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diff --git a/31596.txt b/31596.txt new file mode 100644 index 0000000..1b2df1e --- /dev/null +++ b/31596.txt @@ -0,0 +1,2655 @@ +Project Gutenberg's The Art and Craft of Printing, by William Morris + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Art and Craft of Printing + +Author: William Morris + +Release Date: March 10, 2010 [EBook #31596] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ART AND CRAFT OF PRINTING *** + + + + +Produced by Chris Curnow, Walt Farrell and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive) + + + + + + + + + +THE ART AND CRAFT OF PRINTING, BY WILLIAM MORRIS. + + + + +A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT PRESS, +TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS BY S. C. COCKERELL, AND +AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT. + + +Copyright, 1902 By H. M. O'Kane + +[Illustration: PSYCHE BORNE OFF BY ZEPHYRUS, DRAWN BY EDWARD BURNE-JONES +& ENGRAVED BY WILLIAM MORRIS] + +[Illustration: NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE +KELMSCOTT PRESS] + + +I began printing books with the hope of producing some which would have +a definite claim to beauty, while at the same time they should be easy +to read and should not dazzle the eye, or trouble the intellect of the +reader by eccentricity of form in the letters. I have always been a +great admirer of the calligraphy of the Middle Ages, & of the earlier +printing which took its place. As to the fifteenth-century books, I had +noticed that they were always beautiful by force of the mere typography, +even without the added ornament, with which many of them are so lavishly +supplied. And it was the essence of my undertaking to produce books +which it would be a pleasure to look upon as pieces of printing and +arrangement of type. Looking at my adventure from this point of view +then, I found I had to consider chiefly the following things: the paper, +the form of the type, the relative spacing of the letters, the words, +and the lines; and lastly the position of the printed matter on the +page. It was a matter of course that I should consider it necessary that +the paper should be hand-made, both for the sake of durability and +appearance. It would be a very false economy to stint in the quality of +the paper as to price: so I had only to think about the kind of +hand-made paper. On this head I came to two conclusions: 1st, that the +paper must be wholly of linen (most hand-made papers are of cotton +today), and must be quite 'hard,' i. e., thoroughly well sized; and 2nd, +that, though it must be 'laid' and not 'wove' (i. e., made on a mould +made of obvious wires), the lines caused by the wires of the mould must +not be too strong, so as to give a ribbed appearance. I found that on +these points I was at one with the practice of the paper-makers of the +fifteenth century; so I took as my model a Bolognese paper of about +1473. My friend Mr. Batchelor, of Little Chart, Kent, carried out my +views very satisfactorily, and produced from the first the excellent +paper, which I still use. + +Next as to type. By instinct rather than by conscious thinking it over, +I began by getting myself a fount of Roman type. And here what I wanted +was letter pure in form; severe, without needless excrescences; solid, +without the thickening and thinning of the line, which is the essential +fault of the ordinary modern type, and which makes it difficult to read; +and not compressed laterally, as all later type has grown to be owing to +commercial exigencies. There was only one source from which to take +examples of this perfected Roman type, to wit, the works of the great +Venetian printers of the fifteenth century, of whom Nicholas Jenson +produced the completest and most Roman characters from 1470 to 1476. +This type I studied with much care, getting it photographed to a big +scale, and drawing it over many times before I began designing my own +letter; so that though I think I mastered the essence of it, I did not +copy it servilely; in fact, my Roman type, especially in the lower case, +tends rather more to the Gothic than does Jenson's. + +After a while I felt that I must have a Gothic as well as a Roman fount; +and herein the task I set myself was to redeem the Gothic character from +the charge of unreadableness which is commonly brought against it. And I +felt that this charge could not be reasonably brought against the types +of the first two decades of printing: that Schoeffer at Mainz, Mentelin +at Strasburg, and Gunther Zainer at Augsburg, avoided the spiky ends and +undue compression which lay some of the later type open to the above +charge. Only the earlier printers (naturally following therein the +practice of their predecessors the scribes) were very liberal of +contractions, and used an excess of 'tied' letters, which, by the way, +are very useful to the compositor. So I entirely eschewed contractions, +except for the '&,' and had very few tied letters, in fact none but the +absolutely necessary ones. Keeping my end steadily in view, I designed a +black-letter type which I think I may claim to be as readable as a Roman +one, and to say the truth I prefer it to the Roman. This type is of the +size called Great Primer (the Roman type is of 'English' size); but +later on I was driven by the necessities of the Chaucer (a +double-columned book) to get a smaller Gothic type of Pica size. + +The punches for all these types, I may mention, were cut for me with +great intelligence and skill by Mr. E. P. Prince, and render my designs +most satisfactorily. + +Now as to the spacing: First, the 'face' of the letter should be as +nearly conterminous with the 'body' as possible, so as to avoid undue +whites between the letters. Next, the lateral spaces between the words +should be (a) no more than is necessary to distinguish clearly the +division into words, and (b) should be as nearly equal as possible. +Modern printers, even the best, pay very little heed to these two +essentials of seemly composition, and the inferior ones run riot in +licentious spacing, thereby producing, inter alia, those ugly rivers of +lines running about the page which are such a blemish to decent +printing. Third, the whites between the lines should not be excessive; +the modern practice of 'leading' should be used as little as possible, +and never without some definite reason, such as marking some special +piece of printing. The only leading I have allowed myself is in some +cases a 'thin' lead between the lines of my Gothic pica type: in the +Chaucer and the double-columned books I have used a 'hair' lead, and not +even this in the 16mo books. Lastly, but by no means least, comes the +position of the printed matter on the page. This should always leave the +inner margin the narrowest, the top somewhat wider, the outside +(fore-edge) wider still, and the bottom widest of all. This rule is +never departed from in mediaeval books, written or printed. Modern +printers systematically transgress against it; thus apparently +contradicting the fact that the unit of a book is not one page, but a +pair of pages. A friend, the librarian of one of our most important +private libraries, tells me that after careful testing he has come to +the conclusion that the mediaeval rule was to make a difference of 20 per +cent. from margin to margin. Now these matters of spacing and position +are of the greatest importance in the production of beautiful books; if +they are properly considered they will make a book printed in quite +ordinary type at least decent and pleasant to the eye. The disregard of +them will spoil the effect of the best designed type. + +It was only natural that I, a decorator by profession, should attempt to +ornament my books suitably: about this matter, I will only say that I +have always tried to keep in mind the necessity for making my decoration +a part of the page of type. I may add that in designing the magnificent +and inimitable woodcuts which have adorned several of my books, and will +above all adorn the Chaucer which is now drawing near completion, my +friend Sir Edward Burne-Jones has never lost sight of this important +point, so that his work will not only give us a series of most beautiful +and imaginative pictures, but form the most harmonious decoration +possible to the printed book. + +Kelmscott House, Upper Mall, Hammersmith. Nov. 11, 1895 + + +A SHORT HISTORY AND DESCRIPTION OF THE KELMSCOTT PRESS. + +The foregoing article was written at the request of a London bookseller +for an American client who was about to read a paper on the Kelmscott +Press. As the Press is now closing, and its seven years' existence will +soon be a matter of history, it seems fitting to set down some other +facts concerning it while they can still be verified; the more so as +statements founded on imperfect information have appeared from time to +time in newspapers and reviews. + +As early as 1866 an edition of The Earthly Paradise was projected, which +was to have been a folio in double columns, profusely illustrated by Sir +Edward Burne-Jones, and typographically superior to the books of that +time. The designs for the stories of Cupid and Psyche, Pygmalion and the +Image, The Ring given to Venus, and the Hill of Venus, were finished, +and forty-four of those for Cupid and Psyche were engraved on wood in +line, somewhat in the manner of the early German masters. About +thirty-five of the blocks were executed by William Morris himself, and +the remainder by George Y. Wardle, G. F. Campfield, C. J. Faulkner, and +Miss Elizabeth Burden. Specimen pages were set up in Caslon type, and in +the Chiswick Press type afterwards used in The House of the Wolfings, +but for various reasons the project went no further. Four or five years +later there was a plan for an illustrated edition of Love is Enough, for +which two initial L's and seven side ornaments were drawn and engraved +by William Morris. Another marginal ornament was engraved by him from a +design by Sir E. Burne-Jones, who also drew a picture for the +frontispiece, which has now been engraved by W. H. Hooper for the final +page of the Kelmscott Press edition of the work. These side ornaments, +three of which appear on the opposite page, are more delicate than any +that were designed for the Kelmscott Press, but they show that when the +Press was started the idea of reviving some of the decorative features +of the earliest printed books had been long in its founder's mind. At +this same period, in the early seventies, he was much absorbed in the +study of ancient manuscripts, and in writing out and illuminating +various books, including a Horace and an Omar Khayyam, which may have +led his thoughts away from printing. In any case, the plan of an +illustrated Love is Enough, like that of the folio Earthly Paradise, was +abandoned. + +Although the books written by William Morris continued to be reasonably +printed, it was not until about 1888 that he again paid much attention +to typography. He was then, and for the rest of his life, when not away +from Hammersmith, in daily communication with his friend and neighbour +Emery Walker, whose views on the subject coincided with his own, and who +had besides a practical knowledge of the technique of printing. These +views were first expressed in an article by Mr. Walker in the catalogue +of the exhibition of the Arts and Crafts Exhibition Society, held at the +New Gallery in the autumn of 1888. As a result of many conversations, +The House of the Wolfings was printed at the Chiswick Press at this +time, with a special type modelled on an old Basel fount, unleaded, and +with due regard to proportion in the margins. The title-page was also +carefully arranged. In the following year The Roots of the Mountains was +printed with the same type (except the lower case e), but with a +differently proportioned page, and with shoulder-notes instead of +head-lines. This book was published in November, 1889, and its author +declared it to be the best-looking book issued since the seventeenth +century. Instead of large paper copies, which had been found +unsatisfactory in the case of The House of the Wolfings, two hundred and +fifty copies were printed on Whatman paper of about the same size as the +paper of the ordinary copies. A small stock of this paper remained over, +and in order to dispose of it seventy-five copies of the translation of +the Gunnlaug Saga, which first appeared in the Fortnightly Review of +January, 1869, and afterwards in Three Northern Love Stories, were +printed at the Chiswick Press. The type used was a black-letter copied +from one of Caxton's founts, and the initials were left blank to be +rubricated by hand. Three copies were printed on vellum. This little +book was not however finished until November, 1890. + +[Illustration: Ornaments designed and engraved for Love is Enough.] + +Meanwhile William Morris had resolved to design a type of his own. +Immediately after The Roots of the Mountains appeared, he set to work +upon it, and in December, 1889, he asked Mr. Walker to go into +partnership with him as a printer. This offer was declined by Mr. +Walker; but, though not concerned with the financial side of the +enterprise, he was virtually a partner in the Kelmscott Press from its +first beginnings to its end, and no important step was taken without his +advice and approval. Indeed, the original intention was to have the +books set up in Hammersmith and printed at his office in Clifford's Inn. +It was at this time that William Morris began to collect the mediaeval +books of which he formed so fine a library in the next six years. He had +made a small collection of such books years before, but had parted with +most of them, to his great regret. He now bought with the definite +purpose of studying the type and methods of the early printers. Among +the first books so acquired was a copy of Leonard of Arezzo's History of +Florence, printed at Venice by Jacobus Rubeus in 1476, in a Roman type +very similar to that of Nicholas Jenson. Parts of this book and of +Jenson's Pliny of 1476 were enlarged by photography in order to bring +out more clearly the characteristics of the various letters; and having +mastered both their virtues and defects, William Morris proceeded to +design the fount of type which, in the list of December, 1892, he named +the Golden type, from The Golden Legend, which was to have been the +first book printed with it. This fount consists of eighty-one designs, +including stops, figures, and tied letters. The lower case alphabet was +finished in a few months. The first letter having been cut in Great +Primer size by Mr. Prince, was thought too large, and 'English' was the +size resolved upon. By the middle of August, 1890, eleven punches had +been cut. At the end of the year the fount was all but complete. + +On Jan. 12th, 1891, a cottage, No. 16, Upper Mall, was taken. Mr. +William Bowden, a retired master-printer, had already been engaged to +act as compositor and pressman. Enough type was then cast for a trial +page, which was set up and printed on Saturday, Jan. 31st, on a sample +of the paper that was being made for the Press by J. Batchelor and Son. +About a fortnight later ten reams of paper were delivered. On Feb. 18th +a good supply of type followed. Mr. W. H. Bowden, who subsequently +became overseer, then joined his father as compositor, and the first +chapters of The Glittering Plain were set up. The first sheet appears to +have been printed on March 2nd, when the staff was increased to three by +the addition of a pressman named Giles, who left as soon as the book was +finished. A friend who saw William Morris on the day after the printing +of the page above mentioned recalls his elation at the success of his +new type. The first volume of the Saga Library, a creditable piece of +printing, was brought out and put beside this trial page, which much +more than held its own. The poet then declared his intention to set to +work immediately on a black-letter fount; illness, however, intervened +and it was not begun until June. The lower case alphabet was finished by +the beginning of August, with the exception of the tied letters, the +designs for