,,the ,,art ,,of ,,the ,,book ,,the ,,art ,,of ,,the ,,book ,a ,,review ,,of ,,some ,,recent ,,european ,,and ,,american ,,work ,,in ,,typography1 ,,page ,,decoration ,,binding ,,charles ,,holme1 ,,editor ,,mcmxiv 8,,the ,,studio0 ,,ltd4 ,,london1 ,,paris1 ,,new ,,york ,,prefatory ,,note ,the ,editor desires to express his thanks to the following who have kindly assisted in the preparation of this volume3--to the ,trustees of the ,kelmscott ,press for permission to reproduce the pages printed in the three types designed by ,william ,morris1 and to ,mr4 ,emery ,walker for the valuable assistance he has rendered in the reproductions of these particular pages1 and also the page of ,proctor's ,greek type2 to ,mr4 ,lucien ,pissarro for allowing the three pages by the ,eragny ,press to appear2 to ,mr4 ,c4 ,h4 ,st4 ,john ,hornby1 whose page by the ,ashendene ,press has been especially set up for this volume2 to ,mr4 ,philip ,lee ,warner for permission to show two pages by the ,riccardi ,press2 to ,messrs4 ,chatto ,windus for the page by the ,florence ,press2 to ,messrs4 ,methuen ,co4 for the page printed in the 8,ewell0 type2 to ,messrs4 ,h4 ,w4 ,caslon ,co4 for the page of their new 8,kennerley0 type2 to ,messrs4 ,p4 ,m4 ,shanks ,sons for the page of 8,dolphin ,old ,style0 type2 to ,mr4 ,f4 ,v4 ,burridge for the two pages especially set up at the ,london ,county ,council ,central ,school of ,arts and ,crafts2 to ,messrs4 ,george ,allen ,co4 for permission to reproduce the two pages designed by ,mr4 ,walter ,crane2 to ,mr4 ,percy ,j4 ,smith for the book-opening designed by him2 to the ,cuala ,press1 the ,vincent ,press1 the ,reigate ,press1 ,messrs4 ,b4 ,t4 ,batsford1 ,messrs4 ,j4 ,m4 ,dent ,sons1 ,messrs4 ,george ,routledge ,sons1 ,messrs4 ,siegle1 ,hill ,co41 for permission to show various pages from their publications2 and to ,mr4 ,j4 ,walter ,west1 ,r4 ,w4 ,s41 for the pages designed by him4 ,the ,editor's thanks are due to the various bookbinders whose work has been lent for illustration1 and to ,monsieur ,emile ,lvy for the loan of the photographs of ,mr4 ,douglas ,cokerell's bindings2 to ,mr4 ,john ,lane for permission to illustrate the cover designs by ,aubrey ,beardsley2 and to ,messrs4 ,george ,newnes for the end-paper design by ,mr4 ,granville ,fell4 ,the ,editor is also indebted to the various ,continental and ,american publishers1 printers1 type-founders1 bookbinders and book-decorators who have kindly placed at his disposal the examples of their work shown in the foreign sections2 particularly to ,herren ,gebrder ,klingspor1 the ,bauersche ,giesserei1 ,herr ,emil ,gursch1 ,herr ,d4 ,stempel1 ,herren ,genzsch and ,heyse1 ,,mm4 ,g4 ,peignot et fils1 ,monsieur ,l4 ,pichon1 and ,monsieur ,jules ,meynial for the pages of type especially set up for this volume4 ,,list ,,of ,,articles ,,page ,british ,types for ,printing ,books4 ,by ,bernard ,h4 ,newdigate #c ,fine ,bookbinding in ,england4 ,by ,douglas ,cockerell #fi ,the ,art of the ,book in ,germany4 ,by ,l4 ,deubner #abg ,the ,art of the ,book in ,france4 ,by ,e4 ,a4 ,taylor #agi ,the ,art of the ,book in ,austria4 ,by ,a4 ,s4 ,levetus #bjc ,the ,art of the ,book in ,hungary ---- #bca ,the ,art of the ,book in ,sweden4 ,by ,august ,brunius #bdc ,the ,art of the ,book in ,america4 ,by ,william ,dana ,orcutt #bei ,,great ,,britain ,,british ,,types ,,for ,,printing ,,books4 ,,by ,,bernard ,h4 ,,newdigate ,to judge rightly of the good or bad features of types used for printing books1 we should have some acquaintance at least with the earlier forms from which our modern types have come4 ,let us therefore glance at the history of the letter from which ,english books are printed to-day4 ,the earliest printed books1 such as the ,mainz ,bible and ,psalters1 were printed in ,gothic letter1 which in its general character copied the book-hands used by the scribes in ,germany1 where these books were printed4 ,in ,italy1 on the other hand1 the ,gothic hand did not satisfy the fastidious taste of the scholars of the ,renaissance1 who had adopted for their own a handwriting of which the majuscule letters were inspired1 or at least influenced1 by the letter used in classical ,rome1 of which so many admirable examples had survived in the old monumental inscriptions4 ,for the small letters they went back to the fine hand which by the eleventh and twelfth centuries had gradually been formed out of the ,caroline minuscules of the ninth and had become the standard book-hand of the greater part of ,latin ,europe4 ,when the ,germans ,sweynheim and ,pannartz brought printing into ,italy1 they first printed books in a very beautiful but somewhat heavy ,roman letter of strong ,gothic tendency4 ,it seems1 indeed1 to have been somewhat too ,gothic for the refined humanistic taste of that day2 and when they moved their press to ,rome1 it was discarded in favour of a letter more like the fashionable scrittura umanistica of the ,renaissance4 ,other ,italian printers had founts both of ,gothic and of ,roman types4 ,the great ,venetian printer ,jenson1 for instance1 and many of his fellows printed books in both characters2 but the ,roman gradually prevailed1 first in ,italy1 then in ,spain and ,france1 and later on in ,england4 ,in ,germany1 on the other hand1 the cradle-land of the craft1 ,gothic letter of a sadly debased type has held its own down to this day4 ,even in ,germany1 however1 the use of ,roman type has gained ground of late years1 nationalist feeling notwithstanding4 ,the ,roman type used by the early ,italian printers is1 then1 the prototype from which all other ,roman founts are descended4 ,its development may be traced through such ,roman type as was used by ,aldus at ,venice1 by ,froben at ,basle1 by the ,estiennes in ,paris1 by ,berthelet and ,day in ,london1 by ,plantin at ,antwerp1 by the ,elzevirs at ,leyden and ,amsterdam1 and by printers generally right through the seventeenth century and the greater part of the eighteenth4 ,through all these years types still kept what modern printers call their 8old-face0 character1 which they had acquired from the scrittura umanistica of the ,italian ,renaissance4 ,in the seventeenth century the letters of the ,roman alphabet began to acquire certain new features at the hands of the copper-plate engravers1 who supplied the book illustrations of the period4 ,working with the burin instead of the pen1 they naturally used a sharper and finer line and also modified somewhat the curves of the letters1 which tended to become more stilted and less open4 ,the tail of the 8,r10 for instance1 which in ,jenson's type is thrust forward at an angle of about forty-five degrees1 at the hands of some of the seventeenth-century engravers tends to drop more vertically1 as in the 8,r0 of 8modern0 type1 the development of which we are seeking to trace4 ,how far and how soon the lettering of the engravers of illustrations came to modify the letters cast by the type-founders is a question which invites further research4 ,a material piece of evidence is supplied by the 8,horace0 printed by ,john ,pine in #agcc4 ,instead of being printed from type1 the text of this book1 together with the ornaments and illustrations1 was printed from engraved copperplates4 ,in date it was some sixty years prior to the earliest books printed in 8modern-faced0 type in this country2 yet in the cut of the lines and the actual shape of the letters many distinguishing features of the 8modern0 face may already be traced4 ,what these features became may be seen best by comparing an alphabet of the 8old0 with one of the 8modern0 face printed below it3 ,illustration ,the 8modern0 tendency may be seen in certain features of the types designed by ,baskerville1 who printed his first book in #ageg2 but it is not nearly so pronounced as in ,pine's 8,horace10 engraved twenty-four years earlier4 ,baskerville's editions had an enormous vogue1 not only in this country but on the ,continent also1 where they had considerable influence on the style of printing which then prevailed4 ,amongst those who felt this influence was ,giambattista ,bodoni1 a scholar and printer of ,parma1 which city has lately kept the centenary of his death4 ,to ,bodoni more than anyone else the so-called 8modern-face0 is due4 ,he cast a large number of founts1 narrow in the 8set0 or width of the letters as compared with their height1 and having the excessively fine lines and the close loops and curves which are characteristic of that face4 ,like ,baskerville he printed his books with very great care on a spacious page in large and heavily-leaded type2 and although an occasional protest was raised against the ugliness of his letter1 his books caught the taste of his day1 and his type was copied by all the ,english type-founders of the time4 ,the new fashion completely drove out the older tradition1 which dated from the very invention of printing2 and from the closing years of the eighteenth to the middle of the nineteenth century books were printed almost exclusively in 8modern-faced0 type4 ,the older and more authentic letter had its revenge in #ahdc1 when the publisher1 ,william ,pickering1 arranged with his friend ,charles ,whittingham1 the printer1 to produce a handsome edition of ,juvenal as a 8leaving-present0 for ,eton2 and the book was to be printed from the discarded type first cut by ,william ,caslon about the year #agbd4 ,prior to that time ,english printers had gone to ,holland for most of their type2 but ,caslon's types surpassed in beauty any hitherto used in ,england1 and the best ,english printing had been done from them till near the end of the century1 when they were driven out by the 8modern0 face4 ,before the ,juvenal was issued1 a romance entitled 8,the ,diary of ,lady ,willoughby10 dealing with the period of the ,civil ,wars1 was also printed in old-faced type cast from ,william ,caslon's matrices1 so as to impart to the book a flavour of the period at which the diarist was supposed to be writing4 ,it was the day of ,pugin and of the ,gothic revival2 and the public taste was won by the appearance of this book1 printed in old-fashioned guise in the selfsame type which had been cast aside half a century before4 ,type-founders are generally quick to follow one another's lead in new fashions2 and before long every type-founder in ,england had cut punches and cast letter in that modified form of ,caslon's old-faced type which printers call 8old-style40 ,mr4 ,adeney of the ,reigate ,press has used an 8old-style0 fount in the extract from ,camden's 8,britannia0 reproduced on a very small scale on page #eg4 ,the 8old-style0 character and the points in which it is either like or unlike the more authentic old-faced letter may be seen by comparing the two4 ,the lower of these founts is the 8old-style03 ,illustration ,illustration ,the favour which the revived 8old-face0 and the new 8old-style0 letter won for themselves in the middle of last century has suffered no diminution since4 ,the ugly 8modern-face10 which we owe to ,bodoni1 is still used almost exclusively for certain classes of work and alternatively for others2 so that the printer is bound to be familiar with all three4 ,for book-printing at the present day the 8old style0 and the 8old-face0 are used much more than the modern4 ,during the fifty years that followed the revived use of ,caslon's types by the ,whittinghams there is little else to record about the designs of the types used for printing books1 until about the year #ahij1 when ,william ,morris set himself to design type1 fired thereto by a lecture1 given by ,mr4 ,emery ,walker1 on the work of the ,early ,printers1 to which he had listened4 ,in the 8,note by ,william ,morris on his aims in founding the ,kelmscott ,press10 printed after his death1 he writes of the purpose which led him to print books1 and of the character he sought to give his letter3 8,i began printing books with the hope of producing some which would have a definite claim to beauty1 while at the same time they should be easy to read and should not dazzle the eye by eccentricity of form in the letters4 ,i have always been a great admirer of the calligraphy of the ,middle ,ages and of the earlier printing which took its place4 ,as to the fifteenth-century books1 ,i had noticed that they were always beautiful by force of the mere typography1 even without the added ornament with which many of them are so lavishly supplied4 ,and it was the essence of my undertaking to produce books which it would be a pleasure to look upon as pieces of printing and arrangement of type4444 ,next as to type4 ,by instinct rather than by conscious thinking it over1 ,i began by getting myself a fount of ,roman type4 ,and here what ,i wanted was letter pure in form2 severe without needless excrescences2 solid without the thickening and thinning of the line1 which is the essential fault of the ordinary modern type and which makes it difficult to read2 and not compressed laterally1 as all later type has grown to be owing to commercial exigencies4 ,there was only one source from which to take examples of this perfected ,roman type1 to wit1 the works of the great ,venetian printers of the fifteenth century1 of whom ,nicholas ,jenson produced the completest and most ,roman characters from #adgj to #adgf4 ,this type ,i studied with much care1 getting it photographed to a big scale1 and drawing it over many times before ,i began designing my own letter2 so that1 though ,i think ,i mastered the essence of it1 ,i did not copy it servilely2 in fact1 my ,roman type1 especially in the lower case1 tends rather more to the ,gothic than does ,jenson's4 ,after a while ,i felt ,i must have a ,gothic as well as a ,roman fount2 and herein the task ,i set myself was to redeem the ,gothic character from the charge of unreadableness which is commonly brought against it4 ,and ,i felt that this charge could not be reasonably brought against the types of the first two decades of printing3 that ,schoeffer at ,mainz1 ,mentelin at ,strassburg1 and ,gnther ,zainer at ,augsburg1 avoided the spiky ends and undue compression which lay some of the later types open to the above charge4444 ,keeping my end steadily in view1 ,i designed a black-letter type which ,i think ,i may claim to be as readable as a ,roman one1 and to say the truth ,i prefer it to the ,roman4 ,this type is of the size called ,great ,primer 7the ,roman type is of #8,english' size72 but later on ,i was driven by the necessities of the ,chaucer 7a double-columned book7 to get a similar ,gothic fount of ,pica size40 ,pages printed in each of ,morris's three founts of type are reproduced here on pages #ad1 #ae1 #ag and #ai4 ,it is interesting to compare ,morris's 8,golden0 type--so he called his ,roman fount after the 8,golden ,legend10 which he printed from it--with the ,roman letter of the ,italian printers1 which he studied with so much care before he began to design his type4 ,the 8,golden0 type is much heavier in face than1 say1 that of ,jenson2 and it certainly lacks the suppleness and grace of the ,italian types generally4 ,as a point of detail we may notice especially the brick-bat serifs used on ,morris's capital 8,m0 and 8,n10 giving a certain clumsiness to these letters4 ,the two ,gothic letter founts which ,morris designed1 on the other hand1 must be regarded as amongst the most beautiful ever cast4 ,william ,morris's types should be judged on the setting of richly decorated borders which he designed for his pages4 ,adding to these the designs of ,sir ,edward ,burne-,jones1 engraved on wood by ,w4 ,h4 ,hooper1 we have in the ,kelmscott 8,chaucer0 the most splendid book which has ever been printed4 ,the 8,golden0 type of the ,kelmscott ,press was copied freely in ,america and sent back to the country of its birth under several different names4 ,in somewhat debased forms it had a vogue for a time as a 8jobbing0 fount amongst printers who knew little or nothing of the ,kelmscott ,press2 but the heaviness of its line and also its departure from accepted forms kept it from coming into general use for printing books4 ,the interest awakened by the books printed by ,william ,morris at ,hammersmith tempted many more to set up private presses or to design private founts of type when the work of the ,kelmscott ,press came to an end after ,morris's death1 which took place in #ahif4 ,most of such founts and the best of them followed more or less closely the letter of the early ,italian printers1 which1 as we have seen1 are the prototypes of our book letter of to-day4 ,even before the founding of the ,kelmscott ,press ,mr4 ,charles ,ricketts had designed books1 using some of the 8old style0 faces which were in general use4 ,when the ,kelmscott ,press books appeared1 he too was won over by what he called the 8golden sunny pages0 of the early ,italian printers1 and designed for himself the 8,vale0 type4 ,in weight and general appearance it bears considerable likeness to ,morris's 8,golden0 type1 and in some ways is an improvement on it4 ,mr4 ,ricketts afterwards had the same letter cast in a smaller size for his edition of ,shakespeare1 whence its name of the 8,avon0 type4 ,he also designed another letter1 the interest of which lies in certain experiments towards the reform of the alphabet which it embodies4 ,in the 8,king's0 type1 as ,mr4 ,ricketts called it1 many of the minuscule letters1 such as e1 g1 t1 are replaced by small majuscules4 ,such a departure from traditional use is too violent to give pleasure1 and only two or three books were printed in this letter4 ,the three ,vale ,press founts and also the punches and matrices were destroyed when the ,press ceased publishing4 ,mr4 ,t4 ,j4 ,cobden-,sanderson and ,mr4 ,emery ,walker set up the ,doves ,press at ,hammersmith in #aijj1 and designed and got cast for themselves a fount of type which follows ,jenson's ,roman type very closely4 ,it differs from it chiefly in the greater regularity of its lines1 and also in the squareness and brick-bat shape of some of the serifs1 which are1 however1 less conspicuous than in ,morris's 8,golden0 type4 ,the ,doves ,press books1 unlike those of the ,kelmscott ,press1 are entirely free from ornament or decoration1 and owe their remarkable beauty to what ,morris styled the architectural goodness of the pages and also to the fine versal and initial letters done by ,mr4 ,edward ,johnston and ,mr4 ,graily ,hewitt4 ,later on we shall have something more to say about the work of these men and their school4 ,the type of the ,ashendene ,press 7p4 #bc7 is modelled from that in which ,sweynheim and ,pannartz printed books at ,subiaco1 and which1 as we have seen1 they replaced by a purer ,roman letter more in accord with the humanistic taste of their day4 ,morris himself designed1 but never carried out1 a fount of letter after the same fine model4 ,it is a ,roman type1 with many ,gothic features4 ,the folio 8,dante10 the 8,morte ,darthur10 the ,virgil and the other books which ,mr4 ,st4 ,john ,hornby has printed from it in black and red1 with occasional blue and gold1 are superb examples of typography4 ,mr4 ,lucien ,pissarro's little octavos have a certain personal charm of their own distinct from anything that is found in the more weighty volumes which have issued from the other private presses4 ,the first books which he produced at his ,eragny ,press were printed from the ,vale type belonging to his friend ,mr4 ,ricketts4 ,in #aijc he began printing from the 8,brook0 type 7pp4 #be to #bi71 which he had designed4 ,although in this article we are concerned chiefly with his types1 it is impossible to withhold a tribute of praise for the graceful beauty of