,,english ,,printers' ,,ornaments ,this ,edition is limited to #ejj copies only ,illustration ,,english ,,printers' ,,ornaments ,,by ,,henry ,r4 ,,plomer ,,author ,,of 8,a ,,short ,,history ,,of ,,english ,,printing10 ,,etc4 ,illustration ,,london1 ,w4,c4#a ,,grafton ,,co4 ,,coptic ,,house #aibd ,printed in ,great ,britain by ,turnbull ,spears1 ,edinburgh ,,preface ,the subject of printers' ornaments can be defined in its stricter meaning as the decoration of books as apart from book illustration1 the aim of both decoration and ornamentation being to heighten the attraction of the letterpress1 although the one is not in any way dependent upon the other4 ,in the following pages an attempt has been made to give an outline history of the introduction of ornaments into books printed by ,english printers and the subsequent growth and development of the art down to the present day4 ,printers' ornaments include head and tail pieces1 initial letters1 borders to title-pages or text1 and decorative blocks such as those which were used freely by the sixteenth century printer1 ,henry ,bynneman1 and others4 ,printers' devices1 being in the nature of trade marks1 have no place in this volume1 as1 although decorative in themselves1 they were not used simply for the sake of embellishing the page4 ,although it is generally believed that ,english printers were on the whole inartistic1 and that many of the best designs were borrowed from foreign countries1 there is no lack of good material for a work on ,english printers' ornaments from the fifteenth onwards to the nineteenth century4 ,many famous names of special printers come to mind in early ,english books of the sixteenth century1 such as ,denham1 ,bynneman1 ,wolfe1 and ,john ,day4 ,it only remains to acknowledge the courtesy of those who have helped in the production of this book by granting permission for the reproduction of illustrations and for the loan of blocks4 ,to ,mr ,e4 ,gordon ,duff and the ,cambridge ,university ,press for permission to reproduce the ,machlinia border2 to ,prof4 ,a4 ,w4 ,pollard1 ,c4,b41 both for kindly suggestions and for the loan of illustrations2 to ,mr ,c4 ,sayle of ,cambridge ,university ,library for permission to reproduce initials2 to ,mr ,ralph ,straus for permission to use the block of the ,baskerville ornaments from his book on the well-known printer1 and to the ,cambridge ,university ,press for the loan of the block2 also to ,messrs ,bowes ,bowes for the loan of blocks2 to ,messrs ,maggs ,bros4 for two whole-page illustrations1 and to the ,oxford ,university ,press for past and present ornaments4 ,for illustrations to the chapter on ,modern ,work we have to thank ,messrs ,charles ,whittingham ,griggs1 ,ltd42 ,messrs ,h4 ,w4 ,caslon ,co41 ,ltd42 ,messrs ,r4 ,r4 ,clark1 ,ltd41 of ,edinburgh2 the ,trustees of the ,kelmscott ,press1 and ,messrs ,emery ,walker1 ,ltd42 ,the ,curwen ,press2 ,the ,morland ,press1 ,ltd42 ,the ,pelican ,press2 ,messrs ,p4 ,m4 ,shanks ,sons1 ,ltd41 and ,messrs ,stephenson1 ,blake ,co41 ,ltd4 ,the additional illustrations in the ,edition de ,luxe which do not appear in the ordinary edition are two especially representative lace borders of the sixteenth century1 a beautiful ornamented page reproduced by kind permission of the ,trustees of the ,kelmscott ,press in red and black1 and one of the rare early coloured decorative titles4 ,h4 ,r4 ,,plomer ,,london ,xmas #aibc ,,contents ,,chapter ,i ,,page ,the ,genesis of ,printers' ,ornaments #a ,,chapter ,,ii ,english ,printers and their ,ornaments #ae ,,chapter ,,iii ,borders #ca ,,chapter ,,iv ,head and ,tail ,pieces--,small ,ornaments #ec ,,chapter ,v ,head and ,tail ,pieces--,decorative ,blocks #fe ,,chapter ,,vi ,miscellaneous ,ornaments #ha ,,chapter ,,vii ,initial ,letters and ,factotums #hg ,,chapter ,,viii ,modern ,work #aja ,,illustrations ,descriptive ,catalogue #aai ,borders #adi ,head-pieces #aia ,tail-pieces #baa ,ornaments #bbi ,initials #bci ,modern ,work #bdi ,,index #bhg ,,the ,,genesis ,,of ,,printers' ,,ornaments ,referring to the books printed in ,venice by ,erhard ,ratdolt in the years #adgf and #adgg1 ,mr ,g4 ,r4 ,redgrave writes3 8,they are plentifully enriched with initial letters1 sometimes printed in red ink1 and they have all of them the gracefully designed title-borders for which the books of ,ratdolt are so deservedly famous40 ,erhard ,ratdolt and ,his ,work at ,venice1 p4 #ac 7,bibliographical ,society's ,monograph1 ,no4 #a74 99 99 99 99 99 8,the typography and illustrations of ,vrard's books1 though justly celebrated1 are distinctly inferior to the best productions of certain ,parisian printers--for instance ,jean ,dupr2 but in one respect he is without a rival--in the sumptuous illuminated copies on vellum produced for his royal and other distinguished patrons40 ,antoine ,vrard1 by ,john ,macfarlane1 #aijj 7,bibliographical ,society's ,monograph1 ,no4 #g74 99 99 99 99 99 ,on a certain day in the year #aecj or thereabouts1 the following dialogue took place between ,robert ,copland1 a printer in ,london at the sign of the ,rose ,garland in ,fleet ,street1 and a customer of his1 who desired him to print a quaint conceit which he called the ,seven ,sorrows that ,women have when their ,husbands be ,deade4 ,the printer naturally wanted to see the manuscript1 but the author replied that it was in his brain and not in his pocket4 ,quidam4 8,i have no boke1 but yet ,i can you shewe ,the matter by herte and that by wordes fewe1 ,take your penne1 and wryte as ,i do say ,but yet of one thyng1 hertely ,i you praye4 ,amende the ,englysh somewhat if ye can ,and spel it true1 for ,i shal tel thee man ,by my soule ye prynters make such englyshe ,so yll spelled1 so yll poynted1 and so pevyshe ,that scantly one can rede lynes tow ,but to fynde sentence1 he hath ynoughte to do40 ,to which the printer replies thus3 8,well1 brother1 ,i can not it amende1 ,i wyl no man ther of dyscommende1 ,i care not greatly1 so that ,i now and than ,may get a peny as wel as ,i can40 ,this confession of ,copland's1 coupled with the fact that the author had a moment before expressed the opinion that a #8penny' was enough to spend on books1 shows how great was the gap that separated the ,continental from the ,english printer in the fifteenth and sixteenth centuries1 and accounts for the paucity of borders and ornaments found in ,english books up to #aejj1 noted by ,mr ,e4 ,g4 ,duff in the chapter which he added to ,mr ,a4 ,w4 ,pollard's work on ,early ,illustrated ,books4 ,chapter ,i ,the ,genesis of ,printers' ,ornaments ,the decoration of books had reached the summit of excellence a century before the art of cutting letters and printing with movable type was discovered4 ,by the middle of the fifteenth century ,europe had a store of books in all its great cities that for beauty of design1 richness of colouring1 and excellence of craftsmanship have never been surpassed1 while in this country the meanest parish church could show one or more service books of this character1 the gift of pious benefactors1 some of which had been produced in the scriptoriums of ,canterbury1 ,york1 or ,durham4 ,the first printers naturally turned to these manuscripts1 not only for the models of their types1 but for other hints--and what did they find8 ,they found that the scribes generally began on the second leaf of the vellum or paper1 and that sometimes the vellum or paper was ruled with faint red lines for margins and for evenness of line4 ,they found that the title of the work was put at the head of the text1 and that the first page of the text was enclosed within a richly illuminated border1 sometimes merely decorative or conventional1 but more often consisting of exquisitely drawn and coloured pictures1 illustrating1 if it were a service book1 scenes in the life of ,our ,lord or fragments of sacred history4 ,they further found that at the commencement of the text was a richly illuminated initial letter4 ,the blank spaces at the ends of paragraphs were sometimes filled with decorative ornament4 ,the scribe1 moreover1 placed no dividing line between the various parts of the text4 ,if he was beginning a new chapter he started at the top of a new page1 leaving a blank space at the bottom of the preceding one1 although1 very rarely1 illuminated head-pieces are found4 ,again1 at the end he simply put the colophon1 often a most illuminating little paragraph1 not only notifying when and where he finished his task1 even to the hour1 but very often giving the name of the person who had commissioned the book1 and returning thanks to ,god for giving the writer health and strength to finish it4 ,the only other #8ornaments' they found were the paragraph marks1 the reversed symbol or still in use at this day1 which can be traced back to the fourteenth century and perhaps earlier1 and the cross or ,maltese cross1 generally met with in manuscript ,books of ,hours1 and probably quite as old as the paragraph mark4 ,all this the first printers followed as closely as they could4 ,their books had no title-pages2 they put the title above the first page of text1 which they began as high up on the paper as they could4 ,they sometimes put a border partially round this first page1 and they tried as far as possible to imitate the richly illuminated initial letters--but with poor results at first4 ,they left the spaces between the divisions of the work blank1 but they generally put on the last leaf below the colophon or on a leaf by itself a woodcut embodying their name or initials or the sign of the house in which they carried on their trade4 ,they also adopted the paragraph mark and the ,maltese cross1 which for many years remained the only small ornaments they possessed1 unless indeed we can claim for the asterisk1 or1 as ,luckombe called it1 the #8asterism1' an equal antiquity with the other two1 which is quite possible4 ,this was in the infancy of the art2 but as it gradually emerged from its swaddling clothes1 printers discovered various ways of increasing the beauty of the printed book4 ,first they adopted a title-page1 quite a modest thing at first1 which for its brevity has been called a #8,label' title4 ,next they conceived that the appearance of the title-page would be improved if it had a border like the first pages of the old manuscripts4 ,then it occurred to them that it would look better if the printed matter were begun lower down on the page1 leaving a blank space above4 ,in course of time these blank spaces1 and those which generally followed at the end of dedicatory epistles and such like1 were ornamented1 whatever was used for that purpose being called by the names of head or tail piece4 ,occasionally the printers even went so far as to fill up the spaces at the ends of paragraphs with small ornaments1 a wholly unnecessary labour which was soon dropped4 ,for these and other purposes new designs had to be found1 and amongst them1 early in the sixteenth century1 appeared the fleuron4 ,nature was the mother of this very beautiful little ornament--a common object of the roadway--a leaf torn by a rough wind from some tree1 possibly a willow4 ,centuries before printing was ever dreamt of1 such a leaf fell at the feet of one with a soul for the beautiful1 who took it home and drew it and drew it again and again1 placing it in various positions and finding a hundred different treatments of the subject1 and so discovered its possibilities for artistic decorations4 ,in this way it became the basis of most of the designs in ,greek and ,arabesque pattern books4 ,the architect sculptured it in stone1 the lace-worker turned it into a dream of delicate beauty1 the bookbinder fashioned it into a tool to stamp his bindings1 and in due time the printers cut it in wood and cast it in metal1 and it became a stock ornament in every printing office4 ,in a happily inspired moment the fleuron has been used as the title of a recently published magazine dealing with typographical matters1 and in an admirable article contributed to its first number by ,messrs ,f4 ,meynell and ,s4 ,morrison1 which ,i trust they will forgive me for quoting1#a they say3 8,what is common to them 7i4e4 fleurons71 what makes the system1 is the fact that the unit of decoration is itself an ordinary metal type1 of the varying type sizes1 cast by the type-printer1 set as type1 and bearing1 instead of a letter symbol1 a formal design4444 ,this simple tool was originally used on an ,aldine binding as early as #adii1 but not until #aeae have the writers discovered its first usage as a printing surface4 ,this occurs in the title-page of ,tornandes' de ,rebus ,gothorum1 printed by ,miller of ,augsburg in #aeaf4444 ,variations of the stalk developed at ,augsburg 7#aeag71 ,strasbourg 7#aeai71 ,antwerp 7#aecb71 ,paris 7#aecg740 ,in the course of the following pages it will be seen in all sections how infinite is the variety of design and treatment that this single ornament is capable of4 ,it is interesting to find an #ahth-century view of the origin and use of flower ornaments1 and therefore ,i am quoting a passage from ,luckombe's ,history of the ,origin and ,progress of ,printing1 #aggj4 8,metal flowers10 says the author1 8are cast to all the regular bodies of letter1 from great primer to nonpareil included2 besides several sorts that are to the size of small pica4 8,flowers were the first ornaments which were used at the head of such pages that either began the main work1 or else a separate part of it4 8,though they formerly had no great variety of flowers2 yet were the few of them contrived to look neat and ornamental2 being deep in body1 and cast so that no bearings-off could be discovered1 but looked as one solid row4 8,but with the growth of printing1 and when letter-cutters strove to excel each other1 they introduced also flowers of several shapes and sizes1 which were received1 and variously employed1 till cutting in wood was come to perfection2 when that art was eagerly encouraged1 and flowers not regarded4 ,from that time till very lately1 nothing has been thought to grace the first page of a work so well as head-pieces cut in wood2 of which some have such a coarse look1 that even mourning rules would look neater1 were they put in the room of them4 8,the invention of cutting in wood1 is claimed by the ,germans1 though the ,italians seem to have a prior right to stile themselves the authors4 ,nevertheless1 though the former may have had their worthies of the said art1 it is apparent that they have taken their knowledge with them to the grave4 ,and this has also been the case in ,france1 where the masters of the art of cutting in wood made a secret of their method of working and left no disciples of their abilities4 ,hence it was1 that while ,mr ,jackson1 an ,englishman1 was at ,paris1 he was wholly employed in furnishing printers there with head-pieces and other ornaments of his drawing and cutting4 ,but it being above thirty years since he went to ,rome1 it must be supposed that his work in ,france is worn down before this time1 which may be the reason that flowers are come into fashion again in ,france4 ,but this1 perhaps1 would not have been so readily effected1 had it not been for the particular genius and fancy of a compositor at the ,king's printing-house in ,paris1 who restored the credit of flowers1 by making them yield to every turn which is required to represent a figure answerable to the rules of drawing4 ,hence it may be guessed what great variety of florid sorts were used to exhibit cyphers of names1 forms of crowns1 figures of winged and other creatures1 and whatever else fancy presented to this typographical florist4 ,but it must be observed1 that the ,king of ,france paid for this whim2 the compositor having a salary and free access to the ,king's founding-house1 to order the cutting and casting every thing that could conduce to make his conceptions mature and the performance of them admirable4 8,thus has the use of flowers been revived in ,france1 and has stimulated the ,germans to improve their fusil ornaments1 whereby they have been instrumental to the considerable augmentation made here in flowers1 by all which we shall be enabled to make flower-pieces of oval1 circularly1 and angularly turns1 instead of having hitherto been confined either to square or to circular flowers4 ,but it is feared1 that head-pieces1 fats1 and tail-pieces of flowers will not long continue1 either in ,england1 ,france or ,germany1 considering that the contriving and making them up1 is attended with considerable trouble and loss of time2 and as no allowance is made for this1 it will not be strange1 if but few shall be found who will give instances of their fancy4 ,but this might be remedied1 were printers to recompense the compositor for his painful application2 and then to preserve the substance of his invention intire1 for occasional use4 8,the use of flowers is not confined to ornaments over head pages only1 but they serve also1 each sort by itself1 upon several other occasions4 ,thus they are used in miscellaneous work1 where a single row of flowers is put over the head of each fresh subject1 but not where two or more are comprehended under the same title1 which commonly have1 another1 by the same1 c41 for their head4 ,as therefore flowers appertain to heads1 it ought to be a rule1 that a single row of them should be put over a head that begins a page1 be it part1 chapter1 article or any other division1 in work that has its divisions separated by flowers4 8,flowers being cast to the usual bodies of letter1 their size should be proportionable to the face of the characters2 since it would be as wrong to use great primer flowers with long primer letter1 as it is improper to embolden the look of great primer by long primer flowers4 8,flowers being either of a rectilinear1 angular1 circular1 or square shape1 they are used accordingly in making them up for head-pages1 of whom we have in this work introduced a few specimens4 8,but as the construction of flower head pieces entirely depends upon the fancy of a compositor1 it would be presumption in us to direct him in this point3 we therefore leave the displaying of flowers to his own judgment1 and to the variety of materials for this purpose4 8,for want of flowers1 references and other sorts belonging to a fount1 are sometimes made use of to serve as well at the beginning as conclusion of work of a small size40#b ,printers' ornaments then consist of two broad groups--7#a7 ,small ornaments such as those mentioned by ,luckombe1 which we may suppose the compositor to have had close at hand in his case1 and 7#b7 ornamental or decorative blocks1 either cut in wood or metal1 of all sizes1 which1 as we know from the inventory of the printing office known as the ,sun in ,fleet ,street in #aeec1 were described as pictures1 and kept on a shelf in the printing-house4 ,with regard to the first of these an interesting question arises3 ,did the early printer cast his own ornaments1 or did he obtain them from a letter foundry8--a question that involves the genesis of letter foundries4 ,it is self-evident that1 until there were enough printers at work in ,europe to keep them going1 letter foundries1 as such1 did not exist4 ,besides1 we know from early descriptions and drawings of printing offices that they each contained a #8casting-house1' probably a small ante-room in which type could be recast1 and therefore in which on emergency small ornaments could be cast4 ,this is what ,mr ,t4 ,b4 ,reed says on the question#c3 8,respecting the developement of letter-founding as an industry there is little that can be gathered in the history of the fifteenth century4 ,at first the art of the inventor was a mystery divulged to none4 ,but the ,sack of ,mentz in #adfb and the consequent dispersion of ,gutenbergh's disciples1 spread the secret broadcast over ,europe4444 ,for the most part printers were their own founders4444 ,but type depots and markets1 and the wanderings of the itinerant typographers1 as the demands of printing yearly increased1 brought the founts of various nations and presses to various centres and thus gave the first impulse to that gradual divorce between printing and type founding which in the following century left the latter the distinct industry it still remains40 ,this is not very helpful to us4 ,taking the fleuron as an example1 what seems to have happened was this4 ,without speculating as to when it made its first appearance in a book1 we may safely say that its earliest form was large1 and that this large form was as often as not cut in wood4 ,but whether it was wood or metal1 it was made by the printers themselves4 ,in its smaller form it made its appearance as a metal type early in the sixteenth century1 where unity of design and uniformity in size and general adoption point to a common source4 ,as regards the second group of printers' ornaments--viz41 engraved blocks--there is a conflict of opinion as to whether such blocks are legitimate printers' ornaments4 ,there are those who contend that they are #8engravings' and not #8ornaments'2 but however feasible such an argument may be in the case of one-piece borders or title-pages engraved in wood or metal1 all modern writers on printing include them as #8ornaments4' ,the ,german writer1 ,butsch1 reproduces many of them in his great work4 ,arthur ,warren included them in his history of the ,chiswick ,press4 ,to take a more modern instance1 ,dr ,w4 ,w4 ,greg1 in his article on ,berthelet #8,ornaments' in the ,library1 mentions several which were one-piece borders4 ,again1 ,mr ,mc,kerrow1 in his work on ,printers' and ,publishers' ,devices1 refers 7p4 xlv47 to #8ornament devices1' and instances three1 the largest