrs, No. 1! CHAMBERS-STREET, NEW-YORK. 316 BRASS CIRCLES. From No. 1 to 5 of either kind, 60 cents each. From No. 6 to 10, 75 cents each. Nos. 11 and 12, $1.00 each. A set of 12 pieces of either kind for $8.25. SINGLE. PARALLEL. DOUBLE. GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 317 76 = 4 Tt aie s ¢ =a . t? 64 , i ‘ ie Tt a oe SD a id ee. eee ee ee - en ee eh a Ree = ———— he cen Ae ae de okt 119 *Plny peu tA heteh vabtie ty (rot aA mrt Oe wend Ge Bi? Views ales, 1,4: P4tAe BRASS ELLIPSES. DOUBLE. SINGLE. PARALLEL. BRASS ELLIPSES. (86) eo From No. 1 to 5 of either kind, $1.00 each. From No. 6 to 10, $1.12 each. Nos. 11 and 12, $1.35 each. A Set of 12 pieces of either kind for $12.00. GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHampers-Strert, NEW-YORK. 318 é BRASS CIRCLES AND ELLIPSES. 2 ee LITE IIL LLL PLLL TILT TEE PEPSI PPP EPE PP EPSP P EPP E PEPE SPE PEEESET PEPER EETER EET I UAT EAIEA REET EECETALESIESIODIOUI EDI COSOFEATOCTEIIDIFOLTELITTEITOONG AY QO- Y: oa LA ey \ ny Se fe ne 7S eS \ a F ) = nS AROS ESUESEDSEOEROTEEELEEDOREER ODES ESESSELOOSESSSRESESSEEESSS OSES SONS EDS, TRIPLE. From No. 1 to 5, 60 cents each. From No. 6 to 10, 75 cents each. Nos. 11 and 12, $1.00 each. The Set of 12 pieces for $8.25. QQ) TRIPLE, From No. 1 to 5, $1.00 each. From No. 6 to 10, $1.12 each. Nos. 11 and 12, $1.35 each. The Set of 12 pieces for $12.00. (A ESUTETEESESEASEUSESAST TES EROSEEOSESEOEESIESSSESIAEETOOSOOSSSORESOOENEEEOREOEAESESESOSSSOSEESES CESSES SE see enEcEenencEEEeureonenene, aaa e { ie nae > tka Db | (i OC Dyeene ( oe 4 i) , SEAS SS ee ee — * = > a = = _ — a ~ — — ae 5 } , GEORGE BRUCE’S SON & CO., TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. sl, FANCY BRASS CIRCLES AND ELLIPSES. im ra = BScy ~~ ” “FANCY BRASS CIRCLES AND ELLIPSES. Brass Circles and Ellipses from all patterns of Brass Rule exhibited in the specimen book can be furnished to any of the 12 sizes shown on this | page. +e PRICE OF FANCY CIRCLES. Nos. 1 to 5, 75 cents each; Nos. 6 to 10, 90 cents each; Nos. 11 and 12, $1.12 each. PRICE OF FANCY ELLIPSES. Nos. 1 to 5, $1.12 each; Nos. 6 to 10, $1.25 each; Nos. 11 and 12 , $1.50 each. aa2@a of re 6, Rule ¢ WS £ Rule ®, Y » Sy, Hey, “A RS Rule 8-74 rw Vv So gee 12 2 Rale eee GEORGE BRUCE’S SON & CO., TyYPE-FouNDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 320 BRASS DASHES. Jetiatdruieyre» IDs Cre) dak es). 10 Cents each. 10 Cents each. 10 Cents each. From No, 56 to No. 60, 15 Cents each. From No. 61 to No. 68, 20 Cents each. No. No | 43 i ai edie ieee 56 . | a4 >< 57 Je ee | 45 Eo a 58 es 46 a 59 eS er 47 = ye = 60 ee ee a a 6 po ie | 49 <> ~ 9 04 GEORGE BRUCE’S SON & CO., Typr-FouNpDERS, No, 13 CHAMBERS-STREET, NEW-YORK. 321 ‘ a Tt oe | at iv i fedaital ' 4 et ) re ae gn ANS I ‘o PRECT Pe oT). PT PIpeee ba eaa Beane! ELLIPSES Pte tn AoBs gine ‘ol Maes Shiitake Kak, al 4 Py ta a ine Was Fa — a, ie amt oe i ee el ees eee INITIAL ORNAMENTS. First SERIES —60 CENTS EACH.— $12.00 PER SET. aM aie ri Mi (iti, y rl i SECOND SERIES—50 CENTS EACH.— $10.00 PER SET. FOURTH SERIES—50 CENTS EACH.— $10.00 PER SET. MirrH SERIES—50 CENTS EACH.— $10.00 PER SET. ABE DEF SrxtH SERIPS—4o CENTS EACH. — $8.00 PER SET. GEORGE BRUCE’S SON & CO., Typr-FounpDERs, No. 13 CHAMBERS-STREET, NEW-YORK. 322 INITIAL ORNAMENTS. SEVENTH SERIES— 40 CENTS EACH.— $8.00 PER SET. GEORGE BRUCE’S SON & CO., Typr-FouNbDERS, No. 13 CiAMBERS-STREET, NEW-YORK. 323 wie) Fie at Say ee! Be ais? Sad * es ae jm ety hs ie f : wae. sca ; *) INITIAL ORNAMENTS. 60 CENTS EACH.— $12.00 PER SET. SIXTEENTH SERIES GEORGE BRUCE’S SON & CO., TyPE-FouNDERS, No. 13 CHAMmBERS-STREET, NEW-YORK. "324 0 INITIAL ORNAMENTS. NINETEENTH SERIES— 40 CENTS EACH. — $8.00 PER SET. ee 00) Gy ro ? — Ni \ 9A (Bp FEO NN QUI ESE Aas nn ay / de OY A KZ S me ~ C ( CNL =) alin TS ate es WYO c Seb oH » 4 WE) & $NA iy, ls A BRUCE’S SON & CO., Tyrr-FounpErRS, NO. 13 CHAMBERS-STREET, NEW-YORK. Zs 325 ra pu ae Say : Se ANE Te } ; , 1% } a. 4 a ¥ { i s 4 ry a a — as ft b i Ps + eS \ = tis oy ct d Z: a i % 7 7 ' t bce ue > wert ae ry , ee PS " % , 4 ‘ ‘ . ; * ay J Ne ‘ ; D4 , 2 | ie a > “ed . ~ 7 pu & 7 e (a. | «4 he ie Let irae Gr ae mye id 1,601. 2oc. 1,610. 20¢. 1,611. 20¢. 1,612. 20¢. 1,613. 20c. 1,883. 20c. 1,884. 20c. 1,889. 25. LSS OOMmes Cc: 3:800; toc, “os S0l. rac. 3,802. roc. Dood SIAN NI G S GEORGE BRUCE’S SON SVK a i\EE Vern ware ye = RS 3,809. 20¢. 3,810. 20c. ORNAMENTS. All Ornaments on this page justify with Nonpareil. 1,888. 206, 1,892. roc. 1,893.. xoc, A Font of the following 33 Ornaments costs $5.00. 3,803. 156: 3,804. 5c. 3,805. 15¢. 3,806. 15c. 3,807. 15¢. 3,831. 25¢. 3,832. 25¢. & CO., Typr-Founpers, No. 13 CHamBers-STREET, NEW-YORK. 326 ORNAMENTS. ——)) sex SS Cai / oo (st72-a1010€2 lb One set, consisting of 4 each of No. 2,900 to 2,916, and 1 each of the rest for $10.00. All justifying with Pica. mueasaeanise ll Do oe | 2,900. 2,901. 2,902. 2,903. 2,904. 2,905. 2,906. 2,907. 2,908. 2,909. 2,910. 2,911. 2,912, 2,913. 5e. 5e. 5e. Be. 5e. Be. 5e. Be. De. 10¢. 10¢. Be. 10e. 10c. —_ al r i } ‘ = s ( = eS KS 2,914. 2,915. 2,916. 2,917. 2,918. 2,919. 2,920. 2,921. 2,922. 2,923. 2,924. 2,925. 10¢. Oc. de. 10e, 10¢. 10¢. 10¢. 10¢. 10¢. 10e. 5e. Be. s Co Co x Cc) (Qa & aCs- 2g Ar 5 See ; = ( é AY S } Sr) ae > Zz 2,926. 2,927. 2,928. 2,929. 2,931 2,932. 2,933 10¢. 10¢. 10e. 10¢. 10¢. 10e. 10e. 10¢. 2,934. 2,935. 2,936. 2,937, 2,938. 2,939. 2,940. 2,941. 2,942. 10e. 10c. 10¢. 10¢. 10¢. 10¢. 10¢. 10e. 10¢. | a \ : a KAP (pp a es WN y aXe Ze) zi \ ‘ SS ¥/ AS on y SEE ‘ Gsae Fe () a 4 2,943. 2,945 2,946 2,947 2,948 2,949 2,950 2,951 10¢. 5e 10¢ De 10¢. 10¢ 10¢ 10¢ k= JE) ee 2,953. 2,958, 2,959. 2,960. 2,961. | 10¢. 10¢. 10e. 10e. 10¢c. } . JE eg SSS g Se a —, ig, 4 SaaS ‘ 2,963. 2,967. 2,968. 2,969 10c. 10e. 10¢. 10¢. 10c. 10¢. 10¢. 0 Koy 5 | i? 1 f o> Z6\ | 2,970. 2,971. 2.972. 2,973. DOT, 2,976. ZO ts 2,980. | 10¢. 10¢. 10¢. 10ce. 10c. 10¢. 10¢. 10c¢. Sue)S 2 <> > Ais (hy 6s ‘a 2,981. 2,982. 2,983. 2,984. 2,985. 2,986. 2,989. 10¢. 10c¢. 10¢. 10¢. 10¢. 10c. | 10c. y) iE Silt / S Cy EX QD CB) S58 OO) oe ZB sd ] 2,990. 2,991. 2,992. 2,993. 2,994. 2,995. 2,996. 2,997. 2,998. 10¢. 10¢. 10¢. 10¢, 10e. 10¢. 10¢. 10¢. 10¢e. << / GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. i 327 Ae eae n ti tight frit ae? S22 4 " . 2 ee a ELECTROTYPED ORNAMENTS. Price, $0.50 each. Size, 4 by 4 Pica ems. 2,502. Aye Rhode Island. United States. Maine. New Hampshire. Vermont. 2,508. 2,509. 2,506. Connecticut. New-York. Delaware. Tennessee. North Carolina. South Carolina. 2,520. 2,523. Louisiana. Florida. Alabama. 2,526. Indiana. Tilinois. Missouri. Arkansas. Ohio. 2,530. ——— Fn - QctER PER Rape ttn Colorado. Kansas. Nebraska. Wisconsin. Minnesota. 2,536. la lif. Nic California. Oregon. Nevada. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHampBers-Strret, NEW-YORK. 328 ELECTROTYPED ORNAMENTS. Price, $0.50 each. Size, 4 by 4 Pica ems. 2,603. City of New-York. Canada, East and West. Nova Scotia. Newfoundland. 2,608. 2,610. ce aT ae Honduras. San Salvador. 2,616. Venezuela. 2,621, 2,622. 2,623. SAS. EPUBLICs DEL PI ARDCUAY Paraguay. CS Brazil. Great Britain and Ireland. Sweden and Norway. Prussia. Denmark. Wurtemburg. 2,66010. 2,663. Spain. Portugal. Switzerland. Italy. GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 329 : = oe coer or. a | vo ine T Wite eae Ae Lg ye eo ELECTROTYPED ORNAMENTS. All justifying with Pica. 3,303. $0.30. 3,304. $0.30. 3,305. $0.30. 3,306. $0.30. 3,308. $0.30. 3,309. $0.30. 3,310. $0.30. aS SE ary J 7 SD 3,312. 3,327. $0.30. 3,333. $0.35. > oa jim $o.35. 3,337. $0.35. 3,388, fogs. _——— sé 1) S802 She DOO NO” Sz = Ge E = — 2 ) — = : = = E ie ; ae OSM SSS SEEZ = 66 9S : ELECTROTYPED ORNAMENTS. All justifying with Pica. | 3,344, $0.35. 3,345. $0.35. 3,346. $0.35. 3,347. $0.35. 3,353. $0.35. 3,355. $o.35. ip) v 1 His tn ihe it Hr i *¢ i ae “ae cy gin Ae nae a aye) La ae b UP ub rl NE Sy ) Mi | hat Ti es. liye il ae Nar eS) 3,361. $0.35. OS y) £20060 SS ‘ Grails Sete iN f it 2)! oS. y GEORGE BRUCE’S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. ELECTROTYPED AND TYPE-METAL ORNAMENTS. 22 £ & Hm an oGs 8. 8c. 9. 8c: 10. 8c. tal iekes 14. 8c 15. 8c 16 19. rec. 2 fut | 54. 8c y . Be. 149. 8c. 28. 18c. ve on sf mi o Sell [5] uu 1 ag 33. 8c, 3A. 8c. 35. 8c. ht fh Lab) 39. 8c. >. TSG: 47. 8c. 48. 8c. 49. 8c. 50. 8c: 81. 8c. 82. 8c. 83h 120 84. rac. 85. 8c. 86. r2¢. 88. rec. 89. 8c. 90. 8c 91. 8c: BD D 101. 18c. 102. 8c. LULL TZ 18e. 103. 8c. LOG. 8e5 07; 8c.) fLO8s se: { ai Go: 125. 8c. 135. 8c. 136. 15c. UST een me DEX S& ® = _ 1,500. x2c. 1,501.8c. 1,502. 8c. 1,508. 8c. 1,504. zac. 1,505. rac. 1,506. 12c. 1,507. 8c. 1,508. ree. AN — OR rar {Si geo SS HATO 12. I2c. Alera)! easy iver 1,514. 18c. LON | alas ins @oENTists— 1,521. 25c. 1,518. 25c. (el) “Ae Noe eae ? (EXHIB Sie @!ssorurion) ey Ton 1,525. 25c. 1,526. asc. 1,527. 25c. 1,528. asc. 1,529. 25¢. Cc ab eS ~20 Ke St Ce 1,662. 4c. 1,663. 4c. 1,664. 5c. 1,665. sc. 1,666. 8c. 1,667. 8c. 1,668. 8c. GEORGE BRUCE’S SON & CO., Typr-Founprers, No. 13 CHampers-StREET, NEW-YORK. 332 SS AQ) 1,675. 30c. ~ ocak Gass Rei i & Oemzc. 1,691. 12c. 1,692. 12c. 1,693. r2c. 1,694. 12c. 1,695. rac. A 129. asc. Uy L4((( (i \ ! 0. 2c. 160. ace Mxeomse & A © + we Hague, 1,839. 8c. 1,840. 8. 1,841. 8. 1,842. 8. 1,843. 8. 1,844. 8c. 1,845. 8c. 1,846. 8c. 1,847. 8c. id & 1,849. 8c. 1,850. 30c. f oi ; == eee 1,858. 30c. 1,859. 30c. = WY 22 HS 4 176. 30c. 1,860. 25c. SG is asc 878. 45c. 1,879. 30c. GEORGE BRUCE’S SON & CO., TypE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 7 s He) "XS, i oe ee) ae ar faa ae iD © ra ¢ te ) BG : EI : by io) hy = an i} | i GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 341 ” fepere he Cae ee 4 - ee 7). ELECTROTYPED ORNAMENTS. Price, $1.00 each. Size, 8 by 12 Pica ems. é o 43 oa : Fe : | q & i (| ? 2 | a Gentlemen’s Furnishing. Hair--dresser. < ) = C= SY Sy =j(Cs Nt Ge AG = ! Z : Fe of & ov é | ; i lil Hil ili oN 'h ce E \\/ Ai eal AW o% AN : ' I of ft | i if : f | mI NG ‘a | < a h GEORGE BRUCE’S SON & CO., TypE-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK, 342 ELECTROTYPED ORNAMENTS. Price, $1.00 each. Size, 8 by 12 Pica ems. >) n Be Y # = % g S iS 2 ~ : : s o by = 5S > g Ss =| =I | = % ) cH Dn } = E 3 4 | ei 5 | q Ss | S = ra : | { f I HB =| =| ==) H EI Ss 8 3 H g = oD ee, ne a ; c n = H S 8p 2 a0} s q & q 5 4 Bi o ; Ei dé S ig = : : A a n haps on ca a ra EB 1D ro i "a = a £ t =I a D fe u pe igt N ms = FS ea a Be E E é iZ oe od ° oO 4 GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, 343 | 2,760. NEW-YORK, Millinery. Military Goods. Mason. aay a hae, oe _ ee 2 : ae ELECTROTYPED ORNAMENTS. Price, $1.00 each. Size, 8 by 12 Pica ems. : ; i FA E e 3 4 2 e FS & ~ & S < | We) i) it~ 5 3 & 5 “i ni ;: 3 ot é a 3 a & &, * ° z a a g 1 A a Ss @ r 2 i S = u” “> ing ; 3 n F 1g Ww eo . S| | > =I HD : I Z : 5 é pes 5 oO oi 5 Sie co an oO t qa oa is | & & a = O} f at ot $ or 2 n 5 b i 5 n & a GEORGE BRUCE’S SON & CO. Typr-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 344 ELECTROTYPED ORNAMENTS. Price, $1.00 each. Size, 8 by 12 Pica ems. Z it Y L, Yy (Horse) 2,783. Plumber. Saddlery. Race. Sewing-Machine. ZA Wi, VY ZAUI) i) th oe oO 2 a : 2 3S 3 FI fc) S) . q ’ & a 9 a fe + § = a S 4 = 3 & 3 i x : : =~ oo - ! 3 g g 2 g af 1s = S —S ma q aa 21 Ay = gas =) 3 a : Bi i i eS = S a 3 ¢ a for) i) : : bt Z i ro] g 3 ol is) ot a ~ ~ s RM q | ) R fa 5 ja m4 a 3 (4 ca hi i Ah ns i i os E 5 = £ 5 g 3 2 ie x c v rf fs 8 im) | me “a ¢ 5 : : i= : : : "i | NS E a Fa ANAL i He hl WW GEORGE BRUCE’S SON & CO., Typre-FounpErRS, No. 13 CHAMBERS-STREET, NEW-YORK. 345 ELECTROTYPED ORNAMENTS. 3 A ‘ 5 As Bp gi by g E S 8 ig a £ B ive 4 3° Q | Bs j I 23 al 3 Mos a a n a é lo] 5 le} n S @ o pe i) 4 Sal o D 8g ® & ce zy a $ a & ov) & p a nD I Nn Nn #3 & ‘ 5 : a mm, 10 a SD = g > i 3 DQ oe] aD ia DR a & x) 2 a we n 3} q m "Ep z a 5 | a =~ t 5 iS) S ks a [S) gz 4 wa) i fe aH RN a EI | DL 8 ee) nM GEORGE BRUCH’S SON & CO,, Typn-FounpErs, No. 13 Cuampers-Srreer, NEW-YORK. 346 ELECTROTYPED ORNAMENTS. Price, $1.00 each. Size, 8 by 12 Pica ems. Trunks. 2,819, Yankee Notions. Wine and Beer ( eS i R= aa | |, s \ 1 iy 2 3 a A = ca . Bi P iy : “bp , & ran I wo ra a 2 a) E Sal 2 ou < a & a 4 Da % © 5 ee: cs se 3 a is a "S A Ee nl 3 F : ‘I =) eS S | | | | ‘ ) S i ey A s oS f D é A HW) ra oO 8 i 5 s es re Z 19 E o ; Br o z ot 5 3 ig ct ea = a * me E a } a H nN g 2 rH ( Ps) a) aa ‘ (2) q iS) eS gs Le ~ 2 ie 3S } le Ss eB 5 I ; | Z ee UL | STi. | , mo od ao g S = xt Bi a) | Li a > gp ie B a g ~ & awa a s iS = Ee GEORGE BRUCE’S SON & CO., Typr-FouNnpERs, No, 13 CHAMBERS-STREET, NEW-YORK. 347 nfs Pim oS we aan Fs = « ao ps tani ELECTROTYPED ORNAMENTS. $1.25. $1.25. $1.25. ret Ss SS SSS ZX SEES C SN B= Dry Goods. Oil and Lamp Dealer. Kitchen-furnishing. 2,106. 2,109. 2,103. e} fe} fo) Ss S» fe) eo) fe) +f tH tH n x : S a) =| 3 42 =| foal = \ ies me | faa) wn < is | oo) S S rc 4 xt oT $1.25. $1.25 = — ANSSUUTDAUAUMNYTQOQVTUADVAQUUTS AGH ENS} 10 Grocery. Toys and Confectionery. 2,104. 2,107. GEORGE BRUCE’S SON & CO., Typr-FounpERs, No. 13 CHamBers-STREET, NEW-YORK. 348 ELECTROTYPED ORNAMENTS. ull Ss. School-Book ONAR: ay = Bookstore. $1.25. Stationery. GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHaMBERS-STREET, NEW-YORK. 349 ADIN NN ! | | | ll ‘i y Ii ay Tailor. hs 05 ) ort {4 rq 0 x al 5 qo N “A A aa coal N A | é . fe} g 3 g 3 : fe) 2 oa be a o Ss f a 7) ~ [coms | D = Lo} ae 2 q a 6 w g = Q faa) " x = 4 a col imal BS av “ os Aili , i = AP es it ! ay om nN N wy = a i A= = a iM | = Se Ne WP? (Me i NEE & paz ly : | oll 2 5, \y iil = ly pe E rs ll ae D °S : n Pa BS . g a q = re E : : 3 wo & a E | : 5 4 HH S Ss RD 1 | ® tz 3 ea iii 02 : pi N = a a x) TAEAN se 8 rot “ MSs nt A si tH) Mt etal ee hl a We Tie ey fe < a. Peete ELECTROTYPED ORNAMENTS. oP ° a wn = : a ~ fe = t & HQ 8 z 3 = e & 3, 5 io: H a n é - : ea ing he e3 ju = 9 Q Q s ial — ve 9 nN =) eS ot OOlg nN eY : ve) ei : {9 fe » D ig S £ \ 2 a= % E a © S | aod & mM 2 H q se s \ oS \ *5 ic S ro o B 2,132. 2,126. $1.25. $1.25. \ [——————- ERM Lumber-Yard. Saddlery. Way UC 34 N gt EPH mee N iil Te ye in ¥ || \} aT H TAI | yh Ba GEORGE BRUCH’S SON & CO., Typr-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. 350 ELECTROTYPED. ORNAMENTS. $1.25. Brush-maker. Marble-works. 2 2,139. 2,142. x | | $0.90. $0.90. ra ee a a a) >) 6° et a ie) oO _ ce sH im ign nN ox $1.25. $1.25. Plumber. Tobacco and Segars. Agricultural Tmplements. 2,140. 145. N Photographs. $0.90. 2,144. $1.25. Picture-frames. 2,143. 2 <_ aaa = Die Photographs. $r. 2,148. «€ a $0.90. Miller. GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. 351 2,147. $1.25. Carpeting. 2,146. a, Lf aay Re ARE Ht GUM UIE [es Ub ae ELECTROTYPED ORNAMENTS. : Ve) cy , 4 _ ze. es Z on ze 4 a= 6 = | @ 3 “4 Ay g d = = 10 = va n~ mh ox fo) on ° So B28 S jo) boa .* ry S e mA aa S 5 i = re a 4) va N ttt I a s \\) | ih ~ oa uu (A te R a a. a0 on = oh 7 E . 5 a (=) ap = on nN = ih wT GEORGE BRUCE’S SON & CO., Typn-FounpERs, No. 13 _CHAMBERS-STREET, NEW-YORK, 352 Se AF S jie me hin N so ME TE : Snr sii GOENTRE 2 Ge Stash pc ST eee 7 A Age TSA, emer a rae Sars per ene e se : 5 ~ sey ee Sr ios ipes Slang ete e “ 2 pets ean a PERE NS peers acres ALANS N= Seer On ; ies, poe Ta sie hoe ees piss ota ER ale Sehccen Zi amine awake é - ie tg oR as nha TP SEES ! elie ig ZRORS PAG ALE GED LEAIN eu seat PSE ph RRO LS apsaanities etuks yee: Salih aiae SS Sasa See e. ee ee os | 4 eri Come A Pa a0 Moan? os} % ett) a py ‘one maT es | . as Ae epire a . Misa ks PRIMER! oi? " 4 i P ; f 1} J iS aAs ALi % 7 ; . te: A iy Lar , Mette AITKIN 4 ' us a Ain Wii PE OTERRATAAS “eu Pag! ' To Poosaey oY “Me (hs : Lote Hveh Ln’s PROD yA athé _" Sse bed '¥ os A : “* 6! 7 Ww yh ae ¢ AO AUR A ak _ ny ; he 44 Ber epee) BmA EOS Ur ; i } thal) bv wa ee rata oe ty, hes Pa Nia? ri ak, als) Wik ihn bee RAE AM IAS | ay sim * ; A : wal Liou ithe ee jia Panty hh ml hipped (mil) ase ibe So Lai) as (nevis ; a! « iota ihe *+.'h a) Tee, Ac Petyed ey: MTS fetid o,f ayes vonews ano4d ye b = = ue ‘ai Pak fh aia a ake ey aa wl . WINKNOWA DRTIN LE Ree one ere een , ---+ 97 ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1878, BY GEORGE BRUCE’S SON & CO., IN THE OFFICE OF THE LIBRARIAN OF CONGRESS AT WASHINGTON. GEORGE BRUCE’S SON & CO., Typr-FounprErs, No. 13 CuamBers-Srrert, NEW-YORK. a are 2 INDEX” 10) SPECIMENS =O mye (GREATEPRIMER > cone cee Ge eerie a eee eer 3 to 6 BREVIER GO@LUMBUAN bese cate se ocelot eee a eee a 7 MINION TENG@LISHDs te oe oe bees eee ee oe arias eerie iro 8 to 10 NONPAREIL PO Ne eos coe omea accede Sa coR Biba 11 to 21, and 152 INORG go BAP oe aoa ssec HouopeSecsenScassosnsoc SIMONE ONG oc on esne se oea eras Grocegeocos 22 to 35, and 153 PRARD oc sok Secs cetera eee ete tale ee ail WON G2PRIME Resear sere eit 36 to 49, and 154 to 156 DIAMOND BO WIRIGE O19 a eye ee ete ee er 50 to 61, and 157 to 159 CONd Enis: PREWACE Coy occ ceo ~ ste eee eee 3 XVI ...THE PERIOD IN WHICH THE SPECULUM +i WAS PRINTED --=-- Fe eS a I 63.4,48 THE DIFFERENT METHODS OF PRINTING ------- 8 ‘ XVII ..THE LEGEND OF LOURENS JANSZOON COSTER-. ITC (ft daa tare. ANTIQUE METHODS OF IMPRESSION AND ' a THERE! WA TICUIR IE ee eee eee et eS XVII .THE GROWTH OF THE LEGEND --------------- I Ws oom THE KEY TO THE INVENTION OF TYPOGRAPHY.- 25 XIX ...THE DOWNFALL OF THE LEGEND ..-.-.--------- £ Wize =. THE IMAGE PRINTS OF THE FIFTEENTH CENTURY 33 XX...-JOHN GUTENBERG AT STRASBURG ------------ 121 Vie PRINTED AND STENCILED PLAYING CARDS...--- 4 XXI...GUTENBERG AND HIS EARLIER WORK a Pp . DIORA 45 OSE Ne po taro Ona aca S 5 a WES ees THE CHINESE METHOD OF PRINTING ---------- 48 ; XXII .. THE LATER WORK OF GUTENBERG ----------- 1 VIIl....-THE EARLY PRINTING OF ITALY-.------------- 52 XXIII .THE WoRK OF PETER SCH@FFER AND VII ... THE INTRODUCTION OF PAPER IN EUROPE ..--- 56 JOuNAF OST oh ee eee Poe THE BOOK-MAKERS OF THE MIDDLE AGES .---- 60 XXIV ALLEGED INVENTORS OF PRINTING --.-------- 1 Xe THE PREPARATIONS FOR PRINTING ------------ 67 XXV ..THE SPREAD OF PRINTING -..---------+ one 1 Mies cs BLOCK-BOOKS OF IMAGES WITHOUT TEXT ------ 72 XXVI .THE Toots AND USAGES F XII ...-BLOCK-BOOKS OF IMAGES WITH TEXT..-.--..-- 81 FIRST PRINTERS .---------------- : XIII ... THE Donatus, OR Boy’s LATIN GRAMMAR ..-. 89 ADDITIONAL NOTES AND CORRECTIONS ---=- XIV ...THE SPECULUM SALUTIS, OR MIRROR oo oe APPENDIX... 2-2 = ce - eco cnc ---- 22+ -3 ++ on SALVATION cf gee hee te a AUTHORITIES CONSULTED 222-1 =e etme o> Ae | XV ....THE WORKS AND WORKMANSHIP OF AN inpeeee ee eee “ = ' GREAT-PRIMER, No. 1. 3 PREFACE. THE Invention of Printing has alwa ays been recognized by educated men as a subiect of importance: Since iS no Mechanical art, nor are there any of ir the fine arts, about whose early history so many books have been written. The subject is as mysterious as it is inviting. ‘There is an unusual degree of obscurity about the origin of the first printed books and the lives and works of the early printers. ‘There are records and traditions which cannot he reconciled of at least three distinct inventions of printing. Its early history is entangled with a controversy about rival inventors which has lasted for more than three centuries, and is not yet fully determined. In the management of this controversy, a subject intrmsically attractive has been made repulsive. The history of the invention of printing has been written to please national pride. German authors assert the claims of | Gutenberg, and discredit traditions about Coster. Dutch authors insist on the priority of Coster, and charge Gutenberg with stealing the invention. Partisans on each side say that hair opponents have perverted the records and suppressed the truth. The quarrel has spread. English and French authors, who had no national prejudices to gratify, and who should have considered the question without passion, have wrangled over the subject with all the bitterness of Germans or Hollanders. In this, as in other quarrels, there are amusing features, but to the general reader the controversy seems unfortunate and is certainly wearisome. It is a greater misfortune that all the early chronicles of printing were written in a dead language. Wolf’s @llection of Typographic Monuments, which includes ae every paper of value written before 1740, is in Latin; the valuable books of Meerman, “Maittaire and Schoepflin, are also in Latin. 'To the general reader these are sealed books: to the student, who seeks exact knowledge of the methods of the first printers, they are tiresome books. Written for the information of librarians rather than of printers, it is but proper that these books should devote the largest space to a review of the controversy or to a description of early editions; but it is strange that they should so imperfectly describe the construction and appearance of early types and the usages of the early printers. The mechanical features of typography were, apparently, neglected as of little importance, and beneath the dignity of history. A failure to ‘present accurate illustrations of early printing is not the fault of modern GEORGE BRUCE’S SON & CO., Typn-FounprERS, No. 13 CHAMBERS-STREET, NEW-YORK. SOLID. WITH 4 TO PICA LEADS. & — . i Peevenet Mie eevee MOM ick) | jee “orl saaiebiounit 10 ogee ive Tite ie ie ie Nihived vi tt ee BROT Raat (OGTR | . rigedares aio i hee Tis f if iG 48 i) ci) i} . Ss ho tees vee ntay t , (feito Ab sae ae ti | . riod ot ores | ‘iwiale «f Hhacentys. b lo Fee eee Be { ’ ‘ ; . ty E bY EMRE ‘DERE Cee } q t tps ‘ i } cui 44 a3 1) are ‘“yUE ys ; | ¢ Siriorie , 2 : hy if¢> Alii J a Sy vy ditt ad) bead ij ( Hi Timea ceie? twee Oh) han loi i} ol vf ? ttl sthect 4 BECP ITN) COLLPAATITVED SO a * ¥ f i} Lytts Litt er aeerts fey eve pt fOren y abe s ive! ocd. fo 7teriae i 7 BAe if pheud Wi (LET) asain dentine Sa am, Ore Ea ; fall { p 7 ‘ iy othtl ‘4 Pate. Fe biESS rt ; : ' a ‘ 4 ¢ fe HOPI Oi Oh) ‘SR a hone Lenbi We Aood sinoert) One thy Lite) bruh | sooegey te? Thi . #i dt 2 retaia ter ifs uth ron be i AH thies od? lo wetvot 6 OF sada rasivig! orl) a " : , , vile voutt jaa reregaty ve ry dorel > 2oOllibe ri Dis Moe YP TO SORT RS bur Romo bolusigen ~linensqqn wi iergoned to ceniedt ERSeoOmE § » oli 4. oti to wtingih odd Minened” birt 490 uaTod 1 ahy mieiion ‘ia tuck oft Jom a aide yirae to “alia ateuinoe tnd) ihe. rt « i. : > Uf Abc areas ey eh. pe , ; We Newt i BAI eirngoil +) we ; shan oe ia oi: ite » ‘ 1. 7" - = . = roe x J 4 Great-primer, No, 13. PREFACE. authorities. Many of them are full of fac-similes bearing the marks of minute and conscientious care; but they are in foreign languages, and are seldom found in our largest AMERICAN libraries. There are, it is true, a few books in English on early printing which have accurate fac-similes ; but high prices and limited editions put them out of the reach of the ordinary book-buyer. They were written by and for librarians only. Valuable as all these books are, they disappoint the printer. Some of them, though presenting fac-similes in profusion, are not accompanied with proper explanations in the text: others are devoted to one branch only of early printing, such as block-books, or the printed work of one nation only. Two of them are untrustworthy as authorities. Neither from _ one book, nor from all the books, can a printer get a clear description — of the mechanical development of typography. This incompleteness was frankly acknowledged by Dr. Dibdin, when he said that there was no work in the English language which deserved to be considered as a complete general history of printing. This was an old complaint. Nearly a hundred years before, Prosper Marchand had said that the history of printing, voluminous as it then seemed, was but history in fragments. _ The first attempt to supply this great deficiency was made by August Bernard, in the disquisition published at Paris, in the year 1853, under the title, De lorigine et des debuts de Vimprimerie en Europe. His was the first book in which the printed work attributed to Coster and Gutenberg was critically examined from a typographic point of view. To readers who were not content with the vague descriptions of popular books of 2 typography, the explanations of Bernard were of peculiar value. | had ¢- reason to think that a translation of the history of this eminent printer ¢ | would be received by American printers with some measure of the favor : which the original had met with in Europe. Impressed with this belief, a I began the work. I found it necessary to consult many of Bernard's E | authorities. My admiration of the superior method and forcible style | of Bernard, an admiration still unabated, was increased by the reading of the new books; but the esteem in which [ hold his valuable work does not prevent the regret that, in his entire neglect of the block-books, he should have overlooked the most significant feature of early printing. -é =| a | ie) D GEORGE BRUCE’S SON. & CO., Typx-FounpErs, No. 13 CHamMBErs-STREET, NEW-YORK. . GRBEAT-PRIMER, No. 16. 5 PREFACE. The fac-similes of early prints, subsequently shown in The Infancy of Book Printing of Weigel and in The Typographic Monuments of Holtrop, convinced me that the Perliost practice of typography had its beginning in a still earlier practice of printing from blocks, and that a description of block-books should precede a description of the invention of types. Since these books were written, all the old theories about the origin of typography have been examined with increased inter est, and discussed an superior critical ability, by many eminent European scholars. Discoveries of great importance have been made; old facts have been set forth in new lights; Seon accepted as truthful history for three hundred years have been demolished. Of the many able men who have been engaged in this task of separating truth from fiction, no one has done more efficient service than Dr. A. Van per Linpe of The Hague, whose papers on the traditions of typog raphy are masterpieces of acute and scholar ly criticism. His researches and reasoning convinced me that it would be unwise to offer a translation of any previously published book as a fair exponent of modern knowledge about early typography. The newly discovered facts were opposed to early teachings ; there could be no sewing of the new cloth on the old yarment. I was led away from my first purpose of translation, and, almost inconsciously, began to collect the materials for the present volume. — Until ecently, the invention of printing has been regarded as a subject belonging ilmost entirely to bibliographers. The opinions of type-founders and printers vho had examined old books have been set aside as of no value, whenever they vere opposed to favorite theories or legends. This partial treatment of the subject is no longer approved: a new school of criticism invites experts to xamine the books, and pays respect to their conclusions. It claims that the nternal evidences of old books are of higher authority than legends, and that hese evidences are conclusive, not to be ignored nor accommodated to the state- nents of the early chroniclers. European critics do not hesitate to say that the confusing and contradictory descriptions of the origin of printing are largely lue to the improper deference heretofore paid to the statements of men who ried to describe processes which they did not understand. ‘They say, also, that 00 little attention has been paid to the types and mechanics of early printing. Jriticisms of this character led me to indulge the hope that I might find leanings of value in the old field, and that it would be practicable to present GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CHamBers-StreetT, NEW-YORK. SOLID. WITH 4 TO PICA LEADS. pte pub A #fe vile , Se 7 e es F Panera cen Me hres ZOE ie ven ty iM bite “sina tee ftoar es | ? r Oe A fa range eat ity MAZE TROT Te Gi ONE TG in jth9| oad i cetbo ts tae) bas. apolds sets wt dioe. ae 4 ads Ree 3h oes beset v4. 30. 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RGlwa eV ley, them, with the newly discovered facts, in a form which might be acceptable | to the printer and the general reader. In this belief, and for this purpose, | this book was written. I would not have begun this work, if I had not felt assured that a thorough revision of the subject was needed. The books and papers on typography which are most popular, and are still accepted | as authoritative by the ordinary reader, repeat legends which have recently | been proved untrue; they narrate, as established facts of history, methods | of printing which are not only incorrect but impossible. It is time that them results of the more recent researches should be published in the EncGrisH¢ language. But I offer them only as the compiler of accredited facts: | havens no original discoveries to announce, no speculative theories to uphold. Nor | shall I invade the proper field of librarians and bibliographers. I propose | to describe old types, prints and books as they are seen by a printer, and — with reference to the needs of printers and the general reader, avoiding as_ far as I can, all controversies about matters which are of interest to book- collectors only. The historical part of the record will be devoted chiefly to } the printed work of the first half of the fifteenth century. It will degm | with descriptions of the earliest forms of printing, as shown in image prints, _ playing cards and block-books ; it will exd with the establishment of typog- raphy in Germany.— Believing that a verbal description of old books and prints, without pictorial illustrations, would be unsatisfactory, I have pro-_ vided many fac-similes of early printing. No part of this work will more — fully repay examination than its illustrations, which have been carefully | selected from approved authorities, or from originals. Reproduced by the, < TRAN new process of photo-engraving, they are accurate copies of the originals, even when of reduced size. As they are printed with the descriptive text by the same method of typographic presswork, it is believed that they will © more clearly illustrate the subject than lithographed fac-similes on strag- - gling leaves. —In trying to make plain whatever may be obscure about the : mechanics of printing, I have thought proper to begin the explanation with» a description of its different methods. An introduction of this nature 1s not — an unwarrantable digression. It is important that the reader should have | an understanding of the radical differences between typography and xylog- raphy on the one side, and lithographic and copper-plate printing on the mA Din | GEORGE BRUCE’S SON & CO., Typr-FounpErS, No. 13 CHAMBERS-STREET, NEW-YORK, y ~ CotumBrAN, No. 13. 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YA avpndod oaour ou ‘A;qeqoad ‘svar ‘sueLdaTToo L ‘SGUVO ONIAVIG CAAIIONGLS GNV CHLNTE GEORGE BRUCE’S SON & CO., Type-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. AZ LonG-primer, No. 19. ; ‘Gp d ‘Guanuhugy poos, -eq Sxoquieainyy jo SOOUBUIPAO OTT, z uo asynaty, ‘oyeyg Aq pojonb sv “anpy MOSVM V PROT 0} YSnous sustsap WOA ,,8OIS B 0} odUEd OMY MOAT Yoq poonpoad URUIULY “UN TYLA paaty JeT[a yy ABU WUE B TOTP! 4V ‘SLMOG puv ova4-o1} YOM ut saved anoy oy} Suump yeyy ‘spavog [PAOYS ‘sp. ‘SMOq-S80.10 YIM Sut ‘aoqpoyy *o0x) prdnd sry Jo Aytz0yne oy wo -jooys ‘supet-osioy Suydooxo skemypy,, ‘sdvs ‘saoyured Ayrwo Jo uvta104sTy plo oy} UOT}VANpowT Ur ng ‘SuTJeq pue Suryquies Gaevapurg [LYS sm sv olqeyreuoa poytised FgeyT pur OgeT sxvod oy] UA sB SAL UBUIUTY 4sor Jo AsNpUL oy, 7 qJousq Jojvo1s OU pu JOTJO OM JO OOM spared ‘sdoXvtd pavo ApAeO jo opuyyynu oy} og, “sfoquids poyurtd to poqured jo Ayn woes ATuIp oy} 10; yoodsot Jo o10ul YI poatdsur wooq cary ysnut oY puv ‘sorjfnovy Suruoseor SI JO osto10Xo IOOIY V PU MOT Vv OF poUTey SVM PUI [Mp sry ‘ous oy} Jo Surketd oy up ‘spoquds a0 syods OPUL SULyOo[-pamsqe UL ssutueom uUeppry jo uoyruetdxo oy} pur samnjord 9p}4I] potopoo-JYSLq IA uUesoq WOLNAYSUL JO osin0d oy “HOIP[ OPIUL WPI sv ‘WUT PLA ‘Sours oy} wre, 0} o[qno. oy eye} pip pure ‘spreo SurXvid ur yuotmosntie seh o10q} yey} oAtoosed pip ‘uosenstod Aue Aq si0}J0[ SITY Wrest 0} posnjor oavy prnoar OYA pue ‘MONVONp JO SaseyURAPY OY} 9OS 0} poTrey oY yey} osuop OS SBA OOULAOUS! OSOYAM LIMYO [VAdIpot oY, “[enJooyo ssoy oy you ynq “qnop ou ‘strom snotoSuep B pue snozmo.to v !uo_eonpe jo suvow ev ota oy} “ofdood wourmi09 oy} OF, ‘“[IAe poxrurtn ue JOU SVM oSn [RtoUeS Ty} ;“qUIRYset portmnbot YorpA uoyedts -SIp JO sumtoy 0} pue “surpquies 03 pe, spavo Surtvyd ySnoyypy ‘SOILS OY} UL SurMvap Astanpo pue souTpNo esIvOD AOJ poysosruvM SAvATe ooUoLeford oY} LOZ yuUNODDe 0} 4YPNOgIP Oq P[NOA 41 yuq ‘paqoofor O1OM Soules OYYUOIOS puR OYSefoyos oy AYA Stosvoet of} pueysdopun AyTpvot urea oA, ‘“Ainyuod Surpoooons AIAN JO Spiro aefndod oy} UI UoeI,~E Joy ysourte poyeodor wo0q PART Splvo sutAvtd ysopfo oy} WO puNoF oq 02 ore YoryA yorl pue woenb ‘sury jo samsy [euoNmeam0d paey oy, ‘eouetodurt Aue jo oulou Weg oar, oto} pue ‘sasuey ou oAvy prnoa Ao, “STIQLY PUB SoLOWEA IO} UL poyoor ATdoop 910A SaIMsY pro oy} pure sours plo oy, ‘paezey jo ornsvord oy jo osodand ysay apy} wos peoAIp oq 0} soured oy} Jeyns you prnoa Aoy pue Quotmosnte toy qnq ‘Aj[R10W 10 ooTOIOS Gave UL UONONAYSUT IO you ‘spaeo pokey aidood oyy, ‘Apierndod yuotsuesy & ynq pey suORAouUT oso, ‘yids pur [[Lys o[qea -TUpe TIM uMeIp ore AY} YSnowyye ‘ssoubh Kyburpoooxa am sasnbif ayy fo aumog “oq p[NOYS YL Sv AvopPD sv JOU SI [eLOU popuozU oT} jug ‘SSsoMUeyUNAp pue SSoUdTpPl JOAO SuTUIva, puke AAsNpUL JO soovyz UBAPV OY} SAX OPVOTMOUT OF poatOAveptA oY Jey} [etou oy, ‘sdno suyulp pue sjod our ‘sifeq Ssuryur sazojurtd ‘syooq poynyysqns oy ‘SoINS ol} JO UOYVUSIsop oy} AOZ spuourerlp pue sopeds ‘squio ‘gyIvoy JO SUAOJ poysi[qeyso oy} Suoofoyy ‘uemsexy pur uyeyT Ur sosioA Aro}vUR[dxe YIM UOJ Yyooq ut poysitqud sea ors spaeo jo youd [ny ve ‘poarasuo sdeysod pue ‘pousisop jweuumy 4sor ‘SCUVO ONIAVIG GHIIONTLY GNV GELNING TO PICA LEADS. a WITH [ydoyqrorg, wo 1,7] AMYUIY YWSITY 94) Jo pawg uvuLsEs [‘xX1oroe'yT wor, ] “AMUIY YIWIS}XIG oy Jo pavg uvuLsoy \ SNES * ee TAT — ES [*xtoroery wor] “AIMJUOD YIWIE}XIG oY} Jo pavg uvuLIoy Paw ges a I e [-xtoroe’y w01,7] “Ainpuog YUL oy} JO parwg yous r GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. *. aT ence ele a - a4 4 ou . 7 a » iyi ; a iy seis Hibe eeyn itiopedyahy sage! ochre nh m E eS ¥ tore sp his Aine «4 srotedi cre eh titT t's —i = ew ; tS ore he a8 a ie ie i a ae ged 48 LonG-PRIMER, No. 20. a ee er ie ay} fyeay] ey} IoAo paqqnia uoy} St [eooreyo ‘yUI pnp Jo Tq WY ‘s0RJAMs YJOous oy} Sayoyesos TIM Ud} J Usaq oAvY P[NOM jI sv aTq YONA Joa}s payutod wv YM UO UAs}ITIM -1S9y Sv SULIM ot} DYVU YOIA “[woorvYD SI Jeo] Poltp VW ‘Salpuy ysvgp ot Jo syvd jo suIoyZ YJIM pay ore payoyesros soovjd Auvut Ul asN UT [QS SI poyjeut SIT, 7 Sutuayoeyq JO poyjour sayttuid autos 0} UoIsn][e ue St sy], 7 ,,SSou -yorq st urejor skemye [IM saora Aq pousyoryq Weoy v Os ‘ozIYAL JUIODA JADU Uv ‘sIaJOVIVYD PIAVISUD OY} UIZoR[q 0} pasn st YOryAr ‘(Suryortq 10 asouryd) aw ouojs oY] SYV,, ‘OA OZIT SULA, svAL oy “BuoAA-nAA JOIodwIa oy} Jo USIE1 ay} Ul Ua} useq aAvYy 0} pasoddns ‘yooq asourya v woy JOvxe SuIMOT[Oy ay} sojonb ay ‘Suyuud osourya jo uonduoseap ev yy suvadoiny poystuiny oar ioyyne ysIy ay} sea ‘Ainjus. yYJUIEIYsI0 oy} Jo jred JoTIva oY} SuLMp BUIYD Ul papaary oYM ‘1ay}ey Ynsof poures], v ‘apre_ nq *Ar0}sSTY Moy} perpnjs savy oym ye Aq poynupe st adom@ ut asodind jnjesn Aue 0} pordde sem jie sty} orojoq Sunutd pasyovid ajdoad [equso yey, ‘“suoNe[sues poyoarod jo wu0F ay} UL payuaseid usaq aavy Ady} asnvoaq Aporyo ‘sola ouios Aq paMoT[esip Used. aavy Sunutud-yoorq jo soyovsd oy} ut Apoud soy sumtep ssoulyD oJ, ‘UOIeINpISUOD VAIASOP YOIYM s}oRy snouno AuevU UO paseq aie Ady} Inq ‘aAIsnpuoD wo ey ore uorutdo sty jo woddns ut payuesaid suosvar ayy, “soyje80; odomay 0} }YysnoIq aIaM spivo Sukexd pue Suyuud-yoorq yey} st paydwejzze souesajyut ayy, “puey Aq Sutmerp uvry ssoooid sodevoys ve Aq ape useq Jou pey Aayy jt ‘Aimyuso YyUseyy oy} jo Suruutsoq oy} ye oom Ady] se ‘rendod useq aAvy yOu prnoo spievo Surkefd yeyy sn [fey Adyy, “woy} Suryew jo suvow oy soy ynq ‘spreo Burke[d soy ATUO you vuUIYyD 0} poaiqeput ore aM yey} uoruIdo 9y} Jo are s1oYyyNe JUaUTUID ANVIA| ‘UOT sf ‘—eISY Wia\se7y JO soovi MoTToA ay} jo Ayiqvesuvyoun oystioyjovreyo oy wt ‘days ysay ay} ye opqvaoumu pur pos GUS poureutst savy asouryg oy} ‘oye Suyurd puv suynum ‘sjiv yjoq Uy ‘sHOJOAVIT, UaUaA IYO JO ‘ojOg oorep, YSno1zy} adom@ 0} worsstursuery, s}t Jo sisoyjodAyy ayy," *Suyurrg-yoojq jo spouse uvodoimy oy} pur osouryy oy} Usaarjoq ApLIETIUIIS ***syoog asauryD jo ssaudvayy +++Kydeisodky, ur sonovig esouryg***Aressooou pomey orydeasojAy ayy, ‘SuHULIg asauTyD 0} doUVApUTY ou Suravisuy jo ssuadxy -**sulpurgq jo poy snoliny ***Ualusserg Jo sueULIOjIog ***tedeg asoutyD ***sed4y7, toao sasvjyuvapy Sl] ‘**pasn Mou poyjeyy ***uoNUaAUT ssouryD ApAvyNoeg y°**Aydetsoddéy, puv AydesSo0[kx jo uoyeurquiog ev ‘poms paryy, + AydvasojAy jo ‘poyjayy puosas ‘sisoyjoddzy] Sgopiql***SieyeTy JO Sutsnor) oy} ‘poyjsyy ssoutyD jsiyy *** uOTs -IdAIOg S}]‘** op[eET ud jo yuouraywyg **‘asouryy oy} Suowe Sunug jo 4mbyuy “SONILNIYd fO GOHLAW ASHNIHOD AHL IA WITH 6 TO PICA LEADS. SOLID. bL cd I “Joa ‘930 ‘uaunyjargs sap Sunigsry sap yInssag ‘sosvumt snoid 10 spied ouvjoid opeur ay Joyjoya ‘azzou21u0p @ Se UMOUY SAL sjutd jo 1ayvut ayy, “SpA, 10 ‘souz2uwop sv uMOUY o1aM sjutId ysarprva oy} ‘osye aouviyy Ul “spuLy ye jo syutid 0} paydde Os[e Se OUT} JO 9SM09 UT “YOTYM P1OM B ‘syures a]}}1[ 10 S}Utes ‘2207.57 077 10 waszoET jo oureu oy} Aq ‘sjornstp yucovlpe ay} pue ‘eiqeng jo afdoad uowtuno0s oy} 0} UMOTY alam sjolqns patovs JO s}nd-pooAd z “1Sz -d “oa ‘apaguas aapy “UaysuIeyy = “syures jo samy jo Sutavisue oy} sem ‘spied Sut -Avjd raye Spoom uo Jaavisua ay} jo days jxou ayy yey} uorutdo oy} UL su ULIYUOS Jayj}a50} uaye} sjovposayy, “Arzu yWW99} -J¥ dy} JO SoUNJOA pjo Jo pus ay} 10 Sure -UISaq dy} UL IoyIIA paysed pue pooa uo poeavisua sjurd oseun Auew sorreiqy eq} UI petoAodsiIp otoyMAIoAS T ‘S9]v}G ULL -SNY 9} pue ‘eiiwarg “eiqeng ‘eruoouR. yy Ur sjuaAUoo AULUL Ppo}ISIA SUIARTT 7 ‘pOOM UO SIdAvIsUAa JUOUTUID AULT JO sov[dYIIIq ay} SeAL ‘pouad r9}R] B 7e “YIM pue ‘puNoy useq aavy syud aseut snourey Jsou dy} YOIyM ul pLNsip v ‘AueUED UIoYNOS Jo IOAvZ ut ATpaploap ore Suyud fq oanjorynueu ApIeo uv JO saouaptAd ay} ynq ‘ATCT Woy spred jo a8SpayMouy Moy} paaap suvutiay oy} yey) efqeqord sty “paaoad aq JoUUIeS ‘TOWIUIOD sv ataM Sprvd aay ‘oouRIT pue uredg ut pouied Surpuodsai1o09 v yw aprul o1oM AY) JY, “poyst[qeysa Ayrwapo stuaas Aueuoy) pue Ayeyy wt Amjzuso yuaoyy oy} Jo Suruuiseq 9y} ye Sur -yutid-yoorq Aq ape arom Aoty yey, “We sou v Aq apew atom sprvo Sutteid jsarprva oy} Jey} JUoUIEZe}S v SaLINJUIO YJUIO}XIS IO YJUSIYY dy} Jo 1oyjne Aue jo ssuNuM oy} UI puy JOU Op aA, ‘JeAOU Jou sem pasn ssaooid ay} Jey} UOTLOIpUL Uv SI SpIOdII P[O 9Y} UL pouoyUsU st SULYLU-pIvo Jo SsoUIsNd dy} YSIYA Ul IoUUvUT ssafereD PUe FIND YT, ,ouvu sures oy} Aq pal[ed a19M sasevull pue spies saovyd autos ul yey} JOVF snotmMs sy} sppe oy pue ‘saseutt dpeUr OSTe SprvO apeIU OYA sIdAvIsus oy} yeIY sXevs aA ‘syuLd aseuT dy} Joye apeu oom spreo Surdvyd yey} uorurdo sty ut ouoye ysowye spurys ‘AjLIOYINE JO Tay v pur Jopunoj-odAy yodxo ue Gdoypesg ‘spied Jatprea ay} Jo sainsy sovy pue sjods ay} aavisua 0} oYv}Jopun Aytpear pnom ‘aydogstyD ZS BY} JO yeYI VAY YOOTT & Ind 0} ojqvun svar ay yey} MoUY OYM IMoyeure Sunuounsodxe oyy, ‘einyeu Jopni yonu e JO SCM Spied ay} Jo diysueUyIOM oY} Jey} JOpIsuoD 9A UDYA 91qGV -UOS¥AI SUID9S SaSvUT dy} B1OJOq Suravisue Aq ape Useq savy plnoys spreo oy} yey, ‘syuud a8vuut Jo souajstxe oy} Jo suonvoIpul Aue savy JM DOJO ISN WOUIUIOD UL 19M SpIVI JeY} JRF ay} JO UOLeIEpIsuoS e% WOY paAuiap st y1oddns ysoq sj pue ‘aimyoafuoo uo paseq SI JUSTH -dojaaap penpesS jo Ar0ay} sty], “Japso sty} ur ope sem juawaAo1d -UWL dU} Jey ISpapMouy urezIOO OU aAvY 9A FLY} PosseyUOd aq JsNUl yt ynq ‘snotuasut are suomsodoid asoy, ‘sprvo JO SPOUSNPU! [Aa ay} Suyovrajunos jo asodind oy} 10} poonpoajut Ayyuanbasqns o10M sjutid aSvurt oy} yey} pue {payuud pue poavisua o19M SYIO]q “MOTS 00} PUNOF SUM POYoUr sIy? UdyM yey} {splouays Aq perojoo prvaraye atom AIT} yey) {puey Aq pojured pue uavip orm Aay} sy ye yey} fsasevu oy} JIOJOq oper 9AM SpIvd 9} JY} sn [JO ;“Joolqns siyj uo ATpouresy] sou Ud} savy OYM asoyy, ‘Siu ssvuUt Joye IO a10Jaq epeUl eoM SpAvo JOYJOYA SN ]]9} JOU Op doIUa A JO ddIDap ay} UI puv AuLUTIOZ) JO SYOOd -UMO} PfO ut sxojUIed-p1red puL sIayeUI-prvd Jo Seojou a1svoUT oY], é JUaMIASNUe Ja}eaI83 YstuIMy ‘syooqd ut pourquros sv jaqeydye oy) Jo s19}}9] dy} JOU pyNom ‘Burusad Suo] v Sutnp spusLy jo Aqred v asnwe Apeais ppnoo saded jo syiq uo susts pesuvie Ayer} -IqIe MI} JT “soaposat yueyrodurt 0} pay vy} saumbur peonput AU, ‘graq]oy pue taded Jo onpea ayy Jo uossey oatssordum arow v yysney Loyy ‘gsodind pue yyZnoyj jo usu oJ, ‘ourdiostp yeyuou jo Suva v Sv “SGUVD ONIAVIG CGaTIONaLS aNV GaLNTdd GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CuampBerrs-Strert, NEW-YORK. ° pi ae |) OA = 49 LonG-PRIMER, No. 20. LoS +d ‘arydvssogxy np 1ns wsssy YOPIC, 1 orydessojAx e& se pljos se opevur osam saddA} pasoduioo oy} ‘poyvon oS ‘jYysIay wOsIUN ev ye poindes ATULTY o1aM Ady} TQUN UONTsodwo0s oy} UL UMOP Woy dd10; 0} ‘sadA} ay} Jo ovy oy Uodn ynd sea Jourld WY ‘yos sweoeq uontsoduos ayy [YUN pajyeoy pue sovuIny v uo ynd sem aqeid ay} usyy, “sey}a807 osojo passord pue ‘oinpxtu ay} UO SOM UOM dy} UdaMjaq pao1ioy }xou o19M Av[D Jo sodA} sy. ‘oed-poq poredaid oy3 uo yt poorid pure ‘sjoyjered Moseu UL SOTIM UO YM poyy Yuud 0}, pasodoid ay osvd ayy jo oazis oy} JO awe INOS & Yoo} Udy} SuryD-tg ‘uo jo azxjd ev UO USOT pue out ‘xeM Jo oinjxiu pojour ev Sutmmod Aq pouoj sem 90vjIns styy, ‘woueadja yenboun jo ajyefd-paq 10 dovyins v uo Apuy saddy ayy suixy Aq ATUO parpawiar aq plnoo AynoysIp styy, “peyoo1s oq pnom qe pue ‘1aded 0} Yysiy 003 9q prfnom sioyjo ‘prepurys sq uey} Jasivp oq p[NoM suIOs : 194030} puv}s jou pjnom Asyy ‘osevryd siojuud ut “Apoq 0} se pue yysioy 07 se sIepnSoi o1oM opeUl os sod4y ay} Inq ‘poudsprey osoM Ady JQUN UdAO Ue UW WoT} ayeq 0} sem ssoooid yxou ayy, ‘sodAy afqeaow Suryeu Aqoioyy ‘pasn Apjuenboy ysour 19M yey} siajowreyo dsoulyg oY} poAarvo ay saqnod opt] asayz ug ‘azis asdoid Jo saqno Suojqo apy ut yt ND IO papjnou pue ‘hep utepeoiod jo ajsed yoryy v opeu ysiy IOJUSAUL OY, ‘sIAvC Aq paquioseap sny} st ssaooid ssoym “Sulyo-d poweu “Yyusyoetq osouryd snowesut ue Aq ‘thor ‘a ‘Vv pozUdAUl sem 37 ‘Aydeisoddy pue AydesSojkx jo uoneurquios ev sem ‘uWAes Avwt Wt se [eorxopered ‘yoryat Spoyjour asautyD JoyjouR sea a1dU, J, Suyuig-yIojg fo yptig ayg pwe ‘SUnLIM sty Jo optums-ovy ony ve ‘sem ynsor ayy, ‘pordde sem uorssoidut pue ‘yoorq ey} uo prey sem soded jo yooys e& fyur YM poysniq }XOU OIOM Jolfal Ul SOUT] OYJ, Jorpet UL YOor wv psonpoid sny} pue ‘saul] patoysuvs] dy} MOYS JOU pIp yey} dovjANs oy} Jo yred AroAa AvMe JNO Udy] OFF “saysuvs} ey ev paonpoid pey sy youn poom jo aovjins yJoows ve uo pW passoid pure “iaded jo yoays u9}jIM vB paue -durep oy ‘sainprey pue seu, Auew sayy ‘ssugua sty jo satdoo yorxa oinooid 0} Ajyiqeur sty Aq soynp sity jo o8reyosip oy} Wl posepury ATeais useq pey OYA ‘a}eJs JO JO\sIUItU JsaUTYD oy) ‘nov, -SU00.. 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Aquos oq svut Aydvasods4 Jo ploy oy} wo ,, “UL9T -IVeP{ SUTTLIONMOD ‘OpulT cop UBA “Iq SoqLLa ,,‘ATO4STY JO JSoarvy 9, ,, “SLOq -ULoU oY} Suoure waphuswanby 10 ayuasd ou ‘poo UO JeARIsUe OU PUT WR OAL qnq ‘suvsyae reyjo Jo pure ‘s1oydjmos ‘syqmmsprfos ‘saequred jo posodutoo pims v wopreepA ut ‘oyep Ayaeve ue Ae ‘SBM O10TL, ‘“SYOoq-yoorq Jo Suyurd AIRS TR JO roel) <= ~~ s am, 2 ‘ nh i Rs Aa Prealeyjie -q! | A 7 aaa : = mibdierrh i tie Baw: aie + Fie TRENT SD ‘hye « oa fod) =z 3 ob Rete P 5 @ PY La PNG oo on 641 ply peeves | Y Beaty yw me ch = : nm @ ow 1 =f i 110 Nonparein, No. 11. THE PERIOD OF THE SPECULUM. showing the first steps in an immature invention, his books truly show the degradation of a perfect method. They show the ignorance of a badly-taught typographic printer, and the prejudices of an old block-printer who had adopted the newer method with reluctance. We have seen that Walther’s edition of the Bible of the Poor is every way inferior to the first edition, and have drawn from it the conclusion that there was a wonderful degradation of the art of engraving on wood. When we establish a comparison between the great Bible of Gutenberg and the Speculum of the unknown printer we have similar premises, and have to form the similar conclusion, that the arts do not always improve with age, and that the pupil or the imitator is often in- ferior to the master. The evidences in favor of the priority of the unknown printer are very slight. It may be conceded that he was the first printer of the Netherlands, but it has not been proved, nor is it probable, that he printed with types ear- lier than the year 1463. Still more improbable is the assumption that he was an independent inventor of printing. We have to judge of the merits of this pretended invention as we do of every other—by its fruits. It had no fruit. The facts that this unknown printer made no mark on his age—that he left no work worthy of his alleged invention—that he was noticed, nor was his printed work, by any of the chroniclers of his day—that he had no pupils, no successors, no imitators—should be sufficient to prove that he was not an inventor but an imitator. By many authors the question of his possible priority has been decided, not from an examination of known and proved facts, but from the assertions of prejudiced and untrustworthy witnesses. The frequent presentation of the statement of the Cologne Chronicle, and of the legends that find their support init, has not been without effect. Their is a general belief in the tradition that types were first made in Haarlem by Coster, and that the German method ‘dITOS WITH 7 TO PICA LEADS. XVII THE LEGEND OF LOURENS JANSZOON COSTER. Coornhert’s Notice of Printing in Haarlem... Notice by Van Zuren... By Guicciardini...The , Statement of Junius... Fac-simile of Scriverius’s Portrait of Coster... Sketch of Junius’s Life and Works... Examination of his Statement... Vagueness of the Date... Junius’s Story Incredible... Wood Types could not be Used... Metal Types made too soon... This Story an Imitation of a Spurious German Story... Fust was not the Thief... Absurdity of the Accusation.... Evidence of Cornelis.... Our knowledge of Cornelis from other Sources. Cornelis not an Eye-Witness...Talesius not a Satisfactory Witness... Disappearance of the Art more Wonderful than its Invention... Legend Cherished for Patriotic Reasons... Its Growth and its Exaggerations. He who is satisfied, as regards a fact like that of the invention of typography, with the simple assertion of people who talk of things which are said to have happened more than a century before their time, is destitute of scientific morality: he is ignorant of the passion of truth ; in short, he belongs to the plebeians. We have not only the right to reject the fable fabricated by Junius,... but as honest men we are bound to do it.—Van der Linde. In the year 1561, Jan Van Zuren and Dierick Coornhert, with other part- ners, set up a printing office in Haarlem. Van Zuren was a native and burgomaster of the town of Amsterdam; Coornhert, who was a notary and an engraver, is said to have been the instructor of the famous en- graver Goltzius. Their first book was an edition of Cicero de Ofjciis, to which they prefixed the following quaint dedication: “To the burgomaster, sheriffs and councilors of the town of Haarlem, D. V. Coornhert THE TOWNS AND CITIES OF THE NETHERLANDS IN WHICH PRINTING OFFICES WERE ESTABLISHED DURING THE FIFTEENTH CENTURY. [From Holtrop.] wishes as his honorable and commanding masters, salvation to soul and body. “*T was often told, in good faith, honorable, wise, and prudent gentlemen, that the useful art of printing books was invented first of all here at Haarlem although in a very crude way, as it is easier to improve on an invention than to invent; which art haying been brought to Mentz by an unfaithful servant, was very much improved there, whereby this town, on account of its first having spread it, gained such a rep- utation for the invention of this art, that our | fellow-citizens find very little credence when they ascribe this honor to the true inventor, ———— as it is believed by many here on incontestable information, and is undoubtedly known to the elder citizens. Nor am I ignorant that this fame of Mentz has taken so deeply root in the opinion of all, by the heedless carelessness of our forefathers, that no proof, however appar- ent, however clear, however blameless it may be, would be capable of removing this inveter- ate impression from the hearts of the people. But—for truth is no less truth when known only to a few, and because I implicitly believe what I have said before, on account of the trustworthy evidence of very old, dignified, and grey heads, who often told me not only the was the outgrowth of the Dutch method. This proposition has been repeated so frequently and so confidently that it becomes necessary to give a critical examination to the legend of printing in Haarlem. THE EARLIEST PRINTERS IN THE NETHERLANDS. Utrecht. ..-.. Nicholas Ketelaer.. =9 y474 Deventer ....Richard Paffroed..... 1477-1500 Gerard de Leempt - } 1473-1474 Jacques de Breda .... 1485-1500 William Hees ......-. 1475 Delt ees... Jacob Jacobzoon. .... 1477-1479 John Veldener. ...... 1478-1481 J. Van der Meer..... 1480-1487 PORE asch ones pone EN ese wie 7 isa Unnamed Printer .... 1488-1494 jerry Martens ..... saint Maar- rm Louvain ..... John Veldener....... 1473-1477 tensdyk.. ; Werrecoren ....-..-- Teas John of Westphalia.. 1474-1496 Nimeguen ...Gerard Leempt . 1479 Conrad Braem ....... 1475-1481 Zwoll ......-. Unknown Printer.... 1479 Conrad of Westphalia 1476 Peter von Os......... 1480-1500 Hermann of Nassau, 1483 Audenarde ..Arn. ’Empereur..... 1480-1482 Rudolph Loeffs. . . Hasselt ....-- Pereg. Bermentlo.... 1480-1481 Egidius van der 1485-1488 Antwerp. ...- Matt. Van der Goes.. 1482-1491 Z Gerard Leeu ......... 1484-1493 - 1488 Thierry Martens. .... 1493-1497 - 1498-1500 Leyden Henry Henr 1483-1484 Brotherhood of 1476-1497 Gand .- Arnold |’Empereur .. 1483-1489 Life-in-Common. . = Gouda ...-.-. Gerard Leeu.......2. Fue Bois-le-Duc ..Gerard Leemp 86 Culenbu - 1483-1484 Godfrey de Os........ Schoonhoven Brotherhood .. Godfrey de Ghemen. Schiedam .-.. Unnamed Printer.... 1498-1500 Unnamed Printer.... 1486 Haarlem. ....Jacob Bellaert. ...... 1483-1486 Bruges.......- Coe pets wate 1475-1484 Jan Andrieszoon .... 1486 TO. aoe ces GEORGE BRUCE’S SON & CO., Typr-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. WITH 7 TO PICA LEADS. - : family of the inventor, but also his name and surname, and explained the first erude way of printing, and pointed with their finger the house of the first printer out to me—TI could not help mentioning this in few words, not as an envier of another's glory, but as a lover of truth, and to the promotion of the honor of this town; which proper and just ambition seems to have also been the cause for the re-establishment and re-commencement of this printing office (as a shoot from the root of an old tree). For it often happened, when the citizens talked to each other about this case, that they complained that others enjoyed this glory unjustly, and (as they said) without anybody contradicting them, because no one exercised printing in this town.’” Hessels’ translation as given in the Haarlem Legend, p. 50. The claim of Haarlem to the invention of printing is confidently stated, but Coornhert has neglected to give the name or describe the process of the inventor, to fix the date of the invention, or to specify any of its- products. He and his venerable informants, the “honorable, wise and prudent gentlemen,” knew all these matters, but Coornhert prudently kept silence. It is worthy of notice that Coornhert admits that, in 1561, “the fame of Mentz” had taken so deep a root in the minds of many people that no proof could remove it. A full notice of the details of early printing might have been considered out of place in the preface to a classic text book, but it would have been — pertinent in a ‘‘ Dialogue on the First Invention of the Typographic Art,” which was the title of a book said to haye been written by Jan Van Zuren. Of this dialogue nothing is known but the introduction. Whether Nonparein, No. 11. 111 THE LEGEND OF COSTER. the author grew weary of his task, and abandoned it before completion, or whether the manuscript was destroyed, as is alleged, during the seige of Haar- lem in 1573, cannot now be ascertained. All we know of this manuscript is through Peter Scriverius, who, diligently gleaning every scrap of history that favors the Haarlem invention, has preserved the preface. It is too long and rambling for a literal translation; this is the substance, which Van Zuren approached with great delicacy : “He does not wish to deprive Mentz of its rightful honors, but he will see that the honors of Haarlem are not altogether lost. The town of Mentz, so justly lauded, first introduced this art, received from us, in public life. The first crude foundations of this excellent art were laid in our town of Haarlem. Here the art of printing was born. No doubt it was here carefully cultivated and improved; here it remained during many years, until at last it accom- pained a foreigner and made, at last, its public appearance at Mentz.” Here again is a noticeable absence of names, dates, books, evidences and authorities.1 From beginning to end there is nothing in this statement but naked assertion. One fact of real value may be gleaned from the preface of Van Zuren and the dedication of Coornhert. There was even then in Haarlem a strong pre- judice against Mentz; there was a wavering belief among some of the towns- olk that printing had been invented in Haarlem, and that the pretension of Mentz was unfounded. Whether this prejudice had been fostered by the obscure language of Zell, or whether it took its rise in’ the conceit of the simple people of the town, who may have thought that Bellaert, the first printer at Haarlem, was also the first printer in the world, cannot now be ascertained. ‘There was a prejudice, and Van Zuren and Coornhert thought that it would be to their interest as printers to propitiate it. The publication of these mysterious allusions to an early printer in Haar- lem strengthened the belief of Hollanders in the legend. It was imposed as veritable history on intelligent foreigners who were unable to disprove it. Luigi Guicciardini, a Florentine nobleman, for many years resident of Ant- werp, and who there wrote and published, in 1567, a Description of the Low Countries, was the first author of distinction who gave a world-wide publicity to the legend. In his book he says: “ According to the common tradition of the inhabitants and the assertion of other natives of Holland, as well as the testimony of certain authors and records, it appears that the art of printing and stamping letters and characters 1The comments of a modern critic on the strange omissions of this positive statement are to the point: “This forgetfulness of Coornhert has always seemed to me one of the most striking pecu- liarities of the Haarlem legend. How can it be! Here is a man, very learned, very patri- otic, who Sy pEeciates the importance of the discovery, who contends with zeal to establish for his country the honor of being the cradle _ of the greatest of modern inventions. He knows the name, the family name and the family of the inventor, and he does not divulge belief. And what shall we say of the burgo- master Van Zuren? He writes a special trea- tise to retrieve the glory of the invention to the honor of the city of which he is a magis- trate, but it never occurs to him that he should honor the memory of the inventor—I will not say by a monument of some kind, for that might be demanding altogether too much— but at least by a mention, by some souvenir, by giving his name to some street. or still less, by a simple record ina book. It is not lisse ple to find another example of a forgetfulness so incredible.” C. Ruelens, Bibliophile Belge. them to his fellow-citizens! This surpasses vol. 11, 1868. . THE LEGEND OF COSTER. on paper in the manner now used, was first invented in this place [Haarlem]. But the author of the invention happening to die before the art was brought to perfection and had acquired repute, his servant, they say, went to reside at Mantz, where, giving proofs of his knowledge in that science, he was joy- fully received, and where, having applied himself to the business with unre- mitting diligence, it became at length generally known, and was brought to entire perfection, in consequence of which the fame afterward spread abroad and became general that the art and science of printing originated in that city. What is really the truth I am not able, nor will I take upon me to decide, it sufficing me to have said these few words that I might not be guilty of in- justice toward this town and this country.” Ottley’s translation as quoted in ohnson’s Typographia, vol. 1, p. 12. , The story is told as it had been heard, without comment, and without hearty belief.. It will be noticed that no really important fact has been added to supplement the previous story. We are still in the dark as to the name of the printer, the date of the invention, and the titles of his books. The authors mentioned by Guicciardini were probably Coornhert and Van Zuren; the inhabitants who gave him information were probably the same men who had previously given it to these printers. Guicciardini’s story differs from theirs in one point only. His description of the translation of typography from Haarlem to Mentz does not impute dishonesty to the workman who carried it thither. The insinuated accusation of theft was not repeated by the seru- pulous Italian. ! , Guicciardini’s book, which was of marked merit, was published in an age of credulity. It was translated and reprinted in many languages. This legend ‘of an unnamed inventor at Haarlem was taken up by other writers. Tt was published as valid history by George Braunius of Cologne, in his geography, dated 1570-88; by Michael Eytzinger of Cologne, in a book on the N etherlands, dated 1584; by Matthew Quade of Cologne, in a compend of history and geog- raphy dated 1600; by Noel Conti of Venice, in a universal history, dated 1572. These authors have been frequently quoted as men who had examined and confirmed the legend; but it is obvious that they copied the statements of Guicciardini without investigation. Their approval of the legend must be considered as an exhibition of credulity rather than of knowledge. The specification of the name of the alleged proto-typographer of Haarlem was made for the first time in a book now known as Batavia, which was published in 1588, and of which Hadrianus Junius or Adrien de Jonghe was the author. The story of the invention, as here related, is far from complete, but it is positive and definite: it gives the time, the place, the book and the man. It can be fairly shown only in an unabridged translation of the author’s words: “ About one hundred and twenty-eight years ago, there dwelt in a house of “some magnificence (as may be verified by inspection, for it stands intact to this day) in Haarlem, near to the market, and opposite the royal palace, Laurentius Joannes, surnamed Alditus or Custos, by reason of this lucrative and honorable office, which by hereditary right appertained to the distin- guished family of this name. To this man should revert the wrested honor of the invention of the typographic art, which has been wrongfully enjoyed by others. A just judgment should give to him before all others, the laurel which he has deserved as the most successful contestant. ‘dITOS ‘dITOSs WITH 8 TO PICA LEADS. WITH 8 TO PICA LEADS. THE LEGEND OF COSTER. “When strolling in the woods near the city, as citizens who enjoyed ease were accustomed to do after dinner and on holidays, it happened that he undertook as an experiment to fashion the bark of a beech tree in the form of letters. The letters so made he impressed the reverse way, consecutively, upon a leaf of paper, in little lines of one kind and another, and the kindness of his nature induced him to give them, as a keepsake, to the grandchildren of his son-in-law [Thomas Pieterzoon]. He had sue- ceeded so happily in this that he aspired to greater things, as became a man of cultivated and enlarged capacities. By the aid of his son-in-law, Thomas Pieterzoon, to whom were left four children, most of whom attained the dignity of burgomaster (I say this that all the world may know that this art was invented in a reputable and honorable family, and not among plebeians), he invented, first of all, an ink thicker and more viscid than that of the scribes, for he found that the common ink spread or blotted. Thereupon he made, by the addition of letters, ex- planations for pictures engraved on wood. “Of this kind of printing I myself have seen some stamped block-books, the first essays of the art, printed on one side only, with the printed pages facing each other, and not upon both sides of the leaf. Among them was a book in the vernacular, written by an unknown author, bear- ing the title of Spieghel onzer behoudenis [the edition in Dutch of the Speculum Salutis]. This book was among the @ b e’s of the art—for an art is never perfected at its inception—and the blank sides of the leaf were united by paste, to hide the uncouthness of the unprinted pages. He subsequently changed the beech-wood letters for those of lead, and these again for letters of tin, because tin was a less flexible material, harder, and more durable. To this day may be seen in the very house itself, looking over on the market-place as I have said (inhabited after- ward by his great-grandchild, Gerrit Thomaszoon, who departed this life but a few years since, and whom I mention only to honor), some very old wine flagons, which were made from the melting down of the rem- nants of these very types. “The new invention met with favor from the public, as it deserved, and the new merchandise, never before seen, attracted purchasers from every direction, and produced abundant profit. As the admiration of the art inereased, the work increased. He added assistants to his band of work- men; and here may be found the cause of his troubles. Among these workmen was a certain John. Whether or not; as suspicion alleges, he was Faust—inauspicious name for one who was equally unfortunate and THE LEGEND OF COSTER. unfaithful to his master'—or whether he was another of the same name, I shall not trouble myself to ascertain—for I am unwilling to disturb the shades of the dead, inasmuch as they? must have suffered from the re- proaches of conscience as long as they lived. This man, although bound by oath to [preserving the secrets of] the typographic art, when he knew himself to be perfectly skilled in the operations of type-setting, in the knowledge of type-founding, and in every other detail appertaining to the work, seized the first favorable opportunity—and he could not have found a time more favorable, for it was on the night of the anniversary of the nativity of Christ, when all, without distinction, are accustomed to assist at divine service—and flew into the closet of the types, and packed up the instruments used in making them that belonged to his master, and which had been made with his own hands, and immediately after slunk away from the house with the thief. He went first to Amsterdam, thence to Cologne, and finally regained Mentz, as it were to an altar of safety so it is said, and as if beyond all possibility of a recapture, where, having opened his office, he reaped an abundant reward from the fruits of his theft. That is to say, within the space of a year, or about 1442, it is well known that he published by the aid of the same types which Laurentius had used in Haarlem, the Doctrinal of Alexander Gallus, the most popular grammar then in use, and also the Zreatises of Peter of Spain, which were his first publications. “These are the facts. Nearly all of them are from old men worthy of belief, who, each in turn, have accepted and transmitted them, as they would pass a lighted torch from hand to hand. I knew these facts long time ago, and have positive knowledge from other sources which have attested and confirmed them. I remember that Nicholas Gallius, the preceptor of my boyhood, a man of tenacious memory, and venerable with grey hairs, narrated these circumstances to me. He, when a boy, had more than once heard Cornelis, an old bookbinder and an under workman in the same printing office, when not an octogenarian and bowed down with years, recite all these details as he had received them from his master, embracing the inception of the enterprise, the growth and culti- vation of the rude art, and other transactions connected therewith. But 1An attempted play or pun on the Latin as the thief, the story ends with an intimation faustus, bappy. But the German printer’s that there were two thieves. This substitution name was not Faust, but Fust. This pun was of they for he is not a typographical error, nor the origin of the error. is it a slip of the pen. It seems to have been 2In Junius’s description of the thief, there intended to sustain the insinuation of the com- is a strange confusion of singular and plural. _ plicity of Fust in this theft. Beginning with the specification of one John GEORGE BRUCE’S SON & CO., Type-Founpers, No. 13 CHamMBers-StrEET, NEW-YORK. oe ' eye OU by dare ee Suva s aE: ; : - craean wig a4 3 hg 4 oe Py iit, W eae i eee t : te he vilin Mati i bene =e ne EEX “ehh aie elie i $: ‘ais “h ee Meteo oily wr tae ts Ritaled we Ben a tee 4 \ , abe lahs See a ay a i - t ate iG oe Wine 9 at Be J iene ‘ ’ ' to Phy Farey Ie (aly ey pine : ) o> earramin Shek ' rY ‘ ; ve ‘ e th \ H wi j oth be Malet h Bit aa a P " ao “ wha x a A ' ‘ a? as vie ‘ 7 ; , : - 7 ? , 1 . s 4 “Fe ‘ . ; j ‘i d * : ‘ . ur ‘ ‘4 . 4 ‘ % i : y t (ae We se THE, ow ton ? ; rhe \ } ot nla Ke « ' é fake af nyt a i ‘ ; f Peay A. us ‘ murhy t At cae P ‘ : et ' i . ort . ) 4 xi : RE ‘ prleP emus AP vet ; oi ads § ‘i oid i, 4 2 \ thee | ; , ie tay eA we ure (He ilo ee % ' ; ; Yr. frit ay oe ri thee ell we ae oa , Ey 4 . i i ry + y “ 4 t pas i a ae ate) “ } — a by fe er}! bled 7 ‘ tinh. de ; syd), ra ae ee als ate at) Le oe ot nied a ea { { \ vies veh hs, earners , he 4 , } F tf adi 40. yi iva is Pina h ss ie +a) oh gaye Abs adie i Sean! doe. | 4 | +o, @ . ‘ i ui 4 Ui pe >. WISE LEY TF OO) SSS 7; He LW) \.