which, with those for the capitals, were sent to Mr. Prince +on September 11th. Early in November enough type was cast for two trial +pages, the one consisting of twenty-six lines of Chaucer's Franklin's +Tale and the other of sixteen lines of Sigurd the Volsung. In each of +these a capital I is used that was immediately discarded. On the last +day of 1891 the full stock of Troy type was despatched from the foundry. +Its first appearance was in a paragraph, announcing the book from which +it took its name, in the list dated May, 1892. + +This Troy type, which its designer preferred to either of the others, +shows the influence of the beautiful early types of Peter Schoeffer of +Mainz, Gunther Zainer of Augsburg, and Anthony Koburger of Nuremberg; +but, even more than the Golden type, it has a strong character of its +own, which differs largely from that of any mediaeval fount. It has +recently been pirated abroad, and is advertised by an enterprising +German firm as 'Die amerikanische Triumph-Gothisch.' The Golden type has +perhaps fared worse in being remodelled in the United States, whence, +with much of its character lost, it has found its way back to England +under the names 'Venetian,' 'Italian,' and 'Jenson.' It is strange that +no one has yet had the good sense to have the actual type of Nicholas +Jenson reproduced. + +The third type used at the Kelmscott Press, called the 'Chaucer,' +differs from the Troy type only in size, being Pica instead of Great +Primer. It was cut by Mr. Prince between February and May, 1892, and was +ready in June. Its first appearance is in the list of chapters and +glossary of The Recuyell of the Historyes of Troye, which was issued on +November 24th, 1892. + +On June 2nd of that year, William Morris wrote to Mr. Prince: 'I believe +in about three months' time I shall be ready with a new set of sketches +for a fount of type on English body.' These sketches were not +forthcoming; but on Nov. 5th, 1892, he bought a copy of Augustinus De +Civitate Dei, printed at the Monastery of Subiaco near Rome by Sweynheym +and Pannartz, with a rather compressed type, which appears in only three +known books. He at once designed a lower case alphabet on this model, +but was not satisfied with it and did not have it cut. This was his last +actual experiment in the designing of type, though he sometimes talked +of designing a new fount, and of having the Golden type cut in a larger +size. + +Next in importance to the type are the initials, borders, and ornaments +designed by William Morris. The first book contains a single recto +border and twenty different initials. In the next book, Poems by the +Way, the number of different initials is fifty-nine. These early +initials, many of which were soon discarded, are for the most part +suggestive, like the first border, of the ornament in Italian +manuscripts of the fifteenth century. In Blunt's Love Lyrics there are +seven letters of a new alphabet, with backgrounds of naturalesque +grapes and vine leaves, the result of a visit to Beauvais, where the +great porches are carved with vines, in August, 1891. From that time +onwards fresh designs were constantly added, the tendency being always +towards larger foliage and lighter backgrounds, as the early initials +were found to be sometimes too dark for the type. The total number of +initials of various sizes designed for the Kelmscott Press, including a +few that were engraved but never used, is three hundred and eighty-four. +Of the letter T alone there are no less than thirty-four varieties. + +The total number of different borders engraved for the Press, including +one that was not used, but excluding the three borders designed for The +Earthly Paradise by R. Catterson-Smith, is fifty-seven. The first book +to contain a marginal ornament, other than these full borders, was The +Defence of Guenevere, which has a half-border on p. 74. There are two +others in the preface to The Golden Legend. The Recuyell of the +Historyes of Troye is the first book in which there is a profusion of +such ornament. One hundred and eight different designs for marginal +ornaments were engraved. Besides the above-named designs, there are +seven frames for the pictures in The Glittering Plain, one frame for +those in a projected edition of The House of the Wolfings, nineteen +frames for the pictures in the Chaucer (one of which was not used in the +book), twenty-eight title-pages and inscriptions, twenty-six large +initial words for the Chaucer, seven initial words for The Well at the +World's End and The Water of the Wondrous Isles, four line-endings, and +three printer's marks, making a total of six hundred and forty-four +designs by William Morris, drawn and engraved within seven years. All +the initials and ornaments that recur were printed from electrotypes, +while most of the title-pages and initial words were printed direct from +the wood. The illustrations by Sir Edward Burne-Jones, Walter Crane, and +C. M. Gere were also, with one or two exceptions, printed from the wood. +The original designs by Sir E. Burne-Jones were nearly all in pencil, +and were redrawn in ink by R. Catterson-Smith, and in a few cases by C. +Fairfax Murray; they were then revised by the artist and transferred to +the wood by means of photography. The twelve designs by A. J. Gaskin for +Spenser's Shepheardes Calender, the map in The Sundering Flood, and the +thirty-five reproductions in Some German Woodcuts of the Fifteenth +Century, were printed from process blocks. + +All the wood blocks for initials, ornaments, and illustrations, were +engraved by W. H. Hooper, C. E. Keates, and W. Spielmeyer, except the +twenty-three blocks for The Glittering Plain, which were engraved by A. +Leverett, and a few of the earliest initials, engraved by G. F. +Campfield. The whole of these wood blocks have been sent to the British +Museum, and have been accepted with a condition that they shall not be +reproduced or printed from for the space of a hundred years. The +electrotypes have been destroyed. In taking this course, which was +sanctioned by William Morris when the matter was talked of shortly +before his death, the aim of the trustees has been to keep the series of +Kelmscott Press books as a thing apart, and to prevent the designs +becoming stale by constant repetition. Many of them have been stolen and +parodied in America, but in this country they are fortunately copyright. +The type remains in the hands of the trustees, and will be used for the +printing of its designer's works, should special editions be called for. +Other books of which he would have approved may also be printed with it; +the absence of initials and ornament will always distinguish them +sufficiently from the books printed at the Kelmscott Press. + +The nature of the English hand-made paper used at the Press has been +described by William Morris in the foregoing article. It was at first +supplied in sheets of which the dimensions were sixteen inches by +eleven. Each sheet had as a watermark a conventional primrose between +the initials W. M. As stated above, The Golden Legend was to have been +the first book put in hand, but as only two pages could have been +printed at a time, and this would have made it very costly, paper of +double the size was ordered for this work, and The Story of the +Glittering Plain was begun instead. This book is a small quarto, as are +its five immediate successors, each sheet being folded twice. The last +ream of the smaller size of paper was used on The Order of Chivalry. All +the other volumes of that series are printed in octavo, on paper of the +double size. For the Chaucer a stouter and slightly larger paper was +needed. This has for its watermark a Perch with a spray in its mouth. +Many of the large quarto books were printed on this paper, of which the +first two reams were delivered in February, 1893. Only one other size of +paper was used at the Kelmscott Press. The watermark of this is an +Apple, with the initials W. M., as in the other two watermarks. The +books printed on this paper are The Earthly Paradise, The Floure and the +Leafe, The Shepheardes Calender, and Sigurd the Volsung. The last-named +is a folio, and the open book shows the size of the sheet, which is +about eighteen inches by thirteen. The first supply of this Apple paper +was delivered on March 15, 1895. + +Except in the case of Blunt's Love Lyrics, The Nature of Gothic, Biblia +Innocentium, The Golden Legend, and The Book of Wisdom and Lies, a few +copies of all the books were printed on vellum. The six copies of The +Glittering Plain were printed on very fine vellum obtained from Rome, of +which it was impossible to get a second supply as it was all required by +the Vatican. The vellum for the other books, except for two or three +copies of Poems by the Way, which were on the Roman vellum, was supplied +by H. Band of Brentford, and by W. J. Turney & Co. of Stourbridge. There +are three complete vellum sets in existence, and the extreme difficulty +of completing a set after the copies are scattered, makes it unlikely +that there will ever be a fourth. + +The black ink which proved most satisfactory, after that of more than +one English firm had been tried, was obtained from Hanover. William +Morris often spoke of making his own ink, in order to be certain of the +ingredients, but his intention was never carried out. + +The binding of the books in vellum and in half-holland was from the +first done by J. & J. Leighton. Most of the vellum used was white, or +nearly so, but William Morris himself preferred it dark, and the skins +showing brown hair-marks were reserved for the binding of his own copies +of the books. The silk ties of four colours, red, blue, yellow, and +green, were specially woven and dyed. + +In the following section fifty-two works, in sixty-six volumes, are +described as having been printed at the Kelmscott Press, besides the two +pages of Froissart's Chronicles. It is scarcely necessary to add that +only hand presses have been used, of the type known as 'Albion.' In the +early days there was only one press on which the books were printed, +besides a small press for taking proofs. At the end of May, 1891, larger +premises were taken at 14, Upper Mall, next door to the cottage already +referred to, which was given up in June. In November, 1891, a second +press was bought, as The Golden Legend was not yet half finished, and it +seemed as though the last of its 1286 pages would never be reached. +Three years later another small house was taken, No. 14 being still +retained. This was No. 21, Upper Mall, overlooking the river, which +acted as a reflector, so that there was an excellent light for printing. +In January, 1895, a third press, specially made for the work, was set up +here in order that two presses might be employed on the Chaucer. This +press has already passed into other hands, and the little house, with +its many associations, and its pleasant outlook towards Chiswick and +Mortlake, is now being transformed into a granary. The last sheet +printed there was that on which are the frontispiece and title of this +book. + +14, Upper Mall, Hammersmith, January 4, 1898. + + +AN ANNOTATED LIST OF ALL THE BOOKS PRINTED AT THE KELMSCOTT PRESS IN THE +ORDER IN WHICH THEY WERE ISSUED. + +Note: The borders are numbered as far as possible in the order of their +first appearance, those which appear on a verso or left hand page being +distinguished by the addition of the letter 'a' to the numbers of the +recto borders of similar design. + +1. THE STORY OF THE GLITTERING PLAIN. WHICH HAS BEEN ALSO CALLED THE +LAND OF LIVING MEN OR THE ACRE OF THE UNDYING. WRITTEN BY WILLIAM +MORRIS. Small 4to. Golden type. Border 1. 200 paper copies at two +guineas, and 6 on vellum. Dated April 4, issued May 8, 1891. Sold by +Reeves & Turner. Bound in stiff vellum with washleather ties. + +This book was set up from Nos. 81-4 of the English Illustrated Magazine, +in which it first appeared; some of the chapter headings were +re-arranged, and a few small corrections were made in the text. A trial +page, the first printed at the Press, was struck off on January 31, +1891, but the first sheet was not printed until about a month later. The +border was designed in January of the same year, and engraved by W. H. +Hooper. Mr. Morris had four of the vellum copies bound in green vellum, +three of which he gave to friends. Only two copies on vellum were sold, +at twelve and fifteen guineas. This was the only book with washleather +ties. All the other vellum-bound books have silk ties, except Shelley's +Poems and Hand and Soul, which have no ties. + +2. POEMS BY THE WAY. WRITTEN BY WILLIAM MORRIS. Small 4to. Golden type. +In black and red. Border 1. 300 paper copies at two guineas, 13 on +vellum at about twelve guineas. Dated Sept. 24, issued Oct. 20, 1891. +Sold by Reeves & Turner. Bound in stiff vellum. + +This was the first book printed at the Kelmscott Press in two colours, +and the first book in which the smaller printer's mark appeared. After +The Glittering Plain was finished, at the beginning of April, no +printing was done until May 11. In the meanwhile the compositors were +busy setting up the early sheets of The Golden Legend. The printing of +Poems by the Way, which its author first thought of calling Flores +Atramenti, was not begun until July. The poems in it were written at +various times. In the manuscript, Hafbur and Signy is dated February 4, +1870; Hildebrand and Hillilel, March 1, 1871; and Love's Reward, +Kelmscott, April 21, 1871. Meeting in Winter is a song from The Story of +Orpheus, an unpublished poem intended for The Earthly Paradise. The last +poem in the book, Goldilocks and Goldilocks, was written on May 20, +1891, for the purpose of adding to the bulk of the volume, which was +then being prepared. A few of the vellum covers were stained at Merton +red, yellow, indigo, and dark green, but the experiment was not +successful. + +3. THE LOVE-LYRICS AND SONGS OF PROTEUS BY WILFRID SCAWEN BLUNT WITH THE +LOVE-SONNETS OF PROTEUS BY THE SAME AUTHOR NOW REPRINTED IN THEIR FULL +TEXT WITH MANY SONNETS OMITTED FROM THE EARLIER EDITIONS. LONDON +MDCCCXCII. Small 4to. Golden type. In black and red. Border 1. 300 paper +copies at two guineas, none on vellum. Dated Jan. 26, issued Feb. 27, +1892. Sold by Reeves & Turner. Bound in stiff vellum. + +This is the only book in which the initials are printed in red. This was +done by the author's wish. + +4. THE NATURE OF GOTHIC A CHAPTER OF THE STONES OF VENICE. BY JOHN +RUSKIN. With a preface by William Morris. Small 4to. Golden type. Border +1. Diagrams in text. 500 paper copies at thirty shillings, none on +vellum. Dated in preface February 15, issued March 22, 1892. Published +by George Allen. Bound in stiff vellum. + +This chapter of the Stones of Venice, which Ruskin always considered the +most important in the book, was first printed separately in 1854 as a +sixpenny pamphlet. Mr. Morris paid more than one tribute to it in Hopes +and Fears for Art. Of him Ruskin said in 1887, 'Morris is beaten gold.' + +5. THE DEFENCE OF GUENEVERE, AND OTHER POEMS. BY WILLIAM MORRIS. Small +4to. Golden type. In black and red. Borders 2 and 1. 300 paper copies +at two guineas, ten on vellum at about twelve guineas. Dated April 2, +issued May 19, 1892. Sold by Reeves & Turner. Bound in limp vellum. + +This book was set up from a copy of the edition published by Reeves & +Turner in 1889, the only alteration, except a few corrections, being in +the 11th line of Summer Dawn. It is divided into three parts, the poems +suggested by Malory's Morte d'Arthur, the poems inspired by Froissart's +Chronicles, and poems on various subjects. The two first sections have +borders, and the last has a half-border. The first sheet was printed on +February 17, 1892. It was the first book bound in limp vellum, and the +only one of which the title was inscribed by hand on the back. + +6. A DREAM OF JOHN BALL AND A KING'S LESSON. BY WILLIAM MORRIS. Small +4to. Golden type. In black and red. Borders 3a, 4, and 2. With a woodcut +designed by Sir E. Burne-Jones. 