See also:

• TYPOGRAPHY (i.e. writing by types)

TYPOGRAPHY (i.e. See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing by types)  is the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• TERM

term for the See also:

• ART

art of See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing movable (See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast-See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal) types on See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper, vellum, &c . It is distinct from See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing, and also from See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-See also:

• ENGRAVING

engraving or xylography, which is the art of cutting figures, letters, words, &c., on blocks of wood and taking impressions from such blocks by means of See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink, or any other fluid coloured substance, on paper or vellum . I.—See also:

• HISTORY

HISTORY OF See also:

• TYPOGRAPHY (i.e. writing by types)

TYPOGRAPHY Although the art of writing and that of See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block-printing both differ widely from printing with movable metal types, yet this last See also:

• PROCESS

process has apparently been such a See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual transition from block-printing,' and block-printing in its turn such a natural outcome of the many trials that were probably made to produce pictures, books, &c., in, some more expeditious manner than could be done with See also:

• HANDWRITING

handwriting, that a cursory glance at these two processes will not seem out of See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, especially as a discussion on the origin and progress of typography could hardly be under-stood without knowing the See also:

• STATE
• STATE, GREAT OFFICERS OF

state of the See also:

• LITERARY

literary development at the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time that printing appeared . The art of printing, i.e. of impressing (by means of certain forms and. See also:

• COLOURS, MILITARY

colours) figures, pictures, letters, words, lines, whole pages, &c., on other See also:

• OBJECTS

objects, as also the First art of engraving, which is inseparably connected attempts at with printing, existed See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long before the 15th cen- 1'''in""g• tury . Not to go back to remoter essays, there is See also:

• REASON (Lat. ratio, through French raison)

reason to suppose that See also:

• MEDIEVAL

medieval See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings and princes (among others See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William ' We do not See also:

• DEAL

deal here with copperplate engraving (chalcography), nor with the question, raised by some authors, whether this art preceded that of wood-engraving (xylography), or See also:

• VICE

vice versa . The earliest known date of the former is 1446 on the small engravings of " the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion " in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Royal See also:

• PRINT

Print See also:

• ROOM

Room, whereas the earliest known date of wood-engraving is 1418 (on the See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary engraving) . Both arts were naturally dependent upon See also:

• MSS

MSS. for the forms of their letters, but as to the question of transition from the art of writing to that of typography, xylography alone can be regarded as the intervening and connecting See also:

• LINK

link between those two arts, and there are See also:

• GOOD, JOHN MASON (1764-1827)

good reasons for assuming that the inventor of printing with movable types was a xylographer (see below) . the Conqueror) had their monograms cut on blocks of wood or metal in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to impress them on their charters . Such impressions from stamps are found instead of See also:

• SEALS

seals on charters of the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . See also:

• MANUSCRIPTS

Manuscripts, even of the 12th century, show See also:

• INITIALS (Lat. initialis, of or belonging to a beginning, initium)

initials which, on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of their uniformity, are believed to have been impressed by means of stamps or See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

dies.' Before the invention of printing, say about 1436, bookbinders are known to have impressed names or legends or other See also:

• INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions on their bindings in two ways: (I) by means of single, insulated letters engraved reversely downwards into a See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp of See also:

• BRASS
• BRASS (O. Eng. braes)

brass, whereby the letters appeared en See also:

• RELIEF

relief on the See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather or See also:

• PARCHMENT

parchment of the binding; (2) by letters engraved reversely en relief on the brass stamp, whereby the letters sank into the binding . For this reason the term impressor, applied afterwards to the " printer," was, in the first instance, applied to the binder, whereas ligator was the proper word for him (see F . See also:

• FALK, JOHANN DANIEL (1768-1826)
• FALK, PAUL LUDWIG ADALBERT (1827-1900)

Falk, Per Stempeldruck, in " Festschrift," 1900, p .

