,,the ,,ex-,,libris ,,series4 ,,edited ,,by ,,gleeson ,,white4 ,,the ,,decorative ,,illustration ,,of ,,books4 ,,by ,,walter ,,crane4 ,illustration3 ,g ,bell and ,sons ,,of ,,the ,,decorative ,,illustration ,,of ,,books ,,old ,,and ,,new ,,by ,,walter ,,crane ,illustration ,,london3 ,,george ,,bell ,,and ,,sons ,,york ,,street1 ,,covent ,,garden1 ,w4,c4 ,,new ,,york3 #ff ,,fifth ,,avenue ,,mdcccxcv ,,printed ,,at ,,the ,,chiswick ,,press ,,by ,,charles ,,whittingham ,,co4 ,,tooks ,,court1 ,,chancery ,,lane1 ,,london1 ,e4,c4 ,,and ,,first ,,published ,,december1 #ahif ,,second ,,edition1 ,,revised1 ,,feb4 #aija ,,third ,,edition1 ,,revised1 ,,jan4 #aije ,,preface4 ,this book had its origin in the course of three 7,cantor7 ,lectures given before the ,society of ,arts in #ahhi2 they have been amplified and added to1 and further chapters have been written1 treating of the very active period in printing and decorative book-illustration we have seen since that time1 as well as some remarks and suggestions touching the general principles and conditions governing the design of book pages and ornaments4 ,it is not nearly so complete or comprehensive as ,i could have wished1 but there are natural limits to the bulk of a volume in the ,ex-,libris series1 and it has been only possible to carry on such a work in the intervals snatched from the absorbing work of designing4 ,within its own lines1 however1 ,i hope that if not exhaustive1 the book may be found fairly representative of the chief historical and contemporary types of decorative book-illustration4 ,in the selection of the illustrations1 ,i have endeavoured to draw the line between the purely graphic aim1 on the one hand1 and the ornamental aim on the other--between what ,i should term the art of pictorial statement and the art of decorative treatment2 though there are many cases in which they are combined1 as1 indeed1 in all the most complete book-pictures1 they should be4 ,my purpose has been to treat of illustrations which are also book-ornaments1 so that purely graphic design1 as such1 unrelated to the type1 and the conditions of the page1 does not come within my scope4 ,as book-illustration pure and simple1 however1 has been treated of in this series by ,mr4 ,joseph ,pennell1 whose selection is more from the graphic than the decorative point of view1 the balance may be said to be adjusted as regards contemporary art4 ,i must offer my best thanks to ,mr4 ,gleeson ,white1 without whose most valuable help the book might never have been finished4 ,he has allowed me to draw upon his remarkable collection of modern illustrated books for examples1 and ,i am indebted to many artists for permission to use their illustrations1 as well as to ,messrs4 ,george ,allen1 ,bradbury1 ,agnew and ,co41 ,j4 ,m4 ,dent and ,co41 ,edmund ,evans1 ,geddes and ,co41 ,hacon and ,ricketts 7the ,vale ,press71 ,john ,lane1 ,lawrence and ,bullen1 ,sampson ,low and ,co41 ,macmillan and ,co41 ,elkin ,mathews1 ,kegan ,paul and ,co41 ,walter ,scott1 ,charles ,scribner's ,sons1 and ,virtue and ,co41 for their courtesy in giving me1 in many cases1 the use of the actual blocks4 ,to ,mr4 ,william ,morris1 who placed his beautiful collection of early printed books at my disposal1 from which to choose illustrations2 to ,mr4 ,emery ,walker for help in many ways2 to ,mr4 ,john ,calvert for permission to use some of his father's illustrations2 and to ,mr4 ,a4 ,w4 ,pollard who has lent me some of his early ,italian examples1 and has also supervised my bibliographical particulars1 ,i desire to make my cordial acknowledgments4 ,,walter ,,crane4 ,,kensington3 ,july #ahth1 #ahif4 ,,note ,,to ,,third ,,edition4 ,a reprint of this book being called for1 ,i take the opportunity of adding a few notes1 chiefly to ,chapter ,,iv41 which will be found further on with the numbers of the pages to which they refer4 ,as touching the general subject of the book one may1 perhaps1 be allowed to record with some satisfaction that the study of lettering1 text-writing1 and illumination is now seriously taken up in our craft-schools4 ,the admirable teaching of ,mr4 ,johnston of the ,central ,school of ,arts and ,crafts and the ,royal ,college of ,art in this connection cannot be too highly spoken of4 ,we have had1 too1 admirable work1 in each kind1 from ,mr4 ,reuter1 ,mr4 ,mortimer1 ,mr4 ,treglown1 ,mr4 ,alan ,vigers1 ,mr4 ,graily ,hewitt1 and ,mr4 ,a4 ,e4 ,r4 ,gill2 and ,mrs4 ,traguair and ,miss ,kingsford are remarkable for the beauty1 delicacy1 and invention of their work as illuminators among the artists who are now pursuing this beautiful branch of art4 ,so that the ancient crafts of the scribe and illuminator may be said to have again come to life1 and this1 taken in connection with the revival of printing as an art1 is an interesting and significant fact4 ,as recent contributions to the study of lettering we have ,mr4 ,lewis ,f4 ,day's recent book of ,alphabets1 and ,mr4 ,g4 ,woolliscroft ,rhead's sheets for school use4 ,i have to deplore the loss of my former helper in this book1 ,mr4 ,gleeson ,white1 since the work first appeared4 ,his extensive knowledge of1 and sympathy with the modern book illustrators of the younger generation was remarkable1 and as a designer himself he showed considerable skill and taste in book-decoration1 chiefly in the way of covers4 ,as a most estimable and amiable character he will always be remembered by his friends4 ,,walter ,,crane4 ,,kensington3 ,june1 #aijd4 ,,contents4 ,,chapter ,i4--,,of ,,the ,,evolution ,,of ,,the ,,illustrative ,,and ,,decorative ,,impulse ,,from ,,the ,,earliest ,,times2 ,,and ,,of ,,the ,,first ,,period ,,of ,,decoratively ,,illustrated ,,books ,,in ,,the ,,illuminated ,,mss4 ,,of ,,the ,,middle ,,ages4 #a4 ,,chapter ,,ii4--,,of ,,the ,,transition1 ,,and ,,of ,,the ,,second ,,period ,,of ,,decoratively ,,illustrated ,,books1 ,,from ,,the ,,invention ,,of ,,printing ,,in ,,the ,,fifteenth ,,century ,,onwards4 #de4 ,,chapter ,,iii4--,,of ,,the ,,period ,,of ,,the ,,decline ,,of ,,decorative ,,feeling ,,in ,,book ,,design ,,after ,,the ,,sixteenth ,,century1 ,,and ,,of ,,the ,,modern ,,revival4 #abe4 ,,chapter ,,iv4--,,of ,,recent ,,development ,,of ,,decorative ,,book ,,illustration1 ,,and ,,the ,,modern ,,revival ,,of ,,printing ,,as ,,an ,,art4 #ahe4 ,,chapter ,v4--,,of ,,general ,,principles ,,in ,,designing ,,book ,,ornaments ,,and ,,illustrations3 ,,consideration ,,of ,,arrangement1 ,,spacing ,,and ,,treatment4 #bgi4 ,,index4 #cbi4 ,illustration ,,list ,,of ,,illustrations4 ,,german ,,school1 ,,xvth ,,century4 ,,page ,leiden ,christi4 7,bamberg1 #adgj7 #c ,boccaccio1 ,de ,claris ,mulieribus4 7,ulm1 #adgc7 #g1 #aa ,buch von den sieben ,todsnden4 7,augsburg1 #adgd7 #ae ,speculum ,human ,vit4 7,augsburg1 cir4 #adge7 #ag ,bible4 7,cologne1 #adhj7 #ba ,terrence3 ,eunuchus4 7,ulm1 #adhf7 #bg ,chronica ,hungari4 7,augsburg1 #adhh7 #ce ,hortus ,sanitatis4 7,mainz1 #adia7 #ci ,chroneken der ,sassen4 7,mainz1 #adib7 #da ,bible4 7,lbeck1 #adid7 #dg sop's ,fables4 7,ulm1 #adih7 #ec ,,flemish ,,and ,,dutch ,,schools1 ,,xvth ,,century4 ,spiegel onser ,behoudenisse4 7,kuilenburg1 #adhc7 #be ,life of ,christ4 7,antwerp1 #adhg7 #ca ,,french ,,school1 ,,xvth ,,century4 ,la ,mer des ,histoires4 ,initial4 7,paris1 #adhh7 #cg ,paris et ,vienne4 7,paris1 cir4 #adie7 #ea ,,italian ,,school1 ,,xvth ,,century4 ,de ,claris ,mulieribus4 7,ferrara1 #adig7 #ed ,tuppo's sop4 7,naples1 #adhe7 #ee ,p4 ,cremonese's ,dante4 7,venice1 #adia7 #ef ,discovery of the ,indies4 7,florence1 #adic7 #eg ,fior di ,virt4 7,florence1 #adih7 #eh ,stephanus ,caesenas3 ,expositio ,beati ,hieronymi in ,psalterium4 7,venice1 #adih7 #ei ,poliphili ,hypnerotomachia4 7,venice1 #adii7 #fc1 #fe ,ketham's ,fasciculus ,medicin4 7,venice1 #adic7 #bie ,pomponius ,mela4 7,venice1 #adgh7 #big ,,italian ,,school1 ,,xvith ,,century4 ,artist ,unknown4 ,bernadino ,corio4 7,milan1 ,minuziano1 #aejc7 #fg ,school of ,bellini3 ,supplementum ,supplementi ,chronicarum1 etc4 7,venice1 #aejf7 #fi ,the ,descent of ,minerva3 from the ,quatriregio4 7,florence1 #aejh7 #ga ,aulus ,gellius4 7,venice1 #aeji7 #gc ,quintilian4 7,venice1 #aeab7 #ge ,ottaviano dei ,petrucci4 7,fossombrone1 #aeac7 #gg ,ambrosius ,calepinus4 7,tosculano1 #aebj7 #aba ,artist unknown3 ,portrait title3 ,ludovico ,dolci1 #aefa4 7,venice1 ,giolito1 #aefb7 #acc ,,german ,,school1 ,,xvith ,,century4 ,albrecht ,drer3 ,kleine ,passion4 7,nuremberg1 #aeab7 #ha1 #hc1 #he ,albrecht ,drer3 ,plutarchus ,chaeroneus4 7,nuremberg1 #aeac7 #hg ,albrecht ,drer3 ,plutarchus ,chaeroneus4 7,nuremberg1 #aebc7 #hi ,hans ,holbein3 ,dance of ,death4 7,lyons1 #aech7 #ia1 #ib ,hans ,holbein3 ,title-page3 ,gallia4 7,basel1 cir4 #aebd7 #ic ,hans ,holbein3 ,bible ,cuts4 7,lyons1 #aech7 #ie1 #if ,ambrose ,holbein3 ,neues ,testament4 7,basel1 #aebc7 #ig ,hans ,burgmair3 ,der ,weiss ,knig4 7#aeab-ad7 #ii ,hans ,burgmair3 ,iornandes de ,rebus ,gothorum4 7,augsburg1 #aeaf7 #aja ,hans ,burgmair3 ,pliny's ,natural ,history4 7,frankfort1 #aehb7 #ajc ,hans ,burgmair3 ,meerfahrt zu viln onerkannten ,inseln1 etc4 7,augsburg1 #aeji7 #aje ,hans ,baldung ,grn3 ,hortulus ,anim4 7,strassburg1 #aeaa7 #ajg1 #ajh1 #aji1 #aaj ,hans ,wchtlin3 ,title ,page4 7,strassburg1 #aeac7 #aaa ,hans ,sebald ,beham3 ,das ,papstthum mit seinen ,gliedern4 7,nuremberg1 #aebf7 #aac ,reformation der bayrischen ,landrecht4 7,munich1 #aeah7 #aag ,fuchsius3 ,de ,historia ,stirpium4 7,basel1 #aedb7 #abc ,virgil ,solis3 ,bible4 7,frankfort1 #aefc7 #aca ,johann ,otmar3 ,pomerium de ,tempore4 7,augsburg1 #aejb7 #adg ,,french ,,school1 ,,xvith ,,century4 ,oronce ,fin3 ,quadrans ,astrolabicus4 7,paris1 #aecd7 #abg ,,modern ,,illustration4 ,william ,blake3 ,songs of ,innocence1 #aghi #acg ,william ,blake3 ,phillip's ,pastoral #aci ,edward ,calvert3 ,original ,woodcuts3 ,the ,lady and the ,rooks1 ,the ,return ,home1 ,chamber ,idyll1 ,the ,flood1 ,ideal ,pastoral ,life1 ,the ,brook1 #ahbg-bi #ada1 #adc ,dante ,gabriel ,rossetti3 ,tennyson's ,poems1 #aheg #aea ,dante ,gabriel ,rossetti3 ,early ,italian ,poets1 #ahfa #aec ,albert ,moore3 ,milton's ,ode on the ,nativity1 #ahfg #aee ,henry ,holiday3 ,cover for ,aglaia1 #ahic #aeg ,randolph ,caldecott3 ,headpiece to ,bracebridge ,hall1 #ahgg #aeh ,kate ,greenaway3 ,title ,page of ,mother ,goose #aei ,arthur ,hughes3 ,at the ,back of the ,north ,wind1 #ahga #afj1 #afa ,arthur ,hughes3 ,mercy 7,good ,words for the ,young1 #ahga7 #cjd ,robert ,bateman3 ,art in the ,house1 #ahgf #afb1 #afc1 #afd1 #afe ,heywood ,sumner3 ,peard's ,stories for ,children1 #ahif #afg1 #agj ,charles ,keene3 ,a ,good ,fight4 7,once a ,week1 #ahei7 #afi ,louis ,davis3 ,sleep1 ,baby1 ,sleep 7,english ,illustrated ,magazine1 #ahib7 #aga ,henry ,ryland3 ,forget not yet 7,english ,illustrated ,magazine1 #ahid7 #agc ,frederick ,sandys3 ,the ,old ,chartist 7,once a ,week1 #ahfa7 #age ,m4 ,j4 ,lawless3 ,dead ,love 7,once a ,week1 #ahfb7 #agg ,walter ,crane3 ,grimm's ,household ,stories1 #ahhb #agi ,walter ,crane3 ,princess ,fiorimonde1 #ahhj #aha ,walter ,crane3 ,the ,sirens ,three1 #ahhf #ahc ,selwyn ,image3 ,scottish ,art ,review1 #ahhi #ahg ,william ,morris and ,walter ,crane3 ,the ,glittering ,plain1 #ahid #aia1 #bij1 #bia ,c4 ,m4 ,gere3 ,midsummer 7,english ,illustrated ,magazine1 #ahic7 #aie ,c4 ,m4 ,gere3 ,the ,birth of ,st4 ,george #aig ,arthur ,gaskin3 ,hans ,andersen1 #ahic #aii ,e4 ,h4 ,new3 ,bridge ,street1 ,evesham #bja ,inigo ,thomas3 ,the ,formal ,garden1 #ahib #bjd1 #bje ,henry ,payne3 ,a ,book of ,carols1 #ahic #bji ,f4 ,mason3 ,huon of ,bordeaux1 #ahie #baa ,gertrude1 ,m4 ,bradley3 ,the ,cherry ,festival1 #bac ,mary ,newill3 ,porlock #bae ,celia ,levetus3 ,a ,bookplate #bag ,c4 ,s4 ,ricketts3 ,hero and ,leander1 #ahid #bai ,c4 ,s4 ,ricketts3 ,daphnis and ,chloe1 #ahic #bbc ,c4 ,h4 ,shannon3 ,daphnis and ,chloe1 #ahic #bbd ,aubrey ,beardsley3 ,morte d',arthur1 #ahic #bbe1 #bbf1 #bbg ,edmund ,j4 ,sullivan3 ,sartor ,resartus1 #ahih #bbh ,patten ,wilson3 ,a ,pen ,drawing #bbi ,laurence ,housman3 ,the ,house of ,joy1 #ahie #bca ,l4 ,fairfax ,muckley3 ,frangilla #bcc ,charles ,robinson3 ,a ,child's ,garden of ,verse1 #ahie #bce1 #bcg1 #bci ,j4 ,d4 ,batten3 ,the ,arabian ,nights1 #ahic #bda1 #bdb ,r4 ,anning ,bell3 ,a ,midsummer ,night's ,dream1 #ahie #bdc ,r4 ,anning ,bell3 ,beauty and the ,beast1 #ahid #bde ,r4 ,spence3 ,a ,pen ,drawing #bdg ,a4 ,garth ,jones3 ,a ,tournament of ,love1 #ahid #bdi ,william ,strang3 ,baron ,munchausen1 #ahie #bea1 #bec ,h4 ,granville ,fell3 ,cinderella1 #ahid #bed ,john ,duncan3 ,apollo's ,schooldays 7,the ,evergreen1 #ahie7 #bee ,john ,duncan3 ,pipes of ,arcady 7,the ,evergreen1 #ahie7 #beg ,robert ,burns3 ,the ,passer-,by 7,the ,evergreen1 #ahie7 #bei ,mary ,sargant ,florence3 ,the ,crystal ,ball1 #ahid #bfa ,paul ,woodroffe3 ,ye ,second ,book of ,nursery ,rhymes1 #ahif #bfc ,paul ,woodroffe3 ,ye ,book of ,nursery ,rhymes1 #ahie #bfe ,m4 ,rijsselberghe3 ,dietrich's ,almanack1 #ahid #bff ,walter ,crane3 ,spenser's ,faerie ,queen1 #ahif #bfi1 #bha1 #bhc1 #bhe ,howard ,pyle3 ,otto of the ,silver ,hand #bga1 #bgc ,will4 ,h4 ,bradley3 ,covers for ,the ,inland ,printer1 #ahid #bgd ,will4 ,h4 ,bradley3 ,prospectus for ,bradley ,his ,book1 #ahif #bge ,will4 ,h4 ,bradley3 ,design for ,the ,chap ,book1 #ahie #bgg ,alan ,wright3 ,headpieces from ,the ,story of ,my ,house1 #ahib #cji1 #cda ,the untitled tailpieces throughout this volume are from ,grimm's ,household ,stories1 illustrated by ,walter ,crane4 7,macmillan1 #ahhb47 ,,appendix ,,of ,,half-,,tone ,,blocks4 ,i4 ,book of ,kells4 ,irish1 ,v,ith century4 ,,ii41 ,,iii41 ,,iv4 ,arundel ,psalter4 ,english1 ,x,i,vth century4 7,arundel ,,mss4 #hc ,b4 ,m47 ,v4 ,epistle of ,phillipe de ,comines to ,richard ,,ii4 ,french1 ,x,i,vth century4 7,royal ,,mss4 #bj ,b4 vi4 ,b4 ,m47 ,,vi41 ,,vii4 ,bedford ,hours4 7,,mss4 #ah1 #hej ,b4 ,m47 ,,viii4 ,romance of the ,rose4 ,english1 late ,x,vth century4 7,hast4 ,,mss4 #d1 #dbe47 ,,ix4 ,choir ,book4 ,siena4 ,italian1 ,x,vth century4 ,x41 ,,xi4 ,hokusai4 ,japanese1 ,x,i,xth century4 ,illustration ,,chapter ,i4 ,,of ,,the ,,evolution ,,of ,,the ,,illustrative ,,and ,,decorative ,,impulse ,,from ,,the ,,earliest ,,times2 ,,and ,,of ,,the ,,first ,,period ,,of ,,decoratively ,,illustrated ,,books ,,in ,,the ,,illuminated ,,mss4 ,,of ,,the ,,middle ,,ages4 ,my subject is a large one1 and touches more intimately1 perhaps1 than other forms of art1 both human thought and history1 so that it would be extremely difficult to treat it exhaustively upon all its sides4 ,i shall not attempt to deal with it from the historical or antiquarian points of view more than may be necessary to elucidate the artistic side1 on which ,i propose chiefly to approach the question of design as applied to books--or1 more strictly1 the book page--which ,i shall hope to illustrate by reproductions of characteristic examples from different ages and countries4 ,i may1 at least1 claim to have been occupied1 in a practical sense1 with the subject more or less1 as part of my work1 both as a decorator and illustrator of books1 for the greater part of my life1 and such conclusions as ,i have arrived at are based upon the results of personal thought and experience1 if they are also naturally coloured and influenced from the same sources4 ,all forms of art are so closely connected with life and thought1 so bound up with human conditions1 habits1 and customs2 so intimately and vividly do they reflect every phase and change of that unceasing movement--the ebb and flow of human progress amid the forces of nature we call history--that it is hardly possible even for the most careless stroller1 taking any of the by-paths1 not to be led insensibly to speculate on their hidden sources1 and an origin perhaps common to them all4 ,the story of man is fossilized for us1 as it were1 or rather preserved1 with all its semblance of life and colour1 in art and books4 ,the procession of history reaching far back into the obscurity of the forgotten or inarticulate past1 is reflected1 with all its movement1 gold and colour1 in the limpid stream of design1 that mirror-like1 paints each passing phase for us1 and illustrates each act in the drama4 ,in the language of line and of letters1 of symbol and picture1 each age writes its own story and character1 as page after page is turned in the book of time4 ,here and there the continuity of the chapters is broken1 a page is missing1 a passage is obscure2 there are breaks and fragments--heroic torsos and limbs instead of whole figures4 ,but more and more1 by patient research1 labour1 and comparison1 the voids are being filled up1 until some day perhaps there will be no chasm of conjecture in which to plunge1 but the volume of art and human history will be as clear as pen and pencil can make it1 and only left for a present to continue1 and a future to carry to a completion which is yet never complete4 ,sidenote3 ,,illuminated ,,mss4 ,if painting is the looking-glass of nations and periods1 pictured-books may be called the hand-glass which still more intimately reflects the life of different centuries and peoples1 in all their minute and homely detail and quaint domesticity1 as well as their playful fancies1 their dreams1 and aspirations4 ,while the temples and the tombs of ancient times tell us of the pomp and splendour and ambition of kings1 and the stories of their conquests and tyrannies1 the illuminated ,,mss4 of the ,middle ,ages show us1 as well as these1 the more intimate life of the people1 their sports and their jests1 their whim and fancy1 their work and their play1 no less than the mystic and religious and ceremonial side of that life1 which was1 indeed1 an inseparable part of it2 the whole worked in as with a kind of embroidery of the pen and brush1 with the most exquisite sense of decorative beauty4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,leiden ,,christi4 7,,bamberg1 ,,albrecht ,,pfister1 #adgj47 ,mr4 ,herbert ,spencer1 in the course of his enunciation of the philosophy of evolution1 speaks of the book and the newspaper lying on the table of the modern citizen as connected through a long descent with the hieroglyphic inscriptions of the ancient ,egyptians1 and the picture-writing of still earlier times4 ,we might go 7who knows how much further87 back into prehistoric obscurity to find the first illustrator1 pure and simple1 in the hunter of the cave1 who recorded the incidents of his sporting life on the bones of his victims4 ,we know that the letters of our alphabet were once pictures1 symbols1 or abstract signs of entities and actions1 and grew more and more abstract until they became arbitrary marks--the familiar characters that we know4 ,letters formed into words2 words increased and multiplied with ideas and their interchange2 ideas and words growing more and more abstract until the point is reached when the jaded intellect would fain return again to picture-writing1 and welcomes the decorator and the illustrator to relieve the desert wastes of words marshalled in interminable columns on the printed page4 ,in a journey through a book it is pleasant to reach the oasis of a picture or an ornament1 to sit awhile under the palms1 to let our thoughts unburdened stray1 to drink of other intellectual waters1 and to see the ideas we have been pursuing1 perchance1 reflected in them4 ,thus we end as we begin1 with images4 ,temples and tombs have been man's biggest books1 but with the development of individual life 7as well as religious ritual1 and the necessity of records17 he felt the need of something more familiar1 companionable1 and portable1 and having1 in the course of time1 invented the stylus1 and the pen1 and tried his hand upon papyrus1 palm leaf1 and parchment1 he wrote his records or his thoughts1 and pictured or symbolized them1 at first upon scrolls and rolls and tablets1 or1 later1 enshrined them in bound books1 with all the beauty that the art of writing could command1 enriched and emphasized with the pictorial and ornamental commentary in colours and gold4 ,as already indicated1 it is my purpose to deal with the artistic aspects of the book page1 and therefore we are not now concerned with the various forms of the book itself1 as such1 or with the treatment of its exterior case1 cover1 or binding4 ,it is the open book ,i wish to dwell on--the page itself as a field for the designer and illustrator--a space to be made beautiful in design4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,from ,,boccaccio1 ,,de ,,claris ,,mulieribus4 7,,ulm1 ,,johann ,,zainer1 #adgc47 ,sidenote3 ,,the ,,two ,,great ,,divisions4 ,both decorated and illustrated books may be divided broadly into two great periods3 ,i4 ,the ,,ms41 or period before printing4 ,,ii4 ,the period of printed books4 ,both illustrate1 however1 a long course of evolution1 and contain in themselves1 it might be said1 a compendium--or condensation--of the history of contemporary art in its various forms of development4 ,the first impulse in art seems to answer to the primitive imitative impulse in children--the desire to embody the familiar forms about them--to characterize them in line and colour4 ,the salient points of an animal1 for instance1 being first emphasized--as in the bone scratchings of the cave men--so that children's drawings and drawings of primitive peoples present a certain family likeness1 allowing for difference of environment4 ,they are abstract1 and often almost symbolic in their characterization of form1 and it is not difficult to imagine how letters and written language became naturally evolved through a system of hieroglyphics1 starting from the unsystemized but irrepressible tendency of the human to record his linear ideas of rhythm on the one hand1 or his impressions of nature on the other4 ,it would seem that the illustrator or picture writer came first in the order of things1 and the book afterwards--like the system we have heard of under modern editors of magazines1 of the picture being done first and then written up to1 or down to1 by the author4 ,side by side with the evolution of letters and calligraphic art went on the evolution of the graphic power and the artistic sense1 developing on the one hand towards close imitation of nature and dramatic incident1 and on the other towards imaginative beauty1 and systematic1 organic ornament1 more or less built upon a geometric basis1 but ultimately bursting into a free foliation and flamboyant blossom1 akin in inventive richness and variety to a growth of nature herself4 ,the development of these two main directions of artistic energy may be followed throughout the whole world of art1 constantly struggling1 as it were1 for the ascendancy1 now one and now the other being paramount2 but the history of their course1 and the effect of their varying influences is particularly marked in the decoration and illustration of books4 ,although as a rule the decorative sense was dominant throughout the illuminated books of the ,middle ,ages1 the illustrator1 in the form of the miniaturist1 is in evidence1 and in some1 especially in the later ,,mss41 finally conquers1 or rather absorbs1 the decorator4 ,there is a ,,ms4 in the ,egerton collection in the ,british ,museum 7,no4 #idc71 ,the ,divina ,commedia of ,dante1 with miniatures by ,italian artists of the fourteenth century1 which may be taken as an early instance of the ascendancy of the illustrator1 the miniatures being placed somewhat abruptly on the page1 and with unusually little framework or associated ornament2 and although more or less decorative in the effect of their simple design1 and frank and full colour1 the main object of their artists was to illustrate rather than to decorate the text4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,from ,,boccaccio1 ,,de ,,claris ,,mulieribus4 7,,ulm1 ,,johann ,,zainer1 #adgc47 ,sidenote3 ,,the ,,book ,,of ,,kells4 ,the ,celtic genius1 under the influence of ,christianity1 and as representing the art of the early ,christian ,western civilization--exemplified in the remarkable designs in the ,book of ,kells--was1 on the other hand1 strictly ornamental in its manifestations1 suggesting in its richness1 and in the intricacy and ingenuity of its involved patterns1 as well as the geometric forms of many of its units1 a relation to certain characteristics of ,eastern as well as primitive ,greek art4 ,the ,book of ,kells derives its name from the ,columban ,monastery of ,kells or ,kenlis1 originally ,cennanas1 a place of ancient importance in the county of ,meath1 ,ireland1 and it is supposed to have been the ,great ,gospel brought to the ,christian settlement by its founder1 ,st4 ,columba1 and perhaps written by that saint1 who died in the year #eig4 ,the original volume is in the library of ,trinity ,college1 ,dublin4 ,in one of the pages of this book is represented the ,greek monogram of ,christ1 and the whole page is devoted to three words1 ,christi ,autem ,generatio4 ,it is a remarkable instance of an ornamental initial spreading over an entire page4 ,the effect of the whole as a decoration is perhaps what might be called heavy1 but it is full of marvellous detail and richness1 and highly characteristic of ,celtic forms of ornamental design 