قراءة كتاب The Art of the Book A Review of Some Recent European and American Work in Typography, Page Decoration & Binding
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The Art of the Book A Review of Some Recent European and American Work in Typography, Page Decoration & Binding
it. It must be easy to read as well as fair to look on, and besides carrying on the traditions of the past must respect the prejudices of the present. 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 types. If the writing schools can turn out such men, they will deserve well of all those who are interested in the art of the book. That our hope need not be vain is shown by the fact that calligraphers trained in the methods of the school have gone to Germany, and have there profoundly influenced the production of modern types; 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 heard.
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 founts. The Editor has therefore included amongst the examples shown a page from the “Pliny,” printed by Jenson in 1476, for purposes of comparison and reference. It will be found on page 21.
(Reproduced by permission of the Trustees of the Kelmscott Press)
KELMSCOTT PRESS: PAGE FROM “THE WORKS OF GEOFFREY CHAUCER” PRINTED IN THE “CHAUCER” TYPE DESIGNED BY WILLIAM MORRIS. ILLUSTRATION BY SIR EDWARD BURNE-JONES, BART., BORDER AND INITIAL LETTER BY WILLIAM MORRIS
KELMSCOTT PRESS: PAGE FROM “THE TALE OF BEOWULF” PRINTED IN THE “TROY” TYPE DESIGNED BY WILLIAM MORRIS (REPRODUCED BY PERMISSION OF THE TRUSTEES OF THE KELMSCOTT PRESS)
KELMSCOTT PRESS: PAGE PRINTED IN THE “GOLDEN” TYPE DESIGNED BY WILLIAM MORRIS (REPRODUCED BY PERMISSION OF THE TRUSTEES OF THE KELMSCOTT PRESS)
PAGE FROM THE “PLINY” PRINTED AT VENICE BY NICOLAS JENSON IN 1476
ASHENDENE PRESS: PAGE PRINTED IN GREAT PRIMER TYPE MODELLED UPON THE TYPE USED BY SWEYNHEIM AND PANNARTZ AT SUBIACO IN 1465
ERAGNY PRESS: OPENING PAGE OF THE “AREOPAGITICA” PRINTED IN THE “BROOK” TYPE, WITH BORDER AND INITIAL LETTER DESIGNED BY LUCIEN PISSARRO
ERAGNY PRESS: PAGES FROM “SONGS BY BEN JONSON” PRINTED IN THE “BROOK” TYPE DESIGNED BY LUCIEN PISSARRO
ERAGNY PRESS: OPENING PAGE OF COLERIDGE'S “CHRISTABEL” PRINTED IN THE “BROOK” TYPE, WITH BORDER AND INITIAL LETTER DESIGNED BY LUCIEN PISSARRO
FLORENCE PRESS: PAGE FROM BOCCACCIO'S “OLYMPIA” SET IN ENGLISH TYPE DESIGNED BY HERBERT P. HORNE, AND PRINTED AT THE ARDEN PRESS, LETCHWORTH, FOR MESSRS. CHATTO AND WINDUS
RICCARDI PRESS: PAGE FROM “SONNETS OF SHAKESPEARE” PRINTED IN 14 AND 11 POINT CAPITALS DESIGNED BY HERBERT P. HORNE. BORDER FROM BERNARD PICTOR AND ERHARDT RATDOLT'S “APPIANUS,” 1477
RICCARDI PRESS: PAGE FROM WALTER PATER'S “MARIUS THE EPICUREAN,” PRINTED IN 11 POINT FOUNT DESIGNED BY HERBERT P. HORNE
ABERDEEN UNIVERSITY PRESS: PAGE FROM THE “DE IMITATIONE CHRISTI” PRINTED IN THE “EWELL” TYPE DESIGNED BY DOUGLAS COCKERELL FOR MESSRS. METHUEN AND CO.
PAGE PRINTED IN THE “KENNERLEY” TYPE, 14 POINT, DESIGNED BY FREDERICK W. GOUDY AND CAST BY H. W. CASLON AND CO. LTD. INITIAL LETTER BY PAUL WOODROFFE, LENT BY THE ARDEN PRESS
PAGE PRINTED IN THE “DOLPHIN OLD STYLE” TYPE, 12 POINT DESIGNED AND CAST BY