It would be pleasant to glance briefly at some of the more literary considerations which bring books within the collector's scope. But the scheme of this series restricts the subject of the present volume to books which are prized either for their typographical beauty, their place in the history of printing, or the charm of their illustrations. This is in itself so large a field that no more pages must be wasted on introducing it. FOOTNOTES: [1] Even Mr. Carnegie will only help to found new libraries, not to make old ones more efficient. [2] During the Civil War itself presses were also set up temporarily at Newcastle-on-Tyne, at Shrewsbury, and perhaps elsewhere. CHAPTER II BLOCK-BOOKS The collector of the time of George III, whose heart was set on Typographical Antiquities, and who was ambitious enough to wish to begin at the beginning, must have hungered after a block-book. Even in the days of Bagford, at the very outset of the eighteenth century, interest had been aroused in the block-printed editions of the _Speculum Humanae Saluationis_, so that Bagford himself travelled from Amsterdam to Haarlem on purpose to see a copy of one of the Dutch editions, and set an English wood-cutter to work, with very poor success, to manufacture a bogus specimen of it, wherewith "to oblige the curious." This, with a similar imitation of a page in the _Biblia Pauperum_, was intended to illustrate the History of Printing which Bagford had the temerity to plan, although such of his smaller dissertations as have been preserved show conclusively that he was quite incapable of carrying it out. The interest thus early shown in block-books sprang from an entirely reasonable, but probably incorrect, view of the part which they had played in the development of printing with movable type. It was known that woodcuts without letterpress were printed in Germany quite early in the fifteenth century, the cut of S. Christopher, formerly in the Spencer Collection, now in the John Rylands Library, bearing the date 1423.[3] On the other hand, printing with movable type was practised at Mainz in the fifties, and about 1461 Albrecht Pfister published at Bamberg several books with woodcut illustrations and printed letterpress. In the logical order of development nothing could be more reasonable than the sequence: i. Woodcut pictures. ii. Woodcut pictures and woodcut text. iii. Woodcut pictures and text printed from movable type.