MR. FIGGINS’ FOUNDRY.

Further specimens were issued in 1824 and 1826, each indicating the rapid growth of the rising foundry between those dates. They were followed in 1827 by a compact little 16mo volume; and from that date specimens are frequent.

Mr. Figgins died at Peckham, Feb. 29th, 1844. He was for several years Common Councillor for the Ward of Farringdon Without; “an amiable and worthy character, “says Nichols,” and generally respected.“ He had relinquished business in 1836, leaving it to his two sons, Vincent Figgins II and James Figgins, who issued their first specimen book, a handsome quarto, under the style of V. & J. Figgins, in 1838. Mr. Vincent Figgins II died in 1860,[718] when the business was carried on by Mr. James Figgins I and his son, Mr. James Figgins II. On the retirement of the former, then Mr. Alderman Figgins, M.P., the entire management devolved on his son, the present proprietor. The foundry was removed from West Street, Smithfield, to Ray Street, Farringdon Road, in 1865. {344}

LIST OF SPECIMENS, 1792–1832.

CHAPTER XIX.

MINOR FOUNDERS OF THE EIGHTEENTH CENTURY.

SKINNER, circ. 1710.

HIS founder is mentioned by Mores as a contemporary of Robert Andrews and Head. Nothing, however, is known of his types.

DUMMERS, circ. 1734.

Mores says he was a Dutchman who founded in this country, where he cut the fount of Pica Samaritan which appears in Caslon’s Specimen of 1734.[719] He subsequently returned to his native country. Smith, in his Printers’ Grammar, after referring to the genius of Van Dijk, mentions Voskin and Dommer (sic) as having “been considered as two Worthies, for their abilities in their profession.” We append a specimen of the Samaritan fount:—

[Μ] 78. Pica Samaritan, cut by Dummers for Caslon, circ. 1734. (From the original Matrices.)

{346}

JALLESON, circ. 1734.

This man appears to have served, in 1733, as punch cutter to Mr. R. Wetstein of Amsterdam, for whom he produced, amongst other founts, the accented Roman with which the Dutch East India Company printed their Malay Edition of the Bible in that year. He came to London, and lived in the Old Bailey, where he attempted an economical way of multiplying founts by casting six different bodies of letter from three sets of punches, viz., Brevier and Long Primer from one set, Pica and English from another, Great Primer and Double Pica from a third. “Accordingly,” says Smith, “he charged his Brevier, Pica, and Great Primer with as full a face as their respective bodies would admit of, and, in order to make some alteration in the advancing founts, he designed to cut the ascending and descending letters to such a length as should show the extent of their different bodies. But though he had cast founts of the three minor sorts of letters, he did not bring the rest here to perfection.”[720]

While in England, “he printed the greatest part of a Hebrew Bible with letter of his own casting; but was, by adverse fortune, obliged to finish the said work in Holland.” Jalleson’s system, though apparently unsuccessful at the time, was eventually adopted, to a certain extent, by English founders.

JACOB ILIVE, circ. 1730.

This eccentric individual was a connection of the James’s, his mother, Elizabeth, being the daughter of Thomas James, the printer, and consequently cousin to Thomas James, the founder.[721] His father was a printer resident in Aldersgate Street,[722] and his two brothers, Abraham and Isaac, also followed the same calling.

About the year 1730, he applied himself to letter-founding, and carried on a foundry and printing house together in Aldersgate Street over against Aldersgate Coffee-house, where he was resident in 1734.

“But, afterwards,” says Mores, “when Calasio[723] was to be reprinted under the inspection of Mr. Romaine, or of Mr. Lutzena, a Portuguese Jew who corrected the {347} Hebrew—as we ourselves did sometimes another part of the work—he removed to London House (the habitation of the late Dr. Rawlinson) on the opposite side of the way, where he was employed by the publishers of that work. This was in the year 1746.”

His foundry was only a small one, and does not appear to have received much patronage or to have issued a specimen. The following is Mores’ summary of its contents:—

“MR. ILIVE’S FOUNDERY, 1734.

In 1740 (July 3) the foundry was purchased by John James, in whose premises, says Mores, it lay in the boxes named Jugge, and underwent very little alteration. With regard to the sets of Greek matrices, Mores also states that though James paid for these they never came to his hands.

Although abandoning type-founding early, Ilive continued to print until the time of his death in 1763. Mores says he was an expeditious compositor and knew the letters by touch. He was, however, less noted for his typography than for his opinions.

Nichols tells us he was somewhat disordered in his mind. In 1733 he published an Oration proving the plurality of worlds, that this earth is hell, that the souls of men are apostate angels, and that the fire to punish those confined to this world at the day of judgment will be immaterial. This discourse was composed in 1729, and spoken at Joiners’ Hall pursuant to the will of his mother, who died in 1733 and held the same singular opinions in divinity as her son.[724] A second pamphlet, entitled A Dialogue between a Doctor of the Church of England and Mr. Jacob Ilive upon the Subject of the Oration, also appeared in 1733. This strange Oration is highly praised in Holwell’s third part of Interesting Events relating to Bengal.[725]

In 1751 Ilive perpetrated a famous literary forgery in a pretended {348} translation of the Book of Jasher,[726] said to have been made by one Alcuin of Britain. “The account given of the translation,” says Mores, “is full of glaring absurdities, but of the publication, this we can say, from the information of the Only-One who is capable of informing us, because the business was a secret between the Two: Mr. Ilive in the night-time had constantly an Hebrew Bible before him (sed qu. de hoc) and cases in his closet. He produced the copy for Jasher, and it was composed in private, and the forms worked off in the night-time in a private press-room by these Two, after the men of the Printing-house had left their work. Mr. Ilive was an expeditious compositor, though he worked in a nightgown and swept the cases to pye with the sleeves.”[727]

In 1756, for publishing Modest Remarks on the late Bishop Sherlock’s Sermons, Ilive was imprisoned in Clerkenwell Bridewell, where he remained for two years, improving the occasion by writing and publishing Reasons offered for the Reformation of the House of Correction in Clerkenwell, in 1757. He also projected several other reforming works.[728]

In the last year of his life, 1762, he once more became notorious as the ringleader of a schism among the members of the Stationers’ Company, of which the following narrative (communicated by Mr. Bowyer) is given by Gough:—

