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+Project Gutenberg's The Art and Craft of Printing, by William Morris
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art and Craft of Printing
+
+Author: William Morris
+
+Release Date: March 10, 2010 [EBook #31596]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART AND CRAFT OF PRINTING ***
+
+
+
+
+Produced by Chris Curnow, Walt Farrell and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
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+
+
+
+
+
+THE ART AND CRAFT OF PRINTING, BY WILLIAM MORRIS.
+
+
+
+
+A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT PRESS,
+TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS BY S. C. COCKERELL, AND
+AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT.
+
+
+Copyright, 1902 By H. M. O'Kane
+
+[Illustration: PSYCHE BORNE OFF BY ZEPHYRUS, DRAWN BY EDWARD BURNE-JONES
+& ENGRAVED BY WILLIAM MORRIS]
+
+[Illustration: NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE
+KELMSCOTT PRESS]
+
+
+I began printing books with the hope of producing some which would have
+a definite claim to beauty, while at the same time they should be easy
+to read and should not dazzle the eye, or trouble the intellect of the
+reader by eccentricity of form in the letters. I have always been a
+great admirer of the calligraphy of the Middle Ages, & of the earlier
+printing which took its place. As to the fifteenth-century books, I had
+noticed that they were always beautiful by force of the mere typography,
+even without the added ornament, with which many of them are so lavishly
+supplied. 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 type. Looking at my adventure from this point of view
+then, I found I had to consider chiefly the following things: the paper,
+the form of the type, the relative spacing of the letters, the words,
+and the lines; and lastly the position of the printed matter on the
+page. It was a matter of course that I should consider it necessary that
+the paper should be hand-made, both for the sake of durability and
+appearance. It would be a very false economy to stint in the quality of
+the paper as to price: so I had only to think about the kind of
+hand-made paper. On this head I came to two conclusions: 1st, that the
+paper must be wholly of linen (most hand-made papers are of cotton
+today), and must be quite 'hard,' i. e., thoroughly well sized; and 2nd,
+that, though it must be 'laid' and not 'wove' (i. e., made on a mould
+made of obvious wires), the lines caused by the wires of the mould must
+not be too strong, so as to give a ribbed appearance. I found that on
+these points I was at one with the practice of the paper-makers of the
+fifteenth century; so I took as my model a Bolognese paper of about
+1473. My friend Mr. Batchelor, of Little Chart, Kent, carried out my
+views very satisfactorily, and produced from the first the excellent
+paper, which I still use.
+
+Next as to type. By instinct rather than by conscious thinking it over,
+I began by getting myself a fount of Roman type. And here what I wanted
+was letter pure in form; severe, without needless excrescences; solid,
+without the thickening and thinning of the line, which is the essential
+fault of the ordinary modern type, and which makes it difficult to read;
+and not compressed laterally, as all later type has grown to be owing to
+commercial exigencies. There was only one source from which to take
+examples of this perfected Roman type, to wit, the works of the great
+Venetian printers of the fifteenth century, of whom Nicholas Jenson
+produced the completest and most Roman characters from 1470 to 1476.
+This type I studied with much care, getting it photographed to a big
+scale, and drawing it over many times before I began designing my own
+letter; so that though I think I mastered the essence of it, I did not
+copy it servilely; in fact, my Roman type, especially in the lower case,
+tends rather more to the Gothic than does Jenson's.
+
+After a while I felt that I must have a Gothic as well as a Roman fount;
+and herein the task I set myself was to redeem the Gothic character from
+the charge of unreadableness which is commonly brought against it. And I
+felt that this charge could not be reasonably brought against the types
+of the first two decades of printing: that Schoeffer at Mainz, Mentelin
+at Strasburg, and Gunther Zainer at Augsburg, avoided the spiky ends and
+undue compression which lay some of the later type open to the above
+charge. Only the earlier printers (naturally following therein the
+practice of their predecessors the scribes) were very liberal of
+contractions, and used an excess of 'tied' letters, which, by the way,
+are very useful to the compositor. So I entirely eschewed contractions,
+except for the '&,' and had very few tied letters, in fact none but the
+absolutely necessary ones. Keeping my end steadily in view, I designed a
+black-letter type which I think I may claim to be as readable as a Roman
+one, and to say the truth I prefer it to the Roman. This type is of the
+size called Great Primer (the Roman type is of 'English' size); but
+later on I was driven by the necessities of the Chaucer (a
+double-columned book) to get a smaller Gothic type of Pica size.
+
+The punches for all these types, I may mention, were cut for me with
+great intelligence and skill by Mr. E. P. Prince, and render my designs
+most satisfactorily.
+
+Now as to the spacing: First, the 'face' of the letter should be as
+nearly conterminous with the 'body' as possible, so as to avoid undue
+whites between the letters. Next, the lateral spaces between the words
+should be (a) no more than is necessary to distinguish clearly the
+division into words, and (b) should be as nearly equal as possible.
+Modern printers, even the best, pay very little heed to these two
+essentials of seemly composition, and the inferior ones run riot in
+licentious spacing, thereby producing, inter alia, those ugly rivers of
+lines running about the page which are such a blemish to decent
+printing. Third, the whites between the lines should not be excessive;
+the modern practice of 'leading' should be used as little as possible,
+and never without some definite reason, such as marking some special
+piece of printing. The only leading I have allowed myself is in some
+cases a 'thin' lead between the lines of my Gothic pica type: in the
+Chaucer and the double-columned books I have used a 'hair' lead, and not
+even this in the 16mo books. Lastly, but by no means least, comes the
+position of the printed matter on the page. This should always leave the
+inner margin the narrowest, the top somewhat wider, the outside
+(fore-edge) wider still, and the bottom widest of all. This rule is
+never departed from in mediæval books, written or printed. Modern
+printers systematically transgress against it; thus apparently
+contradicting the fact that the unit of a book is not one page, but a
+pair of pages. A friend, the librarian of one of our most important
+private libraries, tells me that after careful testing he has come to
+the conclusion that the mediæval rule was to make a difference of 20 per
+cent. from margin to margin. Now these matters of spacing and position
+are of the greatest importance in the production of beautiful books; if
+they are properly considered they will make a book printed in quite
+ordinary type at least decent and pleasant to the eye. The disregard of
+them will spoil the effect of the best designed type.
+
+It was only natural that I, a decorator by profession, should attempt to
+ornament my books suitably: about this matter, I will only say that I
+have always tried to keep in mind the necessity for making my decoration
+a part of the page of type. I may add that in designing the magnificent
+and inimitable woodcuts which have adorned several of my books, and will
+above all adorn the Chaucer which is now drawing near completion, my
+friend Sir Edward Burne-Jones has never lost sight of this important
+point, so that his work will not only give us a series of most beautiful
+and imaginative pictures, but form the most harmonious decoration
+possible to the printed book.
+
+Kelmscott House, Upper Mall, Hammersmith. Nov. 11, 1895
+
+
+A SHORT HISTORY AND DESCRIPTION OF THE KELMSCOTT PRESS.
+
+The foregoing article was written at the request of a London bookseller
+for an American client who was about to read a paper on the Kelmscott
+Press. As the Press is now closing, and its seven years' existence will
+soon be a matter of history, it seems fitting to set down some other
+facts concerning it while they can still be verified; the more so as
+statements founded on imperfect information have appeared from time to
+time in newspapers and reviews.
+
+As early as 1866 an edition of The Earthly Paradise was projected, which
+was to have been a folio in double columns, profusely illustrated by Sir
+Edward Burne-Jones, and typographically superior to the books of that
+time. The designs for the stories of Cupid and Psyche, Pygmalion and the
+Image, The Ring given to Venus, and the Hill of Venus, were finished,
+and forty-four of those for Cupid and Psyche were engraved on wood in
+line, somewhat in the manner of the early German masters. About
+thirty-five of the blocks were executed by William Morris himself, and
+the remainder by George Y. Wardle, G. F. Campfield, C. J. Faulkner, and
+Miss Elizabeth Burden. Specimen pages were set up in Caslon type, and in
+the Chiswick Press type afterwards used in The House of the Wolfings,
+but for various reasons the project went no further. Four or five years
+later there was a plan for an illustrated edition of Love is Enough, for
+which two initial L's and seven side ornaments were drawn and engraved
+by William Morris. Another marginal ornament was engraved by him from a
+design by Sir E. Burne-Jones, who also drew a picture for the
+frontispiece, which has now been engraved by W. H. Hooper for the final
+page of the Kelmscott Press edition of the work. These side ornaments,
+three of which appear on the opposite page, are more delicate than any
+that were designed for the Kelmscott Press, but they show that when the
+Press was started the idea of reviving some of the decorative features
+of the earliest printed books had been long in its founder's mind. At
+this same period, in the early seventies, he was much absorbed in the
+study of ancient manuscripts, and in writing out and illuminating
+various books, including a Horace and an Omar Khayyám, which may have
+led his thoughts away from printing. In any case, the plan of an
+illustrated Love is Enough, like that of the folio Earthly Paradise, was
+abandoned.
+
+Although the books written by William Morris continued to be reasonably
+printed, it was not until about 1888 that he again paid much attention
+to typography. He was then, and for the rest of his life, when not away
+from Hammersmith, in daily communication with his friend and neighbour
+Emery Walker, whose views on the subject coincided with his own, and who
+had besides a practical knowledge of the technique of printing. These
+views were first expressed in an article by Mr. Walker in the catalogue
+of the exhibition of the Arts and Crafts Exhibition Society, held at the
+New Gallery in the autumn of 1888. As a result of many conversations,
+The House of the Wolfings was printed at the Chiswick Press at this
+time, with a special type modelled on an old Basel fount, unleaded, and
+with due regard to proportion in the margins. The title-page was also
+carefully arranged. In the following year The Roots of the Mountains was
+printed with the same type (except the lower case e), but with a
+differently proportioned page, and with shoulder-notes instead of
+head-lines. This book was published in November, 1889, and its author
+declared it to be the best-looking book issued since the seventeenth
+century. Instead of large paper copies, which had been found
+unsatisfactory in the case of The House of the Wolfings, two hundred and
+fifty copies were printed on Whatman paper of about the same size as the
+paper of the ordinary copies. A small stock of this paper remained over,
+and in order to dispose of it seventy-five copies of the translation of
+the Gunnlaug Saga, which first appeared in the Fortnightly Review of
+January, 1869, and afterwards in Three Northern Love Stories, were
+printed at the Chiswick Press. The type used was a black-letter copied
+from one of Caxton's founts, and the initials were left blank to be
+rubricated by hand. Three copies were printed on vellum. This little
+book was not however finished until November, 1890.
+
+[Illustration: Ornaments designed and engraved for Love is Enough.]
+
+Meanwhile William Morris had resolved to design a type of his own.
+Immediately after The Roots of the Mountains appeared, he set to work
+upon it, and in December, 1889, he asked Mr. Walker to go into
+partnership with him as a printer. This offer was declined by Mr.
+Walker; but, though not concerned with the financial side of the
+enterprise, he was virtually a partner in the Kelmscott Press from its
+first beginnings to its end, and no important step was taken without his
+advice and approval. Indeed, the original intention was to have the
+books set up in Hammersmith and printed at his office in Clifford's Inn.
+It was at this time that William Morris began to collect the mediæval
+books of which he formed so fine a library in the next six years. He had
+made a small collection of such books years before, but had parted with
+most of them, to his great regret. He now bought with the definite
+purpose of studying the type and methods of the early printers. Among
+the first books so acquired was a copy of Leonard of Arezzo's History of
+Florence, printed at Venice by Jacobus Rubeus in 1476, in a Roman type
+very similar to that of Nicholas Jenson. Parts of this book and of
+Jenson's Pliny of 1476 were enlarged by photography in order to bring
+out more clearly the characteristics of the various letters; and having
+mastered both their virtues and defects, William Morris proceeded to
+design the fount of type which, in the list of December, 1892, he named
+the Golden type, from The Golden Legend, which was to have been the
+first book printed with it. This fount consists of eighty-one designs,
+including stops, figures, and tied letters. The lower case alphabet was
+finished in a few months. The first letter having been cut in Great
+Primer size by Mr. Prince, was thought too large, and 'English' was the
+size resolved upon. By the middle of August, 1890, eleven punches had
+been cut. At the end of the year the fount was all but complete.
+
+On Jan. 12th, 1891, a cottage, No. 16, Upper Mall, was taken. Mr.
+William Bowden, a retired master-printer, had already been engaged to
+act as compositor and pressman. Enough type was then cast for a trial
+page, which was set up and printed on Saturday, Jan. 31st, on a sample
+of the paper that was being made for the Press by J. Batchelor and Son.
+About a fortnight later ten reams of paper were delivered. On Feb. 18th
+a good supply of type followed. Mr. W. H. Bowden, who subsequently
+became overseer, then joined his father as compositor, and the first
+chapters of The Glittering Plain were set up. The first sheet appears to
+have been printed on March 2nd, when the staff was increased to three by
+the addition of a pressman named Giles, who left as soon as the book was
+finished. A friend who saw William Morris on the day after the printing
+of the page above mentioned recalls his elation at the success of his
+new type. The first volume of the Saga Library, a creditable piece of
+printing, was brought out and put beside this trial page, which much
+more than held its own. The poet then declared his intention to set to
+work immediately on a black-letter fount; illness, however, intervened
+and it was not begun until June. The lower case alphabet was finished by
+the beginning of August, with the exception of the tied letters, the
+designs for which, with those for the capitals, were sent to Mr. Prince
+on September 11th. Early in November enough type was cast for two trial
+pages, the one consisting of twenty-six lines of Chaucer's Franklin's
+Tale and the other of sixteen lines of Sigurd the Volsung. In each of
+these a capital I is used that was immediately discarded. On the last
+day of 1891 the full stock of Troy type was despatched from the foundry.
+Its first appearance was in a paragraph, announcing the book from which
+it took its name, in the list dated May, 1892.
+
+This Troy type, which its designer preferred to either of the others,
+shows the influence of the beautiful early types of Peter Schoeffer of
+Mainz, Gunther Zainer of Augsburg, and Anthony Koburger of Nuremberg;
+but, even more than the Golden type, it has a strong character of its
+own, which differs largely from that of any mediæval fount. It has
+recently been pirated abroad, and is advertised by an enterprising
+German firm as 'Die amerikanische Triumph-Gothisch.' The Golden type has
+perhaps fared worse in being remodelled in the United States, whence,
+with much of its character lost, it has found its way back to England
+under the names 'Venetian,' 'Italian,' and 'Jenson.' It is strange that
+no one has yet had the good sense to have the actual type of Nicholas
+Jenson reproduced.
+
+The third type used at the Kelmscott Press, called the 'Chaucer,'
+differs from the Troy type only in size, being Pica instead of Great
+Primer. It was cut by Mr. Prince between February and May, 1892, and was
+ready in June. Its first appearance is in the list of chapters and
+glossary of The Recuyell of the Historyes of Troye, which was issued on
+November 24th, 1892.
+
+On June 2nd of that year, William Morris wrote to Mr. Prince: 'I believe
+in about three months' time I shall be ready with a new set of sketches
+for a fount of type on English body.' These sketches were not
+forthcoming; but on Nov. 5th, 1892, he bought a copy of Augustinus De
+Civitate Dei, printed at the Monastery of Subiaco near Rome by Sweynheym
+and Pannartz, with a rather compressed type, which appears in only three
+known books. He at once designed a lower case alphabet on this model,
+but was not satisfied with it and did not have it cut. This was his last
+actual experiment in the designing of type, though he sometimes talked
+of designing a new fount, and of having the Golden type cut in a larger
+size.
+
+Next in importance to the type are the initials, borders, and ornaments
+designed by William Morris. The first book contains a single recto
+border and twenty different initials. In the next book, Poems by the
+Way, the number of different initials is fifty-nine. These early
+initials, many of which were soon discarded, are for the most part
+suggestive, like the first border, of the ornament in Italian
+manuscripts of the fifteenth century. In Blunt's Love Lyrics there are
+seven letters of a new alphabet, with backgrounds of naturalesque
+grapes and vine leaves, the result of a visit to Beauvais, where the
+great porches are carved with vines, in August, 1891. From that time
+onwards fresh designs were constantly added, the tendency being always
+towards larger foliage and lighter backgrounds, as the early initials
+were found to be sometimes too dark for the type. The total number of
+initials of various sizes designed for the Kelmscott Press, including a
+few that were engraved but never used, is three hundred and eighty-four.
+Of the letter T alone there are no less than thirty-four varieties.
+
+The total number of different borders engraved for the Press, including
+one that was not used, but excluding the three borders designed for The
+Earthly Paradise by R. Catterson-Smith, is fifty-seven. The first book
+to contain a marginal ornament, other than these full borders, was The
+Defence of Guenevere, which has a half-border on p. 74. There are two
+others in the preface to The Golden Legend. The Recuyell of the
+Historyes of Troye is the first book in which there is a profusion of
+such ornament. One hundred and eight different designs for marginal
+ornaments were engraved. Besides the above-named designs, there are
+seven frames for the pictures in The Glittering Plain, one frame for
+those in a projected edition of The House of the Wolfings, nineteen
+frames for the pictures in the Chaucer (one of which was not used in the
+book), twenty-eight title-pages and inscriptions, twenty-six large
+initial words for the Chaucer, seven initial words for The Well at the
+World's End and The Water of the Wondrous Isles, four line-endings, and
+three printer's marks, making a total of six hundred and forty-four
+designs by William Morris, drawn and engraved within seven years. All
+the initials and ornaments that recur were printed from electrotypes,
+while most of the title-pages and initial words were printed direct from
+the wood. The illustrations by Sir Edward Burne-Jones, Walter Crane, and
+C. M. Gere were also, with one or two exceptions, printed from the wood.
+The original designs by Sir E. Burne-Jones were nearly all in pencil,
+and were redrawn in ink by R. Catterson-Smith, and in a few cases by C.
+Fairfax Murray; they were then revised by the artist and transferred to
+the wood by means of photography. The twelve designs by A. J. Gaskin for
+Spenser's Shepheardes Calender, the map in The Sundering Flood, and the
+thirty-five reproductions in Some German Woodcuts of the Fifteenth
+Century, were printed from process blocks.
+
+All the wood blocks for initials, ornaments, and illustrations, were
+engraved by W. H. Hooper, C. E. Keates, and W. Spielmeyer, except the
+twenty-three blocks for The Glittering Plain, which were engraved by A.
+Leverett, and a few of the earliest initials, engraved by G. F.
+Campfield. The whole of these wood blocks have been sent to the British
+Museum, and have been accepted with a condition that they shall not be
+reproduced or printed from for the space of a hundred years. The
+electrotypes have been destroyed. In taking this course, which was
+sanctioned by William Morris when the matter was talked of shortly
+before his death, the aim of the trustees has been to keep the series of
+Kelmscott Press books as a thing apart, and to prevent the designs
+becoming stale by constant repetition. Many of them have been stolen and
+parodied in America, but in this country they are fortunately copyright.
+The type remains in the hands of the trustees, and will be used for the
+printing of its designer's works, should special editions be called for.
+Other books of which he would have approved may also be printed with it;
+the absence of initials and ornament will always distinguish them
+sufficiently from the books printed at the Kelmscott Press.
+
+The nature of the English hand-made paper used at the Press has been
+described by William Morris in the foregoing article. It was at first
+supplied in sheets of which the dimensions were sixteen inches by
+eleven. Each sheet had as a watermark a conventional primrose between
+the initials W. M. As stated above, The Golden Legend was to have been
+the first book put in hand, but as only two pages could have been
+printed at a time, and this would have made it very costly, paper of
+double the size was ordered for this work, and The Story of the
+Glittering Plain was begun instead. This book is a small quarto, as are
+its five immediate successors, each sheet being folded twice. The last
+ream of the smaller size of paper was used on The Order of Chivalry. All
+the other volumes of that series are printed in octavo, on paper of the
+double size. For the Chaucer a stouter and slightly larger paper was
+needed. This has for its watermark a Perch with a spray in its mouth.
+Many of the large quarto books were printed on this paper, of which the
+first two reams were delivered in February, 1893. Only one other size of
+paper was used at the Kelmscott Press. The watermark of this is an
+Apple, with the initials W. M., as in the other two watermarks. The
+books printed on this paper are The Earthly Paradise, The Floure and the
+Leafe, The Shepheardes Calender, and Sigurd the Volsung. The last-named
+is a folio, and the open book shows the size of the sheet, which is
+about eighteen inches by thirteen. The first supply of this Apple paper
+was delivered on March 15, 1895.
+
+Except in the case of Blunt's Love Lyrics, The Nature of Gothic, Biblia
+Innocentium, The Golden Legend, and The Book of Wisdom and Lies, a few
+copies of all the books were printed on vellum. The six copies of The
+Glittering Plain were printed on very fine vellum obtained from Rome, of
+which it was impossible to get a second supply as it was all required by
+the Vatican. The vellum for the other books, except for two or three
+copies of Poems by the Way, which were on the Roman vellum, was supplied
+by H. Band of Brentford, and by W. J. Turney & Co. of Stourbridge. There
+are three complete vellum sets in existence, and the extreme difficulty
+of completing a set after the copies are scattered, makes it unlikely
+that there will ever be a fourth.
+
+The black ink which proved most satisfactory, after that of more than
+one English firm had been tried, was obtained from Hanover. William
+Morris often spoke of making his own ink, in order to be certain of the
+ingredients, but his intention was never carried out.
+
+The binding of the books in vellum and in half-holland was from the
+first done by J. & J. Leighton. Most of the vellum used was white, or
+nearly so, but William Morris himself preferred it dark, and the skins
+showing brown hair-marks were reserved for the binding of his own copies
+of the books. The silk ties of four colours, red, blue, yellow, and
+green, were specially woven and dyed.
+
+In the following section fifty-two works, in sixty-six volumes, are
+described as having been printed at the Kelmscott Press, besides the two
+pages of Froissart's Chronicles. It is scarcely necessary to add that
+only hand presses have been used, of the type known as 'Albion.' In the
+early days there was only one press on which the books were printed,
+besides a small press for taking proofs. At the end of May, 1891, larger
+premises were taken at 14, Upper Mall, next door to the cottage already
+referred to, which was given up in June. In November, 1891, a second
+press was bought, as The Golden Legend was not yet half finished, and it
+seemed as though the last of its 1286 pages would never be reached.
+Three years later another small house was taken, No. 14 being still
+retained. This was No. 21, Upper Mall, overlooking the river, which
+acted as a reflector, so that there was an excellent light for printing.
+In January, 1895, a third press, specially made for the work, was set up
+here in order that two presses might be employed on the Chaucer. This
+press has already passed into other hands, and the little house, with
+its many associations, and its pleasant outlook towards Chiswick and
+Mortlake, is now being transformed into a granary. The last sheet
+printed there was that on which are the frontispiece and title of this
+book.
+
+14, Upper Mall, Hammersmith, January 4, 1898.
+
+
+AN ANNOTATED LIST OF ALL THE BOOKS PRINTED AT THE KELMSCOTT PRESS IN THE
+ORDER IN WHICH THEY WERE ISSUED.
+
+Note: The borders are numbered as far as possible in the order of their
+first appearance, those which appear on a verso or left hand page being
+distinguished by the addition of the letter 'a' to the numbers of the
+recto borders of similar design.
+
+1. THE STORY OF THE GLITTERING PLAIN. WHICH HAS BEEN ALSO CALLED THE
+LAND OF LIVING MEN OR THE ACRE OF THE UNDYING. WRITTEN BY WILLIAM
+MORRIS. Small 4to. Golden type. Border 1. 200 paper copies at two
+guineas, and 6 on vellum. Dated April 4, issued May 8, 1891. Sold by
+Reeves & Turner. Bound in stiff vellum with washleather ties.
+
+This book was set up from Nos. 81-4 of the English Illustrated Magazine,
+in which it first appeared; some of the chapter headings were
+re-arranged, and a few small corrections were made in the text. A trial
+page, the first printed at the Press, was struck off on January 31,
+1891, but the first sheet was not printed until about a month later. The
+border was designed in January of the same year, and engraved by W. H.
+Hooper. Mr. Morris had four of the vellum copies bound in green vellum,
+three of which he gave to friends. Only two copies on vellum were sold,
+at twelve and fifteen guineas. This was the only book with washleather
+ties. All the other vellum-bound books have silk ties, except Shelley's
+Poems and Hand and Soul, which have no ties.
+
+2. POEMS BY THE WAY. WRITTEN BY WILLIAM MORRIS. Small 4to. Golden type.
+In black and red. Border 1. 300 paper copies at two guineas, 13 on
+vellum at about twelve guineas. Dated Sept. 24, issued Oct. 20, 1891.
+Sold by Reeves & Turner. Bound in stiff vellum.
+
+This was the first book printed at the Kelmscott Press in two colours,
+and the first book in which the smaller printer's mark appeared. After
+The Glittering Plain was finished, at the beginning of April, no
+printing was done until May 11. In the meanwhile the compositors were
+busy setting up the early sheets of The Golden Legend. The printing of
+Poems by the Way, which its author first thought of calling Flores
+Atramenti, was not begun until July. The poems in it were written at
+various times. In the manuscript, Hafbur and Signy is dated February 4,
+1870; Hildebrand and Hillilel, March 1, 1871; and Love's Reward,
+Kelmscott, April 21, 1871. Meeting in Winter is a song from The Story of
+Orpheus, an unpublished poem intended for The Earthly Paradise. The last
+poem in the book, Goldilocks and Goldilocks, was written on May 20,
+1891, for the purpose of adding to the bulk of the volume, which was
+then being prepared. A few of the vellum covers were stained at Merton
+red, yellow, indigo, and dark green, but the experiment was not
+successful.
+
+3. THE LOVE-LYRICS AND SONGS OF PROTEUS BY WILFRID SCAWEN BLUNT WITH THE
+LOVE-SONNETS OF PROTEUS BY THE SAME AUTHOR NOW REPRINTED IN THEIR FULL
+TEXT WITH MANY SONNETS OMITTED FROM THE EARLIER EDITIONS. LONDON
+MDCCCXCII. Small 4to. Golden type. In black and red. Border 1. 300 paper
+copies at two guineas, none on vellum. Dated Jan. 26, issued Feb. 27,
+1892. Sold by Reeves & Turner. Bound in stiff vellum.
+
+This is the only book in which the initials are printed in red. This was
+done by the author's wish.
+
+4. THE NATURE OF GOTHIC A CHAPTER OF THE STONES OF VENICE. BY JOHN
+RUSKIN. With a preface by William Morris. Small 4to. Golden type. Border
+1. Diagrams in text. 500 paper copies at thirty shillings, none on
+vellum. Dated in preface February 15, issued March 22, 1892. Published
+by George Allen. Bound in stiff vellum.
+
+This chapter of the Stones of Venice, which Ruskin always considered the
+most important in the book, was first printed separately in 1854 as a
+sixpenny pamphlet. Mr. Morris paid more than one tribute to it in Hopes
+and Fears for Art. Of him Ruskin said in 1887, 'Morris is beaten gold.'
+
+5. THE DEFENCE OF GUENEVERE, AND OTHER POEMS. BY WILLIAM MORRIS. Small
+4to. Golden type. In black and red. Borders 2 and 1. 300 paper copies
+at two guineas, ten on vellum at about twelve guineas. Dated April 2,
+issued May 19, 1892. Sold by Reeves & Turner. Bound in limp vellum.
+
+This book was set up from a copy of the edition published by Reeves &
+Turner in 1889, the only alteration, except a few corrections, being in
+the 11th line of Summer Dawn. It is divided into three parts, the poems
+suggested by Malory's Morte d'Arthur, the poems inspired by Froissart's
+Chronicles, and poems on various subjects. The two first sections have
+borders, and the last has a half-border. The first sheet was printed on
+February 17, 1892. It was the first book bound in limp vellum, and the
+only one of which the title was inscribed by hand on the back.
+
+6. A DREAM OF JOHN BALL AND A KING'S LESSON. BY WILLIAM MORRIS. Small
+4to. Golden type. In black and red. Borders 3a, 4, and 2. With a woodcut
+designed by Sir E. Burne-Jones. 300 paper copies at thirty shillings,
+eleven on vellum at ten guineas. Dated May 13, issued Sept. 24, 1892.
+Sold by Reeves & Turner. Bound in limp vellum.
+
+This was set up with a few alterations from a copy of Reeves & Turner's
+third edition, and the printing was begun on April 4, 1892. The
+frontispiece was redrawn from that to the first edition, and engraved on
+wood by W. H. Hooper, who engraved all Sir E. Burne-Jones' designs for
+the Kelmscott Press, except those for The Wood beyond the World and The
+Life and Death of Jason. The inscription below the figures, and the
+narrow border, were designed by Mr. Morris, and engraved with the
+picture on one block, which was afterwards used on a leaflet printed for
+the Ancoats Brotherhood in February, 1894.
+
+7. THE GOLDEN LEGEND. By Jacobus de Voragine. Translated by William
+Caxton. Edited by F. S. Ellis. 3 vols. Large 4to. Golden type. Borders
+5a, 5, 6a, and 7. Woodcut title and two woodcuts designed by Sir E.
+Burne-Jones. 500 paper copies at five guineas, none on vellum. Dated
+Sept. 12, issued Nov. 3, 1892. Published by Bernard Quaritch. Bound in
+half-holland, with paper labels printed in the Troy type.
+
+In July, 1890, when only a few letters of the Golden type had been cut,
+Mr. Morris bought a copy of this book, printed by Wynkyn de Worde in
+1527. He soon afterwards determined to print it, and on Sept. 11 entered
+into a formal agreement with Mr. Quaritch for its publication. It was
+only an unforeseen difficulty about the size of the first stock of paper
+that led to The Golden Legend not being the first book put in hand. It
+was set up from a transcript of Caxton's first edition, lent by the
+Syndics of the Cambridge University Library for the purpose. A trial
+page was got out in March, 1891, and 50 pages were in type by May 11,
+the day on which the first sheet was printed. The first volume was
+finished, with the exception of the illustrations and the preliminary
+matter, in Oct., 1891. The two illustrations and the title (which was
+the first woodcut title designed by Mr. Morris) were not engraved until
+June and August, 1892, when the third volume was approaching completion.
+About half a dozen impressions of the illustrations were pulled on
+vellum. A slip asking owners of the book not to have it bound with
+pressure, nor to have the edges cut instead of merely trimmed, was
+inserted in each copy.
+
+8. THE RECUYELL OF THE HISTORYES OF TROYE. By Raoul Lefevre. Translated
+by William Caxton. Edited by H. Halliday Sparling. 2 vols. Large 4to.
+Troy type, with table of chapters and glossary in Chaucer type. In black
+and red. Borders 5a, 5, and 8. Woodcut title. 300 paper copies at nine
+guineas, five on vellum at eighty pounds. Dated Oct. 14, issued Nov. 24,
+1892. Published by Bernard Quaritch. Bound in limp vellum.
+
+This book, begun in February, 1892, is the first book printed in Troy
+type, and the first in which Chaucer type appears. It is a reprint of
+the first book printed in English. It had long been a favourite with
+William Morris, who designed a great quantity of initials and ornaments
+for it, and wrote the following note for Mr. Quaritch's catalogue: 'As
+to the matter of the book, it makes a thoroughly amusing story,
+instinct with mediæval thought and manners. For though written at the
+end of the Middle Ages and dealing with classical mythology, it has in
+it no token of the coming Renaissance, but is merely mediæval. It is the
+last issue of that story of Troy which through the whole of the Middle
+Ages had such a hold on men's imaginations; the story built up from a
+rumour of the Cyclic Poets, of the heroic City of Troy, defended by
+Priam and his gallant sons, led by Hector the Preux Chevalier, and beset
+by the violent and brutal Greeks, who were looked on as the necessary
+machinery for bringing about the undeniable tragedy of the fall of the
+city. Surely this is well worth reading, if only as a piece of undiluted
+mediævalism.' 2000 copies of a 4to announcement, with specimen pages,
+were printed at the Kelmscott Press in December, 1892, for distribution
+by the publisher.
+
+9. BIBLIA INNOCENTIUM: BEING THE STORY OF GOD'S CHOSEN PEOPLE BEFORE THE
+COMING OF OUR LORD JESUS CHRIST UPON EARTH, WRITTEN ANEW FOR CHILDREN BY
+J. W. MACKAIL, SOMETIME FELLOW OF BALLIOL COLLEGE, OXFORD. 8vo. Border
+2. 200 on paper at a guinea, none on vellum. Dated Oct. 22, issued Dec.
+9, 1892. Sold by Reeves & Turner. Bound in stiff vellum.
+
+This was the last book issued in stiff vellum except Hand and Soul, and
+the last with untrimmed edges. It was the first book printed in 8vo.
+
+10. THE HISTORY OF REYNARD THE FOXE BY WILLIAM CAXTON. Reprinted from
+his edition of 1481. Edited by H. Halliday Sparling. Large 4to. Troy
+type, with glossary in Chaucer type. In black and red. Borders 5a and 7.
+Woodcut title. 300 on paper at three guineas, 10 on vellum at fifteen
+guineas. Dated Dec. 15, 1892, issued Jan. 25, 1893. Published by Bernard
+Quaritch. Bound in limp vellum.
+
+About this book, which was first announced as in the press in the list
+dated July, 1892, William Morris wrote the following note for Mr.
+Quaritch's catalogue: 'This translation of Caxton's is one of the very
+best of his works as to style; and being translated from a kindred
+tongue is delightful as mere language. In its rude joviality, and simple
+and direct delineation of character, it is a thoroughly good
+representative of the famous ancient Beast Epic.' The edges of this
+book, and of all subsequent books, were trimmed in accordance with the
+invariable practice of the early printers. Mr. Morris much preferred the
+trimmed edges.
+
+11. THE POEMS OF WILLIAM SHAKESPEARE, PRINTED AFTER THE ORIGINAL COPIES
+OF VENUS AND ADONIS, 1593. THE RAPE OF LUCRECE, 1594. SONNETS, 1609. THE
+LOVER'S COMPLAINT. Edited by F. S. Ellis. 8vo. Golden type. In black and
+red. Borders 1 and 2. 500 paper copies at 25 shillings, 10 on vellum at
+ten guineas. Dated Jan. 17, issued Feb. 13, 1893. Sold by Reeves &
+Turner. Bound in limp vellum.
+
+A trial page of this book was set up on Nov. 1, 1892. Though the number
+was large, this has become one of the rarest books issued from the
+Press.
+
+12. NEWS FROM NOWHERE: OR, AN EPOCH OF REST, BEING SOME CHAPTERS FROM A
+UTOPIAN ROMANCE, BY WILLIAM MORRIS. 8vo. Golden type. In black and red.
+Borders 9a and 4, and a woodcut engraved by W. H. Hooper from a design
+by C. M. Gere. 300 on paper at two guineas, 10 on vellum at ten guineas.
+Dated Nov. 22, 1892, issued March 24, 1893. Sold by Reeves & Turner.
+Bound in limp vellum.
+
+The text of this book was printed before Shakespeare's Poems and
+Sonnets, but it was kept back for the frontispiece, which is a picture
+of the old manor-house in the village of Kelmscott by the upper Thames,
+from which the Press took its name. It was set up from a copy of one of
+Reeves & Turner's editions, and in reading it for the press the author
+made a few slight corrections. It was the last except the Savonarola
+(No. 31) in which he used the old paragraph mark ¶ which was discarded
+in favour of the leaves, which had already been used in the two large
+4to books printed in the Troy type.
+
+13. THE ORDER OF CHIVALRY. Translated from the French by William Caxton
+and reprinted from his edition of 1484. Edited by F. S. Ellis. And
+L'ORDENE DE CHEVALERIE, WITH TRANSLATION BY WILLIAM MORRIS. Small 4to.
+Chaucer type, in black and red. Borders 9a and 4, and a woodcut designed
+by Sir Edward Burne-Jones. 225 on paper at thirty shillings, 10 on
+vellum at ten guineas. The Order of Chivalry dated Nov. 10, 1892,
+L'Ordene de Chevalerie dated February 24, 1893, issued April 12, 1893.
+Sold by Reeves & Turner. Bound in limp vellum.
+
+This was the last book printed in small 4to. The last section is in 8vo.
+It was the first book printed in Chaucer type. The reprint from Caxton
+was finished while News from Nowhere was in the press, and before
+Shakespeare's Poems and Sonnets was begun. The French poem and its
+translation were added as an after-thought, and have a separate
+colophon. Some of the three-line initials, which were designed for The
+Well at the World's End, are used in the French poem, and this is their
+first appearance. The translation was begun on Dec. 3, 1892, and the
+border round the frontispiece was designed on Feb. 13, 1893.
+
+14. THE LIFE OF THOMAS WOLSEY, CARDINAL ARCHBISHOP OF YORK, WRITTEN BY
+GEORGE CAVENDISH. Edited by F. S. Ellis from the author's autograph MS.
+8vo. Golden type. Border 1. 250 on paper at two guineas, 6 on vellum at
+ten guineas. Dated March 30, issued May 3, 1893. Sold by Reeves &
+Turner. Bound in limp vellum.
+
+15. THE HISTORY OF GODEFREY OF BOLOYNE AND OF THE CONQUEST OF
+IHERUSALEM. Reprinted from Caxton's edition of 1481. Edited by H.
+Halliday Sparling. Large 4to. Troy type, with list of chapter headings
+and glossary in Chaucer type. In black and red. Borders 5a and 5, and
+woodcut title. 300 on paper at six guineas, 6 on vellum at 20 guineas.
+Dated April 27, issued May 24, 1893. Published by William Morris at the
+Kelmscott Press. Bound in limp vellum.
+
+This was the fifth and last of the Caxton reprints, with many new
+ornaments and initials, and a new printer's mark. It was first
+announced as in the press in the list dated Dec., 1892. It was the first
+book published and sold at the Kelmscott Press. An announcement and
+order form, with two different specimen pages, was printed at the Press,
+besides a special invoice. A few copies were bound in half holland, not
+for sale.
+
+16. UTOPIA, WRITTEN BY SIR THOMAS MORE. A reprint of the 2nd edition of
+Ralph Robinson's translation, with a foreword by William Morris. Edited
+by F. S. Ellis. 8vo. Chaucer type, with the reprinted title in Troy
+type. In black and red. Borders 4 and 2. 300 on paper at thirty
+shillings, 8 on vellum at ten guineas. Dated August 4, issued September
+8, 1893. Sold by Reeves & Turner. Bound in limp vellum.
+
+This book was first announced as in the press in the list dated May 20,
+1893.
+
+17. MAUD, A MONODRAMA. BY ALFRED LORD TENNYSON. 8vo. Golden type. In
+black and red. Borders 10a and 10, and woodcut title. 500 on paper at
+two guineas, 5 on vellum not for sale. Dated Aug. 11, issued Sept. 30,
+1893. Published by Macmillan & Co. Bound in limp vellum.
+
+The borders were specially designed for this book. They were both used
+again in the Keats, and one of them appears in The Sundering Flood. It
+is the first of the 8vo books with a woodcut title.
+
+18. GOTHIC ARCHITECTURE: A LECTURE FOR THE ARTS AND CRAFTS EXHIBITION
+SOCIETY, BY WILLIAM MORRIS. 16mo. Golden type. In black and red. 1500 on
+paper at two shillings and sixpence, 45 on vellum at ten and fifteen
+shillings. Bound in half holland.
+
+This lecture was set up at Hammersmith and printed at the New Gallery
+during the Arts and Crafts Exhibition in October and November, 1893. The
+first copies were ready on October 21, and the book was twice reprinted
+before the Exhibition closed. It was the first book printed in 16mo. The
+four-line initials used in it appear here for the first time. The vellum
+copies were sold during the Exhibition at ten shillings, and the price
+was subsequently raised to fifteen shillings.
+
+19. SIDONIA THE SORCERESS, BY WILLIAM MEINHOLD, TRANSLATED BY FRANCESCA
+SPERANZA LADY WILDE. Large 4to. Golden type. In black and red. Border 8.
+300 paper copies at four guineas, 10 on vellum at twenty guineas. Dated
+Sept. 15, issued November 1, 1893. Published by William Morris. Bound in
+limp vellum.
+
+Before the publication of this book a large 4to announcement and order
+form was issued, with a specimen page and an interesting description of
+the book and its author, written and signed by William Morris. Some
+copies were bound in half holland, not for sale.
+
+20. BALLADS AND NARRATIVE POEMS BY DANTE GABRIEL ROSSETTI. 8vo. Golden
+type. In black and red. Borders 4a and 4, and woodcut title. 310 on
+paper at two guineas, 6 on vellum at ten guineas. Dated Oct. 14, issued
+in November, 1893. Published by Ellis & Elvey. Bound in limp vellum.
+
+This book was announced as in preparation in the list of August 1, 1893.
+
+21. THE TALE OF KING FLORUS AND THE FAIR JEHANE. Translated by William
+Morris from the French of the 13th century. 16mo. Chaucer type. In black
+and red. Borders 11a and 11, and woodcut title. 350 on paper at seven
+shillings and sixpence, 15 on vellum at thirty shillings. Dated Dec. 16,
+issued Dec. 28, 1893. Published by William Morris. Bound in half
+holland.
+
+This story, like the three other translations with which it is uniform,
+was taken from a little volume called Nouvelles Françoises en prose du
+XIIIe siècle. Paris, Jannet, 1856. They were first announced as in
+preparation under the heading 'French Tales' in the list dated May 20,
+1893. Eighty-five copies of King Florus were bought by J. and M. L.
+Tregaskis, who had them bound in all parts of the world. These are now
+in the Rylands Library at Manchester.
+
+22. THE STORY OF THE GLITTERING PLAIN WHICH HAS BEEN ALSO CALLED THE
+LAND OF LIVING MEN OR THE ACRE OF THE UNDYING. WRITTEN BY WILLIAM
+MORRIS. Large 4to. Troy type, with list of chapters in Chaucer type. In
+black and red. Borders 12a and 12, 23 designs by Walter Crane, engraved
+by A. Leverett, and a woodcut title. 250 on paper at five guineas, 7 on
+vellum at twenty pounds. Dated Jan. 13, issued Feb. 17, 1894. Published
+by William Morris. Bound in limp vellum.
+
+Neither the borders in this book nor six out of the seven frames round
+the illustrations appear in any other book. The seventh is used round
+the second picture in Love is Enough. A few copies were bound in half
+holland.
+
+23. OF THE FRIENDSHIP OF AMIS AND AMILE. Done out of the ancient French
+by William Morris. 16mo. Chaucer type. In black and red. Borders 11a and
+11, and woodcut title. 500 on paper at seven shillings and sixpence, 15
+on vellum at thirty shillings. Dated March 13, issued April 4, 1894.
+Published by William Morris. Bound in half holland.
+
+A poem entitled Amys and Amillion, founded on this story, was originally
+to have appeared in the second volume of The Earthly Paradise, but, like
+some other poems announced at the same time, it was not included in the
+book.
+
+20a. SONNETS AND LYRICAL POEMS BY DANTE GABRIEL ROSSETTI. 8vo. Golden
+type. In black and red. Borders 1a and 1, and woodcut title. 310 on
+paper at two guineas, 6 on vellum at ten guineas. Dated Feb. 20, issued
+April 21, 1894. Published by Ellis & Elvey. Bound in limp vellum.
+
+This book is uniform with No. 20, to which it forms a sequel. Both
+volumes were read for the press by Mr. W. M. Rossetti.
+
+24. THE POEMS OF JOHN KEATS. Edited by F. S. Ellis. 8vo. Golden type. In
+black and red. Borders 10a and 10, and woodcut title. 300 on paper at
+thirty shillings, 7 on vellum at nine guineas. Dated March 7, issued May
+8, 1894. Published by William Morris. Bound in limp vellum.
+
+This is now (Jan., 1898) the most sought after of all the smaller
+Kelmscott Press books. It was announced as in preparation in the lists
+of May 27 and August 1, 1893, and as in the press in that of March 31,
+1894, when the woodcut title still remained to be printed.
+
+25. ATALANTA IN CALYDON: A TRAGEDY. BY ALGERNON CHARLES SWINBURNE. Large
+4to. Troy type, with argument and dramatis personæ in Chaucer type; the
+dedication and quotation from Euripides in Greek type designed by Selwyn
+Image. In black and red. Borders 5a and 5, and woodcut title. 250 on
+paper at two guineas, 8 on vellum at twelve guineas. Dated May 4, issued
+July 24, 1894. Published by William Morris. Bound in limp vellum.
+
+In the vellum copies of this book the colophon is not on the 82nd page
+as in the paper copies, but on the following page.
+
+26. THE TALE OF THE EMPEROR COUSTANS AND OF OVER SEA. Done out of
+ancient French by William Morris. 16mo. Chaucer type. In black and red.
+Borders 11a and 11, both twice, and two woodcut titles. 525 on paper at
+seven shillings and sixpence, 20 on vellum at two guineas. Dated August
+30, issued Sept. 26, 1894. Published by William Morris. Bound in half
+holland.
+
+The first of these stories, which was the source of The Man born to be
+King, in The Earthly Paradise, was announced as in preparation in the
+list of March 31, 1894.
+
+27. THE WOOD BEYOND THE WORLD. BY WILLIAM MORRIS. 8vo. Chaucer type. In
+black and red. Borders 13a and 13, and a frontispiece designed by Sir E.
+Burne-Jones, and engraved on wood by W. Spielmeyer. 350 on paper at two
+guineas, 8 on vellum at ten guineas. Dated May 30, issued Oct. 16, 1894.
+Published by William Morris. Bound in limp vellum.
+
+The borders in this book, as well as the ten half-borders, are here used
+for the first time. It was first announced as in the press in the list
+of March 31, 1894. Another edition was published by Lawrence & Bullen in
+1895.
+
+28. THE BOOK OF WISDOM AND LIES. A book of traditional stories from
+Georgia in Asia. Translated by Oliver Wardrop from the original of
+Sulkhan-Saba Orbeliani. 8vo. Golden type. In black and red. Borders 4a
+and 4, and woodcut title. 250 on paper at two guineas, none on vellum.
+Finished Sept. 29, issued Oct. 29, 1894. Published by Bernard Quaritch.
+Bound in limp vellum.
+
+The arms of Georgia, consisting of the Holy Coat, appear in the woodcut
+title of this book.
+
+29. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME I. Edited by F.
+S. Ellis. 8vo. Golden type. Borders 1a and 1, and woodcut title. 250 on
+paper at twenty-five shillings, 6 on vellum at eight guineas. Not dated,
+issued Nov. 29, 1894. Published by William Morris. Bound in limp vellum
+without ties.
+
+Red ink is not used in this volume, though it is used in the second
+volume, and more sparingly in the third. Some of the half-borders
+designed for The Wood beyond the World reappear before the longer poems.
+The Shelley was first announced as in the press in the list of March 31,
+1894.
+
+30. PSALMI PENITENTIALES. An English rhymed version of the Seven
+Penitential Psalms. Edited by F. S. Ellis. 8vo. Chaucer type. In black
+and red. 300 on paper at seven shillings and sixpence, 12 on vellum at
+three guineas. Dated Nov. 15, issued Dec. 10, 1894. Published by William
+Morris. Bound in half holland.
+
+These verses were taken from a manuscript Book of Hours written at
+Gloucester in the first half of the fifteenth century, but the Rev.
+Professor Skeat has pointed out that the scribe must have copied them
+from an older manuscript, as they are in the Kentish dialect of about a
+century earlier. The half-border on p. 34 appears for the first time in
+this book.
+
+31. EPISTOLA DE CONTEMPTU MUNDI DI FRATE HIERONYMO DA FERRARA DELLORDINE
+DE FRATI PREDICATORI LA QUALE MANDA AD ELENA BUONACCORSI SUA MADRE, PER
+CONSOLARLA DELLA MORTE DEL FRATELLO, SUO ZIO. Edited by Charles Fairfax
+Murray from the original autograph letter. 8vo. Chaucer type. In black
+and red. Border 1. Woodcut on title designed by C. F. Murray and
+engraved by W. H. Hooper. 150 on paper, and 6 on vellum. Dated Nov. 30,
+ready Dec. 12, 1894. Bound in half holland.
+
+This little book was printed for Mr. C. Fairfax Murray, the owner of the
+manuscript, and was not for sale in the ordinary way. The colophon is in
+Italian, and the printer's mark is in red.
+
+32. THE TALE OF BEOWULF. Done out of the Old English tongue by William
+Morris and A. J. Wyatt. Large 4to. Troy type, with argument, side-notes,
+list of persons and places, and glossary in Chaucer type. In black and
+red. Borders 14a and 14, and woodcut title. 300 on paper at two guineas,
+8 on vellum at ten pounds. Dated Jan. 10, issued Feb. 2, 1895. Published
+by William Morris. Bound in limp vellum.
+
+The borders in this book were only used once again, in the Jason. A Note
+to the Reader printed on a slip in the Golden type was inserted in each
+copy. Beowulf was first announced as in preparation in the list of May
+20, 1893. The verse translation was begun by Mr. Morris, with the aid of
+Mr. Wyatt's careful paraphrase of the text, on Feb. 21, 1893, and
+finished on April 10, 1894, but the argument was not written by Mr.
+Morris until Dec. 10, 1894.
+
+33. SYR PERECYVELLE OF GALES. Overseen by F. S. Ellis, after the edition
+edited by J. O. Halliwell from the Thornton MS. in the Library of
+Lincoln Cathedral. 8vo. Chaucer type. In black and red. Borders 13a and
+13, and a woodcut designed by Sir E. Burne-Jones. 350 on paper at
+fifteen shillings, 8 on vellum at four guineas. Dated Feb. 16, issued
+May 2, 1895. Published by William Morris. Bound in limp vellum.
