shall provide and make ready for the press, and shall print such a number of each copy, as yourself, or your successors for the time being, shall think fit; and all this they shall perform, whether the said copy or copies be to be printed in London, Oxford, or Cambridge, which shall be left free to their judgments and desire, whose pains prepare the copy or copies for the press. And last of all, our further will and pleasure is, that the aforesaid patentees do without any delay procure such, and so many matrices and letters, as aforesaid, that no hindrance be put upon the work, and that they be at the charge of printing in the mean time with such letters, as are already in the kingdom. Of all which or any other necessary circumstances for the furtherance of this work, we shall not fail to call for a strict account from you; and therefore do look that you call for as strict a one from them: provided always, that it shall be, and remain in your power to mitigate their fine aforesaid, according as you shall see their diligence and care for the advancing of this work.”[248] This letter Laud forwarded to the printers, who in reply, “accounted it so {144} great a happiness” to receive the royal commands in the matter, and stated that they were already labouring “to find out the best fount and matrices, and to purchase the same at what cost soever.”[249] The new Greek press, thus furnished, was in due time settled in London, at the King’s Printing House in Blackfriars, and from its types was printed, in 1637, Patrick Young’s _Catena on Job_,[250] “in as curious a letter,” says Bagford, “as any book extant.” In this interesting work, from which we here give a facsimile, two Greek founts are used, the larger being a handsome Double Pica,[251] not dissimilar to that in which Estienne’s great folio _Greek Testament_ was printed in Paris. The smaller fount, a Great Primer, bears so close a resemblance to the fount used in the Eton _Chrysostom_, that it is probable it may have been cast abroad from the same matrices. The Double Pica Roman and Italic used in the work are the same as those employed by Day in the preface to the _Ælfredi_ in 1574; the matrices having apparently been secured by the Archbishop for the use of the Royal press.