But the chief glories of his press are the Bible and Hume's _History_. The first was begun in 1789; but Jackson's death caused some delay when the Book of Numbers had been reached, owing to more type being required. For some reason, not clearly shown, Bensley would not employ Caslon, but applied to Vincent Figgins, who for ten years had been in the service of Jackson, to complete the type. Figgins' foundry was in Swan Yard, Holborn, where he had established himself after Jackson's death in 1792. He succeeded with the task set him, and his type, which was an exact facsimile of Jackson's, was brought into use in the Book of Deuteronomy. The whole work was completed in seven volumes, in the year 1800, and this date appears on the title-page; but the dedication to the king was dated 1791, and the plates, which were the work of Loutherbourg, West, Hamilton, and others, were variously dated between those years. The text was printed in double columns, in a handsome two-line English, with the headings to chapters in Roman capitals, no italic type being used, and no marginalia. Robert Bowyer's edition of _Hume_ was in the press at the time of Jackson's death, but was not completed until 1806. The type used in this is a double pica, and the founder, it is said, declared that it should 'be the most exquisite performance of the kind in this or any other country.' He died before its completion, and the work was completed by Figgins; but the book is a lasting memorial to the skill both of the founder and the printer. In January 1791 appeared the first number of Boydell's Shakespeare. The history of this notorious undertaking was briefly this. Boydell was an art publisher in Pall Mall, where he had established a gallery and filled it with the work of Sir Joshua Reynolds, Benjamin West, Opie, and Northcote, chiefly in Shakesperian subjects. George Nicol the bookseller proposed to the Boydells that William Martin, brother of Robert Martin of Birmingham, should be employed to cut a set of types with which to print an edition of Shakespeare's works, to be illustrated with the drawings then in Boydell's gallery. This William Martin had learnt his art in the foundry of Baskerville; and such is the irony of fate, that less than twenty years after the death of that eminent founder, his work, scorned by the booksellers of London in his own day, was imitated in what was certainly one of the most pretentious books that had ever come from the English press. The printer selected for the work was William Bulmer, a native of Newcastle-upon-Tyne, where he was apprenticed to Mr. Thomson, the printer, of Burnt House Entry, St. Nicholas Churchyard. At that time he formed a friendship with Thomas Bewick, the engraver, who in his _Memoir_ tells us that Bulmer used to 'prove' his cuts for him.