\” SSS eee REA HWS SS = / NAS BM ws a! Delft, Leyden, and Gouda assented; Dordrecht and Amsterdam requested time for its consideration. Dordrecht afterward consented, but on condition that the money should be paid out of the taxes; that Junius should publish a volume every year; and that he should publish nothing without the approval of the States. In the mean- time other States receded from their action, saying that the publication was ill-timed during a period of general distress. After some influences had been used, the States gave a grudging and qualified assent. In 1570, Junius petitioned for the payment of 200 guilders, as he had then finished the ‘dI'T0$ [From Moxon.] WITH 7 TO PICA LEADS. y RY i iy *) ‘' \ \ ' ee Libaes ALE bread, and that the transubstantiation was made by a curse. He formally records the delivery by one Margaret, countess of Hennenberg, of 365 babies —a miracle, writes Van der Linde, “that makes you think of an upset pot of shrimps.” Junius adds that this would be a miracle beyond belief, if it had not been attested by the au- thority of public monuments... but he accepts the common belief. These examples of the credulousness of the author of Batavia warn us not to ac- "reo 8 pleteness and at the time Junius had proposed. After his death the manu- seripts of Batavia were collected and transcribed by his son Peter, who, with Peter Douza, undertook the pub- lication. The book was published during 1588, from the office of Chris- topher Plantin, at Antwerp. The se- lection of a printer in a neighboring city shows that there was then no competent printer at Haarlem. It is evidence of the indifference of the peo- ple of Haarlem toward typography. These faults would be overlooked, if we could be sure of his so-called facts; but one cannot read many pages of Batavia without being con- vinced of the credulity of the author, and of the thorough untrustworthi- ness of many of his descriptions. His defenders must confess that the book would have been of higher authority, if he had been more chary of rhetoric and more exact in description. He relates, not as a legend, but as veritable history, that the virgin Soter, who possessed but three pennies, gave them for the building of a church in Dordrecht. Other three pennies were miraculously and regularly found in her purse, and-were as regularly be- stowed, until the church was built. He repeats, with simplicity, the story of the eleven thousand virgins of Co- logne, who came from England to the now unknown port of Verona in Hol- land. He says that a certain stone in a church at Leyden was once a loaf of cept his criticisms on other traditions. Junius begins his description of print- ing at Haarlem with a solemn decla- ration of his intention to tell the truth. The declaration of candor is not need- ed: what the reader of Batavia does need is, not the protestation of the in- tention of the author to tell the truth, but some conyincing evidence of his ability to distinguish the true from the false. His preface is very long, pe- dantic, and in every way irrelevant, as may be inferred from a glance at the following classical names which he has sprinkled in the first paragraph: Car- neades, the Daughter of Time, Demo- critus, Phoenicians and Egyptians, Cadmus, Athenians, Greeks and The- bans, Cecrops, Philostratus, Linus, Tacitus, Palamedes, Hyginus, Car- menta, Evander, Crassus, Sczevola and Plutarch ! The fixing of the period in which the inventor lived seems to have been made with a studied carelessness and intended obscurity. If we deduct the 128 years from the year 1568, the year in which the manuscript of Batavia was completed, we have the date 1440. In this year Coster lived. When he was born, when he died, and how long he had been occupied with the practice of printing, is not related. If we infer that Junius intended that this year 1440 should be considered as the year of Coster’s death, the inference is purely conjectural. He does not say so. It may be supposed, but it is not said, that Coster printed with types before 1440. Whatever may have been GEORGE BRUCE’S SON & CO., Typn-FounDERS, No. 13 CHampBers-Strent NEW-YORK. NONPAREIL, No. 11. THE LEGEND OF COSTER. the intention of Junius, the year 1440 was at first accepted by the authorities of Haarlem as the true date of the in- vention of typography.! It was thought that the fixing of the invention within this year would sufficiently establish the priority of Coster, for the year 1442 was the date then assigned to the rival invention in Germany. The an- thority of Junius for the year 1440 was, no doubt, a pedigree of the Coster family, of which he makes no mention. There are troublesome entangle- ments connected with this date of 1440. Subsequent defenders of the legend, who tried to supply the defici- encies and correct the errors of Junius, made discoveries which compelled them to acknowledge that Lourens Janszoon (supposed by them to be Lourens Janszoon Coster) died in the year 1439. If he died in 1439, and if we believe that the invention was made in 1440, then he did his typo- rene work in the year after his eath.2 The absurdity of this date was clearly perceived when it was afterward discovered that Gutenberg 1In the year 1630, Adrien Rooman, of Haar- lem, published a print which contained the engraved representation of a printing office, to which he put the words — “ Invented at Haar- lem about 1430 ;’— “‘ The magistrates and cit - izens of Haarlem, in everlasting remembrance of the event and the man,” erected a monu- ment in front of the Coster house, with an in- scription on it, which fixed the date at 1440. 2Lambinet_ caustically observes that the romance of Junius obeys the dramatic law of unity, in time, place, and hero; the type. graphic art is invented in one day. The vague language of Junius has been used as a proper warrant for a very liberal construction of the date. When Van Lennep objected, in 1823, to the chimerical year of the invention, 1423, fixed upon by a Haarlem committee, the gyuod enjoined him: “If he will again care- lly read the account of Junius, and not for- sake, out of his prejudice, all common sense, he will plainly see himself, and be obliged to ac- knowledge that Junius said not a single word about the time of the invention.” an der Linde, The Haarlem Legend, p. 68. had been engaged as early as 1436 in experiments with printing. To pre- serve the appearance of probability, the date of the invention was removed to 1423, so as to allow Coster time for experiment and for the perfection of his invention. The name of the inventor is as un- certain as the date of the invention. Junius names him Laurentius Johan- nes, surnamed Aldituus, or Custos. In the pedigree, the name was written Lourens Janssoens Coster. Surnames were not then in common use; the son was identified through a name which described him in words as the son of his father. Lourens Janssoen Coster is literally, Lourens, son of John, the keeper, or the sexton. He is most widely known in typographical litera- ture by the name of Coster. There has been much dispute con- cerning the functions of this keeper. Junius says that this Lourens Jans- zoon. was the keeper of a church; that this keepership was an honorary office which belonged to Coster’s family by hereditary right. The duties of the office seem to have been those of a church trustee. Some writers say that this custos was nothing more than a sexton, but it is of no moment whether custos means sexton or trus- tee. The care with which Junius in- troduces evidences of the respectabil- ity of Coster’s house and the dignity of his family implies his fear that there might be, on the part of a heed- less reader, some doubt concerning the social position of a custos. Nothing is said of the ancestors of Coster. Probably, there was reason for this omission. Coster’s distinction in Haar- lem was not that of patrician birth. His wealth was not, so far as we can learn, derived from inheritance, nor could it have been acquired through the emoluments of a custos, which was an honorary but not a lucrative THE LEGEND OF COSTER. office. He had been engaged in some oceupation which Junius considered derogatory to his dignity. Of this oc- cupation we shall hear more hereafter. y the record, it appears that Cos- ter was both a printer and a publisher. He cut blocks and made types, he mix- ed printing inks, he printed books, he employed many workmen, he had an honorable reputation as a printer, and he reaped abundant profit from the sale of his merchandise. These state- ments are inconsistent with the eulogy which represents him as an idle man who experimented with types for amusement.! That Coster knew nothing whatever about printing when he took his walk in the wood may be properly inferred from a careful reading of the story. His experiments with bark seem to have surprised and amused him as much as they did his grandchildren. There is nothing unreasonable in this part of the legend, but faith fails us When Junius says that Coster printed his book with types of wood. The statement must be put aside as en- tirely unworthy of belief, for it has been shown that types of wood are * impracticable, and that the types of every known edition of the Speculum were made of founded metal. Tf Junius had not said that Coster changed the characters of wood for letters of lead and of tin, and that the false workman was expert in com- posing letters and in founding types, there might be some doubt whether these characters of wood were made 1 The assurances of his wealth, leisure and respectability seem to have been rovoked by the published statements, with which Junius was familiar, that Setting 8 the rival Ger- man inventor, was of noble birth. It is not the only instance in which the Dutch legend is the echo of the German Wieane The first coincidence is that Coster, like Fust, was in- debted to his son-in-law for valuable assistance in perfecting typography. And both sons-in- law were named Peter. disconnected or conjoined. His lan- guage is obscure, for he has used the words form and character as the equiv- alent of type, where these words could be applied with equal propriety to a letter engraved on a block. This ob- security was not caused by the poverty of the Latin language, for he after- ward described types with cleayness. There was obviously some confusion in the mind of Junius. It is not cer- tain that he clearly understood the broad difference between typography and xylography; it is certain that he intended to convey the idea that Cos- ter was the inventor of peng in its broadest’ sense —the inventor of print- ing from blocks as well as from mov- able types. The absurdity of this broad claim must be obvious to all who have read about early image prints and playing cards and the print- ed fabries of Italy and Sicily. No part of Junius’s statement is more incredible than his description of the ease with which Coster solved the problem of typography. Coster knew nothing of printing; but having carved a few letters on bark, and having cherished the idea that books could be printed from single types, he undertook to make—not types, but wood-ents. Eager to realize his idea of typography, he began work with a formidable task of engraving. Here is an absurdity. To design, engrave, and print the illustrations of the Spee- ulum was a task almost as great as that of making the types. If the en- gravings were not in the possession of Coster before he made this experiment (and Junius does not authorize this . hypothesis), it is not possible that he could have added to his task by at- tempting so many large wood-cuts. What follows is equally incredible. He passed from the work of cutting letters and pictures to that of making types without hesitation or experimenta- ‘aITOS ‘aITOS WITH 8 TO PICA LEADS. WITH 8 TO PICA LEADS. 113 THE LEGEND OF COSTER. tion; he struck out the correct method of making the types at the outset. His only mistake with types was in the selection of materials; wood was laid aside for lead, and tin supplanted lead; his greatest difficulty was en- countered in the manufacture of the ink. If this story is true, then typog- raphy was invented through inspira- tion, for its origin was unlike that of all great mechanical inventions. Junius describes this pretended in- vention of typography, not as he knew it was done, but as he thought it should have been done. Ignorant of the necessity for that strict accuracy of body, which is the vital principle of typography, and which can be secured only by the most ingenious mechan- ism, he thought, as thousands have thought, that the merit of the inven- tion consisted in the conception of the idea. The construction of the mech- anism he has skipped over as a little matter of mechanical detail entirely unworthy of notice. He tells us noth- ing about it. He shows the extent of his reading and the weakness of his judgment, by treading in the foot- steps of German authors who at- tempted to describe the German in- vention of typography, not from posi- tive knowledge, but through the ex- ercise of a lively imagination. He makes Coster follow the road which they say was taken by Gutenberg: first, the types of wood; then, engrav- ed letters on blocks of wood; next, types of lead; lastly, types of tin. The wine-flagons of Thomaszoon may have had some features which earried conviction to the observer of the seventeenth century, but the mod- -ern reader of the story will fail to see that they should have been made of worn-out types. But the tin wine- flagons and the noticeable house on the market-place are not to be de- spised. Useless as proofs of the credi- bility of the legend of Junius, they illustrate to some extent the pedigree of the Coster family, a pedigree with which Junius was well acquainted, but for which he could find no place in his legend. These wine-flagons were the pewter pots of a tavern about a century old. The artful insinuation that John Fust was the false workman is dis- creditable. Junius does not unequi- voeally say that Fust was the thief, but his language authorizes the cal- umny. That John Fust of Mentz could not have stolen the implements of Coster will be positively established by records of the highest authority. The Dutch historians of typography who defend the story of Junius, say that Junius did not know the name of the real thief, but that the name of Fust is properly inserted, because Fust was honored as the inventor of typog- raphy in Mentz: that there was, prob- ably, a complicity between Fust and the false workman, and that Fust was, for that reason, properly mentioned as the real offender. There were many Johns among the THE LEGEND OF COSTER. early printers of Mentz: John Fust, John Gutenberg, John Petersheim, John Meydenbach. When it was thought proper to acquit Fust of this accusation, John Gutenberg was se- lected as the man; but the discovery of records which proved that Gutenberg was making experiments in typog- raphy at Strasburg during the year 1436, compelled the withdrawal also of this accusation. Meerman, with a skill in casuistry equal to the occasion, then undertook to prove that there were two Gutenbergs—brothers, but with different surmames—Johan Gens- fleisch, the elder, and Johan Guten- berg, the younger; and that it was the elder brother who betrayed Coster and revealed the secret to John Guten- berg. It was a weak artifice. German historians have fully proved that Gut- enberg’s brother Frielo had nothing to do with typography; that John Gensfleisch, the elder, was an uncle, not a brother,—old, rich and blind— of all men, most incapable of any at- tempt at the purloining or practising of an intricate art like printing. There is no evidence to inculpate Petersheim or Meydenbach. The determination of Junius to fast- en this theft on Fust is shown in his statement that the thief regained or returned to Mentz, as to ‘the altar of safety.’ At that time Paris, Rome, and Venice had more schools and scholars, more book-readers and buy- ers than Mentz, and offered greater inducements for the founding of a printing office. These were the cities to which printers from Mentz subse- quently went, and to which a thievish printer from Haarlem should have gone. But Junius finds it necessary to send him to Mentz to explain theintro- duction of typography in Germany. The charge of theft is not corrobo- rated by the discoveries of bibliogra- phers. The two books which Junius says were printed in Mentz in 1442, with the types of Coster, cannot be traced to Mentz. Fragments of a copy of the Doctrinal of Alexander Gallus, the work of some unknown printer, have been found, not in Mentz, but in the Netherlands. The types of this . book resemble those of the Speculum, but they are sufficiently unlike to es- tablish the fact that they could not have been cast from the matrices used for the Speculum. This edition of the Doctrinal could not have been printed at Mentz. The zealous indignation of Cornelis does not compensate us for his myste- rious concealment of the name of the thief. His evidence is extremely un- satisfactory. Cornelis, who was in the employ of Coster when the theft was made, who knew the process, who bound the printed work, who was an old resident of Haarlem, who had busi- ness relations with every printer that succeeded Coster, of all men, should have been the one most competent to describe the work of Coster. But the information that he has furnished through Junius is ridiculously trivial, GEORGE BRUCE'S SON & CO., Typr-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK, ; ae aia al iad hod Lit Pi a) Pye we he ; me ¥ 33 oy Wi 4 A Ce) ‘ ie Th OT ee 114 NonpAREIL, No. 12. THE LEGEND OF COSTER. scanty as to facts and dates, inconsistent, and, in the most important features, entirely untrue. The story of theft is not only improbable, but it is unsupported by external evidence. Jacobus Koning, a diligent searcher in the archives of Haarlem, discovered that, on and after Christmas day, 1440, the constabulary of Haarlem were often sent to Amsterdam upon important business. The inference attempted is that the constables were in search of the workman who stole Coster’s implements. The records do not say that they were sent for a thief. Their business was of another nature. There had been a great mortality in Haarlem, and the officers of the town had left it while the pestilence was raging. The journeys of the constables were made to the temporary residences of the magistrates who, from a more healthy city, sent directions for the government of the town. Koning knew this fact but suppressed it. (The accusation of unfair practice, is frequently made by men who have been defeated in a fair contest. Whenever such an accusation is accompanied, as it was in this instance, with dramatic details, it effects a lodgment in the popular belief, from which it is not easily removed. Junius was not the first, nor the last, to use this discreditable but effective method of making-up a case. There is an old French record which narrates how Nicholas Jenson was sent from Paris to Mentz in the year 1458 to get a knowledge of the German invention. Jenson did acquire this knowledge, and became an eminent printer. His detrac- tors say that he stole the secret; his eulogists say that he learned nothing, but that he was the real inventor. The story of Richard Atkyns about the English theft is too full of absurdities for criticism. Sometime between 1520 and 1570, Daniel Specklin wrote a chronicle of Strasburg, in which he relates that printing was invented at that city in the year 1440, by John Mentel; that Mentel’s unfaithful servant, one John Gensfleisch, stole the secret, not the punches, and took it to Mentz. There is a popular legend in Italy that Pamphilo Castaldi invented types at Feltre in the year 1450; that John Fust, who happened to bein the town, abstracted the knowledge of the invention, carried it to Mentz, and arrogated the honors of the rightful inventor. ] Before we accept all that Junius has said about Cornelis, it will be well to learn what we can about him from other sources. The first entry in an account book of the cathedral of Haarlem for the year 1474 is to this effect: “‘Item...I have paid to Cornelis, the binder,! six Rhine florins for binding books.” Similar items, describing Cornelis as a bookbinder, are found in similar account books between the years 1485 and 1515, Payments were also recorded to Cornelis for coloring the initial letters of the “bulls of the indulgences.” After the year 1515 his name appears no longer as a bookbinder; in 1517 another bind- er did the work of the church. Seiz mentions an old book, printed by Jacob Bellaert of Haarlem in 1485, on the last leaf of which was written: “Bought at Haarlem in the Cruysstraet, of Cornelis the bookbinder, in May, 1492.” The register for the year 1522 contains this 1It was on the inner cover or binding of typographical Donatus was found. See p, 90 this account. book that the fragment of a of this work. THE LEGEND OF COSTER. entry: ‘‘Cornelis the bookbinder was buried in the church. For the making of his grave, twenty pence.” There can be no doubt that there was a bookbinder Cornelis at Haarlem, and that the Cornelis of Junius is the Cornelis of the church record. The dates in these records will peas us to test the accuracy of one portion of the chronology of the egend. Junius said that Cornelis told his story before he was an octogenarian. Eighty years might properly be considered as the limit of his life, which, according to the record, ended in 1522. If, to ascertain the date of the birth of Cornelis, we deduct eighty years from 1522, the result would show that he must have been born in 1442. But this was at least one year, perhaps two years, after the alleged theft. If Cornelis lived to the age of ninety years, the allowance of ten years more would not rec- oncile the discrepancy. Cornelis would have been a child of eight years of age; but the story of Junius requires, not a child, nor even a boy, but a man, an under-workman, the associate and room-mate of the false workman. To call it by the mildest name, here is a grievous blunder, The blunder is not in the record of the church, in which the chronology is consistent, for it represents Cornelis as beginning to work for the church when he was about thirty-two years of age. It would be a waste of time to show that the chronology of Junius is impossible: it is enough to say that the first link in the attempted chain is broken, and that Cornelis could not have been an eye-witness of the facts. ‘ _Lambinet had reason to speak of the aged witnesses, Cornelis, Gal- lius and Talesius, as “ walking and talking centuries.” Van der Linde characteristically describes the story of Junius as “a story in which all the authorities hear the principal facts in their infancy, but only to communicate them to each other in their second childhood.” It is a suspicious circumstance that the testimony of Cornelis should be recorded for the first time nearly half a century after his death. Hasback, Andrieszoon and Bellaert, the early printers of Haarlem should have heard from Cornelis this story about Coster and his in vention. The people of Haarlem, we are told, were proud of Coster. and envious of the honors conceded to Gutenberg. Why the printers and the people of Haarlem allowed the important testimony of Cor- nelis to remain unpublished for so long a time is a question that can- not be answered. a At this late day, it is impossible to discover the kernel of truth that may be concealed in the heart of so great a husk of fiction. It may be that Cornelis, who seems to have been a simple-minded man, and who appears as a binder in the church record about nine years before Bel- laert opened his printing office, imagined that this first pringing office in Haarlem was the first printing office on the globe. There may have been a theft of types and of secrets from the office of Jacob Bellaert at or about 1485. Cornelis blundered about dates, and his inaccuracies have been exaggerated by the gossip of the next generation. These are possible conjectures. But we must remember that this story of Cornelis is not told by himself, but by Junius. . ‘dITOS ‘dIIOS WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. THE LEGEND OF COSTER. One of the authorities referred to by Junius is Talesius, burgo- master of Haarlem when Junius was writing Batavia. In referring to him, Junius is carefulin his choige of words. ‘‘My account does not disagree with that of Talesius...I recollect that I have heard from him nearly the same story.” This is a timid assertion—one that Talesius could have modified in some of its features. Talesius himself has not spoken. Talesius was, in his youth, the secretary, and, in mature age, the intimate friend of Erasmus, to whom he must have spoken about the legend, but he did not make Erasmus believe it. Erasmus says: “All those who apply themselves to the sciences are under no small obligations toward the excellent town of Mentz, on account of the excellent and almost divine invention of printing books with tin letters, which, as they assure us, was born there.” The mysterious disappearance of the practice of the art from Haarlem is even more wonderful than its introduction. The tools may have been stolen, but the knowledge of the art should have remained. Coster may have died immediately after the theft, but his son-in-law Thomas Pieterzoon, and the workmen, who knew all about the details of typography, were living, and able to go on with the work. The making of books may have been temporarily sus- pended, but the curious public who clamored for them should have persuaded Coster’s successors to fill their wants. The new art of printing which found so many admirers should not have been com- pletely forgotten fifty years afterward. There is nothing in the story of Junius to satisfy these doubts. If we accept his account of the invention, we must rest contented with the belief that typog- raphy in Haarlem died as suddenly as it was born, leaving behind as its only relics one edition of the Speculwm and the old wine- flagons of Thomaszoon. The same strange fatality followed the alleged thief John who fled to Mentz and printed two books in 1442, Immediately after, his types, his peculiar process and his printed books disappear forever. To satisfy these doubts, and to bridge the chasm between Coster of 1440 and Bellaert of 1483, Meerman undertook to show that Cos- ter’s three grandsons, Peter, Andrew and Thomas, continued the practice of typography and printed many small works. Dr. De ~ Vries maintained that “‘there was after Coster’s death, until about THE LEGEND OF COSTER. 1470, an uninterrupted, but carefully concealed practice of printing. That there existed in Holland for many years a seminary of the practicers of the art is confirmed by many and strong evidences.” But De Vries offers conjectures for evidences. History is silent about the printing office that was conducted by the sons of Coster. This office and these printers were really created by Meerman to fill a disagreeable gap in the story of Junius—a gap not seen by any of his numerous commentators from Scriverius to Seiz. There is no book that bears their names; there is no record that mentions them as printers; there is not even a tradition that they had any- thing to do with printing. If their names had not appeared upon the pedigree of Gerrit Thomaszoon, we should know nothing of them. The typographical successors of Coster are as fictitious as their progenitor. The improbable teatures of this legend were not perceived in the uncritical age in which Batavia was-written. Patriotic Dutchmen did not wish to see them. Holland, at the close of the sixteenth century, was flushed with pride at her successful resistance to the power of Spain. Grateful to the men who had made her famous, she exaggerated the services of all her eminent sons. Coster was not forgotten. The name of Junius gave authority to the Haarlem legend, and the story of Coster was read and believed throughout the Netherlands. There were dramatic features connected with it which pleased the imagination and fastened themselves to the- memory. To people who had no opportunity to examine the evi- dences, the legend of Haarlem soon became an article of national faith, to disbelieve which was to be disloyal and unpatriotic. But this enthusiasm would have subsided if it had not been nourished. { If subsequent writers had added nothing to this legend of Junius, . it would not be necessary to write more about it. Long ago it would have been put aside as untrue. But the legend has grown: it has been almost hidden under the additions that have been made toit. The snow-ball has become a snow-heap. It is necessary to expose the falsity of the additions as well as of the legend, and to show how recklessly this chapter of the history of typography has been written. BP oe ie GEORGE BRUCE’S SON & CO., Typre-FouNvERS, No. 13 CHAMBERS-STREET, NEW-YORK. NonpaReEIL, No. 12. 115 XVIII THE GROWTH OF THE LEGEND. Perversion by Bertius... Romance of Scriverius... Date of invention removed to 1428... Illus- tration of First Statue to Coster... Date of 1420 given by Boxhorn... Rooman’s Date of 1430. History and Chronology of Seiz... Doubts of Hollander: Discrepancies in the Dates on Medals... Meerman and his Unsatisfactory System. imiles of Medals... Koning and his Prize Essay... Dr. De Vries’s Theory... Radical Disagreements of the Authors... All Versions are Enlargements of the Legend as given by Junius... An Article of Patriotic Faith in Holland... Monuments to Coster... Illustration of Last Statue. Who is there that has not opinions planted in him by education time out of mind, which by that means came to be as the municipal laws of the country, which must not be questioned, but are to be looked on with reverence... when these opinions are but the traditional grave talk of those who receive them from hand to hand without ever examining them ?—Locke. At the end of the sixteenth century, the legend had two strong sup- ports—the authority of an eminent scholar, and the patriotic pride of the Hollanders, who accepted it as truthful history. It did not, how- ever, pass the ordeal of criticism unharmed: the weaker points of the legend were exposed by many German authors, and the weight of their objections compelled Dutch writers to attempt new explanations. Bertius,! writing in 1600, and evidently perplexed by the carelessness with which Junius had noticed Coster’s first experiments, says, put without producing any proof, that ‘Coster invented the art of printing with engraved blocks or xylography....the three-fold vil- lain John Faust stole the inven- tion.” Here we see the unavoid- able result of Junius’s malignant innuendo: Bertius does not hesi- tate, as Junius did, to name Fust as the false workman who stole Coster’s tools. Peter Scriverius thought it nec- espe hs in 1628, to swell and em- pbellish the story of Junius. He wrote a new version of the inven- tion, which appeared with a curi- ous poem called the Lawrecrans.? This, says Scriverius, was the man- ner of it: In the year 1428, Laurens Coster, then a sheriff of Haarlem, 3 = cn ca ie took up the branch of an oak-tree, i ‘ii cut a few letters in relief on the | (I wood, and after a while wrapped | Ma them up in paper. He then fell asleep, but while he slept, rain de- scended and soaked the paper. Awakened by a clap of thunder, he took up the sheet, and, to his as- tonishment, discovered that the rain had transferred to it the im- press of the letters. Here was the suggestion of xylography, which he at once followed to a successful conclusion. He printed a great many block-books and a Donatus, put finding to his surprise that let- ters cut upon a solid block could not be used for other work, he thereupon invented typography. John Gutenberg, who had been = employed as a workman, stole the il tools and the secret. Dishearten- Hi ed with this misfortune, Coster dr abandoned printing and died. He proceeds: F Tt is my opinion that the art was first invented ten or twelve years before the year of our Lord 1440 (in which the most trustwor- thy authors agree), in Holland, at Haarlem. Junius has told its be- ginning and progress before us. 1 Wolf, Monumenta Typographica, vol. 1, pp. 193 and 621. 2 Laurecrans voor Laurens Coster von Haar- lem, eerste Vinder von de Boeckdruckery, ete. a Se) ‘adrTO ADS = i] WITH 8 TO PICA LE Haarlem, 1628. Reprinted in Dutch, with de- scription in Latin, in Wolf's Monwmenta Typo- graphica, vol. 1, pp. 209-451. The poetry of THE GROWTH OF THE LEGEND. And although he discovered some particulars about the invention, yet he has (I may be allowed to say it without disturbing his ashes) his errors, and may not be pronounced free from inadvert- ence. ‘To-day (A. D. 1628) is just two centuries since the excellent and valuable art of printing made its appearance (A. D. 1428). Not in the manner that is used now, with letters cast of lead and tin. No, it did not go on like that; but a book was cut, leaf for leaf, on wooden blocks....We must not think that every letter was cut separately on wood, and that these letters were collected and put together to a line, and in a certain number of lines....Our acute Laurens first cut the letters, twisted and close to each other, in the manner of writing on wood or tin; but afterward, when he was so successful, he changed his method of working, and, haying invented the matrices, cast his letters. (!) “J will not say further how the noble art of engraving and print- ing of engravings is connected with the invention of printing, which arose afterward. But just as the dexterous Jan Fuyst imi- tated the appropriate art of printing, so the excellent and talented printers and designers, who also handled the artistic chisel and knife, contrived to multiply and publish their engravings, cut after the printing of the Haarlem figures. And all have been instructed by. and got their first experience from, our clever and talented Laurens Koster.” [Condensed from Hessels’s translation in Haarlem Legend, pp. 113-14. ] Seriverius has given dates and new details, but he has not thrown any clear light on the subject. He has not made the story of Junius more credible, but he has exposed himself as a romancer and a fabri- eator. In trying to mend the le- gend, he has destroyed it. If the story of Scriverius is true, then that of Junius is false, for they con- tradict each other. The statements of Junius were based on the pedi- gree and the gossip of the old men of Haarlem; the statements of Scriverius were based on nothing, MO for he had no authorities which a lenient critic could accept. Seriverius said that Lourens Janszoen or Laurens Koster was the inventor of xylography as well as of types. After an examination of the Speewlwm, he had wit enough to see what Junius did not, that the printer of the book must have had practice with blocks, and that printing on blocks necessarily pre- ceded printing with types. His description of the growth of the new art is not satisfactory. The careless manner in which he skips over the invention of matrices and the making of the moulds is that of aman who knows nothing about type-founding, neither from in- | struction nor observation. En- couraged by the praise which Seri- verius had received for his per- formance, Marcus Zuerius Box- horn undertook to place the date . of the invention eight years ear- lier. In his Dissertation on the In- vention of Typography, printed by Vogel at Leyden in the year 1640,! Boxhorn says that the invention was made in 1420. Here we en- couuter a curious fact. The story Scriverius is as whimsical as his prose. ere is his charge of theft against John Gutenberg: ‘Ah, rascal! ab, are you there? is it you Hans Gutenberger? Why does this name become you? Yes, two- fold rascal, and worse! Notorious by theft, oh shameless man! This word is still too mild for your villainy. Because you concealed Laurens’ good and carried it away, And stole it falsely: so hear we now speak _ Of Goedenbergher’s praise ; however they dis- guise it, By the Goeden-berg they betray the Guyten- (rogue )berg. ‘ GY VN NTR Sai an SSK ETOH cot SRS , BZ (From Seiz.) of Junius had been published less than fifty years, yet the writers disagreed concerning the date of the invention. Believers in the legend had been taught by one teacher that typography was in- vented in 1440—by another, in 1428 —by another, in 1420, And it is a 1 Wolf, Monumenta Typograuphica, vol. 1, pp- 813-868. The Statue of Coster in the Doctors’ Garden. GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. PY OO oe a a , £ by 2 r ‘ " * " é « * * r i ; : { Wey 1S 1 ASE , y f NY! ANSE PURE a 1 Ape P f aye " Oana . m of i i rs h 1, t Ls tet \ +) ' F h suis t } 2 om j ¢. Anes « . 1 tabeie z Vs 5 ; “ ‘ x + * ha ‘ * j per ‘ A bd . i ” a o i r « e ; 1 J vers style lth aya gol tae ‘ F Pe te epee a ee re - AMG tts Wine el Oc Ape See . j Pais opts Pee ar Ym : wl REG. my Y i ; — aT S rar) by row é : ‘ : + 7 , fi i rarelg a ante od beget Ma Bee ‘ iy : rei. sie AP Wye gh wlerrty 2 Mee oge eo go ‘ oe “ie Awe: if oN a ee. Tha ‘or esate tilt 116 Nonparein, No. 12. THE GROWTH OF THE LEGEND. noticeable circumstance that the authors farthest removed from the date of the invention were the most positive in their statements. The later writers, who knew the least, give us the earlier dates. Adrien Rooman, a printer of Haarlem, and apparently a con- servative and conciliatory man, thought that these differences could be most satisfactorily ad- justed by fixing the date midway between the extremes. He was notin the possession of any newly discovered facts, and had no au- thority for the arbitrary selection, but this incompetency did not pre- vent him from publishing a por- trait of Coster, with an inscription which made the year 1430 the date of the invention. To the thinking men of Haarlem the assumptions of Boxhorn were as unsatisfactory as those of Ju- nius and Scriverius. There was an air of improbability, or at least of uncertanity, about the state- ments of all the authorities, which filed their minds with doubts as to the truth of the legend. The statue to Coster, which was soon after put up in the Doctors’ Gar- den, had no date of invention on the pedestal. To remove these doubts, Seiz,) undertook, in 1742, to furnish “a true and rational account of the invention” by Cos- ter. The truth and reason of this new description of the invention of Coster are most strikingly illus- trated in its chronology. 1428.—Laurens Coster engraved a few letters upon the bark of a tree. 1429.—He gave one year to experi- mental engraving on wood. 1Seiz, Annus Tertius Seculoris Invente Ar- tis, ete, Haarlem, 1742. 1442.—Gutenberg printed an 4A be book, the Doctrinal of Alexan- der Gallus and the Treatise of Peter of Spain. By this time Coster had fully repaired the damages of the theft. 1443.—Coster printed the second edition of the Speculum Salu- tis in Dutch. 1444.—Coster printed a Latin edi- tion of the Speculum. 1446.—Gutenberg also induced Gensfleisch, called afterward Faust, (!) and Meydenbach to join him in printing a Latin Bible. 1457.—Coster’s art was well known, and excited the envy of the Archbishop of Canterbury and of King Henry vi of England. 1457.—The Archbishop persuaded the king to get a knowledge of the art from Gutenberg, first book printer of Haarlem. (!) 1459.—Turnour and Caxton, who were sent on this mission, brib- ed Frederick Corsellis, a work- man of Coster, to run away from Haarlem in disguise. To prevent his escape, Corsellis was taken to Oxford, in which town he began to print in 1468. 1467.—Coster died, about the same time that Gutenberg and Faust died. (!) His printing office ceased to exist.! Seiz has not told us where he obtained this curious information, but we shall make no mistake if we attribute it to an imagination disordered by national pride. His chronology is so absurd that seri- ous criticism would be a waste of time. Notwithstanding the strong ef- forts of Seiz to efface the impres- sion created by the contradictory accounts of his predecessors, the 1Condensed from Hessels’ translation in Haarlem Legend, p. 123. 1431.—He printed the Temptations of Demons or Ars Moriendi. 1432.—Printed the Bible of the Poor. 1435.—He began to engrave and printan edition of the Donatus. 1436.—He cut separate letters or single types out of lead. 1437.After prolonged experiment he abandoned this method. 1438.—He invented a method of casting types of lead. 1439.—He began to print an edition of the Donatus, and the Dutch edition of the Specwlwn. In this year Gutenberg took ser- vice with Coster, and began to print for him, by which he earned the title of the Book- printer of Haarlem. (!) 1440.—Gutenberg absconded with some knowledge of the inven- tion, He was able to cut, but not to cast types. (!) 1441.—He established a printing oftice in Mentz. citizens of Haarlem seemed to be involved in greater doubts than ever about the chronology of the invention. For, in 1740, upon the occasion of the third jubilee of Cos- ter’s invention, two silver medals were struck, with legends ecurious- ly unlike. We here see that the name of the inventor is printed in different forms; one medal bears the date 1440, and the other con- tains the date 1428. These irrecu- larities prepare us for what is to follow. In 1757,.Gerard Meerman, sub- sequently a distinguished cham- pion of the Haarlem legend, wrote ‘that the pretentious assertion of the invention of printing by Lau- rens Coster begins to lose eredit more and more. The particulars that have been related by Seiz are mere suppositions, and the chro- nology of Coster’s invention and enterprise is a romantie fietion.” ~ i ‘dI'to WITH 7 TO PICA LEADS. THE GROWTH OF THE LEGEND. But in the year 1760, Daniel Schoepfiin, an eminent scholar of Strasburg, wrote a valuable con- tribution to the history of typog- raphy, under the title of Vindicie Typographice. Meerman was pro- voked to emulation. He had not believed in the legend, but he thought that he could construct a theory of the invention, which would, to some extent, concede the claims of the rival cities of Haarlem, Strasburg and Mentz. In this illogical manner, by the construction of a theory before he was in possession of the facts, he began to write the Origines Typ- ographice. The entire book was published in 1765, with a portrait of Lourens Coster by the eminent maT ome eu Kee SX WER TRIA Ss Medals in Honor of Coster. ‘daI'TO$s {From Seiz.] WITH 7 TO PICA LEADS. to consider the engraving of let- ters upon solid wood-blocks, for this is not typography, and is not printing as we now understand it. Laurens was robbed on Christmas night, 1440, by Johan Gensfleisch the elder, who carried the art to Mentz. The son-in-law and heirs of Coster continued his business for some time after his death, but with little appreciation, as they were overshadowed by the supe- rior invention of Gutenberg and Scheeffer. Coster printed but one edition of the Speeulwm trom types of wood. His successors printed the other Dutch edition and the two Latin editions from engraved metal types. The contributions of different inventors toward the per- GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CuamBers-Srrerr, NEW-YORK. | odes. Dutch engraver Houbraken, and a portrait of Meerman himself by Daullé. In the matter of scholar- ship, Meerman was thoroughly qualified for his task. He wrote in a clear style and with admirable method. But he knew nothing of the mechanics of printing nor of type-founding, and,unfortunately, he was too conceited to accept cor- rection or instruction even from the hands of experts like Enschedé, Fournier and others. In trying to make facts suit theories, he went so far as to order the engraver of a fac-simile to stretch the vellum of a Donatus so that the types used upon this Donatus should appear to be the same as the types of the Speculum. These are the conclusions sub- mitted by Meerman as the result of his study of, and reflection on, the legend of Haarlem : “Typography was invented by Louwerijs Janszoen, also known as Laurens Coster, who, at various times between 1422 and 1434, filled the office of sheriff, treasurer and sacristan. He was of noble blood, but a bastard of one of the Breder- He died sometime between 1434 and 1440. He invented typog- raphy about 1428 or 1480, using only movable types of wood. All that Junius has written about an inven- tion of lead and tin types by Coster is incorrect. He thinks it useless ee eee eee fect invention are.acknowledged in this manner: Laurens Coster was the first to demonstrate the feasibility of typography by his use of wood types; John Gens- fleisch was the first to make cut or engraved metal types; Peter Scheffer was the inventor of cast or founded metal types; John Gu- tenberg and John Fust were print- ers who invented nothing.” Meerman had fair warning from — the type-founder and printer John Enschedé that his theories of wood types! and of cut metal types were preposterous. He did not heed the warning. He wrote, not for print- ers, but for bibliographers who be- — lieved in the practicability of wood types, and he did not mistake his readers. The bibliographers, who knew little or nothing of the theory or practice of type-making, were — not competent to criticise the me-— chanical part of his theory. He hoped to disarm the prejudices of German authors by his frank ac- knowledgment of the contribu- tions of Scheeffer and Gensfleisch | 1 John Enschedé then said that “Jansen Koster used no wooden movable letters, as later, and still living scholars [Meerman] as- sert—scholars who know nothing of the mech- anism of type-founding—and, who, there-— fore. rie A swerve from the path of simple trath.” eerman’s reason for rating this Dutch edition of the Speculum as first of all was the inferior appearance of the types and the printing, which inferiority, he maintained. had been produced by wood qypes and want of. experience in presswork. Fournier told him truly that the types of his alleged first edition were metal types; that the printing of the book was inferior because the types were worn out; that his first edition had ‘all the signs of a last edition —but Meerman refused this ex: planation. a NonpareiL, No. 12. THE GROWTH OF THE LEGEND. as co-inventors. The novelty of his theory, the judicial equity with which he decreed to Coster, Gens- fleisch and Schceffer what he said was their share in the honors of the invention, the temperate tone and calm philosophic spirit in which the book was written, the breadth of scholarship displayed in exact quotations from a great number of authors, won admirers in all countries. The theory of Meerman about a contributive in- vention need not be examined here: it has been entirely refuted by many French and German au- thors; it was abandoned even by Hollanders! at the beginning of the present century. The authority of the book is at an end. The conviction that all previous- ly written defences of the legend were untenable, caused a scientific society of Holland to offer a prize for the best treatise on the inven- tion. Jacobus Koning was the suc- cessful competitor. In 1816, he pub- lished, under the sanction of the society, the essay that had won the prize, under the title of “‘ The Origin, Invention and Development of Printing.” It was an inquiry of more than ordinary merit— the first book on the subject which showed evidences of original re- search. Koning tried to supple- ment the many deficiencies of Ju- nius with extracts from the records of the old church and town of Haar- lem, which he had studied with diligence. He brought to light a *ereat deal of information about one Laurens Janszoon, whom he confounded, as Meerman had done, 1Dr. De Vries, the most eminent defender of the legend in this century, said: ‘‘The work of the learned but not very judicious Meerman had done more injury to the cause of Haarlem than the writings of all other antagonists.” THE GROWTH OF THE LEGEND. y for practical work. His types were founded in matrices of lead, and in moulds of metal; he invented Lista A alae and printed his books with inking balls on a press. His materials were rude, but the proc- ess was substantially the same as that of modern printers. He print- ed the first edition of the Speculum in 1430, and sixteen other books be- fore his death. His business as a printer was continued for some years, butinafeeblemanner,by his grandsons. The thief of Koster’s process was Frielo Gensfleisch.” In the town records Koster is not noticed as a printer, but Ko- ning described his method of print- ing, his punches, moulds, matrices, presses, inking balls, ink, types, and printing office furniture, with as much boldness as if he had been eye-witness to the entire process. Nor was this his only error. It has since been proved that he will- fully suppressed many important facts in the records which are of great importance in an examina- tion of the life and services of Cos- ter. It is plain that he was more intent on pleasing the national pride than on revealing the truth. The speculations of Koning were destroyed by the keen criticisms of the authors who followed him. Dr. Abraham De Vries! set aside impatiently nearly all the ingeni- ous theories devised by former commentators. He repudiated the statement that Coster had been a sexton or sacristan, or that he in- vented engraving on wood. Warn- ed by the failures of his predeces- sors, he advanced no new theory about the peculiarities of Coster’s typographic process ; he professed to be satisfied with the bald state- 1 Kelaircissemens sur Vhistotre de Vinvention de Vimprimerie. 5 with Lourens Janszoon Coster. This is the substance of his dis- coveries and of his conclusions therefrom : “Koning describes the inventor as Laurens Janszoon Koster, and not as Lourens Janszoon. He says that Koster was born about 1370; that there are no records of his early life, and that his name does not appear on any of the registers of Haarlem, municipal or ecclesi- astical, until he became a man of middle age. After this period of his life, notices are frequent. He was the sacristan of a church from 1421 to 1433. He was, at different times, alderman and presiding al- derman, treasurer of the town, lender of money to the city, officer in the citizens’ guard, member of the grand council, and deputy to a conyoca- tion of the States— a man of wealth and distinction. There was a great pestilence in Haarlem in the latter part of the year 1439, and Koning says it seems probable that Koster was one of its many victims. Kos- ter’s only child was a daughter named Lu- cette, who married Thomas, the son of Pieter Pieterzoon—the Peter mentioned by Junius. Pieterzoon had three children, but with them the family name was lost. This Laurens Janszoon Koster invented xy- lography and typogra- phy. He experimented with types of wood, but did not use them ment of Junius, and dogmatically main- tained that Coster “was the inventor of i, typography, of the CiiwZ proper art of printing, the first who invented and practised the art of printing with movable and cast letters, and so gave the example to Mentz...... In the be- ginning, the art was secretly practised as a trade Im manuscripts, not only during the lifetime of the invent- or, but by his succes- sors after his death.” De Vries placed the in- vention about 1423. Tt is not necessary to protract this review of the different versions of the legend, nor yet to point out the fatal : disagreements and inaccuracies of these versions. It is plain that all the authors who have maintained the claims of Coster have taken their leading facts from Junius. It is equally plain that they have been dissatisfied with his statements and have tried to fill up the gaps in the evidence with conjectures. But they have not made the legend any more credible. The exact nature and date of the invention, the name of the inventor, his me- thod of making types, the books he printed, the thief who stole his process, the fate of his printing office, the total disappearance of the knowledge of the new art— these and other features of the positive statement first made by Junius are enveloped in as com- plete a mystery as they were when Batawva was written. “aITOS “aTTOS wi A Phi eT Meek tabu ae Laat See vps 7" lies : if £ 2h ort ae aiolte he P ry may malty cactela ' \ id ' . anh gy Ne ” ty aye olds } a ie un (ha He att Nye Tt AMP a: ; Emer ee ) Baal Shit ban : pay *%) } ' hs d ; We) edare ee ete ct on Una ycHP ioeanetonie ots b 4 wi ' W Pru ms f feet A ae + inal fey (AY aie. Or hie He ef Gaot lb r \ j Te ‘Jj WF taht (Vv wit? tie aK pegs fis’, etieey a vk ae fener Poi: Pied mum ! cy ads SS en a 2. spall tatak feb reap j \ itt (AOR. ely ChE Ua aah : - aie™ » tts tet Cigars? Pe whe H 4 pk cee Ae et wes hii! aj ‘ : : fo >) hier ae? frty of ptt Sere f#e9 ive ueyale “AReiypase wen tere 4 iy aie ons hy ey ‘ 1-RAtle pe perwe b) 4 VPA velaie “eN ‘ ba | i fd , hl il rh rate ene ak ey eh : >» weer] toa efit, Aceh 7) alt at sae } ms +t oe nee Ties ule ee Titik. | dl i } ai wee gh hae A ae ' eo bal a he 4 tas p ( : i jad Paka? aklly ath liinfela VWI g j ? ign? Pcyy ; S it Th (yy ech 4 t we Male pita Ae Vidal ave *- 7 im. bh) f heel Ratan : ? 4 1 y ty bt hE a ee | g “ ety “ie way et! aa pyewlepta fe Py » apd Boivin th 3 i ' Vt? si ‘ + | a 4) t ) i 3 wie pe Be I ‘ cd iit Va Toh i y ‘ i " i a A iw Neh sree i one Awe ye emigy abe eae hed i i ey or Wk aa Spr , : P tS Ply ate Ae a ae aye k . ‘ing nv ave) Alene IG . ; . ya? ele ¢ a . olla ’ © é a vi cpmnd) | Kote d ant): SOE ite 8 WE: > Teeny ‘ nat ate ok et y) Vibenes h, F } ‘ ves GET lost) wool ig eee OGY ae etary wis dal cat “ ’ iq 4 hy es tye wa pare ae ee ‘nied 1 dew 4 b ) ee pe ert eee ° ®) he : Uy SP De ed ial © aves : aa me bed os ron fale ¢ y f , fe hs rhe 1 hd oh es on by ve ate noha oe ire j ' \ ? - ai | r¥, vee i, j : atti » ke, pene Hue Ay, : wis, pth ek JiR eke! Sea ae fy Tan ae ars ot (Ste ‘7 z tae, : je Res aie 1 u , ; : ‘ its = be ' % e aa pia mh 4 tid ety ae z. ‘ re ies a oe ins fea 4 f : i oop tie be: Pair Gey + 7 ew ay 4 +s ea Tres Pt i : - 4 ola ie bafietra { “ives ; aetiaiee 4 « Avdianeen ip r > ry is) as Ser. aah feat . all mente ors ‘Slates vas a + Swaptatg aw, Ld y oy eteryBiyy » ao Le Gere ode.) Bf) alate aDecal t+ y iret vn Sel agar a are Ge % * AY ih Re tg singe Alo htM WO f hye 4, mle v a. fel vio Po ar, 2 ba > an Rie ltsais ves ‘peat aie ie a ~~ ye ay On us afta ae 118 NonpareEIL, No. 13. THE DOWNFALL OF THE LEGEND. . This Museum then contained, among other relics, copies of the Apocalypse, the Ars Moriendi, the Oanticles, the Donatus, the Speculum, the Temptations of Demons, and other printed works that have been noticed in the chapter on The Works and Workmanship of an Unknown Printer, most of which were claimed as the work of Coster’s office. The wood block of the Horariwm (see page 91), some official documents, some autographs of the sheriff Lou- werijs Janszoon, a picture said to be a likeness of Coster, several engravings of Coster (curiously dissimilar, and one of which is an undeniable forgery), are also contained in this Museum. Van der Linde denounced the Museum as a municipal show-booth. Zhe Haarlem Legend, p. 164. The pedigree was, without doubt, a genuine relic. Its dingy vellum sur- face, written over in many handwritings, was surrounded by an embroidered border blackened with age. Its history could be traced through three cent- uries. Gerrit Thomaszoon, the aged descendant of Coster mentioned by Junius with such marked respect, was the person by or for whom this pedi- gree was made in or about the year 1550. Leni flay JP Autograph of Laurens Janszoon. (From Koning. ] Gerrit Thomaszoon died about 1563 or 1564. In the year 1611, the pedigree belonged to Adrien Rooman, the town printer at Haarlem. At his death it fell into the hands of Dr. John Vlasveld. For nearly two centuries it was un- known to the public. In 1809, it was sold at auction, Jacobus Koning paying for it, and for an old wood-cut, supposed to be the work of Coster, four hun- dred guilders. Gerrit Thomaszoon had kept an inn in the house once occupied by Coster, and it is supposed that the pedigree was one of the decorations of a wall in his house. There is a special significance in this date of 1550. This pedigree, which describes Coster as the inventor of printing, was written at least one hundred years after the discovery of the invention and the death of the inventor. It was written when Cornelis, the only eye-wit- ness known to history, had been dead nearly thirty years. It is, however, and too much stress cannot be laid on this fact, the oldest document in which mention is made of Coster as a printer. There are valid reasons for the belief that Coster’s merit as an inventor had never been recognized in any way before the record was made on this pedigree. When we consider the order of the dates, it is obvious that it was from this much suspected document that Coornhert derived the information he published in 1561. “The old, dignified and grey heads” described by Van Zuren in 1561, “the aged and THE DOWNFALL OF THE LEGEND. respectable citizens” of Guicciardini (1566) and Junius (1568), were Gerrit Thomaszoon and his friends, among whom we may properly include Gallius and Talesius. And it may be added that the more circumstantial story of Junius was first published when Gallius and Talesius were dead, and when there was no man living who could controvert or modify any part of his story. There can be no doubt that the legend began with this pedigree. It is not at all probable that the vain old man Gerrit Thomaszoon, who was proud of the ancestor in whose house he lived, kept his friends in ignorance of it. It was not unknown to Junius. There is a similarity of uncertainty between an ambiguous date (1440 or 1446) on this pedigree and the mysterious cir- cumlocution of Junius in his use of the words ‘about one hundred and twenty-eight years ago,” or 1440, which is enough to show that Junius had not only seen the pedigree, but that he took it as an authority for this date. Whether Scriverius saw it cannot be confidently maintained; he does not mention it. Gerard Meerman knew of its existence, but he did not reprint it. He made use of it, however, in the construction of anew genealogy of the Coster family, in which he added and altered items in the most wnwar- rantable manner. Koning studied it with diligence: he frequently alluded to it as a document of the highest importance, but he did ac reprint it, nor even describe it in general terms. The withholding of this pedigree from public examination, and the evasion of its description by the authors who had examined it, are suspicious cir- cumstances. We see that men who wrote hundreds of pages of speculations to support the claims of Coster—men who translated and reprinted many columns of irrelevant chaff for the sake of one little kernel of grain— will- fully suppressed what they maintained was a most convincing evidence of the truth of the legend. I was not suppressed because it was too long: the entire pedigree can be pores in two pages. _ The reasons for withholding the pedigree were apparent when it was put in the Museum. The reading of the words in the first row at once produced the impression that its importance had been vastly overrated; that its infor- mation was of little value; that it was almost worthless as evidence of the priority of Dutch typography. Dr. Van der Linde, who made a critical ex- amination of the writing soon after it was placed in the Museum, revealed the astonishing fact that the most important entry had been falsified. This entry, which contains the only portion of any interest in an inquiry concern- ing the invention of printing by Coster, consists of the following lines: _ Sijn tweede wijff was Lourens Janssoens Costers dochter die deerste print in die werlt brocht Anno 1446.” ‘His [Thomas Pieterzoon’s] second wife was Lourens Janssoen’s Coster’s daughter, who brought the first print in the world in the year 1446.” The date first written was 1446, but in this column, and in others, objection- able entries have been effaced and falsifications haye been attempted. ‘The figure 6 has been partially rubbed out; it has been replaced by a 0, so that the careless reader will construe the date as 1440. There can be no hesi- tation whatever on this point; the figures first written surely were 1446. ‘We see here a fable arise before our very eyes. A Haarlem citizen has a pedigree made for him, probably to put it up in his inn... But the frame wants lustre, and so the pedigree is linked by the probably totally fictitious ‘daITOS ‘daIIO$S WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. THE DOWNFALL OF THE LEGEND. Lucye, the second wife, to a Haarlemer—to a Haarlemer who (the awk- wardness and naiveté of the expression may not surprise us at all in such a product of family vanity) brought the first print in the world.” We may waive all criticism of the faulty grammar of the pedigree and proceed to more important matters. It may be conceded that the pedi- gree was written by an ignorant man who intended to say that it was Coster, and not his daughter, who brought the first print in the world. By the word print Thomaszoon may haye meant a playing card, the en- graved figure of a saint, a block-book, or a book made from movable types. If he meant any product of xylographic printing, the statement is totally false, and deserves no consideration. If he meant typography, his failure to express that meaning is unfortunate. But his intention is really of but little importance. This bold statement on a pedigree, written by an ignorant and conceited man, about one hundred years after the great event he professed to record, of the details of which he obviously knew nothing, cannot be used to overthrow established facts in the history of typography. It is unsatisfactory in other points. The alteration of the date, and the unexplained erasures have destroyed whatever validity the document may have had. It may be put aside; as an authority it is worthless. Its obscure notice of the invention of printing is but a frail foundation for the colossal superstructure which Junius erected. It is plain that Junius must have been conscious of its weakness as a basis for the legend; he had doubts of its accuracy, and dared not refer to it. He preferred the oral testimony of the dead Cornelis. The discovery of this falsification induced Dr. Van der Linde to make, “with a zeal and patience worthy of a better cause and of a better re- ward,” a laborious investigation in the archives of the town and church of Haarlem for authentic information concerning Coster. He had cause to think that history had been falsified by other historians of the legend. Through the study of the archives, Van der Linde ascertained that there lived in Haarlem, in the fifteenth century, a citizen whose name was Lourens Janszoon Coster, the son of one Jan Coster who died in 1436, The results of the search were as curious as they were unexpected, as will be fully understood after an examination of this translation of the originals : 1 Van der Linde, The Haarlem Legend of the be observed in all the authorities It is more Invention of Printing, p. 42. In the singular than an indication that the story of Junius is words “who brought the first print in the based on the pedigree and on information world”? we may find the cause of that myste- derived from Thomaszoon and his friends, rious indefiniteness of description which may THE DOWNFALL OF THE LEGEND. 1441.—On the evening of the 13th, settled with lou koster for 15 pounds and 12 pounds of oil, each pound an ancient butdrager, and 34 pence for soap and tallow candles, together 22 guilders 3 pence. 1441.—Louwerijs Janssoen, for 72 pounds of candles, which have been burnt by the guards in the town hall during the year—for each pound an ancient butdrager. ‘1441.—Louwerijs Jans aforesaid, for the candles burnt in the tower in honor of Our Lady, during this year, as was agreed with him. 1442.—Lourijs Coster, paid for having repaired the lantern of Our Lady in the tower. 1442.—Lourijs Coster, for forty pounds of tallow candles which the guards in the town hall burnt; cost each pound an ancient butdrager. 1442,—Paid to lou coster 8 guilders for oil and soap. 1442.—T’o lou coster for soap, candles and other things, 15 pence. 1447.—On the 14th day of March, paid to Louwerijs Coster for 5 pounds of candles burnt in the tower in honor of Our Lady. There can be no mistake about the business of this man. The Lourens Janszoon Coster described on the old pedigree as the famous man who brought the first print in the world, and in Batavia as a wealthy citizen, a man of leisure and enlarged mind, and the inventor of engraving on wood and typography, was certainly an obscure tallow-chandler, who sold oil and candles.) The anti-climax is sufficiently absurd, but worse re- mains. The archives give us more than a clue to the origin of Coster’s wine-flagons. It seems that, some time after 1447, this Lourens Janszoon Coster gave up the business of chandler in favor of his sister Ghertruit Jan Costersdochter, and that he chose for his new occupation the duties of a tavern-keeper. Van der Linde found this fact clearly stated in the treasury accounts of the town of Haarlem. 1451.—Lou coster? paid, for two menghelen of wine which were sent to the burgomaster a year ago. 1454.—A dinner was offered to the count of Oostervant on the 8th day of October, 1453, at lou coster’s; indebted to him for it xv guilders. 1 There is, of course, no reason why a chand- 2'The variable oreaegreP ey, of the name of ler could not have invented typography, but Coster, which is here copied literally from the we have no evidence that this chandler in- records, is a sufficient explanation of the ir- vented anything. Our knowledge of the tastes regularities in the spelling of his name which of the man, as shown in his selection of anew are to be found in all the authorities. I have business, is enough to prove that he was not adopted the orthography as I find it in the at all like the later chandler, Benjamin Frank- ie of Van der Linde. lin, with a leaning to types and letters, GEORGE BRUCE’S SON & CO., Typr-F OUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. Nonparein, No. 138. 119 THE DOWNFALL OF THE LEGEND. 1468.—Louris Coster and other citizens are summoned to the Hague. 1474.—Louris Janszoon Coster pays war taxes. 1475.—Louris Janszoon Coster pays a fine for ‘“‘buyten drincken” (to drink ot Na the premises). 1483.—Received of Louris Janszoon Coster for ferry toll for his goods when he left the town, 8 rex guilders. We here see that the name of Louris Janszoon Coster was recorded in the town-book for the last time under the date of 1483, when he paid ferry toll for his goods, and was allowed to leave the town. It is not known where he went or where he died, but it is plain that the story of his death in 1439, as related by Meerman and Koning must be untrue. There might have been a doubt as to the identity of the chandler with the innkeeper, if Van der Linde had not investigated in another direction, and made gleanings from the books of an old association, whose records are as trustworthy as those of the archives of the town and the church. This association, which still exists, under the name of the Holy Christmas Cor- “Tt is one of those fraternities which had the lofty aim of eating and drink- ing. This corporation is already very old, for it celebrated its third jubilee in 1606. Its fifty-four brethren and sisters preserved each a chair for their Sito The House of Coster, [From Seiz.] In the register of the names of the occupants of the chairs are found the following entries under the heading of chair 29: 1421.—Jan Coster, by.--- 1436.—Lourijs Coster, by inheritance. 1484. Frans Thomas Thomasz, by....! Pa ¥ 1497.—Gerrit Thomas Pieterz, by inheritance from his father. 1564.—Cornelis Gerritz, by inheritance from his father. 1589.—Anna Gerritsdr, by purchase from her cousin. The names of the successive owners of chair 29 are continued in the book, but they are of no interest in this inquiry. : The archives of the church and town of Haarlem contain the names of other Costers, but there is no other Coster who will answer the description of Junius and Thomaszoon. The Lourens Janszoon Coster of the pedigree, the Louwerijs Janssoen (so called only after the year 1441) or Lourijs Coster of the archives, and the Lourijs Coster of the chair-book are, without doubt, the different names of the same man. This is the man who, according to Thomaszoon and Junius, brought the first ps in the world. But he appears as a printer only in the pedigree. The are rives.and the chair-book do not so describe him; they tell us nothing of his invention, nor of the alleged stealing of his types, nor of his death in 1439. The town-book says that he was living in 1483. In no document does he appear as sheriff, sexton, or treasurer. 