of which measured #cg #cg mm41 and represented a two-tailed mermaid 7#bei71 and refers to it again as a common ornament bought from a type-founder4 ,other blocks reproduced in that book were assuredly not devices4 ,if1 then1 these were #8printers' ornaments1' the borders and head and tail pieces composed of engraved blocks1 whether of merely conventional designs or pictorial1 or whether cut on wood or metal1 are legitimate #8ornaments1' especially when they were actually designed and cut for that purpose4 ,,english ,,printers ,,and ,,their ,,ornaments ,chapter ,,ii ,english ,printers and their ,ornaments ,in the five and twenty years that elapsed from the discovery of the art of printing in ,mentz1 to ,caxton's establishment of his press in ,westminster1 the printers on the ,continent had by these means brought the decoration of the printed book to an astonishing degree of excellence4 ,they could never hope to attain the results produced by the monastic rubricator or colourist1 but they learnt to equal them in beauty of design and delicacy of treatment4 ,for1 in its way1 the problem that faced the printers1 in the ornamentation of the printed book1 was rather more difficult than that presented to the illuminator4 ,with the latter a wealth of colour might cover a multitude of sins2 but the printer had to see that his decoration did not overshadow his type1 which after all was his chief pride1 and that the decoration of the book did not distract the reader's attention from the subject-matter4 ,moreover1 woodcutting was a very difficult art to learn4 ,the mysteries of cross-hatching and shading were not to be mastered without many failures2 in fact1 the master wood-engraver was born1 not made4 ,such men as ,e4 ,ratdolt and ,n4 ,jenson in ,venice1 ,pigouchet and ,jean du ,pr in ,paris1 ,gerard ,leeu1 of ,gouda and ,antwerp1 and many others1 were turning out books that for beauty of typography and artistic decoration have never been surpassed4 ,it might have been supposed that with such examples before them ,caxton and his contemporaries in this country would have been spurred to emulation4 ,english printers were in constant intercourse with ,continental printers and booksellers1 and had the opportunity of attending the great annual fair at ,frankfort1 where they could see all the latest productions of the ,continental presses and where they could buy anything they wanted in the way of type1 ornaments or binding tools4 ,yet so far were they from attempting to produce fine books1 whenever such were called for--as ,missals1 ,books of ,hours1 ,psalters or ,breviaries--they handed the work over to some foreign printer1 with this result1 to use the words of ,mr ,e4 ,gordon ,duff3 8,the poverty of ornamental letters and borders is very noticeable in all the ,english presses of the fifteenth century40#d ,there are several reasons to account for this4 ,in the first place1 in #adga1 the year in which it is believed that ,caxton began to learn the art of printing in ,cologne1 the decoration of books was in its infancy1 and few of the printers in that city had1 up to that time1 issued any books in which decorative blocks1 other than perhaps an initial or two1 were used4 ,but what is of more importance1 we know that ,caxton's chief object in1 at a late period of his life1 working in a ,cologne printing office1 was to save himself the labour and weariness of copying by hand the various works which he translated for the pleasure of others4 ,he recognized that by the art of printing copies could be multiplied easily and quickly3 that they would be easier to read than manuscript1 and1 provided that type1 ink and paper were of good quality1 would endure indefinitely4 ,caxton's concern was to make his countrymen acquainted with the best literature--books of literary value1 that would please readers1 not by their prettiness1 but for the matter that was in them4 ,hence all he wanted to know about printing was1 how to set up type and how to ink and pull a clean and clear impression1 and we know that he paid very little heed to decoration or ornament throughout his career as a printer4 ,wynkyn de ,worde was probably only just out of his apprenticeship when he entered ,caxton's service1 and during his master's lifetime he would naturally conform to ,caxton's rule and opinions in the matter of the make-up of the books4 ,lettou and ,machlinia1 both foreigners1 who came to this country in #adhj1 were chiefly concerned with printing law books1 which did not lend themselves readily to decorative work1 and their office was not a school in which to learn it4 ,hence we should not expect to find ,richard ,pynson1 who was on friendly terms with ,machlinia1 and possibly learnt the rudiments of the art of printing in his office1 and who certainly succeeded him1 getting much knowledge as to the use of ornaments from such a master4 ,it is true that ,theodoric ,rood at ,oxford used a decorative border as early as #adha1 and that ten years later ,caxton made a notable departure from his usual methods by surrounding every page of the ,fifteen ,oes with a border2 but these were solitary exceptions4 ,the second reason for this was certainly lack of enterprise on the part of the ,english printers4 ,this was largely due1 no doubt1 to the want of art training4 ,the foreign printer had been taught the value of unity of design--a lesson for which the ,english printer had to wait until the nineteenth century4 ,he designed his border to harmonize with his letterpress1 and his initials to harmonize with his borders and beautify his letterpress4 ,but the ,english printers who followed ,caxton would not concern themselves with these things4 ,they were not actuated by the same motive that led ,caxton to abstain from the use of ornament--that is1 the belief that literature came before decoration4 ,they viewed the matter from a purely commercial standpoint4 ,to quote once again the words of ,robert ,copland1 half a century later1 in the ,prologue to ,the ,seven ,sorrows that ,women have when their ,husbands be ,dead1 referring to the printing of the book he says3 8,i care not greatly1 so that ,i now and then ,may get a peny as wel as ,i can40 ,consequently they took no pride in the appearance of their books1 but used the first block that came to hand regardless whether it harmonized with the type or not4 ,a third reason for this paucity of ornament in books of the fifteenth century was assuredly lack of encouragement on the part of the ,english buyer4 ,caxton and his successors worked for many royal and noble patrons1 as ,king ,edward ,,iv41 ,henry ,,vii4 and ,henry ,,viii41 ,margaret1 ,duchess of ,richmond1 ,earl ,rivers1 the ,earl of ,arundel1 some of whom1 we may be sure1 were acquainted with such ,continental masterpieces as the ,fior de ,virtu1 ,mer des ,hystoire1 or the ,hypnerotomachia1 and many similar works4 ,if they had called upon ,de ,worde or ,pynson to produce books of that kind the printers would certainly have done so1 and we may therefore ascribe their absence as much to lack of support on the part of the reading public of that day as to lack of enterprise or want of skill on the part of the printers4 ,here again we may quote from the ,seven ,sorrows1 where ,quidam pronounced the opinion1 8,a peny ,i trow is enough on books40 ,this theory receives strong confirmation from the fact that when a rich book-lover like ,cardinal ,morton was willing to pay for the work to be done1 it was done1 and was a credit both to the printer and the nation1 for1 leaving out of account the service books printed by foreign printers for the ,english market1 ,morton's ,missal1 printed by ,richard ,pynson in #aejj1 may be said to be the first artistic book produced in this country4 ,foreign influence as to design is there1 no doubt--possibly that of ,rouen rather than ,paris--but the workmanship was ,english4 ,pynson was1 in fact1 a far better printer than ,wynkyn de ,worde1 and while we know that he obtained material from ,basle and ,rouen1 he used it with better effect4 ,down to the date of ,caxton's death the ornaments found in ,english printed books were singularly few4 ,caxton began to use paragraph marks with his type #d and #d;a1 i4e4 between #adhj and #adhe2 then in #adhf he began to use type #f1 in which the ,maltese cross is found4 ,these were the only two small ornaments he possessed2 but in addition to these one or two woodcut initial letters and one border are found in his books4 ,wynkyn de ,worde1 immediately after his master's death1 obtained a fount of type and various blocks from a printer in ,gouda1 ,govaert van ,os4 ,the type he used once1 the blocks he used until they were worn out1 and there is no doubt that he obtained border-pieces from other printers on the ,continent4 ,julyan ,notary procured decorative blocks from a foreign source before #aejj2 but it may safely be said that the paucity of ornament in ,english books referred to by ,mr ,duff continued to the opening of the sixteenth century4 ,the ,reformation gave a stimulus to book decoration4 ,the great folio ,bible and ,books of ,common ,prayer were ordered to be placed in every church throughout the kingdom1 and editions were put on the market as fast as the presses could turn them out4 ,their title-pages were surrounded by specially engraved borders1 and every printing office in ,europe was ransacked to provide ornamental initials1 of which great numbers were required4 ,how far native talent was employed in this work we have no means of knowing1 but there is very little doubt that ,richard ,grafton and ,edward ,whitchurch did employ ,english workmen4 ,thomas ,berthelet1 who succeeded ,pynson as ,king's printer1 printed some notable books1 but he seldom used illustrations1 though most of his ornaments were good4 ,richard ,tottell and ,reyner ,wolfe both used decorative blocks with the best effect2 but it was left to ,john ,day1 with the help of ,archbishop ,parker1 to bring ,english ,printers' ,ornaments to their highest excellence4 ,john ,day was a native of the old town of ,dunwich in ,suffolk4 ,his father is believed to have been a #8stringer' or bow-string maker4 ,nothing is known with any certainty as to his apprenticeship1 but he is found in possession of a device previously in the hands of ,robert ,gibson1 a protg of ,cromwell1 and he may have served his term with ,gibson4 ,the first heard of him as a printer is in #aedf1 when he was in partnership with ,william ,seres at the sign of the ,resurrection in ,holborn4 ,their work was much as other men's and their printing material was no better4 ,this partnership was dissolved in #aedh1 ,day moving to ,aldersgate1 and in the following year he printed an edition of the ,bible which contained some good initials4 ,but it was not until after the accession of ,queen ,elizabeth1 and the appointment of ,archbishop ,parker as ,primate1 that ,day's work attained its best4 ,for ,parker he cut a fount of ,saxon types in metal which ,mr ,talbot ,reed1 in his ,old ,english ,letter ,foundries1 says was cast with such accuracy and regularity as was highly creditable to his excellence as a founder4 ,so that ,john ,day had a foundry at which he could have cast any small ornaments he required4 ,some of the blocks found in his books bear the initials ,i4,d41 but it has never been satisfactorily established that he cut them2 but there is no doubt that he obtained the aid of the best artists and woodcutters available4 ,after ,day's death there was a marked falling-off in the decoration of ,english books1 and the work was only redeemed from mediocrity by such men as ,henry ,bynneman and ,henry ,denham1 both of whom1 as we shall see1 used the fleuron with effect1 and introduced some light and graceful head and tail pieces4 ,henry ,denham also used a set of initials which ,mr ,c4 ,sayle1#e of ,cambridge ,university ,library1 who has made this branch of ornaments his own1 has declared to be 8quite unlike any other work in ,england1 and as high as the work of ,sylvius1 if not1 indeed1 in some respects still higher40 ,henry ,denham was succeeded by ,peter ,short1 and he in turn by ,humphrey ,lownes1 and thus furnished one of the links between the sixteenth and seventeenth centuries and carrying the traditions of one century into the other4 ,another notable link between these two centuries was formed by the establishment of the ,eliots ,court ,press4 ,this was a syndicate of young printers1 who upon the death of ,henry ,bynneman1 the ,london printer1 acquired most of his stock of letter and ornaments1 and set up for themselves in premises in ,eliots ,court1 near the ,old ,bailey4 ,the most important members of this syndicate were ,edmund ,bollifant1 ,arnold ,hatfield and ,ninian ,newton1 all of whom had served their apprenticeship with ,henry ,denham4 ,later members of the firm were ,melchisidec ,bradwood1 who printed the ,eton ,chrysostum1 ,edward ,griffin the first and second1 ,george ,purslowe and ,john ,haviland1 who carried on the work of the firm until late in the seventeenth century4 ,the only presses outside ,london in the sixteenth century were those of the two ,universities4 ,oxford's second press was short-lived1 and though two printers were connected with it--,john ,scolar from #aeag-ah1 and ,c4 ,kyrforth in #aeai--;its output was very small1 and the printers seem to have obtained their material from ,wynkyn de ,worde in ,london4 ,the third ,oxford press was set up by ,joseph ,barnes in #aehe4 ,very little is known about this printer's history1 but from what we do know he does not appear to have been a man who would concern himself about the ornamentation of his books4 ,he opened his career with a disgraceful act of piracy and did his best to ruin a young ,london printer4 ,we are not surprised to find that his ornaments show no originality1 and were either copies from those of ,london printers or were bought from them4 ,the first printer in ,cambridge was a foreigner1 ,john ,lair of ,siberch or ,siegburg1 near ,cologne1 who called himself ,john ,siberch4 ,his first book1 a speech of ,doctor ,henry ,bullock's printed in the early part of #aeba1 has no ornaments2 but in ,cujusdam fidelis ,christiani epistola1 printed a month or two later1 a couple of border-pieces1 evidently from a ,book of ,hours1 are seen on the title-page4 ,siberch also possessed some good initials and a border which will be dealt with in their proper places4 ,his successors1,thomas and ,john ,legat1 would appear to have obtained their ornaments1 excepting1 of course1 the block of the ,university arms1 from ,london4 ,at any rate they were all quite common in ,london books of the sixteenth century4 ,the seventeenth century was a period of decline in the art of printing in ,england4 ,during the first forty years woodcut ornaments are found in almost all books1 and though woodcut borders to title-pages are sometimes met with1 they gave place in the early part of the century to engraved title-pages of very elaborate character4 ,the fleuron1 worked up into borders1 etc41 retained its popularity4 ,the ,civil ,war1 while it stimulated the printing of controversial tracts and news-sheets1 killed all artistic effort4 ,some notable books1 it is true1 appeared during the ,commonwealth1 such as ,dugdale's ,monasticon ,anglicanum1 a handsome folio with engravings by ,wenceslaus ,hollar1 the same author's ,antiquities of ,warwickshire1 while between #afed and #afeg the six folio volumes of ,walton's ,polyglot ,bible were printed1 and it is said that the types for this last were supplied by the four licensed type-founders in ,london4 ,but the ornaments found in these books consisted of a few initials and tail-pieces of no special merit or originality of design4 ,the four type-founders in question could not make a living4 ,either for want of training1 lack of capital or lack of encouragement1 they could not compete with the type-founders of ,holland1 from whence came most of the type1 and presumably the ornaments1 found in ,english books for the next seventy years4 ,joseph ,moxon1 who in #afei added type-founding to his other professions1 had spent some years in ,holland1 and his foundry was stocked with a large assortment of letters1 mostly ,dutch4 ,james ,grover was another type-founder at work in the second half of the seventeenth century1 and he cast the types for the folio editions of ,cicero and ,herodotus1 printed in #afgi1 for a syndicate of ,london booksellers4 ,both these works were amongst the best specimens of typography of that period1 but the only ornaments used in the first were initial letters4 ,in the ,herodotus there is a tail-piece1 to which ,i shall return when dealing with those ornaments4 ,before passing away from the work of the sixteenth and seventeenth centuries a word or two must be said of the #8copyist1' who played a very large part in the production of printers' ornaments4 ,whether the printers were their own copyists1 or whether they employed some one else to do this part of the work1 we cannot say1 but quite early in the sixteenth century1 and from thence onwards to the close of the seventeenth1 almost every head and tail piece and initial letter was copied and copied again without limit1 and it must not be assumed1 without the most careful examination and comparison1 that any blocks1 found in books having no printer's name1 show them to have been published by a certain printer4 ,for example1 ,richard ,jugge used some large initials in the various editions of the ,bible that he printed1 and no less than six varieties of those letters can be traced in the hands of other men1 the resemblance between them being so close that only by putting them side by side and examining them with great care can the points of difference be distinguished4 ,another instance is furnished by a set of initials used by the ,eliots ,court ,press in the seventeenth century4 ,these were probably copies of a set in the hands of ,henry ,middleton1 while several other printers had letters like them1 and the only way to distinguish between them is by counting the number of beads or circles in the framework4 ,in the same way other ornaments were closely copied1 and it is frequently very hard to distinguish between them4 ,with the opening of the eighteenth century a marked change is noticeable in the character of the decorative blocks used by ,english printers4 ,borders to title-pages are rarely found1 and1 in place of the single block woodcut head and tail pieces1 that had done duty for a century and a half1 were substituted metal blocks of a more ornate character1 and this was the case also with the initial letters4 ,it would be interesting if one could trace the causes of this change1 but one can only surmise4 ,i may be wrong1 but ,i am inclined to attribute it to the influence of the ,oxford ,university ,press1 and to the work for it of ,michael ,burghers1 who between #afhj and #agbe designed some very remarkable head and tail pieces4 ,it would be interesting also to know whether the printers employed their own artists to design and engrave these blocks1 or whether they obtained them from the type-founders4 ,i offer my own opinion for what it is worth1 and it is in favour of the first suggestion4 ,judging from the type specimen sheets issued before #aghj1 the type-founders only supplied the smaller ornaments such as the fleuron1 with suggestions as to their effective use4 ,on the other hand1 we find ,william ,bowyer at one end of the century having a special tail-piece designed for him commemorative of the great fire that destroyed his premises in #agab1 and at the other end ,thomas ,bewick1 the engraver1 drawing and cutting suitable head and tail pieces to go with his illustrations4 ,the nineteenth century opens the era of ,modern work1 which forms the closing chapters of this book4 ,,borders ,chapter ,,iii ,borders ,the earliest important ornament found in a book printed in ,england is a woodcut border to a title-page4 ,borders1 then1 shall be our first subject of study1 but it has been decided that this study shall be confined as far as possible to built-up borders1 i4e4 those made up of small printers' ornaments1 such as the fleuron1 or such as consisted of two or more decorative blocks4 ,it has been considered1 and perhaps rightly1 that borders of one piece1 such as that which surrounds the title-page of the #aefa edition of ,chaucer's ,works1 whether cut in wood or metal1 belong rather to a history of engraving than to a work on printers' ornaments4 ,title-pages did not make their appearance on the ,continent until #adgf1 but once adopted their decoration by the means of ornamental borders quickly followed4 ,the early ,venetian printers1 who were perhaps the finest artists in the world as regards the decoration of books1 began by placing a strapwork ornament that went partly along the bottom and partly up the left-hand side of the first page of text1 and this they were in the habit of printing with red ink4 ,from this it was an easy transition to borders round title-pages1 or round the colophon and device on the last leaf1 and the practice quickly spread over the ,continent4 ,for ,books of ,hours and ,missals blocks were cut representing scenes from the life of ,christ or other ,bible subjects1 but more decorative and lighter borders were designed for such books as ,ariosto or the ,decameron of ,boccaccio4 ,splendid examples of such borders are met with in books from the presses of ,aldus1 ,jenson and ,ratdolt in ,venice1 of ,pigouchet1 ,vostre and du ,pr in ,paris1 and in the books of the printers at ,lyons1 ,basle1 ,cologne and other ,continental cities in which printing had been established4 ,nor was it long after ,caxton's settlement in ,westminster before borders appeared in ,england1 although1 as has already been seen1 he cared for none of these things4 ,the printer who introduced them was a foreigner1 ,theodoric ,rood of ,cologne1 who set up a press in ,oxford in the latter part of the year #adgh4 ,in #adha he printed an edition of the ,commentary on ,aristotle's ,de ,anima1 made by ,alexander of ,hales1 and this title was surrounded by a woodcut border4 ,only some copies of this book have the border1 and the ,bodleian ,library has no copy in which it is found4 ,mr ,e4 ,g4 ,duff1 in his ,english ,provincial ,printers1 etc4 7,cambridge1 #aiab71 suggests that its insertion was an afterthought of the printer2 but it is a curious circumstance that he used it again in ,john ,lathbury's ,commentary on the ,lamentations of ,jeremiah1 which he printed in #adhb1 but again only certain copies of the book are found to have it4 ,fortunately a leaf of the ,jeremiah is in the ,bagford collection1#f and from this ,i am able to describe it4 ,the border is made up of four blocks1 each of a different width4 ,that at the top measures #aii by #cd mm41 and it will be seen that the bottom piece is the largest4 ,the design is the same in all four pieces1 and consists of spirals of flowers1 fruit and foliage amidst which are a number of birds4 ,it makes a handsome border1 the drawing and the cutting both being good1 but it was probably of foreign origin4 ,the next border of which we have any trace in an ,english book was in the hands of ,william de ,machlinia1 another foreigner who had settled in ,london4 ,between #adhc-he he printed a small ,book of ,hours according to the ,sarum use1 of which only a few leaves remain4 ,seven of these are in the ,british ,museum1 and they show that some parts of the work were ornamented with a woodcut border to each page1 probably of ,french origin4 ,the design is somewhat similar but much more simple than that used by ,theodoric ,rood1 consisting of spirals of flowers and foliage only4 ,this border passed into ,richard ,pynson's hands when he took over ,machlinia's business4 ,in the last year of his life ,william ,caxton made a notable departure from his usual custom by placing a decorative border1 consisting of four pieces1 round each page of ,the ,fifteen ,oes1 a collection of prayers intended to be issued with a ,book of ,hours4 ,these blocks have met with unmerited censure in some quarters4 ,they appear to me to be both cleverly designed and to show no little skill on the part of the woodcutter4 ,they were probably ,french work1 as blocks similar to them may be seen in service books printed by ,jean du ,pr in ,paris4 ,as stated above1 each border consisted of four pieces1 each different1 and no less than eight separate sets of designs were used throughout the book4 ,their main features were spirals of flowers and foliage1 varied by the introduction of birds and grotesque animals1 as though the artist had gone to some bestiary1 as books on natural history were then called1 for inspiration4 ,in some of the smaller cuts a grotesque human face is seen1 such as masons were fond of carving on the misericords of churches and cathedrals4 ,in one instance a child is shown holding the spray1 and the pose of the figure is quite good4 ,another of the blocks shows a winged figure kneeling on one knee and holding a huntsman's horn with both hands1 and here again the attitude is not without grace4 ,again1 take the drawing of the passion flower in the same block1 which shows feeling as well as a desire for truth on the part of the artist4 ,moreover1 he was a born humorist1 as witness the block showing the gryphon and the bird1 which reminds one of passages in ,alice ,through the ,looking ,glass4 ,it was the printer's workman--for ,i decline to believe that ,caxton set up these pages--not the artist who was at fault1 and who was responsible for their clumsy and slovenly appearance4 ,no attempt was made to space them out in order to make them meet1 and not a few were put in upside down4 ,had the printer shown as much skill as the artist there would be little to find fault with4 ,this border passed into the possession of ,de ,worde1 who used it as a whole1 or parts of it1 in several books4 ,the next fifteenth century border found in ,english printed books occurs in an edition of the ,hor ad usum ,sarum1 printed in #adig by ,julian ,notary1 ,jean ,barbier1 and an unidentified printer whose initials were ,i4 ,h41 and who is supposed to have been ,jean ,huvin of ,rouen4 ,these three printers had set up in ,london the previous year1 and the ,hor in question was commissioned by ,wynkyn de ,worde4 ,all that remains of this book is a fragment of four leaves preserved in the ,bodleian ,library1 but they show that each page was surrounded by a border of printed ornaments4 ,these were part of a stock of some twenty or five and twenty blocks which the printers would appear to have obtained from ,france1 nearly all of them being afterwards used in two remarkable borders found in books printed by ,notary early in the next century1 and a description is therefore postponed until ,i come to that period4 ,to the printer ,richard ,pynson belongs the credit of producing the most sumptuously decorated book that appeared in ,england in the fifteenth century4 ,pynson's excellent work as a printer had brought him to the notice of many learned men1 and amongst his patrons was ,cardinal ,john ,morton4 ,morton was an ,oxford man1 and filled many high offices before he became ,archbishop of ,canterbury in #adhf4 ,he was a lover of books1 and in #aejj he commissioned ,pynson to print a ,missal that should equal in beauty of letterpress and decoration anything of that kind that had been produced on the ,continent4 ,we cannot doubt that he financed ,pynson during the preparation of this work1 and we may go even further and say that the decorative work seen in it is largely ,english4 ,by the kindness of ,dr ,cowley1 librarian of the ,bodleian1 and with the help of the ,oxford ,university ,press1 a page from this splendid specimen of ,pynson's craftsmanship forms the frontispiece to the present volume4 ,the ,missal was a small folio1 printed in a bold1 handsome type of black letter in double columns4 ,each page was surrounded by a border which1 as will be seen from the illustration1 consisted of four pieces4 ,in some respects this border resembles that of ,theodoric ,rood1 to which indeed ,pynson may have gone for his model4 ,on the other hand1 the work is somewhat reminiscent of certain ,french service books4 ,the bottom panel1 with its rebus of ,morton1 was probably of native work4 ,not only are the spirals differently treated to those in the side panels1 but the flowers and fruit are also of a different character4 ,the page is1 in fact1 as nearly perfect as the skill of the printers and woodcutter could make it4 ,during the first eighteen years of the sixteenth century some interesting borders are met with in books printed in ,england4 ,in the year #aejc ,wynkyn de ,worde printed an edition of sop's ,fables in quarto1 and he surrounded the title with a made-up border that is typical of the slovenly way in which he often did his work4 ,the outer border consists of two pieces1 evidently parts of what had at one time been one block1 of which the left-hand portion retained its original form1 but the other half had at some time been damaged1 and a part of the lower corner had gone altogether1 giving the whole an uneven appearance4 ,further1 in order to fill up the space between the illustration at the top and outer border1 two smaller pieces1 but of different sizes and design1 were inserted4 ,the general design in these blocks is spirals of flowers and foliage1 the flowers being apparently pinks1 or carnations1 and daisies4 ,the printer used this border in exactly this same state on the title-page of ,nychodemus ,gospell1 which he printed in #aeaa2 but in the edition of #aeah of that work the border had undergone a strange transformation4 ,the whole of the top and the right-hand portion had gone1 the top being occupied with a heavy block upon which the title was cut in white letters on a black ground1 while the right-hand side was filled up with 7#a7 ,a block from the ,fifteen ,oes2 7#b7 ,four lozenges2 7#c7 ,two pieces of #8ribbon' ornament2 7#d7 ,one piece of twisted ornament2 7#e7 ,a fleuron4 ,the printer's device1 which in the earlier edition is seen below the cut of the ,crucifixion1 is also absent from this1 its place being filled by another cut of the ,crucifixion1 evidently from a ,missal or ,book of ,hours2 but the printer either forgot 7or did not trouble himself about the matter7 that the device in the earlier edition was set horizontally1 whereas the block of the ,crucifixion1 which he chose to replace it1 had to be set upright1 and although it was to all practical purposes the same size1 placing it upright left a vacant space under the inner top block and a space all round1 which he filled with odds and ends of small ornaments1 including two lozenges and two six-petalled flowers4 ,in the same year1 #aejc1 ,julian ,notary printed the first of the two books alluded to above1 a folio edition of the ,legenda ,aurea4 ,on the last leaf he placed his device1 and made a border for it with no less than eighteen of the decorative blocks that he had obtained from ,france4 ,in the following year he printed an edition of ,st ,albans ,chronicle1 again in folio4 ,this work had no title-page1 but in the place of one ,notary arranged1 on the recto of the first leaf1 five of the cuts used in the text1 and1 to heighten their appearance and make the page more effective1 he put round them a border of fifteen of these same decorative blocks4 ,altogether some two and twenty separate designs are seen in these two collections1 and as1 after ,notary's retirement from business or death1 they appear frequently in the books of other printers during the sixteenth century1 it may be helpful if ,i tabulate them4 ,in this list the letters ,l4 and ,c4 stand for ,legenda and ,chronicle2 the depth measurements are taken from the centre and not the ends of the blocks4 ,all of them are cribl1 and each is enclosed within rules4 #a4 ,sprays of flowers and fruit1 birds and a butterfly4 #abj by #ab mm4 ,l4 and ,c4 #b4 ,three monkeys and trees4 #abj by #aj mm4 ,l4 and ,c4 #c4 ,spirals of flowers and leaves2 two birds4 #abj by #aa mm4 ,l4 and ,c4 #d4 ,spirals of leaves and stems2 various animals2 in centre a man blowing horn4 #abj by #aa mm4 ,l4 #e4 ,spirals of foliage1 birds1 and various animals4 #abj by #aj mm4 ,l4 and ,c4 #f4 ,leaves only4 #abj by #e mm4 ,l4 and ,c4 #g4 ,wavy line with half flower4 #abj by #f mm4 ,l4 #h4 ,spiral of leaves2 two grotesque animals4 #abj by #f mm4 ,l4 and ,c4 #i4 ,spirals of leaves and flowers2 three grotesque animals and butterfly4 #abj by #f mm4 ,l4 #aj4 ,a thick wavy stem1 flowers and fruit4 #abj by #f mm4 ,l4 #aa4 ,sprays of conventional foliage2 bird in centre with outstretched wings4 #fb by #ae mm4 ,l4 and ,c4 #ab4 ,spiral of leaves and flowers4 #fb by #ae mm4 ,l4 and ,c4 #ac4 ,man and two monkeys with basket2 spiral of foliage4 #fb by #ae mm4 ,l4 and ,c4 #ad4 ,hunting scene2 dog pursuing stag2 forest of trees4 #fb by #ae mm4 ,l4 and ,c4 #ae4 ,two figures mounted on fighting cocks and armed with quintain2 spiral of foliage4 #fb by #ae mm4 ,l4 and ,c4 ,a variation of this is seen in a block used by ,wynkyn de ,worde at a later period4 ,in this the two figures become two monkeys1 their weapons a broom and a pitchfork and their steeds a dog and a goat4 ,it is much more coarsely cut than ,notary's and was slightly larger4 ,this is one of a number of blocks with which ,de ,worde surrounded his device on the last page of the ,chronicles of ,england1 which he printed in #aebh4 #af4 ,thick spiral1 with leaves and flowers2 two figures1 one naked4 #fb by #ae mm4 ,l4 and ,c4 #ag4 ,spiral of flowers and foliage1 with a dog in centre4 #fb by #ae mm4 ,l4 #ah4 ,spirals of conventional foliage issuing from mouth and tail of grotesque animal4 #fb by #ae mm4 ,l4 and ,c4 #ai4 ,spiral of foliage and flowers4 #abj by #e mm4 ,c4 #bj4 ,chain ornament4 #abj by #e mm4 ,c4 #ba4 ,spiral of conventional foliage4 #fb by #f mm4 ,c4 7,description of ,england47 #bb4 ,spiral of leaves and flowers4 #fb by #f mm4 ,c4 7,description of ,england47 ,in another edition of this ,chronicle1 printed at a later date1 either by ,richard ,pynson or ,wynkyn de ,worde1 the printer1 following the plan of ,julian ,notary1 placed five blocks on the front page and surrounded them with a border4 ,the largest block measures #aah by #ii mm41 and represents a king on horseback riding through an archway4 ,this is a variant of the block seen in the ,polychronicon4 ,at the top are two smaller blocks1 one representing ,st ,george and the ,dragon and the other the royal arms crowned with angels as supporters4 ,down the outer side of the large cut are two other blocks1 the upper one possibly an odd cut from a ,book of ,hours1 measuring only #dj by #be mm41 representing a priest at the bedside of a sick man2 and the lower one the soldier with the pike which ,de ,worde had used in the play of ,hickscorner4 ,the border was made up by the repetition of five small ornaments--7#a7 ,the ribbon2 7#b7 ,the cable2 7#c7 ,a variant of the fleuron2 7#d7 ,a flower or star2 7#e7 ,a ,maltese cross4 ,altogether #abf separate units went to make up this very singular border4 ,in #aejd ,william ,faques printed the ,statutes of the #aith ,henry ,,vii4 in folio1 and placed round each page a neat but not very striking chain border1 and in #aejh ,pynson printed a quarto edition of ,petrus ,carmelianus with a title in a border1 built up with a series of small ornaments somewhat resembling two narrow strips of ribbon plaited at the ends1 with a fleuron introduced here and there4 ,as similar ornaments are found in books printed at ,rouen1 it is very likely that ,pynson obtained them from thence1 but they appear to have been a stock pattern1 as ,wynkyn de ,worde had an identical set4 ,a curious set of border pieces was used by ,pynson in #aeji in his edition of ,sebastian ,brant's ,shyp of ,folys4 ,each illustration throughout the book had a border piece on either side4 ,the first two are seen on sig4 b #e1 and are not unlike those used by ,caxton in the ,fifteen ,oes4 ,they were not long enough to reach the bottom of the cut1 so the printer filled the intervening space with a lozenge-shaped ornament4 ,throughout the remainder of the book he rang the changes on four blocks4 ,two of these measured #aab by #ad mm41 and the design of one was a naked figure in the midst of flowers and foliage1 with a bird at the top and some fabulous animal at the bottom2 the second showed spirals of flowers and foliage with three birds4 ,the other two blocks measured #aab by #ab mm4 and were both alike1 their design being a series of half fleur-de-lys alternating with halves of some other pattern and divided from each other by double white lines4 ,all these blocks were cribl and within double rules4 ,another good example of a built-up border is seen in a volume of ,year ,books of the reign of ,edward ,,iii41 printed by ,pynson in #aeah4 ,preceding the title-page is his large device 7,mc,kerrow1 #dd7 surrounded by a border of various ornaments4 ,at the top is a block measuring #aah by #i mm41 much the same in design as the one just mentioned above4 ,at the bottom two much smaller blocks are placed side by side4 ,in one the principal features are a dragon and a monkey2 in the other a man and woman1 the man impaling a bird that is seated in the centre between two sprays of flowers4 ,these look ,french in style1 both are cribl1 and they bear a close resemblance to those in use by ,notary4 ,on the left-hand side of the device are two narrow blocks1 each measuring #fe by #aa mm4 ,the upper one has a spiral of fruit and leaves1 and the lower a human figure holding a leaf4 ,as these two blocks did not fill up the space required to be filled1 two pieces of the ribbon ornament were placed between and below them4 ,on the opposite side are two more blocks1 both very narrow1 and they have printed badly4 ,there is nothing striking in their design4 ,another of ,pynson's borders is seen in the edition of ,sallust printed in #aebj4 ,in #aebc ,richard ,faques printed ,skelton's ,goodly ,garland in quarto4 ,on the title-page is a cut of a student at his desk1 and this has on three sides a border of printers' ornaments4 ,the outer border was made up of what are probably variations of the fleuron1 each unit being about #ac mm4 in length4 ,the inner border of the two sides is made up of a series of units which1 ,i think1 is intended to represent the heraldic tincture #8,ermine4' ,they were evidently a reproduction on a very small scale of the half ornament that alternates with the half fleur-de-lys1 in one of the blocks used in ,pynson's ,shyp of ,folys4 ,again1 on the last leaf of this book is ,faques' device surrounded by a border built up with whole or portions of the lozenge ornament arranged within borders of the fleuron unit seen on the front page4 ,these lozenge ornaments are slightly smaller than those in ,pynson's hands4 ,altogether this is a rather effective border4 ,another example of a #8mixed border1' to use a gardening term1 is found in the ,greate ,herball1 printed by ,peter ,treveris in #aebf4 ,two of these blocks1 the side pieces1 certainly belonged to ,wynkyn de ,worde1 who had used them in #aeai on the front page of the ,orcharde of ,syon4 ,as it is manifestly impossible to describe in detail all the border pieces in use in the sixteenth century1 ,i must confine myself to a rapid survey of the remaining seventy years4 ,for the reason already given1 ,i pass over the elaborate one-piece borders used in the various editions of the ,bible and ,common ,prayer ,book1 and also all those elaborate architectural borders seen in folio books1 which began to make their appearance about #aedj4 ,these last generally contain in their design the initials1 monograms or device of the printers1 whether as a mark of ownership or simply as advertisement is not clear2 and the most important of them have been reproduced by ,mr ,mc,kerrow in his valuable book on ,english ,printers' ,devices4 ,but attention must be drawn to the delightful window frame borders found on the title-pages of some of the smaller books printed by ,thomas ,berthelet1 particularly to that seen in the edition of the ,modus ,tenendi1 printed in #aecg1 and that in ,lyttleton's ,tenures in #aede4 ,some very interesting borders are also found in the books printed by ,john ,oswen1 both at ,norwich and ,worcester1 between the years #aedh and #aeea4 ,while not altogether endorsing ,mr ,duff's opinion that they were 8very much superior to the material used by most of the contemporary printers10#g they were certainly unlike anything found in other books1 and were probably of foreign origin1 though it would be rash to speculate as to what part of the ,continent they come from4 ,i take as an example the title-page of ,certayne ,sermons appointed by the ,kinges ,majestie 444 printed by him at ,worcester in #aedi4 ,in this no less than seven distinct pieces are used--one at the top1 two at the bottom1 and two more on each side4 ,the groundwork of all these is alternately black and white1 sometimes arranged in bands1 sometimes in triangular form1 and there are the usual collection of birds1 flowers and human beings4 ,about the year #aegj ,english printers began to use the #8fleuron' as a material for borders4 ,what has been termed #8lace' borders were nothing less than a number of fleurons built up together in the shape of a frame1 but the variations in them are infinite4 ,sometimes they were used singly1 sometimes in two rows1 but the most effective consisted in a combination of four or eight units repeated over and over again to form a frame1 sometimes left with rough edges1 sometimes enclosed within rules or other printers' ornaments4 ,some of the most delicate and beautiful of these lace borders are to be seen on the title-pages of books printed by ,henry ,bynneman1 ,thomas ,creede1 ,henry ,denham and ,thomas ,east1 although they were adopted by all the ,english printers of the second half of the sixteenth century1 and have continued in popularity to the present day4 ,this review of the borders found in sixteenth century books may fittingly close with a notice of some used by ,henry ,denham4 ,in the years #aeha-hb he printed for ,abraham ,fleming two little duodecimos1 one called the ,footepath to ,felicitie1 and the other ,a ,monomachie of ,motives in the ,mind of ,man4 ,both these were devotional works that could be slipped into the pocket1 and in each the pages were surrounded by a four-piece border of exquisite design4 ,in the ,footepath all the borders were the same1 and they may best be described as a chain border1 a square alternating with an oval and linked together by a ring1 the top and bottom pieces being finished off with a star at either end4 ,in the other book the design is made up of the rose1 fleur-de-lys1 and portcullis linked together with a delicate flower4 ,all these borders passed into the hands of ,peter ,short1 ,denham's successor1 and afterwards into those of ,humfrey ,lownes4 ,they thus form an interesting link between the sixteenth and seventeenth centuries1 as in #afjb another of ,fleming's books1 ,the ,diamond of ,devotion1 was printed by ,peter ,short1 and each page of this1 like its predecessor1 had a border1 and these show variations from those used before3 7#a7 a border of flowers in an interlaced design1 seen on sig4 ,m #b and elsewhere throughout the book1 and 