_Modern Work_
Preceding chapters of this book have dealt with the various kinds of
printers’ ornaments met with in English books down to the end of the
eighteenth century. We have now reached our last port of call on this
eventful voyage of discovery, viz., Modern Work, which may be said to
have taken its rise from the nineteenth century and the Whittingham
Press. Although many fine books have been printed by William Bulmer,
Archibald Hamilton, and others at the close of the eighteenth century,
and by Charles Whittingham the elder during the early part of the
nineteenth century, their attraction lay chiefly in the clearness
of the type with which they were printed and the beauty of the
illustrations, for they were wholly devoid of printers’ ornaments of
any kind, so that when in 1844 the _Diary of Lady Willoughby_ made
its appearance, it may be said to have swept away all the preconceived
notions as to book decoration that had been in vogue before its advent.
Charles Whittingham the younger, the printer of this book, was the
nephew and successor of Charles Whittingham, the founder of the
Chiswick Press in 1809, at which a library of pretty books had
been printed before Charles Whittingham the younger was out of his
apprenticeship.
For a time the two men were in partnership, but their natures differed
so widely that in 1828 they dissolved partnership, and while the
elder Whittingham continued to print at Chiswick, Charles Whittingham
the younger came to London and started as a printer in Tooks Court,
Chancery Lane, where the business is still carried on under the same
title, though no Whittingham is now connected with it. At the same
time he was ready to help his uncle in emergencies and was frequently
at Chiswick. But it was while he was at Tooks Court that Charles
Whittingham the younger was introduced to William Pickering, the
publisher. They quickly became friends. Pickering, to quote from
Mr Warren’s book,[11] was one of the very first publishers of his
century to make the production of fine editions a particular branch of
enterprise. “He was not only a bookseller, but a book lover. He had a
taste for old books.” And again, to quote from Mr Warren, “He had a
notion that if an old author were a good one, he deserved to be dressed
well.” Pickering was a well-read man, of good judgment and rare taste.
Charles Whittingham the younger was a man of ideas. Liberally educated,
he turned his education to good account. He also was a book lover
as well as a printer, and consequently there sprang up a life-long
connection between the two that resulted in the production of some
notable books. Whereas Whittingham the elder had been noted for his
printing of pictures, Whittingham the younger made it the peculiar
“grace of his craft to bedeck books with borders, comely head-pieces,
and other alluring devices. He carried this branch of his work to such
an extent that you shall find nothing lovelier between book-covers
until you turn back to the illuminated manuscripts of the Middle Ages.”
For these ornaments for his books Charles Whittingham the younger
went back to the printers of the eighteenth century--to Geoffrey Tory
of Paris, to Henry Bynneman and Henry Denham of London. He taught
his family to appreciate their beauty and to perpetuate it, and his
daughters Charlotte and Elizabeth copied and designed head and tail
pieces, borders and initial letters, while another lady, Mary Byfield,
who came of a family of engravers, engraved them. It is said that
Pickering and Whittingham would spend their Sunday afternoons studying
sixteenth century books, and the ornaments to be found in them which
they afterwards adapted for the decoration of their publications.
But the _Diary of Lady Willoughby_ was as remarkable for the type
as its ornaments. Whittingham the younger wanted something better than
the founts of type then in vogue, and he found it in the old face
type of the Caslon foundry, i.e. the beautiful fount that had been
cut by the elder Caslon more than a hundred years before, and which
had aroused the admiration of that generation. It was no easy task to
find the matrices, and this caused some delay in the publication of
the book; but when it appeared about the middle of 1844 the _Diary
of Lady Willoughby_ was hailed as one of the best specimens of
typography seen in England since the days of Baskerville and the elder
Caslon. From that day to the present old face type has retained its
popularity, and has been adapted by many other modern firms. Both
the type and ornaments designed by Whittingham the younger are still
largely used by the present proprietors of the Chiswick Press, and
may be seen in two notable books published during the year 1923.
The first is the fine edition of the _Works_ of William Blake,
printed for the Grolier Club of New York, in itself a testimony of
the high position gained in the printing world by this press, while
the collotype reproductions throughout the work are excellent. The
other book is the _History of St Bartholomew’s Hospital_, issued
to commemorate the foundation of that institution. The Whittingham
ornaments and old face type are especially suitable to the character of
the work.
The influence exercised by the Chiswick Press was continued until there
arose on the horizon of the book world one greater than either of the
Whittinghams--William Morris. Educated at Marlborough School and Exeter
College, Oxford, this gifted man became a weaver of wonderful tales in
prose and verse, a painter of pictures and frescoes, a designer of art
tapestries, the founder of a decorating firm in which artists such as
Rossetti and Burne-Jones were partners. Towards the close of his life
he turned his attention to the art of printing, and founded, in the
Upper Mall, Hammersmith, the Kelmscott Press.
The first book that came from that press was _The Story of the
Glittering Plain_, one of his own writings, which appeared on April
4, 1891. It was a small quarto printed with the Golden Type, and the
issue was limited to 200 ordinary copies and six on vellum.
It was at once evident that Mr Morris had gone back to the fifteenth
century for both his type and ornaments. The first page of the text
was surrounded by a border designed by Mr Morris himself and showing
traces of the Venetian school. It was printed in a specially cast fount
of Roman letter, modelled on that of Nicholas Jenson, the printer in
Venice, in the fifteenth century. It was not quite rigidly Roman, some
of the letters showing a trace of Gothic.
On September 24, 1891, another quarto was issued, _Poems by the
Way_, and during the next twelve months five more books from
the Kelmscott Press made their appearance--_Love-Lyrics and
Songs of Proteus, and other Poems_, by Wilfred Blunt; _Of the
Nature of Gothic_, by John Ruskin; William Morris’s _Defence
of Guenevere_, and other poems, followed by the same author’s
_Dream of John Ball_, and in September Caxton’s edition of the
_Golden Legend_, in three large quarto volumes, with woodcuts by
Burne-Jones. This was intended to be the first issue of the Press, but
was delayed by an accident. The initial letters, which in the earlier
books appeared to be somewhat too large for the page, were exactly
right in this. Here, too, appeared for the first time the woodcut
frontispiece title that afterwards became a feature of the Kelmscott
Press. Sometimes these were printed in white letters on a ground of
dark scroll-work, sometimes in black letters on a lighter ground, and
they were surrounded by a border of the same design as that to the
first page of the text, it being William Morris’s principle that the
unit, both for arrangement of type and for decoration, is always the
double page. The type used in this was the same as that seen in the
first production of the Press: but from its use in this book it was
afterwards distinguished as the _Golden type_.
Beautiful as the _Golden Legend_ was as an example of the
printer’s craftsmanship, it was immediately followed by another book
that eclipsed it, a reprint of Caxton’s _Recuyell of the Histories of
Troy_ in two volumes in large quarto. For this Morris had designed
a new fount of type, a handsome Gothic letter, which recalled that of
the fifteenth century printer, Anton Koberger of Nuremberg, and was not
unlike a fount of type used by Thomas Berthelet. This type came to be
known as the Troy types; but it was not alone the type that attracted
attention. The decoration of these two volumes was equally remarkable.
Another book printed in the Troy type was _Godefrey of Bologne_,
and by the courtesy of the Trustees of the Kelmscott Press, one of
the borders designed by Morris for this book is here reproduced. The
boldness of execution no less than the simplicity of the design and its
uniformity with the text, show the skill of the woodcutter. Another
notable departure from stereotyped pattern was introduced by Morris.
His fleuron became a perfect leaf--a black leaf with white ribs, which
took the place of the reversed P or D used for paragraph marks.
The type in which these books were printed was afterwards recut in
a smaller size for the folio edition of the works of Chaucer, which
issued from the Kelmscott Press in 1895, and with its magnificent
illustrations by Burne-Jones, is its crowning glory.
William Morris died in 1896 after he had printed fifty-three books.