+
+This is the first of the series to which Sire Degrevaunt and Syr
+Isumbrace belong. They were all reprinted from the Camden Society's
+volume of 1844, which was a favourite with Mr. Morris from his Oxford
+days. Syr Perecyvelle was first announced in the list of Dec. 1, 1894.
+The shoulder-notes were added by Mr. Morris.
+
+34. THE LIFE AND DEATH OF JASON, A POEM. BY WILLIAM MORRIS. Large 4to.
+Troy type, with a few words in Chaucer type. In black and red. Borders
+14a and 14, and two woodcuts designed by Sir E. Burne-Jones and
+engraved on wood by W. Spielmeyer. 200 on paper at five guineas, 6 on
+vellum at twenty guineas. Dated May 25, issued July 5, 1895. Published
+by William Morris. Bound in limp vellum.
+
+This book, announced as in the press in the list of April 21, 1894,
+proceeded slowly, as several other books, notably the Chaucer, were
+being printed at the same time. The text, which had been corrected for
+the second edition of 1868, and for the edition of 1882, was again
+revised by the author. The line-fillings on the last page were cut on
+metal for this book, and cast like type.
+
+29a. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME II. Edited by F.
+S. Ellis. 8vo. Golden type. In black and red. 250 on paper at
+twenty-five shillings, 6 on vellum at eight guineas. Not dated, issued
+March 25, 1895. Published by William Morris. Bound in limp vellum
+without ties.
+
+35. CHILD CHRISTOPHER AND GOLDILIND THE FAIR. BY WILLIAM MORRIS. 2 vols.
+16mo. Chaucer type. In black and red. Borders 15a and 15, and woodcut
+title. 600 on paper at fifteen shillings, 12 on vellum at four guineas.
+Dated July 25, issued Sept. 25, 1895. Published by William Morris. Bound
+in half holland, with labels printed in the Golden type.
+
+The borders designed for this book were only used once again, in Hand
+and Soul. The plot of the story was suggested by that of Havelok the
+Dane, printed by the Early English Text Society.
+
+29b. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME III. Edited by
+F. S. Ellis. 8vo. Golden type. In black and red. 250 on paper at
+twenty-five shillings, 6 on vellum at eight guineas. Dated August 21,
+issued October 28, 1895. Published by William Morris. Bound in limp
+vellum without ties.
+
+36. HAND AND SOUL. BY DANTE GABRIEL ROSSETTI. Reprinted from The Germ
+for Messrs. Way & Williams, of Chicago. 16mo. Golden type. In black and
+red. Borders 15a and 15, and woodcut title. 300 paper copies and 11
+vellum copies for America. 225 paper copies for sale in England at ten
+shillings, and 10 on vellum at thirty shillings. Dated Oct. 24, issued
+Dec. 12, 1895. Bound in stiff vellum without ties.
+
+This was the only 16mo book bound in vellum. The English and American
+copies have a slightly different colophon. The shoulder-notes were added
+by Mr. Morris.
+
+37. POEMS CHOSEN OUT OF THE WORKS OF ROBERT HERRICK. Edited by F. S.
+Ellis, 8vo. Golden type. In black and red. Borders 4a and 4, and woodcut
+title. 250 on paper at thirty shillings, 8 on vellum at eight guineas.
+Dated Nov. 21, 1895, issued Feb. 6, 1896. Published by William Morris.
+Bound in limp vellum.
+
+This book was first announced as in preparation in the list of Dec. 1,
+1894, and as in the press in that of July 1, 1895.
+
+38. POEMS CHOSEN OUT OF THE WORKS OF SAMUEL TAYLOR COLERIDGE. Edited by
+F. S. Ellis. 8vo. Golden type. In black and red. Borders 13a and 13. 300
+on paper at a guinea, 8 on vellum at five guineas. Dated Feb. 5, issued
+April 12, 1896. Published by William Morris. Bound in limp vellum.
+
+This book contains thirteen poems. It was first announced as in
+preparation in the list of Dec. 1, 1894, and as in the press in that of
+Nov. 26, 1895. It is the last of the series to which Tennyson's Maud,
+and the poems of Rossetti, Keats, Shelley, and Herrick belong.
+
+39. THE WELL AT THE WORLD'S END. BY WILLIAM MORRIS. Large 4to. Double
+columns. Chaucer type. In black and red. Borders 16a, 16, 17a, 17, 18a,
+18, 19a and 19, and 4 woodcuts designed by Sir E. Burne-Jones. 350 on
+paper at five guineas, 8 on vellum at twenty guineas. Dated March 2,
+issued June 4, 1896. Sold by William Morris. Bound in limp vellum.
+
+This book, delayed for various reasons, was longer on hand than any
+other. It appears in no less than twelve lists, from that of Dec., 1892,
+to that of Nov. 26, 1895, as 'in the press.' Trial pages, including one
+in a single column, were ready as early as September, 1892, and the
+printing began on December 16 of that year. The edition of The Well at
+the World's End published by Longmans was then being printed from the
+author's manuscript at the Chiswick Press, and the Kelmscott Press
+edition was set up from the sheets of that edition, which, though not
+issued until October, 1896, was finished in 1894. The eight borders and
+the six different ornaments between the columns, appear here for the
+first time, but are used again in The Water of the Wondrous Isles, with
+the exception of two borders.
+
+40. THE WORKS OF GEOFFREY CHAUCER. Edited by F. S. Ellis. Folio. Chaucer
+type, with headings to the longer poems in Troy type. In black and red.
+Borders 20a to 26, woodcut title, and 87 woodcut illustrations designed
+by Sir E. Burne-Jones. 425 on paper at twenty pounds, 13 on vellum at
+120 guineas. Dated May 8, issued June 26, 1893. Published by William
+Morris. Bound in half holland.
+
+The history of this book, which is by far the most important achievement
+of the Kelmscott Press, is as follows. As far back as June 11, 1891, Mr.
+Morris spoke of printing a Chaucer with a black-letter fount which he
+hoped to design. Four months later, when most of the Troy type was
+designed and cut, he expressed his intention to use it first on John
+Ball, and then on a Chaucer and perhaps a Gesta Romanorum. By January 1,
+1892, the Troy type was delivered, and early in that month two trial
+pages, one from The Cook's Tale and one from Sir Thopas, the latter in
+double columns, were got out. It then became evident that the type was
+too large for a Chaucer, and Mr. Morris decided to have it re-cut in the
+size known as pica. By the end of June he was thus in possession of the
+type which in the list issued in December, 1892, he named the Chaucer
+type. In July, 1892, another trial page, a passage from The Knight's
+Tale in double columns of 58 lines, was got out, and found to be
+satisfactory. The idea of the Chaucer as it now exists, with
+illustrations by Sir Edward Burne-Jones, then took definite shape.
+
+In a proof of the first list, dated April, 1892, there is an
+announcement of the book as in preparation, in black-letter, large
+quarto, but this was struck out, and does not appear in the list as
+printed in May, nor yet in the July list. In that for Dec., 1892, it is
+announced for the first time as to be in Chaucer type 'with about sixty
+designs by E. Burne-Jones.' The next list, dated March 9, 1893, states
+that it will be a folio and that it is in the press, by which was meant
+that a few pages were in type. In the list dated Aug. 1, 1893, the
+probable price is given as twenty pounds. The next four lists contain no
+fresh information, but on Aug. 17, 1894, nine days after the first sheet
+was printed, a notice was sent to the trade that there would be 325
+copies at twenty pounds and about sixty woodcuts designed by Sir Edward
+Burne-Jones. Three months later it was decided to increase the number of
+illustrations to upwards of seventy, and to print another 100 copies of
+the book. A circular letter was sent to subscribers on Nov. 14, stating
+this and giving them an opportunity of cancelling their orders. Orders
+were not withdrawn, the extra copies were immediately taken up, and the
+list for Dec. 1, 1894, which is the first containing full particulars,
+announces that all paper copies are sold.
+
+Mr. Morris began designing his first folio border on Feb. 1, 1893, but
+was dissatisfied with the design and did not finish it. Three days later
+he began the vine border for the first page, and finished it in about a
+week, together with the initial word 'Whan,' the two lines of heading,
+and the frame for the first picture, and Mr. Hooper engraved the whole
+of these on one block. The first picture was engraved at about the same
+time. A specimen of the first page (differing slightly from the same
+page as it appears in the book) was shown at the Arts and Crafts
+Exhibition in October and November, 1893, and was issued to a few
+leading booksellers, but it was not until August 8, 1894, that the first
+sheet was printed at 14, Upper Mall. On Jan. 8, 1895, another press was
+started at 21, Upper Mall, and from that time two presses were almost
+exclusively at work on the Chaucer. By Sept. 10 the last page of The
+Romaunt of the Rose was printed. In the middle of Feb., 1896, Mr.
+Morris began designing the title. It was finished on the 27th of the
+same month and engraved by Mr. Hooper in March. On May 8, a year and
+nine months after the printing of the first sheet, the book was
+completed. On June 2 the first two copies were delivered to Sir Edward
+Burne-Jones and Mr. Morris. Mr. Morris's copy is now at Exeter College,
+Oxford, with other books printed at the Kelmscott Press.
+
+Besides the eighty-seven illustrations designed by Sir Edward
+Burne-Jones, and engraved by W. H. Hooper, the Chaucer contains a
+woodcut title, fourteen large borders, eighteen different frames round
+the illustrations, and twenty-six large initial words designed for the
+book by William Morris. Many of these were engraved by C. E. Keates, and
+others by W. H. Hooper and W. Spielmeyer.
+
+In Feb., 1896, a notice was issued respecting special bindings, of which
+Mr. Morris intended to design four. Two of these were to have been
+executed under Mr. Cobden-Sanderson's direction at the Doves Bindery,
+and two by Messrs. J. & J. Leighton. But the only design that he was
+able to complete was for a full white pigskin binding, which has now
+been carried out at the Doves Bindery on forty-eight copies, including
+two on vellum.
+
+41. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME I. PROLOGUE: THE
+WANDERERS. MARCH: ATALANTA'S RACE. THE MAN BORN TO BE KING. Medium 4to.
+Golden type. In black and red. Borders 27a, 27, 28a, and 28, and woodcut
+title. 225 on paper at thirty shillings, 6 on vellum at seven guineas.
+Dated May 7, issued July 24, 1896. Published by William Morris. Bound in
+limp vellum.
+
+This was the first book printed on the paper with the apple watermark.
+The seven other volumes followed it at intervals of a few months. None
+of the ten borders used in The Earthly Paradise appear in any other
+book. The four different half-borders round the poems to the months are
+also not used elsewhere. The first border was designed in June, 1895.
+
+42. LAUDES BEATAE MARIAE VIRGINIS. Latin poems taken from a Psalter
+written in England about A. D. 1220. Edited by S. C. Cockerell. Large
+4to. Troy type. In black, red, and blue. 250 on paper at ten shillings,
+10 on vellum at two guineas. Dated July 7, issued August 7, 1896.
+Published by William Morris. Bound in half holland.
+
+This was the first book printed at the Kelmscott Press in three colours.
+The manuscript from which the poems were taken was one of the most
+beautiful of the English books in Mr. Morris's possession, both as
+regards writing and ornament. No author's name is given to the poems,
+but after this book was issued the Rev. E. S. Dewick pointed out that
+they had already been printed at Tegernsee in 1579, in a 16mo volume in
+which they are ascribed to Stephen Langton. A note to this effect was
+printed in the Chaucer type in Dec. 28, 1896, and distributed to the
+subscribers.
+
+41a. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME II. APRIL: THE DOOM
+OF KING ACRISIUS. THE PROUD KING. Medium 4to. Golden type. In black and
+red. Borders 29a, 29, 28a, and 28. 225 on paper at thirty shillings, 6
+on vellum at seven guineas. Dated June 24, issued Sept. 17, 1896.
+Published by William Morris. Bound in limp vellum.
+
+43. THE FLOURE AND THE LEAFE, AND THE BOKE OF CUPIDE, GOD OF LOVE, OR
+THE CUCKOW AND THE NIGHTINGALE. Edited by F. S. Ellis. Medium 4to. Troy
+type, with note and colophon in Chaucer type. In black and red. 300 on
+paper at ten shillings, 10 on vellum at two guineas. Dated Aug. 21,
+issued Nov. 2, 1896. Published at the Kelmscott Press. Bound in half
+holland.
+
+Two of the initial words from the Chaucer are used in this book, one at
+the beginning of each poem. These poems were formerly attributed to
+Chaucer, but recent scholarship has proved that The Floure and the Leafe
+is much later than Chaucer, and that The Cuckow and the Nightingale was
+written by Sir Thomas Clanvowe about A. D. 1405-10.
+
+44. THE SHEPHEARDES CALENDER: CONTEYNING TWELVE ÆGLOGUES, PROPORTIONABLE
+TO THE TWELVE MONETHES. By Edmund Spenser. Edited by F. S. Ellis.
+Medium 4to. Golden type. In black and red. With twelve full-page
+illustrations by A. J. Gaskin. 225 on paper at a guinea, 6 on vellum at
+three guineas. Dated Oct. 14, issued Nov. 26, 1896. Published at the
+Kelmscott Press. Bound in half holland.
+
+The illustrations in this book were printed from process blocks by
+Walker & Boutall. By an oversight the names of author, editor, and
+artist were omitted from the colophon.
+
+41b. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME III. MAY: THE STORY
+OF CUPID AND PSYCHE. THE WRITING ON THE IMAGE. JUNE: THE LOVE OF
+ALCESTIS. THE LADY OF THE LAND. Medium 4to. Golden type. In black and
+red. Borders 30a, 30, 27a, 27, 28a, 28, 29a, and 29. 225 on paper at
+thirty shillings, 6 on vellum at seven guineas. Dated Aug. 24, issued
+Dec. 5, 1896. Published at the Kelmscott Press. Bound in limp vellum.
+
+41c. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME IV. JULY: THE SON
+OF CROESUS. THE WATCHING OF THE FALCON. AUGUST: PYGMALION AND THE
+IMAGE. OGIER THE DANE. Medium 4to. Golden type. In black and red.
+Borders 31a, 31, 29a, 29, 28a, 28, 30a, and 30. Dated Nov. 25, 1896,
+issued Jan. 22, 1897. Published at the Kelmscott Press. Bound in limp
+vellum.
+
+41d. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME V. SEPTEMBER: THE
+DEATH OF PARIS. THE LAND EAST OF THE SUN AND WEST OF THE MOON. OCTOBER:
+THE STORY OF ACONTIUS AND CYDIPPE. THE MAN WHO NEVER LAUGHED AGAIN.
+Medium 4to. Golden type. In black and red. Borders 29a, 29, 27a, 27,
+28a, 28, 31a, and 31. Finished Dec. 24, 1896, issued Mar. 9, 1897.
+Published at the Kelmscott Press. Bound in limp vellum.
+
+41e. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VI. NOVEMBER: THE
+STORY OF RHODOPE. THE LOVERS OF GUDRUN. Medium 4to. Golden type. In
+black and red. Borders 27a, 27, 30a, and 30. Finished Feb. 18, issued
+May 11, 1897. Published at the Kelmscott Press. Bound in limp vellum.
+
+41f. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VII. DECEMBER: THE
+GOLDEN APPLES. THE FOSTERING OF ASLAUG. JANUARY: BELLEROPHON AT ARGOS.
+THE RING GIVEN TO VENUS. Medium 4to. Golden type. In black and red.
+Borders 29a, 29, 31a, 31, 30a, 30, 27a, and 27. Finished March 17,
+issued July 29, 1897. Published at the Kelmscott Press. Bound in limp
+vellum.
+
+45. THE WATER OF THE WONDROUS ISLES. BY WILLIAM MORRIS. Large 4to.
+Chaucer type, in double columns, with a few lines in Troy type at the
+end of each of the seven parts. In black and red. Borders 16a, 17a, 18a,
+19, and 19a. 250 on paper at three guineas, 6 on vellum at twelve
+guineas. Dated April 1, issued July 29, 1897. Published at the Kelmscott
+Press. Bound in limp vellum.
+
+Unlike The Well at the World's End, with which it is mainly uniform,
+this book has red shoulder-notes and no illustrations. Mr. Morris began
+the story in verse on Feb. 4, 1895. A few days later he began it afresh
+in alternate prose and verse; but he was again dissatisfied, and finally
+began it a third time in prose alone, as it now stands. It was first
+announced as in the press in the list of June 1, 1896, at which date the
+early chapters were in type, although they were not printed until about
+a month later. The designs for the initial words 'Whilom' and 'Empty'
+were begun by William Morris shortly before his death, and were finished
+by R. Catterson-Smith. Another edition was published by Longmans on Oct.
+1, 1897.
+
+41g. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VIII. FEBRUARY:
+BELLEROPHON IN LYCIA. THE HILL OF VENUS. EPILOGUE. L'ENVOI. Medium 4to.
+Golden type. In black and red. Borders 28a, 28, 29a, and 29. Finished
+June 10, issued Sept. 27, 1897. Published at the Kelmscott Press. Bound
+in limp vellum.
+
+The colophon of this final volume of The Earthly Paradise contains the
+following note: 'The borders in this edition of The Earthly Paradise
+were designed by William Morris, except those on page 4 of volumes ii.,
+iii., and iv., afterwards repeated, which were designed to match the
+opposite borders, under William Morris's direction, by R.
+Catterson-Smith; who also finished the initial words 'Whilom' and
+'Empty' for The Water of the Wondrous Isles. All the other letters,
+borders, title-pages and ornaments used at the Kelmscott Press, except
+the Greek type in Atalanta in Calydon, were designed by William Morris.'
+
+46. TWO TRIAL PAGES OF THE PROJECTED EDITION OF LORD BERNERS'
+TRANSLATION OF FROISSART'S CHRONICLES. Folio. Chaucer type, with heading
+in Troy type. In black and red. Border 32, containing the shields of
+France, the Empire, and England and a half-border containing those of
+Reginald Lord Cobham, Sir John Chandos, and Sir Walter Manny. 160 on
+vellum at a guinea, none on paper. Dated September, issued October 7,
+1897. Published at the Kelmscott Press. Not bound.
+
+It was the intention of Mr. Morris to make this edition of what was
+since his college days almost his favourite book, a worthy companion to
+the Chaucer. It was to have been in two volumes folio, with new cusped
+initials and heraldic ornament throughout. Each volume was to have had a
+large frontispiece designed by Sir E. Burne-Jones; the subject of the
+first was to have been St. George, that of the second, Fame. A trial
+page was set up in the Troy type soon after it came from the foundry, in
+Jan., 1892. Early in 1893 trial pages were set up in the Chaucer type,
+and in the list for March 9 of that year the book is erroneously stated
+to be in the press. In the three following lists it is announced as in
+preparation. In the list dated Dec. 1, 1893, and in the three next
+lists, it is again announced as in the press, and the number to be
+printed is given as 150. Meanwhile the printing of the Chaucer had been
+begun, and as it was not feasible to carry on two folios at the same
+time, the Froissart again comes under the heading 'in preparation' in
+the lists from Dec. 1, 1894, to June 1, 1896. In the prospectus of the
+Shepheardes Calender, dated Nov. 12, 1896, it is announced as abandoned.
+At that time about thirty-four pages were in type, but no sheet had been
+printed. Before the type was broken up, on Dec. 24, 1896, 32 copies of
+sixteen of these pages were printed and given as a memento to personal
+friends of the poet and printer whose death now made the completion of
+the book impossible. This suggested the idea of printing two pages for
+wider distribution. The half-border had been engraved in April, 1894, by
+W. Spielmeyer, but the large border only existed as a drawing. It was
+engraved with great skill and spirit by C. E. Keates, and the two pages
+were printed by Stephen Mowlem, with the help of an apprentice, in a
+manner worthy of the designs.
+
+47. SIRE DEGREVAUNT. Edited by F. S. Ellis after the edition printed by
+J. O. Halliwell. 8vo. Chaucer type. In black and red. Borders 1a and 1,
+and a woodcut designed by Sir Edward Burne-Jones. 350 on paper at
+fifteen shillings, 8 on vellum at four guineas. Dated Mar. 14, 1896,
+issued Nov. 12, 1897. Published at the Kelmscott Press. Bound in half
+holland.
+
+This book, subjects from which were painted by Sir Edward Burne-Jones on
+the walls of The Red House, Upton, Bexley Heath, many years ago, was
+always a favourite with Mr. Morris. The frontispiece was not printed
+until October, 1897, eighteen months after the text was finished.
+
+48. SYR YSAMBRACE. Edited by F. S. Ellis after the edition printed by J.
+O. Halliwell from the MS. in the Library of Lincoln Cathedral, with some
+corrections. 8vo. Chaucer type. In black and red. Borders 4a and 4, and
+a woodcut designed by Sir Edward Burne-Jones. 350 on paper at twelve
+shillings, 8 on vellum at four guineas. Dated July 14, issued Nov. 11,
+1897. Published at the Kelmscott Press. Bound in half holland.
+
+This is the third and last of the reprints from the Camden Society's
+volume of Thornton Romances. The text was all set up and partly printed
+by June, 1896, at which time it was intended to include 'Sir Eglamour'
+in the same volume.
+
+49. SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY. Being thirty-five
+reproductions from books that were in the library of the late William
+Morris. Edited, with a list of the principal woodcut books in that
+library, by S. C. Cockerell. Large 4to. Golden type. In red and black.
+225 on paper at thirty shillings, 8 on vellum at five guineas. Dated
+Dec. 15, 1897, issued January 6, 1898. Published at the Kelmscott Press.
+Bound in half holland.
+
+Of these thirty-five reproductions twenty-nine were all that were done
+of a series chosen by Mr. Morris to illustrate a catalogue of his
+library, and the other six were prepared by him for an article in the
+4th number of Bibliographica, part of which is reprinted as an
+introduction to the book. The process blocks (with one exception) were
+made by Walker & Boutall, and are of the same size as the original cuts.
+
+50. THE STORY OF SIGURD THE VOLSUNG AND THE FALL OF THE NIBLUNGS. BY
+WILLIAM MORRIS. Small folio. Chaucer type, with title and headings to
+the four books in Troy type. In black and red. Borders 33a and 33, and
+two illustrations designed by Sir Edward Burne-Jones. 160 on paper at
+six guineas, 6 on vellum at twenty guineas. Dated January 19, issued
+February 25, 1898. Published at the Kelmscott Press. Bound in limp
+vellum.
+
+The two borders used in this book were almost the last that Mr. Morris
+designed. They were intended for an edition of The Hill of Venus, which
+was to have been written in prose by him and illustrated by Sir E.
+Burne-Jones. The foliage was suggested by the ornament in two Psalters
+of the last half of the thirteenth century in the library at Kelmscott
+House. The initial A at the beginning of the 3rd book was designed in
+March, 1893, for the Froissart, and does not appear elsewhere.
+
+An edition of Sigurd the Volsung, which Mr. Morris justly considered his
+masterpiece, was contemplated early in the history of the Kelmscott
+Press. An announcement appears in a proof of the first list, dated
+April, 1892, but it was excluded from the list as issued in May. It did
+not reappear until the list of November 26, 1895, in which, the Chaucer
+being near its completion, Sigurd comes under the heading 'in
+preparation,' as a folio in Troy type, 'with about twenty-five
+illustrations by Sir E. Burne-Jones.' In the list of June 1, 1896, it is
+finally announced as 'in the press,' the number of illustrations is
+increased to forty, and other particulars are given. Four borders had
+then been designed for it, two of which were used on pages 470 and 471
+of the Chaucer. The other two have not been used, though one of them has
+been engraved. Two pages only were in type, thirty-two copies of which
+were struck off on Jan. 11, 1897, and given to friends, with the sixteen
+pages of Froissart mentioned above.
+
+51. THE SUNDERING FLOOD WRITTEN BY WILLIAM MORRIS. Overseen for the
+press by May Morris. 8vo. Chaucer type. In black and red. Border 10, and
+a map. 300 on paper at two guineas. Dated Nov. 15, 1897, issued Feb. 25,
+1898. Published at the Kelmscott Press. Bound in half holland.
+
+This was the last romance by William Morris. He began to write it on
+Dec. 21, 1895, and dictated the final words on Sept. 8, 1896. The map
+pasted into the cover was drawn by H. Cribb for Walker & Boutall, who
+prepared the block. In the edition that Longmans are about to issue the
+bands of robbers called in the Kelmscott edition Red and Black Skinners
+appear correctly as Red and Black Skimmers. The name was probably
+suggested by that of the pirates called 'escumours of the sea' on page
+154 of Godefrey of Boloyne.
+
+52. LOVE IS ENOUGH, OR THE FREEING OF PHARAMOND: A MORALITY. WRITTEN BY
+WILLIAM MORRIS. Large 4to. Troy type, with stage directions in Chaucer
+type. In black, red, and blue. Borders 6a and 7, and two illustrations
+designed by Sir Edward Burne-Jones. 300 on paper at two guineas, 8 on
+vellum at ten guineas. Dated Dec. 11, 1897, issued Mar. 24, 1898.
+Published at the Kelmscott Press. Bound in limp vellum.
+
+This was the second book printed in three colours at the Kelmscott
+Press. As explained in the colophon, the final picture was not designed
+for this edition of Love is Enough, but for the projected edition
+referred to above, on page 5.
+
+53. A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT
+PRESS, TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS BY S. C.
+COCKERELL, AND AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT. Octavo.
+Golden type, with five pages in the Troy and Chaucer types. In black and
+red. Borders 4a and 4, and a woodcut designed by Sir E. Burne-Jones. 525
+on paper at ten shillings, 12 on vellum at two guineas. Dated March 1,
+issued March 24, 1898. Published at the Kelmscott Press. Bound in half
+holland.
+
+The frontispiece to this book was engraved by William Morris for the
+projected edition of The Earthly Paradise described on page 5. This
+block and the blocks for the three ornaments on page 7 are not included
+among those mentioned on page 12 as having been sent to the British
+Museum.
+
+
+VARIOUS LISTS, LEAFLETS AND ANNOUNCEMENTS PRINTED AT THE KELMSCOTT
+PRESS.
+
+Eighteen lists of the books printed or in preparation at the
+Kelmscott Press were issued to booksellers and subscribers. The dates of
+these are May, July, and Dec., 1892; March 9, May 20, May 27, Aug. 1, and
+Dec. 1, 1893; March 31, April 21, July 2, Oct. 1 (a leaflet), and Dec.
+1, 1894; July 1, and Nov. 26, 1895; June 1, 1896; Feb. 16, and July 28,
+1897. The three lists for 1892, and some copies of that for Mar. 9,
+1893, were printed on Whatman paper, the last of the stock bought for
+the first edition of The Roots of the Mountains (see p. 6). Besides
+these, twenty-nine announcements, relating mainly to individual books,
+were issued; and eight leaflets, containing extracts from the lists,
+were printed for distribution by Messrs. Morris & Co.
+
+The following items, as having a more permanent interest than most of
+these announcements, merit a full description:
+
+1. Two forms of invitation to the annual gatherings of The Hammersmith
+Socialist Society on Jan. 30, 1892, and Feb. 11, 1893. Golden type.
+
+2. A four-page leaflet for the Ancoats Brotherhood, with the
+frontispiece from the Kelmscott Press edition of A Dream of John Ball on
+the first page. March, 1894. Golden type. 2500 copies.
+
+3. An address to Sir Lowthian Bell, Bart., from his employés, dated 30th
+June, 1894. 8 pages. Golden type. 250 on paper and 2 on vellum.
+
+4. A leaflet, with fly-leaf, headed An American Memorial to Keats,
+together with a form of invitation to the unveiling of his bust in
+Hampstead Parish Church on July 16, 1894. Golden type. 750 copies.
+
+5. A slip giving the text of a memorial tablet to Dr. Thomas Sadler, for
+distribution at the unveiling of it in Rosslyn Hill Chapel, Hampstead.
+Nov., 1894. Golden type. 450 copies.
+
+6. Scholarship certificates for the Technical Education Board of the
+London County Council, printed in the oblong borders designed for the
+pictures in Chaucer's Works. One of these borders was not used in the
+book, and this is its only appearance. The first certificate was printed
+in Nov., 1894, and was followed in Jan., 1896, by eleven certificates;
+in Jan., 1897, by six certificates; and in Feb., 1898, by eleven
+certificates, all differently worded. Golden type. The numbers varied
+from 12 to 2500 copies.
+
+7. Programmes of the Kelmscott Press annual wayzgoose for the years
+1892-5. These were printed without supervision from Mr. Morris.
+
+8. Specimen showing the three types used at the Press for insertion in
+the first edition of Strange's Alphabets. March, 1895. 2000 ordinary
+copies and 60 on large paper.
+
+9. Card for Associates of the Deaconess Institution for the Diocese of
+Rochester. One side of this card is printed in Chaucer type; on the
+other there is a prayer in the Troy type enclosed in a small border
+which was not used elsewhere. It was designed for the illustrations of a
+projected edition of The House of the Wolfings. April, 1897. 250
+copies.
+
+
+  A LIST OF THE BOOKS DESCRIBED ABOVE.              page
+
+   1 The Glittering Plain (without illustrations)     15
+   2 Poems by the Way                                 15
+   3 Blunt's Love Lyrics and Songs of Proteus         16
+   4 Ruskin's Nature of Gothic                        16
+   5 The Defence of Guenevere                         16
+   6 A Dream of John Ball                             17
+   7 The Golden Legend                                17
+   8 The Recuyell of the Historyes of Troye           18
+   9 Mackail's Biblia Innocentium                     19
+  10 Reynard the Foxe                                 19
+  11 Shakespeare's Poems and Sonnets                  20
+  12 News from Nowhere                                20
+  13 The Order of Chivalry                            20
+  14 Cavendish's Life of Wolsey                       21
+  15 Godefrey of Boloyne                              21
+  16 More's Utopia                                    22
+  17 Tennyson's Maud                                  22
+  18 Gothic Architecture, by William Morris           22
+  19 Sidonia the Sorceress                            23
+  20 Rossetti's Ballads and Narrative Poems           23
+  20a    "      Sonnets and Lyrical Poems             24
+  21 King Florus                                      23
+  22 The Glittering Plain (illustrated)               23
+  23 Amis and Amile                                   24
+  24 The Poems of Keats                               24
+  25 Swinburne's Atalanta in Calydon                  25
+  26 The Emperor Coustans                             25
+  27 The Wood beyond the World                        25
+  28 The Book of Wisdom and Lies                      25
+  29 Shelley's Poems, Vol. I.                         26
+  29a         "        "   II.                        28
+  29b         "        "   III.                       28
+  30 Psalmi Penitentiales                             26
+  31 Savonarola, De contemptu Mundi                   26
+  32 Beowulf                                          27
+  33 Syr Perecyvelle                                  27
+  34 The Life and Death of Jason                      27
+  35 Child Christopher                                28
+  36 Rossetti's Hand and Soul                         28
+  37 Herrick's Poems                                  29
+  38 Coleridge's Poems                                29
+  39 The Well at the World's End                      29
+  40 Chaucer's Works                                  30
+  41 The Earthly Paradise, Vol. I.                    32
+  41a   "           "       "   II.                   33
+  41b   "           "       "   III.                  34
+  41c   "           "       "   IV.                   34
+  41d   "           "       "   V.                    34
+  41e   "           "       "   VI.                   34
+  41f   "           "       "   VII.                  35
+  41g   "           "       "   VIII.                 35
+  42 Laudes Beatæ Mariæ Virginis                      33
+  43 The Floure and the Leafe                         33
+  44 Spenser's Shepheardes Calender                   33
+  45 The Water of the Wondrous Isles                  35
+  46 Trial pages of Froissart                         36
+  47 Sire Degrevaunt                                  37
+  48 Syr Ysambrace                                    37
+  49 Some German Woodcuts                             38
+  50 Sigurd the Volsung                               38
+  51 The Sundering Flood                              39
+  52 Love is Enough                                   39
+  53 A Note by William Morris                         40
+
+  LEAFLETS, &c.
+
+     Various lists and announcements relating to the
+       Kelmscott Press                                40
+  1. Hammersmith Socialist Society, invitations       40
+  2. Ancoats Brotherhood leaflet                      41
+  3. Address to Sir Lowthian Bell                     41
+  4. An American Memorial to Keats                    41
+  5. Memorial to Dr. Thomas Sadler                    41
+  6. L. C. C. Scholarship Certificates                41
+  7. Wayzgoose Programmes                             41
+  8. Specimen in Strange's Alphabets                  41
+  9. Card for Associates of the Deaconess Institution
+       for the Diocese of Rochester                   41
+
+Other works announced in the lists as in preparation, but afterwards
+abandoned, were The Tragedies, Histories, and Comedies of William
+Shakespeare; Caxton's Vitas Patrum; The Poems of Theodore Watts-Dunton;
+and A Catalogue of the Collection of Woodcut Books, Early Printed Books,
+and Manuscripts at Kelmscott House. The text of the Shakespeare was to
+have been prepared by Dr. Furnivall. The original intention, as first
+set out in the list of May 20, 1893, was to print it in three vols.
+folio. A trial page from Lady Macbeth, printed at this time, is in
+existence. The same information is repeated until the list of July 2,
+1895, in which the book is announced as to be a 'small 4to (special
+size),' i. e., the size afterwards adopted for The Earthly Paradise. It
+was not, however, begun, nor was the volume of Mr. Watts-Dunton's poems.
+Of the Vitas Patrum, which was to have been uniform with The Golden
+Legend, a prospectus and specimen page were issued in March, 1894, but
+the number of subscribers did not justify its going beyond this stage.
+Two trial pages of the Catalogue were set up; some of the material
+prepared for it has now appeared in Some German Woodcuts of the
+Fifteenth Century. In addition to these books, The Hill of Venus, as
+stated on p. 38, was in preparation. Among works that Mr. Morris had
+some thought of printing may also be mentioned The Bible, Gesta
+Romanorum, Malory's Morte Darthur, The High History of the San Graal
+(translated by Dr. Sebastian Evans), Piers Ploughman, Huon of Bordeaux,
+Caxton's Jason, a Latin Psalter, The Prymer or Lay Folk's Prayer-Book,
+Some Mediæval English Songs and Music, The Pilgrim's Progress, and a
+Book of Romantic Ballads. He was engaged on the selection of the
+Ballads, which he spoke of as the finest poems in our language, during
+his last illness.
+
+
+
+
+THE IDEAL BOOK: AN ADDRESS BY WILLIAM MORRIS, DELIVERED BEFORE THE
+BIBLIOGRAPHICAL SOCIETY OF LONDON, MDCCCXCIII.
+
+
+By the Ideal Book, I suppose we are to understand a book not limited by
+commercial exigencies of price: we can do what we like with it,
+according to what its nature, as a book, demands of art. But we may
+conclude, I think, that its matter will limit us somewhat; a work on
+differential calculus, a medical work, a dictionary, a collection of a
+statesman's speeches, or a treatise on manures, such books, though they
+might be handsomely and well printed, would scarcely receive ornament
+with the same exuberance as a volume of lyrical poems, or a standard
+classic, or such like. A work on Art, I think, bears less of ornament
+than any other kind of book ("non bis in idem" is a good motto); again,
+a book that must have illustrations, more or less utilitarian, should, I
+think, have no actual ornament at all, because the ornament and the
+illustration must almost certainly fight.
+
+Still whatever the subject matter of the book may be, and however bare
+it may be of decoration, it can still be a work of art, if the type be
+good and attention be paid to its general arrangement. All here present,
+I should suppose, will agree in thinking an opening of Schoeffer's
+1462 Bible beautiful, even when it has neither been illuminated nor
+rubricated; the same may be said of Schussler, or Jenson, or, in short,
+of any of the good old printers; their books, without any further
+ornament than they derived from the design and arrangement of the
+letters, were definite works of art. In fact a book, printed or written,
+has a tendency to be a beautiful object, and that we of this age should
+generally produce ugly books, shows, I fear, something like malice
+prepense--a determination to put our eyes in our pockets wherever we
+can.
+
+Well, I lay it down, first, that a book quite unornamented can look
+actually and positively beautiful, and not merely un-ugly, if it be, so
+to say, architecturally good, which, by the by, need not add much to its
+price, since it costs no more to pick up pretty stamps than ugly ones,
+and the taste and forethought that goes to the proper setting, position,
+and so on, will soon grow into a habit, if cultivated, and will not
+take up much of the master printer's time when taken with his other
+necessary business.
+
+Now, then, let us see what this architectural arrangement claims of us.
+First, the pages must be clear and easy to read; which they can hardly
+be unless, Secondly, the type is well designed; and Thirdly, whether the
+margins be small or big, they must be in due proportion to the page of
+the letter.
+
+For clearness of reading the things necessary to be heeded are, first,
+that the letters should be properly put on their bodies, and, I think,
+especially that there should be small whites between them; it is
+curious, but to me certain, that the irregularity of some early type,
+notably the roman letter of the early printers of Rome, which is, of all
+roman type, the rudest, does not tend toward illegibility: what does so
+is the lateral compression of the letter, which necessarily involves the
+over thinning out of its shape. Of course I do not mean to say that the
+above-mentioned irregularity is other than a fault to be corrected. One
+thing should never be done in ideal printing, the spacing out of
+letters--that is, putting an extra white between them; except in such
+hurried and unimportant work as newspaper printing, it is inexcusable.
+
+This leads to the second matter on this head, the lateral spacing of
+words (the whites between them); to make a beautiful page great
+attention should be paid to this, which, I fear, is not often done. No
+more white should be used between the words than just clearly cuts them
+off from one another; if the whites are bigger than this it both tends
+to illegibility and makes the page ugly. I remember once buying a
+handsome fifteenth-century Venetian book, and I could not tell at first
+why some of its pages were so worrying to read, and so commonplace and
+vulgar to look at, for there was no fault to find with the type. But
+presently it was accounted for by the spacing: for the said pages were
+spaced like a modern book, i. e., the black and white nearly equal.
+Next, if you want a legible book, the white should be clear and the
+black black. When that excellent journal, the Westminster Gazette,
+first came out, there was a discussion on the advantages of its green
+paper, in which a good deal of nonsense was talked. My friend, Mr.
+Jacobi, being a practical printer, set these wise men right, if they
+noticed his letter, as I fear they did not, by pointing out that what
+they had done was to lower the tone (not the moral tone) of the paper,
+and that, therefore, in order to make it as legible as ordinary black
+and white, they should make their black blacker--which of course they do
+not do. You may depend upon it that a gray page is very trying to the
+eyes.
+
+As above said, legibility depends also much on the design of the letter:
+and again I take up the cudgels against compressed type, and that
+especially in roman letter: the full-sized lower-case letters "a," "b,"
+"d," and "c," should be designed on something like a square to get good
+results: otherwise one may fairly say that there is no room for the
+design; furthermore, each letter should have its due characteristic
+drawing, the thickening out for a "b," "e," "g," should not be of the
+same kind as that for a "d"; a "u" should not merely be an "n" turned
+upside down; the dot of the "i" should not be a circle drawn with
+compasses; but a delicately drawn diamond, and so on. To be short, the
+letters should be designed by an artist, and not an engineer. As to the
+forms of letters in England (I mean Great Britain), there has been much
+progress within the last forty years. The sweltering hideousness of the
+Bodoni letter, the most illegible type that was ever cut, with its
+preposterous thicks and thins, has been mostly relegated to works that
+do not profess anything but the baldest utilitarianism (though why even
+utilitarianism should use illegible types, I fail to see), and Caslon's
+letter and the somewhat wiry, but in its way, elegant old-faced type cut
+in our own days, has largely taken its place. It is rather unlucky,
+however, that a somewhat low standard of excellence has been accepted
+for the design of modern roman type at its best, the comparatively poor
+and wiry letter of Plantin and the Elzevirs having served for the model,
+rather than the generous and logical designs of the fifteenth-century
+Venetian printers, at the head of whom stands Nicholas Jenson; when it
+is so obvious that this is the best and clearest roman type yet struck,
+it seems a pity that we should make our starting-point for a possible
+new departure at any period worse than the best. If any of you doubt the
+superiority of this type over that of the seventeenth century, the study
+of a specimen enlarged about five times will convince him, I should
+think. I must admit, however, that a commercial consideration comes in
+here, to wit, that the Jenson letters take up more room than the
+imitations of the seventeenth century; and that touches on another
+commercial difficulty, to wit, that you cannot have a book either
+handsome or clear to read which is printed in small characters. For my
+part, except where books smaller than an ordinary octavo are wanted, I
+would fight against anything smaller than pica; but at any rate small
+pica seems to me the smallest type that should be used in the body of
+any book. I might suggest to printers that if they want to get more in
+they can reduce the size of the leads, or leave them out altogether. Of
+course this is more desirable in some types than in others; Caslon's
+letter, e. g., which has long ascenders and descenders, never needs
+leading, except for special purposes.
+
+I have hitherto had a fine and generous roman type in my mind, but after
+all a certain amount of variety is desirable, and when you have gotten
+your roman letter as good as the best that has been, I do not think you
+will find much scope for development of it; I would therefore put in a
+word for some form of gothic letter for use in our improved printed
+book. This may startle some of you, but you must remember that except
+for a very remarkable type used very seldom by Berthelette (I have only
+seen two books in this type. Bartholomew, the Englishman, and the Gower,
+of 1532), English black-letter, since the days of Wynkin de Worde, has
+been always the letter which was introduced from Holland about that time
+(I except again, of course, the modern imitations of Caxton). Now this,
+though a handsome and stately letter, is not very easy reading; it is
+too much compressed, too spiky, and so to say, too prepensely gothic.
+But there are many types which are of a transitional character and of
+all degrees of transition, from those which do little more than take in
+just a little of the crisp floweriness of the gothic, like some of the
+Mentelin or quasi-Mentelin ones (which, indeed, are models of beautiful
+simplicity), or say like the letter of the Ulm Ptolemy, of which it is
+difficult to say whether it is gothic or roman, to the splendid Mainz
+type, of which, I suppose, the finest specimen is the Schoeffer Bible
+of 1462, which is almost wholly gothic. This gives us a wide field for
+variety, I think, so I make the suggestion to you, and leave this part
+of the subject with two remarks: first, that a good deal of the
+difficulty of reading gothic books is caused by the numerous
+contractions in them, which were a survival of the practice of the
+scribes; and in a lesser degree by the over-abundance of tied letters,
+both of which drawbacks, I take it for granted, would be absent in
+modern types founded on these semi-gothic letters. And, secondly, that
+in my opinion the capitals are the strong side of roman and the
+lower-case of gothic letter, which is but natural, since the roman was
+originally an alphabet of capitals, and the lower case a gradual
+deduction from them.
+
+We now come to the position of the page of print on the paper, which is
+a most important point, and one that till quite lately has been wholly
+misunderstood by modern, and seldom done wrong by ancient printers, or
+indeed by producers of books of any kind. On this head I must begin by
+reminding you that we only occasionally see one page of a book at a
+time; the two pages making an opening are really the unit of the book,
+and this was thoroughly understood by the old book producers. I think
+you will seldom find a book produced before the eighteenth century, and
+which has not been cut down by that enemy of books (and of the human
+race), the binder, in which this rule is not adhered to: that the binder
+edge (that which is bound in) must be the smallest member of the
+margins, the head margin must be larger than this, the fore larger
+still, and the tail largest of all. I assert that, to the eye of any man
+who knows what proportion is, this looks satisfactory, and that no other
+does so look. But the modern printer, as a rule, dumps down the page in
+what he calls the middle of the paper, which is often not even really
+the middle, as he measures his page from the head line, if he has one,
+though it is not really a part of the page, but a spray of type only
+faintly staining the head of the paper. Now I go so far as to say that
+any book in which the page is properly put on the paper is tolerable to
+look at, however poor the type may be (always so long as there is no
+"ornament" which may spoil the whole thing), whereas any book in which
+the page is wrongly set on the paper is intolerable to look at, however
+good the type and ornaments may be. I have got on my shelves now a
+Jenson's Latin Pliny, which, in spite of its beautiful type and handsome
+painted ornaments, I dare scarcely look at, because the binder
+(adjectives fail me here) has chopped off two-thirds of the tail margin:
+such stupidities are like a man with his coat buttoned up behind, or a
+lady with her bonnet on hind-side foremost.
+
+Before I finish I should like to say a word concerning large-paper
+copies. I am clean against them, though I have sinned a good deal in
+that way myself, but that was in the days of ignorance, and I petition
+for pardon on that ground only. If you want to publish a handsome
+edition of a book, as well as a cheap one, do so, but let them be two
+books, and if you (or the public) cannot afford this, spend your
+ingenuity and your money in making the cheap book as sightly as you can.
+Your making a large-paper copy out of the small one lands you in a
+dilemma even if you re-impose the pages for the large paper, which is
+not often done, I think. If the margins are right for the smaller book
+they must be wrong for the larger, and you have to offer the public the
+worse book at the bigger price; if they are right for the large paper
+they are wrong for the small, and thus spoil it, as we have seen above
+that they must do; and that seems scarcely fair to the general public
+(from the point of view of artistic morality) who might have had a book
+that was sightly, though not high-priced.
+
+As to the paper of our ideal book, we are at a great disadvantage
+compared with past times. Up to the end of the fifteenth, or indeed, the
+first quarter of the sixteenth centuries, no bad paper was made, and the
+greater part was very good indeed. At present there is very little good
+paper made and most of it is very bad. Our ideal book must, I think, be
+printed on hand-made paper as good as it can be made; penury here will
+make a poor book of it. Yet if machine-made paper must be used, it
+should not profess fineness or luxury, but should show itself for what
+it is: for my part I decidedly prefer the cheaper papers that are used
+for the journals, so far as appearance is concerned, to the thick,
+smooth, sham-fine papers on which respectable books are printed, and the
+worst of these are those which imitate the structure of hand-made
+papers.
+
+But, granted your hand-made paper, there is something to be said about
+the substance. A small book should not be printed on thick paper,
+however good it may be. You want a book to turn over easily, and to lie
+quiet while you are reading it, which is impossible, unless you keep
+heavy paper for big books.
+
+And, by the way, I wish to make a protest against the superstition that
+only small books are comfortable to read; some small books are tolerably
+comfortable, but the best of them are not so comfortable as a fairly big
+folio, the size, say, of an uncut Polyphilus or somewhat bigger. The
+fact is, a small book seldom does lie quiet, and you have to cramp your
+hand by holding it or else put it on the table with a paraphernalia of
+matters to keep it down, a tablespoon on one side, a knife on another,
+and so on, which things always tumble off at a critical moment, and
+fidget you out of the repose which is absolutely necessary to reading;
+whereas, a big folio lies quiet and majestic on the table, waiting
+kindly till you please to come to it, with its leaves flat and
+peaceful, giving you no trouble of body, so that your mind is free to
+enjoy the literature which its beauty enshrines.
+
+So far then, I have been speaking of books whose only ornament is the
+necessary and essential beauty which arises out of the fitness of a
+piece of craftsmanship for the use which it is made for. But if we get
+as far as that, no doubt from such craftsmanship definite ornament will
+arise, and will be used, sometimes with wise forbearance, sometimes with
+prodigality equally wise. Meantime, if we really feel impelled to
+ornament our books, no doubt we ought to try what we can do; but in this
+attempt we must remember one thing, that if we think the ornament is
+ornamentally a part of the book merely because it is printed with it,
+and bound up with it, we shall be much mistaken. The ornament must form
+as much a part of the book as the type itself, or it will miss its mark,
+and in order to succeed, and to be ornament, it must submit to certain
+limitations, and become architectural; a mere black and white picture,
+however interesting it may be as a picture, may be far from an ornament
+in a book; while on the other hand a book ornamented with pictures that
+are suitable for that, and that alone, may become a work of art second
+to none, save a fine building duly decorated, or a fine piece of
+literature.
+
+These two latter things are, indeed, the one absolutely necessary gift
+that we should claim of art. The picture-book is not, perhaps,
+absolutely necessary to man's life, but it gives us such endless
+pleasure, and is so intimately connected with the other absolutely
+necessary art of imaginative literature that it must remain one of the
+very worthiest things toward the production of which reasonable men
+should strive.
+
+
+
+
+AN ESSAY ON PRINTING, BY WILLIAM MORRIS AND EMERY WALKER, FROM ARTS AND
+CRAFTS ESSAYS BY MEMBERS OF THE ARTS AND CRAFTS EXHIBITION SOCIETY.
+
+
+Printing, in the only sense with which we are at present concerned,
+differs from most if not from all the arts and crafts represented in the
+exhibition in being comparatively modern. For although the Chinese took
+impressions from wood blocks engraved in relief for centuries before the
+wood-cutters of the Netherlands, by a similar process, produced the
+block books, which were the immediate predecessors of the true printed
+book, the invention of movable metal letters in the middle of the
+fifteenth century may justly be considered as the invention of the art
+of printing. And it is worth mention in passing that, as an example of
+fine typography, the earliest book printed with movable types, the
+Gutenberg, or "forty-two line Bible" of about 1455, has never been
+surpassed.
