In 1804, before the introduction of stereotyping into this country, Mathew Carey, the well-known enterprising publisher in Philadelphia, had the Bible in quarto set up entire, and regularly imposed in chases, to print from at convenience, according to the demand for the volume. The type was cast by Binny & Ronaldson. Stereotyping would have saved much of the large outlay required to carry out the scheme, which, nevertheless, even under these circumstances, was doubtless highly remunerative. The weight of type must have amounted to 25,000 pounds, to say nothing of the number of chases and column-rules required. ELECTROTYPING. Stereotyping has been superseded by the process of electrotyping, as described below. The pages, after being delicately polished with plumbago, are laid in a press; a pan of prepared wax, warmed, is placed over them and pressed down into the counter of the types. The wax mould is then dusted with plumbago, and suspended in the electric bath. On this, in a few hours, is deposited a thin shell of copper, which, after being coated with tin solder, is backed up with metal to the usual thickness of a stereotype plate. The same care in preparing the pages for electrotyping must be observed as for stereotyping. For stereotyping, high slugs are placed only at the top and foot of the page; but, for electrotyping, they must be set around on all sides, and the bevelled flange must be afterward made by side-planing. LITHOGRAPHY. This is the art of printing, by a chemical process, from designs made with a greasy material upon stone. It was discovered about the beginning of the present century by Alois Senefelder, an actor of Munich, Bavaria, whose patience and perseverance under the most disadvantageous circumstances were truly remarkable and praiseworthy. Differing from all other methods of printing, the impressions are obtained from a level surface. The stone best calculated for lithographic purposes is a sort of calcareous slate found on the banks of the Danube, in Bavaria, the finest being found near Munich. A good stone is porous, yet brittle, of a pale yellowish drab, and sometimes of a gray neutral tint. The stones are formed into slabs from one and a-half to three inches in thickness. To prepare them for use, two stones are placed face to face with some fine sifted sand between them, and then are rubbed together with a circular motion, to produce the requisite granulation, which is made finer or coarser to suit the purpose of the artist.