“He called a meeting of the Company for Monday the 31st of May, being Whit-Monday, at the Dog Tavern, on Garlick Hill, ‘to rescue their liberties,’ and choose Master and Wardens. Ilive was chosen chairman for the day; and, standing on the upper table in the hall, he thanked the freemen for the honour they had done him—laid before them several clauses of their two charters—and proposed Mr. Christopher Norris and some one else to them for Master; the choice falling upon Mr. Norris. He then proposed, in like manner, John Lenthall, Esq., and John Wilcox, Gent., with two others for Wardens; when the two first nominated were elected. A Committee was then appointed by the votes of the Common Hall to meet the first Tuesday in each month at the Horn Tavern, in Doctors’ Commons, to inquire into the state of the Company, which Committee consisted of twenty-one persons, five of whom (provided the Master and Wardens were of the number), were empowered to act as fully as if the whole of the Committee were present. July the 6th being the first Tuesday in the month, the newly-elected Master, about twelve o’clock, came into the Hall, and being seated at the upper end of it, the Clerk of the Hall was sent for and desired to swear Mr. Norris into his office; but he declined, and Mr. Ilive officiated as the Clerk in {349} administering the oath. A boy then offered himself to be bound; but no Warden being present, he was desired to defer until next month, when several were bound; some freemen made; and others admitted on the livery; one of whom, at least, has frequently polled at Guildhall in contested elections.”[729]

No particular notice appears to have been taken of the proceedings, and the rebellion was short lived. Previous to its outbreak, Ilive had published a pamphlet on The Charter and Grants of the Company of Stationers; with Observations and Remarks thereon, in which he recited various grievances and stated the opinion of counsel upon several points. “I have a copy of this pamphlet,” says Mr. Hansard, “now lying before me, the twentieth page of which concludes with the line, ‘Excudebat, edebat, donabat, Jacob Ilive, Anno 1762.’‏” Ilive died in the following year.

THE WESTONS.

Some founders of this name are mentioned by Ames; but Mores supposes that Ames, “who,” he adds, “was an arrant blunderer,” has made Englishmen of the Wetsteins of Amsterdam, who founded in that city about 1733–43. The Wetsteins, though they doubtless had considerable type dealings with this country, are not known at any time to have practised type-founding in England.

JOHN BAINE, 1749.

After the dissolution of partnership between Wilson and Baine in 1749,[730] the latter appears to have come to London, where, Rowe Mores informs us, “he published a specimen (very pretty) without a date. It exhibits Great Primer and Pica Greek and (we take no notice of title letters) the Roman and Italic regulars beginning at Great Primer; and the bastard Small Pica. Mr. Baine left England and is now (1778), we think, alive in Scotland.” He appears to have carried his foundry with him, for we find in a specimen of types belonging to a printer, John Reid, in Edinburgh, in 1768,[731] two founts, a Small Pica and a Minion marked as having been supplied by him. In 1787 was published a Specimen by John Baine and Grandson in Co. at Edinburgh, a copy of which is in the Library of the American Antiquarian Society, Worcester, Massachusetts. {350}

About the same date they established a foundry in Philadelphia, the grandson having probably taken charge of the new venture before being joined by his relative. Isaiah Thomas[732] speaks in high praise of the mechanical ability of the elder Baine, and adds that his knowledge of type-founding was the effect of his own industry; for he was self-taught. Both, he says, were good workmen and had full employment. They appear to have been moderately successful in America.[733] The elder Baine died in 1790, aged 77. His grandson relinquished the business soon after, and, says Mr. Thomas, died at Augusta in Georgia about the year 1799.

SPECIMENS.

GEORGE ANDERTON, 1753.

George Anderton, of Birmingham, appears to have been one of the earliest of English provincial letter founders. Mores says he “attempted” letter founding, and in the year 1753 printed a little specimen of Great Primer Roman and Italic. Samuel Caslon, brother to Caslon I, worked as a mould maker in this foundry after having left the latter on account of some dispute.

SPECIMEN.

HENRY FOUGT, circ. 1766.

This man, a German, lived in St. Martin’s Lane about the year 1766, and, in the following year, took out a patent for “Certain new and curious types by me invented for the printing of music notes as neatly and as well, in every respect, as hath usually been done by engraving.” The Invention consisted in the use of sectional types “in many respects similar to what in former ages was used in printing-offices and known by the name of choral type.” An explanatory note, {351} setting forth the details of his scheme, accompanies the specification.[734] Fougt issued a specimen of his new type in 1768, and is said to have been the only printer of music from type of his day who produced any good work. Mores says that he returned to Germany, after selling his patent to one Falconer, a disappointed harpsichord maker.

SPECIMEN.

JOSEPH FENWICK, circ. 1770.

Mores’ quaint account of this unlucky person is as follows:—“Mr. Joseph Fenwick was a locksmith, and worked as a journeyman in David Street in Oxford Road. Invited by an advertisement from Mr. Caslon for a smith who could file smooth and make a good screw, he applied, and is now mould-mender in ordinary to Mr. Caslon. But his ingenuity hath prompted him to greater things than a good screw. He hath cut a fount of Two-line Pica Scriptorial for a divine, the planner of the Statute at Plaisterers’ Hall for demising and to farm letting servants of both sexes and all services. Of him Mr. Caslon required an enormous sum when he thought that nobody could do the work but himself. Mr. Fenwick succeeded at a very moderate expence; for he has not been paid for his labour. The plausible design of the fount was the relief and ease of our rural vineyarders, and the service of those churches in which the galleries overlook the pulpit.” In the synopsis of founts given at the end of Mores’ book, Fenwick’s Scriptorial, or Cursive, is mentioned as being at that time (1778) obtainable.

T. RICHARDS, 1778.

Mores says he lived near Hungerford Bridge, and called himself letter founder and toyman; but appeared to be an instrument maker for marking the shirts of soldiers “to prevent plunder in times of peace.” “But we have seen no specimen,” he adds, “either on paper or on rags.”

McPHAIL, 1778.

Mores describes him as a Scotchman without address. “It is said that he hath cut two full-faced founts, one of Two-line English, the other of Two-line Small Pica; hath made the moulds, and casts the letter his self. If this be true {352} (and we have reason to believe it is not altogether false) he must travel like the circumforanean printers of names from door to door soon after the invention of the art, with all the apparatus in a pack upon his shoulders; for he is a nullibiquarian, and we cannot find his founding house.” To this account Hansard adds in 1825:—“I have reason to believe that, some years ago, the foundry of McPhail, which Mores has commemorated by a most humorous paragraph, was carried on either by the same individual or a descendant; but it continues to be screened from observation by the same cloud which obscured it from the curiosity of that illustrious typographical historian.”