7see ,no4 #a1 ,appendix74 ,the work of the scribe1 as shown in the form of the ordinary letters of the text1 is very fine4 ,they are very firm and strong in character1 to balance the closely knit and firmly built ornamentation of the initial letters and other ornaments of the pages4 ,we feel that they have a dignity1 a distinction1 and a character all their own4 ,there is a page in the same book where the symbols of the evangelists are inclosed in circles1 and panelled in a solid framing occupying the whole page1 which suggests ,byzantine feeling in design4 ,the full pages in the earlier illuminated ,,mss4 were often panelled out in four or more compartments to hold figures of saints1 or emblems1 and in the twelfth and thirteenth centuries such panels generally had small patterned diapered backgrounds1 on dark blue1 red1 green1 or burnished gold4 ,the ,anglo-,saxon ,,mss4 show traces of the influence of the traditions of ,classic art drawn through the ,byzantine1 or from the ,roman sources1 which naturally affected the earliest forms of ,christian art as we see its relics in the catacombs4 ,these classical traditions are especially noticeable in the treatment of the draperies clinging in linear and elliptical folds to express the limbs4 ,in fact1 it might be said that1 spread westward and northward by the ,christian colonies1 this classical tradition in figure design lingered on1 until its renewal at the dawn of the ,renaissance itself1 and the resurrection of classical art in ,italy1 which1 uniting with a new naturalism1 grew to that wonderful development which has affected the art of ,europe ever since4 ,the ,charter of ,foundation of ,newminster1 at ,winchester1 by ,king ,edgar1 ,a4,d4 #iff1 written in gold1 is another very splendid early example of book decoration4 ,it has a full-page miniature of the panelled type above mentioned1 and elaborate border in gold and colours by an ,english artist4 ,it is in the ,british ,museum1 and may be seen open in ,case #b in the ,king's ,library4 ,sidenote3 ,,anglo-,,saxon ,,ms4 ,the ,gospels1 in ,latin4 ,a ,,ms4 of the eleventh century1 with initials and borders in gold and colours1 by ,english artists1 is another fine specimen of the early kind4 ,here the titles of each gospel1 boldly inscribed1 are inclosed in a massively designed border1 making a series of full title pages of a dignified type4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,buch ,,von ,,den ,,sieben ,,tods,,nden ,,und ,,den ,,sieben ,,tugenden4 7,,augsburg1 ,b,,mler1 #adgd47 ,as examples of illustrated books1 according to the earlier ,medival ideas1 we may look at twelfth and thirteenth century ,herbals1 wherein different plants1 very full and frank in colour and formal in design1 are figured strictly with a view to the ornamentation of the page4 ,there is a very fine one1 described as written in ,england in the thirteenth century1 in the ,british ,museum4 ,decoration and illustration are here one and the same4 ,a magnificent specimen of book decoration of the most splendid kind is the ,arundel ,psalter 7,arundel ,,ms4 #hc1 ,brit4 ,mus471 given by ,robert de ,lyle to his daughter ,audry1 as an inscription in the volume tells us1 in #acci4 ,here scribe1 illuminator1 and miniaturist are all at their best1 whether one and the same or different persons4 ,it is1 moreover1 ,english work4 ,there is no doubt about the beauty of the designs1 and the variety and richness of the decorative effect4 ,like all the ,psalters1 the book commences with a calendar1 and full pages follow1 panelled out and filled in with subjects from the life of ,christ4 ,a particularly splendid full-page is that of the ,virgin and ,child under a ,gothic canopy1 with gold diapered background4 ,there are also very interestingly designed genealogical trees1 and fine arrangements of double columned text-pages with illuminated ornament 7see ,nos4 #b1 #c1 and #d1 ,appendix74 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,speculum ,,human ,,vit4 7,,augsburg1 ,g,,nther ,,zainer1 circa #adge47 7,size of original1 #f-e_/h in4 #aj-e_/af in47 ,sidenote3 ,,xiiith ,,and ,,xivth ,,century ,,mss4 ,the ,tenison ,psalter 7,addit4 ,,ms4 #bdfhf7 is a specimen of ,english thirteenth century work4 ,probably executed for ,alphonso1 son of ,edmund ,i41 on his contemplated marriage with ,margaret daughter of ,florentius1 ,count of ,holland1 which was frustrated by the prince's death on #ast ,august1 #abbd4 ,the full-page miniatures arranged in panels--in some instances four on a page1 with alternate burnished gold and dark blue diapered backgrounds behind the figures1 and in others six on a page1 the miniature much smaller1 and set in a larger margin of colour1 alternate red and blue--are very full1 solid1 and rich in colour with burnished gold4 ,the book is further interesting1 as giving excellent and characteristic instances of another and very different treatment of the page 7and one which appears to have been rather peculiarly ,english in style71 in the spiny scrolls which1 often springing from a large illuminated initial letter upon the field of the text1 spreads upon and down the margin1 or above and below1 often holding in its branching curves figures and animals1 which in this ,,ms4 are beautifully and finely drawn4 ,note the one showing a lady of the time in pursuit of some deer4 ,in the thirteenth century books the text is a solid tower or column1 from which excursions can be made by the fancy and invention of the designer1 up and down and above and beneath1 upon the ample vellum margins2 in some cases1 indeed1 additional devices appear to have been added by other and later hands than those of the original scribe or illuminator4 ,there is a very remarkable ,apocalypse 7,brit4 ,mus4 ,,mss4 #agcec2 formerly belonging to the ,carthusian house of ,vau ,dieu between ,lige and ,aix7 by ,french artists of the early fourteenth century1 which has a series of very fine imaginative and weird designs 7suggestive of ,orcagna71 highly decorative in treatment1 very full and frank in colour1 and firm in outline4 ,the designs are in oblong panels1 inclosed in linear coloured borders at the head of each page1 and occupying about two-thirds of it1 the text being written in double columns beneath each miniature1 with small illuminated initials4 ,the backgrounds of the designs are diapered on grounds of dark green and red alternately4 ,the imaginative force and expression conveyed by these designs--strictly formal and figurative1 and controlled by the ornamental traditions of the time--is very remarkable4 ,the illustrator and decorator are here still one4 ,queen ,mary's ,psalter 7,brit4 ,mus4 ,,ms4 ,royal #b1 ,b4 ,,vii471 again1 is interesting as giving instances of a very different and lighter treatment of figure designs4 ,we find in this ,,ms41 together with illuminations in full colours and burnished gold1 a series of pale tinted illustrations in ,bible history drawn with a delicate pen line4 ,the method of the illuminators and miniaturists seems always to have been to draw their figures and ornaments clearly out first with a pen before colouring4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,bible1 ,,heinrich ,,quentel4 7,,cologne1 #adhj47 ,in the full-coloured miniatures the pen lines are not visible1 but in this ,,ms4 they are preserved with the delicate tinted treatment4 ,the designs ,i speak of are placed two on a page1 occupying it entirely4 ,they are inclosed in vermilion borders1 terminated at each corner with a leaf4 ,there is a very distinct and graceful feeling about the designs4 ,the same hand appears to have added on the lower margins of the succeeding text pages a series of quaint figures--combats of grotesque animals1 hunting1 hawking1 and fishing scenes1 and games and sports1 and1 finally1 ,biblical subjects4 ,here1 again1 ,i think we may detect in the early illustrators a tendency to escape from the limitations of the book page1 though only a tendency4 ,a fine ornamental page combining illumination with miniature is given in the ,epistle of ,philippe de ,comines to ,richard ,,ii4 at the end of the fourteenth century4 ,the figures1 interesting historically and as examples of costume1 are relieved upon a diapered ground4 ,the text is in double columns1 with square initials1 and the page is lightened by open foliation branching out upon the margin from the straight spiney border strips1 which on the inner side terminate in a dragon4 ,sidenote3 ,,the ,,bedford ,,book ,,of ,,hours4 ,as a specimen of early fifteenth century work1 both for illuminator1 scribe1 and miniaturist1 it would be difficult to find a more exquisite book than the ,bedford ,hours 7,brit4 ,mus4 ,,ms4 ,add4 #ahhej71 dated #adbb1 said to be the work of ,french artists1 though produced in ,england4 ,the kalendar1 which occupies the earlier pages1 is remarkable for its small and very brilliant and purely coloured miniatures set like gems in a very fine1 delicate1 light1 open1 leafy border1 bright with burnished gold trefoil leaves1 which are characteristic of ,french illuminated books of this period 7see ,nos4 #e and #f1 ,appendix74 ,there is an elaborate full-page miniature containing the ,creation and ,fall1 which breaks over the margin here and there4 ,the thirteenth and fourteenth century miniaturists frequently allowed their designs to break over the framework of their diapered grounds or panels in an effective way1 which pleasantly varied the formality of framed-in subjects upon the page1 especially where a flat margin of colour between lines inclosed them2 and some parts of the groups broke over the inner line while keeping within the limits of the outer one4 ,very frequently1 as in this ,,ms41 a general plan is followed throughout in the spacing of the pages1 though the borders and miniatures in detail show almost endless variation4 ,in such splendid works as this we get the complete and harmonious co-operation and union between the illustrator and the decorator4 ,the object of each is primarily to beautify his page4 ,the illuminator makes his borders and initial letters branch and bud1 and put forth leaves and flowers spreading luxuriantly up and down the margin of his vellum pages 7beautiful even as the scribe left them7 like a living growth2 while the miniaturist makes the letter itself the shrine of some delicate saint1 or a vision of some act of mercy or martyrdom2 while the careless world plays hide and seek through the labyrinthine borders1 as the seasons follow each other through the kalendar1 and the peasant ploughs1 and sows1 and reaps1 and threshes out the corn1 while gay knights tourney in the lists1 or1 with ladies in their quaint attire1 follow the spotted deer through the greenwood4 ,sidenote3 ,,merry ,,england4 ,in these beautiful liturgical books of the ,middle ,ages1 as we see1 the ornamental feeling developed with and combined the illustrative function1 so that almost any illuminated ,psalter or ,book of ,hours will furnish not only lovely examples of floral decoration in borders and initials of endless fertility of invention1 but also give us pictures of the life and manners of the times4 ,in those of our own country we can realize how full of colour1 quaint costume1 and variety was life when ,england was indeed merry1 in spite of family feuds and tyrannous lords and kings2 before her industrial transformation and the dispossession of her people2 ere ,boards of ,works and ,poor-law ,guardians took the place of her monasteries and abbeys2 before her streams were fouled with sewage1 and her cities blackened with coal smoke--the smoke of the burning sacrificed to commercial competition and wholesale production for profit by means of machine power and machine labour2 before she became the workshop and engine-room of the world4 ,illustration3 ,,dutch ,,school4 ,,xvth ,,century4 ,,spiegel ,,onser ,,behoudenisse1 ,,kuilenburg4 7,,jan ,,veldener1 #adhc47 ,these books glowing with gold and colour tell of days when time was no object1 and the pious artist and scribe could work quietly and lovingly to make a thing of beauty with no fear of a publisher or a printer before his eyes1 or the demands of world market4 ,in the midst of our self-congratulation on the enormous increase of our resources for the rapid and cheap production of books1 and the power of the printing press1 we should do well not to forget that if books of those benighted centuries of which ,i have been speaking were few1 comparatively1 they were fit1 though few--they were things of beauty and joys for ever to their possessors4 ,a prayer-book was not only a prayer-book1 but a picture-book1 a shrine1 a little mirror of the world1 a sanctuary in a garden of flowers4 ,one can well understand their preciousness apart from their religious use1 and many have seen strange eventful histories no doubt4 ,the ,earl of ,shrewsbury lost his prayer-book 7the ,talbot prayer-book7 and his life together on the battle-field at ,castillon 7about thirty miles from ,bordeaux7 in #adec4 ,this book1 as ,mr4 ,quaritch states1 was carried away by a ,breton soldier1 and was only re-discovered in ,brittany a few years ago4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,deutsche ,,uebersetzung ,,des ,,eunuchus ,,des ,,terentius4 7,,ulm1 ,,dinckmut1 #adhf47 ,sidenote3 ,,missals4 ,it has been suggested that the large coloured and illuminated initial letters in liturgical books had their origin as guides in taking up the different parts of the service2 and1 as ,i learn from ,mr4 ,micklethwaite1 in some of the ,missals1 where the crucifixion is painted in an illuminated letter1 a simple cross is placed below for the votary to kiss instead of the picture1 as it was found in practice1 when only the picture was there1 the tendency was to obliterate it by the recurrence of this form of devotion4 ,as an example of the influence of naturalism which had begun to make itself felt in art towards the end of the fifteenth century1 we may cite ,the ,romance of the ,rose 7,harl4 ,,mss4 #ddbe71 in the ,british ,museum1 which has two fine full-page miniatures with elaborate borderings1 full of detail and colour1 and which are also illustrative of costume 7see ,no4 #h1 ,appendix74 ,the text pages show the effect of double columns with small highly-finished miniatures 7occupying the width of one column7 interspersed4 ,the style of work is akin to that of the celebrated ,grimani ,breviary1 now in the library of ,st4 ,mark's1 ,venice1 the miniatures of which are said to have been painted by ,memling4 ,they are wonderfully rich in detail1 and fine in workmanship1 and are quite in the manner of the ,flemish pictures of that period4 ,we feel that the pictorial and illustrative power is gaining the ascendancy1 and in its borders of highly wrought leaves1 flowers1 fruit1 and insects1 given in full relief with their cast shadows--wonderful as they are in themselves as pieces of work--it is evident to me1 at least1 that whatever graphic strength and richness of chiaroscuro is gained it is at the distinct cost of the beauty of pure decorative effect upon the page4 ,after the delicate arabesques of the earlier time1 these borders look a little heavy1 and however great their pictorial or imitative merits1 they fail to satisfy the conditions of a page decoration so satisfactorily4 ,perhaps the most sumptuous examples of book decoration of this period are to be found in ,italy1 in the celebrated ,choir ,books in the cathedral of ,siena4 ,they show a rare union of imaginative form1 pictorial skill1 and decorative sense in the miniaturist1 united with all the ,italian richness and grace in the treatment of early ,renaissance ornament1 and in its adaptation to the decoration of the book page 7see ,no4 #i1 ,appendix74 ,these miniatures are the work of ,girolamo da ,cremona1 and ,liberale da ,verona4 ,at least1 these two are described as the most copious and indefatigable of the artists employed on the ,corali4 ,payments were made to them for the work in #adfh1 and again in #adgb-c1 which fixes the date4 ,illustration3 ,,flemish ,,school4 ,,xvth ,,century4 ,,life ,,of ,,christ4 7,,antwerp1 ,,gheraert ,,leeu1 #adhg47 7,original1 #g-c_/h in4 #e-a_/h in47 ,sidenote3 ,,illuminated ,,mss4 ,i am not ignoring the possibility of a certain division of labour in the illuminated ,,ms4 ,the work of the scribe1 the illuminator1 and the miniaturist are distinct enough1 while equally important to the result4 ,mr4 ,j4 ,w4 ,bradley1 who has compiled a ,dictionary of ,miniaturists1 speaking of calligrapher1 illuminator1 and miniaturist1 says3--,each of these occupations is at times conjoined with either or both of the others1 and when that is so1 in giving the craftsman his title1 he decides by the period of his work4 ,for instance1 from the seventh to the tenth centuries he would call him calligrapher2 eleventh to fifteenth centuries1 illuminator2 fifteenth to sixteenth centuries1 miniaturist4 ,transcription he puts in another category as the work of the copyist scribe4 ,but whatever division of labour there may or may not have been1 there was no division in the harmony and unity of the effect4 ,if in some cases the more purely ornamental parts1 such as the floral borders and initials1 were the work of one artist1 the text of another1 and the miniatures of another1 all ,i can say is1 that each worked together as brethren in unity1 contributing to the beauty of a harmonious and organic whole2 and if such division of labour can be ascertained to have been a fact1 it goes to prove the importance of some co-operation in a work of art1 and its magnificent possibilities4 ,the illuminated ,,ms4 books have this great distinction and advantage in respect of harmony of text and decoration1 the text of the calligrapher always harmonizing with the designs of the illuminator1 it being in like manner all through the ,middle ,ages a thing of growth and development1 acquiring new characteristics and undergoing processes of transformation less obvious perhaps1 but not less actual1 than the changes in the style and characters of the devices and inventions which accompanied it4 ,the mere fact that every part of the work was due to the hand1 that manual skill and dexterity alone has produced the whole1 gives a distinction and a character to these ,,ms4 books which no press could possibly rival4 ,the difficulty which besets the modern book decorator1 illustrator1 or designer of printers' ornaments1 of getting type which will harmonize properly with his designs1 did not exist with the medival illuminator1 who must always have been sure of balancing his designs by a body of text not only beautiful in the form of its individual letters1 but beautiful and rich in the effect of its mass on the page1 which was only enhanced when the initials were relieved with colour on gold1 or beautiful pen work which grew out of them like the mistletoe from the solid oak stem4 ,the very pitch of perfection which penmanship1 or the art of the calligrapher had reached in the fifteenth century1 the calculated regularity and purgation of superfluities in the form of the letters1 the squareness of their mass in the words1 and approximation in length and height1 seem to suggest and naturally lead up to the idea of the movable type and the printed page4 ,before1 however1 turning the next page of our subject1 let us take one more general and rapid glance at the ,,ms4 books from the point of view of design4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,chronica ,,hungari4 7,,augsburg1 ,,ratdolt1 #adhh47 ,while examples of the two fields into which art may be said to be always more or less divided--the imitative and the inventive1 or the illustrative and the decorative--are not altogether absent in the books of the ,middle ,ages1 the main tendency and prevailing spirit is decidedly on the inventive and decorative side1 more especially in the work of the illuminators from the thirteenth to the fifteenth centuries1 and yet this inventive and decorative spirit is often allied with a dramatic and poetic feeling1 as well as a sense of humour4 ,we see how full of life is the ornament of the illuminator1 how figures1 birds1 animals1 and insects fill his arabesques1 how he is often decorator1 illustrator1 and pictorial commentator in one4 ,illustration3 ,,french ,,school4 ,,xvth ,,century4 ,,initial ,,from ,,la ,,mer ,,des ,,histoires4 7,,paris1 ,,pierre ,,le ,,rouge1 #adhh47 ,sidenote3 ,,the ,,beautiful ,,page4 ,even apart from his enrichments1 it is evident that the page was regarded by the calligrapher as a space to be decorated--that it should at least1 regarded solely as a page of text1 be a page of beautiful writing1 the mass carefully placed upon the vellum1 so as to afford convenient and ample margin1 especially beneath4 ,the page of a book1 in fact1 may be regarded as a flat panel which may be variously spaced out4 ,the calligrapher1 the illuminator1 and the miniaturist are the architects who planned out their vellum grounds and built beautiful structures of line and colour upon them for thought and fancy to dwell in4 ,sometimes the text is arranged in a single column1 as generally in the earlier ,,mss42 sometimes in double1 as generally in the ,gothic and later ,,mss41 and these square and oblong panels of close text are relieved by large and small initial letters sparkling in gold and colour1 inclosed in their own framework1 or escaping from it in free and varied branch work and foliation upon the margin1 and set with miniatures like gems1 as in the ,bedford ,hours1 the larger initials increasing to such proportions as to inclose a more important miniature--a subject-picture in short--a book illustration in the fullest sense1 yet strictly a part of a general scheme of the ornamentation of the page4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,hortus ,,sanitatis4 7,,mainz1 ,,jacob ,,meidenbach1 #adia47 ,sidenote3 ,,the ,,miniaturists4 ,floral borders1 which in some instances spread freely around the text and fill the margins1 unconfined though not uninfluenced by rectangular lines or limits from a light and open1 yet rich and delicate tracery of leaves and fanciful blossoms 7as in the ,bedford ,hours72 are in others framed in with firm lines 7,tenison ,psalter1 p4 #aa72 and in later fifteenth century ,,mss4 with gold lines and mouldings1 as the treatment of the page becomes more pictorial and solid in colour and relief4 ,sometimes the borders form a distinct framework1 inclosing the text and dividing its columns1 as in ,the ,book of ,hours of ,ren of ,anjou 7,egerton ,,ms4 #ajgj71 and the same design is sometimes repeated differently coloured4 ,gradually the miniaturist--the picture painter--although at first almost as formally decorative as the illuminator--asserts his independence1 and influences the treatment of the border1 which becomes a miniature also1 as in the ,grimani ,breviary1 the ,romance of the ,rose1 and the ,choir ,books of ,siena1 until at last the miniature or the picture is in danger of being more thought of than the book1 and we get books of framed pictures instead of pictured or decorated books4 ,in the ,grimani ,breviary the miniature frequently occupies the whole page with a single subject-picture2 or the miniature is superimposed upon a pictured border1 which1 strengthened by rigid architectural lines and tabernacle work1 form a rich frame4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,chroneken ,,der ,,sassen4 7,,mainz1 ,,sch,,ffer1 #adib47 ,all these varieties we have been examining are1 however1 interesting and beautiful in their own way in their results4 ,in considering any form of art of a period which shows active traditions1 real life and movement1 natural growth and development1 we are fascinated by its organic quality1 and though we may detect the absorption or adaptation of new elements and new influences from time to time leading to changes of style and structure of design1 as well as changed temper and feeling1 as long as this natural evolution continues1 each variety has its own charm and its own compensations2 while we may have our preferences as to which approaches most nearly to the ideal of perfect adaptability1 and1 therefore1 of decorative beauty4 ,in the progressive unfolding which characterizes a living style1 all its stages must be interesting and possess their own significance1 since all fall into their places in the great and golden record of the history of art itself4 ,illustration ,,chapter ,,ii4 ,,of ,,the ,,transition1 ,,and ,,of ,,the ,,second ,,period ,,of ,,decoratively ,,illustrated ,,books1 ,,from ,,the ,,invention ,,of ,,printing ,,in ,,the ,,fifteenth ,,century ,,onwards4 ,we have seen to what a pitch of perfection and magnificence the decoration and illustration of books attained during the ,middle ,ages1 and the splendid results to which art in the three distinct forms--calligraphy1 illumination1 and miniature--contributed4 ,we have traced a gradual progression and evolution of style through the period of ,,ms4 books1 both in the development of writing and ornament4 ,we have noted how the former became more and more regular and compact in its mass on the page1 and how in the latter the