300 paper copies at thirty shillings, +eleven on vellum at ten guineas. Dated May 13, issued Sept. 24, 1892. +Sold by Reeves & Turner. Bound in limp vellum. + +This was set up with a few alterations from a copy of Reeves & Turner's +third edition, and the printing was begun on April 4, 1892. The +frontispiece was redrawn from that to the first edition, and engraved on +wood by W. H. Hooper, who engraved all Sir E. Burne-Jones' designs for +the Kelmscott Press, except those for The Wood beyond the World and The +Life and Death of Jason. The inscription below the figures, and the +narrow border, were designed by Mr. Morris, and engraved with the +picture on one block, which was afterwards used on a leaflet printed for +the Ancoats Brotherhood in February, 1894. + +7. THE GOLDEN LEGEND. By Jacobus de Voragine. Translated by William +Caxton. Edited by F. S. Ellis. 3 vols. Large 4to. Golden type. Borders +5a, 5, 6a, and 7. Woodcut title and two woodcuts designed by Sir E. +Burne-Jones. 500 paper copies at five guineas, none on vellum. Dated +Sept. 12, issued Nov. 3, 1892. Published by Bernard Quaritch. Bound in +half-holland, with paper labels printed in the Troy type. + +In July, 1890, when only a few letters of the Golden type had been cut, +Mr. Morris bought a copy of this book, printed by Wynkyn de Worde in +1527. He soon afterwards determined to print it, and on Sept. 11 entered +into a formal agreement with Mr. Quaritch for its publication. It was +only an unforeseen difficulty about the size of the first stock of paper +that led to The Golden Legend not being the first book put in hand. It +was set up from a transcript of Caxton's first edition, lent by the +Syndics of the Cambridge University Library for the purpose. A trial +page was got out in March, 1891, and 50 pages were in type by May 11, +the day on which the first sheet was printed. The first volume was +finished, with the exception of the illustrations and the preliminary +matter, in Oct., 1891. The two illustrations and the title (which was +the first woodcut title designed by Mr. Morris) were not engraved until +June and August, 1892, when the third volume was approaching completion. +About half a dozen impressions of the illustrations were pulled on +vellum. A slip asking owners of the book not to have it bound with +pressure, nor to have the edges cut instead of merely trimmed, was +inserted in each copy. + +8. THE RECUYELL OF THE HISTORYES OF TROYE. By Raoul Lefevre. Translated +by William Caxton. Edited by H. Halliday Sparling. 2 vols. Large 4to. +Troy type, with table of chapters and glossary in Chaucer type. In black +and red. Borders 5a, 5, and 8. Woodcut title. 300 paper copies at nine +guineas, five on vellum at eighty pounds. Dated Oct. 14, issued Nov. 24, +1892. Published by Bernard Quaritch. Bound in limp vellum. + +This book, begun in February, 1892, is the first book printed in Troy +type, and the first in which Chaucer type appears. It is a reprint of +the first book printed in English. It had long been a favourite with +William Morris, who designed a great quantity of initials and ornaments +for it, and wrote the following note for Mr. Quaritch's catalogue: 'As +to the matter of the book, it makes a thoroughly amusing story, +instinct with mediaeval thought and manners. For though written at the +end of the Middle Ages and dealing with classical mythology, it has in +it no token of the coming Renaissance, but is merely mediaeval. It is the +last issue of that story of Troy which through the whole of the Middle +Ages had such a hold on men's imaginations; the story built up from a +rumour of the Cyclic Poets, of the heroic City of Troy, defended by +Priam and his gallant sons, led by Hector the Preux Chevalier, and beset +by the violent and brutal Greeks, who were looked on as the necessary +machinery for bringing about the undeniable tragedy of the fall of the +city. Surely this is well worth reading, if only as a piece of undiluted +mediaevalism.' 2000 copies of a 4to announcement, with specimen pages, +were printed at the Kelmscott Press in December, 1892, for distribution +by the publisher. + +9. BIBLIA INNOCENTIUM: BEING THE STORY OF GOD'S CHOSEN PEOPLE BEFORE THE +COMING OF OUR LORD JESUS CHRIST UPON EARTH, WRITTEN ANEW FOR CHILDREN BY +J. W. MACKAIL, SOMETIME FELLOW OF BALLIOL COLLEGE, OXFORD. 8vo. Border +2. 200 on paper at a guinea, none on vellum. Dated Oct. 22, issued Dec. +9, 1892. Sold by Reeves & Turner. Bound in stiff vellum. + +This was the last book issued in stiff vellum except Hand and Soul, and +the last with untrimmed edges. It was the first book printed in 8vo. + +10. THE HISTORY OF REYNARD THE FOXE BY WILLIAM CAXTON. Reprinted from +his edition of 1481. Edited by H. Halliday Sparling. Large 4to. Troy +type, with glossary in Chaucer type. In black and red. Borders 5a and 7. +Woodcut title. 300 on paper at three guineas, 10 on vellum at fifteen +guineas. Dated Dec. 15, 1892, issued Jan. 25, 1893. Published by Bernard +Quaritch. Bound in limp vellum. + +About this book, which was first announced as in the press in the list +dated July, 1892, William Morris wrote the following note for Mr. +Quaritch's catalogue: 'This translation of Caxton's is one of the very +best of his works as to style; and being translated from a kindred +tongue is delightful as mere language. In its rude joviality, and simple +and direct delineation of character, it is a thoroughly good +representative of the famous ancient Beast Epic.' The edges of this +book, and of all subsequent books, were trimmed in accordance with the +invariable practice of the early printers. Mr. Morris much preferred the +trimmed edges. + +11. THE POEMS OF WILLIAM SHAKESPEARE, PRINTED AFTER THE ORIGINAL COPIES +OF VENUS AND ADONIS, 1593. THE RAPE OF LUCRECE, 1594. SONNETS, 1609. THE +LOVER'S COMPLAINT. Edited by F. S. Ellis. 8vo. Golden type. In black and +red. Borders 1 and 2. 500 paper copies at 25 shillings, 10 on vellum at +ten guineas. Dated Jan. 17, issued Feb. 13, 1893. Sold by Reeves & +Turner. Bound in limp vellum. + +A trial page of this book was set up on Nov. 1, 1892. Though the number +was large, this has become one of the rarest books issued from the +Press. + +12. NEWS FROM NOWHERE: OR, AN EPOCH OF REST, BEING SOME CHAPTERS FROM A +UTOPIAN ROMANCE, BY WILLIAM MORRIS. 8vo. Golden type. In black and red. +Borders 9a and 4, and a woodcut engraved by W. H. Hooper from a design +by C. M. Gere. 300 on paper at two guineas, 10 on vellum at ten guineas. +Dated Nov. 22, 1892, issued March 24, 1893. Sold by Reeves & Turner. +Bound in limp vellum. + +The text of this book was printed before Shakespeare's Poems and +Sonnets, but it was kept back for the frontispiece, which is a picture +of the old manor-house in the village of Kelmscott by the upper Thames, +from which the Press took its name. It was set up from a copy of one of +Reeves & Turner's editions, and in reading it for the press the author +made a few slight corrections. It was the last except the Savonarola +(No. 31) in which he used the old paragraph mark (para) which was +discarded in favour of the leaves, which had already been used in the +two large 4to books printed in the Troy type. + +13. THE ORDER OF CHIVALRY. Translated from the French by William Caxton +and reprinted from his edition of 1484. Edited by F. S. Ellis. And +L'ORDENE DE CHEVALERIE, WITH TRANSLATION BY WILLIAM MORRIS. Small 4to. +Chaucer type, in black and red. Borders 9a and 4, and a woodcut designed +by Sir Edward Burne-Jones. 225 on paper at thirty shillings, 10 on +vellum at ten guineas. The Order of Chivalry dated Nov. 10, 1892, +L'Ordene de Chevalerie dated February 24, 1893, issued April 12, 1893. +Sold by Reeves & Turner. Bound in limp vellum. + +This was the last book printed in small 4to. The last section is in 8vo. +It was the first book printed in Chaucer type. The reprint from Caxton +was finished while News from Nowhere was in the press, and before +Shakespeare's Poems and Sonnets was begun. The French poem and its +translation were added as an after-thought, and have a separate +colophon. Some of the three-line initials, which were designed for The +Well at the World's End, are used in the French poem, and this is their +first appearance. The translation was begun on Dec. 3, 1892, and the +border round the frontispiece was designed on Feb. 13, 1893. + +14. THE LIFE OF THOMAS WOLSEY, CARDINAL ARCHBISHOP OF YORK, WRITTEN BY +GEORGE CAVENDISH. Edited by F. S. Ellis from the author's autograph MS. +8vo. Golden type. Border 1. 250 on paper at two guineas, 6 on vellum at +ten guineas. Dated March 30, issued May 3, 1893. Sold by Reeves & +Turner. Bound in limp vellum. + +15. THE HISTORY OF GODEFREY OF BOLOYNE AND OF THE CONQUEST OF +IHERUSALEM. Reprinted from Caxton's edition of 1481. Edited by H. +Halliday Sparling. Large 4to. Troy type, with list of chapter headings +and glossary in Chaucer type. In black and red. Borders 5a and 5, and +woodcut title. 300 on paper at six guineas, 6 on vellum at 20 guineas. +Dated April 27, issued May 24, 1893. Published by William Morris at the +Kelmscott Press. Bound in limp vellum. + +This was the fifth and last of the Caxton reprints, with many new +ornaments and initials, and a new printer's mark. It was first +announced as in the press in the list dated Dec., 1892. It was the first +book published and sold at the Kelmscott Press. An announcement and +order form, with two different specimen pages, was printed at the Press, +besides a special invoice. A few copies were bound in half holland, not +for sale. + +16. UTOPIA, WRITTEN BY SIR THOMAS MORE. A reprint of the 2nd edition of +Ralph Robinson's translation, with a foreword by William Morris. Edited +by F. S. Ellis. 8vo. Chaucer type, with the reprinted title in Troy +type. In black and red. Borders 4 and 2. 300 on paper at thirty +shillings, 8 on vellum at ten guineas. Dated August 4, issued September +8, 1893. Sold by Reeves & Turner. Bound in limp vellum. + +This book was first announced as in the press in the list dated May 20, +1893. + +17. MAUD, A MONODRAMA. BY ALFRED LORD TENNYSON. 8vo. Golden type. In +black and red. Borders 10a and 10, and woodcut title. 500 on paper at +two guineas, 5 on vellum not for sale. Dated Aug. 11, issued Sept. 30, +1893. Published by Macmillan & Co. Bound in limp vellum. + +The borders were specially designed for this book. They were both used +again in the Keats, and one of them appears in The Sundering Flood. It +is the first of the 8vo books with a woodcut title. + +18. GOTHIC ARCHITECTURE: A LECTURE FOR THE ARTS AND CRAFTS EXHIBITION +SOCIETY, BY WILLIAM MORRIS. 16mo. Golden type. In black and red. 1500 on +paper at two shillings and sixpence, 45 on vellum at ten and fifteen +shillings. Bound in half holland. + +This lecture was set up at Hammersmith and printed at the New Gallery +during the Arts and Crafts Exhibition in October and November, 1893. The +first copies were ready on October 21, and the book was twice reprinted +before the Exhibition closed. It was the first book printed in 16mo. The +four-line initials used in it appear here for the first time. The vellum +copies were sold during the Exhibition at ten shillings, and the price +was subsequently raised to fifteen shillings. + +19. SIDONIA THE SORCERESS, BY WILLIAM MEINHOLD, TRANSLATED BY FRANCESCA +SPERANZA LADY WILDE. Large 4to. Golden type. In black and red. Border 8. +300 paper copies at four guineas, 10 on vellum at twenty guineas. Dated +Sept. 15, issued November 1, 1893. Published by William Morris. Bound in +limp vellum. + +Before the publication of this book a large 4to announcement and order +form was issued, with a specimen page and an interesting description of +the book and its author, written and signed by William Morris. Some +copies were bound in half holland, not for sale. + +20. BALLADS AND NARRATIVE POEMS BY DANTE GABRIEL ROSSETTI. 8vo. Golden +type. In black and red. Borders 4a and 4, and woodcut title. 310 on +paper at two guineas, 6 on vellum at ten guineas. Dated Oct. 14, issued +in November, 1893. Published by Ellis & Elvey. Bound in limp vellum. + +This book was announced as in preparation in the list of August 1, 1893. + +21. THE TALE OF KING FLORUS AND THE FAIR JEHANE. Translated by William +Morris from the French of the 13th century. 16mo. Chaucer type. In black +and red. Borders 11a and 11, and woodcut title. 350 on paper at seven +shillings and sixpence, 15 on vellum at thirty shillings. Dated Dec. 16, +issued Dec. 28, 1893. Published by William Morris. Bound in half +holland. + +This story, like the three other translations with which it is uniform, +was taken from a little volume called Nouvelles Francoises en prose du +XIIIe siecle. Paris, Jannet, 1856. They were first announced as in +preparation under the heading 'French Tales' in the list dated May 20, +1893. Eighty-five copies of King Florus were bought by J. and M. L. +Tregaskis, who had them bound in all parts of the world. These are now +in the Rylands Library at Manchester. + +22. THE STORY OF THE GLITTERING PLAIN WHICH HAS BEEN ALSO CALLED THE +LAND OF LIVING MEN OR THE ACRE OF THE UNDYING. WRITTEN BY WILLIAM +MORRIS. Large 4to. Troy type, with list of chapters in Chaucer type. In +black and red. Borders 12a and 12, 23 designs by Walter Crane, engraved +by A. Leverett, and a woodcut title. 250 on paper at five guineas, 7 on +vellum at twenty pounds. Dated Jan. 13, issued Feb. 17, 1894. Published +by William Morris. Bound in limp vellum. + +Neither the borders in this book nor six out of the seven frames round +the illustrations appear in any other book. The seventh is used round +the second picture in Love is Enough. A few copies were bound in half +holland. + +23. OF THE FRIENDSHIP OF AMIS AND AMILE. Done out of the ancient French +by William Morris. 16mo. Chaucer type. In black and red. Borders 11a and +11, and woodcut title. 500 on paper at seven shillings and sixpence, 15 +on vellum at thirty shillings. Dated March 13, issued April 4, 1894. +Published by William Morris. Bound in half holland. + +A poem entitled Amys and Amillion, founded on this story, was originally +to have appeared in the second volume of The Earthly Paradise, but, like +some other poems announced at the same time, it was not included in the +book. + +20a. SONNETS AND LYRICAL POEMS BY DANTE GABRIEL ROSSETTI. 8vo. Golden +type. In black and red. Borders 1a and 1, and woodcut title. 310 on +paper at two guineas, 6 on vellum at ten guineas. Dated Feb. 20, issued +April 21, 1894. Published by Ellis & Elvey. Bound in limp vellum. + +This book is uniform with No. 20, to which it forms a sequel. Both +volumes were read for the press by Mr. W. M. Rossetti. + +24. THE POEMS OF JOHN KEATS. Edited by F. S. Ellis. 8vo. Golden type. In +black and red. Borders 10a and 10, and woodcut title. 300 on paper at +thirty shillings, 7 on vellum at nine guineas. Dated March 7, issued May +8, 1894. Published by William Morris. Bound in limp vellum. + +This is now (Jan., 1898) the most sought after of all the smaller +Kelmscott Press books. It was announced as in preparation in the lists +of May 27 and August 1, 1893, and as in the press in that of March 31, +1894, when the woodcut title still remained to be printed. + +25. ATALANTA IN CALYDON: A TRAGEDY. BY ALGERNON CHARLES SWINBURNE. Large +4to. Troy type, with argument and dramatis personae in Chaucer type; the +dedication and quotation from Euripides in Greek type designed by Selwyn +Image. In black and red. Borders 5a and 5, and woodcut title. 250 on +paper at two guineas, 8 on vellum at twelve guineas. Dated May 4, issued +July 24, 1894. Published by William Morris. Bound in limp vellum. + +In the vellum copies of this book the colophon is not on the 82nd page +as in the paper copies, but on the following page. + +26. THE TALE OF THE EMPEROR COUSTANS AND OF OVER SEA. Done out of +ancient French by William Morris. 16mo. Chaucer type. In black and red. +Borders 11a and 11, both twice, and two woodcut titles. 525 on paper at +seven shillings and sixpence, 20 on vellum at two guineas. Dated August +30, issued Sept. 26, 1894. Published by William Morris. Bound in half +holland. + +The first of these stories, which was the source of The Man born to be +King, in The Earthly Paradise, was announced as in preparation in the +list of March 31, 1894. + +27. THE WOOD BEYOND THE WORLD. BY WILLIAM MORRIS. 