+
+Printing, then, for our purpose, may be considered as the art of making
+books by means of movable types. Now, as all books not primarily
+intended as picture-books consist principally of types composed to form
+letterpress, it is of the first importance that the letter used should
+be fine in form; especially as no more time is occupied, or cost
+incurred, in casting, setting, or printing beautiful letters than in the
+same operations with ugly ones. And it was a matter of course that in
+the Middle Ages, when the craftsmen took care that beautiful form should
+always be a part of their productions whatever they were, the forms of
+printed letters should be beautiful, and that their arrangement on the
+page should be reasonable and a help to the shapeliness of the letters
+themselves. The Middle Ages brought caligraphy to perfection, and it was
+natural therefore that the forms of printed letters should follow more
+or less closely those of the written character, and they followed them
+very closely. The first books were printed in black letter, i. e., the
+letter which was a Gothic development of the ancient Roman character,
+and which developed more completely and satisfactorily on the side of
+the "lower-case" than the capital letters; the "lower-case" being in
+fact invented in the early Middle Ages. The earliest book printed with
+movable type, the aforesaid Gutenberg Bible, is printed in letters
+which are an exact imitation of the more formal ecclesiastical writing
+which obtained at that time; this has since been called "missal type,"
+and was in fact the kind of letter used in the many splendid missals,
+psalters, etc., produced by printing in the fifteenth century. But the
+first Bible actually dated (which also was printed at Mainz by Peter
+Schoeffer in the year 1462) imitates a much freer hand, simpler,
+rounder, and less spiky, and therefore far pleasanter and easier to
+read. On the whole the type of this book may be considered the
+ne-plus-ultra of Gothic type, especially as regards the lower-case
+letters; and type very similar was used during the next fifteen or
+twenty years not only by Schoeffer, but by printers in Strasburg,
+Basle, Paris, Lubeck, and other cities. But though on the whole, except
+in Italy, Gothic letter was most often used, a very few years saw the
+birth of Roman character not only in Italy, but in Germany and France.
+In 1465 Sweynheim and Pannartz began printing in the monastery of
+Subiaco near Rome, and used an exceedingly beautiful type, which is
+indeed to look at a transition between Gothic and Roman, but which must
+certainly have come from the study of the twelfth or even the eleventh
+century MSS. They printed very few books in this type, three only; but
+in their very first books in Rome, beginning with the year 1468, they
+discarded this for a more completely Roman and far less beautiful
+letter. But about the same year Mentelin at Strasburg began to print in
+a type which is distinctly Roman; and the next year Gunther Zeiner at
+Augsburg followed suit; while in 1470 at Paris Udalric Gering and his
+associates turned out the first books printed in France, also in Roman
+character. The Roman type of all these printers is similar in character,
+and is very simple and legible, and unaffectedly designed for use; but
+it is by no means without beauty. It must be said that it is in no way
+like the transition type of Subiaco, and though more Roman than that,
+yet scarcely more like the complete Roman type of the earliest printers
+of Rome.
+
+A further development of the Roman letter took place at Venice. John of
+Spires and his brother Vindelin, followed by Nicholas Jenson, began to
+print in that city, 1469, 1470; their type is on the lines of the German
+and French rather than of the Roman printers. Of Jenson it must be said
+that he carried the development of Roman type as far as it can go: his
+letter is admirably clear and regular, but at least as beautiful as any
+other Roman type. After his death in the "fourteen eighties," or at
+least by 1490, printing in Venice had declined very much; and though the
+famous family of Aldus restored its technical excellence, rejecting
+battered letters, and paying great attention to the "press work" or
+actual process of printing, yet their type is artistically on a much
+lower level than Jenson's, and in fact they must be considered to have
+ended the age of fine printing in Italy. Jenson, however, had many
+contemporaries who used beautiful type, some of which--as, e. g., that
+of Jacobus Rubeus or Jacques le Rouge--is scarcely distinguishable from
+his. It was these great Venetian printers, together with their brethren
+of Rome, Milan, Parma, and one or two other cities, who produced the
+splendid editions of the Classics, which are one of the great glories of
+the printer's art, and are worthy representatives of the eager
+enthusiasm for the revived learning of that epoch. By far the greater
+part of these Italian printers, it should be mentioned, were Germans or
+Frenchmen, working under the influence of Italian opinion and aims. It
+must be understood that through the whole of the fifteenth and the first
+quarter of the sixteenth centuries the Roman letter was used side by
+side with the Gothic. Even in Italy most of the theological and law books
+were printed in Gothic letter, which was generally more formally Gothic
+than the printing of the German workmen, many of whose types, indeed,
+like that of the Subiaco works, are of a transitional character. This
+was notably the case with the early works printed at Ulm, and in a
+somewhat lesser degree at Augsburg. In fact Gunther Zeiner's first type
+(afterwards used by Schussler) is remarkably like the type of the
+before-mentioned Subiaco books.
+
+In the Low Countries and Cologne, which were very fertile of printed
+books, Gothic was the favourite. The characteristic Dutch type, as
+represented by the excellent printer Gerard Leew, is very pronounced and
+uncompromising Gothic. This type was introduced into England by Wynkyn
+de Worde, Caxton's successor, and was used there with very little
+variation all through the sixteenth and seventeenth centuries, and
+indeed into the eighteenth. Most of Caxton's own types are of an earlier
+character, though they also much resemble Flemish or Cologne letter.
+After the end of the fifteenth century the degradation of printing,
+especially in Germany and Italy, went on apace; and by the end of the
+sixteenth century there was no really beautiful printing done: the best,
+mostly French or Low-Country, was neat and clear, but without any
+distinction; the worst, which perhaps was the English, was a terrible
+falling-off from the work of the earlier presses; and things got worse
+and worse through the whole of the seventeenth century, so that in the
+eighteenth printing was very miserably performed. In England about this
+time, an attempt was made (notably by Caslon, who started business in
+London as a type-founder in 1720) to improve the letter in form.
+Caslon's type is clear and neat, and fairly well designed; he seems to
+have taken the letter of the Elzevirs of the seventeenth century for his
+model: type cast from his matrices is still in everyday use.
+
+In spite, however, of his praiseworthy efforts, printing had still one
+last degradation to undergo. The seventeenth century founts were bad
+rather negatively than positively. But for the beauty of the earlier
+work they might have seemed tolerable. It was reserved for the founders
+of the later eighteenth century to produce letters which are positively
+ugly, and which, it may be added, are dazzling and unpleasant to the eye
+owing to the clumsy thickening and vulgar thinning of the lines: for the
+seventeenth-century letters are at least pure and simple in line. The
+Italian, Bodoni, and the Frenchman, Didot, were the leaders in this
+luckless change, though our own Baskerville, who was at work some years
+before them, went much on the same lines; but his letters, though
+uninteresting and poor, are not nearly so gross and vulgar as those of
+either the Italian or the Frenchman.
+
+With this change the art of printing touched bottom, so far as fine
+printing is concerned, though paper did not get to its worst till about
+1840. The Chiswick press in 1844 revived Caslon's founts, printing for
+Messrs. Longman the Diary of Lady Willoughby. This experiment was so far
+successful that about 1850 Messrs. Miller and Richard of Edinburgh were
+induced to cut punches for a series of "old style" letters. These and
+similar founts, cast by the above firm and others, have now come into
+general use and are obviously a great improvement on the ordinary
+"modern style" in use in England, which is in fact the Bodoni type a
+little reduced in ugliness. The design of the letters of this modern
+"old style" leaves a good deal to be desired, and the whole effect is a
+little too gray, owing to the thinness of the letters. It must be
+remembered, however, that most modern printing is done by machinery on
+soft paper, and not by the hand press, and these somewhat wiry letters
+are suitable for the machine process, which would not do justice to
+letters of more generous design.
+
+It is discouraging to note that the improvement of the last fifty years
+is almost wholly confined to Great Britain. Here and there a book is
+printed in France or Germany with some pretension to good taste, but the
+general revival of the old forms has made no way in those countries.
+Italy is contentedly stagnant. America has produced a good many showy
+books, the typography, paper, and illustrations of which are, however,
+all wrong, oddity rather than rational beauty and meaning being
+apparently the thing sought for both in the letters and the
+illustrations.
+
+To say a few words on the principles of design in typography: it is
+obvious that legibility is the first thing to be aimed at in the forms
+of the letters; this is best furthered by the avoidance of irrational
+swellings and spiky projections, and by the using of careful purity of
+line. Even the Caslon type when enlarged shows great shortcomings in
+this respect: the ends of many of the letters such as the t and e are
+hooked up in a vulgar and meaningless way, instead of ending in the
+sharp and clear stroke of Jenson's letters; there is a grossness in the
+upper finishings of letters like the c, the a, and so on, an ugly
+pear-shaped swelling defacing the form of the letter: in short, it
+happens to this craft, as to others, that the utilitarian practice,
+though it professes to avoid ornament, still clings to a foolish,
+because misunderstood conventionality, deduced from what was once
+ornament, and is by no means useful; which title can only be claimed by
+artistic practice, whether the art in it be conscious or unconscious.
+
+In no characters is the contrast between the ugly and vulgar
+illegibility of the modern type and the elegance and legibility of the
+ancient more striking than in the Arabic numerals. In the old print each
+figure has its definite individuality, and one cannot be mistaken for
+the other; in reading the modern figures the eyes must be strained
+before the reader can have any reasonable assurance that he has a 5, an
+8, or a 3 before him, unless the press work is of the best; this is
+awkward if you have to read Bradshaw's Guide in a hurry.
+
+One of the differences between the fine type and the utilitarian must
+probably be put down to a misapprehension of a commercial necessity:
+this is the narrowing of the modern letters. Most of Jenson's letters
+are designed within a square, the modern letters are narrowed by a third
+or thereabout; but while this gain of space very much hampers the
+possibility of beauty of design, it is not a real gain, for the modern
+printer throws the gain away by putting inordinately wide spaces between
+his lines, which, probably, the lateral compression of his letters
+renders necessary. Commercialism again compels the use of type too small
+in size to be comfortable reading: the size known as "Long primer" ought
+to be the smallest size used in a book meant to be read. Here, again, if
+the practice of "leading" were retrenched larger type could be used
+without enhancing the price of a book.
+
+One very important matter in "setting up" for fine printing is the
+"spacing," that is, the lateral distance of words from one another. In
+good printing the spaces between the words should be as near as
+possible equal (it is impossible that they should be quite equal except
+in lines of poetry); modern printers understand this, but it is only
+practised in the very best establishments. But another point which they
+should attend to they almost always disregard; this is the tendency to
+the formation of ugly meandering white lines or "rivers" in the page, a
+blemish which can be nearly, though not wholly, avoided by care and
+forethought, the desirable thing being "the breaking of the line" as in
+bonding masonry or brickwork, thus: [Illustration] The general solidity
+of a page is much to be sought for: modern printers generally overdo the
+"whites" in the spacing, a defect probably forced on them by the
+characterless quality of the letters. For where these are boldly and
+carefully designed, and each letter is thoroughly individual in form,
+the words may be set much closer together, without loss of clearness. No
+definite rules, however, except the avoidance of "rivers" and excess of
+white, can be given for the spacing, which requires the constant
+exercise of judgment and taste on the part of the printer.
+
+The position of the page on the paper should be considered if the book
+is to have a satisfactory look. Here once more the almost invariable
+modern practice is in opposition to a natural sense of proportion. From
+the time when books first took their present shape till the end of the
+sixteenth century, or indeed later, the page so lay on the paper that
+there was more space allowed to the bottom and fore margin than to the
+top and back of the paper, thus:
+
+[Illustration]
+
+the unit of the book being looked on as the two pages forming an
+opening. The modern printer, in the teeth of the evidence given by his
+own eyes, considers the single page as the unit, and prints the page in
+the middle of his paper--only nominally so, however, in many cases,
+since when he uses a headline he counts that in, the result as measured
+by the eye being that the lower margin is less than the top one, and
+that the whole opening has an upside-down look vertically, and that
+laterally the page looks as if it were being driven off the paper.
+
+The paper on which the printing is to be done is a necessary part of our
+subject: of this it may be said that though there is some good paper
+made now, it is never used except for very expensive books, although it
+would not materially increase the cost in all but the very cheapest. The
+paper that is used for ordinary books is exceedingly bad even in this
+country, but is beaten in the race for vileness by that made in America,
+which is the worst conceivable. There seems to be no reason why ordinary
+paper should not be better made, even allowing the necessity for a very
+low price; but any improvement must be based on showing openly that the
+cheap article is cheap, e. g., the cheap paper should not sacrifice
+toughness and durability to a smooth and white surface, which should be
+indications of a delicacy of material and manufacture which would of
+necessity increase its cost. One fruitful source of badness in paper is
+the habit that publishers have of eking out a thin volume by printing it
+on thick paper almost of the substance of cardboard, a device which
+deceives nobody, and makes a book very unpleasant to read. On the whole,
+a small book should be printed on paper which is as thin as may be
+without being transparent. The paper used for printing the small highly
+ornamented French service-books about the beginning of the sixteenth
+century is a model in this respect, being thin, tough, and opaque.
+However, the fact must not be blinked that machine-made paper cannot in
+the nature of things be made of so good a texture as that made by hand.
+
+The ornamentation of printed books is too wide a subject to be dealt
+with fully here; but one thing must be said on it. The essential point
+to be remembered is that the ornament, whatever it is, whether picture
+or pattern-work, should form part of the page, should be a part of the
+whole scheme of the book. Simple as this proposition is, it is necessary
+to be stated, because the modern practice is to disregard the relation
+between the printing and the ornament altogether, so that if the two are
+helpful to one another it is a mere matter of accident. The due relation
+of letter to pictures and other ornament was thoroughly understood by
+the old printers; so that even when the woodcuts are very rude indeed,
+the proportions of the page still give pleasure by the sense of richness
+that the cuts and letter together convey. When, as is most often the
+case, there is actual beauty in the cuts, the books so ornamented are
+amongst the most delightful works of art that have ever been produced.
+Therefore, granted well-designed type, due spacing of the lines and
+words, and proper position of the page on the paper, all books might be
+at least comely and well-looking: and if to these good qualities were
+added really beautiful ornament and pictures, printed books might once
+again illustrate to the full the position of our Society that a work of
+utility might be also a work of art, if we cared to make it so.
+
+       *       *       *       *       *
+
+NOTE TO THE PRESENT EDITION: The following pages showing the Troy and
+Chaucer types are printed from process blocks to insure fidelity to the
+originals. The frontispiece and first page of text are also reproduced
+in the same manner; page one, within the border, showing the Golden
+type, the only other type used by William Morris.
+
+[Sidenote: This is the Troy type]
+
+The following passages are given to show the Troy & Chaucer types, and
+four initials that were designed for the Froissart, but never used.
+
+  The land is a little land, Sirs, too much shut up within the narrow
+  seas, as it seems, to have much space for swelling into hugeness:
+  there are no great wastes overwhelming in their dreariness, no great
+  solitudes of forests, no terrible untrodden mountain-walls: all is
+  measured, mingled, varied, gliding easily one thing into another:
+  little rivers, little plains, swelling, speedily-changing uplands,
+  all beset with handsome orderly trees; little hills, little
+  mountains, netted over with the walls of sheep-walks: all is little;
+  yet not foolish and blank, but serious rather, and abundant of
+  meaning for such as choose to seek it: it is neither prison, nor
+  palace, but a decent home.
+
+  All which I neither praise nor blame, but say that so it is: some
+  people praise this homeliness overmuch, as if the land were the very
+  axle-tree of the world; so do not I, nor any unblinded by pride in
+  themselves and all that belongs to them: others there are who scorn
+  it and the tameness of it: not I any the more: though it would
+  indeed be hard if there were nothing else in the world, no wonders,
+  no terrors, no unspeakable beauties. Yet when we think what a small
+  part of the world's history, past, present, & to come, is this land
+  we live in, and how much smaller still in the history of the arts, &
+  yet how our forefathers clung to it, and with what care and
+
+  [Sidenote: This is the Chaucer type]
+
+  pains they adorned it, this unromantic, uneventful-looking land of
+  England, surely by this too our hearts may be touched and our hope
+  quickened.
+
+  For as was the land, such was the art of it while folk yet troubled
+  themselves about such things; it strove little to impress people
+  either by pomp or ingenuity: not unseldom it fell into commonplace,
+  rarely it rose into majesty; yet was it never oppressive, never a
+  slave's nightmare or an insolent boast: & at its best it had an
+  inventiveness, an individuality, that grander styles have never
+  overpassed: its best too, and that was in its very heart, was given
+  as freely to the yeoman's house, and the humble village church, as
+  to the lord's palace or the mighty cathedral: never coarse, though
+  often rude enough, sweet, natural & unaffected, an art of peasants
+  rather than of merchant princes or courtiers, it must be a hard
+  heart, I think, that does not love it: whether a man has been born
+  among it like ourselves, or has come wonderingly on its simplicity
+  from all the grandeur over-seas.
+
+       *       *       *       *       *
+
+  And Science, we have loved her well, and followed her diligently,
+  what will she do? I fear she is so much in the pay of the
+  counting-house, the counting-house and the drill-sergeant, that she
+  is too busy, and will for the present do nothing.
+
+  Yet there are matters which I should have thought easy for her, say
+  for example teaching Manchester how to consume its own smoke, or
+  Leeds how to get rid of its superfluous black dye without turning it
+  into the river, which would be as much worth her attention as the
+  production of the heaviest of heavy black silks, or the biggest of
+  useless guns. Anyhow, however it be done, unless people care about
+  carrying on their business without making the world hideous, how can
+  they care about art? I know it will cost much both of time and money
+  to better these things even a little; but I do not see how these
+  can be better spent than in making life cheerful & honourable for
+  others and for ourselves; and the gain of good life to the country
+  at large that would result from men seriously setting about the
+  bettering of the decency of our big towns would be priceless, even
+  if nothing specially good befell the arts in consequence: I do not
+  know that it would; but I should begin to think matters hopeful if
+  men turned their attention to such things, and I repeat that, unless
+  they do so, we can scarcely even begin with any hope our endeavours
+  for the bettering of the Arts. (From the lecture called The Lesser
+  Arts, in Hopes and Fears for Art, by William Morris, pages 22 and
+  33.)
+
+[Illustration: Kelmscott
+
+ William Morris]
+
+
+
+
+The "Note by William Morris on his Aims in Founding the Kelmscott
+Press," the last book printed at the Kelmscott Press, contains a few
+errors in the "Bibliography." These errors have been allowed to stand in
+reprinting the "Note" here, in order that the reprint shall be a literal
+one.
+
+Mr. S. C. Cockerell, the former Secretary of the Kelmscott Press, has
+kindly sent a list of these corrections, which appear below:
+
+Page 19, line 21--"Golden type" should be inserted after "8vo."
+
+Page 30, line 16--"June 26, 1893," should be "June 26, 1896."
+
+Page 39, line 17--after "guineas" insert "ten on vellum at ten guineas."
+
+Page 40, line 31--for "eight leaflets" read, "nine or ten leaflets."
+
+Page 44, line 12--omit "Lady."
+
+
+
+
+HERE ENDS THE ART AND CRAFT OF PRINTING; COLLECTED ESSAYS BY WILLIAM
+MORRIS. OF THIS BOOK THERE HAVE BEEN PRINTED TWO HUNDRED AND TEN COPIES
+BY CLARKE CONWELL AT THE ELSTON PRESS: FINISHED THIS THIRTIETH DAY OF
+JANUARY MDCCCCII. SOLD BY CLARKE CONWELL AT THE ELSTON PRESS, PELHAM
+ROAD, NEW ROCHELLE, NEW YORK.
+
+
+       *       *       *       *       *
+
+Transcriber's Notes:
+
+For "A Note on Founding the Kelmscott Press"
+
+  Page 4: "trangress" changed to "transgress": "Modern printers
+    systematically transgress against it"
+
+  Page 5: "artitcle" changed to "article": "the foregoing article was
+    written"
+
+  Page 5: "Pysche" changed to "Psyche": "Cupid and Psyche"
+
+  Page 7: "rubicated" changed to "rubricated": "left blank to be
+    rubricated by hand"
+
+  Page 12: "handmade" changed to "hand-made": "English hand-made paper"
+
+  Page 12: "Calendar" changed to "Calender": "Spenser's Shepheardes
+    Calender"
+
+  Page 26: "H. W. Hooper" changed to "W. H. Hooper" in item 31.
+
+  Page 32: "water-mark" changed to "watermark": "with the apple
+    watermark"
+
+  Page 40: The reference in item 52 to page 8 for "Love is Enough" was
+    corrected to page 5.
+
+  Page 40: The reference in item 53 to page 7 for "The Earthly Paradise"
+    was corrected to page 5. The reference to the ornaments on page 9
+    was corrected to page 7.  The reference to page 17 was corrected to
+    page 12.
+
+  Page 40: The reference in "Various Lists" to page 10 was corrected
+    to page 6.
+
+  Page 43: "Milliam" changed to "William" in item 53
+
+  Page 44: The reference in "Various Lists" to page 57 was corrected
+    to page 38.
+
+For "The Ideal Book"
+
+  Page 1: "determation" changed to "determination": "a determination to
+    put our eyes"
+
+For "An Essay on Printing"
+
+  Page 12: "Maintz" changed to "Mainz": "printed at Mainz by"
+
+  Page 15: "Calson" changed to "Caslon": "Even the Caslon type when"
+
+  Page 16: "witout" changed to "without": "without enhancing the price"
+
+  Page 23: Period added after "over-seas": "all the grandeur over-seas."
+
+General notes:
+
+  1. Paragraph breaks have been assumed in some places based on usage
+     elsewhere in the text.
+
+  2. Both "caligraphy" and "calligraphy" are used in different parts
+     of this book, and both forms were retained. This is also true for
+     "d'Arthur" and "Darthur", "head-line" and "headline", "Sweynheim"
+     and "Sweynheym", and "Zainer" and "Zeiner".
+
+
+
+
+
+End of Project Gutenberg's The Art and Craft of Printing, by William Morris
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+    <title>
+      The Project Gutenberg eBook of The Art and Craft of Printing, By William Morris.
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+<pre>
+
+Project Gutenberg's The Art and Craft of Printing, by William Morris
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art and Craft of Printing
+
+Author: William Morris
+
+Release Date: March 10, 2010 [EBook #31596]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART AND CRAFT OF PRINTING ***
+
+
+
+
+Produced by Chris Curnow, Walt Farrell and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+<div class="tnote"><p  style=" margin-right: 1em;"><b>Transcriber&rsquo;s Note:</b></p>
+<p style="margin-left: 1em; margin-right: 1em;">This book contains three major sections and some end-notes, but the original did not include a table of contents.
+The following links will take you directly to each section:</p>
+<p style="margin-left: 2em; margin-right: 1em;">
+<a href="#Section_1"><b>A NOTE ON FOUNDING THE KELMSCOTT PRESS</b></a><br /><br />
+<a href="#Section_2"><b>THE IDEAL BOOK</b></a><br /><br />
+<a href="#Section_3"><b>AN ESSAY ON PRINTING</b></a><br /><br />
+<a href="#Section_4"><b>ORIGINAL END-NOTES</b></a><br />
+</p>
+<p style="margin-left: 1em; margin-right: 1em;">Several facsimile page images from the original book are included.
+Each one links to a larger copy of the image.
+</p>
+
+<p style="margin-left: 1em; margin-right: 1em;">Additional <a href="#t_notes">Transcriber&rsquo;s Notes</a> occur after the original end-notes.</p>
+
+<p style="margin-left: 1em; margin-right: 1em;">Specific text corrections made by the Online Distributed Proofreading Team are
+mentioned in the Transcriber&rsquo;s Notes and indicated in the text by a <span class="ins" title="original would appear here">dotted gray line</span> under the change. Scroll the
+mouse over the word and the original text will appear.</p>
+
+<p style="margin-left: 1em; margin-right: 1em;">Errors mentioned in the <a href="#Section_4">End-Notes</a> for the original book have not been
+corrected in this edition, but are indicated in the text by a <span class="inso" title="End-Notes correction would appear here">dashed red line</span>.  Scrolling the mouse over the word
+will show the correction indicated in the End-Notes.</p>
+</div>
+<p>
+<br />
+<br /></p>
+
+<h1 style="font-size: 110%; text-align: left;">THE ART AND CRAFT OF PRINTING,<br />  BY WILLIAM
+MORRIS.
+
+<br /></h1>
+<hr />
+
+<h1 style="font-size: 110%; text-align: left;"><a name="Section_1" id="Section_1"></a>A NOTE BY WILLIAM MORRIS ON HIS AIMS IN
+FOUNDING THE KELMSCOTT PRESS, TOGETHER
+WITH A SHORT DESCRIPTION OF THE PRESS BY
+S. C. COCKERELL, AND AN ANNOTATED LIST OF
+THE BOOKS PRINTED THEREAT.
+<br />
+<br /></h1>
+
+
+
+<h3 style="font-size: 90%; text-align: right; margin-right: 4em;">Copyright, 1902&nbsp;&nbsp;<br />
+By H. M. O&rsquo;Kane
+<br /></h3>
+<hr />
+<div class="figleft" style="width: 50%; margin-top: .5em; margin-bottom: 2em;">
+<a href="images/p_005b.jpg" ><img src="images/p_005s.jpg" width="100%" alt="Psyche borne off by Zephyrus, drawn by Edward
+Burne-Jones &amp; engraved by William Morris" title="Psyche borne off by Zephyrus, drawn by Edward
+Burne-Jones &amp; engraved by William Morris" /></a>
+</div>
+<hr /><p><span class="pagenum"><a name="Page_1" id="Page_1"><!-- [1] not printed in book --></a></span></p>
+
+<div class="figright" style="width: 50%; margin-top: 0em; margin-bottom: 0em;">
+<a href="images/p_006a.jpg" ><img src="images/p_006s.jpg" width="100%"  alt="Thumbnail image of facsimile page" title="" /></a>
+</div>
+<p style="text-align: left;">NOTE BY WILLIAM MORRIS
+ON HIS AIMS IN FOUNDING
+THE KELMSCOTT PRESS</p>
+
+<p>I began printing books with
+the hope of producing some which
+would have a definite claim to
+beauty, while at the same time
+they should be easy to read and
+should not dazzle the eye, or trouble
+the intellect of the reader by eccentricity
+of form in the letters. I have always
+been a great admirer of the calligraphy of
+the Middle Ages, &amp; of the earlier printing
+which took its place. As to the fifteenth-century
+books, I had noticed that they
+were always beautiful by force of the mere
+typography, even without the added ornament,
+with which many of them are
+so lavishly supplied. 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
+type. Looking at my adventure from this
+point of view then, I found I had to consider
+chiefly the following things: the
+paper, the form of the type, the relative
+spacing of the letters, the words, and the
+lines; and lastly the position of the printed matter on the<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>
+page. It was a matter of course that I should consider it
+necessary that the paper should be hand-made, both for
+the sake of durability and appearance. It would be a very
+false economy to stint in the quality of the paper as to price:
+so I had only to think about the kind of hand-made paper.
+On this head I came to two conclusions: 1st, that the paper
+must be wholly of linen (most hand-made papers are of
+cotton today), and must be quite &lsquo;hard,&rsquo; i. e., thoroughly
+well sized; and 2nd, that, though it must be &lsquo;laid&rsquo; and not
+&lsquo;wove&rsquo; (i. e., made on a mould made of obvious wires),
+the lines caused by the wires of the mould must not be too
+strong, so as to give a ribbed appearance. I found that on
+these points I was at one with the practice of the paper-makers
+of the fifteenth century; so I took as my model a
+Bolognese paper of about 1473. My friend Mr. Batchelor,
+of Little Chart, Kent, carried out my views very satisfactorily,
+and produced from the first the excellent paper, which
+I still use.</p>
+
+<p>Next as to type. By instinct rather than by conscious
+thinking it over, I began by getting myself a fount of Roman
+type. And here what I wanted was letter pure in
+form; severe, without needless excrescences; solid, without
+the thickening and thinning of the line, which is the essential
+fault of the ordinary modern type, and which makes
+it difficult to read; and not compressed laterally, as all later
+type has grown to be owing to commercial exigencies.
+There was only one source from which to take examples
+of this perfected Roman type, to wit, the works of the
+great Venetian printers of the fifteenth century, of whom
+Nicholas Jenson produced the completest and most Roman
+characters from 1470 to 1476. This type I studied
+with much care, getting it photographed to a big scale, and
+drawing it over many times before I began designing my
+own letter; so that though I think I mastered the essence
+of it, I did not copy it servilely; in fact, my Roman type,
+especially in the lower case, tends rather more to the Gothic
+than does Jenson&rsquo;s.</p>
+
+<p>After a while I felt that I must have a Gothic as well as a<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>
+Roman fount; and herein the task I set myself was to redeem
+the Gothic character from the charge of unreadableness
+which is commonly brought against it. And I felt that
+this charge could not be reasonably brought against the
+types of the first two decades of printing: that Schoeffer
+at Mainz, Mentelin at Strasburg, and Gunther Zainer at
+Augsburg, avoided the spiky ends and undue compression
+which lay some of the later type open to the above
+charge. Only the earlier printers (naturally following
+therein the practice of their predecessors the scribes) were
+very liberal of contractions, and used an excess of &lsquo;tied&rsquo;
+letters, which, by the way, are very useful to the compositor.
+So I entirely eschewed contractions, except for the
+&lsquo;&amp;,&rsquo; and had very few tied letters, in fact none but the
+absolutely necessary ones. Keeping my end steadily in
+view, I designed a black-letter type which I think I may
+claim to be as readable as a Roman one, and to say the
+truth I prefer it to the Roman. This type is of the size
+called Great Primer (the Roman type is of &lsquo;English&rsquo; size);
+but later on I was driven by the necessities of the Chaucer
+(a double-columned book) to get a smaller Gothic type of
+Pica size.</p>
+
+<p>The punches for all these types, I may mention, were cut
+for me with great intelligence and skill by Mr. E. P. Prince,
+and render my designs most satisfactorily.</p>
+
+<p>Now as to the spacing: First, the &lsquo;face&rsquo; of the letter should
+be as nearly conterminous with the &lsquo;body&rsquo; as possible, so
+as to avoid undue whites between the letters. Next, the
+lateral spaces between the words should be (a) no more
+than is necessary to distinguish clearly the division into
+words, and (b) should be as nearly equal as possible. Modern
+printers, even the best, pay very little heed to these
+two essentials of seemly composition, and the inferior ones
+run riot in licentious spacing, thereby producing, inter
+alia, those ugly rivers of lines running about the page which
+are such a blemish to decent printing. Third, the whites
+between the lines should not be excessive; the modern<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
+practice of &lsquo;leading&rsquo; should be used as little as possible,
+and never without some definite reason, such as marking
+some special piece of printing. The only leading I have
+allowed myself is in some cases a &lsquo;thin&rsquo; lead between the
+lines of my Gothic pica type: in the Chaucer and the double-columned
+books I have used a &lsquo;hair&rsquo; lead, and not even
+this in the 16mo books. Lastly, but by no means least,
+comes the position of the printed matter on the page. This
+should always leave the inner margin the narrowest, the
+top somewhat wider, the outside (fore-edge) wider still,
+and the bottom widest of all. This rule is never departed
+from in medi&aelig;val books, written or printed. Modern printers
+systematically <a name="transgress" id="transgress"></a><span class="ins" title="Originally: trangress">transgress</span> against it; thus apparently contradicting
+the fact that the unit of a book is not one page,
+but a pair of pages. A friend, the librarian of one of our
+most important private libraries, tells me that after careful
+testing he has come to the conclusion that the medi&aelig;val
+rule was to make a difference of 20 per cent. from margin
+to margin. Now these matters of spacing and position are
+of the greatest importance in the production of beautiful
+books; if they are properly considered they will make a
+book printed in quite ordinary type at least decent and
+pleasant to the eye. The disregard of them will spoil the
+effect of the best designed type.</p>
+
+<p>It was only natural that I, a decorator by profession, should
+attempt to ornament my books suitably: about this matter,
+I will only say that I have always tried to keep in mind
+the necessity for making my decoration a part of the page
+of type. I may add that in designing the magnificent and
+inimitable woodcuts which have adorned several of my
+books, and will above all adorn the Chaucer which is now
+drawing near completion, my friend Sir Edward Burne-Jones
+has never lost sight of this important point, so that
+his work will not only give us a series of most beautiful
+and imaginative pictures, but form the most harmonious
+decoration possible to the printed book.</p>
+
+<p>
+Kelmscott House, Upper Mall, Hammersmith. Nov. 11, 1895<br /></p>
+
+<hr />
+
+<h2 style="font-size: 110%; text-align: left;">A SHORT HISTORY AND DESCRIPTION OF THE
+KELMSCOTT PRESS.<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></h2>
+
+<p>The foregoing <a name="article" id="article"></a><span class="ins" title="Originally: artitcle">article</span> was written at the request of a London
+bookseller for an American client who was about to
+read a paper on the Kelmscott Press. As the Press is now
+closing, and its seven years&rsquo; existence will soon be a matter
+of history, it seems fitting to set down some other facts
+concerning it while they can still be verified; the more so
+as statements founded on imperfect information have appeared
+from time to time in newspapers and reviews.</p>
+
+<p>As early as 1866 an edition of The Earthly Paradise was
+projected, which was to have been a folio in double columns,
+profusely illustrated by Sir Edward Burne-Jones,
+and typographically superior to the books of that time.
+The designs for the stories of Cupid and Psyche, Pygmalion
+and the Image, The Ring given to Venus, and the Hill
+of Venus, were finished, and forty-four of those for Cupid
+and <a name="Psyche" id="Psyche"></a><span class="ins" title="Originally: Pysche">Psyche</span> were engraved on wood in line, somewhat in
+the manner of the early German masters. About thirty-five
+of the blocks were executed by William Morris himself,
+and the remainder by George Y. Wardle, G. F. Campfield,
+C. J. Faulkner, and Miss Elizabeth Burden. Specimen
+pages were set up in Caslon type, and in the Chiswick
+Press type afterwards used in The House of the
+Wolfings, but for various reasons the project went no further.
+Four or five years later there was a plan for an illustrated
+edition of Love is Enough, for which two initial L&rsquo;s
+and seven side ornaments were drawn and engraved by
+William Morris. Another marginal ornament was engraved
+by him from a design by Sir E. Burne-Jones, who also
+drew a picture for the frontispiece, which has now been
+engraved by W. H. Hooper for the final page of the Kelmscott
+Press edition of the work. These side ornaments,
+three of which appear on the opposite page, are more delicate
+than any that were designed for the Kelmscott Press,
+but they show that when the Press was started the idea
+of reviving some of the decorative features of the earliest
+printed books had been long in its founder&rsquo;s mind. At this<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
+same period, in the early seventies, he was much absorbed in
+the study of ancient manuscripts, and in writing out and illuminating
+various books, including a Horace and an Omar
+Khayyám, which may have led his thoughts away from printing.
+In any case, the plan of an illustrated Love is Enough,
+like that of the folio Earthly Paradise, was abandoned.</p>
+
+<p>Although the books written by William Morris continued
+to be reasonably printed, it was not until about 1888 that
+he again paid much attention to typography. He was then,
+and for the rest of his life, when not away from Hammersmith,
+in daily communication with his friend and neighbour
+Emery Walker, whose views on the subject coincided
+with his own, and who had besides a practical knowledge
+of the technique of printing. These views were first expressed
+in an article by Mr. Walker in the catalogue of the
+exhibition of the Arts and Crafts Exhibition Society, held
+at the New Gallery in the autumn of 1888. As a result of
+many conversations, The House of the Wolfings was printed
+at the Chiswick Press at this time, with a special type modelled
+on an old Basel fount, unleaded, and with due regard
+to proportion in the margins. The title-page was also carefully
+arranged. In the following year The Roots of the
+Mountains was printed with the same type (except the
+lower case e), but with a differently proportioned page,
+and with shoulder-notes instead of head-lines. This book
+was published in November, 1889, and its author declared
+it to be the best-looking book issued since the seventeenth
+century. Instead of large paper copies, which had been
+found unsatisfactory in the case of The House of the Wolfings,
+two hundred and fifty copies were printed on Whatman
+paper of about the same size as the paper of the ordinary
+copies. A small stock of this paper remained over,
+and in order to dispose of it seventy-five copies of the
+translation of the Gunnlaug Saga, which first appeared in
+the Fortnightly Review of January, 1869, and afterwards
+in Three Northern Love Stories, were printed at the Chiswick
+Press. The type used was a black-letter copied from
+one of Caxton&rsquo;s founts, and the initials were left blank to<span class="pagenum"><a name="Page_7" id="Page_7"><!-- [7] --></a></span><span class="pagenum"><a name="Page_8" id="Page_8">[7&ndash;8]</a></span>
+be <a name="rubricated" id="rubricated"></a><span class="ins" title="Originally: rubicated">rubricated</span> by hand. Three copies were printed on vellum.
+This little book was not however finished until November,
+1890.</p>
+
+
+<div class="figcenter ipadboth" style="width: 50%;">
+<a href="images/p_012a.jpg" ><img src="images/p_012s.jpg" width="100%"  alt="Ornaments designed and engraved for Love is Enough."
+title="Ornaments designed and engraved for Love is Enough." /></a>
+</div>
+
+<p>Meanwhile William Morris had resolved to design a type
+of his own. Immediately after The Roots of the Mountains
+appeared, he set to work upon it, and in December,
+1889, he asked Mr. Walker to go into partnership with
+him as a printer. This offer was declined by Mr. Walker;
+but, though not concerned with the financial side of the
+enterprise, he was virtually a partner in the Kelmscott
+Press from its first beginnings to its end, and no important
+step was taken without his advice and approval. Indeed,
+the original intention was to have the books set up in
+Hammersmith and printed at his office in Clifford&rsquo;s Inn.
+It was at this time that William Morris began to collect
+the medi&aelig;val books of which he formed so fine a library
+in the next six years. He had made a small collection of
+such books years before, but had parted with most of
+them, to his great regret. He now bought with the definite
+purpose of studying the type and methods of the early
+printers. Among the first books so acquired was a copy
+of Leonard of Arezzo&rsquo;s History of Florence, printed at
+Venice by Jacobus Rubeus in 1476, in a Roman type very
+similar to that of Nicholas Jenson. Parts of this book and
+of Jenson&rsquo;s Pliny of 1476 were enlarged by photography
+in order to bring out more clearly the characteristics of
+the various letters; and having mastered both their virtues
+and defects, William Morris proceeded to design the fount
+of type which, in the list of December, 1892, he named the
+Golden type, from The Golden Legend, which was to have
+been the first book printed with it. This fount consists of
+eighty-one designs, including stops, figures, and tied letters.
+The lower case alphabet was finished in a few months.
+The first letter having been cut in Great Primer size by
+Mr. Prince, was thought too large, and &lsquo;English&rsquo; was the
+size resolved upon. By the middle of August, 1890, eleven
+punches had been cut. At the end of the year the fount
+was all but complete.</p>
+
+<p><span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>On Jan. 12th, 1891, a cottage, No. 16, Upper Mall, was taken.
+Mr. William Bowden, a retired master-printer, had already
+been engaged to act as compositor and pressman. Enough
+type was then cast for a trial page, which was set up and
+printed on Saturday, Jan. 31st, on a sample of the paper
+that was being made for the Press by J. Batchelor and Son.
+About a fortnight later ten reams of paper were delivered.
+On Feb. 18th a good supply of type followed. Mr. W. H.
+Bowden, who subsequently became overseer, then joined
+his father as compositor, and the first chapters of The Glittering
+Plain were set up. The first sheet appears to have
+been printed on March 2nd, when the staff was increased
+to three by the addition of a pressman named Giles, who
+left as soon as the book was finished. A friend who saw
+William Morris on the day after the printing of the page
+above mentioned recalls his elation at the success of his
+new type. The first volume of the Saga Library, a creditable
+piece of printing, was brought out and put beside this
+trial page, which much more than held its own. The poet
+then declared his intention to set to work immediately on
+a black-letter fount; illness, however, intervened and it
+was not begun until June. The lower case alphabet was
+finished by the beginning of August, with the exception of
+the tied letters, the designs for which, with those for the
+capitals, were sent to Mr. Prince on September 11th. Early
+in November enough type was cast for two trial pages,
+the one consisting of twenty-six lines of Chaucer&rsquo;s Franklin&rsquo;s
+Tale and the other of sixteen lines of Sigurd the Volsung.
+In each of these a capital I is used that was immediately
+discarded. On the last day of 1891 the full stock
+of Troy type was despatched from the foundry. Its first
+appearance was in a paragraph, announcing the book from
+which it took its name, in the list dated May, 1892.</p>
+
+<p>This Troy type, which its designer preferred to either of
+the others, shows the influence of the beautiful early types
+of Peter Schoeffer of Mainz, Gunther Zainer of Augsburg,
+and Anthony Koburger of Nuremberg; but, even more than
+the Golden type, it has a strong character of its own, which<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>
+differs largely from that of any medi&aelig;val fount. It has
+recently been pirated abroad, and is advertised by an enterprising
+German firm as &lsquo;Die amerikanische Triumph-Gothisch.&rsquo;
+The Golden type has perhaps fared worse in
+being remodelled in the United States, whence, with much
+of its character lost, it has found its way back to England
+under the names &lsquo;Venetian,&rsquo; &lsquo;Italian,&rsquo; and &lsquo;Jenson.&rsquo; It is
+strange that no one has yet had the good sense to have
+the actual type of Nicholas Jenson reproduced.</p>
+
+<p>The third type used at the Kelmscott Press, called the
+&lsquo;Chaucer,&rsquo; differs from the Troy type only in size, being
+Pica instead of Great Primer. It was cut by Mr. Prince
+between February and May, 1892, and was ready in June.
+Its first appearance is in the list of chapters and glossary
+of The Recuyell of the Historyes of Troye, which was
+issued on November 24th, 1892.</p>
+
+<p>On June 2nd of that year, William Morris wrote to Mr.
+Prince: &lsquo;I believe in about three months&rsquo; time I shall be
+ready with a new set of sketches for a fount of type on
+English body.&rsquo; These sketches were not forthcoming; but
+on Nov. 5th, 1892, he bought a copy of
+Augustinus De
+Civitate Dei, printed at the Monastery of Subiaco near
+Rome by Sweynheym and Pannartz, with a rather compressed
+type, which appears in only three known books.
+He at once designed a lower case alphabet on this model,
+but was not satisfied with it and did not have it cut. This
+was his last actual experiment in the designing of type,
+though he sometimes talked of designing a new fount, and
+of having the Golden type cut in a larger size.</p>
+
+<p>Next in importance to the type are the initials, borders,
+and ornaments designed by William Morris. The first book
+contains a single recto border and twenty different initials.
+In the next book, Poems by the Way, the number of different
+initials is fifty-nine. These early initials, many of
+which were soon discarded, are for the most part suggestive,
+like the first border, of the ornament in Italian manuscripts
+of the fifteenth century. In Blunt&rsquo;s Love Lyrics there
+are seven letters of a new alphabet, with backgrounds of<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+naturalesque grapes and vine leaves, the result of a visit
+to Beauvais, where the great porches are carved with vines,
+in August, 1891. From that time onwards fresh designs were
+constantly added, the tendency being always towards larger
+foliage and lighter backgrounds, as the early initials were
+found to be sometimes too dark for the type. The total
+number of initials of various sizes designed for the Kelmscott
+Press, including a few that were engraved but never
+used, is three hundred and eighty-four. Of the letter T
+alone there are no less than thirty-four varieties.</p>
+
+<p>The total number of different borders engraved for the
+Press, including one that was not used, but excluding the
+three borders designed for The Earthly Paradise by R.
+Catterson-Smith, is fifty-seven. The first book to contain
+a marginal ornament, other than these full borders, was
+The Defence of Guenevere, which has a half-border on
+p. 74. There are two others in the preface to The Golden
+Legend. The Recuyell of the Historyes of Troye is the
+first book in which there is a profusion of such ornament.
+One hundred and eight different designs for marginal ornaments
+were engraved. Besides the above-named designs,
+there are seven frames for the pictures in The Glittering
+Plain, one frame for those in a projected edition of
+The House of the Wolfings, nineteen frames for the pictures
+in the Chaucer (one of which was not used in the
+book), twenty-eight title-pages and inscriptions, twenty-six
+large initial words for the Chaucer, seven initial words
+for The Well at the World&rsquo;s End and The Water of the
+Wondrous Isles, four line-endings, and three printer&rsquo;s
+marks, making a total of six hundred and forty-four designs
+by William Morris, drawn and engraved within seven
+years. All the initials and ornaments that recur were printed
+from electrotypes, while most of the title-pages and initial
+words were printed direct from the wood. The illustrations
+by Sir Edward Burne-Jones, Walter Crane, and C. M.
+Gere were also, with one or two exceptions, printed from
+the wood. The original designs by Sir E. Burne-Jones
+were nearly all in pencil, and were redrawn in ink by<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>
+R. Catterson-Smith, and in a few cases by C. Fairfax Murray;
+they were then revised by the artist and transferred to the
+wood by means of photography. The twelve designs by
+A. J. Gaskin for Spenser&rsquo;s Shepheardes <a name="Calender" id="Calender"></a><span class="ins" title="Originally: Calendar">Calender</span>, the map
+in The Sundering Flood, and the thirty-five reproductions
+in Some German Woodcuts of the Fifteenth Century, were
+printed from process blocks.</p>
+
+<p>All the wood blocks for initials, ornaments, and illustrations,
+were engraved by W. H. Hooper, C. E. Keates, and
+W. Spielmeyer, except the twenty-three blocks for The
+Glittering Plain, which were engraved by A. Leverett, and
+a few of the earliest initials, engraved by G. F. Campfield.
+The whole of these wood blocks have been sent to the
+British Museum, and have been accepted with a condition
+that they shall not be reproduced or printed from for the
+space of a hundred years. The electrotypes have been
+destroyed. In taking this course, which was sanctioned
+by William Morris when the matter was talked of shortly
+before his death, the aim of the trustees has been to keep
+the series of Kelmscott Press books as a thing apart, and
+to prevent the designs becoming stale by constant repetition.
+Many of them have been stolen and parodied in
+America, but in this country they are fortunately copyright.
+The type remains in the hands of the trustees, and will
+be used for the printing of its designer&rsquo;s works, should special
+editions be called for. Other books of which he would
+have approved may also be printed with it; the absence of
+initials and ornament will always distinguish them sufficiently
+from the books printed at the Kelmscott Press.</p>
+
+<p>The nature of the English <a name="hand_made" id="hand_made"></a><span class="ins" title="Originally: handmade">hand-made</span> paper used at the
+Press has been described by William Morris in the foregoing
+article. It was at first supplied in sheets of which
+the dimensions were sixteen inches by eleven. Each sheet
+had as a watermark a conventional primrose between the
+initials W. M. As stated above, The Golden Legend was
+to have been the first book put in hand, but as only two
+pages could have been printed at a time, and this would
+have made it very costly, paper of double the size was<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>
+ordered for this work, and The Story of the Glittering
+Plain was begun instead. This book is a small quarto, as
+are its five immediate successors, each sheet being folded
+twice. The last ream of the smaller size of paper was used
+on The Order of Chivalry. All the other volumes of that
+series are printed in octavo, on paper of the double size.
+For the Chaucer a stouter and slightly larger paper was
+needed. This has for its watermark a Perch with a spray
+in its mouth. Many of the large quarto books were printed
+on this paper, of which the first two reams were delivered
+in February, 1893. Only one other size of paper was used
+at the Kelmscott Press. The watermark of this is an Apple,
+with the initials W. M., as in the other two watermarks.
+The books printed on this paper are The Earthly Paradise,
+The Floure and the Leafe, The Shepheardes Calender, and
+Sigurd the Volsung. The last-named is a folio, and the
+open book shows the size of the sheet, which is about eighteen
+inches by thirteen. The first supply of this Apple paper
+was delivered on March 15, 1895.</p>
+
+<p>Except in the case of Blunt&rsquo;s Love Lyrics, The Nature of
+Gothic, Biblia Innocentium, The Golden Legend, and The
+Book of Wisdom and Lies, a few copies of all the books
+were printed on vellum. The six copies of The Glittering
+Plain were printed on very fine vellum obtained from Rome,
+of which it was impossible to get a second supply as it was
+all required by the Vatican. The vellum for the other books,
+except for two or three copies of Poems by the Way, which
+were on the Roman vellum, was supplied by H. Band of
+Brentford, and by W. J. Turney &amp; Co. of Stourbridge.
+There are three complete vellum sets in existence, and the
+extreme difficulty of completing a set after the copies are
+scattered, makes it unlikely that there will ever be a fourth.</p>
+
+<p>The black ink which proved most satisfactory, after that of
+more than one English firm had been tried, was obtained
+from Hanover. William Morris often spoke of making his
+own ink, in order to be certain of the ingredients, but his
+intention was never carried out.</p>
+
+<p>The binding of the books in vellum and in half-holland<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
+was from the first done by J. &amp; J. Leighton. Most of the
+vellum used was white, or nearly so, but William Morris
+himself preferred it dark, and the skins showing brown
+hair-marks were reserved for the binding of his own copies
+of the books. The silk ties of four colours, red, blue, yellow,
+and green, were specially woven and dyed.</p>
+
+<p>In the following section fifty-two works, in sixty-six volumes,
+are described as having been printed at the Kelmscott
+Press, besides the two pages of Froissart&rsquo;s Chronicles.
+It is scarcely necessary to add that only hand presses have
+been used, of the type known as &lsquo;Albion.&rsquo; In the early days
+there was only one press on which the books were printed,
+besides a small press for taking proofs. At the end of May,
+1891, larger premises were taken at 14, Upper Mall, next
+door to the cottage already referred to, which was given
+up in June. In November, 1891, a second press was bought,
+as The Golden Legend was not yet half finished, and it
+seemed as though the last of its 1286 pages would never
+be reached. Three years later another small house was
+taken, No. 14 being still retained. This was No. 21, Upper
+Mall, overlooking the river, which acted as a reflector, so
+that there was an excellent light for printing. In January,
+1895, a third press, specially made for the work, was set
+up here in order that two presses might be employed on
+the Chaucer. This press has already passed into other
+hands, and the little house, with its many associations, and
+its pleasant outlook towards Chiswick and Mortlake, is
+now being transformed into a granary. The last sheet
+printed there was that on which are the frontispiece and
+title of this book.</p>
+
+<p>
+14, Upper Mall, Hammersmith, January 4, 1898.
