4

the printers frequently omitted to print the first letter of a book or chapter, where the edition was intended to be curious; and for this a blank space was left, that it might be illuminated or painted at the option of the purchaser'. Several of these early volumes have at different times been found, where these initial letters are wanting, the possessors having neglected to have them painted. Sometimes also the capital initials or first letters to the first page of a work were curiously formed by grouping together various figures, representing the letter in question, and by introducing both whole and halflength portraits, as well as heraldic embellishments and historical subjects. Many instances might be offered, would the limits of this work admit of their introduction; but the following beautiful specimen from the celebrated Psalters of Mayence will be fully sufficient to elucidate the remark.

On the subject of illuminations, see pp. 69-71, 127-134, supra.

2

Mr. Dibdin has ably discussed these topics in his Preliminary Disquisition on early Engraving and ornamental Printing, which is illustrated by numerous elegant engravings, faithfully representing the various ornaments with which the early printers decorated the productions of their press. Dibdin's Ames, vol. I. pp. i-lvii.

It is the letter B, richly ornamented with foliage, flowers, a bird, and a dog, and forms enoieegime stod ni Jauhovine

the initial capital letter of the first Psalm : the same letter was employed in the first edition of

1457, and in the second of 1459; from which last (Merly Catalogue, No. 2027.) our copy is made. As these editions are briefly noticed in the Appendix, (No. VII.) it may suffice to observe, that in both impressions the letter itself is in pale blue; the ornaments, in which it is placed, are red; the figures and flowers are transparent and white, as well as the vellum on which the book is printed. Heinecken justly observes, that this latter affords authentic evidence, that the artists, employed on the work, were both well skilled and well practised in their profession; and that the art of engraving was no longer in its infancy.

Beautiful, however, as most of the specimens of early typography unquestionably are, it has already been observed, that after the diffusion of the art throughout Europe, it became greatly degenerated. But from the middle of the eighteenth century to the present time, artists have arisen both in our own country and on the Continent, the productions of whose press are unrivalled for splendour and beauty of execution. In Paris, the DIDOTS are pre-eminent, for the number and exquisite workmanship of their books. In Spain, the Sallust of IBARRA'

'This edition of Sallust contains the Latin text and a Spanish version by the Infant Don Gabriel: it was published in small folio in 1772, and is both rare and dear in this country,

alphabetical list of the principal vignettes, thus used by antient printers, will be found in the Appendix (No. III.)

An acquaintance with these marks or devices. may contribute towards ascertaining the names of printers in early books, especially where those names have been concealed: but, beside the vignettes above referred to, most of the antient printers made use of monograms or ciphers, containing the initial letters of their names, or other devices, curiously interwoven. As the knowledge of these is essential, in order to fix the identity of antient editions in which the printer's name does not appear, we have given (in the Appendix, No. IV.) engravings of the principal monograms thus employed on the Continent from the invention of printing until the year 1500: those of English printers are placed by themselves, and continued a few years later. A complete collection of these interesting marks is a desideratum in literary history.

SECTION IX.

Mechanism of Printing.

§ 1. LETTER-PRESS PRINTING.-The types or characters employed for printing, are small

pieces of mixed metal', containing in relief a letter of the alphabet, or a figure: they are cast in a mould, to which is fitted a matrice, a piece of copper on which the intended character has been cut or struck in creux, by means of well-, tempered steel or iron punches graven in relief. Each letter has its proper matrice: and there are particular ones for figures, points, rules, head-pieces, and other ornaments of printing, except for quadrats; which, not being intended to leave any impression, are cast without matrices and only in moulds. Each matrice also has its own puncheon. The characters are divided into three sorts, Roman, Italic, and Black.

The two first sorts, as their name imports, were respectively invented at Rome and in Italy". Roman is at present in general use, and has for a long time been the prevalent letter of Europe; although in Germany and Holland the black letter is used for devotional and religious works.

1

This metal is understood to be a compound of lead, iron, and antimony; the composition of type-metal however depends entirely on the discretion of founders, each of whom has proportions, as well as some minutiæ in the manufacture, peculiar to himself.-To avoid a multiplication of references in this section, it may be proper to observe, that its materials are derived from Fournier's Manuel Typographique, Stower's Printer's Grammar, and the Encyclopædia Britannica, vol. 15, Article Printing.

2 See pp. 241, 242, supra.