In the same year as the _Breviarium Strengenense_ was issued, the first book in Swedish was printed by the same printer. It is the _Bok af Djäfvulsens frästilse_, by John Gerson. The printer, John Fabri, died in the course of this year; for in the year following we find issued the _Breviarium secundum ritum ecclesiæ Upsalensis_, printed by the widow of John Fabri. One other book must be noticed as printed in the fifteenth century; it is the _De dignitate psalterii_, by Alanus de Rupe, printed probably at Stockholm, but with no printer’s name. One book only is known to have been printed at Wadsten in the fifteenth century; it is an edition of the _Breviarium ad usum cœnobii Wadstenensis de ordine S. Brigittæ_, printed in 1495, an octavo with twelve lines to the page. Only one copy is known, which passed after the Reformation, with the rest of the books belonging to the monastery, into the library of Upsala. The printing press of this monastery came to an untimely end, for in the middle of October 1495 the whole of the part of the building where it stood was destroyed by fire. Of this occurrence an account is preserved; and we learn from it that not only did the monastery lose all its printing materials, but that a tub full of the _Revelaciones Sanctæ Brigittæ_, which had been printed in 1492 at Lubeck, by Bartholomæus Ghotan, and which the printer had sent up for sale, were also destroyed. Stockholm and Wadsten are the only places in Sweden where any books were produced in the fifteenth century; and the total number of books issued, according to Schröder’s _Incunabula artis typographicæ in Suecia_, was six. CHAPTER VIII. CAXTON--WYNKYN DE WORDE--JULIAN NOTARY. The history of the Introduction of Printing into England is comparatively clear and straightforward; for we have neither the difficulties of conflicting accounts, as in the case of Germany and the Low Countries, nor troublesome manuscript references which cannot be adequately explained, as in the case of France. Previous to 1477, when Caxton introduced the art in a perfect state, nothing had been produced in England but a few single sheet prints, such as the Images of Pity, of which there are copies in the British Museum and the Bodleian, and the cut of the Lion, the device of Bishop Gray (1454-1479), in Ely Cathedral. There was no block-printing (for the verses on the seven virtues in the British Museum, and formerly in the Weigel Collection, are comparatively late), and with the one exception of the false date of 1468 in the first Oxford book, which we shall treat of later, there is nothing to confuse us in forming an absolutely clear idea of the introduction of the art into England, and its subsequent growth.