Our space forbids us to give here anything like a list of the different works in which Moxon’s Irish type appeared after 1690. An interesting note as to the early use of the fount in Ireland occurs in a petition presented in 1709 to the Lord Lieutenant by several of the clergy and gentry of Ireland for the printing of a new edition of the _New Testament_ “in the Irish character and tongue, in order to which the only set of characters now in Britain is bought already.”[361] This petition does not appear to have been successful; but in 1712 a _Book of Common Prayer_,[362] translated by Dr. John Richardson, Rector of Annah (Chaplain to the Lord Lieutenant), with the assistance of the Christian Knowledge Society, was printed by Elinor Everingham, at the Seven Stars in Ave Maria Lane. Dr. Richardson also published some _Irish Sermons_[363] at the same press, and a _History of the Attempts . . . to Convert the Popish Natives of Ireland_. In 1700, in the London _Oratio Dominica_, Moxon’s Irish type was used, as also in the reprint in 1713, after which the fount frequently reappeared until 1820, when it was used in the _Transactions of the Iberno Celtic Society_, for printing the titles of E. O’Reilly’s “Chronological Account of Irish Writers” there given. The “punches and matrices”, said Mores, writing in 1778, “have ever since continued in England. The Irish themselves have no letter of this face, but are supplied with it by us from England; though it has been said, but falsely, that {191} the University of Louvain have lately procured a fount to be cut for the use of the Irish Seminary there.”[364] We are glad to add to this statement that the punches of this interesting fount are still in existence, and, indeed, that these most curious relics of the handiwork of the author of the _Mechanick Exercises_ lie before us as we write these words. * * * * * Among the other peculiar characters cut by Moxon may be mentioned the symbols used in Mr. George Adams’ scientific works, and the Philosophic or “Real Character” designed by Bishop John Wilkins for his learned _Essay towards a Universal Language_, printed in 1668.[365] The correcting marks used in the _Mechanick Exercises_, as well as other mathematical and astronomical symbols, were also the work of this versatile artist, whose scientific genius appears to have had a special bent towards the more curious by-paths of typography. Moxon’s foundry descended to Robert Andrews, with whom it is possible he was, during the close of his career, associated, either as a master or a partner. Rowe Mores is unable to distinguish, beyond the peculiar founts above noted, and the Canon Roman and Italic (which subsequently came into Mr. Caslon’s hands), what were the precise contents of his foundry. He therefore omits his usual list, and includes the whole in Andrews’.