Shakspere & Typography - William Blades

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any rate, we have here in three lines as many metaphors, and all derived from just such employment as we suppose Shakspere at that time to have been engaged in.

      Then, again, to a Printer’s widow, not over young, what more telling than the following reference?

      Or what strong hand can hold Time’s swift foot back?

      Or who his spoil of beauty can forbid?

      O, none, unless this miracle have might,

      That in black ink my love may still shine bright.

 Sonnet lxvi.

      Note here, that the jet black ink which everybody admires in old manuscripts was much too thick for a running hand, and had long been superseded by a writing fluid which, in the 16th century, was far from equalling the bright gloss of Printing Ink.

      Before turning to the internal evidence supplied by Shakspere’s writings in support of our theory, let us glance at the list of works printed and published by Vautrollier, and see if Shakspere reflected any trace of their influence upon his mind.

      From Herbert’s ‘Typographical Antiquities’ we find that in the ‘Shop’ would be the two following works:

      A brief Introduction to Music. Collected by P. Delamote, a Frenchman; Licensed.

London, 8vo., 1574.

      Discursus Cantiones; quæ ab argumento sacræ vocantur, quinque et sex partivm. Autoribus Thoma Tallisio et Guilielmo Birdo. Cum Privilegio.

London, oblong quarto, 1575.

      Delamote’s Introduction, as well as the Sacred Songs by Tallis and Bird, were Vautrollier’s copyright, and we have already seen how intimate an acquaintance Shakspere had with music. Might not the above works have been the mine from which he obtained his knowledge?

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