Short as his career as a printer was, his influence spread in
ever-widening circles and still remains with us. In a few words, which
cannot be too often quoted, he set out his ideal of what a printer
should do and what a printed book should be: “The whole duty of
Typography is to communicate to the imagination, without loss by the
way, the thought or image intended to be conveyed by the author. And
the whole duty of beautiful typography is not to substitute for the
beauty or interest of the thing thought and intended to be conveyed
by the symbol a beauty or interest of its own, but on the one hand
to win access for that communication by the clearness and beauty of
the vehicle, and on the other hand to take advantage of every pause
or stage in that communication to interpose some characteristic and
restful beauty in its own art.”
In this spirit William Morris’s immediate disciples--Mr Emery Walker,
Mr Cobden Sanderson, and Mr St John Hornby--founded the Doves Press and
the Ashendene Press.
The Doves Press was founded in 1900 and closed its doors in 1916. In
that time was produced a Bible in five quarto volumes, as well as
plays of Shakespeare, poems of Milton, Shelley, Wordsworth, Keats, and
others, and prose works by John Ruskin and Emerson.
Mr St John Hornby attained success at his Ashendene Press with a fount
of Greek adapted from the fount used by the first printers in Italy,
but the books produced at these two presses contribute nothing to the
history of English Printers’ Ornaments. Apart, however, from the work
of the private enthusiasts, the trade as a whole was purified and
immensely improved by their example.
In the early part of the present year the Directors of the Medici
Society arranged an exhibition of Twentieth Century Books at the
Grafton Galleries in London. More than half the exhibits were
from English presses, and the general impression conveyed by that
exhibition was, that a great improvement in craftsmanship had taken
place all round in the last five and twenty years. What our printers
and type-founders can do at the present day in the way of book
decoration will be seen by a study of the following pages, in which,
by the kindness of the various firms, we are able to bring together a
representative collection of modern Printers’ Ornaments.
The modern Caslon foundry still carried on by H. W. Caslon & Co.
in Chiswell Street, to which William Caslon the first transferred
his business in 1734, is still one of the leading foundries in this
country. After his death his son William the second reigned in his
stead and carried on the traditions of the foundry, and was in due
course succeeded by his son William the third, who in 1792 gave up his
interest in the business to his mother and his brother Henry’s widow.
On the death of Mrs William Caslon her will was disputed, and as a
result the business was put up to auction and secured by Mrs Henry
Caslon for the modest sum of £520. Seven years before a one-third
share in the business was worth £3000. The cause of this drop was,
says Mr J. F. McRae, in his _Two Centuries of Type-founding_:
(1) Depreciation in the value of the stock; (2) competition; (3) a
reluctance to run up the price against a widow.
Undoubtedly the main cause was a change in public taste. Even beauty
palls after a time, and the public had taken up with Bodoni and other
much inferior faces, and this neglect lasted for nearly a century.
In 1844 Messrs Charles Whittingham the younger and Thomas Longman
brought about a revival of interest in the Caslon Old Face type by
their publication of _The Diary of the Lady Willoughby_. To quote
again from Mr Warren’s book: “Matrices that had been reposing in the
vaults of the Caslon foundry for nearly three generations were refitted
to moulds, and made to serve for the casting of type” (p. 238).
But the firm was not yet through its difficulties. In 1865 a strike of
some of the workmen, on a question of wages, was followed by a lock-out
that lasted for eight months and brought its fortunes to their lowest
ebb. Then in 1872 Mr Thomas W. Smith, who had for some years acted as
traveller to the foundry, was asked to take over the management. His
position was a difficult one. Old fashions die hard, and the foreman
and many of the workmen had been with the firm all their lives and
resented change. But Mr Smith persevered, his object being, as he
himself declared, to work up arrears of production and to rescue the
Specimen Book from the miserable and degraded state to which it had
fallen.
His success was complete, and the firm to-day stands as high as ever
it did, thanks mainly, no doubt, to the great popularity of the Caslon
Old Face. In the matter of ornaments it is only necessary to compare
the Specimen Book of 1842 with that of 1910 to show how great had been
the improvement in the interval, an improvement that the examples have
shown of the firm’s work at the present day fully bear out.
Between the years 1883 and 1900 the English Illustrated Magazine
made a feature of its ornaments. These included reproductions of
famous head and tail pieces and initials by various foreign masters
of the sixteenth century belonging to the French, German, and Dutch
schools, the work of Aldus, Theodoric de Bry, and Holbein; nor were
native artists neglected. Between 1883 and 1887 we find some excellent
head-pieces by A. P. Hughes. In July 1889 appeared a tail-piece from
the pencil of Sir E. Burne-Jones, followed by a good decorative
head-piece by Matilda Stokes. In 1893–94 the work of Lawrence Housman
begins to appear. The initials used in _Bibliographica_ and in the
various monographs, etc., of the Bibliographical Society down to the
present time were designed by him, and are worthy to rank with the best
art work of the early Italian school.
Walter Crane and Emery Walker were other well-known contributors to the
English Illustrated Magazine, and by the kindness of Messrs R. & R.
Clark one of Mr Crane’s decorative blocks is here reproduced.
Akin to the Caslon Foundry, and also linked up with that of John
Baskerville of Birmingham, is the firm of Stephenson, Blake & Co.,
of Sheffield, Manchester, and London, which had its origin in the
firm of Blake, Garnett & Co., founded in 1819. It was from the office
of Stephenson, Blake & Co. that Mr T. W. Smith passed to the Caslon
Foundry, and it was on his suggestion that a branch of the firm was
established in London. The firm has to-day a large assortment of
flowers, borders, and ornaments, both well designed and well cast.
Many of the old forms are retained and some variations of the fleuron
introduced.
Messrs Shanks, of Red Lion Square, have sent some head and tail
pieces shown in their most recent specimen. These, both in design and
treatment, recall French work of the sixteenth century, while the
Cubist idea that marks their Athenian border brings us back to the
twentieth century.
The productions of the Curwen Press are well known to all bookmen. Much
of its art work came from the pencil of the late Claude Lovat Fraser,
who also designed many of the ornaments and tail-pieces. His successor,
Mr P. J. Smith, was the designer of the conventional fleurons, here
reproduced.
The Morland Press in Ebury Street is another of the modern presses
whose craftsmanship is highly esteemed, and much of its art work is by
the well-known artist F. Brangwyn.
The specimen sheet of the Pelican Press, which was established in 1917,
is an ambitious one. It reproduces for the consideration and choice
of its customers borders designed after those of Ratdolt of Venice,
Geoffrey Tory of Paris, and some of the printers of Lyons.
In ornaments it produces a large selection modelled on the old forms
of the sixteenth and seventeenth centuries, one of which resembles
very closely an ornament used on the title-page of John Bodenham’s
_Garden of the Muses_, printed in 1610, and in addition to all
kinds of fleurons, they reproduce the fleur-de-lys, the acorn, and
various stars. They also show a fine collection of initials, French and
Italian, that they claim are modelled on the best work of the fifteenth
and sixteenth centuries.
No account of Modern Printers’ Ornaments would be complete without
a record of the work done by the University Presses. Marching with
the times the Oxford University Press, still familiarly known as the
Clarendon Press, has long since relegated the once famous Fell and
Junius types to the vaults as curiosities, and has availed itself
of the best founts that a modern foundry can produce. In 1766 the
University had an account with William Caslon, from whom it bought both
English and Foreign sorts, and at the present day no firm in England
can show better craftsmanship. Whether in its many editions of the
Bible and Prayer Book, its classical books, or the great dictionaries,
its work in all departments--composition, excellence of spacing and
presswork, and in clearness of type--is beyond all praise. Book-lovers
were at one time known to complain of it as uninteresting, but under
Mr Horace Hart the work of the Press became distinctly richer and more
individual.
As regards ornaments the Clarendon Press still retains in use those
that have served it so well. The Phœnix is one of the original Fell
ornaments, as are also the following units, which are seen in a little
book printed in 1922, called _Some Account of the Oxford University
Press_. Amongst these is the triple flower, which had its origin
in Augsburg in the sixteenth century. In this book also some of M.
Burghers’ head-pieces are seen in a reduced form.
In 1923 Cambridge celebrated its fourth centenary of printing.