illustrative or pictorial size grew more and more important1 until at the close of the fifteenth century we had large and elaborately drawn and naturalistic pictures framed in the initial letters1 as in the ,choir ,books of ,siena1 or occupying the whole page with a single subject1 as in the ,grimani ,breviary4 ,the tree of design1 springing from small and obscure germs1 sends up a strong stem1 branches and buds in the favourable sun1 and finally breaks into a beautiful free efflorescence and fruitage4 ,then we mark a fresh change4 ,the autumn comes after the summertide1 winter follows autumn1 till the new life1 ever ready to spring from the husk of the old1 puts forth its leaves1 until by almost imperceptible degrees and changes1 and the silent growth of new forces1 the face of the world is changed for us4 ,so it was with the change that came upon ,european art towards the end of the fifteenth century1 the result of many causes working together2 but as regards art as applied to books1 the greatest of these was of course the invention and application of printing4 ,like most great movements in art or life1 it had an obscure beginning4 ,its parentage might be sought in the woodcuts of the earlier part of the fifteenth century applied to the printing of cards4 ,the immediate forerunners of printed books were the block books4 ,characteristic specimens of the quaint works may be seen displayed in the ,king's ,library1 ,british ,museum4 ,the art of these block books is quite rude and primitive1 and1 contrasted with the highly-finished work of the illuminated ,,ms4 of the same time1 might almost belong to another period4 ,these are the first tottering steps of the infant craft2 the first faint utterances1 soon to grow into strong1 clear1 and perfect speech1 to rule the world of books and men4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,from ,,the ,l,,beck ,,bible4 7,l,,beck1 ,,steffen ,,arndes1 #adid47 ,sidenote3 ,,the ,,earliest ,,printers4 ,germany had not taken any especial or distinguished part in the production of ,,mss4 remarkable for artistic beauty or original treatment2 but her time was to come1 and now1 in the use of an artistic application of the invention of printing1 and the new era of book decoration and illustration1 she at once took the lead4 ,seeing that the invention itself is ascribed to one of her own sons1 it seems appropriate enough1 and natural that printing should grow to quick perfection in the land of its birth2 so that we find some of the earliest and greatest triumphs of the ,press coming from ,german printers1 such as ,gutenberg1 ,fust1 and ,schoeffer1 not to speak yet of the wonderful fertility of decorative invention1 graphic force1 and dramatic power of ,german designers1 culminating in the supreme genius of ,albrecht ,drer and ,hans ,holbein4 ,the prosperous ,german towns1 ,cologne1 ,mainz1 ,frankfort1 ,strassburg1 ,augsburg1 ,bamberg1 ,halberstadt1 ,nuremberg1 and ,ulm1 all became famous in the history of printing1 and each had its school of designers in black and white1 its distinctive style in book-decoration and printing4 ,italy1 ,france1 ,switzerland1 and ,england1 however1 all had their share1 and a glorious share1 in the triumph of printing in its early days4 ,the presses of ,venice1 of ,florence1 and of ,rome and ,naples1 of ,paris1 and of ,basel1 and of our own ,william ,caxton1 at ,westminster1 must always be looked upon as in the van of the early progress of the art1 and the richness of the decorative invention and beauty1 in the case of the woodcut adornments used by the printers of ,venice and ,florence especially1 gives them in the last years of the fifteenth century and the early years of the sixteenth a particular distinction4 #aded appears to be the earliest definite date that can be fixed on to mark the earliest use of printing4 ,in that year1 the ,mainz ,indulgences were in circulation1 but the following year is more important1 as to it is assigned the issue1 from the press of ,gutenberg and ,fust at ,mainz1 of the famous ,mazarin ,bible1 a copy of which is in the ,british ,museum4 ,mr4 ,bullen says1 ,the copy which first attracted notice in modern times was discovered in the library of ,cardinal ,mazarin--hence the name4 ,it is noticeable as showing how transitional was the change in the treatment of the page4 ,the scribe has been supplanted--the marshalled legions of printed letters have invaded his territory and driven him from his occupation2 but the margin is still left for the illuminator to spread his coloured borders upon1 and the initial letters wait for the touch of colour from his hand4 ,the early printers evidently regarded their art as providing a substitute for the ,,ms4 book4 ,they aimed at doing the work of the scribe and doing it better and more expeditiously4 ,no idea of a new departure in effect seems to have been entertained at first1 to judge from such specimens as these4 ,illustration3 ,,french ,,school4 ,,xvth ,,century4 ,,from ,,paris ,,et ,,vienne4 7,,paris1 ,,jehan ,,treperel1 ,c4 #adie47 ,sidenote3 ,,the ,,mainz ,,psalter4 ,another early printed book is the ,mainz ,psalter4 ,it is printed on vellum1 and comes from the press of ,fust and ,schoeffer in #adeg4 ,it is remarkable not only as the first printed psalter and as the first book printed with a date1 but also as being the first example of printing in colours4 ,the initial letter ,b is the result of this method1 and it affords a wonderful instance of true register4 ,the blue of the letter fitted cleanly into the red of the surrounding ornament with a precision which puzzles our modern printers1 and it is difficult to understand how such perfection could have been attained4 ,mr4 ,emery ,walker has suggested to me that the blue letter itself might have been cut out1 inked1 and dropped in from the back of the red block when that was in the press1 and so the two colours printed together4 ,if this could be done with sufficient precision1 it would certainly account for the exactitude of the register4 ,apart from this interesting technical question1 however1 the page is a very beautiful one1 and the initial1 with its solid shape of figured blue1 inclosed in the delicate red pen-like tracery climbing up and down the margin1 is a charming piece of page decoration4 ,the original may be seen in one of the cases in the ,king's ,library1 ,british ,museum4 ,we have here an instance of the printer aiming at directly imitating and supplanting by his craft the art of the calligrapher and illuminator1 and with such a beauty and perfection of workmanship as must have astonished them and given them far more reason to regard the printer as a dangerous rival than had 7as it is said7 the early wood engravers1 who were unwilling to help the printer by their art for fear his craft would injure their own1 which seems somewhat extraordinary considering how closely allied both wood engraver and printer have been ever since4 ,the example of the ,mainz ,psalter does not seem to have been much followed1 and as regards the application of colour1 it was as a rule left as a matter of course to be added by the miniaturist1 who evidently declined as an artist after he had got into the way of having his designs in outline provided for him ready-made by the printer2 or1 rather1 perhaps the accomplished miniature printer1 having carried his art as applied to books about as far as it would go1 became absorbed as a painter of independent pictures1 and the printing of books fell into inferior hands4 ,there can be no doubt that the devices and decorations of the early printers were intended to be coloured in emulation of illuminated and miniatured ,,mss41 and were regarded1 in fact1 as the pen outlines of the illuminator1 only complete when filled in with colours and gold4 ,it appears to have been only by degrees that the rich and vigorous lines of the woodcut1 as well as the black and white effect1 became admired for their own sake--so slowly moves the world6 ,sidenote3 ,,german ,,illustration4 ,a good idea of the general character of the development of the wood 7and metal7 cut in book and illustration and decoration in ,germany1 from #adgj 7,leiden ,christi1 ,pfister1 ,bamberg1 #adgj7 to 7,virgil ,solis' ,bible7 #aefc1 may be gained from a study of the series of reproductions given in this and the preceding chapter1 in chronological order1 with the names1 dates1 and places1 as well as the particular characteristics of the style of the different designers and printers4 ,illustration3 ,,german ,,school4 ,,xvth ,,century4 ,,das ,,buch ,,und ,,leben ,,des ,,hochber,,hmten ,,fabeldichters ,,sopi4 7,,ulm1 #adih4a7 #a ,this is the date of the copy from which the illustration is reproduced4 ,the first edition of the book was1 however1 probably issued about #adhj4 ,sidenote3 ,,italian ,,illustrations4 ,the same may be said in regard to the ,italian series which follows1 and those from ,basel and ,paris4 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,de ,,claris ,,mulieribus4 7,,ferrara1 #adig47 ,perhaps the most interesting examples of the use of early printing as a substitute for illumination and miniature are to be found in the ,books of ,hours which were produced at ,paris in the later years of the fifteenth and the early years of the sixteenth centuries 7#adhg-aeai about7 by ,vrard1 ,du ,pr1 ,philip ,pigouchet1 ,kerver1 and ,hardouyn4 ,specimens of these books may be seen in the ,british ,museum1 and at the ,art ,library at ,south ,kensington ,museum4 ,the originals are mostly printed on vellum4 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,tuppo',s ,,sop4 7,,naples1 #adhe47 ,sidenote3 ,,borders ,,and ,,ornaments4 ,the effect of the richly designed borders on black dotted grounds is very pleasant1 but these books seem to have been intended to be illuminated and coloured4 ,we find in some copies that the full-page printed pictures are coloured1 being worked up as miniatures1 and the semi-architectural borderings with ,renaissance mouldings and details are gilded flat1 and treated as the frame of the picture4 ,there is one which has the mark of the printer ,gillet ,hardouyn 7,g4 ,h4 on the shield71 on the front page4 ,in another copy 7#aeae7 this is painted and the framework gilded2 the subject is ,nessus the ,centaur carrying off ,deianira1 the wife of ,hercules2 a sign of the tendency to revive classical mythology which had set in1 in this case1 in curious association with a ,christian service-book4 ,it is noticeable how soon the facility for repetition by the press was taken advantage of1 and a design1 especially if on ornamental borderings of a page1 often repeated several times throughout a book4 ,these borderings and ornaments being generally in separate blocks as to headings1 side panels1 and tail-pieces1 could easily be shifted and a certain variety obtained by being differently made up4 ,here we may see commercialism creeping in4 ,considerations of profit and economy no doubt have their effect1 and mechanical invention comes in to cheapen not only labour1 but artistic invention also4 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,p4 ,,cremonese',s ,,dante4 7,,venice1 ,,november1 #adia47 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,the ,,discovery ,,of ,,the ,,indies4 7,,florence1 #adic47 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,fior ,,di ,,virt4 #adih 7,,florence1 #adic87 ,sidenote3 ,,the ,,renaissance4 ,it took some time1 however1 to turn the printer into the manufacturer or tradesman pure and simple4 ,nothing is more striking than the high artistic character of the early printed books4 ,the invention of printing1 coming as it did when the illuminated ,,mss4 had reached the period of its greatest glory and perfection1 with the artistic traditions of fifteen centuries poured1 as it were1 into its lap1 filling its founts with beautiful lettering1 and guiding the pencil of its designers with a still unbroken sense of fitness and perfect adaptability2 while as yet the influence of the revival of classic learning and mythology was only felt as the stirring and stimulating breath of new awakening spring--the aroma of spice-laden winds from unknown shores of romance--or as the mystery and wonder of discovery1 standing on the brink of a half-disclosed new world1 and fired with the thought of its possibilities-- ,or like stout ,cortez when with eagle eyes ,he stared at the ,pacific4 ,had the discovery of printing occurred two or three centuries earlier1 it would have been curious to see the results4 ,but after all1 an invention never lives until the world is ready to adopt it4 ,it is impossible to say how many inventions are new inventions4 ,ask and ye shall have1 or the practical application of it1 is the history of civilization4 ,necessity1 the stern mother1 compels her children to provide for their own physical and intellectual necessities1 and in due time the hour and the man 7with his invention7 arrives4 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,stephano ,,caesenate ,,peregrini ,,inventore 7,s4,c4 ,p4,i474 7,,venice1 ,,de ,,gregoriis1 #adih47 ,classical mythology and ,gothic mysticism and romance met together in the art and books of the early ,renaissance4 ,ascetic aspiration strives with frank paganism and nature worship4 ,the gods of ancient ,greece and ,rome seemed to awake after an enchanted sleep of ages1 and reappear again unto men4 ,italy1 having hardly herself ever broken with the ancient traditions of ,classical art and religion1 became the focus of the new light1 and her independent republics1 such as ,florence and ,venice1 the centres of wealth1 culture1 refinement1 and artistic invention4 ,turkish conquest1 too1 had its effect on the development of the new movement by driving ,greek scholars and the knowledge of the classical writers of antiquity ,westward4 ,these were all materials for an exceptional development of art1 and1 above all1 of the art of the printer1 and the decoration and illustration of books4 ,the name of ,aldus1 of ,venice1 is famous among those of the early ,renaissance printers4 ,perhaps the most remarkable book1 from this or any press1 for the beauty of its decorative illustration1 is the ,poliphili ,hypnerotomachia--,the ,dream of ,poliphilus--printed in #adii1 an allegorical romance of love in the manner of those days4 ,the authorship of the design has been the subject of much speculation4 ,i believe they were attributed at one time to ,mantegna1 and they have also been ascribed to one of the ,bellini4 ,the style of the designer1 the quality of the outline1 the simplicity yet richness of the designs1 their poetic feeling1 the mysticism of some1 and frank paganism of others1 places the series quite by themselves4 ,the first edition is now very difficult to obtain1 and might cost something like #ajj guineas4 ,my illustrations are taken from the copy in the ,art ,library at ,south ,kensington ,museum1 and are from negatives taken by ,mr4 ,griggs1 for the ,science and ,art ,department1 who have issued a set of reproductions in photo-lithography1 by him1 of the whole of the woodcuts in the volume1 of the original size1 at the price1 ,i believe1 of #es4 #f;d4 ,here is an instance of what photographic reproduction can do for us--when originals of great works are costly or unattainable we can get reproductions for a few shillings1 for all practical purposes as good for study as the originals themselves4 ,if we cannot1 in this age1 produce great originals1 we can at least reproduce them--perhaps the next best thing4 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,poliphilus4 7,,venice1 ,,aldus1 #adii47 ,illustration3 ,,italian ,,school4 ,,tertivs ,,xvth ,,century4 ,,poliphilus4 7,,venice1 ,,aldus1 #adii47 ,illustration3 ,,italian ,,school4 ,,xvith ,,century4 ,,alessandro ,,minuziano4 7,,milan1 ,,designer ,,unknown1 #aejc47 ,illustration3 ,,italian ,,school4 ,,xvith ,,century4 ,,school ,,of ,,giov4 ,,bellini4 7,,venice1 ,,georgius ,,de ,,rusconibus1 #aejf47 ,illustration3 ,,italian ,,school4 ,,xvith ,,century4 ,,the ,,descent ,,of ,,minerva1 ,,from ,,the ,,quatriregio4 7,,florence1 #aejh47 ,illustration3 ,,italian ,,school4 ,,xvith ,,century4 ,,aulus ,,gellius1 ,,printed ,,by ,,giov4 ,,tacuino4 7,,venice1 #aeji47 ,illustration3 ,,italian ,,school4 ,,xvith ,,century4 ,,quintilian4 7,,venice1 ,,georgius ,,de ,,rusconibus1 #aeab47 ,illustration3 ,,italian ,,school4 ,,xvith ,,century4 ,,ottaviano ,,dei ,,petrucci4 7,,fossombrone1 #aeac47 ,there is a ,french edition of ,poliphilus printed at ,paris1 by ,kerver1 in #aefa1b which has a frontispiece designed by ,jean ,cousin4 ,the illustrations1 too1 have all been redrawn1 and are treated in quite a different manner from the ,venetian originals--but they have a character of their own1 though of a later1 florid1 and more self-conscious type1 as might be expected from ,paris in the latter half of the sixteenth century4 ,the initial letters of a series of chapters in the book spell1 if read consecutively1 ,francisco ,columna 7,f4,r4,a4,n4,c4,i4,s4,c4,o4 ,c4,o4,l4,v4,m4,n4,a47--the name of the writer of the romance4 #b ,the first ,french edition is dated #aedf4 ,whether such designs as these were intended to be coloured is doubtful4 ,they are very satisfactory as they are in outline1 and want nothing else4 ,the book may be considered as an illustrated one1 drawings of monuments1 fountains1 standards1 emblems1 and devices are placed here and there in the text1 but they are so charmingly designed and drawn that the effect is decorative1 and being in open line the mechanical conditions are perfectly fulfilled of surface printing with the type4 ,sidenote3 ,,caxton4 ,after the beautiful productions of the ,german1 ,italian 7of which some reproductions are given here71 and ,french printers1 our own ,william ,caxton's first books seem rather rough1 though not without character1 and1 at any rate1 picturesqueness1 if they cannot be quoted as very accomplished examples of the printer's art4 ,the first book printed in ,england is said to be ,caxton's ,dictes and ,sayings of the ,philosophers1 printed by him at ,westminster in #adgg4 ,a noticeable characteristic of the early printed books is the development of the title page4 ,whereas the ,,mss4 generally did without one1 with the advent of printing the title page became more and more important1 and even if there were no other illustrations or ornaments in a book1 there was often a woodcut title4 ,such examples as some here given convey a good idea of what charming decorative feeling these title page designs sometimes displayed1 and those greatest of designers and book decorators and illustrators1 ,albrecht ,drer and ,hans ,holbein1 showed their power and decorative skill1 and sense of the resources of the woodcut1 in the designs made by them for various title pages4 ,the noble designs of the master craftsman of ,nuremberg1 ,albrecht ,drer1 are well known4 ,his extraordinary vigour of drawing1 and sense of its resources as applied to the woodcut1 made him a great force in the decoration and illustration of books1 and many are the splendid designs from his hand4 ,three designs from the fine series of the ,little ,passion and two of his title pages are given1 which show him on the strictly decorative side4 ,the title dated #aebc may be compared with that of ,oronce ,fin 7,paris1 #aecd74 ,there appears to have been a return to this convoluted knotted kind of ornament at this period4 ,it appears in ,italian ,,mss4 earlier1 and may have been derived from ,byzantine sources4 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,albrecht ,d,,rer1 ,,kleine ,,passion4 7,,nuremberg1 #aeab47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,albrecht ,d,,rer1 ,,kleine ,,passion4 7,,nuremberg1 #aeab47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,albrecht ,d,,rer1 ,,kleine ,,passion4 7,,nuremberg1 #aeab47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,albrecht ,d,,rer4 7,,nuremberg1 ,,heinrich ,,steyner1 #aeac47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,designed ,,by ,,albrecht ,d,,rer4 7,,nuremberg1 #aebc47 ,sidenote3 ,,hans ,,holbein4 ,there is a fine title page designed by ,holbein1 printed by ,petri1 at ,basle1 in #aebd4 ,it was originally designed and used for an edition of the ,new ,testament1 printed by the same ,adam ,petri in #aebc4 ,at the four corners are the symbols of the ,evangelists2 the arms of the city of ,basle are in the centre of the upper border1 and the printer's device occupies a corresponding space below4 ,figures of ,,ss4 ,peter and ,paul are in the niches at each side4 ,but the work always most associated with the name of ,holbein is the remarkable little book containing the series of designs known as the ,dance of ,death1 the first edition of which was printed at ,lyons in #aech4 ,the two designs here given are printed from the blocks cut by ,bonner and ,byfield 7#ahcc74 ,these cuts are only about #b-a_/b by #b inches1 and yet an extraordinary amount of invention1 graphic power1 dramatic and tragic force1 and grim and satiric humour1 is compressed into them4 ,they stand quite alone in the history of art1 and give a wonderfully interesting and complete series of illustrations of the life of the sixteenth century4 ,holbein is supposed to have painted this ,dance of ,death in the palace of ,henry ,,viii41 erected by ,cardinal ,wolsey at ,whitehall1 life size2 but this was destroyed in the fire which consumed nearly the whole of that palace in #afig4 ,illustration3 ,,ger4 ,,school4 ,,xvith ,,cent4 ,,holbein4 ,,dance ,,of ,,death4 ,,the ,,nun4 7,,lyons1 #aech47 ,the ,bible cuts of ,hans ,holbein are also a very fine series1 and remarkable for their breadth and simplicity of line1 as well as decorative effect on the page4 ,illustration3 ,,ger4 ,,school4 ,,xvith ,,cent4 ,,holbein1 ,,dance ,,of ,,death4 ,,the ,,ploughman4 7,,lyons1 #aech47 ,it is interesting to note that ,holbein's father and grandfather both practised engraving and painting at ,augsburg1 while his brother ,ambrose was also a fertile book illustrator4 ,hans ,holbein the elder married a daughter of the elder ,burgmair1 father of the famous ,hans ,burgmair1 examples of whose fine and vigorous style of drawing are given4 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,holbein4 7,,basel1 ,,adam ,,petri1 circa #aebd47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,holbein4 ,,hist4 ,,vet4 ,,test4 ,,iconibus ,,illustrata4 ,sidenote3 ,,the ,,german ,,masters4 ,sidenote3 ,,the ,,german ,,tradition4 ,albrecht ,drer and ,holbein1 indeed1 seem to express and to sum up all the vigour and power of design of that very vigorous and fruitful time of the ,german ,renaissance4 ,they had able contemporaries1 of course1 among whom are distinguished1 ,lucas ,cranach 7the elder7 born #adgj1 and ,hans ,burgmair1 already named1 who was associated with ,drer in the work of the celebrated series of woodcuts1 ,the ,triumphs of ,maximilian2 one of the fine series of ,der ,weiss ,knig1 a noble title page1 and a vigorous drawing of peasants at work in a field1 here represent him4 ,other notable designers were ,hans ,sebald ,beham1 ,hans ,baldung ,grn1 ,hans ,wchtlin1 ,jost ,amman1 and others1 who carried on the ,german style or tradition in design to the end of the sixteenth century4 ,this tradition of convention was technically really the mode of expression best fitted to the conditions of the woodcut and the press1 under which were evolved the vigorous pen line characteristic of the ,german masters4 ,it was a living condition in which each could work freely1 bringing in his own fresh observation and individual feeling1 while remaining in collective harmony4 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,holbein4 ,,bible4 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,ambrose ,,holbein4 ,,das ,,gantze ,,neue ,,testament1 ,,etc4 7,,basel1 #aebc47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,burgmair4 ,,der ,,weiss ,k,,nig 7#aeab-ad74 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,burgmair4 7,,augsburg1 #aeaf47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,burgmair4 ,,historia ,,mundi ,,naturalis1 ,,pliny4 7,,frankfort1 #aehb47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,burgmair4 ,,die ,,meerfahrt ,,zu ,,viln ,,onerkannten ,,inseln ,,und ,,kunigreichen4 7,,augsburg1 #aeji47 ,sidenote3 ,,printers' ,,marks ,sidenote3 ,,emblem ,,books4 ,the various marks adopted by the printers themselves are often decorative devices of great interest and beauty4 ,the ,french printers1 ,gillett ,hardouyn and ,thielman ,kerver1 for instance1 had charming devices with which they generally occupied the front page of their ,books of ,hours4 ,others were pictorial puns and embodied the name of the printer under some figure1 such as that of ,petri of ,basle1 who adopted a device of a stone1 which the flames and the hammer stroke failed to destroy2 or the mark of ,philip le ,noir--a black shield with a negro crest and supporter2 or the palm tree of ,palma ,isingrin4 ,others were purely emblematic and heraldic1 such as the dolphin twined round the anchor1 of ,aldus1 with the motto ,propera tarde--hasten slowly4 ,this1 and