SMITH, G.--Assyrian Discoveries. _London_, 1875. SOLON, H. L.--History of old French Faïence. (Saint Porchaire.) _London_, 1903. TAINTURIER, A.--Les Faïences dites de Henri II. _Paris_, 1860. VITU, A. C.--Histoire de la Typographie. _Paris_, 1886. WOLFIUS, J. C.--Monumenta Typographica. _Hamburg_, 1740. WILSON, F. J. F.--Typographic Printing Machines. _London_, 1883. WILSON, F. J. F.--Stereotyping and Electrotyping. _London_, 1880. * * * * * N.B.--There are a large number of works on this subject, both general and concerning Printing in particular countries. CHAPTER V. ILLUSTRATIONS. Wood engraving--Line engraving--Etching--Stipple--Mezzotint--Aquatint--Lithography --Photography. Writing in early manuscripts was continuous, no stops, no spaces, no initials. The inconvenience of such an arrangement soon became apparent; the effect of it can be well seen in the case of the _Codex Alexandrinus_, written in the fifth century, although this has large initials, and the difficulty of knowing when a word ends is bad enough, to say nothing of sentences. The manuscript is at the British Museum. Presently the first letters of sentences, or perhaps of important words, were enlarged or rubricated--marked in red--and from that starting point came the gradual development of beautiful ornamental letters with sprays starting from them. These sprays ultimately became rich borderings and spread all over the page, and at last we get to the illuminated manuscripts of mediæval times filled with exquisite miniatures, borders, and arabesques of all imaginable kinds. The subject of illuminated manuscripts has been fully dealt with by several competent authorities, and it is not necessary here to enter into it, but so far as printed books are concerned it will be of interest to survey shortly the chief styles of illustrations with which they have been provided. When printed books first began there were no illustrations in them, but initial letters were often added in red, by hand, and other important printed letters were marked by a dab of red or yellow across them. The outline wood cuts which shortly made their appearance were frequently intended to serve as guides for hand colouring, and many of them are so treated. Wood cutting in the case of block books was well understood in the fifteenth century, but when similar illustrations appear, in company with the text, in early printed books, the art level both of the designer and wood cutter is singularly low. This criticism only applies to the pictorial illustrations, as in the matter of scroll work or ornamental initials the work is excellent.