One last peculiarity to be observed is the absence of what is known as the “break” at the foot of the type. The contrivance in the mould whereby the {23} foot of the type is cast square, and the “jet,” or superfluous metal left by the casting, is attached, not to the whole of the foot, but to a narrow ridge across the centre, from which it is easily detached, was probably unknown to the fifteenth century typefounders. Their types appear to have come out of the mould with a “jet” attaching to the entire foot, from which it could only be detached by a saw or cutter. The “shamfer” already pointed out in types 2, 5, 6, if produced in the mould, may indicate an early attempt to reduce the size of the jet, which, if attaching to the entire square of the foot of a type the size of No. 2, would involve both time and labour in removal. M. Duverger, in his clever essay to the invention of printing,[43] gives an illustration of the manner in which he imagines the old types would be detached from their jets; and considers that in the three points only of the want of a breaking “jet,” the want of a spring to hold the matrix to the mould, and the absence of a nick, the mould of the first printer differed essentially from that of the printer of his day. [Illustration: 3. Type Mould of Claude Garamond. Paris, 1540. (From Duverger.) _a._ The “body” in which the type is cast. _b_, _c_. The “jet,” or mouthpiece, in which the fluid metal is poured. _d._ The type as cast.] Such are some of the chief points of interest to be observed in these venerable relics of the old typographers. It is to be hoped that M. Claudin may before long favour the world with a full and detailed account of their many peculiarities. Yet, curious as they are, they prove that the types of the fifteenth century differed in no essential particular from those of the nineteenth. Ruder and rougher, and less durable they might be, but in substance and form, and in the mechanical principles of their manufacture, they claim kinship with the newest types of our most modern foundry. {24} The old Lyonnaise relics are not the only guide we have as to the form and nature of the fifteenth century types. M. Madden, in 1875, made a most valuable discovery in a book printed by Conrad Hamborch, at Cologne, in 1476, and entitled _La Lèpre Morale_, by John Nider, of the accidental impression of a type, pulled up from its place in the course of printing by the ink-ball, and laid at length upon the face of the forme, thus leaving its exact profile indented upon the page. We reproduce in facsimile M. Madden’s illustration of this type, which accompanies his own interesting letter on the subject.[44] [Illustration: 5. From M. Madden’s _Lettres d’un Bibliographe_. Ser. iv, p. 231.] [Illustration: 6. From _Liber de Laudibus ac Festis Gloriosæ Virginis_. Cologne(?), 1468(?). Fol. 4 verso. (From the original.)]