+
+<br /></p>
+
+<hr />
+
+<h2 style="text-align: left; font-size: 100%"><b>AN ANNOTATED LIST OF ALL THE BOOKS PRINTED</b><span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+<b>AT THE KELMSCOTT PRESS IN THE ORDER IN
+WHICH THEY WERE ISSUED.</b></h2>
+
+<p>Note: The borders are numbered as far as possible in the
+order of their first appearance, those which appear on a
+verso or left hand page being distinguished by the addition
+of the letter &lsquo;a&rsquo; to the numbers of the recto borders
+of similar design.</p>
+
+<p><b><a name="item_1" id="item_1"></a>1. THE STORY OF THE GLITTERING PLAIN. WHICH
+HAS BEEN ALSO CALLED THE LAND OF LIVING
+MEN OR THE ACRE OF THE UNDYING. WRITTEN
+BY WILLIAM MORRIS.</b> Small 4to. Golden type. Border
+1. 200 paper copies at two guineas, and 6 on vellum. Dated
+April 4, issued May 8, 1891. Sold by Reeves &amp; Turner.
+Bound in stiff vellum with washleather ties.</p>
+
+<p>This book was set up from Nos. 81-4 of the English Illustrated
+Magazine, in which it first appeared; some of the
+chapter headings were re-arranged, and a few small corrections
+were made in the text. A trial page, the first printed
+at the Press, was struck off on January 31, 1891, but the first
+sheet was not printed until about a month later. The border
+was designed in January of the same year, and engraved by
+W. H. Hooper. Mr. Morris had four of the vellum copies
+bound in green vellum, three of which he gave to friends.
+Only two copies on vellum were sold, at twelve and fifteen
+guineas. This was the only book with washleather ties. All
+the other vellum-bound books have silk ties, except Shelley&rsquo;s
+Poems and Hand and Soul, which have no ties.</p>
+
+<p><b><a name="item_2" id="item_2"></a>2. POEMS BY THE WAY. WRITTEN BY WILLIAM
+MORRIS.</b> Small 4to. Golden type. In black and red. Border
+1. 300 paper copies at two guineas, 13 on vellum at
+about twelve guineas. Dated Sept. 24, issued Oct. 20, 1891.
+Sold by Reeves &amp; Turner. Bound in stiff vellum.</p>
+
+<p>This was the first book printed at the Kelmscott Press in two
+colours, and the first book in which the smaller printer&rsquo;s
+mark appeared. After The Glittering Plain was finished,
+at the beginning of April, no printing was done until May
+11. In the meanwhile the compositors were busy setting up<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
+the early sheets of <span class="ins" title="originally: the">The</span> Golden Legend. The printing of
+Poems by the Way, which its author first thought of calling
+Flores Atramenti, was not begun until July. The poems
+in it were written at various times. In the manuscript,
+Hafbur and Signy is dated February 4, 1870; Hildebrand
+and Hillilel, March 1, 1871; and Love&rsquo;s Reward, Kelmscott,
+April 21, 1871. Meeting in Winter is a song from The Story
+of Orpheus, an unpublished poem intended for The Earthly
+Paradise. The last poem in the book, Goldilocks and Goldilocks,
+was written on May 20, 1891, for the purpose of adding
+to the bulk of the volume, which was then being prepared.
+A few of the vellum covers were stained at Merton
+red, yellow, indigo, and dark green, but the experiment
+was not successful.</p>
+
+<p><b><a name="item_3" id="item_3"></a>3. THE LOVE-LYRICS AND SONGS OF PROTEUS
+BY WILFRID SCAWEN BLUNT WITH THE LOVE-SONNETS
+OF PROTEUS BY THE SAME AUTHOR
+NOW REPRINTED IN THEIR FULL TEXT WITH
+MANY SONNETS OMITTED FROM THE EARLIER
+EDITIONS. LONDON MDCCCXCII.</b> Small 4to. Golden
+type. In black and red. Border 1. 300 paper copies at two
+guineas, none on vellum. Dated Jan. 26, issued Feb. 27,
+1892. Sold by Reeves &amp; Turner. Bound in stiff vellum.</p>
+
+<p>This is the only book in which the initials are printed in
+red. This was done by the author&rsquo;s wish.</p>
+
+<p><b><a name="item_4" id="item_4"></a>4. THE NATURE OF GOTHIC A CHAPTER OF THE
+STONES OF VENICE.</b> BY JOHN RUSKIN. With a preface
+by William Morris. Small 4to. Golden type. Border 1.
+Diagrams in text. 500 paper copies at thirty shillings, none
+on vellum. Dated in preface February 15, issued March
+22, 1892. Published by George Allen. Bound in stiff vellum.</p>
+
+<p>This chapter of the Stones of Venice, which Ruskin always
+considered the most important in the book, was first printed
+separately in 1854 as a sixpenny pamphlet. Mr. Morris paid
+more than one tribute to it in Hopes and Fears for Art. Of
+him Ruskin said in 1887, &lsquo;Morris is beaten gold.&rsquo;</p>
+
+<p><b><a name="item_5" id="item_5"></a>5. THE DEFENCE OF GUENEVERE, AND OTHER
+POEMS. BY WILLIAM MORRIS.</b> Small 4to. Golden<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
+type. In black and red. Borders 2 and 1. 300 paper copies
+at two guineas, ten on vellum at about twelve guineas.
+Dated April 2, issued May 19, 1892. Sold by Reeves &amp;
+Turner. Bound in limp vellum.</p>
+
+<p>This book was set up from a copy of the edition published
+by Reeves &amp; Turner in 1889, the only alteration, except a
+few corrections, being in the 11th line of Summer Dawn.
+It is divided into three parts, the poems suggested by Malory&rsquo;s
+Morte d&rsquo;Arthur, the poems inspired by Froissart&rsquo;s
+Chronicles, and poems on various subjects. The two first
+sections have borders, and the last has a half-border. The
+first sheet was printed on February 17, 1892. It was the
+first book bound in limp vellum, and the only one of which
+the title was inscribed by hand on the back.</p>
+
+<p><b><a name="item_6" id="item_6"></a>6. A DREAM OF JOHN BALL AND A KING&rsquo;S LESSON.
+BY WILLIAM MORRIS.</b> Small 4to. Golden type.
+In black and red. Borders 3a, 4, and 2. With a woodcut
+designed by Sir E. Burne-Jones. 300 paper copies at thirty
+shillings, eleven on vellum at ten guineas. Dated May 13,
+issued Sept. 24, 1892. Sold by Reeves &amp; Turner. Bound
+in limp vellum.</p>
+
+<p>This was set up with a few alterations from a copy of
+Reeves &amp; Turner&rsquo;s third edition, and the printing was begun
+on April 4, 1892. The frontispiece was redrawn from
+that to the first edition, and engraved on wood by W. H.
+Hooper, who engraved all Sir E. Burne-Jones&rsquo; designs for
+the Kelmscott Press, except those for The Wood beyond
+the World and The Life and Death of Jason. The inscription
+below the figures, and the narrow border, were designed
+by Mr. Morris, and engraved with the picture on
+one block, which was afterwards used on a leaflet printed
+for the Ancoats Brotherhood in February, 1894.</p>
+
+<p><b><a name="item_7" id="item_7"></a>7. THE GOLDEN LEGEND.</b> By Jacobus de Voragine.
+Translated by William Caxton. Edited by F. S. Ellis. 3
+vols. Large 4to. Golden type. Borders 5a, 5, 6a, and 7.
+Woodcut title and two woodcuts designed by Sir E. Burne-Jones.
+500 paper copies at five guineas, none on vellum.
+Dated Sept. 12, issued Nov. 3, 1892. Published by Bernard<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
+Quaritch. Bound in half-holland, with paper labels printed
+in the Troy type.</p>
+
+<p>In July, 1890, when only a few letters of the Golden type
+had been cut, Mr. Morris bought a copy of this book, printed
+by Wynkyn de Worde in 1527. He soon afterwards determined
+to print it, and on Sept. 11 entered into a formal
+agreement with Mr. Quaritch for its publication. It was only
+an unforeseen difficulty about the size of the first stock of
+paper that led to The Golden Legend not being the first book
+put in hand. It was set up from a transcript of Caxton&rsquo;s first
+edition, lent by the Syndics of the Cambridge University
+Library for the purpose. A trial page was got out in March,
+1891, and 50 pages were in type by May 11, the day on
+which the first sheet was printed. The first volume was
+finished, with the exception of the illustrations and the preliminary
+matter, in Oct., 1891. The two illustrations and
+the title (which was the first woodcut title designed by Mr.
+Morris) were not engraved until June and August, 1892,
+when the third volume was approaching completion. About
+half a dozen impressions of the illustrations were pulled on
+vellum. A slip asking owners of the book not to have it
+bound with pressure, nor to have the edges cut instead of
+merely trimmed, was inserted in each copy.</p>
+
+<p><b><a name="item_8" id="item_8"></a>8. THE RECUYELL OF THE HISTORYES OF TROYE.</b>
+By Raoul Lefevre. Translated by William Caxton. Edited
+by H. Halliday Sparling. 2 vols. Large 4to. Troy type,
+with table of chapters and glossary in Chaucer type. In
+black and red. Borders 5a, 5, and 8. Woodcut title. 300
+paper copies at nine guineas, five on vellum at eighty pounds.
+Dated Oct. 14, issued Nov. 24, 1892. Published by Bernard
+Quaritch. Bound in limp vellum.</p>
+
+<p>This book, begun in February, 1892, is the first book printed
+in Troy type, and the first in which Chaucer type appears.
+It is a reprint of the first book printed in English. It had
+long been a favourite with William Morris, who designed
+a great quantity of initials and ornaments for it, and wrote
+the following note for Mr. Quaritch&rsquo;s catalogue: &lsquo;As to the
+matter of the book, it makes a thoroughly amusing story,<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
+instinct with medi&aelig;val thought and manners. For though
+written at the end of the Middle Ages and dealing with classical
+mythology, it has in it no token of the coming Renaissance,
+but is merely medi&aelig;val. It is the last issue of that
+story of Troy which through the whole of the Middle Ages
+had such a hold on men&rsquo;s imaginations; the story built up
+from a rumour of the Cyclic Poets, of the heroic City of
+Troy, defended by Priam and his gallant sons, led by Hector
+the Preux Chevalier, and beset by the violent and brutal
+Greeks, who were looked on as the necessary machinery
+for bringing about the undeniable tragedy of the fall of the
+city. Surely this is well worth reading, if only as a piece
+of undiluted medi&aelig;valism.&rsquo; 2000 copies of a 4to announcement,
+with specimen pages, were printed at the Kelmscott
+Press in December, 1892, for distribution by the publisher.</p>
+
+<p><b><a name="item_9" id="item_9"></a>9. BIBLIA INNOCENTIUM: BEING THE STORY OF
+GOD&rsquo;S CHOSEN PEOPLE BEFORE THE COMING
+OF OUR LORD JESUS CHRIST UPON EARTH, WRITTEN
+ANEW FOR CHILDREN BY J. W. MACKAIL,
+SOMETIME FELLOW OF BALLIOL COLLEGE, OXFORD.</b>
+<span class="inso" title="Should read: 8vo. Golden Type."><a name="a_8vs" id="a_8vs"></a>8vo.</span> Border 2. 200 on paper at a guinea, none on
+vellum. Dated Oct. 22, issued Dec. 9, 1892. Sold by Reeves
+&amp; Turner. Bound in stiff vellum.</p>
+
+<p>This was the last book issued in stiff vellum except Hand
+and Soul, and the last with untrimmed edges. It was the
+first book printed in 8vo.</p>
+
+<p><b><a name="item_10" id="item_10"></a>10. THE HISTORY OF REYNARD THE FOXE BY
+WILLIAM CAXTON.</b> Reprinted from his edition of 1481.
+Edited by H. Halliday Sparling. Large 4to. Troy type,
+with glossary in Chaucer type. In black and red. Borders
+5a and 7. Woodcut title. 300 on paper at three guineas, 10
+on vellum at fifteen guineas. Dated Dec. 15, 1892, issued
+Jan. 25, 1893. Published by Bernard Quaritch. Bound
+in limp vellum.</p>
+
+<p>About this book, which was first announced as in the press
+in the list dated July, 1892, William Morris wrote the following
+note for Mr. Quaritch&rsquo;s catalogue: &lsquo;This translation
+of Caxton&rsquo;s is one of the very best of his works as to style;<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
+and being translated from a kindred tongue is delightful as
+mere language. In its rude joviality, and simple and direct
+delineation of character, it is a thoroughly good representative
+of the famous ancient Beast Epic.&rsquo; The edges of this
+book, and of all subsequent books, were trimmed in accordance
+with the invariable practice of the early printers. Mr.
+Morris much preferred the trimmed edges.</p>
+
+<p><b><a name="item_11" id="item_11"></a>11. THE POEMS OF WILLIAM SHAKESPEARE,
+PRINTED AFTER THE ORIGINAL COPIES OF VENUS
+AND ADONIS, 1593. THE RAPE OF LUCRECE,
+1594. SONNETS, 1609. THE LOVER&rsquo;S COMPLAINT.</b>
+Edited by F. S. Ellis. 8vo. Golden type. In black and
+red. Borders 1 and 2. 500 paper copies at 25 shillings,
+10 on vellum at ten guineas. Dated Jan. 17, issued Feb.
+13, 1893. Sold by Reeves &amp; Turner. Bound in limp vellum.</p>
+
+<p>A trial page of this book was set up on Nov. 1, 1892. Though
+the number was large, this has become one of the rarest
+books issued from the Press.</p>
+
+<p><b><a name="item_12" id="item_12"></a>12. NEWS FROM NOWHERE: OR, AN EPOCH OF
+REST, BEING SOME CHAPTERS FROM A UTOPIAN
+ROMANCE, BY WILLIAM MORRIS.</b> 8vo. Golden type.
+In black and red. Borders 9a and 4, and a woodcut engraved
+by W. H. Hooper from a design by C. M. Gere.
+300 on paper at two guineas, 10 on vellum at ten guineas.
+Dated Nov. 22, 1892, issued March 24, 1893. Sold by
+Reeves &amp; Turner. Bound in limp vellum.</p>
+
+<p>The text of this book was printed before Shakespeare&rsquo;s
+Poems and Sonnets, but it was kept back for the frontispiece,
+which is a picture of the old manor-house in the village
+of Kelmscott by the upper Thames, from which the
+Press took its name. It was set up from a copy of one of
+Reeves &amp; Turner&rsquo;s editions, and in reading it for the press
+the author made a few slight corrections. It was the last
+except the Savonarola (No. 31) in which he used the old
+paragraph mark <img src="images/p_025c.png" width="12" height="14" alt="" title="" />
+which was discarded in favour of the
+leaves, which had already been used in the two large 4to
+books printed in the Troy type.</p>
+
+<p><b><a name="item_13" id="item_13"></a>13. THE ORDER OF CHIVALRY.</b> Translated from the<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
+French by William Caxton and reprinted from his edition
+of 1484. Edited by F. S. Ellis. And L&rsquo;ORDENE DE CHEVALERIE,
+WITH TRANSLATION BY WILLIAM MORRIS.
+Small 4to. Chaucer type, in black and red. Borders
+9a and 4, and a woodcut designed by Sir Edward Burne-Jones.
+225 on paper at thirty shillings, 10 on vellum at ten
+guineas. The Order of Chivalry dated Nov. 10, 1892, L&rsquo;Ordene
+de Chevalerie dated February 24, 1893, issued April
+12, 1893. Sold by Reeves &amp; Turner. Bound in limp vellum.</p>
+
+<p>This was the last book printed in small 4to. The last section
+is in 8vo. It was the first book printed in Chaucer
+type. The reprint from Caxton was finished while News
+from Nowhere was in the press, and before Shakespeare&rsquo;s
+Poems and Sonnets was begun. The French poem and its
+translation were added as an after-thought, and have a separate
+colophon. Some of the three-line initials, which were
+designed for The Well at the World&rsquo;s End, are used in the
+French poem, and this is their first appearance. The translation
+was begun on Dec. 3, 1892, and the border round the
+frontispiece was designed on Feb. 13, 1893.</p>
+
+<p><b><a name="item_14" id="item_14"></a>14. THE LIFE OF THOMAS WOLSEY, CARDINAL
+ARCHBISHOP OF YORK, WRITTEN BY GEORGE
+CAVENDISH.</b> Edited by F. S. Ellis from the author&rsquo;s autograph
+MS. 8vo. Golden type. Border 1. 250 on paper
+at two guineas, 6 on vellum at ten guineas. Dated March
+30, issued May 3, 1893. Sold by Reeves &amp; Turner. Bound
+in limp vellum.</p>
+
+<p><b><a name="item_15" id="item_15"></a>15. THE HISTORY OF GODEFREY OF BOLOYNE
+AND OF THE CONQUEST OF IHERUSALEM.</b> Reprinted
+from Caxton&rsquo;s edition of 1481. Edited by H. Halliday
+Sparling. Large 4to. Troy type, with list of chapter
+headings and glossary in Chaucer type. In black and red.
+Borders 5a and 5, and woodcut title. 300 on paper at six
+guineas, 6 on vellum at 20 guineas. Dated April 27, issued
+May 24, 1893. Published by William Morris at the Kelmscott
+Press. Bound in limp vellum.</p>
+
+<p>This was the fifth and last of the Caxton reprints, with
+many new ornaments and initials, and a new printer&rsquo;s<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
+mark. It was first announced as in the press in the list
+dated Dec., 1892. It was the first book published and sold
+at the Kelmscott Press. An announcement and order form,
+with two different specimen pages, was printed at the Press,
+besides a special invoice. A few copies were bound in half
+holland, not for sale.</p>
+
+<p><b><a name="item_16" id="item_16"></a>16. UTOPIA, WRITTEN BY SIR THOMAS MORE.</b> A
+reprint of the 2nd edition of Ralph Robinson&rsquo;s translation,
+with a foreword by William Morris. Edited by F. S. Ellis.
+8vo. Chaucer type, with the reprinted title in Troy type.
+In black and red. Borders 4 and 2. 300 on paper at thirty
+shillings, 8 on vellum at ten guineas. Dated August 4, issued
+September 8, 1893. Sold by Reeves &amp; Turner. Bound in
+limp vellum.</p>
+
+<p>This book was first announced as in the press in the list
+dated May 20, 1893.</p>
+
+<p><b><a name="item_17" id="item_17"></a>17. MAUD, A MONODRAMA. BY ALFRED LORD
+TENNYSON.</b> 8vo. Golden type. In black and red. Borders
+10a and 10, and woodcut title. 500 on paper at two
+guineas, 5 on vellum not for sale. Dated Aug. 11, issued
+Sept. 30, 1893. Published by Macmillan &amp; Co. Bound
+in limp vellum.</p>
+
+<p>The borders were specially designed for this book. They
+were both used again in the Keats, and one of them appears
+in The Sundering Flood. It is the first of the 8vo books
+with a woodcut title.</p>
+
+<p><b><a name="item_18" id="item_18"></a>18. GOTHIC ARCHITECTURE: A LECTURE FOR
+THE ARTS AND CRAFTS EXHIBITION SOCIETY,
+BY WILLIAM MORRIS.</b> 16mo. Golden type. In black
+and red. 1500 on paper at two shillings and sixpence, 45 on
+vellum at ten and fifteen shillings. Bound in half holland.</p>
+
+<p>This lecture was set up at Hammersmith and printed at the
+New Gallery during the Arts and Crafts Exhibition in October
+and November, 1893. The first copies were ready on
+October 21, and the book was twice reprinted before the
+Exhibition closed. It was the first book printed in 16mo.
+The four-line initials used in it appear here for the first
+time. The vellum copies were sold during the Exhibition<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
+at ten shillings, and the price was subsequently raised to
+fifteen shillings.</p>
+
+<p><b><a name="item_19" id="item_19"></a>19. SIDONIA THE SORCERESS, BY WILLIAM MEINHOLD,
+TRANSLATED BY FRANCESCA SPERANZA
+LADY WILDE.</b> Large 4to. Golden type. In black and red.
+Border 8. 300 paper copies at four guineas, 10 on vellum
+at twenty guineas. Dated Sept. 15, issued November 1, 1893.
+Published by William Morris. Bound in limp vellum.</p>
+
+<p>Before the publication of this book a large 4to announcement
+and order form was issued, with a specimen page
+and an interesting description of the book and its author,
+written and signed by William Morris. Some copies were
+bound in half holland, not for sale.</p>
+
+<p><b><a name="item_20" id="item_20"></a>20. BALLADS AND NARRATIVE POEMS BY DANTE
+GABRIEL ROSSETTI.</b> 8vo. Golden type. In black and
+red. Borders 4a and 4, and woodcut title. 310 on paper
+at two guineas, 6 on vellum at ten guineas. Dated Oct. 14,
+issued in November, 1893. Published by Ellis &amp; Elvey.
+Bound in limp vellum.</p>
+
+<p>This book was announced as in preparation in the list of
+August 1, 1893.</p>
+
+<p><b><a name="item_21" id="item_21"></a>21. THE TALE OF KING FLORUS AND THE FAIR
+JEHANE.</b> Translated by William Morris from the French
+of the 13th century. 16mo. Chaucer type. In black and
+red. Borders 11a and 11, and woodcut title. 350 on paper
+at seven shillings and sixpence, 15 on vellum at thirty shillings.
+Dated Dec. 16, issued Dec. 28, 1893. Published by
+William Morris. Bound in half holland.</p>
+
+<p>This story, like the three other translations with which it
+is uniform, was taken from a little volume called Nouvelles
+Françoises en prose du XIIIe siècle. Paris, Jannet, 1856.
+They were first announced as in preparation under the heading
+&lsquo;French Tales&rsquo; in the list dated May 20, 1893. Eighty-five
+copies of King Florus were bought by J. and M. L.
+Tregaskis, who had them bound in all parts of the world.
+These are now in the Rylands Library at Manchester.</p>
+
+<p><b><a name="item_22" id="item_22"></a>22. THE STORY OF THE GLITTERING PLAIN WHICH
+HAS BEEN ALSO CALLED THE LAND OF LIVING<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
+MEN OR THE ACRE OF THE UNDYING. WRITTEN
+BY WILLIAM MORRIS.</b> Large 4to. Troy type, with list
+of chapters in Chaucer type. In black and red. Borders
+12a and 12, 23 designs by Walter Crane, engraved by
+A. Leverett, and a woodcut title. 250 on paper at five
+guineas, 7 on vellum at twenty pounds. Dated Jan. 13,
+issued Feb. 17, 1894. Published by William Morris.
+Bound in limp vellum.</p>
+
+<p>Neither the borders in this book nor six out of the seven
+frames round the illustrations appear in any other book.
+The seventh is used round the second picture in Love is
+Enough. A few copies were bound in half holland.</p>
+
+<p><b><a name="item_23" id="item_23"></a>23. OF THE FRIENDSHIP OF AMIS AND AMILE.</b>
+Done out of the ancient French by William Morris. 16mo.
+Chaucer type. In black and red. Borders 11a and 11, and
+woodcut title. 500 on paper at seven shillings and sixpence,
+15 on vellum at thirty shillings. Dated March 13, issued
+April 4, 1894. Published by William Morris. Bound in
+half holland.</p>
+
+<p>A poem entitled Amys and Amillion, founded on this story,
+was originally to have appeared in the second volume of
+<span class="ins" title="originally: the">The</span> Earthly Paradise, but, like some other poems announced
+at the same time, it was not included in the book.</p>
+
+<p><b><a name="item_20a" id="item_20a"></a>20a. SONNETS AND LYRICAL POEMS BY DANTE
+GABRIEL ROSSETTI.</b> 8vo. Golden type. In black and red.
+Borders 1a and 1, and woodcut title. 310 on paper at two guineas,
+6 on vellum at ten guineas. Dated Feb. 20, issued April
+21, 1894. Published by Ellis &amp; Elvey. Bound in limp vellum.</p>
+
+<p>This book is uniform with No. 20, to which it forms a sequel.
+Both volumes were read for the press by Mr. W. M. Rossetti.</p>
+
+<p><b><a name="item_24" id="item_24"></a>24. THE POEMS OF JOHN KEATS.</b> Edited by F. S.
+Ellis. 8vo. Golden type. In black and red. Borders 10a
+and 10, and woodcut title. 300 on paper at thirty shillings,
+7 on vellum at nine guineas. Dated March 7, issued May 8,
+1894. Published by William Morris. Bound in limp vellum.</p>
+
+<p>This is now (Jan., 1898) the most sought after of all the
+smaller Kelmscott Press books. It was announced as in
+preparation in the lists of May 27 and August 1, 1893, and<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
+as in the press in that of March 31, 1894, when the woodcut
+title still remained to be printed.</p>
+
+<p><b><a name="item_25" id="item_25"></a>25. ATALANTA IN CALYDON: A TRAGEDY. BY
+ALGERNON CHARLES SWINBURNE.</b> Large 4to. Troy
+type, with argument and dramatis person&aelig; in Chaucer
+type; the dedication and quotation from Euripides in Greek
+type designed by Selwyn Image. In black and red. Borders
+5a and 5, and woodcut title. 250 on paper at two
+guineas, 8 on vellum at twelve guineas. Dated May 4,
+issued July 24, 1894. Published by William Morris. Bound
+in limp vellum.</p>
+
+<p>In the vellum copies of this book the colophon is not on the
+82nd page as in the paper copies, but on the following page.</p>
+
+<p><b><a name="item_26" id="item_26"></a>26. THE TALE OF THE EMPEROR COUSTANS AND
+OF OVER SEA.</b> Done out of ancient French by William
+Morris. 16mo. Chaucer type. In black and red. Borders
+11a and 11, both twice, and two woodcut titles. 525 on
+paper at seven shillings and sixpence, 20 on vellum at two
+guineas. Dated August 30, issued Sept. 26, 1894. Published
+by William Morris. Bound in half holland.</p>
+
+<p>The first of these stories, which was the source of The Man
+born to be King, in The Earthly Paradise, was announced
+as in preparation in the list of March 31, 1894.</p>
+
+<p><b><a name="item_27" id="item_27"></a>27. THE WOOD BEYOND THE WORLD. BY WILLIAM
+MORRIS.</b> 8vo. Chaucer type. In black and red. Borders
+13a and 13, and a frontispiece designed by Sir E. Burne-Jones,
+and engraved on wood by W. Spielmeyer. 350 on
+paper at two guineas, 8 on vellum at ten guineas. Dated
+May 30, issued Oct. 16, 1894. Published by William Morris.
+Bound in limp vellum.</p>
+
+<p>The borders in this book, as well as the ten half-borders,
+are here used for the first time. It was first announced as
+in the press in the list of March 31, 1894. Another edition
+was published by Lawrence &amp; Bullen in 1895.</p>
+
+<p><b><a name="item_28" id="item_28"></a>28. THE BOOK OF WISDOM AND LIES.</b> A book of
+traditional stories from Georgia in Asia. Translated by
+Oliver Wardrop from the original of Sulkhan-Saba Orbeliani.
+8vo. Golden type. In black and red. Borders 4a and<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
+4, and woodcut title. 250 on paper at two guineas, none
+on vellum. Finished Sept. 29, issued Oct. 29, 1894. Published
+by Bernard Quaritch. Bound in limp vellum.</p>
+
+<p>The arms of Georgia, consisting of the Holy Coat, appear
+in the woodcut title of this book.</p>
+
+<p><b><a name="item_29" id="item_29"></a>29. THE POETICAL WORKS OF PERCY BYSSHE
+SHELLEY. VOLUME I.</b> Edited by F. S. Ellis. 8vo.
+Golden type. Borders 1a and 1, and woodcut title. 250
+on paper at twenty-five shillings, 6 on vellum at eight
+guineas. Not dated, issued Nov. 29, 1894. Published by
+William Morris. Bound in limp vellum without ties.</p>
+
+<p>Red ink is not used in this volume, though it is used in the
+second volume, and more sparingly in the third. Some of
+the half-borders designed for The Wood beyond the World
+reappear before the longer poems. The Shelley was first
+announced as in the press in the list of March 31, 1894.</p>
+
+<p><b><a name="item_30" id="item_30"></a>30. PSALMI PENITENTIALES.</b> An English rhymed
+version of the Seven Penitential Psalms. Edited by F. S.
+Ellis. 8vo. Chaucer type. In black and red. 300 on paper
+at seven shillings and sixpence, 12 on vellum at three
+guineas. Dated Nov. 15, issued Dec. 10, 1894. Published
+by William Morris. Bound in half holland.</p>
+
+<p>These verses were taken from a manuscript Book of Hours
+written at Gloucester in the first half of the fifteenth century,
+but the Rev. Professor Skeat has pointed out that the
+scribe must have copied them from an older manuscript, as
+they are in the Kentish dialect of about a century earlier.
+The half-border on p. 34 appears for the first time in this book.</p>
+
+<p><b><a name="item_31" id="item_31"></a>31. EPISTOLA DE CONTEMPTU MUNDI DI FRATE
+HIERONYMO DA FERRARA DELLORDINE DE
+FRATI PREDICATORI LA QUALE MANDA AD ELENA
+BUONACCORSI SUA MADRE, PER CONSOLARLA
+DELLA MORTE DEL FRATELLO, SUO ZIO.</b> Edited
+by Charles Fairfax Murray from the original autograph
+letter. 8vo. Chaucer type. In black and red. Border 1.
+Woodcut on title designed by C. F. Murray and engraved
+by <a name="H_W_Hooper" id="H_W_Hooper"></a><span class="ins" title="originally: H. W. Hooper">W. H. Hooper</span>. 150 on paper, and 6 on vellum. Dated
+Nov. 30, ready Dec. 12, 1894. Bound in half holland.</p>
+
+<p>This little book was printed for Mr. C. Fairfax Murray,<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
+the owner of the manuscript, and was not for sale in the
+ordinary way. The colophon is in Italian, and the printer&rsquo;s
+mark is in red.</p>
+
+<p><b><a name="item_32" id="item_32"></a>32. THE TALE OF BEOWULF.</b> Done out of the Old
+English tongue by William Morris and A. J. Wyatt. Large
+4to. Troy type, with argument, side-notes, list of persons
+and places, and glossary in Chaucer type. In black and
+red. Borders 14a and 14, and woodcut title. 300 on paper
+at two guineas, 8 on vellum at ten pounds. Dated Jan. 10,
+issued Feb. 2, 1895. Published by William Morris. Bound
+in limp vellum.</p>
+
+<p>The borders in this book were only used once again, in
+the Jason. A Note to the Reader printed on a slip in the
+Golden type was inserted in each copy. Beowulf was first
+announced as in preparation in the list of May 20, 1893.
+The verse translation was begun by Mr. Morris, with the
+aid of Mr. Wyatt&rsquo;s careful paraphrase of the text, on Feb.
+21, 1893, and finished on April 10, 1894, but the argument
+was not written by Mr. Morris until Dec. 10, 1894.</p>
+
+<p><b><a name="item_33" id="item_33"></a>33. SYR PERECYVELLE OF GALES.</b> Overseen by F. S.
+Ellis, after the edition edited by J. O. Halliwell from the
+Thornton MS. in the Library of Lincoln Cathedral. 8vo.
+Chaucer type. In black and red. Borders 13a and 13, and
+a woodcut designed by Sir E. Burne-Jones. 350 on paper
+at fifteen shillings, 8 on vellum at four guineas. Dated Feb.
+16, issued May 2, 1895. Published by William Morris.
+Bound in limp vellum.</p>
+
+<p>This is the first of the series to which Sire Degrevaunt and
+Syr Isumbrace belong. They were all reprinted from the
+Camden Society&rsquo;s volume of 1844, which was a favourite
+with Mr. Morris from his Oxford days. Syr Perecyvelle
+was first announced in the list of Dec. 1, 1894. The shoulder-notes
+were added by Mr. Morris.</p>
+
+<p><b><a name="item_34" id="item_34"></a>34. THE LIFE AND DEATH OF JASON, A POEM.
+BY WILLIAM MORRIS.</b> Large 4to. Troy type, with a
+few words in Chaucer type. In black and red. Borders
+14a and 14, and two woodcuts designed by Sir E. Burne-Jones<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
+and engraved on wood by W. Spielmeyer. 200 on
+paper at five guineas, 6 on vellum at twenty guineas. Dated
+May 25, issued July 5, 1895. Published by William Morris.
+Bound in limp vellum.</p>
+
+<p>This book, announced as in the press in the list of April 21,
+1894, proceeded slowly, as several other books, notably
+the Chaucer, were being printed at the same time. The
+text, which had been corrected for the second edition of
+1868, and for the edition of 1882, was again revised by the
+author. The line-fillings on the last page were cut on metal
+for this book, and cast like type.</p>
+
+<p><b><a name="item_29a" id="item_29a"></a>29a. THE POETICAL WORKS OF PERCY BYSSHE
+SHELLEY. VOLUME II.</b> Edited by F. S. Ellis. 8vo.
+Golden type. In black and red. 250 on paper at twenty-five
+shillings, 6 on vellum at eight guineas. Not dated, issued
+March 25, 1895. Published by William Morris. Bound in
+limp vellum without ties.</p>
+
+<p><b><a name="item_35" id="item_35"></a>35. CHILD CHRISTOPHER AND GOLDILIND THE
+FAIR. BY WILLIAM MORRIS.</b> 2 vols. 16mo. Chaucer
+type. In black and red. Borders 15a and 15, and woodcut
+title. 600 on paper at fifteen shillings, 12 on vellum at
+four guineas. Dated July 25, issued Sept. 25, 1895. Published
+by William Morris. Bound in half holland, with
+labels printed in the Golden type.</p>
+
+<p>The borders designed for this book were only used once
+again, in Hand and Soul. The plot of the story was suggested
+by that of Havelok the Dane, printed by the Early
+English Text Society.</p>
+
+<p><b><a name="item_29b" id="item_29b"></a>29b. THE POETICAL WORKS OF PERCY BYSSHE
+SHELLEY. VOLUME III.</b> Edited by F. S. Ellis. 8vo.
+Golden type. In black and red. 250 on paper at twenty-five
+shillings, 6 on vellum at eight guineas. Dated August
+21, issued October 28, 1895. Published by William Morris.
+Bound in limp vellum without ties.</p>
+
+<p><b><a name="item_36" id="item_36"></a>36. HAND AND SOUL. BY DANTE GABRIEL ROSSETTI.</b>
+Reprinted from The Germ for Messrs. Way &amp;
+Williams, of Chicago. 16mo. Golden type. In black and
+red. Borders 15a and 15, and woodcut title. 300 paper<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
+copies and 11 vellum copies for America. 225 paper copies
+for sale in England at ten shillings, and 10 on vellum at
+thirty shillings. Dated Oct. 24, issued Dec. 12, 1895. Bound
+in stiff vellum without ties.</p>
+
+<p>This was the only 16mo book bound in vellum. The English
+and American copies have a slightly different colophon.
+The shoulder-notes were added by Mr. Morris.</p>
+
+<p><b><a name="item_37" id="item_37"></a>37. POEMS CHOSEN OUT OF THE WORKS OF ROBERT
+HERRICK.</b> Edited by F. S. Ellis, 8vo. Golden
+type. In black and red. Borders 4a and 4, and woodcut
+title. 250 on paper at thirty shillings, 8 on vellum at eight
+guineas. Dated Nov. 21, 1895, issued Feb. 6, 1896. Published
+by William Morris. Bound in limp vellum.</p>
+
+<p>This book was first announced as in preparation in the list
+of Dec. 1, 1894, and as in the press in that of July 1, 1895.</p>
+
+<p><b><a name="item_38" id="item_38"></a>38. POEMS CHOSEN OUT OF THE WORKS OF SAMUEL
+TAYLOR COLERIDGE.</b> Edited by F. S. Ellis. 8vo.
+Golden type. In black and red. Borders 13a and 13. 300
+on paper at a guinea, 8 on vellum at five guineas. Dated
+Feb. 5, issued April 12, 1896. Published by William Morris.
+Bound in limp vellum.</p>
+
+<p>This book contains thirteen poems. It was first announced
+as in preparation in the list of Dec. 1, 1894, and as in the
+press in that of Nov. 26, 1895. It is the last of the series
+to which Tennyson&rsquo;s Maud, and the poems of Rossetti,
+Keats, Shelley, and Herrick belong.</p>
+
+<p><b><a name="item_39" id="item_39"></a>39. THE WELL AT THE WORLD&rsquo;S END. BY WILLIAM
+MORRIS.</b> Large 4to. Double columns. Chaucer
+type. In black and red. Borders 16a, 16, 17a, 17, 18a, 18,
+19a and 19, and 4 woodcuts designed by Sir E. Burne-Jones.
+350 on paper at five guineas, 8 on vellum at twenty
+guineas. Dated March 2, issued June 4, 1896. Sold by
+William Morris. Bound in limp vellum.</p>
+
+<p>This book, delayed for various reasons, was longer on hand
+than any other. It appears in no less than twelve lists, from
+that of Dec., 1892, to that of Nov. 26, 1895, as &lsquo;in the press.&rsquo;
+Trial pages, including one in a single column, were ready
+as early as September, 1892, and the printing began on<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
+December 16 of that year. The edition of The Well at the
+World&rsquo;s End published by Longmans was then being
+printed from the author&rsquo;s manuscript at the Chiswick Press,
+and the Kelmscott Press edition was set up from the sheets
+of that edition, which, though not issued until October, 1896,
+was finished in 1894. The eight borders and the six different
+ornaments between the columns, appear here for the
+first time, but are used again in The Water of the Wondrous
+Isles, with the exception of two borders.</p>
+
+<p><b><a name="item_40" id="item_40"></a>40. THE WORKS OF GEOFFREY CHAUCER.</b> Edited
+by F. S. Ellis. Folio. Chaucer type, with headings to the
+longer poems in Troy type. In black and red. Borders
+20a to 26, woodcut title, and 87 woodcut illustrations designed
+by Sir E. Burne-Jones. 425 on paper at twenty
+pounds, 13 on vellum at 120 guineas. Dated May 8, issued
+June 26, <a name="a_1893" id="a_1893"></a><span class="inso" title="Should read: 1896">1893</span>. Published by William Morris. Bound in
+half holland.</p>
+
+<p>The history of this book, which is by far the most important
+achievement of the Kelmscott Press, is as follows. As
+far back as June 11, 1891, Mr. Morris spoke of printing a
+Chaucer with a black-letter fount which he hoped to design.
+Four months later, when most of the Troy type was
+designed and cut, he expressed his intention to use it first
+on John Ball, and then on a Chaucer and perhaps a Gesta
+Romanorum. By January 1, 1892, the Troy type was delivered,
+and early in that month two trial pages, one from
+The Cook&rsquo;s Tale and one from Sir Thopas, the latter in
+double columns, were got out. It then became evident
+that the type was too large for a Chaucer, and Mr. Morris
+decided to have it re-cut in the size known as pica. By the
+end of June he was thus in possession of the type which
+in the list issued in December, 1892, he named the Chaucer
+type. In July, 1892, another trial page, a passage from The
+Knight&rsquo;s Tale in double columns of 58 lines, was got out,
+and found to be satisfactory. The idea of the Chaucer as
+it now exists, with illustrations by Sir Edward Burne-Jones,
+then took definite shape.</p>
+
+<p>In a proof of the first list, dated April, 1892, there is an<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
+announcement of the book as in preparation, in black-letter,
+large quarto, but this was struck out, and does not appear
+in the list as printed in May, nor yet in the July list. In
+that for Dec., 1892, it is announced for the first time as to
+be in Chaucer type &lsquo;with about sixty designs by E. Burne-Jones.&rsquo;
+The next list, dated March 9, 1893, states that it
+will be a folio and that it is in the press, by which was
+meant that a few pages were in type. In the list dated
+Aug. 1, 1893, the probable price is given as twenty pounds.
+The next four lists contain no fresh information, but on
+Aug. 17, 1894, nine days after the first sheet was printed,
+a notice was sent to the trade that there would be 325
+copies at twenty pounds and about sixty woodcuts designed
+by Sir Edward Burne-Jones. Three months later it was
+decided to increase the number of illustrations to upwards
+of seventy, and to print another 100 copies of the book. A
+circular letter was sent to subscribers on Nov. 14, stating
+this and giving them an opportunity of cancelling their orders.
+Orders were not withdrawn, the extra copies were
+immediately taken up, and the list for Dec. 1, 1894, which
+is the first containing full particulars, announces that all
+paper copies are sold.</p>
+
+<p>Mr. Morris began designing his first folio border on Feb.
+1, 1893, but was dissatisfied with the design and did not
+finish it. Three days later he began the vine border for
+the first page, and finished it in about a week, together
+with the initial word &lsquo;Whan,&rsquo; the two lines of heading, and
+the frame for the first picture, and Mr. Hooper engraved
+the whole of these on one block. The first picture was engraved
+at about the same time. A specimen of the first
+page (differing slightly from the same page as it appears
+in the book) was shown at the Arts and Crafts Exhibition
+in October and November, 1893, and was issued to a few
+leading booksellers, but it was not until August 8, 1894,
+that the first sheet was printed at 14, Upper Mall. On Jan.
+8, 1895, another press was started at 21, Upper Mall, and
+from that time two presses were almost exclusively at work
+on the Chaucer. By Sept. 10 the last page of The Romaunt<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+of the Rose was printed. In the middle of Feb., 1896, Mr.
+Morris began designing the title. It was finished on the 27th
+of the same month and engraved by Mr. Hooper in March.
+On May 8, a year and nine months after the printing of the
+first sheet, the book was completed. On June 2 the first two
+copies were delivered to Sir Edward Burne-Jones and Mr.
+Morris. Mr. Morris&rsquo;s copy is now at Exeter College, Oxford,
+with other books printed at the Kelmscott Press.</p>
+
+<p>Besides the eighty-seven illustrations designed by Sir
+Edward Burne-Jones, and engraved by W. H. Hooper,
+the Chaucer contains a woodcut title, fourteen large borders,
+eighteen different frames round the illustrations, and
+twenty-six large initial words designed for the book by
+William Morris. Many of these were engraved by C. E.
+Keates, and others by W. H. Hooper and W. Spielmeyer.</p>
+
+<p>In Feb., 1896, a notice was issued respecting special bindings,
+of which Mr. Morris intended to design four. Two
+of these were to have been executed under Mr. Cobden-Sanderson&rsquo;s
+direction at the Doves Bindery, and two by
+Messrs. J. &amp; J. Leighton. But the only design that he was
+able to complete was for a full white pigskin binding, which
+has now been carried out at the Doves Bindery on forty-eight
+copies, including two on vellum.</p>
+
+<p><b><a name="item_41" id="item_41"></a>41. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME I. PROLOGUE: THE WANDERERS.
+MARCH: ATALANTA&rsquo;S RACE. THE MAN BORN TO
+BE KING.</b> Medium 4to. Golden type. In black and red.
+Borders 27a, 27, 28a, and 28, and woodcut title. 225 on paper
+at thirty shillings, 6 on vellum at seven guineas. Dated
+May 7, issued July 24, 1896. Published by William Morris.
+Bound in limp vellum.</p>
+
+<p>This was the first book printed on the paper with the apple
+<a name="watermark" id="watermark"></a><span class="ins" title="Originally: water-mark">watermark</span>. The seven other volumes followed it at
+intervals of a few months. None of the ten borders used
+in <span class="ins" title="originally: the">The</span> Earthly Paradise appear in any other book. The
+four different half-borders round the poems to the months
+are also not used elsewhere. The first border was designed
+in June, 1895.</p>
+
+<p><b><a name="item_42" id="item_42"></a>42. LAUDES BEATAE MARIAE VIRGINIS.</b> Latin poems<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>
+taken from a Psalter written in England about A. D.
+1220. Edited by S. C. Cockerell. Large 4to. Troy type.
+In black, red, and blue. 250 on paper at ten shillings, 10
+on vellum at two guineas. Dated July 7, issued August 7,
+1896. Published by William Morris. Bound in half holland.</p>
+
+<p>This was the first book printed at the Kelmscott Press in
+three colours. The manuscript from which the poems were
+taken was one of the most beautiful of the English books
+in Mr. Morris&rsquo;s possession, both as regards writing and ornament.
+No author&rsquo;s name is given to the poems, but after
+this book was issued the Rev. E. S. Dewick pointed out that
+they had already been printed at Tegernsee in 1579, in a
+16mo volume in which they are ascribed to Stephen Langton.
+A note to this effect was printed in the Chaucer type
+in Dec. 28, 1896, and distributed to the subscribers.</p>
+
+<p><b><a name="item_41a" id="item_41a"></a>41a. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME II. APRIL: THE DOOM OF KING ACRISIUS.
+THE PROUD KING.</b> Medium 4to. Golden type.
+In black and red. Borders 29a, 29, 28a, and 28. 225 on paper
+at thirty shillings, 6 on vellum at seven guineas. Dated
+June 24, issued Sept. 17, 1896. Published by William Morris.
+Bound in limp vellum.</p>
+
+<p><b><a name="item_43" id="item_43"></a>43. THE FLOURE AND THE LEAFE, AND THE BOKE
+OF CUPIDE, GOD OF LOVE, OR THE CUCKOW AND
+THE NIGHTINGALE.</b> Edited by F. S. Ellis. Medium
+4to. Troy type, with note and colophon in Chaucer type.
+In black and red. 300 on paper at ten shillings, 10 on vellum
+at two guineas. Dated Aug. 21, issued Nov. 2, 1896.
+Published at the Kelmscott Press. Bound in half holland.</p>
+
+<p>Two of the initial words from the Chaucer are used in this
+book, one at the beginning of each poem. These poems
+were formerly attributed to Chaucer, but recent scholarship
+has proved that The Floure and the Leafe is much later
+than Chaucer, and that The Cuckow and the Nightingale
+was written by Sir Thomas Clanvowe about A. D. 1405-10.</p>
+
+<p><b><a name="item_44" id="item_44"></a>44. THE SHEPHEARDES CALENDER: CONTEYNING
+TWELVE &AElig;GLOGUES, PROPORTIONABLE TO<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
+THE TWELVE MONETHES.</b> By Edmund Spenser.
+Edited by F. S. Ellis. Medium 4to. Golden type. In black
+and red. With twelve full-page illustrations by A. J. Gaskin.
+225 on paper at a guinea, 6 on vellum at three guineas.
+Dated Oct. 14, issued Nov. 26, 1896. Published at the Kelmscott
+Press. Bound in half holland.</p>
+
+<p>The illustrations in this book were printed from process
+blocks by Walker &amp; Boutall. By an oversight the names of
+author, editor, and artist were omitted from the colophon.</p>
+
+<p><b><a name="item_41b" id="item_41b"></a>41b. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME III. MAY: THE STORY OF CUPID AND
+PSYCHE. THE WRITING ON THE IMAGE. JUNE:
+THE LOVE OF ALCESTIS. THE LADY OF THE LAND.</b>
+Medium 4to. Golden type. In black and red. Borders 30a,
+30, 27a, 27, 28a, 28, 29a, and 29. 225 on paper at thirty shillings,
+6 on vellum at seven guineas. Dated Aug. 24, issued
+Dec. 5, 1896. Published at the Kelmscott Press. Bound
+in limp vellum.</p>
+
+<p><b><a name="item_41c" id="item_41c"></a>41c. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME IV. JULY: THE SON OF CR&OElig;SUS. THE
+WATCHING OF THE FALCON. AUGUST: PYGMALION
+AND THE IMAGE. OGIER THE DANE.</b> Medium
+4to. Golden type. In black and red. Borders 31a, 31, 29a,
+29, 28a, 28, 30a, and 30. Dated Nov. 25, 1896, issued Jan.
+22, 1897. Published at the Kelmscott Press. Bound in
+limp vellum.</p>
+
+<p><b><a name="item_41d" id="item_41d"></a>41d. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME V. SEPTEMBER: THE DEATH OF
+PARIS. THE LAND EAST OF THE SUN AND WEST
+OF THE MOON. OCTOBER: THE STORY OF ACONTIUS
+AND CYDIPPE. THE MAN WHO NEVER
+LAUGHED AGAIN.</b> Medium 4to. Golden type. In black
+and red. Borders 29a, 29, 27a, 27, 28a, 28, 31a, and 31.
+Finished Dec. 24, 1896, issued Mar. 9, 1897. Published at
+the Kelmscott Press. Bound in limp vellum.</p>
+
+<p><b><a name="item_41e" id="item_41e"></a>41e. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME VI. NOVEMBER: THE STORY OF
+RHODOPE. THE LOVERS OF GUDRUN.</b> Medium 4to.<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span>
+Golden type. In black and red. Borders 27a, 27, 30a, and
+30. Finished Feb. 18, issued May 11, 1897. Published at
+the Kelmscott Press. Bound in limp vellum.</p>
+
+<p><b><a name="item_41f" id="item_41f"></a>41f. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME VII. DECEMBER: THE GOLDEN APPLES.
+THE FOSTERING OF ASLAUG. JANUARY:
+BELLEROPHON AT ARGOS. THE RING GIVEN TO
+VENUS.</b> Medium 4to. Golden type. In black and red.
+Borders 29a, 29, 31a, 31, 30a, 30, 27a, and 27. Finished
+March 17, issued July 29, 1897. Published at the Kelmscott
+Press. Bound in limp vellum.</p>
+
+<p><b><a name="item_45" id="item_45"></a>45. THE WATER OF THE WONDROUS ISLES. BY
+WILLIAM MORRIS.</b> Large 4to. Chaucer type, in double
+columns, with a few lines in Troy type at the end of each
+of the seven parts. In black and red. Borders 16a, 17a,
+18a, 19, and 19a. 250 on paper at three guineas, 6 on vellum
+at twelve guineas. Dated April 1, issued July 29, 1897.
+Published at the Kelmscott Press. Bound in limp vellum.</p>
+
+<p>Unlike The Well at the World&rsquo;s End, with which it is mainly
+uniform, this book has red shoulder-notes and no illustrations.