Its development has been slower, perhaps, than that of the sister
University. It has been hampered largely by its constitution, but
in the early nineteenth century many improvements were carried out,
including the erection of the Pitt Press in 1833, and to-day its work
is in every way worthy of its great traditions. In the foregoing pages
we have watched the growth of endeavour on the part of the printers of
England to reach the highest standard in the art of book-decoration. We
have seen the small printers’ ornaments grow, not only in variety of
design, but also in regularity of face and clearness in reproduction.
The ugly ornament, like the old-fashioned, fat-faced type, has given
place to artistic and tasteful designs, coupled with growing knowledge
on the part of the printers of the present day as to how they should be
used, and it is a notable thing how one printer is vying with another,
not only in reproducing ‘old face’ type, but in seeking their ornaments
in the best productions of the fifteenth and sixteenth century presses.
* * * * *
Boswell was once arguing with Dr Johnson on Goldsmith’s merit as an
author, and in the course of the argument Johnson said:
“Besides, Sir, it is the great excellence of a writer to put into his
book as much as his book will hold....”
If _English Printers’ Ornaments_ is not as full as it might be, we
hope the reader will find enough in it to please his eye and feed his
mind.
DESCRIPTIVE CATALOGUE
OF THE
ILLUSTRATIONS
BORDERS
1. Machlinia. Border used by R. Pynson. William de 1483
Machlinia printed a _Book of Hours_ with borders
which later passed into Pynson’s hands. The
design consists of spirals of flowers and foliage.
2. Caxton. _Fifteen Oes._ A decorative border of which 1494
the main features were spirals of flowers and
foliage varied by the introduction of birds and
grotesque animals.
3. Pynson. _Morton Missal._ One of the fine borders 1500
of the Morton Missal, consisting of four
pieces introducing spirals of flowers and fruit.
The bottom panel contains Cardinal Morton’s
rebus. The reproduction, which is slightly reduced,
also shows one of the beautiful initials
designed for this Missal. (_See_ Frontispiece.)
4. Notary. _Chronicle of England._ Border made up of 1504
flowers, animals, and various other designs, all
separate.
5. Pynson. _Petrus Carmelianus_, which is built up with 1508
a series of small ornaments resembling narrow
strips of ribbon introducing fleurons.
6. Pynson. Sebastian Brant’s _Shyp of Folys_. These 1509
border pieces were used by Pynson on either side of
his illustrations. The one reproduced is formed
by a series of half fleur-de-lys alternating with
another pattern and divided by double white lines.
7. De Worde. Design from Nicodemus Gospel made N.D.
up of all kinds of odd ornaments. (_c._ 1515)
8. Pynson. Built-up border from _Year Books of 1518
Edward III_. This design included spirals of fruit
and leaves, human figures, a dragon and a monkey.
9. Pynson. _Sallust._ An effective border appears on 1520
each side of the illustration. Note also the
initial R. This illustration is here reproduced by
the courtesy of Messrs Maggs Bros.
10. Siberch. The first border printed at Cambridge is 1521
a one-piece border of architectural design, introducing
an arch supported by columns, and, below,
two children acting as supporters to the Royal
Arms. The border is here reproduced by the
courtesy of Messrs Bowes & Bowes of Cambridge.
11. Faques. Skelton’s _Goodly Garland_. A border made 1523
up of small ornaments representing the heraldic
tincture “ermine.”
12. Faques. Skelton’s _Goodly Garland_. On three sides 1523
of the illustration are printers’ ornaments made
up of variations of the fleuron.
13. Treveris. Border from the _Greate Herball_, two pieces 1526
of which formerly belonged to Wynkyn de Worde.
14. Siberch. Border design from some foreign Missal 1521
or Book of Hours. Reproduced by the courtesy
of Messrs Bowes & Bowes of Cambridge.
15. Myddylton. Lyttleton’s _Tenures_. A one-piece 1545
border of elaborate design introducing scroll-work
and cupids.
16. Siberch. Border design from some foreign missal 1521
or Book of Hours. Reproduced by the courtesy
of Messrs Bowes & Bowes of Cambridge.
17. Berthelet. Gower’s _De Confessione Amantis_. A 1554
window-frame border slightly reduced in size.
18. Bynneman. John Grange’s _Golden Aphroditus_. 1577
Curious fleuron border.
19. Bynneman. _Palace of Pleasure_, vol. ii. A typical 1567
fleuron border.
20. Denham. _Palace of Pleasure_. A very delicate flower 1566
design enclosed in rules.
21. Bynneman. _A Sermon preached before the Queene’s 1573
Maiestie._ Fleuron border.
12. Denham. _The Monomachie of Motives._ Four-piece 1582
chain border, a square alternating with an oval
and linked together by a ring, the top and bottom
pieces being finished with a star.
23. Short. _Footepath to Felicitie_ is in a new style showing 1602
the transition stage between the sixteenth and
seventeenth centuries.
24. _The Lanterne of Lyghte_ is a one-piece window-frame _c._ 1600
border composed of rules with a small running
design.
25. Jackson. Greene’s _Arbasto: The Anatomie of Fortune_. 1584
A made-up design of ornaments confined in a
lattice-work of white lines.
26. Bishop. Border made up from a head-piece used 1585
by G. Bishop. This is one of the most usual
forms of the fleuron. (_See_ Title-page.)
27. Waldegrave. The _Basilikon Doron_ made up of two 1599
illustrative side pieces linked top and bottom
by four small printers’ ornaments of different
designs.
28. Beale. William Martyn’s _Youth’s Instructor_, second 1613
edition. A curious medley combining the fleuron
and the decorative block. The effect is not good,
and, perhaps fortunately, it is unusual.
29. Barker. A section of a bold fleuron border reproduced 1630
from the _Incomparable Treasure of Holy
Scripture_, which was printed in large folio.
30. Printer unidentified. An effective small border of 1664
separate ornaments of common design used in
Hilton’s _Discovery_.
31. Same, reversed.
32–33. Printed for Dodsley. Two curious border pieces 1751
on the title-page to Gray’s _Elegy_. The design is
the same, in each case the implements of Time
and Death--the scythe, the hour-glass, the crown,
skull and cross-bones.
34. Wilson of Kilmarnock. Border used on the 1786 1789
edition of _Poems by Robert Burns_. The reproduction
is taken from the volume of poems by
David Sillar.
35. Printer not identified. A grass and flower design 1840
border used on W. Baxter’s _British Phænogamous
Botany_, vol. v., published by the author. In all
probability the design was specially drawn for the
book in order to harmonize with the subject.
36. Printer not identified. Late eighteenth century _c._ 1795
border of rose design which may be regarded as
essentially English. The reproduction is made
from _The Artist’s Repository_. So well has this
border stood the test that it may be found to-day
amongst the designs of Messrs Stephenson, Blake &
Co., Ltd., one of our premier type-founders.
HEAD-PIECES
37. Kingston & Sutton. _Missale ad usum Sarisburiensis._ 1555
Flowers and figures.
38. Oswen. _Exhortation to the Sicke._ Triangular design 1548
with fox in centre.
39. Printer unidentified. _The Treasury of Health._ 1585
Flowers and foliage.
40. Denham. _School of Skill._ Conventional design: 1581
flowers.
41. Denham. _Footepath of Felicitie._ Conventional 1581
flowers.
42. Denham. _Guide to Godlinesse._ Conventional design, 1581
showing rose.
43. Head-piece from _Philip Sidney_. Twisted ribbon 1580–90
design.
44. Denham. Head-piece from Holinshed’s _Chronicles_, 1579
vol. i. Bear holding sprays. Men and dogs.
Conventional foliage.
45. Holinshed’s _Chronicles of Ireland_. Conventional 1579
sprays: satyrs, animals, insects, etc.
46. Field. _History of Guicciardini._ Conventional design: 1599
sprays and flowers, two winged figures playing on
flutes.
47. Waldegrave. _Basilikon Doron._ Arabesque design. 1599
48. Bynneman. _Morelius._ Conventional design, with 1583
two archers.
49. Vautrollier. _De Rep. Anglorum._ Head with cornucopia 1579
of fruit.
50. Vautrollier. _De Rep. Anglorum._ Composite design: 1579
spirals resembling letter A. Boys with bowl of
fruit and flowers, animals and grotesques.
51. _The Journall or Daily Register._ Similar design to 1601
foregoing, but smaller.