these little books1 which they owe even more to the admirable way in which their different elements have been combined--type1 wood-engraving1 colour1 printing and binding1 all of them the work of ,mr4 and ,mrs4 ,pissarro themselves--than to the individual excellence of any one of them4 ,mr4 ,c4 ,r4 ,ashbee's 8,endeavour0 type was designed by him for use at the ,essex ,house ,press1 which he first established at ,upton in the eastern suburbs of ,london and afterwards removed to ,chipping ,campden in ,gloucestershire4 ,it owes nothing to the types of the early printers1 and taken by itself is not pleasing2 but it makes a very handsome page when printed in red and black1 as in the ,campden ,song ,book4 ,the type was also cut in large size for ,king ,edward's ,prayer ,book1 one of the most ambitious ventures of any private press4 ,mr4 ,herbert ,p4 ,horne has designed three founts1 all of them inspired by the ,roman letter of the early ,italian printers4 ,the 8,montallegro0 type 7p4 #bfe71 the first in order of date1 was designed for ,messrs4 ,updike and ,co41 of the ,merrymount ,press1 ,boston1 and hardly falls within the scope of this article4 ,in #aijg he designed for ,messrs4 ,chatto and ,windus a fount called the 8,florence0 type 7p4 #ca71 from which editions of 8,the ,romaunt of the ,rose10 8,the ,little ,flowers of ,st4 ,francis10 ,a4 ,c4 ,swinburne's 8,songs before ,sunrise10 ,r4 ,l4 ,stevenson's 8,virginibus ,puerisque0 and also his ,poems have been printed at the ,arden ,press on behalf of the publishers4 ,it is a letter of a clean1 light face1 and in many ways might serve as a model for a book type for general use4 ,the capital letters used in continuous lines1 as ,aldus and other great ,venetians delighted to use them1 are especially charming4 ,mr4 ,horne's ,riccardi ,press type 7pp4 #cc and #ce7 was designed for the ,medici ,society1 and many fine editions1 amongst them a ,horace1 ,malory's 8,morte ,darthur10 and 8,the ,canterbury ,tales10 have been printed from it4 ,it is a little heavier in face than its predecessor1 the 8,florence10 and is a little further removed from the humanistic character4 ,the type has also been cast successfully in a smaller size4 ,to the number of privately owned founts of type we must add the 8,ewell0 7p4 #cg71 designed by ,mr4 ,douglas ,cockerell for ,messrs4 ,methuen and ,co41 who will shortly publish the first book to be printed from it1 an edition of the 8,imitatio ,christi40 ,it is a heavy but very graceful letter1 based on one used by the ,roman printer ,da ,lignamine4 ,one of the most interesting of the privately owned founts is the 8,otter0 ,greek type designed by the late ,mr4 ,robert ,proctor1 and shown in the page from the ,odyssey printed on page #dc4 ,the ,greek letter from which most of our school classics are printed is a descendant of the cursive type introduced by ,aldus at the beginning of the sixteenth century1 and has the merit neither of beauty nor of clearness4 ,the majuscules are especially ugly1 being nearly always of the 8modern0 type which we owe to ,bodoni4 ,proctor took as his model the finest of the old ,greek founts1 which was that used in the ,complutensian ,polyglot printed in #aead4 ,amongst the types sold by the founders for general use none have enjoyed such successive favour as ,caslon's 8,old-,face0 in its various sizes2 and it is a splendid tribute to the excellence of this letter that at this day1 nearly two centuries since it was first cut1 it is being used more than any other face of type for printing fine books4 ,this ,special ,number of ,the ,studio is printed from ,caslon's 8,old-,face0 type1 as well as the pages1 set up at the ,central ,school of ,arts and ,crafts1 which are shown on pages #de and #dg4 ,the fame of ,caslon's letter brought other rivals into the field besides ,baskerville4 ,one of these was ,joseph ,fry1 a ,bristol physician1 who took to letter-founding in the year #agfd1 and cut a series of type somewhat like ,baskerville's4 ,a few years later1 however1 the ,caslon character seems again to have recovered its old ascendancy1 and ,fry put on the market a new series in acknowledged imitation of ,caslon's4 ,both these series of ,fry's have been reissued within the last few years by ,messrs4 ,stephenson and ,blake1 of ,sheffield1 who1 in #aijf1 bought the type-founding business of ,sir ,charles ,reed and ,son1 to whom ,fry's business had eventually come4 ,like the revived ,caslon 8,old-,face0 in #ahdc1 these founts were cast from the old matrices1 or from matrices struck from the old punches1 so far as these had survived4 ,since the 8old-style0 founts were designed about the middle of last century1 what new book types have been cast by the founders for use by the printing trade generally have as a rule been mere variations of letter already in vogue4 ,the founders have drawn but little on the wealth of beautiful book types which in the early printed books of ,italy are offered to anyone who has the good taste and the skill to adapt them to modern needs4 ,messrs4 ,shanks and ,sons1 the type-founders of ,red ,lion ,square1 have1 however1 gone to this source for their 8,dolphin0 series 7p4 #da71 which has many features of beauty to commend it4 ,it is based on ,jenson's ,roman letter1 somewhat thickened in the line4 ,the punches were cut by ,mr4 ,e4 ,p4 ,prince1 who also cut the ,kelmscott type and many others of the private founts4 ,intelligent study of ,italian models also gives us the 8,kennerley0 type 7p4 #ci71 designed by the ,american ,mr4 ,goudy1 which ,messrs4 ,caslon will shortly put on the ,english market4 ,this type is not in any sense a copy of early letter--it is original2 but ,mr4 ,goudy has studied type design to such good purpose that he has been able to restore to the ,roman alphabet much of that lost humanistic character which the first ,italian printers inherited from their predecessors1 the scribes of the early ,renaissance4 ,besides being beautiful in detail his type is beautiful in the mass2 and the letters when set into words seem to lock into one another with a closeness which is common in the letter of early printers1 but is rare in modern type4 ,the 8,kennerley0 type is quite clear to read and has few features which by their strangeness are likely to waken the prejudice of the modern reader4 ,since the first ,caslon began casting type about the year #agbd1 no such excellent letter has been put within reach of ,english printers4 ,so large is the proportion of books which are now set in type by machinery that1 however much our sympathies may make us prefer the hand-set book1 we cannot but be concerned for the characters used in machine composition4 ,type set by machinery generally seems to be inferior in design to that set by hand2 but the inferiority is in the main accidental1 and is probably due to a lesser degree of technical skill shown either in the designing or in the process of punch-cutting1 which is itself done by machinery4 ,one or two admirable faces of type have1 however1 been produced by the ,lanston ,monotype ,company for setting by the monotype machine4 ,one of these is the 8,imprint0 type1 adapted from one of the founts used by ,christopher ,plantin1 the famous printer of ,antwerp1 in the late sixteenth century4 ,the letters are bold and clear1 and pages set in them are both pleasant to look at and easy to read4 ,at the same time the type is sufficiently modern in character not to offend by any features unfamiliar to the ordinary reader4 ,no art can live by merely reviving and reproducing past forms1 and in reviewing the share taken by the type-founders of the past and of the present in the art of the book one cannot help considering by what means and from what quarter good types are to be designed and cut in the future4 ,we have seen that the early printers took their inspiration from the best of the contemporary book-hands4 ,the invention of printing1 however1 killed the art of the scribe1 and with it perished the source whence during the ages past life and beauty had been given to the letters of the alphabet and to the pages in which they were gathered4 ,henceforth the letters were cast in lead1 and there was no influence save the force of tradition to make or keep them beautiful4 ,whatever change they underwent was for the worse1 unless indeed it was a mere reversion to forms or features which for a while had been abandoned4 ,conscious of this downward tendency1 which he seems to look upon as inevitable and irresistible1 ,mr4 ,guthrie1 of the ,pear-tree ,press at ,bognor1 has renounced type altogether1 and now prints books1 like ,william ,blake1 from etched plates inscribed with his own fine book-hand4 ,such a method is1 of course1 not practicable for the vast majority of books1 even if we were willing to forgo the many fine qualities which are presented in a well-printed book4 ,neither is any such counsel of despair warranted1 for of late years the art of the scribe itself has been renewed2 and most readers of ,the ,studio know something of the fine work done by the school of calligraphy established some ten years since by ,mr4 ,edward ,johnston1 and still carried on by his pupil ,mr4 ,graily ,hewitt at the ,central ,school of ,arts and ,crafts in ,southampton ,row1 ,london4 ,may not the printer look to that school as the source whence the type-designer and type-founder shall learn to design and cut beautiful letter for his books8 ,not indeed that type-letter should be a mere reproduction of any written hand2 rather must it bear nakedly and shamelessly all the qualities which the steel of the punch-cutter and the metal from which it is cast impose upon it4 ,it must be easy to read as well as fair to look on1 and besides carrying on the traditions of the past must respect the prejudices of the present4 ,but only a calligrapher whose eye and hand have been trained to produce fine letter for the special needs of the printed book can have knowledge of the manifold subtleties of such letter and power to provide for them in the casting of types4 ,if the writing schools can turn out such men1 they will deserve well of all those who are interested in the art of the book4 ,that our hope need not be vain is shown by the fact that calligraphers trained in the methods of the school have gone to ,germany1 and have there profoundly influenced the production of modern types2 and the supreme irony of it all is that ,german type-founders are sending to ,england new types which draw their inspiration from a ,london school of which the ,english and ,scottish type-founders seem never even to have heard4 ,note--,in the course of the preceding article the writer has had occasion to refer frequently to the type of ,nicholas ,jenson in its relation to the modern ,british founts4 ,the ,editor has therefore included amongst the examples shown a page from the 8,pliny10 printed by ,jenson in #adgf1 for purposes of comparison and reference4 ,it will be found on page #ba4 ,illustration ,illustration3 7,reproduced by permission of the ,trustees of the ,kelmscott ,press7 ,,kelmscott ,,press3 ,,page ,,from 8,,the ,,works ,,of ,,geoffrey ,,chaucer0 ,,printed ,,in ,,the 8,,chaucer0 ,,type ,,designed ,,by ,,william ,,morris4 ,,illustration ,,by ,,sir ,,edward ,,burne-,,jones1 ,,bart41 ,,border ,,and ,,initial ,,letter ,,by ,,william ,,morris ,illustration3 ,,kelmscott ,,press3 ,,page ,,from 8,,the ,,tale ,,of ,,beowulf0 ,,printed ,,in ,,the 8,,troy0 ,,type ,,designed ,,by ,,william ,,morris 7,,reproduced ,,by ,,permission ,,of ,,the ,,trustees ,,of ,,the ,,kelmscott ,,press7 ,illustration3 ,,kelmscott ,,press3 ,,page ,,printed ,,in ,,the 8,,golden0 ,,type ,,designed ,,by ,,william ,,morris 7,,reproduced ,,by ,,permission ,,of ,,the ,,trustees ,,of ,,the ,,kelmscott ,,press7 ,illustration3 ,,page ,,from ,,the 8,,pliny0 ,,printed ,,at ,,venice ,,by ,,nicolas ,,jenson ,,in #adgf ,illustration3 ,,ashendene ,,press3 ,,page ,,printed ,,in ,,great ,,primer ,,type ,,modelled ,,upon ,,the ,,type ,,used ,,by ,,sweynheim ,,and ,,pannartz ,,at ,,subiaco ,,in #adfe ,illustration3 ,,eragny ,,press3 ,,opening ,,page ,,of ,,the 8,,areopagitica0 ,,printed ,,in ,,the 8,,brook0 ,,type1 ,,with ,,border ,,and ,,initial ,,letter ,,designed ,,by ,,lucien ,,pissarro ,illustration3 ,,eragny ,,press3 ,,pages ,,from 8,,songs ,,by ,,ben ,,jonson0 ,,printed ,,in ,,the 8,,brook0 ,,type ,,designed ,,by ,,lucien ,,pissarro ,illustration3 ,,eragny ,,press3 ,,opening ,,page ,,of ,,coleridge',s 8,,christabel0 ,,printed ,,in ,,the 8,,brook0 ,,type1 ,,with ,,border ,,and ,,initial ,,letter ,,designed ,,by ,,lucien ,,pissarro ,illustration3 ,,florence ,,press3 ,,page ,,from ,,boccaccio',s 8,,olympia0 ,,set ,,in ,,english ,,type ,,designed ,,by ,,herbert ,p4 ,,horne1 ,,and ,,printed ,,at ,,the ,,arden ,,press1 ,,letchworth1 ,,for ,,messrs4 ,,chatto ,,and ,,windus ,illustration3 ,,riccardi ,,press3 ,,page ,,from 8,,sonnets ,,of ,,shakespeare0 ,,printed ,,in #ad ,,and #aa ,,point ,,capitals ,,designed ,,by ,,herbert ,p4 ,,horne4 ,,border ,,from ,,bernard ,,pictor ,,and ,,erhardt ,,ratdolt',s 8,,appianus10 #adgg ,illustration3 ,,riccardi ,,press3 ,,page ,,from ,,walter ,,pater',s 8,,marius ,,the ,,epicurean10 ,,printed ,,in #aa ,,point ,,fount ,,designed ,,by ,,herbert ,p4 ,,horne ,illustration3 ,,aberdeen ,,university ,,press3 ,,page ,,from ,,the 8,,de ,,imitatione ,,christi0 ,,printed ,,in ,,the 8,,ewell0 ,,type ,,designed ,,by ,,douglas ,,cockerell ,,for ,,messrs4 ,,methuen ,,and ,,co4 ,illustration3 ,,page ,,printed ,,in ,,the 8,,kennerley0 ,,type1 #ad ,,point1 ,,designed ,,by ,,frederick ,w4 ,,goudy ,,and ,,cast ,,by ,h4 ,w4 ,,caslon ,,and ,,co4 ,,ltd4 ,,initial ,,letter ,,by ,,paul ,,woodroffe1 ,,lent ,,by ,,the ,,arden ,,press ,illustration3 ,,page ,,printed ,,in ,,the 8,,dolphin ,,old ,,style0 ,,type1 #ab ,,point ,,designed ,,and ,,cast ,,by ,p4 ,m4 ,,shanks ,,and ,,sons ,illustration3 ,,oxford ,,university ,,press3 ,,page ,,from ,,the 8,,odyssey10 ,,printed ,,in ,,the 8,,otter0 ,,type ,,designed ,,by ,,robert ,w4 ,,proctor ,illustration3 ,,london ,,county ,,council ,,central ,,school ,,of ,,arts ,,and ,,crafts3 ,,page ,,from ,,edmund ,,spenser',s 8,,four ,,hymns ,,on ,,earthly ,,and ,,heavenly ,,love ,,and ,,beauty0 ,,printed ,,in ,,caslon ,,type4 ,,woodcut ,,initial ,,by ,w4 ,f4 ,,northend1 ,,student ,illustration3 ,,london ,,county ,,council ,,central ,,school ,,of ,,arts ,,and ,,crafts3 ,,page ,,from 8,,aucassin ,,and ,,nicolette10 ,,in ,,old ,,french1 ,,printed ,,in ,,caslon ,,type1 ,,with ,,decorative ,,heading ,illustration3 ,,title-,,page ,,by ,,walter ,,crane ,,for ,,the ,,first ,,book ,,of 8,,the ,,faerie ,,queene0 7,,size ,,of ,,original ,,wood-,,engraving #aj #g ,,inches7 7,reproduced by permission of ,messrs4 ,george ,allen and ,co4 ,ltd47 ,illustration3 7,reproduced by permission of ,messrs4 ,george ,allen and ,co4 ,ltd47 ,,full-,,page ,,illustration ,,by ,,walter ,,crane ,,for ,,the ,,first ,,book ,,of 8,,the ,,faerie ,,queene40 7,,size ,,of ,,original ,,wood-,,engraving #i #g ,,inches7 ,illustration3 ,,book ,,opening ,,designed ,,by ,,percy ,j4 ,,smith ,illustration3 ,,design ,,for ,a ,,title-,,page ,,by ,,reginald ,l4 ,,knowles4 ,,published ,,by ,,messrs4 ,,george ,,routledge ,,and ,,sons1 ,,ltd4 ,illustration3 ,,reigate ,,press3 ,,title ,,and ,,opening ,,pages ,,designed ,,by ,w4 ,,bernard ,,adeney ,illustration3 ,,title-,,page ,,opening ,,of ,,the ,,fiction ,,section ,,of 8,,everyman',s ,,library0 ,,designed ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,title-,,page ,,opening ,,of ,,the ,,poetry ,,section ,,of 8,,everyman',s ,,library0 ,,designed ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 8,,fellowship0 ,,book4 ,,title ,,and ,,opening ,,pages ,,designed ,,by ,,james ,,guthrie ,,lettering ,,by ,,percy ,j4 ,,smith4 ,,published ,,by ,,messrs4 ,b4 ,t4 ,,batsford ,,ltd4 ,illustration3 ,,frontispiece ,,to ,,aymer ,,vallance',s 8,,old ,,colleges ,,of ,,oxford0 ,,designed ,,by ,,harold ,,nelson ,,from ,,suggestions ,,by ,,aymer ,,vallance ,,published ,,by ,,messrs4 ,b4 ,t4 ,,batsford ,,ltd4 ,illustration3 ,,title-,,page ,,designed ,,by ,,charles ,,robinson ,,for ,,messrs ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,title-,,page ,,designed ,,by ,,aubrey ,,beardsley ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,illustration ,,and ,,page ,,of ,,text ,,from 8,,robin ,,hood ,,ballads40 ,,designed ,,by ,r4 ,,james ,,williams4 ,,published ,,by ,,the ,,vincent ,,press ,illustration3 ,,design ,,for ,a ,,title-,,page4 ,,by ,,thomas ,,derrick4 ,,published ,,by ,,messrs4 ,,siegle1 ,,hill ,,and ,,co4 ,illustration3 ,,title-,,page ,,and ,,page ,,of ,,text ,,designed ,,by ,j4 ,,walter ,,west ,illustration3 ,,cuala ,,press3 ,,page ,,designed ,,by ,,charles ,,braithwaite ,,fine ,,bookbinding ,,in ,,england4 ,,by ,,douglas ,,cockerell ,fine or 8extra0 binding as it is called in the trade implies that the craftsman has done his best with the best materials4 ,it may be plain or decorated1 but whatever work there is should be the best of which the craftsman is capable4 ,printed books are largely machine-made productions1 and it would seem reasonable that machine-made books should have machine-made covers1 and it is in such covers or 8cases0 that most of our books are issued4 ,there is a general feeling that the cost of the binding should bear some relation to the cost of the book2 but since books are turned out by the thousand from the printing press1 and fine bindings can only be made singly and laboriously by hand1 it is inevitable that in most cases such a binding costs much more than the book it covers4 ,this has probably been the case since the invention of printing cheapened books1 and yet there have always been people who valued certain books highly enough to have them well bound and decorated4 ,for a true book-lover does not value a book at the price it costs1 and he may wish to have the words of a favourite author enshrined in a precious cover4 ,some books by their nature and use call for lavish treatment4 ,books used for important ceremonies1 such as altar books or lectern ,bibles1 can quite well be covered with ornament1 provided this ornament is good4 ,they will be but a spot of gorgeousness in a great church or cathedral1 and should be judged in relation to their surroundings and not as isolated articles4 ,there is a fashion now to value decoration in inverse ratio to its quantity1 and demand that it should be concentrated on spots1 leaving the greater part of the surface of articles bare4 ,this is quite a reasonable way to treat a binding1 but it is not the only way4 ,a satisfactory binding can be made with little or no ornament1 and there is then little fear of a disastrous failure4 ,to cover a book all over with gold-tooled decoration is a more difficult thing to do satisfactorily1 but it can be done1 and1 if well done1 is well worth doing4 ,at the present time there are many binders working in ,england who are capable of turning out work of the highest class1 and fortunately there are book-lovers here and in ,america with the taste and means to commission such work4 ,probably1 if a man were bold enough to spend five or ten thousand pounds on binding the finest books that are being produced at the present time1 he would find1 if the money were wisely spent1 that he had got a library that would be celebrated all over the world4 ,there is an interesting revival in the use of arms-blocks on bindings1 and when certain modern libraries come to be dispersed their owners will be remembered by their books in the same way as are the original owners of the many armorial bindings that have come down to us from the past4 ,there are