another device of a crab holding a butterfly by its wings1 with the same signification1 are both borrowed from the favourite devices of two of the early emperors of ,rome--,augustus and ,titus4 ,this symbolic1 emblematic1 allegorizing tendency which had been more or less characteristic of both art and literature1 in various degrees1 from the most ancient times1 became more systematically cultivated1 and collections of emblems began to appear in book form in the sixteenth century4 ,the earliest being that of ,alciati1 the first edition of whose book appeared in #aebb1 edition after edition following each other from various printers and places from that date to #afba1 with ever-increasing additions1 and being translated into ,french1 ,german1 and ,italian4 ,mr4 ,henry ,green1 the author of ,shakespeare and the ,emblem ,writers 7written to prove ,shakespeare's acquaintance with the emblem books1 and constant allusions to emblems71 said of ,alciati's book that it established1 if it did not introduce1 a new style for emblem literature--the classical1 in the place of the simply grotesque and humorous1 or of the heraldic and mystic4 ,illustration3 ,,hans ,,baldung ,,gr,n4 ,,hortulus ,,anim4 7,,strassburg1 ,,martin ,,flach1 #aeaa47 ,illustration3 ,,hans ,,baldung ,,gr,n4 ,,hortulus ,,anim4 7,,strassburg1 ,,martin ,,flach1 #aeaa47 ,illustration3 ,,hans ,,baldung ,,gr,n4 ,,hortulus ,,anim4 7,,strassburg1 ,,martin ,,flach1 #aeaa47 ,illustration3 ,,hans ,,baldung ,,gr,n4 ,,hortulus ,,anim4 7,,strassburg1 ,,martin ,,flach1 #aeaa47 ,there is an edition of ,alciati printed at ,lyons 7,bonhomme71 #aeea1 a reprint of which was published by the ,holbein ,society in #ahha4 ,the figure designs and the square woodcut subjects are supposed to be the work of ,solomon ,bernard--called the little ,bernard--born at ,lyons in #aebb4 ,these are surrounded by elaborate and rather heavy decorative borders1 in the style of the later ,renaissance1 by another hand1 some of them bearing the monogram ,p4,v41 which has been explained to mean either ,pierino del ,vaga1 the painter 7a pupil of ,raphael's71 or ,petro de ,vingles1 a printer of ,lyons4 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,w,,chtlin4 7,,strassburg1 ,,mathias ,,sch,,rer1 #aeac47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,hans ,,sebald ,,beham4 ,,das ,,papstthum ,,mit ,,seinen ,,gliedern4 7,,nuremberg1 ,,hans ,,wandereisen1 #aebf47 ,these borders1 as we learn from a preface to one of the editions 7,ad ,lectorem--,roville's ,latin text of the emblems71 were intended as patterns for various craftsmen4 ,for ,i say this is their use1 that as often as any one may wish to assign fulness to empty things1 ornament to base things1 speech to dumb things1 and reason to senseless things1 he may1 from a little book of emblems1 as from an excellently well-prepared hand-book1 have what he may be able to impress on the walls of houses1 on windows of glass1 on tapestry1 on hangings1 on tablets1 vases1 ensigns1 seals1 garments1 the table1 the couch1 the arms1 the sword1 and lastly1 furniture of every kind4 ,sidenote3 ,,emblems4 ,an emblem has been defined 7,cotgrave's ,dictionary1 ,art4 ,emblema7 as a picture and short posie1 expressing some particular conceit2 and by ,francis ,quarles as but a silent parable2 and ,bacon1 in his ,advancement of ,learning1 says3--,embleme deduceth conceptions intellectuall to images sensible1 and that which is sensible more fully strikes the memory1 and is more easily imprinted than that which is intellectual4 ,sidenote3 ,,the ,,copper-,,plate4 ,all was fish that fell into the net of the emblem writer or deviser2 hieroglyphic1 heraldry1 fable1 mythology1 the ancient ,egyptians1 ,homer1 ancient ,greece and ,rome1 ,christianity1 or pagan philosophy1 all in their turn served ,to point a moral and adorn a tale4 ,as to the artistic quality of the designs which are found in these books1 they are of very various quality1 those of the earlier sixteenth century with woodcuts being naturally the best and most vigorous1 corresponding in character to the qualities of the contemporary design4 ,holbein's ,dance of ,death1 or rather ,images and ,storied ,aspects of ,death1 its true title1 might be called an emblem book1 but very few can approach it in artistic quality4 ,some of the devices in early editions of the emblem books of ,giovio1 ,witney1 and even the much later ,quarles have a certain quaintness2 but though such books necessarily depended on their illustrations1 the moral and philosophic1 or epigrammatic burden proved in the end more than the design could carry1 when the impulse which characterized the early ,renaissance had declined1 and design1 as applied to books1 became smothered with classical affectation and pomposity1 and the clear and vigorous woodcut was supplanted by the doubtful advantage of the copper-plate4 ,the introduction of the use of the copper-plate marks a new era in book illustration1 but as regards their decoration1 one of distinct decline4 ,while the surface-printed block1 whether woodcut or metal engraving 7by which method many of the early book illustrations were rendered7 accorded well with the conditions of the letter-press printing1 as they were set up with the type and printed by the same pressure in the same press4 ,with copper-plate quite other conditions came in1 as the paper has to be pressed into the etched or engraved lines of the plate1 instead of being impressed by the lines in relief of the wood or the metal4 ,thus1 with the use of copper-plate illustrations in printed books1 that mechanical relation which exists between a surface-printed block and the letter-press was at once broken1 as a different method of printing had to be used4 ,the apparent1 but often specious1 refinement of the copper-plate did not necessarily mean extra power or refinement of draughtsmanship or design1 but merely thinner lines1 and these were often attained at the cost of richness and vigour1 as well as decorative effect4 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,reformation ,,der ,,ba3,y,,rischen ,,landrecht4 7,,munich1 #aeah47 ,the first book illustrated with copper-plate engravings1 however1 bears an early date--#adgg4 ,el ,monte ,sancto di ,dio4 ,niccolo di ,lorenzo1 ,florence4 ,in this case it was reserved for the full page pictures4 ,the method does not seem to have commended itself much to the book designers1 and did not come into general use until the end of the sixteenth century1 with the decline of design4 ,the encyclopdic books of this period--the curious compendiums of the knowledge of those days--were full of entertaining woodcuts1 diagrams1 and devices1 and the various treatises on grammar1 arithmetic1 geometry1 physiology1 anatomy1 astronomy1 geography1 were made attractive by them1 each section preceded perhaps by an allegorical figure of the art or science discoursed of in the costume of a grand dame of the period4 ,the herbals and treatises on animals were often filled with fine floral designs and vigorous1 if sometimes half-mythical1 representations of animals4 ,sidenote3 ,,fuchsius4 ,sidenote3 ,,herbals4 ,there are fine examples of plant drawing in a beautiful herbal 7,fuchsius3 ,de ,historia ,stirpium2 ,basle1 ,isingrin1 #aedb74 ,they are not only faithful and characteristic as drawings of the plants themselves1 but are beautiful as decorative designs1 being drawn in a fine free style1 and with a delicate sense of line1 and well thrown upon the page4 ,at the beginning of the book is a woodcut portrait of the author1 ,leonard ,fuchs--possibly the fuchsia may have been named after him--and at the end is another woodcut giving the portrait of the artist1 the designer of the flowers1 and the draughtsman on wood and the formschneider1 or engraver on wood1 beneath1 who appears to be fully conscious of his own importance4 ,the first two are busy at work1 and it will be noticed the artist is drawing from the flower itself with the point of a brush1 the brush being fixed in a quill in the manner of our water-colour brushes4 ,the draughtsman holds the design or paper while he copies it upon the block4 ,the portraits are vigorously drawn in a style suggestive of ,hans ,burgmair4 ,good examples of plant drawing which is united with design are also to be found in ,matthiolus 7,venice1 #aehc71 and in a ,kreuterbuch 7,strasburg1 #aeea71 and in ,gerard's ,herbal1 of which there are several editions4 ,as examples of design in animals1 there are some vigorous woodcuts in a ,history of ,quadrupeds1 by ,conrad ,gesner1 printed by ,froschover1 of ,zurich1 in #aeed4 ,the porcupine is as like a porcupine as need be1 and there can be no mistake about his quills4 ,the drawings of birds are excellent1 and one of a crane 7as ,i ought1 perhaps1 more particularly to know7 is very characteristic4 ,illustration3 ,,italian ,,school4 ,,xvith ,,century4 7,,tosculano1 ,,alex4 ,,paganini1 #aebj47 7,comp4 ,drer's title page1 ,nuremberg1 #aebc47 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,fuchsius3 ,,de ,,historia ,,stirpium4 7,,basle1 ,,isingrin1 #aedb47 ,sidenote3 ,,the ,,new ,,spirit4 ,but we have passed the ,rubicon--the middle of the sixteenth century4 ,ripening so rapidly1 and blossoming into such excellence and perfection as did the art of the printer1 and design as applied to the printed page1 through the woodcut and the press1 their artistic character and beauty was somewhat short-lived4 ,up to about this date 7#aeed was the date of our last example71 as we have seen1 to judge only from the comparatively few specimens given here1 what beautiful books were printed1 remarkable both for their decorative and illustrative value1 and often uniting these two functions in perfect harmony2 but after the middle of the sixteenth century both vigour and beauty in design generally may be said to have declined4 ,whether the world had begun to be interested in other things--and we know the great discovery of ,columbus had made it practically larger--whether discovery1 conquest1 and commerce more and more filled the view of foremost spirits1 and art was only valued as it illustrated or contributed to the knowledge of or furtherance of these2 whether the ,reformation or the spirit of ,protestantism1 turning men's minds from outward to inward things1 and in its revolt against the half paganized ,catholic ,church--involving a certain ascetic scorn and contempt for any form of art which did not serve a direct moral purpose1 and which appealed to the senses rather than to the emotions or the intellect--practically discouraged it altogether4 ,whether that new impulse given to the imagination by the influence of the revival of ,classical learning1 poetry1 and antique art1 had become jaded1 and1 while breaking with the traditions and spirit of ,gothic or ,medival art1 began to put on the fetters of authority and pedantry1 and so1 gradually overlaid by the forms and cerements of a dead style1 lost its vigour and vitality--whether due to one or all of these causes1 certain it is that the lamp of design began to fail1 and1 compared with its earlier radiance1 shed but a doubtful flicker upon the page through the succeeding centuries4 ,,chapter ,,iii4 ,,of ,,the ,,period ,,of ,,the ,,decline ,,of ,,decorative ,,feeling ,,in ,,book ,,design ,,after ,,the ,,sixteenth ,,century1 ,,and ,,of ,,the ,,modern ,,revival4 ,as ,i indicated at the outset of the first chapter1 my purpose is not to give a complete historical account of the decoration and illustration of books1 but rather to dwell on the artistic treatment of the page from my own point of view as a designer4 ,so far1 however1 the illustrations ,i have given1 while serving their purpose1 also furnished a fair idea of the development of style and variation of treatment of both the ,,ms4 and printed book under different influences1 from the sixth to the close of the sixteenth century1 but now ,i shall have to put on a pair of seven-league boots1 and make some tremendous skips4 ,we have seen how1 at the period of the early ,renaissance1 two streams met1 as it were1 and mingled1 with very beautiful results4 ,the freedom1 the romance1 the naturalism of the later ,gothic1 with the newly awakened ,classical feeling1 with its grace of line and mythological lore4 ,the rich and delicate arabesques in which ,italian designers delighted1 and which so frequently decorated1 as we have seen1 the borders of the early printer1 owe also something to ,oriental influence1 as indeed their name indicates4 ,the decorative beauty of these early ,renaissance books were really1 therefore1 the outcome of a very remarkable fusion of ideas and styles4 ,printing1 as an art1 and book decoration attained a perfection it has not since reached4 ,the genius of the greatest designers of the time was associated with the new invention1 and expressed itself with unparalleled vigour in the woodcut2 while the type-founder1 being still under the influence of a fine traditional style in handwriting1 was in perfect harmony with the book decorator or illustrator4 ,even geometric diagrams were given without destroying the unity of the page1 as may be seen in early editions of ,euclid1 and we have seen what faithful and characteristic work was done in illustrations of plants and animals1 without loss of designing power and ornamental sense4 ,sidenote3 ,,the ,,classical ,,influence4 ,this happy equilibrium of artistic quality and practical adaptation after the middle of the sixteenth century began to decline4 ,there were designers1 like ,oronce ,fin and ,geoffroy ,tory1 at ,paris1 who did much to preserve the traditions in book ornament of the early ,italian printers1 while adding a touch of grace and fancy of their own1 but for the most part the taste of book designers ran to seed after this period4 ,the classical influence1 which had been only felt as one among other influences1 became more and more paramount over the designer1 triumphing over the naturalistic feeling1 and over the ,gothic and ,eastern ornamental feeling2 so that it might be said that1 whereas ,medival designers sought after colour and decorative beauty1 ,renaissance designers were influenced by considerations of line1 form1 and relief4 ,this may have been due in a great measure to the fact that the influence of the antique and ,classical art was a sculpturesque influence1 mainly gathered from statues and relievos1 gems and medals1 and architectural carved ornaments1 and more through ,roman than ,greek sources4 ,while suggestions from such sources were but sparingly introduced at first1 they gradually seemed to outweigh all other motives with the later designers1 whose works often suggest that it is impossible to have too much ,roman costume or too many ,roman remains1 which crowd their ,bible subjects1 and fill their borders with overfed pediments1 corpulent scrolls1 and volutes1 and their interstices with scattered fragments and attitudinizing personifications of ,classical mythology4 ,the lavish use of such materials were enough to overweight even vigorous designers like ,virgil ,solis1 who though able1 facile1 and versatile as he was1 seems but a poor substitute for ,holbein4 ,illustration3 ,,french ,,school4 ,,xvith ,,century4 ,,designed ,,by ,,oronce ,,fin4 7,,paris1 ,,simon ,,de ,,colines1 #aecd47 7,comp4 ,drer's title to ,plutarch1 #aeac1 and ,st4 ,ambrosius1 #aebj47 ,sidenote3 ,,the ,,renaissance4 ,what was at first an inspiriting1 imaginative1 and refining influence in art became finally a destructive force4 ,the youthful spirit of the early ,renaissance became clouded and oppressed1 and finally crushed with a weight of pompous pedantry and affectation4 ,the natural development of a living style in art became arrested1 and authority1 and an endeavour to imitate the antique1 took its place4 ,the introduction of the copper-plate marked a new epoch in book illustration1 and wood-engraving declined with its increased adoption1 which1 in the form it took1 as applied to books1 in the seventeenth and eighteenth centuries1 was certainly to the detriment and final extinction of the decorative side4 ,sidenote3 ,,copper-,,plate4 ,it has already been pointed out how a copper-plate1 requiring a different process of printing1 and exhibiting as a necessary consequence such different qualities of line and effect1 cannot harmonize with type and the conditions of the surface-printed page1 since it is not in any mechanical relation with them4 ,this mechanical relation is really the key to all good and therefore organic design2 and therefore it is that design was in sounder condition when mechanical conditions and relations were simpler4 ,a new invention often has a dislocating effect upon design4 ,a new element is introduced1 valued for some particular facility or effect1 and it is often adopted without considering how--like a new element in a chemical combination--it alters the relations all round4 ,copper-plate engraving was presumably adopted as a method for book-illustration for its greater fineness and precision of line1 and its greater command of complexity in detail and chiaroscuro1 for its purely pictorial qualities1 in short1 and its adoption corresponded to the period of the ascendancy of the painter above other kind of artists4 ,illustration3 ,,german ,,school4 ,,late ,,xvith ,,century4 ,,virgil ,,solis1 ,,bible4 7,,frankfort1 ,,sigm4 ,,feyrabend1 #aefc47 ,illustration3 ,,venetian ,,school4 ,,late ,,xvith ,,century4 ,,artist ,,unknown4 7,,venice1 ,g4 ,,giolito1 #aefb47 ,as regards the books of the seventeenth century1 while of making many books there was no end1 and however interesting for other than artistic reasons1 but few would concern our immediate purpose4 ,woodcuts1 headings1 initials1 tail-pieces1 and printers' ornaments continued to be used1 but greatly inferior in design and beauty of effect to those of the sixteenth century4 ,the copper-plates introduced are quite apart from the page ornaments1 and can hardly be considered decorative1 although in the pompous title-pages of books of this period they are frequently formal and architectural enough1 and1 as a rule1 founded more or less upon the ancient arches of triumph of ,imperial ,rome4 ,histories and philosophical works1 especially towards the end of the seventeenth and beginning of the eighteenth centuries1 were embellished with pompous portraits in frames of more or less classical joinery1 with shields of arms1 the worse for the decorative decline of heraldry1 underneath4 ,the specimen given is a good one of its type from a ,venetian book of #aefb1 and gives the earlier form of this kind of treatment4 ,travels and topographical works increased1 until by the middle of the eighteenth century we have them on the scale of ,piranesi's scenic views of the architecture of ancient ,rome4 ,the love of picturesqueness and natural scenery1 or1 perhaps1 landscape gardening1 gradually developing1 concentrated interest on qualities the antithesis of constructive and inventive design1 and drew the attention more and more away from them1 until the painter1 pure and simple1 took all the artistic honours1 and the days of the foundation of academies only confirmed and fixed the idea of art in this restricted sense in the public mind4 ,sidenote3 ,,hogarth4 ,hogarth1 who availed himself of the copper-plate and publication in book form of his pictures1 was yet wholly pictorial in his sympathies1 and his instincts were dramatic and satiric rather than decorative4 ,able painter and designer as he was in his own way1 the interest of his work is entirely on that side1 and is rather valuable as illustrating the life and manners of his time than as furnishing examples of book illustration1 and his work certainly has no decorative aim1 although no doubt quite harmonious in an eighteenth century room4 ,sidenote3 ,,stothard4 ,chodowiecki1 who did a vast quantity of steel frontispieces and illustrations for books on a small scale1 with plenty of character1 must also be regarded rather as a maker of pictures for books than as a book decorator4 ,he is sometimes mentioned as kindred in style to ,stothard1 but ,stothard was much more of an idealist1 and had1 too1 a very graceful decorative sense from the classical point of view4 ,his book designs are very numerous1 chiefly engraved on steel1 and always showing a very graceful sense of line and composition4 ,his designs to ,rogers' ,poems1 and ,italy1 are well-known1 and1 in their earlier woodcut form1 his groups of ,amorini are very charming4 ,flaxman had a high sense of sculpturesque style and simplicity1 and great feeling and grace as a designer1 but he can hardly be reckoned as a book decorator4 ,his well-known series to ,homer1 ,hesiod1 schylus1 and ,dante are strictly distinct series of illustrative designs1 to be taken by themselves without reference to their incorporation in1 or relation to1 a printed book4 ,their own lettering and explanatory text is engraved on the same plate beneath them1 and so far they are consistent1 but are not in any sense examples of page treatment or spacing4 ,illustration3 ,,xixth ,,century4 ,,william ,,blake4 ,,songs ,,of ,,innocence1 #aghi4 ,sidenote3 ,,william ,,blake4 ,we now come to a designer of a very different type1 a type1 too1 of a new epoch1 whatever resemblance in style and method there may be in his work to that of his contemporaries4 ,william ,blake is distinct1 and stands alone4 ,a poet and a seer1 as well as a designer1 in him seemed to awake something of the spirit of the old illuminator4 ,he was not content to illustrate a book by isolated copper or steel plates apart from the text1 although in his craft as engraver he constantly carried out the work of others4 ,when he came to embody his own thoughts and dreams1 he recurred quite spontaneously to the methods of the maker of the ,,ms4 books4 ,he became his own calligrapher1 illuminator and miniaturist1 while availing himself of the copper-plate 7which he turned into a surface printing block7 and the printing press for the reproduction of his designs1 and in some cases for producing them in tints4 ,his hand-coloured drawings1 the borderings and devices to his own poems1 will always be things by themselves4 ,his treatment of the resources of black and white1 and sense of page decoration1 may be best judged perhaps by a reference to his ,book of ,job1 which contains a fine series of suggestive and imaginative designs4 ,we seem to read in ,blake something of the spirit of the ,medival designers1 through the sometimes mannered and semi-classic forms and treatment1 according to the taste of his time2 while he embodies its more daring aspiring thoughts1 and the desire for simpler and more humane conditions of life4 ,a revolutionary fire and fervour constantly breaks out both in his verse and in his designs1 which show very various moods and impulses1 and comprehend a wide range of power and sympathy4 ,sometimes mystic and prophetic1 sometimes tragic1 sometimes simple and pastoral4 ,blake1 in these mixed elements1 and the extraordinary suggestiveness of his work and the freedom of his thought1 seems nearer to us than others of his contemporaries4 ,in his sense of the decorative treatment of the page1 too1 his work bears upon our purpose4 ,in writing with his own hand and in his own character the text of his poems1 he gained the great advantage which has been spoken of--of harmony between text and illustration4 ,they become a harmonious whole1 in complete relation4 ,his woodcuts to ,phillip's ,pastoral1 though perhaps rough in themselves1 show what a sense of colour he could convey1 and of the effective use of white line4 ,illustration3 ,,william ,,blake4 ,,woodcut ,,from ,,phillip',s ,,pastoral4 ,sidenote3 ,,edward ,,calvert4 ,among the later friends and disciples of ,blake1 a kindred spirit must have been ,edward ,calvert1 whose book illustrations are also decorations2 the masses of black and white being effectively distributed1 and they are full of poetic feeling1 imagination1 and sense of colour4 ,i am indebted for the first knowledge of them to ,mr4 ,william ,blake ,richmond1 whose father1 ,mr4 ,george ,richmond1 was a friend of ,william ,blake and ,calvert1 as well as of ,john ,linnell and of ,samuel ,palmer1 who carried on the traditions of this ,english poetic school to our own times2 especially the latter1 whose imaginative drawings--glowing sunsets over remote hill-tops1 romantic landscapes1 and pastoral sentiment--were marked features in the room of the ,old ,water ,colour ,society1 up to his death in #ahha4 ,his etched illustrations to his edition of ,the ,eclogues of ,virgil1 are a fine series of beautifully designed and poetically conceived landscapes2 but they are strictly a series of pictures printed separately from the text4 ,palmer himself1 in the account of the work given by his son1 when he was planning the work1 wished that ,william ,blake had been alive to have designed his woodcut headings to the ,eclogues4#c #c ,a memoir of ,edward ,calvert has since been published by his son1 fully illustrated1 and giving the little engravings just spoken of4 ,they were engraved by ,calvert himself1 it appears1 and ,i am indebted to his son1 ,mr4 ,john ,calvert1 