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diff --git a/31596-h/31596-h.htm b/31596-h/31596-h.htm new file mode 100644 index 0000000..443d50f --- /dev/null +++ b/31596-h/31596-h.htm @@ -0,0 +1,3394 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<!-- $Id: header.txt 236 2009-12-07 18:57:00Z vlsimpson $ --> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of The Art and Craft of Printing, By William Morris. + </title> + <style type="text/css"> + +body { + margin-left: 20%; + margin-right: 20%; +} + + h1,h2,h3 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +table { + margin-left: auto; + margin-right: auto; +} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + font-weight: normal; + text-align: right; +} /* page numbers */ + + + +.tdrt {text-align: right; vertical-align: top;} /* right top align cell */ + +.ipadboth {padding-top: 2em; padding-bottom: 2em;} + +.ins {text-decoration:none; border-bottom: thin dotted gray;} +.inso {text-decoration:none; border-bottom: thin dashed red;} +.tnote {border: dashed 1px; padding-bottom: .5em; + padding-top: .5em; padding-left: .5em; padding-right: .5em;} + +.image-text {vertical-align: top; + text-align: left;} + +.image-text p { + text-align: left; + margin-top: 0em; +} + + +/* Images */ +.figcenter { + margin: auto; + text-align: center; +} + +img { border: none; text-decoration: none; } + + +.figleft { + float: left; + clear: left; + margin-left: 0; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 1em; + padding: 0; + text-align: center; +} + +.figright { + float: right; + clear: right; + margin-left: 1em; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; +} + + + + </style> + </head> +<body> + + +<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’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’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’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 <br /> +By H. M. O’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 & engraved by William Morris" title="Psyche borne off by Zephyrus, drawn by Edward +Burne-Jones & 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, & 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 ‘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.</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’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 ‘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.</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 ‘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<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> +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 <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 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.</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’ 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’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<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’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">[7–8]</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’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.</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’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.</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 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.</p> + +<p>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.</p> + +<p>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.</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’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’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<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’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’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’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.</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. & 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’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.</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 ‘a’ 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 & 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’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 & 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’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’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 & 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’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, ‘Morris is beaten gold.’</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 & +Turner. Bound in limp vellum.</p> + +<p>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.</p> + +<p><b><a name="item_6" id="item_6"></a>6. A DREAM OF JOHN BALL AND A KING’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 & Turner. Bound +in limp vellum.</p> + +<p>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.</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’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’s catalogue: ‘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 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.</p> + +<p><b><a name="item_9" id="item_9"></a>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.</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 +& 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’s catalogue: ‘This translation +of Caxton’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.’ 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’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 & 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 & Turner. Bound in limp vellum.</p> + +<p>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 <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’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.</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’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.</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’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.</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’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’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’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.</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 & 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 & 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 +‘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.</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 & 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 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.</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 & 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’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’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’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 & +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’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’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 ‘in the press.’ +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’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.</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’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.</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 ‘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.</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 ‘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<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’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’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.</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’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’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.</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 ÆGLOGUES, 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 & 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 CRŒSUS. 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’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.</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’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: ‘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.’</p> + +<p><b><a name="item_46" id="item_46"></a>46. TWO TRIAL PAGES OF THE PROJECTED +EDITION OF LORD BERNERS’ TRANSLATION OF +FROISSART’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 ‘in preparation’ +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’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.</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 & 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 +‘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.</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 & 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.