some qualities that are common to all well-bound books4 ,of course abnormal books have to be treated specially1 but it may generally be said that every leaf of a book should open right to the back4 ,this means that all single leaves and plates should be attached by guards1 and that no overcasting or pasting-in should be allowed1 and it also means that the back should be truly flexible4 ,the sections should be sewn to flexible cords or tapes1 the ends of these should be firmly attached to the boards1 and the back should be covered with some flexible material1 such as leather1 which1 while protecting the sewing-thread or cord1 shall itself add to the strength of the binding4 ,a fine binding will have many other features added by way of refinement or elaboration1 but unless it has these qualities it is likely to be an unsatisfactory piece of work4 ,a well-bound book should open well and stay open1 and shut well and stay shut4 ,the binder can bind any book so that it will not open1 but there are some books that he cannot bind so that they will open and shut 8sweetly40 ,bookbinding is only one part of the larger craft of book production1 and to obtain a perfect book it is necessary that the workers in each branch of the craft should have a common ideal of what a book should be1 and that each should do his part in such a way that this ideal may be attained4 ,unfortunately it too often happens that the printers are quite content if their printing looks perfect as it comes from the press1 with the result--through errors in the choice of paper or the number of leaves to a section--that the bookbinder has unnecessary and sometimes unsurmountable obstacles put in his way4 ,a book that will not open freely and that gapes like a dead oyster when it ought to be shut is not pleasant to use1 and when these faults are noticed the binder generally gets the blame4 ,sometimes he deserves the blame1 for the fault may be his1 but more often than not the fault lies with the paper4 ,to open a book a certain number of leaves of paper must be bent1 and if the paper is so stiff that a single leaf will not fall over by its own weight1 the book cannot be made to open quite satisfactorily if bound in the ordinary way4 ,by swinging each leaf on a guard it is possible to bind a pack of playing-cards into something like a book which will open and shut freely1 but that this can be done is no excuse for the production of books which necessitate this drastic treatment before they can be bound satisfactorily4 ,william ,morris1 when he founded the ,kelmscott ,press1 did more than revive fine book-printing2 he established a tradition for books that were eminently bindable1 and the presses that followed his lead kept up the tradition2 so that we have in ,england a large number of beautifully printed books that are worthy of the best binding1 and that impose no unnecessary difficulties on the binder4 ,mr4 ,cobden-,sanderson did much to revive the use of the tight or flexible back4 ,in this style the leather is attached directly to the back of the sections1 and so helps to hold them firmly together4 ,all leather-bound books had tight backs until about a hundred years ago1 when the hollow back came into general use4 ,a tight back should throw up when the book is opened2 that is to say the back1 convex when the book is shut1 should become concave on the book being opened4 ,this causes a certain amount of creasing in the leather1 and this creasing is not good for gold tooling2 but with a well-bound book the damage is not serious1 and important constructional features must not be sacrificed for the sake of the decoration4 ,the hollow back does not crease the leather1 and so is preferred by finishers1 and besides it is easier to cover a hollow back neatly than a tight one2 but the strain of opening and shutting1 which should be distributed evenly across the back1 is in the hollow back thrown on the joints1 with the result that the leather is apt to break at these places unless specially strengthened1 as is the case with well-bound account books4 ,while 8flexible0 backs that are truly flexible are undoubtedly the best1 some binders line up their backs so stiffly under the leather as to allow little or no movement when the book is opened4 ,this avoids the creasing of the leather and leaves the decoration uninjured1 but the book will not open freely1 and there is no virtue in such a tight back4 ,leather is chosen for binding because of its toughness and flexibility1 yet binders deliberately sacrifice this last quality in order to obtain extreme neatness or to hide faults in the forwarding4 ,it is the fashion in some quarters to admire as the perfection of craftsmanship an exact and hard square edge to the boards of a book4 ,this can only be got by paring the leather down till it is as thin as paper and has consequently very little strength4 ,a softer1 rounder edge is natural to a leather-covered article1 and it is unreasonable to expect the qualities of a newly planed board in a material so wholly different in character4 ,the edges of the leather-covered board should have a distinctly flat face1 and clumsiness will be avoided by any good craftsman4 ,it is only the extreme sharpness1 so much admired by unknowing people1 that is objectionable4 ,in the treatment of the edges of the leaves fashion has gone to two extremes3 some book-lovers demand that the edges should be entirely uncut1 while others require them to look like a solid piece of metal4 ,the rough edges1 or 8deckle10 on handmade paper is a necessary defect due to the way the paper is made4 ,these rough edges were always trimmed off by the early binders because they were unsightly1 difficult to turn over1 and harboured dust4 ,some of the shorter leaves would usually be left untrimmed4 ,such short leaves are known in the trade as 8proof10 i4e4 proof that the book has not been unduly cut down4 ,to gild a book-edge absolutely solid the binder must cut down to the shortest leaves and so often has to reduce the size of the book unreasonably2 but an acceptable compromise between entirely uncut edges and solid gilding can be arrived at if the sections of a book to be finely bound are trimmed singly and gilt 8in the rough0 before sewing4 ,this enriches the edges but does not disguise their nature nor necessitate their being unduly cropped4 ,in recent times there has been much good work done in ,england in the investigation of bookbinding materials4 ,the ,royal ,society of ,arts ,committee on 8,leather for ,bookbinding0 has established standards of leather that have made it possible for binders to procure skins that are uninjured in the process of manufacture1 and bookbinding leather of the very highest class is now being produced in ,england4 ,the leather manufacturers are able to dye leather any reasonable shade without the use of sulphuric acid1 and it is only some of the lighter fancy colours that are unprocurable in 8acid free0 leather4 ,that these 8fancy0 shades are unprocurable in uninjured leather is a distinct gain1 as they mostly fade1 and books bound in such leather seldom look as if they were intended to be used4 ,there are various ways by which leather-bound books may be decorated1 but tooling1 either in gold or blind1 is by far the commonest1 and it is tooled bindings that we are considering here4 8,blind0 tooling is the impression of hot tools on the leather4 ,the most satisfactory tools for blind work are those cut die-sunk like a seal4 ,these1 by depressing the ground1 leave the ornament in relief4 ,tools for gold work are cut so that the ornament with the gold is depressed below the surface of the leather4 ,these tools may be used without gold1 but blind tooling produced in this way has little of the character associated with this work when it was at its best1 i4e4 up to the end of the fifteenth century4 ,gold-tooling came to ,europe from the ,east1 and preserved a tradition of ,eastern design for a very long period4 ,the ,english gold-tooled bindings of the seventeenth and eighteenth centuries are often strangely ,eastern in the style of the decoration4 ,the ornamentation of fine bindings reached almost its lowest ebb in ,england about the middle of last century4 ,of technical skill there was never any lack1 but decoration had lost vitality1 and the ornamental bindings of this time are for the most part copies or parodies of the work of earlier binders4 ,william ,morris designed a few very beautiful gold-tooled bindings which were covered all over with the impressions of tools1 each one of which represented a complete plant4 ,his friend1 ,mr4 ,cobden-,sanderson1 who gave up the practice of the law to learn the binder's craft1 produced books that are unsurpassed in the delicate beauty of their decoration4 ,before his time there had been few attempts to combine tools to form organic patterns4 ,mr4 ,cobden-,sanderson's tools were very elementary in character1 each flower1 leaf or bud being the impression of a separate tool4 ,these impressions were combined in such a way as to give a sense of growth1 and yet in no way overlapped the traditional limitations and conventions of the craft4 ,mr4 ,cobden-,sanderson got his results by sheer genius in the right use of simple elements4 ,he used inlays very sparingly1 and his finest bindings depend entirely on the effect of gold on leather4 ,the style of design which he founded has spread throughout the trade1 mainly through the teaching at the various technical schools1 and it is now comparatively rare to find an elaborate binding of recent date without some attempt having been made to connect the tools so that they together form an organic whole4 ,the use of composite tools 7that is1 tools which form a whole design in themselves and do not bear any definite relationship to one another7 is now restricted to cheap bindings4 ,the corners and centres on the backs of school prizes are familiar1 if degraded1 examples of the use of such tools4 ,together with the ,cobden-,sanderson style of decoration there has been a marked revival of the use of interlacement in gold-tooled designs4 ,interlaced gold lines1 if not so intricate as to be bewildering1 may be very beautiful1 but in this1 as in most other crafts1 the highly-skilled workman loves to attempt the almost impossible1 and some of the recent interlaced patterns fail on account of their over-elaboration and consequent restlessness4 ,mr4 ,charles ,ricketts designed some very notable gold-tooled bindings for the ,vale ,press4 ,these bindings have hardly received the attention they deserve1 and the style has not spread to any extent1 possibly because ,mr4 ,ricketts' refinement and delicacy in the use of fine lines are not easy to acquire4 ,these bindings have an architectural quality that places them in a class by themselves4 ,mr4 ,cobden-,sanderson and ,mr4 ,ricketts1 in their entirely different styles1 have shown that gold-tooling may be extremely beautiful as decoration without overstepping the traditional limits of the craft1 and in the case of the most successful bindings now being produced these traditional limits have been recognised4 ,gold-tooling is by its nature a limited means of expression1 though exactly where the limits lie must be a matter of feeling and taste rather than of knowledge4 ,certainly in some of the elaborate bindings now being produced the limits of the craft have been passed1 and while serving to show amazing dexterity on the part of the finisher1 these bindings are less successful artistically than many that are less ambitious in technique4 ,there is no clearly marked school of blind-tooling at present1 though here and there the method has been used with success4 ,mr4 ,william ,morris designed a notable binding in white pigskin for the ,kelmscott 8,chaucer40 ,many copies were so bound at the ,doves ,bindery1 but most of the attempts that have been made to carry out work in the same style have been comparatively unsuccessful4 ,there have been a good many efforts made to revive modelled leather-work as a means of decorating books1 but although this method is capable of producing very fine results1 most of the binding in modelled leather shown in recent exhibitions cannot be said to be successful4 ,any work that has to be done on the leather before the book is bound is almost doomed to failure1 because leather which is modelled before binding cannot be handled by the binder with the freedom that is necessary if he is to make a workmanlike job of the covering4 ,it is1 however1 possible to put quite sufficient relief in modelled leather after a book is bound1 if the leather be reasonably thick2 indeed high relief for most books is objectionable4 ,many of the old bindings had fine metal mounts and clasps4 ,if clasps are used on modern books1 as a rule they should be flush with the sides1 so as not to scratch their neighbours when taken in and out of shelves4 ,raised clasps and bosses are only suitable for books that are expected to stand permanently on a lectern4 ,in criticising decorated bindings there is a danger of falling into the common error of generalising from isolated instances4 ,you cannot put too much ornament on a thing as small as a bookcover if the ornament is good enough4 ,a book well bound in beautiful leather may be perfectly satisfactory and beautiful by virtue of good workmanship1 fine material and colour4 ,a binding covered with fine gold-tooling may be just as restful and far more beautiful1 but while there is comparatively little scope for failure in the plain binding1 there are appalling pitfalls if the cover be lavishly decorated4 ,there are1 of course1 all sorts of degrees of decoration between an absolutely plain binding and one covered entirely with gold1 but there are some qualities common to most successful tooled ornament4 ,there are few bindings that are quite successful unless the ornament is arranged on a symmetrical plan4 ,any attempt to portray landscape1 human figures or naturalistic flowers is almost doomed to failure4 ,gold-tooling is not a suitable medium for rendering such subjects4 ,lettering should be well designed and free from eccentricities4 ,the problem of lettering a long title across a narrow back may necessitate ungainly breaking of words1 but where this is done it should only be done from obvious necessity1 and the reasonable necessity for this fault should be apparent4 ,to letter books in type so small as to be quite illegible1 lettering that looks from a short distance like a gold line1 is more unreasonable than almost any breaking of words that allows the use of letters of a larger size4 ,fine binding is an expensive luxury but not an unreasonable one compared with many others4 ,we have now in ,england a school of really fine binding1 and the most reasonable and unobjectionable form that luxury can take is the use of beautiful things in everyday life4 ,if a book is well bound and well decorated it is fit to use1 and in choosing a book to be expensively bound it would be better to choose the book most often used than one which would be put away unopened4 ,most fine bindings would be greatly improved by use1 and the reasonable using of them would give immense pleasure1 a pleasure that would justify the binder's care and trouble and the purchaser's outlay4 ,the use of a beautiful thing gives a far higher form of pleasure than does the mere sense of ownership4 ,illustration3 ,,bookbinding ,,in ,,blue ,,pigskin1 ,,with ,,heraldic ,,border ,,enclosing ,a ,,panel ,,of ,,floral ,,design ,,and ,,background ,,of ,,pointill4 ,,by ,,katharine ,,adams ,illustration3 ,,bookbinding ,,with ,,geometrical ,,border ,,in ,,pointill ,,by ,,katharine ,,adams ,illustration3 ,,bookbinding ,,in ,,brown ,,morocco1 ,,with ,,inlay1 ,,gold ,,tooling1 ,,oak ,,sides ,,and ,,leather ,,clasps4 ,,designed ,,and ,,tooled ,,by ,l4 ,,hay-,,cooper ,,forwarded ,,by ,w4 ,h4 ,,smith ,,and ,,son 7,in the possession of the ,grey ,coat ,hospital1 ,westminster7 ,illustration3 7,in the possession of ,lambeth ,parish ,church7 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,designed ,,and ,,tooled ,,by ,l4 ,,hay-,,cooper1 ,,bound ,,by ,s4 ,,barnard ,illustration3 ,,bookbinding ,,in ,,whole ,,crushed ,,crimson ,,levant ,,morocco1 ,,with ,,vellucent ,,panels ,,and ,,gold ,,tooling4 ,,designed ,,by ,h4 ,,granville ,,fell1 ,,executed ,,by ,,cedric ,,chivers ,,of ,,bath ,illustration3 ,,bookbinding ,,in ,,donkey ,,hide1 ,,with ,,vellucent ,,panel ,,and ,,gold ,,tooling ,,designed ,,by ,o4 ,,carleton ,,smyth1 ,,executed ,,by ,,cedric ,,chivers ,,of ,,bath ,illustration3 ,,bookbinding ,,in ,,niger ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,r4 ,,de ,,coverly ,,and ,,sons ,illustration3 ,,bookbinding ,,in ,,apple-,,green ,,levant ,,morocco1 ,,with ,,blind ,,and ,,gold ,,tooling4 ,,by ,r4 ,,de ,,coverly ,,and ,,sons ,illustration3 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,douglas ,,cockerell 7,photo4 lent by ,mons4 ,emile ,lvy7 ,illustration3 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,douglas ,,cockerell 7,photo4 lent by ,mons4 ,emile ,lvy7 ,illustration3 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,douglas ,,cockerell ,illustration3 7,photo4 lent by ,mons4 ,emile ,lvy7 ,,bookbinding ,,in ,,dark ,,red ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,douglas ,,cockerell ,illustration3 ,,bookbinding ,,in ,,red ,,niger ,,morocco1 ,,with ,,gold ,,tooling ,,by ,,frank ,g4 ,,garrett ,illustration3 ,,bookbinding ,,in ,,vellum1 ,,with ,,gold ,,and ,,green ,,tooling4 ,,by ,,frank ,g4 ,,garrett ,illustration3 ,,bookbinding ,,in ,,mauve ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,hon4 ,,norah ,,hewitt ,illustration3 ,,bookbinding ,,in ,,sage ,,green ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,hon4 ,,norah ,,hewitt ,illustration3 ,,bookbinding ,,in ,,powder ,,blue ,,morocco1 ,,with ,,gold ,,tooling4 ,,by ,,hon4 ,,norah ,,hewitt ,illustration3 ,,bookbinding ,,in ,,niger ,,morocco1 ,,with ,,gold ,,tooling4 ,,by ,,hon4 ,,norah ,,hewitt ,illustration3 ,,bookbinding ,,in ,,red ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,designed ,,by ,j4 ,,green1 ,,executed ,,by ,s4 ,,tout 7,,oxford ,,university ,,press7 ,illustration3 ,,bookbinding ,,in ,,blue ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,designed ,,by ,t4 ,,turbayne1 ,,executed ,,by ,j4 ,,green 7,,oxford ,,university ,,press7 ,illustration3 ,,bookbinding ,,in ,,maroon ,,levant ,,morocco1 ,,with ,,inlaid ,,panel4 ,,designed ,,by ,j4 ,,green1 ,,executed ,,by ,p4 ,,ward 7,,oxford ,,university ,,press7 ,illustration3 ,,bookbinding ,,in ,,green ,,levant ,,morocco1 ,,with ,,gold ,,tooling4 ,,designed ,,by ,t4 ,,turbayne1 ,,executed ,,by ,p4 ,,ward 7,,oxford ,,university ,,press7 ,illustration3 ,,bookbinding ,,in ,,purple ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,designed ,,by ,e4 ,,sparkes ,,executed ,,by ,j4 ,,green 7,,oxford ,,university ,,press7 ,illustration3 ,,bookbinding ,,in ,,green ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,designed ,,by ,j4 ,,green ,,executed ,,by ,p4 ,,ward 7,,oxford ,,university ,,press7 ,illustration3 ,,tooled ,,leather ,,bookbinding4 ,,by ,s4 ,t4 ,,prideaux ,illustration3 ,,tooled ,,leather ,,bookbinding4 ,,by ,s4 ,t4 ,,prideaux ,illustration3 ,,tooled ,,leather ,,bookbinding4 ,,by ,s4 ,t4 ,,prideaux ,illustration3 ,,tooled ,,leather ,,bookbinding4 ,,by ,s4 ,t4 ,,prideaux ,illustration3 ,,bookbinding ,,in ,,green ,,sealskin1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,mary ,e4 ,,robinson ,illustration3 ,,bookbinding ,,in ,,crushed ,,green ,,levant ,,morocco ,,with ,,gold ,,tooling4 ,,by ,,alice ,,pattinson 7,,mrs4 ,,raymund ,,allen7 ,illustration3 ,,bookbinding ,,in ,,crushed ,,dark ,,blue ,,levant ,,morocco ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,alice ,,pattinson 7,,mrs4 ,,raymund ,,allen7 ,illustration3 ,,bookbinding ,,in ,,white ,,pigskin1 ,,with ,,blind ,,and ,,gold ,,tooling ,,by ,,sybil ,,pye ,illustration3 ,,bookbinding ,,in ,,white ,,pigskin1 ,,with ,,blind ,,and ,,gold ,,tooling ,,by ,,sybil ,,pye ,illustration3 ,,doublure ,,in ,,levant ,,morocco1 ,,with ,,pointill ,,and ,,inlay ,,by ,,robert ,,riviere ,,and ,,son ,illustration3 ,,fly-,,leaf ,,in ,,green ,,levant ,,morocco1 ,,with ,,pointill ,,and ,,inlay ,,by ,,robert ,,riviere ,,and ,,son ,illustration3 ,,doublure ,,in ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,tooling4 ,,by ,,robert ,,riviere ,,and ,,son ,illustration3 ,,fly-,,leaf ,,in ,,green ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,f4 ,,sangorski ,,and ,g4 ,,sutcliffe ,illustration3 ,,bookbinding ,,in ,,blue ,,levant ,,morocco1 ,,with ,,gold ,,tooling ,,by ,f4 ,,sangorski ,,and ,g4 ,,sutcliffe ,illustration3 ,,bookbinding ,,in ,,blue ,,levant ,,morocco1 ,,with ,,gold ,,tooling ,,by ,f4 ,,sangorski ,,and ,g4 ,,sutcliffe ,illustration3 ,,bookbinding ,,in ,,green ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,f4 ,,sangorski ,,and ,g4 ,,sutcliffe ,illustration3 ,,bookbinding ,,in ,,brown ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,f4 ,,sangorski ,,and ,g4 ,,sutcliffe ,illustration3 ,,bookbinding ,,in ,,blue ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,f4 ,,sangorski ,,and ,g4 ,,sutcliffe ,illustration3 ,,bookbinding ,,in ,,green ,,levant ,,morocco1 ,,with ,,gold ,,tooling ,,by ,f4 ,,sangorski ,,and ,g4 ,,sutcliffe ,illustration3 ,,bookbinding ,,in ,,olive ,,morocco1 ,,with ,,gold ,,tooling4 ,,centre ,,panel ,,of ,,red ,,inlay4 ,,by ,a4 ,,de ,,sauty ,illustration3 ,,bookbinding ,,in ,,olive ,,morocco1 ,,with ,,gold ,,tooling4 ,,by ,a4 ,,de ,,sauty ,illustration3 ,,bookbinding ,,in ,,blue ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,sir ,,edward ,,sullivan1 ,,bart4 ,illustration3 ,,bookbinding ,,in ,,pink ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,sir ,,edward ,,sullivan1 ,,bart4 ,illustration3 ,,bookbinding ,,in ,,blue ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,sir ,,edward ,,sullivan1 ,,bart4 ,illustration3 ,,bookbinding ,,in ,,yellow ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,zaehnsdorf ,illustration3 ,,bookbinding ,,in ,,olive ,,green ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,zaehnsdorf ,illustration3 ,,bookbinding ,,in ,,blue ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,zaehnsdorf ,illustration3 ,,bookbinding ,,in ,,green ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,zaehnsdorf ,illustration3 ,,bookbinding ,,in ,,blue ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,zaehnsdorf ,illustration3 ,,bookbinding ,,in ,,blue ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,zaehnsdorf ,illustration3 ,,bookbinding ,,in ,,green ,,english ,,morocco1 ,,with ,,gold ,,tooling ,,bound ,,by ,b4 ,,benkoski1 ,,decorated ,,by ,w4 ,f4 ,,matthews 7,l4,c4,c4 ,,central ,,school ,,of ,,arts ,,and ,,crafts7 ,illustration3 ,,bookbinding ,,in ,,green ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,bound ,,by ,s4 ,h4 ,,cole1 ,,decorated ,,by ,w4 ,h4 ,,giffard 7,l4,c4,c4 ,,central ,,school ,,of ,,arts ,,and ,,crafts7 ,illustration3 ,,binding-,,case ,,designed ,,by ,,laurence ,,housman ,,for ,,mr4 ,,john ,,lane ,illustration3 ,,binding-,,case ,,designed ,,by ,,will ,,bradley ,,for ,,mr4 ,,john ,,lane ,illustration3 ,,binding-,,case ,,designed ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,binding-,,case ,,designed ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,binding-,,case ,,designed ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,binding-,,case ,,designed ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,binding-,,case ,,designed ,,by ,r4 ,p4 ,,gossop ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,design ,,for ,,cover ,,of 8,,the ,,woman ,,who ,,did0 ,,by ,,aubrey ,,beardsley ,illustration3 ,,design ,,for ,,title-,,page ,,of 8,,pagan ,,papers0 ,,by ,,aubrey ,,beardsley 7,by permission of ,mr4 ,john ,lane7 ,illustration3 ,,design ,,for ,,cover ,,of 8,,the ,,mountain ,,lovers0 ,,by ,,aubrey ,,beardsley ,illustration3 ,,design ,,for ,,cover ,,of 8,,nobody',s ,,fault0 ,,by ,,aubrey ,,beardsley 7,by permission of ,mr4 ,john ,lane7 ,illustration3 ,,binding-,,case ,,design ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,binding-,,case ,,design ,,by ,,reginald ,l4 ,,knowles ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 ,,end-,,paper ,,design ,,by ,,reginald ,l4 ,,knowles ,,for 8,,everyman',s ,,library40 ,,for ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons ,,ltd4 ,illustration3 8,,the ,,haunt ,,of ,,the ,,troll0--,,end-,,paper ,,design ,,by ,,reginald ,l4 ,,knowles ,,for 8,,tales ,,from ,,the ,,norse40 ,,published ,,by ,,messrs4 ,,george ,,routledge ,,and ,,sons1 ,,ltd4 ,illustration3 ,,end-,,paper ,,design ,,by ,h4 ,,granville ,,fell ,,for ,,messrs4 ,,george ,,newnes1 ,,ltd4 ,illustration3 ,,border1 ,,initial ,,letters1 ,,and ,,headpiece ,,designed ,,by ,r4 ,,james ,,williams4 ,,for ,,the ,,vincent ,,press ,illustration3 ,,initial ,,letters ,,designed ,,by ,r4 ,,james ,,williams4 ,,for ,,the ,,vincent ,,press ,illustration3 8,,co,,te ,,que ,,co,,te0--,,decorative ,,drawing ,,by ,r4 ,,james ,,williams ,,germany ,,the ,,art ,,of ,,the ,,book ,,in ,,germany4 ,,by ,l4 ,,deubner 8,letterpress printing1 even in the edition de luxe1 is not an art1 and neither the compositor nor the printer is an artist40 ,this is what was written in the year #ahhg by ,ludwig ,nieper1 at that time ,director of what is now the ,royal ,academy of the ,graphic ,arts and ,book ,industry at ,leipzig1 a city which in the present year has in its ,international ,exhibition1 embracing every conceivable aspect of the industry as well as the arts most closely bound up with it1 furnished such a convincing and impressive demonstration of the culture uniting the nations as perhaps has never been offered before4 ,the conviction expressed in the passage just quoted1 repudiating the existence of any influence of art on industrial labour1 belongs to a period bereft of any real feeling for art and content with the imitation and repetition of historic styles while eschewing any contact with the practical requirements of the industry4 ,nowadays we know how beneficial and fruitful for both has been the reciprocal influence of art and industry in every sphere of activity1 and that only by this means have we been able to proceed from mere external embellishment to artistic form1 from book adornment to a true art of the book4 ,thus in the space of barely twenty-five years our views of what art really is and what are its functions have radically changed1 and it must be left to those who come after us to estimate more correctly than we are able to at the present day1 the immense labour which has been accomplished in the space of a generation4 ,the incipient stages in the growth of the new movement in ,germany date back some twenty years4 ,at that time we looked with envy at the publications which issued from the private presses of ,england1 and could boast of nothing that could compare with the far-famed 8,faust0 of the ,doves ,press2 and if to-day we are at length able to stand on our own feet1 it would yet be false to assert that the modern art of book production in ,germany has developed from within1 and to disavow the valuable stimulus and knowledge we owe especially to the ,english books of that period4 ,and clearly as we perceived that the book in its entirety1 with its harmonious co-ordination of type1 decoration1 composition1 paper and binding1 should form a work of art1 yet only after many mistakes and deviations have we arrived at the goal4 ,thus nowadays no one would seriously seek to defend such a production as the official catalogue of the ,german section at the ,paris ,exhibition of #aijj2 and so1 too1 the so-called 8,eckmann0 type1 which at one time was taken up with unexampled enthusiasm--a type in which the designer had contrived to adapt the ancient forms of the 8,antiqua0 type to the sinuous lines of modern ornament--is now almost completely forgotten4 ,these and many other things which at that time were acclaimed as creative achievements1 belong to that class of errors which are really nothing but exaggerated truths4 ,but in the absence of such excesses and that exuberance of feeling which was so violently manifested1 it would have been quite impossible to accomplish in so short a time what as a matter of fact was accomplished1 and in spite of shortcomings has even now lost none of its importance in the history of the development of a new art of the book4 ,the first event of significance which followed the renewed recognition of the decorative value of the printed letter was the issue of some new types designed by ,otto ,eckmann and ,peter ,behrens respectively1 the former slender1 delicate1 and round1 the latter bold1 distinguished1 and angular1 but both alike quite free1 natural1 and easily legible4 ,it was these founts that really inaugurated the new development2 and the foundry of the ,gebr4 ,klingspor which issued them1 placed itself by so doing at the head of all those enterprising type-foundries which have since enriched our printing press with a wealth of new and valuable founts4 ,it had come to be recognised that lettering and ornament were closely correlated2 that the ornamentation of printed matter could not be regarded as an end in itself1 but must be adapted to the character of the lettering in order that the rectangular space of a page should be so filled as to achieve a good general effect and satisfy the sensitive eye4 ,nothing remained1 therefore1 but to entrust the designing of new types to artists who had already accomplished good and original work as book decorators2 and as none of the numerous ,german type-foundries desired or indeed could afford to be behindhand in a movement of this kind1 it resulted that in the course of a few years the printing presses of the country were inundated with a flood of new 8artist0 types1 of which1 nevertheless1 only relatively few have been able to survive till now4 ,to design a new type or to re-mould the old forms of 8,antiqua0 7,roman7 or 8,fraktur0 7,german ,gothic71 so that the new forms should not only have a good black-and-white effect but that the eye should be able to grasp with ease the sequence of 8word-pictures0 as well as each individual letter and to read the lines quickly and comfortably1 is a task of extraordinary difficulty which many who have attempted to grapple with have under-estimated4 ,to obtain an idea of the multitude of difficulties that have to be overcome1 one must bear in mind that the fundamental forms of the individual letters are fixed1 and that only small changes are possible in the general shape1 in the proportions of the component parts1 in the alternation of the upright1 horizontal1 and oblique lines1 in the curvature of the so-called 8versal0 or capital letters1 in the serifs1 and in the sweep of preliminary or terminal flourishes2 that the printed letter1 unlike manuscript1 is bound up with fixed laws1 and that in order to justify its claim to consideration it should1 while expressing the artistic individuality of its designer1 not be too original and personal if it is to be employed for general use4 ,further1 it should conform to the spirit and ideas of the age1 and yet again it ought not to be wholly conditioned by contemporary considerations if it is to survive to a later age1 as have many fine founts which the seventeenth and eighteenth centuries have bequeathed to us4 ,as already said1 only a few among our modern ,german designers of printed types have mastered all these difficulties1 and among these few the names of ,behrens1 ,tiemann1 ,koch1 ,kleukens1 ,weiss1 and ,wieynk are pre-eminent4 ,in the course of some thirteen years that born architect1 ,peter ,behrens1 who began as a painter of easel pictures and a decorator of books1 and now builds palaces1 factory buildings1 and gigantic business-houses1 has himself designed four founts in which the whole artistic evolution of this strong-willed nature is reflected1 and which yet seem so entirely the product of a natural growth that one is quite unconscious of the years of labour spent on their improvement and perfection in the interval between the preparation of the designs and the actual casting of the founts4 ,as compared with the architectonic character of the austere1 angular forms of the first ,behrens type1 the italic or 8,kursiv0 fount 7p4 #ada7 which made its appearance six years later looks more decorative with the gentle sweep and uniform flow of its lines1 and in the most successful of the ,roman founts the full vigour and monumentality of his later period of activity is clearly expressed2 while the most recent of all1 the 8,medival0 7p4 #adj71 which was only issued a few weeks ago1 is again more ornamental with its uniformly fine lines1 and admirably answers to its designation as a type embodying the characteristics of the ,italian ,renaissance script4 ,another 8,medival0 type which even excels that just mentioned in clearness and beauty of form has been designed by ,walter ,tiemann 7pp4 #adf and #adg71 who holds the position of instructor at the ,royal ,academy of ,graphic ,arts at ,leipzig1 and devotes himself almost exclusively to the improvement of the art of lettering and book production4 ,like all the other types designed by this artist1 it has less of a personal character about it1 and reason more than sentiment has been the guiding motive in the design2 but its cool1 distinguished reticence gives it a quite exceptional merit4 ,it is1 moreover1 completely independent of its classical prototypes and their ,romanesque imitations2 very effective in all its gradations1 the use of it is not restricted to the limited editions of our private presses1 and in fact it is now one of the most popular founts we have4 ,the fine ,roman types by ,f4 ,w4 ,kleukens 7pp4 #aea1 #aec and #aef7 rank among the most gratifying achievements of our new school4 ,they are free from eccentricity of any kind1 there is a seductive charm in their unassuming yet distinguished forms1 and even the ornamental slender kinds are agreeably clear4 ,in spite of the thinness of their lines the letters belonging to this slender fount combine to make easily legible lines4 ,the ,kleukens types are practical as well as attractive1 and in conjunction with specially designed borders1 initials and decorative devices of all kinds1 they are well adapted for the most diverse uses4 ,of a far more personal character1 but at the same time of a more restricted range of use1 are the graceful types by ,heinrich ,wieynk 7pp4 #adi and #aej74 ,it is the spirit of the ,rococo that dwells therein--that epoch to which1 with its playful charm and light-hearted grace1 we owe so many masterpieces of ,french typography4 ,even the superfluous loops and flourishes which were characteristic of that period are encountered again1 with many bizarre peculiarities1 in the 8,kursiv0 and 8,trianon0 of ,wieynk1 and yet there is a remarkable fluidity and vitality in each stroke2 the general effect is highly artistic1 and1 as the examples now reproduced show1 the founts are admirably adapted to numerous purposes4 ,many attempts have been made to modernise the old 8,schwabacher0 type1 which dates from the middle of the fifteenth century1 and differs from ,german ,gothic1 or 8,fraktur10 by being more compact4 ,the most successful in this direction so far has been ,rudolf ,koch1 whose 8,german ,script10 in the three different forms here shown 7pp4 #adb to #ade71 has once more revealed the rich beauty and massive power inherent in the various kinds of ,german type4 ,in these boldly designed letters is expressed a manly earnestness and also a simple grandeur which1 in the sweeping1 powerful forms of the initials1 becomes truly monumental4 ,they are1 moreover1 carefully thought out in all their details1 and notwithstanding the strength of the lines1 even in the smallest sizes1 they are very expressive in their beauty4 ,heinz ,knig1 too1 has had good fortune with his 8,schwabacher0 type 7p4 #aeb74 ,this is remarkably clear1 and in its amalgamation of ,roman forms with the characteristics of ,german founts it has proved both sound and serviceable1 and it is one1 moreover1 which offers no difficulty whatever to the foreigner4 ,the curls and loops which the champions of 8,antiqua10 or ,roman1 find fault with in the ,german styles of type are absent2 it is a ,gothic purged of all unnecessary details and is at once dignified and decorative4 ,among the new 8,fraktur0 or ,german ,gothic types mention should first of all be made of that known as 8,weiss-,fraktur10 which1 designed by ,e4 ,r4 ,weiss1 has been perfected by him after many years of untiring collaboration with the ,type ,foundry of ,bauer and ,co4 ,it has remained a purely ,german type1 but is without the flourishes bequeathed by the old ,german ,gothic4 ,the light and open appearance of matter composed with it imparts to it a clarity which is distinctly agreeable1 so that one can follow it with ease and comfort while deriving quiet pleasure from the simplicity and definiteness of a type which satisfies in equal degree the requirements of use and sthetic susceptibility4 ,the ,tempel ,verlag1 in common with a number of other important ,german publishing houses1 has adopted the 8,weiss-,fraktur0 for its model editions of ,german classics4 ,when new desires call for satisfaction and new forms begin to develop1 it is always those spheres of activity which offer easy and pleasant possibilities of accomplishment that are selected for experimenting4 ,thus some fifteen years ago the designing of book-bindings was a favourite occupation of the artists who interested themselves in the reform of industrial art1 and many who have now attained to clear and definite ideas do not want to be reminded of the sort of work that was done in those days4 ,under the influence of ,van de ,velde's precept that every line is a force1 the wrappers and bindings of books were among the things that were covered with a nervous labyrinth of lines which was expressive only of an attitude of mind radically at variance with all that had gone before4 ,but many who at first occupied themselves with this kind of work in a more or less dilettante spirit1 have by quiet1 serious labour and steady development mastered its problems and have come to devote themselves almost exclusively to the graphic arts and the industry of book production1 so that we now possess an important organisation of the workers in this field--the 8,verein deutscher ,buchgewerbeknstler0--whose collective exhibition at the ,international ,exhibition now being held at ,leipzig is one of the most interesting sections of this great display4 ,of the artists whose work is represented among the accompanying illustrations1 ,cissarz1 ,ehmcke1 ,kleukens1 ,kster1 ,koch1 ,renner1 ,steiner-,prag1 ,tiemann1 ,weiss and ,wieynk belong to this group4 ,johann ,vincenz ,cissarz had in #aijj already advanced to such prominence in this branch of work that the artistic arrangement of the ,german ,typographical ,section at the ,paris ,universal ,exhibition was entrusted to him4 ,a long way behind as this catalogue now is1 it was nevertheless at that date an exemplary achievement as regards type1 ornament1 printing1 and binding2 and to the large number of