8vo. Chaucer type. In +black and red. Borders 13a and 13, and a frontispiece designed by Sir E. +Burne-Jones, and engraved on wood by W. Spielmeyer. 350 on paper at two +guineas, 8 on vellum at ten guineas. Dated May 30, issued Oct. 16, 1894. +Published by William Morris. Bound in limp vellum. + +The borders in this book, as well as the ten half-borders, are here used +for the first time. It was first announced as in the press in the list +of March 31, 1894. Another edition was published by Lawrence & Bullen in +1895. + +28. THE BOOK OF WISDOM AND LIES. A book of traditional stories from +Georgia in Asia. Translated by Oliver Wardrop from the original of +Sulkhan-Saba Orbeliani. 8vo. Golden type. In black and red. Borders 4a +and 4, and woodcut title. 250 on paper at two guineas, none on vellum. +Finished Sept. 29, issued Oct. 29, 1894. Published by Bernard Quaritch. +Bound in limp vellum. + +The arms of Georgia, consisting of the Holy Coat, appear in the woodcut +title of this book. + +29. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME I. Edited by F. +S. Ellis. 8vo. Golden type. Borders 1a and 1, and woodcut title. 250 on +paper at twenty-five shillings, 6 on vellum at eight guineas. Not dated, +issued Nov. 29, 1894. Published by William Morris. Bound in limp vellum +without ties. + +Red ink is not used in this volume, though it is used in the second +volume, and more sparingly in the third. Some of the half-borders +designed for The Wood beyond the World reappear before the longer poems. +The Shelley was first announced as in the press in the list of March 31, +1894. + +30. PSALMI PENITENTIALES. An English rhymed version of the Seven +Penitential Psalms. Edited by F. S. Ellis. 8vo. Chaucer type. In black +and red. 300 on paper at seven shillings and sixpence, 12 on vellum at +three guineas. Dated Nov. 15, issued Dec. 10, 1894. Published by William +Morris. Bound in half holland. + +These verses were taken from a manuscript Book of Hours written at +Gloucester in the first half of the fifteenth century, but the Rev. +Professor Skeat has pointed out that the scribe must have copied them +from an older manuscript, as they are in the Kentish dialect of about a +century earlier. The half-border on p. 34 appears for the first time in +this book. + +31. EPISTOLA DE CONTEMPTU MUNDI DI FRATE HIERONYMO DA FERRARA DELLORDINE +DE FRATI PREDICATORI LA QUALE MANDA AD ELENA BUONACCORSI SUA MADRE, PER +CONSOLARLA DELLA MORTE DEL FRATELLO, SUO ZIO. Edited by Charles Fairfax +Murray from the original autograph letter. 8vo. Chaucer type. In black +and red. Border 1. Woodcut on title designed by C. F. Murray and +engraved by W. H. Hooper. 150 on paper, and 6 on vellum. Dated Nov. 30, +ready Dec. 12, 1894. Bound in half holland. + +This little book was printed for Mr. C. Fairfax Murray, the owner of the +manuscript, and was not for sale in the ordinary way. The colophon is in +Italian, and the printer's mark is in red. + +32. THE TALE OF BEOWULF. Done out of the Old English tongue by William +Morris and A. J. Wyatt. Large 4to. Troy type, with argument, side-notes, +list of persons and places, and glossary in Chaucer type. In black and +red. Borders 14a and 14, and woodcut title. 300 on paper at two guineas, +8 on vellum at ten pounds. Dated Jan. 10, issued Feb. 2, 1895. Published +by William Morris. Bound in limp vellum. + +The borders in this book were only used once again, in the Jason. A Note +to the Reader printed on a slip in the Golden type was inserted in each +copy. Beowulf was first announced as in preparation in the list of May +20, 1893. The verse translation was begun by Mr. Morris, with the aid of +Mr. Wyatt's careful paraphrase of the text, on Feb. 21, 1893, and +finished on April 10, 1894, but the argument was not written by Mr. +Morris until Dec. 10, 1894. + +33. SYR PERECYVELLE OF GALES. Overseen by F. S. Ellis, after the edition +edited by J. O. Halliwell from the Thornton MS. in the Library of +Lincoln Cathedral. 8vo. Chaucer type. In black and red. Borders 13a and +13, and a woodcut designed by Sir E. Burne-Jones. 350 on paper at +fifteen shillings, 8 on vellum at four guineas. Dated Feb. 16, issued +May 2, 1895. Published by William Morris. Bound in limp vellum. + +This is the first of the series to which Sire Degrevaunt and Syr +Isumbrace belong. They were all reprinted from the Camden Society's +volume of 1844, which was a favourite with Mr. Morris from his Oxford +days. Syr Perecyvelle was first announced in the list of Dec. 1, 1894. +The shoulder-notes were added by Mr. Morris. + +34. THE LIFE AND DEATH OF JASON, A POEM. BY WILLIAM MORRIS. Large 4to. +Troy type, with a few words in Chaucer type. In black and red. Borders +14a and 14, and two woodcuts designed by Sir E. Burne-Jones and +engraved on wood by W. Spielmeyer. 200 on paper at five guineas, 6 on +vellum at twenty guineas. Dated May 25, issued July 5, 1895. Published +by William Morris. Bound in limp vellum. + +This book, announced as in the press in the list of April 21, 1894, +proceeded slowly, as several other books, notably the Chaucer, were +being printed at the same time. The text, which had been corrected for +the second edition of 1868, and for the edition of 1882, was again +revised by the author. The line-fillings on the last page were cut on +metal for this book, and cast like type. + +29a. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME II. Edited by F. +S. Ellis. 8vo. Golden type. In black and red. 250 on paper at +twenty-five shillings, 6 on vellum at eight guineas. Not dated, issued +March 25, 1895. Published by William Morris. Bound in limp vellum +without ties. + +35. CHILD CHRISTOPHER AND GOLDILIND THE FAIR. BY WILLIAM MORRIS. 2 vols. +16mo. Chaucer type. In black and red. Borders 15a and 15, and woodcut +title. 600 on paper at fifteen shillings, 12 on vellum at four guineas. +Dated July 25, issued Sept. 25, 1895. Published by William Morris. Bound +in half holland, with labels printed in the Golden type. + +The borders designed for this book were only used once again, in Hand +and Soul. The plot of the story was suggested by that of Havelok the +Dane, printed by the Early English Text Society. + +29b. THE POETICAL WORKS OF PERCY BYSSHE SHELLEY. VOLUME III. Edited by +F. S. Ellis. 8vo. Golden type. In black and red. 250 on paper at +twenty-five shillings, 6 on vellum at eight guineas. Dated August 21, +issued October 28, 1895. Published by William Morris. Bound in limp +vellum without ties. + +36. HAND AND SOUL. BY DANTE GABRIEL ROSSETTI. Reprinted from The Germ +for Messrs. Way & Williams, of Chicago. 16mo. Golden type. In black and +red. Borders 15a and 15, and woodcut title. 300 paper copies and 11 +vellum copies for America. 225 paper copies for sale in England at ten +shillings, and 10 on vellum at thirty shillings. Dated Oct. 24, issued +Dec. 12, 1895. Bound in stiff vellum without ties. + +This was the only 16mo book bound in vellum. The English and American +copies have a slightly different colophon. The shoulder-notes were added +by Mr. Morris. + +37. POEMS CHOSEN OUT OF THE WORKS OF ROBERT HERRICK. Edited by F. S. +Ellis, 8vo. Golden type. In black and red. Borders 4a and 4, and woodcut +title. 250 on paper at thirty shillings, 8 on vellum at eight guineas. +Dated Nov. 21, 1895, issued Feb. 6, 1896. Published by William Morris. +Bound in limp vellum. + +This book was first announced as in preparation in the list of Dec. 1, +1894, and as in the press in that of July 1, 1895. + +38. POEMS CHOSEN OUT OF THE WORKS OF SAMUEL TAYLOR COLERIDGE. Edited by +F. S. Ellis. 8vo. Golden type. In black and red. Borders 13a and 13. 300 +on paper at a guinea, 8 on vellum at five guineas. Dated Feb. 5, issued +April 12, 1896. Published by William Morris. Bound in limp vellum. + +This book contains thirteen poems. It was first announced as in +preparation in the list of Dec. 1, 1894, and as in the press in that of +Nov. 26, 1895. It is the last of the series to which Tennyson's Maud, +and the poems of Rossetti, Keats, Shelley, and Herrick belong. + +39. THE WELL AT THE WORLD'S END. BY WILLIAM MORRIS. Large 4to. Double +columns. Chaucer type. In black and red. Borders 16a, 16, 17a, 17, 18a, +18, 19a and 19, and 4 woodcuts designed by Sir E. Burne-Jones. 350 on +paper at five guineas, 8 on vellum at twenty guineas. Dated March 2, +issued June 4, 1896. Sold by William Morris. Bound in limp vellum. + +This book, delayed for various reasons, was longer on hand than any +other. It appears in no less than twelve lists, from that of Dec., 1892, +to that of Nov. 26, 1895, as 'in the press.' Trial pages, including one +in a single column, were ready as early as September, 1892, and the +printing began on December 16 of that year. The edition of The Well at +the World's End published by Longmans was then being printed from the +author's manuscript at the Chiswick Press, and the Kelmscott Press +edition was set up from the sheets of that edition, which, though not +issued until October, 1896, was finished in 1894. The eight borders and +the six different ornaments between the columns, appear here for the +first time, but are used again in The Water of the Wondrous Isles, with +the exception of two borders. + +40. THE WORKS OF GEOFFREY CHAUCER. Edited by F. S. Ellis. Folio. Chaucer +type, with headings to the longer poems in Troy type. In black and red. +Borders 20a to 26, woodcut title, and 87 woodcut illustrations designed +by Sir E. Burne-Jones. 425 on paper at twenty pounds, 13 on vellum at +120 guineas. Dated May 8, issued June 26, 1893. Published by William +Morris. Bound in half holland. + +The history of this book, which is by far the most important achievement +of the Kelmscott Press, is as follows. As far back as June 11, 1891, Mr. +Morris spoke of printing a Chaucer with a black-letter fount which he +hoped to design. Four months later, when most of the Troy type was +designed and cut, he expressed his intention to use it first on John +Ball, and then on a Chaucer and perhaps a Gesta Romanorum. By January 1, +1892, the Troy type was delivered, and early in that month two trial +pages, one from The Cook's Tale and one from Sir Thopas, the latter in +double columns, were got out. It then became evident that the type was +too large for a Chaucer, and Mr. Morris decided to have it re-cut in the +size known as pica. By the end of June he was thus in possession of the +type which in the list issued in December, 1892, he named the Chaucer +type. In July, 1892, another trial page, a passage from The Knight's +Tale in double columns of 58 lines, was got out, and found to be +satisfactory. The idea of the Chaucer as it now exists, with +illustrations by Sir Edward Burne-Jones, then took definite shape. + +In a proof of the first list, dated April, 1892, there is an +announcement of the book as in preparation, in black-letter, large +quarto, but this was struck out, and does not appear in the list as +printed in May, nor yet in the July list. In that for Dec., 1892, it is +announced for the first time as to be in Chaucer type 'with about sixty +designs by E. Burne-Jones.' The next list, dated March 9, 1893, states +that it will be a folio and that it is in the press, by which was meant +that a few pages were in type. In the list dated Aug. 1, 1893, the +probable price is given as twenty pounds. The next four lists contain no +fresh information, but on Aug. 17, 1894, nine days after the first sheet +was printed, a notice was sent to the trade that there would be 325 +copies at twenty pounds and about sixty woodcuts designed by Sir Edward +Burne-Jones. Three months later it was decided to increase the number of +illustrations to upwards of seventy, and to print another 100 copies of +the book. A circular letter was sent to subscribers on Nov. 14, stating +this and giving them an opportunity of cancelling their orders. Orders +were not withdrawn, the extra copies were immediately taken up, and the +list for Dec. 1, 1894, which is the first containing full particulars, +announces that all paper copies are sold. + +Mr. Morris began designing his first folio border on Feb. 1, 1893, but +was dissatisfied with the design and did not finish it. Three days later +he began the vine border for the first page, and finished it in about a +week, together with the initial word 'Whan,' the two lines of heading, +and the frame for the first picture, and Mr. Hooper engraved the whole +of these on one block. The first picture was engraved at about the same +time. A specimen of the first page (differing slightly from the same +page as it appears in the book) was shown at the Arts and Crafts +Exhibition in October and November, 1893, and was issued to a few +leading booksellers, but it was not until August 8, 1894, that the first +sheet was printed at 14, Upper Mall. On Jan. 8, 1895, another press was +started at 21, Upper Mall, and from that time two presses were almost +exclusively at work on the Chaucer. By Sept. 10 the last page of The +Romaunt of the Rose was printed. In the middle of Feb., 1896, Mr. +Morris began designing the title. It was finished on the 27th of the +same month and engraved by Mr. Hooper in March. On May 8, a year and +nine months after the printing of the first sheet, the book was +completed. On June 2 the first two copies were delivered to Sir Edward +Burne-Jones and Mr. Morris. Mr. Morris's copy is now at Exeter College, +Oxford, with other books printed at the Kelmscott Press. + +Besides the eighty-seven illustrations designed by Sir Edward +Burne-Jones, and engraved by W. H. Hooper, the Chaucer contains a +woodcut title, fourteen large borders, eighteen different frames round +the illustrations, and twenty-six large initial words designed for the +book by William Morris. Many of these were engraved by C. E. Keates, and +others by W. H. Hooper and W. Spielmeyer. + +In Feb., 1896, a notice was issued respecting special bindings, of which +Mr. Morris intended to design four. Two of these were to have been +executed under Mr. Cobden-Sanderson's direction at the Doves Bindery, +and two by Messrs. J. & J. Leighton. But the only design that he was +able to complete was for a full white pigskin binding, which has now +been carried out at the Doves Bindery on forty-eight copies, including +two on vellum. + +41. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME I. PROLOGUE: THE +WANDERERS. MARCH: ATALANTA'S RACE. THE MAN BORN TO BE KING. Medium 4to. +Golden type. In black and red. Borders 27a, 27, 28a, and 28, and woodcut +title. 225 on paper at thirty shillings, 6 on vellum at seven guineas. +Dated May 7, issued July 24, 1896. Published by William Morris. Bound in +limp vellum. + +This was the first book printed on the paper with the apple watermark. +The seven other volumes followed it at intervals of a few months. None +of the ten borders used in The Earthly Paradise appear in any other +book. The four different half-borders round the poems to the months are +also not used elsewhere. The first border was designed in June, 1895. + +42. LAUDES BEATAE MARIAE VIRGINIS. Latin poems taken from a Psalter +written in England about A. D. 1220. Edited by S. C. Cockerell. Large +4to. Troy type. In black, red, and blue. 250 on paper at ten shillings, +10 on vellum at two guineas. Dated July 7, issued August 7, 1896. +Published by William Morris. Bound in half holland. + +This was the first book printed at the Kelmscott Press in three colours. +The manuscript from which the poems were taken was one of the most +beautiful of the English books in Mr. Morris's possession, both as +regards writing and ornament. No author's name is given to the poems, +but after this book was issued the Rev. E. S. Dewick pointed out that +they had already been printed at Tegernsee in 1579, in a 16mo volume in +which they are ascribed to Stephen Langton. A note to this effect was +printed in the Chaucer type in Dec. 28, 1896, and distributed to the +subscribers. + +41a. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME II. APRIL: THE DOOM +OF KING ACRISIUS. THE PROUD KING. Medium 4to. Golden type. In black and +red. Borders 29a, 29, 28a, and 28. 