It is almost impossible to place any reliance upon so vague and inconclusive a biography as this. There was a belief in the Caslon family that he began letter-cutting before 1720, and the equally vague traditions which point to a later date need not make us treat this as impossible.
Was his the unknown hand that cut the double pica type which Baskett used in printing the 'Vinegar' Bible? A close examination of the types used in that Bible, those used in printing the folio edition of Pope's Iliad, and those of the 'Selden,' reveals a striking resemblance, especially in the form of the italic letter, and at least makes it clear that if the two first-mentioned works were printed with Dutch letter, then it was on the best form of that letter that Caslon modelled his types.
The charm of Caslon's Roman letter lay in its wonderful regularity as well as in the shape and proportion of the letters. In this respect it was a worthy successor to the best Aldine founts of the sixteenth century. The italic was also noticeable for its beauty and regularity.
Caslon's superiority over all other letter-cutters, English or Dutch, was quickly recognised, and from this time forward until the close of the century all the best and most important books were printed with Caslon's letter; the old letter-founders, such as James and Grover, being entirely neglected, and even such a powerful rival as John Baskerville being unable to compete with him.
In addition to the printers in London already noticed, there were two others who must not be forgotten. Samuel Richardson, author of Pamela, Clarissa Harlowe, and Sir Charles Grandison, was by trade a printer. Born in Derbyshire, of humble parents, in 1689, he was apprenticed to Mr. John Wilde, a printer in London, whom he served for seven years. He took up his freedom in 1706, and started business for himself in Salisbury Court, Fleet Street. Among his earliest patrons were the Duke of Wharton, for whom he printed some six numbers of a paper called the True Briton, and the Right Hon. Arthur Onslow, by whose interest he obtained the printing of the Journals of the House of Commons. But he did some better work than this, as in 1732 he printed for Andrew Millar a good edition in folio of Churchill's Voyages, and in 1733 the second volume of De Thou's History, a work in seven folio volumes, edited by Samuel Buckley, his share in which reflects credit on Richardson as a printer. Between 1736-37 he printed The Daily Journal, and in 1738 the Daily Gazeteer, and in 1740 the newly-formed Society for the Encouragement of Learning entrusted to him the printing of the first volume of The Negociations of Sir Thomas Roe, in folio. In this the text was printed in the same type as the De Thou, but the dedication was in a fount of double pica Roman. This work, which was intended to have been in six volumes, was never completed.
Richardson's work as an author began in 1741 with the publication of Pamela, in four volumes, duodecimo, printed at his own press. Clarissa Harlowe appeared in 1747-48, and in 1753 his final novel, Sir Charles Grandison. Through the treachery of one of his workmen in the printing office, the Dublin booksellers were enabled to issue an edition of Sir Charles Grandison before the work had left Richardson's press. He vented his aggrieved feelings by printing a pamphlet, The Case of Samuel Richardson of London, Printer.
In 1755 Richardson rebuilt his premises, and in 1760 he bought half the patent of law printing, which he shared with Catherine Lintot. His death took place on the 4th July 1761, his business being afterwards carried on by his nephew, William Richardson.
The other press to which reference has been made was that of Henry Woodfall. In the first series of Notes and Queries (vol. xi. pp. 377, 418) an anonymous contributor supplied some very interesting and valuable notes drawn from the ledgers of that printer between the years 1734 and 1747. Such a record is the most valuable material for a history of printing, but unfortunately this is the only known instance in which it is available. It supplies us with the most useful information, the numbers of copies that went to make up an edition, the quality and cost of the paper and the number of sheets contained in each volume, with many other interesting particulars, which it is impossible to get from any other source. While recognising the value of these extracts from Woodfall's ledger, the writer hardly seems to have made the most of his opportunity. In many instances he gives only the title of the work and the number of copies printed, omitting all particulars as regards the cost of printing. But even as it stands this series of papers throws much interesting light upon the publication of some of the notable works of that period.
Woodfall's printing was broadly divided into two classes, 'gentlemen's work' and 'booksellers' work,' and the second is naturally the more interesting.
Among those for whom he printed were Bernard and Henry Lintot, Robert Dodsley, Andrew Millar, and Lawton Gilliver. Against Bernard Lintot is the following entry:—