7#b7 a design with the letters ,e4 ,r41 i4e4 ,elizabeth ,regina1 with a fleur-de-lys at either end4 ,in other respects the seventeenth century has little to show in the way of borders1 and what it has are neither original nor striking4 ,the engraved title-page came into fashion1 but as these belong rather to a ,history of ,engraving than a book on ,printers' ,ornaments1 they are not dealt with in the present volume4 ,what woodcut borders are met with had done duty in the preceding century1 and were generally the worse for wear4 ,but there are one or two uncommon ones to which ,i should like to draw attention4 ,amongst the ,bagford fragments in the ,british ,museum 7,harl4 #eibg1 #aee7 is a title-page to the second part of ,thomas ,scot's ,philomythie1 or ,philomythologie1 with the imprint1 8,printed at ,london for ,francis ,constable1 #afaf40 ,this title is surrounded with a light and graceful geometrical border4 ,none of the editions of #afaf in the ,british ,museum appear to have this second part of ,philomythie4 ,in #afda a curious border resembling a twisted skein of wool1 printed white on a black ground1 is seen on the title-page of the ,rev4 ,t4 ,denison's sermon1 ,the ,white ,wolf4 ,the fleuron borders still continued to be popular1 but no such effective use was made of them as in the days of ,bynneman and ,east4 ,an interesting example of the combination of the two classes of ornament--i4e4 the fleuron and the decorative block--is found in the early part of this century4 ,in #afac the printer ,john ,beale1 whose material and work were notoriously bad1 printed the second edition of ,william ,martyn's ,youth's ,instructor1 and he made up a border to the title-page in the following manner3 ,at the top he built up a gable end of various units of fleuron1 enclosed between printers' rules4 ,below this he placed a decorative head-piece1 the double ,a1 with two naked children4 ,on either side of the title he built up a column of fleurons and other ornaments1 and at the bottom he placed another decorative block in which the prominent features are two winged figures blowing horns1 and two birds1 evidently intended for peacocks1 are perched on the filials at the bottom4 ,the whole is a curious medley1 and ,i know of no other like it4 ,both the decorative blocks used in this border1 or copies of them1 are found in the hands of other printers at this time4 ,other small ornaments came into use during the sixteenth century4 ,the national emblems the rose1 the thistle1 and the harp crowned1 each a separate unit1 but generally used together2 the acorn1 the fleur-de-lys1 stars and various other forms to which it is difficult to give a name1 are found1 and towards the close of the century we come upon a border made up of ten printers' rules set close and printed in red and black1 which has a novel if not very artistic appearance4 ,the use of rules1 not only on the title-page1 but on every page of a book1 dates back to the sixteenth century1 and was probably a relic of the days when all manuscripts were rubricated1 and it was adopted by the sixteenth century printers as an adornment for all manner of service books1 particularly ,bibles4 ,in the eighteenth century borders of any kind are rare1 but two are here reproduced3 that to ,dodsley's edition of ,gray's ,elegy1 printed in #agea1 and the border used by ,john ,wilson of ,kilmarnock1 when printing the first edition of ,burns's ,poems in #aghf4 ,although1 as we have seen1 it was at ,oxford that the earliest use of a border in ,english books is found1 the ,university printers of that city in the sixteenth and seventeenth centuries were content to follow in the footsteps of the ,london men1 and until we come to the work of ,m4 ,burghers1 late in the seventeenth century1 there is nothing that calls for special notice4 ,burghers' engraved title-pages do not come within the scope of this work1 for reasons already stated4 ,cambridge has a somewhat better record3 ,siberch1 the first printer there1 had a woodcut border which is found in most of his early books4 ,it is either ,german or ,dutch in character4 ,its design is architectural1 showing an arch supported by curiously decorated columns1 with children1 one of whom has wings1 playing round them4 ,two other winged figures are seen on the arch1 and two more in the bottom compartment1 are acting as supporters to the ,royal ,arms4 ,as ,siberch's sign was the ,arma ,regia1 this bottom block is said to represent it4 ,as a specimen of the woodcutters' art this border is of no great merit2 it is a one-piece border1 and it has been reproduced scores of times4 ,but as being the earliest border used in ,cambridge it calls for mention in this volume1 and we give a reproduction of it4 ,in the seventeenth century the ,cambridge printers built up some effective borders with small ornaments4 ,an extremely pretty one is seen round the title-page of the ,clavis ,apocalyptica1 printed by ,thomas ,buck in #afcb4 ,in this instance thirty-nine units are used in a space of #aaj mm4 and placed within rules1 giving the whole a neat and pleasing appearance4 ,in #afcc ,roger ,daniel printed an octavo edition of ,dionysius1 and used as a border to the title-page a flower perhaps meant for a rose1 with stalk and leaves1 measuring only #d #b mm41 and he placed the units in a double row4 ,in another case the ornament looks like a fleur-de-lys rising from a slender stem with a leaf on either side4 ,the unit measures #e #d mm41 and a double row is made with them4 ,,head ,,and ,,tail ,,pieces--,,small ,,ornaments ,chapter ,,iv ,head and ,tail ,pieces--,small ,ornaments ,this part of our subject is almost wholly unexplored4 ,in dealing with borders we not only had the large collections of title-pages made by ,bagford and ,ames to draw upon for illustration1 but also the studies of such able writers as ,mr ,e4 ,g4 ,duff and ,mr ,a4 ,w4 ,pollard4 ,when we come to deal with initial letters we shall also find the writings of ,mr ,c4 ,sayle and ,mr ,pollard and others of great value to us2 but in dealing with the ornaments known as head-pieces and tail-pieces we have no guidance4 ,no collections of them are known1 and no bibliographer has ever made them a special subject of study4 ,under these circumstances it will be best to deal with these two classes of printers' ornaments together1 because although there were special blocks designed and cut as head-pieces and tail-pieces which were never used except in their rightful places1 on the other hand the early ,english printers frequently used the same block without distinction4 ,as their name implies1 the object of these blocks or ornaments was to fill blank spaces at the beginning and end of divisions in the text1 such as ,dedicatory ,epistles1 ,prefaces1 ,sections of a work1 or ,chapters4 ,they were also frequently placed above and below a colophon4 ,whatever may have been the custom amongst ,continental printers with regard to the use of such ornaments1 the sixteenth century was well advanced before they began to make their appearance in ,english books4 ,so far as ,i know1 no book of ,caxton's exhibits any ornament of this kind4 ,he followed the habit of the scribes and began his letterpress high up the page and did not leave a space that required filling up1 and was content to leave other spaces unfilled4 ,both ,wynkyn de ,worde and ,pynson had a varied assortment of blocks1 which1 as we have seen1 they used as borders to title-pages or to their devices1 but neither of them during the fifteenth century placed any ornaments at the head of the text or at the end of any of their books1 and even as late as #aebe ,pynson's folio edition of ,froissart was entirely devoid of head-or tail-pieces1 and so was the folio ,bible of #aeci4 ,this at least we may say1 with confidence1 that the use of some kind of ornament at the bottom of a chapter1 or the end of a book1 preceded the use of head ornaments1 and we may go even further and say that the earliest form of tail-piece used by any ,english printer was a single fleuron of especially large size1 and perhaps cut in wood and not metal1 three of which arranged as a reversed triangle is frequently seen in books at an early date in the sixteenth century4 ,we may date the adaptation of the fleuron for the decoration of blank spaces as between #aefj and #aegj1 and an exceedingly good specimen of its adaptability for this purpose is here reproduced4 ,bound up with a copy of the ,book of ,common ,prayer1 printed by ,richard ,jugge in #aegc1 is1 ,a ,treatise made by ,athanasius 444 in what manner ye may use the ,psalmes4 ,this consisted of four leaves only1 the first of which is missing1 signed ,a #a--;,a iiij1 and on the verso of ,a iiij is this elaborate tail-piece4 ,the centre1 as will be seen1 is formed of a fleuron ornament surrounded by a #8lace border' of other fleurons1 and flanked at each of the four corners by two pieces of the same ornament4 ,below this again is a block of a semi-architectural character1 with a human head in the middle and a lion's head at either end1 with bunches of fruit in between--the whole design measuring #ace #abb mm4 ,the ornament in the centre of this tail-piece is a single block and not formed of separate units like the frame2 but it is none the less the fleuron worked into an arabesque design4 ,these blocks had been in use some years and became very popular1 and a few more that have been met with may be mentioned4 ,three found in ,sophocles' ,antigone1 printed in #aeha1 illustrate the manifold ways in which the fleuron could be treated4 ,the first is triangular in form1 while the other two are square but set cornerwise4 ,john ,day used several in the ,cosmographical ,glasse1 #aeei4 ,another fine example is to be seen on the title-page of ,john ,bodenham's ,garden of the ,muses1 printed in #afaj by ,e4 ,a4--that is1 ,edward ,allde--for ,john ,tap4 ,both in shape and design this differs altogether from the others4 ,in this instance it becomes an ornament1 but it was no doubt used elsewhere as a tail-piece4 ,equally when built up to form head and tail pieces the individual fleuron was worked into bewildering variations3 to attempt to mention or illustrate them all would be impossible2 but an example or two from the sixteenth century books are illustrated4 ,the first is a single row of a single unit1 set as a pair back to back4 ,it is taken from sig4 ,f #f of ,vautrollier's ,de ,rep4 ,anglorum of #aegi4 ,it will be noticed that the original form of the fleuron--the single leaf and stalk--has undergone considerable variation1 particularly by the introduction of a heavy cross-piece1 perhaps intended as a development of the second piece of stalk1 which was a feature of the early unit1 but introduced with a purpose1 as this example shows4 ,the second and third of our illustrations are taken from the title-page of the first edition of ,shakespeare's ,love's ,labour's ,lost1 printed in ,london in #aeih1 and from ,waldegrave's edition of the ,basilicon ,doron1 printed in ,edinburgh in #aeii4 ,the contrast between the two is worth noting4 ,the units in the ,shakespeare measure #i #f mm4 each2 portions of the stem are shaded1 and they are arranged in sets of four and two4 ,waldegrave's fleurons were a shade larger1 i4e4 #i #g mm4 ,the arrangement is the same1 but the stem1 being entirely black1 imparts a totally different appearance to the ornament4 ,in another instance in this book the same units are used1 but in this case they are placed horizontally1 thus giving a complete alteration in appearance4 ,a fourth example is built up of two units only--arranged as seven central groups of four1 with a border top and bottom consisting of seven pairs2 and by leaving out the bottom row yet another change was wrought4 ,indeed1 the possible combinations were endless4 ,no wonder that the fleuron ornament has kept its place in the compositor's box until the present day4 ,another ornament used as a tail-piece in the sixteenth century may be best described as the #8lozenge' ornament4 ,like the #8fleuron' it was apparently a stock pattern1 supplied to all printers alike from quite the beginning of the sixteenth century4 ,it is found on the ,continent1 and also in the offices of ,wynkyn de ,worde1 ,pynson1 ,richard ,faques1 and others4 ,robert ,redman used seven of them1 no doubt part of ,pynson's stock1 to form a tail-piece at the end of his ,year ,book for ,michaelmas ,term1 #aath ,henry ,,vi41 believed to have been printed about #aedj1 and with them another of ,pynson's border pieces ,b4,m4 #ejd1 f4 #af 7#h74 ,another curious example of its use is seen at the end of ,an ,enterlude called ,lusty ,juventus1 printed by ,john ,awdeley1 without date1 but not earlier than #aefj1 where no less than twenty-seven half lozenges arranged as an inverted triangle are found beneath his imprint on the last page4 ,an ornament quite common in the sixteenth century1 which on occasion served both as head-and tail-piece1 may perhaps be described as a #8ribbon' ornament1 as in appearance it resembles two pieces of ribbon interlaced into circles and squares1 a five-pointed star being placed in the centre of the circles and a flower in the centre of the squares4 ,this is all one piece1 and was probably metal and could be cut to any length4 ,in #aegi it is found in a book printed by ,vautrollier4 ,during the seventeenth century the small ornaments already noticed as used for borders to title-pages--the star1 the rose1 the crown1 the thistle1 the fleur-de-lys and the acorn1 cast in various sizes--shared with the fleuron the duty of supplying head and tail pieces1 or dividing sections of a book4 ,in #affb we come upon another example--an urn with a flower growing in it1 used in the ,liber precum publicarum1 printed in #affb1 where at the head of the licence fifteen of them are used at the head of the page and again on the verso of the same page2 but1 whether purposely or not1 in each case units of a different design are introduced4 ,some further varieties of these small printers' ornaments1 not easily describable--they may be meant for flowers or urns or anything else--are found in a volume of ,parliamentary ,declarations1 etc41 of the time of the revolution4 ,when they happened to be new1 or were used by a careful printer1 these small ornaments were effective1 but when1 as too often happened during the period between #afdj and #affj1 they were old1 badly arranged1 and badly inked1 they often spoilt the book or document in which they were used4 ,by the time the eighteenth century was reached1 the compositor's box had become crowded with small printers' ornaments4 ,like all other printers' materials at that time1 these were the production of type-founders in ,holland4 ,but in #agbj ,william ,caslon1 an engraver of gun-locks1 was introduced to the printers ,william ,bowyer and ,john ,watts1 and was by them taken to the foundry of ,james in ,bartholomew ,close4 ,bowyer and ,watts also advanced him sums of money to enable him to set up as a type-founder4 ,caslon's superiority over all other letter-cutters1 ,english or ,dutch1 was quickly recognized4 ,the shape and proportion of his ,roman letter1 combined with its wonderful regularity in height1 was such as had not been seen in ,england since the days of ,pynson1 while his italic founts were also remarkable for their beauty and regularity4 ,that it was printed with ,caslon's letter was the best advertisement a book could have in the eighteenth century1 and his foundry soon eclipsed all others in this country4#h ,his first specimen sheet was issued in #agcd1 but it shows only five examples of fleuron ornament and two rows of stars4 ,the first of these examples was not a common pattern1 although it may have had a predecessor in the seventeenth century4 ,the other four showed no originality--they had been in use for a couple of centuries--but they were cast clearly4 ,if these were all the flowers which ,caslon thought it necessary to show after fourteen years' experience1 the inference is that he was more concerned with the cutting of type-faces than ornaments4 ,in the specimen book of #agfd the flowers fill no less than four pages1 and in addition to the fleuron1 which is shown in many sizes and some new variations1 the type-founder had introduced several new designs1 such as minute circles that could be arranged in many decorative ways--an hour-glass and skull and cross-bones1 no doubt for use as head or tail pieces in funeral sermons--and had also1 in one instance at least1 reverted to a fifteenth century ribbon pattern4 ,many single-line castings were also shown4 ,in the specimen book of #aghe many new designs and their possibilities as head and tail pieces were illustrated by artistic and novel arrangement of the various ornaments1 some of which we know were adopted by printers throughout the country4 ,further specimen books were issued by the firm from time to time4 ,some examples of the use of small ornaments in the decoration of books in the eighteenth century in which ,caslon's influence is evident are here shown4 ,the first is seen on sig4 ,b of the ,rev4 ,william ,gardner's ,sermon1 preached at the ,assizes at ,kingston-upon-,thames on ,august #d1 #agbf1 and is an extremely effective combination of several units of different design surrounded by what may best be described as a bead border1 the beads being arranged in groups--an oval between two round--and each group being separated by a star4 ,b4,m4 #bbf1 f4 #c 7#i74 ,the next1 which shows several new forms of the treatment of the fleuron as a decorative unit1 is also remarkable for the very artistic way in which they are arranged1 the whole forming what1 to use the language of that day1 would probably have been called a #8very elegant' head-piece4 ,it is seen at the head of the text of ,a ,sermon preached at ,stafford at the ,assizes held there on ,august #bbnd1 #agef1 by the ,rev4 ,joseph ,crewe4 ,in neither of the above cases do we know the printer4 ,b4,m4 #bbe1 f4 #c 7#e74 ,finally we may notice one or two from a little book called ,the ,lover's ,manual1 published by a country bookseller1 ,s4 ,silver of ,sandwich1 but printed in ,london1 possibly at the same press as the preceding1 as the ornaments are very similar4 ,john ,baskerville1 who shared with ,caslon the merit of being one of the best type-founders of the eighteenth century1 made a very sparing use of ornaments2 but such as he did use we may suppose him to have cast in his own foundry4 ,messrs ,straus ,dent in their life of this eminent printer have reproduced fourteen of his ornaments4 ,nos4 #ad and #d differ only as regards size4 ,this flower ornament with circle in the centre was a departure from the old model4 ,indeed1 all these ornaments are light1 graceful1 and in keeping with the character of the fine types of which he was the founder4 ,nos4 #f and #g1 reproduced by ,messrs ,straus ,dent1 are very beautiful variations of the old-fashioned fleuron1 the nearest approach to which are the feathery examples1 ,nos4 #b and #h1 which1 however1 lack both the firmness and the grace seen in those of the sixteenth century4 ,the ribbon ornament1 ,no4 #e1 seems to be a survival1 or perhaps revival would be the better word1 of the ornament found in the hands of ,pynson and ,wynkyn de ,worde4 ,altogether the printers of the eighteenth century could obtain a wealth of small ornaments such as they had never possessed before4 ,,head ,,and ,,tail ,,pieces--,,decorative ,,blocks ,chapter ,v ,head and ,tail ,pieces--,decorative ,blocks ,in the foregoing chapter ,i have dealt with head and tail pieces1 more or less built up of small single printers' ornaments4 ,these did all very well until the advent of something better2 but the ,english printer had to wait until between #aegj and #aehj before what may be termed legitimate head and tail pieces--that is1 blocks of a decorative or pictorial design1 especially cut for the purpose--were put in his hands4 ,these ran to all sizes1 from blocks measuring #aci by #cd mm4 for head-pieces in folio books to others measuring only #dg by #ab mm41 these last being used independently as head-or tail-pieces1 or as ornaments for the title-page4 ,the larger ones are rarely found used elsewhere than in their rightful places4 ,before their advent1 any odd blocks that had done duty in books of hours or primers on the ,continent1 and had been bought by some ,english printer on his annual visit to the ,frankfort ,fair1 were pressed into service as head and tail pieces4 ,one of the earliest examples of the use of an odd block as a tail-piece is found in ,middleton's edition of the ,statutes of the #gth ,henry #fth1 printed between #aecj and #aedj1 at the end of ,michaelmas term 7sig4 ,k #b71 where a geometrical and architectural block1 measuring #aai by #ai mm41 is very effective4 ,this had previously belonged to ,wynkyn de ,worde4 ,another may be seen at the end of ,a ,newe ,booke--,an ,exhortation to the ,sicke1 printed by ,john ,oswen at ,ipswich in #aedh1 where above and below the imprint are the two blocks here reproduced4 ,they were clearly not specially cut for the purpose--indeed1 ,i have a shrewd suspicion that ,i have seen the lower one in books printed by ,robert ,wyer4 ,nor can we accept the two blocks placed above and below the colophon to the ,sarum ,missal1 printed by ,kingston ,sutton in #aeee1 as genuine head and tail ornaments4 ,they obviously belong rather to the class of border-pieces from some foreign book of hours4 ,an example of the miscellaneous tail-pieces to be found in sixteenth century books was brought to my notice recently by ,miss ,murphy4 ,it turned up unexpectedly in the second edition of ,harman's ,caveat or ,warneing for ,common ,cursetors1 vulgarly called ,vagabones1 printed by ,william ,griffith in #aefg1 and it would1 ,i think1 be difficult to match it4 ,the centre is a cut of the ,virgin and ,child forming the centre of a rose4 ,outside this is a circle of beads1 and outside that again a circle of flowers on a single stem with five roses placed at equal distances round the circle4 ,the whole measures #ie mm4 in diameter4 ,it may be one block1 and the association of the rosary1 the beads and the picture of the ,virgin seems to point to its having been cut for some ,roman ,catholic book4 ,at the end of the ,preface is a good tail-piece of arabesque design4 ,specially designed decorative head and tail pieces began to make their appearance in ,english books about the year #aegj4 ,one of the earliest ,i have met with is a head-piece found in the hands of ,thomas ,vautrollier1 whose printing office was one of the best equipped in ,england4 ,it appears on sig4 ,a of ,chaloner's ,de ,rep4 ,anglorum instauranda libri decem1 a quarto printed in #aegi4 ,b4,m4 #ajgj1 m4 #ca4 ,the block measures #ajb by #bb mm4 ,the design is an elaborate one1 the main feature being two spirals that look like capital ,a's4 ,on these are resting two naked boys with a bowl between them containing fruit and flowers4 ,below is a grotesque head4 ,from these large spirals issue smaller ones with a squirrel on one side and a rabbit at the other1 and two filials of grotesque animals at each of the bottom corners4 ,this may be a metal block1 but it was light and graceful in treatment1 and was in every way suitable to the beautifully printed book in which it is found4 ,in another book1 ,m4 ,t4 ,ciceronis ,epistol1 printed at the same press in the same year1 is found ,vautrollier's well-known tail-piece of the ,gorgon's head1 with his initials ,t4 ,v4 on either side4 ,there were1 no doubt1 similar blocks in use in folio books before #aehj1 but the earliest ,i have met with is the artistic head-piece seen in sig4 ,a of ,bynneman's edition of ,morelius' ,verborum ,latinorum1 printed in #aehc4 ,in the centre we see a figure holding in each hand a bird with long tail feathers4 ,on either side is an archer with a drawn bow and arrow1 with rabbits sitting behind him1 while at each of the lower corners is an animal with very long and curving horns4 ,this block measures #aci by #cd mm4 ,it was afterwards in the hands of the ,eliots ,court ,press1 and can be traced in use until about #afej4 ,before the close of the sixteenth century specially designed head and tail pieces of all sizes were in general use1 and continued so throughout the following century4 ,when ,i add that every good block was immediately copied1 and frequently copied so faithfully that it needs almost microscopical examination to discover the difference1 some idea will be gained of the wide field of illustration thrown open in this branch of our subject4 ,in the dainty little devotional works of ,abraham ,fleming1 already alluded to in my chapter on ,borders1 are found several delightful little head and tail pieces1 all of which passed into the hands of ,henry ,bynneman1 and from him to the ,eliots ,court ,press4 ,holinshed's ,chronicles1 first printed in #aegg1 also contain some very fine examples4 ,at the head of the ,dedication to the first volume is seen the block with a bear sitting on his haunches holding spirals of foliage4 ,two dogs1 two men with staves1 and two serpents are also parts of this design4 ,it seems possible that these large folio head-pieces were lent by one printer to another1 as this one is found in many books4 ,again1 at the head of the 8,first ,booke of the ,historie of ,england10 in these ,chronicles1 is a semi-architectural head-piece with the ,royal ,arms in the centre4 ,at the head of sig4 ,k #f in the 8,chronicles of ,ireland0 is another good decorative block1 which is sufficiently like that at the head of the ,dedication to the first volume to suggest a common origin1 as indeed do those in use by the ,eliots ,court ,press4 ,another good example of these blocks is that found at the head of ,geoffrey ,fenton's ,history of ,guicciardini1 printed by ,richard ,field in #aeii4 ,the same spirit seems to run through them all1 and they deserve more notice than they have hitherto received4 ,the charming little tail-piece1 showing a boy playing two drums1 is also from the ,chronicles1 and is found at the end of the ,preface to the 8,chronicles of ,ireland0 in the third volume4 ,in some respects it is reminiscent of the eighteenth rather than the sixteenth century4 ,at the opening of the seventeenth century the decorative blocks used by the ,eliots ,court printers call for special notice1 and by the kind permission of the ,bibliographical ,society one or two of those that appeared in my article in ,the ,library a short time ago are here shown4 ,it was not possible at that time to illustrate any of the head-pieces that appeared in books printed in folio4 ,no such restriction bars us now1 and consequently three of these characteristic head-pieces from an edition of the ,workes of ,homer1 printed at that press1 are here shown4 ,the first1 which measures #adb by #cf mm41 consists of spirals of flowers1 radiating from a central stem1 with caterpillars and various winged insects dotted all over it4 ,this was also used in the folio edition of ,bishop ,jewell's ,works1 published by ,john ,norton in #afji1 and two years later ,m4 ,bradwood1 who succeeded ,arnold ,hatfield in the management of the office1 used it in ,queen ,anne's ,new ,world of ,words1 and as late as #afci it was in the hands of ,edward ,griffin the second4 ,the second of these large head-pieces has as its design the sun in glory and four horsemen between sprays of flowers and foliage4 ,it is found again in the folio edition of ,montaigne1 printed by ,bradwood1 and was in constant use down to the year #afch4 ,the third1 in which the principal features are two large cornucopi and two lions holding shields1 was also used by all the ,eliots ,court printers down to #afdj1 and there was also another block something like it in the hands of other printers4 ,passing to the smaller blocks of this press1 one of the most artistic is that of the two cherubs blowing horns1 used as head-piece in ,a ,copy of a ,letter written by ,e4 ,d41 a pamphlet printed in #afjf by ,m4 ,bradwood4 ,it was of ,continental origin1 and it has served as a model for printers down to our own day1 a variation of it being amongst those in use by the ,chiswick ,press4 ,in the same book is found the #8fleur-de-lys' head-piece4 ,it was used by all the ,eliots ,court printers without exception2 but ,felix ,kingston1 another ,london printer1 had a block so similar that it is almost impossible to tell one from the other4 ,it makes a very handsome head-piece4 ,the other two examples here shown are also from ,a ,copy1 etc41 and both were in use1 the one as late as #afdd and the other to #afej4 ,the one with the squirrels was copied repeatedly1 and several variants of it are met with in other books4 ,the blocks of the national emblems when used together formed an effective head-piece1 but they were sometimes used in pairs to form side-pieces to other blocks4 ,there was also a smaller set without the decorative spirals4 ,when ,george ,purslowe joined the firm he brought with him several ornaments that had belonged to ,simon ,stafford1 and in #afbj1 when he printed the ,rev4 ,elnathan ,parr's ,exposition on the ,epistle to the ,romans1 he used as a head-piece a block which is found in the hands of ,henry ,bynneman as far back as #aeha1 and it was a curious medley of part of one of ,simon ,stafford's and part of the #8fleur-de-lys' block1 and shows that the designs of both those blocks had their origin in sixteenth century work4 ,these ,eliots ,court head-pieces are very typical of seventeenth century work2 but such printers as ,robert ,barker1 ,adam ,islip1 ,humfrey ,r4 ,lownes1 ,miles ,fletcher1 and others had a large and varied stock1 from each of which an equally good collection might be made4 ,a good decorative head-piece was that used by ,h4 ,lownes in ,j4 ,dowland's ,pilgrimes ,solace1 printed in #afab1 embodying the national emblems4 ,passing over the period of the ,revolution and ,commonwealth1 in which most of the blocks used were old ones1 a word or two must be said of the work done by ,mr ,burghers at ,oxford during the last years of the seventeenth century and the opening years of the eighteenth century4 ,it is somewhat remarkable that so little attention has been paid to ,m4 ,burghers and his work by ,oxford students4 ,for upwards of fifty years he must have been a well-known figure in the ,university town4 ,for many years he designed the allegorical illustration for the ,oxford ,almanac4 ,there is no question as to his ability both as artist and engraver4 ,yet ,bryan1 in his ,dictionary of ,engravers1 dismisses him curtly without even mentioning the period during which he worked1 and refers to his work as #8stiff and tasteless4' ,the ,dictionary of ,national ,biography accords him just twenty-three lines1 and finishes off by saying1 8,he died1 according to ,hearne's ,reliqu1 on the #ajth ,january #agbf-g40 ,as a matter of fact1 ,hearne gives the best memoir of him1 but has very little to say about the vast amount of work he did and his skill as an artist4 ,on these points all he says is1 8,he was looked upon as the best general engraver in ,england1 and had always till very lately1 within these last two or three years1 a vast deal of business1 so that being withal a very industrious man1 he got a vast deal of money and purchased a pretty estate in ,oxford40 ,this is a poor account of a man whose work was not confined by any means1 as the ,dictionary of ,national ,biography would lead one to think1 to the engraving of portraits1 but who executed engravings for many books4 ,none of his biographers call attention to the wonderful series of head and tail pieces and initial letters which ,burghers designed and engraved for the folio edition of ,clarendon's ,history of the ,rebellion and ,civil ,wars in ,england 444 printed at the ,theater1 ,an4 ,dom4 ,,mdccii4 7-,,iv474 ,amongst the many things collected by ,john ,bagford were specimens of ,burghers' work4#i ,unfortunately he gave no clue as to what books they appeared in1 but some of them were from this work1 and the beauty of the designs no less than the excellence of the engravings places them in the very first rank of ,english ,printers' ,ornaments4 ,none of these deserve ,bryan's censure4 ,they are not only spirited2 but they are worthy of the great work in which they appeared4 ,no4 #bcd in ,bagford's volume is a head-piece1 the design of which is classical in treatment--spirals of flowers and foliage of a highly ornate character springing from a central stem1 which consists of the body of a child emerging from foliage with his hands uplifted in terror of the two lions who are apparently coming for him on either side4 ,this is the head-piece to the thirteenth ,book1 vol4 iii41 p4 #bhe4 ,no4 #bjg in the same volume was evidently designed for an ,english book on ,science1 printed about #afif4 ,in the centre is seen ,britannia1 with shield and trident1 looking out over the sea4 ,beneath her is the date #afif1 the whole being surrounded by a laurel wreath4 ,on either side are open books1 that on the left apparently dealing with ,euclid and that on the right with architecture4 ,other books and rolls and mathematical instruments have also a background of laurel1 and the design is surrounded by a decorative frame4 ,the tail-pieces designed by ,burghers are even more splendid than the head-pieces4 ,the two we have chosen for illustration are entirely different in character1 but are both remarkable for their grace and beauty4 ,no4 #caj in ,bagford's collection consists of spirals emanating from a central sun-like flower4 ,these dancing figures and two birds form part of the design1 which measures no less than #aeb by #abj mm41 and has the signature 8,m4 ,burge1 sculp40 at the bottom4 ,no4 #cbb is a classical design figuring ,hercules4 ,both appeared in ,clarendon's ,history4 ,with the opening of the eighteenth century the character of these decorative head and tail pieces other than the fleuron changed entirely4 ,in the first place the old wood block was superseded by metal ones1 and no doubt the change gave greater clearness of impression and longer life4 ,then with ,caslon's advent as a type-founder native talent began to assert itself2 but the alteration went even further than this1 and heralded a change in taste on the part of printers1 who seem to have been captured by a different school of designers altogether4 ,we suspect that this was largely due to the influence of the ,oxford engraver1 ,m4 ,burghers4 ,whether the blocks produced during this century were or were not more artistic than those they supplanted must be left to experts to decide4 ,my work is to record the change and show its development4 ,in #agab ,william ,bowyer printed a great folio1 ,atkyn's ,ancient and ,present ,state of ,gloucestershire1 in which we find a large head-piece signed ,i4 ,l41 which is a good example of the head-piece that had come into fashion4 ,the centre shows a basket piled with fruit1 with some kind of drapery hanging from it and the letters ,i4 ,l4 f4 below this4 ,on either side of the basket the ornament takes the form of sprays or spirals of flowers or foliage1 somewhat resembling the designs of ,m4 ,burghers at ,oxford4 ,indeed1 baskets of fruit and flowers became a feature in nearly all head and tail pieces of the eighteenth century4 ,in the same volume is a tail-piece which is equally typical of eighteenth century work4 ,some very beautiful examples of the decorative head and tail pieces of the early eighteenth century are found in the octavo edition of ,lucretius' ,de rerum natura1 printed by ,j4 ,tonson and ,j4 ,watts in #agac4 ,while some of these head-pieces are pictorial1 they are in some measure called forth by the text1 and perhaps more in the nature of illustrations2 the tail-pieces have a character of their own1 especially the one at the end of the fourth book and that at the end of the sixth book1 and the final one4 ,another fine head-piece is seen in the first volume of the ,works of ,sir ,william ,temple 7sig4 ,b ij71 printed in folio in #agbj1 and is matched by the tail-piece on the verso of ,b #c in the second volume4 ,another example of a signed head-piece occurs on a block found in the octavo edition of the ,works of ,george ,farquhar1 published by ,knapton and other booksellers in ,london in #agbh4 ,whether it is meant to be emblematical or not it is hard to say1 but in the foreground is seen a lion pointing with his right foreleg to a plant in front of him1 two of the leaves of which bear the initials ,f4 ,h4 and ,m4 ,m4 ,round about are several trees4 ,the work of ,f4 ,h4 was evidently a favourite as late as #agch1 when we meet with another example of it in a sermon printed for ,j4 ,roberts in ,warwick ,lane4 ,in this case not only is the block larger1 but the design consists of vegetable growths1 ornately treated with a vase of flowers in the middle and a bird with outstretched wings at the top4 ,the various parts of ,james ,thomson's poem on ,liberty1 printed in #agce1 have head-pieces1 none of them of great merit1 of which one is here shown as a contrast with that just noticed1 while1 as an example of how thoroughly bad some eighteenth century work could be1 we show a tail-piece representing a fountain1 found in a volume of translations of the ,odes of ,horace1 printed in #agdc4 ,b4,m4 #aacge1 c4 #ag4 ,the provincial printers probably stocked themselves from the ,london foundries1 and consequently their ornaments followed the prevailing fashion4 ,we have already seen specimens of the work of ,m4 ,burghers at ,oxford1 and while the sister ,university cannot show anything quite so gorgeous1 the printers in ,cambridge had a good selection1 many of which are shown in ,r4 ,bowes' ,catalogue of ,books printed at ,cambridge from #aeba to #ahic4 ,from these has been chosen a head-piece used by ,cornelius ,crownfield between #afih and #agdc as being typical of the period1 and two tail-pieces used by the same printer ,nos4 #ha1 #hb in that ,catalogue1 while a tail-piece from a work by an unknown printer illustrates once again the innumerable ways in which the fleuron could be treated4 ,in this case twenty-eight units are arranged so as to form an inverted triangle4 ,moving further northwards we find ,john ,white1 the printer at ,newcastle-on-,tyne1 with a good stock of ornaments1 which he used with effect in ,bourne's ,history of ,newcastle1 which he printed in #agcf4 ,the head-piece here shown is a characteristic example of eighteenth century work 7note the baskets of flowers and fruit1 the birds and the cherubs71 and ,mr ,welford1 in his ,early ,newcastle ,topography1 describes the larger of the two tail-pieces as #8gorgeous4' ,coming south again1 the printer at ,truro1 from whose press came the unfinished work called the ,compleat ,history of ,cornwal1 used the head-and tail-piece here reproduced4 ,,miscellaneous ,,ornaments ,chapter ,,vi ,miscellaneous ,ornaments ,in addition to the forms treated of in the foregoing chapter1 the early ,english printers sometimes filled up the space at the end of a paragraph with small printers' ornaments4 ,in his edition of ,johannes de ,garlanda1 ,multorum ,vocabulorum1 printed in #aead1 ,pynson placed at the end of the last line of the colophon two units of a fleuron reversed4 ,this is not shown by ,messrs ,meynell and ,morison in their article in the ,fleuron1 and nothing exactly like it is shown by ,mr ,d4 ,b4 ,updike in his numerous illustrations of specimen sheets ,english and ,foreign4 ,it consisted of a spiral with two leaves1 and measures about #aj mm4 in length4 ,it also proves that the fleuron or #8petit fer' was known in this country in #aead1 and probably earlier4 ,he used these again in the ,year ,books of ,edw4 ,,iii4 ,but on what system1 if any1 he worked it is not easy to understand4 ,in the first five sheets of this book1 although there were many vacant spaces that could have been filled1 no ornaments were used1 but on signature ,f iiij they begin to appear2 but still there seems no uniformity4 ,at the end of one paragraph three such ornaments are placed3 in the next nothing1 although the space at the end of the paragraph was just as large4 ,then we find one with five2 but the average number was three4 ,nor were they all of the same kind4 ,one arrangement was ribbon1 fleuron1 ribbon2 another1 one plait and two ribbon2 a third1 three ribbon and one fleuron1 and so on2 but why the compositor should have wasted his time putting in these ornaments here and there only1 is inexplicable4 ,robert ,redman was equally arbitrary in his use of them1 the only difference he made being to place a colon between each unit4 ,this custom very soon died out4 ,but the miscellaneous ornaments ,i have in mind are usually found on the title-pages of books1 and even there they are only occasionally met with in the sixteenth century1 when it was usual for the printer to place his own device above the imprint4 ,as these devices were often very artistic1 they served their purpose of decoration very well4 ,vautrollier's fine series of the ,anchora ,spei may be cited as an instance4 ,but there was at least one printer in the sixteenth century who did not follow this custom1 and that was ,henry ,bynneman4 ,it was not that he had no small block of the ,mermaid to put on his title-pages1 because we know that he used such a block at the end of one of his books4 ,from the care he took in the printing of his books we may suppose him to have taken a pride in their appearance1 and this probably arose from his chief patron being ,sir ,christopher ,hatton1 who at that time was the most powerful of ,elizabeth's favourites1 and was the friend and helper of literary men4 ,at any rate ,bynneman frequently placed the crest of that nobleman1 a hart surrounded by the motto1 8,cerva charissima et gratissimus hinnulus10 with a very elaborate frame1 on his title-pages4 ,it is seen in the fourth part of ,gabriel ,harvey's ,gratulationis ,valdinensis1 the other three parts of which have on the title-page3 the first1 the royal arms2 the second1 the crest of the ,leicester family--the bear and ragged staff2 and the third1 the crest of the ,burleighs--a sheaf of corn with two lions rampant as supporters1 and the motto1 8,cor unvm via una10 within a border of fleurons4 ,several of the blocks reproduced by ,mr ,mc,kerrow in his ,printers' and ,publishers' ,devices were not devices at all1 but merely ornaments4 ,such a one is ,no4 #bdh1 which he describes as a 8two-tailed mermaid blowing two horns4 ,a fringe of tassels below40 ,in fact1 he admits that it is an ornament4 ,another was ,no4 #bdd1 which he describes as a wreath enclosing armorial bearings found in ,a4 ,broke's ,tragical ,history of ,romeus and ,juliet1 printed by ,r4 ,robinson in #aegh4 ,a third that was certainly not a device1 though it was associated with the ,eliots ,court ,press1 was the 8,veritas felix temporis0 block1 a copy from a foreign source1 which1 in spite of the bad workmanship1 retains much of its original grace and beauty4 ,john ,windet placed on the title-page of ,h4 ,swinburne's ,briefe ,treatise of ,testaments and ,wills1 #aeij1 a curious little decorative block1 in which two happy-looking cherubs sitting under overhanging sprays of foliage that are part of the contents of an urn or basket of fruit and flowers are busily playing1 one a guitar and the other a viol or violin1 but whether