52. Eliots Court Press. _Copy of a Letter._ Composite 1606
design: spirals of foliage, grotesque fish, winged
snakes, winged figures with javelins.
53. Eliots Court Press. Spirals of foliage. National 1606
emblems: lion and unicorn.
54. Eliots Court Press. National emblems, crowned and 1606
separate.
55. Eliots Court Press. Fleur-de-lys with figures and 1606
scrolls.
56. Eliots Court Press. Cherubs blowing horns, from 1606
which issue spirals of fruit and flowers. Copy of
French block.
57. Macham. _Homer, Prince of Poets._ Composite design: 1610
two cornucopiæ. National emblems: lion and
unicorn.
58. Printer not known. _A Pilgrime’s Solace._ Zig-zag 1612
ribbon, with national emblems.
59. Haviland. Fruit and flowers issuing from a jar. 1634
60. Macham. _Homer, Prince of Poets._ Architectural, 1610
with royal arms.
61. Macham. _Homer, Prince of Poets._ Composite design: 1610
spirals of fruit and flowers with insects.
62. Macham. _Homer, Prince of Poets._ Composite 1610
design: four horsemen.
63. Barker. Architectural, with royal arms. _c._ 1620
64. Printer unknown. _Book of Prayers._ Urns with 1662
flower ornaments.
65. Printer unknown. Double row of national emblems _c._ 1680
and fleur-de-lys.
66. For Busbie. _O per se O._ Fleurons arranged as 1612
headpiece.
67. Printer unknown. Double row of acorns. 1620
68. Printer unknown. Double row of fleurons. 1630
69. Oxford University Press. Head-piece by Burghers of 1702
Oxford, designed for Clarendon’s _History of the
Rebellion_.
70. Do. do. do. 1702
71. Bowyer. Atkyn’s _Ancient and Present State of 1712
Gloucestershire._ Head-piece signed J. L. Basket of
fruit, spirals of flowers and foliage.
72. Printer unknown. _The Compleat History of Cornwall_, 1750
Part II., printed at Truro. Spirals of flowers and
foliage, two eagles.
73. Crownfield, Cambridge. Fruit and flowers in basket, _c._ 1730
four birds and conventional ornament.
74. Knapton. _Works of Farquhar._ Head-piece signed 1728
F. H. and M. H.
75. Printed for Dodsley. _Irene, A Tragedy._ Spirals of 1749
foliage, squirrel in centre.
76. Silver of Sandwich. _Lovers’ Manual._ Fleurons 1753
arranged in geometrical form.
77. Printer unknown. _Ode of Horace._ 1719
TAIL-PIECES
78. Middleton. _Statutes II. Henry VI._ Long narrow _c._ 1540
architectural block, formerly De Worde’s.
79. Kingston & Sutton. _Missale ad usum Sarisburiensis._ 1555
Design: human figure, sprays of flowers, animal
and bird. Criblé. Probably French.
80. Redman. _Year Book II. Henry VI._ Seven lozenge _c._ 1540
ornaments.
81. Oswen, Ipswich. _Exhortation to the Sicke._ Two 1549
figures with stars.
82. Berthelet. _Castle of Health._ Ornament on dark 1539
background from French sources.
83. Printer unknown. _Treasury of Health._ Flower and 1585
bird.
84. Redman. _Year Book II. Henry VI._ Half fleur-de-lys _c._ 1540
and half feathers divided by zigzag white lines.
85. Denham. Holinshed, vol. iii., _Chronicles of Ireland._ 1579
Boy beating two drums.
86. Jugge. _Book of Common Prayer._ Elaborate fleuron 1573
border in four sections, showing three designs.
87. Griffith. _Caveat or Warneing._ Arabesque design. 1567
88. Griffith. _Caveat or Warneing._ Virgin and child in 1567
circle surrounded by floral borders.
89. Wolfe. Sophocles, _Antigone_. A fleuron tail-piece. 1581
90. Vautrollier. _De Rep. Anglorum._ Arabesque design. 1579
Single block.
91. E. Allde. Bodenham’s _Garden of the Muses_. Arabesque 1610
design with architectural detail.
92. W. W. for Cuthbert Burby. _Love’s Labours Lost._ 1598
Arabesque design. Single block.
93. E. Allde. _Basilikon Doron._ Fleuron ornament. 1603
94. John Day. Ascham, _Scholemaster_. Circular arabesque 1579
design. Single block.
95. Islip. _Wit’s Miserie._ Square arabesque design. 1596
Single block.
96. An arabesque tail-piece from Shakespeare’s _c._ 1615
_Pericles_.
97. Vautrollier. _Ciceronis Epistolæ._ Gorgon’s head. 1579
98. Printer uncertain. Cambridge. Tail-piece of seven _c._ 1700
rows of fleurons arranged as reversed triangle.
Reproduced by courtesy of Messrs Bowes & Bowes.
99. Wolfe. Sophocles, _Antigone_. A fleuron tail-piece 1581
showing a different design from No. 89.
100. Printed for B. Lintott. _Odes of Horace._ Tail-piece 1719
to Book IV. Ornate design: cherubs holding
birds, sprays of foliage.
101. Printed for Knapton. _Works of Farquhar._ Tail-piece 1728
of florid design, showing bird in centre
flanked by baskets of flowers.
102. Tonson & Watts. Lucretius, _De rerum natura_. A 1713
specially designed tail-piece to Book IV.
103. Tonson & Watts. Lucretius, _De rerum natura_. A 1713
specially designed tail-piece to Dedication.
104. Crownfield, Cambridge. Bird with outstretched _c._ 1730
wings. Reproduced by courtesy of Messrs Bowes
& Bowes of Cambridge.
105. Clarendon Press, Oxford. Clarendon’s _History of 1702
the Rebellion._ Tail-piece designed and engraved
by M. Burghers.
106. Clarendon Press, Oxford. Clarendon’s _History of 1702
the Rebellion._ Tail-piece designed and engraved
by M. Burghers.
107. Welsh Bible. Architectural design with crowned 1620
rose and cherubs in centre.
108. _Odes of Horace._ Fountain and mermaids. Sprays 1743
of foliage.
109. Crownfield, Cambridge. Tail-piece. Two cornucopiæ _c._ 1730
with fruit and flowers. Tied together with
ribbon and with bunch of flowers suspended from
them. Reproduced by courtesy of Messrs Bowes
& Bowes of Cambridge.
110. Printer unknown. Truro. History of Cornwall. 1750
Figure of Mercury in frame with conventional
sprays of foliage and arch. Flanked with long-tailed
birds holding flowers in their beaks.
ORNAMENTS
111. Pynson & De Worde. Chain ornament. 1500–30
112. Pynson & De Worde. Three designs used to fill up 1500–30
spaces in the text.
113. Printer unknown. _Song of Solomon._ Three acorns. 1620
114. Printer unknown. _A Declaration of Favourable 1583
Dealing of Her Majestie’s Commission._ Arabesque
design.
115. Printer unknown. _History of London._ N.D.
116. Field. E. Nicholas, _Apologia_. Fifteen fleuron units 1649
and acorn arranged as reversed triangles.
117. Grafton. _Actes of Edward VI._ Early form of 1560–70
fleuron arranged on either side of word “Finis.”
118. Allde (Eliz.). Greene’s _Euphues, His Censure to 1634
Philautus._ Female head. Sprays of foliage.
Woman’s head in centre.
119. Printed for R. Dodsley. _Irene: A Tragedy_, by 1749
Saml. Johnson. Basket of flowers. Sprays of
foliage. Two birds. Could be used as tail-piece
if desired.
120. For Stepneth & Redmer. _Atheist’s Tragedie_, by Cyril 1611
Tourneur. Small ornament. Conventional sprays,
with head in centre.
121. Lownes. _Description of New England._ Small ornament. 1616
Lion’s head in centre. Festoons of flowers.
Mark at either end.
122. Buck, Cambridge. _Locustæ._ Small ornament. 1627
Conventional sprays and flowers.
123. Stafford, for John Wright. _King Leir._ Small 1605
ornament. Conventional sprays and flowers.
Differing from preceding.
