Ireland, hoping and believing that what English air had failed to do might come to pass there. Three weeks before his death he writes to me from Ballycastle, County Antrim: “I wish you could see this place to-day bathed in sunlight, Rathlin Island in the offing, Fair Head with its stately profile straight across the bay, and beyond, in blue and grey, the lonely coast of Cantire, backed by Goatfell and the lovely hills of Argyle.” He loved Ireland.

But for himself and for his family there were in Ireland associations of sadness that made the place sacred to him. His young and beloved brother Kenneth, with a comrade and kinsman, W.J. Anderson, in 1879 started on a canoe trip in Ireland, intending to explore the whole course of the Shannon and the Blackwater, together with the connecting links of lake and sea. In a gale of wind on Lough Allen—known as the “wicked Lough”—the canoes were both upset, and the two young men were drowned.

The shock in the family circle can be imagined. It was the beginning of many sorrows. Two years later, in 1881, Sir Charles Reed died; and in 1883 the family was again plunged into grief by the sad death of Talbot’s eldest brother (“my ‘father confessor’ in all times of trouble,” Talbot used to say of him), the Reverend Charles Edward Reed, who was accidentally killed by a fall over a precipice while he was on a walking expedition in Switzerland. Lady Reed, it may be here said, died in June 1891.

While most people will think that Talbot Reed’s boys’ books are his best bequest to literature, he considered them of less importance in the work of his life than his book entitled “A History of the Old English Letter Foundries; with Notes Historical and Bibliographical on the Rise and Progress of English Typography” (Elliot Stock, 1887), the preparation of which cost him ten years of research and labour. His boys’ books were the spontaneous utterance of his joyous nature, and their production he regarded in the light of a recreation amid the more serious affairs of life. He had an ambition, which the results of his labour fully justified, to be regarded as an authority on Typography. I can remember his amusement, and perhaps annoyance, when he had gone down to a Yorkshire town to deliver a lecture on some typographical subject, to find that the walls and hoardings of the town were decorated with posters, announcing the lecture as by “Talbot B. Reed, author of ‘A Dog with a Bad Name!’”

But all scholars and book-lovers will regard this work of his on “The History of the Old English Letter Foundries” as being of supreme value. In it, as he himself says, he tells the story of the fifteenth century heroes of the punch and matrix and mould, who made English printing an art ere yet the tyranny of an age of machinery was established. Whatever Talbot Reed’s pen touched it adorned, and in the light of his mind what seemed dry and dusty corners of literary history became alive with living human interest.

Besides this great work, he edited the book left unfinished by his friend Mr Blades, entitled “The Pentateuch of Printing,” to which he added a biographical memoir of Mr Blades.

All that related to the craft of printing was profoundly interesting to Reed, whether viewed from the practical, or the historic, or the artistic side. His types were to him no mere articles of commerce, they were objects of beauty; to him the craft possessed the fascination of having a great history, and the legitimate pride of having played a great part in the world.

Reed delivered more than one admirable public lecture on subjects related to the art of printing. One he delivered at the Society of Arts, on “Fashions in Printing” (for which he received one of the Society’s silver medals), and another on “Baskerville,” the interesting type-founder and printer of Birmingham in the last century, to whom a chapter of “The History” is devoted.

Only two years before his death Reed was one of a small band of book-lovers who founded the Bibliographical Society, a body which aims at making easier, by the organising of literature, the labours of literary men, librarians, and students generally. From its start he undertook, in the midst of many pressing personal duties, the arduous task of honorary secretaryship of the young society—an office which he regarded as one of great honour and usefulness, but which entailed upon him, at a time when his health could ill bear the strain, hard organising and clerical work, cheerfully undertaken, and continued until a few weeks before his death. The first two published Parts of the Transactions of the Bibliographical Society, edited by him, are models of what such work ought to be.

Reed was a Fellow of the Society of Antiquaries, and for many years was an active member of the Library Association. His own library of books bearing on Typography, Bibliography, and many a kindred subject, the harvest of many years’ collecting, is unique. It was a pleasure to see the expression of Reed’s face when he came upon a new book really after his mind, or, still better, an old book, “Anything fifteenth century or early sixteenth,” he used to say; any relic or scrap from Caxton’s or De Worde’s Press; any specimen of a “truant type” on the page of an early book; or a Caslon, or a Baskerville in good condition; or one of the beauties from Mr Morris’s modern Press. Charles Lamb himself could not have looked more radiant or more happy in the sense of possession.

Reed laboured successfully also in another department of literature—in journalism. For many years he wrote a non-political leading article each week for the Leeds Mercury. His wide culture, his quiet humour, and light, graceful touch, were qualities that gave to his journalistic work far more than an ephemeral value. In politics Reed was a life-long Liberal; he utterly disapproved, however, of Mr Gladstone’s latter-day policy in Ireland. Reed was a member of the Reform Club and of the Savile Club.

In these notes I have written rather of Reed’s work than of the man himself. This is as he would have had it. There was in him a magnetic charm that attracted all who came near him, and which bound his friends to him as by “hooks of steel.” Erect and manly in bearing, he stepped along, never apparently in a hurry, never dawdling. One had only to look in his beautiful face, the bright kind eyes, the high wide brow, and to come under the spell of his winning smile, to obtain a glimpse of the noble soul within.

A calm, strong nature his, facing the world, with all its contingencies, bravely and with constant buoyant cheerfulness. He walked through life with eyes and heart wide open to the joy of the world, brightening and lightening it for others as he went. He was always ready to stretch out a helping hand to the weak and falling ones who came across his path. Never merely an optimist, he yet lived and died in the full, simple faith that—

“God’s in his heaven,
All’s right with the world.”

Socially, Reed was the life and soul of any party of friends. There were certain American student-songs which he was wont to sing with a quiet and inimitable drollery, very refreshing to hear, and which those who heard them are not likely readily to forget. His love of music was part of his nature. His reposeful, wooing touch on the piano or organ, either when he was extemporising or when he interpreted one of the masters, expressed the inner working of his own gentle spirit. Whether in his own family, or among friends, or in the midst of his Foundry workmen, he was universally beloved.

A true, loyal, and friendly spirit like his was sure to have “troops of friends.” To three friends in Highgate he wrote, during his last sad visit to Ireland, the following beautiful letter. Mrs Reed was at the moment detained in Highgate, nursing their eldest boy, who was ill.

“Westoncrofts, Ballymoney, October 6, 1893.

“Talbot, the exile,