1 The exact nature of the relationship be- who left Haarlem in 1483— of Thomas Pieter- tween Laurens Janszoon Coster and Gerrit zoon (probably the son-in-law of Coster), Thomaszoon is not clear! defined, but the sheriff, who died in 1492 — of Gerrit Th: mas- archives of the town and the vellum pedigree zoon (according to the pedigree, a great-great corroborate each other in establishing the ex- grandson of Lourens Janszoon Coster), & jstence —of Lourens Janszoon Coster (son of sheriff and an innkeeper. He was, also, & Jan Coster), tallow chandler and innkeeper, sacristan or church-warden. a) S ‘d1'Io ‘d1TOS TO PICA LEADS. 8 WITH WITH 8 TO PICA LEADS. THE DOWNFALL OF THE LEGEND. It is obvious that the legend of Coster the printer rests entirely upon the pedigree and its amplifications by J unius. But the pedigree is of no authority. Its information is not confirmed by the records; its falsifica- tions and its suspected history compel every candid reader to reject its evidence altogether. We have to accept in preference the testimony of the archives, and have to admit that there is no credible evidence that Coster printed anything at any time. The Lourens Janszoon Coster of typographical history is as fictitious a personage as the Cadmus of Greek mythology. He is really more fictitious, for he is the representative of two men. The revelations of Dr. Van der Linde show that Lourens Janszoon Coster has been confounded with Laurens Janszoon or Louwerijs Jans- zoon, who was a man of some distinction, a wine merchant, innkeeper, councilor, sheriff, treasurer and governor of the hospital. He is the man of civie offices, of wealth and high social position, who has been described by Koning. He is the man whom Meerman represented as an unrecog- nized member of the noble family of Brederodes. But he is, certainly, not the man described on the pedigree as the Coster who brought the first print in the world. He is not the man described by Junius who lived “about one hundred and twenty-eight years ago,” or in 1440, for the records of the church of St. Bavo prove that Laurens Janszoon died and was buried in 1439, It is not at all probable that Thomaszoon or Junius made any mistake in the name, and that it was this Louwerijs Janszoon who brought the first print in the world. There is no more evidence in favor of Janszoon as an inventor of printing than there is in favor of Coster. The most careful searching ; of the records fails to bring tg F to light any evidence that he ; was engaged in the practice E 5 of printing. For this improper confusion of the names and deeds of the two men, Junius and Scrive- rius are responsible. Junius, who wrote in Latin, caught at the word Coster, which he found in the pedigree, as a subject for the display of his critical ability. He explains and expounds it: ‘“ Lourens Janszoon, surnamed Coster, by reason of the office which belonged to the family by hereditary right.” There was no need for this absurd ex- pansion of the meaning of the word custos. This attribution of an honorable office to an insignificant man was pur- posely made to give him a dignified position. Gerrit Thomaszoon, who knew that Coster was a man of no note, gave him only the distinction of the first printer. This was not enough for Junius, who thought that he would be deficient in patriotism if he did not make Coster as reputable as his rival Gutenberg, who was represented as of noble blood. The word Coster was his opportunity, and he made the most of it. It is not probable that Junius studied the archives of Haar- lem for the purpose of getting exact information about Coster, but it is possible that he had read or heard of Lourens Janszoon, the wealthy man, and that he confounded him with Coster, the chandler. Whether he made this confusion with intent or in ignorance cannot now be ascer- tained, but we can see that the wealth and respectability of Janszoon were attributed to Coster. Scriverius perpetuated the plunder. He found a document signed by Louwerijs Janszoon, as sheriff, in 1481. Without further research, he leaped to the conclusion that this man who died in 1439, who had nothing in common with Coster put similarity of name and similarity of occupation as innkeeper, was the very Lourens Jans- zoon Coster who, according to Junius, invented types and practised printing in 1440, That Lourens Coster kept a tavern may also be inferred from the fact that the house he lived in was always known as a tavern. The above engraving of this house shows how the edifice appeared in 1740. Junius said that it was a house of some pretention in 1568, and that it stood GEORGE BRUCE’S SON & CO., Typr-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. nw if ., rr , Pang uit 6 sire 6 bag / any aout yh 8, Seta ag wll orale ‘ 2 J : t ; 's n i bal ; a, ; ne ge . 4 > , ; ha od , *.1 “s-% S : yey : ; ‘ TOF Rta) ati. wis ibe L Teed (igen sail dp A ya aaa , ; : * i ‘i? 1 7 vane a : eae ny y ( 3 wis, Me 2 } u wie? i! vA \ , I ' i Thee ow i on ! ( Kohli, Se if qi ~ ar ws F wt Beal covigd, (eee i : ‘ eae Thiet i ! nel Fite : 5 a ; v 4 yy ¥Pal - ‘ rei } 4 t ( + eerie i M i An Mary ts lbs uss j aA ret AZ 7h i i fl 4 a i + h ‘ ¢ i , , . % ay a) ® o F tea ( ‘dd Qe f mere aa: te: é s 7 Ae on on Ps 4 ’ : i PASI . i ry : $e an > re! Fy. Lava? ? . Ves ve: uM; 11a nye - 4 de isonet Piling fran A lee - j Scars Ly oy | iabeiiiagahS Sad eet ae ia Be lt 4.0 Oi ty 14 here ey lene atl ; Pr ray ft ae AW aVtAsAna¥ oo ~~ : ev Ud eee barr 4 hi wi la + al “ i q pid ait a ‘7 } D1 . pais : ih ry E : Ora ; i 4 wad Oe ca: a hi er ul ath hand ‘vahad pion: 8 Realy 9 jeod Wesal eal i weer! ‘ fy A we, “ay! twimes (el 02 ete al aoe he agit Aberss Deak tad wie 3 we ia? § e. Ls M pitty OA eed a ’ ’ p. ote: “2 2 ye hale 122 Nonparein, No. 14. JOHN GUTENBERG AT STRASBURG. of the time which deserves study. This is the judge’s statement of the case, as delivered by him on the 12th day of December, 1439: “Wr,1 Cune Nope, master and counselor at Strasburg, hereby make known to all who shall see this writing, or shall hear the reading thereof, that George Dritzehen, our fellow-citizen, has appeared before us in proper person, and with a full power of attorney for his brother Claus Dritzehen, and has cited John Gensfieisch, of Mentz, called Gutenberg, our fellow-resident, and has deposed that the late Andrew Dritzehen, his brother, had inherited from his deceased father valuable effects, which he had used as security, and from which he had realized a considerable sum of money; that he had entered into co-partnership with John Gutenberg and others, and [with them] had formed a company or association, and that he had paid over his money to Gutenberg [the ¢ ief] of this association; and that for a certain period of time they had carried on and ractised together their business, from which they had reaped a good projit ; but that, in consequence of the speculations of the association, Andrew Drit- zehen had made himself personally liable, in one way and another, for the lead and other materials which he had purchased, and which were necessary in this art, or trade, and which he [George] would also haye been responsible for and would have paid; but inasmuch as in this interval Andrew had died, he George] and his brother Claus had requested with importunity of John Guten- erg that he should receive them in the association in the place of their late brother, or else, that he should account to them for the money that he [Andrew] had put in the association; but that he [Gutenberg] was unwilling to comply with their request, alleging, as an excuse, that Andrew Dritzehen had not, as et, paid his proper quota into the association. Now he, George Dritzehen, Patleyal that he was abundantly able to prove that this agreement was just as he had represented: he had pleaded that Gutenberg should take him and his brother Claus in the association, in place of their late brother, for they were his lawful heirs, or that Gutenberg should return the money which their late brother had invested, or that he should at least give the reason why he would not accede to their demand. “Tn answer, John Gutenberg, had replied that the complaint of George Drit- zehen seemed to him very unjust, inasmuch as he could sufficiently establish, through many notes and writings [the nature of which George and his brother Claus could have learned after the death of Andrew Dritzehen]; under what rules the association was formed. In truth, Andrew Dritzehen came to him many years ago, and had asked him to communicate and to teach to the said Andrew many secrets: it was for this reason, and to comply with his request, that he had taught him how to polish stones, from which art Andrew Drit- zehen had derived a good profit. Afterward, after a long interval of time, he {Gutenberg} had made agreement with Hans Riffe, mayor of Lichtenau, to work up a secret for the fair at Aix-la-Chapelle, and they were associated to- gether after this fashion: Gutenberg was to have two shares of the business, and Hans Riffe one share. This agreement came to the knowledge of Andrew Dritzehen, who begged Gutenberg to communicate and teach him this secret also, for which Andrew Dritzehen promised to be his debtor, on Gutenberg’s own terms. In the meantime, the elder Anthony Heilmann had made the same request in fayor of his brother Andrew Heilmann; whereupon he [Guten- berg] had considered these two applications, and he had promised, at their 1Conventionally used for I. JOHN GUTENBERG AT STRASBURG. solicitation, to make known to them the secret, and also to give and grant to them the half of the profits, in this wise: that they two should have one share, Hans Riffe one share and he [Gutenberg] one share; but that as a considera- tion, the two should give to him [Gutenberg] 160 guilders for the trouble that he would have in teaching them, and,for the communication of the secret, and that they should, afterward, each give him 80 guilders additional. At the time when they were determining their agreement it was understood that the fair would be held the same year, but when they were all ready, and prepared to work out the secret [7. e. to manufacture the merchandise intended for the fair] the fair was postponed to the following year. Thereupon, they [Anthony and Andrew] had made request that Gutenberg would hide nothing from them which he knew or would discover of secrets and inventions, and they at once proposed to him to name his terms; and it was then agreed that they should add to the sum first named 250 enilders, making in all 410 guilders; and that they should at once pay 100 guilders in cash—of which sum, at that time, Andrew Heil- mann paid 50, and Andrew Dritzehen paid 40—so that Andrew Dritzehen re- mained a debtor to the amount of 10 guilders. It was also understood that the two partners should pay the 75 guilders due and unpaid, at three different dates which were stipulated; but before the expiration of these dates Andrew Dritzehen had died, still in debt to Gutenberg. At the time when the agree- ment was made, it had been decided that the accomplishment of their secret [the duration of copartnership] should occupy five entire years: in the event of the death of any one of the four partners, during this five years, all the implements pertaining to the secret, and all the merchandise that had been manufactured, should be vested in the remaining partners, and that the heirs of the partner who had died should receive, at the end of five years, 100 guilders. Consequently, and because the contract, which is expressed in these yery terms, and which contract was found at the house of Andrew Dritzehen, fully set forth all these stipulations, and those that preceded it, as he John Gutenberg hopes to prove by good witnesses, he demands that George Drit- zehen and his brother Claus should deduct the 85 guilders which were still due to him from their late brother, from the 100 guilders, and then he would consent to return to them the 15 guilders, although he was still fairly en- titled, according to the terms of the contract, to several years, before this money should be payable. As to the declaration made by George Dritzehen that the late Andrew Dritzehen, his brother, had taken much money by the pledge of his goods and of his inheritance from his father, he did not think it worth consideration, for he [Gutenberg] had not received from the goods or inheritance anything more than he had before first stated, except a half-omen of wine, a basket of pears, and a half-fuder of wine, which Andrew Dritzehen and Andrew Heilmann had given to him; that, moreover, the two men had consumed the equivalent of this and more besides at his house, for which they had neyer been asked to pay anything Moreover, when he, George Dritzehen. demanded to be admitted in the partnership as an heir, he knew very well that this claim was no better founded than any other; and that Andrew Dritzehen had never been security for him, neither for lead, nor for any other matter, except on one occasion before Fritz yon Seckingen; but he had, after his death, satisfied this obligation; and it is for the purpose of establishing the truth of these assertions that he demands that the depositions should be heard.” “d1'IO8 ‘daTIO$S WITH 7 TO PICA LEADS. a WD. WITH 7 TO PICA LEAD JOHN GUTENBERG A'T STRASBURG. The depositions contain the most curious portions of the pleadings, for it will be noticed that Gutenberg and Dritzehen have not described the secret, Gutenberg did not wish to divulge it, and Dritzehen probably hoped to discover it in the evidence, which begins mysteriously and dramatically. “Barbel von Zabern, the mercer, testified, that on a certain night, she had talked with Andrew Dritzehen about various matters, and that she had said to him: ‘But will you not stop work, so that you can get some sleep?’ He replied to her, ‘It is necessary that I first finish this work.’ Then the witness said, ‘But, God help me, what a great sum of money you are spending? That has, at least, cost you 10 guilders.’ He answered, ‘You are a goose; you think this cost but 10 guilders. Look here! if you had the money which this has cost over and above 300 guilders, you would have enough for all your life; this has cost me at least 500 guilders. It is but a trifle to what I will have to expend. Itis for this that I have mortgaged my goods and my inheritance.’ ‘But,’ continued the witness, ‘if this does not sueceed, what will you do then?’ He answered, ‘It is not possible that we can fail; before another year is over, we shall have recovered our capital, and shall be prosperous: that is, providing God does not intend to afflict us.’” This dialogue puts two of the partners in a clear light: the domination of Gutenberg and the faith of Dritzehen are perfect. Unmoved by the cold distrust of shrewd Madame Zabern, Dritzehen persists in his work, trusting confidently in the genius of Gutenberg and the success of the process. ‘It is not possible that we can fail.” In the testimony of the next witness we find the first clue to the secret. “Dame Ennel Dritzehen, the wife of Hans Schultheiss, dealer in wood, testified that Lorentz Beildick [personal servant to Gutenberg] came on a certain day to her house where Claus Dritzehen, her cousin, happened to be, and said to the latter, ‘Dear Claus Dritzehen, the late Andrew Drit- gehen had four pieces lying in a press, and Gutenberg begs that you will take them away from the press, and that you will separate them, so that no one can see what it [the tool or implement made of four pieces] is, for he does not wish that any one should see if.’ This witness also testified that when she was with Andrew Dritzehen, her cousin, she had assisted him night and day when he was on this work. She also said that she knew very well that Andrew Dritzehen, her cousin, had, during this period, mortgaged his capital; but as to how much of it he had devoted to this work, she knew nothing.” JOHN GUTENBERG AT STRASBURG. The nature or the purpose of this tool of four pieces lying in the press is not explained by any of the witnesses. It seems that Gutenberg feared that it would, when fitted together, be readily understood, and would reveal the secret. His inquietude about it is also set forth by Hans Schultheiss. “Hans Schultheiss testified that Lorentz Beildick came one day to his house with Claus Dritzehen, where this witness had conducted him. It was at or about the time of the death of Andrew Dritzehen; Lorentz Beil- dick said, ‘Your late brother, Andrew Dritzehen, has fowr pieces lying down in [or underneath] @ press, and Gutenberg begs that you will take them out and separate them, so that no one will be able to see what it is.’ Claus Dritzehen searched for the pieces, but could not find them. This witness heard, a long time ago, from Andrew Dritzehen that the work had cost him more than 300 guilders.” It is obvious that these four pieces were not a part of the press. Prop- erly put together, they constituted one tool. Another witness repeats the story, describing this tool as 7. “Conrad Sahspach testified that Andrew Heilmann came to him one day when he was in the market square and said: ‘Dear Conrad, Andrew Drit- zehen is dead, and as you are the man who made the press, and know all about the matter, go there, and take the pieces out of the press and separate them, so that nobody can know what it is.’ But when this witness went to look after the press (it was on St. Stephen’s day last) the thing [it] had disappeared. This witness said that Andrew Dritzehen had once borrowed money from him, which he used for the work. He knew that he had mort- gaged his property.” It does not appear that there was any secret about the construction of the press. Sahspach, who was not one of the partners, was authorized, not to disjoint the press, but to remove and disconnect the form of four pieces in the press, which seems to have been the key to the secret. The poverty and the subsequent despondency of Andrew Dritzehen are described by Hans Sidenneger, who testified that Andrew had mortgaged all his property. His honesty is acknowledged by Werner Smalriem, who testified that he had lent him money and had been repaid. His anxiety about his debts, and his death, which seems to have been the result of overwork, are briefly related by Mydehart Stocker. “Mydehart Stocker deposed that the late Andrew Dritzehen fell sick on St. John’s Day, or about Christmas time. When he fell sick, he was laid upon a bed in the room of this witness. And this witness went to him GEORGE BRUCE’S SON & CO., TypE-FounpDrERS, No. 13 CHampBers-StrEeEt, NEW-YORK. le Nonparein, No. 14. 123 JOHN GUTENBERG AT STRASBURG. and said, ‘Andrew, how are you?’ And he answered, ‘I believe that I am on my death-bed. If I am about to die, I wish that I had never been connected with the association.’ Witness said, ‘Why so?’ He responded, ‘Because I know very well that my brothers will never agree with Gutenberg.’ Witness said, ‘Is not your partnership governed by a written agreement? Are there not evidences of the nature of your obligations?’ Andrew said, ‘ Yes. Everything has been done Eaoperly by writing.’ Witness then asked how the association had been formed. Dritzehen then told him how Andrew Heilmann, Hans Riffe, Gutenberg and himself, had formed a partnership, to which An- drew Heilmann and himself had brought 80 guilders, at least, so far as he recol- lected. When the partnership had been made, Andrew Heilmann and himself wentone day to the house of Gutenberg at Saint Arbogastus. When there. they discovered that Gutenberg had concealed many secrets which he had not obligated himself to teach to them. This did not please them. Thereupon they dissolved the old partnership, and formed a new one. [Here follows a repeti- tion, substantially, of the statement made by Gutenberg, concerning the in- debtedness of each partner. ]” The insolvency of Andrew Dritzchen is set forth in the testimony of the priest who attended him before his death. “Herr Peter Eckhart, curate of St. Martin, said [as a priest, he was not sworn], that the late Andrew Dritzehen sent for him during Christmas week that he might have his confession. When he came to his home, he found him ready to confess. He [the priest] asked him if there was debt due by him to any ee or if any person owed him, or if he had given or done anything which it was necessary that he should reveal. Then Andrew Dritzehen told him that he was in partnership with many persons, with Andrew Heilmann and others, and that he had ineurred an obligation in an enterprise to the amount of 200 or 300 guilders, and that, at that time, he was not worth a stiver.” Gutenberg’s need of money, and Dritzehen’s liability for money lent to the association, are proved by another witness. “Thomas Steinbach deposed that Hesse, the broker, once came to him, asking him if he knew where he could place some money, with little risk of loss. Witness had recommended him to John Gutenberg, Andrew Dritzehen and Anthony Heilmann, who needed money. Witness took up for them 14 Iutzelbergers, but he really lost 126 guilders by the transaction. Fritz von Seckingen was their surety, and his name was inscribed [as endorser] on the books of the house of commerce [probably some kind of banking-house].” The most explicit evidence concerning this form of four pieces is given by Lorentz Beildick, the servant of Gutenberg. “Torentz Beildick testified that John Gutenberg, on a certain day, sent him to the house of Claus Dritzehen, after the death of Andrew, his brother, with this message—that he should not show to any person the press in his care. Witness did so. Gutenberg had instructed him minutely, and told him that Claus should go to the press and should turn two buttons, so_that the pieces would be detached one from the other ; that these pieces should be afterward placed in the press or on the press; that when this had been done, no one could comprehend its purpose. Gutenberg also requested Claus Dritzehen, if he should leave his house, that he should at once repair to his house [John Guten- berg’s], who had some things to tell him in person. This witness remembers JOHN GUTENBERG AT STRASBURG. perfectly that John Gutenberg was not indebted to the late Andrew, but that on the contrary, Andrew was indebted to John Gutenberg. Witness also testified that he had never been present at any of their meetings since Christ- mas last. Witness had often seen Andrew Dritzehen dining at the house of John Gutenberg, but he had never seen him give to Gutenberg as much as a stiver.” The bold manner in which Beildick denied the payment of money by Andrew Dritzehen seems to haye greatly exasperated George Dritzehen, who threatened him with a prosecution for false evidence, or perjury. There was a scene in the court. George Dritzehen cried out, sarcastically, ‘‘ Witness, tell the truth, even if it takes us both to the gallows.” Beildick complained to the judge of this intimidation, but it does not appear that the affair had further consequences. “Reimboldt, of Ehenheim, testified that he was at the house of Andrew before Christmas, and asked him what he intended to do with the nice things with which he was busy. Andrew told him that they had already cost him more than 500 guilders, but that he hoped, when the work was perfected, to make a great deal of money, with which he would pay witness, and would also receive a proper reward for his labor, Witness lent him 8 guilders, for he was then very needy. Witness’s wife had also lent money to Andrew. Andrew once came to her with aring, which he valued at 30 guilders, and which he had awned to the Jews at Ehenheim for 5 guilders. Witness further said that he iaew very well that Dritzehen had prepared two large barrels of sweet wine, of which he gave one-half omen to Gutenberg, and one-half omen to Mydehart. He had also given Gutenberg some pears. On a certain occasion Andrew had requested witness to buy for him two half-barrels of wine, and Dritzehen and Heilmann, jointly, had given one of these half-barrels to Gutenberg.” That the work on which Dritzehen was engaged was of a novel nature may be inferred from the fact that his visitors could not give names to his tools or his workmanship. They speak of it, that thing, the nice things, the form of four pieces, etc. Madame Zabern is surprised at the cost of that thing; Reimboldt svonders what he intends to do with these nice things. It is obvious that this mysterious work is not that of polishing stones or gems, nor the making of mirrors, for it cannot be supposed that these witnesses, and one of them a woman, would be ignorant of the purpose of a mirror, or would grossly under- rate the value of gems, or polished stones. But there is one witness who testi- fies that Dritzehen said his enterprise was that of making mirrors. “Fans Niger von Bischoviszheim testified that Andrew Dritzchen came to him and told him that he was in great need of money, for he was deep in an enterprise which taxed his resources to the utmost. Witness asked him what he was doing. Dritzehen then informed him that he was making mirrors. ‘When witness threshed his grain, he took it to market at Molsheim and Ehen- heim, and sold it, and gave Dritzehen the money. This witness also corrobo- rated the testimony of Reimboldt as to the giving of wine to John Gutenberg. He took the wine in his own cart to Gutenberg, who was then at St. Arbogastus.’ It may be inferred from this testimony that Dritzehen was still deriving some ‘profit from the old work of making mirrors. “Britz von Seckingen testified that Gutenberg had borrowed money of him, and that Anthony Heilmann was on his bond. Andrew Dritzehen, who should haye done so, evaded this obligation, and never signed the bond at all. Gut- “d1'I08 ‘aTTOS WITH 8 TO PICA LEADS. WITH 8 TO PICA LEADS. JOHN GUTENBERG AT STRASBURG. enberg paid up the entire sum at the time of the last fair during Mid- Lent.” Gutenberg’s partner gives some curious details about the partnership, and intimates that the forms were of metal. “ Anthony Heilmann testified that, when he learned that Gutenberg wished to take Andrew Dritzehen as a third [partner] in the company formed for the sale of mirrors at the fair of Aix-la-Chapelle, he begged him with importunity to take also his brother Andrew, if he wished to do a great favor to him, Anthony. But Gutenberg told him that he feared that the friends of Andrew would pretend that this business [or secret] was that of soreery, an imputation he wished to avoid. Heilmann persisted in his request, and finally obtained a document, which he was obliged to show to the two future partners, and about which they found it necessary to have a consultation. Gutenberg took the document to them, and they decided that they would comply with its terms, and in this way the affair [of partner- ship] was settled. In the midst of these negotiations, Andrew Dritzehen begged this witness [Anthony Heilmann] to lend him some money, and he then said that he would willingly oblige him, if he would give good security. And he lent Dritzehen 90 pounds, which Dritzehen took to Gutenberg, at Saint Arbogastus..... The witness asked him, ‘What do you wish to do with so much money? You do not need more than 80 guilders.’ Dritzehen replied that he had need for more money; that it was but two or three days before the [vigil of] Annunciation (March 25), on which day he was bound to give 80 guilders to Gutenberg. [Here follows an elaborate ex- planation of the financial standing and the rights of each partner.] After that, Gutenberg said to this witness that it was necessary that he should draw his attention to an essential point [in the agreement], which was, that all the partners were on a footing of equality, and that there should be a mutual understanding that each should conceal nothing from the others; and that this arrangement would be for the common benefit. The witness was content with this proposition, and communicated it with praises to the other two. Some time after this, Gutenberg repeated his words, and the witness responded with the same protestations as before, and said that he intended to be worthy of the trust. After this, Gutenberg drew up an agreement as the expression of this proposition, and said to this witness: ‘Consult well among yourselves, and see that you are agreed on this matter.’ They did so consult, and they discussed for a long time on this point, and even sought the advice of Gutenberg, who, on one occasion, said: ‘There are here now many things ready for use, and there are many more in progress ; the goods you acquire are almost equal to your JoHN GUTENBERG AT STRASBURG. investment in money. In addition to all this, you get the knowledge of the secret art.’ So they soon came to an agreement, and it was decided that the heirs of the deceased partner should have for that partner's investment, for the forms, and for all the materials, 100 guilders; but they should have it only after the five years. Gutenberg said that this provision would be of great advantage to them, for, if he chanced to die, he would abandon to them everything to which he was entitled, as his share of the property; and yet they would be obliged to give to his heirs only the 100 guilders, as they proposed to do with each other. It was also decided that in case of the death of any one of the partners, the others should not in any wise be obliged to teach, to show, or to reveal the secret to his heirs. It was a provision as favorable to one as to another.... This witness also testified that Gutenberg, a little while before Christmas, sent his servant to the two Andrews, to fetch all the forms. These forms were melted before his eyes, which he regretted on account of several forms. When Andrew Dritzehen died, there were people who would have willingly examined the press. He told Gutenberg to send and prevent it from bemg examined. Gutenberg, in effect, did send his servant to put i in disorder, and to tell the witness that, when he had time, he wished to talk with him.” The testimony of the last witness is the shortest, and it is remarkable ss the only testimony which defines the work. “Hans Diinne, the goldsmith, testified to this effect: within the past two or three years he had received from John Gutenberg about 100 guilders, which sum had been paid to him exclusively for work connected with printing.” The testimony of eighteen other witnesses was taken,! but according to Schoepflin, Diinne’s is the last testimony on the official record. The judge gave the following decision: “Wu, master and counselor, after having heard the complaint and answer of the parties, the depositions and the testimony....and after having ex- amined the contract and the agreement....Considering that there is a contract which fully establishes the manner in which these arrangements were pro- jected and carried out: We do command that Hans Riffe, Andrew Heilmann 1 The eighteen witnesses were Master Hirtz, Heinrich Olse, Hans Riffe and Johan Drit- Jacob Imerle, Midhart Honéwe, Heinrich zehen, Their testimony is not on the record, Bisinger, Wilhelm von Schutter, the wife of It is unfortunate that we have lost the testi- Lorentz Beildick, M. Jerge Saltzmitter, Stés- mony of M. Gosse Sturm, of Saint Arbo; 8, ser Nese von Bhenheim, Martin Verwer, and , the goldsmith. It is probable that Heinrich Seidenneger, M. Gosse Sturm, of St. these men, who had intimate relations with Arbogastus, Hans Ross, the goldsmith, andhis Gutenberg, could have described this secret wife, Andrew Heilmann, Claus Heilmann, art with greater clearness. GEORGE BRUCE’S SON & CO., Typre-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. es P+ spe sega na ¥ Rare, ve oy eqere idl rn fit: 3 res ews < au ities Ving of vate ret Bnd ai, : : P : 4 RE? os, apil {s / ‘ , “f efi | shG ys wot athe frot g4e \ 2s “< Pe tee albert at i PP? ia pone ‘ ’ nt Wk Ana | we } Wh rt the Get et Faby at ' * sretart plein eon wae % 7 eG fue Ye a ht 3 ‘ : Gul id nga if ‘ . ene ee oy ca ha od ue 4 on i \ ry. lokwo(ting Menke ae atere Trpuberen | . = “y s r) fs - F a KV bh Cen the > 6? ae ae aliens Sed : SM . Shier fh Pals bt tice CU Shiv — if Bea a iit CA By ie re Bl ‘ ‘i ¥ ae . re CHaee Sra A ese a ‘ c% ace el al EP ata eeve?) be Ore ‘ f ‘ / rie debe : bviiel beaded teoahid ods % ‘ 4 7 é 4 V4 Le fer ix ae " a: ( . + a White vl beth Ty ar Aa ; Cm Seal LP eins mittee di rae ' gin We em, fetetp lity sade 17. Can oe + ey ah eo re coe ‘ i A ,eiteu Of Daye rts S14 hi i \ a (hank 1 fod ee eee 4a j 7 trams : rare A ‘ zo wea? el: Hi h ' id lhe csawpig, Ais : F Coaat 7 Aaah a St let DE ie 5 met ia, Ma .ofiae ey rea 4 , 4 ~ Oye te) Tis Wet dea in thi ai alrwd Folate tyel® 1 1 eee VRP Aa dv Sadh beth Ae Wh ee ‘eile enh ©) #odd! iad ing \ ‘ r oo { wl qprts = ‘ ‘ 4) OF we TE ‘ I = won (Ate leh ; “ ‘ / ve Bet! ’ i io wero wy 1 | ia. a AP vet aoe t init fetal q Ache® i ' ' : ; binsy a t Ova LA ah : ‘ f ‘ Aw s te BAF ity (poe 16 : su ate oO f. ape dee pe} | mary bail bed icy ® } f ‘ oe eederhg : ‘ole meme eit hea WA bel yt . Shee nt Ose Oe sae al witb) | 248 DE Se | . 2

a 4 : ine Soko ht eshte thay H set : F 1 Pe ag 2 a Bele oats + Pid oF 4 ae aa med fhe ids lt enh © ey ve J bea bias ‘ \ 4 , rs iat “if of ‘ wt id Yate O> Darky tot me yap ; ea’ ¢ be tye Pe “ sone : v1 ; , - BD hie ke PoE : + i * | seaeand Pe = P : 7 a ae * ‘ aa | 2 ato | r, ” ds + tral bi > r 3 tA on hee ther aah ye Merde goortts: a $ax we ae: a iby iG ee bate : © vary, ee . co <4 ! v Pr tan | MAS ‘vam er rtrete mine 7; re ‘ip saris Ga - ae Dae 7) ag ent ui 1 ’ Wi ' belly cab ha ) etd tnt Qo Wito AP { dynthy va F ov ot wus ‘ n fall oh ear 7 mm! te was 4 e 2 ; a SEP iid pl RL a a Qa ty» ee oes Ha eie oe aay ate ordi oi: sank / ae by dedte if be Ying. _ peur 7] ad ie te a 1h Ss" 7 cae ae ee : 124 Nonparein, No. 14. JOHN GUTENBERG AT STRASBURG. and Hans Gutenberg shall make an oath before God that the matters that have transpired are warranted by the contract that has been cited; and that this contract had but one supplement- ary agreement, under seal, which would have been agreed to by Andrew Drit- zehen if now living; and that Hans Gutenberg shall also take oath that the 85 guilders have not been paid to him by Andrew Dritzehen; and from this time this amount of 85 guilders shall be deducted from the sum of 100 guilders, about which there has been contro- versy ; and he [Gutenberg] shall pay to George and Claus Dritzehen 15 guild- ers; and, in this manner, the 100 guild- ers will be paid in conformity to the contract that has been cited. “The oath, according to this form, has been taken before us by Hans Riffe, Andrew Heilmann and Hans Guten- berg, with this qualification on the part of Hans Riffe, that he was not present at the first meeting [of the partners] ; but that, as soon as he did meet with them, he had approved of their action or agreement.” The taking of this oath, and the pay- ment of the fifteen guilders by John Gutenberg, terminated the suit in his fayor. The record is enough to give us a clear idea of the character and position, if not of the process, of John Guten- berg. At this time, December, 1439, and for some time previous, Gutenberg was neither in poverty nor in obscurity. He had already acquired a local repu- tation for scientific knowledge. He did not seek for partners or pupils; they came to him. Among the number we find Hans Riffe, the mayor of Lichte- nau, whose confidence in Gutenberg, after three years of partnership, is im- plied in his testimony. Anthony Heil- mann, the lender of money, seems to have been equally satisfied with his brother partner. The action of the JOHN GUTENBERG AT STRASBURG. secret, as may be inferred from the old phrase “art and mystery,” still retain- ed in indentures of apprenticeship in all countries. One of the consequences of this exclusiveness was that many mechanical arts were invested with un- usual dignity.1 The sharply defined line which, in our day, separates art from trade and mechanics did not then exist. The testimony shows that Gutenberg had a knowledge of three distinct arts. The one earliest practised, from which Dritzehen derived a good profit, was the polishing of stones or gems. The second was that of making mirrors. Gutenberg was not the inventor of this art, but he was one of the first to prac- tise it. Glass mirrors, almost unknown in the fourteenth century, were regard- ed as novelties in the fifteenth. It seems that they were first made in Ger- many. Winaricky lays great stress on the fact that the Bohemians were the earliest and the most skillful workers 1After the development of the towns, all members of the nobility did not seek their oc- cupation exclusively in deeds of knighthood. Industry, art, and the refinemeut of town life gradually superseded the warlike spirit of the nobility, to whom the town offered distinguish- ed dignities and situations, while enterprises of commerce and industry gave them distinc- tion and riches. The privilege of coining money, especially, was often farmed out to an association of ancient families. At Mentz this association consisted of twelve families (Mtin- zer-Hausgenossen ), among whom was also the family of Gensfleisch. They possessed, more- over, the privileges of the valuation of coin, of the assize of weights and measures, or offices for the exchange of money and of the sale of gold and silver staves to the mint. Such em- ployment brought them chiefly in connection with the goldsmiths, whose work consisted, at that time, of one of the most considerable trades, which comprised mechanics and chem- istry, nay, the whole dominion of plastic and graphic art, in its application to metals, whe- ther separate or in conjunction with diarnonds and other precious materials. They were mostly patricians who established powder- mills, paper-mills and similar new manufac- tories. Van der Linde, Haarlem Legend, p. 17. GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CuamBers-StrEET, NEW-YORK. judge, in accepting Gutenberg’s oath as conclusive, proves that he was a man of established character. The def- erence paid to him by all the witness- es shows that he was not merely a me- chanic or an inventor, but a man of activity and energy, a born leader, with a presence and a power of per- suasion that enabled him to secure ready assistance in the execution of his plans. His reputation had been made by success. George Dritzehen said that his brother had received a good profit from his connection with Guten- berg. The eagerness and the faith of Andrew, the pertinacity with which his brothers pressed their claim to be admitted as partners, the solicitation of Heilmann on behalf of his brother, are indications that the men were san- guine as to the success of Gutenberg’s new invention. The expected profit was attractive, but it was not the only advantage. In that century it was not an easy matter to learn an art or a trade of value; no one could enter the ranks of mechanics eyen as a pupil, without the payment of a premium in money ; no one could practise any trade un- less he had served a long period of ap- prenticeship. These ex- actions hopelessly shut out many who wished to learn; but men who had complied with all the conditions were oft- en unwilling to teach, or to allow others to practise. Many trades were monopolies. In some cases they were protected by legislative enactments, like that accorded to the Vene- tian makers of playing cards. So far as it could be done, every detail of mechanics was kept in glass, and that they also excelled as lapida- ries and metallurgists. He says, but without proof, that the art of polishing stones and making mirrors was ac- quired by Gutenberg in Bohemia, The learned Beckmann says that “Early German mir- rors were made by pour- ing melted lead or tin over a glass plate while yet hot as it came from the furnace. In and around Nuremberg convex mirrors were made by blowing with the pipe in the glass bubble while it was still hot a metallic mixture with alittle salts of tartar. When the bubble had been covered and cool, it was cut in small round mirrors. These small conyex mirrors were called ochsenaugen, or Ox-eyes. ted were set in a round board, and had a very broad border or margin. One of them in my possession is two and a half inches in diameter... This art is an old German invention, for it is described by Porta and Gan- zoni, who both lived in the beginning of the sixteenth century, and who both expressly say that the art was then common in Germany. Curious foreign- ers often attempted to learn it, and ima- gined that Germans kept it a secret.” The early German mirrors were small, but they had broad frames, and were richly gilt and adorned with car- ved or moulded work in high relief. Ottley thinks that the press was used for pressing mouldings for the frames of mirrors, and that the lead was used for the metallic face. The third art is imperfectly deserib- ed. If Diinne’s testimony had been lost, it would not appear that this art was panei, for there is no mention of ooks, paper, ink, types, or wood-cuts. “dTTOS ‘dITOs ! A Medieval Press. [From Duverger.] WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. JOHN GUTENBERG AT STRASBURG. The lead, the press, and the goldsmith’s work on things relating to printing, could be regarded as materials requir- ed in the art of mirror-making. But “the thing,” and ‘“‘the nice things,” which provoked exclamations of sur- prise at their great cost, could not haye been looking-glasses. Diinne said, very plainly, that this art was printing; but Diinne’s testi- mony could be set aside, and Guten- berg’s connection with typography at the period of this trial could be inferred from other evidence. The thorough- ness of the workmanship in the books printed by Gutenberg after 1450 is a thoroughness which could haye been acquired only by practice. Before he began this practice he must have de- voted much time to experiment and to the making of the tools he needed. No inventor, no printer can believe that the skill he subsequently showed as a printer could have been attained by the labor of afew months or years. If it is also con- sidered that Guten- berg was poor, and that he collected the money he needed with great delay and difficulty, the doubt may assume the form of denial. It is a marvel that he was so well prepared at the end of the ten years which Zell says were given up to investigation. that it was a develop- ment of it, an extension, a fortunate application, the highest step of the ladder, consisting of playing cards, images of saints, pictures with super, sub and other seriptions, texts with- out pictures. In short, in a technical, logical and reformatorical sense, xylography would be the mo- ther of typography. But it is such only in the sense of an external im- pulse, of an external push to medita- ting on quite another means than wood or metal engraving, or another mode of obtaining books. Zell finds that push in the block-Donatuses, but the inspiration of genius, the first in- vention of a quite independent art, of a totally new principle, which has nothing in common with wood and metal engraving, he ascribes....to Gutenberg. In Gutenberg’s mind, the grand idea arose that all words, all writing, all language, all human thoughts, could be expressed by asmall number, a score of different letters, arranged according to the require- ments; that, with a large quantity of those different letters, united as one whole, a whole page of text could be printed at once, and, repeating this process continually, large manuscripts could be swiftly multiplied...... This thought, this idea, begot the invention It would be gratifying to know the form in which the idea of typography first presented itself to Gutenberg; put there is in this case, no story like that of Franklin and the kite, or of Newton and the apple. Zell, in the Cologne Chronicle, says that the first prefiguration of Gutenberg’s method was found in the Donatuses published in Holland before 1440. That the xylo- graphic Donatus, the only block-book without cuts, was the forerunner of all typographic books, may not be denied. That some stray copy of a now lost edition of the book may have suggested to Gutenberg the superior utility of typography is possible, but the sugges- tion was that of the feasibility of a grander result by an entirely different process. For, although typography took its beginnings in an earlier practice of xylography, it was not the outgrowth of that practice. It took up the art of printing at a point where xylography had failed, and developed it by new ideas and new methods. Typography was an invention pure and simple. In the theory and practice of block-print- ing, there was nothing that could have been improved until it reached the dis- covery of the only proper method of making types. “The most common prejudice is the supposition, @ priori, legitimated strict- ly scientifically by nothing, that print- ing with movable types was only an improvement on that with wooden - blocks on which the letters were cut; JOHN GUTENBERG AT STRASBURG. of typography. Every other explana- tion is at once unhistorical and unpsy- chological.” Haarlem Legend, p. 11. It may have been from his experience in the melting and pouring of lead, in the engraving of designs for the frames of his mirrors, in the use of a press for the moulding of the designs for these frames, that Gutenberg derived his first practical ideas of the true method of making types. Whatever the external impulse which led Gutenberg to print- ing, it was so strong that it compelled him to abandon the practice of all other arts. After this trial we hear no more of him as a maker of mirrors, or a pol- isher of gems. The record of the trial before Cune Nope is not the only evidence we have that Gutenberg’s unknown art was that of typography. Wimpheling, one of the most learned men of his age, and nearly contemporary with Gutenberg, gives the following testimony concern- ing early printing in Strasburg. “Tn the year of our Lord, 1440, un- der the reign of Frederic 11, Emperor of the Romans, John Gutenberg, of Strasburg, discovered a new method of writing, which is a great good, and almost a divine benefit to the world. He was the first in the city of Strasburg who invented that art of impressing which the Latin peoples call printing. He afterward went to Mentz, and hap- pily perfected his invention.” 1 Wolfe’s Monumenta Typographica, vol. 1, page 586. Nonparein, No. 14. JOHN GUTENBERG AT STRASBURG. _ Inanother book, in which Wimphel- ing fae compliment to the intelligence of the people of Strasburg, he writes: “Your city is acknowledged to excel most other cities by its origination of the art of printing, which was after- ward perfected in Mentz.” The Chronicle of Cologne* is as ex- plicit as to date, but not as to place. It specifies 1440 as the date of the dis- covery of printing ‘‘in the manner that is now generally used.” The evidence of the witnesses on the trial agrees with the testimony afford- ed by the chronicles: it is plain that Gutenberg had not perfected his inven- tion in 1439. From his lonely room in the ruined monastery of Saint Arbo- gastus, to which he retreated for the sake of secrecy, Gutenberg gave work to Diinne, the goldsmith, to Saspach, the joiner, and to Dritzehen, his old workman. It would seem that they were not producing work for sale, but were making tools which required a great deal of labor. Dritzehen worked night and day, Madame Schultheiss helping him. Af the death of Drit- zehen, the work expended on the art had cost a great deal of money, but it was still incomplete. The testimony shows that it had been intended that the salable work to be produced by the partnership should be exposed for sale at the great fair of Aix-la-Chapelle in the summer of 1439. The postpone- ment of this fair to the year 1440 was a grave disappointment. If the object of the partnership was the making of poptler books of devotion, we can un- erstand the reasonableness of the hopes of great profit when the books should he laid before the pious pilgrims. 1See page 107 of this book. The chronicler isin error in specifying Mentz as the place where the art was discovered, but the specifi- cation of the period between 1440 and 1450 as that in which “the art was being investiga- ted” by John Gutenberg is sustained by other testimonies. The sudden death of Andrew Dritze- hen was the occasion of more delay. Gutenberg, fearing that the public, or George Dritzehen, would get posses- sion of the secret, melted the forms and suspended the work. Then followed a litigation which lasted nearly one year, during which period it seems no work was done.! There are many conflicting opinions about the character of the printing so obscurely mentioned in the testimony of the witnesses. Schoepflin says it was block-printing. Tn the four pieces lying in the press, he sees four pages of engraved blocks; in the two buttons, which Dr. Van der Linde says are im- properly translated by him as two screws, he finds a serew chase that held the four pages together. This conjecture is in every way improbable. 1 The pilgrimage to ancient Aix-la-Chapelle took place every seventh year, and, commenc- ing on the 10th of July, lasted fourteen days, during which time the ordinary service in the church did not take place, but a free market was held. The concourse of people was un- commonly great on that occasion, so that, for instance in the year 1496, 142,000 pilgrims were counted in the town, and 80,000 uilders in the offering boxes on one day. Aix- a-Chapelle possessed relics of the first rank, as the swad- dling clothes of Christ, his body-cloth at the Crucifixion, the dress worn by Mary at his birth, and the cloth on which St. John the Baptist was beheaded. Van der Linde, Haar- lem Legend, p. 18. “d1ITOS WITH 8 TO PICA LEADS. 125 JOHN GUTENBERG AT STRASBURG. never be satisfied by the method of xylography, which gave him the im- pulse to seek for a more scientific me- thod. Block-printing, although in no sense the mother of typography, was its forerunner, and for that reason alone demands respectful consideration. There is no plausibility in the theory of Fischer, that the thing of four pieces was a form of four pages or columns of types of wood. Nor is there any evi- dence that Gutenberg had then done any practical work. The practice of printing in Dritzehen’s house cannot be inferred from the presence of a press, for there is no notice of paper, printed sheets or books. It does not seem that there was a mystery about the press. Tt was not the press, but what was in it, concerning which the people were curious. It was the imperfectly de- scribed implement of four pieces which gave the partners anxiety. Nor was the tool of four pieces the only object of value. Gutenberg as- sured the partners that the things had cost him nearly as much as he asked Fac-simile of the Type-mould of Claude Garamond. a, The place where the body of the type was cast. 6. c. The mouth-piece in which the fluid metal was poured. d The type as cast, with JouHN GUTENBERG AT STRASBURG. All the processes of block-printing should have been as well-known at that time in Strasburg as they were in Ven- ice, Augsburg and Nuremberg. Some- thing more novel than this form of printing would have been required to secure the codperation of shrewd men like Riffe. and Heilmann. The enthu- siasm of Dritzehen, and the eagerness of all parties to learn the new art, and to have a share in its profits, cannot be satisfactorily explained by the con- jecture that this art was simple block- printing. There is no evidence that Gutenberg had been taught xylography, or any of the branches of book-making. He was not, for that reason, incompetent to in- vent an entirely new branch. The his- tory of great inventions shows that many inyentors never received a thor- ough technical instruction in the arts or trades which they undertook to re- construct. Jacquard, inventor of the automatic loom, was, in his boyhood, a pookbinder and a type-founder. Ark- wright, inventor of the spinning jenny, was a barber until he was thirty years of age. Stephenson, inventor of the locomotive, tended a steam boiler, but had not served time as a machinist nor asacarriage-builder. Fulton, inventor of the steamboat, was not a sailor, ma- chinist nor ship-builder. Morse, in- yentor of the electric telegraph, was an artist, not an mechanieian, nor even a man of science. Koning, inventor of the cylinder printing machine, was not aprinter. The greatest inventions have been made by men not within but with- out the arts they improved. It would seem that a thorough technical educa- tion in any art or trade cramps the in- yentive faculties, disqualifying the ex- pert from making any attempt at radi- cal changes, permitting him to attempt improvement in the details only. | utenberg may have begun his ex- periments in typography by the use of GEORGE BRUCE’S SON & CO., engraved types or punches of wood; but he must have soon discovered the defects and limitations of xylo raphy and have reached the unalterable con- clusion that useful types could be made of metal only. ; Some authors will not admit that Gutenberg derived any benefit from xylography. Bernard treats block- rinting as an art so paltry that he re- fused to describe the block-books, or to admit that xylography had any notice- able influence, direct or indirect, on the invention of types. Wan der Linde says that history knows nothing of Gutenberg as @ xylographer—that there is no documentary evidence that he ever eut or printed a block. These disclaimers—obviously provoked by the absurd statements of other authors that Cates inyented xylography, that he printed with types of wood, that typography is the natural out- growth of xylography — cannot be ac- cepted without qualification. The fact remains that Gutenberg, his associates and pupils, were benefited by the high- est technical skill of that time 1m all the processes of engraving in relief, in the compounding of inks, in the con- struction and use of presses, and in the manipulation of paper. Compared with the invention of the type-mould, these may seem trivial matters, put the suc- cess of Gutenberg’s new ideas about printing depended upon his attention to every process that promised aid. It is not probable that the man who hired ‘oiners and goldsmiths could have neg- ected to avail himself of whatever skill the block-printers possessed. The experience in printing acquired by the block-printers was far from contempt- ible, but the educating influences they had exerted oyer the book-buyin, pub- lic were of great importance. It was Gutenberg’s discernment, of the fact that the block-printers had ereated a demand for printed work which could “aI'TOS {From Duverger.] WITH 8 TO PICA LEADS. the metal formed in the mouth-piece adhering to it. of them for their shares in the enter- prise, but more were to be made. In the event of the death of a partner, his heirs were to be paid their claim on the forms and tools. When Dritzehen died, Gutenberg sent for all the forms, which were melted before his eyes, which act he subsequently regretted on account of the forms. It was a rash act, but Gutenberg’s fears were aroused, and he preferred to destroy the tools rather than allow George Dritzehen to get a knowledge of his secret. This passage has been translated by Ottley: Gutenberg sent “to fetch all the forms that they might be loosened, and that he might see it [done], and that the joinings of some of the four pieces might be renewed.” ‘This trans- lation makes the action of Gutenberg unintelligible. Bernard’s translation is: “ Gutenberg sent to get the forms, so that he could be sure that they had been separated; these forms had given him a great deal of solicitude.” This is obviously a very free and evasive translation. Wetter, who interprets the passage as descriptive of block- printing, says that “the words are too obscure for us to infer anything definite from them. We are in no case to un- derstand by the word formen separate letters, but whole blocks.” This is an unwarrantable assumption, and in con- tradiction to the statement that the forms were melted. Van der Linde says that ‘the words are plain. Trans- lators have stopped at the words zur- lossen and ruwete. Zurlossen, or zerlas- JOHN GUTENBERG AT STRASBURG. sen, means melting, and ruwete is dia- lect for rewete, repented.” In the practice of printing, the word form means a collection of composed types, arranged in readable order, se- cured together as one piece in an iron band or chase, and prepared to receive impression. Inall printing-officesit has thismeaning. The commonest meaning of the word form, in most European languages, is a shape or figure prepared by carving; but it has also been ap- plied, colloquially, to the mould made from this carved shape, and also to the article made from the mould. A type- founder's punch is the form of a letter ; the mould in which the type is cast is the form or former of the letter; the types prepared for printing are also known as the form. On a future page it will be shown that the word formen as used in the trial, was also used at a later date to describe the most impor- tant tools in Gutenberg’s printing office at Eltvill. That the forms so frequently mentioned in this record of the trial were of metal is clearly implied in the statement that Gutenberg melted them. These forms, or formens, were, without doubt, implements connected with typography; but whether they were types, or matrices, or moulds, or a col- lection of types, is not so clear. Tf they were types, it will seem strange that they were not accurately described as letters of metal by some of the witness- es who saw them. If we regard them as matrices, they may have been “the nice things” alluded to by Reimbolt, ee ee oS ee ee the use of which he did not understand. Here we may recall the surprise of Madame Zabern at the cost of the work. She would not have hazarded the low estimate of ten guilders, if Dritzehen had been surrounded by many types or printed sheets. The only tools appertaining to typography which have a value out of all propor- tion to their apparent cost are the punches, matrices and moulds. The modern inexpert would underrate the value of a similar collection as grossly as did Madame Zabern. It is possible that Dritzehen was making matrices and fitting them to the mould. If the forms were matrices, they and the punches could have cost five hundred guilders. Tf the “nice things” were matrices, there must have been a type-mould, and it was this mould which was the key to the invention. The mould was the only implement connected with typog- raphy which would at once lay open to an intelligent observer the secret of making types. Of all his tools, this was the one that had received the greatest amount of care and labor, and it should have been the one that Gutenberg would be anxious to conceal. It may be supposed that the thing of four pieces that was opened by two buttons was the mould. Why it should have been kept in or under the press cannot be explained. But if Dritzehen was fitting up matrices, it was proper that he should have the mould at hand. The conjecture that the thing of four pieces ‘TypE-FOUNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. PE A Poses ; a 7 ae - ( Signe) ty a Paine ; . ‘Long } se? : y ta} ligr Wil hy aL or taf ; HE SOP ee ee fe pra ite A; ity ins pen 1 Ae ‘ > : ho b eax ‘ ; on ill ’ tie ; ays : : ta < . " > 2 i ban ? { 4 svc TER i ny Cy 4, Nae) ; y ° ie f \ aX “a ur veh (fh, oe P say Z ‘ a) lee ; ly oo ee a Bg ie “ - %, ° t é ug haus " . mith r 4 ' ‘ ass > + vas te ¥ G iz A ae ‘ % or | wr Spa tes 126 NonpParein, No. 15. JOHN GUTENBERG AT STRASBURG. was a type-mould, is not free from difficulties, but it seems the only one that makes intelligible the action of the witnesses. It could not have been four pages of metal types, for types disconnected and put in disorder, in or under the press, would have betrayed the secret almost as plainly as if they had been in order. Nor could it have been any attachment to a press like the frisket or tympan. It is impossible to name any jointed or buttoned tool of four pieces, connected with composition or presswork, which would suggest to an inexpert the secret of typography. The gravest difficulty in the way of this conjecture is, that the type-mould of modern type-founders has, including the matrix, but three detachable pieces. As this mould is substantially of the same form as that known to have been used by Claude Garamond, the eminent type-founder of Paris, in 1540, it has been sup- posed, and properly, that this mould of three pieces must have been used before Garamond, by all the early printers. But it was not the only form of mould. At the beginning of this century, every type-founder found it expedient to use ati times, a type-mould somewhat different in its construction—a mowld which, with the matrix, consisted of four detachable pieces. The merit of this mould was its adaptability, within limits, to any size of body. Its disadvantages were its difficulty of nice adjustment and its liability to inaceuracy—faults which have obliged all American type-founders of this day to discontinue its use entirely. It is, without doubt, a very old form of mould, but it was never a popular one, having been used chiefly for casting bodies of irregular size, Mr. Bruce has showed me one of these early moulds—a mould long out of use, preserved only as one of the earlier relics of his old type-foundry. Its construction is too complex for description by words, or even by engraving; but it may be sufficient to say that, with the matrix, it con- sisted of four pieces, and was so constructed as to allow of an enlargement and nice adjustment in either direction of the space provided for casting the body of the type. The pieces were held together by stiff springs, but buttons could have been ‘Sava VOId OL 4 HLIM SOLID. JOHN GUTENBERG AT STRASBURG. that Strasburg was the cradle of printing. Schaab interrupted him, “ Yes, but it is a cradle without a baby.” Tt may be that the failure of the Strasburg associates was due solely to the auda- city of Gutenberg, whose plans were always beyond his pecuniary ability. Even then he may have purposed the printing of the great Bible of 36 lines in three volumes, which he afterward completed in an admirable manner. In trying to accomplish much, he may haye failed to do anything of value. Whatever the reason, it is certain that his partners abandoned Gutenberg and his invention. ‘We read no more of Riffe and Heilmann in connection with typography. There is evidence that Gutenberg was financially embarrassed after the trial. On the second day of January, 1441, Gutenberg and the knight Luthold von Ram- stein gaye security for the annual payment of five pounds to the Chapter of St. Thomas at Strasburg, in consideration of the present sum of one hundred pounds paid by the chapter to Gutenberg. On the fifteenth day of December, 1442, John Gutenberg and Martin Brether sold to the same corporation for the present sum- of eighty pounds, an annual income of four pounds, from the revenues of the town of Mentz. Gutenberg had inherited this income from his uncle, Johan Lehheimer, secular judge of that city. The tax-book of the city shows that he was in arrear for taxes between the years 1436 and 1440. Ina the tax-book for 1448, it is plainly recorded that Gutenberg’s tax was paid by the Ennel Gutenbergen who is supposed to have been his wife. Gutenberg had reason to be disheartened. He had spent all his money; had alienated his partners; had apparently wasted a great deal of time im fruitless experiments ; had damaged his reputation as a man of business, and seemed further from success than when’ he had revealed his plans to his partners. Tt is the common belief that Gutenberg went direct from Strasburg to Mentz. Winaricky, on the contrary, says that he forsook Strasburg for the University of Prague, at which institution he took the degree of bachelor of arts in 1445, and in which city he resided, until it was besieged, and he was obliged to leave, in 1448. here is no trustworthy authority for either statement. The period in his life between 1442 and 1448 is blank, but it is not probable that he was idle. milena tulede etplrartulenmus tulenitis tule 25re tito plopnted aun eraliftorn tuliffes tuliffer erplr at mliffe ius tuliffetis tuliffent future af tilero mlens talent etplé aun trlenmus tulertia mlenttt Jinfio ma fine niiss plots pe pntis titeipin. - ferredtitonioot Fac-simile of the Types of a Donatus attributed to Gutenberg at Strasburg. JOHN GUTENBERG AT STRASBURG. used for the same purpose. When these pieces were connected it would be plain to any mechanic that it was a mould; disconnected, its purpose would be a riddle. This peculiarity, coupled with the well-known fact that Gutenberg subsequently made at Mentz, three fonts of types on bodies of different size, but closely approx- imating each other, lead me to the belief that this tool of four pieces should have been some kind of an adjustable type-mould. Bernard gives this form of type-mould a passing notice. He says: “™M. de Berny showed me one of these primitive mechanisms in his own foundry. This mould, which is still [1853] in use, is constructed with two kinds of knees [or squares] enabling the type-maker to adjust it in various ways so as to cast any body desired. De Vorigine, ete. vol. I. p. 44, note. The only book which can be offered with plausibility as the work of Gutenberg in Strasburg is a Donatus, of which four leaves are now preserved in the National Library at Paris. This Donatus is a small quarto, containing twenty-seven lines to the page. The similarity of the types of this book, both in face and body, to those of the Bible of 42 lines, suggests the thought that both books were the work of the same printer; but the cut of the letters, the founding of the types and the printing of the book are vastly inferior. It is possible that Gutenberg may have printed some books at Strasburg, but we do not know anything about them. There were many difficulties connected with the proper development of typography, and he may have labored over them many years without any satisfactory result. His earlier experience could not have been materially different from that of other inventors: he may have been kept for years on the threshold of success, vainly trying to remove some obstruction which blocked up his way. If we suppose that Gutenberg began, as a novice would probably begin, by founding types of soft lead in moulds of sand, the printer will understand why he would condemn the types made by this method. If he afterward made a mould of hard metal, and founded types in matrices of brass, we can understand that, in the beginning, he had abundant reason to reject his first types for inac- euracies of body and irregularities of height and lining. To him as to all true inventors, there could be no patching of defects in plan or in construction. It was necessary to throw away all the defective work and to begin anew. Experi- ments like these consume a great deal of time and quite as much of money. The testimony shows that the money contributed by some of the partners in the asso- ciation had been collected with difficulty. We may suppose that when this had been spent to no purpose, they were unable or unwilling to contribute any more. The inability to produce any book printed by Gutenberg at Strasburg was the occasion of the following pithy answer: Koch had asserted before the Institute, GEORGE BRUCE’S SON & CO., TypE-FouNDERs, No. 13 CHampers-STREET, NEW-YORK. SaVaT VOId OL 4 HILIM {From Bernard. ] SOLID. XXI GUTENBERG AND HIS EARLIER WORK AT MENTZ. Gutenberg appears in Mentz as a Borrower of Money... Was then Ready to Begin as a Printer... Donatus of 1451... Letters of Indulgence of 1454 and 1455... Made from Founded Types... Circumstances attending their Sale... Fac-simile of Holbein’s Satire... Fac-simile of the Letter dated 1454, with a Translation... Almanac of 1455,..Gutenberg’s two Bibles. Dates of Publication Uncertain... Bible of 36 lines, with Fac-simile... Evidences of Prob- able Priority... Apparently an Unsuccessful Book... John Fust, with Portrait... Pust’s Contract with Gutenberg in 1450... Probable Beginning of the Bible of 42 lines... Descrip- tion of Book, with Fac-simile... Colophon of the Illuminator... Must have been Printed before 1456... Fust brings Suit against Gutenberg... Official Record of the Trial... Guten- berg’s Inability to pay his debt... Suit was a Surprise.... Portrait of Gutenberg... Pust deposes Gutenberg and installs Schoeffer at the head of the Office. There is material in this event for an affecting drama: a genial inventor, indefatigably occu- ied in realizing an idea, an usurious and crafty money-lender, abusing the financial care- essness of a genius, to get him more and more into his power; a clever servant courting the daughter of the usurer, and conspiring with him against the great master; the inventor robbed of all the fruit of his exertions during many years, at the moment that it was ripe to be gathered. Van der Linde, GUTENBERG’s last act upon record in Strasburg was the selling out of the last remnant of his inheritance. The first evidence we have of his return to Mentz is an entry, on the sixth day of October, 1448, in a record of legal contracts, in which he appears as a borrower of money. It seems that Gutenberg had persuaded his kinsman, Arnold Gelthus, to borrow from Rynhard Brémser and John Rodenstein, the sum of 150 guilders, for the use of which Gutenberg promised to pay the yearly interest of 81% guilders. Gutenberg had no securities to offer; Gelthus had to pledge the rents of some houses for this purpose. How this money was to be used is not stated, but it may be presumed that Gutenberg needed it for the development of his grand invention. His plans, whatever they were, met with the approbation of his uncle John Gensfleisch, by whose per- mission he occupied the leased house Zwm Jungen, which he used not only for a dwelling, but as a printing office. Schaab says that there is on record in Mentz a document which proves that John Gensfleisch leased this house in October, 1448. Reasoning from the two disconnected facts, that this house was used by Gutenberg for a printing office, and that it had been leased by Gensfleisch in 1443, careless readers have assumed that John Gensfleisch was the first printer in Mentz, and that he was either the true inventor of printing, or the unfaithful workman who stole the invention of Coster or of Mentel. It is not necessary to repeat what has been written concerning the impossibility of a theft from the fictitious Coster, nor about the absurdity of representing the uncle as a printer. NonpaREIL, No. 15. 