they are serenading the lady whose head forms part of the design one is left to guess4 ,this block was perhaps in reality a tail-piece4 ,the title-page of the first edition of ,king ,lear1 published by ,simon ,stafford in #afje1 had as an ornament a block that was used on occasion both as head and tail piece1 and came afterwards into the possession of ,george ,purslowe and so to the ,eliots ,court ,press4 ,that seen on the title-page of ,cyril ,tourneur's ,atheist's ,tragedie1 published for ,john ,stepneth and ,richard ,redmer in #afaa1 also belongs to the same category1 as does also the one placed on the title-page of ,a ,description of ,new ,england1 printed by ,humfrey ,lownes in #afaf4 ,the fleur-de-lys placed above his imprint by ,william ,jones in ,gerard ,malynes' ,center of the ,circle of ,commerce is familiar in several seventeenth century books1 while that seen on the title-page of ,euphues1 his ,censure to ,philautus1 printed by ,elizabeth ,allde in #afcd1 had a counterpart amongst the blocks of ,felix ,kingston1 and is frequently found as a head-piece4 ,indeed1 one can never be sure whether they are dealing with the original or only a copy1 as most of these blocks were copied over and over again4 ,,initial ,,letters ,,and ,,factotums ,chapter ,,vii ,initial ,letters and ,factotums ,nothing tends to heighten the artistic beauty of a book so much as the initial letters4 ,this fact was recognized by the monastic scribes1 who lavished all their skill in the production of beautifully illuminated letters in the ,missals and ,books of ,hours upon which they spent their time in the scriptorium4 ,for some time after the introduction of printing1 with certain rare exceptions1 the early printers left the space to be filled by the initial letter blank for the illuminator to fill in4 ,but before long they began to cut the initials for their books in wood1 and they went to the manuscript books for their earliest model1 hence the ecclesiastical character of the first woodcut initials2 and although they could never hope to obtain the beauty of the illuminated letter1 which was due as much to the colouring as the design1 the printers soon learnt to produce very striking and effective decorative initials4 ,for an illustration we need go no further than ,paris1 where in the fifteenth century the books of ,antoine ,verard were decorated with a grand series of woodcut ,l's1 copied from the decorative script of that period1 while it is only necessary to glance through ,mons4 ,a4 ,claudin's magnificent history of printing in ,france to see many other examples2 while ,m4 ,butsch's ,bcher-,ornamentik and ,castellani's ,early ,venetian ,printing show that the presses of other countries were equally prolific in this field of book decoration4 ,the early ,english printers in this1 as in every other1 branch of their work were content to copy or to borrow from foreign sources rather than to create1 consequently the initials found in their books before #aejj show little originality4 ,they borrowed chiefly from ,france1 or perhaps it would be more correct to say that they bought chiefly from ,france4 ,there was so much material in the market1 and it saved so much time and trouble to buy from others4 ,or was it that there was no man in ,england sufficiently skilled to draw or design initial letters1 and no craftsman skilled enough in woodcutting to produce them8 ,whatever the reason1 this foreign trade in initials continued throughout the sixteenth century1 as blocks that had come from ,paris1 ,lyons1 ,basle1 ,venice1 ,florence1 the ,low ,countries1 and even ,spain are frequently met with in books of that time4 ,matters improved as time went on1 and ,english gravers began to turn out some very creditable work1 so that1 regarded as printers' ornaments1 whether their origin be native or foreign1 the initial letters found in ,english books from the fifteenth to the twentieth century are of sufficient artistic merit1 as well as sufficiently numerous1 to deserve a book or books to themselves4 ,the publication of such a book is long overdue4 ,too much good material has already been wasted in the piecemeal treatment of the subject and in the needless repetition of the same illustrations4 ,what is needed is a comprehensive study of the whole subject1 tracing as far as possible the birthplace of various alphabets1 and what is no less interesting1 pointing out the variations in certain alphabets due to the copyist4 ,in the hope that such a work may not be much longer delayed1 ,i think it as well to say as little as possible on this branch of ,english printers' ornaments1 and in this section merely to whet the appetite of the reader for that full study of the subject that is bound to come4 ,fortunately there is no lack of material4 ,the studies of ,mr ,charles ,sayle1 of ,cambridge ,university ,library1 which have extended over several years1 supplemented by those of ,mr ,a4 ,w4 ,pollard1 ,dr ,oscar ,jennings1 and recently of ,mr ,percy ,smith1 make the task a light one as far as the initials of the fifteenth and sixteenth centuries are concerned4 ,with ,mr ,sayle's kind permission two or three examples have been chosen from his paper on the subject read before the ,bibliographical ,society in ,november #aijb4 ,to these ,i have added a few others of that period that1 so far as is known1 have not hitherto been reproduced1 and ,i have further supplemented them with some examples from my recent paper on the ,eliots ,court ,press and other sources to illustrate the work of the seventeenth and eighteenth centuries4 ,for the purposes of this section ,i have divided the letters into groups1 according to their subjects1 such as ecclesiastical1 biblical1 classical1 grotesque1 heraldic1 and finally miscellaneous1 embracing designs not otherwise groupable4 ,an early example of the ecclesiastical initial is the letter ,t found on the verso of the title-page of the ,legend ,aurea4 ,those seen in the ,morton ,missal of #aejj1 some of which embody ,cardinal ,morton's rebus1 also belong to this class1 and have the additional merit of being1 it is believed1 ,english workmanship4 ,the highly decorative ,l found in some of the books of ,r4 ,faques about #aecj is another good example1 while the ,f used in #aedj by ,william ,middleton in the ,year ,books of ,henry ,,vi41 showing a bishop with a mitre1 is also worth notice4 ,the ,reformation and the printing of ,bibles and ,common ,prayer called for large numbers of initial letters of all sizes1 and it is not surprising that ,biblical scenes should have formed the subject of many of these4 ,here again the ,english printer had no need to create4 ,the large number of service books1 printed by the various printers on the ,continent ever since the first establishment of the art in ,europe1 had flooded the market with a quantity of such blocks1 of which he was not slow to avail himself4 ,as ,mr ,sayle remarks1 the ,great ,bibles of #aedj and #aeda are a mine in themselves4 ,the magnificent letter ,i1 illustrating the ,creation1 is sufficiently well known4 ,the ,h1 representing ,samuel and ,eli1 first used by ,herford in #aedd1 is another familiar example4 ,reginald ,wolfe also had a very interesting set1 illustrating scenes in the life of ,st ,paul1 used in an edition of the ,new ,testament1 and in his ,chrysostum is a ,q1 the subject of which is the ,judgment of ,solomon4 ,in ,bullinger's ,sermons1 printed by ,ralph ,newberrie in #aegg1 is a letter ,d that ,i think belongs to this division1 and represents the death of the firstborn in ,egypt4 ,classical subjects begin to appear in ,english books about the middle of the sixteenth century1 although as early as #aeba ,siberch at ,cambridge used a letter ,c1 representing ,st ,george and the ,dragon1 white on a black ground1 which ,mr ,sayle thinks is local work4 ,a very fine outline letter ,s1 measuring #fd by #fc mm41 shows two figures appealing to a satyr1 with a background of flowers and foliage1 was used by ,t4 ,berthelet in the ,bibliotheca ,eliot in #aeei4 ,this printer also used an artistic alphabet which clearly came from ,basle4 ,another ,s of the same group1 but a different subject1 is seen in ,day's ,cosmographical ,glass1 one of the finest examples of that printer's work1 in which are many artistic initials signed ,i4 ,b41 ,i4 ,c41 and ,i4 ,d4 ,the last two are supposed to stand for ,john ,day1 but there is little to support the attribution4 ,but the most famous of these signed initials were those attributed to ,anton ,sylvius3 examples of these are found in books printed by ,reginald ,wolfe1 ,john ,day1 and others4 ,as ,mr ,sayle very rightly says1 these initials are worth a monograph in themselves4 ,grotesques were of many kinds4 ,they were popular on the ,continent in the fifteenth century1 and an early example of their use in ,england is the letter ,a found in ,notary's hands in #aejd1 which he had obtained from ,bocard of ,paris4 ,another early set were those in which the human face formed a part of the design4 ,these are clearly of ,french ornament1 and sets are found in the hands of ,wynkyn de ,worde1 ,pynson1 ,faques1 and many others4 ,wynkyn de ,worde also obtained a fine alphabet of this kind from ,gottfried van ,os1 a printer of ,gouda1 the only letter that he used being an ,h1 seen in ,catherine of ,siena4 ,they continued in use until the middle of the century4 ,heraldic and personal initials are a fairly numerous class4 ,one of the finest is a large decorative letter ,p1 bearing the initials of ,edward ,whitchurch1 and used in the ,bible of #aeci4 ,in another ,bible is found an initial showing the arms of the ,see of ,canterbury4 ,these arms are sometimes found with ,archbishop ,parker's initials added to them4 ,in the ,chaucer of #aedb is a letter ,a1 with the initials of ,john ,reynes4 ,a fine example of an heraldic letter was a letter ,d showing the arms of the ,earl of ,leicester1 used by ,john ,day in the ,cosmographical ,glass1 printed in #aeei4 ,christopher ,barker1 in the ,prayer ,book of #aehj1 introduced an ,a and a ,t bearing his initials1 and in many of his books are found other initial letters bearing the crest and arms of his patron1 ,francis ,walsingham4 ,the group ,i have called ,miscellaneous is so vast that the examples here noted are barely a fraction of them4 ,they range from all sizes1 and are chiefly ornamental--that is1 their design illustrates no particular subject4 ,the ,e used by ,siberch in #aeba1 in the ,libellus de ,conscribendis1 consists of decorative spirals1 white on a black ground1 and is very effective4 ,the ,o and ,s from the same alphabet are equally fine4 ,these letters bear some relation to those used by ,pynson at this time4 ,stipple work and ornament of a different kind are the main features of the fine ,h used on sig4 ,a #b of ,pynson's ,libello huic regio hc insunt1 printed in the same year4 ,still more striking is the ,v seen in the ,year ,books of ,edward ,,iii41 printed by ,robert ,redman in #aedj1 and which was probably part of ,pynson's material4 ,this may have come from ,italy4 ,vautrollier1 the ,huguenot printer in ,london1 had some beautiful initials1 amongst them the ,e here shown1 and which figures in many of his books4 ,a contrast to this is the outline letter ,c from the #aefb edition of ,foxe's ,book of ,martyrs4 ,decoration of an arabesque kind is seen in a fine set of initials used by ,christopher ,barker in the ,prayer ,book of #aehj1 mentioned above4 ,some of the small initials in the sixteenth century are equally as good as the large ones4 ,hundreds of them call for illustration1 but there is only room here to include one of two exquisite little examples that were amongst ,denham's stock1 and which he used in ,the ,footepath to ,felicitie in #aeha4 ,these are two ,t's1 both the same size but differing in design4 ,passing on into the seventeenth century we come at once upon the work of the ,eliots ,court ,press4 ,many of their large stock of decorative initials came to them through ,henry ,bynneman1 and can be traced back to the presses of ,henry ,denham1 ,reginald ,wolf1 and ,richard ,jugge4 ,but there was one alphabet that ,i have called the ,apostle series1 as each letter showed a figure round whose head was a nimbus1 some of which have the emblems of the apostles1 but other personages1 such as ,king ,david1 are now and again substituted4 ,these initials were enclosed in a frame each side of which shows a certain number of circles1 or they may be intended for studs4 ,this alphabet made its first appearance in books printed at the ,eliots ,court ,press in #afjc1 when it was used in the folio ,plutarch1 which bears ,arnold ,hatfield's imprint2 but both ,george ,robinson and ,henry ,middleton had previously used a similar alphabet4 ,in fact1 there is no doubt that here we see the copyist at work1 and it seems probable that the ,eliots ,court #8,apostle' alphabet was a direct copy from that used by ,henry ,middleton2 but there was one feature of the ,middleton letters that1 fortunately for the bibliographer of modern times1 the copyist did not consider it necessary to follow strictly1 and that was the number of circles that were to appear in each section of the frame4 ,so when copying the letter ,f1 instead of putting twelve circles at the top and thirteen at the bottom1 as shown in the ,middleton letter1 he only put nine at the top and ten at the bottom1 and it is only by noting this difference in the number of circles in the frame that one can tell the difference between the ,eliots ,court letters and those of ,robinson1 ,middleton1 and various other printers of the seventeenth century who used similar alphabets4 ,by the kindness of ,professor ,a4 ,w4 ,pollard ,i am enabled to show two of these ,apostle letters which appeared in my article2 also two other decorative letters that are found in books issuing from that press4 ,probably the ,i was designed to commemorate the accession of ,king ,james1 in honour of the king of that name1 as it embodies the rose and thistle crowned4 ,mr ,sayle1 in a footnote to his paper mentioned above1 calls attention to the heraldic initials found in ,thos4 ,fuller's ,church ,history1 #afee1 each section of which was dedicated to a nobleman1 whose arms are shown in the initial of the opening paragraph4 ,the work of the ,university presses at this time also provide some good initial letters4 ,m4 ,burghers of ,oxford designed some very fine ones for the ,clarendon's ,history of the ,rebellion1 and ,buck and ,daniel at ,cambridge used a somewhat ornate but very decorative alphabet1 examples of which are reproduced in ,bowes' ,catalogue of ,cambridge ,books4 ,in the ,lucretius of #agac1 already referred to in the section on head and tail pieces1 the initials carry on the unity of design and are in every way suitable4 ,though small in size they fit in with the type admirably and add to the charm of what was undoubtedly one of the best productions of the eighteenth century press1 as may be seen from the two examples here reproduced4 ,of another character altogether is the initial ,a taken from a tract written by the ,rev4 ,elisha ,smith in #agai1 and the ,t found in a sermon printed at ,edinburgh in #agdj4 ,factotums ,where a printer had but a small stock of decorative initial letters he frequently made use of an ornamental frame1 in the centre of which he placed an ordinary capital4 ,this practice seems to have arisen about the middle of the sixteenth century1 and it probably had its origin on the ,continent4 ,these borders for initials have come to be known as #8factotums1' because they were called to do duty on all occasions1 and they have been heartily condemned as destructive of all artistic feeling4 ,when1 as they often do1 they occur throughout a book1 they become monotonous4 ,on the other hand1 these factotums1 to give them their modern name1 are not without merit1 and in the case of large ones they could be made artistic or decorative4 ,they were made both in metal and wood1 and certain patterns were apparently turned out by the foundries in large numbers and supplied to all printers alike4 ,two of the commonest and perhaps the earliest forms were small frames measuring #bb #ba mm4 and were of classic design1 in one case the filials rising from two cornucopi apparently fastened together with bows and ends of rope 7874 ,in the other instance the cornucopi are more floral in treatment4 ,in one the filials consist of a female head at the end of an elongated and curved neck and are both alike1 but in the other the upper portions of a male and female are seen4 ,another feature of these two factotums is some kind of drapery and they were enclosed within single rules4 ,both of them are found in the hands of many printers in ,london and of those at ,oxford and ,cambridge at the same time4 ,equally familiar in books of the sixteenth and seventeenth centuries are two larger forms1 one of which shows a man and woman plucking thistles and tufts of thistles in the foreground4 ,needless to say this was of ,scottish origin1 and is first found in the books of ,waldegrave when he was printing in ,scotland4 ,it afterwards was used by the ,eliots ,court ,press and other printers in the sixteenth and seventeenth centuries4 ,the smaller of the two represents the story of ,salome4 ,a series of factotums found in ,grover's printing office in #afgi and used by him in the folio ,herodotus are evidently woodcuts and are not without merit4 ,a very similar factotum which may possibly have migrated from ,grover's foundry was in use by the ,clarendon ,press in #agei4aj ,they are evidently by the same hand that cut the tail-piece seen in the same volume4 ,the use of these borders continued throughout the eighteenth century1 and a good example is seen in a sermon printed in #agch1 which is partly geometrical and partly floral4 ,they were frequently made up of fleurons and very cleverly arranged4 ,we reproduce one taken from ,the ,lovers' ,manual1 #agec4 ,,modern ,,work ,chapter ,,viii ,modern ,work ,preceding chapters of this book have dealt with the various kinds of printers' ornaments met with in ,english books down to the end of the eighteenth century4 ,we have now reached our last port of call on this eventful voyage of discovery1 viz41 ,modern ,work1 which may be said to have taken its rise from the nineteenth century and the ,whittingham ,press4 ,although many fine books have been printed by ,william ,bulmer1 ,archibald ,hamilton1 and others at the close of the eighteenth century1 and by ,charles ,whittingham the elder during the early part of the nineteenth century1 their attraction lay chiefly in the clearness of the type with which they were printed and the beauty of the illustrations1 for they were wholly devoid of printers' ornaments of any kind1 so that when in #ahdd the ,diary of ,lady ,willoughby made its appearance1 it may be said to have swept away all the preconceived notions as to book decoration that had been in vogue before its advent4 ,charles ,whittingham the younger1 the printer of this book1 was the nephew and successor of ,charles ,whittingham1 the founder of the ,chiswick ,press in #ahji1 at which a library of pretty books had been printed before ,charles ,whittingham the younger was out of his apprenticeship4 ,for a time the two men were in partnership1 but their natures differed so widely that in #ahbh they dissolved partnership1 and while the elder ,whittingham continued to print at ,chiswick1 ,charles ,whittingham the younger came to ,london and started as a printer in ,tooks ,court1 ,chancery ,lane1 where the business is still carried on under the same title1 though no ,whittingham is now connected with it4 ,at the same time he was ready to help his uncle in emergencies and was frequently at ,chiswick4 ,but it was while he was at ,tooks ,court that ,charles ,whittingham the younger was introduced to ,william ,pickering1 the publisher4 ,they quickly became friends4 ,pickering1 to quote from ,mr ,warren's book1#aa was one of the very first publishers of his century to make the production of fine editions a particular branch of enterprise4 8,he was not only a bookseller1 but a book lover4 ,he had a taste for old books40 ,and again1 to quote from ,mr ,warren1 8,he had a notion that if an old author were a good one1 he deserved to be dressed well40 ,pickering was a well-read man1 of good judgment and rare taste4 ,charles ,whittingham the younger was a man of ideas4 ,liberally educated1 he turned his education to good account4 ,he also was a book lover as well as a printer1 and consequently there sprang up a life-long connection between the two that resulted in the production of some notable books4 ,whereas ,whittingham the elder had been noted for his printing of pictures1 ,whittingham the younger made it the peculiar 8grace of his craft to bedeck books with borders1 comely head-pieces1 and other alluring devices4 ,he carried this branch of his work to such an extent that you shall find nothing lovelier between book-covers until you turn back to the illuminated manuscripts of the ,middle ,ages40 ,for these ornaments for his books ,charles ,whittingham the younger went back to the printers of the eighteenth century--to ,geoffrey ,tory of ,paris1 to ,henry ,bynneman and ,henry ,denham of ,london4 ,he taught his family to appreciate their beauty and to perpetuate it1 and his daughters ,charlotte and ,elizabeth copied and designed head and tail pieces1 borders and initial letters1 while another lady1 ,mary ,byfield1 who came of a family of engravers1 engraved them4 ,it is said that ,pickering and ,whittingham would spend their ,sunday afternoons studying sixteenth century books1 and the ornaments to be found in