for permission to print them here4 ,sidenote3 ,,thomas ,,bewick4 ,to ,thomas ,bewick and his school is due the revival of wood-engraving as an art1 and its adaptation to book illustration1 quite distinct1 of course1 from the old knife-work on the plank4 ,bewick had none of the imaginative poetry of the designers just named1 although plenty of humour and satire1 which he compressed into his little tail-pieces4 ,he shows his skill as a craftsman in the treatment of the wood block1 in such works as his ,british ,birds2 but here1 although the wood-engraving and type may be said to be in mechanical relation1 there is no sense of decorative beauty or ornamental spacing whatever1 and1 as drawings1 the engravings have none of the designer's power such as we found in the illustrations of ,gesner and ,matthiolus at ,basle1 in the middle of the sixteenth century4 ,there is a very literal and plain presentment of facts as regards the bird and its plumage1 but with scarcely more than the taste of the average stuffer and mounter in the composition of the picture1 and no regard whatever to the design of the page as a whole4 ,illustration3 ,,xixth ,,century4 ,,edward ,,calvert4 ,,the ,,return ,,home4 ,,the ,,flood4 ,,the ,,chamber ,,idyll4 ,,from ,,the ,,original ,,blocks ,,designed ,,and ,,engraved ,,on ,,wood ,,by ,,edward ,,calvert4 ,,brixton1 #ahbg-h-i4 ,illustration3 ,,xixth ,,century4 ,,edward ,,calvert4 ,,the ,,lady ,,and ,,the ,,rooks4 ,,ideal ,,pastoral ,,life4 ,,the ,,brook4 ,,from ,,the ,,blocks ,,designed ,,and ,,engraved ,,on ,,wood ,,by ,,edward ,,calvert4 ,,brixton1 #ahbg-h-i4 ,it was1 however1 a great point to have asserted the claims of wood-engraving1 and demonstrated its capabilities as a method of book illustration4 ,sidenote3 ,,the ,,school ,,of ,,bewick4 ,bewick founded a school of very excellent craftsmen1 who carried the art to a wonderful degree of finish4 ,in both his and their hands it became quite distinct from literal translation of the drawing1 which1 unless in line1 was treated by the engraver with a line1 touch1 and quality all his own1 the use of white line1#d and the rendering of tone and tint necessitating a certain power of design on his part1 and giving him as important a position as the engraver on steel held in regard to the translation of a painted picture4 #d ,a striking instance of the use of white line is seen in the title page ,pomerium de ,tempore1 printed by ,johann ,otmar1 ,augsburg1 as early as #aejb4 ,it is possible1 however1 that this is a metal engraving4 ,it is given overleaf4 ,such a book as ,northcote's ,fables1 published #ahbh-bi1 each fable having a head-piece drawn on wood from ,northcote's design by ,william ,harvey--a well-known graceful designer and copious illustrator of books up to comparatively recent times--and with initial letters and tail-pieces of his own1 shows the outcome of the ,bewick school4 ,finally fineness of line1 tone1 and finish--a misused word1 as ,mr4 ,w4 ,j4 ,linton says1 was preferred to the simple charm of truth4 ,the wood engravers appeared to be anxious to vie with the steel engravers in the adornment of books1 and so far as adaptation was concerned1 they had certainly all the advantage on their side4 ,the ornamental sense1 however1 had everywhere declined2 pictorial qualities1 fineness of line1 and delicacy of tone1 were sought after almost exclusively4 ,sidenote3 ,,stothard ,,and ,,turner4 ,such books as ,rogers's ,poems and ,italy1 with vignettes on steel from ,thomas ,stothard and ,j4 ,m4 ,w4 ,turner1 are characteristic of the taste of the period1 and show about the high-water mark of the skill of the book engravers on steel4 ,stothard's designs are the only ones which have claims to be decorative1 and he is always a graceful designer4 ,turner's landscapes1 exquisite in themselves1 and engraved with marvellous delicacy1 do not in any sense decorate the page1 and from that point of view are merely shapeless blots of printers' ink of different tones upon it1 while the letterpress bears no relation whatever to the picture in method of printing or design1 and has no independent beauty of its own4 ,book illustrations of this type--and it was a type which largely prevailed during the second quarter of the century--are simply pictures without frames4 ,illustration3 ,,german ,,school4 ,,xvith ,,century4 ,,johann ,,otmar4 7,,augsburg1 #aejb47 ,sidenote3 ,w4 ,j4 ,,linton4 ,no survey of book illustration would be complete which contained no mention of ,william ,james ,linton--whom ,i have already quoted4 ,i may be allowed to speak of him with a peculiar regard and respect1 as ,i may claim him as a very kind early friend and master4 ,as a boy ,i was1 in fact1 apprenticed to him for the space of three years1 not indeed with the object of wielding the graver1 but rather with that of learning the craft of a draughtsman on wood4 ,this1 of course1 was before the days of the use of photography1 which has since practically revolutionized the system not only of drawing for books but of engraving also4 ,it was then necessary to draw on the block itself1 and to thoroughly understand what kind of work could be treated by the engraver4 ,i shall always regard those early years in ,mr4 ,linton's office as of great value to me1 as1 despite changes of method and new inventions1 it gave me a thorough knowledge of the mechanical conditions of wood-engraving at any rate1 and has implanted a sense of necessary relationship between design1 material1 and method of production--of art and craft1 in fact--which cannot be lost1 and has had its effect in many ways4 ,mr4 ,linton1 too1 is himself a notable historic link1 carrying on the lamp of the older traditions of wood-engraving to these degenerate days1 when whatever wonders of literal translation1 and imitation of chalk1 charcoal1 or palette and brushes1 it has exhibited under spell of ,american enterprise--and ,i am far from denying its achievements as such--it cannot be said to have preserved the distinction and independence of the engraver as an artist or original designer in any sense4 ,when not extinguished altogether by some form of automatic reproductive process1 he is reduced to the office of process-server--he becomes the slave of the pictorial artist4 ,the picturesque sketcher loves his bits and effects1 which1 moreover1 however sensational and sparkling they may be in themselves1 have no reference as a rule to the decoration of the page1 being in this sense no more than more or less adroit splashes of ink upon it1 which the text1 torn into an irregularly ragged edge1 seems instinctively to shrink from touching1 squeezing itself together like the passengers in a crowded omnibus might do1 reluctantly to admit a chimney-sweep4 ,while1 by his early training and practice1 he is united with the ,bewick school1 ,mr4 ,linton--himself a poet1 a social and political thinker1 a scholar1 as well as designer and engraver--having been associated with the best-known engravers and designers for books during the middle of the century1 and having had art of such a different temper and tendency as that of ,rossetti pass through his hands1 and seen the effect of many new impulses1 is finally face to face with what he himself has called the ,american ,new ,departure4 ,he is therefore peculiarly and eminently qualified for the work to which he has addressed himself--his great work on ,the ,masters of ,wood ,engraving1 which appeared in #ahhi1 and is in every way complete as a history1 learned in technique1 and sumptuous as a book4 ,i have not mentioned ,gustave ,dor1 who fills so large a space as an illustrator of books1 because though possessed of a weird imagination1 and a poetic feeling for dramatic landscapes and grotesque characters1 as well as extraordinary pictorial invention1 the mass of his work is purely scenic1 and he never shows the decorative sense1 or considers the design in relation to the page4 ,his best and most spirited and sincere work is represented by his designs in the ,contes ,drolatiques4 ,sidenote3 ,,the ,,pre-,,raphaelites4 ,the new movement in painting in ,england1 known as the pre-,raphaelite movement1 which dates from about the middle years of our century1 was in every way so remarkable and far-reaching1 that it is not surprising that it should leave its mark upon the illustrations of books2 particularly upon that form of luxury known as the modern gift-book1 which1 in the course of the twenty years following #ahej1 often took the shape of selections from or editions of the poets plentifully sprinkled with little pictorial vignettes engraved on wood4 ,birket ,foster1 ,john ,gilbert1 and ,john ,tenniel were leading contributors to these collections4 ,in #aheg appeared an edition of ,tennyson's ,poems from the house of ,moxon4 ,this work1 while having the general characteristics of the prevailing taste--an accidental collection of designs1 the work of designers of varying degrees of substance1 temper1 and feeling1 casually arranged1 and without the slightest feeling for page decoration or harmony of text and illustration--yet possessed one remarkable feature which gives it a distinction among other collections1 in that it contains certain designs of the chief leaders of the pre-,raphaelite movement1 ,d4 ,g4 ,rossetti1 ,millais and ,holman ,hunt4 ,illustration3 ,,dante ,,gabriel ,,rossetti4 ,,from ,,tennyson',s ,,poems4 7,,moxon1 #aheg47 ,i give one of the ,rossetti designs1 ,sir ,galahad2 the ,s4 ,cecilia and the ,morte d',arthur were engraved by the ,brothers ,dalziel1 the ,sir ,galahad by ,mr4 ,w4 ,j4 ,linton4 ,it seems to me that the last gives the spirit and feeling of ,rossetti1 as well as his peculiar touch1 far more successfully4 ,these designs1 in their poetic imagination1 their richness of detail1 sense of colour1 passionate1 mystic1 and romantic feeling1 and earnestness of expression mark a new epoch4 ,they are decorative in themselves1 and1 though quite distinct in feeling1 and original1 they are more akin to the work of the ,medival miniaturist than anything that had been seen since his days4 ,even here1 however1 there is no attempt to consider the page or to make the type harmonize with the picture1 or to connect it by any bordering or device with the book as a whole1 and being sandwiched with drawings of a very different tendency1 their effect is much spoiled4 ,in one or two other instances where ,rossetti lent his hand to book illustration1 however1 he is fully mindful of the decorative effect of the page4 ,i remember a title page to a book of poems by ,miss ,christina ,rossetti1 ,goblin ,market1 which emphatically showed this4 ,the title-page designed for his ,early ,italian ,poets 7given here71 and his sonnet on the sonnet too1 in which the design encloses the text of the poem1 written out by himself1 are other instances4 ,illustration3 ,,dante ,,gabriel ,,rossetti4 ,,design ,,for ,a ,,title ,,page4 ,sidenote3 ,,dalziel',s ,,bible ,,gallery4 ,some of the designs made for a later work 7,dalziel's ,bible ,gallery1 about #ahfe-gj7 also show the effect of the pre-,raphaelite influence1 as well as1 in the case of the designs of ,sir ,frederic ,leighton and ,mr4 ,poynter1 the influence of ,continental ideas and training4 ,i saw some of these drawings on the wood at the time1 ,i remember4 ,for study and research1 and richness of resource in archological detail1 as well as firmness of drawing1 ,i thought ,mr4 ,poynter's designs were perhaps the most remarkable4 ,a strikingly realized picture1 and a bright and successful wood-engraving1 is ,ford ,madox ,brown's design of ,elijah and the ,widow's ,son4 ,there is a dramatic intensity of expression about his other one also1 ,the ,death of ,eglon4 ,still1 at best1 we find that these are but carefully studied pictures rendered on the wood4 ,the pre-,raphaelite designs show the most decorative sense1 but they are now issued quite distinct from the page1 whatever was the original intention1 and while they may1 as to scale and treatment1 be justly considered as book illustrations1 and as examples of our more important efforts in that direction at that time1 they are not page decorations4 ,one may speak here of an admirable artist we have lost1 ,mr4 ,albert ,moore1 who so distinguished himself for his refined decorative sense in painting1 and the outline group of figures given here shows that he felt the conditions of the book page and the press also4 ,illustration3 ,,albert ,,moore4 ,,from ,,milton',s ,,ode ,,on ,,christ',s ,,nativity4 7,,nisbet1 #ahfg47 ,sidenote3 ,,henry ,,holiday4 ,mr4 ,henry ,holiday is also a decorative artist of great refinement and facility4 ,he has not done very much in book illustration1 but his illustrations to ,lewis ,carroll's ,hunting of the ,snark were admirable4 ,his decorative feeling in black and white1 however1 is marked1 as may be seen in the title to ,aglaia4 ,illustration3 ,,henry ,,holiday4 ,,cover ,,for ,a ,,magazine4 ,sidenote3 ,,toy ,,books4 ,as1 until recently1 ,i suppose ,i was scarcely known out of the nursery1 it is meet that ,i should offer some remarks upon children's books4 ,here1 undoubtedly1 there has been a remarkable development and great activity of late years4 ,we all remember the little cuts that adorned the books of our childhood4 ,the ineffaceable quality of these early pictorial and literary impressions afford the strongest plea for good art in the nursery and the schoolroom4 ,every child1 one might say every human being1 takes in more through his eyes than his ears1 and ,i think much more advantage might be taken of this fact4 ,if ,i may be personal1 let me say that my first efforts in children's books were made in association with ,mr4 ,edmund ,evans4 ,here1 again1 ,i was fortunate to be in association with the craft of colour-printing1 and ,i got to understand its possibilities4 ,the books for babies1 current at that time--about #ahfe to #ahgj--of the cheaper sort called toy books were not very inspiriting4 ,these were generally careless and unimaginative woodcuts1 very casually coloured by hand1 dabs of pink and emerald green being laid on across faces and frocks with a somewhat reckless aim4 ,there was practically no choice between such as these and cheap ,german highly-coloured lithographs4 ,the only attempt at decoration ,i remember was a set of coloured designs to nursery rhymes by ,mr4 ,h4 ,s4 ,marks1 which had been originally intended for cabinet panels4 ,bold outlines and flat tints were used4 ,mr4 ,marks has often shown his decorative sense in book illustration and printed designs in colour1 but ,i have not been able to obtain any for this book4 ,it was1 however1 the influence of some ,japanese printed pictures given to me by a lieutenant in the navy1 who had brought them home from there as curiosities1 which ,i believe1 though ,i drew inspiration from many sources1 gave the real impulse to that treatment in strong outlines1 and flat tints and solid blacks1 which ,i adopted with variations in books of this kind from that time 7about #ahgj7 onwards4 ,since then ,i have had many rivals for the favour of the nursery constituency1 notably my late friend ,randolph ,caldecott1 and ,miss ,kate ,greenaway1 though in both cases their aim lies more in the direction of character study1 and their work is more of a pictorial character than strictly decorative4 ,the little preface heading from his ,bracebridge ,hall gives a good idea of ,caldecott's style when his aim was chiefly decorative4 ,miss ,greenaway is the most distinctly so perhaps in the treatment of some of her calendars4 ,illustration3 ,,randolph ,,caldecott4 ,,headpiece ,,to ,,bracebridge ,,hall4 7,,macmillan1 #ahgg47 ,illustration3 ,,kate ,,greenaway4 ,,key ,,block ,,of ,,title-,,page ,,of ,,mother ,,goose4 7,,routledge1 ,n4,d47 ,sidenote3 ,,children',s ,,books4 ,children's books and so-called children's books hold a peculiar position4 ,they are attractive to designers of an imaginative tendency1 for in a sober and matter-of-fact age they afford perhaps the only outlet for unrestricted flights of fancy open to the modern illustrator1 who likes to revolt against the despotism of facts4 ,while on children's books1 the poetic feeling in the designs of ,e4 ,v4 ,b4 may be mentioned1 and ,i mind me of some charming illustrations to a book of ,mr4 ,george ,macdonald's1 ,at the ,back of the ,north ,wind1 designed by ,mr4 ,arthur ,hughes1 who in these and other wood engraved designs shows1 no less than in his paintings1 how refined and sympathetic an artist he is4 ,mr4 ,robert ,bateman1 too1 designed some charming little woodcuts1 full of poetic feeling and controlled by unusual taste4 ,they were used in ,macmillan's ,art at ,home series1 though not1 ,i believe1 originally intended for it4 ,illustration3 ,,arthur ,,hughes4 ,,from ,,at ,,the ,,back ,,of ,,the ,,north ,,wind4 7,,strahan1 #ahga47 ,sidenote3 ,,japanese ,,influence4 ,sidenote3 ,,japanese ,,illustration4 ,there is no doubt that the opening of ,japanese ports to ,western commerce1 whatever its after effects--including its effect upon the arts of ,japan itself--has had an enormous influence on ,european and ,american art4 ,japan is1 or was1 a country very much1 as regards its arts and handicrafts with the exception of architecture1 in the condition of a ,european country in the ,middle ,ages1 with wonderfully skilled artists and craftsmen in all manner of work of the decorative kind1 who were under the influence of a free and informal naturalism4 ,here at least was a living art1 an art of the people1 in which traditions and craftsmanship were unbroken1 and the results full of attractive variety1 quickness1 and naturalistic force4 ,what wonder that it took ,western artists by storm1 and that its effects have become so patent1 though not always happy1 ever since4 ,we see unmistakable traces of ,japanese influences1 however1 almost everywhere--from the ,parisian impressionist painter to the ,japanese fan in the corner of trade circulars1 which shows it has been adopted as a stock printers' ornament4 ,we see it in the sketchy blots and lines1 and vignetted naturalistic flowers which are sometimes offered as page decorations1 notably in ,american magazines and fashionable etchings4 ,we have caught the vices of ,japanese art certainly1 even if we have assimilated some of the virtues4 ,illustration3 ,,arthur ,,hughes4 ,,from ,,at ,,the ,,back ,,of ,,the ,,north ,,wind4 7,,strahan1 #ahga47 ,in the absence of any really noble architecture or substantial constructive sense1 the ,japanese artists are not safe guides as designers4 ,they may be able to throw a spray of leaves or a bird or fish across a blank panel or sheet of paper1 drawing them with such consummate skill and certainty that it may delude us into the belief that it is decorative design2 but if an artist of less skill essays to do the like the mistake becomes obvious4 ,granted they have a decorative sense--the finesse which goes to the placing of a flower in a pot1 of hanging a garland on a wall1 or of placing a mat or a fan--taste1 in short1 that is a different thing from real constructive power of design1 and satisfactory filling of spaces4 ,illustration3 ,,robert ,,bateman4 ,,from ,,art ,,in ,,the ,,house4 7,,macmillan1 #ahgf47 ,when we come to their books1 therefore1 marvellous as they are1 and full of beauty and suggestion--apart from their naturalism1 grotesquerie1 and humour--they do not furnish fine examples of page decoration as a rule4 ,the fact that their text is written vertically1 however1 must be allowed for4 ,this1 indeed1 converts their page into a panel1 and their printed books become rather what we should consider sets of designs for decorating light panels1 and extremely charming as such4 ,illustration3 ,,robert ,,bateman4 ,,from ,,art ,,in ,,the ,,house4 7,,macmillan1 #ahgg47 ,these drawings of ,hokusai's 7see ,nos4 #aj and #aa1 ,appendix71 the most vigorous and prolific of the more modern and popular school1 are striking enough and fine enough1 in their own way1 and the decorative sense is never absent2 controlled1 too1 by the dark border-line1 they do fill the page1 which is not the case always with the flowers and birds4 ,however1 ,i believe these holes1 blanks1 and spaces to let are only tolerable in a book because the drawing where it does occur is so skilful 7except where the effect is intentionally open and light72 and from tolerating we grow to like them1 ,i suppose1 and take them for signs of mastery and decorative skill4 ,in their smaller applied ornamental designs1 however1 the ,japanese often show themselves fully aware of a systematic plan or geometric base3 and there is usually some hidden geometric relation of line in some of their apparently accidental compositions4 ,their books of crests and pattern plans show indeed a careful study of geometric shapes1 and their controlling influence in designing4 ,sidenote3 ,,japanese ,,printing4 ,as regards the history and use of printing1 the ,japanese had it from the ,chinese1 who invented the art of printing from wooden blocks in the sixth century4 ,we have no record1 says ,professor ,douglas1#e as to the date when metal type was first used in ,china1 but we find ,korean books printed as early as #acag with movable clay or wooden type1 and just a century later we have a record of a fount of metal type being cast to print an ',epitome of the ,eighteen ,historical ,records of ,china4' ,printing is supposed to have been adopted in ,japan after the first invasion of the ,korea by the armies of ,hideyoshi1 in the end of the sixteenth century1 when large quantities of movable type books were brought back by one of his generals1 which formed the model upon which the ,japanese worked4#f #e ,guide to the ,chinese and ,japanese ,illustrated ,books in the ,british ,museum4 #f ,satow4 ,history of ,printing in ,japan4 ,illustration3 ,,robert ,,bateman4 ,,from ,,art ,,in ,,the ,,house4 7,,macmillan1 #ahgf47 ,i have mentioned the ,american development of wood-engraving4 ,its application to magazine illustration seems certainly to have developed or to have occurred with the appearance of very clever draughtsmen from the picturesque and literal point of view4 ,illustration3 ,,robert ,,bateman4 ,,from ,,art ,,in ,,the ,,house4 7,,macmillan1 #ahgf47 ,sidenote3 ,,joseph ,,pennell4 ,the admirable and delicate architectural and landscape drawings of ,mr4 ,joseph ,pennell1 for instance1 are well known1 and1 as purely illustrative work1 fresh1 crisp in drawing1 and original in treatment1 giving essential points of topography and local characteristics 7with a happy if often quaint and unexpected selection of point of view1 and pictorial limits71 it would be difficult to find their match1 but very small consideration or consciousness is shown for the page4 ,if he will pardon my saying so1 in some instances the illustrations are1 or used to be1 often daringly driven through the text1 scattering it right and left1 like the effect of a coach and four upon a flock of sheep4 ,in some of his more recent work1 notably in his bolder drawings such as those in the ,daily ,chronicle1 he appears to have considered the type relation much more1 and shows1 especially in some of his skies1 a feeling for a radiating arrangement of line4 ,sidenote3 ,,american ,,draughtsmen4 ,our ,american cousins have taught us another mode of treatment in magazine pages4 ,it is what ,i have elsewhere described as the card-basket style4 ,a number of naturalistic sketches are thrown accidentally together1 the upper ones hiding the under ones partly1 and to give variety the corner is occasionally turned down4 ,there has been a great run on this idea of late years1 but ,i fancy it is a card trick about played out4 ,however opinions may vary1 ,i think there cannot be a doubt that in ,elihu ,vedder we have an instance of an ,american artist of great imaginative powers1 and undoubtedly a designer of originality and force4 ,this is sufficiently proved from his large work--the illustrations to the ,rubaiyat of ,omar ,khayyam4 ,although the designs have no ,persian character about them which one would have thought the poem and its imagery would naturally have suggested1 yet they are a fine series1 and show much decorative sense and dramatic power1 and are quite modern in feeling4 ,his designs for the cover of ,the ,century ,magazine show taste and decorative feeling in the combination of figures with lettering4 ,mr4 ,edwin ,abbey is another able artist1 who has shown considerable care for his illustrated page1 in some cases supplying his own lettering2 though he has been growing more pictorial of late3 ,mr4 ,alfred ,parsons also1 though he too often seems more drawn to the picture than the decoration4 ,mr4 ,heywood ,sumner shows a charming decorative sense and imaginative feeling1 as well as humour4 ,on the purely ornamental side1 the accomplished decorations of ,mr4 ,lewis ,day exhibit both ornamental range and resource1 which1 though in general devoted to other objects1 are conspicuous enough in certain admirable book and magazine covers he has designed4 ,illustration3 ,,heywood ,,sumner4 ,,from ,,stories ,,for ,,children1 ,,by ,,frances ,m4 ,,peard4 7,,allen1 #ahif47 ,illustration3 ,,charles ,,keene4 ,,illustration ,,to ,,the ,,good ,,fight4 7,,once ,a ,,week1 #ahei47 7,by permission of ,messrs4 ,bradbury1 ,agnew and ,co47 ,illustration3 ,,heywood ,,sumner4 ,,from ,,stories ,,for ,,children1 ,,by ,f4 ,m4 ,,peard4 7,,allen1 #ahif47 ,sidenote3 ,,the ,,english ,,illustrated ,,magazine4 ,the ,english ,illustrated ,magazine1 under ,mr4 ,comyns ,carr's editorship1 by its use of both old and modern headings1 initials and ornaments1 did something towards encouraging the taste for decorative design in books4 ,among the artists who designed pages therein should be named ,henry ,ryland and ,louis ,davis1 both showing graceful ornamental feeling1 the children of the latter artist being very charming4 ,illustration3 ,,louis ,,davis4 ,,from ,,the ,,english ,,illustrated ,,magazine 7#ahib74 ,illustration3 ,,henry ,,ryland4 ,,from ,,the ,,english ,,illustrated ,,magazine 7#ahid74 ,but it would need much more space to attempt to do justice to the ability of my contemporaries1 especially in the purely illustrative division1 than ,i am able to give4 ,sidenote3 ,,once ,a ,,week4 ,the able artists of ,punch1 however1 from ,john ,leech to ,linley ,sambourne1 have done much to keep alive a vigorous style of drawing in line1 which1 in the case of ,mr4 ,sambourne1 is united with great invention1 graphic force1 and designing power4 ,in speaking of ,punch1 one ought not to forget either the important part played by ,once a ,week in introducing many first-rate artists in line4 ,in its early days we had ,charles ,keene illustrating ,charles ,reade's ,good ,fight1 with much feeling for the decorative effect of the old ,german woodcut4 ,such admirable artists as ,m4 ,j4 ,lawless and ,frederick ,sandys--the latter especially distinguished for his splendid line drawings in ,once a ,week and ,the ,cornhill2 one of his finest is here given1 ,the ,old ,chartist1 which accompanied a poem by ,mr4 ,george ,meredith4 ,indeed1 it is impossible to speak too highly of ,mr4 ,sandys' draughtsmanship and power of expression by means of line2 he is one of our modern ,english masters who has never1 ,i think1 had justice done to him4 ,illustration3 ,f4 ,,sandys4 ,,the ,,old ,,chartist4 7,,once ,a ,,week1 #ahfa47 ,illustration3 ,m4 ,j4 ,,lawless4 ,,dead ,,love4 7,,once ,a ,,week1 #ahfb47 ,i can only just briefly allude to certain powerful and original modern designers of ,germany1 where indeed1 the old vigorous traditions of woodcut and illustrative drawing seem to have been kept more unbroken than elsewhere4 ,on the purely character-drawing1 pictorial and illustrative side1 there is of course ,menzel1 thoroughly modern1 realistic1 and dramatic4 ,i am thinking more perhaps of such men as ,alfred ,rethel1 whose designs of ,death the ,friend and ,death the ,enemy1 two large woodcuts1 are well known4 ,i remember also a very striking series of designs of his1 a kind of modern ,dance of ,death1 which appeared about #ahdh1 ,i think4 ,schwind is another whose designs to folk tales are thoroughly ,german in spirit and imagination1 and style of drawing4 ,oscar ,pletsch1 too1 is remarkable for his feeling for village life and children1 and many of his illustrations have been reproduced in this country4 ,more recent evidence1 and more directly in the decorative direction1 of the vigour and ornamental skill of ,german designers1 is to be found in those picturesque calendars1 designed by ,otto ,hupp1 which come from ,munich1 and show something very like the old feeling of ,burgmair1 especially in the treatment of the heraldry4 ,i have ventured to give a page or two here from my own books1 ,grimm1 ,the ,sirens ,three1 and others1 which serve at least to show two very different kinds of page treatment4 ,in the ,grimm the picture is inclosed in formal and rectangular lines1 with medallions of flowers at the four corners1 the title and text being written on scrolls above and below4 ,in ,the ,sirens ,three a much freer and more purely ornamental treatment is adopted1 and a bolder and more open line4 ,a third1 the frontispiece of ,the ,necklace of ,princess ,fiorimonde1 by ,miss de ,morgan1 is more of a simple pictorial treatment1 though strictly decorative in its scheme of line and mass4 ,sidenote3 ,,the ,,influence ,,of ,,photography4 ,the facile methods of photographic-automatic reproduction certainly give an opportunity to the designer to write out his own text in the character that pleases him1 and that accords with his design1 and so make his page a consistent whole from a decorative point of view1 and ,i venture to think when this is done a unity of effect is gained for the page not possible in any other way4 ,indeed1 the photograph1 with all its allied discoveries and its application to the service of the printing press1 may be said to be as important a discovery in its effects on art and books as was the discovery of printing itself4 ,it has already largely transformed the system of the production of illustrations and designs for books1 magazines1 and newspapers1 and has certainly been the means of securing to the artist the advantage of possession of his original1 while its fidelity1 in the best processes1 is1 of course1 very valuable4 ,its influence1 however1 on artistic style and treatment has been1 to my mind1 of more doubtful advantage4 ,the effect on painting is palpable enough1 but so far as painting becomes photographic1 the advantage is on the side of the photograph4 ,it has led in illustrative work to the method of painting in black and white1 which has taken the place very much of the use of line1 and through this1 and by reason of its having fostered and encouraged a different way of regarding nature--from the point of view of accidental aspect1 light and shade1 and tone--it has confused and deteriorated1 ,i think1 the faculty of inventive design1 and the sense of ornament and line2 having concentrated artistic interest on the literal realization of certain aspects of superficial facts1 and instantaneous impressions instead of ideas1 and the abstract treatment of form and line4 ,illustration3 ,,walter ,,crane4 ,,from ,,grimm',s ,,household ,,stories4 7,,macmillan1 #ahhb47 ,illustration3 ,,walter ,,crane4 ,,frontispiece4 ,,princess ,,fiorimonde 7,,macmillan1 #ahhj74 ,illustration3 ,,walter ,,crane4 ,,the ,,sirens ,,three ,,opening ,,page4 7,,macmillan1 #ahhf47 ,sidenote3 ,a ,,decorative ,,ideal4 ,this1 however1 may be as much the tendency of an age as the result of photographic invention1 although the influence of the photograph must count as one of the most powerful factors of that tendency4 ,thought and vision divide the world of art between them--our thoughts follow our vision1 our vision is influenced by our thoughts4 ,a book may be the home of both thought and vision4 ,speaking figuratively1 in regard to book decoration1 some are content with a rough shanty in the woods1 and care only to get as close to nature in her more superficial aspects as they can4 ,others would surround their house with a garden indeed1 but they demand something like an architectural plan4 ,they would look at a frontispiece like a faade2 they would take hospitable encouragement from the title-page as from a friendly inscription over the porch2 they would hang a votive wreath at the dedication1 and so pass on into the hall of welcome1 take the author by the hand and be led by him and his artist from room to room1 as page after page is turned1 fairly decked and adorned with picture1 and ornament1 and device2 and1 perhaps1 finding it a dwelling after his desire1 the guest is content to rest in the ingle nook in the firelight of the spirit of the author or the play of fancy of the artist2 and1 weaving dreams in the changing lights and shadows1 to forget life's rough way and the tempestuous world outside4 ,illustration ,,chapter ,,iv4 ,,of ,,the ,,recent ,,development ,,of ,,decorative ,,book ,,illustration ,,and ,,the ,,modern ,,revival ,,of ,,printing ,,as ,,an ,,art4 ,since the three ,cantor ,lectures1 which form the substance of the foregoing chapters1 were delivered by me at the rooms of the ,society of ,arts1 some six or seven years have elapsed1 and they have been remarkable for a pronounced revival of activity and interest in the art of the printer and the decorative illustrator1 the paper-maker1 the binder1 and all the crafts connected with the production of tasteful and ornate books4 ,publishers and printers have shown a desire to return to simpler and earlier standards of taste1 and in the choice and arrangement of the type to take a leaf out of the book of some of the early professors of the craft4 ,there has been a passion for tall copies and handmade paper2 for delicate bindings1 and first editions4 ,there has grown up1 too1 quite a literature about the making of the book beautiful--whereof the ,ex-,libris ,series alone is witness4 ,we have1 besides1 the history of ,early ,printed ,books by ,mr4 ,gordon ,duff1 of ,early ,illustrated ,books by ,mr4 ,pollard4 ,the ,book-plate has been looked after by ,mr4 ,egerton ,castle1 and by a host of eager collectors ever since4 ,mr4 ,pennell is well known as the tutelary genius who takes charge of illustrators1 and discourses upon them at large1 and ,mr4 ,strange bids us1 none too soon1 to become acquainted with our alphabets4 ,i have not yet heard of any specialist taking up his parable upon end papers1 but1 altogether1 the book has never perhaps had so much writing outside of it1 as it were1 before4 ,sidenote3 ,,modern ,,typography4 ,a brilliant band of illustrators and ornamentists have appeared1 too1 and nearly every month or so we hear of a new genius in black and white1 who is to eclipse all others4 ,for all that1 even in the dark ages1 between the mid-nineteenth century and the early eighties1 one or two printers or publishers of taste have from time to time attempted to restrain the wild excesses of the trade-printer1 with his terribly monotonous novelties in founts of type1 alternately shouting or whispering1 anon in the crushing and aggressive heaviness of block capitals1 and now in the attenuated droop of italics4 ,sad havoc has been played with the decorative dignity of the page1 indeed1 as well as with the form and breed of roman and gothic letters3 one might have imagined that some mischievous printer's devil had thrown the apple of discord among the letters of the alphabet1 so ingeniously ugly were so many modern so-called fancy types4 ,we have had good work from the ,edinburgh houses1 from ,messrs4 ,r4 and ,r4 ,clark1 and ,messrs4 ,constable1 and in ,london from the ,chiswick ,press1 for instance1 ever since the old days of its connection with the tasteful and well printed volumes from the house of ,pickering4 ,various artists1 too1 in association with their book designs1 from ,d4 ,g4 ,rossetti onwards1 have designed their own lettering to be in decorative harmony with their designs4 ,the ,century ,guild1 with its ,hobby ,horse and its artists1 like ,mr4 ,horne and ,mr4 ,selwyn ,image1 did much to keep alive true taste in printing and book decoration1 when they were but little understood4#g ,there have been printers1 too1 such as ,mr4 ,daniel at ,oxford1 and ,de ,vinne at ,new ,york1 who have from different points of view brought care and selection to the choice of type and the printing of books1 and have adapted or designed type4 #g ,and they elicited a response from across the water in the shape of ,the ,knight ,errant1 the work of a band of young enthusiasts at ,boston1 ,mass41 of which ,mr4 ,lee and ,mr4 ,goodhue may be named as leading spirits--the latter being the designer of the cover of ,the ,knight ,errant1 and the former the printer4 ,illustration3 ,,selwyn ,,image4 ,,from ,,title-,,page4 ,,the ,,scottish ,,art ,,review 7,,scott1 #ahhi74 ,sidenote3 ,,the ,,kelmscott ,,press4 ,but the field for extensive artistic experiment in these directions was tolerably clear when ,mr4 ,william ,morris turned his attention to printing1 and1 in #ahia1 founded the ,kelmscott ,press4 ,so far as ,i am aware1 he has been the first to approach the craft of practical printing from the point of view of the artist1 and although1 no doubt1 the fact of being a man of letters as well was an extra advantage1 his particular success in the art of printing is due to the former qualification4 ,a long and distinguished practice as a designer in other matters of decorative art brought him to the nice questions of type design1 its place upon the page1 and its relation to printed ornament and illustration1 peculiarly well equipped2 while his historic knowledge and discrimination1 and the possession of an extraordinarily rich and choice collection of both medival ,,mss4 and early printed books afforded him an abundant choice of the best models4 ,in the results which have been produced at the ,kelmscott press we trace the effect of all these influences1 acting under the strongest personal predilection1 and a medival bias 7in an artistic sense7 which may be said to be almost exclusive4 ,the ,kelmscott roman type 7golden7 perhaps rather suggests that it was designed to anticipate and to provide against the demand of readers or book fanciers who could stand nothing else than roman1 while the heart of the printer really hankered after black letter4 ,but compare this golden type with most modern lower case founts1 up to the date of its use1 and its advantages both in form and substance are remarkable4 ,modern type1 obeying1 ,i suppose1 a resistless law of evolution1 had reached1 especially with ,american printers1 the last stage of attenuation4 ,the type of the ,kelmscott press is an emphatic and practical protest against this attenuation2 just as its bold black and white ornaments and decorative woodcuts in open line are protests against the undue thinness1 atmospheric effect1 and diaphanous vignetting by photographic process and tone-block of much modern illustration1 which may indeed illustrate1 but does not ornament a book4 ,the paper1 too1 hand-made1 rough-surfaced1 and tough1 is in equally strong contrast to the shiny hot-pressed machine-made paper1 hitherto so much in vogue for the finer kinds of printing1 and by which it alone became possible4 ,the two kinds--the two ideals of printing--are as far apart as the poles4 ,those who like the smooth and thin1 will not like the bold and rough2 but it looks as if the ,kelmscott standard had marked the turn of the tide1 and that1 judging from the signs of its influence upon printers and publishers generally1 the feeling is running strongly in that direction4 7,one would think the human eyesight would benefit also47 ,this is the more remarkable since the ,kelmscott books are by no means issued at popular prices1 are limited in number1 and for the most part are hardly for the general reader--unless that ubiquitous person is more erudite and omnivorous than is commonly credited4 ,illustration3 ,,william ,,morris ,,walter ,,crane4 ,a ,,page ,,from ,,the ,,glittering ,,plain4 7,,kelmscott ,,press1 #ahid47 ,books1 however1 which may be called monumental in the national and general sense1 have been printed at the ,kelmscott press1 such as ,shakespeare's ,poems1 ,more's ,utopia2 and ,mr4 ,morris's magnum opus1 the folio ,chaucer1 enriched by the designs of ,burne-,jones1 has recently been completed4#h #h ,completed1 indeed1 it might almost be said1 with the life of the craftsman4 ,it is sad to have to record1 while these pages were passing through the press1 our master printer--one of the greatest ,englishmen of our time--is no more4 ,in ,mr4 ,morris's ornaments and initials1 nearly always admirably harmonious in their quantities with the character and mass of the type1 we may perhaps trace mixed influences in design4 ,in the rich black and white scroll and floral borders surrounding the title and first pages1 we seem to see the love of close-filling and interlacement characteristic of ,celtic and ,byzantine work1 with a touch of the feeling of the practical textile designer1 which comes out again in the up-and-down1 detached bold page ornaments1 though here combined with suggestions from early ,english illuminated ,,ms4 ,these influences1 however1 only add to the distinctive character and richness of the effect1 and no attempt is made to get beyond the simple conditions of bold black and white designs for the woodcut and the press4 ,mr4 ,morris adopts the useful canon in printing that the true page is what the open book displays--what is generally termed a double page4 ,he considers them practically as two columns of type1 necessarily separate owing to the construction of the book1 but together as it lies open1 forming a page of type1 only divided by the narrow margin where the leaves are inserted in the back of the covers4 ,we thus get the recto and the verso pages or columns1 each with their distinctive proportions of margin1 as they turn to the right or the left from the centre of the book--the narrowest margins being naturally inwards and at the top1 the broadest those outwards and at the foot1 which latter should be deepest of all4 ,it may be called the handle of the book1 and there is reason in the broad margin1 though also gracious to the eye1 since the hand may hold the book without covering any of the type4 ,it is really the due consideration of the necessity of these little utilities in the construction and use of a thing which enables the modern designer--separated as he is from the actual maker--to preserve that distinctive and organic character in any work so valuable1 and always so fruitful in artistic suggestion1 and this ,i think holds true of all design in association with handicraft4 ,the more immediate and intimate--one might occasionally say imitative--influence of the ,kelmscott press may be seen in the extremely interesting work of a group of young artists who own their training to the ,birmingham ,school of ,art1 as developed under the taste and ability of ,mr4 ,taylor4 ,three of these1 ,mr4 ,c4 ,m4 ,gere1 ,mr4 ,e4 ,h4 ,new1 and ,mr4 ,gaskin1 have designed illustrations for some of ,mr4 ,morris's ,kelmscott books1 so that the connection of ideas is perfectly sequent and natural1 and it is only as might be expected that the school should have the courage of their artistic opinions1 and boldly carry into practice the results of their ,kelmscott inspirations1 by printing a journal themselves1 ,the ,quest4 ,illustration3 ,c4 ,m4 ,,gere4 ,,from ,,the ,,english ,,illustrated ,,magazine 7#ahic74 ,illustration3 7,by permission of the ,corporation of ,liverpool47 ,c4 ,m4 ,,gere4 ,,from ,a ,,drawing ,,from ,,his ,,picture ,,the ,,birth ,,of ,,st4 ,,george4 ,illustration3 ,,arthur ,,gaskin4 ,,from ,,hans ,,andersen4 7,,allen1 #ahic47 ,illustration3 ,,edmund ,h4 ,,new4 ,,process ,,block ,,from ,,the ,,original ,,pen ,,drawing4 ,sidenote3 ,,the ,,birmingham ,,school4 ,mr4 ,gere1 ,mr4 ,gaskin1 and ,mr4 ,new may be said to be the leaders of the ,birmingham ,school4 ,mr4 ,gere has engraved on wood some of his own designs1 and he thoroughly realizes the ornamental value of bold and open line drawing in association with lettering1 and is a careful and conscientious draughtsman and painter besides4 ,a typical instance of his work is the ,finding of ,st4 ,george4 ,mr4 ,gaskin's ,christmas book1 ,king ,wenceslas1 is1 perhaps1 his best work so far as we have seen4 ,the designs are simple and bold1 and in harmony with the subject1 and good in decorative character4 ,his illustrations to ,hans ,christian ,andersen's ,fairy ,tales are full of a nave romantic feeling1 and have much sense of the decorative possibilities of black and white drawing4 ,mrs4 ,gaskin's designs for children's books show a quaint fancy and ornamental feeling characteristic of the school4 ,mr4 ,new's feeling is for quaint streets and old buildings1 which he draws with conscientious thoroughness1 and attention to characteristic details of construction and local variety1 without any reliance on accidental atmospheric effects1 but using a firm open line and broad1 simple arrangements of light and shade1 which give them a decorative look as book illustrations4 ,it is owing to these qualities that they are ornamental1 and not to any actual ornament4 ,indeed1 in those cases where he has introduced borders to frame his pictures1 he does not seem to me to be so successful as an ornamentist pure and simple1 though in his latest work1 the illustrations to ,mr4 ,lane's edition of ,isaac ,walton's ,compleat ,angler1 there are pretty headings and tasteful title scrolls1 as well as good drawings of places4 ,illustration3 ,,inigo ,,thomas4 ,,from ,,the ,,formal ,,garden4 7,,macmillan1 #ahib47 ,the question of border is1 however1 always a most difficult one4 ,one might compare the illustrative drawings of architecture and gardens of ,mr4 ,inigo ,thomas in ,mr4 ,reginald ,blomfield's work on gardens1 with ,mr4 ,new1 as showing1 with considerable decorative feeling1 and feeling for the subject1 a very different method of drawing1 one might say more pictorial in a sense1 the line being much thinner and closer1 and in effect greyer and darker4 ,the introduction of the titles helps the ornamental effect4 ,illustration3 ,,inigo ,,thomas4 ,,from ,,the ,,formal ,,garden4 7,,macmillan1 #ahib47 ,among the leading artists of the ,birmingham ,school must be mentioned ,mr4 ,h4 ,payne1 ,mr4 ,bernard ,sleigh and ,mr4 ,mason for their romantic feeling in story illustrations2 ,miss ,bradley for her inventive treatment of crowds and groups of children2 ,miss ,winifred ,smith for her groups of children and quaint feeling2 ,mrs4 ,arthur ,gaskin also for her pretty quaint fancies in child-life2 ,miss ,mary ,newill for her ornamental rendering of natural landscape1 as in the charming drawing of ,porlock2 and ,miss ,celia ,levetus for her decorative feeling4 ,it may1 at any rate1 ,i think be claimed for it1 that both in method1 sentiment1 and subject1 it is peculiarly ,english1 and represents a sincere attempt to apply what may be called traditional principles in decoration to book illustration4 ,among the recent influences tending to foster the feeling for the treatment of black and white design and book illustrations1 primarily from the decorative point of view1 the ,arts and ,crafts ,exhibition ,society may claim to have had some share1 and they have endeavoured1 by the tendency of the work selected for exhibition as well as by papers and lectures by various members on this point1 to emphasize its importance and to spread clear principles1 even at the risk of appearing partial and biased in one direction1 and leaving many clever artists in black and white unrepresented4 ,sidenote3 ,,illustration ,,and ,,decoration4 ,now for graphic ability1 originality1 and variety1 there can be no doubt of the vigour of our modern black and white artists4 ,it is the most vital and really popular form of art at the present day1 and it1 far more than painting1 deals with the actual life of the people2 it is1 too1 thoroughly democratic in its appeal1 and1 associated with the newspaper and magazine1 goes everywhere--at least1 as far as there are shillings and pence--and where often no other form of art is accessible4 ,but graphic power and original point of view is not always associated with the decorous ornamental sense4 ,it is1 in fact1 often its very antithesis1 although1 on the other hand1 good graphic drawing1 governed by a sense of style to which economy or simplicity of line often leads1 has ornamental quality4 ,i should say at once that sincere graphic or naturalistic drawing1 with individual character and style1 is always preferable to merely lifeless1 purely imitative1 and tame repetition in so-called decorative work4 ,illustration3 ,,henry ,,payne4 ,,from ,a ,,book ,,of ,,carols4 7,,allen1 #ahic47 ,illustration3 ,f4 ,,mason4 ,,from ,,huon ,,of ,,bordeaux4 7,,allen1 #ahie47 ,illustration3 ,,gertrude ,m4 ,,bradley4 ,,the ,,cherry ,,festival4 7,,from ,a ,,pen ,,drawing47 ,illustration3 ,,mary ,,newill4 ,,porlock4 7,,from ,a ,,pen ,,drawing47 ,sidenote3 ,,decorative ,,principles4 ,while ,i claim that certain decorative considerations such as plan1 scale balance1 proportion1 quantity1 relation to type1 are essential to really beautiful book illustration1 ,i do not in the least wish to ignore the clever work of many contemporary illustrators because they only care to be illustrators pure and simple1 and prefer to consider a page of paper1 or any part of it unoccupied by type1 as a fair field for a graphic sketch1 with no more consideration for its relation to the page itself or the rest of the book1 than an artist usually feels when he jots down something from life in his sketch-book4 ,illustration3 ,,celia ,,levetus4 ,a ,,bookplate4 ,i think that book illustration should be something more than a collection of accidental sketches4 ,since one cannot ignore the constructive organic element in the formation--the idea of the book itself--it is so far inartistic to leave it out of account in designing work intended to form an essential or integral part of that book4 ,i do not1 however1 venture to assert that decorative illustration can only be done in one way--if so1 there would be an end in that direction to originality or