127 JOHN GUTENBERG AT MENTZ. At this time Gutenberg was, no doubt, nearly perfect in his knowledge of the correct theory of type-founding, and had also acquired fair practice as a printer. Helbig thinks that he had ready the types of the Bible of 36 lines. Madden says that he was then, or very soon after, engaged in printing a small edition of this book. There is evidence that these types were in _use at least as early as 1451. Two leaves of an early typographic edition of the Donatus, 27 lines to the page, printed on vellum from the types of the Bible of 36 lines, have been discovered near Mentz, in the original binding of an old account book of 1451.1 In one word the letter i is reversed, a positive proof that it was printed from types, and not from blocks. The ink is still very black, but Fischer says that it will not resist water. Bernard refuses this statement. He says that the fragments of other editions of the Donatus in this type, supposed to be of the same period, which he inspected in the British Museum, show ink that is permanent. As this fragment shows the large types of the Bible of 36 lines in their most primitive form, it authorizes the belief that it should have been printed by Gutenberg soon after his return to Mentz. During the interval between 1440 and 1451, about which history records so little, Gutenberg may have printed many trifles. He could not have been always un- suecessful: he could not have borrowed money for more than ten years, without a demonstration of his ability to print and to sell printed work. It is probable that he had to postpone his grand plans, and that his necessities compelled him to begin the practice of his new art with the printing of trivial work. There is evi- dence that the branch of typography which is now known as job printing is as old as, if not older than, book-printing. This evidence is furnished in the Letters of Indulgence, which have distinction as the first works with type-printed dates. Three distinct editions of the Letters of Indulgence are known. The copies are dated 1454 or 1455, but are more clearly defined by the number of the lines in each edition, as Letters of 30, or 31, or 32 lines. Each Letter is printed from movable types, in black ink, upon one side of a stout piece of parchment, about nine inches hich and thirteen inches wide. The form of words is substantially the same in all editions, and all copies present the same general typographical features, as if they were the work of the same printing office. In all copies, the presswork is good ; they seem to have been printed by a properly constructed press on damp vellum with ink mixed in oil. The types of the three editions have a general resemblance, yet they differ seriously as to face and body. They were certainly cast from 1Fischer, Essai sur les monuments typographiques, p. 70. ‘dr'Ios WITH 8 TO PICA LEADS. JOHN GUTENBERG AT MENTZ. Germany. _ Theodoric, archbishop of Mentz, gave him full permission to sell them, but held the commissioner accountable for the moneys collected. The precaution was justified. When the dreaded news of the capture of Constanti- nople (May 29, 1453) was received, John de Castro, thinking that Cyprus had also been taken, squandered the money he had collected. De Castro was arrested, convicted and sent to prison, but the scandal that had been created by the embezzlement greatly injured the sale of the indulgences. As the per- mission to sell indulgences expired by limitation on May 1, 1455, Zappe, the chief commissioner, made renewed and more vigorous efforts to promote the sale. It was found that, in the limited time allowed for sale, the customary process of copying was entirely too slow. There was, also, the liability that a hurried copyist would produce inexact copies; that an unscrupulous copyist or seller would issue spurious copies. These seem to have been the reasons that led Zappe to have the documents printed, which was accordingly done, with blank spaces for the insertion of the name of the buyer and the signature of the seller. The typography of this Letter of 31 lines is much better than that of the Donatus, but it has many blemishes. The text is deformed with abbreviations ; the lines are not evenly spaced out; the capital letters of the text are rudely drawn and carelessly cut. The white space below the sixteenth line,! and the space and the crookedness in the three lines at the foot, are evidences that the types were not securely fastened in the chase. These faults provoke notice, but it must be admitted that the types were fairly fitted and stand in decent line. They were obviously cast in moulds of metal; it would be im- practicable to make types so small in moulds of sand. Highteen copies of these Letters of Indulgence are known, all bearing the printed date of 1454 or of 1455. The places where they were sold having been written on the document by the seller, we discover that they must have been sold over a large territory, for one was issued at Copenhagen, another at 1 For fac-simile and translation, of a Letter of 1454, see Appendix. yO legislegit apit leqim? leitis lequt tito il -| fio leet legebas legebat iit legebam? leqeba tis Leqebat Potito picolent leqitti legit tplé lequm? legit tis legetiit ut leqece tito pllFpito leqrealegeras lege Fac-simile of the Types of the Donatus of 1451. JOHN GUTENBERG AT MENTZ. different matrices and adjustments of the mould, and were composed by different compositors. _In the edition of 30 lines, the types of the text are on a body smaller than English, and those of the large lines are on Paragon body; in the edition of 31 lines the types of the text are on English body, and those of the large lines approximate Double-pica body. The types on Double-pica body are those of the Donatus of 1451 he and the Bible of 36 lines ; the types on Paragon body are those of the Bible of 42 lines. The appearance of these types in the Bibles is presumptive evidence that the printer of the Bibles was the printer of the Letters. The small types are unique; they were never used, so far as we know, for any other work. The large initials may have been engraved on wood, but the text and the dlspiay lines were founded types. The illustration above shows that although the matrices were fitted with closeness, each type was founded on a square body. The text letters are of the form known to librarians as lettres de somme, or letters of account, which may be understood as the carelessly made letters then used in books of account. The letters of the large lines are of the form known as erly pincers English Body. Double-pica Body. lettres de forme, or ere of epee ra he ee — v ens) ular and careiu y may e€ Caitesinelily | \ | eee arpa lia | 4h | pif Reis Cpa bak ie letters of fine books. The lettres de somme will be defined in this book un- der the name of Round Gothic; the lettres de forme, under the name of Pointed Gothic. ; i } Deceived by the close fitting-up of the matrices, earlier writers said that the letters were xylographic. The comments of Dr. Van der Linde on this error are pertinent: “It was thought necessary to find the wooden letters of the imagina- tion, and hence bibliography presents the dismal spectacle that almost all monu- ments of the excellent invention, that fruit of a vigorous mind, of a simple, but ample and grand idea, have been declared by would-be connoisseurs one by one to be xylographic. This caused the double trouble of first making out, with much verbosity and an air of perspicuity, incontrovertibly typographical masterpieces to be wood, and then afterward putting aside this pedantry and returning to the sim- ple truth. The origin of typography presents nowhere anything narrow-minded, worthless, or trifling, for it belongs to the grand facts of history, but trifling minds have soiled it with their own littleness.” Haarlem Legend, p. 77. , The circumstances connected with the publication of the Letters require more than a passing notice, for they present the first specific indication of a demand for printing. These circumstances give us a glimmer of the corruption of some of the men who sold the indulgences—a corruption which, in the next century, brought down upon the sellers and the system the scorn of Holbein and the wrath of Luther. On the twelfth day of April, 1451, a plenary indulgence of three years was ac- corded by Pope Nicholas V to all who, from May 1, 1452, to May 1, 1455, should properly contribute with money to the aid of the alarmed king of Cyprus, then threatened by the Turks. Paul Zappe, an ambassador of the king of Cyprus, selected John de Castro as chief commissioner for the sale of the indulgences in GEORGE BRUCE’S SON & CO., ‘d1tos (From Fischer. | WITH 8 TO PICA LEADS. JOUN GUTENBERG AT MENTZ. Nuremberg, and another at Cologne. The large number of copies preserved is evidence that many copies must have been printed. It is probable that Gutenberg was required to compose and print the form at three different times; but we do not know why he found it necessary to make a new face of text type for the second and third editions, for it is very plain that the types of the first edition were not worn out. It is possible that other books, now lost and forgotten, may have been printed in the small types, but Helbig thinks that the types were made expressly for the Letters of Indulgence, as bank-notes are now made, with the intention that the copies of each edition should be exactly alike in appearance, and that they should be difficult of imitation. Bernard disserts from the belief that the Letters of Indulgence were printed by Gutenberg He attributes them to some printer of unknown name in Mentz, supposed by him to have been either the false workman described by Junius, or some graduate or seceding malcontent of Gutenberg’s printing office. But we have no evidence of a typographical printer before Gutenberg. Jiiek has endeavored to prove that two Letters were printed by Pfister of Bamberg. De la Borde thinks one of the faces of type used in the Letters was cut by Schoeffer in a friendly competition with Guten- berg. These conjectures cannot be made plausible. The Appeal of Christianity against the Turks, sometimes called the Almanac of 1455, is another small work attributed to Gutenberg. It is a little quarto of six printed leaves, in German verse, in the large type of the Bible of 36 lines. As it contains a calendar for the year 1455, it is supposed that it was printed at the close of 1454. Its typographical appearance is curious: the type was large, the page was narrow, and the compositor run the lines together as in prose, marking the beginning of every verse with a capital, and its ending by a fanciful arrangement of four full points. It is the first typographic work in German, and the first work in that language which can be attributed to Gutenberg. But one copy of this book is known. Gutenberg’s fame as a great printer is more justly based on his two editions in folio of the Holy Bible in Latin. The breadth of his mind, and his faith in the comprehensiveness of his invention, are more fully set forth by his selection of a book of so formidable a nature. There was an admirable pro- priety in his determination that his new art should be fairly introduced to the reading world by the book known throughout Christendom as The Book. These two editions of the Bible are most clearly defined by the specification of the number of lines to the page in the columns of each book: one is the Bible of 42 lines,! in types of Paragon body, usually bound in two volumes; 1 It is sometimes described as the Mazarin Bible, and sometimes as Gutenberg’s First Bible. TypE-FounDERS, No. 13 CHAMBERS-STREET, NEW-YORK. 4 ant tet a Tr AN Oe he MAb D Fo ae, Oe Mee tf Line Wily ‘ Or) eae ee eG q : ae ee eae to | | ene heer Atle ehh } ; Ab 1 gph boy Yen, eae lex “eh eke ae ind Deine . i ie 1 (heh ad we pele Di eae ged vee aah aig y : } {@ ae ah t 4. ¢b 1 pail Ne ’ ea 4s* v + ; ' { : i wad. f ? X 4 « t t i 7 , ‘ ~ a ‘ : ng Oi ~aat ical he hee witha P } iy Aa. esp oye Ve penal um ’ ’ ebay (bea) @ en 88d ‘ & reagead ala tive feng’ ft rae ae ” at G ao) 6 Hpqt} @ we 1 * ea nd Fy aT oe ‘ i hi Qcolwr O46 ~ ( a Gets i. \peaeeet ine = | 4» beh > , named id pie . — 160 A> Gini 1M yccpeeyl : o od Le i ee LL : . | Pd é ‘@54 e ary \ ‘ is A st abl Wiens eo le ) P * aa ad r? ~y Mis r feds ag agh (eu U POY abe My or ‘Us ar ig Vl Smetana i a aie xy : iG. , 7] a) * adel 2 Nel ’ a! cadlp A ore war « Gh apee, mtia Ope he ( at der a Dy tte . 7 Aes aN a “ apeian | haut wp)! 4s ihbe Clee v iy oe el SS Se, Wrst oe ae +) + ‘pnt > ne 128 NonPAReEIL, No. JOHN GUTENBERG AT MENTZ. the other is the Bible of 36 lines,! in types of Double-pica body, usually bound in three volumes. It is not certainly known which was printed first. Hach edition was published without printed date, and, like all other works by Gutenberg, without name or place of printer. They were not ac- curately described by any contemporary author. In the sixteenth century they were obsolete, and the tradition that they had been printed by Gutenberg was en- tirely lost. When a copy of the Bible of 42 lines was discovered in the library of Cardinal Mazarin, and was identified as the work of John Gutenberg, it was not known that there was another edition. The Bible of 42 lines was consequently regarded as the first—as the book des- eribed by Zell, which, he says, was print- ed in 1450. This belief was strengthened by the subsequent discovery, in another copy of this edition, of the certificate of an illuminator that, in the year 1456, he had finished his task of Ulumination in the book. More than twenty copies of this edition (seven of which are on vel- lum) have been found, and they have generally been sold and bought as copies of the first edition. The Bible of 36 lines was definitely described for the first time by the bibli- ographer Schwartz, who, in 1728, dis- covered a copy in the library of a monas- tery near Mentz. In the old manuscript catalogue of this library was a note, stating that this book had been given to the monastery by John Gutenberg and his associates. Schwartz said that this 1This is known as the Bamberg Bible, be- cause nearly all the known copies of this edi- tion were found in the neighborhood of the town of Bamberg; as Pfister’s Bible, because it has been attributed, incorrectly, to Albert Pfister, a printer of Bamberg; as the Schelhorn Bible, because it was fully described by the bibliographer of that name; as Gutenberg’s Second Bible, because it is the belief of many authors that it should have been printed by Gutenberg about 1459, after his rupture with John Fust. must have been the first edition. A still more exact descrip- tion of this edition was published by Schel- horn in 1760, under the title of The Oldest Edition of the Latin Bible. He said that this must have been the edition described by Zell. The Bible of 36 lines is a large demy folio of 1764 pages, made up, for the most part, in sections of ten leaves, and usually bound in three vol- umes. Hach page has two columns of 36 lines each. In some sec- tions, a leaf torn out, possibly on account of some error, has been replaced by the in- sertion of a single leaf or a half sheet. The JOHN GUTENBERG AT MENTZ. it is probable that the number printed was small. Nearly all the copies and leaves of this edition were found in the neigh- borhood of Bamberg. This curious cireum- stance may be explain- ed by the supposition that the entire edition, probably small, had been printed at the order of, or had been mortgaged to, one of the many ecclesias- tical bodies of that town. There is evi- dence that Gutenberg frequently borrowed money from wealthy monasteries. The im- workmanship of the first section is inferior; the indentation of pa- per by too hard pres- sure is very strongly marked; the pages are sadly out of re- gister; on one page the margins and white space between the columns show the marks of the wood chase and bear- ers which were used to equalize impres- sion and prevent undue wear of types. This section has the appearance of ex- perimental or unpractised workmanship. Tt is apparent, almost at a glance, that the printer did not use a proper chase and bearers, nor a frisket, nor points for making register.1 All other sections were printed with the proper appliances, with uncommon neatness of presswork, 1 Bernard, De Vorigine et des debuts de Vim- primerie, Vol. 11, p. 30, 19 et rum con pp ‘aTTOS John Fust. {From Maittaire.} py shah 7 TO PICA LEADS. [ contractions perfect workmanship of the first section is, apparently, the work of a printer in the be- ginning of his practice, when he had not discovered all the tools and implements which he afterward used with so much success.! The Bible of 36 lines should have been in press a long time, for it cannot be supposed that Gutenberg had the means to do this work with regularity. His 1JIn the first essays of printing, great diffi- culties were encountered. For when they [the first printers] were printing the Bible, they were obliged to expend more than four thou- sand florins before they had printed three sections. Trithemius, as reprinted by Wolf, Monumenta Typographica, vol. 11, p. 65 A pro wAYy iqitt Some of the Abbreviations of the Bible of 36 lines. JOHN GUTENBERG AT MENTZ. in black ink, with exact register, and with a nicely graduated impression, which shows the sharp edges of the types with clearness. The types of this book closely resem- ble, in face and body, many letters be- ing identically the same, the types of the display line in the Letter of Indulgence of 31 lines, and of the Donatus of 1451. In some features they resemble the types of the Bible of 42 lines. It is possible that the types of each edition were de- signed and made by the same letter eut- ter, and that they were made for and used by the same printer. This opinion is strengthened after an inspection of the mannerisms of the composition, which are those of the Bible of 42 lines. The colon, period, and hyphen are the only marks of puhctuation. The lines of the text are always full: the hyphen is fre- quently seen projecting beyond the let- ters. A blank space was left for every large initial, which, it was expected, would be inserted by the calligrapher. Red ink was not used by the printer; the letters to be rubricated were dabbed over with a stroke from the brush of the illuminator. One copy of the book contains a writ- ten annotation dated 1461. An account book of the Abbey of Saint Michael of Bamberg, which begins with the date March 21, 1460, has in its original bind- ing some of the waste leaves of this Bible. These, the earliest evidences of date, prove that this edition could not have been printed later than 1459. That it was Cone in 1450, as asserted by Madden, has not been decisively proved, but the evidence favoring this conclusion de- serves consideration. Ulric Zell’s testi- mony that the first Bible was printed in 1450 from missal-like types,! points with 1In the year of our Lord 1450, they began to print, and the first book the printed a the Bible in Latin: it was printed in a large letter, resembling the letter with which, at present, missals are printed. Cologne Chronicle of 1499. GEORGE BRUCE’S SON & CO., Typn-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. directness to the Bible of 36 lines, for there is no other printed Bible to which Zell’s description can be applied. Its close imitation of the large and generous style in which the choicer manuscripts of that period are written marks the period of transition between the old and the new style of book-making. The pro- digality in the use of paper seems the work of a man who had not counted the cost, or who thought that he was obliged to disregard the expense. As not more than half a dozen copies are known, ‘aI'IOs (From Duverger.] 7 TO PICA LEADS. office was destitute of composing sticks and rules, iron chases, galleys, and im- posing stones. Deprived of these and other labor-saving tools, without the ex- pertness acquired by practice, frequently delayed by the corrections of the reader, the failures of the type-founder and the errors of pressmen, it is not probable that the compositor perfected more than one page aday. He may have done less. Even if, as Madden supposes, two or more compositors were engaged on this, as they were upon other early work, the Bible of 36 lines should have been in press about three years. These evidences, which seem to favor the theory of the priority of the Bible of 36 lines, combine many features of prob- ability, but they are not free from ob- jections. Too little is known about the book to warrant a positive statement as to its age. In nearly all the popular treatises on printing, the Bible of 42 lines is specified as the first book of Gutenberg, but it is the belief of many of the most learned bibliographers, from Zapf to Didot and Madden, that the Bible of 36 lines is the older edition. The theory that it must have been print- ed by Gutenberg between 1457 and 1459, and the proposition that it may have been printed by Albert Pfister of Bam- berg at or soon after that time, will be examined on an advanced page. The newness of the types seems to favor the opinion that this must be the earlier edition. The same types, or types cast from the same matrices, were fre- quently used in little books printed be- JOHN GUTENBERG AT MENTZ. tween the years 1451 and 1462, but they always appear with worn and blunted faces, as if they had been rounded under the long-continued pressure of a press, or had been founded in old and clogged matrices. Gutenberg deceived himself as much as he did his Strasburg partners, in his over-sanguine estimate of the profits of printing and the difficulties connected Fac-simile of Holbein’s Satire on the Sale of Indulgences. [Prom Woltmann.] ‘The canon at the right absolyes the kneelin the widow puts her mite. es ng young man, but points significantly to the huge money-chest into which Three Dominicans, seated at the table, are preparing and See Anne ences: one of them, Ree eae the letter, greedily counts the money as it is paid down; another pauses in his writing, to repulse the penitent ut penniless cripple; another is leering at the woman whose letter he delays. The pope, enthroned in the nave, and surrounded by cardinals, is giving a commission for the sale of the letters. * 1. ~~ Sek te ee with its practice. His printed work did not meet with the rapid sale he had an- ticipated, or the cost of doing the work was very much in excess of the price he received. The great success which An- drew Dritzehen hoped to have within one year, or in 1440, had not been at- tained in 1450. During this year Guten- berg comes before us again as the bor- rower of money. If he had been only an ordinary dreamer about great inventions, he would have abandoned an enterprise so hedged in with mechanical and finan- cial difficulties. But he was an inventor in the full sense of the word, an inventor of means as well as of ends, as resolute in bending indifferent men as he was in fashioning obdurate metal. After spend- ing, ineffectually, all the money he had acquired from his industry, from his partners, from his inheritance, from his friends,—still unable to forego his great project,—he went, as a last resort, to one of the professional money-lenders of Mentz. “Heaven or hell,” says Lacroix, “sent him the partner, John Fust.” His name is often improperly written as Faust. In all the books subsequently printed by Fust and his partner, Schoeff- er, the name appears as Fust. It was so written and printed by all his con- temporaries, and is so seen, wherever it oecurs, in the record of the famous trial he instituted. It is so spelt in the chureh record of his burial. During his lifetime, and. for at least thirty years after his death, the name is always given as Fust, The notorious reputation subsequently Nonparein, No. 15. JOHN GUTENBERG AT MENTZ. made by Dr. John Faust, who was born in Wurtemberg in 1480 (several years after the death of Fust), who studied magie in Cracow, and, by his learning and wickedness, horrified wise men like Luther and Melancthon; whose life, deeds and death are involved in a mys- tery that dramatists have turned to such good account, has been transferred by carelessness to John Fust, the print- er. The confusion has been perpetuated by a legend. The fable, not yet weeded out of treatises on printing, that Fust was arrested in Paris for selling bibles, supposed to have been manufactured at the instigation of the devil, has served to foster the error. The character and services of John Fust haye been put before us in strange lights. By some of the earlier writers he was most untruly represented as the inventor of typography, as the instructor, as well as the partner, of Gutenberg. By another class of authors he has been re- garded as the patron and benefactor of Gutenberg, a man of public spirit, who had the wit to see the great value of Gutenberg’s new art, and the courage to unite his fortunes with those of the needy inventor. This latter view has been popular: to this day, Fust is thoroughly identified with all the honors of the in- yention. The unreasonableness of this pretension has sent other writers to the opposite extreme. During the present century, Fust has been frequently paint- ed as a greedy and crafty speculator, who took a mean advantage of the needs of Gutenberg, and basely robbed him of the fruits of his invention. Those who fayor this view of Fust’s character, find a peculiar significance in the radical meaning of his name, Fust —in German, fist, the symbol of all that is hard, close, grasping, and aggressive. It is possible that Gutenberg knew John Fust, the money-lender, through business relations with Fust’s brother, Jamés, the goldsmith; for we have seen 800 guilders, at 6 per cent. interest. The tools and materials made by Gutenberg for the uses of the partnership should remain mortgaged to Fust, as security for this loan of 800 guilders, until the whole sum should be paid.— When the aforesaid tools and materials should be made, Fust should, every year, furnish Gutenberg with 300 guilders to provide for the payment of the paper, vellum, ink, wages and the other materials that would be required for the execution of the work. —For these advances Fust should have one-half of the profits made from the sale of the products of the partnership.— Fust should be exempted from the per- formance of any work or service con- nected with the partnership, and should not be held responsible for any of its debts.” The terms were hard. But Gutenberg had the firmest faith in the success of his invention; in his view it was not only to be successful, but so enormously pro- fitable that he could well afford to pay all the exactions of the money-lender. The object of the partnership is not ex- plicitly stated, but it was, without doubt, the business of printing and publishing text books, and, more especially, the production of a grand edition of the Bible, the price of a fair manuscript copy of which, at that time, was five hundred guilders. The expense that would be made in printing a large edition of this work seemed trivial in comparison with the sum which Gutenberg dreamed would be readily paid for the new books. But the expected profit was not the only allurement. Gutenberg was, no doubt, completely dominated by the idea that necessity was laid on him—that he must demonstrate the utility and grandeur of his invention,—and this must be done whether the demonstration beggared or enriched him. After sixteen years of labor, almost if not entirely fruitless, he snatched at the partnership with Fust as the only means by which he could re- alize the great purpose of his life. The overruling power of the money-lender that, during his experiments in Stras- burg, Gutenberg had work done by two goldsmiths. What projects Gutenberg unfolded to John Fust, and what allure- ments he set forth, are not known; but the wary money-lender would not have hazarded a guilder on Gutenberg’s in- vention, if he had not been convinced of its value and of Gutenberg’s ability. John Fust knew that there was some risk in the enterprise, for it is probable that he had heard of the losses of Drit- zehen, Riffe and Heilmann. In making an alliance with the inventor, Fust neg- lected none of the precautions of a money-lender. He really added to them, insisting on terms through which he ex- pected to receive all the advantages of a partnership without its liabilities. These were the terms of the contract, made in August, 1450: ‘““The partnership between Gutenberg and Fust should be for five years, in which time the work projected by Gu- tenberg should be completed.— For the purposes of this partnership, not speci- fied, Fust should advance to Gutenberg 1 y ‘dr'to TO PICA LEADS. 8 WITH 129 JOHN GUTENBERG AT MENTZ. was shown in the beginning of the part- nership. Gutenberg had ready the types of the Bible of 36 lines, and had, per- haps, printed a few copies of the work —too few to supply the demand. Another edition could have been print- ed without delay, but it was decided that this new edition should be in a smaller type and in two volumes. It was intend- ed that the cost of the new edition should be about one-third less than that of the Bible of 36 lines. Gutenberg was, con- sequently, obliged to cut a new face and found a new font of types, which, by the terms of the agreement, were to be mort- gaged to Fust. Fust did not assist Gutenberg as he should haye done. Instead of paying the 800 guilders at once, as was implied in the agreement, he allowed two years to pass before this amount was fully paid. The equipment of the printing a= Edilapline rocupilretia- Lura ry diltipline dilectio 2:4 Dilec- no mfodialequ illi? 2 - Lutia- Ditto atic lequm rofunimatia r a) Trorrupriont Sri: mrorruptio aut farit elle primi tto-Loru- piltetta itags Laprentic Pouce ad requir pecpecun-B! eeqa i- leckarini Tedibs erferperis a re- ges inl: diligite fapieatta uti prepecuit requerts- Diligttelu meifapiente: omnes ut pel- fis nlis-A2uid rh arc lapirtia trguradmadu facta fie retera qnonablontam a vobista- framensa del: fed ab indo na- tinitadts inettiqgabo: ccponat lucent friend ilins-4 mon pite- ribo weritare : nrg; cum midta Fac-simile of the Types of the Bible of 36 Lines, with the Rubricator’s Marks on the Capitals. Verses 17 to 22 of the Sixth Chapter of the Book of Wisdom. office with new types was sadly delayed. At the end of the two years, when Gu- tenberg was ready to print, he needed for the next year’s expenses, and for the paper and vellum for the entire edition; more than the 300 guilders allowed to him by the agreement of 1450. Fust, perceiving the need of Gutenberg, saw also his opportunity for a stroke in finance, which would assist him in the designs which he seems to have enter- tained from the beginning. He proposed a modification of the contract—to com- mute the annual payment of 300 guilders for the three successive years by the im- mediate payment of 800 guilders. As an offset to the loss Gutenberg would sustain by this departure from the con- tract, Fust proposed to remit his claim to interest on the 800 guilders that had been paid. Gutenberg, eager for the money, and credulous, assented to these modifications. The delays and difficulties which Gu- tenberg encountered in the printing of this edition were great, but no part of the work was done hastily or unadvisedly. He may not have received practical edu- cation as a book-maker, but he had the rare good sense to accept instruction from those who had. The Bible of 42 lines was obviously planned by an adept jin all the book-making skill of his time. It was laid out in 66 sections, for the most part of 10 leaves each. To facili- tate the division of the book in parts (so that it could be bound, if necessary for the convenience of the reader, in ten thin volumes), some of the sections have but 4, some 11, and some 12 leaves, The book proper, without the summary of contents, consists of 1282 printed pages, 2 columns to the page, and, for the most part, with 42 lines to the column. There are two kinds of copies, with differences which seem to justify the opinion that they belong to two distinct editions. In one kind, all the copies have 42 lines to the column, and all the summaries of chapters are written and not printed. In the other kind, the first eight pages of the first section have 40 lines to the column; the ninth page has 41 lines; the tenth and all other pages (except two 40-line pages in the book of Maceabees) have 42 lines ; and the pages of 40 and 41 lines have their five sum- maries printed in red ink. The same face of type is used in both kinds of copies, but the pages of 40 and 41 lines occupy the same space as the pages of 42 lines, beginning and ending, for the most part, with the same words. Ber- nard says that the 40-line pages were reset by Peter Schoeffer after Fust had acquired the unsold copies of the Bible, with intent to lead the purchaser of the book to form the belief that it was an entirely new edition. Other writers sug- gest that a portion of the first section may have been spoiled, and replaced by a subsequent reprinting. But the differ- ences are not confined to the first sec- tion. In many other sections there are differences in the spelling and abbrevi- ation of words which clearly prove that the two kinds of copies were printed from separately composed and distinct forms. The double composition of every page for the same edition seems a GEORGE BRUCE’S SON & CO., Typr-FounpErs, No. 13 CHamBers-STREET, NEW-YORK. < rs od ao ’ 9 ve A c a Ay nt 2 7 , ‘ . ‘ rs i aroyl¥ ahi rf SA ibvecuer SL Gare I wl re) ie ~aa't - : kote § on ioc® -roen se (hem rwel, Sale| as j Thy ‘ 1 ‘ ‘ 0, aOR thes "thew tae ee a iwi pf ; matty dl ty Met) Ae a) P se Sag Tk a ode ’ + ne b, aA’ ° tt i ia , : ny ; i pth 5 jamais ‘= n ] 4 i ‘ a: if eh ’ 4 ya hi mitt ; j ' ' ae ah oe h ran ' : . a ’ : | | is | ‘ t = 9 HENS UP ep : ' ‘ . : ’ ry i i ‘ ‘ wd the : et afte aul* jw ( r< a a 4 x (oe vary 5 ‘ r aa y . 5 f, rf py } aay ae Pi ‘4 r 1 on Ay ef = fae Tad €« aye . eer ie aoe a ; et ee Ob ibe emtuty Lei aia ‘ ; ‘ a) eae OW -- pegs “ i ern we Vie” cane , eile a > a eye ‘ yaa : wi? , 700 Ver’ " Regke dee ; fe 1h ql fet Algerie : 7 130 Nonpareit, No. 16. JOHN GUTENBERG AT MENTZ. useless waste of labor, but the proofs of this double labor are unmistakable. A wide margin was allowed for the ornamental borders, without which no book of that time was complete, and large spaces were also left in the text for the great initial letters. It was expected that the purchaser of the book would have the margins and spaces covered with the fanciful designs and bright colors of the illuminator. In some copies, this work of illumination was admirably done; in others it was badly done or entirely neglected. The rubrics were roughly made by dabbing a brush filled with red ink over a letter printed in black. On the pages of 40 lines, the summa- ries of chapters were printed in red ink; on other pages the summaries were written, sometimes in red and sometimes in black ink. It would seem that it was Gutenberg’s original intention to print all the summaries in red ink, and that he was obliged, for some unknown reason, to have them written in. The general effect of the typography is that of excessive blackness,—an effect which seems to have been made of set purpose, for the designer of the types made but sparing use of hair lines. It may be that the avoidance of hair lines was caused by difficulties of type-founding. The type-founding was properly done: the types have solid faces and stand in line. The letters are not only black but condensed, and are so closely connected that they seem to have been spread by pressure. Double letters and abbreviations were freely used. Judged by modern standards, the types are ungraceful; the text letters are too dense and black, and the capitals are of rude form, obscure, and too small for the text. The presswork is unequal : on some vellum copies, the types are clearly and sharply printed; on other copies, they show muddily from excess of ink. On the paper copies, the ink is usually of a full black, but there are pages on paper and on yellum, in which, for lack of ink and impression, the color is of a grimy gray-black. Bernard says that over-colored and under-colored pages are by no means rare. He attributes this unequal black- ness to imperfections in the inking implements. [De Vorigine de Vimprimerie, vol. I, p. 182]. Van der Linde and others say that the ink will not resist water, but the ink on the fragments of vellum be- longing to Mr. Bruce stood a severe test by water, without much weakening of color. The register on the paper copies is very good; on the yellum copies it is offensively irregular, a plain proof that the vellum had been dampened, and had shrunk or twisted before the second side was printed. It has been said that this Bible of 42 lines was printed with intent to cheat purchasers, so that it might be sold as a manuscript. There is a legend that Fust did attempt the cheat at Paris, but there is no good authority for the libel, which scarcely deserves examination. * and printed books, but these men were There were, no doubt, during the fifteenth : ae WER bd < vi ra century, many who could not perceive arg Tie ft it sua in TatT ie) the dissimilarities between manuscript 3 . a pi till. Varuie atic ian MONO OU 4 UL Larait aut hig “GITOS WITH 7 TO PICA LEADS. lloshibe uril.cis norte cot. Aunr ee HD ten ptans key fup reruiees Dultipiayys neq nos ne- 13 pres url potare ponies ¢ Seo JOHN GUTENBERG AT MENTZ. one line chases another with a grudging of white space and of true relief which is not atoned for by the dabs of red in the rubrics, nor by the profuse wealth of ornamentation in the centre column and margins. The composition is notice- ably irregular: the lines are not always of uniform length. When a word was divided, the hyphen was allowed to project and give to the right side of the column a ragged appearance. When there were too many letters for the line, words were abbreviated. The measure was narrow, and it was only through the Mberal use of abbreviations that the spacing of words could be regulated. The period, colon and hyphen were the only points of punctuation. The manuscript taken for copy was not strictly accurate, and the errors of the seribe were repeated by the compositor, The liberties taken by scribe and compositor in the making of abbreviations, and in the spelling out of abbrevia- tions, were a prolific source of error. It was quite as much on account of the frequency of these errors, as the obsoleteness of the types, that this famous edition was so soon laid aside and was so quickly forgotten. It was sup- planted by the editions of the more scholarly printers of the sixteenth century, who collated a great many manuscripts and printed copies before they prepared a new copy for the printer. ’ It is unfortunate that Gutenberg did not, as was customary with the book- makers of that time, put his name and the date of printing on the book. The omission was partially supplied by an illuminator who suffixed the following colophons or subscriptions to his copy of the book: First Volume. Here endeth the First Part of the Old Testament of the Holy Bible, which was illuminated, rubricat- ed and bound by Henry Albech, or 2 ps Cremer, on Saint Bartholomew's Day (August 24), in the year of our Lord nae mgt 1456. Thanks be to God. Hallelujah. Second Volume. This book was illu- minated, bound and perfeeted by Henry Cremer, vicar of the Collegiate Church of Saint Stephen in Mentz, on the Feast of the Assumption of the Blessed Virgin (August 15), in the year of our Lord 1456. Thanks be to God. Hallelujah. As the second volume was illuminated Doceaudicharbarnata zpaulit nar- not book-buyers. To the intelligent book- buyer, the features of dissimilarity were conspicuous.! It is not at all probable that Gutenberg entertained any thought of deception: he imitated his manuscript copy only because it was in an approved style of book-making. Although the types of this Bible are obsolete, there is something pleasing in their boldness and solidity to a reader who is wearied with the small trim let- ters, light lines and apparently paler ink of modern books. The effect of rugged strength is relieyed by the flowing lines, vivid colors and complex ornamenta- tion of the odd borders and_ initials which have been added by designer and iluminator. How much of the pleasure derived from an inspection of the work is due to the skill of the printer, and how much to the art of the illuminator, has not always been judicially weighed by those who represent the book as a speci- men of perfect printing. It cannot be denied that the most attractive features of the book are those made, not by print- ing, but by illumination, but it is plain that the designs and ornamentation are not of a character appropriate to the text. They would not be allowed in any modern edition of the book. The workmanship of the printer in his own proper field is wonderful when we regard the circumstances under which it was done, but it would not satisfy the requirements of a modern publisher or book-buyer. It is of its own time, with the faults of that time, in manner and matter. The promise of legibility, which seems warranted by the bold and black types, is delusive. The ordinary Latin scholar cannot read the book, nor refer to any passage in it, with satisfaction. It is without title and paging figures. The blank spaces which indicate changes of subject, and give relief to the eye, were seized by the illuminator. Verse follows verse, and chapter follows chapter, and 1See the fac-similes of Sotheby and Hum- phreys. The written summaries of this Bible, as they present them, are unlike the printed text, rane quanca i ferllet ligne + pro. bigain gebus p eos . Ce polkiq; ta- Tueriiceedpe hit tarchus Duens. Vivi Rutten audite wi Symon navcaut HULADINODU Hail Deus wilitaiefite ee mere re Qeatibns gaint nomim fiocs uric commobanne veele ppipcariicficur Iniprt 2. Pott hee reuecrae ecveedrftca- bo ralenactin anid qo Deadit 2 Divu- tamusredificabors cogam iluaut requrrae cotecl hot Dri s omnes Hentes hips uas muprat f nomen weil Dict dite facietre Hee rulogdioopusihi. Propte quad TA mTicg ny wigquiecare Los PE et tbs onectunt ad Detecled Ienbere ad Fac-simile of the Types of the Bible of 42 Lines, with the Rubricator’s Marks on the Capitals. Verses 10 to 20 of the Fifteenth Chapter of the Acts of the Apostles. nine days before the first volume, it may be supposed that, on this copy, the work of iumination was started on the sheets, as soon as they had been printed and be- fore they were bound. It is possible that the last sheet was printed in 1456, but it is amore general belief that the work was completed in 1455, There is no tradition about the number three hundred copies were regarded by printers of Italy as a proper number for an edition in folio. It is not probable that Gutenberg printed so large a number. Unbound copies were sold at different times and places, not long after publica- tion, for various sumsranging from twelve guilders to sixty crowns.! It does not appear that the books provoked any en- thusiasm: no chronicler of that time thought it worth while to give them even a passing mention. "We have to suppose that they attracted no more attention than the books of a copyist. It appears, also, that the Bible of 42 lines, from a mercantile point of view, was a very unsuccessful enterprise. This is the evidence. On the sixth of November, 1455, Fust brought a suit for the recovery of the money advanced to Gutenberg. As Gu- tenberg was unable to pay the demand, we may suppose that the Bible had not been completed, or, had not met with a ready sale. The suit of John Fust has been the occasion of discordant criticism. Dibdin fully justifies his action, and 1 At the sale of the Perkins library near Lon- don, June 6, 1873, a copy of the Bible of 42 lines, on vellum, was sold for £3,400, and a copy on paper for £2,690—more, no doubt, than’ the first printers got for all the copies, fod & Ie- GEORGE BRUCE'S SON & CO,, Tyre-Founpers, No. 13 Cuampers-StrEET, NEW-YORK. je i ee le ee Nonearein, No. 16. 131 JOHN GUTENBERG AT MENTZ. intimates that Gutenberg was really a trickster, who would have defrauded Fust if he had not resorted to summary proceedings. The defenders of Fust, who are few, haye to admit that he here appears as a keen man of business, destitute of sentiment, and of ungenerous disposition. Sympathizers with Gutenberg denounce Fust as a cunning schemer, who had made the terms of the partnership rigorous with the secret determination to get possession of the invention through G utenberg’s inability to keep his contract. This is the record of the proceedings before the court : “INSTRUMENT of a certain day, when Fust produced an account and confirmed it by an oath. In the name of God. Amen. Be it known to all who shall see this public document or hear it read, that in the year of our Lord 1455, on Thursday, the 6th of November, between eleven and twelve at noon, at Mentz, in the large dining-hall (refectorium ) of the convent of pare-footed friars, appeared before me, notary, and the witnesses to be mentioned hereafter, the honorable and prudent man Jacob Fust, citizen of Mentz, and has, in behalf of Johan Pust his brother, also present, shewn, said and exposed, that to the said Johan Fust on the one side and Johan Gutenberg on the other, should be administered the oath, according to judgment passed on both the parties, and for which this day and this hour had been fixed and the hall of the convent assign- ed. In order thatthe friars of the said convent, who were still assembled in the ‘d1'TO$S WITH 8 TO PICA LEADS. JOHN GUTENBERG AT MENTZ. Johan Fust has, with raised fingers, in the hands of me, public notary, taken the oath by all the saints, that everything was comprised according to truth and sentence, in an act which he placed in my hands. He confirmed it on oath, as truly as God and the saints may help him; and the contents of this document were as follows: “T Johan Fust, haye borrowed 1,550 guilders, which have been received by Johan Gutenberg, and spent on our common work, for which I have paid an annual interest, and still owe a part of it. Therefore, I count for every hun- dred guilders which I haye borrowed in this way, six guilders per annum; and for the money spent on our common work, I demand the interest according to judgment passed. “The said Johan Fust demands from me, public notary, one or more public acts of this matter, as many and as often as he should want them; and all these matters recorded here, happened in the year, indiction, day, hour, papacy, month, and town aforesaid, in the pres- ence of the honest men, Peter Grauss, Johan Kist, Johan Knoff, Johan Yseneck, hall, should not be disturbed, the said Jacob Fust did ask through his messen- ger, whether Johan Gutenberg, or any one for him, were present in the convent, in order to finish the matter. At this message came into the said refectorium the reverend Heinrich Gunther, pastor of St. Christopher’s at Mentz, Heinrich Keffer, and Bertolf yon Hanan, a servant of Johan Gutenberg, and when they had been asked by Johan Fust whether they had been authorized by Johan Guten- berg, they answered that they had been sent by Junker Johan Gutenberg to hear and see what should happen in this case. Thereupon Johan Fust begged leave to conform to the stipulations of the verdict, after he had waited for Johan Gutenberg till twelve o’clock, and was still ‘waiting for him. He reads the sentence passed on the first article of his claim, from word to word, with its pretension and response, which runs as follows: First, that he, according to the written agreement, should lend Johan Gutenberg about 800 florins in gold, with which he was to finish the work, and whether it would cost more or less was no matter to Fust ; and that Johan Gutenberg was to pay six per cent. interest for this money. He had indeed lent him these 800 guilders on a bond, but Gutenberg was not satisfied, but complained that he had not yet re- ceived the 800 guilders. For that reason, Fust, being desirous of doing him some service, lent him 800 guilders more than he was bound by his contract to do, for which 800 guilders Fust had to pay forty ilders as interest. And, although utenberg had bound himself by contract to pay six per cent. interest on the first 800 guilders, yet he had not done so for a single year, but Fust had to pay this interest himself to the amount of 250 guilders. For, at present, Gutenberg having. never paid interest, and Fust haying been obliged to borrow this in- terest from Christians and Jews, for which he had paid about thirty-six florins, his payments, together with the capital, amount to about 2,020 guilders, of which he demands reimbursement. . i SESS it Nott Vey AS Aaa ae Jacob Fust, citizens of Mentz; Peter Gernsheim and Johan Bone, clerks of the city and diocese of Mentz, asked and summoned as witnesses. And I, Ulrich Helmasperger, clerk of the dio- cese of Bamberg, by imperial authority, public clerk of the Holy See at Mentz, sworn notary, have been present at all the aforesaid transactions and articles with the witnesses mentioned. There- fore, being requested to do so, I have signed with my hand, and sealed with my common seal, this public act, written by another, as testimony and true record of all the aforesaid matters.} “ULRICUS HELMASPERGER, Notary.” The suit brought by Fust was, ap- parently, a surprise, for it cannot be supposed that Gutenberg would have been so completely unprepared to meet 1 Hessels’ translation, as printed in the Haar- lem Legend, pp. 24 and 25. his obligation if he had not been led to believe that Fust would postpone the collection of his claim. The enforce- ment of this claim before the book was published, or at least before money had been derived from its sale—taken in connection with the facts that the delay in the publication of the book, and Gutenberg’s inability to pay his debt, were largely due to the delay of Fust in furnishing the money as he had LS promised—seems to warrant the charge S S that Fust meditated the despoilment of SY Gutenberg at the formation of the part- nership. Gutenberg’s defense before the court was very feeble: it is that of a man who knew he had no hope of success. He did not appear in person, but trusted his case to his workmen. Thereupon, Johan Gutenberg answered that Johan Fust had agreed to lend him 800 guilders, with which money he was -to arrange and make his tools, and that these tools should remain as security for Fust. But Fust had moreover agreed to give him every year 300 guilders for ex- penses, and to ‘advance also wages, house-rent, VELLUM, PAPER, INK, etc. Tf, after- ward, they did not agree, Gutenberg should then pay the 800 guilders back, and the tools should be free from mortgage ; it should be understood, that with the 800 ilders he had to make the machine, which was to be a pledge. He hopes not that any one shall pretend] that he was obliged to spend these 800 guilders on the work of the books {%. €., on vellum, paper, ete.) And, although it is said in the contract that Gutenberg was to pay six per cent. interest, Pust had told him that he had no intention of accepting this interest from him. Moreover, he had not received the 800 guilders in full and at once according to agreement, as Fust had pretended in the first article of his claim; and as for the second 800 guilders, he is ready to give an account of them, but declines to give him interest or usury for them, and hopes he is not bound by law to pay them. We pass, therefore, sentence according to pretension and response: When Johan Gutenberg has submitted an account of all receipts and disbursements spent 07 the work to thetr common profit i. €., printing], this work shall be added to the 800 guilders; -if he has spent more than the 800 guilders, which did not belong to their common profit, he should pay it back; if Fust is able to prove, on oath or by witnesses, that he has borrowed the money on interest, and did not lend it out of his own resources, then Gutenberg is pound by contract to pay it. ae . oH, after this Greco had been read in presence of the aforesaid witnesses, “d1TOS [From Lacroix. J John Gutenberg.... From an Old Print in the National Library at Paris. ADS. uv} WITH 8 TO PICA LEI Fust was more adroit; he was voluble and positive, and his relative, Jacob Fust, was one of the judges. But the fates were against Gutenberg: the hard terms of the contract he had signed compelled an adverse decision. That Fust did Gutenberg a grievous wrong is very plain; that Gutenberg had managed the business of the partnership with economy and intelligence is not so clear. At no period of his life did the great inventor show any talent for financial administration. He was certainly deficient in many qualities that should be possessed by a man of business, and Fust may have thought that he was fully justified in placing his money interests in the hands of a more careful manager. This, a copy of the oldest engraying known of Gutenberg, presents him to us as a man of decided character, not to be cajoled or managed by a partner in business. The thin curving lip and pointed nose, the strongly marked lines on the forehead, the bold eyes and arrogant bearing of the head reveal to us a man of genius and of force, a man born to rule, impatient of restraint, and of inflexible resolution. We haye but to look at the portrait of Fust to see that he, also, was accustomed to having his own way, and that he and Gutenberg were not at all adapted to each other as partners. But Fust would not have broken with Gutenberg if he had not been pre- pared to put a competent successor in his place. In Peter Scheffer, a young nnn EEE GEORGE BRUCE’S SON & CO., TyPE-FOUNDERS, No. 13 CHamBrrs-STREET, NEW-YORK. of * hy a _ = ee . Ki = en “a Yh AOE vv Ge, Glue vile jenni iro ibs anna Sm chi Maan ahd cae yf ew Baht, ) E Be fe’ UP ae” Relate ie A Ree oy) L ; yu pai Veuilt wlpins ie je ye yor ee > ’ oh. Sa eee i 4 we pes ae ‘ _ } fuages why fe Vay epee APA PAs Pht lied aad li agree ae ere © } (> tole Uae yea ivi al ir) bpp ot lene se 5 We ted, | ie i sage +t t { bor Fey ielfggs bn ie ele 4 , % zits b cS ih Wit Hla b i The wis i we a, ‘va wtthnet 4 i biwee cadet id tae eh ' i rity Raag) hee | aa48 vt © Veen e fee ive Tat mes \ aS ve . Pinay ad CREAT one L* . ee air ld bela Ol j . ie old Ae be v hy La tabpri ed kel) el eth amen ee 3 ; j er ee S aL Bh ‘ Jie ; ere dm Jer nN, ; ; b wht) hg nape b 5 * » @. a ms a *\- a ; = « ‘ ‘oe 4 \ ee dik . rT F ‘ ‘ 5 ; > lags / ' : ‘ i - 1 s + ‘ r . i . . ¢i d ' evra rit) ree . res) wa : - ; a « I { . Antes bop) ayy fh 1h} ’ S « ' mols wena on Se eee alder my di rraew! eters ape Rey. Y hod bate a foal "Ned “ gown ae oleae ‘oy A : 4 ae aay ‘ * " Pity ik - * ‘ 7 7 : a ear Py | yap oe ie * Vern i na fis Clee abs. oF a 7 , v i a) Pw ene } (1) hillsp Sip kd Dk ange Peet: vy OMe je aiipy i (ras Deas : ti 7) ah ‘ ‘ ; i. , : , : “" : eS Le Ga eenell Bey ans! ety j re gta sl ’ Mi Bh as: Laviaiwy gute * ts ae ye Ua se ‘ hor pikigs ives» tl ae s im Priel vw Ja My =f bx met Bie i ey is we hg weed St? ‘ y aed rh ; 1382 Nonparsint, No. 16. JOHN GUTENBERG AT MENTZ. man twenty-six years old, who had been employed in the printing office, Fust dis- cerned an intelligent workman who gave promise of ability as a manager. Schcef- fer, who then hoped to win the hand of Fust’s daughter Christina, was, no doubt, more complaisant than the irascible Gu- tenberg. As he was afterward married to her, it may be thought that she ap- proved his suit in its beginning, and that her influence with her father was used to its utmost in favor of the removal of Gutenberg and the advancement of Scheeffer. It was fully understood by the three conspirators that Gutenberg could make no proper defense; it was determined that he should be expelled from his place in the partnership and that Schceffer should succeed him in the man- agement of the printing office. When everything had been arranged, Guten- berg was summoned to appear before the court. The plot was successful in all points. Fust won the suit almost without a strug- gle: under the forms of law, he took pos- session of all the materials made by Gu- tenberg for the common profit, and re- moved them to his own house. With the types, presses and books went also many of the skilled workmen, and Peter Scheef- fer was at their head. From an equi- table point of view, Fust was amply recompensed. He got the printing office that he coveted, and, with it, the right to use the newly discovered art of Guten- berg. It appears that he was content. There is no evidence that he afterward made any attempt to collect the claim, which was, legally, unsatisfied even after the surrender of Gutenberg’s printing materials and the printed books. De dninita mia ottanam as frenhoms dymimt, Dominica prima polt 61 afcenhidis 6m - offcitt diincaleExaudruptohy ci fulFragrs suoly Alla F eqntia-et pfacde & felto afcen fionis necnd Glia m ercelfis Creéo et tennfe fa Ofticaltter Srectun. AAHCHDEFEHTILMROP PAR SISTTDHS. Fac-simile of the Types of the Treatise on the Celebration of the Mass. [From Fischer. ] XXII THE LATER WORK OF GUTENBERG. Establishes a New Printing Office... C was printed at this time... Gutenber with Fac-simile...Catholicon of 1460, with F; berg to Fame. Mirror of the ¢ Jalendar of 1457, Embarras Pamphlets attributed to Gutenberg... Celebration of the Mas: y . Not probable that the Bible of 36 lines y Debts... Letter of Indulgence of 1461, e-simile and Colophon... Indifference of Guten- ’ srit acknowledged by writers of his Time... Tablets of Gelthus and Wittig... Permanency of Gutenberg’s Invention. Why should we talk about monuments of bronze or marble to commemorate the services of Guten- berg? His is a monument which, more frail than any other, will survive them all: itis the Book.—Madden, GUTENBERG had been legally deprived of his printing office and of the exclusive right to his great invention, but he was not left friendless and utterly impover- ished. Nor was his spirit broken by this great calamity. The reflection that Fust was owner of the materials made for printing the Bible of 42.lines, and was about to enjoy all the emoluments of the new art, aroused Gutenberg to rivalry. He was nearly sixty years of age, but he was vigorous in mind, if not in body, and evidently retained all his old power of persuasion. When he determined to found a new printing office, he found helpers: Conrad Humery a physician, and also clerk of the town of Mentz, pro- vided him with the means, and some of his old workmen came over to join his fortunes. ‘ Gutenberg had some materials toward the equipment of a new office. Fust’s mortgage covered only the materials made with Fust’s money for the common profit; it did not cover the large types on Double-pica body, which were used upon the Bible of 36 lines, and other ma- terials which might haye been made in Strasburg. As these types were sub- sequently used in several little books which may be attributed to Gutenberg, we may conclude that he retained the punches and matrices in his own pos- session. We have indirect evidence that the new printing office of Gutenberg was in operation at the close of the year 1456. With the types of Double-pica body he printed on one side of the paper, ob- viously made to be pasted on a wall, a broadside, now known as the Calendar of 1457. Of this curious document, only the half of a copy has been found—a fragment which contains the festivals and notable days for six months. It is fairly printed in black ink on coarse paper. It is the belief of several historians that Gutenberg, hot with anger at the bad faith of Fust, in wresting from him the honor of printing the first Bible, immedi- ately undertook in his new oflice to pub- lish a rival edition of the same book, or the edition herein described as the Bible of 36 lines. The annotation in one copy “aI'TOS ‘GITOS WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. THE LATER WORK OF GUTENBERG. of the book of the year 1459, which is supposed to be the date of publication, accords with the conjecture that the book begun in 1456 could have been finished in three years. But there is no evidence that it was begun in 1456, while there are many indications that it was done or should have been done in 1450. Guten- berg had earned fame as a printer in 1458, put no writer of that time has said that he was then at work on the Bible of 36 lines. Philip deLignamine, in a book entitled A Continuation of the Chronicles of the Popes, which he printed in Rome in 1474, writes concerning the year 1458: ‘‘ Jacob Gutenberg of Strasburg, and another called Fust, very skillful in the art of printing with characters of metal on parchment, each printed three hundred leaves daily at Mentz.” Jacob is an error of memory or of typography, and the mention of Strasburg as Gutenberg’s birthplace is incorrect, but the statement that he printed in 1458 is, no doubt, true. It seems the testimony of a printer, whose knowledge of the facts had been derived either from personal observation, or from the reports of workmen once em- ployed at Mentz. We have evidence, also, that he was embarrassed by his debts. After the year 1457 he was unable to pay the four pounds annually to the chapter of St. Thomas at Strasburg, as he had agreed to do in 1442. The chapter summoned him to appear before a court at Rottweil in Suabia, in 1461, but to no purpose, for he was un- able to satisfy this debt. His printing materials were owned by Conrad Hu- mery, and not liable to seizure. It is by no means clearly established that he was even then, carrying on business in his own name. Helbig thinks it was the fear of legal proceedings, if he had made himself very conspicuous, that prevented him from putting his name on his books. This omission has made it difficult to specify the books and pamphlets which are supposed to haye been printed by him about this time. One of these works is The Letter of Indulgence of 1461, an indulgence grant- ed by Pope Pius II to all who should contribute to the restoration of a church at Neuhausen. It is printed in a new face of type, which should have been made before 1460. The types of this in- dulgence resemble those of the Letters of Indulgence of 30 lines and of 31 lines, but they were cast from different matrices and in a different mould. They seem to be the production of an incompetent punch-cutter; the letters were rudely cut, the matrices were not properly fitted up, and the types do not line. The presswork, upon new types, is good. In the same face of type, but upon a body a little larger, Gutenberg printed the Catholicon of 1460, a great folio of 748 pages of double columns, with 66 lines to each column. This Catholicon was written, or edited, as the title in- forms us, by John of Genoa, of the fra- ternity of preachers or mendicant friars. It contains an elaborate Latin grammar and an etymological dictionary in five THE LATER WORK OF GUTENBERG. divisions. It was a text book of authority in the higher schools. In some copies of the Catholicon, the summary of contents is printed in red ink, and ornamented with an engraving which fills one side of the first page. The composition is as rude as that of the Bibles ; the right side of each column is always ragged from careless spacing. The colophon annexed states that the book was printed at Mentz in 1460, but it does not give the name of the printer. Van Praet says that Guten- berg, as a noble, dared not advertise his connection with a mechanical art. This is absurd, for Gutenberg’s connection with printing in Mentz had been known for at least ten years, and printing was not then regarded as a business deroga- tory to the standing of a noble. Wetter says that Gutenberg was humiliated by the superior workmanship of Fust and Schoeffer. But the work of these printers was not of such unquestionable superi- ority. Helbig’s conjecture seems most plausible, but Gutenberg may have been so intent on the personal satisfaction he derived from the realization of his ideas, that he was comparatively in- different to the gratification derived from notoriety. The silence of Gutenberg concerning his services is remarkable, all the more so, when this silence is Anniliter dicendits eft fi fata eft aliqua ad 6100 erronea:fictit fult addicd arrijvel fifine addicoe imptintte baptiz4s nullomé credat fet polfe baptihinit. Shiybabititer subitat’ we obmiffis an fint te fubltatia.an & addicde = an impediiit baptilmii an n6-ad forma codiz nale recurratur-que fup pofita etn prima Teccie te materia fez de emendadis circa mate riam. $1 ti obnnifa funt illa que nd fit de ftatia-ut ego.etamé-vel fine orm malitia fata ef diminucdyel addicd-vel corp ed ar Fac-simile of the Types of The Mirror of the Clergy. [From Bernard. ] GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. THE LATER WORK OF GUTENBERG. contrasted with the silly chatterings of several printers during the last quarter of the fifteenth century, — of whom Peter Schoeffer may be considered as the first, and Trechsel of Lyons the last,—each insisting that he, whatever others might have done before him, was the true perfecter of printing. There is no other instance in modern history, excepting possibly that of Shakes- pere, of a man who did so much and who said so little about it. This colophon is the only passage in this pook, and, indeed, in any of his - works, which can be attributed to Gutenberg : “By the assistance of the most High, at whose will the tongues of children become eloquent, and who often reveals to babes what He hides from the wise, this renowned pook, the Catholicon, was printed and perfected in the year of Incar- nation 1460, in the beloved city of Mentz (which belongs to the illus- trious German nation, and which God has consented to prefer and to raise with such an exalted light of the mind and of free grace, above the other nations of the earth), not by means of pen, or pencil, or sten- cil plate, but by the admirable proportion, harmony and connection of the punches and matrices. Wherefore to thee, Divine Father, Son and Holy Ghost, triune and only God, let praise and honor be given, and let those who never forget to praise [the Virgin] Mary, join also through this pook in the universal anthem of the Church. God be praised.” ; In Germany, the punch or the model letter is known as the patrice, a word obviously derived from the root of the Latin patronarum of the text. The re- versed duplicates of punches, here trans- lated as matrices, are noticed in the text as formarum, a variation of the word form, which we find so often in the rec- NonpPareiu, No. 16. ia efte tebebit virelicee g elige po g cum ab omib9 Sentenajs ¢ ab omib9 crimib9 pct mquas nonda incidiffe O 7 cahb9 ead (cdi aplice refuatis abfolue et plenanea remiMioné aricte poflit Sic th p faniFaciat fi alicui p edi fatiffactio 1m ponwoa fi ib et vt loco fexte ferie qi aliunee in ila ieiunare renetur afio die in fe pictatio iuxta dictamen (ui confefforig maxie ad fabricam Ddicte ec Eidat Et in obediecia fedis aplice ac Pfan fern pleni9 contiemrjn and bulla dicti Ohi pape prj Repnhazdue€pm ac Rudolp a dicto Ono plo fumo pontih ODdillefimoquadrin gentefimofex —_ bum wcanu i ce oft dara facultas pnnbus ¢ agefimopzimo Fac-simile of the Types of the Letter of Indulgence of 1461. ord of the Strasburg trial. ‘‘ The ad- mirable proportion, harmony and con- nection of the punches and matrices,” THE LATER WORK OF GUTENBERG. of this colophon, so unlike the vainglori- ous imprints of Fust and Schceffer and the commonplace subscriptions of Pfister, js almost enough of itself to show that the printer of the Catholicon was John Gu- tenberg. That he should attribute the invention to the assistance and favor of the Almighty, might be expected from a man thoroughly imbued with religious sentiment, but why Gutenberg should, in this and in all other books, neglect to mention himself as the man through whom the invention was accomplished is an irregularity which cannot be explain- ed. This neglect is strange, for Fust and Schoeffer had boasted, in an imprint to the Psalter of 1457, of their skill as printers. Five little pamphlets with texts in a new face of Round Gothie on English body, and with chapter headings in types resembling the text types of the Bible of 42 lines, have been attributed to Guten- berg. They are: A Treatise on the Cele- bration of the Mass,! a book of 30 leaves; A Calender, or An Almanac for 1460, in Latin, a quarto of 6 leaves ; The 1 This work is attributed to Gutenberg, chiefly on the authority of this inscription, which was found in a copy in the possession of the Carthu- sian Friars at Mentz: “The Carthusian Friars near Mentz, through the liberality of John Gutenberg, own this book, which was made by his wonderful art, and by the skill of John Nummeister, clerk. In the year of our Lord 1463, on the 13th calend of July [June 19).”’ ; Helbig doubts the genuineness of this annota- tion. and intimates that it may be the work of Bodmann, « librarian at Mentz, who has been suspected of attempts to foist spurious documents on those who were eager to know more of the life and labors of Gutenberg. In his treatise on the Typographic Monwments of Gutenberg, Fis- cher, on the authority of Bodmann, printed the copy of a verbose document which set forth that John Gutenberg and Frielo Gensfleisch assented to the action of their sister Hebeie in conveying to the Convent of Saint Clare, of which she was then a nun, her share in the paternal inheritance. It also recites that John Gutenberg will give to the convent a copy of every book to be printed by him. This document, which is dated 1459, is not accepted as genuine by discreet bibliographers. [From Bernard. ] duced any work of value, cannot be accepted. It is possible, but not certain, mi dfi nn pi) pap, teftird oium Signilut Oo 56=— WO2mMAtien P20 bacindy it areca) 133 THE LATER WORK OF GUTENBERG. printed in the types of the Cathol- icon, may be confidently accepted as the work of Gutenberg. But one copy or fragment of some of these works is known. Gutenberg may have printed many other works which have been destroyed and for- gotten. Fischer says that a library at Mentz once contained several pamphlets printed by Gutenberg in the large types of the Bible of 36 lines. He gives fac-similes of the illuminated initials in one of these pamphlets, which closely resemble those of the Psalter of 1457. This similarity is more than an indication that the letters of this Psalter were made by Gutenberg. The existing copies or fragments of pamphlets and books printed be- fore 1462 are enough to prove that printing met with a qualified de- gree of appreciation. Gutenberg and Fust must have given employ- ment to many presses and work- men: there was a demand for printed work of all kinds from almanacs to dic- tionaries, and the printers had reason to believe that they would be amply re- warded for their labor. Their hopes were destroyed by the sack of Mentz in 1462. The city of Mentz then held the first place in the league of the free cities of the Rhine, but her prosperity was declin- ing. In the tenth and eleventh centuries, Mentz, then the capital of Germany, contained a population of about 100,000 inhabitants. It was the most powerful city of the empire, the great city where THE LATER WORK OF GUTENBERG. should be understood, not as a commen- gy that Gutenberg printed these pookes A dation of the beauty of the printed letters, Q Treatise on Reason and Conscience, by but as a specification by the inventor of <{ Matthew of Cracow, a small quarto of 22 what he conceived was the great feature ® leaves; a copy of this book in the Na- of typography, the making’ of types of O a |. 1 Lib = Eafe iS: F different faces and thickness on bodies of < A Ee a Oa ey ae annotation absolute uniformity, so that they could & tT Which sets forth that ‘“‘ Henry Kepfer of be combined with ease. It should be ° a Mentz put this book in pledge for twelve noticed that the invention or the use of days, and has not reclaimed it...” Henry isolated letters or types is not boasted of; O™ Keater £G 3 k it was the method of making the types Ei eae oe ces Gutenberg's workmen which the inventor regarded as the most who appeared for him on the trial; and admirable feature of his invention. D A Summary of the Articles of Faith, by The dignified and reverential language Thomas Aquinas, a quarto of 12 leaves, Mi of the Ct by H f & irror 0, e Clergy, by Hermann o: Saldis, “happily perfected and printed S the emperors were crowned. In the four- at Mentz,” a quarto of 16 leaves; A Trea- f] teenth century, it was so strong that it tise on the Necessity of Councils, etc., a +] could send out of its walls 10,000 armed quarto of 24 leaves; A Dialogue between PR itizens to destroy the strongholds of Cato, Hugo and Oliver about Eeclesias- iS a ee pie xobb ane heihad e rs e it tical Liberty, a quarto of 20 leaves. Ber- © ie the noble. robbers) who) hae Taye e as nard says that some of these works were 4, commerce. Unceasing civil strifes had probably printed by an unknown printer - re) driven away the more feeble part of her at i ene punters of se ets & population. In 1461, it was the wreck of gence of 31 Vines ) ; but this conjecture o ap its earlier greatness: it had put 50,000 two printing offices, about which history and tradition are silent, which never pro- =~ inhabitants and was burdened with debt. Wer eays lewa exponitir. ex legig.d2 a lego.gis.legi oz legitur.Et eft ex tie feripti afeifcens bonelti. plaibens cont” vit. wl lex ¢ fenpti populo pmulantii magiftra tu querenre et populo refpondmn te. Solebat en magifter anitatis cum aliqua legem uellet inftitu ere afcenzere pulp) titm media concdne et quiere apopulo fi uellet ilud vatit eTe.et accepta ritfie nea populo wineps p lege habcbaf’.fm hug. Et fdas o lego. gis.cor le in pitt § iniprerito vod. Vinee lex legis tenct naturain hurus previ ti legi.cum primam prod.X%v-flon eect illa leat mn funt contrana leqi.Oe lege nali udoe in conicia JL exis inte Pratuz paufacd uel fermo.et in baz barolexis 6 hug. Pap uero diar.Lexis Gree lati ne locicd,r.quelibet Alla nf wox gue feribi ocb3 Fac-simile of the Types of the Catholicon of 1460. [From Bernard.] Diether, Count of Isenburg, was then archbishop and elector of the city, by the consent of the majority of the inhabitants ; but the rival archbishop, Adolph H, Count of Nassau, supported by Pope Pius l, claimed the archbishopric, and made war upon Diether. The conse- quences of the war, which nearly ruined the city, are forcibly stated by Schaab. “The enmity between two archbishops was the cause of one of the most terrible days to the town of Mentz. It was the 28th of October, 1462, the day on which Christianity celebrated the anniversary of the apostles Simon and Judas. Mentz had remained faithful to the archbishop Diether. Adolph therefore tried to con- quer it by stratagem and treason. Trai- tors were gained over in the town, who entailed upon a half thousand of their fellow-citizens death, and endless misery on many more. By the treachery of some wicked persons the town was as- saulted during the night between the 27th and 28th of October, 1462, by the follow- ers of Adolph; its noblest citizens were murdered, and most of them robbed of their possessions, and driven from the town. All kinds of mischief were com- mitted toward those who remained be- hind. Neither age, rank, nor sex was exempted. The booty was sold publicly in the cattle-market, and the money di- vided between the soldiers. Helbig says that all the larger houses that had not been destroyed by fire were confiscated. The booty was divided in three parts: Adolph took the first and the best part, the nobles of his army claimed the GEORGE BRUCE'S SON & OO., TypE-Founprrs, No. 13 Cuampers-Srrenr, NEW-YORK. de! re oP a}, ty ap SEO alkane "a ‘4 7 aE, ~" La “iwaencpnte near ie ‘ + enueea a et Wee a Lae ge Ler PAR He WN I ah a r TNR CME tte nit eae iON TE Gag 3k “i : r) LEO wiRMar it Oty Ue sth GL oh? 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Bia 4 Te ., Hindi: « ine ne ae nd te ~ bao ot Ap atl a | 7 ince nore Joi eee & Qu conenares iictee 23 > Peon eal gt. preemie 7 ged pha os Jdbppee vay es ih yet fbe dad Diy 134 . NonpareiL, No. 20. Tue LATER Work OF GUTENBERG. second: the soldiers, ‘a band of mercenary savages,’ took the remainder. (JVotes e¢ dissertations, p. 52). Of the expelled citizens only a few gradually returned in secret to their relations. But the town, so populous before, remained empty, and all in- dustry was destroyed. ‘The elector Adolph 1 found it necessary, on the Saturday after St. Thomas’s day of the same year, to issue a proclamation whereby he promised to all who wished to trade or to exercise a profession in Mentz, protection for their persons and possessions, to induce a few to return. A town, a short time before flour- ishing with commerce and industry, had been robbed in a few days of its privileges and utterly destroyed.” as In the general sack of the city, the house of Fust was burned, and his printing materials were destroyed. During the three years that followed no books of value were printed in Mentz. We do not know how Gutenberg was affected: we find no authoritative statement that his printing office was destroyed; it is not even certain that his officé was then in the city of Mentz. In the year 1466, the printing office which contained his types was in active operation at Eltvill, a village not far from the city. As this was the place where Gutenberg’s mother was born, and where she had an estate, it is probable that Gutenberg found some advantage in making it his resi- dence, soon after his separation from Fust. Eltvill was also the place which Adolph 1 had selected for his residence before he made his attack on Diether. It may be presumed that Eltvill was the place where Adolph first knew of Gutenberg and his works. In 1465, Adolph 11 made Gutenberg one of the gentlemen of his court for “agree- able and voluntary service rendered to us and our bishopric.” The nature of the service is not defined. Gutenberg was certainly not a soldier. His German biogra- phers do not believe that, as diplomatist or politician, he favored the cause of the destroyer of the liberties of his native city. Helbig thinks the words used are purely conventional and that this distinction was conferred on Gutenberg because he was connected with the old nobility of the city. It is a more common and a more reason- able belief that Adolph recognized, to some extent, the utility of Gutenberg’s inven- tion, and took this method to honor the inventor. ‘“Wr, Adolph, elected and confirmed archbishop of Mentz, acknowledge that we have considered the agreeable and voluntary service which our dear and faithful Johan Gutenberg has rendered to us and our bishopric, and have appointed and accept- ed him as our servant and courtier. Nor shall we remove him from our service as long as he lives: and in order that he may enjoy it the more, we will clothe him every year, when we clothe our ordinary suite (wwsern gemeinen hoffgesind), always like our noblemen, and give him our court dress; also every year twenty mout of corn and two voer of wine for the use of his house, free of duty, as long as he lives, but on con- dition that he shall not sell it or give it away. Which has been promised us in good faith by Johan Gutenberg. Eltvill, Thursday after St. Antony, 1465.’’! 1Schaab says that an aristocratic appoint- ment at the court procured this nobleman a comfortable life. Voluntarily he followed the princely court, where he had a free table and fodder for his horses. Even for his dress he received cloth in the court colors, and gener- ally wore a kind of mantle, called Tabard. It was in accordance with the morals of that time to carouse at court. They went there with empty cups and returned with full ones. The princes tried not before the sixteenth century to put a check to this excess by special orders. The elector Johan Schweikard von Kronen- berg ordered, even in the year 1605, to leave the grossen Saumagen— this was the name of the cups then used — for the future at home. However comfortable and Germgn-like all this may look, miserable were these court-wages, this dress, these alms presented to the inventor oftypography. Butno, itis perfectly in harm- ony with the general course of earthly things. Van der Linde, Haarlem Legend, p, 29. Tue Later Work or GUTENBERG. The man who had invented an art which promised to renew the literature of the world, who had printed two great Bzbles, a Latin Dictionary, and many minor works relating to religion, had surely rendered service to the first ecclesiastical dignitary of Germany. Here Gutenberg’s work ends. If not disqualified by the infirmities of age from the management of his printing office, his position as courtier must have compelled his attendance at the court of the archbishop. Possibly, the rules of the court required Gutenberg to withdraw from business. Whatever the reason, we see that the printing office at Eltvill passed into the hands of his relatives by marriage, the brothers Henry and Nicholas Bechtermiintz. It does not appear that these men had been formally instructed as printers in Mentz. As they acquired no rights of proprietorship in this office, as they were men of middle age, rich, of noble birth and of high civic position, it may be supposed that they took charge of the office to oblige Gutenberg and the archbishop, and, perhaps, from a pure love of the new art. In the year 1467, this printing office at Eltvill produced a book now known as the Vocabularium ex guo, called so because these first words of the work serve to dis- tinguish it from other vocabularies. It is an abbreviation of the Catholicon, and for that reason is described in the colophon as an ofuscudum, or a little work; but it is a heavy quarto of 330 pages. It is printed with the types of the Catholicon, and shows the same peculiarities of composition. The colophon says that ‘this little book was made, not by reed, nor pen, nor stencil plate, but by a certain new and subtle inven- tion. ...by Henry Bechtermiintz, of blessed memory.!.... Nicholas Bechtermiintz, and Wygand Spyess.of Orthenburg.”’ 2 Gutenberg could not have abandoned his printing office with much regret. He had abundantly demonstrated the utility of his invention and his own ability as a printer by the publication of two great books and many pamphlets. His art had been adopted in five German cities: it was then making its entry in Rome; it was eagerly sought for by the king of France. A future of unbounded popularity and usefulness was before it. The young men to whom Gutenberg had taught the practice of printing had so improved that they were his equals and superiors, and the old man of quite seventy years could not cope with these competitors. His ambition for pre-eminence in his own art, or for the wealth that should have been derived from its practice, if he ever had such aspirations, had to be given up. It was time that he should quit the stage. Gutenberg did not long enjoy the leisure or the honors of a courtier. In February, 1468, he was dead. Nothing is known of the cause or the circumstances of his death, nor is there any mention of a surviving family. We have to conclude that John Gu- tenberg, the inventor of the greatest of modern arts, died, weighed down by debts, and unattended by wife or child. The disposition of his printing office is stated in the following document: 3 _ “I, THE undersigned, Conrad Humery,‘ doctor, acknowledge by this writing, that his eminence the prince, my gracious and dear lord Adolphus, archbishop of Mentz, 1 Henry Bechtermiintz had died before the book was finished. 2The Vocabularium ex guo was reprinted by Nicholas Bechtermiintz, in the same types and in the same form, in the years 1469, 1472, and 1477-_ Only one copy is known Gris first edition of the book. 3From the preface to a curious and little- known poem entitled Lxcomion Chalcogra- phiez, by Arnold Bergellanus, as reprinted by GEORGE BRUCE’S SON & CO., TypE-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. Wolf in his Monumenta Typographica, vol. 1, page 5. 4It appears from this, that Humery, who owned the printing office, had neglected to properly record or establish his title. It was through the grace of the archbishop, who un- derstood the matter, that he was spared the trouble of re-establishing his right by legal process, ‘a1'los ‘dGI'IO$ WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. Tue LateER Work OF GUTENBERG. has generously delivered to me certain formen [matrices or moulds], characters [types], instruments, utensils, and other implements connected with printing, which John Gu- tenberg left after his death, which materials belonged and still belong to me: but, for the honor and the satisfaction of his eminence I am bound, and I pledge myself, by this document, never to put them to use but in the city of Mentz, and further to sell them, at a fair price, to a citizen of Mentz in preference to any other. In testimony whereof, I have put my seal to these presents, which have been made in the year of our Lord 1468, on the Friday after Saint Matthew’s day {26th of February].” In this strange document we again find the word /ormen, and the jormen are specified first, as if they were the most valuable tools. As types are specifically described, it is plain that these /ov7en mst have been matrices or moulds. Humery kept his word. The types and tools of Gutenberg remained with Nicholas Bechtermiintz until his death. They were then transferred to the custody or the possession of the Brothers of the Life-in-Common, who had a printing office at Marienthal, near Eltvill, as early as 1468. That this place was regarded as a part of Mentz may be inferred from the imprint they put on their first book, which is to this effect: Dated in our city of Mentz on the last day of August, 1468. Eltvill was the chosen residence of the archbishop, and under his jurisdiction, and might properly be considered as a dependency or a part of the city of Mentz. For some unknown reason these Brothers of the Life-in-Common made no use of the types of Gutenberg. In the year 1508, they were sold to Frederic Hau- man of Nuremberg, who established a printing office in Mentz, and who used these types in many of his books.! The house that had been occupied by Hauman as a printing office was subsequently used for the same purpose by Albinus, a printer of the seventeenth century. The types of Gutenberg were in 1One day when I was reading this interest- ing passage [of Bodmann, concerning the types of Gutenberg], the idea presented itself to me that it would be well to examine with care a certain volume printed by Frederic Hau- man, which was in a neglected corner of my library. I took it up, not thinking that I should make any discovery. I] knew that the last pro- ductions of the presses of Nich. Bechtermuntz were printed with other types than those of Gutenberg, and that, among the known im- pressions of the Brothers of the Life-in-Com- mon at Marienthal, none were executed with these characters. But judge of my astonish- ment, of my joy, perhaps, when I recognized in this neglected book not only the types of the Catholicon of 1460, the only ones appertaining to Gutenberg that could have been employed in the books that proceeded from the presses of Eltvill, but also the types that had been used in the Letters of Indulgence of 1454 and 1455, in the Appeal against the Trrks of 1455, the Calendar of 1457 described by Fischer, the Bible of 36 dimes, and all the characters of Albert Pfister — or, to be brief,— when I recog- nized the most ancient types of John Guten- berg. Helbig, Ue découverte pour l'histoire de Limprimerie, p. 4. Helbig gives a list of seven books, of little value, printed by Hauman, in these types of Gutenberg. He expresses his astonishment that they had not before been identified, but he offers no explanation of the singular fact that these types were not used by any printer between 1469 and 1506. Tue Later Work oF GUTENBERG. this house at the end of the sixteenth century, for Serarius, in his Azstory of — Mentz, says that he had seen them there,! Humery’s promise that, in the sale of the printing materials then contemplated, he would give preference to a citizen of Mentz, was obviously made at the request of the archbishop. It follows that the types of the dead printer were then regarded as relics of value of which the city should be proud. ‘This request, which would not have been made without occasion, seems to confirm the con- jecture that Gutenberg had previously sold the types, or at least the matrices, of the Bible of 36 lines to Albert Pfister, of the monastic town of Bamberg. It is not probable that the deed of gift would have been clogged with this stipulation, if there had been no sale. This request of the archbishop is the only evidence we have that Gutenberg’s work was appreciated, but the appreciation came when he was dead. No con- temporary writer noticed the Bzble of 42 lines, and no one during his lifetime suitably honored Gutenberg as a great inventor. The archbishop, who knew the merit of the man, and pitied his misfortunes, had not a word to say in the docu- ment that made him a courtier of his services as an inventor or printer. This indifference or want of perception seems inexcusable, but it was not alto- gether without cause. The readers of that time were somewhat familiar with printed impressions in the form of block-books, and the Azble of 42 “nes may have seemed to them but a block-book of larger size and of higher order. Know- ing that engraving, ink, paper, and impression upon surfaces in relief, were used in both processes, the ordinary book-buyer could have inferred that type-printing was the natural outgrowth of the older and well-known art of block-printing. According to this view, Gutenberg invented little or nothing; he did but little more than combine some old and well-known processes; he distinguished himself more by the great size of his books than by the novelty or merit of his process. It is but proper to expose this sophistry, for it is perpetuated to this day in several books on typography. This grave error did not originate with the first printers, who knew the. full difference between type and block-printing. They knew that Gutenberg was indebted to the earlier block-printers for a great deal of his knowledge, but they knew as well that his system of printing was a great and an original invention, for they clearly understood, what the ordinary book-reader did not, the value of its characteristic feature. And here it may be repeated, for the error is common and it is necessary to be emphatic, that the merit of Gutenberg as an inventor is not based upon his supposed discovery of the advantages of movable types, but upon the system by which he made the movable types. All the printers Helbig, Une découverte pour l'histoire de U’imprimerie, p. 4, note. NonpareEIL, No. 20. 135 ’ Tue LATER WorK OF GUTENBERG. of that period recognized the fact that Gutenberg’s method of making the types, or the type-mould, with its connections, was the proper basis or starting-point of the invention, Schceffer, who first printed a notice of the new art, speaks of it as the “masterly invention of printing and also of type-making,” implying that the art of printing was inseparably connected with that of type-making. John Gutenberg, in the Catholicon, has not a word to say about isolated types, nor about a combination of types: the admiration which he invokes for the masterly invention should, in his view of the matter, be bestowed on its system of making the types, or on the “ admir- able proportion, connection and harmony of the punches and matrices.” Gutenberg made no effort to secure for himself his rightful honors as the inventor of printing, but his friends who knew the nature and value of his services were not neglectful. We have abundant evidence that Gutenberg was the man, and Mentz the place, where printing was invented. Trithemius, from mformation furnished by Peter Schceffer, said, in a book written before r490, ‘‘About this time (1450), the admirable and then unheard-of art of com- posing and printing books, by means of types, was conceived and invented at Mentz, by a citizen of Mentz, named John Gutenberg.” Matthias Palmer, in 1474, said that John Gutenberg, a knight of Mentz, had invented the art of printing books. Ulric Zell’s testimony, given in 1499, is equally explicit. Polydore Virgil, in his treatise on /zventzons, says, in the first edition, that printing was invented by one Peter [probably Peter Schceffer], but in the second edition ‘of 1517, he corrected the error, and attributed the invention to Gutenberg. Wimpheling, in 1499, wrote and published at Heidelberg some verses praising Gutenberg, in which he said, ‘Blessed Gensfleisch! through you Germany is famous everywhere. Assisted by Omniscience, you John, first of all, printed with letters in metal. Religion, the wisdom of Greece, and the language of the Latins, are forever indebted to you.” Two professors at Heidelberg, at an earlier date (1494), had written panegyrics on Gutenberg as the inventor of typography, in which he is hon- ored above all the great men of antiquity.” Two friends of Gutenberg who, no doubt, knew all about his invention, put up tablets to his memory, in which his merit as an inventor is distinctly acknowledged. The inscriptions on these tablets have not received the attention which they merit. The tablet first placed was put up not long after his death by his relative, Adam Gelthus, near his tomb in the church of St. Francis. This is a translation of the inscription: ‘To John Genszfleisch, inventor of the art of printing, and deserver of the highest honors from every nation and tongue, Adam Gelthus places this tablet, in perpetual commemoration of his name. His remai Francis of Mentz.% ns peacefully repose in the church of St. Gelthus properly describes Gutenberg’s invention as the art of printing. Ina 1See pages 107 and 108 of this book. 2Many authors who do not mention Guten- berg speak of Mentzas the city in which print- ing was first practised. Van Laar, at Cologne, in 1478; Caxton, at Westminster, in 1482; the archbishop Berthold of Mentz in 1486; Mey- denbach of Mentz in 1494—these are a few of the many writers who have certified to this fact. A cloud of witnesses, says Van der Linde, join in the song of Celtes: ‘You wind yourself, already, O broad-waved Rhine! to the town of Mentz, which first of all printed with metal letters.’? Vander Linde, Haar. Legend, p. 32- 3In the year 1742, the Jesuits, who then had control of the church of Saint Francis, tore it down in order to rebuild another edifice upon the same ground. The tablet and the tomb of Gutenberg were destroyed. The inscription on this tablet was published for the first time in a book printed by Peter Friedburg at Mentz in the year 1499. Helbig, Notes et disserta- tions, Pp. 10. Ture Later Work OF GUTENBERG. practical view, there was no other, for block printing was not regarded as book printing. Equally instructive is the pithy inscription on the second tablet, which was put up by Ivo Wittig,! in the court of t he house of the Gensfleisch family, where Gutenberg is supposed to have died,” and which was then used as a law school. “To John Gutenberg, of Mentz, who, first of all, invented printing letters in brass Ee ices and moulds], and by this art has deserved honor from the whole world, Ivo ittig places this stone in commemoration, t Bogus . Ivo Wittig, who had probably known Gutenberg, and who clearly understood his rocess, is not content with a paraphrase of the Gelthus inscription. In plain words, e specifies the key of the invention: Gutenberg, first of all, made types in brass moulds and matrices. In other words, it was only through the invention of the type- mould and matrices in brass that printing became a great art. This inscription shows that Wittig, then professor of history in the University, and probably the most learned man in Mentz, regarded John Gutenberg as the true inventor of printing. Considered from a mechanical point of view, the merit of Gutenberg’s invention may be inferred from its permanency. His type-mould was not merely the first; it is the only practical mechanism for making types. For more than four hundred years this mould has been under critical examination, and many attempts have been made to supplant it. Contrivances have been invented for casting fifty or more types at one operation; for swaging types, like nails, out of cold metal; , for stamping types from cylindrical steel dies upon the ends of thin copper rods—but experience has shown that these and like inventions in the department of type-making machinery are im- practicable. There is no better method than the first. Modern type-casting machines have moulds attached to them which are more exact and more carefully finished, and which have many little attachments of which the inventor never dreamed, but in principle and in all the more important features, the modern mould may be regarded as the mould of Gutenberg. Gutenberg’s merit as an original inventor, although never properly recognized during his life, was never denied. But this merit was disallowed and set aside after his death by the sons and friends of Peter Schceffer. They said that printing was only half invented by Gutenberg, and that the complete invention 1s really due to Gutenberg’s assistant and successor. ‘As this claim has been repeated by many authors, it is necessary, for the vindication of Gutenberg, to review the work and workmanship of Peter Schoeffer and John Fust. Ivo Wittig, was an ecclesiastic of eminence, chancellor and grand rector of the University of Mentz, to which he gave his large library of books and manuscripts. When the Swedes approached Mentz, this precious library was removed. Unfortunately, it was put on a boat of the Rhine which was wrecked, and his rare collection of books was lost. Helbig says it is an irreparable loss, for Wittig was deeply in- terested in printing, and his collection, no doubt, contained materials of the highest im- portance concerning its history. 2Thisis anerror. This house is not connect- ed with the history of printing in any other way than in being the residence of Gutenberg when a child. When the Gensfieisch family were sent or went in exile, there houses were confiscated. It is not probable that Gutenberg died in the house bearing his name. E GEORGE BRUCE’S SON & CO., 3The Jesuit Serarius says that he saw this tablet one hundred years after it was erected. Between 1632 and 1636, when the Swedes were in Mentz, this house was sacked, but the tablet was spared. In 1741, it was taken down and laced in the wall in the court of a house be- Forisine: to the DE ie But this monument, which escaped the barbarity of the Swedish soldiers, was destroyed by the conscripts of the French republic, who were lodge in this house between the years 1793 and 1797. Hel- big says it is probable that these ruffians sus- pected John Gutenberg of aristocratic tenden- cies. They did not know that the old citizen of Mentz was, unwittingly, the leader of all democrats, revolutionists and reformers, the man above all others, who, by his invention, had paved the way for the French revolution. “dTI0$8 ‘aITOS WITH 8 TO PICA LEADS. WITH 8 TO PICA LEADS. XXIII THE WORK OF PETER SCHEFFER AND JOHN FUST. Schceffer a Copyist at Paris in 1449... Fac-simile of his Writing... Enters the Service of Gu- tenberg... Psalter of 1457, with Fac-simile of Types and Initials in Colors... Accurate Regis- ter of Initial made by Painting the Cut... Evidences of Painting... Fac-simile of Colophon in Colors... Different Theories concerning the Method of Printing... Scheeffer’s First Claim as an Inventor...Psalter probably Planned by Gutenberg... Fac-similes of the Types of the Rationale Durandi and of the Bible of 1462... Trade-Mark of Fust and Scheeffer... Fac- simile of the Types of the Constitutions... Jenson’s Mission to Mentz... Printing not a Secret... Death of Fust... Partnership of Schceffer and Conrad Fust... Fac-simile of Types of 1468...Schceffer becomes a Judge... Scheeffer’s Claim to the Invention of Matrices. Statements of John Scheeffer and of Trithemius... Their Improbability ... Statement of Jo. Frid. Faustus...Its Untrustworthiness. The man who enters the service of Gutenberg and Fust at Mentz after 1450, when the invention was completed, and has yet the courage to declare in 1468, that he, Petrus, entered first of all the sanctuary of the art, is, notwithstanding all his technical ability as a typographer, a bragger, against whose information we ought to be on our guard. Vax der Linde. Prerer SCHEFFER was born at Gernszheim, a little village situated on the Rhine, near Mentz, about the year 1430. Before he was twenty years of age, he was copying books at Paris, as is clearly enough shown in the colophon of an old manuscript book, which says that “this book was completed by me, Peter, of Gernszheym, or of Mentz, during the year 1449, in the most glorious University of Paris.” This isolated fact is the only authority for the assertion that Scheffer was a calligrapher, engaged by Gutenberg to design the letters and ornaments of the Bible of 42 lines. He may have been qualified for this service, but the thin letters and angular ornaments of his colophon are not like the thick types and flowing lines of Gutenberg’s Bible. Like all poor students of his time, Scheeffer was a copyist, but we have no evidence that he was a calligrapher or an illumi- nator, As a student of the University of Paris, he was qualified to read and correct proofs of a Bible in Latin, and this may have been the duty for which he was engaged. If so, he was not really needed in the printing office until the types were founded, or until 1453; but whether he came then or before, it is obvious that he entered the printing office as a boy from school, and that all he knew of printing was taught him by Gutenberg. He proved an apt scholar. Fust’s confidence in his ability is enough to show that he had added skill to his knowledge, and that, when Gutenberg departed, he was competent to supervise and manage all the departments of the printing office. Tue Work oF SCH@FFER AND Fust. wey : SAS Bernard thinks that Schceffer’s first work in his new place was to change the appearance of the Bible of 42 lines’ by the cancellation of eight pages of 42 lines, and the substitution of pages of 4o lines, with summaries printed in red ink. The extraordinary licence then fe enjoyed by copyists allowed the compositor to ue A abbreviate the words of a manuscript copy of iit WwW 42 lines, until they were crowded into the space + of 40 lines. The page was made of full length by leading out, or by widening the lines with bands of stout parchment. The first book published by Fust, after his separation from Gutenberg, was the Psalter? of 1457, a folio of 175 leaves, which is almost as famous as the Bible of 42 lines. Only nouelomneD seven fair copies of the edition of 1457 are known, and all of them are on vellum. The J l apuna leaves of this book are nearly square, smaller co i phe 3 in size than those of the Bzble of 42 lines, Til * but, like that book, they are made up, for the > most part, in sections of ten nested leaves. The ° nlo, size of the printed page is irregular, but most < pages are about 8 inches wide and 12 inches | . high. ‘The Psalms are printed in types of Double-paragon body, and the introductory or pi connecting text in types of Double-great-primer body. As the cut or fashion of these types Reduced Fac-simile of a Colophon is like that of the Bibles of Gutenberg, it is written by Scheffer. possible that they were designed by the same [bagi a hand. The leaf was not broad enough for the 1 Bernard's Se as to the reason for their types from dictation, not seeing the man- this change are plausible. Hesays: Thesales uscript copy, made their abbreviations without ~ of the Bzd/e had not beenso great as Fust had uniformity, and, as a necessary consequence, expected. Envious copyists had probably fos- produced pages of unequal length. This ex- tered a prejudice against the printed Bible as planation is quite as reasonable. purely mechanical copying, and for that rea- 21t could, with more propriety, be called a son, or on account of its known errors, inferior ritual. The psalms are sliced by prayers, col- to the ordinary manuscript. Fust hoped to lects, litanies, the service for the dead, hymns, remove these objections, and to attract pur- etc, But it is always described as a psalter. chasers by giving the unsold copies the ap- 3 The rubricated capital letters on the larger pearance of a new edition. Madden does not body, which are very large and square, might accept this hypothesis. He thinks that the two be regarded as another incomplete font, for kinds of copies were composed at the same which small letters had not been provided. time by different compositors, who, setting le SS SS SS eee TyprE-FouNDERS, No. 13 CHAMBERS-STREET, NEW-YORK. é : Ant ; ; f ‘i bas 7 7 , ; ‘ 7 veer — erat > ser ne ata ne > ae erate BY ean’ bexeunte’ ele tbe otis’ Dis tee Tee ee ee ewe Oty y : : 7 i er ee | wed ate a seri vile’ z / {cit > aamedn ty ple tae daly 4 pega oe Ae) | pest bi eg nn pey des bb ne gamed bates feuded wae Ae iw OS E E < . 18a) ite Fire pete ee wet re fh ote gay a edt spadaon hye teu epoadenp age ; : j er shes ay sofia. eee fo es , ge | joa Pu, wD ao eee Pier iy : 4 +¥ ow ‘ veh TY <4 Aypad tartan + oes Cae eae + 5 ’ ; \ vai iy ARIGEY GAO fax > (* eae: OF wh ge ~ i] J . « : . ae ie Ad) +? 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Wabi fe gl é a j SAAR, Cart A pital Any shigmmpecrdes (tg, Hy 4 “th : I : j aa) a sy Ne tifT fil, ales rho ee oF Wied ad m4 ‘eta ait i ye 2 eee TA Pir ge rode 204 toga -* < Me > earner o- we “see Y , ad rn — i; - | eee oe a y ” q % 46 i ; - i Sa ™ aie Y omnes f yee i) eee 2 eee ae ay ill « hf a Rated igre Oy ip ad At s (oe p etiiaipae ‘ A Mev alk : A i " | 4 geen -V'4 ¢ : # rerdprwens tee ee i pe» i othhnn Srl ¥ 0 bevd vt we Led he ji “a omy ee i > seggtnbs il mee A ¥ pl ye bé i Sager ir n & Roe ty ge hee, hans Bel) om ; . ; j ’ Pra Rai ae Ce serene “@ ‘ : ue + hs dala 4 Head \ " ‘ » 4 ry Prot e : oie dt BLT, Aes . peers aye eon gle radi eh caeatarte. #2) ’ _ by! dalla ie ath eH, be doren ker 6 tye oe, Lower it then gaa Meals + na : ; he Lo een pwd ‘Mia y | . | iw Silky, 4attp ha \ Verugyy io ine gery oy a a1 0 ret ip porns tee booteaiae } ad I 4s rete ite alee Ve aah cat Cp vera: > . . D. Vitus yt: * : , Ane eet © iSs ® a) pt emt wht oy Fe cit nee iy emer aoe temtinkem Rail pera (ae » - r™ wu TL 136 NonpPAREIL, No. 20. Tue Work oF SCHEFFER AND Fust. large-sized types, but a very large por- tion of it was given up to the initial letters and their pendants, which are of unusual dimensions. The space allotted to the print is small: but a few lines of the large types could be put on a page, and on many pages it was necessary to use small types. The fault of uneven or ragged outline on the right side of the page, which has been noticed in the Bzble of 42 lines, is repeated more strikingly in the Psaltey.! Here and there spaces were made for plain chant notes of music, parts of which ap- pear in printing ink, while other parts seem to have been retraced with a pen. It is obviously an imitation not only of the copyist’s but of the illuminator’s work upon a fine manuscript. It was intended that the book should show the full capacity of the newly discovered art. Letters and lines in red ink are to be found on every page, and there are many very large and profusely ornamented initials in red and 1Savage said, before he had critically ex- amined the ink of the book: “Jt is a curious fact that, under Fust and Gutenberg, the process [of printing in colors should be carried nearly to perfection; for some of the works they printed, both in the quality of the ink and in the workmanship, are so excellent that it would require all the skil of our best printers, even at the present day, to surpass them in all respects: and I do not hesi- tate to say, that, in a few years after, the print- ers were actually superior to us in the use of red ink, both as to color and as to the inserting of a great number of single capital letters in their proper places in a sheet, with a degree of accuracy and sharpness of impression that I have never seen equaled in modern workman- ship.” Decorative Printing, London, 1822, pp. 6 and 7. After a closer inspection, Savage discovered that the red was painted. “Papillon declared that the red ink was of the most perfect beauty. Chatto said that this earliest known production [of the press of Fust and Scheeffer] remains to the present day un- impaired as a specimen of skill in ornamental printing. The art of printing was perfected by Fust and Scheeffer.”” Jackson and Chatto, Wood Engraving, p. 168. For illustrations of the First Page of the Psalter of 1457 and the Colophon of the Psalter of 1457, see Appendix. blue inks. To the young reader who is accustomed to the severe and colorless style of modern printing, the boldness and blackness of the stately text types of this Psalter, the brightness of its rubrics, and the graceful forms of its two-colored ini- tials, are really bewildering. They lead him to the belief that the workmanship of the book is of the highest order. This has been the opinion of many eminent au- thors; the Psalter of 1457 has been call- ed the perfection of printing. The initial letter B, the largest in the book, which is at the beginning of the first Psalm, Beatus vir, has been often reproduced, and commended as an ex- ample of skillful engraving, brilliant color and faultless register. The design is beau- tiful and admirably fitted for relief print- ing, but it is not in the Gothic or German style: the palm leaf fillet-work is oriental, and was probably copied from some Span- ish manuscript, the illuminator of which had been taught in the moorish schools. In a few copies, the letter is red and the ornament is blue; in other copies the col- ors are reversed. In all copies the thin white line which separates the red from the blue is always of uniform thickness: there is no overlapping or meeting of the adjacent colors. ‘The register is without fault in all the copies. The quality of the ink has been greatly praised: we are told that the black of the text is very deep and glossy, that the red has a vividness of color, and the blue a delicacy of tint, not to be found in the productions of any modern printer. It has been asserted that this Psalter is more neatly printed than any modern book; that Schceffer, with rudely made types, a rough press of wood, and with small experience in, or scientific knowledge of, ink-making, succeeded in producing presswork that has never been excelled on modern presses. These bold assertions require careful examination. The few experts in printing who have examined copies of this book have been so cowed by the rulings of eminent bibli- THE Work oF SCH@FFER AND Fust. ographers that they have not, apparently, dared to trust their own observation. Savage was the first to refuse the dictum of authorities and tell us what he saw with his own eyes. He distinctly says that the blackness of some notes of music was made by retracing with a pen! the faded lines of a paler printed color. Bernard? and Humphreys? plainly say that in the fine copy of the Jentz Psalter at the British Museum, some lines of text have been written in by hand. Humphreys thinks that this filling in of lines may have been done when the book was published. We have here trusty evidence that the printing of the Psalter was imperfect: that in some places the ink was too weak,4 and that the deeper color was produced by painting the letters with a pen. The brilliancy of the black ink has conse- quently been unwisely praised, for it is a triumph not of printing, but of painting. The same observation may be applied to the colored ink of the great initials. Savage denies the’statement of Papillon that the red ink is of the most perfect 1 He says the ink was dull yellow: On some of the leaves where music is given there is an appearance as if the oil in the ink had pene- trated through the vellum and tinged the op- posite side of the leaf with a dingy yellow. This had been supposed to be the case, but I find that the original tune had been printed with a dull yellow ink, and that subsequently a different one had been written in over the first, with black ink to match the color of the text; and so exactly is this effect produced that, if it were not for the remains of the printing of the original tune, it might pass unsuspected of being any other than the production of the press. Practical Hints on Decorative Print- ing, pp. 49 and 51. 2 De l’origine, etc., vol. 1. p. 225. 3 History of Printing, p. 85. 4Some writers say that the earliest printing inks were gum-water colors, which could be washed off the vellum with a wet sponge. But the ink of the Psa/ter was a true printing ink, a smoke-black mixed with oil. The modern pressman, who has ineffectually tried to make ordinary printing ink stick to parchment im- perfectly cleansed of oily matter, will at once attribute this failure of the printer of the Psad- ter to the oiliness of the vellum and the weak- ness of his printing ink. beauty: he says that “it is a very heavy brick-dust color.” Heineken says it is a dull red. A closer examination of the book revealed the fact to Savage that the initials also had been retraced or painted. “JT could not avoid expressing my as- tonishment at seeing in some pages two distinct red inks: one, the dull color be- fore spoken of, and the other, a red which, in printing, might fairly be called of the most perfect beauty; and I had nearly left it with the belief that there were two inks, red and blue, used in the printing of the book, which, for brilliancy of color, would set at defiance all the efforts of the present day to equal them. Some acci- dental circumstance caused me to view the book in a different light, when I dis- covered that the beautiful red was not printed but written in, so exactly like the type that it could only be ascertained by the want of indentation in the paper, which is invariably produced by pressure in the process of printing. By the same means, I also ascertained that the fine delicate blue was painted. Thus the colors pro- duced by printing in the capital letters are reduced to two, namely, dull blue and dull red.’’1 It is not difficult to explain this curious circumstance. The red and blue printing inks first used by Schceffer were so dull and faded that he would not suffer them to be compared with the brighter colors of fair manuscripts. He was compelled to brighten the colors by painting. AL though sold as a printed book, the Psalter was the joint work of the printer and the illuminator, and the features which the modern bibliographer most admires are those made by the illuminator. The process employed by the printer of the Psalter for securing an exact register of the colors was just as irregular. It is an error to assume that the two-colored initials were printed as similar work is now printed, by two impressions. Ber- 1 Practical Hints on Decorative Printing, page 50, ‘dT'TO$s ‘daIIO$s WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. THe Work oF SCHGFFER AND Fust. nard says that the red and the blue blocks of the initials, each engraved on a sepa- rate piece of wood, were made to fit each other, so that the red block should fit accurately in the mortised blue block. In the process of printing, each block was separately inked, but the red block was dropped in the mortise of the blue block before impression was taken,! After these painstaking preparations, exact register was inevitable. Blades does not accept this explanation. He thinks that the engraving for the red and the blue ink was done on one block, which was not printed with ink, but was embossed in the paper as a guide to the colorist. He says that his examination of the two-colored initials of a Bible made by Sweinheym and Pannartz in 1467 proves that they were not printed, but embossed, in the white paper; that the paper mask on the frisket was left uncut over the engraving, so as to shield the white paper from the ink, and to deepen the indentation of the engraved lines; and that the illuminator made use of this in- dentation, as he would of a pencil draw- ing, to guide his pen or brush when lay- ing on the colors. He further says? that a similar operation was carelessly done in parts of the Psalter of 1457; that some of the spiral lines, finials and ornaments 1 This method of printing in colors was pat- ented by Solomon Henry of Great Britain in 1786, and in another form by Sir Wm. Congreve in 1819, and by him applied to the printing of maps. ddridgment of Specifications relating to Printing, London, 1859. Improvements in machine presses have put out of use these methods of printing in colors. 2 Life and Typography of William Caxton, vol. II, p. liii, note. were left uncolored, but that the process was plainly exposed by the indentation of the engraved lines. It is not necessary to accept Blades’ opinion that the coloring was done entirely with pen or brush: the few uncolored lines in the initials of the Wentz Psalter may be regarded as blemishes occasioned by an accidental overlapping of the mask on the frisket. Savage’s statement that the blocks were printed with ink is too posi- tive to be disputed. Nor is it necessary to accept the hypothesis of Bernard that the blocks were engraved in two pieces and mortised, that they might be printed by one impression. We may rightfully suppose that Schceffer tried to imitate the work of the illuminator by the imitation of his method. To engrave the initial and the ornament around it on one block, to paint the letter in one color and the orna- ment in another, and to print both colors by one impression, seemed the surest way to do the work. That this was the inten- tion of the designer of the letters is evident from the manner in which the colors are divided. Contrary to the usage of the illuminators, who were fond of interweay- ing colors, each color was kept apart in a mass, that it might be inked with greater facility. And this inking was probably done with a brush. Blue ink was painted on the letter, and red ink on the ornament, at a great sacrifice of time, but with neat- ness and without interference of the colors.} 1 Blades shows fac-similes of the printed work of Colard Mansion, in which we see that his red and black were printed by the same im- pression. Lz and Typography of William Caxton, vol. 1, p. 43. Also, plates III & VIII. THE Work oF SCH@FFER AND Fust. It should not surprise us that exact reg- ister was secured, but it was more a feat of painting than of printing. Setting aside the colors, the workman- ship of the Psa/tey! is not neater than that of the Bzble of 42 lines. The right side of every page is much more ragged? through bad spacing; typographical er- rors? are more frequent; the lines are often bowed or bent in the centre from careless locking up. The presswork is not good; the pages are dark and light from uneven inking, and the types have a grimy appearance, as if they had been inked with foul balls and printed on over- wet vellum. The colophon or imprint attached to this book says: “This book of Psalms, decorated with antique initials, and sufficiently empha- sized with rubricated letters, has been thus made by the masterly invention of printing and also of type-making, without the writ- ing of a pen, and is consummated to the service of God, through the industry of 1The modern printer who may regard this method of color-printing as perio and waste- ful of time, must be reminded that, slow as it may now seem, it was a quicker method than that of hand-drawing and painting. The differ- ence between the old eAne modern process of printing in colors will be fully stated, by saying that Schceffer printed, probably, but forty copies of this initial in one day, and that the modern pressman on a machine press would be required to produce, from two im- pressions, about twenty-five hundred copies in one day. Far from being a specimen of the skill of the early printers, this initial B is a flagrant example of their inexperience and the rudeness of their methods. 2See fac-simile, plate 15, Humphrey's His- tory of Printing. 3 See fac-simile of the Colophon of the Psal- ter of 1457, in the Appendix, for the frequent transposition of the letters ¢ and c. Also in first line of same fac-simile, Preser spalmo- rum for Presens psalmorum. ee ee Johan Fust, citizen of Mentz, and Peter Scheeffer of Gernszheim, in the year of our Lord 1457, on the eve of the Assump- tion, [August 14].”” This imprint is ingeniously worded. Fust and Schceffer do not say, in plain words, that they were the inventors of printing; they invite attention to the red ink and the two colored initials which were here used in printing, with fine effect. They speak of rubricated printing and of the invention of printing as if they were inseparable. They suppress the name of Gutenberg, and induce the reader to be- lieve that Fust and Schceffer were not only the first to print with letters in red ink, but the first to discover and use the mas- terly invention. This insinuated pretence had the effect which was, no doubt, in- tended. By manyreaders of that century, Peter Schceffer was regarded as a man who planned and printed the Psalter, the man who made the types, not only of this book, but of the Bzble of 42 lines. Made bold by the silence of Gutenberg, Scheeffer allowed, if he did not positively authorize, the statement to be made by his friends, that he was the true inventor of printing; that he took up the art where Gutenberg left it incomplete, and per- fected it. Before this assertion can be examined, it will be proper to consider the date of 1457 in the imprint of the Psalter. If Schceffer planned and printed the book, he did all the work in the twenty-one months fol- lowing Gutenberg’s expulsion from the partnership. _ This is an unreasonable GEORGE BRUCE’S SON & CO., Typr-FounpDERS, No. 13 CHAMBERS-STREET, NEW-YORK. exposition, by Durandus, of the services entirely ad There are two kinds of 4 book bearing the imprint of Fust and He ; EM. : , hike chuvch Itis a follo of x60 leaves, COPIES one has printed capitals like those "2 Schoeffer between the years 1462 and 1464. is in German, contains 106 lines of Great-prim- 2columns to the page, in types on English of the Psalter, the other has illuminated + Th 1 1 k ¢ Fus Gs type, and is rinted on a Sheet of the size body, 63 lines to Ree anh ‘Tt Fey = = = initials. To provide suitable spaces for these <2) e unemployed workmen of Bust an rege a ce. i when = bon y 03 5 as many : SEU: . zee ate Spa — tae : ed Mentz, he issued counter proclamations. rubricated letters and lines, and ends with written initials, which are of large size, the Hi Scheffer By exe obliged us leave the city. First of all was a proclamation dated August 8, a colophon, in red ink, worded like the Te oh ccc ha tas pacer an = In leaving it, they carried with them the 146x, ae ~ Be en seodeaie III, anaes chceffer had been an able calligra- + Bal si i ees cing the deposal of Diether. It was printe: 1 Fournier thinks that @2Z the letters of the hi I ld h d Se, gre Ke ~ knowledge of the new art, w hich in a few ona half sheet, in German, and in the types of . i letters pher, he wou ave demonstrated his © =a : i he Bib 62. The other proclam salter were.cut on wood. De l’origine, ete., abil 2 : a, years, they established in all the larger the Bzdde of 1462. The other proc amations de Vimprimerie, p. 231. But Bernard says: ability by the production of types of finer = ae were bulls or briefs in Latin, against Diether, “ After a careful study of many copies, I de- proportions than those of Gutenberg. If 4 cities of Europe. from Pope Pius 11, dated at Tivoli. All of them bene ae — es Z ely printed with he was an expert type-founder, and the o . The war between Diether and Adolph ae 4 Round eothic Ree aneansees es of founded metal, and founded, too, with j = = $ c " e first bull warns the people to shun Die tabs precision.” De oricine eres pevceion or ee Ope mould, he should have for the possession of the electorate of as they would a pestilent beast; the second buts, etc., vol. I, p. 224. ‘ ‘ proved his skill by casting types of neater © Mfentz was the occasion of some curious 'S the warrant for the installation of Adolph ; 2 The last edition of the book, printed byhis finish. The first types made by him or : ; ; ; the third orders the clergy to obey Adolph; son, John Scheeffer, in 1516, shows the great by his order after his separation from Gu- ‘aa proclamations which were printed in the ei Sane oe pe oe ee ett : ‘; : = 3 Cir . € Vk, : ase! m from allegiance to 1€ . er yccen tenbere are exhibited in the Rationale G1 types of Scheeffer.! Two editions, one in "The fifth bull relates to a different matter: it graved on one block, It proves also that the ees ie they do not_warrant the = 1 The one first printed is dated April 6, 1462 : — forth eee ae Se een S original method of painting the letter in two Opinion that he was a very skillful designer itis a manifesto, from Diether, notifying all eae tothe urks, Bernard, De/’origine, colors had been found expensive and imprac- or an ingenious type-founder. The com- people that he is the lawful ruler, and that etc., VOl. I, DP, 242. ticable. bination of Gothic and Roman which he Adolph is the usurper. This document, which 2Bernard, De origine, vol. I, p. 273- Tue Work oF SCHG:FFER AND FUuST. Tue Work or SCH@FFER AND Fust. there exhibited is evidently an imitation of Round Gothic was not happy, for the new Messire Guthemburg, chevalier, a resident the Round Gothic face used by Gutenberg face is inferior in design and execution. . of Mentz in Germany, a man dextrous in in the Letters of Indulgence and the Ca- But the Round Gothic permitted the com- Ws enerayingeandiin ty aenind puncheend tholicon. _Schoeffer’s types present no pression of the book within fewer pages, a Breving F Re apie features of superiority : they show man- and was a more economical letter for the i. she Fae mig ty we Fa: r ithe’ ad Flyer *, ’ ty renat sod ab we o& af » eenihi 4% pe" over] Ne tre . ee ee 7 wp Gest me 1" i Ah - L ae aa net arte vs * 1 y Ward £ 7 as ae - ae “4 ; . ‘ — j % al 7 ; " 5 ‘ P if ~ . < ’ ( } ea i} : ; j ‘ jaan is ' ‘ ; . = A, ae ey i -) OHOW 44 aes vo! ; i ce ; é ee ) a eee _ : - | - 7) i oe ae re ‘4 "i ; _ : 1 : ‘chicane Ae Mell - _— i ' ; » ee a RS w+ >bregcer? ang * wey daa! Ve +) e-ar o . " be. Dap aye mee asi A . athiaes ' Ried ane + mee prlifhe ee whe sw! - ce in Alar ; joven t f Sal Sieh aA aN aa is 40, Sr italy, ob ; wig ee fe ee es aa a ‘ ofthe not e iM bai” athe kg aioe! J “eaten ee Ta > et 1A > a 7 ; oa : . ; * nM +, 1 pA i leavening BP) ator ae RN Np neal,» * L, desi ae ¢ sh Lovell wel ‘ Lite aa z : 7 nanos ae inte : Tok de ee IW ee'< ne, oar [a - en ' i] & ja 7 °_ eo Gyr a eo lati a «a edie [ag 7 * if i ees th nh CpG o— oren i. j ~— a al ’ Tee a, i s = iy i 138 Tur WoRK OF SCH@FFER AND FUsT. Hager to prevent the threatened rivalry of Jenson, Fust appeared in Paris, in 1462, with copies of the Bible, while Jenson was ineffectually soliciting the new king to aid him. So far from being persecuted in Paris, Fust was received with high consideration, not only by the king, but by the leading men of the city. He was encouraged to establish in Paris a store for the sale of his books, and to repeat his visit. ; ° These Bibles have been the oceasion of an incredible legend which was first told by one John Walchius. It would not deserve repetition here if it had not so often appeared in modern literature. He says that Fust offered one copy of this Bible to the king for sixty crowns, and another copy to the archbishop for fifty crowns. To tempt indifferent purchasers, he abated his price until it was but forty crowns, a price so small and so insufficient as to excite the greatest wonder. ‘The purchasers of different copies, fearing trickery, compared their copies. Instead of discovering imperfection, they found an unvarying unifor- mity which was unaccountable. Meanwhile Fust was still offermg for sale other copies, and all were exactly alike. As it was clearly impossible that any copyist could write so many books with this precision, it was obvious that Fust was in league with the Devil, and that the Bibles were their joint production. — The logical process by which this conclusion was reached is not stated; but we are told that complaint was made, that Fust was arrested, and thrown in prison, from which he was not released until he had revealed the secret. The absurdity of the story is transparent. Bernard has shown that it rests on no valid authority. ; In 1465, Schceffer printed the Decretals of Boniface VIL, a folio of 141 leaves, each page containing a text in large types, surrounded by notes in small types. Red letters and lines are introduced, but there are no engravings, and the presswork is in no point better than that of the Bible of 1462. The colophon exhibits an unscrupulous appropriation of the words of the colophon of the Ca- tholicon of 1460 ;1 but, unlike the printer of that book, Fust and Schoeffer here advertise themselves as the men most intimately connected with the great invention. We can plainly see their strong desire to be regarded as the first printers, but their is as yet no clear statement that Schoeffer was the real in- ventor of printing. In the same year was printed by Fust and Schoeffer an edition of The Offices of Cicero, a small quarto of 88 leaves, in their smaller size of Round Gothic types. To make the book of proper thickness, and perhaps to improve the ap- pearance of the types, which show signs of wear, Schceffer put thick leads, about one-tenth of an inch thick, between the lines. As it is the first book in which leads of per- ceptible thickness were used, this real improvement in printing may be attributed to Schceffer. This edition of Cicero is also distinguished as the first book in which Greek letters were printed; but these letters were not types— they were engraved on wood in a rude manner. In this year Conrad Sweinheym and Arnold Pannartz, who had established a printing office in the monastery of Subiaco, near Rome, printed an edition of Lactantius, in which Greek types were used. 1 See page 133 of this book. THE WORK OF SCH@FFER AND Fust. This edition of Cicero has the following colophon : “This very celebrated work of Marcus Tullius, I, John Fust, a citizen of Mentz, have happily completed, through the hands of Peter, my son, not with writing ink, nor with pen, nor yet in brass, but with a certain art exceedingly beautiful. Dated 1465.” The phrase, not in brass, neque xrea, must be understood as, not by engraving im brass or copper-plates, or not by the process then employed by the copper-plate printers. The use of the words, Peter, my son, may be understood as the first acknowledgment by Fust of the marriage of his daughter to Scheeffer. The Cicero was reprinted on February 4, 1466. Soon after its publication, Fust made another journey to Paris. Before he could perfect his arrangements for the sale of his books, Paris was depopulated by the plague, and it is the common belief that Fust was one of its victims. This is not certainly known, but he was dead on the thirtieth day of October, 1466, the date of the first mass instituted for him at the Church of Saint Victor at Paris, where his body was buried. The Library of Geneva has a copy of this edition of Cicero, which contains, in his own handwriting, the acknowledgment of Louis de Layernade, first pre- sident, of Languedoe, that the book had been presented to him in Paris, by John Fust, in July, 1466. ; The record of this church says that the mass was instituted to John Fust, printer of books, ‘‘ by Peter Scofer and Conrad Henlif,”’ who gave to the church the Hpistles of Saint Jerome, printed on parchment, and valued at 12 crowns of gold. In 1473, Schceffer established another mass for Fust and his wife Mar- garet, with the Dominicans at Mentz, for which he gave a copy of the Epistles of Jerome and of the Constitutions of Pope Clement V. As two hooks were here required, it shows that the price of books was rapidly decreasing. _ After Fust’s death, Peter Schoeffer took his place at the head of the printing house. It seems, howeyer, that he had a partner, one Conrad Fust, or Conrad Hanequis, who was, no doubt, the Henlif mentioned in the record of the Church of Saint Victor. Bernard says that this Conrad was the son of John Fust, and that Christina Fust, who married Schceffer, was Conrad’s daughter. The only evidence that this Christina was Conrad’s daughter is the statement in the application, which is printed below. But this statement is not enough to overturn the contradic- tory statements of other writers of that day, who had better knowledge of the true relationship of all the parties. Wetter thinks that Conrad was another son-in-law to Fust. We know very little about him. It does not appear that he had anything to do with printing before the death of Fust, nor did he exer- cise any known influence as a printer. His name is not to be found in any of Schoeffer’s books. It is not known when he died. iy book belonging to the Church of Saint Peter of Mentz contains the fol- lowing record of their application for the manuscript of a book to which they wished to refer: : “On Tuesday evening, January 14, 1468, the dean and the canons of the chapter being assembled in the court of Rhingrave, the discreet, man, Conrad ‘a1T'1O$8 Portrait of Peter Schetter, {From Dahl.] ‘daITIO$S WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. Nonpareiu, No. 21. THE WORK OF SCH@FFER AND FustT. Fust, citizen of Mentz, respectfully requested of their reverences that they would be pleased to lend to him, and also to Peter, the husband of, his daughter, a book from the library of our church, to be used as a copy, namely: the Saint Thomas [of Aquinas], entitled Liber super quarto sententi- arum, and of which they wish to make many copies. The canons, con- sidering that. this request was just and pious, and that it would be productive of good, consented to the request, on condition, however, that he should replace this book, together with the Decretals of Boniface, and further, that he should give proper security to the canons. It was so done.” This manuscript was returned, as had been agreed. It was probably used to collate the text of their editions of this book, a big folio of 548 double- columned pages in types on English body, which was completed by Scheef- fer and Conrad Fust, June 13th, 1469. Soon after Gutenberg’s death, Scheffer put forth this artful claim for recognition as one of the inventors of the new art: “Moses, in the plan of the tabernacle, and Solomon, in the plan of the temple, did nothing more than imagine a meritorious work. The merit of constructing the temple was greater than Solomon’s thought. Hiram and Bezaleel, greater than Solomon, improved on the plans of Solomon and Moses. He who is pleased to endow mighty men with knowledge has given us two distinguished masters in the art of engraving, both bearing the name of John, both living in the city of Mentz, and both illustrious as the first printers of books. In company with these masters, Peter hastened toward the same end.! The last to leave, he was the first to arrive; for he ex- celled in the science of engraying, through the grace of Him only who can give genius and inspiration. Hereafter every nation may procure proper types of its own characters, for he excels in the engraving of all kinds of types. It would be almost incredible were I to specify the great sums which he pays to the wise men who correct his editions. He has in his employ, the professor Francis, the grammarian, whose methodical science is admired all over the world. I, also, am attached to him, not by any greed of filthy lucre, but by my love for the general good, and for the honor of my country. Oh that they 1 This passage is an allusion to the running of the disciples to the sepul- chre where Christ had been laid. ‘So they ran both together; and the other disciple did outrun Peter, and came first to the sepulchre... yet went - he not in...,. Then cometh Simon Peter following him, and went into the sepulchre,’? St. John, xx, 4, 6, THE WORK OF SCH@FFER AND FusT. who set the types and they who read the proofs would free their texts from errors! The lovers of literature would certainly reward them with crowns of honor when with their books, they come to aid the students in thousands of schools.” Institutes of Justinian, 1468. In this colophon, Schceffer claims superior skill as a letter cutter. This pretension must be tested by his works. His first types, on English body, appeared in 1459, at least four years after Gutenberg’s expulsion from the partnership; his next types, on Great-primer body, appeared in 1462; his last types, a very bold-faced Round Gothic on English body, were’ first shown in 1462, and this new face is but a font of small letters fitted to the capitals of the English of 1459. It seems that this was done to avoid the expense of making a new mould, and to save the labor of cutting new capital let- ters—an evasion of duty not at all ereditable to the alleged inventor of the type-mould. Gutenberg made four sizes of Pointed Gothic—the Para- gon of the Bible of 42 lines, the Double-pica of the Bible of 36 lines, the Double-great-primer and Meridian of the Psalter of 1457—and three sizes of Round Gothic, the large English of the Letter of Indulgence of 31 lines, the small English of the Letter of Indulgence of 30 lines, and the Pica of the Catholicon of 1460. They were cast on seven distinct bodies. Schoeffer's three faces of types, one of them imperfect, were cast on two bodies. These are the only types made by Schceffer. If we compare them with the types of Gutenberg, it will be perceived that they are fewer in number and of inferior design and execution. It is absurd for Schoeffer to claim even equal merit with Gutenberg, either as letter-eutter or type-founder, Schceffer’s real merit is to be found in his eminence as a man of business. He was, no doubt, chosen as Gutenberg’s successor, for his presumed ability as a manager and a sharp financier. This presumption was warrantable. His subsequent management of the printing office shows that he was a thorough man of business—a born trader. He has not shown that he was a mechanic or an inventor. Like John Fust, he practised printing, not because he loved it for its own sake, but because he loved its excitement and its promised rewards. Schceffer established agencies for the sale of his books in Lubec! and Frankfort,? and probably in other cities. He sold not only his own books. 