124. Cotes, for Bellamie. Wm. Wood’s _New England’s 1634
Prospect._ Small ornament. Crowned rose. Conventional
sprays.
125. Jones. Gerald Malynes’ _Center of Circle of Commerce_. 1623
Small ornament. Fleur-de-lys centre. Conventional
sprays.
126. E. A., i.e. Edward Allde, for John Tap. Bodenham’s 1610
_Garden of the Muses_. Very beautiful arabesque
ornament. Reproduced by kind permission of
Messrs Maggs Bros.
127. Adlard & Browne. A flower ornament of unusual _c._ 1770
design, reproduced from Luckombe’s _History of
Printing_.
128. Do. do. do.
129–134. Caslon. Six of the border designs used on the 1734
first specimen sheet issued by this famous type-foundry.
They were more delicate and graceful
than those used in England by his predecessors
and are still in vogue. Compare the modern
specimens manufactured by the same firm.
135–148. Baskerville. Fourteen single line ornaments _c._ 1750
and flowers designed by John Baskerville. Reproduced
from _John Baskerville_ by R. Straus and
K. Dent, by kind permission of Mr R. Straus and
the courtesy of the Cambridge University Press.
INITIALS
149. =T= De Worde. _The Golden Legend._ Large ornamental 1493
letter of ecclesiastical design with decorative
sprays.
150. =P= Whitchurch. Great Bible. Black with white 1540
strap ornament. Bird in centre. With printer’s
initials.
151. =S= Redman. _Statuta._ In imitation of script. Probably 1540
of French origin.
152. =F= Middleton. _Year Book of Henry VI._ 1540
153. =H= De Worde. Reproduced by kind permission 1519
from Mr Sayle’s article, Nov. 1902 (Bibliographical
Society).
154. =Q= Faques. _Manuale Sarum._ Reproduced by kind 1530
permission from Mr Sayle’s article, Nov. 1902
(Bibliographical Society).
155. =A= Notary. _Chronicles of England._ Obtained 1504
from Bocard of Paris.
156. =H= Pynson. _Libello huic regio hæc insunt._ White 1521
on black ground, criblé.
157. =P= Notary. _Golden Legend._ Obtained from Bocard 1503
of Paris. Reproduced by kind permission from
Mr Sayle’s article, Nov. 1902 (Bibliographical
Society).
158. =T= H. Middleton. Apostle series. 1584
159. =F= Barker. Prayer Book. Arabesque design with 1580
Walsingham Crest.
160. =T= Barker. Prayer Book. Arabesque design with 1580
printer’s initials.
161. =F= Eliots Court Press. _Plutarch._ Apostle series. 1603
Seated figure.
162. =V= Redman. _Year Books, Edward III._ White on 1540
dead black ground.
163. =H= Eliots Court Press. _Plutarch._ Apostle series. 1603
Figure with nimbus. Staff in left hand; book
in right.
164. =S= Berthelet. _Bibl. Eliotæ._ Classical. Two 1559
figures and satyr.
165. =H= Printer unknown. _Philip Sydney._ Factotum. _c._ 1596
Arabesque design.
166. =W= Waldegrave. Factotum from _Basilikon Doron_. 1599
Two figures plucking thistles.
167. =S= _Morley Canzonets._ Pictorial. Previously in 1600
the hands of John Day.
168. =T= Eliots Court Press. Especially used by Bradwood. 1603–27
Decorative sprays.
169. =T= Denham. _Footepathe to Felicitie._ Conventional 1577
sprays.
170. =I= Eliots Court Press. Especially used by Bradwood. 1603–27
Rose and thistle crowned.
171. =E= Vautrollier. _Ciceronis Epistolæ._ Outline letter. 1579
Conventional sprays.
172. =D= Barker. Prayer Book. Arabesque design. 1580
173. =D= Newberrie. _Bullinger’s Sermons._ Outline letter. 1577
Pictorial. Probably scene from Bible.
174. =S= Siberch. Erasmus. _De conscribendis epistolis._ 1521
Reproduced by kind permission of Messrs Bowes
& Bowes of Cambridge.
175. =C= Day. Fox, _Book of Martyrs_. Outline letter. 1562
Conventional sprays. Bird with outstretched
wings. Two grotesque figures.
176. =A= Siberch. Erasmus. _De conscribendis epistolis._ 1521
Reproduced by kind permission of Messrs Bowes
& Bowes of Cambridge. White on black. Ecclesiastical
with decorative sprays.
MODERN WORK
177–187. H. W. Caslon & Co., Ltd. Old English 18th
borders. century
188. The Morland Press, Ltd. Border design by Claud 1890–1921
Lovat Fraser. Reproduced from the title-page
re-arranged by Haldane Macfall for _The Lovat
Book_.
189. The Morland Press, Ltd. Tail-piece by Frank _c._ 1920
Brangwyn, R.A., representing an initial F
rising from tulip design.
190. The Morland Press, Ltd. Head-piece basket of _c._ 1920
flowers from design by Frank Brangwyn, R.A.
191. The Morland Press, Ltd. Initials M. P. Design _c._ 1920
by Ludovic Rodo.
192–197. Chiswick Press. Six head-pieces. Conventional 1830–1923
designs.
198–200. Chiswick Press. Three head-pieces, floral. 1830–1923
201–202. Chiswick Press. Two tail-pieces. 1830–1923
203–214. Chiswick Press. Twelve initials. Various 1830–1923
designs.
215. University Press, Oxford. Phœnix ornament 17th
reproduced from Hart’s _Century of century
Typography_.
216. University Press, Oxford. =B.= Blooming initial 17th
reproduced from Hart’s _Century of Typography_. century
217. University Press, Oxford. =I.= Initial reproduced 17th
from Hart’s _Century of Typography_. century
218. University Press, Oxford. Head-piece reproduced 17th
from Hart’s _Century of Typography_. century
219. P. M. Shanks & Sons, Ltd. Border design. 1920
220. Do. do. do. 1920
221. University Press, Oxford. Circular ornament, floral 18th
design. century
222. P. M. Shanks & Sons, Ltd. Border design, same 18th
as 220. century
223. University Press, Oxford. Fleuron tail-piece. 18th
century
224. University Press, Oxford. Fleuron tail-piece of a 18th
different design. century
225. P. M. Shanks & Sons, Ltd. Bold foliage design for 1920
border.
226. P. M. Shanks & Sons, Ltd. =B.= White initial on 1920
black background.
227. P. M. Shanks & Sons, Ltd. =T.= White initial with 1920
foliage on black background.
228. P. M. Shanks & Sons, Ltd. Bold foliage design for 1920
border same as 225.
229. P. M. Shanks & Sons, Ltd. Head-piece, spirals of 1920
foliage. White on black ground.
230. R. & R. Clark, Ltd., Edinburgh. Decorative head-piece 1875
designed by Walter Crane.
231. P. M. Shanks & Sons, Ltd. Tail-piece, triangular, 1920
white on black ground.
232. Pelican Press. Border design with centre ornament. 1920
Copy of early arabesque design.
233–240. Pelican Press. English flowers, seven designs. 1920
241. Pelican Press. Border design after Geoffrey Tory. 1923
242. Kelmscott Press. Design from Godefroy of 1893
Boulogne.
243–251. Curwen Press. Nine decorations designed by 1920
Claud Lovat Fraser.
252–260. Curwen Press. Nine flowers and decorations 1922
designed by Percy J. Smith.
261–273. Stephenson, Blake & Co., Ltd. Fourteen designs _c._ 1790
of delicate flower borders, ornaments, and the
famous rose border.
274–284. Stephenson, Blake & Co., Ltd. Various designs _c._ 1780
for borders, and initial =S= and two fine
tail-pieces designed and executed by Bewick.
ILLUSTRATIONS
_Borders_
[Illustration:
APHTHONII SOPHISTAE
PRAE EXERCITAMENTA
INTERPRETE
VIRO DOCTISSIMO.
IMPRESSA Londini per Richardum
Pynson regiū impressorem
cum priuilegio a rege indulto/
ne quis nunc in regno
Angliæ imprimat/
aut alíbí impressum/
importatūue in eo
dē regno Anglie
vendat.