individual feeling4 ,there is nothing absolute in art1 and one cannot dogmatize1 but it seems to me that in all designs certain conditions must be acknowledged1 and not only acknowledged but accepted freely1 just as one would accept the rules of a game before attempting to play it4 ,the rules1 the conditions of a sport or game1 give it its own peculiar character and charm1 and by means of them the greatest amount of pleasure and keenest excitement is obtained in the long run1 just as by observing the conditions1 the limitations of an art or handicraft1 we shall extract the greatest amount of pleasure for the worker and beauty for the beholder4 ,sidenote3 ,,the ,,dial4 ,many remarkable designers in black and white of individuality and distinction1 and with more or less strong feeling for decorative treatment1 have arisen during the last few years4 ,among these ought to be named ,messrs4 ,ricketts and ,shannon1 whose joint work upon ,the ,dial is sufficiently well known4 ,they1 too1 have taken up printing as an art1 ,mr4 ,ricketts having designed his own type and engraved his own drawings on wood4 ,they are excellent craftsmen as well as inventive and original artists of remarkable cultivation1 imaginative feeling and taste4 ,there is a certain suggestion of inspiration from ,william ,blake in ,mr4 ,shannon sometimes1 and of ,german or ,italian fifteenth century woodcuts in the work of ,mr4 ,ricketts4 ,the weird designs of ,mr4 ,reginald ,savage should also be noted1 as well as the charming woodcuts of ,mr4 ,sturge ,moore4 ,illustration3 ,c ,s4 ,,ricketts4 ,,from ,,hero ,,and ,,leander4 7,,the ,,vale ,,press47 ,another very remarkable designer in black and white is ,mr4 ,aubrey ,beardsley4 ,his work shows a delicate sense of line1 and a bold decorative use of solid blacks1 as well as an extraordinarily weird fancy and grotesque imagination1 which seems occasionally inclined to run in a morbid direction4 ,although1 as in the case of most artists1 one can trace certain influences which have helped in the formation of their style1 there can be no doubt of his individuality and power4 ,the designs for the work by which ,mr4 ,beardsley became first known1 ,i believe1 the ,morte d',arthur1 alone are sufficient to show this4 ,there appears to be a strong medival decorative feeling1 mixed with a curious weird ,japanese-like spirit of diablerie and grotesque1 as of the opium-dream1 about his work2 but considered as book-decoration1 though it is effective1 the general abstract treatment of line1 and the use of large masses of black and white1 rather suggest designs intended to be carried out in some other material1 such as inlay or enamel1 for instance1 in which they would gain the charm of beautiful surface and material1 and doubtless look very well4 ,mr4 ,beardsley shows different influences in his later work in the ,savoy1 some of which suggests a study of eighteenth century designers1 such as ,callot or ,hogarth1 and old ,english mezzotints4 ,sidenote3 ,,the ,,studio4 ,sidenote3 ,,contemporary ,,illustrators4 ,the ,studio1 which1 while under the able and sympathetic editorship of ,mr4 ,gleeson ,white1 first called attention 7by the medium of ,mr4 ,pennell's pen7 to ,mr4 ,beardsley's work1 has done good service in illustrating the progress of decorative art1 both at home and abroad1 and has from time to time introduced several young artists whose designs have thus become known to the public for the first time1 such as ,mr4 ,patten ,wilson1 ,mr4 ,laurence ,housman1 ,mr4 ,fairfax ,muckley1 and ,mr4 ,charles ,robinson1 who all have their own distinctive feeling3 the first for bold line drawings after the old ,german method with an abundance of detail2 the second for remarkable taste in ornament1 and a humorous and poetic fancy2 the third for a very graceful feeling for line and the decorative use of black and white--especially in the treatment of trees and branch work1 leaves and flowers associated with figures4 ,mr4 ,j4 ,d4 ,batten has distinguished himself for some years past as an inventive illustrator of ,fairy ,tales4 ,in his designs1 perhaps1 he shows more of the feeling of the story-teller than the decorator in line1 on the whole2 his feeling as a painter1 perhaps1 not making him quite content with simple black and white2 and1 certainly1 his charming tempera picture of the sleeping maid and the dwarfs1 and his excellent printed picture of ,eve and the serpent1 printed by ,mr4 ,fletcher in the ,japanese method1 might well excuse him if that is the case4 ,mr4 ,henry ,ford is another artist who has devoted himself with much success to ,fairy ,tale pictures in black and white1 being associated with the fairy books of many different colours issued under the fairy godfather's wand 7or pen7 of ,mr4 ,andrew ,lang4 ,he1 too1 ,i think perhaps1 cares more for the epic than the ornamental side of illustration2 he generally shows a pretty poetical fancy4 ,at the head1 perhaps1 of the newer school of decorative illustrators ought to be named ,mr4 ,robert ,anning ,bell1 whose taste and feeling for style alone gives him a distinctive place4 ,he has evidently studied the early printers and book-decorators in outline of ,venice and ,florence to some purpose2 by no means merely imitatively1 but with his own type of figure and face1 and fresh natural impressions1 observes with much taste and feeling for beauty the limitations and decorative suggestions in the relations of line-drawing and typography4 ,many of his designs to ,the ,midsummer ,night's ,dream are delightful both as drawings and as decorative illustrations4 ,illustration3 ,,charles ,,ricketts4 ,,from ,,daphnis ,,and ,,chloe4 7,,the ,,vale ,,press47 ,the newest book illustrator is perhaps ,mr4 ,charles ,robinson1 whose work appears to be full of invention1 though ,i have not yet had sufficient opportunities of doing it justice4 ,he shows quaint and sometimes weird fancy1 a love of fantastic architecture1 and is not afraid of outline and large white spaces4 ,illustration3 ,c4 ,h4 ,,shannon4 ,,from ,,daphnis ,,and ,,chloe4 7,,the ,,vale ,,press47 ,mr4 ,r4 ,spence shows considerable vigour and originality4 ,he distinguished himself first by some pen drawings which won the gold medal at the ,national ,competitions at ,south ,kensington1 in which a romantic feeling and dramatic force was shown in designs of medival battles1 expressed in forcible way1 consistent with good line and effect in black and white4 ,his design of the ,legend of ,st4 ,cuthbert in ,the ,quarto is perhaps the most striking thing he has done4 ,i am enabled to print one of his characteristic designs of battles4 ,illustration3 ,,aubrey ,,beardsley4 ,,from ,,the ,,morte ,d',,arthur4 7,j4 ,m4 ,,dent ,,and ,,co47 ,mr4 ,a4 ,jones also distinguished himself about the same time as ,mr4 ,spence in the ,national ,competition1 and showed some dramatic and romantic feeling4 ,the design given shows a more ornamental side4 ,illustration3 ,,aubrey ,,beardsley4 ,,from ,,the ,,morte ,d',,arthur4 7,,dent47 ,mr4 ,william ,strang1 who has made his mark in etching as a medium for designs full of strong character and weird imagination1 also shows in his processed pen drawings vigorous line and perception of decorative value1 as in the designs to ,munchausen1 two of which are here reproduced4 ,sidenote3 ,,the ,,evergreen4 ,the publication of ,the ,evergreen by ,patrick ,geddes and his colleagues at ,edinburgh has introduced several black and white designers of force and character--,mr4 ,robert ,burns and ,mr4 ,john ,duncan1 for instance1 more particularly distinguishing themselves for decorative treatment in which one may see the influences of much fresh inspiration from ,nature4 ,illustration3 ,,aubrey ,,beardsley4 ,,from ,,the ,,morte ,d',,arthur4 7,,dent47 ,sidenote3 ,,contemporary ,,illustrators4 ,miss ,mary ,sargant ,florence shows power and decorative feeling in her outline designs to ,the ,crystal ,ball4 ,mr4 ,granville ,fell must be named among the newer school of decorative illustrators2 and ,mr4 ,paul ,woodroffe1 who also shows much facility of design and feeling for old ,english life in his books of ,nursery ,rhymes2 his recent work shows much refinement of drawing and feeling4 ,miss ,alice ,b4 ,woodward ought also to be named for her clever treatment of medival life in black and white4 ,more recently1 perhaps the most remarkable work in book illustration has been that of ,mr4 ,e4 ,j4 ,sullivan1 whose powerful designs to ,carlyle's ,sartor ,resartus are full of vigour and character4 ,force and character1 again1 seem the leading qualities in the striking work of another of our recent designers in black and white1 ,mr4 ,nicholson1 who also engraves his own work4 ,illustration3 ,,edmund ,j4 ,,sullivan4 ,,from ,,sartor ,,resartus4 7,,bell47 ,mr4 ,gordon ,craig adds printing to the crafts of black and white design and engraving1 and has a distinctive feeling of his own4 ,the revival in ,england of decorative art of all kinds during the last five and twenty years1 culminating as it appears to be doing in book-design1 has not escaped the eyes of observant and sympathetic artists and writers upon the ,continent4 ,the work of ,english artists of this kind has been exhibited in ,germany1 in ,holland1 in ,belgium and ,france1 and has met with remarkable appreciation and sympathy4 ,illustration3 ,,patten ,,wilson4 ,,from ,,the ,,pen ,,drawing4 ,illustration3 ,,laurence ,,housman4 ,,title-,,page ,,of ,,the ,,house ,,of ,,joy4 7,,kegan ,,paul1 #ahie47 ,illustration3 ,l4 ,,fairfax ,,muckley4 ,,from ,,frangilla4 7,,elkin ,,mathews47 ,illustration3 ,,charles ,,robinson4 ,,from ,a ,,child',s ,,garden ,,of ,,verse4 7,,lane1 #ahie47 ,illustration3 ,,charles ,,robinson4 ,,from ,a ,,child',s ,,garden ,,of ,,verse4 7,,lane1 #ahie47 ,illustration3 ,,charles ,,robinson4 ,,from ,a ,,child',s ,,garden ,,of ,,verse4 7,,lane1 #ahie47 ,sidenote3 ,,belgium4 ,in ,belgium1 particularly1 where there appears to be a somewhat similar movement in art1 the work of the newer school of ,english designers has awakened the greatest interest4 ,the fact that ,m4 ,oliver ,georges ,destre has made sympathetic literary studies of the ,english pre-,raphaelites and their successors1 is an indication of this4 ,the exhibitions of the ,,xxe ,sicle1 ,la libre sthetique1 at ,brussels and ,lige1 are also evidence of the repute in which ,english designers are held4 ,illustration3 ,j4 ,d4 ,,batten4 ,,from ,,the ,,arabian ,,nights4 7,j4 ,m4 ,,dent ,,and ,,co47 ,sidenote3 ,,the ,,continent4 ,in ,holland1 too1 a special collection of the designs of ,english book illustrators has been exhibited at the ,hague and other towns under the auspices of ,m4 ,loffelt4 ,illustration3 ,j4 ,d4 ,,batten4 ,,from ,,the ,,arabian ,,nights4 7,j4 ,m4 ,,dent ,,and ,,co47 ,at ,paris1 also1 the critics and writers on art have been busy in the various journals giving an account of the ,arts and ,crafts movement1 the ,kelmscott ,press1 and the school of ,english book-decorators in black and white1 and the recent exhibitions of ,l',art ,nouveau and ,le ,livre ,moderne at ,paris are further evidence of the interest taken there in ,english art4 ,illustration3 ,r4 ,,anning ,,bell4 ,,from ,a ,,midsummer ,,night',s ,,dream4 7,j4 ,m4 ,,dent ,,and ,,co41 #ahie47 ,illustration3 ,r4 ,,anning ,,bell4 ,,from ,,beauty ,,and ,,the ,,beast4 7,j4 ,m4 ,,dent ,,and ,,co41 #ahid47 ,illustration3 ,r4 ,,spence4 ,,from ,a ,,pen ,,drawing4 ,illustration3 ,,alfred ,,jones4 ,a ,,title-,,page4 ,illustration3 ,,william ,,strang4 ,,from ,,baron ,,munchausen4 7,,lawrence ,,and ,,bullen47 ,illustration3 ,,william ,,strang4 ,,from ,,munchausen 7,,lawrence ,,and ,,bullen74 ,without any vain boasting1 it is interesting to note that whereas most artistic movements affecting ,england are commonly supposed to have been imported from the ,continent1 we are credited at last with a genuine home growth in artistic development4 ,although1 regarded in the large sense1 country or nationality is nothing to art 7being at its best always cosmopolitan and international7 yet in the history of design1 national and local varieties1 racial characteristics and local developments must always have their value and historic interest4 ,illustration3 ,h4 ,,granville ,,fell4 ,,from ,,cinderella4 7,j4 ,m4 ,,dent ,,and ,,co47 ,sidenote3 ,,belgium4 ,we may1 perhaps1 take it as a sympathetic response to ,english feeling1 the appearance of such books as ,m4 ,rijsselberghe's ,almanack1 with its charming designs in line1 from the house of ,dietrich at ,brussels4 ,m4 ,fernand ,knopff's work1 original as it is1 shows sympathy with the later ,english school of poetic and decorative design of which ,d4 ,g4 ,rossetti may be said to have been the father1 though in book-illustration proper ,i am not aware that he has done much4 ,in ,holland in black and white design there is ,m4 ,g4 ,w4 ,dijsselhof and ,m4 ,r4 ,n4 ,roland ,holst4 ,illustration3 ,,john ,,duncan4 ,,from ,,the ,,evergreen4 7,,geddes ,,and ,,co41 #ahie47 ,illustration3 ,,john ,,duncan4 ,,from ,,the ,,evergreen4 7,,geddes ,,and ,,co41 #ahie47 ,illustration3 ,,robert ,,burns4 ,,from ,,the ,,evergreen4 7,,geddes ,,and ,,co41 #ahie47 ,illustration3 ,,mary ,,sargant ,,florence4 ,,from ,,the ,,crystal ,,ball4 7,,bell1 #ahid47 ,illustration3 ,,paul ,,woodroffe4 ,,from ,,second ,,book ,,of ,,nursery ,,rhymes4 7,,george ,,allen1 #ahif47 ,illustration3 ,,paul ,,woodroffe4 ,,from ,,nursery ,,rhymes4 7,,bell1 #ahie47 ,sidenote3 ,,germany4 ,in ,germany1 such original and powerful artists as ,josef ,sattler and ,franz ,stck2 the former seemingly inheriting much of the grim and stern humour of the old ,german masters1 as well as their feeling for character and treatment of line1 while his own personality is quite distinct4 ,while ,sattler is distinctly ,gothic in sympathy1 ,stck seems more to lean to the pagan or classical side1 and his centaurs and graces are drawn with much feeling and character4 ,we have already mentioned the ,munich ,calendar1 designed by ,otto ,hupp1 which is well known for the vigour and spirit with which the artist has worked after the old ,german manner1 with bold treatment of heraldic devices1 and has effectively used colour with line work4 ,the name of ,seitz appears upon some effectively designed allegorical figures1 one of ,gutenberg at his press4 ,sidenote3 ,,jugend4 ,jugend1 a copiously illustrated journal published at ,munich by ,dr4 ,hirth1 shows that there are many clever artists with a more or less decorative aim in illustration1 which in others seems rather overgrown with grotesque feeling and morbid extravagance1 but there is an abundance of exuberant life1 humour1 whimsical fancy and spirit characteristic of ,south ,germany4 ,illustration3 ,m4 ,,rijsselberghe4 ,ver ,sacrum1 the journal of the group of the ,secession artists of ,vienna1 gives evidence of considerable daring and resource in black and white drawing1 though mainly of an impressionistic or pictorial aim4 ,m4 ,larisch1 of ,vienna1 has distinguished himself by his works upon the artistic treatment and spacing of letters which contain examples of the work of different artists both continental and ,english4 ,french artists in decoration of all kinds have been so largely influenced or affected by the ,japanese1 and have so generally approached design from the impressionistic1 dramatic1 or accidental-individualist point of view1 that the somewhat severe limits imposed by a careful taste in all art with an ornamental purpose1 does not appear to have greatly attracted them4 ,at all times it would seem that the dramatic element is the dominant one in ,french art1 and this1 though of course quite reconcilable with the ornament instinct1 is seldom found perfectly united with it1 and1 where present1 generally gets the upper hand4 ,the older classical or ,renaissance ornamental feeling of designers like ,galland and ,puvis de ,chavannes seems to be dying out1 and the modern chic and daring of a ,cheret seems to be more characteristic of the moment4 ,sidenote3 ,,grasset4 ,yet1 on the other hand1 among the newer ,french ,school1 we find an artist of such careful methods and of such strong decorative instinct as ,grasset1 on what ,i should call the architectural side in contradistinction to the impressionistic4 ,his work1 though quite characteristically ,french in spirit and sentiment1 is much more akin in method to our ,english decorative school4 ,in fact1 many of ,grasset's designs suggest that he has done what our men have done1 studied the art of the middle ages from the remains in his own country1 and grafted upon this stock the equipment and sentiment of a modern4 ,sidenote3 ,,lettering4 ,in his book illustrations he seems1 however1 so far as ,i know1 to lean rather towards illustrations pure and simple1 rather than decoration1 and exhibits great archological resource as well as romantic feeling in such designs as those to ,les ,cinq ,fils d',aymon4 ,the absence of book decoration in the ,english sense1 in ,france1 however1 may be due to the want of beauty or artistic feeling in the typographer's part of the work4 ,modern ,french type has generally assumed elongated and meagre forms which are not suggestive of rich decorative effect1 and do not combine with design3 nor1 so far as ,i have been able to observe1 does there seem to be any feeling amongst the designers for the artistic value of lettering1 or any serious attempt to cultivate better forms4 ,the poster-artist1 to whom one would think1 being essential to his work1 the value of lettering in good forms would appeal1 generally tears the roman alphabet to tatters1 or uses extremely debased and ugly varieties4 ,more recently1 however1 ,french designers and printers appear to be giving attention to the subject1 and newly designed types are appearing2 one firm at ,paris having issued a fount designed by ,eugene ,grasset4 ,the charming designs of ,boutet de ,monvel should be named as among the most distinctive of modern ,french book illustrations1 for their careful drawing and decorative effect1 although1 being in colours1 they hardly belong to the same category as the works we have been considering1 and the relation of type to pictures leaves something to be desired4 ,a respect for form and style in lettering1 is1 ,i take it1 one of the most unmistakable indications of a good decorative sense4 ,a true ornamental instinct can produce a fine ornamental effect by means of a mass of good type or ,,ms4 lettering alone3 and considered as accompaniments or accessories to design they are invaluable1 as presenting opportunities of contrast or recurrence in mass or line to other elements in the composition4 ,to the decorative illustrator of books they are the unit or primal element from which he starts4 ,illustration3 ,,walter ,,crane4 ,,from ,,spenser',s ,,faerie ,,queene4 7,,george ,,allen1 #ahif47 ,sidenote3 ,,italy4 ,the publication at ,venice of ,l',arte della stampa nel ,renascimento ,italiano ,venezia1 by ,ferd4 ,ongania--a series of reproductions of woodcuts1 ornaments1 initials1 title-pages1 etc41 from some of the choicest of the books of the early ,venetian and ,florentine printers1 may perhaps be taken as a sign of the growth of a similar interest in book decoration in that country1 unless1 like other works1 it is intended chiefly for the foreign visitor4 ,a sumptuously printed quarterly on ,art1 which has of late made its appearance at ,rome1 ,il ,convito1 seems to show an interest in the decorative side1 and does not confine its note on illustrations to ,italian work1 but gives reproductions from the works of ,d4 ,g4 ,rossetti1 and from ,elihu ,vedder's designs to ,the ,rubaiyat of ,omar ,khayyam4 ,certainly if the possession of untold treasures of endlessly beautiful invention in decorative art1 and the tradition of ancient schools tend to foster and to stimulate original effort1 one would think that it should be easier for ,italian artists than those of other countries to revive something of the former decorative beauty of the work of her printers and designers in the days of ,aldus and ,ratdolt1 of the ,bellini and ,botticelli4 ,it does not appear to be enough1 however1 to possess the seed merely2 or else one might say that where a museum is1 there will the creative art spring also2 it is necessary to have the soil also2 to plough and sow1 and then to possess our souls in patience a long while ere the new crop appears1 and ere it ripens and falls to our sickle4 ,it is only another way of saying1 that art is the outcome of life1 not of death4 ,artists may take motives or inspiration from the past1 or from the present1 it matters not1 so long as their work has life and beauty--so long as it is organic1 in short4 ,illustration3 ,,howard ,,pyle4 ,,from ,,otto ,,of ,,the ,,silver ,,hand4 7,,scribner47 ,sidenote3 ,,howard ,,pyle4 ,i have already alluded to the movement in ,boston among a group of cultured young men--,mr4 ,lee the printer and his colleagues--more or less inspired by ,the ,hobby ,horse and the ,kelmscott ,press1 which resulted in the printing of ,the ,knight ,errant4 ,illustration3 ,,howard ,,pyle4 ,,from ,,otto ,,of ,,the ,,silver ,,hand4 7,,scribner47 ,some years before1 however1 ,mr4 ,howard ,pyle distinguished himself as a decorative artist in book designs1 which showed1 among other more modern influences1 a considerable study of the method of ,albert ,drer4 ,i give a reproduction which suggests somewhat the effect of the famous copperplate of ,erasmus4 ,he sometimes uses a lighter method1 such as is shown in the drawings to ,the ,one ,horse ,shay4 ,of late in his drawings in the magazines1 ,mr4 ,pyle has adopted the modern wash method1 or painting in black and white1 in which1 however able in its own way1 it is distinctly at a considerable loss of individuality and decorative interest4#i #i ,i am informed that the adoption of the wash method is not recent with ,mr4 ,pyle1 but that he adapts his method to his matter4 ,this does not1 however1 affect the opinion expressed as to the relative artistic value of wash and line work4 ,illustration3 ,,will4 ,h4 ,,bradley4 ,a ,,cover ,,design4 7,,chicago1 #ahid47 ,illustration3 ,,will4 ,h4 ,,bradley4 ,,prospectus ,,of ,,bradley ,,his ,,book4 7,,springfield1 ,,mass41 #ahif47 ,illustration3 ,,will4 ,h4 ,,bradley4 ,,design ,,for ,,the ,,chap-,,book4 7,,chicago1 #ahie47 ,sidenote3 ,,the ,,inland ,,printer4 ,sidenote3 ,,american ,,artists4 ,another artist of considerable invention and decorative ability has recently appeared in ,america1 ,mr4 ,will4 ,h4 ,bradley1 whose designs for ,the ,inland ,printer of ,chicago are remarkable for careful and delicate line-work1 and effective treatment of black and white1 and showing the influence of the newer ,english school with a ,japanese blend4 ,illustration ,,chapter ,v4 ,,of ,,general ,,principles ,,in ,,designing ,,book ,,ornaments ,,and ,,illustrations3 ,,considerations ,,of ,,arrangement1 ,,spacing1 ,,and ,,treatment4 ,it may not be amiss to add a few words as a kind of summary of general principles to which we seem to be naturally led by the line of thought ,i have been pursuing on this subject of book decoration4 ,as ,i have said1 there is nothing final or absolute in ,design4 ,it is a matter of continual re-arrangement1 re-adjustment1 and modification or even transformation of certain elements4 ,a kind of imaginative chemistry of forms1 masses1 lines1 and quantities1 continually evolving new combinations4 ,but each artistic problem must be solved on its merits1 and as each one varies and presents fresh questions1 it follows that no absolute rules or principles can be laid down to fit particular cases1 although as the result of1 and evolved out of1 practice1 certain general guiding principles are valuable1 as charts and compasses by which the designer can to a certain extent direct his course4 ,to begin with1 the enormous variety in style1 aim1 and size of books1 makes the application of definite principles difficult4 ,one must narrow the problem down to a particular book1 of a given character and size4 ,apart from the necessarily entirely personal and individual questions of selection of subject1 motive1 feeling or sentiment1 consider the conditions of the book-page4 ,take an octavo page--such as one of those of this volume4 ,although we may take the open book with the double-columns as the page proper1 in treating a book for illustration1 we shall be called upon sometimes to treat them as single pages4 ,but whether single or double1 each has its limits in the mass of type forming the full page or column which gives the dimensions of the designer's panel4 ,the whole or any part of this panel may be occupied by design1 and one principle of procedure in the ornamental treatment of a book is to consider any of the territory not occupied by the type as a fair field for accompanying or terminating design--as1 for instance1 at the ends of chapters1 where more or less of the type page is left blank4 ,unless we are designing our own type1 or drawing our lettering as a part of the design1 the character and form of the type will give us a sort of gauge of degree1 or key1 to start with1 as to the force of the black and white effect of our accompanying designs