</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 & 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’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’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">[42–43]</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"> page</td></tr> +<tr><td></td></tr> +<tr><td align="left"> <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"> <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"> <a href="#item_3">3</a></td><td align="left">Blunt’s Love Lyrics and Songs of Proteus</td><td align="right"><a href="#Page_16">16</a></td></tr> +<tr><td align="left"> <a href="#item_4">4</a></td><td align="left">Ruskin’s Nature of Gothic</td><td align="right"><a href="#Page_16">16</a></td></tr> +<tr><td align="left"> <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"> <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"> <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"> <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"> <a href="#item_9">9</a></td><td align="left">Mackail’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’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’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’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’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’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"> ” 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’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’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"> ” ” 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"> ” ” 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’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’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’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’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’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"> ” ” ” 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"> ” ” ” 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"> ” ” ” 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"> ” ” ” 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"> ” ” ” 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"> ” ” ” 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"> ” ” ” 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 Beatæ Mariæ 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’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, &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. </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. </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. </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. </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. </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. </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. </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. </a></td><td align="left">Specimen in Strange’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. </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’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 ‘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 <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’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.</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> </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’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.</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 Schœffer’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 <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’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—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—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 “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<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’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 Schœffer +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 “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.</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’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> </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 “forty-two line Bible” 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 “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,<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 “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 +<a name="Mainz" id="Mainz"></a><span class="ins" title="Originally: Maintz">Mainz</span> +by Peter Schœffer 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 Schœffer, 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 “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.</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’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.</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’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.</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’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’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’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 +<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 “setting up” for fine printing +is the “spacing,” 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 “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: +<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 “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.</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>—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 & 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’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</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’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</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 & 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 “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,” 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.</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—“Golden type” should be inserted after +“<a href="#a_8vs">8vo</a>.”</p> + +<p>Page 30, line 16—“June 26, <a href="#a_1893">1893</a>,” should be “June 26, 1896.”</p> + +<p>Page 39, line 17—after “<a href="#guineas">guineas</a>” insert “ten on vellum at +ten guineas.”</p> + +<p>Page 40, line 31—for “<a href="#eight_leaflets">eight leaflets</a>” read, “nine or ten +leaflets.”</p> + +<p>Page 44, line 12—omit “<a href="#Lady">Lady</a>.”<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’s Notes</b></p> + +<p>For “A Note on Founding the Kelmscott Press”</p> +<ul> + <li>Page 4: “trangress” changed to “<a href="#transgress">transgress</a>”: “Modern printers + systematically transgress against it”</li> + + <li>Page 5: “artitcle” changed to “<a href="#article">article</a>”: “the foregoing article was + written”</li> + + <li>Page 5: “Pysche” changed to “<a href="#Psyche">Psyche</a>”: “Cupid and Psyche”</li> + + <li>Page 7: “rubicated” changed to “<a href="#rubricated">rubricated</a>”: “left blank to be + rubricated by hand”</li> + + <li>Page 12: “handmade” changed to “<a href="#hand_made">hand-made</a>”: “English hand-made paper”</li> + + <li>Page 12: “Calendar” changed to “<a href="#Calender">Calender</a>”: “Spenser’s Shepheardes + Calender”</li> + + <li>Page 26: “H. W. Hooper” changed to “<a href="#H_W_Hooper">W. H. Hooper</a>”</li> + + <li>Page 32: “water-mark” changed to “<a href="#watermark">watermark</a>”: “with the apple + watermark”</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: “Milliam” changed to “<a href="#William">William</a>” 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 “The Ideal Book”</p> +<ul> + <li>Page 1: “determation” changed to “<a href="#determination">determination</a>”: “a determination to + put our eyes”</li> +</ul> + +<p>For “An Essay on Printing”</p> +<ul> + <li>Page 12: “Maintz” changed to “<a href="#Mainz">Mainz</a>”: “printed at Mainz by”</li> + + <li>Page 15: “Calson” changed to “<a href="#Caslon">Caslon</a>”: “Even the Caslon type when”</li> + + <li>Page 16: “witout” changed to “<a href="#without">without</a>”: “without enhancing the price”</li> + + <li>Page 23: Period added after “<a href="#over_seas">over-seas</a>”: “all the grandeur over-seas.”</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 “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”.</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 + +*** END OF THIS PROJECT GUTENBERG EBOOK THE ART AND CRAFT OF PRINTING *** + +***** This file should be named 31596-h.htm or 31596-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/1/5/9/31596/ + +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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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