commissions it brought the artist may be due the fact that thereafter his chief attention was bestowed on the art of the book1 in spite of his penchant and decided genius for painting of a decorative and even monumental character and his particular partiality for the etching-needle4 ,from ,dresden ,cissarz migrated1 first to ,darmstadt and then to ,stuttgart1 where as teacher at the ,royal ,school of ,applied ,art he found a welcome opportunity of communicating to others his own sound principles in regard to the internal and external arrangement of books1 and already he is able to look back upon a teaching career which has been very successful4 ,and here1 too1 many grateful tasks have fallen to him1 not only in connection with special events1 such as jubilees1 presentation addresses1 and such things1 but more especially in the course of work undertaken for the publishing houses of ,stuttgart4 ,though the luxurious binding executed by hand in costly materials may be superior in an artistic sense1 yet from the economic and cultural point of view the tastefully designed bindings produced in large quantities by the publishing houses are of greater importance4 ,a series of these publishers' cases of diverse design is illustrated on pages #afh and #agb1 and it shows how successfully the designer has utilised the space to display his boldly lettered title or to cover the whole field with becoming ornament4 ,hugo ,steiner-,prag1 who first became known through his poetic drawings for children's fairy tales and books of verses1 has also for some years past taught at the ,royal ,academy of ,graphic ,arts at ,leipzig4 ,his chief successes have been won as an illustrator1 but from the bindings now reproduced 7pp4 #aff and #afg7 it will be seen that he has a marked talent for the embellishment of the book4 ,by means of simple lines and decorative ornament1 usually confined to a well-proportioned centre field1 he achieves really charming effects4 ,karl ,kster was at one time a pupil of ,peter ,behrens1 and in order to be able to take advantage of all the possibilities open to the bookbinder he has not shrunk from learning the craft in the regular way4 ,thus in the course of his work he has not been wholly concerned with the external embellishment of the book1 which he always endeavours to harmonise with its contents1 but has also kept in view the practical purpose of the binding as a protective covering for the book4 ,his great skill in achieving delightful effects with the simplest means is amply demonstrated by the numerous bindings he has designed for publishers4 ,thus in the bindings here illustrated1 8,heimkehr0 and 8,buch ,joram0 7p4 #afi71 three lines of lettering suffice to animate and decorate the entire surface2 but he is quite capable of employing much richer decorative devices with discretion and good taste4 ,from the way in which he has placed a simple cross of violet leather in the richly ornamented middle field of his red missal binding 7p4 #afc71 to show to the greatest advantage the colour of the amethysts set in the silver mounts1 it may be inferred that he is capable of producing new and peculiar arrangements of form and colour without breaking with the best traditions4 ,in his second missal binding the form of the cross which dominates the entire space is distributed over twelve circular panels or fields1 of which the middlemost is worked with a white leather inlay and gold-tooling4 ,the other circles are lined with violet leather1 and with the four amethysts of the corner rosettes1 the sea-green morocco1 and the rich gilding1 produce a splendid effect of colour4 ,among the professional craftsmen who yielded to the new ideas of book production ,paul ,kersten is perhaps the best known1 as he is without doubt the most successful4 ,with an extensive practical experience1 which has mastered all the technical possibilities1 he combines artistic susceptibility and a literary aptitude which has enabled him to uphold the objects he has at heart in thoughtfully written essays and books4 ,as head of the ,technical ,school for ,bookbinders in ,berlin he is in a position to exercise an educative influence in the best sense4 ,the bindings illustrated on pages #afd and #afe enable one to judge of his technical versatility and his methods of decoration1 which are not restricted to a particular scheme4 ,they are without exception leather bindings in which the title is placed independently on the back or within a panel left for it1 the ornamentation of the cover being therefore uninfluenced by it4 ,in bindings of a richer character he is very fond of utilising a diversity of colours for the sake of the animating effect4 ,thus in his dark-blue morocco binding1 whose centre panel is occupied by five hexagons within circles1 the flowers displayed therein are of red1 green1 and violet leather2 while in the chamois binding of ,baudelaire's 8,fleurs du ,mal10 for the ornamentation of which1 in gold and blind stamping1 no fewer than #ah1jjj impressions were required1 leather overlays in seven different colours were used4 ,but even with such an abundance of decoration one is not conscious of any excess1 but only perhaps that agreeable sense of assurance which the practised hand communicates4 ,three colours1 black1 red and blue1 are employed for ornamenting the calf-binding with a circular centre panel1 the decoration of which is carried out by a special process of tooling and staining4 ,of a much simpler character is the work of ,franz ,weisse1 who likewise has come from the ranks of the handicraftsmen1 and is now engaged as teacher at the ,school of ,applied ,art in ,hamburg4 ,the simple but bold stamping in which the decoration of his pigskin binding 7p4 #agj7 is executed comports well with the outspoken candour of ,grimmelshausen's 8,simplicissimus40 ,a feature of interest is the use of the 8batik0 process,a for producing floral ornament spread over the sides and back of the parchment binding4 ,footnote ,a3 ,batik is a process of producing patterns by means of dyes and resists2 it has long been in use in the ,dutch ,east ,indies1 whence it was introduced into ,holland1 and now has a considerable vogue both there and in ,germany1 ,austria and ,hungary4 ,again1 in the richly decorated bindings of ,f4 ,a4 ,demeter 7pp4 #afa and #afb7 one observes the sure hand of the experienced practitioner who knows how to take advantage of the beauties of material and technique in the fulfilment of his artistic aims4 ,his ornamentation is certainly not quite original1 but is distinguished by a clever decorative treatment of floral motives and a tasteful application of them2 and even when he completely covers the back and sides with decoration of a uniform character1 one does not feel that it is overdone4 ,a beautiful example of his work is the binding with a design of leafage in gold on a reseda-green leather4 ,demeter also is a professional binder1 and at present is head of the applied art department of the ,hbel and ,denck wholesale bindery at ,leipzig4 ,even these large industrial concerns1 equipped for the wholesale production of cheap bindings1 have been obliged to take account of the growing desire for books that have an artistic value1 and to attach to their establishments special departments in which1 under the supervision of artistically minded craftsmen1 not only simple bindings in 8boards10 but also the costly and elaborate kinds of binding requiring most careful hand-work1 are prepared4 ,one of the most individual of the ,german artists who have devoted themselves to the modern art of the book is ,emil ,preetorius4 ,he is a born illustrator1 and has mastered all the various means of expression in equal degree2 even in the very concise outline of the silhouette he achieves an abundance of characterisation and vitality4 ,the silhouettes shown here 7p4 #afj7 are from a popular edition of ,daudet's 8,tartarin de ,tarascon10 which he has embellished and illustrated with refined artistic feeling2 they figure there merely as the decorative headpieces to certain of the chapters1 and serve as a jocose premonition of what is to follow4 ,they are not the actual illustrations of the book1 but they certainly afford an excellent idea of the happy way in which with these queer little black figures he has caught the grotesque comicality of this strange adventure4 ,he is also fond of giving the reader in his title-pages a foretaste of what awaits him1 of expressing graphically1 in drawings often containing a number of figures1 the contents and spirit of the books in which they appear4 ,his figures are mostly those of people who lived in the 8,biedermeier0 age2 they have a distinctly old-fashioned look about them1 but none of that sentimental 8gush0 which so often makes the so-called 8,stimmung0 pictures of that period unpalatable to us moderns4 ,while having a decided partiality for the peculiarities and foibles of the 8,biedermeier0 folk1 ,preetorius is thoroughly modern in feeling2 his drawings are austere rather than sweetly sentimental1 and even their sthetic defects are pertinent to his art4 ,illustration3 ,,title-,,page ,,designed ,,by ,,prof4 ,,paul ,,lang-,,kurz ,the part played by various enterprising and ideally minded publishing houses in fostering and stimulating that pleasure in beautiful books and their acquisition which has increased to such an extraordinary degree in ,germany during the past decade must not go unrecorded here4 ,among these the firm of ,eugen ,diederichs1 of ,jena1 claims primary consideration because of the ungrudging spirit in which it has afforded to all who have made a name in the sphere of artistic book-production an opportunity of displaying their ideas and skill4 ,this firm caters for all the manifold cultural tendencies of our age1 and its publications being of a serious character1 the collaboration of these artists has been in the main restricted to wrappers and bindings1 title-pages1 initials1 ornamental borders1 and other decorative details4 ,on the other hand1 there are houses1 such as that of ,georg ,mller in ,munich1 which besides good decoration go in largely for book illustration1 in which also numerous and interesting developments have taken place1 including a revival of various processes--such as wood-engraving1 lithography1 and etching--that had fallen largely into disuse1 but now once more enjoy considerable favour for the purpose of book illustration4 ,the ,insel-,verlag of ,leipzig1 ,s4 ,fischer of ,berlin1 ,paul and ,bruno ,cassirer of ,berlin1 ,kurt ,wolff of ,leipzig1 and many others1 have helped materially in this reflorescence of ,german illustrative art4 ,but at the same time1 there are more than a few who hold that a well-printed book with unimpeachable letterpress1 paper and binding requires neither decoration nor illustration1 and that its intrinsic merit depends on the perfect manner in which the technical work is carried out4 ,thus the celebrated editions of the ,hyperion ,press and the splendid issues of the ,century ,press of the ,munich publishing firm of ,hans von ,weber are brilliant examples of ,german typography2 nor need the publications of the ,janus ,press of ,leipzig1 produced with consummate technical care under the supervision of ,walter ,tiemann and ,carl ,ernst ,poeschel1 fear comparison with the books that issue from the private presses of ,england4 ,these volumes are only printed in small editions of one hundred and fifty to two hundred copies1 and satisfy the utmost demands of discriminating bibliophiles4 ,of distinction on account of their typically ,german character are the 8,rudolfinische ,drucke10 brought out by ,rudolf ,koch in association with ,rudolf ,gerstung at ,offenbach1 and published by ,wilhelm ,gerstung4 ,in these books1 which are also genuinely ,german in their contents1 everything is expressly avoided which in any way deviates from the considerations of chief importance--proper spacing of the letters and the well-balanced composition of the page of letterpress in ,koch's essentially ,german fount1 together with uniform excellence of workmanship throughout4 ,thus only the title-pages are specially designed1 and the body of the letterpress is but sparingly relieved with the imposing initials belonging to this fount2 but the bindings1 with their cover-papers cut and printed by the artist himself1 also bear witness to the virile beauty of his art4 ,of a more arresting and luxurious character are the productions of the ,ernst ,ludwig ,press of the ,grand ,duke of ,hesse1 the artistic supervision of which has been entrusted to ,f4 ,w4 ,kleukens2 and the costly editions de luxe of the ,pan-,press of ,berlin1 which are embellished with lithographs by ,slevogt1 ,corinth and ,pascin1 or etchings by ,geiger or ,walser4 ,such productions1 however1 are beyond the scope of this work4 ,what ,germany is now able to offer in the art of book production is superabundantly shown in the ,international ,exhibition which is being held this year at ,leipzig4 ,that after barely a score of years we should have seriously ventured to invite the civilised races to peaceful competition in this special domain is a proof that we are conscious of the value of our work1 and do not fear the verdict of the world4 ,illustration3 ,,ornament ,,designed ,,by ,,prof4 ,f4 ,w4 ,,kleukens1 ,,for ,d4 ,,stempel1 ,,frankfurt ,a4,m4 ,illustration3 ,,the 8,,antiqua0 ,,type4 ,,designed ,,by ,,prof4 ,,peter ,,behrens ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,antiqua0 ,,type4 ,,designed ,,by ,,prof4 ,,peter ,,behrens ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,medi,,val0 ,,type4 ,,designed ,,by ,,prof4 ,,peter ,,behrens ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,medi,,val0 ,,type4 ,,designed ,,by ,,prof4 ,,peter ,,behrens ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,kursiv0 ,,type4 ,,designed ,,by ,,prof4 ,,peter ,,behrens ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,a ,,german ,,type ,,designed ,,by ,,rudolf ,,koch ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,a ,,german ,,type ,,designed ,,by ,,rudolf ,,koch ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,a ,,german ,,type ,,designed ,,by ,,rudolf ,,koch ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,a ,,german ,,type ,,designed ,,by ,,rudolf ,,koch ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,medi,,val0 ,,type4 ,,designed ,,by ,,prof4 ,,walter ,,tiemann1 ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,medi,,val0 ,,type4 ,,designed ,,by ,,prof4 ,,walter ,,tiemann1 ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,medi,,val-,,kursiv0 ,,type4 ,,designed ,,by ,,prof4 ,,walter ,,tiemann1 ,,cast ,,by ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,the 8,,trianon0 ,,type4 ,,designed ,,by ,,heinrich ,,wieynk ,,cast ,,by ,,the ,,bauersche ,,giesserei1 ,,frankfurt ,a4,m4 ,illustration3 ,,the 8,,wieynk-,,kursiv0 ,,type4 ,,designed ,,by ,,heinrich ,,wieynk ,,cast ,,by ,,the ,,bauersche ,,giesserei1 ,,frankfurt ,a4,m4 ,illustration3 ,,the 8,,schlanke ,,kleukens-,,antiqua0 ,,type4 ,,designed ,,by ,,prof4 ,f4 ,w4 ,,kleukens1 ,,cast ,,by ,,the ,,bauersche ,,giesserei1 ,,frankfurt ,a4,m4 ,illustration3 ,,the 8,,schwabacher0 ,,type4 ,,designed ,,by ,,heinz ,k,,nig4 ,,cast ,,by ,,emil ,,gursch1 ,,berlin ,illustration3 ,,the 8,,helga-,,antiqua0 ,,type4 ,,designed ,,by ,,professor ,f4 ,w4 ,,kleukens1 ,,cast ,,by ,d4 ,,stempel1 ,,frankfurt ,a4,m4 ,illustration3 ,,the 8,h,,lzl-,,medi,,val0 ,,type4 ,,designed ,,by ,,emil ,h,,lzl1 ,,cast ,,by ,d4 ,,stempel1 ,,frankfurt ,a4,m4 ,illustration3 ,,the 8,h,,lzl-,,medi,,val0 ,,type4 ,,designed ,,by ,,emil ,h,,lzl1 ,,cast ,,by ,d4 ,,stempel1 ,,frankfurt ,a4,m4 ,illustration3 ,,the 8,,ingeborg-,,antiqua0 ,,type4 ,,designed ,,by ,,professor ,f4 ,w4 ,,kleukens1 ,,cast ,,by ,d4 ,,stempel1 ,,frankfurt ,a4,m4 ,illustration3 ,,title-,,pages ,,designed ,,by ,,prof4 ,f4 ,h4 ,,ehmcke ,,published ,,by ,,eugen ,,diederichs ,illustration3 ,,ornaments ,,designed ,,by ,,prof4 ,f4 ,w4 ,,kleukens1 ,,for ,,the ,,bauersche ,,giesserei1 ,,frankfurt ,a4,m4 ,illustration3 ,,ornaments ,,designed ,,by ,,prof4 ,,walter ,,tiemann1 ,,for ,,gebr4 ,,klingspor1 ,,offenbach ,a4,m4 ,illustration3 ,,initial ,,letters ,,and ,,ornaments ,,designed ,,by ,,prof4 ,f4 ,w4 ,,kleukens1 ,,for ,d4 ,,stempel1 ,,frankfurt ,a4,m4 ,illustration3 ,,head-,,pieces ,,by ,,emil ,,preetorius ,,for ,,daudet',s 8,,tartarin ,,de ,,tarascon40 ,,published ,,by ,,der ,,gelbe ,,verlag1 ,m,,nchen-,,dachau ,illustration3 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,gold ,,and ,,black ,,tooling ,,designed ,,by ,p4 ,a4 ,,demeter1 ,,executed ,,by ,h,,bel ,,and ,,denck ,illustration3 ,,bookbinding ,,in ,,lemon ,,yellow ,,morocco1 ,,with ,,green ,,inlay ,,and ,,gold ,,tooling ,,designed ,,by ,p4 ,a4 ,,demeter1 ,,executed ,,by ,h,,bel ,,and ,,denck ,illustration3 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,gold ,,tooling4 ,,designed ,,by ,p4 ,a4 ,,demeter ,,executed ,,by ,h,,bel ,,and ,,denck ,illustration3 ,,bookbinding ,,in ,,brown ,,leather1 ,,with ,,blind ,,tooling4 ,,designed ,,by ,,prof4 ,,joh4 ,,vincenz ,,cissarz1 ,,executed ,,by ,,ad4 ,b,,hler ,illustration3 ,,bookbinding ,,in ,,sea-,,green ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,designed ,,by ,,karl ,k,,ster1 ,,executed ,,by ,,herder',s ,,bindery1 ,,freiburg ,illustration3 ,,bookbinding ,,in ,,dark ,,red ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,designed ,,by ,,karl ,k,,ster1 ,,executed ,,by ,,herder',s ,,bindery1 ,,freiburg ,illustration3 ,,book ,,binding ,,in ,,orange ,,yellow ,,morocco1 ,,with ,,inlay ,,and ,,blind ,,tooling4 ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,neat',s ,,leather1 ,,with ,,punched ,,and ,,tanned ,,ornamentation4 ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,red ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,blue ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,buff ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,blue ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,red ,,calf1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,pigskin1 ,,with ,,tooling ,,by ,,paul ,,kersten ,illustration3 ,,bookbinding ,,in ,,dark ,,blue ,,calf1 ,,with ,,gold ,,tooling4 ,,designed ,,by ,,prof4 ,,hugo ,,steiner-,,prag1 ,,executed ,,by ,h,,bel ,,and ,,denck ,illustration3 ,,bookbinding ,,in ,,vellum1 ,,with ,,gilt ,,ornamentation4 ,,designed ,,by ,,prof4 ,,hugo ,,steiner-,,prag1 ,,executed ,,by ,h,,bel ,,and ,,denck ,illustration3 ,,bookbinding ,,in ,,leather1 ,,with ,,gold ,,tooling4 ,,designed ,,by ,,prof4 ,,hugo ,,steiner-,,prag1 ,,executed ,,by ,h,,bel ,,and ,,denck ,illustration3 ,,bookbinding ,,in ,,leather1 ,,with ,,gold ,,tooling4 ,,designed ,,by ,,prof4 ,,hugo ,,steiner-,,prag1 ,,executed ,,by ,h,,bel ,,and ,,denck ,illustration3 ,,bookbinding ,,in ,,leather1 ,,with ,,silver ,,clasps4 ,,designed ,,by ,,prof4 ,,joh4 ,,vincenz ,,cissarz1 ,,executed ,,by ,,karl ,,strenger ,illustration3 ,,bookbindings ,,in ,,leather1 ,,with ,,gold ,,tooling4 ,,designed ,,by ,,prof4 ,,joh4 ,,vincenz ,,cissarz1 ,,executed ,,by ,,gustav ,,fr,,lich ,illustration3 ,,binding ,,case4 ,,designed ,,by ,,prof4 ,,joh4 ,,vincenz ,,cissarz ,illustration3 ,,binding-,,case4 ,,designed ,,by ,,karl ,k,,ster ,illustration3 ,,vellum ,,binding4 ,,designed ,,by ,,karl ,k,,ster ,illustration3 ,,vellum ,,binding1 ,,with ,,batik ,,ornamentation ,,designed ,,by ,,karl ,k,,ster ,illustration3 ,,bookbinding ,,in ,,leather1 ,,with ,,gold ,,tooling ,,designed ,,by ,,karl ,k,,ster ,illustration3 ,,bookbinding ,,in ,,white ,,pigskin1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,franz ,,weisse ,illustration3 ,,bookbinding ,,in ,,natural ,,coloured ,,pigskin1 ,,with ,,blind ,,tooling4 ,,by ,,franz ,,weisse ,illustration3 ,,parchment ,,binding1 ,,with ,,batik ,,ornamentation ,,by ,,franz ,,weisse ,illustration3 ,,vellum ,,binding4 ,,designed ,,by ,,rudolf ,,koch ,illustration3 ,,half-,,calf ,,and ,,paper ,,binding4 ,,designed ,,by ,,rudolf ,,koch ,illustration3 ,,binding-,,cases ,,in ,,leather ,,and ,,cloth4 ,,designed ,,by ,,prof4 ,,joh4 ,,vincenz ,,cissarz ,illustration3 ,,backs ,,of ,,leather ,,binding-,,cases ,,designed ,,by ,,paul ,,renner ,illustration3 ,,binding-,,case4 ,,designed ,,by ,,paul ,,renner ,illustration3 ,,backs ,,of ,,leather ,,binding-,,cases ,,designed ,,by ,,paul ,,renner ,illustration3 ,,designed ,,by ,,prof4 ,,emanuel ,,von ,,seidl ,illustration3 ,,designed ,,by 8,l0 ,illustration3 ,,designed ,,by ,,fritz ,,scholl ,illustration3 ,,designed ,,by ,,emanuel ,,joseph ,,margold ,,binding-,,cases ,,designed ,,for ,,alexander ,,koch1 ,,darmstadt ,illustration3 ,,paper ,,covers4 ,,designed ,,by ,,emil ,,preetorius ,illustration3 ,,end-,,paper ,,designed ,,by ,,prof4 ,,paul ,,lang-,,kurz ,illustration3 ,,end-,,paper ,,designed ,,by ,,prof4 ,,paul ,,lang-,,kurz ,,france ,,the ,,art ,,of ,,the ,,book ,,in ,,france4 ,,by ,e4 ,a4 ,,taylor ,lingering in thought over the far-away days of the glorious bibliographic and typographical past that ,france has enjoyed1 one finds little has happened1 amidst all the changes which have swept over those arts in recent years1 to disturb the employment of her bibliopegic artists4 ,there are few of her remaining old streets through which one passes without being attracted in one way or another to the sign of the relieur-doreur4 ,to give a remarkable instance of this unique position one has only to recall the sale of the collection of the ,vicomte de la ,croix-,laval in #aijb1 in which the books were not catalogued in the names of the author but in that of the bookbinder4 ,but this is not surprising when we consider the excellent craftsmanship of such men as ,g4 ,canape1 ,chambolle-,duru1 ,s4 ,david1 ,charles ,lano1 ,marius ,michel1 ,g4 ,mercier1 ,ren ,kieffer1 and the fascinating execution of the designs on vellum by ,andr ,mare4 ,yet it is not uncommon to hear the travellers' comment that books with an attractive outside appearance are non-existent in ,paris4 ,unlike ,england1 ,france expends little additional labour on the lasting1 apart from the certain attractive qualities of cloth or paper-covered board casings1 while modern end-papers1 as known in other countries1 have so far found little consideration4 ,much energy is focussed on the edition de luxe1 embodying the work of popular artists1 good paper and type1 the result being a limited number of paper-covered volumes1 all excellently produced1 but very often disappointing in their page arrangement and design and the suitability of text to type and type to illustration4 ,but this leads me into an explanatory discussion on the old printer's independence of other craftsmen whose art is now divided into separate and recognised trades4 ,and it is remarkable that it should be so to such a great extent1 for fewer places other than ,paris are so sympathetically enjoined to their artists4 ,it may be the fault of the artist who is more enwrapped in his craft than the art evolved in its ultimate end4 ,within the last few years1 however1 printing has vastly improved1 and this has been due in no small measure to the efforts of ,,mm4 ,g4 ,peignot and ,sons4 ,as early as #aijj the ,peignot type foundry introduced a new typography with frankly modern tendencies1 the best testimony of their efforts at that time being the productions of 8,grasset10 following with the 8,auriol10 and later on the ,bellery-,desfontaines types and ornaments4 ,at the same time1 not desiring to lose touch with that which in typography of the past is most intrinsically valuable for to-day1 a little booklet issued lately1 entitled 8,les ,cochins10 by the two brothers ,peignot1 clearly demonstrates the results of their attainment4 ,this booklet1 apart from being a catalogue of their research1 has behind it the primary desire that editors and printers should try to realise the significance of a typographical revival in ,france1 and the influence it would have on all branches of the graphic arts4 ,despite the remarkable progress that process work has made1 apart from the most ingenious inventions and machinery being of ,french origin1 wood-engravers and wood-engraving1 as employed for illustrative purposes1 maintain a prominent and more unique position in ,france than in any other ,european country4 ,amongst the most recent productions of note 8,daphnis et ,chlo0 7p4 #aij71 printed and published by ,m4 ,l4 ,pichon1 is uncommonly good1 in fact all that issues from ,m4 ,pichon's little establishment is unusually refined4 ,then there are others1 but space will not permit me to dwell on each one's excellent qualities4 ,however1 ,i must not neglect to mention the remarkable edition of 8,le ,grand ,testament de ,franois ,villon10 which ,i have seen in preparation by ,m4 ,a4 ,m4 ,peignot1 with illustrations and especially designed type by ,bernard ,naudin2 also some thoughtful little volumes in the series 8,les ,matres du ,livre10 published by ,,mm4 ,georges ,crs et ,cie under the direction of ,m4 ,ad4 van ,bever2 and if it were not for the thoughtful1 untiring efforts of such editors as ,m4 ,lucien ,vogel1 of the 8,gazette du ,bon ,ton10 and publishers of ditions d'art as ,,mm4 ,a4 ,blaizot1 ,l4 ,carteret1 ,h4 ,floury1 ,f4 ,ferroud1 ,jules ,meynial1 ,r4 ,helleu1 ,ren ,kieffer1 ,e4 ,rey1 ,octave ,charpentier1 ,e4 ,lvy1 and ,h4 ,piazza1 the bibliophiles of ,paris would have a poor output from which to select4 ,from amongst others the notable and varied publications of the libraries ,ollendorff1 ,larousse1 ,hachette et ,cie1 ,a4 ,fayard et ,cie1 ,caiman ,lvy1 ,plon-,nourrit et ,cie1 ,adrian ,sporck1 ,l4 ,michaud1 ,e4 ,flammarion and ,a4 ,vaillant should be noted4 ,finally ,i must not forget to mention the powerful influence of the 8,socit des ,amis des ,livres10 8,les ,cent ,bibliophiles10 the 8,socit ,normande du ,livre illustr10 and the 8,socit du ,livre d',art ,contemporain02 and without a prolonged description of each ,socit it must suffice to mention the prosperity the 8,socit des ,amis des ,livres0 enjoys under the presidency of ,m4 ,henri ,beraldi1 the originator of the 8,socit des ,bibliophiles de ,paris0 and a publisher of note4 ,amongst his first efforts 8,paysages ,parisiens10 by ,emile ,goudeau1 and ,g4 ,montorgueil's 8,paris au ,hasard10 both illustrated by ,auguste ,lepre1 are the most distinguished1 and to him my thanks are due for his kindly interest in my bibliographical quest1 and to the ,president of 8,les ,cent ,bibliophiles10 ,m4 ,eugne ,rodrigues1 for his generosity in placing at my disposal pages and illustrations from his admirable collection4 ,after all1 it is to men like these1 and to the organizations to which they belong1 that ,france owes the prominent bibliographical position she holds1 and the freedom her excellent artists and craftsmen enjoy in retaining for us in fitting garb the minds of the great1 be they echoes of the past or turbulent cries in the dark1 the songs of the open and sunlight1 the sonnets of autumn and shade1 or the love in the laughter of children4 ,illustration3 ,,title-,,page ,,designed ,,by ,p4 ,e4 ,,vibert1 ,,for ,,mm4 ,,georges ,,cr,s ,,et ,,cie ,illustration3 ,,page ,,printed ,,in 8,,garamond0 ,,type 7,,engraved ,,for ,,fran,,ois ,i71 ,,with ,,woodcut ,,by ,,paul ,,emile ,,colin1 ,,lent ,,by ,,mons4 ,r4 ,,helleu ,illustration3 ,,page ,,printed ,,in ,,roman ,,face ,,type ,,designed ,,by ,,george ,,auriol1 ,,cast ,,by ,g4 ,,peignot ,,et ,,fils1 ,,paris ,illustration3 ,,page ,,printed ,,in ,,italic ,,face ,,type4 ,,designed ,,by ,,george ,,auriol1 ,,cast ,,by ,g4 ,,peignot ,,et ,,fils1 ,,paris ,illustration3 ,,page ,,printed ,,in 8,,nicolas ,,cochin0 ,,type1 ,,adapted ,,and ,,cast ,,by ,g4 ,,peignot ,,et ,,fils1 ,,paris ,illustration3 ,,type ,,and ,,ornaments ,,designed ,,by ,,grasset ,,cast ,,by ,g4 ,,peignot ,,et ,,fils1 ,,paris ,illustration3 ,,page ,,from ,a4 ,,de ,,musset',s 8,,les ,,nuits0 7,,jules ,,meynial1 ,,paris71 ,,printed ,,in ,,type ,,designed ,,by ,,adolphe ,,giraldon ,,cast ,,by ,,la ,,maison ,,deberny ,illustration3 ,,page ,,from ,a4 ,,de ,,musset',s 8,,les ,,nuits0 7,,jules ,,meynial1 ,,paris74 ,,printed ,,in ,,type ,,designed ,,by ,,adolphe ,,giraldon ,,cast ,,by ,,la ,,maison ,,deberny ,illustration3 ,,page ,,from 8,,daphnis ,,et ,,chlo40 ,,printed ,,in 8,,jenson0 ,,type ,,by ,l4 ,,pichon1 ,,paris1 ,,with ,,woodcut ,,by ,,carl,,gle ,illustration3 ,,bookbinding ,,in ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,tooling ,,designed ,,by ,,adolphe ,,giraldon1 ,,executed ,,by ,g4 ,,canape ,illustration3 ,,bookbinding ,,in ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,tooling4 ,,by ,g4 ,,canape ,illustration3 ,,bookbindings ,,in ,,levant ,,morocco1 ,,with ,,inlay ,,and ,,tooling4 ,,by ,,chambolle-,,duru ,illustration3 ,,bookbinding ,,in ,,morocco1 ,,with ,,gold ,,tooling4 ,,by ,s4 ,,david ,illustration3 ,,bookbinding ,,in ,,red ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,s4 ,,david ,illustration3 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,ren ,,kieffer ,illustration3 ,,bookbinding ,,in ,,dark ,,blue ,,french ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,s4 ,,david ,illustration3 ,,bookbinding ,,in ,,french ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,designed ,,by ,,etienne ,,dinet1 ,,executed ,,by ,,durvand 7,in the possession of ,mons4 ,h4 ,piazza7 ,illustration3 ,,bookbinding ,,in ,,french ,,morocco1 ,,with ,,gold ,,tooling ,,designed ,,by ,j4 ,,de ,,la ,n,,zi,,re1 ,,executed ,,by ,,durvand 7,in the possession of ,mons4 ,h4 ,piazza7 ,illustration3 ,,bookbinding ,,in ,,parchment1 ,,tooled ,,and ,,coloured ,,by ,,andr ,,mare 7,in the possession of ,mons4 ,paul ,adam7 ,illustration3 ,,bookbinding ,,in ,,parchment1 ,,tooled ,,and ,,coloured4 ,,by ,,andr ,,mare 7,in the possession of ,mons4 ,l4 ,vauxcelles7 ,illustration3 7,in the possession of ,madame d',aleman47 ,,bookbinding ,,in ,,parchment1 ,,tooled ,,and ,,coloured4 ,,by ,,andr ,,mare ,illustration3 ,,binding-,,case ,,designed ,,by ,g4 ,,auriol4 ,,for ,,maison ,,larousse ,illustration3 ,,bookbinding ,,in ,,blue ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,designed ,,by ,a4 ,,segaud1 ,,executed ,,by ,p4 ,,souze 7,lent by ,maison ,hachette ,cie47 ,illustration3 ,,binding-,,case ,,designed ,,by ,g4 ,,auriol ,,for ,,maison ,,larousse ,illustration3 ,,binding-,,case ,,designed ,,by ,,lucien ,,laforge ,,for ,,maison ,,larousse ,,austria ,,the ,,art ,,of ,,the ,,book ,,in ,,austria4 ,,by ,a4 ,s4 ,,levetus ,illustration3 ,,title-,,page ,,designed ,,by ,r4 ,r,i,,ka4 ,,published ,,by ,,the ,,manes ,,society1 ,,prague ,like other countries ,austria has1 in all that relates to the book1 gone through periods of high developments1 followed by a time of inactivity which could but lead to eventual decay4 ,that in the past many works of a high artistic value as regards printing1 illustrations1 type1 and binding1 in fact all the qualities which go to make an artistic production1 were issued by the various presses1 many books still existing go to prove4 ,on the whole the printers of ,austria were never very numerous1 and she has never been a book-producing centre1 even in the ,capital itself1 as have been many ,german cities1 such as ,nuremberg1 ,augsburg and ,leipzig4 ,under the ,empress ,maria ,theresa the art of the book flourished1 for being possessed of a fine artistic nature1 she granted many privileges to the makers of books1 and set great value on such volumes as were real works of art4 ,her son1 ,joseph ,,ii1 who during his youth1 following the custom of the time1 adopted a trade1 chose printing1 and mastered it thoroughly4 ,he likewise granted certain privileges to the printers and in every way encouraged the art4 ,during the second half of the eighteenth century the ,art of the ,book developed considerably4 ,new types were invented1 woodcut engravings gave way to copper engravings1 the paper was of the best quality1 the bindings of the finest leather and of beautiful design1 everything1 including the end-papers1 reached the highest standard4 ,but reaction was inevitable in ,austria as it was in other countries1 for the age of machinery had come4 ,hand-made paper1 which had furnished a staple trade in ,moravia since #aebj1 when the first paper-mill was founded in ,gross-,ullersdorf1 deteriorated2 the printing-machine took the place of the hand-press2 the fine hand-tooled leather bindings were forced to yield to the more commercial article4 ,illustration3 ,,title-,,page ,,designed ,,by ,,vladim,r ,,upansk4 ,,published ,,by ,,the ,,manes ,,society1 ,,prague ,but in ,austria1 as elsewhere1 the ,art of the ,book was to be reborn1 and it was ,william ,morris who was to give the impulse1 for the fame of the ,kelmscott ,press had reached ,vienna4 ,the men of the new school1 ,alfred ,roller1 ,josef ,hoffmann1 ,koloman ,moser1 ,baron ,myrbach1 ,rudolf von ,larisch1 and others have spread the new teaching4 ,the moment was the right one1 the need of reform in all and everything concerning book-production was recognised as part of the programme when the general question of the teaching of art was raised in #ahig2 but the regeneration of the ,art of the ,book really dated from the beginning of the present century4 ,it must not be thought that no efforts had been made to rescue the art previous to the great reform4 ,far from it4 ,twenty-five years ago the first steps were taken by the founding of the ,imperial 8,lehr- und ,versuchsanstalt fr graphische ,kunst10 an institution for teaching and experimenting in graphic art1 where from the first excellent work was done under ,hofrat ,eder4 ,the 8,hof- und ,staatsdruckerei0 7,imperial and ,state ,printing ,office7 had been called into existence eighty years previously4 ,but the great impetus was given some dozen years ago when men trained in the new school of thought in decorative art were appointed teachers in the various schools and institutions4 ,illustration3 ,,title-,,page ,,designed ,,by ,j4 ,,benda4 ,,published ,,by ,,the ,,ensk ,,klub1 ,,prague ,illustration3 ,,page ,,designed ,,by ,,hedwig ,,schmiedl1 ,,for ,,the ,,imperial ,,graphische ,,lehr-,,und ,,versuchsanstalt1 ,,vienna ,illustration3 ,,page ,,designed ,,by ,,berta ,,bindtner1 ,,for ,,the ,,imperial ,,graphische ,,lehr-,,und ,,versuchsanstalt1 ,,vienna ,the ,art of the ,book in ,austria in its modern aspect is but young1 but its development is most interesting4 ,all that is best in graphic art of the past served as the ground-work on which to build the art of our time2 and this artistic basis being of so fine a calibre1 sound and sure1 has led to very satisfactory results4 ,first1 in the teaching of ornamental writing under ,professor ,rudolf von ,larisch4 ,he has expounded his tenets in his 8,unterricht in ornamentaler ,schrift10 a work of great value to all interested in this subject4 ,what he aims at is form1 configuration and spacing1 to add rhythm to the letters themselves1 and to harmonise one with another in the building-up of the word2 for even the simplest of words rightly rendered should be decorative4 ,he does not consider the creating of new forms of paramount importance1 but sets much store on the relation of the letter to the word1 the word to the sentence4 ,these should fit into one another in the same manner as the component parts of a perfect piece of architecture1 for1 as in architecture we see the foundation of all art1 so in lettering the basis of all book decoration is to be sought4 ,this theory is supported by the study of early printed works and more particularly so in those printed towards the end of the sixteenth century4 ,here we see the aim was to achieve harmony in type1 ornament and illustration4 ,this1 too1 is the aim of those who produce artistic books other than those issued by the ordinary publisher4 ,unfortunately there are but few of the former class in ,austria4 ,but many of the ,austrian artists are engaged in illustrating books for ,german and other publishers4 ,in ,vienna1 ,artur ,wolf has published some very fine works illustrated by ,franz von ,bayros1 ,ferdinand ,staeger1 and other artists2 ,konegen's series of children's books1 illustrated by ,marianne ,hitschmann-,steinberger1 are full of charm and understanding of child life2 ,gerlach and ,wiedling's books for children have been illustrated by various artists3 ,professor ,czeschka1 ,karl ,fahringer1 ,f4 ,staeger1 ,franz ,wacik1 ,frulein ,frimberger among others4 ,that excellent work is being done may be gathered from our illustrations4 ,frulein ,c4 ,hasselwander has done very good work as an illustrator of children's stories2 ,c4 ,kystrand has won renown as an illustrator of refined humour2 ,ferdinand ,staeger is one of the best-known illustrators of the 8,mnchner ,jugend10 and a draughtsman of great variety and vitality2 ,wenzel ,oswald and ,gustav ,kalhammer are past students of the ,imperial 8,kunstgewerbeschule0 in ,vienna and are essentially decorative in their art2 while ,dagobert ,peche hails from the ,imperial ,academy and his work is of a highly decorative character4 ,alfred ,keller is an architect by profession1 as is ,dagobert ,peche1 but he is also an illustrator of books1 his chief forte lying in line drawing4 ,some of the ,austrian artists excel in the designing of book-bindings1 and it is safe to say their work will achieve lasting fame4 ,the mention of names such as ,professors ,josef ,hoffmann1 ,koloman ,moser and ,czeschka1 are sufficient to vouch for this assertion2 ,anton ,hofer and ,rudolf ,geyer1 both past students of the ,imperial ,arts and ,crafts ,school1 have also done some very beautiful work which will live4 ,all these artists have produced bindings which in quality of design1 material1 and workmanship are all that could be desired4 ,in the designing of new types excellent results have been achieved4 8,czeschka's ,antiqua10 the invention of ,professor ,czeschka1 is extremely beautiful in its simplicity4 ,it has been acquired by ,messrs4 ,genzsch and ,heyse1 of ,hamburg1 and is illustrated on page #baa4 ,illustration3 ,,cover ,,design ,,by ,f4 ,,kysela1 ,,for ,,nova ,,edice1 ,,prague ,dr4 ,rudolf ,junk's new type is characterized by the same high qualities though it differs widely in form from that of ,professor ,czeschka2 ,herr ,mader's type is less clear1 though it is interesting4 ,for this ,professor ,hoffmann has made the borders and ornament4 ,frulein ,schmidt may also be counted amongst those who have created new and interesting types4 ,these have all been published by the 8,hof-und ,staatsdruckerei40 ,in the provinces ,bohemia holds the first place in the ,art of the ,book1 which is but natural considering how high a prestige ,prague1 ,pilsen1 ,kuttenberg1 and other of her towns enjoyed in bygone ages4 ,in modern graphic art and book-decoration many ,czech artists have distinguished themselves4 ,the various reproductions here show that their inspirations are those of the true artist4 ,to these must be added ,zdenka ,braunerov1 ,adolf ,kapar1 and ,vojtch ,preissig4 ,that the publishers are collaborating with the artists is a good sign1 and the next few years will no doubt see further developments4 ,the fact that the modern movement in ,bohemia in the ,art of the ,book is still in its infancy1 and that1 in spite of this1 so much that is good has already been done1 speaks well for