1 He consigned his hooks to one Hans Bitz of _ 2To become a freeman of the city of Frankfort, Lubee, who died, leaving the debt unpaid. Scheeffer paid a tax of 10 pounds 4 shillings. GEORGE BRUCE’S SON & CO., Type-FounpERs, No. 13 CHaMBERs-STREET, NEW-YORK. ——_- NonpaArein, No. 21. 139 THE WorK OF SCH@FFER AND FUST. ‘put those of other printers.! We have many evidences that he was unwearied in the prosecution of his business, which seems to have been attended with much risk of loss.2 His prosperity was at its highest point in 1476, in which — he printed four large books. After 1480, his interest in the printing office egan to decline. Between 1490 and 1502, but six books were issued from his office. It is worthy of note that his last book was the fourth edition of the Psalter, the book with which he began his typographical career. During his later years, Schoeffer was made ajudge. His official duties pre- vented him from giving close attention to his printing office ; but printing was neglected by him because it had almost ceased to be profitable. He had com- petitors, not only in Rome, Paris and Venice, butin all the larger cities of Ger- many, and eyen in Mentz and Strasburg—competitors who were more skillful as printers and more shrewd as publishers. They had perceived that the art of printing would be of little advantage to them, and of little service to the world, if its practice was confined to the servile imitation of manuscript books, or if it expected to derive a generous support exclusively from the rich, or from men of taste and men of letters. The younger printers saw that it was neces- sary that books should be made more cheaply, and in more convenient forms. With this end in view, they introduced the cheaper size of octavo, which was much handier than the unwieldy folio or quarto. The rubricated letters and lines were supplanted by initials and borders engraved on wood and printed with the types in black ink. The fashion of surrounding a text with notes, and of making notes and text in measures of different width and length on every page, was abandoned: the text was put at the top ‘and the notes at the bottom. Signatures, catch-words, paging-figures, blank spaces between chap- ters, and the division of matter im paragraphs, were introduced. But the greatest innovation was in the letters themselves. When Nicholas Jenson fntroduced Roman types, and proved the superior legibility of light and simple lines, the uilarity of the sombre Gothic in Southern Europe came to an end. The new fashions were adopted by many printers in Germany, but they were not approved by Scheeffer, who resisted them till his death. In his judgment, the only model for a printed book was the Gothic manuscript copy, and he copied it as closely as he could, with all its imperfections. His son, John Scheeffer, who had some control over the printing office before his father’s death, timidly and tardily introduced paging-figures, but they were not regularly used in his later works. We may suppose that the father dis- liked the innovation. The invention of leads is the only improyement that can be attributed to Schoeffer. 1 There is in Paris a treatise by Dun Scotus, printed by Anthony Koburger of Nuremberg in 1474, which contains a bill of sale written by Peter Scheffer, which states that the book was sold to one John Henry for three crowns of gold. 2His agent in Paris was Hermann Stathoen, who died there in 1474, f before he had been made a citizen. According to the French law, all his effects reverted to the crown. The books of Scheffer were seized by the king’s commissioners, and were scattered and sold before his partner Conrad Fust, or Henlif, could make a reclamation. He ap- pealed to the king, Louis x1, who ordered that Scheffer should be yecompensed by the payment of 2,425 crowns. This was a large sum for that day: it was nearly four times as large as the sum fixed on in a valuation of all the books in the Louvre in 1459. “daT'TOS ADS. 4 bY WITH 8 TO PICA LI Sperioribs nup diebspemn tora queda giamatice ru; onméeta certo p ordimne nti mero podere ct menfutain nit cobercé inged labo conatul fit THE WorRK OF SCH@FFER AND Fust. century, wrote the following description of the invention, which he says he had from Peter Schceffer himself: “Tt was at this period (1450) in Mentz, a city of Germany on the Rhine, and not in Italy, as some people have falsely asserted, that this admirable, and till then unheard-of, art of printing books by the aid of types was planned and invented by John Gutenberg, a citizen of Mentz. When he had spent all his property in his search after this art, and was almost overwhelmed with difficulties, unable to find relief from any quarter, and meditating the abandonment of his project, Gutenberg was enabled by the counsel and by the money of John Fust, also a citizen of Mentz, to finish the work which he had begun. ‘hey first printed, with engravings of letters on blocks of wood, arranged in proper order in the manner of ordinary manuscripts, the vocabulary then called the Catholicon; but with the letters on these blocks they were not able to print anything else, for the letters were not movable, but fixed and unalterable upon the blocks, as has been’ stated. To this invention succeeded another much more ingenious. They discovered a method of founding the forms of all the letters of the Latin alphabet, which they called matrices, from which [matrices] they again founded types, either in tin or in brass, strong enough for any pressure, which [types?] before this had been cut by hand. In right earnest, I was told, nearly thirty years ago, by Peter Schoeffer of Gernszheim, citizen of Mentz, the son-in-law of the first inventor, that this art of printing had encountered, in its first essays, great difficulties. For, when they were printing the Bible, they were obliged to expend more than 4.000 florins before they had printed three sections [sixty pages]. But the Peter Schoeffer already mentioned, at that time a workman, but afterward son-in-law, as has been said, of the first inventor, John Fust, a man skillful and ingenious, devised a more easy method of founding types, and thus gave the art its present perfection. And the three men kept secret among themselves, for a while, this method of printing, up to the time when their workmen were deprived of the work, without which they were unable to practise their trade, by whom it was divulged, first in Strasburg. and afterward in other cities.” There are many inaccuracies in this statement. Gutenberg and Fust are represented as foolishly squandering money in vain efforts to invent xylog- quo bifcétis ce certion mens fieret1ab Fac-simile of the Types of the Latin Grammar of 1468. A bold-faced Round Gothic on English Body THE WORK OF SCH@FFER AND Fust. This curt review of the works and workmanship of Peter Scheffer should be enough to show that his reputation as the father of letter-founders, and the inventor of matrices and the type-mould, is entirely undeserved. His types show that he had no skill as a letter-cutter or mechanic. It is not possible that a man who has shown such feeble evidences of mechanical ability could have been the first inventor of the matrices and the type-mould. While Gutenberg and Fust were living, Scheeffer never made the claim that he was the inventor, or even a co-inventor, of printing. But when they were buried, he claimed that he was superior to both, and that he was really the first to enter the sanct- uary of the art. In 1468, he falsely said that although Gutenberg was the first inventor, he was the man who perfected the art. It seems that he must have told his friends many things about his pretended services which he was un- willing to print. In 1503, John Schceffer said in his first book that he was a descendant of the inventor of the almost divine art of printing. In 1509, he says in another book that his grandfather was the first inventor of printing. In 1515, he printed this extraordinary statement: ; : “The printing of this chronicle was completed in the year of our Lord 1515, in the vigil of the Virgin Margaret, in the noble and famous city of Mentz, where the art of printing was first developed, by John Scheeffer, descendant of the honest man, John Fust, citizen of Mentz, and inventor of the before-men- toned art. It was in the year 1450, in the 13th indiction, under the reign of the very illustrious Roman Emperor Frederic 11, the very reverend father in Christ, Lord Theodoric, grand cup-bearer of Erpach, prince elector, occupying the archiepiscopal chair in Mentz, that this J ohn Fust began to devise, and finally invented, solely through his own genius, the art of printing. Aided by . divine favor, in the year 1452, he had so far improved and developed his art, that he was able to print; in which work, however, he was indebted for many improvements to the ingenuity of Peter Schoeffer of Gernszheim, his workman and his adopted son, to whom in acknowledgment of his many services and his skill, he gave the hand of his daughter, Christina Fust. These two men, John Fust and Peter Schoefter, carefully retained to their own advantage the secrets of the art; and for this purpose, they demanded from their workmen and ser- vants an oath that they should not in any way divulge the process. Notwith- standing this precaution, in the year 1462 the knowledge of the art was carried by their workmen. to distant countries, and printing thereby secured a wide 7 ment.” : aerne Thorough dishonesty of this statement is abundantly proved by its sup- pression of the name and services of Gutenberg. Tt is also evident that the writer could not, or dared not, point out the improvements which he alleges were made by Scheeffer. This deficiency was soon supplied by a more credu- lous writer. About 1514, Trithemius,? one of the most learned men of that r John Scheeffer had conceded work of John Fust and of Peter Scheffer...’? This dates: ee and had told ue ies engineer Be ae iat with more truth. In the dedication of an edition 0! aces Be pees Reapiog stan ee i Livy. published by the same printer, and dated December 9, 1518, that the grandfather of John Scheffer had invented printing [chalcographia]. So much for the strength of audacious falsehood! Bernard, De Vorigine et des débuts, vol. 1, D. 309. 2 Annales Hirsaugienses, vol. M1, Dp. 421. ivy, printed by him in 1505, John Scheeffer uses tie ienguees Kewl your Majesty {addressing the Emperor Maximilian] deign to accept this book, printed in Mentz, the city in which the ad- mirable art of typography was invented, in the year 1450, by the ingenious John Gutenberg, and was afterward perfected at the cost and by the GEORGE BRUCE’S SON & CO, Typr-FouNDERS, No. “GI108 {From Bernard.] WITH 8 TO PICA LEADS. Tun WoRK OF SCH@FFER AND FUST. raphy, a method of printing then in common use in many cities of Ger- many, Italy and Holland. The Catholicon, which is mentioned as one of the productions of block-printing, was printed from metal types in 1460. In the beginning, Gutenberg is acknowledged as the inventor of printing, yet, a few lines further, we are told that Fust was the first inventor. And it seems that Gutenberg could do nothing with his invention until helped by the advice, as well as the money, of John Fust. After the improved invention,! Gutenberg and Fust fell in hopeless difficulties, having spent four thousand florins before they had completed sixty pages of the Bible. From these difficulties they were extricated by Peter Schoeffer, ‘son-in-law of the first inventor,” who invented a more easy method of making types, and who gave the art its present perfection, and without whose aid the earlier inventions would have been of little value. The intention of the writer is plain: Gutenberg, Fust and Schoeffer may be regarded as co-in- ventors, but Schoeffer did the most effective service. Tt is a curious fact that this paper, which.has been so often quoted as evidence in favor of Scheeffer’s invention of matrices, positively says that matrices had already been used by Fust and Gutenberg. Before Schoeffer’s name is mentioned, it is said that “they” [Fust and Gutenberg] discovered a method of making matrices. Trithemius says that Scheeffer’s contribution to the invention was “a more easy method of founding types, by which he gave the art its present perfection.” He does not explain this easy method. We do not know whether his claimed improvement was in the mould or matrix, in its construction or in its manipulation; but it was not origination or invention, it was improvement only. The passage which seems to say that the first types were cut by hand does not require much comment. ‘Trithemius may have misunderstood, and incorrectly reported, what he heard, or Scheeffer may have misrepresented the facts. It is evident that Trithemius is in error; for eut types, cut either as to body or as to face, never were, never could have been used. The most trustworthy 1 The description of the more ingenious method failed him, and he could not recollect that it was of “founding the forms of all the letters of the the matrix which should have been of brass, and Latin alphabet, which they called matrices, from the type of tin. The characters “which before which [matrices] they again founded types, either this had been cut by hand,” may be regarded not in tin or in brass,” has been denounced by many as types, but as punches of soft metal. They writers on typography asthe confused statement of would necessarily be damaged by pressure in the a man who did not thoroughly understand what he semi-fluid metal selected for making the matrices related, and who has reversed the proper order of The tools which Trithemius vainly tried to de- the process of type-making. A more careful reading scribe were the punch of steel and the mould and will show that Trithemius attempted to describe matrices of brass. That punches and matrices of the process of matrix-making, which is set forth wood or of soft metal unequal to hard pressure in page 103 of this book. He says that types were were used by the earlier printers is proved by the made either of brass or of tin, for his memory variable shapes of their types. 13 CHAMBERS-STREET, NEW-YORK. a re . e r Enslveops river oe Si gade y daa cel) mat) ik : cos ,' ‘ 7 * ' ’ ‘ faye phe er 4 » = bree pat u ' h ' - : Ti - . kA W mesial ! 7 : hic : aa : me tl , eg 4s ~iSomenpet’ tle A re aa ge , ' ~irte ae: hin ti “antec men pe haa Plas 7 obi bn on) igs 3 7 sae re, Ook efeindt [© re | ‘et i Pt Apareahowea th r\ ane Viirtp ster peer el | - bs a A , | | Jain ae eae verve @> eget ria Pat wal® ; bel Wwidiare hing Gate es oe Wot Neh ragurn sah ”y dn a ce re ly We ye Otel *w ih ta 7 EA ge er) Tela TN etieclinS VT new widat en's dloqirecad as gid egg gi ad pd deadly ald aad pihads eR at ent edt Halle sere.) ut u ' ‘dp a i vied ¢ 1 eh A do tated a ny ; balkieary “eit > ' Be i vicar be seymer st iy a a to | ere pees fot tell ative bute. b he ts i ae . , ies nt ees vd 4 : s ty > ae i ; i oe Ant | ’ er or oon a) 4 ’ pat ow , Mes F SS ‘ o » ‘ ’ ‘ s thy i i by . i coed : a) Ps 4 > : — ee e ow zi j se is 3 © ay od? . 5< 4 - P y ‘ a J . - e a4 Pa i wi 4 ‘ : VOR ia 19 } iu. ¢ mart Rae Bm codtagd wee i 4 dad & ’ wiMupesd “Ot: eT, hay’ tae a. ee - red § wets 2 wan atk Whee. se eteamet daw ional i . A 1 ceded mel ood pacha 4 ie rive B , a q ; ; fy" Ceylon Whe le deel is, ‘e.) Oh bre oe bey = Vis 4, ; ‘ - 6 OD Dy el, eh ore Y Odea or RR ‘ eee ae . . emi ee ee ee . Aihaa aee « hora , @ Wain ota yeh Fealon <* “ bale ea ro eed aah erase cake 1 Lin! one pet Aap ee ‘ eee ee al Meme oe ae sprees 9 4 ere?) : Fels 2 laa Ae ae wm “le a VF ' ry tad) 5 ‘ Pag om “< - oer t " b « : Sir See eee eT) Oy Lh ca ee " + ioe > ye" \ Fe ict «4 latte INL A an ‘ 7 “es r - ‘ . ; haan om aleve mah gihvenboasl! » Aa Lge: daehahent “ae ‘- ¥ - aed ltee = yy Co eer S Wey : ee a wee sare "| - + a ae Mey A d ’ ‘ is 9 ake) Siti alls gether ak) sat. cpr rere! abe 5, Alba) » olen re, | etre ae + WA ne & ie) (eer Der ‘ 1a ave ‘ : ; ros Celli ais + vesiglie die 2a) Sree ae se bp PRA Eee = 5 ee ie > Dra ae Be od ee a ores ; hort _ i lappa » Meade ee 4,i' + ian — e + o 140 THE WoRK OF SCHG@FFER AND FUST. evidences tell us that the earliest types were cast in a mould. The impressions of Gutenberg, which clearly show that his types were cast and not cut, should outweigh the state- ments of all the chroniclers; but it may be proper to call attention to the fact that the types of the Bible of 42 lines were used by Schoeffer in 1476, and that the types of the Letters of In- dulgence and of the Bible of 36 lines were in use by Hauman at the end of the fifteenth century. If these types had been cut, they would have been soon worn out. The re-appearance of these faces fifty years after they were first used shows that the types of Hauman must have been cast from the matrices of Gutenberg. If the word formen, which is found in the record of the trial of Strasburg, be construed as the same word must be construed in the colophon to the Catholicon of 1460, in the acknowledg- ment of Dr. Humery in 1468, and in the order of the King of France in 1458, then we have the most complete evid- ence that the matrices and the accom- panying type-mould were used by Gut- enberg long before he knew Scheeffer. It was not necessary that Trithemius should have told us that he derived this curious information from Peter Schcef- fer. In these perversions of truth we may see the vanity of the man who had already boasted that he was the first to enter the sanctuary of the art. The un- reasonableness of his claim to the in- vention of matrices, or to the perfection of printing, may be inferred from the fact that, although he was a judge, a man of distinction, and a successful publisher for more than forty years, during the period when the value of printing was fully appreciated, he was never noticed in any way as a great benefactor. Neither the emperor nor elector gave him any distinction as the founder of a great art; no one put up a stone to his memory, honoring him as an inventor ; no printer of that cent- ury regarded him as aught more than a thrifty publisher. His reputation has been created entirely by his own boasts and those of his family; and it is a most damaging circumstance that these boasts were not made until Gu- tenberg and Fust were dead, and that the statement written by Trithemius was not published until all the witness- es to the invention were dead, and there could be no contradiction. There are many facts which show the falsity of Scheeffer’s claim. Setting aside the evidences in favor of the prob- able priority of the types of the Bible - of 36 lines, the record of the lawsuit between Gutenberg and Fust virtually tells us that the types of the Bible of 42 lines had been made, perhaps in 1452, but not later than 1453. That these types were founded in matrices, were of neater cut, more exact as to body, and better founded than any afterward made by Scheeffer, is apparent at a glance. They prove that the true me- thod of type-making had already been found. If Scheeffer vented the mat- rices from which these types were made, he should have pertected this invention in 1451. But Scheeffer was a copyist at Paris in 1449, and it is not certain that he was with Gutenberg before 1453. Here we encounter an impossibility. It cannot be supposed that a young collegian, fresh from books, without experience in mechan- ics, could invent, off-hand, a compli- cated method of type-making, upon which Gutenberg had been working for many years. There is still another version of this invention of matrices by Scheffer, the version of Jo. Frid. Faustus, which has been often paraded as conclusive testi- mony in Scheeffer’s favor. “John Fust, of Mentz, was the first to perceive the losses suffered by schol- THE WORK OF SCH@FFER AND FUST. ars through the scarcity of books. He labored diligently to invent some new method of multiplying them, so that they could be furnished to readers at reduced and reasonable prices. High Heaven, kindly favoring his sincere prayers and his most laudable inten- tion, revealed to this excellent man the most approved form and mainstay of his invention. In the beginning, he eut the letters of the alphabet for children, on a block of wood, in high relief. With much loss of time and labor, he waited for the invention of a more suitable ink; for writing ink blotted and made the printed letters unintelligible. He experimented with soot from a candle, with which he was able to print, but the impression would not adhere to the paper. At last he invented an ink which was black, ad- hesive and permanent. Then he began to print on a press and to publish little books for children, which everybody bought, for the price was trivial, and buyers praised the printer. Fust was stimulated to attempt larger work, and he thereupon printed the Donatus in exactly the same manner. But the en- graved pages of this book, cut out of the solid block, displayed many imper- fect letters, and many copies were worthless. It then occurred to the in- ventor, at the right time, that he might print books with separate types, and that it was not at all necessary that the letters should always be cut on solid blocks. Whereupon he cut up the wood blocks, and saving all the types that had escaped injury, he made new combinations with them. This is the true origin of the composition of moy- able types. This new method of making types called for a great expenditure ot time and labor; it delayed the work, hindered the development of the new art, and made many miserable difficul- ties for the inventor. “Pust had many workmen, who as- sisted him in making ink and types, and in other work. Among them was Peter Schoeffer of Gernszheim, who, when be perceived the difficulties and delays of his master, was seized with an ardent desire to accomplish the success of the new art. Through the special inspira- tion of God, he discovered the secret by which types of the matrix, as they are called, could be cut, and types could be founded from them, which, for this pur- pose, could be composed in frequent combinations, and not be singly cut as they had been before. Schceffer se- cretly cut matrices of the alphabet, and showed types cast therefrom to his master, John Fust, who was so greatly pleased with them, and rejoiced so greatly, that he immediately promised to him his only daughter, and soon after he gaye her to him in marriage. But even with this kind of type, great diffi- culty was experienced. The metal was soft and did not withstand pressure, until they invented an alloy which gave it proper strength. As they had hap- pily succeeded in this undertaking, Fust and Schoeffer bound their workmen by oath to conceal the process with the greatest secrecy; but they showed to friends, whenever it pleased them, the first experimental types of wood, which they tied up with a string and presery- ed. My unele, Doctor John Fust, tes- tified that he had seen, with the manu- scripts which were bequeathed by the inventor, these experimental types of wood, and that he had held in his hands the first part of his edition of the Donatus.” ; The unknown author further says that John Gutenberg was one of the friends to whom Fust and Schoeffer showed the wood types; that Guten- berg, professing to admire their inge- nuity, took a great interest in their enterprise, and lent Fust and Schceffer money, thereby entangling them in an agreement, from which they could not ‘aITIOS ‘dI'TOs Nonparein, No. 21. WITH 7 TO PICA LEADS. WITH 7 TO PICA LEADS. THE WORK OF SCH@FFER AND FUST. extricate themselves until Gutenberg had aequired a right to use the inven- tion, by which use he wrongfully en- joys the honor of first inventor. Here we may stop. It would be a waste of time to expose, one by one, the false- hoods of a statement so flatly contra- dicted by many unimpeachable evi- dences. It is very clear that the writer had no new facts to tell us about the invention. He has told us not how it was made, but how he wished it had been made that it might redound to the honor of the Fusts. This version is found in Wolf’s Mon- umenta Typographica, vol.1, pp. 466 and 469, under the heading of The Statement of an Unknown Author, and is attributed by Wolf to one Jo. Frid. Faustus of Aschaffenburg (who died in 1620), or to his son. Wolf admits (p. 452, note) that the identity of the author is not clearly established. It is probable that the statement was written by a descend- ant of John Fust, who was predisposed to magnify his services and those of his partner. Van der Linde calls the writer an arch har. Bernard rejects the en- tire statement as unworthy of credit, or even of notice. What later writers have said about the value of Schceffer’s services need not be considered, for they also have produced no new facts: they have based their opinions entirely on the incorrect information of Faustus, Trithemius and Schoeffer. We may pass, without further delay, to the examination of the claims made for other alleged in- ventors of printing. XXTV ALLEGED INVENTORS OF PRINTING. Discovery of the Book of Four Stories, with Imprint of Albert Pfister... Its Types the same as those of the Bible of 36 lines.... Pfister regarded as an Inventor of Printing.... Description of Book of Four Stories... Its Colophon.... Book of Fables.... Colophon and Fac-simile,,.. Other Books by Pfister... Pfister not a Type-founder... Probably an Engraver on Wood... Could not have Printed the Bible of 36 lines... Pfister probably got his knowledge of Printing from Gutenberg... Paul of Prague’s Notice of Printing at Bamberg... Sebastian Pfister... Pamphilo Castaldi... Absurdity of the Legend... John Mentel and his Epitaph... Gebwiler’s Statement... Fac-simile of the Arms of the Typothete...Specklin’s Statement... Plain Falsifications of History... Known Facts about Mentel and his partner Henry Eggestein. It is, perhaps, possible to show of all inventions that somewhere somebody must have been very near toit. To assert of any invention whatever, that it could or should have been invented long ago, is nothing but chicane: we are to prove, incontrovertibly, that it was really invented, or else be silent.—Lessing. SCHELHORN’S opinion that the Bible of 36 lines was the Bible deseribed by Zell —the book printed by Gutenberg in 1450— did not meet with the approval of those who had copies of the Bible of 42 lines. Men who had paid very large prices for the copies of an edition sup- posed to be the first, were loth to have it degraded to the inferior place of a second edition. The testimony of Zell was unceremoniously set aside; the written date of 1460 in one copy of the Bible of 36 lines was regarded as indi- cating the date of printing, and the book was declared the work of Guten- berg between 1455 and 1460. Another hypothesis was soon presented. In 1792, Steiner, a clergyman at Augsburg, an- nounced the discovery of the Book of Four Stories with the imprint of Albert Pfister, Bamberg, 1462. Soon after, Camus read before the National Insti- tute at Paris, a critical description of the book, in which he proved the identity of its types with those of the Bible of 36 lines. Thereupon, incau- tious readers rushed to the hasty infer- ence that, as Pfister had made use of the types of the Bible of 36 lines, the Bible must haye been printed by Pfister. Crities of authority did not hesitate to say that Albert Pfister, a printer un- known for three centuries, and of whom there is no tradition, might have been an inyentor of printing, the rival, and perhaps the predecessor and teacher, of John Gutenberg. As we know Pfister only through his books, it will be proper to examine their workmanship before this hypothesis can be considered. They are not numerous: sixteen books and pamphlets have been attributed GEORGE BRUCE’S SON & Co., TyPE-FounbErS, No. 13 CHampBers-Street, NEW-YORK. yay} Nonparein, No. ALLEGED INVENTORS OF PRINTING. to him, but his claim to eight has been disproved.— Five of the disputed works are the Donatus of 1451, the Bible of 36 lines, the Letters of Indulgence of 1455, the Calendar of 1457 and the Almanac of 1455. The chief reason for attribut- ing these works to Pfister is that they exhibit the types of the Bible of 36 lines. The Book of Four Stories, a thin folio of 60 leaves—a version made for child- ish readers of the biblical descriptions of Joseph, Daniel, Esther and Judith —may be offered as the mést character- istic specimen of Pfister’s style. The types of this book are those of the Bible of 36 lines, but they are much worn. If they were not the identical characters, they were cast in the mould and mat- rices that had been used for the types of the Bible, for the types of both books agree in face and in body. The Book of Four Stories has fifty-five engravings on wood, six of which are repeated, each occupying the space of about eleven lines, or 234 inches, of the text. The engravings are coarse: they have no artistic merit, and are in every way inferior to those of the Bible of the Poor or the Speculum Salutis ; they abound in puerile absurdities, and seem to be the work of a maker of cards or images. The text of the book is in German rhyme, but the lines follow each other, without break, as ina text of prose. A capital letter indicates the beginning of each line of poetry, and a lozenge- shaped period denotes its ending. The presswork is decidedly inferior: the deeply indented paper shows that the printer could not regulate the pressure on the types; the muddiness of the letters comes from the use of a thin ink, and the faulty register from a shackly press. The colophon or sub- seription of this book, a translation of which is submitted, specifies the date, the place of printing and the printer : ‘“Hivery man, in his heart, desires to be learned and well read. Without books and without teacher, this cannot be. If it were otherwise, allof us would know Latin. These reflections have engaged me for a long time. ‘To good purpose have I sought out and gather- ed the four stories of Joseph, Daniel, Judith, and also of Esther. God granted Wy PULLER ot eed rotection to these four personages, as e always does to the good. This little book, which is intended to teach us how to amend our lives, was completed in Bamberg, in which city Albert Pfister printed it, in the year which is num- bered one thousand four hundred and sixty-two,—which is the truth,— soon after the day of Saint Walpurgis, who is able to obtain for us grace abundant, peace, and everlasting life. May God give them to all of us. Amen.” The Book of Fables, a folio of 88 leaves, printed with the types of the Bible of 36 lines, is another work which fairly exhibits the style of Pfister. It contains eighty-five fables, each illus- trated with a coarse engraving on wood, in which monkeys represent men. The text is in rhyme, but the lines follow each other without break. The colo- phon says: “At Bamberg this little book was finished, after the Nativity of Jesus Christ, as one counts, one thousand four hundred years and sixty and one, —such is the truth,—on the day of Saint Valentine. God save us from his sufferings.” , Another book attributed to Pfister 1s Fac-simile of an Illustration in the Book of Fables by Albert Pfister. [From Heineken.] known as Belial, or the Consolation of the Sinner. It is a folio of 95 leaves, which exhibits on the last leaf the words Albrecht Pfister zu Bamberg. Pfister also printed two editions of the Bible of the Poor, one in Latin and one in German, each containing eighteen engravings. His treatment of the old block-book is that of a mechanic and not of an artist: the designing, en- graving and printing are of the lowest order. He also printed the Complaint against Death, and the Judgment of Man after Death. All were printed with the types of the Bible of 36 lines, and they were, apparently, his only types. That Pfister was not a type-founder seems clearly enough established through the fact that he did all his typographic work with only one size and face of type. In all his books, the letters of the Latin alphabet appear old and worn, but the w, k, and z, charac- ters of the German alphabet, are new and sharp. The types had evidently been used before for books in Latin, but not by Pfister, for the Bible of the Poor seems to have been the only book he printed in that language. The Book of Fables bearing the date ‘daT'IOS “dI'IO$S WITH 8 TO PICA LEADS. WITH 8 TO PICA LEADS. 141 ALLEGED INVENTORS OF PRINTING. of 1461 seems the earliest of Pfister’s books, but it was published without any explanation stating that it was made by anew art. It may therefore be presumed that he began to print with types before 1461. The profusion of wood-cuts in his books is an in- dication that he was an engraver on wood—probably a maker of playing cards, images, and block-books, who had profited by an early opportunity to perceive the advantages of types. As a seller and maker of chap-books, he would prefer the types because they explained his pictures more cheaply than the slower process of engraving letter by letter; but his persistent use of types which other printers would have condemned as worn out, shows that he did not make and could not renew them. It is not probable that a man who seems to have rated his tween the years 1442 and 1448, about which we know nothing. That he was then at work on his problem; that he must have communicated more or less of his secrets to the many unknown workmen and associates who succeeded Dritzehen, Saspach, Heilmann and Diinne; that he may have been induced to try his fortunes at Bamberg before he went to Mentz; that Albert Pfister may have been one of his workmen who followed him to Mentz and acquired some skill in the art,—these are con- jectures that deserve consideration. But they are conjectures only: we have no exact knowledge concerning the in- troduction of typography in Bamberg. It is plain, however, that the appear- ance at’ Bamberg, in 1461,—a year be-. fore the sack of Mentz, the date usually fixed on as that of the dispersion of the printers, and the general divulgement of the seeret,—of a book printed in the worn types of the Bible of 36 lines, and wretched wood-euts as the most meri- torious feature of his books could have invented types. It is possible, how- ever, that an image printer of low aims and slender ability could have perceived the economical advantages of types, and may have purchased a discarded font for the sole purpose of printing explanations to his engravings. And this seems the only conjecture that will explain Pfister’s ownership of the types of the Bible of 36 lines. The conjecture that Pfister printed the Bible of 36 lines will not bear a critical examination. It is not enough to show that our first positive knowl- edge of the types and the copies of this book begins with Pfister and Bamberg. It still remains to be proved that Pfister made the types and printed the copies. The proof is wanting and the probabil- ities are strongly adverse. The Bible of 36 lines is unlike any book of Pfister’s in size, character, and workmanship. It is not possible that the man who began his career as a printer with an admirable edition of the Latin Bible in three volumes folio, could have ended it with the publication of shabby little books in German, intended for children. A declension like this is without par- allel in typographical history. It has been supposed that Pfister got his types and his imperfect knowledge of typography from Gutenberg after the dissolution of the partnership be- tween Fust and Gutenberg, but Pfister could have gotten them before. There is a blank in Gutenberg’s history be- the subsequent discevery near this city of many copies of this book, which could not have been printed by Pfister, are indications that Gutenberg must have had business relations with Bam- berg which are of importance in the history of printing. The only documentary evidence which seems to favor the hypothesis that Pfister might have printed the Bible of 36 lines is the following curious notice of early printing, which was written about 1463, by Paul of Prague, for a contemplated but unfinished en- cyclopedia of arts and sciences: “Nhe libripagus is an artisan who skillfully engraves on plates of copper, iron, hard wood, or other substances, images, writing, or anything he fancies, and afterward quickly prints them on paper, or on a wall, or on a smooth board. He cuts whatever he pleases, and is a man who can apply his art to pictures. When I was at Bamberg, a man engraved the whole Bible upon plates, and in four weeks skillfully pre- served this engraving of the whole Bible on thin parchment.” There is no English equivalent for libripagus, which means a workman who is an engraver, a printer, and a stenciler. Like other writers of his day, Paul of Prague had to coin a word to define printers, who for many years after were called typographit, typo- thet, chalcographi, excusores and pro- tocharagmatici. Most writers called printers impressores, or impressors, from the process of impressing types. This is the word that has fostered the error that printing is impression. GEORGE BRUCE’S SON & CO., TyrE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK, Cs i eT e _ yy, a eee sete @ et J 1 WE LAR, i) : i — . e ey - a ae } how rate de > -~ ; j F het ge eects nth 0! ele \ (aad il 5 ? a eet . lee edd FE y bal" def Tat iy wat} : 7 ; : \ sa) idly Wie eps f hie nie ' r fe cs a ; 4A i \ beg 5 ahs ~ ld + i* 7 : \ ° Hi F , ° 8 . " : ‘ ae =‘ best Mt ee a j : ’ eofity +h thes eel” ptr Uae aaded me} : ine npn rae lk ak ssp ware were Tala (vd wae Se he's fe EMT Vee ee oe : , ‘ : ; 7 : id - . Tee Poke. ee : to : }. _ yl f ‘ ; i pod A ped é J | ~4 ay a id . ~'& i) —~ ener re ott , ba ‘ al . os ¥ 4 wn py " : ~ ia ae * ae A 4s {Treo ' A. ; ® wes a hl, vo eel Ape aed! us vel ale - ‘a . — F = > P- fr SS bee te =)? a oe A om ays H Ie nice wt oy Siahaye veo Riad Ae ee ae ee “er 4 i | 2 + riv «f- p] i wy: de ames ee ee oo swe ree eT OSS p oh toes am & =eenay © <~os i=__eee e : 2 Jane ape, cenperesg a8 ve Saeko: ¥ “=e 1a | } - HITe: 142 Acats, No. 11. ALLEGED INVENTORS OF PRINTING. i Pfister’s name is not mentioned, but he was, probably, the libripagus here noticed. The story is not credible. The whole Bible was not print- ed in four weeks, neither at Bamberg nor elsewhere; nor was it ever en- grayed upon plates. The only book of Pfister’s to which this statement could be applied, is his edition of the Bible of the Poor. We do not know when Pfister died; his last dated work is of the year 1462. Sebastian Pfister, who is supposed to be Albert’s son, was at the head of a printing office at Bamberg in the year 1470, and then printed a little book which seems to have been his first and last venture in printing. Pamphilo Castaldi of Feltre, Italy, to whom a statue was erected in 1868, has also received the undeserved honor of an inventor of printing. This commemoration of the man by the people of a great nation seems to require in this book at least a statement of the legend on which his claims are based. This is the legend, abridged from a long panegyric on Castaldi’s services by one of his countrymen: “ Pamphilo Castaldi was born in Feltre, of noble parents, at the end of the fourteenth century. He was highly educated and intelligent. Al- though a poet and a lawyer of good reputation, his love for literature induced him to open a school for polite learning, which soon became famous, and attracted students from foreign countries. None of his pupils acquired greater fame than John Fust, who is called by the his- torians of Feltre, Fausto Comesburgo. This Faust resided with Castaldi in Feltre as early as 1454. In the year 1442, Castaldi had seen a proof of Gutenberg’s attempts at the invention of typography. Gutenberg at that time (1442) was supported by the money of Faust and the skill of Scheeffer, his partners. After ten years of experiment, Gutenberg had done nothing more than print from blocks of wood and with metallic characters. He had not yet invented movable types, for the Bible of 1456 should be classified with the block-books. “Castaldi, more ingenious or more fortunate, had already discovered movable types before the arrival of Faust in Feltre. It is well known that, a century before the publication of the Mentz Psalter of 1457, initial letters and capital letters formed of glass were manufactured at Murano, and used in Italy. These glass letters were, probably, the invention of Pietro de Natali, bishop of Equilo. Castaldi had noticed that these letters were of advantage to the scribes, who printed them in their manuscript books. He at once saw that it would be possible to print entire books, instead of occasional letters, with movable types. The facility with which this discovery had been made caused him to undervalue its im- portance. He gave the idea to Faust, who, returning to his partners in 1456, or a little before, enabled them to appropriate the invention of Cas- taldi. They greedily adopted this invention, and, in 1457, they produced the Psalter, the first book printed with movable characters of wood.” See Ticozzi, Stefano, Storia del letterati e degli artisti del dipartimento della Piave, Belluno, 1813. See also, Dimprimerie, No. 58, October, 1868, The only portion of this absurd story which has any claim to respect is that about the early use in Italy by copyists of engraved or moulded initial letters. That rude letters could have been made by the glass- blowers of Murano, and that Castaldi may have amused himself with AuLEcEp INVENTORS or Prinvina. experiments in stamping consecutive letters or lines, is possible. All else is pure fiction. It does not appear that Castaldi printed any- thing of value: we have no relies of his experiments in the form of a book, or even of a leaf, a line, or a letter. Nor did his dreams or teachings about the possible yalue of types ever incite any of his Italian pupils to make and use types. To those who think that the merit of the invention of printing is in the conception of the idea of movable types, this legend about: Castaldi is instructive. It reveals to us a man who is represented as having a very clear idea of the importance of types, who did nothing with his great discovery. His discovery, if it can be so called, was useless. He cannot be rated as an in- ventor of printing, for he printed nothing. John Mentel, of Strasburg, who died in December, 1478, and was buried in the great cathedral of that city, has there a tablet to his memory, which contains the following inscription: “Here I rest: I, John Men- tel, who, by the grace of God, was the first to invent, in Strasburg, the characters of “y er ‘ typography, and to develop this art of printing, which should be perpetuated to the end of the world, to such a degree of perfection that a man can now write as much in a day as another could have done in a year. It is but just that thanks should be rendered to God, and without vanity, to me myself; but as this homage could not otherwise be rendered in a proper manner, God has ordained, as the reward for my invention that the stones of this cathedral should serve for my mausoleum.” The Arms of the Typothet. [From Hansard.] ‘dITOS SaVaHI VOId OL 8 HLIM SOLID. WITH 8 TO PICA LEADS. ALLEGED INVENTORS OF PRINTING. (Bernard, De Vorigine, vol. m1, p. 94.) This vain and scandalous inscrip- tion was probably made by one of Mentel’s descendants. It is not stated when this tablet was erected. Bernard supposes that it is a second tablet, which was put up in place of one made soon after his burial. The claim that Mentel was the inventor of typography was first made in 1520 by John Schott, son of a Martin Schott, who had mar- ried Mentel’s daughter and inherit- ed his business. It was probably provoked by the false assertion of John Scheeffer, that Peter Scheeffer, his father, and John Fust, his grand- father, were the proper inventors, to the exclusion of Gutenberg. Schott, knowing that Mentel’s claims as an inventor were as valid as those of Fust or Scheffer, placed on his books, after 1520, an armorial shield containing a crowned lion, with this inscription: ‘‘ Arms of the Schott family, granted by the Em- peror Frederic mz to John Mentel, the first inventor of typography, and to his heirs, in the year 1466.” There are doubts concerning this patent of nobility. When it was de- manded many years afterward, it could not be produced [De Vorigine, vol. u, p. 69]. It may have been granted to Mentel, not as the first printer, but as the first printer in Strasburg. Schoepflin, who speaks of this document as if he had seen the original, denies that it gave to Mentel the title of inventor of print- ing [Vindicie Typographice, p. 98, note}. There was a tradition that the Emperor Frederic m1 had given to a corporation of master printers known as the Typothets, an heral- dic shield, representing an eagle holding in one claw a composing- stick, and in the other claw a copy- guide, surmounted by a griffin dis- tributing ink with two balls. But these are not the arms displayed by Schott, nor did Mentel, nor his suc- cessor Flach, make any display of them in their books. In the year 1521, Jerome Gebwiler, misled by the assertions of Schott, undertook to controvert the pre- tensions of Fust and Scheffer as the first printers. He writes that printing was practised in Strasbur, by John Mentel, who had obtaine the new art of chalcography, or of making books with tin pens (types) about the year 1447; that Mentel, and Eggestein, his partner, made an agreement that they should keep secret the new art; that Schott, whom he praises, showed him a manuscript book, without date, written by Mentel, in which were drawings of typographic instru- ments, and observations on the manufacture of printing ink. It was by similar methods that John Schott induced James Spiegel to- declare, in a book printed in 1531, that John Mentel invented printing in Strasburg in the year 1444, In another book Spiegel says 1442, John Schott is also the authority for the following version of the in- vention which was found in an old manuscript chronicle attributed to Daniel Specklin. “Tn the year 1440, the admirable art of printing was discovered in Strasburg by John Mentel. His son- in-law, Peter Schoiffer, and Martin Flach at once made use of the dis- covery; but_a servant of Mentel, called John Gensfleisch, after steal- ing the secret, fled to Mentz, where he soon established the new art, through the help of Gutenberg, a very rich man. Mentel was so affect- ed with grief by this perfidy that it caused his death. In honor of the art, he was buried in the monastery ALLEGED INVENTORS OF PRINTING. or cathedral church, and a represen- tation of his press was cut on his tombstone. God swiftly punished the servant Gensfleisch, by striking him with blindness for the remnant of his life. I have seen the first press (of Mentel) and the types cut on wood, which were of syllables and words. They were pierced through the sides, that they could be conjoined by a wire and kept in line. Itis to be regretted that these types, the first of the kind, should have been lost.”” Meerman, Origines Typographice, vol. 11, p. 199. It is not clearly proved that Speck- lin, who was a magistrate of Stras- burg at the close of the sixteenth century, is the author of this state- ment. Bernard says that this ver- sion contains about as many errors as words. These impudent falsifications of history would have been soon for- gotten if they had not been renew- ed in the seventeenth century, by one James Mentel, a physician of Paris, the supposed descendant of John Mentel, who published two little books on the history of print- ing, in which he enlarged and dis- torted the versions of Gebwiler, Spiegel and Specklin. To support his claim, he did not seruple to alter the text and pervert the meaning of the authors from whom he pre- tended to quote. (Lichtenberger, Initia Typographica, p. 56.) It was GEORGE BRUCE’S SON & CO a useless work, for no impartial critic can accept the statements of Mentel or of his predecessors. For these statements, like those in be- half of Coster, Castaldi and Schcef- fer, were made for the first time, long after the invention had been perfected, by men who had the de- sire and the temptation to misrep- resent the facts. All of them are tainted with the same calumny — the accusation that Gutenberg stole his knowledge of the invention — and all of them are contradicted by public records of good authority. Neither Mentel’s books nor the records of Strasburg give any war- rant to the hypothesis that Mentel was an inventor of printing. His name appears for the first time on the tax list of the city of Strasburg, in the year 1447. He is called a golt- schriber, and is enrolled with the goldsmiths. In another record of the city, for the same year, his name appears in alist of artists and paint- ers, but he is not described as a printer. The earliest notice of him as a printer was made by Philip de Lignamine of Rome, who said, in 1474, that John Mentel of Strasburg, since 1458, had there a printing office, in which he printed three hundred sheets a day, ‘after the manner of Fust and Gutenberg.” By this state- ment we may suppose that Mentel practised printing soon after the dissolution of the partnership be- - TYPE-FounpERs, No. 13 CHAMBERS-SrREET, NEW-YORK. —e Acats, No. 12. ALLEGED INVENTORS OF PRINTING, tween Fust and Gutenberg. It was, no doubt, from Mentz that he ot a knowledge of typography, for it cannot be shown that he was aught the art by any of Gutenberg’s early associates in Strasburg, nor is there any reason to believe that he was an independent in- ventor. We have no evidence that he experimented with types, or that he printed anything in Strasburg between 1439 and 1457. Itis not even established that Mentel was the first practical printer in Strasburg, for there is evidence that he began to print there in partnership with one Henry Hggestein, who was a man of superior ability and of greater distinction, a master of arts and philosophy. The first book printed at Strasburg with a date was a copy of the Decretals of Gratianus, a folio in two volumes, which bears this im- print: “By the venerable Henry Eggestein, master of hberal arts, and citizen of the renowned city of Strasburg, in the year 1471.” This was not his first book, for in another book printed in the same year, he tells the reader that he has printed ‘innumerable volumes of law, philosophy and divinity.” He printed two or three editions of the Bible in Latin, and one in German, and many other books in folio. The types of these books are unlike those used by Mentel. Eggestein was recorded in the tax list among the city officers, and was afterward bishop’s chancellor in the court of Strasburg. The partnership between Mentel and Eggestein was of short duration. The date of Eggestein’s death is not known: hisname is not found in any books printed with his pee after 1472. Mentel did not affix his name to any of his books before 1478, but he had then printed many large theological works. Schcepflin says that he soon made himself rich by his industry and his sagacity in the selection of salable books. He was a shrewd publisher, the first who issued a descriptive catalogue, and employed agents for the sale of his works. It is supposed that he printed the Bible in German and in Latin. Questions of Conscience, A Concordance of the Bible, The Epistles of Saint Jerome, The City of God, The Specula of Vincent of Beauvais. All these books are thick folios —many of them in types on English pody. Some are in two, and the last named in eight, volumes. Other works have been attributed to him, but Madden says that some of them (books with a curious form of the letter R— which others say were the work of Zell) were printed at the Monastery of Weidenbach. xXXV THE SPREAD OF PRINTING. First Printers of Germany... Mentel at Strashurg... Zell at Cologne... Keffer and Koburger at Nuremberg....Pac-simile of a part of Koburger’s Map....Zainer at Augsburg. ... Fac-simile of Zainer’s Birth of Eve....John of Westphalia and Martens at Louvain.... Mansion at Bruges. Gerard Leeu at Antwerp... First Printers of Italy...Sweinheym and Pannartz at Rome... De Spira at Venice... Jenson’s Types... Venice Famous for Printing... Cennini at Florence. .. The Ripoli Press... Zarot at Milan... Appearance of Publishers... First Printers of France... Gering, Crantz and Friburger at Paris... The Printers of Elegant Books... First Printers in Spain and Portugal... In England.... Caxton at Westminster .. .. Printing did not find a general Welcome. Made Popular by the Cheapness of Books....Injudicious Selection of Books for Publication. Demand for Books in the Vernacular .. . First Check on the Liberty of the Press. About this time, the crafte of Enpryntyng was fyrste founde in magounce in Almayne, which crafte js multiplyed through the world in many places, and bookes ben had grete chepe and in grete nombre by cause of the same crafte.—Caxton, 1482. IN CENTRAL AND NORTHERN EUROPE. WHEN two rival printing offices had been established at Menta it was no longer possible to keep secret the processes. Every print- er who handled the types and every goldsmith who helped to make the tools must have felt a weakening of the obligation of secrecy. The sack of Mentz was a greater misfortune, for it dis- solved all obligations and sent the printers to other cities to found new offices. Not one of these printers has told us when and how he began to print on his own account. All we know about the introduction of printing in many of the large cities has peén gathered from the dates of books and the chance allusions of early chroniclers. It is from these imperfect evidences that the following tables of the spread of printing have been made up. They are based on the chronological arrangement of San- tander’s Dictionary, but the names and dates have been collated with those of Cotton’s Typographical Gazetteer, and other works of authority, and some alterations have been made. ‘aTIOS “SaVHT VOId OL 8 HLIM SOLID. WITH 8 TO PICA LEADS. THE SPREAD OF PRINTING. Place. Printer. Date. Montz.) 52 e3. 5 eee aeeeee John Gutenberg 1450 Bamberg -- Seen A Deri ensterse-.- Strasburg sees ose ses .-Mentel and Eggest Cologne) asses eee ealapbatey Ae E eee area ‘ AT gSDULS = +-2e cesar .-Gunther Zainer- Nuremberg --_ 2 .-Henry Keffer -.- Munster in Argau........Helyas Helye- -- Spire) .oceca see sees -Peter Drach -. iW m2 oeceieiee se aes John Zainer.- -- Buda (Hungary). ----- .-Andrew Hess - Mersburg -:---42---- .-Lucas Brandis Wau gin Son! sss sacs acc sae woe se see ee THISSIIn eens 2-225 ean -Conrad Fyner Marienthal -..--..---- -Brothers of Life-in-Common -.1474 Lubec --. aah Tues Brandigis 32-2. se a. 1475 ‘Burg dori.. sass" 4 1475 Blaubeuren - -1475 Pilsen eee 1475 Rostock . é é ife-in-Common . .1476 Geneva). .2-2.-5-- == -Ad. Steymschauer- -.....------- 1478 DRA a Geis ee cee noche Were one asters Sean oe sosarise -1478 Fichstadt.- --..--- .--M. and G. Reyser-......- 1478 Wurtzburg.----.- -..Dold, Ryser, et av ..---... -1479 TGOUPSLCY =. 2c. soe = Mancus Brandisawnsess== -1481 Aurachss.csss-=— ...Conrad Fyner:------..- -1481 iDriactissses-ns ce ..-Wider de Hornbach. - -- -1482 Memmingen ---- .--Albert de Duderstadt. - -- 1482 Passaul. 222-22 ..-Stahl, Mayer, et al..-.- - --1482 Reutlingen =e John Opimanes o-oo. ---1482 Vienna ------ ...John Winterburg.- ---.- -- -1482 Madgeburg .-- .-Rauenstein, et al--- -1483 Stockholm .-..--- e John Snellala == 1483 Winterberg ----- .--John Alacraw. ---.-.- ---1484 Heidelberg. ----- 2 reds-Misch =----2---« ---1485, TEA EIG) Oe) US A etn Reco John Sensenschiidt. -1485 IBTint Peles ~ saaces Sees ee Stahl and Preinlein- - ---1486 Munsters: .--.- ene JohnehAm burg eee --1486 Sleswick ....-- ..- Stephen Arndes...s...-.-.----- 1486 NOs hsi CN tomee tree se aheran ates beet Roce ocrOake ae 2 --1488 Kuttenbere® <2 sas. e-aaee Von Tischniowa ....--....--.-- 1489 TM SOIStAM ts saoee 2 = oe ase JoNMEKaAchelofen=asese- se seee- 1490 liam Dung oases eae ase aeeee J sand ts Borchard::. 22.2. --=.. 1491 Wid tOlil. «aon Soe = aa. carte eee Sete ee et ete tet te eee 1491 Czernigovy -.-- IRZCLROOVIC ne. ee eee esa ~ 1492 UGS Gay ae lt el 1492 EVE OUPS sone ee eee Kilianus Piscator..........-..- 1493 JObT se) Ue eA Ae OR cae oe JOHN AM COsan sees weenie = 1493 THE SPREAD OF PRINTING. Place. Printer. Copenhagen ......-- 5.2.22. Gothof. de Ghemen Oppenheim Freisingen Offen burg. <-.s.<2 fe e~ ae Jones teres eae eewe ames ss a seas essen Tubingen... CLACO Wiese a eee see ee Diunich) sac) sean eae ee OlmUby S22 -ss-- = - 2 Pfortzheim This is but a brief list for the vast and populous country north of Italy and east of France and the Netherlands. Not less re- markable is the fact that some cities now deservedly famous for their printing were among the last to acquire a knowledge of the art, and those that gave it feeble support. The master printers at Mentz pefore 1500, not previously named, were: Erhardus Reuwich, whose first book was dated 1486; Fred- eric Misch, who began after 1490; Jacob Meydenbach (a witness at the trial of 1455), between 1491and 1496; and Peter Friedburg, be- tween 1494 and 1497. There may have been others, whose names are lost, but the printers are few ; they cannot be compared, either in number or in influence, with those of many smaller cities dur- ing the same period. Long before Scheeffer died, Mentz had ceased 1 For a table of the chronological order in which printing was established in the Netherlands, see page 109 of this book. to be a great school and centre of printing. The high reputation of Scheeffer’s office was fairly sus- tained by his son John, who died in 1531. Peter Schceffer, junior, another son, was equally able, for he printed books in Hebrew, Latin, German and English. He found no proper encouragement at Mentz, and had to establish his office successively at Worms, Strasburg and Venice. His last known work, with date 1542, was printed at Venice, where itis sup- posed he died. Ives Scheeffer, son of Peter, junior, who succeeded John Scheeffer in management of the office at Mentz, was an in- dustrious publisher from 1531 to 1552, the supposed year of his death. Victor, the son of Ives, gave up the business, and the name of Scheffer disappeared from the roll of printers at Mentz. Helbig, Notes et dissertations, etc. p. 47-50. STRASBURG. The statement of Lignamine, that Mentel printed GEORGE BRUCE’S SON & CO., Typn-FounprErs, No. 13 CHAMBERS-STREET, NEW-YORK. 14 3 hy ~— of % ark BL ae ot Abt xu’ icahieiald , & Doe We. at -d@ atten niwis - at a7 > 2a r ‘eg ane wv erry . ‘ited > 106 Qdll dee 1S). ee, eden se , oo a ss - i coat chees.p? eid a 7 ser ee : WN ‘ ae pee: : Galt Badin b Mash Ly t ee : = Ser hng ey erie! oss jae pore Saee 7 dad \ age vies : : ke ered fl a UN baie) « dine Ui we bo” sgeawt be eer po wi behine! all yar jan *