IMISSON, 1785.

Lemoine mentions an ingenious person of this name, “who, among other pursuits, made some progress in the art of Letter Founding, and actually printed several small popular novels at Manchester with wood-cuts cut by himself. But other mechanical pursuits took him off, and death removed him in 1791.”[735]

MYLES SWINNEY, 1785.

This provincial typographer was printer and proprietor of the Birmingham Chronicle in 1774, and appears to have commenced a letter foundry shortly after the breaking up of Baskerville’s establishment. His shops were in the High Street, Birmingham; and in Bisset’s Magnificent Directory (1800) a view of his premises is given, including the Type Foundry. He is styled Letter Founder, Bookseller and Printer, in the Directories of 1785, and subsequently added to his other pursuits that of Medicine Vendor. In 1793 he was a member of the Association of Founders at that time in existence; and, about the year 1803, issued a neat Specimen Book of twenty pages, comprising a series of Roman and Italic and a few Ornamented and Shaded letters. The notice accorded to him in the Magnificent Directory is very complimentary:—“This useful Branch of the Typographic Art, immediately on the demise of the late celebrated Baskerville, was resumed and is now continued, with persevering industry and success, by Mr. Swinney, whose elegant Specimens of Printing add celebrity to the other manufactures of this Emporium of the Arts.” {353}

The Poetic Survey round Birmingham accompanying the Directory, immortalizes our founder in the following couplet:

Among his workmen was John Handy, a former punch cutter for Baskerville.[736] Mr. Swinney died in 1812, aged 74; having been printer and proprietor of the Birmingham Chronicle for nearly fifty years.

SPECIMEN.

SIMEON & CHARLES STEPHENSON, 1789.

This short-lived foundry was established in the Savoy prior to 1789, in which year it appears to have been known as Bell and Stephenson’s British Letter Foundry, and to have issued a specimen. In 1793 the style was altered to Simeon Stephenson & Co., and subsequently to Simeon and Charles Stephenson, who removed the foundry to Bream’s Buildings, Chancery Lane. Both the partners were members of the Association of Founders existing at that time.

Of their foundry little is known beyond what may be gathered from their elegant Specimen Book of Types and Ornaments issued in 1796. The title-page of this volume states that their punches were cut by Richard Austin; and the address to the trade[737] (which is dated 1797) refers to the flat­ter­ing en­cour­age­ment hitherto received by the proprietors from the public. The specimen exhibits ten pages of large titling letters, fourteen pages of Roman and Italic, from Double Pica to Minion, and the remainder chiefly ornaments. The types, especially in the larger sizes as well as some of the ornaments, are very good. {354}

Despite the merit of its productions the British Foundry was not successful, and in 1797 was put up for auction. Whether it was purchased as a whole by some other founder, or whether it was dispersed, we cannot say. It seems probable, however, that Austin recovered some of the punches cut by him, and used them when starting his own foundry in Worship Street.

SPECIMENS.

CHAPTER XX.

WILLIAM MILLER, 1809.

ILLIAM MILLER, the originator of this now great foundry, was for some time a foreman in the Glasgow Letter Foundry. About the year 1809 he left that service to begin a foundry of his own in Edinburgh under the style of William Miller and Co. The first specimen is stated to have been published in this year,[738] but no copy unfortunately has been found still to exist.

A further specimen was issued in 1813, followed in the ensuing year by another of 28 pages, consisting entirely of Roman and Italic letter, of which there was a complete series from Double Pica to Pearl, with 2-line letters and one page of borders. As Hansard observes respecting early founts of this foundry, the letters so much resemble those of Messrs. Wilson as to require minute inspection to distinguish the one from the other.[739]

The business, once started, made rapid progress, and in due time became a formidable rival not only to the Glasgow foundry, but to the London founders. The specimen of 1815 showed further additions to the founts, some of which, we have it on Hansard’s authority, were cut by Mr. Austin, of London.[740]

In 1822, the firm is described as William Miller only, Letter Founder to His Majesty for Scotland. The energy and care displayed by Mr. Miller in the {356} prosecution of his business rapidly brought his foundry to the front rank, and secured for him the support not only of English printers but of some of the most important newspapers of the day, including The Times.

In 1832, Mr. Richard was admitted a partner; and the style of the firm became once more William Miller and Co., and so continued until 1838, when it became Miller and Richard.

Of the later history of this foundry it is beyond the scope of this work to treat, further than to say that it was the first house successfully to introduce machinery for the casting of type in this country; and that on the revival of the old style fashion about 1844, it took a prominent and successful part with its series of “Modern Old Face” letter. For the Exhibition of 1851, the proprietors produced a “Brilliant” type, the smallest then in England,[741] and subsequently cut a “Gem” expressly for Mr. Bellows’ French Dictionary[742]—a book which for clearness and minuteness combined ranks as a typographical curiosity.

After the death of Mr. Miller in 1843, the business was carried on by Mr. Richard and his son, until 1868; when, on the retirement of Mr. Richard, senior, the active management of the Foundry (which since 1850 has had a branch house in London) devolved upon his sons, Mr. J. M. Richard, and Mr. W. M. Richard, the present proprietors.

LIST OF SPECIMENS, 1809–33.

CHAPTER XXI.

THE MINOR FOUNDERS, 1800–1830.

G. W. BOWER, circ. 1810.

HIS foundry was begun in Sheffield about the beginning of the present century. In 1810, Mr. Bower issued a price list below those of the London founders, whose founts he succeeded occasionally in underselling. Hansard mentions the foundry in 1824, under the style of Bower, Bacon and Bower. No specimen is known with an earlier date than 1837, when the firm was G. W. Bower, late Bower and Bacon.

A later specimen bears the name of Mr. G. W. Bower alone, and in 1841 the firm was Bower Brothers, who published Proposals for establishing a graduated scale of sizes for the bodies of Printing Types, and fixing their height-to-paper, based upon Pica as the common standard.[743]

After the death of Mr. G. W. Bower, the foundry was continued by Mr. Henry Bower till his death about 1851, in September of which year the plant and stock were sold by auction and dispersed among the other founders. The Catalogue of this Sale contained about 50,000 punches and matrices; many of them, however, being obsolete or of small value. {358}

BROWN, 1810.—LYNCH, 1810.

