Although the Music was the only fount cut by Walpergen of which we have any certain knowledge, it is probable that the experienced Dutch artist, whom Bagford describes as an excellent workman, did not confine his labours to that class of work. What were his exact relations with the University Press is also a matter of conjecture. But it seems probable, from the manner in which he is spoken of by Moxon, and in the Oxford Specimen, that he practised as a letter-founder on his own account, and not wholly as an official of the University.

He died in 1714.[397] Among the University archives is preserved an inventory of his chattels, which, if a full account of his earthly possessions, speaks {209} poorly for the profits of the profession of letter-founding in those days. This highly interesting document runs as follows[398]:—

An inventory of the Chattels of Peter De Walpergen, deceased, taken the tenth day of January 1714–5.

Being the Moiety of a Fount of Musick.

£s.d.

Two hunderd and two pounds weight of Mettal (? cast type) at four pence per pound his part is

1138

One hunderd fourty seven Matrices at one Shilling per piece his part is

3136

Nine quadrats at two pence per piece his part is

009

Four moulds at two shillings six pence per piece his part

050

Sixty three puncheons at five shillings (i.e., for the lot) his part

026

Four cases at four shillings his part

020

Two galleys at two shillings his part

010

A box at sixpence his part

003

Appraised by us, LEONARD LICHFIELD.
RICHARD GREEN.

The extraordinarily low value of the punches is quite consistent with the esteem in which these now precious steel originals were held at the time, after once being struck.

Walpergen’s music matrices were secured by the University Press, in whose Specimens the type had already figured for some years; but we have, so far, been unable to discover any important works in which the character was used.

SYLVESTER ANDREWS, who succeeded to Walpergen’s foundry before the year 1714, was the son of Robert Andrews, the London founder. His foundry, which, with the exception of one alphabet of Hebrew, consisted entirely of Roman and Italic, was, Rowe Mores informs us, nothing compared with that of his father, and was indeed a part of his father’s. The following is the list of his matrices:—

Although his stock of matrices was limited, he appears to have done a considerable business, not only with the University, in whose service he was probably retained, but also with other printers practising in Oxford, notably with John Baskett, the king’s printer, to whom, with two others, the “Chancellor, Masters and Scholars of the University,” leased their “privilege and interest in printing” for twenty-one years from March 1713.

In the year 1719 Baskett, who had two years previously produced the magnificent “Vinegar” Bible[399] at Oxford, mortgaged his stock and privilege at the University to James Brooks, stationer, of London, as security for a loan of £3,000. And in a schedule attached to an indenture, dated May 23, 1720, having reference to this transaction, occurs an inventory of the type at that time in the printer’s possession, which is highly interesting, not only as throwing light on Andrews’ business, but as indicating the contents of a large office of the period, and the extent to which Dutch type at that time competed in this country with English. The schedule is as follows:—