Charles the Uncle and Charles the Nephew-Their services to literature and their
distinction as printers-Charles the Uncle born 1767-Indentured as apprentice
at Coventry in 1779-A master printer in London in 1789- His early books.
Neglected by publishers - His reprisals and association with Sharpe in the pub-
lication of important books-Tardy recognition of his abilities.

CHAPTER SECOND

Whittingham makes paper-stock at Chiswick in 1809- Beginning of the Chiswick
Press Partnership with Arliss which ended 1817-Early work on woodcuts
designed by Thurston and engraved by Clennell and Thompson-The Shakespeare
of 1813 and the "London Theatre" - Books printed for Samuel Weller Singer.
Thomas Williams, the engraver, and other friends of Whittingham - Chiswick
Press edition of 1822 of the "British Poets."

CHAPTER THIRD

Charles Whittingham the Nephew born in 1795-Indentured to his Uncle 1810.
Freeman in Stationers' Company 1817-Partner in Chiswick Press 1824-Per-
sonal peculiarities-Sojourn in Paris-His early work, the "Whittingham
French Classics" and "Whittingham Pocket Novels"-Business relations with
Cruikshank and Thompson, Tegg and Murray, Ainsworth and other authors.
Separated from his Uncle 1828.

CHAPTER FOURTH

Whittingham the Uncle's increasing skill in printing woodcuts - Northcote's
"Fables"-"Tower Menagerie" and "Zoological Gardens" -The Uncle's rela-
tions with many publishers-"Puckle's Club”-Failure of the Uncle's health
1838, and transfer of control at Chiswick to the Nephew-Death of the Uncle
1840-His bequests to Stationers' Company and the Printers' Pension Society.

CHAPTER FIFTH

Took's Court famous in fiction and typography- Whittingham the Nephew there

began in 1828-His alliance with Pickering-Books by Cruikshank and Basil

Montagu - Orders from Murray, Panizzi, Rogers, and Moxon Pickering a

most useful ally- Revival of the old-face type of Caslon - Color work for Henry

Shaw and others - Reproductions of medieval designs - Leaves Took's Court in

1849.

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CHAPTER SIXTH

Chiswick abandoned finally in 1852 - Return to Took's Court - The Philobiblon
Society and its members—Important books made between 1852 and 1860.
Designs made by Nephew's daughters Charlotte and Elizabeth Eleanor - Mary
Byfield the engraver of the designs - The Queen Elizabeth Prayer Book—The
Holbein "Dance of Death"- Keble's "Christian Year," the Book of Common
Prayer with the borders of Geoffrey Tory.

CHAPTER SEVENTH

Permanent friendship of Pickering and Whittingham - Their frequent conferences.
The Aldine trade-mark - Death of Pickering in 1854-Industry of Nephew.
His thorough knowledge of every part of his business - His preference for good
books - The "Breviarium Aberdonense"-Caxton reproductions - Everywhere
rated as one of the best printers - His death in 1876.

PART II

TECHNICALITIES

Printing in a decaying condition in 1789-Bad workmanship largely due to bad
types - Enumeration and illustration of the various styles-Faults of book-
printing in 1800-Changes of typographic fashion- Whittingham's preferences in
black-letter and in the Book of Common Prayer-Nephew's liking for old types.
Illustrations of Pickering title-pages-Their simplicity.

BORDERS

The borders used for the Book of Common Prayer-Charlotte Whittingham's
renovations of old, and designs for new, borders-The mechanical construc-
tion of the borders of Queen Elizabeth's Prayer Book - The methods of Kerver,
Pigouchet, and other French printers - Other borders provided by Eleanor and
Charlotte Whittingham and engraved by Mary Byfield.

WOODCUTS

Woodcuts of the eighteenth century and their defects-Merit of Whittingham's
work under the unfavorable conditions - Method of printing woodcuts before 1800.
Imperfect construction of the old hand-press- Bad types and rough paper added
to the poor work of faulty presses - Presswork of early French printers-Wood-
cuts avoided by all printers-Attempts to improve wood-engraving in the eighteenth
century—The work of Bewick and others- The Stanhope press-Fourdrinier's
paper-making machine - The Uncle's experience with woodcuts and his methods.
His subsequent preference for copper-plate and the probable reason-Changes
of style in wood-engraving increase the printer's difficulties.

OVERLAYING

Early printers imitated the fashions of the copyists-Difficulties of woodcut printing.
Theory and process of woodcut printing-Overlays - Making ready-Cost of
fine woodcut printing-Silence of the Whittinghams in regard to their methods.
Uncle Charles said to be the first to practise overlaying-Reason for the belief
that overlaying was attempted by Kerver and Pigouchet of Paris - Papillon's advice
and his crude method of cutting and overlaying-Approved by Bewick - Jackson
and Chatto on early overlaying.

HEADBANDS, TAILPIECES, AND INITIALS

Typographic decoration in seventeenth and eighteenth centuries- Hollow initial
letters-Not in favor at close of the eighteenth century— Appropriate book-deco-
ration demanded - "Flowers" and "Facs"-French ornaments - The Nephew's
ideas as to book-decoration - Continental ideas-Variety and beauty of the
Nephew's book-decorations - Simplicity of his schemes.

PRESSES

Hand-presses in use at Chiswick Press till 1860-The cylinder press-Its scope
and limitations-Cylindrical printing-machines contrasted with the hand-press.
Best work of the hand-press unexcelled by automatic machine.

PRINTING INKS

Moxon's indictment of the "inck-makers" of his time and his directions for ink-
making-Chief fault of eighteenth-century inks-Uncle Whittingham obliged to
make his own ink-Other printers follow him and compel ink-manufacturers to
improve their inks- Bensley's commendation of the service rendered.