These two individuals are included among the Letter Founders whose names are given in Mason’s Printer’s Assistant[744]—the former having had his place of business in Green Street, Blackfriars, and the latter in Featherstone Buildings. They do not appear to have continued long in business, and their names are not included in the list of Letter Founders given in Johnson’s Typographia in 1824.

MATTHEWSON, circ. 1810.

This man was founding in Edinburgh in 1810, at which date he had some correspondence with the Associated Founders respecting prices. Hansard mentions him as an incipient founder even in 1825, and a competitor of Mr. Miller’s. Nothing is known of the fate of his foundry; nor has any Specimen of his types come under notice.

ANTHONY BESSEMER, 1813.

Anthony Bessemer was a man of remarkable inventive genius. In his twentieth year he distinguished himself by the erection at Haarlem in Holland of pumping-engines to drain the turf pits; and before he had attained the age of twenty-five, he was elected a member of the Académie at Paris for improvements in the microscope. He subsequently turned his attention to letter founding, and established a foundry at Charlton, near Hitchin. Of the exact date of this undertaking we are uncertain; but, as his son, the present Sir Henry Bessemer, was born at Charlton in 1813, it is evident that the father was already settled there at that date. Hansard states[745] that “Mr. Bessimer” cut the Caslon Diamond letter. If the person referred to is Mr. Anthony Bessemer, as is probable, it would appear that during the early years of his business as a founder, he placed his energies occasionally at the disposal of his brethren in the art.

In 1821 he issued a specimen of Modern-cut Printing Types, and shortly afterwards took into partnership Mr. J. J. Catherwood, formerly a partner of Mr. Henry Caslon II, who, since his retirement from that business, appears for a short time to have had a foundry of his own at Charles Street, Hoxton.[746] Messrs. Bessemer {359} and Catherwood issued a Specimen in 1825, on the title-page of which the new partner styles himself “late of the Chiswell Street Foundry, London.”

Bessemer’s Romans were, in conformity with the fashion of the day, somewhat heavy, but finely cut. His chief performance was a Diamond, which was, as Hansard informs us, cut to eclipse the famous Diamond of Henri Didot, of Paris, at that time the smallest known. The execution of this feat, particularly in the Italic, was highly successful. The partnership between Messrs. Bessemer and Catherwood was not of long duration, and terminated either by the death or the retirement of the latter prior to 1830. Mr. Bessemer then removed his foundry to London, and established it at 54, Red Lion Street, Clerkenwell, whence, in 1830, he issued his final specimen book, consisting almost entirely of Roman founts.

In 1832 he retired from the business, and his foundry was put up to auction and dispersed. The Catalogue of the Sale mentions that the 2,500 punches included in the plant had been collected at an expense of £4,000, and that not a single strike had been taken from them but for the proprietor’s own use. From a marked copy of the Catalogue in our possession, it appears that several of the lots of punches and matrices fetched high prices. The list of implements and utensils shows that the foundry employed about seven casters and an equal number of rubbers and dressers.

Mr. Bessemer’s son, Henry, appears to have been for some time in his father’s foundry, where he mastered the mechanics of the trade. In 1838, being then twenty-five years old, he took out a patent for improvements in type-founding machinery, embodying several ingenious contrivances, some of which have since been adopted.

SPECIMENS.

RICHARD AUSTIN, circ. 1815.

Richard Austin began business as a punch cutter in the employ of Messrs. S. and C. Stephenson of the British Type Foundry, about the year 1795. On the Title-page of the specimen issued by that foundry in 1796, his name is {360} mentioned as the cutter of the punches, and the excellent specimen itself is no mean testimony to his abilities.

The activity prevailing throughout the trade generally at that period, consequent on the transition of the Roman character from the old style to the modern, brought the punch cutter’s services into much request, and Hansard informs us that Mr. Austin executed most of the modern founts both for Messrs. Wilson of Glasgow and Mr. Miller of Edinburgh.

Prior to the year 1819 he began a foundry of his own at Worship Street, Finsbury, in which subsequently his son, George Austin, joined him; and, in the year 1824, succeeded to the business. This foundry was styled the Imperial Letter Foundry, and carried on under the style of Austin & Sons. The earliest known specimen was issued in 1827. This 8vo volume is prefaced by a somewhat lengthy address to the Trade, in which, after criticising the letter founding of the day, the proprietors boldly claim to be the only letter founders in London who cut their own punches, which they do in a peculiar manner so as to insure perfect sharpness in outline. They also announce that they cast their type in an extra hard metal.

Mr. Austin appears to have been a man of considerable force and independence of character. It is related of him that once, on receiving—what to any founder at that day must have been a momentous mandate—an intimation that The Times wanted to see him, he replied, with an audacity which sends a shudder even through a later generation, “that if The Times wanted to see him, he supposed it knew where to find him!”

On the death of Mr. Austin, his foundry was acquired by Mr. R. M. Wood, who subsequently, in partnership with Messrs. Samuel and Thomas Sharwood, transferred it to 120 Aldersgate Street, under the title of the Austin Letter Foundry. Messrs. Wood and Sharwoods’ first specimen was issued in 1839. In their preface, reference is again made to the late Mr. Austin’s hard metal, the superiority of which, it is stated, “was owing to one peculiar article being used in the mixture which is unknown to our brethren in the Art.”

Mr. Wood died in 1845, and the firm subsequently became S. and T. Sharwood, who, in 1854, published two specimens, one of Types, the other of Polytyped Metal Ornaments.

This latter collection had been begun more than twenty years previously by Vizitelly, Branston & Co.,[747] who, in 1832, had issued a specimen of Cast Metal {361} Ornaments, “produced by a new improved method.” This method appears to have consisted of the soldering of the casts on metal mounts—at that time a novelty. The Sharwoods subsequently acquired this collection of blocks and considerably increased it.

On the death of the two Sharwoods, which occurred about the same time in 1856, the Austin Foundry was thrown into Chancery and put up for auction, and its contents dispersed among the trade.

SPECIMENS.

LOUIS JOHN POUCHÉE, circ. 1815.