1
]
[Illustration:
re mei dū tēpus est miserendi ne perdas
me ī tēpore tui tremē]di iudicii/ O bone
ihesu si merui miser prtōr de vera tua iusticia
penā eternā [per] pctīs meis grauissimis
Adhuc apello gfisus de tua iusticia
vera ad tuā mīam ineffabilē/ Utiqz misereberis
mei ut pi[us] pater et misericorsdn̄s/
O bone ihesu que enī vtilitas ī sāguine
meo dū descēdero in corruptionē
eternā Nō enī mortui laudabūt te/ neqzoēs
qui descendūt in infernū O misericordissīe
ihesu miserere mei O dulcissime
ihesu libera me O püssie ihesu [pro]picius
esto michi pctōri/ O ihesu admitte
me miserū pctōrm̄ inter numerū electo[rum]
tuo[rum][symbol] O jhesu salus in te sperantiū O
jhesu salus in te credȳriū miserere mei
dulcis remissio oīm pctō[rum] meorum
O ihesu fili [vir]ginis marie insūde
in me gr̄am tuā sapienciā caritatē castitatē
& hūilitatē ac etiā in oībz aduersitatibus
meis pacienciā scām vt possi te [per]
2
]
[Illustration:
¶ Thys Emprynted
at temple barre
be me: Julyan
Notary Dwellynge
in saynt clemētys
parysshe.
4
]
[Illustration:
¶ Petri Carmeliani Carmen.
Anglia perpetuos: tibi darrola rubra triūphos.
Perpetuum nomen: perpetuumq[ue] decus.
Her tua Celaceis: redolēs rosa crescit in hortis.
Itoq[ue] aquuam lignis: iungit vtranq[ue] suis.
Septimus hēricus: sapiēs rex Regula morum.
Celeste ingenium: cum probitate tenens.
Ad tantos solus: vigilans ie verit honores.
Ergo abs te debet: iure volente coli.
5
]
[Illustration: 6]
[Illustration: Nychodemus gospell
7]
[Illustration: 8]
[Illustration: 9]
[Illustration: 10]
[Illustration: ¶ Skelton Poeta.
Eterno mantura die dumlidera fulgent
Equora dumq; tument hec lainea nostra virebit.
Hinc nostrum celebre et nomē referetur ad astra.
Vndiq; Skeltonis memorabitur altera donis.
11]
[Illustration: R F
Richard Fakes
12]
[Illustration: 13]
[Illustration: 14]
[Illustration: 15]
[Illustration: 16]
[Illustration: 17]
[Illustration: 18]
[Illustration: 19]
[Illustration: 20]
[Illustration: 21]
[Illustration: 22]
[Illustration: 23]
[Illustration: 24]
[Illustration: 25]
[Illustration: 27]
[Illustration: 28]
[Illustration: 29]
[Illustration: 30]
[Illustration: 31]
[Illustration: 32]
[Illustration: 33]
[Illustration: 34]
[Illustration: 35]
[Illustration: 36]
_Head-Pieces_
[Illustration: 37]
[Illustration: 38]
[Illustration: 39]
[Illustration: 40]
[Illustration: 41]
[Illustration: 42]
[Illustration: 43]
[Illustration: 44]
[Illustration: 45]
[Illustration: 46]
[Illustration: 47]
[Illustration: 48]
[Illustration: 49]
[Illustration: 50]
[Illustration: 51]
[Illustration: 52]
[Illustration: 53]
[Illustration: 54]
[Illustration: 55]
[Illustration: 56]
[Illustration: 57]
[Illustration: 58]
[Illustration: 59]
[Illustration: 60]
[Illustration: 61]
[Illustration: 62]
[Illustration: 63]
[Illustration: 64]
[Illustration: 65]
[Illustration: 66]
[Illustration: 67]
[Illustration: 68]
[Illustration: 69]
[Illustration: 70]
[Illustration: 71]
[Illustration: 72]
[Illustration: 73]
[Illustration: 74]
[Illustration: 75]
[Illustration: 76]
[Illustration: 77]
_Tail-Pieces_
[Illustration: 78]
[Illustration: 79]
[Illustration: 80]
[Illustration: 81]
[Illustration: 82]
[Illustration: 83]
[Illustration: 84]
[Illustration: 85]
[Illustration: 86]
[Illustration: 87]
[Illustration: 88]
[Illustration: 89]
[Illustration: 90]
[Illustration: 91]
[Illustration: 92]
[Illustration: 93]
[Illustration: 94]
[Illustration: 95]
[Illustration: 96]
[Illustration: 97]
[Illustration: 98]
[Illustration: 99]
[Illustration: 100]
[Illustration: 101]
[Illustration: 102]
[Illustration: 103]
[Illustration: 104]
[Illustration: _MBurg. sculp._
105]
[Illustration: 106]
[Illustration: 107]
[Illustration: 108]
[Illustration: 109]
[Illustration: 110]
_Ornaments_
[Illustration: 111]
[Illustration: 112]
[Illustration: 113]
[Illustration: 114]
[Illustration: 115]
[Illustration: 116]
[Illustration: FINIS
117]
[Illustration: 118]
[Illustration: 119]
[Illustration: 120]
[Illustration: 121]
[Illustration: 122]
[Illustration: 123]
[Illustration: 124]
[Illustration: 125]
[Illustration:
THE
GARDEN
OF THE
_Muses_.
_Quem reserent Musa vtuet dum robor & tellus,
Dum cœlum stellas, dum vehet amnis aquas._
Printed at London by _E. A._ for _Iohn Tap_, and are
to be sold at his shop at Saint Magnus
corner. 1610.
126]
[Illustration: 127]
[Illustration: 128]
[Illustration: 129]
[Illustration: 130]
[Illustration: 131]
[Illustration: 132]
[Illustration: 133]
[Illustration: 134]
[Illustration: Ornament 1
Ornament 2
Ornament 3
Ornament 4
Ornament 5
Ornament 6
Ornament 7
Ornament 8
Ornament 9
Ornament 10
Ornament 11
Ornament 13
Ornament 12
Ornament 14
135–148]
_Initials_
[Illustration: T
149]
[Illustration: P P
E.W
150]
[Illustration: S
151]
[Illustration: F
152]
[Illustration: H
153]
[Illustration: Q
154]
[Illustration: H
155]
[Illustration: H
156]
[Illustration: P
157]
[Illustration: T
158]
[Illustration: F
159]
[Illustration: T
160]
[Illustration: F
161]
[Illustration: V
162]
[Illustration: H
163]
[Illustration: S
164]
[Illustration: H
166]
[Illustration: W
165]
[Illustration: S
167]
[Illustration: T
168]
[Illustration: T
169]
[Illustration: I
170]
[Illustration: E
171]
[Illustration: D
172]
[Illustration: D
173]
[Illustration: S
174]
[Illustration: C
175]
[Illustration: A
176]
Modern Work
[Illustration: 177]
[Illustration: 178]
[Illustration: 179]
[Illustration: 180]
[Illustration: 181]
[Illustration: 182]
Old English Borders from the Foundry of Messrs H. W. Caslon & Co.,
Ltd.
[Illustration: 183]
[Illustration: 184]
[Illustration: 185]
[Illustration: 186]
[Illustration: 187]
Old English Borders from the Foundry of Messrs H. W. Caslon & Co.,
Ltd.
[Illustration:
DESIGNS BY
CLAUD
LOVAT FRASER
[1890–1921]
THE MORLAND PRESS
190 Ebury Street
London SW 1
188
A Border from The Morland Press, Ltd.]
[Illustration: 189]
[Illustration: 190]
[Illustration: 191]
Ornaments from The Morland Press, Ltd.
[Illustration: 192]
[Illustration: 193]
[Illustration: 194]
[Illustration: 195]
[Illustration: 196]
[Illustration: 197]
Head-pieces from The Chiswick Press
(Messrs Charles Whittingham & Griggs Ltd.)
[Illustration: 198]
[Illustration: 199]
[Illustration: 200]
[Illustration: 201]
[Illustration: 202]
Head and Tail Pieces from The Chiswick Press.
