The matrices for this fount appear to have been held, if not prepared, by Fournier, as in the _Manuale Typographique_ (ii, p. 196), issued by him in 1766, a specimen of it appears among the foreign founts of his foundry. The fate of this fount is a matter of uncertainty. After 1742 a general cessation of Irish typography at home and abroad took place; and the few Irish works which appeared between that date and 1800 were for the most part in Roman type (like O’Brien’s _Dictionary_, Paris, 1768), or with the Irish {76} characters in copperplate (like Vallancey’s _Grammar_). In 1804, however, a revival took place, beginning in Paris, where Marcel, being at that time in possession of several of the founts belonging to the press of the Propaganda, which Napoleon had impounded for the use of the press of the Republic, repaired and re-cast the Irish founts of the _Lucerna Fidelium_, and issued a short sketch of the character and language, illustrated with readings in this type. In his beautiful _Oratio Dominica_, printed in 1805 in presence of Napoleon, the same type is used. “Strikes” of these founts were retained in Paris, and the letter has reappeared in specimens issued in 1819 and 1840. The matrices probably remain part of the stock of the Imprimerie Nationale to this day. The revival in our kingdom was more rapid. Moxon’s fount, which had passed through the hands of Robert Andrews, came in 1733 into the foundry of Thomas James, at the sale of which, in 1782, the punches and matrices were purchased in a somewhat defective condition by Dr. Fry. A specimen was shown in Dr. Fry’s specimen of 1794, and in his _Pantographia_, 1799, after which the fount occasionally reappeared until 1820, when it was last seen in O’Reilly’s _Catalogue of Irish Writers_, printed in Dublin in that year. By this time, however, there were some six new founts in the country. _Neilson’s Grammar_, printed at Dublin in 1808, appeared in a type apparently privately cut, as it is not found in the specimens of any of the British founders. Vincent Figgins cut an elegant fount after the copperplate models in _Vallancey’s Grammar_; Dr. Fry, under the inspection of Thaddeus Conellan, cut a Long Primer, Small Pica, and Pica, and Watts shortly afterwards added three others. MUSIC.