the future4 ,illustration3 ,,tailpiece ,,designed ,,by ,,hedwig ,,schmiedl1 ,,for ,,the ,,imperial ,,graphische ,,lehr-,,und ,,versuchsanstalt1 ,,vienna ,illustration3 ,,ornament ,,by ,,wenzel ,,oswald ,illustration3 ,,title-,,page ,,designed ,,by ,f4 ,,kysela4 ,,published ,,by ,,the 8,,nova ,,edice10 ,,prague ,illustration3 ,,dedication ,,page ,,designed ,,by ,v4 ,h4 ,,brunner1 ,,for ,,pushkin',s 8,,history ,,of ,,the ,,czar ,,saltan40 ,,published ,,by ,,the 8,,spolek ,,esk,,ch ,,bibliofil0 ,illustration3 ,,title-,,page ,,designed ,,by ,j4 ,,benda4 ,,published ,,by ,,hejda ,a ,,tu,,ek1 ,,prague ,illustration3 ,,title-,,page ,,designed ,,by ,,vladim,r ,,upansk4 ,,published ,,by ,,the 8,,spolek ,,manes10 ,,prague ,illustration3 ,,pages ,,of ,,type ,,and ,,border ,,designed ,,by ,,professor ,c4 ,o4 ,,czeschka1 ,,cast ,,by ,,genzsch ,,and ,,heyse1 ,,hamburg ,illustration3 ,,examples ,,of ,,ornamental ,,writing ,,by ,,prof4 ,,rud4 ,,von ,,larisch ,,from 8,,unterricht ,,in ,,ornamentaler ,,schrift0 ,illustration3 ,,bookbinding ,,in ,,red ,,shagreen1 ,,with ,,embossed ,,gold ,,ornamentation ,,designed ,,by ,,rudolph ,,geyer1 ,,executed ,,by ,,albert ,g,,nther ,illustration3 ,,bookbinding ,,in ,,black ,,shagreen1 ,,with ,,embossed ,,gold ,,ornamentation ,,designed ,,by ,,rudolph ,,geyer1 ,,executed ,,by ,,albert ,g,,nther ,illustration3 ,,bookbinding ,,in ,,russian ,,leather1 ,,with ,,inlay ,,and ,,tooling4 ,,designed ,,by ,,henryk ,,uziemblo1 ,,executed ,,by ,,robert ,,jahoda ,illustration3 ,,bookbinding ,,in ,,russian ,,leather1 ,,with ,,inlay ,,and ,,tooling4 ,,designed ,,by ,,henryk ,,uziemblo1 ,,executed ,,by ,,robert ,,jahoda ,illustration3 7,in the possession of ,h4 ,e4 ,dr4 ,friedrich ,piffl1 ,prince-,bishop of ,vienna7 ,,silver ,,bookbinding1 ,,with ,,leather ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,anton ,,hofer ,illustration3 ,,leather ,,bookbinding1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,designed ,,by ,,prof4 ,,josef ,,hoffmann ,,executed ,,by ,,the ,,wiener ,,werkstaette ,illustration3 ,,bookbinding ,,in ,,buckskin1 ,,with ,,inlay ,,and ,,tooling4 ,,designed ,,by ,,prof4 ,,josef ,,hoffmann ,,executed ,,by ,,the ,,wiener ,,werkstaette ,illustration3 ,,paper ,,cover ,,designed ,,by ,,dora ,,gross ,illustration3 ,,paper ,,cover ,,designed ,,by ,,hansi ,,burger-,,divecky1 ,,printed ,,in ,,the ,,imperial ,,graphische ,,lehr-,,und-,,versuchsanstalt1 ,,vienna ,illustration3 ,,paper ,,cover ,,designed ,,by ,,robert ,,fuchs1 ,,printed ,,in ,,the ,,imperial ,,graphische ,,lehr-,,und-,,versuchsanstalt1 ,,vienna ,illustration3 ,,paper ,,cover ,,designed ,,by ,,gustav ,,kalhammer ,illustration3 ,,paper ,,cover ,,designed ,,by ,,anton ,,hofer4 ,,for ,,theyer ,,und ,,hardtmuth ,illustration3 ,,paper ,,cover ,,designed ,,by ,f4 ,,kobliha ,illustration3 ,,tailpiece ,,and ,,cover ,,design ,,by ,,hedwig ,,schmiedl ,illustration3 ,,border ,,and ,,end-,,paper ,,designs ,,by ,,alfred ,,keller4 ,,for ,l4 ,,staakmann1 ,,leipzig ,illustration3 ,,ornaments ,,and ,,end-,,paper ,,design ,,by ,,dagobert ,,peche ,illustration3 ,,initial ,,letter ,,and ,,border ,,designed ,,by ,,prof4 ,c4 ,o4 ,,czeschka4 ,,for ,,genzsch ,,and ,,heyse1 ,,hamburg ,illustration3 ,,ornaments ,,and ,,tailpieces ,,by ,,wenzel ,,oswald ,illustration3 ,,ornaments ,,by ,,gustav ,,kalhammer ,illustration3 ,,decorative ,,illustrations ,,by ,,ferdinand ,,staeger ,illustration3 ,,decorative ,,illustrations ,,by ,,ferdinand ,,staeger ,illustration3 ,,decorative ,,illustrations ,,by ,,alfred ,,keller1 ,,for ,r4 ,h4 ,,bartsch',s 8,,bitters,,sse ,,liebesgeschichte0 ,,published ,,by ,l4 ,,staakmann1 ,,leipzig ,illustration3 ,,decorative ,,illustration ,,by ,,alfred ,,keller ,,for 8,,das ,,buch ,,der ,,kleinen ,,kleinen0 ,,published ,,by ,l4 ,,staakmann1 ,,leipzig ,illustration3 ,,decorative ,,illustration ,,by ,c4 ,,hasselwander ,illustration3 ,,decorative ,,illustration ,,by ,c4 ,k,,ystrand ,,for 8,,pierrot ,,als ,,schildwache40 ,,published ,,by ,s4 ,,czeiger ,illustration3 ,,initial ,,letter ,,by ,,gustav ,,marisch ,illustration3 ,,decorative ,,illustrations ,,by ,,marianne ,,hitschmann-,,steinberger ,,for 8,,konegen',s ,,kinderb,,cher40 ,,published ,,by ,,konegen1 ,,vienna ,,the ,,art ,,of ,,the ,,book ,,in ,,hungary ,illustration3 ,,title-,,page ,,written ,,in ,,cork4 ,,by ,,blasius ,,busay 7,,arts ,,and ,,crafts ,,school1 ,,budapest7 ,the development of art in ,hungary reached its highest point in the fifteenth century4 ,the influence of the ,italian renaissance made itself felt in this country sooner than anywhere else1 for ,mathias ,corvinus gathered round him at his ,court a great many ,italian artists and humanists1 and acquired numerous finely painted books and manuscripts4 ,the few remaining treasures of his library1 called corvinas1 are wonderful examples of renaissance book-illustrations1 mostly the work of ,italian miniaturists1 for it would seem that ,hungarian artists were not employed by the ,king4 ,political conflicts and wars put an end to the progress of art1 and then came the domination of the ,turks1 who destroyed1 or allowed to perish1 the existing monuments of art4 ,there are many reasons to account for the long period of depression in book-production and illustrative art which followed4 ,up to as late as the middle of the nineteenth century the educated classes in ,hungary adopted ,latin for conversation1 and it was also the official and legal language of the country4 ,students went to ,italy and ,germany to acquire culture4 ,consequently foreign influences were paramount1 and only the cheapest books were produced at home4 ,the native typography could not compete with that of other countries1 the art of the book fell into decay1 and ,hungarian artists were only employed in work of lesser importance4 ,the books which have been published in ,hungary during the last few years show a distinct advance when compared with those previously produced4 ,this is in a large measure due to the training offered at the ,national ,arts and ,crafts ,school at ,budapest1 where opportunity is given for the study of typography1 and characters based on the national art have been introduced and popularized4 ,there is a special class for designing script based upon the best of the old national manuscripts which combine the most desirable qualities--legibility and artistic form4 ,three excellent examples of the work of the students are reproduced on pages #bcg to #bci4 ,illustration3 ,,headpiece ,,and ,,initial ,,letter ,,by ,,alexander ,,nagy4 ,,published ,,by ,,the 8,j,,kai0 ,,printing ,,office ,hungary is happy in possessing a number of really clever book decorators1 though many of them have settled outside their native country1 and their work has in some respects little of the purely national characteristics4 ,a notable example of this is to be found in the drawings of the ,marquis ,franz von ,bayros1 a ,hungarian by race1 ,croatia being his native province1 whose work bears no relation to his nationality4 ,delicate1 refined1 and eminently decorative1 it possesses a grace which recalls the poetic charm of the ftes galantes1 and is yet1 in its technical dexterity and subtle comprehension of the requirements of black-and-white1 modern in feeling4 ,we reproduce some charming examples of this artist's work4 ,very different in conception and treatment1 but more national in character1 is the decorative illustration by ,charles ,ks 7page #bcf7 for his poem1 8,the ,death of ,attila02 while other eminent book-decorators are ,willy ,pogny1 many of whose drawings have been published in ,england1 ,alexander ,nagy and ,kriesch-,krsfi1 both leaders of the famous ,gdll group of artists4 ,nagy is a master of line1 endowed with a poetic imagination1 and he adopts with wonderful success those forms in which the ,hungarian nation is so rich4 ,characteristic of his art is the headpiece shown on this page4 ,a quaintly treated frontispiece by ,blasius ,busay is also reproduced4 ,the original design was executed in burnt cork4 ,illustration3 ,,title-,,page ,,designed ,,by ,,franz ,,von ,,bayros ,,published ,,by ,,artur ,,wolf1 ,,vienna ,illustration3 ,,decorative ,,illustrations ,,by ,,franz ,,von ,,bayros ,,published ,,by ,,artur ,,wolf1 ,,vienna ,illustration3 ,,decorative ,,illustration ,,by ,,franz ,,von ,,bayros ,,for ,,von ,,schloemps',s 8,,der ,,perverse ,,maik,,fer0 ,,published ,,by ,,georg ,m,,ller1 ,,munich ,illustration3 ,,book-,,cover ,,design ,,by ,,franz ,,von ,,bayros1 ,,for ,l4 ,h4 ,,rosegger',s 8,,von ,k,,nigen ,,und ,,jakobinern0 ,,published ,,by ,,seiffert1 ,,kostritz ,illustration3 8,,death ,,of ,,attila40--,,decorative ,,illustration ,,by ,,charles ,,kos ,illustration3 ,,example ,,of ,,writing ,,with ,,reed ,,pen4 ,,by ,,paul ,,bencsik ,,student ,,of ,,the ,,arts ,,and ,,crafts ,,schools1 ,,budapest ,illustration3 ,,example ,,of ,,writing ,,with ,,reed ,,pen4 ,,by ,,imre ,,katona ,,student ,,of ,,the ,,arts ,,and ,,crafts ,,school1 ,,budapest ,illustration3 ,,example ,,of ,,writing ,,with ,,reed ,,pen4 ,,by ,,imre ,,katona ,,student ,,of ,,the ,,arts ,,and ,,crafts ,,school1 ,,budapest ,illustration3 ,,ornament ,,by ,,franz ,,von ,,bayros1 ,,for 8,,die ,,sechzehnte ,,ehefreude40 ,,published ,,by ,,artur ,,wolf1 ,,vienna ,,sweden ,,the ,,art ,,of ,,the ,,book ,,in ,,sweden ,,by ,,august ,,brunius ,illustration3 ,,page ,,from 8,a ,,history ,,of ,,swedish ,,woodcuts40 ,,ornaments ,,by ,,artur ,,sahl,n4 ,,printed ,,by ,,norstedt ,,und ,s,,ner ,in ,sweden1 as elsewhere1 the latter half of the nineteenth century brought about a brighter period for the ,art of the ,book as regards typography1 quality of paper1 and binding4 ,still the decay had hardly been as great as in other branches of decoration and handicraft4 ,two publishing firms1 ,p4 ,a4 ,norstedt1 ,stockholm1 and ,berling1 ,lund1 have maintained a high standard of book-making4 ,on the other hand1 a more artistic character was adopted between #ahgj and #ahhj by using traditional means1 by imitating ,gothic manuscripts1 or by a somewhat arbitrary use of ,old ,northern ornamental art4 ,the renaissance1 which in ,sweden burst forth at the beginning of the nineties1 originated in a revival of interest in the decorative arts1 especially in the textiles of the ,viking and ,saga periods4 ,the ,old ,northern spirit ran like an undercurrent through the life of the whole country1 and culminated in ,artur ,hazelius's epoch-making museum work1 ,skansen and the ,northern ,museum4 ,just at the right moment there was added a practical study of modern bookmaking in ,england and on the ,continent4 ,a whole generation was seized by the new ideas which were proclaimed with such power by ,william ,morris4 ,to initiate a movement1 combining as it does artistic and practical knowledge1 a passionate idealist is required4 ,such an idealist is ,waldemar ,zachrisson1 a printer of ,gothenburg 7born #ahfa74 ,he studied in ,sweden and at the best printing firms in ,hamburg1 ,leipzig1 ,vienna1 ,berlin1 and ,st4 ,petersburg1 and developed his taste by constant study of the masterpieces of great times and the new ,english and ,american fine printing practised by ,morris and ,de ,vinne4 ,as soon as he had secured his own great business he began to work for the raising of the whole trade4 ,he founded a union of experts1 8,allmnna ,svenska ,boktrycka-refreningen0 7,swedish ,printers' ,society71 which worked for the establishment of the ,museum of ,industrial ,art in ,stockholm and the ,technical ,school for ,industrial ,art in ,gothenburg4 ,in a number of ways1 through artistic advertisements and articles in the trade papers1 he tried to prepare the ground for a higher standard in the printing-trade generally1 and his distinct practical outlook made his efforts eminently successful4 ,lately in ,sweden the common feature in the aims for developing the art of the book has been the accentuation of the national character4 ,the difficulties have here been considerable4 ,as yet we do not possess a fount designed by a ,swedish artist1 but the types we have are founded on an old predilection for the ,roman type4 ,already in #aeej the ,roman type had been introduced into ,sweden4 ,during the seventeenth and eighteenth centuries ,swedish taste was concentrated upon ,dutch and ,french models4 ,the ,roman type which is now used in ,sweden1 and which is cut in ,hamburg1 suggests ,caslon's somewhat modernized type4 ,it is called 8,medival-,roman10 and has many advantages1 is easy to read1 and has an unassuming simplicity4 ,the light tone may perhaps sometimes seem monotonously grey4 ,english readers will certainly find its resemblance to the ,english type1 but will also easily discover the differences4 ,it is characteristic of ,swedish printing that it appears to best advantage and is most personal in publications of an occasional character intended for a select public4 ,the rest of the productions are on a considerably lower level4 ,to ,english and ,french tastes our belles lettres show an astonishing lack of typographical unity4 ,there is a great variety in the size and makeup1 and also various many-coloured paper covers1 both of good and bad style1 are used4 ,however1 an improvement has occurred in the last few years1 a quieter taste has manifested itself4 ,a good step forward is the excellent publication of ,swedish classics issued by the 8,svenska ,vitterhetssamfundet0 7the ,swedish ,literature ,society71 and printed at ,albert ,bonnier's works4 ,here a severe and pure style is combined with exquisite material1 and great care is bestowed upon the typography4 ,an undertaking like this would be a credit to any country4 ,in equally good style is the ,swedish edition of ,olaus ,magnus's 8,historia de ,gentibus ,septentrionalibus10 published by another society1 the 8,michaelisgillet0 7the ,michael ,guild74 ,it was written about #aeej by the last ,catholic ,archbishop of ,sweden1 who was one of the greatest travellers and most interesting writers of the ,renaissance4 ,the text is illustrated by old woodcuts1 which had been carried out according to ,olaus ,magnus's own designs4 ,two volumes of this splendid work have been printed by ,almqvist and ,wiksell1 ,uppsala4 ,illustration3 ,,page ,,from 8,,bonde-,,practica40 ,,initial ,,letter ,,by ,,leon ,,welamson4 ,,printed ,,by ,,br,,derna-,,lagerstr,m ,in a similar manner the great ,handicraft ,exhibition at ,stockholm in #aiji produced four ,swedish classics2 they were given as prizes in a lottery4 ,these four books were arranged and printed by four different firms1 an achievement which could not have been accomplished ten years earlier4 ,this general survey of the art of the book during the last decades would be incomplete if it did not mention a printing firm which1 through its good typography1 now occupies a prominent position4 ,the two brothers ,hugo and ,carl ,lagerstrm have bestowed a great deal of labour on trying to attain a higher level in printing4 ,they learnt their trade in ,germany1 ,england1 and ,france1 and worked for some years--one in ,stockholm1 the other in ,copenhagen--before they founded the ,lagerstrm ,brothers printing firm in #aijc4 ,they have also taken a prominent part in the arts and crafts movement generally4 ,they started a paper called the ,nordisk ,boktryckarkonst 7,northern ,art of ,printing71 and founded two societies1 one of which is the abovementioned 8,michaelisgillet40 ,dr4 ,isak ,collijn1 a distinguished librarian1 was the third founder4 ,the first book ,lagerstrm ,brothers printed was a kind of typographical prospectus4 ,among the eight volumes by ,august ,strindberg there is a chemical work called 8,antibarbarus40 ,this book was decorated by a young artist1 ,artur ,sjgren1 who is a book-decorator with a profound knowledge of old ,swedish typography4 ,the book was printed in a small choice edition on hand-made paper1 and four pages are shown here 7pp4 #bdi to #beb74 ,since then ,lagerstrm ,brothers have published numerous large and small books1 always for a more limited public1 but at a price which only slightly exceeds the ordinary book-prices4 ,their productions express the same ideas of compromise that the ,english ,medici ,society is striving for4 ,illustration3 ,,paper ,,cover ,,printed ,,by ,,norstedt ,,und ,s,,ner ,the bibliophile public in ,sweden leans towards the old books1 and would not support a real aristocratic book-business on new lines and with modern aims4 ,lagerstrm ,brothers1 however1 have printed some of the most beautiful ,swedish books1 with and without decoration3 a couple of historical memoirs from the time of ,charles ,,xii2 a series of small books selected from old ,swedish literature2 and finally1 a reprint of a book which certainly has no equivalent in ,english literature1 but which all the same would probably have some interest for an ,english public4 ,the title is 8,bonde-practica10 and it is a kind of text-book for peasants in nature-study and hygiene1 partly written in verse4 ,the book was published for the first time in #affb4 ,it is a collection of observations founded on the theories of astrology1 and told with much humour4 ,this book reveals the ,swedish outlook on life and the education of the people in olden times4 ,leon ,welamson1 a young artist1 has made for the new edition of this curious old book some simple and vigorous illustrations1 which without being imitations are executed in the old style4 ,it is a masterpiece of ,swedish typography4 ,book illustrations and decoration play an important part in the modern art of the book4 ,illustrated books have always been popular1 and many of our best artists of to-day began their careers as illustrators4 ,carl ,larsson is a typical ,swedish illustrator and a distinguished painter4 ,he illustrates1 in colour or black-and-white1 his own text4 ,but he belongs to an older school in so far as he does not pay so much attention to the claims of decoration4 ,olle ,hjortzberg is a comparatively young artist4 ,he is in part influenced by the modern ,english school of book decorators1 and has done work that would satisfy even the most exacting critics4 ,he has acquired an extraordinary mastery over the early ,christian language of symbols1 and has in his books used it in an ornamental manner with great success4 ,at present he is engaged on a richly decorated 8,state0 ,bible1 78,gustav ,v's ,bible107 a gigantic undertaking1 in which both artist and printer hope to surpass themselves 7p4 #bdh74 ,while ,olle ,hjortzberg and ,artur ,sjgren are more closely attached to the technique of the book1 ,einar ,nerman1 one of the youngest ,swedish artists1 is more independent4 ,he has illustrated several children's books and has done some caricatures4 ,there is a touch of the rococo in his drawing1 and elegance combined with a bold wit which proves some ,french influence4 ,his curving lines bring forth a 8roguishness0 that is unparalleled in ,swedish art1 and can compare with the best foreign examples4 ,the illustrations to the well-known tale by ,hans ,andersen1 8,peter the ,swineherd0 7p4 #bef71 are purely original4 ,finally1 a few words regarding modern ,swedish bookbinding4 ,our productions have1 from the sixteenth century up to the present time1 followed sometimes ,german and sometimes ,french models2 during certain periods1 however1 our craftsman have produced work important and original enough to be called 8,swedish40 ,the middle of the eighteenth century especially was a flourishing age for the art of bookbinding4 ,a hundred years later the art began to lose its value and importance1 but before many decades had passed the first sign of an upward tendency was noticed4 ,it was in #ahhf1 when ,gustaf ,hedberg