+Mr. Morris began the story in verse on Feb. 4, 1895.
+A few days later he began it afresh in alternate prose and
+verse; but he was again dissatisfied, and finally began it a
+third time in prose alone, as it now stands. It was first announced
+as in the press in the list of June 1, 1896, at which
+date the early chapters were in type, although they were
+not printed until about a month later. The designs for the
+initial words &lsquo;Whilom&rsquo; and &lsquo;Empty&rsquo; were begun by William
+Morris shortly before his death, and were finished by
+R. Catterson-Smith. Another edition was published by
+Longmans on Oct. 1, 1897.</p>
+
+<p><b><a name="item_41g" id="item_41g"></a>41g. THE EARTHLY PARADISE. BY WILLIAM MORRIS.
+VOLUME VIII. FEBRUARY: BELLEROPHON IN
+LYCIA. THE HILL OF VENUS. EPILOGUE. L&rsquo;ENVOI.</b>
+Medium 4to. Golden type. In black and red. Borders 28a,
+28, 29a, and 29. Finished June 10, issued Sept. 27, 1897.
+Published at the Kelmscott Press. Bound in limp vellum.</p>
+
+<p>The colophon of this final volume of The Earthly Paradise<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
+contains the following note: &lsquo;The borders in this edition
+of The Earthly Paradise were designed by William Morris,
+except those on page 4 of volumes ii., iii., and iv., afterwards
+repeated, which were designed to match the opposite
+borders, under William Morris&rsquo;s direction, by R. Catterson-Smith;
+who also finished the initial words &lsquo;Whilom&rsquo; and
+&lsquo;Empty&rsquo; for The Water of the Wondrous Isles. All the
+other letters, borders, title-pages and ornaments used at
+the Kelmscott Press, except the Greek type in Atalanta in
+Calydon, were designed by William Morris.&rsquo;</p>
+
+<p><b><a name="item_46" id="item_46"></a>46. TWO TRIAL PAGES OF THE PROJECTED
+EDITION OF LORD BERNERS&rsquo; TRANSLATION OF
+FROISSART&rsquo;S CHRONICLES.</b> Folio. Chaucer type, with
+heading in Troy type. In black and red. Border 32, containing
+the shields of France, the Empire, and England and
+a half-border containing those of Reginald Lord Cobham,
+Sir John Chandos, and Sir Walter Manny. 160 on vellum
+at a guinea, none on paper. Dated September, issued October
+7, 1897. Published at the Kelmscott Press. Not bound.</p>
+
+<p>It was the intention of Mr. Morris to make this edition of
+what was since his college days almost his favourite book,
+a worthy companion to the Chaucer. It was to have been
+in two volumes folio, with new cusped initials and heraldic
+ornament throughout. Each volume was to have had a
+large frontispiece designed by Sir E. Burne-Jones; the subject
+of the first was to have been St. George, that of the
+second, Fame. A trial page was set up in the Troy type
+soon after it came from the foundry, in Jan., 1892. Early
+in 1893 trial pages were set up in the Chaucer type, and
+in the list for March 9 of that year the book is erroneously
+stated to be in the press. In the three following lists it is
+announced as in preparation. In the list dated Dec. 1, 1893,
+and in the three next lists, it is again announced as in the
+press, and the number to be printed is given as 150. Meanwhile
+the printing of the Chaucer had been begun, and as
+it was not feasible to carry on two folios at the same time,
+the Froissart again comes under the heading &lsquo;in preparation&rsquo;
+in the lists from Dec. 1, 1894, to June 1, 1896. In the<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
+prospectus of the Shepheardes Calender, dated Nov. 12,
+1896, it is announced as abandoned. At that time about
+thirty-four pages were in type, but no sheet had been
+printed. Before the type was broken up, on Dec. 24, 1896,
+32 copies of sixteen of these pages were printed and given
+as a memento to personal friends of the poet and printer
+whose death now made the completion of the book impossible.
+This suggested the idea of printing two pages for
+wider distribution. The half-border had been engraved
+in April, 1894, by W. Spielmeyer, but the large border only
+existed as a drawing. It was engraved with great skill and
+spirit by C. E. Keates, and the two pages were printed by
+Stephen Mowlem, with the help of an apprentice, in a
+manner worthy of the designs.</p>
+
+<p><b><a name="item_47" id="item_47"></a>47. SIRE DEGREVAUNT.</b> Edited by F. S. Ellis after
+the edition printed by J. O. Halliwell. 8vo. Chaucer type.
+In black and red. Borders 1a and 1, and a woodcut designed
+by Sir Edward Burne-Jones. 350 on paper at fifteen
+shillings, 8 on vellum at four guineas. Dated Mar. 14,
+1896, issued Nov. 12, 1897. Published at the Kelmscott
+Press. Bound in half holland.</p>
+
+<p>This book, subjects from which were painted by Sir Edward
+Burne-Jones on the walls of The Red House, Upton,
+Bexley Heath, many years ago, was always a favourite
+with Mr. Morris. The frontispiece was not printed until
+October, 1897, eighteen months after the text was finished.</p>
+
+<p><b><a name="item_48" id="item_48"></a>48. SYR YSAMBRACE.</b> Edited by F. S. Ellis after the
+edition printed by J. O. Halliwell from the MS. in the
+Library of Lincoln Cathedral, with some corrections. 8vo.
+Chaucer type. In black and red. Borders 4a and 4, and
+a woodcut designed by Sir Edward Burne-Jones. 350 on
+paper at twelve shillings, 8 on vellum at four guineas. Dated
+July 14, issued Nov. 11, 1897. Published at the Kelmscott
+Press. Bound in half holland.</p>
+
+<p>This is the third and last of the reprints from the Camden
+Society&rsquo;s volume of Thornton Romances. The text was
+all set up and partly printed by June, 1896, at which time it
+was intended to include &lsquo;Sir Eglamour&rsquo; in the same volume.</p>
+
+<p><b><a name="item_49" id="item_49"></a>49. SOME GERMAN WOODCUTS OF THE FIFTEENTH<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
+CENTURY.</b> Being thirty-five reproductions
+from books that were in the library of the late William Morris.
+Edited, with a list of the principal woodcut books in
+that library, by S. C. Cockerell. Large 4to. Golden type.
+In red and black. 225 on paper at thirty shillings, 8 on vellum
+at five guineas. Dated Dec. 15, 1897, issued January 6, 1898.
+Published at the Kelmscott Press. Bound in half holland.</p>
+
+<p>Of these thirty-five reproductions twenty-nine were all that
+were done of a series chosen by Mr. Morris to illustrate a
+catalogue of his library, and the other six were prepared
+by him for an article in the 4th number of Bibliographica,
+part of which is reprinted as an introduction to the book.
+The process blocks (with one exception) were made by
+Walker &amp; Boutall, and are of the same size as the original cuts.</p>
+
+<p><b><a name="item_50" id="item_50"></a>50. THE STORY OF SIGURD THE VOLSUNG AND
+THE FALL OF THE NIBLUNGS. BY WILLIAM MORRIS.</b>
+Small folio. Chaucer type, with title and headings
+to the four books in Troy type. In black and red. Borders
+33a and 33, and two illustrations designed by Sir
+Edward Burne-Jones. 160 on paper at six guineas, 6 on
+vellum at twenty guineas. Dated January 19, issued February
+25, 1898. Published at the Kelmscott Press. Bound
+in limp vellum.</p>
+
+<p>The two borders used in this book were almost the last that
+Mr. Morris designed. They were intended for an edition
+of The Hill of Venus, which was to have been written in
+prose by him and illustrated by Sir E. Burne-Jones. The
+foliage was suggested by the ornament in two Psalters of
+the last half of the thirteenth century in the library at Kelmscott
+House. The initial A at the beginning of the 3rd book
+was designed in March, 1893, for the Froissart, and does
+not appear elsewhere.</p>
+
+<p>An edition of Sigurd the Volsung, which Mr. Morris justly
+considered his masterpiece, was contemplated early in the
+history of the Kelmscott Press. An announcement appears
+in a proof of the first list, dated April, 1892, but it was excluded
+from the list as issued in May. It did not reappear<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
+until the list of November 26, 1895, in which, the Chaucer
+being near its completion, Sigurd comes under the heading
+&lsquo;in preparation,&rsquo; as a folio in Troy type, &lsquo;with about twenty-five
+illustrations by Sir E. Burne-Jones.&rsquo; In the list of June
+1, 1896, it is finally announced as &lsquo;in the press,&rsquo; the number
+of illustrations is increased to forty, and other particulars
+are given. Four borders had then been designed for
+it, two of which were used on pages 470 and 471 of the
+Chaucer. The other two have not been used, though one
+of them has been engraved. Two pages only were in type,
+thirty-two copies of which were struck off on Jan. 11, 1897,
+and given to friends, with the sixteen pages of Froissart
+mentioned above.</p>
+
+<p><b><a name="item_51" id="item_51"></a>51. THE SUNDERING FLOOD WRITTEN BY WILLIAM
+MORRIS.</b> Overseen for the press by May Morris.
+8vo. Chaucer type. In black and red. Border 10, and a
+map. 300 on paper at two <a name="guineas" id="guineas"></a>
+<span class="inso" title="after guineas insert: ten on vellum at ten guineas.">guineas.</span> Dated Nov. 15, 1897,
+issued Feb. 25, 1898. Published at the Kelmscott Press.
+Bound in half holland.</p>
+
+<p>This was the last romance by William Morris. He began to
+write it on Dec. 21, 1895, and dictated the final words on Sept.
+8, 1896. The map pasted into the cover was drawn by
+H. Cribb for Walker &amp; Boutall, who prepared the block. In
+the edition that Longmans are about to issue the bands of
+robbers called in the Kelmscott edition Red and Black Skinners
+appear correctly as Red and Black Skimmers. The
+name was probably suggested by that of the pirates called
+&lsquo;escumours of the sea&rsquo; on page 154 of Godefrey of Boloyne.</p>
+
+<p><b><a name="item_52" id="item_52"></a>52. LOVE IS ENOUGH, OR THE FREEING OF PHARAMOND:
+A MORALITY. WRITTEN BY WILLIAM
+MORRIS.</b> Large 4to. Troy type, with stage directions in
+Chaucer type. In black, red, and blue. Borders 6a and 7,
+and two illustrations designed by Sir Edward Burne-Jones.
+300 on paper at two guineas, 8 on vellum at ten guineas.
+Dated Dec. 11, 1897, issued Mar. 24, 1898. Published at the
+Kelmscott Press. Bound in limp vellum.</p>
+
+<p>This was the second book printed in three colours at the
+Kelmscott Press. As explained in the colophon, the final<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
+picture was not designed for this edition of Love is Enough,
+but for the projected edition referred to above, on <a name="errata_40_1" id="errata_40_1"></a><a href="#Page_5">page <span class="ins" title="originally: 8">5</span></a>.</p>
+
+<p><b><a name="item_53" id="item_53"></a>53. A NOTE BY WILLIAM MORRIS ON HIS AIMS IN
+FOUNDING THE KELMSCOTT PRESS, TOGETHER
+WITH A SHORT DESCRIPTION OF THE PRESS BY
+S. C. COCKERELL, AND AN ANNOTATED LIST OF
+THE BOOKS PRINTED THEREAT.</b> Octavo. Golden
+type, with five pages in the Troy and Chaucer types. In
+black and red. Borders 4a and 4, and a woodcut designed
+by Sir E. Burne-Jones. 525 on paper at ten shillings, 12 on
+vellum at two guineas. Dated March 1, issued March 24, 1898.
+Published at the Kelmscott Press. Bound in half holland.</p>
+
+<p>The frontispiece to this book was engraved by William
+Morris for the projected edition of The Earthly Paradise
+described on <a name="errata_40_3" id="errata_40_3"></a><a href="#Page_5">page <span class="ins" title="originally: 7">5</span></a>. This block and the blocks for the three
+ornaments on <a name="errata_40_4" id="errata_40_4"></a><a href="#Page_7">page <span class="ins" title="originally: 9">7</span></a> are not included among those mentioned
+on <a name="errata_40_5" id="errata_40_5"></a><a href="#Page_12">page <span class="ins" title="originally: 17">12</span></a> as having been sent to the British Museum.<br /><br /><br /></p>
+
+<h2 style="text-align: left; font-size: 100%">
+VARIOUS LISTS, LEAFLETS AND ANNOUNCEMENTS
+PRINTED AT THE KELMSCOTT PRESS.</h2>
+<p>Eighteen lists of the books printed or in preparation at the
+Kelmscott Press were issued to booksellers and subscribers.
+The dates of these are May, July, and Dec., 1892;
+March 9, May 20, May 27, Aug. 1, and Dec. 1, 1893; March
+31, April 21, July 2, Oct. 1 (a leaflet), and Dec. 1, 1894;
+July 1, and Nov. 26, 1895; June 1, 1896; Feb. 16, and July
+28, 1897. The three lists for 1892, and some copies of that
+for Mar. 9, 1893, were printed on Whatman paper, the last
+of the stock bought for the first edition of The Roots of the
+Mountains (see <a name="errata_40_2" id="errata_40_2"></a><a href="#Page_6">p. <span class="ins" title="originally: 10">6</span></a>). Besides these, twenty-nine announcements,
+relating mainly to individual books, were issued;
+and <a name="eight_leaflets" id="eight_leaflets"></a>
+<span class="inso" title="Should read: nine or ten leaflets">eight leaflets</span>, containing extracts from the lists, were
+printed for distribution by Messrs. Morris &amp; Co.</p>
+
+<p>The following items, as having a more permanent interest
+than most of these announcements, merit a full description:</p>
+
+<p><a name="leaf_1" id="leaf_1"></a>1. Two forms of invitation to the annual gatherings of The
+Hammersmith Socialist Society on Jan. 30, 1892, and Feb.
+11, 1893. Golden type.</p>
+
+<p><a name="leaf_2" id="leaf_2"></a>2. A four-page leaflet for the Ancoats Brotherhood, with<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
+the frontispiece from the Kelmscott Press edition of A Dream
+of John Ball on the first page. March, 1894. Golden type.
+2500 copies.</p>
+
+<p><a name="leaf_3" id="leaf_3"></a>3. An address to Sir Lowthian Bell, Bart., from his employés,
+dated 30th June, 1894. 8 pages. Golden type. 250
+on paper and 2 on vellum.</p>
+
+<p><a name="leaf_4" id="leaf_4"></a>4. A leaflet, with fly-leaf, headed An American Memorial
+to Keats, together with a form of invitation to the unveiling
+of his bust in Hampstead Parish Church on July 16,
+1894. Golden type. 750 copies.</p>
+
+<p><a name="leaf_5" id="leaf_5"></a>5. A slip giving the text of a memorial tablet to Dr. Thomas
+Sadler, for distribution at the unveiling of it in Rosslyn Hill
+Chapel, Hampstead. Nov., 1894. Golden type. 450 copies.</p>
+
+<p><a name="leaf_6" id="leaf_6"></a>6. Scholarship certificates for the Technical Education
+Board of the London County Council, printed in the oblong
+borders designed for the pictures in Chaucer&rsquo;s Works.
+One of these borders was not used in the book, and this is
+its only appearance. The first certificate was printed in
+Nov., 1894, and was followed in Jan., 1896, by eleven certificates;
+in Jan., 1897, by six certificates; and in Feb., 1898,
+by eleven certificates, all differently worded. Golden type.
+The numbers varied from 12 to 2500 copies.</p>
+
+<p><a name="leaf_7" id="leaf_7"></a>7. Programmes of the Kelmscott Press annual wayzgoose
+for the years 1892-5. These were printed without supervision
+from Mr. Morris.</p>
+
+<p><a name="leaf_8" id="leaf_8"></a>8. Specimen showing the three types used at the Press for
+insertion in the first edition of Strange&rsquo;s Alphabets. March,
+1895. 2000 ordinary copies and 60 on large paper.</p>
+
+<p><a name="leaf_9" id="leaf_9"></a>9. Card for Associates of the Deaconess Institution for the
+Diocese of Rochester. One side of this card is printed in
+Chaucer type; on the other there is a prayer in the Troy
+type enclosed in a small border which was not used elsewhere.
+It was designed for the illustrations of a projected
+edition of The House of the Wolfings. April, 1897. 250 copies.</p>
+
+<p><br /></p>
+<p><span class="pagenum"><a name="Page_42" id="Page_42">[42&ndash;43]</a><a name="Page_43" id="Page_43"></a></span></p>
+
+<div>
+<table style="margin-left: 0em;" border="0" cellpadding="2" cellspacing="0" width="80%" summary="Table of Books">
+<tr><td colspan="2" align="left"><b>A LIST OF THE BOOKS DESCRIBED ABOVE.</b></td><td align="right">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;page</td></tr>
+<tr><td></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_1">1</a></td><td align="left">The Glittering Plain (without illustrations)</td><td align="right"><a href="#Page_15">15</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_2">2</a></td><td align="left">Poems by the Way</td><td align="right"><a href="#Page_15">15</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_3">3</a></td><td align="left">Blunt&rsquo;s Love Lyrics and Songs of Proteus</td><td align="right"><a href="#Page_16">16</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_4">4</a></td><td align="left">Ruskin&rsquo;s Nature of Gothic</td><td align="right"><a href="#Page_16">16</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_5">5</a></td><td align="left">The Defence of Guenevere</td><td align="right"><a href="#Page_16">16</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_6">6</a></td><td align="left">A Dream of John Ball</td><td align="right"><a href="#Page_17">17</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_7">7</a></td><td align="left">The Golden Legend</td><td align="right"><a href="#Page_17">17</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_8">8</a></td><td align="left">The Recuyell of the Historyes of Troye</td><td align="right"><a href="#Page_18">18</a></td></tr>
+<tr><td align="left">&nbsp;&nbsp;<a href="#item_9">9</a></td><td align="left">Mackail&rsquo;s Biblia Innocentium</td><td align="right"><a href="#Page_19">19</a></td></tr>
+<tr><td align="left"><a href="#item_10">10</a></td><td align="left">Reynard the Foxe</td><td align="right"><a href="#Page_19">19</a></td></tr>
+<tr><td align="left"><a href="#item_11">11</a></td><td align="left">Shakespeare&rsquo;s Poems and Sonnets</td><td align="right"><a href="#Page_20">20</a></td></tr>
+<tr><td align="left"><a href="#item_12">12</a></td><td align="left">News from Nowhere</td><td align="right"><a href="#Page_20">20</a></td></tr>
+<tr><td align="left"><a href="#item_13">13</a></td><td align="left">The Order of Chivalry</td><td align="right"><a href="#Page_20">20</a></td></tr>
+<tr><td align="left"><a href="#item_14">14</a></td><td align="left">Cavendish&rsquo;s Life of Wolsey</td><td align="right"><a href="#Page_21">21</a></td></tr>
+<tr><td align="left"><a href="#item_15">15</a></td><td align="left">Godefrey of Boloyne</td><td align="right"><a href="#Page_21">21</a></td></tr>
+<tr><td align="left"><a href="#item_16">16</a></td><td align="left">More&rsquo;s Utopia</td><td align="right"><a href="#Page_22">22</a></td></tr>
+<tr><td align="left"><a href="#item_17">17</a></td><td align="left">Tennyson&rsquo;s Maud</td><td align="right"><a href="#Page_22">22</a></td></tr>
+<tr><td align="left"><a href="#item_18">18</a></td><td align="left">Gothic Architecture, by William Morris</td><td align="right"><a href="#Page_22">22</a></td></tr>
+<tr><td align="left"><a href="#item_19">19</a></td><td align="left">Sidonia the Sorceress</td><td align="right"><a href="#Page_23">23</a></td></tr>
+<tr><td align="left"><a href="#item_20">20</a></td><td align="left">Rossetti&rsquo;s Ballads and Narrative Poems</td><td align="right"><a href="#Page_23">23</a></td></tr>
+<tr><td align="left"><a href="#item_20a">20a</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Sonnets and Lyrical Poems</td><td align="right"><a href="#Page_24">24</a></td></tr>
+<tr><td align="left"><a href="#item_21">21</a></td><td align="left">King Florus</td><td align="right"><a href="#Page_23">23</a></td></tr>
+<tr><td align="left"><a href="#item_22">22</a></td><td align="left">The Glittering Plain (illustrated)</td><td align="right"><a href="#Page_23">23</a></td></tr>
+<tr><td align="left"><a href="#item_23">23</a></td><td align="left">Amis and Amile</td><td align="right"><a href="#Page_24">24</a></td></tr>
+<tr><td align="left"><a href="#item_24">24</a></td><td align="left">The Poems of Keats</td><td align="right"><a href="#Page_24">24</a></td></tr>
+<tr><td align="left"><a href="#item_25">25</a></td><td align="left">Swinburne&rsquo;s Atalanta in Calydon</td><td align="right"><a href="#Page_25">25</a></td></tr>
+<tr><td align="left"><a href="#item_26">26</a></td><td align="left">The Emperor Coustans</td><td align="right"><a href="#Page_25">25</a></td></tr>
+<tr><td align="left"><a href="#item_27">27</a></td><td align="left">The Wood beyond the World</td><td align="right"><a href="#Page_25">25</a></td></tr>
+<tr><td align="left"><a href="#item_28">28</a></td><td align="left">The Book of Wisdom and Lies</td><td align="right"><a href="#Page_25">25</a></td></tr>
+<tr><td align="left"><a href="#item_29">29</a></td><td align="left">Shelley&rsquo;s Poems, Vol. I.</td><td align="right"><a href="#Page_26">26</a></td></tr>
+<tr><td align="left"><a href="#item_29a">29a</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;II.</td><td align="right"><a href="#Page_28">28</a></td></tr>
+<tr><td align="left"><a href="#item_29b">29b</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;III.</td><td align="right"><a href="#Page_28">28</a></td></tr>
+<tr><td align="left"><a href="#item_30">30</a></td><td align="left">Psalmi Penitentiales</td><td align="right"><a href="#Page_26">26</a></td></tr>
+<tr><td align="left"><a href="#item_31">31</a></td><td align="left">Savonarola, De contemptu Mundi</td><td align="right"><a href="#Page_26">26</a></td></tr>
+<tr><td align="left"><a href="#item_32">32</a></td><td align="left">Beowulf</td><td align="right"><a href="#Page_27">27</a></td></tr>
+<tr><td align="left"><a href="#item_33">33</a></td><td align="left">Syr Perecyvelle</td><td align="right"><a href="#Page_27">27</a></td></tr>
+<tr><td align="left"><a href="#item_34">34</a></td><td align="left">The Life and Death of Jason</td><td align="right"><a href="#Page_27">27</a></td></tr>
+<tr><td align="left"><a href="#item_35">35</a></td><td align="left">Child Christopher</td><td align="right"><a href="#Page_28">28</a></td></tr>
+<tr><td align="left"><a href="#item_36">36</a></td><td align="left">Rossetti&rsquo;s Hand and Soul</td><td align="right"><a href="#Page_28">28</a></td></tr>
+<tr><td align="left"><a href="#item_37">37</a></td><td align="left">Herrick&rsquo;s Poems</td><td align="right"><a href="#Page_29">29</a></td></tr>
+<tr><td align="left"><a href="#item_38">38</a></td><td align="left">Coleridge&rsquo;s Poems</td><td align="right"><a href="#Page_29">29</a></td></tr>
+<tr><td align="left"><a href="#item_39">39</a></td><td align="left">The Well at the World&rsquo;s End</td><td align="right"><a href="#Page_29">29</a></td></tr>
+<tr><td align="left"><a href="#item_40">40</a></td><td align="left">Chaucer&rsquo;s Works</td><td align="right"><a href="#Page_30">30</a></td></tr>
+<tr><td align="left"><a href="#item_41">41</a></td><td align="left">The Earthly Paradise, Vol. I.</td><td align="right"><a href="#Page_32">32</a></td></tr>
+<tr><td align="left"><a href="#item_41a">41a</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;II.</td><td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="left"><a href="#item_41b">41b</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;III.</td><td align="right"><a href="#Page_34">34</a></td></tr>
+<tr><td align="left"><a href="#item_41c">41c</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;IV.</td><td align="right"><a href="#Page_34">34</a></td></tr>
+<tr><td align="left"><a href="#item_41d">41d</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;V.</td><td align="right"><a href="#Page_34">34</a></td></tr>
+<tr><td align="left"><a href="#item_41e">41e</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;VI.</td><td align="right"><a href="#Page_34">34</a></td></tr>
+<tr><td align="left"><a href="#item_41f">41f</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;VII.</td><td align="right"><a href="#Page_35">35</a></td></tr>
+<tr><td align="left"><a href="#item_41g">41g</a></td><td align="left">&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&rdquo;&nbsp;&nbsp;&nbsp;VIII.</td><td align="right"><a href="#Page_35">35</a></td></tr>
+<tr><td align="left"><a href="#item_42">42</a></td><td align="left">Laudes Beat&aelig; Mari&aelig; Virginis</td><td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="left"><a href="#item_43">43</a></td><td align="left">The Floure and the Leafe</td><td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="left"><a href="#item_44">44</a></td><td align="left">Spenser&rsquo;s Shepheardes Calender</td><td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="left"><a href="#item_45">45</a></td><td align="left">The Water of the Wondrous Isles</td><td align="right"><a href="#Page_35">35</a></td></tr>
+<tr><td align="left"><a href="#item_46">46</a></td><td align="left">Trial pages of Froissart</td><td align="right"><a href="#Page_36">36</a></td></tr>
+<tr><td align="left"><a href="#item_47">47</a></td><td align="left">Sire Degrevaunt</td><td align="right"><a href="#Page_37">37</a></td></tr>
+<tr><td align="left"><a href="#item_48">48</a></td><td align="left">Syr Ysambrace</td><td align="right"><a href="#Page_37">37</a></td></tr>
+<tr><td align="left"><a href="#item_49">49</a></td><td align="left">Some German Woodcuts</td><td align="right"><a href="#Page_38">38</a></td></tr>
+<tr><td align="left"><a href="#item_50">50</a></td><td align="left">Sigurd the Volsung</td><td align="right"><a href="#Page_38">38</a></td></tr>
+<tr><td align="left"><a href="#item_51">51</a></td><td align="left">The Sundering Flood</td><td align="right"><a href="#Page_39">39</a></td></tr>
+<tr><td align="left"><a href="#item_52">52</a></td><td align="left">Love is Enough</td><td align="right"><a href="#Page_39">39</a></td></tr>
+<tr><td align="left"><a href="#item_53">53</a></td><td align="left">A Note by <a name="William" id="William"></a><span class="ins" title="Originally: Milliam">William</span> Morris</td><td align="right"><a href="#Page_40">40</a></td></tr>
+
+<tr><td colspan="2" align="left"><br /><b>LEAFLETS, &amp;c.</b><br /></td></tr>
+
+<tr><td></td> <td align="left">Various lists and announcements relating to the
+Kelmscott Press</td><td align="right"><a href="#Page_40">40</a></td></tr>
+<tr><td align="right"><a href="#leaf_1">1.&nbsp;</a></td><td align="left">Hammersmith Socialist Society, invitations</td><td align="right"><a href="#Page_40">40</a></td></tr>
+<tr><td align="right"><a href="#leaf_2">2.&nbsp;</a></td><td align="left">Ancoats Brotherhood leaflet</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td align="right"><a href="#leaf_3">3.&nbsp;</a></td><td align="left">Address to Sir Lowthian Bell</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td align="right"><a href="#leaf_4">4.&nbsp;</a></td><td align="left">An American Memorial to Keats</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td align="right"><a href="#leaf_5">5.&nbsp;</a></td><td align="left">Memorial to Dr. Thomas Sadler</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td align="right"><a href="#leaf_6">6.&nbsp;</a></td><td align="left">L. C. C. Scholarship Certificates</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td align="right"><a href="#leaf_7">7.&nbsp;</a></td><td align="left">Wayzgoose Programmes</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td align="right"><a href="#leaf_8">8.&nbsp;</a></td><td align="left">Specimen in Strange&rsquo;s Alphabets</td><td align="right"><a href="#Page_41">41</a></td></tr>
+<tr><td align="right" valign="top"><a href="#leaf_9">9.&nbsp;</a></td><td align="left">Card for Associates of the Deaconess Institution
+for the Diocese of Rochester</td><td align="right"><a href="#Page_41">41</a></td></tr>
+</table></div>
+
+<p>Other works announced in the lists as in preparation, but<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+afterwards abandoned, were The Tragedies, Histories, and
+Comedies of William Shakespeare; Caxton&rsquo;s Vitas Patrum;
+The Poems of Theodore Watts-Dunton; and A Catalogue
+of the Collection of Woodcut Books, Early Printed Books,
+and Manuscripts at Kelmscott House. The text of the
+Shakespeare was to have been prepared by Dr. Furnivall.
+The original intention, as first set out in the list of May 20,
+1893, was to print it in three vols. folio. A trial page from
+<a name="Lady" id="Lady"></a><span class="inso" title="Omit: Lady">Lady</span> Macbeth, printed at this time, is in existence. The
+same information is repeated until the list of July 2, 1895,
+in which the book is announced as to be a &lsquo;small 4to (special
+size),&rsquo; i. e., the size afterwards adopted for The Earthly
+Paradise. It was not, however, begun, nor was the volume
+of Mr. Watts-Dunton&rsquo;s poems. Of the Vitas Patrum, which
+was to have been uniform with The Golden Legend, a prospectus
+and specimen page were issued in March, 1894, but
+the number of subscribers did not justify its going beyond
+this stage. Two trial pages of the Catalogue were set up;
+some of the material prepared for it has now appeared in
+Some German Woodcuts of the Fifteenth Century. In addition
+to these books, The Hill of Venus, as stated on <a name="errata_44_1" id="errata_44_1"></a><a href="#Page_38">p. <span class="ins" title="originally: 57">38</span></a>,
+was in preparation. Among works that Mr. Morris had some
+thought of printing may also be mentioned The Bible, Gesta
+Romanorum, Malory&rsquo;s Morte Darthur, The High History
+of the San Graal (translated by Dr. Sebastian Evans), Piers
+Ploughman, Huon of Bordeaux, Caxton&rsquo;s Jason, a Latin
+Psalter, The Prymer or Lay Folk&rsquo;s Prayer-Book, Some
+Medi&aelig;val English Songs and Music, The Pilgrim&rsquo;s Progress,
+and a Book of Romantic Ballads. He was engaged on the
+selection of the Ballads, which he spoke of as the finest
+poems in our language, during his last illness.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><br /></p>
+<h1 style="font-size: 110%; text-align: left;"><a name="Section_2" id="Section_2"></a>THE IDEAL BOOK: AN ADDRESS BY WILLIAM<span class="pagenum"><a name="Ideal" id="Ideal"><!-- unnumbered --></a></span>
+MORRIS, DELIVERED BEFORE THE BIBLIOGRAPHICAL
+SOCIETY OF LONDON, MDCCCXCIII.</h1>
+
+<p>&nbsp;</p>
+
+<p>By the Ideal Book, I suppose we are to understand a book<span class="pagenum"><a name="Page_1a" id="Page_1a">[1]</a></span>
+not limited by commercial exigencies of price: we can do
+what we like with it, according to what its nature, as a
+book, demands of art. But we may conclude, I think, that
+its matter will limit us somewhat; a work on differential
+calculus, a medical work, a dictionary, a collection of a
+statesman&rsquo;s speeches, or a treatise on manures, such books,
+though they might be handsomely and well printed, would
+scarcely receive ornament with the same exuberance as a
+volume of lyrical poems, or a standard classic, or such
+like. A work on Art, I think, bears less of ornament than
+any other kind of book (&ldquo;non bis in idem&rdquo; is a good
+motto); again, a book that must have illustrations, more
+or less utilitarian, should, I think, have no actual ornament
+at all, because the ornament and the illustration must almost
+certainly fight.</p>
+
+<p>Still whatever the subject matter of the book may be, and
+however bare it may be of decoration, it can still be a
+work of art, if the type be good and attention be paid to
+its general arrangement. All here present, I should suppose,
+will agree in thinking an opening of Sch&oelig;ffer&rsquo;s 1462
+Bible beautiful, even when it has neither been illuminated
+nor rubricated; the same may be said of Schussler, or
+Jenson, or, in short, of any of the good old printers; their
+books, without any further ornament than they derived
+from the design and arrangement of the letters, were definite
+works of art. In fact a book, printed or written, has
+a tendency to be a beautiful object, and that we of this age
+should generally produce ugly books, shows, I fear, something
+like malice prepense&mdash;a <a name="determination" id="determination"></a>
+<span class="ins" title="Originally: determation">determination</span> to put our eyes
+in our pockets wherever we can.</p>
+
+<p>Well, I lay it down, first, that a book quite unornamented
+can look actually and positively beautiful, and not merely
+un-ugly, if it be, so to say, architecturally good, which, by
+the by, need not add much to its price, since it costs no
+more to pick up pretty stamps than ugly ones, and the taste
+and forethought that goes to the proper setting, position,
+and so on, will soon grow into a habit, if cultivated, and<span class="pagenum"><a name="Page_2a" id="Page_2a">[2]</a></span>
+will not take up much of the master printer&rsquo;s time when
+taken with his other necessary business.</p>
+
+<p>Now, then, let us see what this architectural arrangement
+claims of us. First, the pages must be clear and easy to
+read; which they can hardly be unless, Secondly, the type
+is well designed; and Thirdly, whether the margins be
+small or big, they must be in due proportion to the page of
+the letter.</p>
+
+<p>For clearness of reading the things necessary to be heeded
+are, first, that the letters should be properly put on their
+bodies, and, I think, especially that there should be small
+whites between them; it is curious, but to me certain, that
+the irregularity of some early type, notably the roman letter
+of the early printers of Rome, which is, of all roman
+type, the rudest, does not tend toward illegibility: what
+does so is the lateral compression of the letter, which necessarily
+involves the over thinning out of its shape. Of course
+I do not mean to say that the above-mentioned irregularity
+is other than a fault to be corrected. One thing should
+never be done in ideal printing, the spacing out of letters&mdash;that
+is, putting an extra white between them; except in
+such hurried and unimportant work as newspaper printing,
+it is inexcusable.</p>
+
+<p>This leads to the second matter on this head, the lateral
+spacing of words (the whites between them); to make a
+beautiful page great attention should be paid to this, which,
+I fear, is not often done. No more white should be used
+between the words than just clearly cuts them off from one
+another; if the whites are bigger than this it both tends to
+illegibility and makes the page ugly. I remember once
+buying a handsome fifteenth-century Venetian book, and
+I could not tell at first why some of its pages were so worrying
+to read, and so commonplace and vulgar to look at,
+for there was no fault to find with the type. But presently
+it was accounted for by the spacing: for the said pages
+were spaced like a modern book, i. e., the black and white
+nearly equal. Next, if you want a legible book, the white
+should be clear and the black black. When that excellent<span class="pagenum"><a name="Page_3a" id="Page_3a">[3]</a></span>
+journal, the Westminster Gazette, first came out, there was
+a discussion on the advantages of its green paper, in which
+a good deal of nonsense was talked. My friend, Mr. Jacobi,
+being a practical printer, set these wise men right, if they
+noticed his letter, as I fear they did not, by pointing out
+that what they had done was to lower the tone (not the
+moral tone) of the paper, and that, therefore, in order to
+make it as legible as ordinary black and white, they should
+make their black blacker&mdash;which of course they do not do.
+You may depend upon it that a gray page is very trying
+to the eyes.</p>
+
+<p>As above said, legibility depends also much on the design
+of the letter: and again I take up the cudgels against compressed
+type, and that especially in roman letter: the full-sized
+lower-case letters &ldquo;a,&rdquo; &ldquo;b,&rdquo; &ldquo;d,&rdquo; and &ldquo;c,&rdquo; should be
+designed on something like a square to get good results:
+otherwise one may fairly say that there is no room for the
+design; furthermore, each letter should have its due characteristic
+drawing, the thickening out for a &ldquo;b,&rdquo; &ldquo;e,&rdquo; &ldquo;g,&rdquo;
+should not be of the same kind as that for a &ldquo;d&rdquo;; a &ldquo;u&rdquo;
+should not merely be an &ldquo;n&rdquo; turned upside down; the dot of
+the &ldquo;i&rdquo; should not be a circle drawn with compasses; but
+a delicately drawn diamond, and so on. To be short, the
+letters should be designed by an artist, and not an engineer.
+As to the forms of letters in England (I mean Great
+Britain), there has been much progress within the last forty
+years. The sweltering hideousness of the Bodoni letter,
+the most illegible type that was ever cut, with its preposterous
+thicks and thins, has been mostly relegated to works
+that do not profess anything but the baldest utilitarianism
+(though why even utilitarianism should use illegible types,
+I fail to see), and Caslon&rsquo;s letter and the somewhat wiry,
+but in its way, elegant old-faced type cut in our own days,
+has largely taken its place. It is rather unlucky, however,
+that a somewhat low standard of excellence has been accepted
+for the design of modern roman type at its best,
+the comparatively poor and wiry letter of Plantin and
+the Elzevirs having served for the model, rather than the<span class="pagenum"><a name="Page_4a" id="Page_4a">[4]</a></span>
+generous and logical designs of the fifteenth-century Venetian
+printers, at the head of whom stands Nicholas Jenson;
+when it is so obvious that this is the best and clearest roman
+type yet struck, it seems a pity that we should make our
+starting-point for a possible new departure at any period
+worse than the best. If any of you doubt the superiority
+of this type over that of the seventeenth century, the study
+of a specimen enlarged about five times will convince him,
+I should think. I must admit, however, that a commercial
+consideration comes in here, to wit, that the Jenson letters
+take up more room than the imitations of the seventeenth
+century; and that touches on another commercial difficulty,
+to wit, that you cannot have a book either handsome or
+clear to read which is printed in small characters. For
+my part, except where books smaller than an ordinary
+octavo are wanted, I would fight against anything smaller
+than pica; but at any rate small pica seems to me the
+smallest type that should be used in the body of any book.
+I might suggest to printers that if they want to get more
+in they can reduce the size of the leads, or leave them out
+altogether. Of course this is more desirable in some types
+than in others; Caslon&rsquo;s letter, e. g., which has long ascenders
+and descenders, never needs leading, except for special
+purposes.</p>
+
+<p>I have hitherto had a fine and generous roman type in
+my mind, but after all a certain amount of variety is desirable,
+and when you have gotten your roman letter as
+good as the best that has been, I do not think you will
+find much scope for development of it; I would therefore
+put in a word for some form of gothic letter for use in
+our improved printed book. This may startle some of
+you, but you must remember that except for a very remarkable
+type used very seldom by Berthelette (I have
+only seen two books in this type. Bartholomew, the Englishman,
+and the Gower, of 1532), English black-letter,
+since the days of Wynkin de Worde, has been always
+the letter which was introduced from Holland about that
+time (I except again, of course, the modern imitations of<span class="pagenum"><a name="Page_5a" id="Page_5a">[5]</a></span>
+Caxton). Now this, though a handsome and stately letter,
+is not very easy reading; it is too much compressed, too
+spiky, and so to say, too prepensely gothic. But there are
+many types which are of a transitional character and of
+all degrees of transition, from those which do little more
+than take in just a little of the crisp floweriness of the
+gothic, like some of the Mentelin or quasi-Mentelin ones
+(which, indeed, are models of beautiful simplicity), or say
+like the letter of the Ulm Ptolemy, of which it is difficult
+to say whether it is gothic or roman, to the splendid Mainz
+type, of which, I suppose, the finest specimen is the Sch&oelig;ffer
+Bible of 1462, which is almost wholly gothic. This gives
+us a wide field for variety, I think, so I make the suggestion
+to you, and leave this part of the subject with two
+remarks: first, that a good deal of the difficulty of reading
+gothic books is caused by the numerous contractions in
+them, which were a survival of the practice of the scribes;
+and in a lesser degree by the over-abundance of tied letters,
+both of which drawbacks, I take it for granted, would
+be absent in modern types founded on these semi-gothic
+letters. And, secondly, that in my opinion the capitals are
+the strong side of roman and the lower-case of gothic letter,
+which is but natural, since the roman was originally
+an alphabet of capitals, and the lower case a gradual deduction
+from them.</p>
+
+<p>We now come to the position of the page of print on the
+paper, which is a most important point, and one that till
+quite lately has been wholly misunderstood by modern,
+and seldom done wrong by ancient printers, or indeed by
+producers of books of any kind. On this head I must begin
+by reminding you that we only occasionally see one
+page of a book at a time; the two pages making an opening
+are really the unit of the book, and this was thoroughly
+understood by the old book producers. I think you will seldom
+find a book produced before the eighteenth century,
+and which has not been cut down by that enemy of books
+(and of the human race), the binder, in which this rule is
+not adhered to: that the binder edge (that which is bound<span class="pagenum"><a name="Page_6a" id="Page_6a">[6]</a></span>
+in) must be the smallest member of the margins, the head
+margin must be larger than this, the fore larger still, and
+the tail largest of all. I assert that, to the eye of any man
+who knows what proportion is, this looks satisfactory, and
+that no other does so look. But the modern printer, as a
+rule, dumps down the page in what he calls the middle of
+the paper, which is often not even really the middle, as he
+measures his page from the head line, if he has one, though
+it is not really a part of the page, but a spray of type only
+faintly staining the head of the paper. Now I go so far as
+to say that any book in which the page is properly put on
+the paper is tolerable to look at, however poor the type
+may be (always so long as there is no &ldquo;ornament&rdquo; which
+may spoil the whole thing), whereas any book in which
+the page is wrongly set on the paper is intolerable to look
+at, however good the type and ornaments may be. I have
+got on my shelves now a Jenson&rsquo;s Latin Pliny, which, in
+spite of its beautiful type and handsome painted ornaments,
+I dare scarcely look at, because the binder (adjectives
+fail me here) has chopped off two-thirds of the tail
+margin: such stupidities are like a man with his coat buttoned
+up behind, or a lady with her bonnet on hind-side
+foremost.</p>
+
+<p>Before I finish I should like to say a word concerning
+large-paper copies. I am clean against them, though I
+have sinned a good deal in that way myself, but that was
+in the days of ignorance, and I petition for pardon on that
+ground only. If you want to publish a handsome edition
+of a book, as well as a cheap one, do so, but let them be two
+books, and if you (or the public) cannot afford this, spend
+your ingenuity and your money in making the cheap book
+as sightly as you can. Your making a large-paper copy
+out of the small one lands you in a dilemma even if you
+re-impose the pages for the large paper, which is not often
+done, I think. If the margins are right for the smaller book
+they must be wrong for the larger, and you have to offer
+the public the worse book at the bigger price; if they are
+right for the large paper they are wrong for the small, and<span class="pagenum"><a name="Page_7a" id="Page_7a">[7]</a></span>
+thus spoil it, as we have seen above that they must do; and
+that seems scarcely fair to the general public (from the
+point of view of artistic morality) who might have had a
+book that was sightly, though not high-priced.</p>
+
+<p>As to the paper of our ideal book, we are at a great disadvantage
+compared with past times. Up to the end of the
+fifteenth, or indeed, the first quarter of the sixteenth centuries,
+no bad paper was made, and the greater part was
+very good indeed. At present there is very little good paper
+made and most of it is very bad. Our ideal book must,
+I think, be printed on hand-made paper as good as it can
+be made; penury here will make a poor book of it. Yet if
+machine-made paper must be used, it should not profess
+fineness or luxury, but should show itself for what it is:
+for my part I decidedly prefer the cheaper papers that are
+used for the journals, so far as appearance is concerned,
+to the thick, smooth, sham-fine papers on which respectable
+books are printed, and the worst of these are those
+which imitate the structure of hand-made papers.</p>
+
+<p>But, granted your hand-made paper, there is something to
+be said about the substance. A small book should not be
+printed on thick paper, however good it may be. You
+want a book to turn over easily, and to lie quiet while you
+are reading it, which is impossible, unless you keep heavy
+paper for big books.</p>
+
+<p>And, by the way, I wish to make a protest against the superstition
+that only small books are comfortable to read;
+some small books are tolerably comfortable, but the best
+of them are not so comfortable as a fairly big folio, the
+size, say, of an uncut Polyphilus or somewhat bigger. The
+fact is, a small book seldom does lie quiet, and you have
+to cramp your hand by holding it or else put it on the
+table with a paraphernalia of matters to keep it down, a
+tablespoon on one side, a knife on another, and so on,
+which things always tumble off at a critical moment, and
+fidget you out of the repose which is absolutely necessary
+to reading; whereas, a big folio lies quiet and majestic on
+the table, waiting kindly till you please to come to it, with<span class="pagenum"><a name="Page_8a" id="Page_8a">[8]</a></span>
+its leaves flat and peaceful, giving you no trouble of body,
+so that your mind is free to enjoy the literature which its
+beauty enshrines.</p>
+
+<p>So far then, I have been speaking of books whose only ornament
+is the necessary and essential beauty which arises
+out of the fitness of a piece of craftsmanship for the use
+which it is made for. But if we get as far as that, no doubt
+from such craftsmanship definite ornament will arise, and
+will be used, sometimes with wise forbearance, sometimes
+with prodigality equally wise. Meantime, if we really feel
+impelled to ornament our books, no doubt we ought to try
+what we can do; but in this attempt we must remember one
+thing, that if we think the ornament is ornamentally a part of
+the book merely because it is printed with it, and bound up
+with it, we shall be much mistaken. The ornament must
+form as much a part of the book as the type itself, or it will
+miss its mark, and in order to succeed, and to be ornament,
+it must submit to certain limitations, and become architectural;
+a mere black and white picture, however interesting
+it may be as a picture, may be far from an ornament in a
+book; while on the other hand a book ornamented with pictures
+that are suitable for that, and that alone, may become
+a work of art second to none, save a fine building duly decorated,
+or a fine piece of literature.</p>
+
+<p>These two latter things are, indeed, the one absolutely
+necessary gift that we should claim of art. The picture-book
+is not, perhaps, absolutely necessary to man&rsquo;s life,
+but it gives us such endless pleasure, and is so intimately
+connected with the other absolutely necessary art of imaginative
+literature that it must remain one of the very
+worthiest things toward the production of which reasonable
+men should strive.</p>
+
+
+
+
+<hr style="width: 65%;" />
+<p><br /></p>
+<h1 style="font-size: 110%; text-align: left;"><a name="Section_3" id="Section_3"></a>AN ESSAY ON PRINTING, BY WILLIAM MORRIS<span class="pagenum"><a name="Page_9a" id="Page_9a"><!-- not printed [9]--></a></span>
+AND EMERY WALKER, FROM ARTS AND CRAFTS
+ESSAYS BY MEMBERS OF THE ARTS AND CRAFTS
+EXHIBITION SOCIETY.</h1><p><span class="pagenum"><a name="Page_10a" id="Page_10a"><!-- not printed [10] --></a></span></p>
+
+<p>&nbsp;</p>
+<p>Printing, in the only sense with which we are at present<span class="pagenum"><a name="Page_11a" id="Page_11a">[11]</a></span>
+concerned, differs from most if not from all the arts and
+crafts represented in the exhibition in being comparatively
+modern. For although the Chinese took impressions from
+wood blocks engraved in relief for centuries before the
+wood-cutters of the Netherlands, by a similar process, produced
+the block books, which were the immediate predecessors
+of the true printed book, the invention of movable
+metal letters in the middle of the fifteenth century may
+justly be considered as the invention of the art of printing.
+And it is worth mention in passing that, as an example of
+fine typography, the earliest book printed with movable
+types, the Gutenberg, or &ldquo;forty-two line Bible&rdquo; of about
+1455, has never been surpassed.</p>
+
+<p>Printing, then, for our purpose, may be considered as the
+art of making books by means of movable types. Now, as
+all books not primarily intended as picture-books consist
+principally of types composed to form letterpress, it is of
+the first importance that the letter used should be fine in
+form; especially as no more time is occupied, or cost incurred,
+in casting, setting, or printing beautiful letters than
+in the same operations with ugly ones. And it was a matter
+of course that in the Middle Ages, when the craftsmen
+took care that beautiful form should always be a part of
+their productions whatever they were, the forms of printed
+letters should be beautiful, and that their arrangement on
+the page should be reasonable and a help to the shapeliness
+of the letters themselves. The Middle Ages brought
+caligraphy to perfection, and it was natural therefore that
+the forms of printed letters should follow more or less
+closely those of the written character, and they followed
+them very closely. The first books were printed in black
+letter, i. e., the letter which was a Gothic development of
+the ancient Roman character, and which developed more
+completely and satisfactorily on the side of the &ldquo;lower-case&rdquo;
+than the capital letters; the &ldquo;lower-case&rdquo; being in
+fact invented in the early Middle Ages. The earliest book
+printed with movable type, the aforesaid Gutenberg Bible,<span class="pagenum"><a name="Page_12a" id="Page_12a">[12]</a></span>
+is printed in letters which are an exact imitation of the more
+formal ecclesiastical writing which obtained at that time;
+this has since been called &ldquo;missal type,&rdquo; and was in fact
+the kind of letter used in the many splendid missals, psalters,
+etc., produced by printing in the fifteenth century. But the
+first Bible actually dated (which also was printed at
+<a name="Mainz" id="Mainz"></a><span class="ins" title="Originally: Maintz">Mainz</span>
+by Peter Sch&oelig;ffer in the year 1462) imitates a much freer
+hand, simpler, rounder, and less spiky, and therefore far
+pleasanter and easier to read. On the whole the type of this
+book may be considered the ne-plus-ultra of Gothic type,
+especially as regards the lower-case letters; and type very
+similar was used during the next fifteen or twenty years
+not only by Sch&oelig;ffer, but by printers in Strasburg, Basle,
+Paris, Lubeck, and other cities. But though on the whole,
+except in Italy, Gothic letter was most often used, a very
+few years saw the birth of Roman character not only in
+Italy, but in Germany and France. In 1465 Sweynheim
+and Pannartz began printing in the monastery of Subiaco
+near Rome, and used an exceedingly beautiful type, which
+is indeed to look at a transition between Gothic and Roman,
+but which must certainly have come from the study
+of the twelfth or even the eleventh century MSS. They
+printed very few books in this type, three only; but in their
+very first books in Rome, beginning with the year 1468,
+they discarded this for a more completely Roman and far
+less beautiful letter. But about the same year Mentelin at
+Strasburg began to print in a type which is distinctly Roman;
+and the next year Gunther Zeiner at Augsburg followed
+suit; while in 1470 at Paris Udalric Gering and his
+associates turned out the first books printed in France, also
+in Roman character. The Roman type of all these printers
+is similar in character, and is very simple and legible, and
+unaffectedly designed for use; but it is by no means without
+beauty. It must be said that it is in no way like the
+transition type of Subiaco, and though more Roman than
+that, yet scarcely more like the complete Roman type of
+the earliest printers of Rome.</p>
+
+<p>A further development of the Roman letter took place at<span class="pagenum"><a name="Page_13a" id="Page_13a">[13]</a></span>
+Venice. John of Spires and his brother Vindelin, followed
+by Nicholas Jenson, began to print in that city, 1469, 1470;
+their type is on the lines of the German and French rather
+than of the Roman printers. Of Jenson it must be said that
+he carried the development of Roman type as far as it can
+go: his letter is admirably clear and regular, but at least
+as beautiful as any other Roman type. After his death in
+the &ldquo;fourteen eighties,&rdquo; or at least by 1490, printing in Venice
+had declined very much; and though the famous family of
+Aldus restored its technical excellence, rejecting battered
+letters, and paying great attention to the &ldquo;press work&rdquo; or
+actual process of printing, yet their type is artistically on
+a much lower level than Jenson&rsquo;s, and in fact they must be
+considered to have ended the age of fine printing in Italy.
