This work takes a fresh approach to the first 60 years of printing in England by placing Caxton, his contemporaries and the later generations in the broad context of the history of book production between the middle of the 15th century and the Reformation.

Despite its title, the book gives a rather thorough chronological account of the printing history in England, from Caxton, where it all began to Morris, where most of the major industrial centers of the technology was located at the time. It is written by one of the previous presidents of Tufts University, Frederick W. Hamilton.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

This collection, the first such work on Caxton and his contemporaries, consists of ten original essays that explore early English culture, from Caxton's introduction of the press, through questions of audience, translation, politics, and genre, to the modern fascination with Caxton's books.

For the first time, these important works by Richard Atkyns, touching on his own life, the history of printing in England and the English Civil War, are brought together in one volume with an introduction, notes and index.

Five Hundred Years of Printing is essential reading for the book collector, the cultural historian, the professional publisher and book designer, and teachers and students of typography, graphic design and communications studies. It immediately became established as a standard work on its publication as a Pelican in 1955 and saw two new editions within twenty years.

A full-scale historical treatment of the advent of printing and its importance as an agent of change, first published in 1980.

Francesco Colonna's weird, erotic, allegorical antiquarian tale, "Hypnerotomachia Poliphili", together with all of its 174 original woodcut illustrations, has been called the first "stream of consciousness" novel and was one of the most important documents of Renaissance imagination and fantasy. The author -- presumed to be a friar of dubious reputation -- was obsessed by architecture, landscape and costume (it is not going too far to say sexually obsessed) and its woodcuts are a primary source for Renaissance ideas.