This Frenchman started a foundry in Great Wild Street, Lincoln’s Inn. He had probably been established a few years when his first specimen was issued in 1819, the most interesting portion of which was a somewhat lengthy address to the public, setting forth the principles on which his “New Foundry” was to be conducted. He mentions that “only four Type Foundries (exclusive of mine) are worked in London at this time,” and declares his intention of breaking down the monopoly they assumed. The specimen itself is not remarkable.

In 1823, he took out the patent for this country for Henri Didot’s system of polymatype[748] which consisted of a machine capable of casting from 150 to 200 types at each operation, each operation being repeated twice a minute. This result was to be obtained by means of a matrix bar which formed one side of a long trough mould into which the metal was poured; and, when opened, “the types are found adhering to the break bar like the teeth of a comb, when they are broken off and dressed in the usual way.” Pouchée became agent in England for this novel system of casting which, says the editor of the partial reprint of Hansard’s Typographia, writing in 1869, was still used successfully in France at that date. {362}

The attempt to introduce this system into England went far to ruin Pouchée; and, according to the above authority, “on his failure to sustain the competition of the associated founders,[749] Didot’s machine and valuable tools were purchased by them through their agent, Mr. Reed, Printer, King Street, Covent Garden, and destroyed on the premises of Messrs. Caslon and Livermore.”

Despite this unfortunate speculation, Pouchée (who appears for some time to have had a partner named Jennings),[750] issued another Specimen Book in 1827, dated from Little Queen Street, London, in the advertisement of which he again referred to the fact that there were still only four letter-foundries in London (exclusive of his own), and took credit to himself for bringing about a reduction of 12 per cent. in the prices of his opponents. The specimen, which shows Titlings, Roman and Italic, Egyptians, Blacks and Flowers, is of little merit and is marked by a great preponderance of heavy faces.

About the same time,[751] he issued a price list of all kinds of printers’ materials, styling himself “Type Founder and Stereotype Caster.” In the beginning of 1830 he abandoned the business, which was sold by auction. The Catalogue included a large quantity of stereotype ornaments, as well as 20,000 matrices and punches, moulds, presses, and 35 tons of Type. The lots were variously disposed of at low prices among the other founders.

SPECIMENS.

RICHARD WATTS, circ. 1815.

Richard Watts, a printer of Crown Court, Strand, who, from 1802–9, had held the office of printer to Cambridge University, distinguished himself towards the close of the first quarter of the present century as a cutter and founder of Oriental and foreign characters, of which he accumulated a considerable collection. His first printing office was at Broxbourne, whence in 1816 he removed to Crown Court, Temple Bar, and here, chiefly under the patronage of the Bible {363}

Society and the Mission Presses in India and elsewhere, he produced the punches of a large number of languages hitherto unknown to English typography. He received the assistance and advice of many eminent scholars in his work, some of whom personally superintended the execution of certain of the founts. His collection increased at a rapid rate, and at the time of his death included almost every Oriental language in which, at that time, the Scriptures had been printed. His death occurred in 1844 at Edmonton, in which place his foundry appears to have been for some time located.

He was succeeded in business by his son, Mr. William Mavor Watts, who printed a broadside specimen of the founts, numbering 67 languages and dialects, of which several were shown in different sizes of character. This number was largely augmented during the following years, and, in the specimen prepared by Mr. Watts for the Exhibition of 1862, nearly 150 versions were exhibited. To this specimen was prefixed an interesting note respecting the origin of many of the founts. The collection was subsequently acquired by Messrs. Gilbert and Rivington, in whose possession it still remains and increases.

HUGH HUGHES, 1824.

This artist, described as a very able engraver, was for some time in partnership with Robert Thorne at the Fann Street Foundry. In 1824, he commenced a foundry of his own in Dean Street, Fetter Lane, whence he published a specimen of Book and Newspaper type, without date, which, besides Romans, Scripts, and Egyptians, included also Saxon, Greek, Flowers, and Music.

He appears specially to have applied himself to the production of this last-named character, and attained the reputation of being the best music type cutter in the trade. Savage, in his Dictionary of Printing, shows a specimen of Hughes music, observing that “the English musical types have never to my knowledge undergone any improvement till within a few years, when Mr. Hughes cut two new founts,” (Nonpareil and Pearl), “which are looked upon as the best we have and the largest of which I have used for this article (‘Music’).” Hughes’ system appears to have been that originally introduced by Breitkopf in 1764, and the scheme of a pair of cases by which his specimen is accompanied shows that a complete fount comprised as many as 238 distinct characters. Besides music of the modern notation, Hughes had matrices for the Gregorian Plain Chant Music, of which a specimen is also shown by Savage.

After the death of Mr. Hughes, which took place before 1841, the punches and matrices of his different music founts, Gregorian and modern, were purchased by Mr. C. Hancock, of Middle Row, Holborn, by whom they were considerably {364} improved, and who, subsequently, after his removal to Gloucester Street, Queen Square, issued a specimen. Of the disposal of the other contents of Mr. Hughes’ foundry we have no information.

SPECIMENS.

BARTON, 1824.

Hansard states that this founder was early initiated in mechanical science by Mr. Maudsley, the engineer; he was formerly in partnership with Mr. Harvey, an engraver, by whom his founts were principally cut. His foundry was in Stanhope Street, Clare Market, and is mentioned by Johnson as one of the nine foundries carried on in London in the year 1824. No Specimen has come under observation.

HEAPHY, 1825; SIMMONS, 1825; BLACK, 1825.

To complete the list of minor founders prior to 1830, should be added the names of these three individuals, who are mentioned by Hansard in his Typographia as distinct London letter founders in 1825.

CHRONOLOGICAL TABLE OF ENGLISH LETTER-FOUNDERS’ SPECIMENS NOTED IN THIS WORK. 1665–1830.

