Notes and Queries, Vol. IV, Number 90, July 19, 1851 / A Medium of Inter-communication for Literary Men, Artists, Antiquaries, Genealogists, etc.

by Various

A CAXTON MEMORIAL SUGGESTED.

After Caxton had slept with his fathers for three centuries, remembered only by a few antiquaries, it was deemed fit that a public monument should record his merits.

The Roxburghe club, much to the honour of its members, undertook to bear the cost of it, and to superintend its execution. With regard to its location, there was no question as to the paramount claims of Westminster. It was proposed, in the first instance, to place it in the collegiate church of St. Peter, within the precincts of which church Caxton had exercised his art. The want of a convenient space was rather an obstacle to that plan: a more serious obstacle was the amount of fees demanded on such occasions. It was then decided, and perhaps with more propriety, that it should be placed in the parish church of St. Margaret; and the execution of the monument, which was to be of the tablet form, was entrusted to the younger Westmacott.[1] An engraving of it has been published.[2] The inscription is

"To the memory

of William Caxton

who first introduced into Great Britain

the art of printing

and who A.D. 1477 or earlier

exercised that art

in the abbey of Westminster.

This tablet

in remembrance of one

to whom

the literature of his country

is so largely indebted

was raised

anno Domini MDCCCXX

by the Roxburghe club

earl Spencer, K.G. president."

[1] T. F. Dibdin, Reminiscences of a literary life. London, 1836. 8vo. i. 386.

[2] J. Martin, A catalogue of books privately printed. London, 1834. 8vo. p. 486.

The monument, as a piece of sculpture, is simplicity itself, and therefore suitable to the place of its destination. To the inscription I venture to make some slight objections: 1. Whether Caxton "introduced into Great Britain the art of printing" admits of a doubt. There is no evidence to invalidate the colophon of the Exposicio S. Jeronimi in simbolo Apostolorum.[3] Dibdin fully believed in its authenticity.[4] 2. Caxton is very imperfectly designated. He was a well-informed writer, a most assiduous translator, and a very careful editor. As early as 1548, he was classed among the Illustres majoris Britanniæ scriptores[5] — but we are on the decline, it seems, in point of tact and intelligence. 3. The date of his decease, and the place of his burial, should have been stated. The facts are recorded in the accounts of the churchwardens of this very parish, and nowhere else.[6] 4. The inscription, as a composition, wants terseness: on this point, I content myself with giving a hint typographically.

[3] S. W. Singer, Some account of the book printed at Oxford in 1468. London, 1812. 8vo. p. 44.

[4] Typographical antiquities, by Joseph Ames, etc. London, 1810. 4to. Life of Caxton, p. 75.

[5] Illvstrivm maíoris Britanniae scriptorvm summari[=u] avtore Ioanne Balaeo. Gippeswici, 1548. 4to. fol. 208.

[6] John Nichols, Illustrations of the manners and expences of ancient times. London, 1797. 4to. p. 3.

In 1847 a fresh attempt as made to revive the memory of Caxton. After due notice, a public meeting was held on the 12th of June to "promote the erection of a monument to commemorate the introduction of printing into England, and in honour of William Caxton, the earliest English printer"—the lord Morpeth in the chair. The meeting was extremely well attended. The form of monument proposed was, the combination of a fountain by day and a light by night—the poetical conception of the rev. H. H. Milman. Some excellent speeches were made—and I cannot but particularize that of the noble chairman; considerable sums were subscribed—the messieurs Clowes tendering 100l.; a committee, a sub-committee, a treasurer, and a secretary, were appointed.[7] —With the proceedings of that meeting, as publicly reported, my information terminated.

[7] The Times, June 14, 1847.

After a lapse of four years, a meeting of the subscribers to the Caxton Testimonial was advertised for the 10th of July, to "consider an offer made by the Coalbrookdale Iron Company to erect an iron statue of Caxton—and, in the event of the proposal being adopted, to determine the best means of carrying the same into effect." I was much astonished at this announcement. A meeting to consider an offer to perpetuate a fiction in connexion with an art which surpasses all other arts in its power of establishing truth! On reflection, I became calm; and felt that Mr. Henry Cole, the honorary secretary, was perfectly right in adopting the customary phraseology. The result of this meeting is a desideratum. It seems to have been private; for an examination of 300 columns of The Times, being, the history of four days, did not lead to the discovery of one word on the iron statue of Caxton.

