An old and valued friend, which we had numbered with the dead, re-appears this month—the Printing Times and Lithographer, No. 1, new series, conducted by J. S. Morriss. In appearance it is not equal to the last form in which the journal appeared. Its page is reduced to large octavo, and, except as regards the loose supplements, is not of any special typographic excellence. The contents, however, are far above the average. Three distinct copyrights are here represented: the Lithographer, the Printing Times, and the Artist and Engraver; and it is only necessary to mention the names of Richmond and Harland as among the contributors to indicate that it combines the excellent qualities of its predecessors. Quite a new idea in trade journalism is embodied in an article headed « Mediation, » in which an experienced printer, whose identity is not disclosed, offers to mediate gratuitously in the incipient quarrels between employers and employed, and to make known his decisions in the columns of the paper. We shall probably refer more fully to this matter at an early date. There is a biographical sketch, with portrait, of Mr John Bassett, of the Printing World. Mr W. D. Richmond contributes the first instalment of a valuable article on the Acierage of Copper Plates; Mr H. Francis has the first part of what promises to be a useful treatise on Art Printing, in which he gives an interesting account of Mr Henry Plummer, who died in 1881, « the originator of English art printing. » There is a department, edited by Mr W. T. Wilkinson, devoted to Photo-illustrative processes; Mr J. W. Harland writes on the Prospects of Wood-engraving; and we have chapter I of one of those practical treatises characteristic of the old Printing Times on « The Theory and Practice of Lines. » Harold Furniss contributes a short sketch, cleverly-written: « My Photographic Sketchbook. » The titles we have quoted will give some idea of the varied contents; and we are glad to see that in one essential—that of advertisements—the paper has a healthy appearance. Mr J. S. Morriss has our best wishes for the success of his enterprise.

The British Printer still grows, and is as varied in its contents as ever. The issue for May-June contains a portrait of the late Carl Fasol, of « Stigmatype » fame, with a reduced facsimile of one of his designs. An anonymous correspondent writes strongly approving of the « metrical » system of putting up paper—advocating that all quires should be 25 sheets, and the ream uniformly 500. We have already shown that this system would be of no avail to the printer who sends out his work in even thousands. To allow for unavoidable waste, there should at least be 26 sheets to the quire, or 520 to the ream. A specimen of bookbinding, dark green leather with design in black and gold, by Eaithby & Lawrence, is decorated entirely with Stephenson, Blake & Co.'s latest border, and we have never before seen any type combination so chaste and so thoroughly adapted to the purpose.

The Printers' Register for August contains an appreciative biography, with an excellent portrait, of Mr Justin McCarthy. It also publishes a facsimile of a « take » of his copy.

The New York Lithographic Art Journal for July publishes another beautiful chromo supplement—an autumn landscape, a forest scene with a lake at sunset. The printers are Messrs G. H. Bueck & Co., and the work is altogether admirable. This paper keeps up a high technical character, and the printing, which in the earlier numbers was defective, is now faultless.

Pointers for June is received, and is as good as ever. But somehow it got damp in transit. Now it is, like Paper and Press, faced with agalith or something of the kind, in combination with size of remarkable adhesiveness. When this kind of paper gets damp and is allowed to dry, you may tear your magazine to pieces before you can get the leaves apart. So our copy of No. 31 is a total wreck.

The Central Typefoundry, in their Register, complain that before they have finished supplying all their job faces with Spanish accents there comes a demand from Quebec for French accents. And the writer plaintively adds: « ؟Why will people persist in speaking a language that can only be written or printed with a lot of fly-speck ornaments? Nations have prospered in this world in proportion to the speed in which they have gotten away from the use of accented letters. »