PAGE
1665.Nicholls[179]
1669.Moxon[192]
1693.Oxford[162]
1695.Oxford[162]
1706.Oxford[162]
(1708?)Oxford[162]
1734.Caslon[256]
1749.Caslon[256]
1749.Caslon and Son[256]
1749.Caslon and Son[256]
(1752?)Baskerville[287]
1753.Anderton[350]
(1756?)Baine[350]
(1757?)Baskerville[287]
(1758?)Baskerville[287]
(1762?)Baskerville[287]
(1760?)Cottrell[297]
1763.Caslon and Son[256]
1764.Caslon and Son[256]
(1765?)Jackson[329]
1766.Caslon[256]
(1766?)Cottrell[313]
1768.Moore (London)[313]
1768.Fougt[351]
1768–70.Oxford[163]
1770.Caslon[256]
1770.Caslon[256]
1770.Cottrell[297]
1770.Moore[313]
1772.Wilson[266]
(1778?)Oxford[163]
1782.James[230]
(1783?)Jackson[329]
1783.Wilson[266]
1784.Caslon and Son[256]
1785.Caslon[256]
1785.Caslon[256]
1785.Caslon[297]
(1785?)Cottrell[297]
1785.Fry and Sons[313]
1785.Fry and Sons[313]
1786.Oxford[163]
1786.Caslon[256]
1786.Wilson[266]
1786.Fry and Sons[313]
1787.E. Fry and Co.[313]
1787.Baine[350]
1788.E. Fry and Co.[313]
1789.Wilson[266]
1789.Bell and Stephenson[354]
1790.Fry and Co[313]
(1792)Figgins[344]
1793.E. Fry and Co.[314]
(1793)Figgins[344]
1794.Oxford[163]
1794.Thorne[297]
1794.Fry and Steele[314]
1794.Fry and Steele[314]
1794.Figgins[344]
1795.Fry and Steele[314]
1796.S. and C. Stephenson[354]
1797.S. and C. Stephenson[354]
1798.Thorne[297]
(1798?)Jackson[329]
1798.Caslon III[329]
1798.Caslon III[329]
1800.Fry, Steele, and Co.[314]
1801.Fry, Steele, and Co.[314]
1802.Figgins[344]
(1802?)Figgins[344]
1802.Swinney[353]
1803.Fry, Steele, and Co.[314]
1803.Thorne[297]
1803.Caslon III and Son[329]
1805.Caslon & Catherwood[256]
1805.Fry and Steele[314]
(1805?)Fry and Steele[314]
1807.Caslon IV[329]
1808.Caslon & Catherwood[256]
1808.Fry and Steele[314]
(1809)Miller[356]
(1812?)Caslon and Catherwood[256]
1812.Wilson[266]
1813.Miller[356]
1815.Wilson[266]
1815.Figgins[344]
1815.Miller[356]
1816.Ed. Fry[314]
1817.Figgins[344]
(1819)Blake, Garnett[329]
1819.Pouchée[362]
1820.Ed. Fry and Son[314]
1821.Thorowgood[297]
1821.Figgins[344]
1821.Bessemer[359]
1822.Thorowgood[297]
1822.Miller[356]
1823.Wilson[266]
1824.Ed. Fry[314]
1824.Figgins[344]
(1824?)Hughes[364]
1825.Bessemer and Catherwood[359]
1826.Blake, Garnett[329]
1826.Figgins[344]
1827.Fry[314]
1827.Blake, Garnett[329]
1827.Figgins[344]
1827.Austin[361]
1827.Pouchée[362]
1828.Wilson[267]
1828.Thorowgood[297]
1828.Blake, Garnett[329]
1830.Caslon and Livermore[256]
1830.Thorowgood[297]
1830.Thorowgood[297]
1830.Blake and Stephenson[329]
1830.Bessemer[359]

LIST OF THE PRINCIPAL AUTHORITIES CONSULTED OR REFERRED TO.

AMES (JOSEPH), Typographical Antiquities; being an Historical Account of Printing in England. London, 1749, 4to.

AMES (JOSEPH), Typographical Antiquities; augmented by William Herbert. 3 vols. London, 1785–90, 4to.

AMMAN (JOST.), Eygentliche Beschreibung aller Stände und...Handwerker. Frankfurt, 1568, 4to.

ARBER (EDWARD), Transcripts of the Registers of the Stationers’ Company. London, 1875–77, 4 vols. 4to.

ASTLE (THOS.), The Origin and Progress of Writing. London, 1784, 4to.

BELOE (W.), Anecdotes of Literature and Scarce Books, 6 vols. London, 1807–12, 8vo.

BERJEAU, (J. PH.), Speculum Humanæ Salvationis: Reproduit en facsimile. Londres, 1861, 4to.

BERNARD (A. J.), Antoine Vitré et les Caractères orientaux de la Bible Polyglotte de Paris. Paris, 1857, 8vo.

BERNARD (A. J.), Les Estienne et les types grecs de Francis 1er. Paris, 1856, 8vo.

BERNARD (A. J.), De l’Origine et des Débuts de l’Imprimerie en Europe, 2 vols. Paris, 1853, 8vo.

BIBLIANDER (T.), In Commentatione de ratione communi omnium linguarum et literarum. Tiguri, 1548.

BIGMORE and WYMAN, A Bibliography of Printing, 3 vols. London, 1880–6, 4to.

BLADES (WILLIAM), Life and Typography of William Caxton, 2 vols. London, 1861–3, 4to.

BLADES (WILLIAM), Some Early Type Specimen Books of England, Holland, France, Italy and Germany. London, 1875, 8vo.

BODONI (G.), Manuale Tipografico, 2 vols. Parma, 1818, 4to.

BOWERS BROS., Proposals for Establishing a Graduated Scale of Sizes for the Bodies of Printing Types. Sheffield, 1841, 12mo.

BRITISH MUSEUM, Catalogue of Early English Books to 1640, 3 vols. London, 1884, 8vo.

BUTLER, (A. J.), Ancient Coptic Churches of Egypt, 2 vols. Oxford, 1884, 8vo.

CAILLE (J. DE LA), Histoire de l’Imprimerie et de la Libraire. Paris, 1689, 4to.

CAXTON CELEBRATION....Catalogue of the Loan Collection at South Kensington. London, 1877, 8vo.

CHALMERS (ALEX.), The General Biographical Dictionary, 32 vols. London, 1812–17, 8vo.

CHAMBERS (EPHRAIM), Cyclopœdia, 2 vols., 1728, folio (also editions, 1738 and 1784–6).

CHEVILLIER (A.), L’Origine de l’Imprimerie de Paris. Paris, 1694, 4to.

COTTON (HY.), A Typographical Gazetteer attempted. 1st series, 2nd ed., Oxford, 1831, 8vo; second series, 1866, 8vo.

D’ANVERS (Mrs.), Academia, or the Humours of the University of Oxford, 1691.

DAUNOU (P. C. F.), Analyse des opinions diverses sur l’Origine d l’Imprimerie. Paris, 1810, 8vo.