93 sqq.; Zedler, See also:

• GUTENBERG, JOHANN (c. 1398–1468)

Gutenberg-Forschungen, 19o1, p . 6) . But the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of " multiplying " representations from one engraved See also:

• PLATE

plate or block or stamp, or other See also:

• FORM (Lat. forma)

form, was unknown to the ancients, whereas it is predominant in what we See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call the art of block-printing, and especially in that of typography, in 'which the same types can be used again and again . Block-printing and printing with movable types seem to have been practised in See also:

• CHINA

China and See also:

• JAPAN

Japan long before they were known in See also:

• EAST
• EAST, ALFRED (1849- )

East See also:

• ASIATIC

Asiatic See also:

• EUROPE

Europe . It is said that in the See also:

• YEAR

year 175 the See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text of Printing, the-See also:

• CHINESE, JAPANESE AND

Chinese See also:

• CLASSICS

classics was cut upon tablets, and that impressions were taken of them, some of which are supposed to be still in existence . Printing from wooden blocks can be traced as far back as the 6th century, when the founder of the Suy See also:

• DYNASTY (Gr. &vvaareta, sovereignty, the position of a hevnori7r, lord, ruler, from SuvaaBay to be able, Suvaµas, power)

dynasty is said to have had the remains of the classical books engraved on wood, though it was not until the loth century that printed books became See also:

• COMMON

common . In Japan the earliest example of block-printing See also:

• DATES

dates from the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period 764–770, when the empress Shiyau-toku, in pursuance of a See also:

• VOW (Lat. votum, vow, promise: cf. VOTE)

vow, had a million small wooden See also:

• TOY
• TOY, CRAWFORD HOWELL (1836– )

toy pagodas made for See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution among the Buddhist temples and monasteries, each of which was to contain a dharani out of the Buddhist Scriptures, entitled " Vimala nirbhasa S6tra," printed on a slip of paper about 18 in. in length and 2 in. in width, which was rolled up and deposited in the See also:

• BODY

body of the See also:

• PAGODA (Port. pagode, a word introduced in the 16th century by the early Portuguese adventurers in India, reproducing phonetically some native word, possibly Pers. but-kadah, a house for an idol, or some form of Sansk. bhagavat, divine, holy)

pagoda under the See also:

• SPIRE

spire . In a See also:

• JOURNAL
• JOURNAL (through Fr. from late Lat. diurnalis, daily)

journal of the period, under the year 987, the expression " printed See also:

• BOOK

book "(suri-hon)is applied to a copy of the Buddhist See also:

• CANON

canon brought back from China by a Buddhist See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest . This must have been a Chinese edition; but the use of the term implies that printed books were already known in Japan . It is said that the Chinese printed with movable types (of See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay) from the See also:

• MIDDLE

middle of the tlth century . The authorities of the See also:

• BRITISH

British Museum exhibit as the earliest instance of Korean books printed with movable types a See also:

• WORK

work printed in 1337 . To the Koreans is attributed the invention of See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper types in the beginning of the 15th century; and an inspection of books bearing dates of that period seems to show that they used such types, even if they did not invent them.' From such See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence as we have, it would seem that Europe is not indebted to the Chinese or See also:

• JAPANESE

Japanese for the'art of block-printing, nor for that of printing with movable types .

In Europe, as See also:

• LATE

late as the second See also:

• HALF

half of the 14th century, every book and every public and private document was MS . Period. written by See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand; all figures and pictures, even playing See also:

• CARDS, PLAYING

cards and images of See also:

• SAINTS, BATTLE OF THE

saints, were See also:

• DRAWN

drawn with the See also:

• PEN (Lat. penna, a feather, pen)

pen or painted with a See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush . In the 13th century there already existed a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of book See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade . The organization of See also:

• UNIVERSITIES

universities as well as that of large ecclesiastical establishments was at that time incomplete, especially in See also:

• ITALY
• ITALY (Italia)

Italy, See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, without a See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff of See also:

• SCRIBES

scribes and transcribers (scriptores), illuminators, lenders, sellers and custodians of books (stationarii librorum, librarii), and pergamenarii, i.e. persons who prepared and sold the vellum or parchment required for books and documents . The books supplied were for the most See also:

• PART

part theological, legal and educational, and are calculated to have amounted to above one See also:

• HUNDRED

hundred different See also:

• WORKS

works . As no book or document was approved unless it had some ornamented and illuminated 'Passavant, Le Peintre-Graveur, i . 18 (See also:

• LEIPZIG

Leipzig, 186o–1864) ; See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• JACKSON
• JACKSON, ANDREW (1767-1845)
• JACKSON, CYRIL (1746-1819)
• JACKSON, FREDERICK GEORGE (186o– )
• JACKSON, HELEN MARIA (1831–1885)
• JACKSON, MASON (c. 1820-1903)
• JACKSON, THOMAS (1579-1640)
• JACKSON, THOMAS JONATHAN (1824-1863)
• JACKSON, WILLIAM (1730-1803)

