112 Lascaris caused to be printed at Florence, in 1494, an Anthologia Græca, and several other works wholly in Greek capitals, “litteris majusculis.” In the preface to the Anthologia he vindicates his use of these characters, which he says he has designed after the genuine models of antiquity to be found in the inscriptions on medals, marbles, etc.

113 Robert Estienne was not the first to hold this title, Conrad Néobar, his predecessor, having enjoyed it from 1538–40. In some of his early impressions before 1543, Estienne used occasionally Greek types, apparently the same as those of Badius.

114 The Imprimerie Royale at the Louvre, of which the present Imprimerie Nationale is the direct successor, was not founded till 1640, by Louis XIII. Francis I granted the letters patent in 1538, whereby Néobar and his successors received the title of Royal Printers, but did not create a royal printing establishment.

115 Renouard states that the last of the Greek founts of the Aldine press was without doubt designed from Garamond’s models.

116 Gresswell mentions an Alphabetum Græcum, published in 1543, as a preliminary specimen.

117 The history of these famous types, the matrices of which for some years lay in pawn at Geneva, whence they were released at a cost of 3,000 livres in 1619, may be read in M. Bernard’s Les Estienne et les types grecs de François I ^er. Paris, 1856. 8vo.

118 Greek printing did not become common in Spain till a later period. A book printed at Oriola in 1603 contains an apology for the want of Greek types.

119 See specimen No. 28, post.

120 See specimen No. 29, post.

121 See specimen No. 69, post.

122 See specimen No. 71, post.

123 De Hebraicæ typographiæ origine. Parma, 1776. 4to.

124 Les Incunables Orientaux. Paris, 1883. 8vo.

125 Recherches . . sur la Vie et les Editions de Thierry Martens. Alost, 1845. 8vo.

126 See specimens Nos. 34 and 35, post.

127 See specimen No. 47, post.

128 The English were in negotiation for the founts when Vitré received his orders to purchase.

129 See Calendar State Papers, 1637–8, p. 245. Raphlengius died in 1597. Among Laud’s MSS. at the Bodleian is a printed work by Bedwell, entitled The Arabian Trudgman, London, 1615, 4to, but no Arabic type is used in it. An attempt to buy the Oriental matrices of Erpenius for Cambridge, in 1626, was forestalled by the Elzevirs, who secured them for their own press.

130 See specimen No 37, post.

131 See specimen No. 61, post.

132 Parr’s Life and Letters of Usher. London, 1686, fol., p. 488.

133 See specimen No. 38, post.

134 See specimen No. 41, post.

135 See specimen No. 63, post.

136 See specimen No. 39, post.

137 See specimen No. 66, post.

138 See specimen No. 40, post.

139 See specimen No. 36, post.

140 See specimen No. 62, post.

141 See specimen No. 42, post.

142 See specimen No. 78, post.

143 James’s foundry also had a set of punches in Long Primer, but these appear never to have been struck.

144 See specimen No. 64, post.

145 See specimen No. 65, post.

146 See facsimile No. 20, post.

147 See specimen No. 48, post.

148 See specimen No. 45, post.

149 Music engraved on wood was used as late as 1845, in Oakley’s Laudes Diurnæ.

150 See specimen No. 54, post.

151 Essai sur l’Education des Aveugles. Dedié au Roi. À Paris. Imprimé par les Enfants Aveugles. 1786. 4to. The work is printed in the large script letter of the press, but not in relief. Appended are specimens of circulars, addresses, etc., printed in ordinary type, for the use of the public.

152 A curious collection of these may be seen in the Quincuplex Psalterium, printed by Henri Estienne I, at Paris, in 1513.