side of the business, but Caxton remained till the end of his life the active head as well as the brains of the concern. As for his humor, it comes out even in his very selections of books to be printed, but chiefly in little touches all through his prefaces. For example, in his preface to the Morte d'Arthur he answers with a certain whimsical gravity the allegations of those who maintain that there was no such person as King Arthur, and that "all such books as been made of him be but feigned and fables." He recounts with assumed sincerity the evidence of the chronicles, the existence of Arthur's seal in red wax at Westminster Abbey, of Sir Gawain's skull at Dover Castle, of the Round Table itself at Winchester, and so on. But he goes on to say, in his own quaint way, which there is not space to quote at large, that in his own opinion the stories are worth while for the intrinsic interest and the moral values in them, whether they are literally true or not. He closes thus: "Herein may be seen noble chivalry, courtesy, humanity, friendliness, hardiness, love, friendship, cowardice, murder, hate virtue and sin. Do after the good and leave the evil, and it shall bring you to good fame and renommee. And for to pass the time this book shall be pleasant to read in, but for to give faith and belief that all is true that is contained herein, ye be at your liberty." This wise, sane, gentle apostle of literature in England wrought well in his day, and is justly honored alike by scholars and by printers, who regard him, in England and America, as the father of their craft. Indeed to this day in the printing trade a shop organization is sometimes called a chapel, because according to ancient tradition Caxton's workmen held their meetings in one of the chapels adjoining the abbey of Westminster. * * * * * This survey of printing in its relations to the Renaissance is now not finished but concluded. I have shown that the invention and improvement of printing was not the cause but rather the effect of the revival of learning, while on the other hand the wide dissemination of literature made possible by typography of course accelerated enormously the process of popular enlightenment. I have selected five typical printers of that age: Aldus, with his Homer. Stephanus, with his Greek Testament. Froben, with his Plato. Koberger, with his Nuremberg Chronicle. Caxton, with his Morte d'Arthur.