Jackson, Wood Engraving .(See also:

• LONDON

London, 1839) ; See also:

• BRUNO (BRUN, BRUNS) OF QUERFURT, SAINT (c. 975-1009)
• BRUNO, GIORDANO (c. 1548-1600)
• BRUNO, or BRUN (925–965)
• BRUNO, SAINT

Bruno See also:

• BUCHER, LOTHAR (1817–1892)

Bucher, Gesell. der techn . Kiinste, I. p . 362 seq . 2 See Ern . Satow, " On the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

Early History of Printing in Japan," in Trans . Asiat .

See also:

• SOC

Soc. of Japan, x . 48 seq.; and Stan . See also:

• JULIEN, STANISLAS (1797?-1873)

Julien, " Documents sur''art d'imprimer," &c., in Journ . Asiat., 4m See also:

• SER

ser., voL ix. p . 505.initials or See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital letters, there was no want of illuminators . The workmen scribes and transcribers were, perhaps without exception, calligraphers, and the illuminators for the most part artists . . Beautifully written and richly illuminated manuscripts on vellum became objects of luxury which were treasured by princes and See also:

• PEOPLE

people of distinction . See also:

• BURGUNDY

Burgundy of the 15th century, with its See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich literature, its wealthy towns, its love for art and its school of See also:

• PAINTING

painting, was in this respect the centre of Europe, and the See also:

• LIBRARIES

libraries of its See also:

• DUKES
• DUKES, LEOPOLD (1810-1891)

dukes at Brussels, See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent, &c., contained more than three thousand beautifully illuminated MSS . In speaking of the writing of the manuscripts of the 15th and preceding centuries it is essential to distinguish Classes of in each See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country between at least four different writing. classes of writing, two of which must be again subdivided into two classes . r . The book hand, that is, the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary writing of theological, legal and devotional books, used by the See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official transcribers of the universities and churches, who had received a more or less learned See also:

• EDUCATION

education, and consequently wrote or transcribed books with a certain pretence.of understanding them and of being able to write with greater rapidity than the ordinary calligrapher . Hence they produced two kinds of writing: (a) the current or cursive book hand, of which several illustrations are given in Wilh .

Schum, Exempla Codicum Amplon . Erfurtensium; the volumes of the (London) Palaeogr . Society, &c . Quite distinct from this current writing, and much clearer and more distinct, is (b) the upright or set book hand, which was employed not only by writers who worked for universities and churches, but also by persons who may be presumed to have worked in large tides and commercial towns for See also:

• SCHOOLS

schools and the people in general without university connexion . (2) In the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church hand (See also:

• GOTHIC

Gothic or See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter) were produced transcripts of the See also:

• BIBLE
• BIBLE, ENGLISH

Bible, missals, psalters and other works intended for use in churches and private places of See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship and devotion . This writing we may again subdivide into two classes: (a) the ornamental or calligraphic writing; toundexclusivelyin books intended for use in churches or for the private use of wealthy and distinguished persons, and (b) the ordinary upright or set church hand, employed for less ornamental and less expensive books . (3) The letter hand may be said to be intermediate between the set literary book hand and the set literary church hand, and to differ but little from either . It was employed in all public documents of the nature of a letter . (4) The See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court or See also:

• CHARTER (Lat. charta, carta, from Gr. Xap-rns, originally for papyrus, material for writing, thence transferred to paper and from this material to the document, in O. Eng. boc, book)

charter hand was used for charters, See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title-deeds, papal bulls, &c.' These different kinds of writing served again, in the first instance, as See also:

• MODELS

models for cutting the inscriptions and explanatory texts that were intended to illustrate and explain the figures in blockbooks, and afterwards as models for the types used in the printing of books and documents . Dypold Laber (Lauber), a teacher and transcriber at See also:

• HAGENAU

Hagenau in Germany, is known to have carried on a busy trade in manuscripts about the time of the invention of printing . His prospectuses' in handwriting of the middle of the 15th 151b century announce that whatever books people wish B y ooks, to have, large or small, " geistlich See also:

• ODER (Lat. Viadua; Slavonic, Vjodr)

oder weltlich, Written. hflbsch gemolt," are all to be found at Dypold Lauber's the See also:

• SCRIBE, AUGUSTIN EUGENE (1791-1860, French dramatist, was born in Paris on the 24th of December 1791. His father was a silk merchant, and he was well educated, being destined for the bar. But, having a real gift for the theatre, a gift which unfortunately

scribe . He had in stock Gesta Romanorum, mit den Viguren gemolt; poetical works (Pa-rcival, See also:

• TRISTAN
• TRISTAN, or TRISTRAM

Tristan, See also:

• FREIDANK (VRIDANC)

Freidank); romances of See also:

• CHIVALRY (O. Fr. chevalerie, from Late Lat. caballerius)

chivalry (Der Witfarn See also:

• RITTER, HEINRICH (1791-1869)
• RITTER, KARL (1779–1859)

Ritter; Von eime Getruwen Ritter der See also:

• SIN
• SIN (O. Eng. syn: a common Teutonic word, cf. Dutch zonde, Ger. Siinde)

sin eigen Hertze gab umb einer schonen Frowen willen ; Der Ritter unter dem Zuber) ; biblical and legendary works (A Rimed Bible; A Psalter, Latin and See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German; Episteln and Evangelien durch dos Joe; Vita See also:

• CHRISTY, HENRY (1810-1865)

Christy; See also:

• DES

Des gantze Passional, winterteil and summerteil; devotional books (Bellial ; Der Selen Trost ; Der Rosenkrantz; See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die zehn Gebot mit Glosen; Small Bette-Bucher); and books for the people (Gute bewehrte Artznien-Bucher; Gemolte Loss-Bucher, i.e. See also:

• FORTUNE, ROBERT (1813-188o)

fortune-telling books; Schachtzabel gemolt), The See also:

• LOWER

lower educational books consisted for the most part of the Abecedaria, containing the See also:

• ALPHABET (see also WRITING)

alphabet, the See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord's See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

Prayer, the creed, and one or two prayers; the -See also:

• DONATUS, AELIUS

Donatus, a See also:

• SHORT, FRANCIS JOB (1857– )

short Latin See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

grammar extracted from the work of Aelius Donatus, a See also:

• ROMAN

Roman grammarian of the 4th century, and distinctly mentioned in a school See also:

• ORDINANCE
• ORDINANCE, or ORDONNANCE

ordinance of See also:

• BAUTZEN (Wendish Budissin, " town ")

Bautzen of 1418; the Doctrinale, a Latin grammar in leonine See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, compiled by See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander See also:

• GALLUS, C
• GALLUS, CORNELIUS (c. 70-26 B.C.)
• GALLUS, GAIUS AELIUS
• GALLUS, GAIUS CESTIUS
• GALLUS, GAIUS SULPICIUS

Gallus (or De See also:

• VILLA

Villa Dei), a minorite of See also:

• BRITTANY

Brittany of the 13th century; the Summula logica of Petrus Hispanus (afterwards See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope John XXI.), used in the teaching of See also:

• LOGIC (Xoy1K7, sc. rixvrt, the art of reasoning)

logic and dialectics ; and See also:

• DIONYSIUS
• DIONYSIUS (c. 432–367 B.C.)

Dionysius See also:

• CATO, DIONYSIUS
• CATO, MARCUS PORCIUS (234—149 B.c.)
• CATO, MARCUS PORCIUS (95-46 B.c.)
• CATO, PUBLIUS VALERIUS

Cato's Disticha de Moribas, and its supplement called Facetus, with the Floretus of St See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard, used in the teaching of morals .

As See also:

• HELPS, SIR ARTHUR (1813-1875)

helps to the See also:

• CLERGY (M.E. clergie, O. Fr. clergie, from Low Lat. form clericia [Skean, by assimilation with O. Fr. clergie, Fr. clerge,from Low Lat. clericatus)
• CLERGY, BENEFIT OF

clergy in educating the lower classes, and as a means of assisting and promoting private devotion, there were picture books accompanied with an easy explanatory text, for the most part representations of the mystic relation 2 See further See also:

• PALAEOGRAPHY (Gr. aaXalbs, ancient, and ypal6ew, to write)

PALAEOGRAPHY . ' An See also:

• ORIGINAL

original copy of one of them is in the British Museum (Addit . MS . 28752) . between the Old and New Testaments (typology) . Among these books the Biblia pauperum i stands first . It represents pictorially the See also:

• LIFE

life and passion of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ, and there exist MSS. of it as early as the 13th century, in some cases beautifully illuminated ? A richly illuminated MS. of it, executed in the See also:

• NETHERLANDS

Netherlands c . 1400, is in the British Museum (See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press-See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark, See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's 5), and also fragments of one of the 14th century (press-mark, 31,303) . A remodelling and development of this work is the famous See also:

• SPECULUM

Speculum humanae salvationis, of which we shall speak when dealing with the block-books and early printed books . It was written in rhymed See also:

• PROSE

prose before 1324, and represents, in See also:

• FORTY

forty-five chapters, the Bible history of the fall and redemption of mankind interwoven with Mariolatry and See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend . Of this work alone more than 200 MSS., illuminated or without pictures, are known to exist in various libraries of Europe .

The See also:

• NATIONAL

National and See also:

• ARSENAL

Arsenal Libraries in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris each possess one written some time after 1324; the British Museum has sixteen MSS. of it (eleven of which are illuminated) of the 14th and 15th centuries, written in the Netherlands, Germany, France and See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, one (press-mark, 16,578) bearing the distinct date 1379 and another (press-mark, See also:

• EGERTON, SIR PHILIP DE MALPAS GREY

Egerton, 878) that of 1436 . A work of a similar nature is the Apocalypsis, of which at least two recensions with illustrations may be pointed out . One gives the text as we know it, with or without commentary, for which cf . Brit . See also:

• MUS

Mus . 17,333 (See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French), 18,633 (French, but written in England), Reg . 2 D. xiii. and 22,493 (French)—all four early 14th century . Another is more a short history or See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography of St John, but the illustrations follow those of the former work very closely; cf . Brit . Mus . 19,896 (15th century, German) . It is this last recension which agrees with the blockbook to be mentioned hereafter .

Other devotional works are the Ars Moriendi, the See also:

• ANTICHRIST (avrixpu ros)

Antichrist and other works which will be mentioned below among the blockbooks . Block-printing or Xylography.—When all this writing, transcribing, illustrating, &c., had reached their period of greatest development, the art of printing from wooden blocks (block-printing, xylography) on See also:

• SILK

silk, See also:

• CLOTH

cloth, vellum, .paper, &c., made its See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in Europe . This art was already a See also:

• GREAT

great advance on writing, in that it enabled any one with a few See also:

• SIMPLE

simple tools to multiply impressions from any block of wood with text or pictures engraved on it, and so produce a number of single (paper) leaves or sheets with text or pictures printed on them in almost the same time that a scribe produced a single copy of them . It seems to have been practised, so far as we have evidence, on cloth, vellum and other stuffs as early as the 12th century (Weigel, Anfange, i. to) ; and on paper as far back as the second half of the 14th century; while it began to be largely employed in the early part of the 15th all over Germany, See also:

• FLANDERS (Flem. Vlaanderen)

Flanders and See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland in the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of (I) See also:

• SEPARATE

separate leaves (called briefs, from breve, scriptum), containing either a picture (print, Arent, shortened from the Fr. emprint, empreinte, and already used by See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer, C.T . 6186, six-text, D . 604, printe, prente, preente, and in other early See also:

• ENGLISH

English documents; also called in colloquial German Helge, Helglein, or Halge), or a piece of text, or both together; and of (2) whole sheets (two leaves), a number of which, arranged like the MSS. in quires or gatherings, formed what are called " blockbooks," sometimes consisting of half picture and half text, or wholly of text, or altogether of picture . The earliest dated woodcut that we know of is the Mary engraving, discovered at See also:

• MALINES (Flemish, Mechelen, called in the middle ages by the Latin name Mechlinia, whence the spelling Mechlin)

Malines, and now preserved in the Brussels Royal Library . It bears the date mccccxviii . Some authors Early dated have asserted that an l has been scratched out between wood- the See also:

• FOURTH

fourth c and the x; that, therefore, the date is 1468 . Engravings . But there is no ground for such an assertion (cf . H .