[Illustration: M
203]
[Illustration: C
204]
[Illustration: O
205]
[Illustration: S
206]
[Illustration: P
207]
[Illustration: Z
208]
[Illustration: E
209]
[Illustration: Y
210]
[Illustration: M
211]
[Illustration: L
212]
[Illustration: T
213]
[Illustration: H
214]
Initials from The Chiswick Press.
[Illustration: 215]
[Illustration: B
216]
[Illustration: I
217]
[Illustration: 218]
Ornaments from The University Press, Oxford.
[Illustration: 219]
[Illustration: 220]
[Illustration: 221]
[Illustration: 222]
[Illustration: 223]
[Illustration: 224]
Designs from the Foundry of Messrs P. M. Shanks & Sons, Ltd. (219, 220,
222), and from The University Press, Oxford (221, 223, 224).
[Illustration: 225]
[Illustration: B
226]
[Illustration: T
227]
[Illustration: 228]
Designs from the Foundry of Messrs P. M. Shanks & Sons, Ltd.
[Illustration: 229
Messrs P. M. Shanks & Sons, Ltd.]
[Illustration: 230
Messrs R. & R. Clark, Ltd., Edinburgh.]
[Illustration: 231
Messrs P. M. Shanks & Sons, Ltd.]
[Illustration: 232
Ornamental Border from The Pelican Press.]
[Illustration: 233–240
Designs from The Pelican Press.]
[Illustration: 241
A Border from The Pelican Press.]
[Illustration:
eche other lettres and messages for taccorde to goo
to gydre, apoynted the tyme of departyng, and of
the waye that they sholde holde.
AND whan Marche was come, ye sholde
haue seen horses arrayed, with sommyers,
palfroyes, and stedes, tentes
and pauyllons, and to make armures.
Ye maye wel knowe that there was
moche to doo of many thynges, ffor
the barons were acorded that they shold not goo
alle to gydre, ffor no contre myght suffyse ne fynde
that which shold be nedeful for them, ffor whiche
cause alle the hoostes neuyr assembled, as ye shal
here, tyl they cam vnto the cyte of Ntycene. The
mene peple charged them self not moche with tentes
ne armures, ffor they myght not bere it, & therfor
euery man garnysshid hym aftir that he was with
242
A Design from The Kelmscott Press. Reproduced by kind permission of the
Trustees from a block by Emery Walker, Ltd.]
[Illustration: Printers’ Decorations Designed by the late Claud Lovat
Fraser, for the Curwen Press in 1920
243–251]
[Illustration: Printers’ Flowers and Decorations, designed by Percy J.
Smith, for the Curwen Press in 1922
252–260]
[Illustration: 261–274
Old English Designs from the Foundry of Messrs Stephenson, Blake & Co.,
Ltd.]
[Illustration: 275–284
Old English Designs from the Foundry of Messrs Stephenson, Blake & Co.,
Ltd.]
INDEX
A
Acorn ornament, 60
Aldus, 34, 113
Allde, Eliz., 86
Ames collection of title-pages, 55
_Ancient and Present State of Gloucestershire_, 77
_Antigone_, Sophocles, tail-piece, 57
Antiquities of Warwickshire, 27
‘Apostle’ alphabet, 96, 97
Arundel, Earl of, 21
Ashendene Press, 110
_Atheist’s Tragedy_, 86
B
Bagford collection of title-pages, 55
Barbier, J., 37
Barker, R., 73
Barnes, Joseph, 25
Baskerville, J., 63
Basle, Material obtained from, 22
Beale, J., 50
Berthelet, T., 13, 23, 46
Initials used by, 93
Bewick, T., 29
_Bibliotheca Eliotæ_, 93
Blake, Garnett & Co., 113
Bocard, J., Initials of, 94
Bodoni Press, 111
Bollifant, Ed., 25
Borrowings by English printers, 90
Bourne’s _History of Newcastle_, 79
Bowes, R., _Catalogue of Books printed at Cambridge_, 79
Bowyer, Wm., 29, 61, 77
Bradwood, M., 25, 72
Brangwyn, F., 114
_Briefe Treatise of Testaments and Wills_, 85
Bry, T. de, 113
Buck, T., 52
Buck, T. & J., 97
Bullock, H., 26
Burghers, M., Influence of, 29
Head and tail pieces designed by, 74, 75
Initials designed by, 97
Burghers, M., 51, 77
Burleigh family crest as ornament, 85
Burne-Jones, Sir E., 113
Burns, _Poems_, Border to, 51
Butsch’s _Bücher Ornamentik_, 90
Bynneman, H., 24, 25, 48, 70, 73, 84, 96
C
Cambridge Univ. Press, 116
Carmelianus, Petrus, 43
Caslon, W., 61, 115
Caslon foundry, modern history, 111
Casting-house, 11
_Catherine of Siena_, 94
_Caveat or Warneing, etc._, tail-piece described, 68
Caxton, 18, 19, 20, 21, 35, 36, 56
_Center of the Circle of Commerce_, 86
Change in character of head and tail pieces, 76
Chaucer’s Works, 33
_Chrysostum_, 25
Ciceronis, _Epistolæ_, 69
Clarendon’s _History of the Rebellion_, 75
Clark, R. & R., 113
_Clavis Apocalyptica_, Border to, 52
Classical designs of initials, 93
Combination of fleuron and decorative block, 50
_Commentary_, Lathbury’s, 34
_Complete History of Cornwall_, 80
Copland, R., 20
_Copy of a Letter, etc._, 72, 73
Copyists, Work of, 27
_Cosmographical Glasse_, 57, 93
Cowley, Dr, 38
Crane, W., 113
Creede, T., 48
Crown ornament, 60
Crownfield, C., 79
Curious head-piece design, 73
Curwen Press, 114
D
Daniel, R., 52
Day, J., 23, 93, 94
_De Anima_, Aristotle’s, 34
Decorative blocks, date of introduction, 67
Eighteenth century, 28
used by Eliots Court printers, 71
Decorative head and tail pieces, 69
Denham, H., 24, 25
Borders used by, 48
Initials used by, 96
_De Rep. Anglorum_, 69
_Description of New England_, 86
_Diary of Lady Willoughby_, 105, 112
_Dionysius_, Border in, 52
Doves Press, 110
Duff, E. G., quoted, 18, 47, 55
Du Pré, 17, 34
Dutch ornaments in English books, 27
E
Early English printers of fifteenth century, 18
Early Newcastle typography, 80
Early printers, Methods of, 4, 5
_Early Venetian Printing_, 90
East, T., 48
Ecclesiastical character of first initials, 89
Edward IV., patron of Caxton, 21
Eliots Court Press, 25, 28, 70, 85, 86
Eliots Court printers, Initials of, 91, 96
Elizabeth, Queen, 24
English Illustrated Magazine, 113
Engraved borders to Bibles, 22
Engraved title-pages, 49
_Enterlude called Lusty Juventus_, 59
_Euphues, his Censure to Philautus_, 86
Exhibition of twentieth century books, 110
_Exposition on Epistle to Romans_, 73
F
Factotums, 98, 99
Faques, Border used by, 43, 45, 59, 92
Fenton, G., 71
Field, R., 71
_Fifteen Oes_, 35, 39
_Fior de Virtu_, 21
Fletcher, M., 73
Fleuron, 6, 7, 26 _et passim_
borders, 47
Date of introduction of, 57
as head and tail piece, 63
its use for factotums, 100
Variations of, 58, 59
Fleur-de-lys ornament, 60
_Footepath to Felicitie_, 48, 96
Foreign border-pieces, 22
Foxe, J., _Book of Martyrs_, 95
France, Use of flowers in, 9
Fraser, C. L., 114
Fuller’s _Church History_, 97
G
_Garden of the Muses_, 57
Garlandea, J. de, 83
Germany, Use of flowers in, 9
Gibson, Robert, 23
_Goodly Garland_, Borders in, 45
Grafton, R., 23