225 on paper at thirty shillings, 6 +on vellum at seven guineas. Dated June 24, issued Sept. 17, 1896. +Published by William Morris. Bound in limp vellum. + +43. THE FLOURE AND THE LEAFE, AND THE BOKE OF CUPIDE, GOD OF LOVE, OR +THE CUCKOW AND THE NIGHTINGALE. Edited by F. S. Ellis. Medium 4to. Troy +type, with note and colophon in Chaucer type. In black and red. 300 on +paper at ten shillings, 10 on vellum at two guineas. Dated Aug. 21, +issued Nov. 2, 1896. Published at the Kelmscott Press. Bound in half +holland. + +Two of the initial words from the Chaucer are used in this book, one at +the beginning of each poem. These poems were formerly attributed to +Chaucer, but recent scholarship has proved that The Floure and the Leafe +is much later than Chaucer, and that The Cuckow and the Nightingale was +written by Sir Thomas Clanvowe about A. D. 1405-10. + +44. THE SHEPHEARDES CALENDER: CONTEYNING TWELVE AEGLOGUES, PROPORTIONABLE +TO THE TWELVE MONETHES. By Edmund Spenser. Edited by F. S. Ellis. +Medium 4to. Golden type. In black and red. With twelve full-page +illustrations by A. J. Gaskin. 225 on paper at a guinea, 6 on vellum at +three guineas. Dated Oct. 14, issued Nov. 26, 1896. Published at the +Kelmscott Press. Bound in half holland. + +The illustrations in this book were printed from process blocks by +Walker & Boutall. By an oversight the names of author, editor, and +artist were omitted from the colophon. + +41b. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME III. MAY: THE STORY +OF CUPID AND PSYCHE. THE WRITING ON THE IMAGE. JUNE: THE LOVE OF +ALCESTIS. THE LADY OF THE LAND. Medium 4to. Golden type. In black and +red. Borders 30a, 30, 27a, 27, 28a, 28, 29a, and 29. 225 on paper at +thirty shillings, 6 on vellum at seven guineas. Dated Aug. 24, issued +Dec. 5, 1896. Published at the Kelmscott Press. Bound in limp vellum. + +41c. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME IV. JULY: THE SON +OF CROESUS. THE WATCHING OF THE FALCON. AUGUST: PYGMALION AND THE +IMAGE. OGIER THE DANE. Medium 4to. Golden type. In black and red. +Borders 31a, 31, 29a, 29, 28a, 28, 30a, and 30. Dated Nov. 25, 1896, +issued Jan. 22, 1897. Published at the Kelmscott Press. Bound in limp +vellum. + +41d. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME V. SEPTEMBER: THE +DEATH OF PARIS. THE LAND EAST OF THE SUN AND WEST OF THE MOON. OCTOBER: +THE STORY OF ACONTIUS AND CYDIPPE. THE MAN WHO NEVER LAUGHED AGAIN. +Medium 4to. Golden type. In black and red. Borders 29a, 29, 27a, 27, +28a, 28, 31a, and 31. Finished Dec. 24, 1896, issued Mar. 9, 1897. +Published at the Kelmscott Press. Bound in limp vellum. + +41e. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VI. NOVEMBER: THE +STORY OF RHODOPE. THE LOVERS OF GUDRUN. Medium 4to. Golden type. In +black and red. Borders 27a, 27, 30a, and 30. Finished Feb. 18, issued +May 11, 1897. Published at the Kelmscott Press. Bound in limp vellum. + +41f. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VII. DECEMBER: THE +GOLDEN APPLES. THE FOSTERING OF ASLAUG. JANUARY: BELLEROPHON AT ARGOS. +THE RING GIVEN TO VENUS. Medium 4to. Golden type. In black and red. +Borders 29a, 29, 31a, 31, 30a, 30, 27a, and 27. Finished March 17, +issued July 29, 1897. Published at the Kelmscott Press. Bound in limp +vellum. + +45. THE WATER OF THE WONDROUS ISLES. BY WILLIAM MORRIS. Large 4to. +Chaucer type, in double columns, with a few lines in Troy type at the +end of each of the seven parts. In black and red. Borders 16a, 17a, 18a, +19, and 19a. 250 on paper at three guineas, 6 on vellum at twelve +guineas. Dated April 1, issued July 29, 1897. Published at the Kelmscott +Press. Bound in limp vellum. + +Unlike The Well at the World's End, with which it is mainly uniform, +this book has red shoulder-notes and no illustrations. Mr. Morris began +the story in verse on Feb. 4, 1895. A few days later he began it afresh +in alternate prose and verse; but he was again dissatisfied, and finally +began it a third time in prose alone, as it now stands. It was first +announced as in the press in the list of June 1, 1896, at which date the +early chapters were in type, although they were not printed until about +a month later. The designs for the initial words 'Whilom' and 'Empty' +were begun by William Morris shortly before his death, and were finished +by R. Catterson-Smith. Another edition was published by Longmans on Oct. +1, 1897. + +41g. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VIII. FEBRUARY: +BELLEROPHON IN LYCIA. THE HILL OF VENUS. EPILOGUE. L'ENVOI. Medium 4to. +Golden type. In black and red. Borders 28a, 28, 29a, and 29. Finished +June 10, issued Sept. 27, 1897. Published at the Kelmscott Press. Bound +in limp vellum. + +The colophon of this final volume of The Earthly Paradise contains the +following note: 'The borders in this edition of The Earthly Paradise +were designed by William Morris, except those on page 4 of volumes ii., +iii., and iv., afterwards repeated, which were designed to match the +opposite borders, under William Morris's direction, by R. +Catterson-Smith; who also finished the initial words 'Whilom' and +'Empty' for The Water of the Wondrous Isles. All the other letters, +borders, title-pages and ornaments used at the Kelmscott Press, except +the Greek type in Atalanta in Calydon, were designed by William Morris.' + +46. TWO TRIAL PAGES OF THE PROJECTED EDITION OF LORD BERNERS' +TRANSLATION OF FROISSART'S CHRONICLES. Folio. Chaucer type, with heading +in Troy type. In black and red. Border 32, containing the shields of +France, the Empire, and England and a half-border containing those of +Reginald Lord Cobham, Sir John Chandos, and Sir Walter Manny. 160 on +vellum at a guinea, none on paper. Dated September, issued October 7, +1897. Published at the Kelmscott Press. Not bound. + +It was the intention of Mr. Morris to make this edition of what was +since his college days almost his favourite book, a worthy companion to +the Chaucer. It was to have been in two volumes folio, with new cusped +initials and heraldic ornament throughout. Each volume was to have had a +large frontispiece designed by Sir E. Burne-Jones; the subject of the +first was to have been St. George, that of the second, Fame. A trial +page was set up in the Troy type soon after it came from the foundry, in +Jan., 1892. Early in 1893 trial pages were set up in the Chaucer type, +and in the list for March 9 of that year the book is erroneously stated +to be in the press. In the three following lists it is announced as in +preparation. In the list dated Dec. 1, 1893, and in the three next +lists, it is again announced as in the press, and the number to be +printed is given as 150. Meanwhile the printing of the Chaucer had been +begun, and as it was not feasible to carry on two folios at the same +time, the Froissart again comes under the heading 'in preparation' in +the lists from Dec. 1, 1894, to June 1, 1896. In the prospectus of the +Shepheardes Calender, dated Nov. 12, 1896, it is announced as abandoned. +At that time about thirty-four pages were in type, but no sheet had been +printed. Before the type was broken up, on Dec. 24, 1896, 32 copies of +sixteen of these pages were printed and given as a memento to personal +friends of the poet and printer whose death now made the completion of +the book impossible. This suggested the idea of printing two pages for +wider distribution. The half-border had been engraved in April, 1894, by +W. Spielmeyer, but the large border only existed as a drawing. It was +engraved with great skill and spirit by C. E. Keates, and the two pages +were printed by Stephen Mowlem, with the help of an apprentice, in a +manner worthy of the designs. + +47. SIRE DEGREVAUNT. Edited by F. S. Ellis after the edition printed by +J. O. Halliwell. 8vo. Chaucer type. In black and red. Borders 1a and 1, +and a woodcut designed by Sir Edward Burne-Jones. 350 on paper at +fifteen shillings, 8 on vellum at four guineas. Dated Mar. 14, 1896, +issued Nov. 12, 1897. Published at the Kelmscott Press. Bound in half +holland. + +This book, subjects from which were painted by Sir Edward Burne-Jones on +the walls of The Red House, Upton, Bexley Heath, many years ago, was +always a favourite with Mr. Morris. The frontispiece was not printed +until October, 1897, eighteen months after the text was finished. + +48. SYR YSAMBRACE. Edited by F. S. Ellis after the edition printed by J. +O. Halliwell from the MS. in the Library of Lincoln Cathedral, with some +corrections. 8vo. Chaucer type. In black and red. Borders 4a and 4, and +a woodcut designed by Sir Edward Burne-Jones. 350 on paper at twelve +shillings, 8 on vellum at four guineas. Dated July 14, issued Nov. 11, +1897. Published at the Kelmscott Press. Bound in half holland. + +This is the third and last of the reprints from the Camden Society's +volume of Thornton Romances. The text was all set up and partly printed +by June, 1896, at which time it was intended to include 'Sir Eglamour' +in the same volume. + +49. SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY. Being thirty-five +reproductions from books that were in the library of the late William +Morris. Edited, with a list of the principal woodcut books in that +library, by S. C. Cockerell. Large 4to. Golden type. In red and black. +225 on paper at thirty shillings, 8 on vellum at five guineas. Dated +Dec. 15, 1897, issued January 6, 1898. Published at the Kelmscott Press. +Bound in half holland. + +Of these thirty-five reproductions twenty-nine were all that were done +of a series chosen by Mr. Morris to illustrate a catalogue of his +library, and the other six were prepared by him for an article in the +4th number of Bibliographica, part of which is reprinted as an +introduction to the book. The process blocks (with one exception) were +made by Walker & Boutall, and are of the same size as the original cuts. + +50. THE STORY OF SIGURD THE VOLSUNG AND THE FALL OF THE NIBLUNGS. BY +WILLIAM MORRIS. Small folio. Chaucer type, with title and headings to +the four books in Troy type. In black and red. Borders 33a and 33, and +two illustrations designed by Sir Edward Burne-Jones. 160 on paper at +six guineas, 6 on vellum at twenty guineas. Dated January 19, issued +February 25, 1898. Published at the Kelmscott Press. Bound in limp +vellum. + +The two borders used in this book were almost the last that Mr. Morris +designed. They were intended for an edition of The Hill of Venus, which +was to have been written in prose by him and illustrated by Sir E. +Burne-Jones. The foliage was suggested by the ornament in two Psalters +of the last half of the thirteenth century in the library at Kelmscott +House. The initial A at the beginning of the 3rd book was designed in +March, 1893, for the Froissart, and does not appear elsewhere. + +An edition of Sigurd the Volsung, which Mr. Morris justly considered his +masterpiece, was contemplated early in the history of the Kelmscott +Press. An announcement appears in a proof of the first list, dated +April, 1892, but it was excluded from the list as issued in May. It did +not reappear until the list of November 26, 1895, in which, the Chaucer +being near its completion, Sigurd comes under the heading 'in +preparation,' as a folio in Troy type, 'with about twenty-five +illustrations by Sir E. Burne-Jones.' In the list of June 1, 1896, it is +finally announced as 'in the press,' the number of illustrations is +increased to forty, and other particulars are given. Four borders had +then been designed for it, two of which were used on pages 470 and 471 +of the Chaucer. The other two have not been used, though one of them has +been engraved. Two pages only were in type, thirty-two copies of which +were struck off on Jan. 11, 1897, and given to friends, with the sixteen +pages of Froissart mentioned above. + +51. THE SUNDERING FLOOD WRITTEN BY WILLIAM MORRIS. Overseen for the +press by May Morris. 8vo. Chaucer type. In black and red. Border 10, and +a map. 300 on paper at two guineas. Dated Nov. 15, 1897, issued Feb. 25, +1898. Published at the Kelmscott Press. Bound in half holland. + +This was the last romance by William Morris. He began to write it on +Dec. 21, 1895, and dictated the final words on Sept. 8, 1896. The map +pasted into the cover was drawn by H. Cribb for Walker & Boutall, who +prepared the block. In the edition that Longmans are about to issue the +bands of robbers called in the Kelmscott edition Red and Black Skinners +appear correctly as Red and Black Skimmers. The name was probably +suggested by that of the pirates called 'escumours of the sea' on page +154 of Godefrey of Boloyne. + +52. LOVE IS ENOUGH, OR THE FREEING OF PHARAMOND: A MORALITY. WRITTEN BY +WILLIAM MORRIS. Large 4to. Troy type, with stage directions in Chaucer +type. In black, red, and blue. Borders 6a and 7, and two illustrations +designed by Sir Edward Burne-Jones. 300 on paper at two guineas, 8 on +vellum at ten guineas. Dated Dec. 11, 1897, issued Mar. 24, 1898. +Published at the Kelmscott Press. Bound in limp vellum. + +This was the second book printed in three colours at the Kelmscott +Press. As explained in the colophon, the final picture was not designed +for this edition of Love is Enough, but for the projected edition +referred to above, on page 5. + +53. A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT +PRESS, TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS BY S. C. +COCKERELL, AND AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT. Octavo. +Golden type, with five pages in the Troy and Chaucer types. In black and +red. Borders 4a and 4, and a woodcut designed by Sir E. Burne-Jones. 525 +on paper at ten shillings, 12 on vellum at two guineas. Dated March 1, +issued March 24, 1898. Published at the Kelmscott Press. Bound in half +holland. + +The frontispiece to this book was engraved by William Morris for the +projected edition of The Earthly Paradise described on page 5. This +block and the blocks for the three ornaments on page 7 are not included +among those mentioned on page 12 as having been sent to the British +Museum. + + +VARIOUS LISTS, LEAFLETS AND ANNOUNCEMENTS PRINTED AT THE KELMSCOTT +PRESS. + +Eighteen lists of the books printed or in preparation at the +Kelmscott Press were issued to booksellers and subscribers. The dates of +these are May, July, and Dec., 1892; March 9, May 20, May 27, Aug. 1, and +Dec. 1, 1893; March 31, April 21, July 2, Oct. 1 (a leaflet), and Dec. +1, 1894; July 1, and Nov. 26, 1895; June 1, 1896; Feb. 16, and July 28, +1897. The three lists for 1892, and some copies of that for Mar. 9, +1893, were printed on Whatman paper, the last of the stock bought for +the first edition of The Roots of the Mountains (see p. 6). Besides +these, twenty-nine announcements, relating mainly to individual books, +were issued; and eight leaflets, containing extracts from the lists, +were printed for distribution by Messrs. Morris & Co. + +The following items, as having a more permanent interest than most of +these announcements, merit a full description: + +1. Two forms of invitation to the annual gatherings of The Hammersmith +Socialist Society on Jan. 30, 1892, and Feb. 11, 1893. Golden type. + +2. A four-page leaflet for the Ancoats Brotherhood, with the +frontispiece from the Kelmscott Press edition of A Dream of John Ball on +the first page. March, 1894. Golden type. 2500 copies. + +3. An address to Sir Lowthian Bell, Bart., from his employes, dated 30th +June, 1894. 8 pages. Golden type. 250 on paper and 2 on vellum. + +4. A leaflet, with fly-leaf, headed An American Memorial to Keats, +together with a form of invitation to the unveiling of his bust in +Hampstead Parish Church on July 16, 1894. Golden type. 750 copies. + +5. A slip giving the text of a memorial tablet to Dr. Thomas Sadler, for +distribution at the unveiling of it in Rosslyn Hill Chapel, Hampstead. +Nov., 1894. Golden type. 450 copies. + +6. Scholarship certificates for the Technical Education Board of the +London County Council, printed in the oblong borders designed for the +pictures in Chaucer's Works. One of these borders was not used in the +book, and this is its only appearance. The first certificate was printed +in Nov., 1894, and was followed in Jan., 1896, by eleven certificates; +in Jan., 1897, by six certificates; and in Feb., 1898, by eleven +certificates, all differently worded. Golden type. The numbers varied +from 12 to 2500 copies. + +7. Programmes of the Kelmscott Press annual wayzgoose for the years +1892-5. These were printed without supervision from Mr. Morris. + +8. Specimen showing the three types used at the Press for insertion in +the first edition of Strange's Alphabets. March, 1895. 