DE GEORGE (LÉON), La Maison Plantin à Anvers. 2nd ed. Bruxelles, 1878, 8vo.

DE VINNE (THEODORE), The Invention of Printing. New York, 1877, 8vo.

DIBDIN (T. F.), The Bibliographical Decameron, 3 vols. London, 1817, 8vo.

DIBDIN (T. F.), Introduction to the Knowledge of the rare and valuable Editions of the Classics. 4th ed., 2 vols. London, 1827, 8vo.

DICKSON (R.), The Introduction of the Art of Printing into Scotland. Aberdeen, 1885, 8vo.

DIDOT (PIERRE), Epitre sur les Progrès de l’Imprimerie. Paris, 1784, 8vo.

DUNTON (JNO.), The Life and Errors of. London, 1705, 8vo.

DUPONT (PAUL), Histoire de l’Imprimerie, 2 vols. Paris, 1854, 8vo.

DÜRER (ALB.), Unterweissung der Messung. Nuremburg, 1525, folio.

[DUVERGER (E.)], Histoire de l’invention de l’Imprimerie par les Monuments. Paris, 1840, folio.

EDWARDS (E.), Libraries and Founders of Libraries. London, 1865, 8vo.

[ENCYCLOPÆDIA], Article sur Fonderie en Caractères de l’Imprimerie. Paris, n. d., folio.

ENSCHEDÉ, Specimen de Caractères Typographiques Anciens. Harlem, 1867, 4to.

ESSAY on the Original, Use, and Excellency of the Noble Art and Mystery of Printing. London, 1752, 8vo.

EVELYN (JNO.), Diary and Correspondence, 4 vols. London, 1850–2, 8vo.

FAULMAN (C.), Geschichte der Buchdruckerkunst. Vienna, 1882, 8vo.

FIGGINS (V.), Facsimile of Caxton’s Game of the Chesse; with remarks. London, 1855, folio.

FINESCHI (V.), Notizie Storiche sopra la Stamperia di Ripoli. Fiorenze, 1781, 8vo.

FISCHER (G.), Essai sur les Monumens typographiques de Jean Gutenberg. Mayence, 1802, 4to.

FOURNIER (P. S.), Manuel Typographique, utile aux gens de lettres, 2 vols. Paris, 1764–66, 8vo.

FRANKLIN (BENJ.), Works of, 2 vols., London, 1793, 8vo; also Bigelow’s edition, 3 vols. Philadelphia, 1875, 8vo.

FREEMASON’S MAGAZINE. London, 1796, 8vo.

FRY (EDMUND), Pantographia. London, 1799, 8vo.

GAELIC SOCIETY OF DUBLIN: Transactions of, Dublin, 1808, 8vo.

GAND (M. J.), Recherches Historiques et Critiques sur la Vie et les Editions de Thierry Martens. Alost, 1845, 8vo.

GED (WILLIAM), Biographical Memoirs of. London, 1781, 8vo.

GENTLEMAN’S MAGAZINE. Vols. for 1792, 1793, 1803, 1836.

GOUGH (R.), British Topography, 2 vols. London, 1780, 4to.

GRESWELL (W. P.), A View of the Early Parisian Greek Press, 2 vols. Oxford, 1838, 8vo.

GUIGNES (J. DE), Essai Historique sur la Typographie Orientale et Grecque de l’Imprimerie Royale. Paris, 1787, 4to.

GUTCH (JNO.), Collectanea Curiosa, 2 vols. Oxford, 1781, 8vo.

HANSARD (T. C.), Typographia. London, 1825, 8vo.

[HANSARD (T. C.), the Younger.] Treatises on Printing and Type-founding (from the Encycl. Britan.). Edinburgh, 1841, 8vo.

HARLEIAN MSS.—The Bagford Collections.

HARLEIAN MISCELLANY, 8 vols. Lond., 1744–46, 4to. Vol. 3.

HARWOOD (EDW.), A View of the Various Editions of the Greek and Roman Classics. Lond., 1775, 12mo.

HAWKINS (SIR JOHN), A General History of the Science and Practice of Music. London, 1776, 4to. Vol. 5.

HEARNE (THOS.), Reliquiæ Hernianæ. Oxford, 1869, 4to, Vol. 2.

HODGSON (T.), An Essay on the Origin and Progress of Stereotype Printing. Newcastle, 1820, 8vo.

IMPRIMERIE ROYALE (de Paris). Specimen: Ancienne Typographic. Paris, 1819, 4to.

JAMES (JOHN), Catalogue and Specimen of the large and extensive Printing Type Foundry of. London, 1782, 8vo.

LABORDE (LÉON), Débuts de l’Imprimerie â Strasbourg. Paris, 1840, 8vo.

LA CROIX, FOURNIER et SERÉ, Histoire de l’Imprimerie, etc. Paris, 1852, 4to.

LAMBINET (PIERRE), Origine de l’Imprimerie, 2 vols. Paris, 1810, 8vo.

LANSDOWNE MSS., No. 231.

LATHAM (H.), Oxford Bibles and Printing in Oxford. Oxford, 1870, 8vo.

LAUD (Arch.), Works of, 7 vols. Oxford, 1847–60, 8vo. Vol. 5.

LEMOINE (HY.), Typographical Antiquities. London, 1797, 12mo.

LINDE (M. A. VAN DER), The Haarlem Legend of the Invention of Printing by L. J. Coster, critically examined. Lond., 1871, 8vo.

LOMÉNIE (L. DE), Beaumarchais et ses Temps. Edwards’ translation, 4 vols. London, 1856, 8vo. Vol. 3.

LONDON PRINTERS’ LAMENTATION. (London, 1660) 4to.

LONG (J. LE), Discours Historique sur les principales editions des Bibles Polyglottes. Paris, 1713, 12mo.

LUCE (L.), Essai d’une nouvelle typographie. Paris, 1771, 4to.

[LUCKOMBE (P.)], A Concise History of the Origin and Progress of Printing. London, 1770, 8vo.

MCCREERY (JNO.), The Press, a Poem. Published as a Specimen of Typography. Liverpool, 1803–27, 4to.

MADDEN (J. P. A.), Lettres d’un Bibliographe, 5 vols. Paris, 1868–78, 8vo.

MASON (MONCK), Life of William Bedell, D.D. London, 1843, 8vo.

MEERMAN (G.), Origines Typographicæ. 2 vols. Hagæ Com., 1765, 4to.