If the statue-mania did not now prevail to an unexampled extent, I should feel much confidence in the sound sense of the subscribers—but I have my misgivings.

According to my feelings, which I avail myself of this opportunity of recording, we may commemorate an eminent individual in better ways than by the erection of a statue; the philanthropist, by an alms-house—the scholar, by scholarships—the naval commander, by a sea-mark—etc. Admitting that a statue may sometimes be the most desirable form of monument, the statue of an individual of whose features we are in entire ignorance is a misnomer. It is scarcely less than an absurdity.

As I have intimated that there is no authentic portrait of Caxton, I must now justify my conviction. Ames published a woodcut as a portrait of our venerable Caxton:[8] Dibdin discovered it to be a "portrait of Burchiello,"[9] an eccentric Florentine barber!—le poète le plus bizarre qui ait jamais écrit! Horace Walpole published a print said to represent earl Rivers "introducing Caxton to Edward IV."[10] It was copied from an illuminated MS. in the archiepiscopal library at Lambeth, No. 265. Now, what says Mr. Todd? "That Caxton printed this book in 1477, is well known. But what has that circumstance to do with the earl presenting or attending the presentation of his own manuscript? The figure here introduced by the earl is evidently, by the tonsure and habit, a priest; which Caxton was not."[11] I have heard of no other engraved portraits of Caxton.

[8] Typographical antiquities. London, 1749. 4to. p. 54.

[9] The bibliographical decameron. London, 1817. 8vo. ii. 288.

[10] Catalogue of royal and noble authors. Strawberry-hill, 1758. 8vo. i. 60.

[11] Catalogue of the archiepiscopal manuscripts at Lambeth. London, 1812. Fol. p. 37.

Viewing Caxton as a man of considerable literary abilities, and as the first English printer, I have now to propose for him a monument which shall do justice to his merits in both capacities—a monument which shall be visible at all times, and in all places: I propose a collective impression of his original compositions. Such a volume would be the best account of his life and works. It would also exhibit much of the literary history of the times—some sound criticism and notions on editorship—and curious specimens of the style of our forefathers. It would comprise what no wealth could procure—what no single library could produce. It would be, to use the forcible words of messieurs Visconti and Castellan, on a somewhat similar occasion, "un monument plus utile et plus durable que ceux même que l'on peut ériger avec le marbre et le bronze."[12]

[12] Journal des savans. 1818. 4to. p. 389.

Proposed Conditions.

1. A volume, to be entitled The Caxton Memorial, shall be printed for subscribers under approved editorship, and shall contain all the original compositions of WILLIAM CAXTON, as proems, notes, colophons, etc., with specimens of his translations, and fac-simile cuts of his device and types.

2. In order to expedite the progress of the volume, and to ensure the perfect accuracy of its contents, there shall be three co-editors—one of whom shall act as secretary.

3. The volume shall be printed in Roman type, with the ancient orthography and punctuation; and in two sizes—in royal octavo, and in demy octavo.

4. Subscribers of 1l. 1s. shall be entitled to a copy on royal paper, and subscribers of 10s. 6d. to a copy on demy paper.

5. Each editor shall be entitled to the same number of copies as are allowed by the Camden and other similar societies.

6. The number of copies printed shall not exceed the number for which subscriptions shall have been received, except as required by the fifth rule, and as presents to such public libraries, or private collectors, as may furnish a part of the materials.

7. Printers and publishers subscribing for six copies shall be allowed a discount of 25 per cent.

8. The names of the subscribers, and an account of the receipts and expenditure, shall be added to the volume.

The project now announced was formed by me, as to its principal features, at the close of the year 1849; but not a line was written before the appearance of the advertisement of the 5th instant. It had been communicated, however, in private, to the editor of "NOTES AND QUERIES." To this fact I have no doubt he will cheerfully bear witness. As the previous scheme of a Caxton Testimonial was then almost forgotten, the idea could not have been conceived in spirit of rivalry. Nevertheless, if need be, I would oppose to the utmost of my ability, and fearless of any array of names which the rolls of literature may furnish, the PERPETUATION OF A FICTION.

BOLTON CORNEY.

Barnes Terrace, Surrey, July 15.