The history of printing is treated at great length under the caption of =Typography= by J. H. Hessels, author of “Gutenberg; an historical investigation.” This article discusses in turn the manuscript period, the earliest attempts at printing, block-printing, early wood-engravings, block books, early printing with movable type, the controversy concerning the invention (this with great fulness), of early types and their fabrication, and ends with a sketch of some printers who flourished after 1500. A second section, entitled =Modern Practical Typography=, in part by John Southward, author of a “Dictionary of typography,” deals with the material characteristics of type, the sizes, and varieties of face, the manufacture of type, composition and imposition, signatures and forms, typesetting machines, electrotyping and stereotyping. =Proof Reading=, by John H. Black, who was press reader on the new volumes of the 10th edition of the Britannica, and John Randall, is of concern to all of us who have to do with “the art preservative of all the arts.” Proof reading seems to be practiced less and less in these days of type-setting machines, but being informed on the subject will help us in insisting on good work along this line. =Illustrations.=—That the information concerning zinc cuts, half-tones, three color processes, monotypes, electrotypes, photolithotypes, and all other photo-mechanical methods of reproduction should be included in an article under =Process= will probably strike American readers as a Briticism,—but the facts are up to date and reliable. The writer, Mr. Edwin Bale, art director for Cassell and Co., grants that the term “process” is a somewhat unfortunate, one inasmuch as it is descriptive of nothing in particular. The article discusses in turn the various classes under the three generic heads: (1) =relief=, such as zinc etching, half-tones, including those in color; (2) =intaglio=, such as photogravures and monotypes, where, as in the old copper plates, the printing surface is sunk below the surrounding portions of the plate; (3) =planographic=, like lithographs, collotypes, phototypes and heliotypes, which are all printed from flat surfaces. The distinction between these various kinds of illustrations is not easily grasped by the beginner, but no one whose constant business is with books ought to be ignorant of the difference between a woodcut and a half-tone, a mezzotint and a chrome-lithograph, a copper plate and a cleverly devised imitation made from a zinc block, and yet I have seen a good many library school graduates to whom the whole matter was so much Greek. How can you buy illustrated books intelligently if you don’t know whether the illustrations are what they pretend to be? Better read up further in Mr. Frank Weitenkampf’s “How to appreciate prints” and study carefully the Newark exhibit, “The features of the printed book,” the first opportunity you get.