+Jenson, however, had many contemporaries who used beautiful
+type, some of which&mdash;as, e. g., that of Jacobus Rubeus
+or Jacques le Rouge&mdash;is scarcely distinguishable from his.
+It was these great Venetian printers, together with their
+brethren of Rome, Milan, Parma, and one or two other cities,
+who produced the splendid editions of the Classics, which
+are one of the great glories of the printer&rsquo;s art, and are worthy
+representatives of the eager enthusiasm for the revived
+learning of that epoch. By far the greater part of these Italian
+printers, it should be mentioned, were Germans or Frenchmen,
+working under the influence of Italian opinion and aims.
+It must be understood that through the whole of the fifteenth
+and the first quarter of the sixteenth centuries the Roman
+letter was used side by side with the Gothic. Even in Italy
+most of the theological and law books were printed in Gothic
+letter, which was generally more formally Gothic than the
+printing of the German workmen, many of whose types,
+indeed, like that of the Subiaco works, are of a transitional
+character. This was notably the case with the early works
+printed at Ulm, and in a somewhat lesser degree at Augsburg.
+In fact Gunther Zeiner&rsquo;s first type (afterwards used
+by Schussler) is remarkably like the type of the before-mentioned
+Subiaco books.</p>
+
+<p>In the Low Countries and Cologne, which were very fertile<span class="pagenum"><a name="Page_14a" id="Page_14a">[14]</a></span>
+of printed books, Gothic was the favourite. The characteristic
+Dutch type, as represented by the excellent printer
+Gerard Leew, is very pronounced and uncompromising
+Gothic. This type was introduced into England by Wynkyn
+de Worde, Caxton&rsquo;s successor, and was used there with very
+little variation all through the sixteenth and seventeenth
+centuries, and indeed into the eighteenth. Most of Caxton&rsquo;s
+own types are of an earlier character, though they also
+much resemble Flemish or Cologne letter. After the end
+of the fifteenth century the degradation of printing, especially
+in Germany and Italy, went on apace; and by the
+end of the sixteenth century there was no really beautiful
+printing done: the best, mostly French or Low-Country,
+was neat and clear, but without any distinction; the worst,
+which perhaps was the English, was a terrible falling-off
+from the work of the earlier presses; and things got worse
+and worse through the whole of the seventeenth century,
+so that in the eighteenth printing was very miserably performed.
+In England about this time, an attempt was made
+(notably by Caslon, who started business in London as a
+type-founder in 1720) to improve the letter in form. Caslon&rsquo;s
+type is clear and neat, and fairly well designed; he
+seems to have taken the letter of the Elzevirs of the seventeenth
+century for his model: type cast from his matrices
+is still in everyday use.</p>
+
+<p>In spite, however, of his praiseworthy efforts, printing had
+still one last degradation to undergo. The seventeenth century
+founts were bad rather negatively than positively. But
+for the beauty of the earlier work they might have seemed
+tolerable. It was reserved for the founders of the later eighteenth
+century to produce letters which are positively ugly,
+and which, it may be added, are dazzling and unpleasant
+to the eye owing to the clumsy thickening and vulgar thinning
+of the lines: for the seventeenth-century letters are at
+least pure and simple in line. The Italian, Bodoni, and the
+Frenchman, Didot, were the leaders in this luckless change,
+though our own Baskerville, who was at work some years
+before them, went much on the same lines; but his letters,<span class="pagenum"><a name="Page_15a" id="Page_15a">[15]</a></span>
+though uninteresting and poor, are not nearly so gross and
+vulgar as those of either the Italian or the Frenchman.</p>
+
+<p>With this change the art of printing touched bottom, so far
+as fine printing is concerned, though paper did not get to
+its worst till about 1840. The Chiswick press in 1844 revived
+Caslon&rsquo;s founts, printing for Messrs. Longman the
+Diary of Lady Willoughby. This experiment was so far
+successful that about 1850 Messrs. Miller and Richard of
+Edinburgh were induced to cut punches for a series of &ldquo;old
+style&rdquo; letters. These and similar founts, cast by the above
+firm and others, have now come into general use and are
+obviously a great improvement on the ordinary &ldquo;modern
+style&rdquo; in use in England, which is in fact the Bodoni type
+a little reduced in ugliness. The design of the letters of this
+modern &ldquo;old style&rdquo; leaves a good deal to be desired, and
+the whole effect is a little too gray, owing to the thinness
+of the letters. It must be remembered, however, that most
+modern printing is done by machinery on soft paper, and
+not by the hand press, and these somewhat wiry letters are
+suitable for the machine process, which would not do justice
+to letters of more generous design.</p>
+
+<p>It is discouraging to note that the improvement of the last
+fifty years is almost wholly confined to Great Britain. Here
+and there a book is printed in France or Germany with some
+pretension to good taste, but the general revival of the old
+forms has made no way in those countries. Italy is contentedly
+stagnant. America has produced a good many
+showy books, the typography, paper, and illustrations of
+which are, however, all wrong, oddity rather than rational
+beauty and meaning being apparently the thing sought for
+both in the letters and the illustrations.</p>
+
+<p>To say a few words on the principles of design in typography:
+it is obvious that legibility is the first thing to be aimed
+at in the forms of the letters; this is best furthered by the
+avoidance of irrational swellings and spiky projections, and
+by the using of careful purity of line. Even the
+<a name="Caslon" id="Caslon"></a><span class="ins" title="Originally: Calson">Caslon</span> type
+when enlarged shows great shortcomings in this respect:
+the ends of many of the letters such as the t and e are hooked<span class="pagenum"><a name="Page_16a" id="Page_16a">[16]</a></span>
+up in a vulgar and meaningless way, instead of ending in
+the sharp and clear stroke of Jenson&rsquo;s letters; there is a
+grossness in the upper finishings of letters like the c, the
+a, and so on, an ugly pear-shaped swelling defacing the form
+of the letter: in short, it happens to this craft, as to others,
+that the utilitarian practice, though it professes to avoid ornament,
+still clings to a foolish, because misunderstood conventionality,
+deduced from what was once ornament, and is
+by no means useful; which title can only be claimed by artistic
+practice, whether the art in it be conscious or unconscious.</p>
+
+<p>In no characters is the contrast between the ugly and vulgar
+illegibility of the modern type and the elegance and legibility
+of the ancient more striking than in the Arabic numerals.
+In the old print each figure has its definite individuality,
+and one cannot be mistaken for the other; in reading the modern
+figures the eyes must be strained before the reader can
+have any reasonable assurance that he has a 5, an 8, or a 3
+before him, unless the press work is of the best; this is awkward
+if you have to read Bradshaw&rsquo;s Guide in a hurry.</p>
+
+<p>One of the differences between the fine type and the utilitarian
+must probably be put down to a misapprehension
+of a commercial necessity: this is the narrowing of the modern
+letters. Most of Jenson&rsquo;s letters are designed within a
+square, the modern letters are narrowed by a third or thereabout;
+but while this gain of space very much hampers
+the possibility of beauty of design, it is not a real gain, for
+the modern printer throws the gain away by putting inordinately
+wide spaces between his lines, which, probably,
+the lateral compression of his letters renders necessary.
+Commercialism again compels the use of type too small in
+size to be comfortable reading: the size known as &ldquo;Long
+primer&rdquo; ought to be the smallest size used in a book meant
+to be read. Here, again, if the practice of &ldquo;leading&rdquo; were
+retrenched larger type could be used
+<a name="without" id="without"></a><span class="ins" title="Originally: witout">without</span> enhancing
+the price of a book.</p>
+
+<p>One very important matter in &ldquo;setting up&rdquo; for fine printing
+is the &ldquo;spacing,&rdquo; that is, the lateral distance of words
+from one another. In good printing the spaces between<span class="pagenum"><a name="Page_17a" id="Page_17a">[17]</a></span>
+the words should be as near as possible equal (it is impossible
+that they should be quite equal except in lines of poetry);
+modern printers understand this, but it is only practised
+in the very best establishments. But another point
+which they should attend to they almost always disregard;
+this is the tendency to the formation of ugly meandering
+white lines or &ldquo;rivers&rdquo; in the page, a blemish which can be
+nearly, though not wholly, avoided by care and forethought,
+the desirable thing being &ldquo;the breaking of the line&rdquo; as in
+bonding masonry or brickwork, thus:
+<img src="images/i_068a3.png" width="83" height="16" alt="line illustration showing brickwork arrangement" title="" />
+The
+general solidity of a page is much to be sought for: modern
+printers generally overdo the &ldquo;whites&rdquo; in the spacing,
+a defect probably forced on them by the characterless quality
+of the letters. For where these are boldly and carefully
+designed, and each letter is thoroughly individual in form,
+the words may be set much closer together, without loss
+of clearness. No definite rules, however, except the avoidance
+of &ldquo;rivers&rdquo; and excess of white, can be given for the
+spacing, which requires the constant exercise of judgment
+and taste on the part of the printer.</p>
+
+<p>The position of the page on the paper should be considered
+if the book is to have a satisfactory look. Here once more
+the almost invariable modern practice is in opposition to a
+natural sense of proportion. From the time when books
+first took their present shape till the end of the sixteenth
+century, or indeed later, the page so lay on the paper that
+there was more space allowed to the bottom and fore margin
+than to the top and back of the paper, thus:</p>
+
+<div class="figcenter" style="width: 111px;">
+<img src="images/i_068b2.png" width="111" height="80" alt="drawing of a book showing text block layout" title="" />
+</div>
+
+
+<p>the unit of the book being looked on as the two pages forming
+an opening. The modern printer, in the teeth of the evidence
+given by his own eyes, considers the single page as
+the unit, and prints the page in the middle of his paper<span class="pagenum"><a name="Page_18a" id="Page_18a">[18]</a></span>&mdash;only
+nominally so, however, in many cases, since when he
+uses a headline he counts that in, the result as measured by
+the eye being that the lower margin is less than the top one,
+and that the whole opening has an upside-down look vertically,
+and that laterally the page looks as if it were being
+driven off the paper.</p>
+
+<p>The paper on which the printing is to be done is a necessary
+part of our subject: of this it may be said that though
+there is some good paper made now, it is never used except
+for very expensive books, although it would not materially
+increase the cost in all but the very cheapest. The
+paper that is used for ordinary books is exceedingly bad
+even in this country, but is beaten in the race for vileness
+by that made in America, which is the worst conceivable.
+There seems to be no reason why ordinary paper should
+not be better made, even allowing the necessity for a very
+low price; but any improvement must be based on showing
+openly that the cheap article is cheap, e. g., the cheap
+paper should not sacrifice toughness and durability to a
+smooth and white surface, which should be indications of
+a delicacy of material and manufacture which would of
+necessity increase its cost. One fruitful source of badness
+in paper is the habit that publishers have of eking out a
+thin volume by printing it on thick paper almost of the substance
+of cardboard, a device which deceives nobody, and
+makes a book very unpleasant to read. On the whole, a
+small book should be printed on paper which is as thin as
+may be without being transparent. The paper used for
+printing the small highly ornamented French service-books
+about the beginning of the sixteenth century is a model in
+this respect, being thin, tough, and opaque. However, the
+fact must not be blinked that machine-made paper cannot
+in the nature of things be made of so good a texture as
+that made by hand.</p>
+
+<p>The ornamentation of printed books is too wide a subject
+to be dealt with fully here; but one thing must be said on
+it. The essential point to be remembered is that the ornament,
+whatever it is, whether picture or pattern-work, should<span class="pagenum"><a name="Page_19a" id="Page_19a">[19]</a></span>
+form part of the page, should be a part of the whole scheme
+of the book. Simple as this proposition is, it is necessary
+to be stated, because the modern practice is to disregard
+the relation between the printing and the ornament altogether,
+so that if the two are helpful to one another it is a
+mere matter of accident. The due relation of letter to pictures
+and other ornament was thoroughly understood by
+the old printers; so that even when the woodcuts are very
+rude indeed, the proportions of the page still give pleasure
+by the sense of richness that the cuts and letter together
+convey. When, as is most often the case, there is actual
+beauty in the cuts, the books so ornamented are amongst
+the most delightful works of art that have ever been produced.
+Therefore, granted well-designed type, due spacing
+of the lines and words, and proper position of the page on
+the paper, all books might be at least comely and well-looking:
+and if to these good qualities were added really
+beautiful ornament and pictures, printed books might once
+again illustrate to the full the position of our Society that
+a work of utility might be also a work of art, if we cared
+to make it so.</p>
+
+<hr style="width: 45%;" />
+
+<p><b>NOTE TO THE PRESENT EDITION</b>: The following
+pages showing the Troy and Chaucer types are printed
+from process blocks to insure fidelity to the originals. The
+frontispiece and first page of text are also reproduced in
+the same manner; page one, within the border, showing the
+Golden type, the only other type used by William Morris.<span class="pagenum"><a name="Page_20a" id="Page_20a"><!-- not numbered [20] --></a></span></p>
+
+<table width="100%" cellspacing="10" summary="table to improve formatting of side-by-side images and text">
+<tr>
+<td class="tdrt" style="width: 50%;">
+<a href="images/p_071b.png" ><img src="images/p_071s.jpg" title="This is the Troy type" alt="Facsimile image: example of Troy type" width="100%"  /></a>
+</td>
+<td class="image-text">
+
+
+<p>The following passages are given to
+show the Troy &amp; Chaucer types, and
+four initials that were designed for
+the Froissart, but never used.</p>
+
+<hr style="width: 25%; margin-top: 1em; margin-bottom: 1em;" />
+
+<p>The land is a little
+land, Sirs, too much
+shut up within the
+narrow seas, as it
+seems, to have much
+space for swelling
+into hugeness: there
+are no great wastes
+overwhelming in their dreariness, no
+great solitudes of forests, no terrible
+untrodden mountain-walls: all
+is measured, mingled, varied, gliding
+easily one thing into another: little
+rivers, little plains, swelling, speedily-changing
+uplands, all beset with
+handsome orderly trees; little hills,
+little mountains, netted over with the
+walls of sheep-walks: all is little; yet
+not foolish and blank, but serious
+rather, and abundant of meaning for</p>
+</td>
+</tr>
+</table>
+
+<table width="100%" cellspacing="10" summary="table to improve formatting of side-by-side images and text">
+<tr>
+<td class="image-text">
+<p>such as choose to seek it: it is neither
+prison, nor palace, but a decent home.</p>
+
+<p>All which I neither
+praise nor
+blame, but say that
+so it is: some people
+praise this homeliness
+overmuch, as
+if the land were the
+very axle-tree of the
+world; so do not I, nor any unblinded
+by pride in themselves and all that
+belongs to them: others there are who
+scorn it and the tameness of it: not
+I any the more: though it would indeed
+be hard if there were nothing
+else in the world, no wonders, no terrors,
+no unspeakable beauties. Yet
+when we think what a small part of
+the world&rsquo;s history, past, present, &amp;
+to come, is this land we live in, and
+how much smaller still in the history
+of the arts, &amp; yet how our forefathers
+clung to it, and with what care and</p>
+</td>
+
+<td  class="tdrt" style="width: 50%;">
+<a href="images/p_072b.png" ><img src="images/p_072s.jpg" title="This is the Troy type" alt="Facsimile image: example of Troy type, continued" width="100%"/></a>
+</td>
+</tr>
+</table>
+
+<table width="100%" cellspacing="10" summary="table to improve formatting of side-by-side images and text">
+<tr>
+<td  class="tdrt" style="width: 50%;">
+<a href="images/p_073a.jpg" ><img src="images/p_073s.jpg" title="This is the Chaucer type" alt="Facsimile image: example of Chaucer type" width="100%"/></a>
+</td>
+
+<td class="image-text" >
+
+
+<p>pains they adorned it, this unromantic, uneventful-looking
+land of England, surely by
+this too our hearts may be touched and our
+hope quickened.</p>
+
+<p>For as was the land,
+such was the art of it
+while folk yet troubled
+themselves about
+such things; it strove
+little to impress people
+either by pomp or
+ingenuity: not unseldom
+it fell into commonplace,
+rarely it rose
+into majesty; yet was it never oppressive,
+never a slave&rsquo;s nightmare or an
+insolent boast: &amp; at its best it had an
+inventiveness, an individuality, that
+grander styles have never overpassed:
+its best too, and that was in its
+very heart, was given as freely to the
+yeoman&rsquo;s house, and the humble village
+church, as to the lord&rsquo;s palace or
+the mighty cathedral: never coarse,
+though often rude enough, sweet, natural
+&amp; unaffected, an art of peasants
+rather than of merchant princes or courtiers,
+it must be a hard heart, I think, that
+does not love it: whether a man has been born
+among it like ourselves, or has come wonderingly</p>
+</td>
+</tr>
+</table>
+
+<table width="100%" cellspacing="10" summary="table to improve formatting of side-by-side images and text">
+<tr>
+<td class="image-text">
+<p>on its simplicity from all the grandeur
+<a name="over_seas" id="over_seas"></a><span class="ins" title="Originally: without the period">over-seas.</span></p>
+
+<p>And Science, we have loved her well, and followed
+her diligently, what will she do? I fear
+she is so much in the pay of the counting-house,
+the counting-house and the drill-sergeant,
+that she is too busy, and will for the
+present do nothing.</p>
+
+<p>Yet there are matters
+which I should have
+thought easy for her,
+say for example teaching
+Manchester how
+to consume its own
+smoke, or Leeds how
+to get rid of its superfluous
+black dye without
+turning it into the
+river, which would be as much worth
+her attention as the production of
+the heaviest of heavy black silks,
+or the biggest of useless guns.
+Anyhow, however it be done, unless
+people care about carrying on
+their business without making the
+world hideous, how can they care
+about art? I know it will cost much
+both of time and money to better
+these things even a little; but I do</p>
+</td>
+
+<td  class="tdrt" style="width: 50%;">
+<span class="pagenum"><a name="Page_23a" id="Page_23a"><!-- not numbered [23] --></a></span>
+<a href="images/p_074a.jpg" ><img src="images/p_074s.jpg" title="This is the Chaucer type" alt="Facsimile image: example of Chaucer type, continued" width="100%"/></a>
+</td>
+</tr>
+</table>
+
+<table width="100%" cellspacing="10" summary="table to improve formatting of side-by-side images and text">
+<tr>
+<td  class="tdrt" style="width: 50%;">
+<span class="pagenum"><a name="Page_24a" id="Page_24a"><!-- not numbered [24] --></a></span>
+<a href="images/p_075a.jpg" ><img src="images/p_075s.jpg" alt="Facsimile image: Final example of Chaucer type and a decoration" width="100%"/></a>
+</td>
+
+<td class="image-text">
+<p>not see how these can be better spent than in
+making life cheerful &amp; honourable for others
+and for ourselves; and the gain of good life
+to the country at large that would result from
+men seriously setting about the bettering
+of the decency of our big towns would be
+priceless, even if nothing specially good befell
+the arts in consequence: I do not know
+that it would; but I should begin to think
+matters hopeful if men turned their attention
+to such things, and I repeat that, unless
+they do so, we can scarcely even begin with
+any hope our endeavours for the bettering of
+the Arts. (From the lecture called The Lesser
+Arts, in Hopes and Fears for Art, by William
+Morris, pages 22 and 33.)</p>
+</td>
+</tr>
+</table>
+
+<div style="clear: both"></div>
+<hr style="width: 45%; " />
+
+
+
+
+
+<p>
+<a name="Section_4" id="Section_4"></a>The &ldquo;Note by William Morris on his Aims in Founding the<span class="pagenum"><a name="Page_25a" id="Page_25a"><!-- not numbered [25] --></a></span>
+Kelmscott Press,&rdquo; the last book printed at the Kelmscott
+Press, contains a few errors in the &ldquo;Bibliography.&rdquo; These
+errors have been allowed to stand in reprinting the &ldquo;Note&rdquo;
+here, in order that the reprint shall be a literal one.</p>
+
+<p>Mr. S. C. Cockerell, the former Secretary of the Kelmscott
+Press, has kindly sent a list of these corrections, which
+appear below:</p>
+
+<p>Page 19, line 21&mdash;&ldquo;Golden type&rdquo; should be inserted after
+&ldquo;<a href="#a_8vs">8vo</a>.&rdquo;</p>
+
+<p>Page 30, line 16&mdash;&ldquo;June 26, <a href="#a_1893">1893</a>,&rdquo; should be &ldquo;June 26, 1896.&rdquo;</p>
+
+<p>Page 39, line 17&mdash;after &ldquo;<a href="#guineas">guineas</a>&rdquo; insert &ldquo;ten on vellum at
+ten guineas.&rdquo;</p>
+
+<p>Page 40, line 31&mdash;for &ldquo;<a href="#eight_leaflets">eight leaflets</a>&rdquo; read, &ldquo;nine or ten
+leaflets.&rdquo;</p>
+
+<p>Page 44, line 12&mdash;omit &ldquo;<a href="#Lady">Lady</a>.&rdquo;<span class="pagenum"><a name="Page_26a" id="Page_26a"><!-- not numbered [26] --></a></span></p>
+<p><span class="pagenum"><a name="Page_27a" id="Page_27a"><!-- not numbered [27] --></a></span></p>
+
+
+
+
+<hr style="width: 45%;" />
+
+<div class="figleft" style="width: 50%; margin-top: 0em; margin-bottom: 0em;">
+<a href="images/i_078a.jpg" ><img src="images/i_078s.jpg" alt="Facsimile image: end of book" width="100%"/></a>
+</div>
+
+<div>
+<p class="image-text" style="margin-top: 1em;">Here ends The Art And Craft Of Printing; Collected Essays By William
+Morris. Of this book there have been printed two hundred and ten copies
+by Clarke Conwell at The Elston Press: Finished this thirtieth day of
+January MDCCCCII. Sold by Clarke Conwell at The Elston Press, Pelham
+Road, New Rochelle, New York.</p>
+</div>
+<div><br /><br /></div>
+<hr style="width: 65%;" />
+
+<div><br /><br /></div>
+<div class="tnote"><p  style=" margin-right: 1em;"><a name="t_notes" id="t_notes"></a><b>Additional Transcriber&rsquo;s Notes</b></p>
+
+<p>For &ldquo;A Note on Founding the Kelmscott Press&rdquo;</p>
+<ul>
+  <li>Page 4: &ldquo;trangress&rdquo; changed to &ldquo;<a href="#transgress">transgress</a>&rdquo;: &ldquo;Modern printers
+    systematically transgress against it&rdquo;</li>
+
+  <li>Page 5: &ldquo;artitcle&rdquo; changed to &ldquo;<a href="#article">article</a>&rdquo;: &ldquo;the foregoing article was
+    written&rdquo;</li>
+
+  <li>Page 5: &ldquo;Pysche&rdquo; changed to &ldquo;<a href="#Psyche">Psyche</a>&rdquo;: &ldquo;Cupid and Psyche&rdquo;</li>
+
+  <li>Page 7: &ldquo;rubicated&rdquo; changed to &ldquo;<a href="#rubricated">rubricated</a>&rdquo;: &ldquo;left blank to be
+    rubricated by hand&rdquo;</li>
+
+  <li>Page 12: &ldquo;handmade&rdquo; changed to &ldquo;<a href="#hand_made">hand-made</a>&rdquo;: &ldquo;English hand-made paper&rdquo;</li>
+
+  <li>Page 12: &ldquo;Calendar&rdquo; changed to &ldquo;<a href="#Calender">Calender</a>&rdquo;: &ldquo;Spenser&rsquo;s Shepheardes
+    Calender&rdquo;</li>
+
+  <li>Page 26: &ldquo;H. W. Hooper&rdquo; changed to &ldquo;<a href="#H_W_Hooper">W. H. Hooper</a>&rdquo;</li>
+
+  <li>Page 32: &ldquo;water-mark&rdquo; changed to &ldquo;<a href="#watermark">watermark</a>&rdquo;: &ldquo;with the apple
+    watermark&rdquo;</li>
+
+  <li>Page 40: The reference in item 52 <a href="#errata_40_1">to page 8</a> for "Love is Enough" was
+    corrected to page 5.</li>
+
+  <li>Page 40:  The reference in item 53 <a href="#errata_40_3">to page 7</a> for "The Earthly Paradise"
+    was corrected to page 5. The reference <a href="#errata_40_4">to the ornaments
+    on page 9</a> was corrected to page 7.  The reference <a href="#errata_40_5">to
+    page 17</a> was corrected to page 12.</li>
+
+
+  <li>Page 40: The reference in "Various Lists" <a href="#errata_40_2">to page 10</a> was corrected
+    to page 6.</li>
+
+  <li>Page 43: &ldquo;Milliam&rdquo; changed to &ldquo;<a href="#William">William</a>&rdquo; in item 53</li>
+
+  <li>Page 44: The reference in "Various Lists" <a href="#errata_44_1">to page 57</a> was corrected
+    to page 38.</li>
+
+</ul>
+
+<p>For &ldquo;The Ideal Book&rdquo;</p>
+<ul>
+  <li>Page 1: &ldquo;determation&rdquo; changed to &ldquo;<a href="#determination">determination</a>&rdquo;: &ldquo;a determination to
+    put our eyes&rdquo;</li>
+</ul>
+
+<p>For &ldquo;An Essay on Printing&rdquo;</p>
+<ul>
+  <li>Page 12: &ldquo;Maintz&rdquo; changed to &ldquo;<a href="#Mainz">Mainz</a>&rdquo;: &ldquo;printed at Mainz by&rdquo;</li>
+
+  <li>Page 15: &ldquo;Calson&rdquo; changed to &ldquo;<a href="#Caslon">Caslon</a>&rdquo;: &ldquo;Even the Caslon type when&rdquo;</li>
+
+  <li>Page 16: &ldquo;witout&rdquo; changed to &ldquo;<a href="#without">without</a>&rdquo;: &ldquo;without enhancing the price&rdquo;</li>
+
+  <li>Page 23: Period added after &ldquo;<a href="#over_seas">over-seas</a>&rdquo;: &ldquo;all the grandeur over-seas.&rdquo;</li>
+</ul>
+
+<p>General notes:</p>
+<ul>
+  <li>Paragraph breaks have been assumed in some cases based on usage
+     elsewhere in the text.</li>
+
+  <li>Both &ldquo;caligraphy&rdquo; and &ldquo;calligraphy&rdquo; are used in different parts
+     of this book, and both forms were retained. This is also true for &ldquo;d&rsquo;Arthur&rdquo; and &ldquo;Darthur&rdquo;,
+     &ldquo;head-line&rdquo; and &ldquo;headline&rdquo;, &ldquo;Sweynheim&rdquo; and &ldquo;Sweynheym&rdquo;, and
+     &ldquo;Zainer&rdquo; and &ldquo;Zeiner&rdquo;.</li>
+
+  <li>This book displays page numbers only for those pages which had visible numbers in the original book, and
+      has retained the original page numbers.</li>
+</ul>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Art and Craft of Printing, by William Morris
+
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+</pre>
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+</body>
+</html>
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+Project Gutenberg's The Art and Craft of Printing, by William Morris
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art and Craft of Printing
+
+Author: William Morris
+
+Release Date: March 10, 2010 [EBook #31596]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART AND CRAFT OF PRINTING ***
+
+
+
+
+Produced by Chris Curnow, Walt Farrell and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+THE ART AND CRAFT OF PRINTING, BY WILLIAM MORRIS.
+
+
+
+
+A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT PRESS,
+TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS BY S. C. COCKERELL, AND
+AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT.
+
+
+Copyright, 1902 By H. M. O'Kane
+
+[Illustration: PSYCHE BORNE OFF BY ZEPHYRUS, DRAWN BY EDWARD BURNE-JONES
+& ENGRAVED BY WILLIAM MORRIS]
+
+[Illustration: NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE
+KELMSCOTT PRESS]
+
+
+I began printing books with the hope of producing some which would have
+a definite claim to beauty, while at the same time they should be easy
+to read and should not dazzle the eye, or trouble the intellect of the
+reader by eccentricity of form in the letters. I have always been a
+great admirer of the calligraphy of the Middle Ages, & of the earlier
+printing which took its place. As to the fifteenth-century books, I had
+noticed that they were always beautiful by force of the mere typography,
+even without the added ornament, with which many of them are so lavishly
+supplied. 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 type. Looking at my adventure from this point of view
+then, I found I had to consider chiefly the following things: the paper,
+the form of the type, the relative spacing of the letters, the words,
+and the lines; and lastly the position of the printed matter on the
+page. It was a matter of course that I should consider it necessary that
+the paper should be hand-made, both for the sake of durability and
+appearance. It would be a very false economy to stint in the quality of
+the paper as to price: so I had only to think about the kind of
+hand-made paper. On this head I came to two conclusions: 1st, that the
+paper must be wholly of linen (most hand-made papers are of cotton
+today), and must be quite 'hard,' i. e., thoroughly well sized; and 2nd,
+that, though it must be 'laid' and not 'wove' (i. e., made on a mould
+made of obvious wires), the lines caused by the wires of the mould must
+not be too strong, so as to give a ribbed appearance. I found that on
+these points I was at one with the practice of the paper-makers of the
+fifteenth century; so I took as my model a Bolognese paper of about
+1473. My friend Mr. Batchelor, of Little Chart, Kent, carried out my
+views very satisfactorily, and produced from the first the excellent
+paper, which I still use.
+
+Next as to type. By instinct rather than by conscious thinking it over,
+I began by getting myself a fount of Roman type. And here what I wanted
+was letter pure in form; severe, without needless excrescences; solid,
+without the thickening and thinning of the line, which is the essential
+fault of the ordinary modern type, and which makes it difficult to read;
+and not compressed laterally, as all later type has grown to be owing to
+commercial exigencies. There was only one source from which to take
+examples of this perfected Roman type, to wit, the works of the great
+Venetian printers of the fifteenth century, of whom Nicholas Jenson
+produced the completest and most Roman characters from 1470 to 1476.
+This type I studied with much care, getting it photographed to a big
+scale, and drawing it over many times before I began designing my own
+letter; so that though I think I mastered the essence of it, I did not
+copy it servilely; in fact, my Roman type, especially in the lower case,
+tends rather more to the Gothic than does Jenson's.
+
+After a while I felt that I must have a Gothic as well as a Roman fount;
+and herein the task I set myself was to redeem the Gothic character from
+the charge of unreadableness which is commonly brought against it. And I
+felt that this charge could not be reasonably brought against the types
+of the first two decades of printing: that Schoeffer at Mainz, Mentelin
+at Strasburg, and Gunther Zainer at Augsburg, avoided the spiky ends and
+undue compression which lay some of the later type open to the above
+charge. Only the earlier printers (naturally following therein the
+practice of their predecessors the scribes) were very liberal of
+contractions, and used an excess of 'tied' letters, which, by the way,
+are very useful to the compositor. So I entirely eschewed contractions,
+except for the '&,' and had very few tied letters, in fact none but the
+absolutely necessary ones. Keeping my end steadily in view, I designed a
+black-letter type which I think I may claim to be as readable as a Roman
+one, and to say the truth I prefer it to the Roman. This type is of the
+size called Great Primer (the Roman type is of 'English' size); but
+later on I was driven by the necessities of the Chaucer (a
+double-columned book) to get a smaller Gothic type of Pica size.
+
+The punches for all these types, I may mention, were cut for me with
+great intelligence and skill by Mr. E. P. Prince, and render my designs
+most satisfactorily.
+
+Now as to the spacing: First, the 'face' of the letter should be as
+nearly conterminous with the 'body' as possible, so as to avoid undue
+whites between the letters. Next, the lateral spaces between the words
+should be (a) no more than is necessary to distinguish clearly the
+division into words, and (b) should be as nearly equal as possible.
+Modern printers, even the best, pay very little heed to these two
+essentials of seemly composition, and the inferior ones run riot in
+licentious spacing, thereby producing, inter alia, those ugly rivers of
+lines running about the page which are such a blemish to decent
+printing. Third, the whites between the lines should not be excessive;
+the modern practice of 'leading' should be used as little as possible,
+and never without some definite reason, such as marking some special
+piece of printing. The only leading I have allowed myself is in some
+cases a 'thin' lead between the lines of my Gothic pica type: in the
+Chaucer and the double-columned books I have used a 'hair' lead, and not
+even this in the 16mo books. Lastly, but by no means least, comes the
+position of the printed matter on the page. This should always leave the
+inner margin the narrowest, the top somewhat wider, the outside
+(fore-edge) wider still, and the bottom widest of all. This rule is
+never departed from in mediaeval books, written or printed. Modern
+printers systematically transgress against it; thus apparently
+contradicting the fact that the unit of a book is not one page, but a
+pair of pages. A friend, the librarian of one of our most important
+private libraries, tells me that after careful testing he has come to
+the conclusion that the mediaeval rule was to make a difference of 20 per
+cent. from margin to margin. Now these matters of spacing and position
+are of the greatest importance in the production of beautiful books; if
+they are properly considered they will make a book printed in quite
+ordinary type at least decent and pleasant to the eye. The disregard of
+them will spoil the effect of the best designed type.
+
+It was only natural that I, a decorator by profession, should attempt to
+ornament my books suitably: about this matter, I will only say that I
+have always tried to keep in mind the necessity for making my decoration
+a part of the page of type. I may add that in designing the magnificent
+and inimitable woodcuts which have adorned several of my books, and will
+above all adorn the Chaucer which is now drawing near completion, my
+friend Sir Edward Burne-Jones has never lost sight of this important
+point, so that his work will not only give us a series of most beautiful
+and imaginative pictures, but form the most harmonious decoration
+possible to the printed book.
+
+Kelmscott House, Upper Mall, Hammersmith. Nov. 11, 1895
+
+
+A SHORT HISTORY AND DESCRIPTION OF THE KELMSCOTT PRESS.
+
+The foregoing article was written at the request of a London bookseller
+for an American client who was about to read a paper on the Kelmscott
+Press. As the Press is now closing, and its seven years' existence will
+soon be a matter of history, it seems fitting to set down some other
+facts concerning it while they can still be verified; the more so as
+statements founded on imperfect information have appeared from time to
+time in newspapers and reviews.
+
+As early as 1866 an edition of The Earthly Paradise was projected, which
+was to have been a folio in double columns, profusely illustrated by Sir
+Edward Burne-Jones, and typographically superior to the books of that
+time. The designs for the stories of Cupid and Psyche, Pygmalion and the
+Image, The Ring given to Venus, and the Hill of Venus, were finished,
+and forty-four of those for Cupid and Psyche were engraved on wood in
+line, somewhat in the manner of the early German masters. About
+thirty-five of the blocks were executed by William Morris himself, and
+the remainder by George Y. Wardle, G. F. Campfield, C. J. Faulkner, and
+Miss Elizabeth Burden. Specimen pages were set up in Caslon type, and in
+the Chiswick Press type afterwards used in The House of the Wolfings,
+but for various reasons the project went no further. Four or five years
+later there was a plan for an illustrated edition of Love is Enough, for
+which two initial L's and seven side ornaments were drawn and engraved
+by William Morris. Another marginal ornament was engraved by him from a
+design by Sir E. Burne-Jones, who also drew a picture for the
+frontispiece, which has now been engraved by W. H. Hooper for the final
+page of the Kelmscott Press edition of the work. These side ornaments,
+three of which appear on the opposite page, are more delicate than any
+that were designed for the Kelmscott Press, but they show that when the
+Press was started the idea of reviving some of the decorative features
+of the earliest printed books had been long in its founder's mind. At
+this same period, in the early seventies, he was much absorbed in the
+study of ancient manuscripts, and in writing out and illuminating
+various books, including a Horace and an Omar Khayyam, which may have
+led his thoughts away from printing. In any case, the plan of an
+illustrated Love is Enough, like that of the folio Earthly Paradise, was
+abandoned.
+
+Although the books written by William Morris continued to be reasonably
+printed, it was not until about 1888 that he again paid much attention
+to typography. He was then, and for the rest of his life, when not away
+from Hammersmith, in daily communication with his friend and neighbour
+Emery Walker, whose views on the subject coincided with his own, and who
+had besides a practical knowledge of the technique of printing. These
+views were first expressed in an article by Mr. Walker in the catalogue
+of the exhibition of the Arts and Crafts Exhibition Society, held at the
+New Gallery in the autumn of 1888. As a result of many conversations,
+The House of the Wolfings was printed at the Chiswick Press at this
+time, with a special type modelled on an old Basel fount, unleaded, and
+with due regard to proportion in the margins. The title-page was also
+carefully arranged. In the following year The Roots of the Mountains was
+printed with the same type (except the lower case e), but with a
+differently proportioned page, and with shoulder-notes instead of
+head-lines. This book was published in November, 1889, and its author
+declared it to be the best-looking book issued since the seventeenth
+century. Instead of large paper copies, which had been found
+unsatisfactory in the case of The House of the Wolfings, two hundred and
+fifty copies were printed on Whatman paper of about the same size as the
+paper of the ordinary copies. A small stock of this paper remained over,
+and in order to dispose of it seventy-five copies of the translation of
+the Gunnlaug Saga, which first appeared in the Fortnightly Review of
+January, 1869, and afterwards in Three Northern Love Stories, were
+printed at the Chiswick Press. The type used was a black-letter copied
+from one of Caxton's founts, and the initials were left blank to be
+rubricated by hand. Three copies were printed on vellum. This little
+book was not however finished until November, 1890.
+
+[Illustration: Ornaments designed and engraved for Love is Enough.]
+
+Meanwhile William Morris had resolved to design a type of his own.
+Immediately after The Roots of the Mountains appeared, he set to work
+upon it, and in December, 1889, he asked Mr. Walker to go into
+partnership with him as a printer. This offer was declined by Mr.
+Walker; but, though not concerned with the financial side of the
+enterprise, he was virtually a partner in the Kelmscott Press from its
+first beginnings to its end, and no important step was taken without his
+advice and approval. Indeed, the original intention was to have the
+books set up in Hammersmith and printed at his office in Clifford's Inn.
+It was at this time that William Morris began to collect the mediaeval
+books of which he formed so fine a library in the next six years. He had
+made a small collection of such books years before, but had parted with
+most of them, to his great regret. He now bought with the definite
+purpose of studying the type and methods of the early printers. Among
+the first books so acquired was a copy of Leonard of Arezzo's History of
+Florence, printed at Venice by Jacobus Rubeus in 1476, in a Roman type
+very similar to that of Nicholas Jenson. Parts of this book and of
+Jenson's Pliny of 1476 were enlarged by photography in order to bring
+out more clearly the characteristics of the various letters; and having
+mastered both their virtues and defects, William Morris proceeded to
+design the fount of type which, in the list of December, 1892, he named
+the Golden type, from The Golden Legend, which was to have been the
+first book printed with it. This fount consists of eighty-one designs,
+including stops, figures, and tied letters. The lower case alphabet was
+finished in a few months. The first letter having been cut in Great
+Primer size by Mr. Prince, was thought too large, and 'English' was the
+size resolved upon. By the middle of August, 1890, eleven punches had
+been cut. At the end of the year the fount was all but complete.
+
+On Jan. 12th, 1891, a cottage, No. 16, Upper Mall, was taken. Mr.
+William Bowden, a retired master-printer, had already been engaged to
+act as compositor and pressman. Enough type was then cast for a trial
+page, which was set up and printed on Saturday, Jan. 31st, on a sample
+of the paper that was being made for the Press by J. Batchelor and Son.
+About a fortnight later ten reams of paper were delivered. On Feb. 18th
+a good supply of type followed. Mr. W. H. Bowden, who subsequently
+became overseer, then joined his father as compositor, and the first
+chapters of The Glittering Plain were set up. The first sheet appears to
+have been printed on March 2nd, when the staff was increased to three by
+the addition of a pressman named Giles, who left as soon as the book was
+finished. A friend who saw William Morris on the day after the printing
+of the page above mentioned recalls his elation at the success of his
+new type. The first volume of the Saga Library, a creditable piece of
+printing, was brought out and put beside this trial page, which much
+more than held its own. The poet then declared his intention to set to
+work immediately on a black-letter fount; illness, however, intervened
+and it was not begun until June. The lower case alphabet was finished by
+the beginning of August, with the exception of the tied letters, the
+designs for which, with those for the capitals, were sent to Mr. Prince
+on September 11th. Early in November enough type was cast for two trial
+pages, the one consisting of twenty-six lines of Chaucer's Franklin's
+Tale and the other of sixteen lines of Sigurd the Volsung. In each of
+these a capital I is used that was immediately discarded. On the last
+day of 1891 the full stock of Troy type was despatched from the foundry.
+Its first appearance was in a paragraph, announcing the book from which
+it took its name, in the list dated May, 1892.
+
+This Troy type, which its designer preferred to either of the others,
+shows the influence of the beautiful early types of Peter Schoeffer of
+Mainz, Gunther Zainer of Augsburg, and Anthony Koburger of Nuremberg;
+but, even more than the Golden type, it has a strong character of its
+own, which differs largely from that of any mediaeval fount. It has
+recently been pirated abroad, and is advertised by an enterprising
+German firm as 'Die amerikanische Triumph-Gothisch.' The Golden type has
+perhaps fared worse in being remodelled in the United States, whence,
+with much of its character lost, it has found its way back to England
+under the names 'Venetian,' 'Italian,' and 'Jenson.' It is strange that
+no one has yet had the good sense to have the actual type of Nicholas
+Jenson reproduced.
+
+The third type used at the Kelmscott Press, called the 'Chaucer,'
+differs from the Troy type only in size, being Pica instead of Great
+Primer. It was cut by Mr. Prince between February and May, 1892, and was
+ready in June. Its first appearance is in the list of chapters and
+glossary of The Recuyell of the Historyes of Troye, which was issued on
+November 24th, 1892.
+
+On June 2nd of that year, William Morris wrote to Mr. Prince: 'I believe
+in about three months' time I shall be ready with a new set of sketches
+for a fount of type on English body.' These sketches were not
+forthcoming; but on Nov. 5th, 1892, he bought a copy of Augustinus De
+Civitate Dei, printed at the Monastery of Subiaco near Rome by Sweynheym
+and Pannartz, with a rather compressed type, which appears in only three
+known books. He at once designed a lower case alphabet on this model,
+but was not satisfied with it and did not have it cut. This was his last
+actual experiment in the designing of type, though he sometimes talked
+of designing a new fount, and of having the Golden type cut in a larger
+size.
+
+Next in importance to the type are the initials, borders, and ornaments
+designed by William Morris. The first book contains a single recto
+border and twenty different initials. In the next book, Poems by the
+Way, the number of different initials is fifty-nine. These early
+initials, many of which were soon discarded, are for the most part
+suggestive, like the first border, of the ornament in Italian
+manuscripts of the fifteenth century. In Blunt's Love Lyrics there are
+seven letters of a new alphabet, with backgrounds of naturalesque
+grapes and vine leaves, the result of a visit to Beauvais, where the
+great porches are carved with vines, in August, 1891. From that time
+onwards fresh designs were constantly added, the tendency being always
+towards larger foliage and lighter backgrounds, as the early initials
+were found to be sometimes too dark for the type. The total number of
+initials of various sizes designed for the Kelmscott Press, including a
+few that were engraved but never used, is three hundred and eighty-four.
+Of the letter T alone there are no less than thirty-four varieties.
+
+The total number of different borders engraved for the Press, including
+one that was not used, but excluding the three borders designed for The
+Earthly Paradise by R. Catterson-Smith, is fifty-seven. The first book
+to contain a marginal ornament, other than these full borders, was The
+Defence of Guenevere, which has a half-border on p. 74. There are two
+others in the preface to The Golden Legend. The Recuyell of the
+Historyes of Troye is the first book in which there is a profusion of
+such ornament. One hundred and eight different designs for marginal
+ornaments were engraved. Besides the above-named designs, there are
+seven frames for the pictures in The Glittering Plain, one frame for
+those in a projected edition of The House of the Wolfings, nineteen
+frames for the pictures in the Chaucer (one of which was not used in the
+book), twenty-eight title-pages and inscriptions, twenty-six large
+initial words for the Chaucer, seven initial words for The Well at the
+World's End and The Water of the Wondrous Isles, four line-endings, and
+three printer's marks, making a total of six hundred and forty-four
+designs by William Morris, drawn and engraved within seven years. All
+the initials and ornaments that recur were printed from electrotypes,
+while most of the title-pages and initial words were printed direct from
+the wood. The illustrations by Sir Edward Burne-Jones, Walter Crane, and
+C. M. Gere were also, with one or two exceptions, printed from the wood.
+The original designs by Sir E. Burne-Jones were nearly all in pencil,
+and were redrawn in ink by R. Catterson-Smith, and in a few cases by C.
+Fairfax Murray; they were then revised by the artist and transferred to
+the wood by means of photography. The twelve designs by A. J. Gaskin for
+Spenser's Shepheardes Calender, the map in The Sundering Flood, and the
+thirty-five reproductions in Some German Woodcuts of the Fifteenth
+Century, were printed from process blocks.
+
+All the wood blocks for initials, ornaments, and illustrations, were
+engraved by W. H. Hooper, C. E. Keates, and W. Spielmeyer, except the
+twenty-three blocks for The Glittering Plain, which were engraved by A.
+Leverett, and a few of the earliest initials, engraved by G. F.
+Campfield. The whole of these wood blocks have been sent to the British
+Museum, and have been accepted with a condition that they shall not be
+reproduced or printed from for the space of a hundred years. The
+electrotypes have been destroyed. In taking this course, which was
+sanctioned by William Morris when the matter was talked of shortly
+before his death, the aim of the trustees has been to keep the series of
+Kelmscott Press books as a thing apart, and to prevent the designs
+becoming stale by constant repetition. Many of them have been stolen and
+parodied in America, but in this country they are fortunately copyright.
+The type remains in the hands of the trustees, and will be used for the
+printing of its designer's works, should special editions be called for.
+Other books of which he would have approved may also be printed with it;
+the absence of initials and ornament will always distinguish them
+sufficiently from the books printed at the Kelmscott Press.
+
+The nature of the English hand-made paper used at the Press has been
+described by William Morris in the foregoing article. It was at first
+supplied in sheets of which the dimensions were sixteen inches by
+eleven. Each sheet had as a watermark a conventional primrose between
+the initials W. M. As stated above, The Golden Legend was to have been
+the first book put in hand, but as only two pages could have been
+printed at a time, and this would have made it very costly, paper of
+double the size was ordered for this work, and The Story of the
+Glittering Plain was begun instead. This book is a small quarto, as are
+its five immediate successors, each sheet being folded twice. The last
+ream of the smaller size of paper was used on The Order of Chivalry. All
+the other volumes of that series are printed in octavo, on paper of the
+double size. For the Chaucer a stouter and slightly larger paper was
+needed. This has for its watermark a Perch with a spray in its mouth.
+Many of the large quarto books were printed on this paper, of which the
+first two reams were delivered in February, 1893. Only one other size of
+paper was used at the Kelmscott Press. The watermark of this is an
+Apple, with the initials W. M., as in the other two watermarks. The
+books printed on this paper are The Earthly Paradise, The Floure and the
+Leafe, The Shepheardes Calender, and Sigurd the Volsung. The last-named
+is a folio, and the open book shows the size of the sheet, which is
+about eighteen inches by thirteen. The first supply of this Apple paper
+was delivered on March 15, 1895.
+
+Except in the case of Blunt's Love Lyrics, The Nature of Gothic, Biblia
+Innocentium, The Golden Legend, and The Book of Wisdom and Lies, a few
+copies of all the books were printed on vellum. The six copies of The
+Glittering Plain were printed on very fine vellum obtained from Rome, of
+which it was impossible to get a second supply as it was all required by
+the Vatican. The vellum for the other books, except for two or three
+copies of Poems by the Way, which were on the Roman vellum, was supplied
+by H. Band of Brentford, and by W. J. Turney & Co. of Stourbridge. There
+are three complete vellum sets in existence, and the extreme difficulty
+of completing a set after the copies are scattered, makes it unlikely
+that there will ever be a fourth.
