[539] This fount (according to Savage, Dict. of Printing, p. 320) was cut after the classical and elegant type of Athias, for Mr. Jno. Wertheimer, of Leman Street, and was used in printing the Rev. D. A. De Sola’s edition of the Prayers of the Sphardim.
[540] “In conformity,” says the preface, “with ancient immemorial usage, we have in Part I displayed our Founts in the Roman Garb—the venerable Quousque tandem—but lest it should be supposed we had adopted the flowing drapery of Rome for the purpose of shading or concealing defects, we have in Part II shown off our founts in a dress entirely English.” Mr. Figgins was the first to introduce this practice in his Specimens.
[541] The following extract from the preface to the 1834 Specimen, announces the removal: “We had the honour some time ago of announcing the removing of the Glasgow Letter Foundry to London, and we beg leave to inform you that we have now carried our intentions into execution, and are prepared to receive your commands in our establishment in Great New Street, Gough Square, London. The operative department will be conducted by Mr. John Sinclair, whose integrity of conduct and thorough knowledge of his profession we now reward by making him a partner in our business.” London, Aug. 1, 1834. The London Foundry was carried on under the old name of Alex. Wilson & Sons, or occasionally Wilsons and Sinclair; the Edinbro’ branch, and that subsequently started in Dublin, being styled A. & P. Wilson.
[542] See post, chap. xxi.
13. JOHN BASKERVILLE, 1752
[543] There still exists, in Mr. Timmins’ collection of Baskerville relics, a slate tablet beautifully engraved with the words “Grave Stones cut in any of the Hands by John Baskervill, Writing Master,” in which the admirable models of Roman and Italic for which he afterwards became famous are clearly prefigured.
[544] “His carriage,” says Nichols, “each panel of which was a distinct picture, might be considered the pattern-card of his trade, and was drawn by a beautiful pair of cream-coloured horses” (Lit. Anec., iii, 451).
[545] He appears to have continued his original business to the end of his days. Writing in 1760, Mr. Derrick, in a letter to the Earl of Cork, dated July that year, after describing Baskerville’s printing achievements, adds: “This ingenious artist carries on a great trade in the Japan way, in which he showed me several useful articles, such as candlesticks, stands, salvers, waiters, bread-baskets, tea-boards, etc., elegantly designed and highly finished.” The name of Baskerville had previously been associated with typography, as we find in the lists of the Stationers’ Company a Gabriel Baskerville, who took up his freedom in 1622, and a John Baskerville, who took up his freedom in 1639.
[546] Dibdin (Intr. to Classics, ii, 555) says £800.
[547] “Towards the end of 1792 died Mr. John Handy, the artist who cut the punches for Baskerville’s types, and for twelve years was employed in a similar way at the Birmingham Typefoundry of Mr. Swinney.” (Gent. Mag., 1793, p. 91.)