‘ \ iS - . , ' ‘ x * 7 ’ % ‘ j : s ' - 7, . ‘ wane © _ es Ce S2 — as. a. SouUy i i. 4 y jp fapes oe 5 a Leqap’d as a tae 7? > Fe me ! a, a se woh ia a tT) 7 hee tt? nee “ed ee 5, : i 7% : 1 ' oa oe ? § = ei- ' ” aj ( ? t a, . - a r ' “_ i 4 =| | +. 7 i } 4 -! OP ie Ma oh 65 Sabeg do pied ‘ evn ae Feohy i atacy WHI & ( ’ | Ma Ti Dei cig sp ernlie * ‘ es y = Bo, Bp eg wrunetes Ali oh gt i : ‘ ee eee an 2 wieeee= . Ob weeded fa ge ‘. a Fa, | aww # ewes Pe ae \ i ra é AL occ ' Me Pal a. 2 yes iy oe , - dl io J ’ a et Af yee . fy ’ ‘hel ae Fe A entitey Ot b-aty ' ‘¢ ; 4 ; | F ae F { 6 7 #13 dhl gyda 2 eae . 7h, = = , , Ne / wy o hie oe " wy : A — 4 =a : ‘ ¥ a 9 “ay naps. om 7 y= - — 7) “f Thi ‘ vy v— 9) AGATE, No. 13. THE SPREAD OF PRINTING. at Strasburg after 1458, has been corroborated by the recent discovery in the Freiburg library of a Latin Bible in two volumes folio, which is known to have been printed by Mentel, and which contains the sub- scriptions of the illuminator and the written dates, in one volume of 1460, in the other of 1461. As this book should have been in press at least two years, it may be regarded as evidence that printing was practised here as early asin Bamberg. Strasburg gave greater encour- agement to printers than Mentz, for sixteen master printers were working there before 1500. ; A description of this Bible, with other particulars of importance, was given by Dr. Dziatzko, the librarian at Freiburg, in a letter to Hessels, and by him printed in the introduction to the Haarlem Legend, p. XXi1. CoLoene. The tirst printer at Cologne was Ulric Zell. He was an industrious printer for more than forty years, but he never printed a book in German, nor did he adopt any of the improvements of the printers of Italy. He adhered rigidly to the severe style of his master, Scheeffer, printing all his books from three sizes of a rude face of Round Gothie Types. He was not a skillful nor even a correct printer, but he was a gineral publisher, and accumulated a large property. Madden says that he went to Cologne in 1462, and was engaged by the Brotherhood of the Life-in-Common at Weidenbach, near that city, to assist them with his new art of printing in their pious task of making books. His name appears for the first time in a book dated 1466, which date may be accepted as indicative of the time when he left the mon- astery and began to print on his own account in the city. The Brotherhood were forbidden by the vows they had taken to ask for alms or accept gifts, and were required to live by the labor of their hands. They devoted themselves to the duties of teaching school and copying books. At Weidenbach they were remarkably successful. They built a church in 1490 with the money they had made from the sale of manuscript and printed books. Madden says that the monas- tery of Weidenbach was not only a publishing house, but a prominent school of typography, and that there are reasons for believing that it gave instruction to Caxton, Jenson, Mansion and other famed printers. At the close of the fifteenth century, twenty-two printing offices had been established at Cologne. Among them was that of Arnold Ter Hoorne, who, despite his occasional bad presswork, deserves special notice as one of the first printers who made use of Arabic figures. Nurempere. Henry Keffer, who appeared as a witness for Gutenberg in the suit at law in 1455, is supposed to have established himself as a printer at Nuremberg about 1469. His name appears for the first time, in the imprint of a book dated 1473, from Thiol it seems that he was hired by John Sensenschmidt, a wealthy man of that city who aspired to be a publisher. This John Sensenchmidt subsequently went to Bamberg, and in 1481 there published the Bamberg Missal, with a text in Pointed Gothic types of five-line pica body, probably the largest text types ever usedina book. It was admirably printed and rubric- ated. In 1473, Anthony Koburger “aITOS SOLID. Tue SPREAD with an indifference to anachron- isms and a cool disregard of the incredulity of the reader that are amazing. The author had a keen relish for the marvelous — for men with one eye, with immense ears, with enormous legs, and like mon- strosities. The Dance of Death, which is reproduced on page 70 of this book, is one of the most meri- torious designs, but most of them are of small value. The fac-simile of Koburger’s map on this page should be contrasted with the map of Germany in any modern atlas It is presented as-an illustration of the medieval notion of geography, and as one of the first attempts at map-printing. Avaspure, The practice of typ- ography was brought to Augs- burg in 1468 by Gunther Zainer of Reutlingen, who is supposed to have been taught at Strasburg. He was the first printer in Ger- many who printed a book in Ro- man characters. He and his rivals, Bamler, Schiissler and Sorg, ilhis- trated their books so freely with wood-cuts as to provoke the re- monstrance of the fraternity of block-printers of Augsburg. In 1477, Sorg printed the first illus- trated edition of the whole Bible ; in 1483, a description of the council of Constance, containing nearly one thousand engravings. Representing that the use of wood-ceuts by typographers was an infringement on the vested rights of the guild, the block-print- ers induced the magistrates to pass a law commanding printers not to use wood-cuts. Not deriving the benefits they expected from this restriction, the block-printers OF PRINTING. proposed to concede to the typog- raphers the right to use as many cuts as they pleased, providing they would agree to use only the wood-cuts made by regular en- gravers. This opposition may have caused Zainer’s retirement from business in 1475, but it did not check the business of the others. There were twenty master-print- ers at Augsburg before 1500. In 1472, Melchior of Stanheim, abbot of the monastery of St. Ulric at Augsburg, established a printing office in his monastery, buying types and tools from other print- ers. He bought five presses of Schiissler for 73 florins, and had five other presses made for him by a joiner of Augsburg. The equipment of his office cost 702 florins, which was then regarded as a large sum. IN THE NETHERLANDS. Urrecnut. Itis probable that the unknown printer of the four not- able editions of the Speculum, was at Utrecht before the arrival of Ketelaer and De Leempt in 1473. See chapter xv and pages 109-110 of this book for a fuller description of the works of this printer. Louvain. —John of Westphalia came to Louvain in 1472, with some matrices of Round Gothic and Ro- man types which he had acquired in Venice, and began to fit up a pee office. In 1473, he pub- ished his first book. During the twenty-two years he was in busi- ness, he printed 120 works. Many were editions of the classics, and all were selected with reference to the requirements of the Univer- sity, from which he received the honorary title of Master of Print- ing. John Veldener, who began to print at Louvain in 1473, received OCEANS GERMANICVS FS began to print at Nuremberg. In a few years he acquired a great reputation as printer and publish- er: he had twenty-four presses at Nuremberg and offices at Basle and at Lyons. Lichtenberger says that he printed twelve editions of the Bible in Latin and one in Ger- man. That he merited his honors is implied by the testimony of Jo- docus Badius, his rival at Paris, who frankly said he was an honest merchant and the prince of print- ers. The success of Koburger did not materially interfere with the prosperity of his rivals, for there were seventeen master type-print- ers and many block-printers at Nu- remberg before 1500. Koburger’s most curious book is the Nwrem- berg Chronicle of 1493, a large and thick folio, edited or compiled by Hartmann Schedel, as a summary of the history, geography and wonders of the world. It contains more than two thousand impres- sions of wood-cuts, “ made by Wol- gemuth and Pleydenwurff, mathe- matical men, and cunning as de- signers.” These two thousand impressions were taken from about three hun- dred cuts: the cut that served for the portrait of Paris of Troy was used for Odofredus of Germany and the poet Dante of Italy. Wood- cuts professing to represent cities and battles in Greece and Syria were repeated for battles and cities in France and Germany, N GERMANL MAGIA 55 Fac-simile, reduced, of part of Koburger’s Map of Europe. GEORGE BRUCE’S SON & CO a similar title. He boasted that he was expert in all branches of the graphic arts, but his skill was that of a mechanie. As a publish- er, he could not compete with John of Westphalia. (See notes on pages 97 and 109), Thierry Martens, of Alost, was employed by John of Westphalia, probably as editor, soon after he arrived at Louvain. After receiving suitable instruc- tion, Martens was allowed to print some little books at Alost in 1473. He began to print at Alost in his own name in 1487, Necessity or the love of change compelled him to move his printing office many times between Louvain and Ant- werp. In 1529, he forsook printing and retired to Alost, where he died in 1534, at the age of eighty-eight years. In his business life of al- most sixty years he printed, be- side many other works, about 150 books in Greek, Hebrew and Latin, He had a critical knowledge of six languages, and his ability as an editor was acknowledged by many scholars who were his friends and correspondents. Erasmus wrote his epitaph, and the town of Alost has put up a statue to commemo- rate his worth. Bruges. The name of Colard Mansion, a calligrapher of high merit and afterward the first typo- grapher at Bruges, is found in the records of a corporation of book- makers, between the years 1454 and 1473. As his name does not .. TypE-Founvrers, No. 13 CHAMBERS-StREET, NEW-YORK. Agats, No. 14. THE SPREAD OF PRINTING. re-appear before 1482, it is supposed that he abandoned the guild and learned rinting. Many bibliographers say that he went to Cologne in 1473. Mad- en regards him as a pupil of the monastery at Weidenbach. Blades thinks that he was self-taught, or taught by some unknown printer, and that, as early as 1472, he began his Epogsetie work at Bruges, in which he was assisted by William Caxton. In 1476, he printed a little book in a new face of type in the French style. He was a skillful but not a prosperous printer, for he was obliged to eke out his scant income as a printer by occasional jobs of illumination. Soon after 1484, he left Bruges. It is not known ‘where he went or when he died. John Brito, who succeeded Mansion was for many years the only typographic printer at Bruges. This neglect of ieee in a city renowned for the elegance of its manuscripts and the skill of its calligraphers shows that the professional book-makers regarded printing as an inartistic and mechanical method of making books. Goupa anp AnrwerRP. Gerard Leeu, the most industrious printer of his time, began to print at Gouda in 1477, but he went to Antwerp in ‘daI'lOs SOLID. The Birth of Hye, from Zainer’s Edition of the Speculum Salutis. {From Heineken.] Tur SPREAD OF PRINTING. 1484, where he continued to print until his death in 1493, He printed eight books in 1478; seven in 1479; nine in 1480; ten in 1482. In fifteen days he printed three books, one of 85, and another of 305 leaves. During the seventeen years he was in business he printed 150 books. His last book at Gouda was dated June 23, 1484; on the 18th of Sep- tember, 1484, he published at Antwerp, a book of 400 pages. Fifteen days after he completed another book. During the first six months of 1485, he published one yolume each month. One of these books had 34, and another 76 engravings specially cut for the work. Imitating Ve- rard of Paris, he gave his later years to the translation and printing of romances and popular books. In 1493, he began to print Caxton’s Chronicle of England, in English and obyiously for sale in England, but he died before the work was finished. The eolophon of this book is a queer piece of mysterious English:... Enprentyd in the duchye of Braband, in the town of Andewarpe, in the yere of our Lord m. ccce. xouu. By maistir Gerard de Leew, a man of grete wysedom in all manner of kunyng: whych nowe is come from Lyfe unto the doth, which is grete harme for many of poure man. On whas sowle God almythy for hys hygh grace haue mercy. Amen. Van der Meersch. Imprimeurs Belges et Néerlandais, yol. 1. p. 119. IN ITALY. his is the order in which printing was established in Italy: Place. Printer. Date. Bublacoj222~-2sennnr<- 02-4 Sweinheym and Pannartz.-..----- 1465 Rome. .-.----- ..Sweinheym and Pannartz.-....--- 1467 Venice --.----- ..John de Spira-...-.----+---------- 1469 Mulan’ 2 2<-- ..-Anthony Zarot-....--------------- 1470 Foligno- ------ _...John Nummoeister- ---------------- 1470 SDPOVE = sae ...John Reynard ---- -1470 Verona = 24 = baeeese ae cena John of Verona. - - .-1470 Treviso 2-2. -assecenes a=> Gerard de Lisa. ---.--------------- 1471 Bologna ...-.--------+----- Balthazar Azzoguidi -..----------- 1471 Porrara . ------..-.<2=555-3- Andrew Belfort. -....-.----------- 1471 Naples.s.+22--ss--om--s5s=2 Sixtus Riessinger---..--.--------- 1471 Pavigieso----.2--2css--nc0s Antonio de Carcano..--.--.------- 1471 Florence....--------------- Bernard Cennini--.....----------- 1471 Pivizano-.-2...5--s=225 508 Jacobus and others. ---.----------- 1472 Padua - --- Balt. de Valdezochio.-.......----- 1472 Mantua - -- Pietro Adam de Michael -...------ 1472 Mondovi... ---------------- Antonio Mathiae, et al.-...------- 1472 ‘SGVaI VOId OL 8 HLIM WITH 8 TO PICA LEADS. GEORGE BRUCE’S SON Tur SPREAD OF PRINTING. Place. Printer. Date. JORloe ae sees eee eee Frederic Veronensis --....--------- 1472 Cremona .-..----- ..-Paravisinus e? al_...-..---- ~-1472 Parma) =. 2225 .-Andrew Portiglia ...-..---- -1473 Bresoia .. 2-22. -- ..-Thomas Ferrandus. --.- ---- 1473 Messina -.-.----- ..-Henry Alding.-......--.- --1473 Vicenza. -....-.--- (2. John derReno. 22-2 .--.5=- - -1473 Como. --De Orcho, et at. .....----- -1474 Urine ee “Fabri and John de Petro - 1474 Geog. sss. s 2 -Matthew Morayus, et al-. 1474 Mod enieas= aera tee John Vurster 2.2.2.0... --1475 UPrOn tars fee esas seen Hermann Schindeleyp - 1476 Palermo a5 22-22 se-5 esse oF Andrew de Wormatia.. . 1477 VARGO Seats 2 eee ae William de Linis ------ --1477 GOH Sone so ne le Bart. de Civitali --.-- _-.-1477 CORSET: 2 Rees Pam eee cece William de Canepa .-.------------- 1481 Cotton, in his Typographical Gazeteer, specifies thirty-seven other places in Italy in which print- ing was done before 1500. Supraco and Roms. Conrad Sweinheym and Arnold Pannartz, two printers from Germany, set up a press in the monastery of Subiaco, near Rome, and there produced in 1465 the books first printed from types in Italy. ‘To please the taste of their Roman readers they made a new font of Roman types. It was not a successful effort, for the traces of Gothic mannerisms are noticeable in almost eyery letter. Not meeting with the en- couragement they desired, the two printers re- moyed to Rome in 1467. They began to print on a grand scale, making new fonts of Roman, Greek and Round Gothic types, enlisting the services of Bishop John Andrew as reader and corrector, and undertaking the publication of many large clas- sical works. They did not prosper. In the year 1472, they petitioned the pope for relief, setting forth that they had printed 11,475 copies of twenty- eight works, a very large portion of which had not been sold, and that they were in great distress. In 1473, Sweinheym withdrew from the partner- ship, and began to engrave on copper maps for an edition of Ptolemy’s Geography. He died before the book was published, in 1478. Pannartz died in 1476. Ulrich Hahn, a printer of Bavaria, went to Rome in 1465, and began to print there in 1467. His first book was in Round Gothie types, but his Italian readers induced him to make for his second book a rude form of Roman types. He employed THE SPREAD Campanus, an eminent scholar, as reader and corrector, and associated himself with Simon Nicholas de Lucca, who acted as editor and pub- lisher of his books. At this time there were in Rome many printing offices, and the number increased, notwithstanding the complaints of Sweinheym and Pannartz, and also of Philip de Lignamine, that more books were printed than could be sold. Before the year 1500, there were or had been thirty-seven mas- ter printers at Rome. Venice. John de Spira, so called from Spire, the city in which he was born, was the first typographer at Venice. He began in 1469, by the publication of the Letters of Cicero in types of Roman form. Soon after he published an edition in folio of the Natural History of Pliny, which is regarded as one of the fin- est specimens of the printing of the fifteenth century. Proud of his fine work, but fearing competition, De Spira solicited and obtained from the senate, September 18th, 1469, exclu- sive rights as a printer in Venice for five years. The privileges seem to have been forfeited by his death in 1470; but his printing office was managed with ability by his broth- er Vindelin, who succeeded to the business. Nicholas Jenson, the “ man skilled in engraving,” who had been sent to Mentz in 1458, and who, according to OF PRINTING. Madden, had thoroughly qualified himself in the monastery of Weiden- bach, seems to haye been the first of several printers who hastened to Venice to profit by the forfeiture of De Spira’s privilege. In 1471, he published his first book, the Decor Puellarum, in neat lighted-faced Roman types on Great-primer body. The printed date of this book is M.ccco.LxI. It is a curious cireum- stance that this exact printer should begin with an error which makes his first publication appear ten years earlier than it was. His experience at the mint of Tours as an engraver gave him a decided advantage over all his rivals. Roman types had been made before by Sweinheym, De Spira and Hahn, but never before had punches been so scientifically en- graved, nor types so truly aligned. Tt is not surprising that the efforts of his predecessors should pass for naught, and that Jenson has ever since been regarded as the introducer of Roman types. But Jenson dis- covered, as Hahn and De Spira had done, that, to secure buyers in Ger- many, it was necessary to print books in Gothic characters. With this object in view, he cut several fonts of Round Gothic, one on Bour- geois and one on Brevier body, the smallest sizes of types made in the fifteenth century. As aw printer, Jenson is entitled to high praise. None of his competitors & CO., TypE-FounpErs, No. 13 CHaMBers-STREET, NEW-YORK. 145 ‘Selin® Lapaki ee oe pone Pays | oe ni ‘ied LF Se Stee Ww notin = peau 3 i hag vA! od py, yah A OVE byes aia fi a > - rel? n€ st Moan ; a oaqr et er) ap 7 F orb et a ee a? op oe ee oe she : uty vio : af a ‘shi Pees 4 =@ Aa d ve . i = 146 Agats, No. 15. THE SPREAD OF PRINTING. showed so much taste and skill in the details of hook-making. It is noticeable in every feature —in the tint and texture of his paper, in the glossy blackness of his ink, in the clearness and solidity of his impressions, in the uniformity of register and of color on every page. Jenson’s merits were recognized by Pope Sixtus rv, who, in addition to other marks of favor, bestowed upon him the title of count-palatine. He died in 1481. His printing office passed into the hands of an association of which Andrew Torresani of Asola was the manager. In time, Aldus Manutius, a partner in this association, married a daughter of Torresani, and got control of the office, the reputation of which he increased by his scholar- ship, by his numerous editions of the classics, and by his introduction of Italic types, but not by superior skill as a typographer. As a type-founder, printer and ink-maker, Jenson had no rival and left no proper successor. At the close of the fifteenth century, Venice took the lead of all cities, not only in the number of its printing offices, but in the beauty of its types and printing. Printers in other countries knew that they would secure for their types the high- est commendation by announcing them as the true Venetian characters, San- tander specifies 201 master printers who had been in business at Venice before 1500. Bernard estimates the number of books then and there printed at two million volumes. Frorence. Bernard Cennini, an eminent goldsmith of Florence, began to print with types at that city in the year 1471. He said that he and his sons Peter and Dominic made the tools and types and did all the work without instruction, but the exact manner in which Cennini describes the cutting of punches and the founding of types makes this statement doubtful. Cennini never earned any reputation as a typographer, for it does not appear that he printed any book after 1471, Santander names twenty-two master printers at Florence before 1500. The most noticeable of the number is Dominic de Pistoia, an ecclesiastic who founded a printing office in 1474, which is known in history as the Ripoli Press. Dominic was the abbot of a monastery, but he proved an active and intelligent publisher. He deserves notice chiefly for his care in keeping his accounts, which give us our most trustworthy information concerning the mate- rials and usages of the early printers. In 1479, Dominic made this contract for printing a book. The publisher Boni- face should furnish the paper, and should pay 10 livres for 200 copies of a book of 23 or 24 leaves of royal octayo or ordinary quarto. If he printed more than 200 copies, he should forfeit all claims for work done. In another contract, made in 1480, Dominic agreed to print 100 copies of a book of 100 or 120 pages for 4 florins in gold. The prices for printing seem insufficient, but the cost of labor was small. The compositors of the Ripoli Press were the sisters of a convent. Miuan. Anthony Zarot began to print at Milan in 1470 or 1471, having been hired by Philip de Lavagna, who seems to have been a capitalist and a publisher. In 1472, Zarot persuaded four citizens of Milan to unite with him in a new asso- ciation for the printing and publishing of books. The articles of agreement are curious, and deserve preservation. The partnership should be for three years. Zarot bound himself to furnish all the types, Latin and Greek, Roman and Gothic, and to make allthe ink. The four associates were to furnish the money. One of them, De Burgo, should advance 100 ducats as soon as they could keep four presses steadily at work. If any part- ner should obstruct the business, he should lose all his rights. Rent should be THE SPREAD OF PRINTING. paid out of the general fund, Profits should be divided in three parts, of which Zarot should have one part, and the four associates, two parts. Zarot should pay the associates one-third the actual cost of the presses and other implements, which should become his property at the termination of the partnership. Current expenses should be paid out of the general fund from the profits of sales. The priest Gabriel (a partner) should be the agent, treasurer and general manager. He should have one copy of every book printed. Books for publication should be selected at a general meeting of all partners. The corrector and the copyists should be paid in printed books. Every workman should be bound by oath to keep the secrets of the part- ners, and was forbid to give any book to any other master printer of the city. If any partner wished to print a book on his own account, and could not agree with his associates, he would be permitted to have it done else- where.— Peter and Nicholas de Burgo immediately asked for the use of three presses or more, for works on common and civil law and medicine, they providing and paying for the presses and for working them, and half the current expenses of the office. They also agreed to give one-fourth of the profits, to pay a bonus of 25 dueats, and one copy of each book, provided the society would not sell it under price. The association seems to have been remarkably prosperous, for in 1472 it had seven presses at work. In 1473, the publisher Philip de Lavagna and his new partner Montanus made an agreement with Christopher Valdarfer, another printer at Milan, for the exclusive use of two presses. It will be seen that the business of publishing is almost as old as that of printing. Valdarfer agreed to set up the types of the books produced at the rate of 24 imperials (?) for every 20 pages. The wary publishers took the precan- tion to specify in the agreement that the blank pages should not be counted. There was no part of Europe in which so great an enthusiasm was shown for printing as in Italy. The Senate of Lucca, by a vote of 38 to 9, voted to pay the priest Clement, a professional calligrapher and bookbinder (who had applied for the means to go to Venice and get a knowledge of the art) a subvention of two florins monthly, on condition that he should practise his art as a public officer, teaching all who wished to learn. Clement declined the offer, The only open opposition which the new: art encountered was made in 1472, by the copyists of Genoa, who complained that the typogra- phers were greedy, and that they deprived the copyists of their livelihood by undertaking to prinf little books. SCGVaLI VOId OL 8 HLIM ‘aITOS SOLID. WITH 8 TO PICA LEADS. THE SPREAD OF PRINTING. IN FRANCE. Place, Printer. Date. Paris:5.322==~ssse-- see ee Ulrich Gering, et al .....-------.-- 1469 Lyons eREAde acace os Buyer and Le Roy ....--.....-...- 1476 Angersivascteasecatoenaee De Turre and Morelli-. eee ATT. Chablis: 222 24.-022esenekses Pierre le Rouge J..2.5-uis-5 52-4226 1478 Poitiers 3 -J. Boyer and G. Bouchet ---------- 1479 Touleuse.+. - sites secon en ebm ee ee nee eae eae aoe ame tae eens 1479 Caen .-..-- -Ferrandus and Quijone -....-.-.---- 1480 Vienne ..- f st:Pierre Schenek ioc, 22--s eseceee 1481 Promentour).--<22-ssissrecsss hoysi(Gnenbin. 2. se eeneeeeas eee 1482 TT NOWOR 5 2-035 ecee Hee eee le Guillaume le Rouge ........-.--..- 1483 Chambery’ 225-5. .Saceteee es Antonious Neyret ....-..--22--2:-- 1484 Bréand-Loudéhac.....-...--- RR. Monequetiiooa Jc. ceca cee eee 1484 Rennes ay. =.\\sa cose eee eee Pierre Belleesculée- --- -----1484 Abbeville S22 se eee Dupré and Gerard........-----.... 1486 ROUG6n . . Seve ese ee eee Guillaume le Talleur -----.-.--...- 1487 Besancon . ee ee as eer ey ee ys 1487 Hagenau -- -Henry Grau ..- eee ae eee 1489 WOU a= ae -Peter Metlinger: 2222222. sseseeen ee 1490 Grenoble 2:45.26. 52 Cader ae eal a eee eee eee eee eee 1490 Orleans - - =2- Matthiew (Vivian) oo02 se sess soe oeees 1490 Dijon. so 2 Peter Metlingor. 22208-22222. ete 1491 Angowléme, .o.gecesoss cnet oes cone eee ee eeeee oe eee 1491 Clany....= =. -Michael Weengslers2. =. 222 2 38 1493 Nantes sc cc oe eee ee ee Etienne Larcher - pee CE LAMOPES:\2.- BE eee pee John Bertow (22.05: o seb eee 1495 Provins - - Pe eRe ee G. Tayermier 4. 22. -o2 oso: a sees 1496 oarg 5-232 eee eee Matthieu Lateron..............--- 1496 AVignon :. .oae- cececeeeetenes Nicol hepe =. 0 Site see ose eee 1497 Treguier - e sos paints se RS Lhisis dace Malle me one date nerme ees 1499 Guienne...-.-- Spel cistee eae! Se ce ciae ciaeemce mies | eee 1500 Perpignan: ee eseseees nesses J. Rosembach.......222-<202+-002-- 1500 Paris. About the close of the year Crantz and Friburger abandoned print- 1469, Ulrich Gering, Michael Friburger and Martin Crantz began to print at Paris. To please the classic tastes of the doctors of the university who had invited them, their first book appeared in ght of Roman form. They were not skillful printers, for Chevillier says that letters half formed and half print- ed are noticeable in their earlier works, but they were industrious publishers. Like Jenson, they found it expedient to cut and cast types of the Round Go- thie fashion, for the Roman character was most admired by scholars. In 1477, Tue SPREAD pel some to improve the quality of their work, and to seek a new class of read- ers. Antoine Verard in 1480, and Phil- lipe Pigouchet in 1484, founded a new school of printing, when they under- took to make prayer-books and roman- ces in imitation of the style of the mini- atutists, In this style the pages were surrounded by narrow pictorial borders in pieces of irregular length. These piéces were repeatedly used on different pages, but always in new combinations, so as to present some feature of novelty. The groundworks of the borders were generally stippled. The large illustra- tions in the text were in outline, obyi- ously intended for coloring. Red letters were often printed on every page, but the larger initials were painted. Theil- mann Kerver, who commenced to print in 1497, was almost as famous as a printer of ornamental books. The grow- ing taste for fine books did not prevent the publication of solid literature. In ing, but Gering continued to print until his death in 1510. He willed a large property to the university. In 1473, Peter Keyser and John Stol, after a three years’ service with Gering, set up a rival printing office, the result of which was a reduction in the price ofbooks. Gering reprinted the books of Keyser and Stol as soon as he could pro- cure copies. Each house boasted of the superior accuracy and cheapness of its own publications. This competi- tion did not prevent other printers from founding offices in Paris, but it did com- OF PRINTING. 1495, Jodocus Badius, a printer of great learning, who had been proof-reader for his father-in-law, Trechsel of Lyons, established an office at Paris, and began to print for men of education. In the following year came the famous Henry Stephens, first of a long line of printers eminent for their scholarship and dil- igence as editors and publishers of clas- sical and eritical text books. Before the year 1500, there were, or had been, sixty-nine master printers in Paris. Lyons. Lyons must have offered unusual inducements to master printers, for there were forty printing offices in that city before the year 1500. The printers of Lyons were busy publishers, and their competitors in Italy complain- ed with reason of their piratical edi- tions. They made liberal use of en- gravings on wood and copper-plate illustrations, They were also the first printers to sell cheap books in showy bindings, IN SPAIN AND PORTUGAL, Place. Printer. Date. Barceloni2j22.e2 es se -eeee se N. Spindeler... 5.2. .02--e. 1473 or 1478 Valeencia - - ame ---Cordova and Palomar ..-.........- 1474 Saragossa - - ---Matthew Flandrus -- ---1475 Seville -.__- .--A. Martinez, et al... ---1476 Segorbie sc osc. 2845 G 5 aes Se ---1479 Tolosa - -- -.-Henry Maye -- 1480 Burgos. -- ---De Basilea....... ---1485 Salamanca: 5-235: oe: ene he een eee ---1485 Soria -..__. ---Eliezar ben Alanta - ---1485 Merce hss Sse eee tee ee eS ---1485 Toledo -_. ---John Vasquez. --- ---1486 Murcia. _.._ .--Juan de Roca .... ---1487 WPATra¢ 01a 3/512 a Se John Rosembach. -- ~---1488 eS eee | ee GEORGE BRUCE’S SON & CO., TypE-FounpERs, No. 13 CHAMBERS-STREET, NEW-YORK. Agats, No. 21. Tue SPREAD OF PRINTING. Printer. Bowie cee saw Jas ees San Cucufute des Valles Ranhon a: stent secqc acco Pampeluna-...--.------- WIBTOONPIE 2 etin steele ~ eran yeni Bie es = seis eases -Abraham Dortas Grenada-...------------- -Meynard Ungut---.-.--- Riece arate mnaMNe MUL] olin Luchner.-.2.)3esc25. ftatce: IN GREAT BRITAIN, The first book printed in English, the Recwyell of the Historyes of Troye, a stout folio of 351 leaves, does not contain the date of printing, nor the name and place of the printer, but it appears from the introduction that it was translated from the French by William Caxton between the years 1469 and 1471. When and where it was printed is a vexed question. Blades thinks that it was printed at Bruges by Colard Mansion and William Caxton, about 1472. Madden thinks it was printed at the monastery of Weiden- pach by Mansion and Caxton, who went there about 1474 to learn practical typography. Other bibliographers say that it was printed by Zell at Co- logne. The types of this Recwyell are thoroughly French, ae are like the larger types used by Mansion. Bernard thinks that these types were made and first used at Cologne, by the order of the Duke of Burgundy for the French edition of the same work. The monogram which was exhibited by Caxton in his later books — s W. 74. CG. c—is interpreted by Madden as William Caaton, 1474, Sancta Colonia. It is anindication that a notable event in his life was represented by the year 1474 and the city of Cologne, and it seems to authorize the conjecture that at this time and place he published his first book. In 1475, Caxton printed, in the office of Mansion at Bruges, The Game and Playe of the Chesse. In 1477, he was ‘“‘in the abbey of Westminster, by London,” and then and there published The Dictes and Sayings of Philoso- phers, He was then a very old man, but he did good service as aprinter before his death in 1491. Blades estimates the entire product of his press at 18,000 pages, nearly all of which'were of folio size. Compared with his great rivals on the Continent, Caxton cannot be accorded high rank as editor or publisher, but there was no printer of his time who labored more diligently. In 1480, Lettou and Machlinia begam to print at London. Wynken de Worde, Richard Pynson, Julian Notary and William Faques were also printers of that city before 1500. In 1480, Theodoric Rood, of Cologne, printed at Oxford. In the same year, an unnamed printer, known to pibliographers as The School-master of St. Albans, was at Saint Albans. The ee ress in Scotland was put up at Edinburgh in 1507; the first in Ireland at Dublin in 1551. Printing was first practised in the New World in the city of Mexico, by Tre SPREAD OF PRINTING. Juan Cromberger, or his agent Pablos, between 1536 and 1540. Thomas, in his History of Printing, said that printing was done in Mexico before 1569. The subsequent discovery of Mexican books with earlier im- prints has compelled a gradual putting back of the date to 1540, which is that of the earliest existing book. There is a tradition about a Mexican book said to be printed in 1536, but the book is not in exist- ence, and the correctness of this date has not been proved. MHarrisse quotes an author who says that printing was taken to Mexico in 1532, by the Viceroy Mendoza, and that Pablos was the first printer. But Mendoza did not go to Mexico until 1535. Pablos was the foreman of Cromberger, who had one office in Seville and one in Mexico, The second printing press in North America was put up by Stephen Daye at Cambridge, in 1638, and the first work printed on it, the Freeman's Oath, was dated 1639. The German origin of printing is fairly shown by the names, unques- tionably German, of nearly all the men who introduced printing in Southern Europe. The workmanship of these men leads to the same conclusion, for the expert will see in their books evidences of the use of the punch, mould, press, and frisket. Whether done well or ill, printing was done with the tools and by the methods of Gutenberg. Printing did not meet with general welcome, but the neglect or oppo- sition it encountered did not come largely from the copyists. The business of the copyist of cheap books was injured, but the only com- plaint that I have met came from the copyists of Genoa. The calli- grapher was indifferent to the growth of the new art, for his skill was never in higher request nor more handsomely rewarded than at the close of the fifteenth century. So far from injuring the business of the calligrapher, printing really improved it, for it largely increased the production of books intended for illumination. The neglect of literary men to note the Bible of 42 lines and the Catholicon of Gutenberg, the delayed establishment of a printing office at Paris, the indifference shown to printing in the great book-making town of Bruges, and the insufficient patronage bestowed on the early printers at Rome, are evidences that there was, in the beginning, a prejudice against printed books much more powerful than that of the copyists. The bibliophiles of the time looked on printed books as the productions of an inartistic trade. The admiration which has been recently invoked for the Bible of 42 lines as a book of nearly perfect workmanship was not expressed ‘SGVa@TI VOId OL 8 HILIM “d1I'TOS SOLID. WITH 8 TO PICA LEADS. THE SPREAD by any early book-buyer. It does not appear that any book-lover of that period regarded this work, or the art by which it was made, as of high merit. The error seems par- donable, for the printed book was not as attractive as the manuscript, and no one foresaw the future of printing. Gutenberg may have had a clearer idea than any man living of its capabilities, but it is not prob- able that he foresaw the wheels within wheels which his types would put in motion, or heard the clash and roar of the innumerable presses for which there should be no night and scarcely a Sunday of rest, or dream- ed that books, schools, libraries, newspapers and readers were yet to appear in a world then undiscovered, in numbers so great that they could not be counted. The activity of the early printers is remarkable. The task of presery- ing the literature of the world was fairly done at a very early date. There were not many books that promised to be aalaple and profit- able, and some of them were scarce, and copies were obtained with diffi- culty—but nearly every valuable book was found and printed. Nandé, the librarian of Cardinal Mazarin, said that, before the year 1474, all the good books, however bulky, had been printed two or three times, to say nothing of many worthless works which should have been burn- ed. The same work was often print- ed in the same year, by four or five rival printers in as many different cities. The catalogue of Hain very minutely describes 16,290 editions, which, at the low estimate of 300 copies for each edition, represents a total production of 4,887,000 books. This is Hallam’s enumeration of the books printed in large cities be- fore 1500: THe SPREAD twenty; those that were worth twenty, for four at most. It is a great thing, holy father, to say, that: in your time the most estimable authors are attainable at a price little exceeding that of blank parch- ment or paper.” The failure of many early printers to make their business profitable was largely caused by their injudi- ctous selection for publication of bulky theological writings which cost a great deal of money to print, and were salable only to a small class. It was unwisely supposed that printing would receive its great support from the ecclesiastics. With this object in view, the first printers printed almost exclusively in Latin, and generally in the expensive shape of folio, the books which could be read only by the learned, and bought only by the wealthy. The Bishop of Angers in 1470 paid 40 crowns of gold for a copy of the Bible of 1462. The Catholicon of Gutenberg sold for 41 crowns of gold in 1465. A copy of Mansion’s edition of the Consolation of Philosophy by Boethius, brought 40 crowns in 1481, A missal was sold in 1481 for 18 gold florins. Bernard notes a sale in which a printed copy brought a higher price than a man- uscript. A copy on vellum of the Summary of St. Thomas by Scheffer, was sold at Paris for 15 crowns of gold. A manuscript of similar size was sold for 10 crowns. Itis difficult ee es ee oF PRINTING. WMlorence sesarpasa=s ace 300 ys een oe a Be ae 629 Bologrisn. ee eesseeas 298 Romets seesey-seasene 925 DVOniGer pes eaee se ea 2835 (hondonis se ses- pe eee 2 aee 130 (Paris sven s eset 751 Oplogne—-.-2 6 <<--~ate7< 530 Nuremberg -..--.--------- 382 DDOIpSiGi see reese 351 Basleen season ecscce=- 320 Stnasburgednemec-es=s- 526 Augsburg -256 howvain’:=.--3--- -116 Menta: See vee -. -134 Deyentetes es ss-s-=——-e 161 If allowance be made for the books that are lost, these numbers are too small, but the list will give a correct idea of the comparative activity of the early printers at different places. During this period were published 291 editions of Cicero, 95 of Virgil, 57 of Horace, 91 of the Latin Bible and many hundreds of the decretals and digests of canon law. The attention of the literary world was first arrested, not by the possi- bilities of future usefulness in print- ing, but by the growing cheapness of books. The early printers offer- ed their books at less than the mar- ket prices of manuscripts, but in a few years they were obliged to re- duce the prices still lower. The market was soon glutted, and the prices fell rapidly and irretrievably. Chevillier says that, at the close of the century, the price of many books had been reduced by four-fifths. In the preface to a book printed at Rome in 1470, John Andrew, the pishop of Aleria, addressing Pope Pius 0, says: “Tt reflects no small glory on the reign of your holiness that a toler- ably correct copy of such a work as formerly cost more tham a hundred crowns may now be purchased for OF PRINTING. to form just conclusions from these prices, for the bindings of the books have not been described. Hallam says that the florin was worth about four francs of present money, equiv- alent, perhaps, to twenty-four in commodities, and that the crown was worth rather more. Another estimate allows to the money of the fifteenth century eight times its pre- sent purchasing power.—The print- ers’ hopes of profit were rarely ever realized. Only a few like Zell, Men- tel and Scheffer became successful merchants of books on dogmatic theology. It was soon discovered that printing could not be supported by ecclesiastics. The printers who had been induced to set up presses in monasteries did not long remain there, nor did the printing and pub- lishing offices which they left pros- per for many years. Books of devo- tion were never in greater request, but books published by the church did not fully meet the popular want. Nearly all the books printed by Gutenberg and Schceffer were in the Latin language. Whether they over- looked the fact that there was an actual need for books in German, or whether they were restrained in an attempt to print in German, cannot be decided. Other publishers saw the need, and disregarded the re- straint, if there was any, to the great inquietude of ecclesiastics, who seem to have had forewarning of GEORGE BRUCE’S SON & CO., Typr-FouNnDERS, No. 13 CHaMBERS-STREET, NEW-YORK. 147 ve aie ys ; pet M hors (har f rahe w yell ya eae raat sae ’ 1d ys ag a) a : te =e Freee abe ig doe Is cece bale ine ti 4 7 OP en i ad ae f : A“ i : AT get aap ola wy : om vet) ‘ : itis DY hee Ge Kl H-< pag Sapet Sf, Aa Gew iy as hays Kees Gl frie call Gee" ohn. oh -yyttip wer eis = me bie -di Qre= o+4 Sep) © a> aaa Pex ae hy boom re oe am wh} et ppwaty ee ee eo tone "ae or babe ey ee sede Al peg LEN Se © Pa. ee pars Si A ee ary ' (@,! ; J ‘ a aa hore ee ad CS ee » as we ; rhe oat ad Gel) lh, oe a ey eh Re yn! 4 ; { pele nena pre peo! bag OOF u Meat wind ie A cipher tte ay ae A, 6 wis), divert 5 ‘Tra ore i oh llealiee i a wii tT nel, Vette pil ‘ btnys un all . ‘ lac Spe mshi ih nad ha Ls n . , ; ; I ae eo Linp- alti Age, eae AY hse ee ? Manu | ial it, Pe Breed il il —_ ae : i nip oth a nel, et . é gen ee 148 “ Tue Spreap or PrRintING. the mischief that would be made by types. On the fourth day of January, 1486, Berthold, the archbishop of Mentz, issued a mandate in which he forbade all per- sons from printing, publishing, buying or selling books translated from the Greek or Latin, or any other language, before the written translation had been approved by a committee which should be appointed for the purpose from the faculty of the Universi y of Mentz. The penalties were excommunication, confiscation of the books, and a fine of 100 florins of gold. The mandate is too long for an unabridged translation, but the following extracts will fairly set forth the reasons for his action : “ Although, by a certain divine art of printing, abundant and easy access is obtained to books in every science... yet we have perceived that certain men, led by the desire of vainglory or money, do abuse this art; and that which was given for the instruction of human life is perverted to purposes of mischief and calamity. For, to the dishonoring of religion, we have seen in the hands of the vulgar certain books of the divine offices and the writings of our religion translated from the Latin into the German tongue.... Some volumes on this subject, certain rash un- learned simpletons have dared to translate into the vulgar tongue, whose transla- tion... many learned men have declared unintelligible, in consequence of the very great misapplication and abuse of words... Let such translators, if they pay regard to truth, say whether the German language be capable of expressing that which excellent writers in Greek and in Latin have most accurately and argumenta- tively written on the sublime speculations of the Christian religion and the knowl- edge of things. They must acknowledge that the poverty of our idiom renders it insufficient,... they must corrupt the sense of the truth in the sacred writings... which, from the greatness of the danger attendant upon it, we greatly dread; for who would leave it to ignorant and unlearned men and to the female sex, into whose hands copies of the Holy Scriptures may have fallen, to find out the true meaning of them?” This was not the first restriction imposed on the liberty of the printers, for the University of Cologne in 1479 had assumed the right to control the printing of books by Quentell and Winters. In Italy the revival of classical literature opened a new field for the publisher, but the demand for Latin authors was limited, In this country, and in others, eager- ness for books in the native language was manifested; for books that plain people could read; for books that represented the life and thoughts of the living and not of the dead. The world was getting ready for new teachers and for a new litera- ture —for Luther and Bacon, for Galileo and Shakespeare. ‘aTI08 torvitatibusprfis mbil waprijs Mtedo dice: mn fequentilys fed duitapat autenti coz i pagmaserba fichier cirale onctte fe potiTimii: nifi qr alum todorem noiat \C |; prams weba (tatimfequintserba bt. | mecpiple ommes vitetur goiter mgrse -| sellevev bite $i ftertntijs prorumagitur nae A Type of the Fifteenth Century, [From Madden.] xXXVI THE TOOLS AND USAGES OF THE EARLY PRINTERS. Punches made by Goldsmiths . . . Styles of Types imitated from Manuscripts... Popularity of the Gothic. Moulded Matrices... Types made without any System... From an Adjustable Mould... Appearance of Early Types. arge Fonts made... Importance of Mould... Rudeness of Early Composition. Method of Dictation... Faults of Compositors... Slowness of Improvement... Construction of the Hand-Press, with illustration ..- Inking Balls, with illustration... Slowness of Pressmen... Printing in Colors. . . Printing Ink... Ingredients used by the Ripoli Press... Moxon’s Complaints about ink, Neglect of Engraving on Wood . . . Peculiarities of Paper. . . ‘The Degradation of Engraving... Proof- reading at Weidenbach .. . Faults of First Editions. . . uperiority of Printed as compared with Man- uscript Books... Permanence of Gutenberg’s Method. All invention is progressive... When a new machine-is produced, we do not say, Why, it only consists of a number of wheels and cylinders, therefore, surely there is nothing new in it! All the parts may be old, and yet the combination be quite new. To analyse an invention into its several parts, would be equivalent to finding that a poem was only composed of the letters of the alphabet, or the words in adictionary. Dircks. Tue first processes in the practice of typography —the cutting of punches and making of moulds—demanded a degree of skill in the handling of tools and of experience in the working of metal rarely found in any man who undertook to learn the art of printing. They were never regarded as proper branches of the printer’s trade, but were, from the beginning, set aside as kinds of work which could be properly done by the goldsmith only. Jenson, Cennini, Swein- heym and Veldener seem to have been the only printers of the fifteenth cent- ury who had the preliminary education that woud warrant them in attempt- ng to cut punches with their own hands. Not every goldsmith could do this work with neatness, and for this reason. as well as for the sake of economy, many beginners bought their matrices from the printers who owned punches. In some cases the types were bought out- right, but matrices which gave the means of renewing a worn-out font must have been preferred. That there was a trade in matrices before type-foundries for the trade were established is shown by the appearance of the same face of type in many offices. The Round Gothic types cut by Jenson were frequently used by printers in France and Germany. Certain faces of types used by ari oe oe der Goes, by Leeu and Bellaert, by Machlinia and Veldener, are identic: € same, and i eee chin 5 must have been cast from matrices struck from Gutenberg’s employment of the goldsmith Dtinne at Strasburg, ment to him of a big sum for work connected with printing, : satisfactorily explained by the conjecture that Diinne was hired ‘t and the pay- can be most 0 cut punches x ow G ‘SCVAT VOId OL 8 HLIM PEARL, No. 11. SOLID. WITH 8 TQ PICA LEADS. Tur Toots or THE Harty Printers. and make a mould, I find no mention of punch-cutting or mould-making at Mentz, but there is, in the accounts of the Ripoli Press, an unequivocal notice of one John Peter of Mentz, who was selling matrices to the printers of Flor- ence in 1476. It is evident that this John Peter had experience in this branch of typography. The Ripoli Press bought of him, in 1477, the matrices of a full font of Roman, for 10 florins in gold. John Peter was not the only punch-cutter. In 1478, the Ripoli Press paid the goldsmith Benvenuto 110 livres for the punches of three fonts—two of which were of Ro- man and one of Gothic face. In 1481, another goldsmith, Banco, made a sale to the manager of the Ripoli Press, of 100 little letters, 3 big letters, and 3 vignettes on copper.” The styles of the early types were not invented by printer or punch-cutter. The Pointed Gothic letters of Guten- berg’s Bibles and of the Psalter of 1457 are like those of the choice ecclesiastical manuscripts of that period. The Round Gothic letters of the Catholicon and of the Letters of Indulgence are of the form then used by German copyists in popular books. In Italy, the first types were cut in imitation of the popular form of Ro- man letters, or in the southern fashion of Round Gothic; in the Netherlands, they present the peculiarities of Flemish writing; in France and Burgundy, they were, for the most part, in the favorite French style of Bdtarde ancienne. In no instance did the printer invent a new style: he did no more than direct his Ponce cutte to imitate, as closely as ne could, the letters of a meritorious manuscript. In this matter, as well as in the arrangement of types, he followed the fashion set by an Spread copyist or calligrapher. The peculiar characters of different languages were produced as they were required, somewhat slowly and of unequal merit, by different print- ers, Square notes of music, partly writ- ten, partly printed, are seen in the Psal- ter of 1457. Greek letters were made by Scheeffer and Sweinheym, but the first book in Greek was printed by Paravi- sinus at Milan in 1476. Hebrew types were made at Soncino in 1488, At the close of the century, a German printer at Paris made an imitation of writing, but the letters were not connected, and and the only penmanlike features were, in the capitals. About 1500, Manutius had the engraver Francis of Bologna cut punches for Italic types, in imitation of the handwriting of Petrarch. The limit- ations of typography were not fully per- ceived, and many unsuccessful attempts were made to produce types and sec- tional wood-cuts that could be used in the construction of maps, ornaments and pictures. Jacob Bellaert of Haarlem combined isolated engravings, cut for the purpose, in the belief that each combination would seem a new engraving. Kerver tried to give variety to his pages by vary- ing combinations of detached pictorial borders. But it was quickly demon- strated that typography could deal suc- cessfully with letters only, The large ornamental initial letters of books were not cast, but cut, sometimes on wood, oftener on metal. Small and ornament- ed capital letters were cast by Mentel of ya urg, and by Ratdolt.of Venice in 147. ‘The Gothic character was more popu- lar than the Roman, but there were me- chanical reasons why many eee referred it. 1t was not so quickly cut, ut its broad face, free from hair-lines, was more readily founded. It could be inked with facility and printed with more evenness of color, and it would not show wear as soon as the Roman. Early printers who had no Roman, were loud in their praises of the Gothic. Colonna and Manthen at Venice said that their Gothic was a “sublime letter.” John Herbort, in 1483, said his was “a most captivating letter, unquestionably excelling all others.’? Nicholas Prevost said his book was printed ‘‘in types the most beautiful and most becoming for olite literature.” Cheyalon said his othic was ‘‘the polite and fashionable letter.”’ It was preferred Bi Verard, Pi- gouchet, Kerver, and nearly all French and Flemish printers. It did not entirely go out of fashion in Southern Europe nor in France until the close of the six- teenth century. It might have been Tue Tooxs or THe Harty Privrers. supplanted by Roman characters in Ger- many, if there had not been at this time a strong prejudice against Roman customs and fashions of all kinds. Attempts at change were frequently made, but they were always unsuccessful. The steel bought for the type-foundry of the Ripoli Press was probably intend- ed for punches. The use of this metal in other type-foundries may be inferred from the sharpness, when new, of many fonts of early types. That the moulds were of brass is indicated by the allu- sions of early writers and printers to - types made in brass. The matrices were of copper, but it is not probable that they were struck in cold metal, for it required great force and still greater dis- cretion to strike the punch truly, and the risk of breaking it had to be hazarded. For the matrices of the large types of Gutenberg’s Bibles and the Psalter of 1457, copper softened by heat should have been, and probably was, provided. In France, the punches are struck in hot copper to prevent their breakage. ‘When the secrets of type-making had been divulged, the printers who found difficulties in making or buying matrices tried to evade its necessary conditions and cheapen its processes. The types of wood with holes for wire, described by Specklin and others, must have been punches of wood which had been made in the belief that it would be cheaper to cast words than to cast and compose single letters. The matrices of lead noticed by Enschedé were probably made by striking the punch of wood in half-melted metal, after the process de- scribed by Didot. The punch of wood, burned by contact with hot metal, was a fae Ae ee Oe ee ee GEORGE BRUCE’S SON & CO repaired, altered and renewed; the mat- rix of lead, clogged by the adhesion of metal, became defaced, and was soon worn out. Every change in the punch or matrix produced a corresponding change in the cast type. “T know by experience that the ordi- nary metal used for types can be cast in a matrix of lead to the number of 125 or 150 types before the matrix will be de- stroyed. After 50 or 60 castings, there will be an alteration in the mould; the finer lines will disappear and ruder lines will be presented. This will account for the differences that the same letters pre- sent on every page.”’ Magazin Encyelop, de Millin, 1806, vol. 1, p. 74, as quoted by Bernard, vol. 1, p, 299. The types of the fifteenth century were made without system. The dimen- sions of each body and the peculiarities of each face were determined chiefly by the manuscript copy which had been selected as the model. No printer had any idea of the advantages to be derived from a series of regularly graduated sizes, nor of the beauty of a series of uniform faces, nor of the great evils they would impose on themselves and their successors by the use of irregular bodies. Gutenberg’s larger bodies were irregu- larly graduated and of Pointed Gothic face; his smaller bodies were not sepa- rated at proper distances, and were of Round Gothic face. The unknown printer had four faces and four bodies of the size English. Caxton had two faces and two bodies each of the sizes Paragon, Great-primer and English. The types of many printers at Paris and Venice show irregularities of body which seem inexplicable to the modern printer. -, Typr-FounpErs, No. 13 CHAMBERS-STREET, NEW-YORK. PEARL, No. 16. Tue Toons or THE EARLY PRINTERS. A classification by seale of the types of any printer of this period will show that there are often wide gaps between the larger, and confusing proximities between the smaller, bodies. The smallest sizes which I have met in any book of the fifteenth century are in the Decretals of Gregory, printed in black and red by Andrew Torresani at Venice in 1498, in which book the text is in Bourgeois and the surrounding notes are in Brevier. Nonpareil was first made by Garamond of Paris about the middle of the sixteenth century. Diamond was made by Jannon of Sedan about 1625. Nothing smaller was attempted until 1827, when Henry Didot, then 66 years old, cut a font on the French body of 244 points—a body known to American printers as Brilliant, or Half-nonpareil — about twenty-five lines to the American inch. c As the size of every body is determined by the mould in which it is cast, it would seem that there must have been a separate mould for every distinct body. (It has been suggested that these distinct bodies were founded in sand moulds; that a new pattern for the body was made every time a new font was cast; and that the irregularities in body are the results of unintended or undetected variations in the pattern. But this hypothesis cannot be accepted. The small bodies, the sharp edges, close fitting-up and even lining of the types, are peculiarities which could not have been produced by a sand mould, nor by a mould of any plastic material.) This inference is encumbered with fatal objections. The type-mould of hard metal is, and always has been, a very expensive tool, and it cannot be supposed that any early printer made two or four moulds for one body when one mould would haye served. It is much more probable that he tried to make one mould serve for two or more bodies. The inventor of the mould may have thought that it should be constructed with adjustments, s0 that it should cast different bodies as well as different widths of types. The practicability of a mould of this description is properly demonstrated by the old-fashioned adjustable mould for irregular bodies, or by the mould used for casting leads, which can be : enlarged or diminished that it will cast many bodies or thicknes If we suppose that this mould was used by Gutenberg for casting the two bodies of the Letters of Indulgence, and by the unknown printer of the Netherlands for his four bodies « English, and that it was, of nece y, newly set or adjusted each time a new font was cast, we shall at once have a precise explanation of irregularities which are wnac- countable under any other hypothesis. Casting types without the system standards and gauges which modern type-founders use, it is not surprising that the f printers made types with differences of body. It was the impracticability of casting in this primitive mould, at different times, types of uniform body, that compelled later type- founders to discard it, and to use instead a mould for each body. The casting of the types, which was al- ways done in the printing office, was then “dITO$ SOLID. Tue TooLs OF THE EARLY PRINTERS. There is a disagreement among bibliog- raphers about the quantity of types ordi- narily cast for a font by the early printers. Some, judging from appearances which show that one page only was printed at an impression, say that they cast types for two or three pages only; others maintain that they must have had very large fonts. That the latter view is correct seems fully established after a survey of the books known to have been printed by Zell, Ko- burger, Leeu, and others. It would have been impossible to print these books in the short period in which we know they were done, if the printer had not been provided with abundance of types. As the types were made in the printing office, by a quick method, from an alloy which could be used repeatedly for the same purpose, the supply was rarely limited by consider- ations of expense. Bernard believes that Gutenberg cast for the Bible of 42 lines at least 120,000 types, or enough for two sections, or forty pages. He supposes that twenty pages were per- fected, and ready for press or under press, while the succeeding twenty pages were in the compositor’s hands. This would be the method adopted by the modern printer, and it may haye been the method of Gutenberg, but it is probable that the difficulties connected with the new art compelled him to print the book more slowly, and with imperfect system. But adjudged a proper part of a printer’s trade. The earlier chroniclers said the first types were made of lead and tin. The Cost Book of the Ripoli Press specifies these metals, and obscurely mentions another which seems to have been one of the constituents of type-metal. If this conjecture can be accepted, types were probably made in the fifteenth century as they are now, of lead, tin and antimony. (See page 32 of this book.) Was this obscure metal antimony? The text books say that antimony was, for the first time, set apart as a distinct metal in 1490, by Basil Valentine, a monk of Erfurt. But Madden says that a book supposed to have been printed at Cologne, before the year 1473, plainly describes anti- mony as a metal frequently used and much abused by many monks of the thirteenth century in their pharmaceutical prepara- tions. Lettres dun bibliographe, 4th series, p. 115. Not one of the millions of types founded during the fifteenth century has been preserved, nor is there in any old book an engraving or a description of a type. This neglected information has been unwittingly furnished by a careless press- man in the office of Conrad Winters, who printed at Cologne in 1476. This pressman, or his mate, when inking a slackly justified form, permitted the inking ball to pull out a thin-bodied type, which dropped sideways on the face of the form. The acci- dent was not noticed; the tympan closed upon the form, and the bed was drawn under the platen. Down came the screw and platen, jamming the unfortunate type in the form, and embossing it strongly in the fibres of the thick wet paper, in a manner which reveals to us the shape of Winters’ types more truthfully than it could have been done even by special engraving. (See illustration on preceding page.) The height of this type is a trifle less than one American inch. It agrees exactly with the old French standard (of 1723) for height of type, which was 1015 geometric lines, or, by modern French measure, 24 millimetres. Four- nier, Manuel typographique, vol. 1, p. 125. The sloping shoulder, or the beard, as it was once called, was made to prevent the blackening of the paper, for it would have been blackened if the shoulder had been high and square. The sloping shoulder, which was in general use in the first quarter of this century, was dis- carded to meet the requirements of the new art of stereotyping. It was found that these sloping shoulders made projections in the plaster mould, which imperiled the making of an accurate cast. The blackening of the sheet from square shoulders was prevented by altering the mould and placing the shoulder lower on the body. The circular mark, about one-tenth of an inch diameter, on the side of the type, was firmly depressed in the metal, but did not perforate it. As this type had no nick on the body, it is apparent that the circular mark was cast there to guide the compositor. When the type was put in the stick with the mark facing out- ward, the compositor knew, without looking at the face, that it was rightly placed. There is no groove at the foot. Duverger says that the early types had no jet or breaking-piece; that the superfluous metal was cut off, and the type made of proper height by sawing. (See page 126 of this book.) These details may seem trifling, but they are of importance: they show that, in the more important feat- ures, the types of the early printers closely resembled ours. Presswork and Composition as done in 1564 SaVaT VOId OL 8 HILIM (From Jost Amman.] WITH 8 TO PICA LEADS. WML ing office. The roving habits of the masters will not seem so strange when it is known that the equipment of the early office was simple, and that the more expensive tools could be carried with little difficulty. This Dlustration, a fac-simile of one of Amman’s engravings of a printing office, is from his book dated 1564, The case for the type is of one piece and is resting on a rude frame. All the boxes are represented as of the same size, but this is probably an error, for it is an error which is frequently made by designers of this day. The en- gravings of cases shown by Moxon have boxes of unequal size, No doubt, they were so made from the beginning, for a day’s experience would teach any compositor that his case must have a larger box for the letter e than for the letter x. In this, and in many other early illustrations of type-setting, the compositors are seated on stools. In Italy and in Paris, women were employed as compositors. In the wood- cut (see following page) used by Jodocus Badius for a trade-mark, we see a hard- featured dame before a narrow case, com- posing types with judicial deliberation. the printers who followed him certainly used quick methods, The trades of compositor and pressman, and possibly that of type-caster, were kept about as distinct then as they are now. There were more compositors than press- men, and the compositors, says Madden, in the heroic age of printing, were not boys, but men of education and intelligence. The early printers who were taught the business that they might become masters had to pay a premium for their education, Caxton said that he had “practysed & learned at [his] grete charge and dispense to ordeyne this said booke in prynte.’”” In the brief time that they gave to the work, their education must have been more theoretical than practical. As the branch of composition required the largest number of workmen, and more intellig- ence, and less manual labor than any other, it was usually selected by the pupil for practice. Of type-casting and presswork he learned no more than was sufficient to enable him to direct the labors of his future workmen. The knowledge of the trade which the pupil coveted was the ability to practise it on his own account, and this knowledge was, in most instances, satis- factorily acquired when he got a theoret- ical knowledge of its secret processes. The frequent specification of the formen in the earliest notices of printing shows that the mould, with its accompanying matrices, was regarded as the key to the knowledge and practice of the art. As the moulds were made by master mechanics, not bound to secrecy, and as the earlier compositors had some knowledge of the process of type-casting, it was not difficult for a journeyman to become a master printer. When he had bought a type- mould and matrices, he could go to any city and begin to print books. He could cast types and mix ink as he needed them ; he could buy paper and the constituents of type-metal in any large town; properly instructed, any joiner could make the Many of the early master printers practised their trade for a few years in one place, and a few years in another, roying about from town to town with a seeming indifference to change which seems unac- countable to the modern printer, who knows how expensive it is to move a print- She has in her left hand a narrow com- posing stick, made to hold but two or three lines of small types. The early stick was not like the neatly finished iron tool of our time, with steel composing rule and an adjustable screw and knee adapting it to any measure. It was areal stick of wood, a home-made strip of deal, with the side and end-piece tacked on. For every meas- ure, a new stick or a retacking of the movable piece was required. The date of the introduction of the stick cannot be fixed, but it was used, without alteration for many years, by the printers of all countries, It is possible that some of the early printers had no sticks. The peculiar workmanship of the unknown printer and of Albert Pfister shows that the types were taken direct from the case and wedged in the mortised blocks of wood which served for chases. Blades attributes the uneven spacing and irregular endings of lines in the early printed books of Caxton and of other printers, to their ignorance of the ad- vantages of a composing rule, without which types could not be readily moved to and fro, and adjusted. Bernard says that sticks of wood were used by Christopher Plantin, “king of printers.’’ It is char- acteristic of the taste of his time, that Plantin had sticks of wood, although he boasted that some of his types were cast in {matrices of] silver. In the following illustration, the com- positor has the copy before her in the shape of a book, but Conrad Zeltner, a learned author of the seventeenth century, said that this was not the early usage; that it was customary to employ a reader to read aloud to the compositors, who set the types from dictation, not seeing the copy. He also says that the reader could dictate from as many different pages or copies to three GEORGE BRUCE’S SON & CO., TypE-FounpErRs, No. 13 CHAMBERS-STREET, NEW-YORK. 149 . a a baie ¥ . vn bt beter phir Po. { \ i ‘ , i é Pa é <4 i os - ‘ ; wey <4! Rites J i | * vi A ‘ aos ‘ j a “ ‘ at > 4 ue =" Bad 4 id ‘ iat! e i* i A < U. { t e : bare ot mee Po attrsdy ed cid i ed oe ‘ tab ”, 4 wt Fe eke | taht a FI fee Ae . ; » ? y 4] ey “! P Z wre? =? > a nee ee fe «ge c ‘M Dcat ey eee Le: ly _ ah Pacts Tape oy ips oxtiee sl Ye Pup yitas opi aes 4 uy (tien! @ alee! ft tum ete es aor Ae ery 15 6 sry ty betting ergot, ort Cents Comal es et) : - ur he eee ge oP gee) 7 agtteth Siren eet BY Jatt amas Oe ne Hotes arn! horde * DHTAD OA aaphipors “os P05 INO oa om at hipaa oa Syiey is y then i _ ny 5 : bh Oy e ; : : A ALEC IA ony pet hooker Ye 7 he Viaje wlan) ae ptt iby ay pA) De wall ine pe ttle deter py wath thy wi =P Ane og ‘ ry 7 Td en ane er ee en noe } Ci: \ apts va pd FIT oe re : « Nahe eah go t cr . ee Deans + R + orca err oe ~~. asia Pe a a oe peorence Pepi ott! yet ta ed Bute serehin OA hate 31. = ' 'e ne teem Ce j P ah ig ave ua wv pst ry mR al ( pore ae Moulin Cited monty Jy ean tame tbe! Lanai se Se j= dd? thew i he ihananudion F: oP evel bed aie abag in tins | ie - a re “281 46 ata Dey erheg ew 9 Betty anal “berries “aria bina idly! oy Oh jam yt ty 2.10. BROT TRV yi . ; 0 tales i gach 3m o>’? > , bee wo tp tate Ot y é - se 150 PEARL, No. 20. THE TOOLS OF THE EARLY PRINTERS. or four compositors working together. Madden, in his first collection of Ledétves a@’un bibliographe,— the most curious piece Oh anal vce criticism that has appeared in typographical literature—has demonstrated that the method of dictation was practised in the office at Weidenbach. In this series of letters he critically examines three books, printed at this office with the same types, and at the same time, and points out the peculiar errors of three different compositors, who, not seeing the copy, were misled by their misapprehension of the dictated words. He claims that these books were the practice work of three amateur compositors who were then learning the trade. Each compositor had copies of his own workmanship printed as evidences of his skill, or as a memento of his errors. Novelas they may seem, I am inclined to accept the conclusions of Madden. Many copies of early printed books, known to be of the same edition, or done at the same time, show variations in the typographical arrangement which cannot be explained by any other hypothesis than that of a double composition by compositors working from dictation. When the compositors were educated, the method of dictation may have been practised with some success; when they were ignorant, it was sure to produce many errors. Zeltner said that he preferred the old method, but he admits that it had to be abandoned, on account of the increasing ignorance of the compositors. P ae No feature of early printing is more unworkmanlike than that of composition. Imitating the style of the manuscript copy, the compositor huddled together words and paragraphs in solid columns of dismal blackness, and sent his forms to press without title, running-titles, chapter-heads and paging-figures. The space for the ornamental borders and letters of the illuminator seems extravagant when con- trasted with the pinched spaces between lines and words, The printer trusted to the bright colors of the illuminator to give relief to the blackness of the types, not knowing that a purer relief and greater perspicuity would have been secured by a wider spacing of the words and lines, The obscurity produced by huddled and over-black types was increased by the neglect of simple orthographical rules, Proper names were printed with or without capitals, apparently to suit the whim of the compositor. The comma, colon and period, the only points of punctuation in general use, were employed capriciously and illogically. Crooked and un- evenly spaced lines and errors of arrangement or making-up were common. Madden has pointed out several gross blunders, caused by the transposition of lines and pages and an erroneous calculation of the space that should be occupied by print. Words were mangled in division, and in the display of lines in capital letters, in a manner that seems inexcusable. But no usage of the early compositor is more annoying than his lawless use of abbreviations. Imitating the example of Procrustes, he made the words fit, chopping them off on any letter or in any posi- tion, indifferent to the wants of the reader or to the proprieties of language. The composition of Scheeffer’s edition of the Decretais has been injudiciously praised by Bernard. In the fac-simile shown in the Appendix, it will be no- ticed that the page is crooked, and that the justification and making-up are very faulty, In a copy of Torresani’s edition of the Decreta/s, the frequent contrac- tions make the work almost unreadable. This book has been highly commended for its even spacing ; but it isa sufficient answer to say that any printer could space admirably, even in the narrowest measure, if allowed to mangle words to suit his convenience, Whatever opinion may be entertained concerning the de- terioration of printing in other branches, it is, beyond all cavil, certain that in the art of arranging types so that the mean- ing of the author shall be made lucid, the modern compositor is much the more intelligent mechanic. Improvements were made slowly. The method of spacing out lines so as to produce a regular outline at the right side of every page had been practised before, but it was not in general use even as late as 1478. Arabic figures, in- stead of Roman numerals, were first used by Ter Hoorne of Cologne, and by Helye of Munster in 1470. Signatures to guide the binder in putting in order the different sheets of a book were first used in printed books by Zarot of Milan in 1470. As the letters of the signa- tures often had to be doubled, and sometimes quadrupled in thick books, it became necessary to print a full list of the signatures at the end of every book as an additional guide to the binder. This list, regtstrz chartarum, seems to haye been first used by Colonna at Venice in 1475, The clumsiness of dou- bled alphabetical letters should have led to the use of Arabic figures for signa- tures, and should have suggested pag- ing, but these reforms were not adopted for many years afterward. The state- ment made by Lacroix that one book was paged in 1469 does not prove that this was the usage. In some books print- ed at Venice during the last ten years of the fifteenth century, the leaves (not the HiLIM 8 SaVaT VOId OL “dI'TOs Two upright beams, or cheeks, su SOLID. THE TOOLS OF THE EARLY PRINTERS. in 1517, neither leaves nor pages are numbered. A table of errata, two pages folio, was exhibited by Gabriel Peter of Venice in 1478. The first full title, if a few lines in compact capital letters can be so called, was. made by Ratdolt of Venice in 1477, but his example was not rapidly followed by rival printers. Run- ning titles and open chapter headings are innovations of the next century. The printers of the fifteenth century who wished to free themselves from depend- ence on the illuminator filled up the white spaces about chapter-headings with bits of engraving on wood or metal. Galleys, or trays of wood to keep in place the composed types, were not known; the types were placed line after line, perhaps letter by letter, in the mor- tised block of wood which served for the chase. Nice justification was impossible. If two pages were put in one mortise, one of these pages would often be out of square —an irregularity which has led some bibliographers to think that each page was Separately printed from a sepa- rate form. The locking-up or tightening of the types, which was roughly done, often made the types crooked, springing them off their feet and making the spaces work up. Some early chases held their types not with quoins, but by the pressure of screws. A German printer’s hand-book, dated Leipsic, 1743, has dia- grams of impositions in which the pages are fastened by screws perforating the chase. Quoins and bevels were not an early invention. The neglect of the early printers to praise their presses is remarkable when A LEADS ‘ WITKTS! TOF BIC Presswork and Composition as done in 1520. (From Blades’ fac-simile of the print of Badius.] pporting a thick cross-piece, or cap, made the frame-work, pages) are numbered on eyery odd page. But this was not the common practice. In the Stazizs of Aldus, printed at Ven- ice in 1502, and in the Italian translation of the Commentaries of Fulius Cesar, printed by Bernard Venetus of that city The cap held in place the screw and spindle which gave the impression, and t' the spindle was steadied by the large square collar, or till, which eS supported eee The point of the spindle pressed against the impressing surface, or platen, which was held in place by iron rods connecting it with the collar. The bed of the press and the form of type, are concealed by the tympan drawer, which, with tympan and frisket, have been folded down and run under the platen. (See illustration on page 105, and explanation on page 97, for the uses of these parts.) The bed was of stone, but every other large piece was of wood. Iron was used only for the spindle, the core of the bar-handle, for nuts and bolts. and the minor pieces for which no other material would serve. H ‘ a SS ee ee contrasted with their frequent praises of the marvelous art of type-making. It is inferential evidence that the press was then regarded as an old contrivance, and not worthy of notice, but this conclusion cannot be unreservedly accepted. The principle of pressure was old, and for that reason, was undervalued by print- ers, but the mechanism of the press was new. That the printing press was an invention of merit will be perceived at a glance when it is compared with the screw press which is supposed to have served as the basis of construction, (See page 125 for illustration of primitive screw press.) That a proper method of doing presswork was deyised in the in- fancy of the art may be inferred, not only from the permanency of the primitive form of press, all the important features of which are still preserved in the mod- ern hand-press, but from the meritori- ous presswork of the first books. The Bibles of Gutenberg were . certainly printed on a press which quickly gave and quickly released its pressure, and which had the attachments of a movable bed, tympan and frisket, and contriv- ances for neatly inking the types and for keeping the paper in position. Jodocus Badius of Paris was the first printer who published engravings of the printing press. It cannot be asserted that they are minutely accurate repre- sentations of the press then in use, but they will serve to show its general con- struction. Two features provoke hostile comment. Contrary to modern usage, the piles of white paper and printed paper are unhandily placed on the off- side of the press, and the stalwart press- man pulls home the bar with both arms. The platen seems altogether too small when contrasted with the great screw, the heavy frame, and the two-handed pull of the pressman. The smallness of this platen was not an error of the de- signer. Moxon (Mechanick Exercises, vol. I, pp. 52, 69), who has minutely de- scribed the press of his time, says that the platen of an ordinary press should be of the size 9 by 14 inches, and that the coffin, or trough in which the bed was placed, should be 28 inches long and 22 inches wide. In other words, the plafen was purposely made so that it could im- press less than half the surface of the bed; it could print only one-half of one side of the sheet. Small as this platen may seem, it was large enough for the frame-work of wood. It gave great re- sistance under pull, and severely taxed the strength of the pressman. : RSW ST Tre ey ey A aa eee Sy, RAY eee MeN sar sion! Fac-simile of the Last Page of the Bible of the Poor, see Pages 72 and 155. [From Hansard.] APPENDIX. 161 Ader? Dim gui eit nos,B" wnite ali Specutte Sea : : cS \ PA SLE Y 3 <— NS Sei in ONO) a3! CA Moy — Ne h LOGY SAO cats wir qu ——— J ior Ke e pL SS ye Weer Shee SON, 772s, II AO fey) = J, sial 1 “| Gaaes- tuo J UNpiozit et in eS } WY a > a aS SE ks 4 AI RGN GSGONG | +— 4; . Si Od) “ % eu i pipe ee Dit TOmilgestiye i. ‘tiiae ay retin eye 2 CUS MDItabif Die ar node, et eit tanip. ligniti qi platati ifr Fac-simile of Part of the First Page of the Psalter of 1457. See pages 133, 136 and 159. (From Humphreys.] ite fraltnon-rotve-eernftate rapitalini ieont? P fcatontut shiney a 8 "I abigs ralamiollaceat aera, Stance i biam el intuthieet> ofjemfult ) Cue magiint-Crpetix mrBeratsivin, S umn at OS Mi OAMlcho erly -Jnvigta Aliprais, Fac-simile, slightly reduced, of the Colophon of the Psalter of 1457. See pages 135, 136 and 159. {From Falkenstein.] i ay yt rie if Ya | aie a) vy Ait OR RGR ene BB ira) ahr C4 4, P ues ay elt » fae : tad > oe ee PP ab e443 48 sae te abs. imag Peo ns Span | ™ ~ =a hay i a en Pa AED AT s- 62 7 wail hearty ail swale «Wed awe t iv Fan | ih Mai ted Va on a ; Re tan an? ‘ preirants a ‘7a! he\ piredeclftan st af ies is oe ainib 4 ein , rr wer ’ a oi yh. apie tiny ey 1 Py ee ee me » se 7 oe ' i ~*~ 162 occasion was marked by the solemnity of hig parts of Kurope. one a boy is pulling around the screw of a very clumsy press. T pedestal is this inscription, “In the year 1837 the contributions received from every part of Europe.” Romans, was discovered through the inyentive heritage of the world.” sheet, “And there was light” (Gen. i, more pointedly in the bas-relief on the hope hand-press. Scheeffer. APPENDIX. Im TT TT | i au fe a. Z i) ih VU Pipe» i x SSS < S IN See R SS SS \ S IN SS R N SN = N S SS NS SS NSS VN YY Ti ooo TTT MOTT-NY re Thorwaldsen’s Statue of John Gutenberg. Statue of Gutenberg at Strasburg. [From St. Nicholas Magazine.] [From Timperley.] Thorwaldsen’s Statue, designed at Rome in 1835, and cast in bronze by Srozatier, of Paris, was unveiled at Mentz, August 14, 1837. The h mass, the bishop officiating ; also by a festival of three days, attended by many visitors from all present Gutenberg before his working table and desk, showing a matrix to Schoeffer who holds in Another bas-relief represents Gutenberg leaning against the tail of a press, examining a printed sheet while hese designs are in every feature, inferior to that of the statue. On one side of the people of Mentz erected this monument to their fellow citizen, J. G. Gutenberg, through Another side of the pedestal contains this legend, “This art, unknown to the Greeks and skill of a German, who has thereby made all works of genius, both ancient and modern, the One of the bas-reliefs re hand a half engraved block. The Gutenberg Statue in the market place of Strasburg is the work of David d’ Anger, 3,) is well chosen. This idea, the diffusion of the pedestal which represents all great modern a sculptor of France. The motto on the proof- light of knowledge through printing, is developed authors from Shakspeare to Goethe, grouped around a Stan- At Frankfort is a Memorial to the Invention of Printing which upholds on one pedestal the separate statues of Gutenberg, Fust and all, for the pedestal is lofty, surrounded by emblematic TWsa 8 a “ . 5 - his is most imposing of * figures, and the statues are of heroic size. Jonas qhine vt aalulith we yi mode APPENDIX. 163 MrnAchH Deg (nehgts tre midirenaches —TEl 2 die tlle mebroké Ofte verdorné ig hf tod fi NE Helwemt ghegaé Cruidus keke fin vervile tis be tones getefigiterrt DIZ ty Dele tage ightle inte bane dey malaitehs Jonag was nite Teepe Dad ate de Mort ware g We Dood dicichie alle w gené dic Mier’ iu ware Boe pie ten Caper acute hem Mader 4 =f = a ® Ya FF 18 a bacodnordenkmsen-dvuortlaken-vute bande hrasen, ort ta Type I. Fac-simile of the Small Types in the Third Edition of the Reduced Fac-simile of a large Wood-cut said to be of the Fifteenth Speculum. See page 98. [From Holtrop. | NOTE ON THE INDULGENCE. The fac-simile appended of the Letter of Indulgence of 1454 was taken by De la Borde from the original in the National Library at Paris. Sotheby says, in his Appendix, that it contains on the margin a half-obliterated inscription that it was sold for three florins. These letters of indulgence have been the occasion of many disputes among bibliogra- phers, many of whom, (Wetter and Sotzmann among the number) maintain that they were engraved on wood, but Bernard, Didot, and other authors of authority, are emphatic in their statements that they were printed from movable types. Didot (Hssai sur la typogra- phie, p. 604) says that the large letters of the displayed lines are the letters of the text of the Bible of 36 lines. The establishment of this indentity is of importance, for it proves that these types were in use in 1454, and fairly warrants the inference that this Bible could have been printed before 1454, N WS ANZ OR pore ] Toe y ( Century. See page 151. [From Jackson. | Winecte Criftifidelibs piites litteras infpectitzis patilitius ChaypeConfihar? Ambafiator + patrator gencralis Sere - niffimi Regis Cppri Thac pte Salute mand Cu Sdctiffiny rxPo pe advis nv.diis flicola? diuia puidetia-papaw?. Affhctio Re~ gniCppn miferrcorditer spatiG.contra-phdiMhies aucis xpr holtes. Therictos x Daracenos qratis Sceffit omib; ypihidelrbs vbilibet altitutis pds p alpfionem faquis dit mt hi yp pic exhorAdo qui infta triginiil a paimadie Dan Annsdm Odcccclit ncipiendum: p defenfide catholice fider ~RegniPricti de facultacibs fils mags vel min? prout pox rwidebit {cienttis-prociinbs vel uiictis Sub - fticutis pie eroqauerine vt Confeffores pooner feeularesvel Reguares peziphos cligends afeffioms ong auidnns.yamiflis etia Dodi Aphice vefertatis exceflibs criniby egy delictisquaticugs grauibs pronar vice tact dcbita abfolutions impedeze % penited falutare™ infigere /Lecnd fi d huiliter petierteipgsaquibulciigs exSreations firlpenfions aJncerdictt Aln(gs fentetirs cefuris a permis ecdefia - feicis a Jure Vel ab hote pmulgatis quib? foxfaninngdat exiltiit ablolucre Initictap modo culpe penitétia falutari~velabis que de Jure fiucrint inifigenda Ac eis Vere pewitétib; a confeflis.~wel fi Foran propter amiffionem loguele ofiteri non poteriptliqna rt tionis oftendendo plefima orm petor fiorid de qutbs ore afeffia corde atriti fuerte ndulgcHa ac pléarid remiflioné femel Dita ct fet in mortisarticulo ipis aiicte Aphea acedere Waleat Satifactoc p cos feFa fifuprixerint aut p cor heredes i tune bahigine Sic hey pol induleireefiom pwn AnH fingulis extis ferris Wel quadda alia dic tenmet-legitto unpedimeto exclelic Peepto Regular obfematia. pnia initictaWoto yel alias non obftai.Gt ips impeditis 1 dicto Gro wel aug parte Anno fequenti uel alias quam = primi poternt itumabunt.6th t aliquo Inox vel con parte dictiZ iciunit cOmode adimplere nequineint Confefforad id clectus in alia rmutare poterit caritatis ope2a queapt facerc etia teneat Oumedo tH ex aidentia reiowis hor quod abhit peccare non prefiemant Aliogui dicta conceffio quo ad plenarid remiflion in mortis azticulo et remiffio quo ad peEa ex 2fidentiart pmittit™ amifia nulh? fine robosis wel mometi Gt quia deuotiwh frdouse ott wow aplpac Faia Juxta dictit induleum de facultatibus firis pie crogauric- ~merito hunumodr moulgentiis qauderze debet Jrventatis teltinto = nium Sigillum ad hoc odinatum prefentibs litteris teftimonialiby eft aypenfium Oatum wia Quntice fub Ano Mt Occcchan, die U0 VIN Denfis:Qecomébn’ TE =t—— Soma pleniflime abloturionis x remiflignis in vita Wereatur TULL ofsné ibefus xps p fa fiflima et piifhma mia; te abfoluat 6t aiicte ip? Deatorgs peti et pauti Aptor a7 ac Aiicte Aplica micht amilfa e€ ibi cefla Ego te abfoluo ab omib; pefis tuis 2eritts alellis 4 oblins Gada ab omnibs cali b? exceffibs crimibs atgp delictis quamerigs grauibs Sed: Aptice referuatis flection a quibulaig3 excdicationni Mufpenfion et interdieti Alig Intis &furis a pemsecctrafincis a Jure~vel ab hoie pmulgatis fquasincuzrifti dando abr plefhima oim pefox furor ndul = gentid 4 remiffione Inquati claues fancte marasecctie in bac pte fe exeendiit. Jn nomine patris 2 filn ct fpiritus fancti Amen . Fomma plenare renufliants m moots araculs S Ke. ifereatur TUT AL diis nofter ut hupra Ggo te abfoluo ab omiby pefis rns rtritis 2felhis a oblitis reftituendo te Wmita - ti fidelia 9 facramenns ecctie Remittendo tibi penas purgatorit quas propter culpas et of fenfas mcuzrifti dande tibi plenariam. oim pefori tuort remiffions. Inquaii claucs (te m2iseechie in hac parte fe extend&t - Jn mote ptis et Fil et (pis fanct: Amen . {o ~abe mona Kerry [or ducckue't ad prowmafa Sepusws— Reduced Fac-simile of a Letter of Indulgence, dated 1454. See pages 127 and 158. {From De la Borde. ]} Epitaphid publs yirgile maronis. Patltor avator equed.pant alui fuperaut Copras wis holes. front ligane manu Ce mpris pakis-riser Cato.on holte lubago grec lac nec fegetre-patmag nulla tuli Cpiaphium Mara milly cerronts. Vargus et ceuntane Jetordin ingen fans ‘*Angenia magn? eft.rmige ofa.nee wngque Sanguine qullaid maduerdke rottra pull A Print of 1475, probably the work of an Amateur Engraver. Type V. Fac-similes of the Types of the Epitaphs of Pope Pius I. See page 99. {From Heineken. ] [From Koning.] | Seeiep aaa rote’ Ua AN bet i et Finegatt S00 3 Fi \ 6 UV Ea | Se nea i ccoanes ce iy W pv TY | ay ; FEN ? c | “ Z ‘ | * ie oe te =< ee . 4 ee eek Bia ee rant hy ut sine Cosh ta 2 hd " fil ; Dinara 4h ek 24 ‘ ry Sah pea Lauper? “eto. ~ ; ap yet & is : a ioe, eri ) i aka ene ta2,, Wik = tna hear nal Mab cpbics ot ‘i os x Swell 0 eae y ad AMI) fides roth al we oh a ay Rarer pasate tty 7 Lhe Sa acl ehk hele caaee fea ean ’ me ah > 2) jee ! Path ch Wor a. bt i" ; ac es hae, > ‘ 1" F | ' sae reat rts i) ’ she) ne \ ae = wind ats ay ail yet _ mayen mis Ceenn pinotan et bilronite HH bidguige intone: besten Sa a ag ay guests -S9Rod euaearge - te a 4 Re opetabes at [ss Bat ollie 3 | oe pa ' BRIER 4 aH praif Ae duegre neRanite ta tide a a Soy ity A 4 rade ee Dh ay” »,S Ds a a Te eee ee Go vole - a mite a7 1. Fil “Sibue tee Bit VbEbp bot » £9 pace site ae: b>3 ‘ , ~ 2 of} or E at Povey War, avo es ios ry. om fee eal Dl bt ' e fa Webi & hon atine aio? oi! ‘Hp n+ G-E4-oobo st OR “Lise ew hele Bi (fehner Sah at seer i, Hale trav at wn nritini ad mf Gere os} of * «tt 2.5 lite? . ; ~ ‘ naw ewes Ot ~ Pry . 4 ‘ ® Gale’ rom i ‘pri DAO Oth Shid! af [ eqn 2 fhe ; re i | ' DB cicaeteed dou A Hv ; in ie a4 5° , syns er _ iiteh} ged 4 : Bh dad ttn) wot ' bry q wom rree Rte. ah Fee bi ti yf ie a Pet dt a San mites x . rte : ‘. ‘ ; iO Us deruitnn Avner 4 ry j " * ; in o> nV t ? 3.400R rnc aal'\ iu ~0 wid? j - agente, me f pa eet apt 5p = ° pwede ed uA : pei 7 . ; i he ‘ _ 4 ; ; bd ( { 7 ‘ Jt ‘ 6 phe orp a é 7 : tet 2 3 | x9 ; i H ? : { Sa 6 oni 7 ’ 4 ol -~ % | reisRTPAIIAT TiK9 FE i> , =p nilnt 1s 2 : ; ; 3 meee 4 jeg 7199 Sp KOE at Stuart acrary Nghe OC OATS AR i eee aba head 89 at-orpory oupas-alehwieop mas } eu en 6dr bulls ad ot y cs | os A ps bieucdp vGiey tala O1 ie . an | 3) , ny re) 7 3G clysyeif phy gu sui ch dos Nd c(t. 43/ Oth Its yah aes | heed 4n Aiba evrarnthsy oat. ya . page? ns a elas y TE FIST naa eo Behe ger ah y otter ati eth F en » Jud ni Lik ’ a { + 4 Sie led snobe w 4D rT De pom ag Te: 5) rua) th vere melsi tee ra asi need eg Reine g ‘adbal bape pans + te sic} ‘ vpii iinet - te a et ss i ANSWRME, XK. Wy 164 APPENDIX. QA didns fuffict ¢ citarimihexpmatid qdad fniam audios bam. fF. fen: fine ap-refein-lig 10¢ ett ex edco-fa-8 telticil off. in fide vw. et Otu- cil qui-fi-vina fi § in fiimariis foetiusm alijs uelcpms Dix. car-q malys cauh in qbo puat indicior igus Oo peptone’ ra hit nece peptomi expmmi-nbi no it’ trina ata cio. ad Ima3 audiéda-qd vide tenere Jo-xxitiq.tin-te ilicita. s. ve oF ‘cel 9 fuluit. Inno.8 aceu-ad pencds.guil.m Ipe.te cita- Ry vilomtpe-v.als ait. etm. v.quad filata. Inicpfis- pferat qd Jebus o¢raring tenebat egi- mite noz mt: ena folu ex viallinf bite plano-erp boc no.ou0 m quibs suem: untifte ccahecaule-f. gq mbns nece fit off wmitiam m fepto pferri. Jee p tudex ficm als itambys byillam ple: ipfip Ferre-et teutro: gp fatis no.te fer et re mdteh-h.viubivides asmolut ¢ feripturas q invfenrettis regritur prance indias m_ Ns caub ptermittine pidotingét occultari veritate spalata.er in | indtcio oitfimita. et p ons victor? ridiculoferfruftra in tal p- cdlus indiciolaboralle- seltins in brjs cauf ad alias quereq tans.m boc dinerli’ runt figura mdicioy que Ferruteba aindicefedente-te gito vine no.m ps. we-f-te re indi-li-wrin slo-penl-Etyid: Qbulda boemdua eid p folum illud dbit de plano ut dict m ph-buus ptis- et Beenebat eai-im tec.nounit- ocluhonedta lravidevelle g malys caulis requirentibs figura udicior neceffarta fit ocuho - Ct te ocfone babetur.s- we pavaudias tw caulap of paftozalts.ctm cofiautionecle- di Senteiam wro biffiniz fuactatis ad idticernon pemptosie ptibo inferipal et putmagis hbi placue rit.ct kas uel fedés pferat enam h ei videbsturscluhz one no fea pp ut ex peticoe et pbaus-cr alias achtaaf im _caula fuertt faciendum. Que ofa enaminillis calib> m quibs p alia oftes Fac-simile of Part of a Page of the Constitutions of Pope Clement v. See page 137. The paragraph marks were written in red ink. [From Humphreys. ] ) aS NOTE ON THE CONSTITUTIONS. The fac-simile of the Constitutions present me- chanical features of interest which, carefully examined, should lead to the conclusion that the types of this book, and indeed of all early type books, were not cut but founded. It is true, that this edition of the book has never been claimed . as xylographic work, nor has it to my knowledge ever been offered as a piece of printing by cut types—probably for the-reason that it was print- ed by the man who has received unmerited honor as the inventor of type-founding—but it was produced from types made very soon after the publication of the two great Bibles, during the period when cut types were supposed to be in use, and it shows all the features which have been claimed as the peculiarities of cut types. The curving in or bending of the line at the top of f the page was not produced by irregularity in the bodies of one or more types, for the curving is at the top only, and is regular in its curvature. The lining in the middle and at the foot of the page is good, notwithstanding some irregularity in the fitting of letters—much better than could have been produced if the bodies had been cut or saw- ed apart. The curving seems to have been caused by the shrinking of the wood furniture between the text and the notes, or in the wooden chase, and by the driving in of plugs or little wedges at the top to keep the types secure. If these types had been cut apart by saw, some one or more would have been larger than the others, and this largeness would have produced a general crook- edness of line (see page 26) which could have been remedied but imperfectly by leading (see page 101). But the types of this Constitution are not leaded. On the contrary, they have been fitted-up with unusual closeness. Types often touch each other on all sides. The general uni- formity of body is that of cast-types, but the variations of form in different types of the same letter seem to be those of hand-cut faces. There is a similarity in general appearance, but it is difficult to find two letters exactly alike. The unvarying precision of modern type is wanting. The variations in face, so far from showing that the letters were cut, really prove that they were cast, but by an imperfect method—probably by the method described by Didot (page 103 and 104). As the letters of the Constitutions show the varia- tions that have been noticed in the Speculum, and in other works of the unknown printer of the Netherlands, it is probable that they were made by the same or by a similar process. That Schcef- fer did use matrices of lead is distinctly asserted by the eminent type-founder Enschedé, who claimed to have some of them in his possesion. A careful comparison of the types of Scheffer with those of Gutenberg should lead any unprejudiced examiner to admit the truth of the statement of Wittig that it was Gutenberg, and not Schoeffer, who first of all invented types in brass matrices. It should, however, be stated that the types of this fac-simile are either thick and worn, or over- colored with ink. In other books and pages of Schoeffer, these types have a lighter appearance. / Es KJ S S S = Ss Ss = G CU The Fall of Lucifer, as shown in Zanier’s Edition of the Speculam Salutis. An Illustration of the Degradation of Engraving on Wood. [From Heineken. ] +S DIAMON ENO} LG: AUTHORITIES CONSULTED. BrokmAnn Joux. A History of Inventions, Discoveries and Origins. Translated by William Johnston. 12mo. 2 vols. London, 1846. Brrseau J. Px. Biblia Pauperum. Reproduced in Fac-simile..... with an Historical and Bibliographical Introduction, Folio. London, 1859. Le Bibliophile Mlustré for 1861. Imperial 8yo. London, 1862. Book-worm for 1866. Imperial 8vo. London, 1866. Bernarp Ave. De Yorigine et des débuts de Vimprimerie en Europe. 8yo. 2 vols. Paris, 1853. “ BrwnioPHine BenGE BULLETIN pu. 8yvo. Vols. rtorx. Brussels, 1845—1862. Braves Wiru1AM. The Life and Typography of William Caxton, England’s First Printer, * ete. Royaldto. 2yols. London, 1861—1863. Brerrxorr Jon. Gorrn. Innran. Versuch den Ursprung der Spielkarten, die Einfiihrung des Lienenpapieres, und den Anfang der Holzschneidekunst in Europa. dto. 2 vols. inone. Leipsic, 1784. Campsenn M.-F,-A.-G. Annales de la typographie Néerlandaise au xve siécle. 8yo. La Haye, 1874. Camus. Notice d'un livre imprimé & Bamberg en 1462. 4to. Paris, an VIL Crareer, G.-A. Etudes pratiques et littéraires sur la typographie, 8vo. Paris, 1837. Davxyou Analyse des opinions diverses sur l’origine de l’imprimerie. 8yo. Paris, an xt. Dr LA BorpE Leon. Débuts de l’imprimerie 4 Strasbourg, ou recherches sur les travaux mystérieux de Gutenberg dans cette ville, et sur le procés qui lui fut intenté en 1439 a cette occasion. 8vo. Paris, 1840. Débuts de limprimerie 4 Mayence et A Bamberg, ou description des lettres @indulgence du pape Nicholas v pro regno Cypri, imprimées en 1454. Royal 4to. Paris, 1840. Dz pees A. Eclaircissemens sur l’histoire de Vinyention de imprimerie. 8vo. La aye, 1843. Dipor AmBRotsE Frey. Essai sur la typographie. 8vo, Paris, 1851. Douce Francis. Holbein’s Dance of Death....with a Dissertation, etc. 12mo. Lon- don, 1872. FPanxensters Kary. Geschichte der Buchdruckerkunst in ihrer Entstehung und Aus- bildung. 4to. Leipsic, 1840. Fiscuer GorrTHELr. Essai sur les monuments typogvaphiques de Jean Gutenberg, may- engais, inventeur de 'imprimerie, 4to. Mayence, an Xx. Fournter le jeune P. S. Manuel typographique. 16mo. 2 vols. Paris, 1764—1766. GRESWELL WitLIAM PARR. Annals of Parisian Typography, etc. 8vo. London, 1818. Haw L. Repertorium Bibliographicum, in quo Libri Omnes ab Arte Typographica In- venta usque ad Annum MD. typis expressi, etc. 8vo. 2 vols. Stuttgardt, 1826— 1838. Hana Henry. Introduction to the Literature of Europe in the Fifteenth, Sixteenth and Seventeenth Centuries. 8vo. 2 vols. New-York, 1841. View of the State of Europe during the Middle Ages. 8yo. 3 vols. Boston, 1853. Hansarp T. ©. Typographia: an Historical Sketch of the Origin and Progress of the Art of Printing, etc. 8vo. London, 1825. Hemeren C. H. Idee générale d’une collection complette d’estampes, avec une disserta- tion sur V’origine de la grayure et sur les premiers livres d'images. 8yo. Leipsic and Vienna, 1771, Henere HENRI. Une Découverte pour V’histoire de l’imprimerie, Pamphlet, 8vo. Brus- sels, 1855. Notes et dissertations relatives & histoire de Vimprimevie. Pamphlet 8vo. Brussels, without date. (From Vol. xvrm of the Bibliophile Belge.) Horror Jon. Gur. Catalogus Librorum Szeculo xv° Impressorum, quotquot in Biblio- theca Regia Hagana asservantur, Syvo, Hagae-Comitum, 1856. Monuments typographiques des Pays-Bas au quinziéme sitcle. Folio. La Haye, 1868. Humeureys H. Norn. A History of the Art of Printing from its Invention, etc. Folio, Second Issue. London, 1868. TAoKson JouN and Cuarro W. A. A Treatise on Wood Engraving, ete. Second Edition. 8yo. London, 1861. Tacos P. L, (Lacroix.) Curiosités de l'histoire des arts, 16mo. Paris, 1858. “aTTOS SOLID. Jonxson J. Typographia, or the Printers’ Instructor, including an Account of the Origin of Printing. 24mo. 2 vols. London, 1824. Koxrxe Jacques. Dissertations sur l’origine, l’invention, et le perfectionnement de l’im- primerie. 8vo, Amsterdam, 1819. Lacrorx Paut (Bibliophile Jacob), E. Fournier et F. SERE. et des arts et professions, etc. Imperial 8yo. Paris, 1852. Histoire de l’imprimerie La Carne JEAN Du, Histoire de l’imprimerie et de la librarie ot l'on yoit son origine et son progrés jusqu’en 1689, 4to, Paris, 1689. Lamarer P. Recherches historiques, littéraires et critiques sur l’origine de Vimprimerie. 8vo. Brussels, an VIL. Layzi Abate Luter. The History of Painting in Italy, etc. Translated by Thomas Ros- coe. 12mo. 3 vols. London, 1852. Manpen, J.-P.-A. Lettres d’un bibliographe. Series 1 tory. Royal 8vo. Versailles and Paris, 1868—1875, Marrrarre M. Annales Typographici ab Artis Inyente Origine ad annum MDCLXTy. 4to, 5 vols. Hagae-Comitum, 1719—1741. MARCHAND ProsPeR. Histoire de l’origine et des prémiers progrés de l’imprimerie, 4to. La Haye, 1740. MerERMAN G. Origines Typographice. to. Meruin R. Origine des cartes a jouer, etc. 2 vols. Hagae-Comitum, 1765. 4to. Paris, without date. Moxon Josern. Mechanick Exercises: or the Doctrine of Handy-Works. Applied to the Art of Printing. Small 4to. London, 1683. Munsett Jorn. A Chronology of Paper and Paper Making. 8vo. Albany, 1870. NicHOLs The Origin of Printing, ete. 8vo. London, 1774. Orrney Winu1AM Youne. An Inquiry into the Origin and Early History of Engraving upon Copper and on Wood. 2 vols. 4to. London, 1816. An Inquiry concerning the Invention of Printing, etc., with an Introduction by J. Ph. Berjeau. 4to. London, 1863. Passavant J. D. Le Peintre-Graveur. 8yo. 6 vols. Leipsic, 1860. Rixcwaur J. LurHer, American Encyclopedia of Printing. Imperial 8vo, Phila- delphia, 1871. SANTANDER SERNA DE LA. Dictionnaire bibliographique choisi du quinzitme sitcle. 8yo. 3 vols. Brussels, 1805—1807, SavAcEe WinntAm. Practical Hints on Decorative Printing. 4to. London, 1822. ScHorrrnrm Jo. DANtEL. Vindiciw Typographicw. 4to. Strasburg, 1760. Sez J.C. Annus Tertius Secularis Invente Artis Typographice, 8vo. Haarlem, 1743. Sismonp1 J, C. L. SmvoNDE DE. Historical View of the Literature of the South of Europe, 12mo. 2 vols. New-York, 1860, Sorneny S. Lean. The Typography of the Fifteenth Century, etc., exemplified in a collection of Fa etc. Folio. 3 vols. London, 1858. Sxeen Wiw11AM. Early Typography. 8vo. imiles. Folio. London, 1845. Principia Typographica. The Block-Books, or Xylographic Delineations, Colombo, Ceylon, 1872. Tuomas Isatan. History of Printing in America, ete. ... with a concise view of the dis- covery of the art. 8vo. 2 vols. Worcester, 1810. TrwrerLey C, H. A Dictionary of Printers and Printing, etc, Royal 8yo. London, 1839- Tyams W. R. and Wyart, M.D. The Art of Illumination as Practised in Europe from tion, etc. S8yo. London, 1871. t Times. Royal 8vo. London, without date. The Haarlem Legend of the Invention of Printing by Lourens Janszoon cally Examined. From the Dutch by J. A. Hessel with an Introduc- Vay DER Merrson P. C. Recherches sur la vie et les travaux des imprimeurs Belges et Néerlandais, etc, Royal 8vo. Gand et Paris, 1856. Wricen T. 0. and ZEsTERMAN. Die Anfdnge der Druckerkunst in Bild und Schrift, etc. Imperial 4to. 2 vols. Le Werter J. Kritische Geschichte der Gutenberg zu Mainz. 8vo. 1836. , 1866. rfindung der Buchdruckerkunst durch Johann Wotutmann ALFRED. Holbein and His Time. Translated by F. E, Bunnett. 8vo. London, 1872. Wour Jo. Ciristran. Monumenta Typographica, qve Artis hujus prestantissime Originem, Laudem et Abusum posteris produnt, etc, 16mo. 2 vols, Hamburg, 1740. LIST OF ILLUSTRATIONS. Surface Exposed to Impression by Cop- Fac-simile of part of a Chinese Book.... 51 per-plate method. -- goccrttce 11 Chinese Types made in London... ---.- 51 Surface Inked and Exposed to Impression Mark of Jacobus Arnojdus, 1345...... 53 by Typographic method. ---..-.--- 11 Mark of Johannes Meynersen, 1435... 53 Surface Exposed to Impression by Litho- Mark of Adam de Walsokne, 1349.... 53 graphic method. ....-----..---.--- 11 Mark of Edmund Pepyr, 1483. 53 Face of a large Type, showing how the Mark of an unknown person . . - -. 53 Letter is placed on the body. 12 Japanese Method of Making Paper... .- 56 Side view of Canon body 13° Paper-Mill of the sixteenth century.... 58 Small-Pica, Agate and Diamond body... 13 Scriptorium of the middle ages. . - View of body inclined to show the face. - 13° Penmanship of the ninth century. Stamped Brick from Babylon. - --- 15 Manuscript of the fifteenth century. 62 Fac-simile of Impression on bri . 16 Medieval Bookbinding. ---..- 62 Egyptian Stamp for impressing bricks... 16 Sumptuously Bound Book... sees Assyrian Cylinder. .....--.----------- 17. Medieval Book with covers of oak... ..- 63 Old Roman Stamps. ......--.--------- 19 Book Cover in Ivory, Byzantine style.. 63 Roman Scrinium and rolls of papyrus.. 22 Seal of the University of Paris... .. 64 Types of Irregular Body. . . 26 Medieval Illuminator. . .-.---- 65 Punch . 27 English Horn-Book. . 68 Matrix 27 English Clog -- 68 Illustrations of Type-bodies. . 28 Holhein’s Dance of Death........--- - 69 Type-Mould, without matrix. - 28 Dance of Death, as shown in the Nurem- One-half of the Mould. ...-... - 28 berg Chronicle. ........---------- 70 The other half of the Mould..-.-- 2g First page of the Bible of the Poor, as Type-casting as practised in 1683. 29 made by Walther and Hurning.. - 74 Type-casting as practised in 1564 30 First page of the Apocalypse - 76 Print of St. Christopher. . - First page of the Canticles. 77 Story of the Blessed Virgin. na 78 Exercise on the Lord’s Prayer. Illustration from the Book of Kings.... 79 Letter K of Grotesque Alphabet....... 79 34 Print of the Annunciation. 35 35 36 ACMLL _ 38 Page from the Apostles’ Creed. .. 42 43 43 45 46 Print of St. Bridget. --- Flemish Indulgence Print. Brussels Print. - Berlin Print... - Playing Card of the fifteenth century. . - Page from the Fight Rogueries. - . . 80 Print Colorer. ..........-.---+-2++++- Page from the Antichrist 81 Engraver on Wood. Page from the Ars Memorandi. . 82 Chinese Playing Cards. - : Page from the Ars Moriendi = 8s Early French Playing Cards. .--....-- Chiromancy of Doctor Hartlieb. . . & French and German Playing Cards of the Calendar of John of Gamundia . 85 fifteenth and sixteenth centuries.... 47 Pomerium Spirituale. . 85 WITH 10 TO PICA LEADS, PATENT AND COMMON FIGURES. Temptations of the Devil 86 Life of St. Meinrat 86 Heidelberg Dance of Death =o Eye Page from the Wonders of Rome <2, 8% German Donatus, from a block in th National Library at Paris......... 90 Fragment of an early Donatus. - Early Dutch Horarium Imprint of Conrad Dinckmut. - - First page of Speculum Salutis. Last page of Speculum Salutis. . Types of Speculum Salutis..-.- Types in third edition of Speculum Types of Fables of Lorenzo Valla. ... .- 98 Types of Peculiarities of Criminal Law. 99 Types of Epitaphs of Pope Pius 11. The Enschedé Abecedarium ‘ Experimental Letters drawn on wood. - 101 Types from Experimental Letters... .. 101 Frisket, Tympan and Bed of an early European Printing Press......... 105 Paper-marks: seven illustrations. .106, 106 Types of Jacob Bellaert. .-.-..--..--.- 108 Types of John Brito. ..- Map of the Netherlands. Scriverius’ Portrait of Coster. ..... Statue of Coster in Doctors’ Garden. Medals in honor of Coster. Statue of Coster on the monumen Autograph of Laurens Janszoon 118 House of Coster. - 9 Portrait of Laurens Janszoon Coster. .. 120 Spurious Portrait by Van den Berg. ... 120 Portrait attributed to Van Oudewater. . 120 The Laurens Janszoon of Meerman.. .. . 120 Medieval Press Type-mould of Claude Garamond. ..... Types of the Donatus attributed to Gu- tenberg at Strasburg. ............. 126 -- 112 . 6 .. 6 nz Types of Donatus of 1451.....-..---- 127 Holbein’s Satire on the Indulgences. . .. 128 Abbreviations of Bible of 36 lines. . 128 Portrait of John Fust. Types of Bible of 36 lines-. Types of Bible of 42 lines. . Portrait of John Gutenberg. Types of Celebration of the Mass... .- Types of Mirror of the Clergy... ...-.- 132 Types of Letter of Indulgence of 1461. 133 Types of Catholicon of 1460. ....--.-- 133 Colophon written by Peter Schoeffer. ... 135 Types of the Rationale Durandi. . Types of the Bible of 1462... Trade-mark of Fust and Scheffer. Portrait of Peter Scheeffer Types of the Grammar of 1468....- Arms of the Typothete “5 Tilustration from the Book of Fables. ... 141 Part of Koburger’s Map of Europe... .. 144 The Birth of Eve, Zainer’s. .-. a Type of the fifteenth century... 32 Printing Office of sixteenth century. -.. 149 Hand Press of Jodocus Badius. . ....--- Inking Balls of sixteenth century... --. Last page of the Bible of the Poor. Colophon of the Psalter of 1457. Types of the Psalter of 1457... . Statue of Gutenberg at Strasburg. Statue of John Gutenberg Letter of Indulgence dated 1454...... De la Borde’s Ilastration of Types Large wood-cut of fifteenth century. A Print of 1476...-......--..-++. Types of Constitutions of Clement v. The Fall of Lucifer, Zainer’s. . -...-- .- 164 _GEORGE BRUCE’S SON & CO., TypE-FounpErRS, No. 13 CHAMBERS-STREET, NEW-YORK. 165 aS: ee = = ® 4A wf “<_ »2 aa! * oe a 2 a AP @) 4 i rey ee “ae fh. an ’ hd 4 7 ¥ i ‘- ac a - (xa 4 .- * o¢ Oy ue ~ ie We pt me » i dort Sal why == » ai 7 ca ; ae 3s 7 : : | Sa ieee ae eyey : rr ew’ Ars ; - » of 166 Diamonp, No. 16. 1 INDEX. A TO B INDEX. B TOC, I. Abbreviations, excessive use of... -- i. 150 Bible of 36 lines, description of... ..... 128 Block- ‘books, literary merit of . . . 87 Books, medieval, made for the rich . 66 ‘lected by cler, 63, ape e of Bible of 36 lines. - its discovery. . made for priests neg! iy oes i y of. fs * obsoleteness of. - Abecedarium of Enschedé = not printed by Pfister. 141 hc eee a a « OQ HeanteL ae Accuracy in types, importance of... ? peculiarities of... ... 128 a permitted to people C7 «sale of. regulated 64 Accursius Mariangelus. - possibly the first. - 128 « popularity of. . « « sumptuousness of. 66 Acta Diurna of old Rome. is Schelhorn’s view of. . 140 ES Le ane © Jot dank ages: 222 23 Adolph, count of Nassau. pose « Spegulations abont. oe ase Block-printers, many in number. * of monasteries. 76 “his patronage of Gutenberg. . -. 134 when printed. . " 128 “a 3 faulty work of. . «of pictures... 64 ABneas Sylvius, Pope Pius 1m... 99 Bible of 42 lines, description of. 129, 130 3 REROWA “of unknown printer... 98 -la-Chapelle, fair of. . “ anno any, a. are Block-pri inting an established trade. «number printed before REM R eg sees eecon al & defects of. enrly notices of. < fhe Tight of the educated. 2 ¥ 74.75 anions f 3 in ani injudiciously selected. - MSDE - the z OruA ED aONIE 3 not Gutenberg’ sore S, mitt and printed. 7 Andrieszoon Jan, of Haarlem 3 prices paid for. . ie process of. - 39 Book-sellers of Paris... - 63 Gan aon Pb Gh “ probably rae nie s slighted _ - 70 Book-selling restricted. 64 eabehosts the slopksio f “ heen 7 Blocks used for engraving - 50 Boxhorn, Marcus Zuerius. 115 pO Pee ane ae, Bible of the Poor, earions ae types... 75 Bodies, irregularities of, explained. 149 Branding in middle ages 19 ete firs CUE aia at ; a *xylographic editions of 73 Bodies of types, cuts of, - 12, 28, 95, 127 Brass moulds or Se : fo first block-p: a 5 a YLOECAL ton, ane Spec: " Brass stamps of middle ages_ S Apocaly, pse of St, John, block-book description of... ..73, 156 a é in sen ae sae : Boe a UNpeActieables 2 evidences of its age 3 AG see = ie . « Hh cae Ont Brethren of Life-in-Common 34, 157 iad prices paid for. . % prices paid for... 5 >, x ; ces Apostles’ on ‘the block-hook. © printing of. 73 5 Q eae Fg Talnowa printes 100 Hae hearer ol! Appeal against the Turks. -. - Blemishes in books, how corrected 94 ‘pet Ae Mtoe nae 0c ie Bec tesncance the’ Life. i Coniacs ke Arabic figures, first use of Block-books, Antichri By Et = eee Ore ‘Weidenbech » Bs Neo > block book Sie reseies 80 = J Book:hinding, Chinese. . Bruges, early printing Jeagee eat en ee aN “ as Memoranda! Pit es 2 of middle age A _eulld of book-makers a re ‘Ars Morena : 81 i prices paid for... Brussels print. - 37 « Bible of the Poor 72 “ sumptuous forms of. Bull of Pope Pius 1 against the Turks. . 137 F Book of Kings 79 Book-collecting, a_pri inaely hobby- Burnisher of engravers............-.. 39 i Canticles. . 5 76 Book- -making, as done in old Rom be A ; 2 Jesiastical at 61 Calendar of 1457 Babylon, bricks of... « Chiromancy of Hartlieh.. 83 an ecc’ : : Badius Jodocus, of Paris “Dance of Death. 86 ae eet DS Bee ee ete CO 31 Bamberg, Bible of, see Bible of 36 line: 3 Donatus - 89 3 BIN ee copyasts- ea calle aaie tees iy 65 ‘ « : Zs m Meteo - BS ‘3 pet noraaie, Prayer 78, 187 oS in monasteries. 61. Cambray, record oh - ta Batavia of Adrian Junius {German Planetarium... 8 Aviuchtit ee ee of. Dereon tictessithe eee eo 8 “its authority considered. - (3 Grotesque Alphabet 7 » Ags = : iva fPabless see ss 141 Case of early compositors. - 149 Bearers of early printing press. 3 = Life of St. Meinrat. .- - 86 Book a a ri Bechtermuntz, Henry and Nicholas. ___ 3 Pomerium Spirituale .85, 86 Books, printed, changes in stypic ° 1 Castel Bennie = ae Beildick Lorentz, testimony of. “ Story of the Virgin....._. 77 Chinese, cheapness o' 1 Catholicon of - ~ - « aati i “ common in old Rome. 22 Caxton William, of . 147 Bellaert Jacob, of Zierikzee Temptations of Devil 86 : 2 6 v us Ae Berlin print... - = “« Wonders of Rome.. 87 “demand for cheapness in 70 Celebration of the Mass. Bernard August, history o ‘3 absurdities in. - 77 x3 ently ee) cheapness of..... 147 conniat Peraeti Bible, early translations o! J advantages of 91 Pn Se PICS IOP i MOOG Se ¢ first with wood-cuts. W definition of 72 ze medieval aoe veter Chinese rinting, estes anstbcio et © reading of prohibited. . es “ disregarded by scholars... 88 - “character of. 5; sean De aS ae Bible, Mazarin, see Bible of 42 lines. es earliest date in 86 2 % cheap forms bY) y LSE NA OS seb, > 9 83 Bible of 1462 (48 lines oe aae ¢ great number of 86 = & large size of. - Chiromancy of Dr. Hartlieb. . - aie Bible of Mentel at Strasburg... .__._- « inferiority of_.- 72 made by artists. Cicero, his speculations on types- 1 Til, INDEX, C TO D. INDEX. D TOF. ly. Clog of England. -.-........ ase . 67 Coster, as a sexton - : Dritzehen Claus, complaint of. .....-.. 122 Engraving on wood, of letters... 73 Codex Argenteus............. - 53 « as a tallow- chandler! Ci Andrew, death of .__ bi ‘2 origin considered... 36 Cologne as a school for printers . .. 109, 144 “ as a tavern keeper. ae Us services of Oo used by copyists... 53 Cologne Chronicle of 1499... .107 “~~ confounded with Janszoon ng Ennel, testimony of. - - Enschedé on wood types. - - -102, 116 Cologne, early printing at. - 144 “alleged descendants of. a fo George =... .--..- Epitaphs of Pope Pius 1. - 99. Color work of Peter Schorffer. . 136 “portraits of. - 2-20) Diinne Hans, testimony of. . - - os Erasmus, bis version of the caver ene bt Complaint against Death - M1 “ statues of 115, 117 ‘*" --asiajoorrectér® >= Os. Jessa ce 164 Composing rules, early ignorance of.... 150 * tablets to. - 117 Education, state of in xryth century... 67 Errata, first appearance of- --- 150 Composition as done in 156: 149 Costerian Museum. D7 Education of schools in middle ages. Errors of early books . 153 2 by dictation 150 Counter-punch, use of. 27 * 2 afforded by block-books. -. . .- “typographical, frequency of .136, 150 a double, indications of. 138 Couplets of Cato... .-. 99 Ss mM is early, made difficult... ..__. Eulogy on Lorenzo Valla.............- 99 2 jn imitation of maa ---- 160 Cuneiform inscriptions 15 amd =) a modern, aided by types.- Exercise on the Lord’s Prayer .. .-. 78, 157 = imperfections of-. - 150 Cunio, the story of the two . 6 Engraving decadence of. Form, ambiguity of the word........_. 125 BonrsE: plate pr: inting; y process sof eee 9 Dictation, Madden's theory of. -.. 135, 150 S) “« large blocks of. - eae ee ee 125, 134, 137, 140, 149 ‘ invention of... .. 14 Diether, Count of Isenburg..-.....__.. 133 lel = 3 often done on metal. Forms of metal, notices of... -. 123 Copyists, faults of. re : Dissertation on Invention, Boxhorn’s... 115 te a i of Pfister... ... “melted by Gutenberg. -. 18 fond of pictures. 64 Doctor Hartlieb, Chiromancy of . ey (: at Augsburg. . “ were probably matrices -.. 125, 134 us ae ages. . -61 Doctrinal of Alexander Gallus ay <) at Nuremberg. . a Four pieces, the tool of... ..- cers. L2D, « 1 ‘ uy alt Rome. . 22 of Cambray..._- TH Y not mother of oe ae ae Fraternity of St. John the Baptist. . 107 a ee as wv eects --- 64 Donatus noticed by Zell ..... q re 4 not practised at Haarlem. ... 109 a of St. Luke or 5 : , ee ie oe ler a -98, 11, 114 : ascribed to Gutenberg 2 id of playing cards. ........... 42 Priction, press-work by. 73 Clara, ae | ___imitations/of type-work. & Wobipunches 2 -.cejues oes 31,148 Prisket, early use of... 97 ee ae a Page Z : of Gutenberg at Mentz....._. a on pow hy the Cunios. ..__. 565 Frotton of engravers on wood. . 39 “ as se is 2 ate ake b of Koning. - Chinese practice.... 50 “not used by block-printers 73 “ “ ay erat A F Bored typos raphy. “early forms of..... 55 Fust NE conflicting views about... _. 129 E 7 ehlrie * DEE, “ “ pndeness of .....84,152 « death of - 138 ¥ a 2 of Haknoyen printer. a “Italian practice of. 55 “ “his suit against Gutenberg... 130 “ . popularity of the book... ‘ “merit of early work. 34 “ “his victory over Gutenberg. . 132 asa printer Dordrecht, tradition of printing at ..89, 90 “ z ‘ neglectof ....... 96, 151 was not Faust............. 128 -_ GEORGE BRUCE’S SON & CO., Typn-Founprrs, No. 13 CHAMBERS-STREET, NEW-YORK. -. t Vv. Fust, Conrad * Jacob, the judge ve 131 Fust’s sale of Bible in Paris. - . 138 Gebwiler, testimony of. -- .. 142 Gelthus Adam, tablet of. -- Gensfleisch John, not a print % family of. .-- 121 Gering Ulrich. ---.---- 146 German Planetarium and Calendar.... 85 Germany, its progress in education..... 68 in useful arts... 68 Getté en molle, meaning of the term. . .. 106 Goldsmiths as punch-cutters- S 148 Gothic character, popularity ol - 148 Gothic letters, origin of. ---- = 64 « popularity of. 148 £ varieties of__ 127 bi Petrarch’s dislike of. 61 Grotesque Alphabet, the block-book.... 86 Guilds of middle ages - 70, 124 “of book-makers.. - 70 Gutenberg, family of. 121 Gutenberg John, early ‘life of. 121 as a book-maker. 129 as aourtier.- 134 as a financier. 121 as an engrayer- - 125 as an inventor.--..122, 128, 135 as an organizer- . 124 books printed by - 132 careless of fame_ 132 Catholicon of. 133 courage of . 132 death of... - - 134 experiments of- 126 memorials of. - - 135 partnership of, at Strasburg. 123 partnership of, at Mentz.... 129 planned the Pealter.......- 136 poverty of ........ 128, 126, 132 probable marriage of-..-..- 121 supplanted by Scheffer trials of, at Strasburg. Ls at Mentz._- unknown work of. - Gutenberg’ 's types, history of. 121, 122 RRAERRAERRERRRRARRRKRR RRA defense against Pus 131 og idea of typography 134 4 place in history---- . 135 . VIL. INDEX. Hee engraved, peculiarities of . . - - - - 91 = imperfections of 73 Lettres de somme or Round Gothic 107 « de forme or Pointed Gothic . 107 Letter of Indulgence of 1461 - Letters of Indulgence of 1454 ia! “ — Holbein’s satire on. 127 yy “popularity of.....- 127 s «translation of .... - 158 Libraries, early, neglect of. -..----.--- 63 & in France and Burgundy 66 Life of St. Meinrat 86 Literature, decline of in old Rome . 22 = neglect of by the Church... 60 of popular books ape) of the romance books...-.. 65 revolutionized by printing.. 70 the privilege of a class ..66, 88 Cans 53 Lithography, process of-. -- 10 - invention of 14 Little Book of the Mass. - - 98 London, early printing at --- 147 Louvain, early printing at - . 144 Lyons, early printing at . - - . 146 Making-up badly done. - --- ---.------- 150 Mansion Colard, of Bruges -.- .-. 144 Manuscripts, faultiness of. -- - 153 Manutius Aldus. ...... . 146 iat as an editor . - 154 Marco Polo does not notice printing .... 52 Marks of notaries . - - 53 Martens Thierry - . 144 Master printers, changes of === 149 Mastery of printing, how acquired ..... 149 Materials early, imperfections of .....- 151 Matrices, as described by Trithemius . . 139 Matrices of lead. 103, 104, 148 « of copper .. 148 Diamonp, No. 16. F TOL Haarlem, first notice of legend of. - iy known printers at. - na neglected printing Hahn Ulrich... -.- Hanequis Conrad. Hanseatic League. Hasback of Haarlem Hauman Prederic- Heilmann Anthony, y Hessels J. H., writings of -- Be Holland, early printing of. 07, 108 * ‘confounded with Netherlands. - 108 “not the birthplace of invention. - 108 Horarium of Scaliger -- 89 < of Adrien Rooman 90 Horn-book of England_..-. 67 How to Die Becomingly.- 82 How to Remember the Evange is 81 Humery Conrad, friend to Gutenberg. - _ 132 be acknowledgment of... 134 Tgnorance, prevalence of in dark ages... 23 ba of ecclesiastics... . 2,60) Tliad of Homer, the s hool-hook. Illuminated books of middle ages 61 IMuminators and calligraphers. - 65 Impression by different methods 13 doubling of. 96 & not typography- 25 Ls on bricks. 15 ce on early hand. press. 151 is on paper and vellum 153 § on textile fabrics. 54 Image prints all devotional. 40 % Annuneiation - 34 Y Berlin print - - 38 & Brussels print. es =e hi < Indulgence print - .36, 37 os St. Christopher- - 34 GC preceded books 3 & how printed. - 39 3 made for stenciling 34 ES merit of........ 40 a not done by friction. 39 i not made by monk: 40 origin of_...... 33 popularity of. where made - Impositions of eight pages Initial letters of italy. “of early printer L TON. Matrices, conjoined. ..--.-.----.------ 103 ss early method of making. .-- -- 148 A. early trade in.....-.-------- 148 % made of soft metal. . Matrix, description of .-.- * early use of ..-.- Mechanics in middle ages - Medals in honor of Coster. Meerman Gerard, book of Memorials to Coster... -.- be Gutenberg -- Mendicant friars. - ne Mentel John, eemocel [ere eeces Li * alleged invention of BELeee 142 as a printer . Mentz, revolt of burghers at. . ---- * capture and sack of. - - Methods of printing. - - - Mexico, first printers of Milan, early printing at -. Miniaturists of middle ages. Mirror-making in Germany -. Mirror of Salvation -.. - Mirror of the Clergy- Mould, modern, description of ..- - «adjustable, notice of. ...-- «early, description of...-.-..--- “ of Gutenberg. .--..--- Music, types for...---..--...-.--- Neglect of early printing ..... Netherlands, block-printers of we type-printers of. bas block-printing of Newspapers of old Rome . « China... - Nope Cune, decision of .. Nummeister, John... ---..-------- ‘aV'IOS ‘SGVUT VOId OL OT HITIM SOLID. WITH 10 TO PICA LEADS. INDEX, Inking balls, how made. -- 150 Inking of printing surfaces. 13 Ink Printing, affected by pap 151 deterioration of. 151 of the Psalter of 1457... . 136 of the Ripoli Press.....-. 151 93, 96 ® early, faults of. 136 to early, unstableness of. 151 s inequality 0 151 £ Moxon’s criticism: of- 151 $ of Bible of 42 lines 130 be) of Donatus of Ment ~ 127 iv of Jenson. - --. - 1 to of Psalter of Mentz...-.. 136 of the block-printers 73 “ « of unknown printe me the complement of types... 151 Ink w: riting, antiquity of. Soe eee useless in printing. ..-.... 20 Invention, merit of, not in idea... . 134, 142 Tnventions not the work of experts. a= = 185 Invention of paper in China. - ses 206 - 104 . 150 Invention of press, not noticed. . why ne: glected. . Inyention of Printing, 2 early notices of. 135 be a great discovery. - 32 ce came at the right time - 23 & it methods of . 14 i key of in the type- -mould . - 32 s merit of, not in the idea...... 26 & € in the type-mould.. . 135 = not perfect in 1439 7 -- 126 hs probable causes of. 7, 8, 14 % waited for readers. PASSE AS & sion of Bertius - 115 Ks be Coornher! . 0 i. 9 De Vries . 7 3 « Erasmus 114 $ 2 | 22 UNE ee € - 140 ¢ by se ball by i 7 i bs Meerman . 116 « “ —— Sealiger . - 89 : & John Schee - 139 = £ Seriverius - - 115 s a Belz, 22- == - 116 is be Trithemiu 135, 139 by be Van Zuren. ...110, 111 “ & Wimpheling . -.124, 125 INDEX. Nuremberg, early printing at .-- Nuremberg, Chronicle of Offices of Cicero. .--..--------------- Order of King of France to Jenson Origines Typographica: Ornamentation of manuscript books.--. 61 Painting of printed letters ..-...------ 136 Palimpsests 59 Pandects of Justinian - 98 Paper approved by the people .. - 70 “ as made in Japan .-....-- 56 ig he in middle ages - - 58 Le in Spain... 58 “« “came before its time. . «disliked by calligraphers “earliest notices of . - Daa ite OF GO «early, badly made * great price of * }inen and cotton “ made of many qualities = “neglected by copyists.......-. “« “ of early typographic printers... . 162 preceded printing. ...........--- 21 «preferred to vellum by printers. - 153 selected for block-books S808 Ola == 2 <5 oak Paper-making, growth of... .. Paper-marks not a guide to age. _ of unknown printer i) why made Paper-mills, early notices of. . Paper money of China... ..-... Papillon’s story of the Cunios . . Pupyrus not fit for printing -. Parchment, how made Paris, reception of printing at - “ first printers at cf oS eS ITOL. Invention of Printing, « « version of Zell . Invention of printing in! Inventions of the middle ages Invention of types, not boaste alleged thefts of. Treland, the book-makers of - Italy, early printers of... ... its enthusiasm for the art. - Jan, the printer at Antwerp..-...---- Janszoon not Jani Japan, paper of Jenson Nicholas- « John of John of Kepfer (or Keffer) Henry Ketel Anthonis, of Haarlem . Ketelaer and De Leempt. . r Thielman, of Paris . ¢ Peter, of Paris -- es ledge, acquisition of, difficult Knowledge a monopoly... 2 Anthony, of Nur Koning’s hook on ‘the invention . oe Koburs as a type ‘founder mundia, calendar of phalia, as Judgment of Man after Death - Junius Hadrian, sketch of his ‘oon Coster a publisher ife julousness of - history of .....-.---- Koster Lourens Janszoon, see Coster. Labor, division of, by printers...-...-- rye Latin language, why pre: “ Laur Lectur’ Leeu Ger crans of Scriveriu Lead used by Gutenberg. . Leads first used by Schieffer f the middle ages . ard, industry of . Legend of Haarlem... sininaanann eRe abbreviations of -- he key to all knowledge. = hegan with pedigree. 118 contradictions of. ... 117 early meagreness of. 111 echo of false history. 113 exposure of . eth improbability ‘of « unfixed dates of. -115, 117 Legend of Walchius about the sale of first printed hooks at Paris. .-.------ 138 N TO P. VIu Paul of Prague, testimony of. - -------- 141 Peculiarities of Criminal Law - Pedigree of Coster fumily “ «“ « o its exposure ... 118 a its forgery .... 118 . its insufficiency 118 Pfister Albert, our first knowledge of .. 140 « as a block-printer wee dhl « as an inventor. . M41 « — Sebastian - -- .. 142 Pi-Ching, an early Chinese printer.... 49 Pictures came before books .. --------. bi general fonduess for. . - -- Pigouchet Phillipe, of Paris. .-.-..---. 146 Platen, smallness of -.... . . 150 ree Wee Chinese . 44 date of introduction . 44, 48 bs * denounced by clergy..-. 45 ba! “ early, cost of . ..43, 45 ba “ early forms of. Tes) ae Le. * early notices of. .....42, 43 s * manufacture of......... 41 C “ of France and Italy -.43, 44 ted « of Germany- - 42 al * popularity of. 43 s “ preceded ima 48 = “ rudely made 48 « “~ strange games of :..---. 45 - “ suggestive of printing 47 Pliny’s notice of portraits in books. 49 Points for making register ...---.----- 161 Polishing of gems taught by Gutenberg. 124 Pomerium Spirituale 86 Pope Pius 11, treatises of . - 99 Presswork, early method of. . ...<-~.-- 150 re alters appearance of types. . 102 by as done in China...--.-,-. 50 daily performance of... .50, 161 = early, in colors. .---------+ 1 GEORGE BRUCE’S SON & CO., TypE-FounpERS, No. 13 CHAMBERS-STREET, NEW-YORK. ey Pace bg =f at d ae. i’ 1 = 77s Pipl ty @ oe @ atch 4 Wiad , trae) Wy a che thae a ae canigre re io Pe Iga Whoa |! ® ac Fw fd Woe rey Ix. INDEX. Presswork, early practice of - ... 151 jmperfections of - 151 ig of block-book mz, of Colard Mansion - 136 « of early type print 151 « “~~ of Gutenberg. - .128, 130, 132 id of Scheeffer . J of unknown 2 on textile fabric: “« process of... Prices of manuscript books in old Rome 22 * of medieval books * of printed books « paid for printing - Print-coloring, early practice of. Printers, early, activity of . Printers, early names for. 141 @ armorial shield of. . 142 i at Mentz before 1500. 143 ear’ liest i in Germany . Central « « « RRR RR * Spain, ete - ting, ambignity of the word aided by painting. - by frietion_- + «difficulties of - - 73 Chinese method o depends on other aids . derivation of from Chin: different methods of. . early, in Neth early prejudic from engraved stamps . German origin of. in clay - not alw: ays 8 economical . not generally welcomed - of Psalter of 1457... on one side, reason of. on textile fabrics _- permanence of the ar benefit from... . . waited for reader: with a brush. Printing Press, con: ruction of Lignamine's no} Prin SE RRR RRRRRR RRR RRRRE ® DrAmonp, No. 16. P TO 8. Printing Presses, cost of Proof-planer, use of - Proof- f-reading, early notice of. how done - Psalter of 1457, beauty of. « ~colophon of editions of. - the designer « of. Publishers of old Rome. ie in Italy ... Punch, description of . Punch-cutters were goldsmiths - Punch-cutting not done by printers - 5 importance of -.-- - « « « “ Punches of ste = of wood bs of Gutenberg. . Quadrats, substitutes for... a proper use of. Quintilian’s notice of stencil: Rationale Durandi ... - 137 Register, means used ft Wasco tal of colors, how done - - 136, 151 = in Psalter of 1457. . 136 er of pages, early, how done. -... 151 Registrum charta : Reimboldt, Religious d Ripoli Pre. “6 « at ali. a= materials used by - Rome, early printing at. Rooman Gillis and Adrien Rubr: ieate pd books of middle 25 “of early printers... .. 151 Sahspach Conrad, testimony of ..-.... . 122 Sand moulds. . .. 103, Savage on the iter of 1457 Scaliger J. J., about Horarium - Schaeffer Peter, as a copyist. as a judge aan as a printer. as a punch-cutter as a trader... as a type-founder as an inventor. borrows a hook - descendants of ‘of * operation of ........... bi = false claims of --- XI. INDEX. T TO W. uy ceetesE adjustable... ..-. 125, 126,149 Typography, Chinese method of........ 50 made by goldsmitl - 148 . claimants of inyention.... 14 y of early printer: 29, 148 Md depends on other aids... .- 24 bd of Garamond. -. = erroneous ideas about .... 25 s of Gutenberg - - 5 ‘a is a science. .....--. 121 i of sand -- 103 i not fruit of engraving. 125 Types of wood, Junius’s description of 113 i period of its invention 14 Sie as made in Japan... _-. 26 F. why it was delayed. . oe of wood, experimental . Typothete, arms of "3 Dela Borde's t « i limitations of Uneven spacing in early printing -._..- 136 le oe ed Specklin’s deser iption of 142 University of Puris..........-....... 63 “ as made by Conrad Winters .-..149 Unknown printer of Netherlands - .. “Chinese, early forms of. . - 49 = EP perion Ofer * “ modern elem er ag LOL 4 Ee workmanship of .. ... 109 “early, cast and not cut...-..102, 140 Utrecht, early printing of . . .. “early faces of.......... . 48 “early speculations about... - 18 * engraved, impracticab! 27, 101 “Gothic, popularity of - 148 “ how made. . “ of Jenson .. “made by one method only. 26 “~~ made in sand moulds. .___ “must be accurate... ... “not made with system 148 “of brass, notices of. 31 “of glass....... “of Gutenberg __ “of lead, as made by Blades . - “ « “ Coster ..... of porcelain “of Schieffer quantity of usually cast......_. smallest sizes in 15th century unknown printer . - variations of form ex Typography, advantages of ... e cheapness of method... ... GEORGE BRUCE’S SON & CO “ Speculum traced to. Valdarfer, Christopher ...-..--....--- Van der Linde’s Haarlem Legend. .... Tot exposure of fraud... .. Van Eyck Hubert. Veldener John - Vellum, how made . “ early scarcity of - not suitable for printing . . Venice, early printing in “famous for printing. - playing cards of. - relations of with Chi the school of typography. . Verard of Paris... ....- Vindicie Typographice. Vocabularium ex quo... « « « Von Seckingen, testimony of. ._.-... Von Zabern Barbel, testimony of . -. Weidenbach, printing at ‘d1TOS ‘SGVHT VOId OL OL HLIM SOLID. INDEX. Scheffer Peter, memory of, neglected... 140 e pupil of Gutenberg. -- 1 Ms succeeds Gutenberg - f. vanity of -.....- Scheeffer John, testimony of - Schoepflin Daniel - -_- -- Schott John, claims of - - School books of middle ages - Schools of the middle ages --- Schultheiss Hans, testimony of - Scriptorium of monasteries - Scriverius Peter .-...-- ee Secrets of printing stolen_ = =A), 113. Section, definition of term Seiz and his book ..---..- Senefelder Alois, the lithographer. Sensenschmidt John -.---- Seven Penitential Psalms - 98 Sewing of books ...--.-.--- 62 Sidenneger Hans, testimony of - 122 Signatures, early use o! . 150 Spacing out of lines. Specklin Daniel. - Speculum Salutis, : a . Dutch hook as noticed by Junius. blocks of destroyed description of - - translation of editions of. - its workmanship - not an experiment. printed from types . - probably printed at Ut teachings of the book .. variable letters of . when printed -- Spira John de, of Venice - Spyess Wygand..____.- Stamping of single letter: on textile fabrics Stamps of Babylon and As copyists - Egypt. - middle ages Romans .--.- RRRRRRRR ARK «“ « « Stationers of Paris.. St. Bridget. print of. - St. Christopher, print of. Steel-plate printing, process ti) Steinbach Thomas, testimony of . INDEX, William of Saliceto, Treatise of ......-. 99 Wimpheling, testimony of. 124, 125 Winaricky’s book on Gutenberg ....-.- 121 Wine-flagons of Coster Witnesses on trial at Strasburg. .. Wittig Ivo, tablet of Witty Speeches of Great Men. a Wonders of Rome, the block-book ...85, 87 * Wood-cuts, early, merit of .......-.... 33 < difficult to print with types. 96 & dissimilarities of... .- 74, 84 « early, designed by artists .. 80 i later, inferiority of. .. . 152 « liability to warp . 151 Mg mutilations of ...._.- 74, 77,97 « WITH 10 TO PICA LEADS. neglected by early printers . 151 not printed with types ..... 94 8 TO T. x. Stencil- -plates of old Romans - of card-makers._ Stereotype moulds .-.--..- Stereotyping, its advantages Stick of early compositors . - Stocker Mydehart, testimony of - Story of the Blessed Virgin. Strasburg, early printing at. - - St. Thomas of Aquinas, book of - Suabia, abode of early engravers Surfaces, varieties of in printing Sweinheym and Pannartz........ Temptations of the Deyil Thomaszoon Gerrit... .- Title-page, first appearance of - Tool of four t Pieces, mysterious not a press. - ane f not types nor pages 126 e 53 probably a mould. . 126 Torquemada on Health of Soul. . - 99. Torresani Andrew . 146 Trade-marks of middle ages 53 Trades early, secrecy of - 124 Transferring, by Chinese ‘me 49 Transferring, process of ........ - 95 Treatise on Celebration of Mass- 133 B On WEOVO: \ W 0 URE ihe Ay A Vee Lh e nr or - Sant a i ne ed 59 ot i re if Ba i ve aed my A ay! ee “thf ‘Nbauatl ts sie aeicdtae aise fora tety ‘iy ‘ hh i SiN CET rhe cot ta ha Cet a Maat WA h mie tiie 4 eat Peat is auc ten , ban it sha) si i ar es noah us A Dealt EN ANa ia ache eM i A { } iH oe ios sy Ait 4 EAD ite % mip hailey h i mate : ne i ‘ mh ‘i cas an Risin) ; : BBE) ne ivan s Otay Wann tat , TPL Tt I catty 1a MDs iette' eis ate Neng Use AF ali Winn) Biv sh! i ian cca ds eaga Uatan ii nl es i ete abs Lele di dgaie te Ways TR EME hath iat HOLD, i ee ait east ates nore b i AAA ed uedbeny ih t . i Bit, ee sai ean na at Seine pa ni it! ‘ it my i aha hf ‘i Bi Rin & rai PAAR EATR TR aes UIA ivy ait 4) ee illo Acne sky PN iy iN (lis Hele Ray aa y \ } sta nueveli ey i I ying Ane if Dc} Wena aitial a eA) sealed WiAle i slit it Wie Sete) Pe Aa GENO 4 / ; Aare Wicd ted i) i Yintrnniad Ce ena iy wy He + Ny H thr) Neneh tr na ; val Witt t y 4 mtg i Baa Al Un : they i Tete BEN Ui i Mn io tattes Aes Aeiiel \ ih " Bw VST SAARC MER nies it Hat Vt haiti iy 4 i sia i Mwah Me J 3 } : Wie Saar ih ‘ i j eythai ier) AL PA ma eh eT ACAI and ede MI RANE a ett TH : i Nave ye i Keer ih isa brani ain an Hai bis He ASA vane SUA aged i ; i iG NRA NE Doi ea ‘ { fi Meat ae Ee « racy ) oh etree i i ea itt Her ealet y Ne My i i brani tat Helier hs be terrestiaier Re SUT ny) hy A We sian aN Pb OA REEMA ay desl Pa i yt ty Pavesi beth Nal ta i et Ww SeBTa Mis es SEW ton fdlah jue F Vai OSE Wel ey ise nt Wi te ac WH : hae ‘A nal i Si Aare it } Bal Hee F Ta ix 2 ae PEN ah ies i t bo 4 i b ¢ ce Hot i ‘ Ais Nn tig 9% ‘ es iii