MILTON (JOHN), Areopagitica. (Arber’s Reprint.) London, 1868, 8vo.

MORES (E. ROWE), A Dissertation upon English Typographical Founders and Founderies. London, 1778, 8vo.

MOXON (JOSEPH), Regulæ Trium Ordinum Literarum Typographicarum. London, 1676, 4to.

MOXON (JOSEPH), Mechanick Exercises, or the Doctrine of Handy-Works, 2 vols. London, 1677–83, 4to.

MOXON (JOSEPH), Tutor to Astronomy and Geography, 4th ed. London, 1686, 4to.

NICHOLS (JNO.), Biographical and Literary Anecdotes of William Bowyer, Printer, F.S.A. London, 1782, 4to.

NICHOLS (JNO.), Literary Anecdotes of the Eighteenth Century, 9 vols. London, 1812–15, 8vo.

NICHOLS (JNO.), Illustrations of the Literary History of the Eighteenth Century, 8 vols. London, 1817–58, 8vo.

NOBLE (MARK), Continuation of Granger’s Biographical History of England, 3 vols. London, 1806, 8vo.

OTTLEY (W. Y.), An Inquiry concerning the Invention of Printing. London, 1863, 4to.

OWEN (HUGH), Two Centuries of Ceramic Art in Bristol. 1873, 8vo.

PACIOLI (LUCA), De Divinâ Proportione. Venice, 1509, folio.

PALMER (SAM.), A General History of Printing. London, 1732, 4to.

PANIZZI (SIR A.), Chi era Francesco da Bologna? London, 1858, 16mo.

PANZER (G. W.), Annales Typographici, 11 vols. Nuremberg, 1793–1803, 4to.

PARR (RICHD.), The Life of James Usher, Archbishop of Armagh. London, 1686, folio.

PATENTS FOR INVENTIONS. Abridgments of Specifications relating to Printing (1617–1857). London, 1859, 8vo.

PATER (PAULUS), De Germaniæ miraculo, optimo, maximo, Typis Literarum . . Dissertatio. Lipsisæ, 1710, 4to.

PHILIPPE (J.), Origine de l’Imprimerie â Paris. Paris, 1885, 4to.

PRINTER’S ASSISTANT, The. London, 1810. 12mo.

PRINTER’S GRAMMAR, The. London, 1787, 8vo.

PSALMANAZAR (GEO.), Memoirs of. London, 1765, 8vo.

REID (JNO.), A Specimen of the Printing Types and Flowers belonging to. Edinburgh, 1768, 8vo.

RENOUARD (A.), Annales de l’Imprimerie des Alde. 3 vols. Paris, 1825, 8vo.

RENOUARD (A.), Catalogue de la Bibliotheque d’un Amateur. 4 vols. Paris, 1819, 8vo.

RICHARDSON (REV. J.), A History of the Attempts that have been made to convert the Popish Native of Ireland. 1712, 8vo.

RICHARDSON (WM.), A Specimen of a New Printing Type, in Imitation of the Law-hand. London, n.d. broadside.

RIVINGTON (C. R.), Records of the Company of Stationers. London, 1883, 8vo.

ROCCHA (ANGELO), Bibliotheca Apostolica Vaticana. Rome, 1591, 4to.

ROSSI (J. B. DE), De Hebraicæ Typographiæ Origine ac Primitiis. Parma, 1776, 4to.

RUSHWORTH’S Historical Collections, 8 vols. London, 1659–1701, folio. Vol. 2.

SARDINI (G.), Storia Critica di Nicolao Jenson, 3 vols. Lucca, 1796–98, folio.

SAVAGE (WM.), A Dictionary of the Art of Printing. London, 1841, 8vo.

SAVAGE (WM.), Practical Hints on Decorative Printing. London, 1822, 4to.

SCHOEPFLIN (J. D.), Vindicisæ Typographiæ. Argentorati, 1760, 4to.

SCHWAB (M.), Les Incunables Orientaux. Paris, 1883, 8vo.

SHENSTONE (WM.), Works in Verse and Prose, 3 vols. London, 1791, 12mo.

SKEEN (W.), Early Typography. Colombo, 1872, 8vo.

SMITH (JNO.), The Printer’s Grammar. London, 1755, 8vo.

SMITH (THOS.), Vitæ quorundam eruditissimorum et illustrium Virorum. London, 1707, 4to.

STAR-CHAMBER. A Decree of Starre Chambre concerning Printing (11 June, 1637). London, 1637, 4to.

STATE PAPERS, Domestic, Calendars of, Various years.

STOWER (C.), The Printer’s Grammar. London, 1808, 8vo.

STRYPE (JNO.), Life and Acts of Matthew Parker. London, 1711, folio.

THIBOUST (C. L.), De Typographiæ Excellentiâ; Carmen. Paris, 1718, 8vo.

THOMAS (ISAIAH), The History of Printing in America, (2nd ed.), 2 vols., Albany, 1874, 8vo.

TIMPERLEY (C.), Encyclopædia of Literary and Typographical Anecdote. London, 1842, 8vo.

TIMPERLEY (C.), Songs of the Press, London, 1833, 8vo.

TODD (H. J.), Memoirs of the Life and Writings of the Rt. Rev. Brian Walton, D.D., 2 vols. London, 1821, 8vo.

TORY (GEOFROY), Champ-Fleury. Paris, 1529, sm. folio.

TRITHEMIUS (JOH.), Annales Hirsaugienses, 2 vols. St. Gall, 1690, 4to.

TWYN (JNO.), An Exact Narrative of the Tryal and Condemnation of. Lond., 1664, 4to.

UNIVERSAL MAGAZINE, London, 1750, 8vo.

[WATSON (JAMES)], The History of the Art of Printing. Edinburgh, 1713, 8vo.

WETTER (JOH.), Kritische Geschichte der Erfindung der Buchdruckerkunst. Mainz, 1836, 8vo., and atlas of plates.

WILLEMS (A.), Les Elzevier; Histoire et Annales Typographiques. Bruxelles, 1880.

WILKINS (DAVID), Concilia Magnæ Britanniæ et Hiberniæ. London, 1737, folio. Vol. 4.

WOOD (ANTHONY À), Athenæ Oxonienses, 2 vols. Lond., 1791–2, folio.

YCAIR (J. DE), Orthographia Practica. Caragoça, 1548, 4to.