2000 ordinary +copies and 60 on large paper. + +9. Card for Associates of the Deaconess Institution for the Diocese of +Rochester. One side of this card is printed in Chaucer type; on the +other there is a prayer in the Troy type enclosed in a small border +which was not used elsewhere. It was designed for the illustrations of a +projected edition of The House of the Wolfings. April, 1897. 250 +copies. + + + A LIST OF THE BOOKS DESCRIBED ABOVE. page + + 1 The Glittering Plain (without illustrations) 15 + 2 Poems by the Way 15 + 3 Blunt's Love Lyrics and Songs of Proteus 16 + 4 Ruskin's Nature of Gothic 16 + 5 The Defence of Guenevere 16 + 6 A Dream of John Ball 17 + 7 The Golden Legend 17 + 8 The Recuyell of the Historyes of Troye 18 + 9 Mackail's Biblia Innocentium 19 + 10 Reynard the Foxe 19 + 11 Shakespeare's Poems and Sonnets 20 + 12 News from Nowhere 20 + 13 The Order of Chivalry 20 + 14 Cavendish's Life of Wolsey 21 + 15 Godefrey of Boloyne 21 + 16 More's Utopia 22 + 17 Tennyson's Maud 22 + 18 Gothic Architecture, by William Morris 22 + 19 Sidonia the Sorceress 23 + 20 Rossetti's Ballads and Narrative Poems 23 + 20a " Sonnets and Lyrical Poems 24 + 21 King Florus 23 + 22 The Glittering Plain (illustrated) 23 + 23 Amis and Amile 24 + 24 The Poems of Keats 24 + 25 Swinburne's Atalanta in Calydon 25 + 26 The Emperor Coustans 25 + 27 The Wood beyond the World 25 + 28 The Book of Wisdom and Lies 25 + 29 Shelley's Poems, Vol. I. 26 + 29a " " II. 28 + 29b " " III. 28 + 30 Psalmi Penitentiales 26 + 31 Savonarola, De contemptu Mundi 26 + 32 Beowulf 27 + 33 Syr Perecyvelle 27 + 34 The Life and Death of Jason 27 + 35 Child Christopher 28 + 36 Rossetti's Hand and Soul 28 + 37 Herrick's Poems 29 + 38 Coleridge's Poems 29 + 39 The Well at the World's End 29 + 40 Chaucer's Works 30 + 41 The Earthly Paradise, Vol. I. 32 + 41a " " " II. 33 + 41b " " " III. 34 + 41c " " " IV. 34 + 41d " " " V. 34 + 41e " " " VI. 34 + 41f " " " VII. 35 + 41g " " " VIII. 35 + 42 Laudes Beatae Mariae Virginis 33 + 43 The Floure and the Leafe 33 + 44 Spenser's Shepheardes Calender 33 + 45 The Water of the Wondrous Isles 35 + 46 Trial pages of Froissart 36 + 47 Sire Degrevaunt 37 + 48 Syr Ysambrace 37 + 49 Some German Woodcuts 38 + 50 Sigurd the Volsung 38 + 51 The Sundering Flood 39 + 52 Love is Enough 39 + 53 A Note by William Morris 40 + + LEAFLETS, &c. + + Various lists and announcements relating to the + Kelmscott Press 40 + 1. Hammersmith Socialist Society, invitations 40 + 2. Ancoats Brotherhood leaflet 41 + 3. Address to Sir Lowthian Bell 41 + 4. An American Memorial to Keats 41 + 5. Memorial to Dr. Thomas Sadler 41 + 6. L. C. C. Scholarship Certificates 41 + 7. Wayzgoose Programmes 41 + 8. Specimen in Strange's Alphabets 41 + 9. Card for Associates of the Deaconess Institution + for the Diocese of Rochester 41 + +Other works announced in the lists as in preparation, but afterwards +abandoned, were The Tragedies, Histories, and Comedies of William +Shakespeare; Caxton's Vitas Patrum; The Poems of Theodore Watts-Dunton; +and A Catalogue of the Collection of Woodcut Books, Early Printed Books, +and Manuscripts at Kelmscott House. The text of the Shakespeare was to +have been prepared by Dr. Furnivall. The original intention, as first +set out in the list of May 20, 1893, was to print it in three vols. +folio. A trial page from Lady Macbeth, printed at this time, is in +existence. The same information is repeated until the list of July 2, +1895, in which the book is announced as to be a 'small 4to (special +size),' i. e., the size afterwards adopted for The Earthly Paradise. It +was not, however, begun, nor was the volume of Mr. Watts-Dunton's poems. +Of the Vitas Patrum, which was to have been uniform with The Golden +Legend, a prospectus and specimen page were issued in March, 1894, but +the number of subscribers did not justify its going beyond this stage. +Two trial pages of the Catalogue were set up; some of the material +prepared for it has now appeared in Some German Woodcuts of the +Fifteenth Century. In addition to these books, The Hill of Venus, as +stated on p. 38, was in preparation. Among works that Mr. Morris had +some thought of printing may also be mentioned The Bible, Gesta +Romanorum, Malory's Morte Darthur, The High History of the San Graal +(translated by Dr. Sebastian Evans), Piers Ploughman, Huon of Bordeaux, +Caxton's Jason, a Latin Psalter, The Prymer or Lay Folk's Prayer-Book, +Some Mediaeval English Songs and Music, The Pilgrim's Progress, and a +Book of Romantic Ballads. He was engaged on the selection of the +Ballads, which he spoke of as the finest poems in our language, during +his last illness. + + + + +THE IDEAL BOOK: AN ADDRESS BY WILLIAM MORRIS, DELIVERED BEFORE THE +BIBLIOGRAPHICAL SOCIETY OF LONDON, MDCCCXCIII. + + +By the Ideal Book, I suppose we are to understand a book not limited by +commercial exigencies of price: we can do what we like with it, +according to what its nature, as a book, demands of art. But we may +conclude, I think, that its matter will limit us somewhat; a work on +differential calculus, a medical work, a dictionary, a collection of a +statesman's speeches, or a treatise on manures, such books, though they +might be handsomely and well printed, would scarcely receive ornament +with the same exuberance as a volume of lyrical poems, or a standard +classic, or such like. A work on Art, I think, bears less of ornament +than any other kind of book ("non bis in idem" is a good motto); again, +a book that must have illustrations, more or less utilitarian, should, I +think, have no actual ornament at all, because the ornament and the +illustration must almost certainly fight. + +Still whatever the subject matter of the book may be, and however bare +it may be of decoration, it can still be a work of art, if the type be +good and attention be paid to its general arrangement. All here present, +I should suppose, will agree in thinking an opening of Schoeffer's +1462 Bible beautiful, even when it has neither been illuminated nor +rubricated; the same may be said of Schussler, or Jenson, or, in short, +of any of the good old printers; their books, without any further +ornament than they derived from the design and arrangement of the +letters, were definite works of art. In fact a book, printed or written, +has a tendency to be a beautiful object, and that we of this age should +generally produce ugly books, shows, I fear, something like malice +prepense--a determination to put our eyes in our pockets wherever we +can. + +Well, I lay it down, first, that a book quite unornamented can look +actually and positively beautiful, and not merely un-ugly, if it be, so +to say, architecturally good, which, by the by, need not add much to its +price, since it costs no more to pick up pretty stamps than ugly ones, +and the taste and forethought that goes to the proper setting, position, +and so on, will soon grow into a habit, if cultivated, and will not +take up much of the master printer's time when taken with his other +necessary business. + +Now, then, let us see what this architectural arrangement claims of us. +First, the pages must be clear and easy to read; which they can hardly +be unless, Secondly, the type is well designed; and Thirdly, whether the +margins be small or big, they must be in due proportion to the page of +the letter. + +For clearness of reading the things necessary to be heeded are, first, +that the letters should be properly put on their bodies, and, I think, +especially that there should be small whites between them; it is +curious, but to me certain, that the irregularity of some early type, +notably the roman letter of the early printers of Rome, which is, of all +roman type, the rudest, does not tend toward illegibility: what does so +is the lateral compression of the letter, which necessarily involves the +over thinning out of its shape. Of course I do not mean to say that the +above-mentioned irregularity is other than a fault to be corrected. One +thing should never be done in ideal printing, the spacing out of +letters--that is, putting an extra white between them; except in such +hurried and unimportant work as newspaper printing, it is inexcusable. + +This leads to the second matter on this head, the lateral spacing of +words (the whites between them); to make a beautiful page great +attention should be paid to this, which, I fear, is not often done. No +more white should be used between the words than just clearly cuts them +off from one another; if the whites are bigger than this it both tends +to illegibility and makes the page ugly. I remember once buying a +handsome fifteenth-century Venetian book, and I could not tell at first +why some of its pages were so worrying to read, and so commonplace and +vulgar to look at, for there was no fault to find with the type. But +presently it was accounted for by the spacing: for the said pages were +spaced like a modern book, i. e., the black and white nearly equal. +Next, if you want a legible book, the white should be clear and the +black black. When that excellent journal, the Westminster Gazette, +first came out, there was a discussion on the advantages of its green +paper, in which a good deal of nonsense was talked. My friend, Mr. +Jacobi, being a practical printer, set these wise men right, if they +noticed his letter, as I fear they did not, by pointing out that what +they had done was to lower the tone (not the moral tone) of the paper, +and that, therefore, in order to make it as legible as ordinary black +and white, they should make their black blacker--which of course they do +not do. You may depend upon it that a gray page is very trying to the +eyes. + +As above said, legibility depends also much on the design of the letter: +and again I take up the cudgels against compressed type, and that +especially in roman letter: the full-sized lower-case letters "a," "b," +"d," and "c," should be designed on something like a square to get good +results: otherwise one may fairly say that there is no room for the +design; furthermore, each letter should have its due characteristic +drawing, the thickening out for a "b," "e," "g," should not be of the +same kind as that for a "d"; a "u" should not merely be an "n" turned +upside down; the dot of the "i" should not be a circle drawn with +compasses; but a delicately drawn diamond, and so on. To be short, the +letters should be designed by an artist, and not an engineer. As to the +forms of letters in England (I mean Great Britain), there has been much +progress within the last forty years. The sweltering hideousness of the +Bodoni letter, the most illegible type that was ever cut, with its +preposterous thicks and thins, has been mostly relegated to works that +do not profess anything but the baldest utilitarianism (though why even +utilitarianism should use illegible types, I fail to see), and Caslon's +letter and the somewhat wiry, but in its way, elegant old-faced type cut +in our own days, has largely taken its place. It is rather unlucky, +however, that a somewhat low standard of excellence has been accepted +for the design of modern roman type at its best, the comparatively poor +and wiry letter of Plantin and the Elzevirs having served for the model, +rather than the generous and logical designs of the fifteenth-century +Venetian printers, at the head of whom stands Nicholas Jenson; when it +is so obvious that this is the best and clearest roman type yet struck, +it seems a pity that we should make our starting-point for a possible +new departure at any period worse than the best. If any of you doubt the +superiority of this type over that of the seventeenth century, the study +of a specimen enlarged about five times will convince him, I should +think. I must admit, however, that a commercial consideration comes in +here, to wit, that the Jenson letters take up more room than the +imitations of the seventeenth century; and that touches on another +commercial difficulty, to wit, that you cannot have a book either +handsome or clear to read which is printed in small characters. For my +part, except where books smaller than an ordinary octavo are wanted, I +would fight against anything smaller than pica; but at any rate small +pica seems to me the smallest type that should be used in the body of +any book. I might suggest to printers that if they want to get more in +they can reduce the size of the leads, or leave them out altogether. Of +course this is more desirable in some types than in others; Caslon's +letter, e. g., which has long ascenders and descenders, never needs +leading, except for special purposes. + +I have hitherto had a fine and generous roman type in my mind, but after +all a certain amount of variety is desirable, and when you have gotten +your roman letter as good as the best that has been, I do not think you +will find much scope for development of it; I would therefore put in a +word for some form of gothic letter for use in our improved printed +book. This may startle some of you, but you must remember that except +for a very remarkable type used very seldom by Berthelette (I have only +seen two books in this type. Bartholomew, the Englishman, and the Gower, +of 1532), English black-letter, since the days of Wynkin de Worde, has +been always the letter which was introduced from Holland about that time +(I except again, of course, the modern imitations of Caxton). Now this, +though a handsome and stately letter, is not very easy reading; it is +too much compressed, too spiky, and so to say, too prepensely gothic. +But there are many types which are of a transitional character and of +all degrees of transition, from those which do little more than take in +just a little of the crisp floweriness of the gothic, like some of the +Mentelin or quasi-Mentelin ones (which, indeed, are models of beautiful +simplicity), or say like the letter of the Ulm Ptolemy, of which it is +difficult to say whether it is gothic or roman, to the splendid Mainz +type, of which, I suppose, the finest specimen is the Schoeffer Bible +of 1462, which is almost wholly gothic. This gives us a wide field for +variety, I think, so I make the suggestion to you, and leave this part +of the subject with two remarks: first, that a good deal of the +difficulty of reading gothic books is caused by the numerous +contractions in them, which were a survival of the practice of the +scribes; and in a lesser degree by the over-abundance of tied letters, +both of which drawbacks, I take it for granted, would be absent in +modern types founded on these semi-gothic letters. And, secondly, that +in my opinion the capitals are the strong side of roman and the +lower-case of gothic letter, which is but natural, since the roman was +originally an alphabet of capitals, and the lower case a gradual +deduction from them. + +We now come to the position of the page of print on the paper, which is +a most important point, and one that till quite lately has been wholly +misunderstood by modern, and seldom done wrong by ancient printers, or +indeed by producers of books of any kind. On this head I must begin by +reminding you that we only occasionally see one page of a book at a +time; the two pages making an opening are really the unit of the book, +and this was thoroughly understood by the old book producers. I think +you will seldom find a book produced before the eighteenth century, and +which has not been cut down by that enemy of books (and of the human +race), the binder, in which this rule is not adhered to: that the binder +edge (that which is bound in) must be the smallest member of the +margins, the head margin must be larger than this, the fore larger +still, and the tail largest of all. I assert that, to the eye of any man +who knows what proportion is, this looks satisfactory, and that no other +does so look. But the modern printer, as a rule, dumps