+
+The black ink which proved most satisfactory, after that of more than
+one English firm had been tried, was obtained from Hanover. William
+Morris often spoke of making his own ink, in order to be certain of the
+ingredients, but his intention was never carried out.
+
+The binding of the books in vellum and in half-holland was from the
+first done by J. & J. Leighton. Most of the vellum used was white, or
+nearly so, but William Morris himself preferred it dark, and the skins
+showing brown hair-marks were reserved for the binding of his own copies
+of the books. The silk ties of four colours, red, blue, yellow, and
+green, were specially woven and dyed.
+
+In the following section fifty-two works, in sixty-six volumes, are
+described as having been printed at the Kelmscott Press, besides the two
+pages of Froissart's Chronicles. It is scarcely necessary to add that
+only hand presses have been used, of the type known as 'Albion.' In the
+early days there was only one press on which the books were printed,
+besides a small press for taking proofs. At the end of May, 1891, larger
+premises were taken at 14, Upper Mall, next door to the cottage already
+referred to, which was given up in June. In November, 1891, a second
+press was bought, as The Golden Legend was not yet half finished, and it
+seemed as though the last of its 1286 pages would never be reached.
+Three years later another small house was taken, No. 14 being still
+retained. This was No. 21, Upper Mall, overlooking the river, which
+acted as a reflector, so that there was an excellent light for printing.
+In January, 1895, a third press, specially made for the work, was set up
+here in order that two presses might be employed on the Chaucer. This
+press has already passed into other hands, and the little house, with
+its many associations, and its pleasant outlook towards Chiswick and
+Mortlake, is now being transformed into a granary. The last sheet
+printed there was that on which are the frontispiece and title of this
+book.
+
+14, Upper Mall, Hammersmith, January 4, 1898.
+
+
+AN ANNOTATED LIST OF ALL THE BOOKS PRINTED AT THE KELMSCOTT PRESS IN THE
+ORDER IN WHICH THEY WERE ISSUED.
+
+Note: The borders are numbered as far as possible in the order of their
+first appearance, those which appear on a verso or left hand page being
+distinguished by the addition of the letter 'a' to the numbers of the
+recto borders of similar design.
+
+1. THE STORY OF THE GLITTERING PLAIN. WHICH HAS BEEN ALSO CALLED THE
+LAND OF LIVING MEN OR THE ACRE OF THE UNDYING. WRITTEN BY WILLIAM
+MORRIS. Small 4to. Golden type. Border 1. 200 paper copies at two
+guineas, and 6 on vellum. Dated April 4, issued May 8, 1891. Sold by
+Reeves & Turner. Bound in stiff vellum with washleather ties.
+
+This book was set up from Nos. 81-4 of the English Illustrated Magazine,
+in which it first appeared; some of the chapter headings were
+re-arranged, and a few small corrections were made in the text. A trial
+page, the first printed at the Press, was struck off on January 31,
+1891, but the first sheet was not printed until about a month later. The
+border was designed in January of the same year, and engraved by W. H.
+Hooper. Mr. Morris had four of the vellum copies bound in green vellum,
+three of which he gave to friends. Only two copies on vellum were sold,
+at twelve and fifteen guineas. This was the only book with washleather
+ties. All the other vellum-bound books have silk ties, except Shelley's
+Poems and Hand and Soul, which have no ties.
+
+2. POEMS BY THE WAY. WRITTEN BY WILLIAM MORRIS. Small 4to. Golden type.
+In black and red. Border 1. 300 paper copies at two guineas, 13 on
+vellum at about twelve guineas. Dated Sept. 24, issued Oct. 20, 1891.
+Sold by Reeves & Turner. Bound in stiff vellum.
+
+This was the first book printed at the Kelmscott Press in two colours,
+and the first book in which the smaller printer's mark appeared. After
+The Glittering Plain was finished, at the beginning of April, no
+printing was done until May 11. In the meanwhile the compositors were
+busy setting up the early sheets of The Golden Legend. The printing of
+Poems by the Way, which its author first thought of calling Flores
+Atramenti, was not begun until July. The poems in it were written at
+various times. In the manuscript, Hafbur and Signy is dated February 4,
+1870; Hildebrand and Hillilel, March 1, 1871; and Love's Reward,
+Kelmscott, April 21, 1871. Meeting in Winter is a song from The Story of
+Orpheus, an unpublished poem intended for The Earthly Paradise. The last
+poem in the book, Goldilocks and Goldilocks, was written on May 20,
+1891, for the purpose of adding to the bulk of the volume, which was
+then being prepared. A few of the vellum covers were stained at Merton
+red, yellow, indigo, and dark green, but the experiment was not
+successful.
+
+3. THE LOVE-LYRICS AND SONGS OF PROTEUS BY WILFRID SCAWEN BLUNT WITH THE
+LOVE-SONNETS OF PROTEUS BY THE SAME AUTHOR NOW REPRINTED IN THEIR FULL
+TEXT WITH MANY SONNETS OMITTED FROM THE EARLIER EDITIONS. LONDON
+MDCCCXCII. Small 4to. Golden type. In black and red. Border 1. 300 paper
+copies at two guineas, none on vellum. Dated Jan. 26, issued Feb. 27,
+1892. Sold by Reeves & Turner. Bound in stiff vellum.
+
+This is the only book in which the initials are printed in red. This was
+done by the author's wish.
+
+4. THE NATURE OF GOTHIC A CHAPTER OF THE STONES OF VENICE. BY JOHN
+RUSKIN. With a preface by William Morris. Small 4to. Golden type. Border
+1. Diagrams in text. 500 paper copies at thirty shillings, none on
+vellum. Dated in preface February 15, issued March 22, 1892. Published
+by George Allen. Bound in stiff vellum.
+
+This chapter of the Stones of Venice, which Ruskin always considered the
+most important in the book, was first printed separately in 1854 as a
+sixpenny pamphlet. Mr. Morris paid more than one tribute to it in Hopes
+and Fears for Art. Of him Ruskin said in 1887, 'Morris is beaten gold.'
+
+5. THE DEFENCE OF GUENEVERE, AND OTHER POEMS. BY WILLIAM MORRIS. Small
+4to. Golden type. In black and red. Borders 2 and 1. 300 paper copies
+at two guineas, ten on vellum at about twelve guineas. Dated April 2,
+issued May 19, 1892. Sold by Reeves & Turner. Bound in limp vellum.
+
+This book was set up from a copy of the edition published by Reeves &
+Turner in 1889, the only alteration, except a few corrections, being in
+the 11th line of Summer Dawn. It is divided into three parts, the poems
+suggested by Malory's Morte d'Arthur, the poems inspired by Froissart's
+Chronicles, and poems on various subjects. The two first sections have
+borders, and the last has a half-border. The first sheet was printed on
+February 17, 1892. It was the first book bound in limp vellum, and the
+only one of which the title was inscribed by hand on the back.
+
+6. A DREAM OF JOHN BALL AND A KING'S LESSON. BY WILLIAM MORRIS. Small
+4to. Golden type. In black and red. Borders 3a, 4, and 2. With a woodcut
+designed by Sir E. Burne-Jones. 300 paper copies at thirty shillings,
+eleven on vellum at ten guineas. Dated May 13, issued Sept. 24, 1892.
+Sold by Reeves & Turner. Bound in limp vellum.
+
+This was set up with a few alterations from a copy of Reeves & Turner's
+third edition, and the printing was begun on April 4, 1892. The
+frontispiece was redrawn from that to the first edition, and engraved on
+wood by W. H. Hooper, who engraved all Sir E. Burne-Jones' designs for
+the Kelmscott Press, except those for The Wood beyond the World and The
+Life and Death of Jason. The inscription below the figures, and the
+narrow border, were designed by Mr. Morris, and engraved with the
+picture on one block, which was afterwards used on a leaflet printed for
+the Ancoats Brotherhood in February, 1894.
+
+7. THE GOLDEN LEGEND. By Jacobus de Voragine. Translated by William
+Caxton. Edited by F. S. Ellis. 3 vols. Large 4to. Golden type. Borders
+5a, 5, 6a, and 7. Woodcut title and two woodcuts designed by Sir E.
+Burne-Jones. 500 paper copies at five guineas, none on vellum. Dated
+Sept. 12, issued Nov. 3, 1892. Published by Bernard Quaritch. Bound in
+half-holland, with paper labels printed in the Troy type.
+
+In July, 1890, when only a few letters of the Golden type had been cut,
+Mr. Morris bought a copy of this book, printed by Wynkyn de Worde in
+1527. He soon afterwards determined to print it, and on Sept. 11 entered
+into a formal agreement with Mr. Quaritch for its publication. It was
+only an unforeseen difficulty about the size of the first stock of paper
+that led to The Golden Legend not being the first book put in hand. It
+was set up from a transcript of Caxton's first edition, lent by the
+Syndics of the Cambridge University Library for the purpose. A trial
+page was got out in March, 1891, and 50 pages were in type by May 11,
+the day on which the first sheet was printed. The first volume was
+finished, with the exception of the illustrations and the preliminary
+matter, in Oct., 1891. The two illustrations and the title (which was
+the first woodcut title designed by Mr. Morris) were not engraved until
+June and August, 1892, when the third volume was approaching completion.
+About half a dozen impressions of the illustrations were pulled on
+vellum. A slip asking owners of the book not to have it bound with
+pressure, nor to have the edges cut instead of merely trimmed, was
+inserted in each copy.
+
+8. THE RECUYELL OF THE HISTORYES OF TROYE. By Raoul Lefevre. Translated
+by William Caxton. Edited by H. Halliday Sparling. 2 vols. Large 4to.
+Troy type, with table of chapters and glossary in Chaucer type. In black
+and red. Borders 5a, 5, and 8. Woodcut title. 300 paper copies at nine
+guineas, five on vellum at eighty pounds. Dated Oct. 14, issued Nov. 24,
+1892. Published by Bernard Quaritch. Bound in limp vellum.
+
+This book, begun in February, 1892, is the first book printed in Troy
+type, and the first in which Chaucer type appears. It is a reprint of
+the first book printed in English. It had long been a favourite with
+William Morris, who designed a great quantity of initials and ornaments
+for it, and wrote the following note for Mr. Quaritch's catalogue: 'As
+to the matter of the book, it makes a thoroughly amusing story,
+instinct with mediaeval thought and manners. For though written at the
+end of the Middle Ages and dealing with classical mythology, it has in
+it no token of the coming Renaissance, but is merely mediaeval. It is the
+last issue of that story of Troy which through the whole of the Middle
+Ages had such a hold on men's imaginations; the story built up from a
+rumour of the Cyclic Poets, of the heroic City of Troy, defended by
+Priam and his gallant sons, led by Hector the Preux Chevalier, and beset
+by the violent and brutal Greeks, who were looked on as the necessary
+machinery for bringing about the undeniable tragedy of the fall of the
+city. Surely this is well worth reading, if only as a piece of undiluted
+mediaevalism.' 2000 copies of a 4to announcement, with specimen pages,
+were printed at the Kelmscott Press in December, 1892, for distribution
+by the publisher.
+
+9. BIBLIA INNOCENTIUM: BEING THE STORY OF GOD'S CHOSEN PEOPLE BEFORE THE
+COMING OF OUR LORD JESUS CHRIST UPON EARTH, WRITTEN ANEW FOR CHILDREN BY
+J. W. MACKAIL, SOMETIME FELLOW OF BALLIOL COLLEGE, OXFORD. 8vo. Border
+2. 200 on paper at a guinea, none on vellum. Dated Oct. 22, issued Dec.
+9, 1892. Sold by Reeves & Turner. Bound in stiff vellum.
+
+This was the last book issued in stiff vellum except Hand and Soul, and
+the last with untrimmed edges. It was the first book printed in 8vo.
+
+10. THE HISTORY OF REYNARD THE FOXE BY WILLIAM CAXTON. Reprinted from
+his edition of 1481. Edited by H. Halliday Sparling. Large 4to. Troy
+type, with glossary in Chaucer type. In black and red. Borders 5a and 7.
+Woodcut title. 300 on paper at three guineas, 10 on vellum at fifteen
+guineas. Dated Dec. 15, 1892, issued Jan. 25, 1893. Published by Bernard
+Quaritch. Bound in limp vellum.
+
+About this book, which was first announced as in the press in the list
+dated July, 1892, William Morris wrote the following note for Mr.
+Quaritch's catalogue: 'This translation of Caxton's is one of the very
+best of his works as to style; and being translated from a kindred
+tongue is delightful as mere language. In its rude joviality, and simple
+and direct delineation of character, it is a thoroughly good
+representative of the famous ancient Beast Epic.' The edges of this
+book, and of all subsequent books, were trimmed in accordance with the
+invariable practice of the early printers. Mr. Morris much preferred the
+trimmed edges.
+
+11. THE POEMS OF WILLIAM SHAKESPEARE, PRINTED AFTER THE ORIGINAL COPIES
+OF VENUS AND ADONIS, 1593. THE RAPE OF LUCRECE, 1594. SONNETS, 1609. THE
+LOVER'S COMPLAINT. Edited by F. S. Ellis. 8vo. Golden type. In black and
+red. Borders 1 and 2. 500 paper copies at 25 shillings, 10 on vellum at
+ten guineas. Dated Jan. 17, issued Feb. 13, 1893. Sold by Reeves &
+Turner. Bound in limp vellum.
+
+A trial page of this book was set up on Nov. 1, 1892. Though the number
+was large, this has become one of the rarest books issued from the
+Press.
+
+12. NEWS FROM NOWHERE: OR, AN EPOCH OF REST, BEING SOME CHAPTERS FROM A
+UTOPIAN ROMANCE, BY WILLIAM MORRIS. 8vo. Golden type. In black and red.
+Borders 9a and 4, and a woodcut engraved by W. H. Hooper from a design
+by C. M. Gere. 300 on paper at two guineas, 10 on vellum at ten guineas.
+Dated Nov. 22, 1892, issued March 24, 1893. Sold by Reeves & Turner.
+Bound in limp vellum.
+
+The text of this book was printed before Shakespeare's Poems and
+Sonnets, but it was kept back for the frontispiece, which is a picture
+of the old manor-house in the village of Kelmscott by the upper Thames,
+from which the Press took its name. It was set up from a copy of one of
+Reeves & Turner's editions, and in reading it for the press the author
+made a few slight corrections. It was the last except the Savonarola
+(No. 31) in which he used the old paragraph mark (para) which was
+discarded in favour of the leaves, which had already been used in the
+two large 4to books printed in the Troy type.
+
+13. THE ORDER OF CHIVALRY. Translated from the French by William Caxton
+and reprinted from his edition of 1484. Edited by F. S. Ellis. And
+L'ORDENE DE CHEVALERIE, WITH TRANSLATION BY WILLIAM MORRIS. Small 4to.
+Chaucer type, in black and red. Borders 9a and 4, and a woodcut designed
+by Sir Edward Burne-Jones. 225 on paper at thirty shillings, 10 on
+vellum at ten guineas. The Order of Chivalry dated Nov. 10, 1892,
+L'Ordene de Chevalerie dated February 24, 1893, issued April 12, 1893.
+Sold by Reeves & Turner. Bound in limp vellum.
+
+This was the last book printed in small 4to. The last section is in 8vo.
+It was the first book printed in Chaucer type. The reprint from Caxton
+was finished while News from Nowhere was in the press, and before
+Shakespeare's Poems and Sonnets was begun. The French poem and its
+translation were added as an after-thought, and have a separate
+colophon. Some of the three-line initials, which were designed for The
+Well at the World's End, are used in the French poem, and this is their
+first appearance. The translation was begun on Dec. 3, 1892, and the
+border round the frontispiece was designed on Feb. 13, 1893.
+
+14. THE LIFE OF THOMAS WOLSEY, CARDINAL ARCHBISHOP OF YORK, WRITTEN BY
+GEORGE CAVENDISH. Edited by F. S. Ellis from the author's autograph MS.
+8vo. Golden type. Border 1. 250 on paper at two guineas, 6 on vellum at
+ten guineas. Dated March 30, issued May 3, 1893. Sold by Reeves &
+Turner. Bound in limp vellum.
+
+15. THE HISTORY OF GODEFREY OF BOLOYNE AND OF THE CONQUEST OF
+IHERUSALEM. Reprinted from Caxton's edition of 1481. Edited by H.
+Halliday Sparling. Large 4to. Troy type, with list of chapter headings
+and glossary in Chaucer type. In black and red. Borders 5a and 5, and
+woodcut title. 300 on paper at six guineas, 6 on vellum at 20 guineas.
+Dated April 27, issued May 24, 1893. Published by William Morris at the
+Kelmscott Press. Bound in limp vellum.
+
+This was the fifth and last of the Caxton reprints, with many new
+ornaments and initials, and a new printer's mark. It was first
+announced as in the press in the list dated Dec., 1892. It was the first
+book published and sold at the Kelmscott Press. An announcement and
+order form, with two different specimen pages, was printed at the Press,
+besides a special invoice. A few copies were bound in half holland, not
+for sale.
+
+16. UTOPIA, WRITTEN BY SIR THOMAS MORE. A reprint of the 2nd edition of
+Ralph Robinson's translation, with a foreword by William Morris. Edited
+by F. S. Ellis. 8vo. Chaucer type, with the reprinted title in Troy
+type. In black and red. Borders 4 and 2. 300 on paper at thirty
+shillings, 8 on vellum at ten guineas. Dated August 4, issued September
+8, 1893. Sold by Reeves & Turner. Bound in limp vellum.
+
+This book was first announced as in the press in the list dated May 20,
+1893.
+
+17. MAUD, A MONODRAMA. BY ALFRED LORD TENNYSON. 8vo. Golden type. In
+black and red. Borders 10a and 10, and woodcut title. 500 on paper at
+two guineas, 5 on vellum not for sale. Dated Aug. 11, issued Sept. 30,
+1893. Published by Macmillan & Co. Bound in limp vellum.
+
+The borders were specially designed for this book. They were both used
+again in the Keats, and one of them appears in The Sundering Flood. It
+is the first of the 8vo books with a woodcut title.
+
+18. GOTHIC ARCHITECTURE: A LECTURE FOR THE ARTS AND CRAFTS EXHIBITION
+SOCIETY, BY WILLIAM MORRIS. 16mo. Golden type. In black and red. 1500 on
+paper at two shillings and sixpence, 45 on vellum at ten and fifteen
+shillings. Bound in half holland.
+
+This lecture was set up at Hammersmith and printed at the New Gallery
+during the Arts and Crafts Exhibition in October and November, 1893. The
+first copies were ready on October 21, and the book was twice reprinted
+before the Exhibition closed. It was the first book printed in 16mo. The
+four-line initials used in it appear here for the first time. The vellum
+copies were sold during the Exhibition at ten shillings, and the price
+was subsequently raised to fifteen shillings.
+
+19. SIDONIA THE SORCERESS, BY WILLIAM MEINHOLD, TRANSLATED BY FRANCESCA
+SPERANZA LADY WILDE. Large 4to. Golden type. In black and red. Border 8.
+300 paper copies at four guineas, 10 on vellum at twenty guineas. Dated
+Sept. 15, issued November 1, 1893. Published by William Morris. Bound in
+limp vellum.
+
+Before the publication of this book a large 4to announcement and order
+form was issued, with a specimen page and an interesting description of
+the book and its author, written and signed by William Morris. Some
+copies were bound in half holland, not for sale.
+
+20. BALLADS AND NARRATIVE POEMS BY DANTE GABRIEL ROSSETTI. 8vo. Golden
+type. In black and red. Borders 4a and 4, and woodcut title. 310 on
+paper at two guineas, 6 on vellum at ten guineas. Dated Oct. 14, issued
+in November, 1893. Published by Ellis & Elvey. Bound in limp vellum.
+
+This book was announced as in preparation in the list of August 1, 1893.
+
+21. THE TALE OF KING FLORUS AND THE FAIR JEHANE. Translated by William
+Morris from the French of the 13th century. 16mo. Chaucer type. In black
+and red. Borders 11a and 11, and woodcut title. 350 on paper at seven
+shillings and sixpence, 15 on vellum at thirty shillings. Dated Dec. 16,
+issued Dec. 28, 1893. Published by William Morris. Bound in half
+holland.
+
+This story, like the three other translations with which it is uniform,
+was taken from a little volume called Nouvelles Francoises en prose du
+XIIIe siecle. Paris, Jannet, 1856. They were first announced as in
+preparation under the heading 'French Tales' in the list dated May 20,
+1893. Eighty-five copies of King Florus were bought by J. and M. L.
+Tregaskis, who had them bound in all parts of the world. These are now
+in the Rylands Library at Manchester.
+
+22. THE STORY OF THE GLITTERING PLAIN WHICH HAS BEEN ALSO CALLED THE
+LAND OF LIVING MEN OR THE ACRE OF THE UNDYING. WRITTEN BY WILLIAM
+MORRIS. Large 4to. Troy type, with list of chapters in Chaucer type. In
+black and red. Borders 12a and 12, 23 designs by Walter Crane, engraved
+by A. Leverett, and a woodcut title. 250 on paper at five guineas, 7 on
+vellum at twenty pounds. Dated Jan. 13, issued Feb. 17, 1894. Published
+by William Morris. Bound in limp vellum.
+
+Neither the borders in this book nor six out of the seven frames round
+the illustrations appear in any other book. The seventh is used round
+the second picture in Love is Enough. A few copies were bound in half
+holland.
+
+23. OF THE FRIENDSHIP OF AMIS AND AMILE. Done out of the ancient French
+by William Morris. 16mo. Chaucer type. In black and red. Borders 11a and
+11, and woodcut title. 500 on paper at seven shillings and sixpence, 15
+on vellum at thirty shillings. Dated March 13, issued April 4, 1894.
+Published by William Morris. Bound in half holland.
+
+A poem entitled Amys and Amillion, founded on this story, was originally
+to have appeared in the second volume of The Earthly Paradise, but, like
+some other poems announced at the same time, it was not included in the
+book.
+
+20a. SONNETS AND LYRICAL POEMS BY DANTE GABRIEL ROSSETTI. 8vo. Golden
+type. In black and red. Borders 1a and 1, and woodcut title. 310 on
+paper at two guineas, 6 on vellum at ten guineas. Dated Feb. 20, issued
+April 21, 1894. Published by Ellis & Elvey. Bound in limp vellum.
+
+This book is uniform with No. 20, to which it forms a sequel. Both
+volumes were read for the press by Mr. W. M. Rossetti.
+
+24. THE POEMS OF JOHN KEATS. Edited by F. S. Ellis. 8vo. Golden type. In
+black and red. Borders 10a and 10, and woodcut title. 300 on paper at
+thirty shillings, 7 on vellum at nine guineas. Dated March 7, issued May
+8, 1894. Published by William Morris. Bound in limp vellum.
+
+This is now (Jan., 1898) the most sought after of all the smaller
+Kelmscott Press books. It was announced as in preparation in the lists
+of May 27 and August 1, 1893, and as in the press in that of March 31,
+1894, when the woodcut title still remained to be printed.
+
+25. ATALANTA IN CALYDON: A TRAGEDY. BY ALGERNON CHARLES SWINBURNE. Large
+4to. Troy type, with argument and dramatis personae in Chaucer type; the
+dedication and quotation from Euripides in Greek type designed by Selwyn
+Image. In black and red. Borders 5a and 5, and woodcut title. 250 on
+paper at two guineas, 8 on vellum at twelve guineas. Dated May 4, issued
+July 24, 1894. Published by William Morris. Bound in limp vellum.
+
+In the vellum copies of this book the colophon is not on the 82nd page
+as in the paper copies, but on the following page.
+
+26. THE TALE OF THE EMPEROR COUSTANS AND OF OVER SEA. Done out of
+ancient French by William Morris. 16mo. Chaucer type. In black and red.
+Borders 11a and 11, both twice, and two woodcut titles. 525 on paper at
+seven shillings and sixpence, 20 on vellum at two guineas. Dated August
+30, issued Sept. 26, 1894. Published by William Morris. Bound in half
+holland.
+
+The first of these stories, which was the source of The Man born to be
+King, in The Earthly Paradise, was announced as in preparation in the
+list of March 31, 1894.
+
+27. THE WOOD BEYOND THE WORLD. BY WILLIAM MORRIS. 8vo. Chaucer type. In
+black and red. Borders 13a and 13, and a frontispiece designed by Sir E.
+Burne-Jones, and engraved on wood by W. Spielmeyer. 350 on paper at two
+guineas, 8 on vellum at ten guineas. Dated May 30, issued Oct. 16, 1894.
+Published by William Morris. Bound in limp vellum.
+
+The borders in this book, as well as the ten half-borders, are here used
+for the first time. It was first announced as in the press in the list
+of March 31, 1894. Another edition was published by Lawrence & Bullen in
+1895.
+
+28. THE BOOK OF WISDOM AND LIES. A book of traditional stories from
+Georgia in Asia. Translated by Oliver Wardrop from the original of
+Sulkhan-Saba Orbeliani. 8vo. Golden type. In black and red. Borders 4a
+and 4, and woodcut title. 250 on paper at two guineas, none on vellum.
+Finished Sept. 29, issued Oct. 29, 1894. Published by Bernard Quaritch.
+Bound in limp vellum.
+
+The arms of Georgia, consisting of the Holy Coat, appear in the woodcut
+title of this book.
+
+29. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME I. Edited by F.
+S. Ellis. 8vo. Golden type. Borders 1a and 1, and woodcut title. 250 on
+paper at twenty-five shillings, 6 on vellum at eight guineas. Not dated,
+issued Nov. 29, 1894. Published by William Morris. Bound in limp vellum
+without ties.
+
+Red ink is not used in this volume, though it is used in the second
+volume, and more sparingly in the third. Some of the half-borders
+designed for The Wood beyond the World reappear before the longer poems.
+The Shelley was first announced as in the press in the list of March 31,
+1894.
+
+30. PSALMI PENITENTIALES. An English rhymed version of the Seven
+Penitential Psalms. Edited by F. S. Ellis. 8vo. Chaucer type. In black
+and red. 300 on paper at seven shillings and sixpence, 12 on vellum at
+three guineas. Dated Nov. 15, issued Dec. 10, 1894. Published by William
+Morris. Bound in half holland.
+
+These verses were taken from a manuscript Book of Hours written at
+Gloucester in the first half of the fifteenth century, but the Rev.
+Professor Skeat has pointed out that the scribe must have copied them
+from an older manuscript, as they are in the Kentish dialect of about a
+century earlier. The half-border on p. 34 appears for the first time in
+this book.
+
+31. EPISTOLA DE CONTEMPTU MUNDI DI FRATE HIERONYMO DA FERRARA DELLORDINE
+DE FRATI PREDICATORI LA QUALE MANDA AD ELENA BUONACCORSI SUA MADRE, PER
+CONSOLARLA DELLA MORTE DEL FRATELLO, SUO ZIO. Edited by Charles Fairfax
+Murray from the original autograph letter. 8vo. Chaucer type. In black
+and red. Border 1. Woodcut on title designed by C. F. Murray and
+engraved by W. H. Hooper. 150 on paper, and 6 on vellum. Dated Nov. 30,
+ready Dec. 12, 1894. Bound in half holland.
+
+This little book was printed for Mr. C. Fairfax Murray, the owner of the
+manuscript, and was not for sale in the ordinary way. The colophon is in
+Italian, and the printer's mark is in red.
+
+32. THE TALE OF BEOWULF. Done out of the Old English tongue by William
+Morris and A. J. Wyatt. Large 4to. Troy type, with argument, side-notes,
+list of persons and places, and glossary in Chaucer type. In black and
+red. Borders 14a and 14, and woodcut title. 300 on paper at two guineas,
+8 on vellum at ten pounds. Dated Jan. 10, issued Feb. 2, 1895. Published
+by William Morris. Bound in limp vellum.
+
+The borders in this book were only used once again, in the Jason. A Note
+to the Reader printed on a slip in the Golden type was inserted in each
+copy. Beowulf was first announced as in preparation in the list of May
+20, 1893. The verse translation was begun by Mr. Morris, with the aid of
+Mr. Wyatt's careful paraphrase of the text, on Feb. 21, 1893, and
+finished on April 10, 1894, but the argument was not written by Mr.
+Morris until Dec. 10, 1894.
+
+33. SYR PERECYVELLE OF GALES. Overseen by F. S. Ellis, after the edition
+edited by J. O. Halliwell from the Thornton MS. in the Library of
+Lincoln Cathedral. 8vo. Chaucer type. In black and red. Borders 13a and
+13, and a woodcut designed by Sir E. Burne-Jones. 350 on paper at
+fifteen shillings, 8 on vellum at four guineas. Dated Feb. 16, issued
+May 2, 1895. Published by William Morris. Bound in limp vellum.
+
+This is the first of the series to which Sire Degrevaunt and Syr
+Isumbrace belong. They were all reprinted from the Camden Society's
+volume of 1844, which was a favourite with Mr. Morris from his Oxford
+days. Syr Perecyvelle was first announced in the list of Dec. 1, 1894.
+The shoulder-notes were added by Mr. Morris.
+
+34. THE LIFE AND DEATH OF JASON, A POEM. BY WILLIAM MORRIS. Large 4to.
+Troy type, with a few words in Chaucer type. In black and red. Borders
+14a and 14, and two woodcuts designed by Sir E. Burne-Jones and
+engraved on wood by W. Spielmeyer. 200 on paper at five guineas, 6 on
+vellum at twenty guineas. Dated May 25, issued July 5, 1895. Published
+by William Morris. Bound in limp vellum.
+
+This book, announced as in the press in the list of April 21, 1894,
+proceeded slowly, as several other books, notably the Chaucer, were
+being printed at the same time. The text, which had been corrected for
+the second edition of 1868, and for the edition of 1882, was again
+revised by the author. The line-fillings on the last page were cut on
+metal for this book, and cast like type.
+
+29a. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME II. Edited by F.
+S. Ellis. 8vo. Golden type. In black and red. 250 on paper at
+twenty-five shillings, 6 on vellum at eight guineas. Not dated, issued
+March 25, 1895. Published by William Morris. Bound in limp vellum
+without ties.
+
+35. CHILD CHRISTOPHER AND GOLDILIND THE FAIR. BY WILLIAM MORRIS. 2 vols.
+16mo. Chaucer type. In black and red. Borders 15a and 15, and woodcut
+title. 600 on paper at fifteen shillings, 12 on vellum at four guineas.
+Dated July 25, issued Sept. 25, 1895. Published by William Morris. Bound
+in half holland, with labels printed in the Golden type.
+
+The borders designed for this book were only used once again, in Hand
+and Soul. The plot of the story was suggested by that of Havelok the
+Dane, printed by the Early English Text Society.
+
+29b. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME III. Edited by
+F. S. Ellis. 8vo. Golden type. In black and red. 250 on paper at
+twenty-five shillings, 6 on vellum at eight guineas. Dated August 21,
+issued October 28, 1895. Published by William Morris. Bound in limp
+vellum without ties.
+
+36. HAND AND SOUL. BY DANTE GABRIEL ROSSETTI. Reprinted from The Germ
+for Messrs. Way & Williams, of Chicago. 16mo. Golden type. In black and
+red. Borders 15a and 15, and woodcut title. 300 paper copies and 11
+vellum copies for America. 225 paper copies for sale in England at ten
+shillings, and 10 on vellum at thirty shillings. Dated Oct. 24, issued
+Dec. 12, 1895. Bound in stiff vellum without ties.
+
+This was the only 16mo book bound in vellum. The English and American
+copies have a slightly different colophon. The shoulder-notes were added
+by Mr. Morris.
+
+37. POEMS CHOSEN OUT OF THE WORKS OF ROBERT HERRICK. Edited by F. S.
+Ellis, 8vo. Golden type. In black and red. Borders 4a and 4, and woodcut
+title. 250 on paper at thirty shillings, 8 on vellum at eight guineas.
+Dated Nov. 21, 1895, issued Feb. 6, 1896. Published by William Morris.
+Bound in limp vellum.
+
+This book was first announced as in preparation in the list of Dec. 1,
+1894, and as in the press in that of July 1, 1895.
+
+38. POEMS CHOSEN OUT OF THE WORKS OF SAMUEL TAYLOR COLERIDGE. Edited by
+F. S. Ellis. 8vo. Golden type. In black and red. Borders 13a and 13. 300
+on paper at a guinea, 8 on vellum at five guineas. Dated Feb. 5, issued
+April 12, 1896. Published by William Morris. Bound in limp vellum.
+
+This book contains thirteen poems. It was first announced as in
+preparation in the list of Dec. 1, 1894, and as in the press in that of
+Nov. 26, 1895. It is the last of the series to which Tennyson's Maud,
+and the poems of Rossetti, Keats, Shelley, and Herrick belong.
+
+39. THE WELL AT THE WORLD'S END. BY WILLIAM MORRIS. Large 4to. Double
+columns. Chaucer type. In black and red. Borders 16a, 16, 17a, 17, 18a,
+18, 19a and 19, and 4 woodcuts designed by Sir E. Burne-Jones. 350 on
+paper at five guineas, 8 on vellum at twenty guineas. Dated March 2,
+issued June 4, 1896. Sold by William Morris. Bound in limp vellum.
+
+This book, delayed for various reasons, was longer on hand than any
+other. It appears in no less than twelve lists, from that of Dec., 1892,
+to that of Nov. 26, 1895, as 'in the press.' Trial pages, including one
+in a single column, were ready as early as September, 1892, and the
+printing began on December 16 of that year. The edition of The Well at
+the World's End published by Longmans was then being printed from the
+author's manuscript at the Chiswick Press, and the Kelmscott Press
+edition was set up from the sheets of that edition, which, though not
+issued until October, 1896, was finished in 1894. The eight borders and
+the six different ornaments between the columns, appear here for the
+first time, but are used again in The Water of the Wondrous Isles, with
+the exception of two borders.
+
+40. THE WORKS OF GEOFFREY CHAUCER. Edited by F. S. Ellis. Folio. Chaucer
+type, with headings to the longer poems in Troy type. In black and red.
+Borders 20a to 26, woodcut title, and 87 woodcut illustrations designed
+by Sir E. Burne-Jones. 425 on paper at twenty pounds, 13 on vellum at
+120 guineas. Dated May 8, issued June 26, 1893. Published by William
+Morris. Bound in half holland.
+
+The history of this book, which is by far the most important achievement
+of the Kelmscott Press, is as follows. As far back as June 11, 1891, Mr.
+Morris spoke of printing a Chaucer with a black-letter fount which he
+hoped to design. Four months later, when most of the Troy type was
+designed and cut, he expressed his intention to use it first on John
+Ball, and then on a Chaucer and perhaps a Gesta Romanorum. By January 1,
+1892, the Troy type was delivered, and early in that month two trial
+pages, one from The Cook's Tale and one from Sir Thopas, the latter in
+double columns, were got out. It then became evident that the type was
+too large for a Chaucer, and Mr. Morris decided to have it re-cut in the
+size known as pica. By the end of June he was thus in possession of the
+type which in the list issued in December, 1892, he named the Chaucer
+type. In July, 1892, another trial page, a passage from The Knight's
+Tale in double columns of 58 lines, was got out, and found to be
+satisfactory. The idea of the Chaucer as it now exists, with
+illustrations by Sir Edward Burne-Jones, then took definite shape.
+
+In a proof of the first list, dated April, 1892, there is an
+announcement of the book as in preparation, in black-letter, large
+quarto, but this was struck out, and does not appear in the list as
+printed in May, nor yet in the July list. In that for Dec., 1892, it is
+announced for the first time as to be in Chaucer type 'with about sixty
+designs by E. Burne-Jones.' The next list, dated March 9, 1893, states
+that it will be a folio and that it is in the press, by which was meant
+that a few pages were in type. In the list dated Aug. 1, 1893, the
+probable price is given as twenty pounds. The next four lists contain no
+fresh information, but on Aug. 17, 1894, nine days after the first sheet
+was printed, a notice was sent to the trade that there would be 325
+copies at twenty pounds and about sixty woodcuts designed by Sir Edward
+Burne-Jones. Three months later it was decided to increase the number of
+illustrations to upwards of seventy, and to print another 100 copies of
+the book. A circular letter was sent to subscribers on Nov. 14, stating
+this and giving them an opportunity of cancelling their orders. Orders
+were not withdrawn, the extra copies were immediately taken up, and the
+list for Dec. 1, 1894, which is the first containing full particulars,
+announces that all paper copies are sold.
+
+Mr. Morris began designing his first folio border on Feb. 1, 1893, but
+was dissatisfied with the design and did not finish it. Three days later
+he began the vine border for the first page, and finished it in about a
+week, together with the initial word 'Whan,' the two lines of heading,
+and the frame for the first picture, and Mr. Hooper engraved the whole
+of these on one block. The first picture was engraved at about the same
+time. A specimen of the first page (differing slightly from the same
+page as it appears in the book) was shown at the Arts and Crafts
+Exhibition in October and November, 1893, and was issued to a few
+leading booksellers, but it was not until August 8, 1894, that the first
+sheet was printed at 14, Upper Mall. On Jan. 8, 1895, another press was
+started at 21, Upper Mall, and from that time two presses were almost
+exclusively at work on the Chaucer. By Sept. 10 the last page of The
+Romaunt of the Rose was printed. In the middle of Feb., 1896, Mr.
+Morris began designing the title. It was finished on the 27th of the
+same month and engraved by Mr. Hooper in March. On May 8, a year and
+nine months after the printing of the first sheet, the book was
+completed. On June 2 the first two copies were delivered to Sir Edward
+Burne-Jones and Mr. Morris. Mr. Morris's copy is now at Exeter College,
+Oxford, with other books printed at the Kelmscott Press.
+
+Besides the eighty-seven illustrations designed by Sir Edward
+Burne-Jones, and engraved by W. H. Hooper, the Chaucer contains a
+woodcut title, fourteen large borders, eighteen different frames round
+the illustrations, and twenty-six large initial words designed for the
+book by William Morris. Many of these were engraved by C. E. Keates, and
+others by W. H. Hooper and W. Spielmeyer.
+
+In Feb., 1896, a notice was issued respecting special bindings, of which
+Mr. Morris intended to design four. Two of these were to have been
+executed under Mr. Cobden-Sanderson's direction at the Doves Bindery,
+and two by Messrs. J. & J. Leighton. But the only design that he was
+able to complete was for a full white pigskin binding, which has now
+been carried out at the Doves Bindery on forty-eight copies, including
+two on vellum.
+
+41. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME I. PROLOGUE: THE
+WANDERERS. MARCH: ATALANTA'S RACE. THE MAN BORN TO BE KING. Medium 4to.
+Golden type. In black and red. Borders 27a, 27, 28a, and 28, and woodcut
+title. 225 on paper at thirty shillings, 6 on vellum at seven guineas.
+Dated May 7, issued July 24, 1896. Published by William Morris. Bound in
+limp vellum.
+
+This was the first book printed on the paper with the apple watermark.
+The seven other volumes followed it at intervals of a few months. None
+of the ten borders used in The Earthly Paradise appear in any other
+book. The four different half-borders round the poems to the months are
+also not used elsewhere. The first border was designed in June, 1895.
+
+42. LAUDES BEATAE MARIAE VIRGINIS. Latin poems taken from a Psalter
+written in England about A. D. 1220. Edited by S. C. Cockerell. Large
+4to. Troy type. In black, red, and blue. 250 on paper at ten shillings,
+10 on vellum at two guineas. Dated July 7, issued August 7, 1896.
+Published by William Morris. Bound in half holland.
+
+This was the first book printed at the Kelmscott Press in three colours.
+The manuscript from which the poems were taken was one of the most
+beautiful of the English books in Mr. Morris's possession, both as
+regards writing and ornament. No author's name is given to the poems,
+but after this book was issued the Rev. E. S. Dewick pointed out that
+they had already been printed at Tegernsee in 1579, in a 16mo volume in
+which they are ascribed to Stephen Langton. A note to this effect was
+printed in the Chaucer type in Dec. 28, 1896, and distributed to the
+subscribers.
+
+41a. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME II. APRIL: THE DOOM
+OF KING ACRISIUS. THE PROUD KING. Medium 4to. Golden type. In black and
+red. Borders 29a, 29, 28a, and 28. 225 on paper at thirty shillings, 6
+on vellum at seven guineas. Dated June 24, issued Sept. 17, 1896.
+Published by William Morris. Bound in limp vellum.
+
+43. THE FLOURE AND THE LEAFE, AND THE BOKE OF CUPIDE, GOD OF LOVE, OR
+THE CUCKOW AND THE NIGHTINGALE. Edited by F. S. Ellis. Medium 4to. Troy
+type, with note and colophon in Chaucer type. In black and red. 300 on
+paper at ten shillings, 10 on vellum at two guineas. Dated Aug. 21,
+issued Nov. 2, 1896. Published at the Kelmscott Press. Bound in half
+holland.
+
+Two of the initial words from the Chaucer are used in this book, one at
+the beginning of each poem. These poems were formerly attributed to
+Chaucer, but recent scholarship has proved that The Floure and the Leafe
+is much later than Chaucer, and that The Cuckow and the Nightingale was
+written by Sir Thomas Clanvowe about A. D. 1405-10.
+
+44. THE SHEPHEARDES CALENDER: CONTEYNING TWELVE AEGLOGUES, PROPORTIONABLE
+TO THE TWELVE MONETHES. By Edmund Spenser. Edited by F. S. Ellis.
+Medium 4to. Golden type. In black and red. With twelve full-page
+illustrations by A. J. Gaskin. 225 on paper at a guinea, 6 on vellum at
+three guineas. Dated Oct. 14, issued Nov. 26, 1896. Published at the
+Kelmscott Press. Bound in half holland.
+
+The illustrations in this book were printed from process blocks by
+Walker & Boutall. By an oversight the names of author, editor, and
+artist were omitted from the colophon.
+
+41b. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME III. MAY: THE STORY
+OF CUPID AND PSYCHE. THE WRITING ON THE IMAGE. JUNE: THE LOVE OF
+ALCESTIS. THE LADY OF THE LAND. Medium 4to. Golden type. In black and
+red. Borders 30a, 30, 27a, 27, 28a, 28, 29a, and 29. 225 on paper at
+thirty shillings, 6 on vellum at seven guineas. Dated Aug. 24, issued
+Dec. 5, 1896. Published at the Kelmscott Press. Bound in limp vellum.
+
+41c. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME IV. JULY: THE SON
+OF CROESUS. THE WATCHING OF THE FALCON. AUGUST: PYGMALION AND THE
+IMAGE. OGIER THE DANE. Medium 4to. Golden type. In black and red.
+Borders 31a, 31, 29a, 29, 28a, 28, 30a, and 30. Dated Nov. 25, 1896,
+issued Jan. 22, 1897. Published at the Kelmscott Press. Bound in limp
+vellum.
+
+41d. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME V. SEPTEMBER: THE
+DEATH OF PARIS. THE LAND EAST OF THE SUN AND WEST OF THE MOON. OCTOBER:
+THE STORY OF ACONTIUS AND CYDIPPE. THE MAN WHO NEVER LAUGHED AGAIN.
+Medium 4to. Golden type. In black and red. Borders 29a, 29, 27a, 27,
+28a, 28, 31a, and 31. Finished Dec. 24, 1896, issued Mar. 9, 1897.
+Published at the Kelmscott Press. Bound in limp vellum.
+
+41e. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VI. NOVEMBER: THE
+STORY OF RHODOPE. THE LOVERS OF GUDRUN. Medium 4to. Golden type. In
+black and red. Borders 27a, 27, 30a, and 30. Finished Feb. 18, issued
+May 11, 1897. Published at the Kelmscott Press. Bound in limp vellum.
+
+41f. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VII. DECEMBER: THE
+GOLDEN APPLES. THE FOSTERING OF ASLAUG. JANUARY: BELLEROPHON AT ARGOS.
+THE RING GIVEN TO VENUS. Medium 4to. Golden type. In black and red.
+Borders 29a, 29, 31a, 31, 30a, 30, 27a, and 27. Finished March 17,
+issued July 29, 1897. Published at the Kelmscott Press. Bound in limp
+vellum.
+
+45. THE WATER OF THE WONDROUS ISLES. BY WILLIAM MORRIS. Large 4to.
+Chaucer type, in double columns, with a few lines in Troy type at the
+end of each of the seven parts. In black and red. Borders 16a, 17a, 18a,
+19, and 19a. 250 on paper at three guineas, 6 on vellum at twelve
+guineas. Dated April 1, issued July 29, 1897. Published at the Kelmscott
+Press. Bound in limp vellum.
+
+Unlike The Well at the World's End, with which it is mainly uniform,
+this book has red shoulder-notes and no illustrations. Mr. Morris began
+the story in verse on Feb. 4, 1895. A few days later he began it afresh
+in alternate prose and verse; but he was again dissatisfied, and finally
+began it a third time in prose alone, as it now stands. It was first
+announced as in the press in the list of June 1, 1896, at which date the
+early chapters were in type, although they were not printed until about
+a month later. The designs for the initial words 'Whilom' and 'Empty'
+were begun by William Morris shortly before his death, and were finished
+by R. Catterson-Smith. Another edition was published by Longmans on Oct.
+1, 1897.
+
+41g. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VIII. FEBRUARY:
+BELLEROPHON IN LYCIA. THE HILL OF VENUS. EPILOGUE. L'ENVOI. Medium 4to.
+Golden type. In black and red. Borders 28a, 28, 29a, and 29. Finished
+June 10, issued Sept. 27, 1897. Published at the Kelmscott Press. Bound
+in limp vellum.
+
+The colophon of this final volume of The Earthly Paradise contains the
+following note: 'The borders in this edition of The Earthly Paradise
+were designed by William Morris, except those on page 4 of volumes ii.,
+iii., and iv., afterwards repeated, which were designed to match the
+opposite borders, under William Morris's direction, by R.
+Catterson-Smith; who also finished the initial words 'Whilom' and
+'Empty' for The Water of the Wondrous Isles. All the other letters,
+borders, title-pages and ornaments used at the Kelmscott Press, except
+the Greek type in Atalanta in Calydon, were designed by William Morris.'
+
+46. TWO TRIAL PAGES OF THE PROJECTED EDITION OF LORD BERNERS'
+TRANSLATION OF FROISSART'S CHRONICLES. Folio. Chaucer type, with heading
+in Troy type. In black and red. Border 32, containing the shields of
+France, the Empire, and England and a half-border containing those of
+Reginald Lord Cobham, Sir John Chandos, and Sir Walter Manny. 160 on
+vellum at a guinea, none on paper. Dated September, issued October 7,
+1897. Published at the Kelmscott Press. Not bound.
+
+It was the intention of Mr. Morris to make this edition of what was
+since his college days almost his favourite book, a worthy companion to
+the Chaucer. It was to have been in two volumes folio, with new cusped
+initials and heraldic ornament throughout. Each volume was to have had a
+large frontispiece designed by Sir E. Burne-Jones; the subject of the
+first was to have been St. George, that of the second, Fame. A trial
+page was set up in the Troy type soon after it came from the foundry, in
+Jan., 1892. Early in 1893 trial pages were set up in the Chaucer type,
+and in the list for March 9 of that year the book is erroneously stated
+to be in the press. In the three following lists it is announced as in
+preparation. In the list dated Dec. 1, 1893, and in the three next
+lists, it is again announced as in the press, and the number to be
+printed is given as 150. Meanwhile the printing of the Chaucer had been
+begun, and as it was not feasible to carry on two folios at the same
+time, the Froissart again comes under the heading 'in preparation' in
+the lists from Dec. 1, 1894, to June 1, 1896. In the prospectus of the
+Shepheardes Calender, dated Nov. 12, 1896, it is announced as abandoned.
+At that time about thirty-four pages were in type, but no sheet had been
+printed. Before the type was broken up, on Dec. 24, 1896, 32 copies of
+sixteen of these pages were printed and given as a memento to personal
+friends of the poet and printer whose death now made the completion of
+the book impossible. This suggested the idea of printing two pages for
+wider distribution. The half-border had been engraved in April, 1894, by
+W. Spielmeyer, but the large border only existed as a drawing. It was
+engraved with great skill and spirit by C. E. Keates, and the two pages
+were printed by Stephen Mowlem, with the help of an apprentice, in a
+manner worthy of the designs.
+
+47. SIRE DEGREVAUNT. Edited by F. S. Ellis after the edition printed by
+J. O. Halliwell. 8vo. Chaucer type. In black and red. Borders 1a and 1,
+and a woodcut designed by Sir Edward Burne-Jones. 350 on paper at
+fifteen shillings, 8 on vellum at four guineas. Dated Mar. 14, 1896,
+issued Nov. 12, 1897. Published at the Kelmscott Press. Bound in half
+holland.
+
+This book, subjects from which were painted by Sir Edward Burne-Jones on
+the walls of The Red House, Upton, Bexley Heath, many years ago, was
+always a favourite with Mr. Morris. The frontispiece was not printed
+until October, 1897, eighteen months after the text was finished.
+
+48. SYR YSAMBRACE. Edited by F. S. Ellis after the edition printed by J.
+O. Halliwell from the MS. in the Library of Lincoln Cathedral, with some
+corrections. 8vo. Chaucer type. In black and red. Borders 4a and 4, and
+a woodcut designed by Sir Edward Burne-Jones. 350 on paper at twelve
+shillings, 8 on vellum at four guineas. Dated July 14, issued Nov. 11,
+1897. Published at the Kelmscott Press. Bound in half holland.
+
+This is the third and last of the reprints from the Camden Society's
+volume of Thornton Romances. The text was all set up and partly printed
+by June, 1896, at which time it was intended to include 'Sir Eglamour'
+in the same volume.