Hymans, L'Estampe de 1481, Brussels, 1903) . A slightly modified See also:

• REPRODUCTION

reproduction of it, on a reduced See also:

• SCALE
• SCALE (1) A

scale, which could hardly be placed later than 1460, is preserved in the St See also:

• GALL (a word common to many Teutonic languages, cf. Dutch gal, and Ger. Galle; the Indo-European root appears in Gr. xoXi,, and Lat. fel; possibly connected with " yellow," with reference to the colour of bile)
• GALL, FRANZ JOSEPH (1758-1828)

Gall Library . The next date is 1423 found on the St See also:

• CHRISTOPHER, SAINT (Christophorus, Christoferus)

Christopher, preserved in the John See also:

• RYLANDS, JOHN (18o1-1888)

Rylands Library (See also:

• SPENCER
• SPENCER, HERBERT (1820-1903)
• SPENCER, JOHN CHARLES SPENCER, 3RD EARL (1782-1845)
• SPENCER, JOHNPOYNTZ SPENCER
• SPENCER, WILLIAM ROBERT (1769-1834)

Spencer collection) at See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester . In the third place comes the woodcut of 1437 preserved in the Imperial Library at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, which was discovered in 1779 in the monastery of St Blaise in the Black See also:

• FOREST

Forest, and represents the martyrdom of St See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian, with fourteen lines of text . The date, however, is said by some to refer to a concession of indulgences . A woodcut, preserved in the same library in Vienna, which represents St See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas de See also:

• TOLENTINO (anc. Tolentinum Picenum)

Tolentino, has the date 1 This title is applied to at least three works: (1) the well-known blockbook, of which we speak below, (2) a See also:

• TREATISE

treatise " in qua de vitiis et virtutibus agitur," and (3) a work in See also:

• RHYME

rhyme by Alexander Gallus . See Laib and See also:

• SCHWARZ (or SCHWARTZ), CHRISTIAN FRIEDRICH (1726-1798)
• SCHWARZ, KARL (1812–1885)

Schwarz, Biblia pauperum (See also:

• ZURICH
• ZURICH (Fr. Zurich; Ital. Zurigo)

Zurich, 1867).1440, but written in by hand; as the See also:

• SAINT (lat. sanctus, " holy ")

saint was canonized in that year it may refer to that event . Another in the Weigel collection, representing the bearing of the See also:

• CROSS

cross, St Dorothea and St See also:

• ALEXIS
• ALEXIS, WILLIBALD

Alexis, has the date 1443, also written in. by hand, though the woodcut is considered to belong to that period . These are the only known wood-engravings with dates ranging from 1418 to 1443 . But there exist a good many woodcuts which, from the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of the engraving, are presumed to be of an earlier date, and to have been printed partly in the 14th and partly in the first half of the 15th century . J . D .

Passavant (Le Peintre-Graveur, 186o-1864, i . 27 seq.) enumerates twenty-seven of them, all of German origin and preserved in various libraries in Germany; 154 are recorded in the Colleclio Weigeliana (vol. t., 1866), and W . L . See also:

• SCHREIBER, LADY CHARLOTTE ELIZABETH (1812-1895)

Schreiber (La Gravure sur bois, vols. i. and ii., 1891 and 1892) enumerates over 2000 of them, some of which may be ascribed to the Netherlands, exx.g . (I) representing the Virgin Mary, with Flemish inscriptions in the museum in Berlin; (2) representing the Virgin Mary (see above) in the library at Brussels; (3) representing St See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony and St Sebastian, in the Weigel collection (now in the Brit . Mus.); O a St See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert and St Eustatius, in the royal library at Brussels; (5) representing the See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child Jesus, in the library at Berlin; (6) the See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass of St See also:

• GREGORY
• GREGORY (Gregorius)
• GREGORY (Grigorii) GRIGORIEVICH ORLOV, COUNT (1734-1783)
• GREGORY, EDWARD JOHN (1850-19o9)
• GREGORY, OLINTHUS GILBERT (1774—1841)
• GREGORY, ST (c. 213-C. 270)
• GREGORY, ST, OF NAZIANZUS (329–389)
• GREGORY, ST, OF NYSSA (c.331—c. 396)
• GREGORY, ST, OF TOURS (538-594)

Gregory, with See also:

• INDULGENCE (Lat. indulgentia, indulgere, to grant, concede)

indulgence, in the Weigel collection (cf . 1, 195), now at See also:

• NUREMBERG (Ger. Nurnberg)

Nuremberg . In these' blocks, as in wood-engraving now, the lines to be printed were in relief . The block, after the picture or the text had been engraved, upon it, was first thoroughly wetted with a thin, watery, See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown material, much resembling distemper; then a See also:

• SHEET

sheet of See also:

• DAMP

damp paper was laid upon it, and the back of the paper was care-fully rubbed with some kind of dabber or burnisher, usually called a frotton, till an impression from the ridges of the carved block had been transferred to the paper . In this See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion a See also:

• LEAF (O. Eng. leaf, cf. Dutch loof, Ger. Laub, Swed. lof, &c.; possibly to be referred to the root seen in Gr. Ma-eta, to peel, strip)

leaf or sheet could only be printed on one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side (anopisthographic) ; and in some copies of blockbooks we find the sides of the leaves on which there is no printing pasted together, so as to give the work the appearance of an ordinary book . Any one wanting to set up as a printer of briefs or books needed no apparatus but a set of woodblocks and a See also:

• RUBBER, INDIARUBBER

rubber . We know only three blockbooks which do not possess this characteristic, as the Legend of St Servatius in the royal library of Brussels, which may be called a xylo-chirograph (see below), in which the pictures occur on both sides of the paper (with some lines of text written underneath), but apparently impressed by hand from blocks without any rubbing, there being no traces of any indentures either on the rectos or the versos; Das Zeitglocklein in the See also:

• BAMBERG

Bamberg Library (cf .

Falkenstein, p . 49) ; Das geistlich and weltlich Rom, in- the John Rylands Library (Spencer collection) and at See also:

• GOTHA

Gotha (cf . Falkenstein, p . 46) ; but these belong to the end of the 15th century,. and therefore to a later period than the ordinary blockbooks: Formerly it was the general See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion that playing cards had been the first products of xylography; but the earliest that have been preserved are done by hand, while the printed Bfock cards date from the 15th century, therefore from a Printers. period in which woodcuts were already used for other purposes . Some of the wood engravings and blockbooks are sup-posed to have been printed in monasteries . In a See also:

• NECROLOGY (from Med. Lat. necrologium, Gr. vEKpos, corpse, the termination being formed from X ytos, X yeLv to read, in the sense of list, register; cf. " martyrology ")

necrology of the Franciscan monastery at See also:

• NORDLINGEN

Nordlingen, which comes down to the beginning of the 15th century, this entry occurs: " VII . Id . See also:

• AUGUSTI, JOHANN CHRISTIAN WILHELM (1772-1841)

Augusti, obiit See also:

• FRATER, FRATER HOUSE

Frater h . Luger, laycus, optimus incisor lignorum and on some of the engravings we find the arms of certain monasteries, which may, however, merely mean that they were printed for, not in, those monasteries . The registers of See also:

• ULM

Ulm mention several wood-engravers (formschneider)—in 1398 a certain See also:

• ULRICH

Ulrich; in 1441 Heinrich See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter von Erolzheim, Joerg, and another Heinrich; in 1442 Ulrich and Lienhart; in 1447 Claus (Nicolas), Stoffel (Christopher) and Johann; in 1455 Wilhelm; in 1461 Meister Ulrich, &c . In a See also:

• REGISTER

register of taxes of Nordlingen we find from 1428 to 1452 a certain Wilhelm Kegeler mentioned as brieftriicker; in 1453 his widow is called all brieftruckerin; and in 1461 his See also:

• BROTHER

brother Wilhelm' is registered for the same See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft . At See also:

• MAINZ (Fr. Mayence)

Mainz there was a printer, Henne Cruse, in 1440 .

At Nuremberg we find in 1449 Hans (Spoerer?), a formschneider, while his son Junghans exercised the same See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry from 1472 to 1490 . Hans von Pfedersheim printed at See also:

• FRANKFORT

Frankfort in 1459 ; Lienhart See also:

• WOLFF (less correctly WOLF), CHRISTIAN (1679-1754)
• WOLFF, CASPAR FRIEDRICH (1733-1794)
• WOLFF, JOSEPH (1795–1862)

Wolff, priefdrucker, is mentioned in the registers of See also:

• REGENSBURG (RATISBON)

Regensburg of 1463 ; Peter Schott at See also:

• STRASSBURG, or STRASBURG (French Strasbourg)

Strassburg in 1464 . A certain See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George Glockendon exercised the same trade at Nuremberg till 1474, when he died and was succeeded by a son and afterwards by a See also:

• GRANDSON (Ger. Grandsee)

grandson . In Flanders a See also:

• JAN

Jan de Printere was established at Antwerp in 1417; and printers and wood engravers (houte bildsnyters) worked there in 1442 (Privileges of the See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

Corporation of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke at Antwerp) . At Bruges printers and beeldemakers (makers or engravers of images) were enumerated in 1454 among the members of the fraternity of St John the Evangelist . The printers of playing cards seem to have constituted a separate class . All these entries show that long before the middle of the 15th century there were men who exercised the art of wood-engraving and printing as a trade or craft . It seems also certain that wealthy persons and religious institutions were wont to possess sets of blocks, and, when occasion arose, printed a set of sheets for presentation to a friend, or in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of monasteries for See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale to the passing See also:

• PILGRIM

pilgrim . A printer of briefs or blockbooks had no need to serve an See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship; any neat-handed See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man could print for himself . We learn from the See also:

• INVENTORY (post-class. Lat. inventarium, a list or repertory, from invenire to find)

inventory of the possessions of See also:

• JEAN

Jean de Hinsberg, See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

bishop of See also:

• LIEGE
• LIEGE (Walloon, Lige, Flemish, Luik, Ger. Lilltich)

Liege (1419-1455), and his See also:

• SISTER

sister, a See also:

• NUN (O. Eng. nunne, from Lat. nonnus, nonna, familiar terms for an old man or woman)

nun in the See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of See also:

• BETHANY (mod. el-'Azariyeh)

Bethany, near Mechlin, that they possessed " unum instrumentum ad imprimendas scripturas et ymagines, and " novem printe lignee ad imprimendas ymagines cum quatuordecim aliis lapideis printis." These entries would seem to indicate that people See also:

• PURCHASED

purchased engraved blocks of wood or of See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone from the wood-cutter rather than books from a printer . Concurrently with these single woodcuts, with or without written or xylographic text, arose a class of books, in some of which written texts were added to pictures tO- chirography. printed from wooden blocks; in others the text was written first, and woodcuts pasted or printed in spaces reserved for them . These books, combining wood-engraving with handwriting, are now in technical See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language called xylo-chirographs (wood-handwritten books); they may also be called semi-blockbooks, and form an intervening See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage between the See also:

• MANUSCRIPT

manuscript book and the blockbook (xylograph) entirely printed from wooden blocks .

They tend to show that xylography, after having been for some time confined to the production and multiplication of insulated pictures, was gradually applied to the printing of whole See also:

• SERIES (a Latin word from serere, to join)

series of illustrations, to be added to written texts, or to have written texts added to , them . It is not possible to assign definite dates to these xylo-chirographs; they could hardly be placed after, but may, for ought we know, be contemporaries of the blockbooks . We know nine of them; the years 144o (which occurs in No . 5) and 1463 (found in No . 9) marking, for the See also:

• PRESENT

present, the period within which they can be placed . (1) Biblia Pauperum, in the See also:

• HEIDELBERG

Heidelberg University Library, German work, MS., Latin text added to engravings (cf . Schreiber, See also:

• MANUEL, EUGENE (1823–1901)
• MANUEL, JACQUES ANTOINE (1775-1827)
• MANUEL, LOUIS PIERRE (1751-1793)

Manuel, iv . 90, c . 1460; photogr. pl. xlv.); (2) Anli-christus, one part of which is in the Paris Bibl . St Gen . (see Bernard, Orig. de l'impr. i . ,o2), another at Vienna, See also:

• ALB (Lat. alba, from albus, white)

Alb .

Bibl.; Bavarian work, MS., German text added to engravings (Schreiber iv . 231, pl. lv.); (3) Vita et Passio Jesu Christi, 48 leaves, in the Vienna Hofbibliothek, German work, the woodcuts printed on the versos, Latin prayers written on the rectos (Schreiber iv . 321, c . 145o, pl. lxxxx.); (4) Septem planetae, seven xylographically printed plates in the Berlin K . K . Library, German work, with German explanatory text written on separate leaves facing the engravings (Schreiber iv . 417, c . 1470, pl. cad.); (5) Pomerium spirituale, by Henricus de Pomerio (or See also:

• HENRI

Henri Vanden Bogaert), in the Brussels Royal Library, bearing the date 1440 in two places; its twelve engravings seem to have originally been published as a blockbook, without any text (see below) ; i in this co