down the page in +what he calls the middle of the paper, which is often not even really +the middle, as he measures his page from the head line, if he has one, +though it is not really a part of the page, but a spray of type only +faintly staining the head of the paper. Now I go so far as to say that +any book in which the page is properly put on the paper is tolerable to +look at, however poor the type may be (always so long as there is no +"ornament" which may spoil the whole thing), whereas any book in which +the page is wrongly set on the paper is intolerable to look at, however +good the type and ornaments may be. I have got on my shelves now a +Jenson's Latin Pliny, which, in spite of its beautiful type and handsome +painted ornaments, I dare scarcely look at, because the binder +(adjectives fail me here) has chopped off two-thirds of the tail margin: +such stupidities are like a man with his coat buttoned up behind, or a +lady with her bonnet on hind-side foremost. + +Before I finish I should like to say a word concerning large-paper +copies. I am clean against them, though I have sinned a good deal in +that way myself, but that was in the days of ignorance, and I petition +for pardon on that ground only. If you want to publish a handsome +edition of a book, as well as a cheap one, do so, but let them be two +books, and if you (or the public) cannot afford this, spend your +ingenuity and your money in making the cheap book as sightly as you can. +Your making a large-paper copy out of the small one lands you in a +dilemma even if you re-impose the pages for the large paper, which is +not often done, I think. If the margins are right for the smaller book +they must be wrong for the larger, and you have to offer the public the +worse book at the bigger price; if they are right for the large paper +they are wrong for the small, and thus spoil it, as we have seen above +that they must do; and that seems scarcely fair to the general public +(from the point of view of artistic morality) who might have had a book +that was sightly, though not high-priced. + +As to the paper of our ideal book, we are at a great disadvantage +compared with past times. Up to the end of the fifteenth, or indeed, the +first quarter of the sixteenth centuries, no bad paper was made, and the +greater part was very good indeed. At present there is very little good +paper made and most of it is very bad. Our ideal book must, I think, be +printed on hand-made paper as good as it can be made; penury here will +make a poor book of it. Yet if machine-made paper must be used, it +should not profess fineness or luxury, but should show itself for what +it is: for my part I decidedly prefer the cheaper papers that are used +for the journals, so far as appearance is concerned, to the thick, +smooth, sham-fine papers on which respectable books are printed, and the +worst of these are those which imitate the structure of hand-made +papers. + +But, granted your hand-made paper, there is something to be said about +the substance. A small book should not be printed on thick paper, +however good it may be. You want a book to turn over easily, and to lie +quiet while you are reading it, which is impossible, unless you keep +heavy paper for big books. + +And, by the way, I wish to make a protest against the superstition that +only small books are comfortable to read; some small books are tolerably +comfortable, but the best of them are not so comfortable as a fairly big +folio, the size, say, of an uncut Polyphilus or somewhat bigger. The +fact is, a small book seldom does lie quiet, and you have to cramp your +hand by holding it or else put it on the table with a paraphernalia of +matters to keep it down, a tablespoon on one side, a knife on another, +and so on, which things always tumble off at a critical moment, and +fidget you out of the repose which is absolutely necessary to reading; +whereas, a big folio lies quiet and majestic on the table, waiting +kindly till you please to come to it, with its leaves flat and +peaceful, giving you no trouble of body, so that your mind is free to +enjoy the literature which its beauty enshrines. + +So far then, I have been speaking of books whose only ornament is the +necessary and essential beauty which arises out of the fitness of a +piece of craftsmanship for the use which it is made for. But if we get +as far as that, no doubt from such craftsmanship definite ornament will +arise, and will be used, sometimes with wise forbearance, sometimes with +prodigality equally wise. Meantime, if we really feel impelled to +ornament our books, no doubt we ought to try what we can do; but in this +attempt we must remember one thing, that if we think the ornament is +ornamentally a part of the book merely because it is printed with it, +and bound up with it, we shall be much mistaken. The ornament must form +as much a part of the book as the type itself, or it will miss its mark, +and in order to succeed, and to be ornament, it must submit to certain +limitations, and become architectural; a mere black and white picture, +however interesting it may be as a picture, may be far from an ornament +in a book; while on the other hand a book ornamented with pictures that +are suitable for that, and that alone, may become a work of art second +to none, save a fine building duly decorated, or a fine piece of +literature. + +These two latter things are, indeed, the one absolutely necessary gift +that we should claim of art. The picture-book is not, perhaps, +absolutely necessary to man's life, but it gives us such endless +pleasure, and is so intimately connected with the other absolutely +necessary art of imaginative literature that it must remain one of the +very worthiest things toward the production of which reasonable men +should strive. + + + + +AN ESSAY ON PRINTING, BY WILLIAM MORRIS AND EMERY WALKER, FROM ARTS AND +CRAFTS ESSAYS BY MEMBERS OF THE ARTS AND CRAFTS EXHIBITION SOCIETY. + + +Printing, in the only sense with which we are at present concerned, +differs from most if not from all the arts and crafts represented in the +exhibition in being comparatively modern. For although the Chinese took +impressions from wood blocks engraved in relief for centuries before the +wood-cutters of the Netherlands, by a similar process, produced the +block books, which were the immediate predecessors of the true printed +book, the invention of movable metal letters in the middle of the +fifteenth century may justly be considered as the invention of the art +of printing. And it is worth mention in passing that, as an example of +fine typography, the earliest book printed with movable types, the +Gutenberg, or "forty-two line Bible" of about 1455, has never been +surpassed. + +Printing, then, for our purpose, may be considered as the art of making +books by means of movable types. Now, as all books not primarily +intended as picture-books consist principally of types composed to form +letterpress, it is of the first importance that the letter used should +be fine in form; especially as no more time is occupied, or cost +incurred, in casting, setting, or printing beautiful letters than in the +same operations with ugly ones. And it was a matter of course that in +the Middle Ages, when the craftsmen took care that beautiful form should +always be a part of their productions whatever they were, the forms of +printed letters should be beautiful, and that their arrangement on the +page should be reasonable and a help to the shapeliness of the letters +themselves. The Middle Ages brought caligraphy to perfection, and it was +natural therefore that the forms of printed letters should follow more +or less closely those of the written character, and they followed them +very closely. The first books were printed in black letter, i. e., the +letter which was a Gothic development of the ancient Roman character, +and which developed more completely and satisfactorily on the side of +the "lower-case" than the capital letters; the "lower-case" being in +fact invented in the early Middle Ages. The earliest book printed with +movable type, the aforesaid Gutenberg Bible, is printed in letters +which are an exact imitation of the more formal ecclesiastical writing +which obtained at that time; this has since been called "missal type," +and was in fact the kind of letter used in the many splendid missals, +psalters, etc., produced by printing in the fifteenth century. But the +first Bible actually dated (which also was printed at Mainz by Peter +Schoeffer in the year 1462) imitates a much freer hand, simpler, +rounder, and less spiky, and therefore far pleasanter and easier to +read. On the whole the type of this book may be considered the +ne-plus-ultra of Gothic type, especially as regards the lower-case +letters; and type very similar was used during the next fifteen or +twenty years not only by Schoeffer, but by printers in Strasburg, +Basle, Paris, Lubeck, and other cities. But though on the whole, except +in Italy, Gothic letter was most often used, a very few years saw the +birth of Roman character not only in Italy, but in Germany and France. +In 1465 Sweynheim and Pannartz began printing in the monastery of +Subiaco near Rome, and used an exceedingly beautiful type, which is +indeed to look at a transition between Gothic and Roman, but which must +certainly have come from the study of the twelfth or even the eleventh +century MSS. They printed very few books in this type, three only; but +in their very first books in Rome, beginning with the year 1468, they +discarded this for a more completely Roman and far less beautiful +letter. But about the same year Mentelin at Strasburg began to print in +a type which is distinctly Roman; and the next year Gunther Zeiner at +Augsburg followed suit; while in 1470 at Paris Udalric Gering and his +associates turned out the first books printed in France, also in Roman +character. The Roman type of all these printers is similar in character, +and is very simple and legible, and unaffectedly designed for use; but +it is by no means without beauty. It must be said that it is in no way +like the transition type of Subiaco, and though more Roman than that, +yet scarcely more like the complete Roman type of the earliest printers +of Rome. + +A further development of the Roman letter took place at Venice. John of +Spires and his brother Vindelin, followed by Nicholas Jenson, began to +print in that city, 1469, 1470; their type is on the lines of the German +and French rather than of the Roman printers. Of Jenson it must be said +that he carried the development of Roman type as far as it can go: his +letter is admirably clear and regular, but at least as beautiful as any +other Roman type. After his death in the "fourteen eighties," or at +least by 1490, printing in Venice had declined very much; and though the +famous family of Aldus restored its technical excellence, rejecting +battered letters, and paying great attention to the "press work" or +actual process of printing, yet their type is artistically on a much +lower level than Jenson's, and in fact they must be considered to have +ended the age of fine printing in Italy. Jenson, however, had many +contemporaries who used beautiful type, some of which--as, e. g., that +of Jacobus Rubeus or Jacques le Rouge--is scarcely distinguishable from +his. It was these great Venetian printers, together with their brethren +of Rome, Milan, Parma, and one or two other cities, who produced the +splendid editions of the Classics, which are one of the great glories of +the printer's art, and are worthy representatives of the eager +enthusiasm for the revived learning of that epoch. By far the greater +part of these Italian printers, it should be mentioned, were Germans or +Frenchmen, working under the influence of Italian opinion and aims. It +must be understood that through the whole of the fifteenth and the first +quarter of the sixteenth centuries the Roman letter was used side by +side with the Gothic. Even in Italy most of the theological and law books +were printed in Gothic letter, which was generally more formally Gothic +than the printing of the German workmen, many of whose types, indeed, +like that of the Subiaco works, are of a transitional character. This +was notably the case with the early works printed at Ulm, and in a +somewhat lesser degree at Augsburg. In fact Gunther Zeiner's first type +(afterwards used by Schussler) is remarkably like the type of the +before-mentioned Subiaco books. + +In the Low Countries and Cologne, which were very fertile of printed +books, Gothic was the favourite. The characteristic Dutch type, as +represented by the excellent printer Gerard Leew, is very pronounced and +uncompromising Gothic. This type was introduced into England by Wynkyn +de Worde, Caxton's successor, and was used there with very little +variation all through the sixteenth and seventeenth centuries, and +indeed into the eighteenth. Most of Caxton's own types are of an earlier +character, though they also much resemble Flemish or Cologne letter. +After the end of the fifteenth century the degradation of printing, +especially in Germany and Italy, went on apace; and by the end of the +sixteenth century there was no really beautiful printing done: the best, +mostly French or Low-Country, was neat and clear, but without any +distinction; the worst, which perhaps was the English, was a terrible +falling-off from the work of the earlier presses; and things got worse +and worse through the whole of the seventeenth century, so that in the +eighteenth printing was very miserably performed. In England about this +time, an attempt was made (notably by Caslon, who started business in +London as a type-founder in 1720) to improve the letter in form. +Caslon's type is clear and neat, and fairly well designed; he seems to +have taken the letter of the Elzevirs of the seventeenth century for his +model: type cast from his matrices is still in everyday use. + +In spite, however, of his praiseworthy efforts, printing had still one +last degradation to undergo. The seventeenth century founts were bad +rather negatively than positively. But for the beauty of the earlier +work they might have seemed tolerable. It was reserved for the founders +of the later eighteenth century to produce letters which are positively +ugly, and which, it may be added, are dazzling and unpleasant to the eye +owing to the clumsy thickening and vulgar thinning of the lines: for the +seventeenth-century letters are at least pure and simple in line. The +Italian, Bodoni, and the Frenchman, Didot, were the leaders in this +luckless change, though our own Baskerville, who was at work some years +before them, went much on the same lines; but his letters, though +uninteresting and poor, are not nearly so gross and vulgar as those of +either the Italian or the Frenchman. + +With this change the art of printing touched bottom, so far as fine +printing is concerned, though paper did not get to its worst till about +1840. The Chiswick press in 1844 revived Caslon's founts, printing for +Messrs. Longman the Diary of Lady Willoughby. This experiment was so far +successful that about 1850 Messrs. Miller and Richard of Edinburgh were +induced to cut punches for a series of "old style" letters. These and +similar founts, cast by the above firm and others, have now come into +general use and are obviously a great improvement on the ordinary +"modern style" in use in England, which is in fact the Bodoni type a +little reduced in ugliness. The design of the letters of this modern +"old style" leaves a good deal to be desired, and the whole effect is a +little too gray, owing to the thinness of the letters. It must be +remembered, however, that most modern printing is done by machinery on +soft paper, and not by the hand press, and these somewhat wiry letters +are suitable for the machine process, which would not do justice to +letters of more generous design. + +It is discouraging to note that the improvement of the last fifty years +is almost wholly confined to Great Britain. Here and there a book is +printed in France or Germany with some pretension to good taste, but the +general revival of the old forms has made no way in those