This article is an attempt, in the nature of things tentative only, to carry a stage further the identification and location of the principal Sino-European works printed in China during the late seventeenth and early eighteenth centuries, as recorded by Henri Cordier in his L'Imprimerie Sino-Européene en Chine (Paris, 1901) and by Paul Pelliot in T'oung Pao (vol. xxiii, pp. 356–360) (Leiden, 1924). Considerations of space have obliged me to confine myself to a discussion of some ten of the most interesting of these, that is those which have the whole or the greatest part of the text printed in a European language. I therefore omit all those which have thetitle-page in Latin and the text in Chinese characters.

I Have before me a cartoon by that talented Turkish caricaturist, Cemal Nadir, whose untimely death took place early this year. It represents a school mistress pointing to a blackboard on which is chalked a “plus” sign (+). She asks a child what the sign is called. The child replies: “Well, three years ago it was called cem, two years ago it was zait, last year it was toplama; I really don't know what they are calling it now.”