+
+49. SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY. Being thirty-five
+reproductions from books that were in the library of the late William
+Morris. Edited, with a list of the principal woodcut books in that
+library, by S. C. Cockerell. Large 4to. Golden type. In red and black.
+225 on paper at thirty shillings, 8 on vellum at five guineas. Dated
+Dec. 15, 1897, issued January 6, 1898. Published at the Kelmscott Press.
+Bound in half holland.
+
+Of these thirty-five reproductions twenty-nine were all that were done
+of a series chosen by Mr. Morris to illustrate a catalogue of his
+library, and the other six were prepared by him for an article in the
+4th number of Bibliographica, part of which is reprinted as an
+introduction to the book. The process blocks (with one exception) were
+made by Walker & Boutall, and are of the same size as the original cuts.
+
+50. THE STORY OF SIGURD THE VOLSUNG AND THE FALL OF THE NIBLUNGS. BY
+WILLIAM MORRIS. Small folio. Chaucer type, with title and headings to
+the four books in Troy type. In black and red. Borders 33a and 33, and
+two illustrations designed by Sir Edward Burne-Jones. 160 on paper at
+six guineas, 6 on vellum at twenty guineas. Dated January 19, issued
+February 25, 1898. Published at the Kelmscott Press. Bound in limp
+vellum.
+
+The two borders used in this book were almost the last that Mr. Morris
+designed. They were intended for an edition of The Hill of Venus, which
+was to have been written in prose by him and illustrated by Sir E.
+Burne-Jones. The foliage was suggested by the ornament in two Psalters
+of the last half of the thirteenth century in the library at Kelmscott
+House. The initial A at the beginning of the 3rd book was designed in
+March, 1893, for the Froissart, and does not appear elsewhere.
+
+An edition of Sigurd the Volsung, which Mr. Morris justly considered his
+masterpiece, was contemplated early in the history of the Kelmscott
+Press. An announcement appears in a proof of the first list, dated
+April, 1892, but it was excluded from the list as issued in May. It did
+not reappear until the list of November 26, 1895, in which, the Chaucer
+being near its completion, Sigurd comes under the heading 'in
+preparation,' as a folio in Troy type, 'with about twenty-five
+illustrations by Sir E. Burne-Jones.' In the list of June 1, 1896, it is
+finally announced as 'in the press,' the number of illustrations is
+increased to forty, and other particulars are given. Four borders had
+then been designed for it, two of which were used on pages 470 and 471
+of the Chaucer. The other two have not been used, though one of them has
+been engraved. Two pages only were in type, thirty-two copies of which
+were struck off on Jan. 11, 1897, and given to friends, with the sixteen
+pages of Froissart mentioned above.
+
+51. THE SUNDERING FLOOD WRITTEN BY WILLIAM MORRIS. Overseen for the
+press by May Morris. 8vo. Chaucer type. In black and red. Border 10, and
+a map. 300 on paper at two guineas. Dated Nov. 15, 1897, issued Feb. 25,
+1898. Published at the Kelmscott Press. Bound in half holland.
+
+This was the last romance by William Morris. He began to write it on
+Dec. 21, 1895, and dictated the final words on Sept. 8, 1896. The map
+pasted into the cover was drawn by H. Cribb for Walker & Boutall, who
+prepared the block. In the edition that Longmans are about to issue the
+bands of robbers called in the Kelmscott edition Red and Black Skinners
+appear correctly as Red and Black Skimmers. The name was probably
+suggested by that of the pirates called 'escumours of the sea' on page
+154 of Godefrey of Boloyne.
+
+52. LOVE IS ENOUGH, OR THE FREEING OF PHARAMOND: A MORALITY. WRITTEN BY
+WILLIAM MORRIS. Large 4to. Troy type, with stage directions in Chaucer
+type. In black, red, and blue. Borders 6a and 7, and two illustrations
+designed by Sir Edward Burne-Jones. 300 on paper at two guineas, 8 on
+vellum at ten guineas. Dated Dec. 11, 1897, issued Mar. 24, 1898.
+Published at the Kelmscott Press. Bound in limp vellum.
+
+This was the second book printed in three colours at the Kelmscott
+Press. As explained in the colophon, the final picture was not designed
+for this edition of Love is Enough, but for the projected edition
+referred to above, on page 5.
+
+53. A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT
+PRESS, TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS BY S. C.
+COCKERELL, AND AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT. Octavo.
+Golden type, with five pages in the Troy and Chaucer types. In black and
+red. Borders 4a and 4, and a woodcut designed by Sir E. Burne-Jones. 525
+on paper at ten shillings, 12 on vellum at two guineas. Dated March 1,
+issued March 24, 1898. Published at the Kelmscott Press. Bound in half
+holland.
+
+The frontispiece to this book was engraved by William Morris for the
+projected edition of The Earthly Paradise described on page 5. This
+block and the blocks for the three ornaments on page 7 are not included
+among those mentioned on page 12 as having been sent to the British
+Museum.
+
+
+VARIOUS LISTS, LEAFLETS AND ANNOUNCEMENTS PRINTED AT THE KELMSCOTT
+PRESS.
+
+Eighteen lists of the books printed or in preparation at the
+Kelmscott Press were issued to booksellers and subscribers. The dates of
+these are May, July, and Dec., 1892; March 9, May 20, May 27, Aug. 1, and
+Dec. 1, 1893; March 31, April 21, July 2, Oct. 1 (a leaflet), and Dec.
+1, 1894; July 1, and Nov. 26, 1895; June 1, 1896; Feb. 16, and July 28,
+1897. The three lists for 1892, and some copies of that for Mar. 9,
+1893, were printed on Whatman paper, the last of the stock bought for
+the first edition of The Roots of the Mountains (see p. 6). Besides
+these, twenty-nine announcements, relating mainly to individual books,
+were issued; and eight leaflets, containing extracts from the lists,
+were printed for distribution by Messrs. Morris & Co.
+
+The following items, as having a more permanent interest than most of
+these announcements, merit a full description:
+
+1. Two forms of invitation to the annual gatherings of The Hammersmith
+Socialist Society on Jan. 30, 1892, and Feb. 11, 1893. Golden type.
+
+2. A four-page leaflet for the Ancoats Brotherhood, with the
+frontispiece from the Kelmscott Press edition of A Dream of John Ball on
+the first page. March, 1894. Golden type. 2500 copies.
+
+3. An address to Sir Lowthian Bell, Bart., from his employes, dated 30th
+June, 1894. 8 pages. Golden type. 250 on paper and 2 on vellum.
+
+4. A leaflet, with fly-leaf, headed An American Memorial to Keats,
+together with a form of invitation to the unveiling of his bust in
+Hampstead Parish Church on July 16, 1894. Golden type. 750 copies.
+
+5. A slip giving the text of a memorial tablet to Dr. Thomas Sadler, for
+distribution at the unveiling of it in Rosslyn Hill Chapel, Hampstead.
+Nov., 1894. Golden type. 450 copies.
+
+6. Scholarship certificates for the Technical Education Board of the
+London County Council, printed in the oblong borders designed for the
+pictures in Chaucer's Works. One of these borders was not used in the
+book, and this is its only appearance. The first certificate was printed
+in Nov., 1894, and was followed in Jan., 1896, by eleven certificates;
+in Jan., 1897, by six certificates; and in Feb., 1898, by eleven
+certificates, all differently worded. Golden type. The numbers varied
+from 12 to 2500 copies.
+
+7. Programmes of the Kelmscott Press annual wayzgoose for the years
+1892-5. These were printed without supervision from Mr. Morris.
+
+8. Specimen showing the three types used at the Press for insertion in
+the first edition of Strange's Alphabets. March, 1895. 2000 ordinary
+copies and 60 on large paper.
+
+9. Card for Associates of the Deaconess Institution for the Diocese of
+Rochester. One side of this card is printed in Chaucer type; on the
+other there is a prayer in the Troy type enclosed in a small border
+which was not used elsewhere. It was designed for the illustrations of a
+projected edition of The House of the Wolfings. April, 1897. 250
+copies.
+
+
+  A LIST OF THE BOOKS DESCRIBED ABOVE.              page
+
+   1 The Glittering Plain (without illustrations)     15
+   2 Poems by the Way                                 15
+   3 Blunt's Love Lyrics and Songs of Proteus         16
+   4 Ruskin's Nature of Gothic                        16
+   5 The Defence of Guenevere                         16
+   6 A Dream of John Ball                             17
+   7 The Golden Legend                                17
+   8 The Recuyell of the Historyes of Troye           18
+   9 Mackail's Biblia Innocentium                     19
+  10 Reynard the Foxe                                 19
+  11 Shakespeare's Poems and Sonnets                  20
+  12 News from Nowhere                                20
+  13 The Order of Chivalry                            20
+  14 Cavendish's Life of Wolsey                       21
+  15 Godefrey of Boloyne                              21
+  16 More's Utopia                                    22
+  17 Tennyson's Maud                                  22
+  18 Gothic Architecture, by William Morris           22
+  19 Sidonia the Sorceress                            23
+  20 Rossetti's Ballads and Narrative Poems           23
+  20a    "      Sonnets and Lyrical Poems             24
+  21 King Florus                                      23
+  22 The Glittering Plain (illustrated)               23
+  23 Amis and Amile                                   24
+  24 The Poems of Keats                               24
+  25 Swinburne's Atalanta in Calydon                  25
+  26 The Emperor Coustans                             25
+  27 The Wood beyond the World                        25
+  28 The Book of Wisdom and Lies                      25
+  29 Shelley's Poems, Vol. I.                         26
+  29a         "        "   II.                        28
+  29b         "        "   III.                       28
+  30 Psalmi Penitentiales                             26
+  31 Savonarola, De contemptu Mundi                   26
+  32 Beowulf                                          27
+  33 Syr Perecyvelle                                  27
+  34 The Life and Death of Jason                      27
+  35 Child Christopher                                28
+  36 Rossetti's Hand and Soul                         28
+  37 Herrick's Poems                                  29
+  38 Coleridge's Poems                                29
+  39 The Well at the World's End                      29
+  40 Chaucer's Works                                  30
+  41 The Earthly Paradise, Vol. I.                    32
+  41a   "           "       "   II.                   33
+  41b   "           "       "   III.                  34
+  41c   "           "       "   IV.                   34
+  41d   "           "       "   V.                    34
+  41e   "           "       "   VI.                   34
+  41f   "           "       "   VII.                  35
+  41g   "           "       "   VIII.                 35
+  42 Laudes Beatae Mariae Virginis                      33
+  43 The Floure and the Leafe                         33
+  44 Spenser's Shepheardes Calender                   33
+  45 The Water of the Wondrous Isles                  35
+  46 Trial pages of Froissart                         36
+  47 Sire Degrevaunt                                  37
+  48 Syr Ysambrace                                    37
+  49 Some German Woodcuts                             38
+  50 Sigurd the Volsung                               38
+  51 The Sundering Flood                              39
+  52 Love is Enough                                   39
+  53 A Note by William Morris                         40
+
+  LEAFLETS, &c.
+
+     Various lists and announcements relating to the
+       Kelmscott Press                                40
+  1. Hammersmith Socialist Society, invitations       40
+  2. Ancoats Brotherhood leaflet                      41
+  3. Address to Sir Lowthian Bell                     41
+  4. An American Memorial to Keats                    41
+  5. Memorial to Dr. Thomas Sadler                    41
+  6. L. C. C. Scholarship Certificates                41
+  7. Wayzgoose Programmes                             41
+  8. Specimen in Strange's Alphabets                  41
+  9. Card for Associates of the Deaconess Institution
+       for the Diocese of Rochester                   41
+
+Other works announced in the lists as in preparation, but afterwards
+abandoned, were The Tragedies, Histories, and Comedies of William
+Shakespeare; Caxton's Vitas Patrum; The Poems of Theodore Watts-Dunton;
+and A Catalogue of the Collection of Woodcut Books, Early Printed Books,
+and Manuscripts at Kelmscott House. The text of the Shakespeare was to
+have been prepared by Dr. Furnivall. The original intention, as first
+set out in the list of May 20, 1893, was to print it in three vols.
+folio. A trial page from Lady Macbeth, printed at this time, is in
+existence. The same information is repeated until the list of July 2,
+1895, in which the book is announced as to be a 'small 4to (special
+size),' i. e., the size afterwards adopted for The Earthly Paradise. It
+was not, however, begun, nor was the volume of Mr. Watts-Dunton's poems.
+Of the Vitas Patrum, which was to have been uniform with The Golden
+Legend, a prospectus and specimen page were issued in March, 1894, but
+the number of subscribers did not justify its going beyond this stage.
+Two trial pages of the Catalogue were set up; some of the material
+prepared for it has now appeared in Some German Woodcuts of the
+Fifteenth Century. In addition to these books, The Hill of Venus, as
+stated on p. 38, was in preparation. Among works that Mr. Morris had
+some thought of printing may also be mentioned The Bible, Gesta
+Romanorum, Malory's Morte Darthur, The High History of the San Graal
+(translated by Dr. Sebastian Evans), Piers Ploughman, Huon of Bordeaux,
+Caxton's Jason, a Latin Psalter, The Prymer or Lay Folk's Prayer-Book,
+Some Mediaeval English Songs and Music, The Pilgrim's Progress, and a
+Book of Romantic Ballads. He was engaged on the selection of the
+Ballads, which he spoke of as the finest poems in our language, during
+his last illness.
+
+
+
+
+THE IDEAL BOOK: AN ADDRESS BY WILLIAM MORRIS, DELIVERED BEFORE THE
+BIBLIOGRAPHICAL SOCIETY OF LONDON, MDCCCXCIII.
+
+
+By the Ideal Book, I suppose we are to understand a book not limited by
+commercial exigencies of price: we can do what we like with it,
+according to what its nature, as a book, demands of art. But we may
+conclude, I think, that its matter will limit us somewhat; a work on
+differential calculus, a medical work, a dictionary, a collection of a
+statesman's speeches, or a treatise on manures, such books, though they
+might be handsomely and well printed, would scarcely receive ornament
+with the same exuberance as a volume of lyrical poems, or a standard
+classic, or such like. A work on Art, I think, bears less of ornament
+than any other kind of book ("non bis in idem" is a good motto); again,
+a book that must have illustrations, more or less utilitarian, should, I
+think, have no actual ornament at all, because the ornament and the
+illustration must almost certainly fight.
+
+Still whatever the subject matter of the book may be, and however bare
+it may be of decoration, it can still be a work of art, if the type be
+good and attention be paid to its general arrangement. All here present,
+I should suppose, will agree in thinking an opening of Schoeffer's
+1462 Bible beautiful, even when it has neither been illuminated nor
+rubricated; the same may be said of Schussler, or Jenson, or, in short,
+of any of the good old printers; their books, without any further
+ornament than they derived from the design and arrangement of the
+letters, were definite works of art. In fact a book, printed or written,
+has a tendency to be a beautiful object, and that we of this age should
+generally produce ugly books, shows, I fear, something like malice
+prepense--a determination to put our eyes in our pockets wherever we
+can.
+
+Well, I lay it down, first, that a book quite unornamented can look
+actually and positively beautiful, and not merely un-ugly, if it be, so
+to say, architecturally good, which, by the by, need not add much to its
+price, since it costs no more to pick up pretty stamps than ugly ones,
+and the taste and forethought that goes to the proper setting, position,
+and so on, will soon grow into a habit, if cultivated, and will not
+take up much of the master printer's time when taken with his other
+necessary business.
+
+Now, then, let us see what this architectural arrangement claims of us.
+First, the pages must be clear and easy to read; which they can hardly
+be unless, Secondly, the type is well designed; and Thirdly, whether the
+margins be small or big, they must be in due proportion to the page of
+the letter.
+
+For clearness of reading the things necessary to be heeded are, first,
+that the letters should be properly put on their bodies, and, I think,
+especially that there should be small whites between them; it is
+curious, but to me certain, that the irregularity of some early type,
+notably the roman letter of the early printers of Rome, which is, of all
+roman type, the rudest, does not tend toward illegibility: what does so
+is the lateral compression of the letter, which necessarily involves the
+over thinning out of its shape. Of course I do not mean to say that the
+above-mentioned irregularity is other than a fault to be corrected. One
+thing should never be done in ideal printing, the spacing out of
+letters--that is, putting an extra white between them; except in such
+hurried and unimportant work as newspaper printing, it is inexcusable.
+
+This leads to the second matter on this head, the lateral spacing of
+words (the whites between them); to make a beautiful page great
+attention should be paid to this, which, I fear, is not often done. No
+more white should be used between the words than just clearly cuts them
+off from one another; if the whites are bigger than this it both tends
+to illegibility and makes the page ugly. I remember once buying a
+handsome fifteenth-century Venetian book, and I could not tell at first
+why some of its pages were so worrying to read, and so commonplace and
+vulgar to look at, for there was no fault to find with the type. But
+presently it was accounted for by the spacing: for the said pages were
+spaced like a modern book, i. e., the black and white nearly equal.
+Next, if you want a legible book, the white should be clear and the
+black black. When that excellent journal, the Westminster Gazette,
+first came out, there was a discussion on the advantages of its green
+paper, in which a good deal of nonsense was talked. My friend, Mr.
+Jacobi, being a practical printer, set these wise men right, if they
+noticed his letter, as I fear they did not, by pointing out that what
+they had done was to lower the tone (not the moral tone) of the paper,
+and that, therefore, in order to make it as legible as ordinary black
+and white, they should make their black blacker--which of course they do
+not do. You may depend upon it that a gray page is very trying to the
+eyes.
+
+As above said, legibility depends also much on the design of the letter:
+and again I take up the cudgels against compressed type, and that
+especially in roman letter: the full-sized lower-case letters "a," "b,"
+"d," and "c," should be designed on something like a square to get good
+results: otherwise one may fairly say that there is no room for the
+design; furthermore, each letter should have its due characteristic
+drawing, the thickening out for a "b," "e," "g," should not be of the
+same kind as that for a "d"; a "u" should not merely be an "n" turned
+upside down; the dot of the "i" should not be a circle drawn with
+compasses; but a delicately drawn diamond, and so on. To be short, the
+letters should be designed by an artist, and not an engineer. As to the
+forms of letters in England (I mean Great Britain), there has been much
+progress within the last forty years. The sweltering hideousness of the
+Bodoni letter, the most illegible type that was ever cut, with its
+preposterous thicks and thins, has been mostly relegated to works that
+do not profess anything but the baldest utilitarianism (though why even
+utilitarianism should use illegible types, I fail to see), and Caslon's
+letter and the somewhat wiry, but in its way, elegant old-faced type cut
+in our own days, has largely taken its place. It is rather unlucky,
+however, that a somewhat low standard of excellence has been accepted
+for the design of modern roman type at its best, the comparatively poor
+and wiry letter of Plantin and the Elzevirs having served for the model,
+rather than the generous and logical designs of the fifteenth-century
+Venetian printers, at the head of whom stands Nicholas Jenson; when it
+is so obvious that this is the best and clearest roman type yet struck,
+it seems a pity that we should make our starting-point for a possible
+new departure at any period worse than the best. If any of you doubt the
+superiority of this type over that of the seventeenth century, the study
+of a specimen enlarged about five times will convince him, I should
+think. I must admit, however, that a commercial consideration comes in
+here, to wit, that the Jenson letters take up more room than the
+imitations of the seventeenth century; and that touches on another
+commercial difficulty, to wit, that you cannot have a book either
+handsome or clear to read which is printed in small characters. For my
+part, except where books smaller than an ordinary octavo are wanted, I
+would fight against anything smaller than pica; but at any rate small
+pica seems to me the smallest type that should be used in the body of
+any book. I might suggest to printers that if they want to get more in
+they can reduce the size of the leads, or leave them out altogether. Of
+course this is more desirable in some types than in others; Caslon's
+letter, e. g., which has long ascenders and descenders, never needs
+leading, except for special purposes.
+
+I have hitherto had a fine and generous roman type in my mind, but after
+all a certain amount of variety is desirable, and when you have gotten
+your roman letter as good as the best that has been, I do not think you
+will find much scope for development of it; I would therefore put in a
+word for some form of gothic letter for use in our improved printed
+book. This may startle some of you, but you must remember that except
+for a very remarkable type used very seldom by Berthelette (I have only
+seen two books in this type. Bartholomew, the Englishman, and the Gower,
+of 1532), English black-letter, since the days of Wynkin de Worde, has
+been always the letter which was introduced from Holland about that time
+(I except again, of course, the modern imitations of Caxton). Now this,
+though a handsome and stately letter, is not very easy reading; it is
+too much compressed, too spiky, and so to say, too prepensely gothic.
+But there are many types which are of a transitional character and of
+all degrees of transition, from those which do little more than take in
+just a little of the crisp floweriness of the gothic, like some of the
+Mentelin or quasi-Mentelin ones (which, indeed, are models of beautiful
+simplicity), or say like the letter of the Ulm Ptolemy, of which it is
+difficult to say whether it is gothic or roman, to the splendid Mainz
+type, of which, I suppose, the finest specimen is the Schoeffer Bible
+of 1462, which is almost wholly gothic. This gives us a wide field for
+variety, I think, so I make the suggestion to you, and leave this part
+of the subject with two remarks: first, that a good deal of the
+difficulty of reading gothic books is caused by the numerous
+contractions in them, which were a survival of the practice of the
+scribes; and in a lesser degree by the over-abundance of tied letters,
+both of which drawbacks, I take it for granted, would be absent in
+modern types founded on these semi-gothic letters. And, secondly, that
+in my opinion the capitals are the strong side of roman and the
+lower-case of gothic letter, which is but natural, since the roman was
+originally an alphabet of capitals, and the lower case a gradual
+deduction from them.
+
+We now come to the position of the page of print on the paper, which is
+a most important point, and one that till quite lately has been wholly
+misunderstood by modern, and seldom done wrong by ancient printers, or
+indeed by producers of books of any kind. On this head I must begin by
+reminding you that we only occasionally see one page of a book at a
+time; the two pages making an opening are really the unit of the book,
+and this was thoroughly understood by the old book producers. I think
+you will seldom find a book produced before the eighteenth century, and
+which has not been cut down by that enemy of books (and of the human
+race), the binder, in which this rule is not adhered to: that the binder
+edge (that which is bound in) must be the smallest member of the
+margins, the head margin must be larger than this, the fore larger
+still, and the tail largest of all. I assert that, to the eye of any man
+who knows what proportion is, this looks satisfactory, and that no other
+does so look. But the modern printer, as a rule, dumps down the page in
+what he calls the middle of the paper, which is often not even really
+the middle, as he measures his page from the head line, if he has one,
+though it is not really a part of the page, but a spray of type only
+faintly staining the head of the paper. Now I go so far as to say that
+any book in which the page is properly put on the paper is tolerable to
+look at, however poor the type may be (always so long as there is no
+"ornament" which may spoil the whole thing), whereas any book in which
+the page is wrongly set on the paper is intolerable to look at, however
+good the type and ornaments may be. I have got on my shelves now a
+Jenson's Latin Pliny, which, in spite of its beautiful type and handsome
+painted ornaments, I dare scarcely look at, because the binder
+(adjectives fail me here) has chopped off two-thirds of the tail margin:
+such stupidities are like a man with his coat buttoned up behind, or a
+lady with her bonnet on hind-side foremost.
+
+Before I finish I should like to say a word concerning large-paper
+copies. I am clean against them, though I have sinned a good deal in
+that way myself, but that was in the days of ignorance, and I petition
+for pardon on that ground only. If you want to publish a handsome
+edition of a book, as well as a cheap one, do so, but let them be two
+books, and if you (or the public) cannot afford this, spend your
+ingenuity and your money in making the cheap book as sightly as you can.
+Your making a large-paper copy out of the small one lands you in a
+dilemma even if you re-impose the pages for the large paper, which is
+not often done, I think. If the margins are right for the smaller book
+they must be wrong for the larger, and you have to offer the public the
+worse book at the bigger price; if they are right for the large paper
+they are wrong for the small, and thus spoil it, as we have seen above
+that they must do; and that seems scarcely fair to the general public
+(from the point of view of artistic morality) who might have had a book
+that was sightly, though not high-priced.
+
+As to the paper of our ideal book, we are at a great disadvantage
+compared with past times. Up to the end of the fifteenth, or indeed, the
+first quarter of the sixteenth centuries, no bad paper was made, and the
+greater part was very good indeed. At present there is very little good
+paper made and most of it is very bad. Our ideal book must, I think, be
+printed on hand-made paper as good as it can be made; penury here will
+make a poor book of it. Yet if machine-made paper must be used, it
+should not profess fineness or luxury, but should show itself for what
+it is: for my part I decidedly prefer the cheaper papers that are used
+for the journals, so far as appearance is concerned, to the thick,
+smooth, sham-fine papers on which respectable books are printed, and the
+worst of these are those which imitate the structure of hand-made
+papers.
+
+But, granted your hand-made paper, there is something to be said about
+the substance. A small book should not be printed on thick paper,
+however good it may be. You want a book to turn over easily, and to lie
+quiet while you are reading it, which is impossible, unless you keep
+heavy paper for big books.
+
+And, by the way, I wish to make a protest against the superstition that
+only small books are comfortable to read; some small books are tolerably
+comfortable, but the best of them are not so comfortable as a fairly big
+folio, the size, say, of an uncut Polyphilus or somewhat bigger. The
+fact is, a small book seldom does lie quiet, and you have to cramp your
+hand by holding it or else put it on the table with a paraphernalia of
+matters to keep it down, a tablespoon on one side, a knife on another,
+and so on, which things always tumble off at a critical moment, and
+fidget you out of the repose which is absolutely necessary to reading;
+whereas, a big folio lies quiet and majestic on the table, waiting
+kindly till you please to come to it, with its leaves flat and
+peaceful, giving you no trouble of body, so that your mind is free to
+enjoy the literature which its beauty enshrines.
+
+So far then, I have been speaking of books whose only ornament is the
+necessary and essential beauty which arises out of the fitness of a
+piece of craftsmanship for the use which it is made for. But if we get
+as far as that, no doubt from such craftsmanship definite ornament will
+arise, and will be used, sometimes with wise forbearance, sometimes with
+prodigality equally wise. Meantime, if we really feel impelled to
+ornament our books, no doubt we ought to try what we can do; but in this
+attempt we must remember one thing, that if we think the ornament is
+ornamentally a part of the book merely because it is printed with it,
+and bound up with it, we shall be much mistaken. The ornament must form
+as much a part of the book as the type itself, or it will miss its mark,
+and in order to succeed, and to be ornament, it must submit to certain
+limitations, and become architectural; a mere black and white picture,
+however interesting it may be as a picture, may be far from an ornament
+in a book; while on the other hand a book ornamented with pictures that
+are suitable for that, and that alone, may become a work of art second
+to none, save a fine building duly decorated, or a fine piece of
+literature.
+
+These two latter things are, indeed, the one absolutely necessary gift
+that we should claim of art. The picture-book is not, perhaps,
+absolutely necessary to man's life, but it gives us such endless
+pleasure, and is so intimately connected with the other absolutely
+necessary art of imaginative literature that it must remain one of the
+very worthiest things toward the production of which reasonable men
+should strive.
+
+
+
+
+AN ESSAY ON PRINTING, BY WILLIAM MORRIS AND EMERY WALKER, FROM ARTS AND
+CRAFTS ESSAYS BY MEMBERS OF THE ARTS AND CRAFTS EXHIBITION SOCIETY.
+
+
+Printing, in the only sense with which we are at present concerned,
+differs from most if not from all the arts and crafts represented in the
+exhibition in being comparatively modern. For although the Chinese took
+impressions from wood blocks engraved in relief for centuries before the
+wood-cutters of the Netherlands, by a similar process, produced the
+block books, which were the immediate predecessors of the true printed
+book, the invention of movable metal letters in the middle of the
+fifteenth century may justly be considered as the invention of the art
+of printing. And it is worth mention in passing that, as an example of
+fine typography, the earliest book printed with movable types, the
+Gutenberg, or "forty-two line Bible" of about 1455, has never been
+surpassed.
+
+Printing, then, for our purpose, may be considered as the art of making
+books by means of movable types. Now, as all books not primarily
+intended as picture-books consist principally of types composed to form
+letterpress, it is of the first importance that the letter used should
+be fine in form; especially as no more time is occupied, or cost
+incurred, in casting, setting, or printing beautiful letters than in the
+same operations with ugly ones. And it was a matter of course that in
+the Middle Ages, when the craftsmen took care that beautiful form should
+always be a part of their productions whatever they were, the forms of
+printed letters should be beautiful, and that their arrangement on the
+page should be reasonable and a help to the shapeliness of the letters
+themselves. The Middle Ages brought caligraphy to perfection, and it was
+natural therefore that the forms of printed letters should follow more
+or less closely those of the written character, and they followed them
+very closely. The first books were printed in black letter, i. e., the
+letter which was a Gothic development of the ancient Roman character,
+and which developed more completely and satisfactorily on the side of
+the "lower-case" than the capital letters; the "lower-case" being in
+fact invented in the early Middle Ages. The earliest book printed with
+movable type, the aforesaid Gutenberg Bible, is printed in letters
+which are an exact imitation of the more formal ecclesiastical writing
+which obtained at that time; this has since been called "missal type,"
+and was in fact the kind of letter used in the many splendid missals,
+psalters, etc., produced by printing in the fifteenth century. But the
+first Bible actually dated (which also was printed at Mainz by Peter
+Schoeffer in the year 1462) imitates a much freer hand, simpler,
+rounder, and less spiky, and therefore far pleasanter and easier to
+read. On the whole the type of this book may be considered the
+ne-plus-ultra of Gothic type, especially as regards the lower-case
+letters; and type very similar was used during the next fifteen or
+twenty years not only by Schoeffer, but by printers in Strasburg,
+Basle, Paris, Lubeck, and other cities. But though on the whole, except
+in Italy, Gothic letter was most often used, a very few years saw the
+birth of Roman character not only in Italy, but in Germany and France.
+In 1465 Sweynheim and Pannartz began printing in the monastery of
+Subiaco near Rome, and used an exceedingly beautiful type, which is
+indeed to look at a transition between Gothic and Roman, but which must
+certainly have come from the study of the twelfth or even the eleventh
+century MSS. They printed very few books in this type, three only; but
+in their very first books in Rome, beginning with the year 1468, they
+discarded this for a more completely Roman and far less beautiful
+letter. But about the same year Mentelin at Strasburg began to print in
+a type which is distinctly Roman; and the next year Gunther Zeiner at
+Augsburg followed suit; while in 1470 at Paris Udalric Gering and his
+associates turned out the first books printed in France, also in Roman
+character. The Roman type of all these printers is similar in character,
+and is very simple and legible, and unaffectedly designed for use; but
+it is by no means without beauty. It must be said that it is in no way
+like the transition type of Subiaco, and though more Roman than that,
+yet scarcely more like the complete Roman type of the earliest printers
+of Rome.
+
+A further development of the Roman letter took place at Venice. John of
+Spires and his brother Vindelin, followed by Nicholas Jenson, began to
+print in that city, 1469, 1470; their type is on the lines of the German
+and French rather than of the Roman printers. Of Jenson it must be said
+that he carried the development of Roman type as far as it can go: his
+letter is admirably clear and regular, but at least as beautiful as any
+other Roman type. After his death in the "fourteen eighties," or at
+least by 1490, printing in Venice had declined very much; and though the
+famous family of Aldus restored its technical excellence, rejecting
+battered letters, and paying great attention to the "press work" or
+actual process of printing, yet their type is artistically on a much
+lower level than Jenson's, and in fact they must be considered to have
+ended the age of fine printing in Italy. Jenson, however, had many
+contemporaries who used beautiful type, some of which--as, e. g., that
+of Jacobus Rubeus or Jacques le Rouge--is scarcely distinguishable from
+his. It was these great Venetian printers, together with their brethren
+of Rome, Milan, Parma, and one or two other cities, who produced the
+splendid editions of the Classics, which are one of the great glories of
+the printer's art, and are worthy representatives of the eager
+enthusiasm for the revived learning of that epoch. By far the greater
+part of these Italian printers, it should be mentioned, were Germans or
+Frenchmen, working under the influence of Italian opinion and aims. It
+must be understood that through the whole of the fifteenth and the first
+quarter of the sixteenth centuries the Roman letter was used side by
+side with the Gothic. Even in Italy most of the theological and law books
+were printed in Gothic letter, which was generally more formally Gothic
+than the printing of the German workmen, many of whose types, indeed,
+like that of the Subiaco works, are of a transitional character. This
+was notably the case with the early works printed at Ulm, and in a
+somewhat lesser degree at Augsburg. In fact Gunther Zeiner's first type
+(afterwards used by Schussler) is remarkably like the type of the
+before-mentioned Subiaco books.
+
+In the Low Countries and Cologne, which were very fertile of printed
+books, Gothic was the favourite. The characteristic Dutch type, as
+represented by the excellent printer Gerard Leew, is very pronounced and
+uncompromising Gothic. This type was introduced into England by Wynkyn
+de Worde, Caxton's successor, and was used there with very little
+variation all through the sixteenth and seventeenth centuries, and
+indeed into the eighteenth. Most of Caxton's own types are of an earlier
+character, though they also much resemble Flemish or Cologne letter.
+After the end of the fifteenth century the degradation of printing,
+especially in Germany and Italy, went on apace; and by the end of the
+sixteenth century there was no really beautiful printing done: the best,
+mostly French or Low-Country, was neat and clear, but without any
+distinction; the worst, which perhaps was the English, was a terrible
+falling-off from the work of the earlier presses; and things got worse
+and worse through the whole of the seventeenth century, so that in the
+eighteenth printing was very miserably performed. In England about this
+time, an attempt was made (notably by Caslon, who started business in
+London as a type-founder in 1720) to improve the letter in form.
+Caslon's type is clear and neat, and fairly well designed; he seems to
+have taken the letter of the Elzevirs of the seventeenth century for his
+model: type cast from his matrices is still in everyday use.
+
+In spite, however, of his praiseworthy efforts, printing had still one
+last degradation to undergo. The seventeenth century founts were bad
+rather negatively than positively. But for the beauty of the earlier
+work they might have seemed tolerable. It was reserved for the founders
+of the later eighteenth century to produce letters which are positively
+ugly, and which, it may be added, are dazzling and unpleasant to the eye
+owing to the clumsy thickening and vulgar thinning of the lines: for the
+seventeenth-century letters are at least pure and simple in line. The
+Italian, Bodoni, and the Frenchman, Didot, were the leaders in this
+luckless change, though our own Baskerville, who was at work some years
+before them, went much on the same lines; but his letters, though
+uninteresting and poor, are not nearly so gross and vulgar as those of
+either the Italian or the Frenchman.
+
+With this change the art of printing touched bottom, so far as fine
+printing is concerned, though paper did not get to its worst till about
+1840. The Chiswick press in 1844 revived Caslon's founts, printing for
+Messrs. Longman the Diary of Lady Willoughby. This experiment was so far
+successful that about 1850 Messrs. Miller and Richard of Edinburgh were
+induced to cut punches for a series of "old style" letters. These and
+similar founts, cast by the above firm and others, have now come into
+general use and are obviously a great improvement on the ordinary
+"modern style" in use in England, which is in fact the Bodoni type a
+little reduced in ugliness. The design of the letters of this modern
+"old style" leaves a good deal to be desired, and the whole effect is a
+little too gray, owing to the thinness of the letters. It must be
+remembered, however, that most modern printing is done by machinery on
+soft paper, and not by the hand press, and these somewhat wiry letters
+are suitable for the machine process, which would not do justice to
+letters of more generous design.
+
+It is discouraging to note that the improvement of the last fifty years
+is almost wholly confined to Great Britain. Here and there a book is
+printed in France or Germany with some pretension to good taste, but the
+general revival of the old forms has made no way in those countries.
+Italy is contentedly stagnant. America has produced a good many showy
+books, the typography, paper, and illustrations of which are, however,
+all wrong, oddity rather than rational beauty and meaning being
+apparently the thing sought for both in the letters and the
+illustrations.
+
+To say a few words on the principles of design in typography: it is
+obvious that legibility is the first thing to be aimed at in the forms
+of the letters; this is best furthered by the avoidance of irrational
+swellings and spiky projections, and by the using of careful purity of
+line. Even the Caslon type when enlarged shows great shortcomings in
+this respect: the ends of many of the letters such as the t and e are
+hooked up in a vulgar and meaningless way, instead of ending in the
+sharp and clear stroke of Jenson's letters; there is a grossness in the
+upper finishings of letters like the c, the a, and so on, an ugly
+pear-shaped swelling defacing the form of the letter: in short, it
+happens to this craft, as to others, that the utilitarian practice,
+though it professes to avoid ornament, still clings to a foolish,
+because misunderstood conventionality, deduced from what was once
+ornament, and is by no means useful; which title can only be claimed by
+artistic practice, whether the art in it be conscious or unconscious.
+
+In no characters is the contrast between the ugly and vulgar
+illegibility of the modern type and the elegance and legibility of the
+ancient more striking than in the Arabic numerals. In the old print each
+figure has its definite individuality, and one cannot be mistaken for
+the other; in reading the modern figures the eyes must be strained
+before the reader can have any reasonable assurance that he has a 5, an
+8, or a 3 before him, unless the press work is of the best; this is
+awkward if you have to read Bradshaw's Guide in a hurry.
+
+One of the differences between the fine type and the utilitarian must
+probably be put down to a misapprehension of a commercial necessity:
+this is the narrowing of the modern letters. Most of Jenson's letters
+are designed within a square, the modern letters are narrowed by a third
+or thereabout; but while this gain of space very much hampers the
+possibility of beauty of design, it is not a real gain, for the modern
+printer throws the gain away by putting inordinately wide spaces between
+his lines, which, probably, the lateral compression of his letters
+renders necessary. Commercialism again compels the use of type too small
+in size to be comfortable reading: the size known as "Long primer" ought
+to be the smallest size used in a book meant to be read. Here, again, if
+the practice of "leading" were retrenched larger type could be used
+without enhancing the price of a book.
+
+One very important matter in "setting up" for fine printing is the
+"spacing," that is, the lateral distance of words from one another. In
+good printing the spaces between the words should be as near as
+possible equal (it is impossible that they should be quite equal except
+in lines of poetry); modern printers understand this, but it is only
+practised in the very best establishments. But another point which they
+should attend to they almost always disregard; this is the tendency to
+the formation of ugly meandering white lines or "rivers" in the page, a
+blemish which can be nearly, though not wholly, avoided by care and
+forethought, the desirable thing being "the breaking of the line" as in
+bonding masonry or brickwork, thus: [Illustration] The general solidity
+of a page is much to be sought for: modern printers generally overdo the
+"whites" in the spacing, a defect probably forced on them by the
+characterless quality of the letters. For where these are boldly and
+carefully designed, and each letter is thoroughly individual in form,
+the words may be set much closer together, without loss of clearness. No
+definite rules, however, except the avoidance of "rivers" and excess of
+white, can be given for the spacing, which requires the constant
+exercise of judgment and taste on the part of the printer.
+
+The position of the page on the paper should be considered if the book
+is to have a satisfactory look. Here once more the almost invariable
+modern practice is in opposition to a natural sense of proportion. From
+the time when books first took their present shape till the end of the
+sixteenth century, or indeed later, the page so lay on the paper that
+there was more space allowed to the bottom and fore margin than to the
+top and back of the paper, thus:
+
+[Illustration]
+
+the unit of the book being looked on as the two pages forming an
+opening. The modern printer, in the teeth of the evidence given by his
+own eyes, considers the single page as the unit, and prints the page in
+the middle of his paper--only nominally so, however, in many cases,
+since when he uses a headline he counts that in, the result as measured
+by the eye being that the lower margin is less than the top one, and
+that the whole opening has an upside-down look vertically, and that
+laterally the page looks as if it were being driven off the paper.
+
+The paper on which the printing is to be done is a necessary part of our
+subject: of this it may be said that though there is some good paper
+made now, it is never used except for very expensive books, although it
+would not materially increase the cost in all but the very cheapest. The
+paper that is used for ordinary books is exceedingly bad even in this
+country, but is beaten in the race for vileness by that made in America,
+which is the worst conceivable. There seems to be no reason why ordinary
+paper should not be better made, even allowing the necessity for a very
+low price; but any improvement must be based on showing openly that the
+cheap article is cheap, e. g., the cheap paper should not sacrifice
+toughness and durability to a smooth and white surface, which should be
+indications of a delicacy of material and manufacture which would of
+necessity increase its cost. One fruitful source of badness in paper is
+the habit that publishers have of eking out a thin volume by printing it
+on thick paper almost of the substance of cardboard, a device which
+deceives nobody, and makes a book very unpleasant to read. On the whole,
+a small book should be printed on paper which is as thin as may be
+without being transparent. The paper used for printing the small highly
+ornamented French service-books about the beginning of the sixteenth
+century is a model in this respect, being thin, tough, and opaque.
+However, the fact must not be blinked that machine-made paper cannot in
+the nature of things be made of so good a texture as that made by hand.
+
+The ornamentation of printed books is too wide a subject to be dealt
+with fully here; but one thing must be said on it. The essential point
+to be remembered is that the ornament, whatever it is, whether picture
+or pattern-work, should form part of the page, should be a part of the
+whole scheme of the book. Simple as this proposition is, it is necessary
+to be stated, because the modern practice is to disregard the relation
+between the printing and the ornament altogether, so that if the two are
+helpful to one another it is a mere matter of accident. The due relation
+of letter to pictures and other ornament was thoroughly understood by
+the old printers; so that even when the woodcuts are very rude indeed,
+the proportions of the page still give pleasure by the sense of richness
+that the cuts and letter together convey. When, as is most often the
+case, there is actual beauty in the cuts, the books so ornamented are
+amongst the most delightful works of art that have ever been produced.
+Therefore, granted well-designed type, due spacing of the lines and
+words, and proper position of the page on the paper, all books might be
+at least comely and well-looking: and if to these good qualities were
+added really beautiful ornament and pictures, printed books might once
+again illustrate to the full the position of our Society that a work of
+utility might be also a work of art, if we cared to make it so.
+
+       *       *       *       *       *
+
+NOTE TO THE PRESENT EDITION: The following pages showing the Troy and
+Chaucer types are printed from process blocks to insure fidelity to the
+originals. The frontispiece and first page of text are also reproduced
+in the same manner; page one, within the border, showing the Golden
+type, the only other type used by William Morris.
+
+[Sidenote: This is the Troy type]
+
+The following passages are given to show the Troy & Chaucer types, and
+four initials that were designed for the Froissart, but never used.
+
+  The land is a little land, Sirs, too much shut up within the narrow
+  seas, as it seems, to have much space for swelling into hugeness:
+  there are no great wastes overwhelming in their dreariness, no great
+  solitudes of forests, no terrible untrodden mountain-walls: all is
+  measured, mingled, varied, gliding easily one thing into another:
+  little rivers, little plains, swelling, speedily-changing uplands,
+  all beset with handsome orderly trees; little hills, little
+  mountains, netted over with the walls of sheep-walks: all is little;
+  yet not foolish and blank, but serious rather, and abundant of
+  meaning for such as choose to seek it: it is neither prison, nor
+  palace, but a decent home.
+
+  All which I neither praise nor blame, but say that so it is: some
+  people praise this homeliness overmuch, as if the land were the very
+  axle-tree of the world; so do not I, nor any unblinded by pride in
+  themselves and all that belongs to them: others there are who scorn
+  it and the tameness of it: not I any the more: though it would
+  indeed be hard if there were nothing else in the world, no wonders,
+  no terrors, no unspeakable beauties. Yet when we think what a small
+  part of the world's history, past, present, & to come, is this land
+  we live in, and how much smaller still in the history of the arts, &
+  yet how our forefathers clung to it, and with what care and
+
+  [Sidenote: This is the Chaucer type]
+
+  pains they adorned it, this unromantic, uneventful-looking land of
+  England, surely by this too our hearts may be touched and our hope
+  quickened.
+
+  For as was the land, such was the art of it while folk yet troubled
+  themselves about such things; it strove little to impress people
+  either by pomp or ingenuity: not unseldom it fell into commonplace,
+  rarely it rose into majesty; yet was it never oppressive, never a
+  slave's nightmare or an insolent boast: & at its best it had an
+  inventiveness, an individuality, that grander styles have never
+  overpassed: its best too, and that was in its very heart, was given
+  as freely to the yeoman's house, and the humble village church, as
+  to the lord's palace or the mighty cathedral: never coarse, though
+  often rude enough, sweet, natural & unaffected, an art of peasants
+  rather than of merchant princes or courtiers, it must be a hard
+  heart, I think, that does not love it: whether a man has been born
+  among it like ourselves, or has come wonderingly on its simplicity
+  from all the grandeur over-seas.
+
+       *       *       *       *       *
+
+  And Science, we have loved her well, and followed her diligently,
+  what will she do? I fear she is so much in the pay of the
+  counting-house, the counting-house and the drill-sergeant, that she
+  is too busy, and will for the present do nothing.
+
+  Yet there are matters which I should have thought easy for her, say
+  for example teaching Manchester how to consume its own smoke, or
+  Leeds how to get rid of its superfluous black dye without turning it
+  into the river, which would be as much worth her attention as the
+  production of the heaviest of heavy black silks, or the biggest of
+  useless guns. Anyhow, however it be done, unless people care about
+  carrying on their business without making the world hideous, how can
+  they care about art? I know it will cost much both of time and money
+  to better these things even a little; but I do not see how these
+  can be better spent than in making life cheerful & honourable for
+  others and for ourselves; and the gain of good life to the country
+  at large that would result from men seriously setting about the
+  bettering of the decency of our big towns would be priceless, even
+  if nothing specially good befell the arts in consequence: I do not
+  know that it would; but I should begin to think matters hopeful if
+  men turned their attention to such things, and I repeat that, unless
+  they do so, we can scarcely even begin with any hope our endeavours
+  for the bettering of the Arts. (From the lecture called The Lesser
+  Arts, in Hopes and Fears for Art, by William Morris, pages 22 and
+  33.)
+
+[Illustration: Kelmscott
+
+ William Morris]
+
+
+
+
+The "Note by William Morris on his Aims in Founding the Kelmscott
+Press," the last book printed at the Kelmscott Press, contains a few
+errors in the "Bibliography." These errors have been allowed to stand in
+reprinting the "Note" here, in order that the reprint shall be a literal
+one.
+
+Mr. S. C. Cockerell, the former Secretary of the Kelmscott Press, has
+kindly sent a list of these corrections, which appear below:
+
+Page 19, line 21--"Golden type" should be inserted after "8vo."
+
+Page 30, line 16--"June 26, 1893," should be "June 26, 1896."
+
+Page 39, line 17--after "guineas" insert "ten on vellum at ten guineas."
+
+Page 40, line 31--for "eight leaflets" read, "nine or ten leaflets."
+
+Page 44, line 12--omit "Lady."
+
+
+
+
+HERE ENDS THE ART AND CRAFT OF PRINTING; COLLECTED ESSAYS BY WILLIAM
+MORRIS. OF THIS BOOK THERE HAVE BEEN PRINTED TWO HUNDRED AND TEN COPIES
+BY CLARKE CONWELL AT THE ELSTON PRESS: FINISHED THIS THIRTIETH DAY OF
+JANUARY MDCCCCII. SOLD BY CLARKE CONWELL AT THE ELSTON PRESS, PELHAM
+ROAD, NEW ROCHELLE, NEW YORK.
+
+
+       *       *       *       *       *
+
+Transcriber's Notes:
+
+For "A Note on Founding the Kelmscott Press"
+
+  Page 4: "trangress" changed to "transgress": "Modern printers
+    systematically transgress against it"
+
+  Page 5: "artitcle" changed to "article": "the foregoing article was
+    written"
+
+  Page 5: "Pysche" changed to "Psyche": "Cupid and Psyche"
+
+  Page 7: "rubicated" changed to "rubricated": "left blank to be
+    rubricated by hand"
+
+  Page 12: "handmade" changed to "hand-made": "English hand-made paper"
+
+  Page 12: "Calendar" changed to "Calender": "Spenser's Shepheardes
+    Calender"
+
+  Page 26: "H. W. Hooper" changed to "W. H. Hooper" in item 31.
+
+  Page 32: "water-mark" changed to "watermark": "with the apple
+    watermark"
+
+  Page 40: The reference in item 52 to page 8 for "Love is Enough" was
+    corrected to page 5.
+
+  Page 40: The reference in item 53 to page 7 for "The Earthly Paradise"
+    was corrected to page 5. The reference to the ornaments on page 9
+    was corrected to page 7.  The reference to page 17 was corrected to
+    page 12.
+
+  Page 40: The reference in "Various Lists" to page 10 was corrected
+    to page 6.
+
+  Page 43: "Milliam" changed to "William" in item 53
+
+  Page 44: The reference in "Various Lists" to page 57 was corrected
+    to page 38.
+
+For "The Ideal Book"
+
+  Page 1: "determation" changed to "determination": "a determination to
+    put our eyes"
+
+For "An Essay on Printing"
+
+  Page 12: "Maintz" changed to "Mainz": "printed at Mainz by"
+
+  Page 15: "Calson" changed to "Caslon": "Even the Caslon type when"
+
+  Page 16: "witout" changed to "without": "without enhancing the price"
+
+  Page 23: Period added after "over-seas": "all the grandeur over-seas."
+
+General notes:
+
+  1. Paragraph breaks have been assumed in some places based on usage
+     elsewhere in the text.
+
+  2. Both "caligraphy" and "calligraphy" are used in different parts
+     of this book, and both forms were retained. This is also true for
+     "d'Arthur" and "Darthur", "head-line" and "headline", "Sweynheim"
+     and "Sweynheym", and "Zainer" and "Zeiner".
+
+
+
+
+
+End of Project Gutenberg's The Art and Craft of Printing, by William Morris
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