countries. +Italy is contentedly stagnant. America has produced a good many showy +books, the typography, paper, and illustrations of which are, however, +all wrong, oddity rather than rational beauty and meaning being +apparently the thing sought for both in the letters and the +illustrations. + +To say a few words on the principles of design in typography: it is +obvious that legibility is the first thing to be aimed at in the forms +of the letters; this is best furthered by the avoidance of irrational +swellings and spiky projections, and by the using of careful purity of +line. Even the Caslon type when enlarged shows great shortcomings in +this respect: the ends of many of the letters such as the t and e are +hooked up in a vulgar and meaningless way, instead of ending in the +sharp and clear stroke of Jenson's letters; there is a grossness in the +upper finishings of letters like the c, the a, and so on, an ugly +pear-shaped swelling defacing the form of the letter: in short, it +happens to this craft, as to others, that the utilitarian practice, +though it professes to avoid ornament, still clings to a foolish, +because misunderstood conventionality, deduced from what was once +ornament, and is by no means useful; which title can only be claimed by +artistic practice, whether the art in it be conscious or unconscious. + +In no characters is the contrast between the ugly and vulgar +illegibility of the modern type and the elegance and legibility of the +ancient more striking than in the Arabic numerals. In the old print each +figure has its definite individuality, and one cannot be mistaken for +the other; in reading the modern figures the eyes must be strained +before the reader can have any reasonable assurance that he has a 5, an +8, or a 3 before him, unless the press work is of the best; this is +awkward if you have to read Bradshaw's Guide in a hurry. + +One of the differences between the fine type and the utilitarian must +probably be put down to a misapprehension of a commercial necessity: +this is the narrowing of the modern letters. Most of Jenson's letters +are designed within a square, the modern letters are narrowed by a third +or thereabout; but while this gain of space very much hampers the +possibility of beauty of design, it is not a real gain, for the modern +printer throws the gain away by putting inordinately wide spaces between +his lines, which, probably, the lateral compression of his letters +renders necessary. Commercialism again compels the use of type too small +in size to be comfortable reading: the size known as "Long primer" ought +to be the smallest size used in a book meant to be read. Here, again, if +the practice of "leading" were retrenched larger type could be used +without enhancing the price of a book. + +One very important matter in "setting up" for fine printing is the +"spacing," that is, the lateral distance of words from one another. In +good printing the spaces between the words should be as near as +possible equal (it is impossible that they should be quite equal except +in lines of poetry); modern printers understand this, but it is only +practised in the very best establishments. But another point which they +should attend to they almost always disregard; this is the tendency to +the formation of ugly meandering white lines or "rivers" in the page, a +blemish which can be nearly, though not wholly, avoided by care and +forethought, the desirable thing being "the breaking of the line" as in +bonding masonry or brickwork, thus: [Illustration] The general solidity +of a page is much to be sought for: modern printers generally overdo the +"whites" in the spacing, a defect probably forced on them by the +characterless quality of the letters. For where these are boldly and +carefully designed, and each letter is thoroughly individual in form, +the words may be set much closer together, without loss of clearness. No +definite rules, however, except the avoidance of "rivers" and excess of +white, can be given for the spacing, which requires the constant +exercise of judgment and taste on the part of the printer. + +The position of the page on the paper should be considered if the book +is to have a satisfactory look. Here once more the almost invariable +modern practice is in opposition to a natural sense of proportion. From +the time when books first took their present shape till the end of the +sixteenth century, or indeed later, the page so lay on the paper that +there was more space allowed to the bottom and fore margin than to the +top and back of the paper, thus: + +[Illustration] + +the unit of the book being looked on as the two pages forming an +opening. The modern printer, in the teeth of the evidence given by his +own eyes, considers the single page as the unit, and prints the page in +the middle of his paper--only nominally so, however, in many cases, +since when he uses a headline he counts that in, the result as measured +by the eye being that the lower margin is less than the top one, and +that the whole opening has an upside-down look vertically, and that +laterally the page looks as if it were being driven off the paper. + +The paper on which the printing is to be done is a necessary part of our +subject: of this it may be said that though there is some good paper +made now, it is never used except for very expensive books, although it +would not materially increase the cost in all but the very cheapest. The +paper that is used for ordinary books is exceedingly bad even in this +country, but is beaten in the race for vileness by that made in America, +which is the worst conceivable. There seems to be no reason why ordinary +paper should not be better made, even allowing the necessity for a very +low price; but any improvement must be based on showing openly that the +cheap article is cheap, e. g., the cheap paper should not sacrifice +toughness and durability to a smooth and white surface, which should be +indications of a delicacy of material and manufacture which would of +necessity increase its cost. One fruitful source of badness in paper is +the habit that publishers have of eking out a thin volume by printing it +on thick paper almost of the substance of cardboard, a device which +deceives nobody, and makes a book very unpleasant to read. On the whole, +a small book should be printed on paper which is as thin as may be +without being transparent. The paper used for printing the small highly +ornamented French service-books about the beginning of the sixteenth +century is a model in this respect, being thin, tough, and opaque. +However, the fact must not be blinked that machine-made paper cannot in +the nature of things be made of so good a texture as that made by hand. + +The ornamentation of printed books is too wide a subject to be dealt +with fully here; but one thing must be said on it. The essential point +to be remembered is that the ornament, whatever it is, whether picture +or pattern-work, should form part of the page, should be a part of the +whole scheme of the book. Simple as this proposition is, it is necessary +to be stated, because the modern practice is to disregard the relation +between the printing and the ornament altogether, so that if the two are +helpful to one another it is a mere matter of accident. The due relation +of letter to pictures and other ornament was thoroughly understood by +the old printers; so that even when the woodcuts are very rude indeed, +the proportions of the page still give pleasure by the sense of richness +that the cuts and letter together convey. When, as is most often the +case, there is actual beauty in the cuts, the books so ornamented are +amongst the most delightful works of art that have ever been produced. +Therefore, granted well-designed type, due spacing of the lines and +words, and proper position of the page on the paper, all books might be +at least comely and well-looking: and if to these good qualities were +added really beautiful ornament and pictures, printed books might once +again illustrate to the full the position of our Society that a work of +utility might be also a work of art, if we cared to make it so. + + * * * * * + +NOTE TO THE PRESENT EDITION: The following pages showing the Troy and +Chaucer types are printed from process blocks to insure fidelity to the +originals. The frontispiece and first page of text are also reproduced +in the same manner; page one, within the border, showing the Golden +type, the only other type used by William Morris. + +[Sidenote: This is the Troy type] + +The following passages are given to show the Troy & Chaucer types, and +four initials that were designed for the Froissart, but never used. + + The land is a little land, Sirs, too much shut up within the narrow + seas, as it seems, to have much space for swelling into hugeness: + there are no great wastes overwhelming in their dreariness, no great + solitudes of forests, no terrible untrodden mountain-walls: all is + measured, mingled, varied, gliding easily one thing into another: + little rivers, little plains, swelling, speedily-changing uplands, + all beset with handsome orderly trees; little hills, little + mountains, netted over with the walls of sheep-walks: all is little; + yet not foolish and blank, but serious rather, and abundant of + meaning for such as choose to seek it: it is neither prison, nor + palace, but a decent home. + + All which I neither praise nor blame, but say that so it is: some + people praise this homeliness overmuch, as if the land were the very + axle-tree of the world; so do not I, nor any unblinded by pride in + themselves and all that belongs to them: others there are who scorn + it and the tameness of it: not I any the more: though it would + indeed be hard if there were nothing else in the world, no wonders, + no terrors, no unspeakable beauties. Yet when we think what a small + part of the world's history, past, present, & to come, is this land + we live in, and how much smaller still in the history of the arts, & + yet how our forefathers clung to it, and with what care and + + [Sidenote: This is the Chaucer type] + + pains they adorned it, this unromantic, uneventful-looking land of + England, surely by this too our hearts may be touched and our hope + quickened. + + For as was the land, such was the art of it while folk yet troubled + themselves about such things; it strove little to impress people + either by pomp or ingenuity: not unseldom it fell into commonplace, + rarely it rose into majesty; yet was it never oppressive, never a + slave's nightmare or an insolent boast: & at its best it had an + inventiveness, an individuality, that grander styles have never + overpassed: its best too, and that was in its very heart, was given + as freely to the yeoman's house, and the humble village church, as + to the lord's palace or the mighty cathedral: never coarse, though + often rude enough, sweet, natural & unaffected, an art of peasants + rather than of merchant princes or courtiers, it must be a hard + heart, I think, that does not love it: whether a man has been born + among it like ourselves, or has come wonderingly on its simplicity + from all the grandeur over-seas. + + * * * * * + + And Science, we have loved her well, and followed her diligently, + what will she do? I fear she is so much in the pay of the + counting-house, the counting-house and the drill-sergeant, that she + is too busy, and will for the present do nothing. + + Yet there are matters which I should have thought easy for her, say + for example teaching Manchester how to consume its own smoke, or + Leeds how to get rid of its superfluous black dye without turning it + into the river, which would be as much worth her attention as the + production of the heaviest of heavy black silks, or the biggest of + useless guns. Anyhow, however it be done, unless people care about + carrying on their business without making the world hideous, how can + they care about art? I know it will cost much both of time and money + to better these things even a little; but I do not see how these + can be better spent than in making life cheerful & honourable for + others and for ourselves; and the gain of good life to the country + at large that would result from men seriously setting about the + bettering of the decency of our big towns would be priceless, even + if nothing specially good befell the arts in consequence: I do not + know that it would; but I should begin to think matters hopeful if + men turned their attention to such things, and I repeat that, unless + they do so, we can scarcely even begin with any hope our endeavours + for the bettering of the Arts. (From the lecture called The Lesser + Arts, in Hopes and Fears for Art, by William Morris, pages 22 and + 33.) + +[Illustration: Kelmscott + + William Morris] + + + + +The "Note by William Morris on his Aims in Founding the Kelmscott +Press," the last book printed at the Kelmscott Press, contains a few +errors in the "Bibliography." These errors have been allowed to stand in +reprinting the "Note" here, in order that the reprint shall be a literal +one. + +Mr. S. C. Cockerell, the former Secretary of the Kelmscott Press, has +kindly sent a list of these corrections, which appear below: + +Page 19, line 21--"Golden type" should be inserted after "8vo." + +Page 30, line 16--"June 26, 1893," should be "June 26, 1896." + +Page 39, line 17--after "guineas" insert "ten on vellum at ten guineas." + +Page 40, line 31--for "eight leaflets" read, "nine or ten leaflets." + +Page 44, line 12--omit "Lady." + + + + +HERE ENDS THE ART AND CRAFT OF PRINTING; COLLECTED ESSAYS BY WILLIAM +MORRIS. OF THIS BOOK THERE HAVE BEEN PRINTED TWO HUNDRED AND TEN COPIES +BY CLARKE CONWELL AT THE ELSTON PRESS: FINISHED THIS THIRTIETH DAY OF +JANUARY MDCCCCII. SOLD BY CLARKE CONWELL AT THE ELSTON PRESS, PELHAM +ROAD, NEW ROCHELLE, NEW YORK. + + + * * * * * + +Transcriber's Notes: + +For "A Note on Founding the Kelmscott Press" + + Page 4: "trangress" changed to "transgress": "Modern printers + systematically transgress against it" + + Page 5: "artitcle" changed to "article": "the foregoing article was + written" + + Page 5: "Pysche" changed to "Psyche": "Cupid and Psyche" + + Page 7: "rubicated" changed to "rubricated": "left blank to be + rubricated by hand" + + Page 12: "handmade" changed to "hand-made": "English hand-made paper" + + Page 12: "Calendar" changed to "Calender": "Spenser's Shepheardes + Calender" + + Page 26: "H. W. Hooper" changed to "W. H. Hooper" in item 31. + + Page 32: "water-mark" changed to "watermark": "with the apple + watermark" + + Page 40: The reference in item 52 to page 8 for "Love is Enough" was + corrected to page 5. + + Page 40: The reference in item 53 to page 7 for "The Earthly Paradise" + was corrected to page 5. The reference to the ornaments on page 9 + was corrected to page 7. The reference to page 17 was corrected to + page 12. + + Page 40: The reference in "Various Lists" to page 10 was corrected + to page 6. + + Page 43: "Milliam" changed to "William" in item 53 + + Page 44: The reference in "Various Lists" to page 57 was corrected + to page 38. + +For "The Ideal Book" + + Page 1: "determation" changed to "determination": "a determination to + put our eyes" + +For "An Essay on Printing" + + Page 12: "Maintz" changed to "Mainz": "printed at Mainz by" + + Page 15: "Calson" changed to "Caslon": "Even the Caslon type when" + + Page 16: "witout" changed to "without": "without enhancing the price" + + Page 23: Period added after "over-seas": "all the grandeur over-seas." + +General notes: + + 1. Paragraph breaks have been assumed in some places based on usage + elsewhere in the text. + + 2. Both "caligraphy" and "calligraphy" are used in different parts + of this book, and both forms were retained. This is also true for + "d'Arthur" and "Darthur", "head-line" and "headline", "Sweynheim" + and "Sweynheym", and "Zainer" and "Zeiner". + + + + + +End of Project Gutenberg's The Art and Craft of Printing, by William Morris + +*** END OF THIS PROJECT GUTENBERG EBOOK THE ART AND CRAFT OF PRINTING *** + +***** This file should be named 31596.txt or 31596.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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