them which they afterwards adapted for the decoration of their publications4 ,but the ,diary of ,lady ,willoughby was as remarkable for the type as its ornaments4 ,whittingham the younger wanted something better than the founts of type then in vogue1 and he found it in the old face type of the ,caslon foundry1 i4e4 the beautiful fount that had been cut by the elder ,caslon more than a hundred years before1 and which had aroused the admiration of that generation4 ,it was no easy task to find the matrices1 and this caused some delay in the publication of the book2 but when it appeared about the middle of #ahdd the ,diary of ,lady ,willoughby was hailed as one of the best specimens of typography seen in ,england since the days of ,baskerville and the elder ,caslon4 ,from that day to the present old face type has retained its popularity1 and has been adapted by many other modern firms4 ,both the type and ornaments designed by ,whittingham the younger are still largely used by the present proprietors of the ,chiswick ,press1 and may be seen in two notable books published during the year #aibc4 ,the first is the fine edition of the ,works of ,william ,blake1 printed for the ,grolier ,club of ,new ,york1 in itself a testimony of the high position gained in the printing world by this press1 while the collotype reproductions throughout the work are excellent4 ,the other book is the ,history of ,st ,bartholomew's ,hospital1 issued to commemorate the foundation of that institution4 ,the ,whittingham ornaments and old face type are especially suitable to the character of the work4 ,the influence exercised by the ,chiswick ,press was continued until there arose on the horizon of the book world one greater than either of the ,whittinghams--,william ,morris4 ,educated at ,marlborough ,school and ,exeter ,college1 ,oxford1 this gifted man became a weaver of wonderful tales in prose and verse1 a painter of pictures and frescoes1 a designer of art tapestries1 the founder of a decorating firm in which artists such as ,rossetti and ,burne-,jones were partners4 ,towards the close of his life he turned his attention to the art of printing1 and founded1 in the ,upper ,mall1 ,hammersmith1 the ,kelmscott ,press4 ,the first book that came from that press was ,the ,story of the ,glittering ,plain1 one of his own writings1 which appeared on ,april #d1 #ahia4 ,it was a small quarto printed with the ,golden ,type1 and the issue was limited to #bjj ordinary copies and six on vellum4 ,it was at once evident that ,mr ,morris had gone back to the fifteenth century for both his type and ornaments4 ,the first page of the text was surrounded by a border designed by ,mr ,morris himself and showing traces of the ,venetian school4 ,it was printed in a specially cast fount of ,roman letter1 modelled on that of ,nicholas ,jenson1 the printer in ,venice1 in the fifteenth century4 ,it was not quite rigidly ,roman1 some of the letters showing a trace of ,gothic4 ,on ,september #bd1 #ahia1 another quarto was issued1 ,poems by the ,way1 and during the next twelve months five more books from the ,kelmscott ,press made their appearance--,love-,lyrics and ,songs of ,proteus1 and other ,poems1 by ,wilfred ,blunt2 ,of the ,nature of ,gothic1 by ,john ,ruskin2 ,william ,morris's ,defence of ,guenevere1 and other poems1 followed by the same author's ,dream of ,john ,ball1 and in ,september ,caxton's edition of the ,golden ,legend1 in three large quarto volumes1 with woodcuts by ,burne-,jones4 ,this was intended to be the first issue of the ,press1 but was delayed by an accident4 ,the initial letters1 which in the earlier books appeared to be somewhat too large for the page1 were exactly right in this4 ,here1 too1 appeared for the first time the woodcut frontispiece title that afterwards became a feature of the ,kelmscott ,press4 ,sometimes these were printed in white letters on a ground of dark scroll-work1 sometimes in black letters on a lighter ground1 and they were surrounded by a border of the same design as that to the first page of the text1 it being ,william ,morris's principle that the unit1 both for arrangement of type and for decoration1 is always the double page4 ,the type used in this was the same as that seen in the first production of the ,press3 but from its use in this book it was afterwards distinguished as the ,golden type4 ,beautiful as the ,golden ,legend was as an example of the printer's craftsmanship1 it was immediately followed by another book that eclipsed it1 a reprint of ,caxton's ,recuyell of the ,histories of ,troy in two volumes in large quarto4 ,for this ,morris had designed a new fount of type1 a handsome ,gothic letter1 which recalled that of the fifteenth century printer1 ,anton ,koberger of ,nuremberg1 and was not unlike a fount of type used by ,thomas ,berthelet4 ,this type came to be known as the ,troy types2 but it was not alone the type that attracted attention4 ,the decoration of these two volumes was equally remarkable4 ,another book printed in the ,troy type was ,godefrey of ,bologne1 and by the courtesy of the ,trustees of the ,kelmscott ,press1 one of the borders designed by ,morris for this book is here reproduced4 ,the boldness of execution no less than the simplicity of the design and its uniformity with the text1 show the skill of the woodcutter4 ,another notable departure from stereotyped pattern was introduced by ,morris4 ,his fleuron became a perfect leaf--a black leaf with white ribs1 which took the place of the reversed ,p or ,d used for paragraph marks4 ,the type in which these books were printed was afterwards recut in a smaller size for the folio edition of the works of ,chaucer1 which issued from the ,kelmscott ,press in #ahie1 and with its magnificent illustrations by ,burne-,jones1 is its crowning glory4 ,william ,morris died in #ahif after he had printed fifty-three books4 ,short as his career as a printer was1 his influence spread in ever-widening circles and still remains with us4 ,in a few words1 which cannot be too often quoted1 he set out his ideal of what a printer should do and what a printed book should be3 8,the whole duty of ,typography is to communicate to the imagination1 without loss by the way1 the thought or image intended to be conveyed by the author4 ,and the whole duty of beautiful typography is not to substitute for the beauty or interest of the thing thought and intended to be conveyed by the symbol a beauty or interest of its own1 but on the one hand to win access for that communication by the clearness and beauty of the vehicle1 and on the other hand to take advantage of every pause or stage in that communication to interpose some characteristic and restful beauty in its own art40 ,in this spirit ,william ,morris's immediate disciples--,mr ,emery ,walker1 ,mr ,cobden ,sanderson1 and ,mr ,st ,john ,hornby--founded the ,doves ,press and the ,ashendene ,press4 ,the ,doves ,press was founded in #aijj and closed its doors in #aiaf4 ,in that time was produced a ,bible in five quarto volumes1 as well as plays of ,shakespeare1 poems of ,milton1 ,shelley1 ,wordsworth1 ,keats1 and others1 and prose works by ,john ,ruskin and ,emerson4 ,mr ,st ,john ,hornby attained success at his ,ashendene ,press with a fount of ,greek adapted from the fount used by the first printers in ,italy1 but the books produced at these two presses contribute nothing to the history of ,english ,printers' ,ornaments4 ,apart1 however1 from the work of the private enthusiasts1 the trade as a whole was purified and immensely improved by their example4 ,in the early part of the present year the ,directors of the ,medici ,society arranged an exhibition of ,twentieth ,century ,books at the ,grafton ,galleries in ,london4 ,more than half the exhibits were from ,english presses1 and the general impression conveyed by that exhibition was1 that a great improvement in craftsmanship had taken place all round in the last five and twenty years4 ,what our printers and type-founders can do at the present day in the way of book decoration will be seen by a study of the following pages1 in which1 by the kindness of the various firms1 we are able to bring together a representative collection of modern ,printers' ,ornaments4 ,the modern ,caslon foundry still carried on by ,h4 ,w4 ,caslon ,co4 in ,chiswell ,street1 to which ,william ,caslon the first transferred his business in #agcd1 is still one of the leading foundries in this country4 ,after his death his son ,william the second reigned in his stead and carried on the traditions of the foundry1 and was in due course succeeded by his son ,william the third1 who in #agib gave up his interest in the business to his mother and his brother ,henry's widow4 ,on the death of ,mrs ,william ,caslon her will was disputed1 and as a result the business was put up to auction and secured by ,mrs ,henry ,caslon for the modest sum of #ebj4 ,seven years before a one-third share in the business was worth #cjjj4 ,the cause of this drop was1 says ,mr ,j4 ,f4 ,mc,rae1 in his ,two ,centuries of ,type-founding3 7#a7 ,depreciation in the value of the stock2 7#b7 competition2 7#c7 a reluctance to run up the price against a widow4 ,undoubtedly the main cause was a change in public taste4 ,even beauty palls after a time1 and the public had taken up with ,bodoni and other much inferior faces1 and this neglect lasted for nearly a century4 ,in #ahdd ,messrs ,charles ,whittingham the younger and ,thomas ,longman brought about a revival of interest in the ,caslon ,old ,face type by their publication of ,the ,diary of the ,lady ,willoughby4 ,to quote again from ,mr ,warren's book3 8,matrices that had been reposing in the vaults of the ,caslon foundry for nearly three generations were refitted to moulds1 and made to serve for the casting of type0 7p4 #bch74 ,but the firm was not yet through its difficulties4 ,in #ahfe a strike of some of the workmen1 on a question of wages1 was followed by a lock-out that lasted for eight months and brought its fortunes to their lowest ebb4 ,then in #ahgb ,mr ,thomas ,w4 ,smith1 who had for some years acted as traveller to the foundry1 was asked to take over the management4 ,his position was a difficult one4 ,old fashions die hard1 and the foreman and many of the workmen had been with the firm all their lives and resented change4 ,but ,mr ,smith persevered1 his object being1 as he himself declared1 to work up arrears of production and to rescue the ,specimen ,book from the miserable and degraded state to which it had fallen4 ,his success was complete1 and the firm to-day stands as high as ever it did1 thanks mainly1 no doubt1 to the great popularity of the ,caslon ,old ,face4 ,in the matter of ornaments it is only necessary to compare the ,specimen ,book of #ahdb with that of #aiaj to show how great had been the improvement in the interval1 an improvement that the examples have shown of the firm's work at the present day fully bear out4 ,between the years #ahhc and #aijj the ,english ,illustrated ,magazine made a feature of its ornaments4 ,these included reproductions of famous head and tail pieces and initials by various foreign masters of the sixteenth century belonging to the ,french1 ,german1 and ,dutch schools1 the work of ,aldus1 ,theodoric de ,bry1 and ,holbein2 nor were native artists neglected4 ,between #ahhc and #ahhg we find some excellent head-pieces by ,a4 ,p4 ,hughes4 ,in ,july #ahhi appeared a tail-piece from the pencil of ,sir ,e4 ,burne-,jones1 followed by a good decorative head-piece by ,matilda ,stokes4 ,in #ahic-id the work of ,lawrence ,housman begins to appear4 ,the initials used in ,bibliographica and in the various monographs1 etc41 of the ,bibliographical ,society down to the present time were designed by him1 and are worthy to rank with the best art work of the early ,italian school4 ,walter ,crane and ,emery ,walker were other well-known contributors to the ,english ,illustrated ,magazine1 and by the kindness of ,messrs ,r4 ,r4 ,clark one of ,mr ,crane's decorative blocks is here reproduced4 ,akin to the ,caslon ,foundry1 and also linked up with that of ,john ,baskerville of ,birmingham1 is the firm of ,stephenson1 ,blake ,co41 of ,sheffield1 ,manchester1 and ,london1 which had its origin in the firm of ,blake1 ,garnett ,co41 founded in #ahai4 ,it was from the office of ,stephenson1 ,blake ,co4 that ,mr ,t4 ,w4 ,smith passed to the ,caslon ,foundry1 and it was on his suggestion that a branch of the firm was established in ,london4 ,the firm has to-day a large assortment of flowers1 borders1 and ornaments1 both well designed and well cast4 ,many of the old forms are retained and some variations of the fleuron introduced4 ,messrs ,shanks1 of ,red ,lion ,square1 have sent some head and tail pieces shown in their most recent specimen4 ,these1 both in design and treatment1 recall ,french work of the sixteenth century1 while the ,cubist idea that marks their ,athenian border brings us back to the twentieth century4 ,the productions of the ,curwen ,press are well known to all bookmen4 ,much of its art work came from the pencil of the late ,claude ,lovat ,fraser1 who also designed many of the ornaments and tail-pieces4 ,his successor1 ,mr ,p4 ,j4 ,smith1 was the designer of the conventional fleurons1 here reproduced4 ,the ,morland ,press in ,ebury ,street is another of the modern presses whose craftsmanship is highly esteemed1 and much of its art work is by the well-known artist ,f4 ,brangwyn4 ,the specimen sheet of the ,pelican ,press1 which was established in #aiag1 is an ambitious one4 ,it reproduces for the consideration and choice of its customers borders designed after those of ,ratdolt of ,venice1 ,geoffrey ,tory of ,paris1 and some of the printers of ,lyons4 ,in ornaments it produces a large selection modelled on the old forms of the sixteenth and seventeenth centuries1 one of which resembles very closely an ornament used on the title-page of ,john ,bodenham's ,garden of the ,muses1 printed in #afaj1 and in addition to all kinds of fleurons1 they reproduce the fleur-de-lys1 the acorn1 and various stars4 ,they also show a fine collection of initials1 ,french and ,italian1 that they claim are modelled on the best work of the fifteenth and sixteenth centuries4 ,no account of ,modern ,printers' ,ornaments would be complete without a record of the work done by the ,university ,presses4 ,marching with the times the ,oxford ,university ,press1 still familiarly known as the ,clarendon ,press1 has long since relegated the once famous ,fell and ,junius types to the vaults as curiosities1 and has availed itself of the best founts that a modern foundry can produce4 ,in #agff the ,university had an account with ,william ,caslon1 from whom it bought both ,english and ,foreign sorts1 and at the present day no firm in ,england can show better craftsmanship4 ,whether in its many editions of the ,bible and ,prayer ,book1 its classical books1 or the great dictionaries1 its work in all departments--composition1 excellence of spacing and presswork1 and in clearness of type--is beyond all praise4 ,book-lovers were at one time known to complain of it as uninteresting1 but under ,mr ,horace ,hart the work of the ,press became distinctly richer and more individual4 ,as regards ornaments the ,clarendon ,press still retains in use those that have served it so well4 ,the ,phnix is one of the original ,fell ornaments1 as are also the following units1 which are seen in a little book printed in #aibb1 called ,some ,account of the ,oxford ,university ,press4 ,amongst these is the triple flower1 which had its origin in ,augsburg in the sixteenth century4 ,in this book also some of ,m4 ,burghers' head-pieces are seen in a reduced form4 ,in #aibc ,cambridge celebrated its fourth centenary of printing4 ,its development has been slower1 perhaps1 than that of the sister ,university4 ,it has been hampered largely by its constitution1 but in the early nineteenth century many improvements were carried out1 including the erection of the ,pitt ,press in #ahcc1 and to-day its work is in every way worthy of its great traditions4 ,in the foregoing pages we have watched the growth of endeavour on the part of the printers of ,england to reach the highest standard in the art of book-decoration4 ,we have seen the small printers' ornaments grow1 not only in variety of design1 but also in regularity of face and clearness in reproduction4 ,the ugly ornament1 like the old-fashioned1 fat-faced type1 has given place to artistic and tasteful designs1 coupled with growing knowledge on the part of the printers of the present day as to how they should be used1 and it is a notable thing how one printer is vying with another1 not only in reproducing #8old face' type1 but in seeking their ornaments in the best productions of the fifteenth and sixteenth century presses4 99 99 99 99 99 ,boswell was once arguing with ,dr ,johnson on ,goldsmith's merit as an author1 and in the course of the argument ,johnson said3 8,besides1 ,sir1 it is the great excellence of a writer to put into his book as much as his book will hold44440 ,if ,english ,printers' ,ornaments is not as full as it might be1 we hope the reader will find enough in it to please his eye and feed his mind4 ,,descriptive ,,catalogue ,,of ,,the ,,illustrations ,,borders #a4 ,machlinia4 ,border used by ,r4 ,pynson4 ,william de #adhc ,machlinia printed a ,book of ,hours with borders which later passed into ,pynson's hands4 ,the design consists of spirals of flowers and foliage4 #b4 ,caxton4 ,fifteen ,oes4 ,a decorative border of which #adid the main features were spirals of flowers and foliage varied by the introduction of birds and grotesque animals4 #c4 ,pynson4 ,morton ,missal4 ,one of the fine borders #aejj of the ,morton ,missal1 consisting of four pieces introducing spirals of flowers and fruit4 ,the bottom panel contains ,cardinal ,morton's rebus4 ,the reproduction1 which is slightly reduced1 also shows one of the beautiful initials designed for this ,missal4 7,see ,frontispiece47 #d4 ,notary4 ,chronicle of ,england4 ,border made up of #aejd flowers1 animals1 and various other designs1 all separate4 #e4 ,pynson4 ,petrus ,carmelianus1 which is built up with #aejh a series of small ornaments resembling narrow strips of ribbon introducing fleurons4 #f4 ,pynson4 ,sebastian ,brant's ,shyp of ,folys4 ,these #aeji border pieces were used by ,pynson on either side of his illustrations4 ,the one reproduced is formed by a series of half fleur-de-lys alternating with another pattern and divided by double white lines4 #g4 ,de ,worde4 ,design from ,nicodemus ,gospel made ,n4,d4 up of all kinds of odd ornaments4 7c4 #aeae7 #h4 ,pynson4 ,built-up border from ,year ,books of #aeah ,edward ,,iii4 ,this design included spirals of fruit and leaves1 human figures1 a dragon and a monkey4 #i4 ,pynson4 ,sallust4 ,an effective border appears on #aebj each side of the illustration4 ,note also the initial ,r4 ,this illustration is here reproduced by the courtesy of ,messrs ,maggs ,bros4 #aj4 ,siberch4 ,the first border printed at ,cambridge is #aeba a one-piece border of architectural design1 introducing an arch supported by columns1 and1 below1 two children acting as supporters to the ,royal ,arms4 ,the border is here reproduced by the courtesy of ,messrs ,bowes ,bowes of ,cambridge4 #aa4 ,faques4 ,skelton's ,goodly ,garland4 ,a border made #aebc up of small ornaments representing the heraldic tincture 8ermine40 #ab4 ,faques4 ,skelton's ,goodly ,garland4 ,on three sides #aebc of the illustration are printers' ornaments made up of variations of the fleuron4 #ac4 ,treveris4 ,border from the ,greate ,herball1 two pieces #aebf of which formerly belonged to ,wynkyn de ,worde4 #ad4 ,siberch4 ,border design from some foreign ,missal #aeba or ,book of ,hours4 ,reproduced by the courtesy of ,messrs ,bowes ,bowes of ,cambridge4 #ae4 ,myddylton4 ,lyttleton's ,tenures4 ,a one-piece #aede border of elaborate design introducing scroll-work and cupids4 #af4 ,siberch4 ,border design from some foreign missal #aeba or ,book of ,hours4 ,reproduced by the courtesy of ,messrs ,bowes ,bowes of ,cambridge4 #ag4 ,berthelet4 ,gower's ,de ,confessione ,amantis4 ,a #aeed window-frame border slightly reduced in size4 #ah4 ,bynneman4 ,john ,grange's ,golden ,aphroditus4 #aegg ,curious fleuron border4 #ai4 ,bynneman4 ,palace of ,pleasure1 vol4 ii4 ,a typical #aefg fleuron border4 #bj4 ,denham4 ,palace of ,pleasure4 ,a very delicate flower #aeff design enclosed in rules4 #ba4 ,bynneman4 ,a ,sermon preached before the ,queene's #aegc ,maiestie4 ,fleuron border4 #ab4 ,denham4 ,the ,monomachie of ,motives4 ,four-piece #aehb chain border1 a square alternating with an oval and linked together by a ring1 the top and bottom pieces being finished with a star4 #bc4 ,short4 ,footepath to ,felicitie is in a new style showing #afjb the transition stage between the sixteenth and seventeenth centuries4 #bd4 ,the ,lanterne of ,lyghte is a one-piece window-frame c4 #afjj border composed of rules with a small running design4 #be4 ,jackson4 ,greene's ,arbasto3 ,the ,anatomie of ,fortune4 #aehd ,a made-up design of ornaments confined in a lattice-work of white lines4 #bf4 ,bishop4 ,border made up from a head-piece used #aehe by ,g4 ,bishop4 ,this is one of the most usual forms of the fleuron4 7,see ,title-page47 #bg4 ,waldegrave4 ,the ,basilikon ,doron made up of two #aeii illustrative side pieces linked top and bottom by four small printers' ornaments of different designs4 #bh4 ,beale4 ,william ,martyn's ,youth's ,instructor1 second #afac edition4 ,a curious medley combining the fleuron and the decorative block4 ,the effect is not good1 and1 perhaps fortunately1 it is unusual4 #bi4 ,barker4 ,a section of a bold fleuron border reproduced #afcj from the ,incomparable ,treasure of ,holy ,scripture1 which was printed in large folio4 #cj4 ,printer unidentified4 ,an effective small border of #affd separate ornaments of common design used in ,hilton's ,discovery4 #ca4 ,same1 reversed4 #cb-cc4 ,printed for ,dodsley4 ,two curious border pieces #agea on the title-page to ,gray's ,elegy4 ,the design is the same1 in each case the implements of ,time and ,death--the scythe1 the hour-glass1 the crown1 skull and cross-bones4 #cd4 ,wilson of ,kilmarnock4 ,border used on the #aghf #aghi edition of ,poems by ,robert ,burns4 ,the reproduction is taken from the volume of poems by ,david ,sillar4 #ce4 ,printer not identified4 ,a grass and flower design #ahdj border used on ,w4 ,baxter's ,british ,phnogamous ,botany1 vol4 v41 published by the author4 ,in all probability the design was specially drawn for the book in order to harmonize with the subject4 #cf4 ,printer not identified4 ,late eighteenth century c4 #agie border of rose design which may be regarded as essentially ,english4 ,the reproduction is made from ,the ,artist's ,repository4 ,so well has this border stood the test that it may be found to-day amongst the designs of ,messrs ,stephenson1 ,blake ,co41 ,ltd41 one of our premier type-founders4 ,,head-,,pieces #cg4 ,kingston ,sutton4 ,missale ad usum ,sarisburiensis4 #aeee ,flowers and figures4 #ch4 ,oswen4 ,exhortation to the ,sicke4 ,triangular design #aedh with fox in centre4 #ci4 ,printer unidentified4 ,the ,treasury of ,health4 #aehe ,flowers and foliage4 #dj4 ,denham4 ,school of ,skill4 ,conventional design3 #aeha flowers4 #da4 ,denham4 ,footepath of ,felicitie4 ,conventional #aeha flowers4 #db4 ,denham4 ,guide to ,godlinesse4 ,conventional design1 #aeha showing rose4 #dc4 ,head-piece from ,philip ,sidney4 ,twisted ribbon #aehj-ij design4 #dd4 ,denham4 ,head-piece from ,holinshed's ,chronicles1 #aegi vol4 i4 ,bear holding sprays4 ,men and dogs4 ,conventional foliage4 #de4 ,holinshed's ,chronicles of ,ireland4 ,conventional #aegi sprays3 satyrs1 animals1 insects1 etc4 #df4 ,field4 ,history of ,guicciardini4 ,conventional design3 #aeii sprays and flowers1 two winged figures playing on flutes4 #dg4 ,waldegrave4 ,basilikon ,doron4 ,arabesque design4 #aeii #dh4 ,bynneman4 ,morelius4 ,conventional design1 with #aehc two archers4 #di4 ,vautrollier4 ,de ,rep4 ,anglorum4 ,head with cornucopia #aegi of fruit4 #ej4 ,vautrollier4 ,de ,rep4 ,anglorum4 ,composite design3 #aegi spirals resembling letter ,a4 ,boys with bowl of fruit and flowers1 animals and grotesques4 #ea4 ,the ,journall or ,daily ,register4 ,similar design to #afja foregoing1 but smaller4 #eb4 ,eliots ,court ,press4 ,copy of a ,letter4 ,composite #afjf design3 spirals of foliage1 grotesque fish1 winged snakes1 winged figures with javelins4 #ec4 ,eliots ,court ,press4 ,spirals of foliage4 ,national #afjf emblems3 lion and unicorn4 #ed4 ,eliots ,court ,press4 ,national emblems1 crowned and #afjf separate4 #ee4 ,eliots ,court ,press4 ,fleur-de-lys with figures and #afjf scrolls4 #ef4 ,eliots ,court ,press4 ,cherubs blowing horns1 from #afjf which issue spirals of fruit and flowers4 ,copy of ,french block4 #eg4 ,macham4 ,homer1 ,prince of ,poets4 ,composite design3 #afaj two cornucopi4 ,national emblems3 lion and unicorn4 #eh4 ,printer not known4 ,a ,pilgrime's ,solace4 ,zig-zag #afab ribbon1 with national emblems4 #ei4 ,haviland4 ,fruit and flowers issuing from a jar4 #afcd #fj4 ,macham4 ,homer1 ,prince of ,poets4 ,architectural1 #afaj with royal arms4 #fa4 ,macham4 ,homer1 ,prince of ,poets4 ,composite design3 #afaj spirals of fruit and flowers with insects4 #fb4 ,macham4 ,homer1 ,prince of ,poets4 ,composite #afaj design3 four horsemen4 #fc4 ,barker4 ,architectural1 with royal arms4 c4 #afbj #fd4 ,printer unknown4 ,book of ,prayers4 ,urns with #affb flower ornaments4 #fe4 ,printer unknown4 ,double row of national emblems c4 #afhj and fleur-de-lys4 #ff4 ,for ,busbie4 ,o per se ,o4 ,fleurons arranged as #afab headpiece4 #fg4 ,printer unknown4 ,double row of acorns4 #afbj #fh4 ,printer unknown4 ,double row of fleurons4 #afcj #fi4 ,oxford ,university ,press4 ,head-piece by ,burghers of #agjb ,oxford1 designed for ,clarendon's ,history of the ,rebellion4 #gj4 ,do4 do4 do4 #agjb #ga4 ,bowyer4 ,atkyn's ,ancient and ,present ,state of #agab ,gloucestershire4 ,head-piece signed ,j4 ,l4 ,basket of fruit1 spirals of flowers and foliage4 #gb4 ,printer unknown4 ,the ,compleat ,history of ,cornwall1 #agej ,part ,,ii41 printed at ,truro4 ,spirals of flowers and foliage1 two eagles4 #gc4 ,crownfield1 ,cambridge4 ,fruit and flowers in basket1 c4 #agcj four birds and conventional ornament4 #gd4 ,knapton4 ,works of ,farquhar4 ,head-piece signed #agbh ,f4 ,h4 and ,m4 ,h4 #ge4 ,printed for ,dodsley4 ,irene1 ,a ,tragedy4 ,spirals of #agdi foliage1 squirrel in centre4 #gf4 ,silver of ,sandwich4 ,lovers' ,manual4 ,fleurons #agec arranged in geometrical form4 #gg4 ,printer unknown4 ,ode of ,horace4 #agai ,,tail-,,pieces #gh4 ,middleton4 ,statutes ,,ii4 ,henry ,,vi4 ,long narrow c4 #aedj architectural block1 formerly ,de ,worde's4 #gi4 ,kingston ,sutton4 ,missale ad usum ,sarisburiensis4 #aeee ,design3 human figure1 sprays of flowers1 animal and bird4 ,cribl4 ,probably ,french4 #hj4 ,redman4 ,year ,book ,,ii4 ,henry ,,vi4 ,seven lozenge c4 #aedj ornaments4 #ha4 ,oswen1 ,ipswich4 ,exhortation to the ,sicke4 ,two #aedi figures with stars4 #hb4 ,berthelet4 ,castle of ,health4 ,ornament on dark #aeci background from ,french sources4 #hc4 ,printer unknown4 ,treasury of ,health4 ,flower and #aehe bird4 #hd4 ,redman4 ,year ,book ,,ii4 ,henry ,,vi4 ,half fleur-de-lys c4 #aedj and half feathers divided by zigzag white lines4 #he4 ,denham4 ,holinshed1 vol4 iii41 ,chronicles of ,ireland4 #aegi ,boy beating two drums4 #hf4 ,jugge4 ,book of ,common ,prayer4 ,elaborate fleuron #aegc border in four sections1 showing three designs4 #hg4 ,griffith4 ,caveat or ,warneing4 ,arabesque design4 #aefg #hh4 ,griffith4 ,caveat or ,warneing4 ,virgin and child in #aefg circle surrounded by floral borders4 #hi4 ,wolfe4 ,sophocles1 ,antigone4 ,a fleuron tail-piece4 #aeha #ij4 ,vautrollier4 ,de ,rep4 ,anglorum4 ,arabesque design4 #aegi ,single block4 #ia4 ,e4 ,allde4 ,bodenham's ,garden of the ,muses4 ,arabesque #afaj design with architectural detail4 #ib4 ,w4 ,w4 for ,cuthbert ,burby4 ,love's ,labours ,lost4 #aeih ,arabesque design4 ,single block4 #ic4 ,e4 ,allde4 ,basilikon ,doron4 ,fleuron ornament4 #afjc #id4 ,john ,day4 ,ascham1 ,scholemaster4 ,circular arabesque #aegi design4 ,single block4 #ie4 ,islip4 ,wit's ,miserie4 ,square arabesque design4 #aeif ,single block4 #if4 ,an arabesque tail-piece from ,shakespeare's c4 #afae ,pericles4 #ig4 ,vautrollier4 ,ciceronis ,epistol4 ,gorgon's head4 #aegi #ih4 ,printer uncertain4 ,cambridge4 ,tail-piece of seven c4 #agjj rows of fleurons arranged as reversed triangle4 ,reproduced by courtesy of ,messrs ,bowes ,bowes4 #ii4 ,wolfe4 ,sophocles1 ,antigone4 ,a fleuron tail-piece #aeha showing a different design from ,no4 #hi4 #ajj4 ,printed for ,b4 ,lintott4 ,odes of ,horace4 ,tail-piece #agai to ,book ,,iv4 ,ornate design3 cherubs holding birds1 sprays of foliage4 #aja4 ,printed for ,knapton4 ,works of ,farquhar4 ,tail-piece #agbh of florid design1 showing bird in centre flanked by baskets of flowers4 #ajb4 ,tonson ,watts4 ,lucretius1 ,de rerum natura4 ,a #agac specially designed tail-piece to ,book ,,iv4 #ajc4 ,tonson ,watts4 ,lucretius1 ,de rerum natura4 ,a #agac specially designed tail-piece to ,dedication4 #ajd4 ,crownfield1 ,cambridge4 ,bird with outstretched c4 #agcj wings4 ,reproduced by courtesy of ,messrs ,bowes ,bowes of ,cambridge4 #aje4 ,clarendon ,press1 ,oxford4 ,clarendon's ,history of #agjb the ,rebellion4 ,tail-piece designed and engraved by ,m4 ,burghers4 #ajf4 ,clarendon ,press1 ,oxford4 ,clarendon's ,history of #agjb the ,rebellion4 ,tail-piece designed and engraved by ,m4 ,burghers4 #ajg4 ,welsh ,bible4 ,architectural design with crowned #afbj rose and cherubs in centre4 #ajh4 ,odes of ,horace4 ,fountain and mermaids4 ,sprays #agdc of foliage4 #aji4 ,crownfield1 ,cambridge4 ,tail-piece4 ,two cornucopi c4 #agcj with fruit and flowers4 ,tied together with ribbon and with bunch of flowers suspended from them4 ,reproduced by courtesy of ,messrs ,bowes ,bowes of ,cambridge4 #aaj4 ,printer unknown4 ,truro4 ,history of ,cornwall4 #agej ,figure of ,mercury in frame with conventional sprays of foliage and arch4 ,flanked with long-tailed birds holding flowers in their beaks4 ,,ornaments #aaa4 ,pynson ,de ,worde4 ,chain ornament4 #aejj-cj #aab4 ,pynson ,de ,worde4 ,three designs used to fill up #aejj-cj spaces in the text4 #aac4 ,printer unknown4 ,song of ,solomon4 ,three acorns4 #afbj #aad4 ,printer unknown4 ,a ,declaration of ,favourable #aehc ,dealing of ,her ,majestie's ,commission4 ,arabesque design4 #aae4 ,printer unknown4 ,history of ,london4 ,n4,d4 #aaf4 ,field4 ,e4 ,nicholas1 ,apologia4 ,fifteen fleuron units #afdi and acorn arranged as reversed triangles4 #aag4 ,grafton4 ,actes of ,edward ,,vi4 ,early form of #aefj-gj fleuron arranged on either side of word 8,finis40 #aah4 ,allde 7,eliz474 ,greene's ,euphues1 ,his ,censure to #afcd ,philautus4 ,female head4 ,sprays of foliage4 ,woman's head in centre4 #aai4 ,printed for ,r4 ,dodsley4 ,irene3 ,a ,tragedy1 by #agdi ,saml4 ,johnson4 ,basket of flowers4 ,sprays of foliage4 ,two birds4 ,could be used as tail-piece if desired4 #abj4 ,for ,stepneth ,redmer4 ,atheist's ,tragedie1 by ,cyril #afaa ,tourneur4 ,small ornament4 ,conventional sprays1 with head in centre4 #aba4 ,lownes4 ,description of ,new ,england4 ,small ornament4 #afaf ,lion's head in centre4 ,festoons of flowers4 ,mark at either end4 #abb4 ,buck1 ,cambridge4 ,locust4 ,small ornament4 #afbg ,conventional sprays and flowers4 #abc4 ,stafford1 for ,john ,wright4 ,king ,leir4 ,small #afje ornament4 ,conventional sprays and flowers4 ,differing from preceding4 #abd4 ,cotes1 for ,bellamie4 ,wm4 ,wood's ,new ,england's #afcd ,prospect4 ,small ornament4 ,crowned rose4 ,conventional sprays4 #abe4 ,jones4 ,gerald ,malynes' ,center of ,circle of ,commerce4 #afbc ,small ornament4 ,fleur-de-lys centre4 ,conventional sprays4 #abf4 ,e4 ,a41 i4e4 ,edward ,allde1 for ,john ,tap4 ,bodenham's #afaj ,garden of the ,muses4 ,very beautiful arabesque ornament4 ,reproduced by kind permission of ,messrs ,maggs ,bros4 #abg4 ,adlard ,browne4 ,a flower ornament of unusual c4 #aggj design1 reproduced from ,luckombe's ,history of ,printing4 #abh4 ,do4 do4 do4 #abi-acd4 ,caslon4 ,six of the border designs used on the #agcd first specimen sheet issued by this famous type-foundry4 ,they were more delicate and graceful than those used in ,england by his predecessors and are still in vogue4 ,compare the modern specimens manufactured by the same firm4 #ace-adh4 ,baskerville4 ,fourteen single line ornaments c4 #agej and flowers designed by ,john ,baskerville4 ,reproduced from ,john ,baskerville by ,r4 ,straus and ,k4 ,dent1 by kind permission of ,mr ,r4 ,straus and the courtesy of the ,cambridge ,university ,press4 ,,initials #adi4 ,t ,de ,worde4 ,the ,golden ,legend4 ,large ornamental #adic letter of ecclesiastical design with decorative sprays4 #aej4 ,p ,whitchurch4 ,great ,bible4 ,black with white #aedj strap ornament4 ,bird in centre4 ,with printer's initials4 #aea4 ,s ,redman4 ,statuta4 ,in imitation of script4 ,probably #aedj of ,french origin4 #aeb4 ,f ,middleton4 ,year ,book of ,henry ,,vi4 #aedj #aec4 ,h ,de ,worde4 ,reproduced by kind permission #aeai from ,mr ,sayle's article1 ,nov4 #aijb 7,bibliographical ,society74 #aed4 ,q ,faques4 ,manuale ,sarum4 ,reproduced by kind #aecj permission from ,mr ,sayle's article1 ,nov4 #aijb 7,bibliographical ,society74 #aee4 ,a ,notary4 ,chronicles of ,england4 ,obtained #aejd from ,bocard of ,paris4 #aef4 ,h ,pynson4 ,libello huic regio hc insunt4 ,white #aeba on black ground1 cribl4 #aeg4 ,p ,notary4 ,golden ,legend4 ,obtained from ,bocard #aejc of ,paris4 ,reproduced by kind permission from ,mr ,sayle's article1 ,nov4 #aijb 7,bibliographical ,society74 #aeh4 ,t ,h4 ,middleton4 ,apostle series4 #aehd #aei4 ,f ,barker4 ,prayer ,book4 ,arabesque design with #aehj ,walsingham ,crest4 #afj4 ,t ,barker4 ,prayer ,book4 ,arabesque design with #aehj printer's initials4 #afa4 ,f ,eliots ,court ,press4 ,plutarch4 ,apostle series4 #afjc ,seated figure4 #afb4 ,v ,redman4 ,year ,books1 ,edward ,,iii4 ,white on #aedj dead black ground4 #afc4 ,h ,eliots ,court ,press4 ,plutarch4 ,apostle series4 #afjc ,figure with nimbus4 ,staff in left hand2 book in right4 #afd4 ,s ,berthelet4 ,bibl4 ,eliot4 ,classical4 ,two #aeei figures and satyr4 #afe4 ,h ,printer unknown4 ,philip ,sydney4 ,factotum4 c4 #aeif ,arabesque design4 #aff4 ,w ,waldegrave4 ,factotum from ,basilikon ,doron4 #aeii ,two figures plucking thistles4 #afg4 ,s ,morley ,canzonets4 ,pictorial4 ,previously in #afjj the hands of ,john ,day4 #afh4 ,t ,eliots ,court ,press4 ,especially used by ,bradwood4 #afjc-bg ,decorative sprays4 #afi4 ,t ,denham4 ,footepathe to ,felicitie4 ,conventional #aegg sprays4 #agj4 ,i ,eliots ,court ,press4 ,especially used by ,bradwood4 #afjc-bg ,rose and thistle crowned4 #aga4 ,e ,vautrollier4 ,ciceronis ,epistol4 ,outline letter4 #aegi ,conventional sprays4 #agb4 ,d ,barker4 ,prayer ,book4 ,arabesque design4 #aehj #agc4 ,d ,newberrie4 ,bullinger's ,sermons4 ,outline letter4 #aegg ,pictorial4 ,probably scene from ,bible4 #agd4 ,s ,siberch4 ,erasmus4 ,de conscribendis epistolis4 #aeba ,reproduced by kind permission of ,messrs ,bowes ,bowes of ,cambridge4 #age4 ,c ,day4 ,fox1 ,book of ,martyrs4 ,outline letter4 #aefb ,conventional sprays4 ,bird with outstretched wings4 ,two grotesque figures4 #agf4 ,a ,siberch4 ,erasmus4 ,de conscribendis epistolis4 #aeba ,reproduced by kind permission of ,messrs ,bowes ,bowes of ,cambridge4 ,white on black4 ,ecclesiastical with decorative sprays4 ,,modern ,,work #agg-ahg4 ,h4 ,w4 ,caslon ,co41 ,ltd4 ,old ,english #ahth borders4 century #ahh4 ,the ,morland ,press1 ,ltd4 ,border design by ,claud #ahij-aiba ,lovat ,fraser4 ,reproduced from the title-page re-arranged by ,haldane ,macfall for ,the ,lovat ,book4 #ahi4 ,the ,morland ,press1 ,ltd4 ,tail-piece by ,frank c4 #aibj ,brangwyn1 ,r4,a41 representing an initial ,f rising from tulip design4 #aij4 ,the ,morland ,press1 ,ltd4 ,head-piece basket of c4 #aibj flowers from design by ,frank ,brangwyn1 ,r4,a4 #aia4 ,the ,morland ,press1 ,ltd4 ,initials ,m4 ,p4 ,design c4 #aibj by ,ludovic ,rodo4 #aib-aig4 ,chiswick ,press4 ,six head-pieces4 ,conventional #ahcj-aibc designs4 #aih-bjj4 ,chiswick ,press4 ,three head-pieces1 floral4 #ahcj-aibc #bja-bjb4 ,chiswick ,press4 ,two tail-pieces4 #ahcj-aibc #bjc-bad4 ,chiswick ,press4 ,twelve initials4 ,various #ahcj-aibc designs4 #bae4 ,university ,press1 ,oxford4 ,phnix ornament #agth reproduced from ,hart's ,century of century ,typography4 #baf4 ,university ,press1 ,oxford4 ,b4 ,blooming initial #agth reproduced from ,hart's ,century of ,typography4 century #bag4 ,university ,press1 ,oxford4 ,i4 ,initial reproduced #agth from ,hart's ,century of ,typography4 century #bah4 ,university ,press1 ,oxford4 ,head-piece reproduced #agth from ,hart's ,century of ,typography4 century #bai4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,border design4 #aibj #bbj4 ,do4 do4 do4 #aibj #bba4 ,university ,press1 ,oxford4 ,circular ornament1 floral #ahth design4 century #bbb4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,border design1 same #ahth as #bbj4 century #bbc4 ,university ,press1 ,oxford4 ,fleuron tail-piece4 #ahth century #bbd4 ,university ,press1 ,oxford4 ,fleuron tail-piece of a #ahth different design4 century #bbe4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,bold foliage design for #aibj border4 #bbf4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,b4 ,white initial on #aibj black background4 #bbg4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,t4 ,white initial with #aibj foliage on black background4 #bbh4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,bold foliage design for #aibj border same as #bbe4 #bbi4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,head-piece1 spirals of #aibj foliage4 ,white on black ground4 #bcj4 ,r4 ,r4 ,clark1 ,ltd41 ,edinburgh4 ,decorative head-piece #ahge designed by ,walter ,crane4 #bca4 ,p4 ,m4 ,shanks ,sons1 ,ltd4 ,tail-piece1 triangular1 #aibj white on black ground4 #bcb4 ,pelican ,press4 ,border design with centre ornament4 #aibj ,copy of early arabesque design4 #bcc-bdj4 ,pelican ,press4 ,english flowers1 seven designs4 #aibj #bda4 ,pelican ,press4 ,border design after ,geoffrey ,tory4 #aibc #bdb4 ,kelmscott ,press4 ,design from ,godefroy of #ahic ,boulogne4 #bdc-bea4 ,curwen ,press4 ,nine decorations designed by #aibj ,claud ,lovat ,fraser4 #beb-bfj4 ,curwen ,press4 ,nine flowers and decorations #aibb designed by ,percy ,j4 ,smith4 #bfa-bgc4 ,stephenson1 ,blake ,co41 ,ltd4 ,fourteen designs c4 #agij of delicate flower borders1 ornaments1 and the famous rose border4 #bgd-bhd4 ,stephenson1 ,blake ,co41 ,ltd4 ,various designs c4 #aghj for borders1 and initial ,s and two fine tail-pieces designed and executed by ,bewick4 ,,illustrations ,borders ,illustration3 ,,aphthonii ,,sophistae ,,prae ,,exercitamenta ,,interprete ,,viro ,,doctissimo4 ,,impressa ,londini per ,richardum ,pynson regi impressorem cum priuilegio a rege indulto_/ ne quis nunc in regno ,angli imprimat_/ aut alb impressum_/ importatue in eo d regno ,anglie vendat4 #a ,illustration3 re mei d tpus est miserendi ne perdas me tpore tui tremdi iudicii_/ ,o bone ihesu si merui miser prtr de vera tua iusticia pen etern per pcts meis grauissimis ,adhuc apello gfisus de tua iusticia vera ad tu mam ineffabil_/ ,utiqz misereberis mei ut pius pater et misericorsdns_/ ,o bone ihesu que en vtilitas sguine meo d descdero in corruption etern ,n en mortui laudabt te_/ neqzos qui descendt in infern ,o misericordisse ihesu miserere mei ,o dulcissime ihesu libera me ,o pssie ihesu propicius esto michi pctri_/ ,o ihesu admitte me miser pctrm inter numer electorum tuorumsymbol ,o jhesu salus in te speranti ,o jhesu salus in te credri miserere mei dulcis remissio om pctrum meorum ,o ihesu fili virginis marie insde in me gram tu sapienci caritat castitat hilitat ac eti in obz aduersitatibus meis pacienci scm vt possi te per #b ,illustration3 ,thys ,emprynted at temple barre be me3 ,julyan ,notary ,dwellynge in saynt clemtys parysshe4 #d ,illustration3 ,petri ,carmeliani ,carmen4 ,anglia perpetuos3 tibi darrola rubra triphos4 ,perpetuum nomen3 perpetuumque decus4 ,her tua ,celaceis3 redols rosa crescit in hortis4 ,itoque aquuam lignis3 iungit vtranque suis4 ,septimus hricus3 sapis rex ,regula morum4 ,celeste ingenium3 cum probitate tenens4 ,ad tantos solus3 vigilans ie verit honores4 ,ergo abs te debet3 iure volente coli4 #e ,illustration3 #f ,illustration3 ,nychodemus gospell #g ,illustration3 #h ,illustration3 #i ,illustration3 #aj ,illustration3 ,skelton ,poeta4 ,eterno mantura die dumlidera fulgent ,equora dumq2 tument hec lainea nostra virebit4 ,hinc nostrum celebre et nom referetur ad astra4 ,vndiq2 ,skeltonis memorabitur altera donis4 #aa ,illustration3 ,r ,f ,richard ,fakes #ab ,illustration3 #ac ,illustration3 #ad ,illustration3 #ae ,illustration3 #af ,illustration3 #ag ,illustration3 #ah ,illustration3 #ai ,illustration3 #bj ,illustration3 #ba ,illustration3 #bb ,illustration3 #bc ,illustration3 #bd ,illustration3 #be ,illustration3 #bg ,illustration3 #bh ,illustration3 #bi ,illustration3 #cj ,illustration3 #ca ,illustration3 #cb ,illustration3 #cc ,illustration3 #cd ,illustration3 #ce ,illustration3 #cf ,head-,pieces ,illustration3 #cg ,illustration3 #ch ,illustration3 #ci ,illustration3 #dj ,illustration3 #da ,illustration3 #db ,illustration3 #dc ,illustration3 #dd ,illustration3 #de ,illustration3 #df ,illustration3 #dg ,illustration3 #dh ,illustration3 #di ,illustration3 #ej ,illustration3 #ea ,illustration3 #eb ,illustration3 #ec ,illustration3 #ed ,illustration3 #ee ,illustration3 #ef ,illustration3 #eg ,illustration3 #eh ,illustration3 #ei ,illustration3 #fj ,illustration3 #fa ,illustration3 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holde4 ,,and whan ,marche was come1 ye sholde haue seen horses arrayed1 with sommyers1 palfroyes1 and stedes1 tentes and pauyllons1 and to make armures4 ,ye maye wel knowe that there was moche to doo of many thynges1 ffor the barons were acorded that they shold not goo alle to gydre1 ffor no contre myght suffyse ne fynde that which shold be nedeful for them1 ffor whiche cause alle the hoostes neuyr assembled1 as ye shal here1 tyl they cam vnto the cyte of ,ntycene4 ,the mene peple charged them self not moche with tentes ne armures1 ffor they myght not bere it1 therfor euery man garnysshid hym aftir that he was with #bdb ,a ,design from ,the ,kelmscott ,press4 ,reproduced by kind permission of the ,trustees from a block by ,emery ,walker1 ,ltd4 ,illustration3 ,printers' ,decorations ,designed by the late ,claud ,lovat ,fraser1 for the ,curwen ,press in #aibj #bdc-bea ,illustration3 ,printers' ,flowers and ,decorations1 designed by ,percy ,j4 ,smith1 for the ,curwen ,press in #aibb 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,charles ,whittinghams ,printer1 #ahif4 ,transcriber's ,notes3 #a4 ,obvious printers'1 punctuation and spelling errors have been corrected silently4 #b4 ,where hyphenation is in doubt1 it has been retained as in the original4 #c4 ,some hyphenated and non-hyphenated versions of the same words have been retained as in the original4 #d4 ,italics are shown as xxx4 #e4 ,bold print is shown as xxx4