Of Roman capitals, eight founts were shown,[442] and of Roman and Italic from {229} Canon to Diamond, there were thirty-nine founts in specimen and a hundred and eight not shown. In addition to the above, the specimen included ninety-seven varieties of flowers, chiefly from the Grovers’ foundry; while other odd flowers, with signs, rules, braces, and various imperfect founts (contained in sixteen drawers) were also sold, though not shown. At the end of the list of matrices came what was perhaps the most interesting feature of the sale, viz., a set of punches contained in a press named “Caxton,” consisting of twenty drawers. Of these the majority were Roman and Italics, which we will not specify, as it is impossible to determine whose handiwork they were in the first instance. We give, however, the contents of drawers A E F and G, which contained the following punches of the learned languages[443]: A.—Æthiopic English* [P.] [A.] Samaritan Pica* (English?) [P.] [G.] Samaritan Long Primer Syriac English (Pica?) [G.] Arabic Great Primer [A.] Arabic Pica (English?) [A.] Greek Brevier Saxon Pica [A.] Hibernian[444] Pica* [M.] [A.] E.—Greek Great Primer,* points and ligatures [G.] F. Greek Pica, points and ligatures G. Greek Nonpareil, points and ligatures [A.] It is at least remarkable that so few punches should have existed in so large a foundry; but it is to be remembered that the wear and tear of the matrices in those days was not so great as now, and the necessity for a new set of strikes from the punches was consequently less frequent. We may even suppose, from Mr. Mores’ own reference to the subject, already quoted, that it was a common practice to discard a set of punches as useless as soon as they had left their impression in the matrices. The concluding items of the Catalogue are “about 60 or 70 moulds, from 5-line Pica down to Nonpareil, some two, some three or more of a sort which {230} will be lotted according to their bodies; also a parcel of iron ladles; a vice, 33 lbs. weight, several gauges, dividers, blocks, setting-up sticks, dressing sticks, etc.,”—a meagre list, which, if it represents the working plant of the foundry, points to a rough and ready practice of the art which, even in Moxon’s time, would have been considered primitive.