_Gratulationis Valdinensis_, 85
Gray’s _Elegy_, Border to, 51
_Greate Herball_, 46
Greg, Dr W. W., 13
Griffin, Edw. (I.), 25
Griffin, Edw. (II.), 25, 72
Grotesque initials, 94
Grover, J., 27
H
H. F., designer of ornaments, 78
Hales, Alex. of, 34
Hart, H., 115
Hatfield, A., 25
Hatton, Sir C., 84
Haviland, John, 25
Henry VII., King, 21
Henry VIII., King, 21
Heraldic and personal initials, 94
_Hickscorner_, 43
_History of Guicciardini_, 71
_History of Origin and Progress of Printing_, 7
_History of the Rebellion_, 97
Holbein, 113
Holinshed’s _Chronicles_, 70, 71
Hollar, W., 27
Homer, _Workes_, 71
Hornby, St John, 110
Housman, L., 113
Hughes, A. P., 113
Huvin, J., of Rouen, 37
_Hypnerotomachia_, 21
I
Illuminator, his advantage over printer, 17
Improvement in decoration of printed books, 17
Initial letters, their value as ornaments, 89
Initials in Bibles and Books of Common Prayer, 92
Islip, A., 73
J
Jackson, wood-engraver, 8
Jennings, Dr Oscar, 91
Jenson, N., 17, 34
Jewell, B., _Works_, 72
Johnson, Dr, and Goldsmith, 116, 117
Jones, W., 86
Jugge, R., 28, 57, 96
K
Kelmscott Press, 106–110
King Lear, 86
Kingston, F., 86
Kingston and Sutton, 68
Kyrforth, C., 25
L
Lair, _see_ Siberch
Leeu, G., 17
Legat, J., 26
_Legenda Aurea_, 40, 41, 42
Initial from, 92
Leicester, Earl of, Arms of, 94
Leicester family, Crest of, 85
Lettou and Machlinia, 19
_Libellus de Conscribendis_, 95
_Liber precum publicarum_, 60
Longman, T., 111
Lownes, H., 24, 73, 86
Lownes, R., 73
Lozenge ornament, First use of, 59
Luckombe, 7, 8, 9
Lucretius, _De rerum natura_, 77
Lyttleton’s _Tenures_, 47
M
M. M., designer of ornaments, 78
Machlinia, Border used by, 35
McKerrow, R. B., on ornamental device, 13, 44, 46
McRae, J. F., 61, 111
Maltese cross as ornament, 22
Malynes, G., 86
Manuscripts, Decoration of, 3, 4
Margaret, Duchess of Richmond, 21
_Mer des Hystoires_, 21
Miscellaneous ornaments, 83
Missal, Border to Morton’s, 38
_Modus Tenendi_, 47
_Monasticon Anglicanum_, 26
_Monomachie of Motives_, 48
_Montaigne_, 72
Morland Press, 114
Morris, William, and the Kelmscott Press, 106–110
Morton, Cardinal John, 21, 37, 38
Morton Missal, Initials from, 92
Moxon, Joseph, 27
_Multorum Vocabulorum_, 83
N
Newberrie, R., 93
_Newe Booke--An Exhortation, etc._, 68
Newton, N., 25
_New World of Words_, 72
Norton, J., 72
Notary, J., 22
Borders used by, 37, 40, 41, 42
Initials of, 94
O
Odd blocks used for head and tail pieces, 67
_Odes of Horace_, 79
_Old English Letter Foundries_, 24
_Orcharde of Syon_, 46
Ornaments, Definition of, 12
in Caslon’s specimen sheets, 61
Os, G. van, 22, 94
Oswen, John, 68
Borders used by, 47
Oxford University Press, 25, 115
P
Paragraph marks, 4, 22
Paragraph ornaments, 6, 83, 84
Parker, Archbishop, 24, 94
Parr, Rev. E., 73
Pelican Press, 114
_Philomythie_, Border in, 49
Pictures, ornamental blocks so described, 11
Pigouchet, 17, 34
_Pilgrimes Solace_, 74
Pollard, Prof. A. W., 55, 91, 97
Poverty of ornament in sixteenth century English books, Reasons
for, 18, 19, 20, 21
_Printers’ and Publishers’ Devices_, 13, 85
Purslowe, G., 25, 73
Pynson, R., 19, 35, 37, 38, 43, 56, 59, 61, 83, 94, 95
Q
_Quidam_, 21
R
Ratdolt, E., 17, 34, 114
Redman, R., 59, 84
Initial of, 95
Redmer, R., 86
Reed, T. B., 24
Reformation, its effect on book decoration, 22
Reynes, John, Initial of, 94
Ribbon ornament, 60
Baskerville’s, 64
Rivers, Earl, 21
Rood, T., 20, 34, 38
Rose ornament, 60
Royal Arms as ornament, 85
S
_St Albans Chronicle_, 40, 41, 42, 43
_Sallust_, Border to, 45
Sanderson, Cobden, 110
Sarum Missal, 68
Saxon type cut by J. Day, 24
Sayle, C., 24, 55, 91, 97
Scolar, John, 25
Seres, W., 23
_Sermon preached at Stafford_, 63
_Seven Sorrows that Women have, etc._, 20, 21
Shanks, Messrs, 114
Short, P., 24
_Shyp of Folys_, Borders in, 44, 45
Siberch, John, 26
Border used by, 51
Initials used by, 93, 95
Siegburg, _see_ Siberch
Silver, S., of Sandwich, 63
Small ornaments of the eighteenth century, 62, 63
Smith, P. J., 91, 114
Smith, T. W., 112
Stafford, S., 73
Star ornament, 60
_Statutes 7th Henry VI._, 67
_Statutes 19th Henry VII._, 43
Stephenson, Blake & Co., Ltd., 113
Stepneth, 86
Stokes, M., 113
Sun Printing Office, 11
Sylvius, Anton, 24, 93
T
Tail-piece in 1679 _Herodotus_, 27
Thistle ornament, 60
Thomas, T., 26
Thomson, J., _Poem on Liberty_, 78
Tonson, J., and J. Watts, 77
Tory, G., 114
Tottell, R., 23
_Treatise made by Athanasius_, 57
Treveris, P., 46
_Two Centuries of Type-founding_, 61, 111
Type-founders in England, 27
U
Urn ornament, 60
V
Vautrollier, 60, 69, 84
Initials used by, 95
Venetian printers, 33
Vérard, A., 89
Vostre, 34
W
Waldegrave, 99
Walker, Emery, 110, 113
Walsingham, F., Crest and Arms of, 95
Watts, John, 61
Whitchurch, Ed., 23, 94
White, John, 79
_White Wolf_, 49
Whittingham, C., the elder and younger, 103, 104, 111
Windet, John, 85
Window frame borders, 46
Wolfe, R., 23, 93, 96
Woodcut borders, seventeenth century, 26
Worde, W. de, 19, 37, 39, 43, 56, 59, 68, 94
_Works of George Farquhar_, 78
_Works of Sir W. Temple_, 78
Wyer, Robert, 68
Y
_Year Books_ of Edward III., Border in, 44
_Year Book_, 11th Henry VI., 59
_Youth’s Instructor_, Border in, 50
FOOTNOTES:
[1] _The Fleuron_, a journal of typography, edited by Oliver
Simon, 1923.
[2] _A Concise History of the Origin and Progress of Printing_,
with practical instructions to the trade in general. London, 1770, pp.
287–90.
[3] T. B. Reed, _A History of the Old English Letter-Foundries_,
1887, p. 28.
[4] A. W. Pollard, _Early Illustrated Books_, 1893, p. 228.
[5] C. Sayle, “Initial Letters in Early English Printed Books”
(_Transactions of the Bibliographical Society_).
[6] Harl. 5915 (45).
[7] _English Provincial Printers, Stationers and Bookbinders to
1557._ Sandars Lectures, 1911. Cambridge, 1912, 8vo.
[8] _Two Centuries of Type-founding._ [By J. F. McRae.] 1920.
[9] Harl. 5929.
[10] H. Hart, _Notes on a Century of Typography_, 1900, p. 145.
[11] _The Charles Whittinghams Printer_, 1896.
Transcriber’s Notes:
1. Obvious printers’, punctuation and spelling errors have been
corrected silently.
2. Where hyphenation is in doubt, it has been retained as in the
original.
3. Some hyphenated and non-hyphenated versions of the same words have
been retained as in the original.
4. Italics are shown as _xxx_.
5. Bold print is shown as =xxx=.