returned from ,paris and ,london where he had been studying for a long time4 ,he has designed and carried out numerous bindings1 and has been especially successful in attaining a rich effect by small means4 ,his ingenuity and ability in giving even to a simple binding an original character are qualities associated with the great craftsmen of all time4 ,the ,countess ,eva ,sparre1 ne ,mannerheim1 is at present our leading artist in bookbinding1 in the sense that the work is entirely her own1 independent of traditional style and original in composition1 in execution1 and especially in colour-effects4 ,she has not executed a great number of bindings1 but they are all distinguished by individual character1 very modest in their ornamentation1 and exquisite in the use of the materials4 ,miss ,greta ,morssing1 who has chiefly studied the modern ,english tooled work1 is also an accomplished exponent of the art4 ,illustration3 ,,initial ,,letters ,,designed ,,by ,,artur ,,sj,,gren ,illustration3 ,,half-,,title ,,page ,,from ,,gustav ,v',s ,,bible4 ,,designed ,,by ,,olle ,,hjortzberg4 ,,printed ,,by ,,br,,derna ,,lagerstr,m ,illustration3 ,,page ,,from ,,august ,,strindberg',s 8,,antibarbarus40 ,,with ,,decorations ,,by ,,artur ,,sj,,gren4 ,,printed ,,by ,,br,,derna ,,lagerstr,m ,illustration3 ,,page ,,from ,,august ,,strindberg',s 8,,antibarbarus40 ,,with ,,decorations ,,by ,,artur ,,sj,,gren4 ,,printed ,,by ,,br,,derna ,,lagerstr,m ,illustration3 ,,page ,,from ,,august ,,strindberg',s 8,,antibarbarus40 ,,with ,,initial ,,letter ,,by ,,artur ,,sj,,gren4 ,,printed ,,by ,,br,,derna ,,lagerstr,m ,illustration3 ,,page ,,from ,,august ,,strindberg',s 8,,antibarbarus40 ,,printed ,,by ,,br,,derna ,,lagerstr,m ,illustration3 ,,bookbinding ,,in ,,niger ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,greta ,,morssing ,illustration3 ,,bookbinding ,,in ,,niger ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,greta ,,morssing ,illustration3 ,,bookbinding ,,in ,,red ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling4 ,,by ,,greta ,,morssing ,illustration3 ,,bookbinding ,,in ,,tooled ,,leather4 ,,by ,,countess ,,eva ,,sparre ,illustration3 ,,bookbinding ,,in ,,red ,,calf1 ,,with ,,gold ,,tooling ,,by ,,gustaf ,,hedberg ,illustration3 ,,bookbinding ,,in ,,blue ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,gustaf ,,hedberg ,illustration3 ,,bookbinding ,,in ,,green ,,morocco1 ,,with ,,gold ,,tooling ,,by ,,gustaf ,,hedberg ,illustration3 ,,bookbinding ,,in ,,brown ,,morocco1 ,,with ,,inlay ,,and ,,gold ,,tooling ,,by ,,gustaf ,,hedberg ,illustration3 ,,head-,,pieces ,,by ,,einar ,,nerman ,,for ,,hans ,,andersen',s 8,,per ,,svinaherde40 ,,published ,,by ,p4 ,a4 ,,norstedt ,,und ,s,,ner ,,america ,,the ,,art ,,of ,,the ,,book ,,in ,,america ,,by ,,william ,,dana ,,orcutt ,the ,art of the ,book in ,america received a tremendous impetus as a result of the work of ,william ,morris in ,england4 ,previous to that time ,american printing showed no originality1 the finest examples being based firmly upon the best ,english work of the period4 ,the highest point of excellence was reached during the decade from #ahfj to #ahgj1 and no better example of orthodox printing could be cited than the 8,life of ,prescott10 produced by the ,university ,press in #ahfd4 ,after #ahgj1 and down to the date of the ,morris revival1 well-made volumes were issued from the ,university1 the ,riverside and the ,de ,vinne ,presses1 but the average quality deteriorated4 ,the transition of book-making from a trade to an art dates from the appearance of the ,kelmscott volumes4 ,naturally enough1 the early effect of the enthusiasm over ,morris's work was the issuance of a series of monstrosities2 but the very mistakes made by these zealous typographical disciples were educational1 producing a momentum which finally brought excellent results4 ,those who copied ,morris failed2 those who were encouraged by his departure from the beaten track to think for themselves succeeded in retaining the basic principles upon which the work of the master printers has always firmly rested1 applying them in the light of modern conditions1 and giving them originality by their individual experiments4 ,morris's work made men think1 broke down the smugness of precedent1 and enabled printing to become an art4 ,cobden-,sanderson's work accomplished much in helping ,american printing to assume a sane status after the hectic enthusiasm of the ,morris period4 ,students of typography came to realize that ,william ,morris belonged to the great decorators rather than to the master printers2 that it was his superb presswork1 and the general harmony of the factors which went into his books1 rather than his typography overloaded with design1 which represented his real contribution to the making of the ,book ,ideal4 ,when the ,doves ,press1 in continuing ,morris's work1 substituted a more classical fount of type1 based upon an ,italian model of the fifteenth century1 there was a quick response in ,america in dropping the tendency towards the ,gothic1 engendered by the type faces cut by the ,kelmscott ,press4 ,during the next ten years more original and better types were cut1 and volumes were produced which carried printing as an art to a higher point than it had previously attained4 ,of the types cut under the so-called ,gothic influence1 the 8,renner0 of the ,de ,vinne ,press is among the best4 ,theodore ,l4 ,de ,vinne1 whose recent death removed the doyen of ,american master printers1 was responsible for the well-sustained reputation of his ,press during his active association with it4 ,as a technical master of typography1 and in his magnificent presswork1 he translated himself into his books1 but the exactness of his training is reproduced in his translation of ,renner's design into the rigidity of modern type4 ,the page which is reproduced here 7p4 #bfd71 taken from one of the many superb ,grolier ,club publications produced by the ,de ,vinne ,press1 shows both the ,renner model and the modern expression of it as interpreted by ,mr4 ,de ,vinne4 ,the oblique serif of the e1the fancy curve to the h1 and the superfluous curl at the top of the g introduce features which are foreign to the model1 and give to the modern type a 8jobbiness0 which unquestionably detracts from the otherwise dignified appearance of the face4 ,the ,gilliss ,press1 whose work is now suspended1 has contributed its share to the renaissance of printing in ,america4 ,its limited editions of the books of ,william ,loring ,andrews and other volumes issued for private distribution show excellence of workmanship and harmony in conception rather than originality in treatment4 ,instead of specially designed type1 these volumes are rich in decoration1 the artistic quality of which ranks with the best4 ,at the ,merrymount ,press1 ,mr4 ,d4 ,berkeley ,updike has produced a number of volumes which have made their impress upon ,american typography because of his sincerity in carrying out his announced purpose of 8undertaking the work of to-day in the spirit of the best days of printing40 ,two special faces of type have been designed for the ,merrymount ,press1 both of which are among the successful faces cut in ,america4 ,the 8,montallegro0 type1 designed by ,herbert ,p4 ,horne1 of ,london1 is used in the volumes of the 8,humanistic ,library10 issued by ,mr4 ,updike1 of which a page is here given 7p4 #bfe74 ,of the type the ,london ,athenum says3 8,we are inclined to say not only that it is better than any of the many attempts which have resulted from ,morris's revival of the art of printing1 but also that it is even more perfect than any of the fifteenth-century founts on the study of which that revival was based4 ,it is 444 absolutely without affectation 444 and so perfectly are the proportions of the letters harmonized that every page is a thing of beauty4 ,we regret that it was reserved for an ,american printer to bring out such an admirable fount4444 ,it is the first time that a fount has been designed in modern times which satisfies at once practical and sthetic demands4 ,mr4 ,horne has solved a problem which has exercised us ever since we began to think again that printing was an art40 ,the 8,merrymount0 type1 designed by ,bertram ,grosvenor ,goodhue1 is based upon fifteenth-century models1 and has attracted much favourable comment4 ,the 8,holy ,bible0 and the 8,life of ,benvenuto ,cellini10 from which pages are here reproduced 7p4 #bfi71 are representative examples both of the type and of the typographical standards of the ,press4 ,the writer of this present article would hesitate to include his own design of 8,humanistic0 type except that it has come to be accepted by typographical students as representing an approach to the art from a standpoint entirely different from that of other designers4 ,the first types were naturally based upon the best hand-lettering of their time1 yet hand-lettering1 as an art1 reached its zenith after printing began1 in the work of the ,humanistic scribes4 ,this type is based therefore not upon an early type1 but upon hand-lettering at its highest point of perfection4 ,the pages which are shown here 7pp4 #bff and #bfg7 have been taken from 8,the ,triumphs of ,francesco ,petrarch10 produced at the ,university ,press under the writer's supervision4 ,an examination of these pages will show that the principle upon which the fount is cut differs radically from that shown in regular modern types1 namely1 the ascending letters are short and the descending letters long4 ,the designs of the letters closely follow those of the handwritten model1 yet avoid the inevitable slight irregularity of such work1 which would prove unpleasant in a printed page4 ,instead of a single character for each letter1 a certain variety is introduced by having several characters1 the compositor being trained to use the different forms exactly as the hand would automatically make a change in hand-lettering4 ,charles ,eliot ,norton says of this3 8,most modern type lacks freshness and individuality1 and the new fount to which the name #8,humanistic' has been given shows its contrast to the familiar dry1 mechanical form4 ,there is attractive freedom and unusual grace in its lines1 derived immediately from the manuscript model1 but adapted to the necessary rigid requirements of print40 ,among other important volumes produced at the ,university ,press are those decorated by ,bertram ,grosvenor ,goodhue and ,will ,bradley1 two artists whose work in book-decoration stands in a class by itself4 ,much of ,goodhue's work reflects the ,morris influence1 as will be seen in the page shown from 8,esther0 7p4 #bfh72 but his ability in original design is indicated by the border and initial of the 8,songs of ,heredia10 which is given on the same page4 ,bradley's work evidences the greatest versatility of any decorative artist ,america has produced4 ,some of his work shows ,beardsley's influence1 but no single influence could control so original a genius as ,bradley has proved himself to be4 ,the two examples reproduced here 7pp4 #bgj and #bga7 represent the extremes in his work--one drawn with a delicacy and accuracy of line which is marvellous in its execution2 the other bold and heavy1 giving a woodcut effect4 ,no one artist-printer has contributed so much to ,american typography as ,bruce ,rogers1 whose 8,montaigne0 type is easily the best and most practical of any special face1 and whose productions while associated with the ,riverside ,press are marked by an originality and a consistency of excellence beyond what has been attained by any other ,american printer4 ,he1 better than anyone else1 through his knowledge of types and his skill as a designer1 has given expression to the basic principles of the old-time master printers awakened by modern conditions4 ,his monumental folio edition of ,montaigne--pages of which are reproduced here 7pp4 #bgb and #bgc7--;demonstrates a harmony of effect eminently appropriate to the style and period of its contents4 ,the type itself is based upon an early ,french model1 and the decorations and the initial letters 7p4 #bgd7 are free renderings by ,rogers of the original designs by ,tory1 in which the retention of the designer's spirit is admirably accomplished4 ,during the past five years the ,plimpton ,press has contributed much to elevate the standard of printing and binding by abolishing to a large extent the prevalent custom of publishers to produce their volumes by 8piecemeal40 ,this has resulted in changing the making of books from a contracting to a manufacturing business1 and has had its effect in raising the quality of the so-called 8trade0 volumes4 ,when the composition1 presswork1 and binding of a book are divided up among as many firms1 the result of the divided responsibility often means a general deterioration of quality2 but by the 8complete manufacture0 method the volume is planned out in advance1 even to the paper1 cover design1 and illustrations1 by a single mind4 ,this places the printer in the position of expert manufacturing man to a large number of his customers1 and enables him to preserve standards and to introduce economies by purchasing supplies in larger quantities1 and by combining forms of text and illustrations in the manufacture4 ,the influence which a publisher can exert upon the ,art of the ,book is shown by the series of classics issued in exquisite form by ,mr4 ,thomas ,b4 ,mosher1 at prices within the reach of all4 ,these volumes are distinct evidences of his own taste and knowledge rather than triumphs of the printer1 for ,mr4 ,mosher has expressed himself in the type1 margins1 paper1 and the general format of his admirable publications4 ,it would be difficult to estimate the far-reaching results in the general advance in typographical standards due to two magazines1 ,the ,printing ,art and ,the ,graphic ,arts4 ,the monthly issues of these publications have shown ordinary printers how to produce work above the average by placing before them actual examples of the best combinations of type1 paper1 and colour harmonies4 ,they have been educational in the extreme1 teaching buyers of printing as well as printers how to secure the effects desired4 ,in the matter of domestic production ,america shows little originality in book-papers1 the 8,old ,stratford0 being the only distinctive exception4 ,no hand-made book-paper is now produced in ,america1 owing principally to the high cost of labour4 ,this makes it possible to import from ,england1 ,france1 and ,italy cheaper than to manufacture at home4 ,the 8,old ,stratford0 paper1 however1 is a unique product1 and is used much in volumes of de luxe format1 and in books where lasting qualities are demanded4 ,in cover-papers1 on the other hand1 ,america produces a bewildering line1 which quite excels those of other countries1 offering a variety of selection which is a tremendous aid to the printer in securing artistic results4 ,fine bookbinding in ,america is at present confined to a small number of individual workers1 mostly pupils of the famous ,english and ,french binders1 and their principal claim to originality of processes may be said to be an effort to combine the workmanship of the ,english with the artistic skill in decoration of the ,french4 ,the ,club ,bindery1 which flourished in ,new ,york during the lifetime of ,mr4 ,robert ,hoe1 could scarcely be called an ,american institution1 as its best workmen were brought to this country for this special purpose4 ,since his death this bindery has been broken up1 and the finest work is to-day being done by women4 ,their skill and workmanship rank high1 but they are handicapped by the excessive cost of labour and by the fact that all their leathers must be imported4 ,the inevitable higher price makes it natural that ,american book-collectors should continue to send their volumes abroad for fine bindings4 ,amongst those whose work is most highly prized may be mentioned ,miss ,sears and ,miss ,st4 ,john of ,boston1 and ,miss ,lahey of ,new ,york4 ,in ordinary trade bindings the processes are more and more reduced to machine production1 but in the best binderies this standardization has by no means proved a deterioration in quality4 ,american trade books as a whole compare favourably with those of other countries1 but it is quite true that the constantly increasing cost of every phase of book manufacture is in some instances causing ,american publishers to economize1 and to accept a grade of work inferior to what they would have considered a few years ago4 ,this1 however1 should not be regarded as a reflection upon ,american workmanship1 but rather upon ,american conditions which force it4 ,in cover design plain lettering still obtains for books of fiction and for serious works1 but considerable elaboration is used upon smaller volumes issued as seasonable publications1 or with a specific appeal4 ,a few characteristic examples are reproduced on pp4 #bge and #bgf4 ,it is impossible1 within the scope of this article1 to do more than chronicle some of the results of the remarkable advance made in the standards of book-manufacturing in ,america during the past ten years4 ,the knowledge of what constitutes a well-made volume is much greater than ever before1 and the ability of the buying public to discriminate is the most hopeful promise for the future4 ,in the omission of other examples of printing and binding1 and of mention of other artists entitled to credit for the part they have played in advancing the ,art of the ,book in ,america1 the writer pleads the limitations imposed by space4 ,illustration3 ,,page ,,from 8,,title-,,pages0 7,,the ,,grolier ,,club7 ,,printed ,,in ,,the 8,,renner0 ,,type ,,designed ,,by ,,theodore ,,low ,,de ,,vinne ,illustration3 ,,merrymount ,,press3 ,,page ,,from 8,,the ,,humanistic ,,library0 ,,printed ,,in ,,the 8,,montallegro0 ,,type ,,designed ,,by ,,herbert ,p4 ,,horne ,illustration3 ,,title-,,page ,,from 8,,the ,,triumphs ,,of ,,francesco ,,petrarch0 7,,little1 ,,brown ,,and ,,co4 ,,and ,,john ,,murray7 ,,printed ,,in ,,the 8,,humanistic0 ,,type ,,designed ,,by ,,william ,,dana ,,orcutt ,illustration3 ,,page ,,from 8,,the ,,triumphs ,,of ,,francesco ,,petrarch0 7,,little1 ,,brown ,,and ,,co4 ,,and ,,john ,,murray7 ,,printed ,,in ,,the 8,,humanistic0 ,,type ,,designed ,,by ,,william ,,dana ,,orcutt ,illustration3 ,,border ,,and ,,initial ,,letters ,,designed ,,by ,,bertram ,,grosvenor ,,goodhue ,,for 8,,esther0 7,,copeland ,,and ,,day7 ,illustration3 ,,border ,,and ,,initial ,,letter ,,designed ,,by ,,bertram ,,grosvenor ,,goodhue ,,for 8,,songs ,,of ,,heredia0 7,,small1 ,,maynard ,,and ,,co47 ,illustration3 ,,merrymount ,,press3 ,,title ,,and ,,opening ,,pages ,,printed ,,in ,,the 8,,merrymount0 ,,type ,,designed ,,by ,,bertram ,,grosvenor ,,goodhue ,illustration3 ,,page ,,designed ,,by ,,will ,,bradley ,,from 8,,the ,,campbell ,,book0 ,illustration3 ,,border ,,and ,,initial ,,letter ,,designed ,,by ,,will ,,bradley4 ,,from 8,,the ,,campbell ,,book0 ,illustration3 ,,frontispiece ,,and ,,title-,,page ,,designed ,,by ,,bruce ,,rogers ,,from 8,,essays ,,of ,,montaigne0 7,,houghton1 ,,mifflin ,,and ,,co47 ,illustration3 ,,opening ,,pages ,,printed ,,in ,,the 8,,montaigne0 ,,type ,,designed ,,by ,,bruce ,,rogers ,,from 8,,essays ,,of ,,montaigne0 7,,houghton1 ,,mifflin ,,and ,,co47 ,illustration3 ,,initial ,,letters ,,designed ,,by ,,bruce ,,rogers4 ,,from 8,,essays ,,of ,,montaigne0 7,,houghton1 ,,mifflin ,,and ,,co47 ,illustration3 ,,binding-,,cases ,,by ,,the ,,plimpton ,,press ,,studio ,illustration3 ,,binding-,,cases ,,by ,,the ,,plimpton ,,press ,,studio