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HISTORY] Oratio Dominica of 1700, and in Hickes's Thesaurus (1703–1705), and it remained the only one in England.

Matrices of Gothic type were presented to Oxford by Francis Junius in 1677, and a fount of them was used for the Oratio Dominica of 1700 and in Hickes’s Thesaurus. A different fount was used for Chamberlayne’s Oratio Dominica, printed at Amsterdam in 1715. Caslon cut a fount which appeared in his

first specimen in 1734. This and the Oxford fount were the only two in England in 1820.

Founts of Icelandic, Swedish and Danish were included in Junius’s gift to Oxford in 1677, and were, perhaps, specially prepared in Holland. The first-named is shown in the Oratio Dominica of 1700 and in Hickes’s Thesaurus. Printing had been practised in Iceland since 1531, when a Breviary

was printed at Hoolum, in types rudely cut, it is alleged, in wood. In 1574, however, metal types were provided and several works produced. After a period of decline, printing was revived in 1773, and in 1810 Sir George M‘Kenzie reported that the Hoolum press possessed eight founts of type, of which two were Roman, and the remainder of the common Icelandic character, which, like the Danish and Swedish, bears a close resemblance to the German.

For the Anglo-Saxon language the first type was cut by John Day in 1567, under the direction of Archbishop Parker, and appeared in Ælfric’s Paschal Homily in that year and in the Ælfredi res gestæ of Asser Menevensis in 1574. Anglo-Saxon type was used by Browne in 1617, in Minsheu’s

Ductor in linguas; and Haviland, who printed the second edition of that work in 1626, had in 1623 made use of the character in Lisle’s edition of Ælfric’s Homily.

The first fount of Irish character was that presented by Queen Elizabeth to O'Kearney in 1571, and used to print the Catechism which appeared in that year in Dublin, from the press of Franckton. But the fount is only partially Irish, many of the letters being ordinary Roman or Italic. It was used

in several works during the early years of the 17th century, and as late as 1652 in Godfrey Daniel’s Christian Doctrine, printed in Dublin. The Irish seminaries abroad were better supplied with Irish type. A new type was cut by Moxon, and appeared in 1681 in Boyle’s New Testament, printed by Robert Everingham.

The earliest specimen of music type occurs in Higden’s Polychronicon, printed by De Worde at Westminster in 1495. The square notes appear to have been formed of ordinary quadrats, and the staff-lines of metal rules imperfectly joined. In Caxton’s edition of the same work in 1482 the space

had been left to be filled up by hand. The plain chant in the Mainz psalter of 1490, printed in two colours, was probably cut in wood. Hans Froschauer of Augsburg printed music from wooden blocks in 1473, and the notes in Burtius’s Opusculum Musices, printed at Bologna in 1487, appear to have been produced in the same manner; while at Lyons the missal printed by Matthias Hus in 1485 had the staff only printed, the notes being intended to be filled in by hand. About 1500 a musical press was established at Venice by Ottavio Petrucci, at which were produced a series of mass-books with lozenge-shaped notes, each being cast complete with a staff-line. In 1513 he removed to Fossombrone, and obtained a patent from Leo X. for his invention of types for the sole printing of figurative song (cantus figuratus). Before 1550 several European presses followed Petrucci’s example, and music type was used, among other places, at Augsburg in 1506 and 1511, Parma in 1526, Lyons in 1532 and Nuremberg in 1549. In 1525 Pierre Hautin cut punches of lozenge-shaped music at Paris. Round notes were used at Avignon in 1532. In England, after its first use, music-printing did not become general till 1550, when Grafton printed Marbecke’s Book of Common Prayer, “noted” in movable type, the four staff-lines being printed in red and the notes in black. There are only four different sorts of notes used—three square and one lozenge. About 1660 the detached notes hitherto employed began to give place to the “new tyed note,” by which the heads of sets of quavers could be joined. But at the close of the 17th century music-printing from type became less common, on account of the introduction of stamping and engraving plates for the purpose. Cf. Rob. Steele, The Earliest English Music Printing, folio (London, 1903); Andr. Deakin, ''Mus. Bibliogr.'', 8vo. (Birmingham, 1893).

