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From the number of works that have been published within the last few decades on early printing and the decoration of early books, it is evident that an increasing interest is taken in these subjects, not only by those whose studies have specially fitted them to appreciate such researches, but also by the general educated public. There is, however, one variety of engraving that has hitherto attracted but little attention, and the importance of which, both from artistic and documentary points of view, is still unrecognised, and it may even be said unsuspected by the great majority of students. Whilst every engraving that may technically be termed a cut or an illustration is catalogued and recorded in the different monographs on special printers, those which take the form of initial letters, often of equal, if not superior merit, are represented much more sparsely, and as having a secondary importance only. In a monograph on fifteenth-century printing in a certain German town, for instance, the writer, a professional bibliographer, gives about ten or twelve initial letters, whereas the extent of the material upon which he might have drawn may be judged from the fact that a more recent authority, in his history of one printer only of this town, has been able to reproduce more than fifty specimens, many of which are quite equal in interest to illustrations proper, some of them having been recently pointed out by a London expert as constituting the chief attraction of a volume with both initials and illustrations which came under his hammer.
From the number of works that have been published within the last few decades on early printing and the decoration of early books, it is evident that an increasing interest is taken in these subjects, not only by those whose studies have specially fitted them to appreciate such researches, but also by the general educated public. There is, however, one variety of engraving that has hitherto attracted but little attention, and the importance of which, both from artistic and documentary points of view, is still unrecognised, and it may even be said unsuspected by the great majority of students. Whilst every engraving that may technically be termed a cut or an illustration is catalogued and recorded in the different monographs on special printers, those which take the form of initial letters, often of equal, if not superior merit, are represented much more sparsely, and as having a secondary importance only. In a monograph on fifteenth-century printing in a certain German town, for instance, the writer, a professional bibliographer, gives about ten or twelve initial letters, whereas the extent of the material upon which he might have drawn may be judged from the fact that a more recent authority, in his history of one printer only of this town, has been able to reproduce more than fifty specimens, many of which are quite equal in interest to illustrations proper, some of them having been recently pointed out by a London expert as constituting the chief attraction of a volume with both initials and illustrations which came under his hammer.
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