and ornaments4 ,for instance1 one would generally avoid using heavy blacks and thick lines with a light open kind of type1 or light open work with very heavy type4 7,even here one must qualify1 however1 since light open pen-work has a fine and rich effect with black letters sometimes47 ,illustration3 ,,walter ,,crane4 ,,from ,,spenser',s ,,faerie ,,queene4 7,,george ,,allen1 #ahif47 ,illustration3 ,,walter ,,crane4 ,,from ,,spenser',s ,,faerie ,,queene4 7,,george ,,allen1 #ahif47 ,illustration3 ,,walter ,,crane4 ,,from ,,spenser',s ,,faerie ,,queene4 7,,george ,,allen1 #ahif47 ,my own feeling--and designing must always finally be a question of individual feeling--is rather to acknowledge the rectangular character of the type page in the shape of the design2 even in a vignette1 by making certain lines extend to the limits1 so as to convey a feeling of rectangular control and compactness1 as in the tail-piece given here from ,the ,faerie ,queene4 ,sidenote3 ,,of ,,end ,,papers4 ,but first1 if one may1 paradoxically1 begin with end paper as it is curiously called1 there is the lining of the book4 ,here the problem is to cover two leaves entirely in a suggestive and agreeable1 but not obtrusive way4 ,one way is to design a repeating pattern much on the principle of a small printed textile1 or miniature wall-paper1 in one or more colours4 ,something delicately suggestive of the character and contents of the book is in place here1 but nothing that competes with the illustrations proper4 ,it may be considered as a kind of quadrangle1 forecourt1 or even a garden or grass plot before the door4 ,we are not intended to linger long here1 but ought to get some hint or encouragement to go on into the book4 ,the arms of the owner 7if he is fond of heraldry1 and wants to remind the potential book borrower to piously return7 may appear hereon--the book-plate4 ,if we are to be playful and lavish1 if the book is for ,christmastide or for children1 we may catch a sort of fleeting butterfly idea on the fly-leaves before we are brought with becoming1 though dignified curiosity1 to a short pause at the half-title4 ,having read this1 we are supposed to pass on with somewhat bated breath until we come to the double doors1 and the front and full title are disclosed in all their splendour4 ,sidenote3 ,,of ,,frontispieces ,,and ,,title ,,pages4 ,even here1 though1 the whole secret of the book should not be let out1 but rather played with or suggested in a symbolic way1 especially in any ornament on the title-page1 in which the lettering should be the chief ornamental feature4 ,a frontispiece may be more pictorial in treatment if desired1 and it is reasonable to occupy the whole of the type page both for the lettering of title and the picture in the front2 then1 if richness of effect is desired1 the margin may be covered also almost to the edge of the paper by inclosing borders1 the width of these borders varying according to the varying width of the paper margin1 and in the same proportions1 recto and verso as the case may be1 the broad side turning outwards to the edge of the book each way4 ,this is a plan adopted in the opening of the ,kelmscott books1 of which that of ,the ,glittering ,plain1 given here1 may be taken as a type4 ,though ,mr4 ,morris places his title page on the left to face the opening of first chapter1 and does not use a frontispiece1 he obtains a remarkably rich and varied effect of black and white in his larger title pages by placing in his centre panel strong black ,gothic letters2 or1 as in the case of the ,kelmscott ,chaucer1 letters in white relief upon a floral arabesque adapted to the space1 and filling the field with a lighter floral network in open line1 and enclosing this again with the rich black and white marginal border4 ,illustration3 ,,from ,,the ,,story ,,of ,,the ,,glittering ,,plain4 ,illustration3 ,,william ,,morris ,,and ,,walter ,,crane4 7,,kelmscott ,,press1 #ahid47 ,if ,i may refer again to my own work1 in the designs to ,the ,faerie ,queene the full-page designs are all treated as panels of figure design1 or pictures1 and are enclosed in fanciful borders1 in which subsidiary incidents of characters of the poem are introduced or suggested1 somewhat on the plan of medival tapestries4 ,a reduction of one of these is given above4 ,sidenote3 ,,of ,,outline ,,and ,,borders4 ,a full-page design may1 thus inclosed and separated from the type pages1 bear carrying considerably further1 and be more realized and stronger in effect than the ornaments of the type page1 just as in the illuminated ,,mss4 highly wrought miniatures were worked into inclosing borders on the centres of large initial letters1 which formed a broad framework1 branching into light floral scroll or leaves upon the margin and uniting with the lettering4 ,much depends upon the decorative scheme4 ,with appropriate type1 a charming1 simple1 and broad effect can be obtained by using outline alone1 both for the figure designs or pictures1 and the ornament proper4 ,the famous designs of the ,hypnerotomachia ,poliphili1 #adii1 may be taken as an instance of this treatment2 also the ,fasciculus ,medicin1 #adie1 sop's ,fables1 #adic1 and other books of the ,venetian printers of about this date or earlier1 which are generally remarkable for fine quality of their outline and the refinement and grace of their ornaments4 ,one of the most effective black and white page borders of a purely ornamental kind is one dated #adgh1 inclosing a page of ,roman type1 7see illustration1 ,venice1 #adgh1 ,pomponius ,mela74 ,a meandering arabesque of a rose-stem leaf and flower1 white on a black ground1 springing from a circle in the broad margin at the bottom1 in which are two shields of arms4 ,a tolerably well known but most valuable example4 ,sidenote3 ,,of ,,designing ,,type4 ,the opening chapter of a book affords an opportunity to the designer of producing a decorative effect by uniting ornament with type4 ,he can place figure design in a frieze-shaped panel 7say of about a fourth of the page7 for the heading1 and weight it by a bold initial letter designed in a square1 from which may spring the stem and leaves of an arabesque throwing the letter into relief1 and perhaps climbing up and down the margin1 and connecting the heading with the initial4 ,the initialed page from ,the ,faerie ,queene is given as an example of such treatment4 ,the title1 or any chapter inscription1 if embodied in the design of the heading1 has a good effect4 ,harmony between type and illustration and ornament can never1 of course1 be quite so complete as when the lettering is designed and drawn as a part of the whole1 unless the type is designed by the artist4 ,it entails an amount of careful and patient labour 7unless the inscriptions are very brief7 few would be prepared to face1 and would mean1 practically1 a return to the principle of the block book4 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,ketham',s ,,fasciculus ,,medicin4 7,,venice1 ,,de ,,gregoriis1 #adic47 ,illustration3 ,,italian ,,school4 ,,xvth ,,century4 ,,pomponius ,,mela4 7,,venice1 ,,ratdolt1 #adgh47 ,even in these days1 however1 books have been entirely produced by hand1 and1 for that matter1 if beauty were the sole object1 we could not do better than follow the methods of the scribe1 illuminator1 and miniaturist of the ,middle ,ages4 ,but the world clamours for many copies 7at least in some cases71 and the artist must make terms with the printing press if he desires to live4 ,it would be a delightful thing if every book were different--a millennium for collectors6 ,perhaps1 too1 it might be a wholesome regulation at this stage if authors were to qualify as scribes 7in the old sense7 and write out their own works in beautiful letters6 ,how it would purify literary style6 ,there is no doubt that great attention has been given to the formation of letters by designers in the past4 ,sidenote3 ,,the ,d,,rer ,,alphabets4 ,albrecht ,drer1 in his ,geometrica1 for instance1 gives an elaborate system for drawing the ,roman capitals1 and certainly produces by its means a fine alphabet in that type of letter1 apparently copied from ancient ,roman inscriptions4 ,he does the same for the black letters also4#aj #aj ,reproduced in ,alphabets1 by ,e4 ,f4 ,strange 7pp4 #bdd-bej71 ,ex-,libris ,series4 ,bell4 ,for the ,roman capitals he takes a square1 and divides it into four equal parts for the ,a4 ,the horizontal line across the centre gives the crossbar4 ,the sides of the square are divided into eighths1 and one eighth is measured at the top of vertical dividing line1 one eighth again from each bottom corner of the square to these points1 the limbs of the ,a1 are drawn2 the up stroke and cross-bar being one-sixteenth1 the down stroke being one-eighth of the square in thickness4 ,circles of one-fourth of the square in diameter are struck at the top of the ,a where the limbs meet1 and at lower corners1 to form the outside serifs of the feet1 the inside serifs being formed by circles of one-sixteenth diameter2 and so the ,a is complete4 ,various sub-divisions of the square are given as guides in the formation of the other letters less symmetrical1 and two or three forms are given of some1 such as the ,o1 and the ,r1 ,q1 and ,s2 but the same proportions of thick and thin strokes are adhered to1 and the same method of forming the serifs4 ,for the black letter 7lower case ,german7 text the proportions are five squares for the short letters i1 n1 m1 u1 the space between the strokes of a letter like u being one-third the thickness of the stroke1 the top and bottom one being covered with one square1 set diamond-wise4 ,eight squares for the long letters l1 h1 b2 the tops cut off diagonally1 the feet turned diamond-wise4 ,this is interesting as showing the care and sense of proportion which may be expended upon the formation of lettering4 ,it also gives a definite standard4 ,the division of eighths and fourths in the ,roman capital is noteworthy1 too1 in connection with the eight-heads standard of proportion for the human body2 and the square basis reminds one of ,vitruvius1 and demonstration of the inclosure of the human figure with limbs in extension by the square and the circle4 ,those interested in the history of the form of lettering cannot do better than consult ,mr4 ,strange's book on ,alphabets in this series4 ,it might be possible to construct an actual theory of the geometric relation of figure design1 ornamental forms1 and the forms of lettering1 text1 or type upon them1 but we are more concerned with the free artistic invention for the absence of which no geometric rules can compensate4 ,the invention1 the design1 comes first in order1 the rules and principles are discovered afterwards1 to confirm and establish their truth--would that they did not also sometimes crystallize their vitality6 ,i have spoken of the treatment of headings and initials at the opening of a chapter4 ,in deciding upon such an arrangement the designer is more or less committed to carrying it out throughout the book1 and would do well to make his ornamental spaces1 and the character1 treatment1 and size of his initials agree in the corresponding places4 ,this would still leave plenty of room for variety of invention in the details4 ,the next variety of shape in which he might indulge would be the half-page1 generally an attractive proportion for a figure design1 and if repeated on the opposite page or column1 the effect of a continuous frieze can be given1 which is very useful where a procession of figures is concerned1 and the slight break made by the centre margin is not objectionable4 ,the same plan may be adopted when it is desired to carry a full-page design across1 or meet it by a corresponding design opposite4 ,sidenote3 ,,of ,,head ,,and ,,tail-,,pieces4 ,then we come to the space at the end of the chapter4 ,for my part1 ,i can never resist the opportunity for a tailpiece if it is to be a fully illustrated work1 though some would let it severely alone1 or be glad of the blank space to rest a bit4 ,i think this lets one down at the end of the chapter too suddenly4 ,the blank1 the silence1 seems too dead2 one would be glad of some lingering echo1 some recurring thought suggested by the text2 and here is the designer's opportunity4 ,it is a tight place1 like the person who is expected to say the exactly fit thing at the right moment4 ,neither too much1 or too little4 ,a quick wit and a light hand will serve the artist in good stead here4 ,sidenote3 ,,of ,,tail-,,pieces4 ,page-terminations or tailpieces may of course be very various in plan1 and their style correspond with or be a variant of the style of the rest of the decorations of the book4 ,certain types are apt to recur1 but while the bases may be similar1 the superstructure of fancy may vary as much as we like4 ,there is what ,i should call the mouse-tail termination1 formed on a gradually diminishing line1 starting the width of the type1 and ending in a point4 ,printers have done it with dwindling lines of type1 finishing with a single word or an aldine leaf4 ,then there is the plan of boldly shutting the gate1 so to speak1 by carrying a panel of design right across1 or filling the whole of the remaining page4 ,this is more in the nature of additional illustration to carry on the story1 and might either be a narrow frieze-like strip1 or a half1 or three-quarter page design as the space would suggest4 ,there is the inverted triangular plan1 and the shield or hatchment form4 ,the garland or the spray1 sprig1 leaf1 or spot1 or the pen flourish glorified into an arabesque4 ,the medallion form1 or seal shape1 too1 often lends itself appropriately to end a chapter with1 where an inclosed figure or symbol is wanted4 ,one principle in designing isolated ornaments is useful3 to arrange the subject so that its edges shall touch a graceful boundary1 or inclosing shape1 whether the boundary is actually defined by inclosing lines or frame-work or not4 ,floral1 leaf1 and escutcheon shapes are generally the best1 but free1 not rigidly geometrical4 ,the value of a certain economy of line can hardly be too much appreciated1 and the perception of the necessity of recurrence of line1 and a re-echoing in the details of leading motives in line and mass4 ,it is largely upon such small threads that decorative success and harmonious effect depend1 and they are particularly closely connected with the harmonious disposition of type and ornamental illustration which we have been considering4 ,sidenote3 ,,the ,,end4 ,it would be easy to fill volumes with elaborate analysis of existing designs from this point of view1 but designs1 to those who feel them1 ought to speak in their own tongue for themselves more forcibly than any written explanation or commentary2 and1 though of making of many books there is no end1 every book must have its end1 even though that end to the writer1 at least1 may seem to leave one but at the beginning4 ,illustration ,illustration3 ,,arthur ,,hughes4 ,,from ,,good ,,words ,,for ,,the ,,young4 7,,strahan1 #ahga47 ,sidenote3 ,,notes ,,for ,,new ,,edition4 ,chap4 ,,iv4 ,of the ,recent ,development1 etc41 p4 #ahi4 ,in addition to the names of the modern printers and presses mentioned in this chapter must now be added those of several workers in the field of artistic printing who have distinguished themselves since the ,kelmscott ,press4 ,mr4 ,cobden ,sanderson has turned from the outside adornment of the book to the inside1 and1 in association with ,mr4 ,emery ,walker1 whose technical knowledge and taste was so valuable on the ,kelmscott ,press1 has founded ,the ,doves ,press at ,hammersmith1 and has issued books remarkable for the pure severity of their typography1 founded mainly upon ,jenson4 ,mr4 ,st4 ,john ,hornby also must be named1 more particularly for his revival of a very beautiful ,italian type founded upon the type of ,sweynheim and ,pannartz1 the first printers in ,italy4 ,the ,greek type designed by the late ,robert ,proctor1 based on the ,alcala fount used in the ,new ,testament of the ,complutensian ,polyglot ,bible of #aead1 should be mentioned as the only modern attempt to improve the printing of ,greek1 with the exception of ,mr4 ,selwyn ,image's1 which perhaps suffered by being cut very small to suit commercial exigences4 ,mr4 ,c4 ,r4 ,ashbee1 too1 has established a very extensive printery1 ,the ,essex ,house ,press1 which he has since transplanted to ,chipping ,camden4 ,he had the assistance of several of the workers from the ,kelmscott ,press1 and has produced many excellently printed books of late years1 such as the ,benvenuto ,cellini1 and including such elaborate productions as ,edward ,,vi4's ,prayer ,book1 with wood-engravings and initials and ornaments as well as the type of his own design4 ,an interesting series of the ,english poets1 also1 with frontispieces by various artists1 has been issued from this press4 ,p4 #bah4 ,the death of ,aubrey ,beardsley since the notice of his work was written must be recorded1 and it would seem as if the loss of this extraordinary artist marked the decadence of our modern decadents4 ,a perhaps equally remarkable designer1 however1 whose work has a certain kinship in some features with ,beardsley's1 is ,mr4 ,james ,syme1 whose work has not before been noticed in this book4 ,he has a powerful and weird imagination associated with grotesque and satirical design1 and considerable skill in the use of line and black and white effect4 ,p4 #bfg4 ,in writing of book illustrators in ,france1 a leading place should be given to ,m4 ,boutet de ,monvel1 whose delicate drawing1 tasteful colouring1 and sense of decorative effect1 combined with abundant resource in variety of costume1 and skilful treatment of crowds1 medival battle scenes1 and ceremonial groups are seen to full advantage in his recent ,ste4 ,jean d',arc1 although no particular relationship between illustration and type is attempted4 ,p4 #bfh4 ,a recent proof of the revival of taste in book-decoration and artistic printing in ,italy may be referred to here as showing the influence of the ,english movement4 ,i mean the edition of ,gabriele d',annunzio's ,francesca da ,rimini with illustrations or rather decorations by ,adolphus de ,karolis1 printed by the ,fratelli ,treves in #aijb4 ,this book shows unmistakable signs of study of recent ,english work1 as well as of the early printers of ,venice1 and it is strange to think how sometimes artists of one country may come back to an appreciation of a particular period of their own historic art by the aid of foreign spectacles4 ,among the original designers of modern ,italy may be mentioned ,g4 ,m4 ,mataloni1 who shows remarkable powers of draughtsmanship and invention1 largely spent upon posters and ex-libris4 ,italy1 too1 has an able critic and chronicler of the work of book-designers of all countries in ,sig4 ,vittorio ,pica of ,naples1 whose ,attraverso gli ,albi e le ,cartelle 7,istituto ,italiano d'arti grafiche editore ,bergamo7 is very comprehensive4 ,in ,vienna ,prof4 ,larisch recently published a book of ,alphabets designed by various artists of ,europe2 ,germany1 ,france1 ,italy1 and ,england being represented4 ,the group of ,viennese artists known as the ,secession have issued ,ver ,sacrum1 a monthly journal1 or magazine1 giving original designs of various artists more or less in the direction of book-decoration4 ,latterly the designs offered seemed to lose themselves either in an affectation of primitiveness and almost infantine simplicity1 or the wildest grotesqueness and eccentricity4 ,,appendix4 ,illustration3 ,,headpiece ,,by ,,alan ,,wright4 ,illustration3 ,i4 ,,irish4 ,,vith ,century4 ,,book ,,of ,,kells4 ,see page #ac4 ,illustration3 ,,ii4 ,,english4 ,,xivth ,,century4 ,,arundel ,,psalter1 #acci4 ,see page #af4 ,illustration3 ,,iii4 ,,english4 ,,xivth ,,century4 ,,arundel ,,psalter1 #acci4 ,see page #af4 ,illustration3 ,,iv4 ,,english4 ,,xivth ,,century4 ,,arundel ,,psalter1 #acci4 ,see page #af4 ,illustration3 ,v4 ,,french4 ,,xivth ,,century4 ,,epistle ,,of ,,philippe ,,de ,,comines ,,to ,,richard ,,ii4 ,see page #bc4 ,illustration3 ,,vi4 ,,french4 ,,xvth ,,century4 ,,bedford ,,hours1 ,,page ,,of ,,calendar1 ,a4,d4 #adbb4 ,see page #bc4 ,illustration3 ,,vii4 ,,french4 ,,xvth ,,century4 ,,bedford ,,hours1 ,a4,d4 #adbb4 ,see page #bc4 ,illustration3 ,,viii4 ,,english4 ,,late ,,xvth ,,century4 ,,romance ,,of ,,the ,,rose4 ,see page #bi4 ,illustration3 ,,ix4 ,,italian4 ,,xvth ,,century4 ,,initial ,,letter1 ,,choir ,,book1 ,,siena 7#adfh----adgb-c74 ,see page #cj4 ,illustration3 ,x4 ,,japanese4 ,,xixth ,,century4 ,,hokusai4 ,see page #afc4 ,illustration3 ,,xi4 ,,japanese4 ,,xixth ,,century4 ,,hokusai4 ,see page #afc4 ,,index4 ,,abbey1 ,edwin1 #aff4 sop's ,fables 7,venice1 #adic71 #bic4 ---- 7,ulm1 #adih71 #ec4 ---- 7,naples1 #adhe71 #ee4 ,aglaia1 cover for1 #aed1 #aeg4 ,alciati's ,emblems1 #aji4 ,aldus1 #fb1 #fc1 #fe1 #ajh4 ,alphabet 7,drer's71 #bii4 ,alphabets 7,bell1 #ahid71 #bii1 #cjj4 ,amman1 ,jost1 #if4 ,american ,wood-engraving1 #adh1 #afd4 ,andersen's ,fairy ,tales 7,allen1 #ahic71 #aii4 ,anglo-,saxon ,,mss41 #ad1 et seq4 ,apocalypse1 ,,ms41 #adth ,cent41 #ai4 ,arabian ,nights 7,dent1 #ahic71 #bda1 #bdb4 ,arndes1 ,steffen1 #dg4 ,art in the ,house 7,macmillan1 #ahgf71 #afj1 #afb-afe4 ,arts and ,crafts ,exhibition ,society1 #bjg4 ,arundel ,psalter1 ,,ms41 #af4 ,aulus1 ,gellius 7,venice1 #aeji71 #gc4 ,bmler1 #ae4 ,bateman1 ,robert1 #afj1 #afb-afe4 ,batten1 ,j4 ,d41 #bbb1 #bda1 #bdb4 ,beardsley1 ,aubrey1 #bah1 #bba1 #bbe1 #bbf1 #bbg4 ,beauty and the ,beast 7,dent1 #ahid71 #bde4 ,bedford ,hours1 ,,ms41 #bc1 #bd1 #ch4 ,beham1 ,hans ,sebald1 #if1 #aac4 ,bell1 ,r4 ,a41 #bbb1 #bdc1 #bde4 ,bellini1 ,giovanni1 #fb1 #fi4 ,bernard1 ,solomon1 #aaj4 ,bewick1 ,thomas1 #adj1 #ade4 ,bible 7,cologne1 #adhj71 #ba4 ---- 7,lbeck1 #adid71 #dg4 ---- 7,mainz1 #adee71 #di4 ---- 7,frankfort1 #aefc71 #ec1 #aca4 ,bible ,cuts 7,holbein71 #ib1 #ie1 #if4 ,birmingham ,school1 #bjc1 #bjd1 #bjg4 ,blake1 ,william1 #acf-aci4 ,block ,books1 #df4 ,blomfield1 ,reginald1 #bjg4 ,boccaccio's ,de ,claris ,mulieribus 7,ulm1 #adgc71 #g1 #aa2 7,ferrara1 #adig71 #ed4 ,bonhomme1 #aaj4 ,book of ,carols 7,allen1 #ahic71 #bji4 ,books of ,hours1 #bc1 #bd1 #ch1 #ed1 #ajg4 ,borders1 #bjd1 #bic4 ,bracebridge ,hall 7,macmillan1 #ahgg71 #aeh4 ,bradley1 ,gertrude ,m41 #bjg1 #bac4 ---- ,will4 ,h41 #bgd1 #bge1 #bgg1 #bgh4 ,brown1 ,ford ,madox1 #aed4 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affecting design1 #bfg1 #bhj1 #bid4 ,vedder1 ,elihu1 #aff4 ,veldener1 ,jan1 #be4 ,ver ,sacrum1 #bff4 ,vrard1 #ed4 ,virgil ,solis1 #aca4 ,wchtlin1 ,hans1 #if1 #aaa4 ,walton's ,angler 7,lane1 #ahif71 #bjd4 ,wandereisen1 ,hans1 #aac4 ,weiss ,knig1 ,der 7#aeab-ad71 #ie1 #ii4 ,white1 ,gleeson1 #bba4 ,wilson1 ,patten1 #bba1 #bbi4 ,witney's ,emblems1 #aaf4 ,wood-,engraving1 ,masters of 7#ahhi71 #adi4 ,woodroffe1 ,paul1 #bbg1 #bfc1 #bfe4 ,woodward1 ,alice ,b41 #bbg4 ,zainer1 ,johann1 #g1 #aa4 ---- ,gnther1 #ag4 ,illustration3 ,,headpiece ,,by ,,alan ,,wright4 ,illustration ,transcriber's ,note ,illustrations have been moved near the relevant section of the text4 ,i have used to denote bolded text4 3,y is used in the text to represent ,y with an umlaut above it4 ,page headers varied depending on the subjects under discussion4 ,where the headers did not match the chapter title1 ,i have treated the headers as sidenotes4 ,inconsistencies have been retained in formatting1 spelling1 hyphenation1 punctuation1 and grammar1 except where indicated in the list below3 - ,right bracket added before ,augsburg on ,page x - ,lubeck changed to ,lbeck on ,page x - ,single quote changed to double quote before,morte on ,page xiii - ,page number changed from #bcc to #bhc on ,page xiii - ,page number changed from #cje and #cce to #cji and #cda on ,page xiv - ,liege changed to ,lige on ,page #ai - chiaro-oscuro changed to chiaroscuro on ,page #cj - ,period added after ,,school on ,page #ga - ,period added after #aejh on ,page #ga - ,period added after ,,century on ,page #gc - ,period added after ,,century on ,page #hg - ,fusch changed to ,fuchs on ,page #aai - fuschia changed to fuchsia on ,page #aai - ,wood-cuts changed to ,woodcuts on ,page #acj - caligrapher changed to calligrapher on ,page #ach - ,period added after #ahbg-h-i on ,page #adc - ,period added after ,,holiday on ,page #aeg - ,,head-,,piece changed to ,,headpiece to match ,table of ,contents on ,page #aeh - see italicized on ,page #afc - ,double quotes changed to single quotes around ,epitome of the ,eighteen ,historical ,records of ,china4 followed by a double quote on ,page #afd - occured changed to occurred on ,page #afd - ,period added after ,,strang on ,page #bea - opportunites changed to opportunities on ,page #bfi - see italicized on ,page #bic - mediaeval changed to medival on ,page #cjf - ,r4,a changed to ,r4 ,a4 on ,page #cce - ,comma added after ,,ms4 on ,page #cci - ,lorenza changed to ,lorenzo on ,page #cci - ,colon changed to semicolon after #ahid on ,page #cci - ,pomponious changed to ,pomponius on ,page #cdj - ,repeated line deleted on ,page #cda - ,vrard changed to ,vrard on ,page #cda