Printing for the blind was first introduced in 1784 by Valentin Haüy, the founder of the asylum for blind children in Paris. He made use of a large script character, from which impressions were taken on a prepared paper, the impressions being so deeply sunk as to leave their marks in strong

relief and legible to the touch. Haüy’s pupils not only read in this way, but executed their own typography, and in 1786 printed an account of their institution and labours as a specimen of their press. The first school for the blind in England was opened in Liverpool in 1791, but printing in raised characters was not successfully accomplished till 1827, when Gall of the Edinburgh asylum printed the Gospel of St John from angular types. Alston, the treasurer of the Glasgow asylum, introduced the ordinary Roman capitals in relief, and this system was subsequently improved upon by the addition of the lower-case letters by Dr Fry, the type-founder, whose specimen gained the prize of the Edinburgh Society of Arts

in 1837. Several rival systems have competed in England for adoption, of which the most important are those of Lucas, Frere, Moon, Braille, Carton and Alston (see ).

The trouble and cost involved in the use of the initial director early suggested the use of woodcut initials, and Erhard Ratdolt of Venice, about 1475, is generally supposed to have been the first printer to introduce the literae florenies, called also lettres tourneures, or typi tornatissimi, which eventually superseded

the hand-painted initials. Caxton introduced one or two kinds in 1484. Among the earliest to be used are the so-called Lombardic initials or capitals. The more elaborate initials, such as those used in the Mainz indulgences and psalter, by Aldus at Venice, by Johann Schoeffer at Mainz in 1518, by Tory and the Estiennes at Paris, by Froben at Basel, and by the other great printers of their day, were known as lettres grises. Besides these, the ordinary “twoline letters” or large plain capitals came into use: and these were generally cast, whilst the ornamental letters were for the most part engraved on wood or metal.

Type ornaments and flowers began, like the initials, with the illuminators, and were afterwards cut on wood or metal. The first printed ornament or vignette is supposed to be the scutum or arms of Fust and Schoeffer in some copies of their 1457 Psalter, and of their edition of the Bible

of 1462. There is no vignette in the Subiaco Lactantius of 1465 (as stated by Mr Reed, Letter Foundries, p. 82). In Holtrop’s Monum. ''typogr. des Pays-Bas'' may be seen borders used by some of the earliest printers of Holland (1475–1490), which would not look bad even in the present time. Caxton in 1490 used ornamental pieces to form the border for his Fifteen O’s. At the same time the Paris printers engraved still more elaborate border pieces. At Venice entire frames were engraved in one piece, while Aldus as early as 1495 used tasteful head-pieces cut in artistic harmony with his lettres grises. Early in the 16th century we observe detached ornaments and flourishes which have evidently been cast from a matrix.

.—Besides the works of Berjeau, Bernard, Blades, Hawkins, Hessels, Holtrop, Noel Humphreys, Koehler, Jules Philippe, T. B. Reed, Sotheby, Steele, Weigel, &c., already mentioned, consult also Bigmore and Wyman, A Bibliography of Printing (London, 1880); Geo. Wolfg. Panzer, Annales typog. (Nuremberg, 1793, &c.); Lud. Hain, Repertorium bibliog. (Stuttgart, 1826–1838), with indices by Conr. Burger (1891 and 1908); suppl. by W. A. Copinger (1895–1902), and Appendices ad Hainii-Copingeri repertorium, by Diet. Reichling (1905–1909); Holtrop, ''Cat. librorum'' ''sec. xv° impressorum in bibl. Regia Hagana'' (the Hague, 1856); M. F. A. G. Campbell, ''Ann. de la typog. néerlandaise au xvᵉ'' siècle (the Hague, 1874); Rob. Sinker, ''A. Cat. of the XV. Century'' Printed Books in the Library of Trinity College, Cambridge (Cambridge, 1876); W. Th. Lowndes, Bibliographer’s Manual, ed. by H. G. Bohn (London, 1858, &c.); J. C. Brunet, Manuel du libraire (Paris, 1860; four earlier editions); Th. F. Dibdin, Bibliotheca Spenceriana (London, 1814, &c., and his other works); Ennen, Katalog der Incunabeln in der Stadt-Bibliothek zu Köln; Schoepflin, Vindiciae typog. (1760); Meerman, Origines typog. (the Hague, 1765); Dupont, ''Hist. de l’impr. (Paris, 1869); Firmin-Didot, Hist. de la typog.'' (Paris, 1882); E. Duverger, ''Hist. de l’invention de l’impr. (Paris, 1840); P. Lambinet, Origine de l’impr.'' (Paris, 1810); Ch. Ruelens, La Légende de St Servais (Brussels, 1873); J. P. A. Madden, Lettres d’un bibliographer (Paris, 1868–1878); Wetter, ''Krit. Gesch. der'' Erfindung der Buchdruckerkunst (Mainz, 1836); A. de Vries, Éclaircissemens ''sur l’histoire de l’inv. de l’impr.'' (the Hague, 1843); Jos. Ames, ''Typogr. Antiquities (augmented by W. Herbert; London, 1785–1790); T. C. Hansard, Typographia'' (London, 1825); Thomas, ''Hist. of Printing in America'' (Albany, 1874); Th. L. Devinne, The ''Inv. of Print. (London, 1877); W. Skeen, Early Typography'' (Colombo, 1872); Sam. Palmer, ''A General Hist. of Print.'' (London, 1732); W. Young Ottley, ''Inquiry concerning the Inv. of Print. (London, 1863); Henry Bradshaw, A Classified Index of the 15th Century Books'' in the Collection of the late M. J. de Meyer (London, 1870); idem, Hist. of the Founts of Type and Woodcut Devices used by Printers in Holland in the 15th Century (London, 1871); idem, The Printer of the Historia S. Albani (Cambridge, 1868); A. Van der Linde, Haarlem Legend (London, 1870); idem, Gutenberg (Stuttgart, 1881); idem, ''Gesch. der'' ''Erfind. der Buchdruckerkunst (Berlin, 1886); Schaab, Gesch. der Erfind.'' der Buchdruckerk. (Mainz, 1830); K. Falkenstein, ''Gesch. der Buchdruckerk.'' (Leipzig, 1856); Lorck, ''Handb. der Gesch. der Buchdruckerk.'' (Leipzig, 1882); K. Faulmann, ''Illustr. Gesch. der Buchdruckerk.'' (Vienna, 1882); M. Denis, ''Wiens Buchdruckergesch. bis 1560 (Vienna, 1782); C. R. Hildeburn, A Century of Printing—The Issues of the'' Press in Pennsylvania, 1684–1784 (Philadelphia, 1887); J. Garcia Icazbalceta, Bibliografia Mexicana del siglo xvi. (Mexico, 1887); Bibliographica (3 vols., London, 1895–1897); W. Blades, Bibliographical Miscellanies (London, 1890); C. M. Briquet, Les Filigranes. ''Dict. hist. des marques du papier'' (4 vols., Genève, 1907); Konr. Burger, Beiträge zur Inkunabelbibliogr. (Leipzig, 1903); ''Catal. of'' Books printed in the 15th Century, Brit. Mus. pt. i. (London, 1908); ''Catal. of MSS. and early Printed Books'' in the library of J. Pierpont Morgan (3 vols., London, 1907); Arth. Christian, Origines de l’imprimerie en France (Paris, 1900); A. Claudin, ''Monum. de l’imprimerie à'' Poitiers (Paris, 1897); idem, Histoire de l’imprimerie en France au