bibliographic and typographical past that France has enjoyed, one
finds little has happened, amidst all the changes which have swept
over those arts in recent years, to disturb the employment of her
bibliopegic artists. There are few of her remaining old streets through
which one passes without being attracted in one way or another to the
sign of the _relieur-doreur_. To give a remarkable instance of this
unique position one has only to recall the sale of the collection of
the Vicomte de la Croix-Laval in 1902, in which the books were not
catalogued in the names of the author but in that of the bookbinder.
But this is not surprising when we consider the excellent craftsmanship
of such men as G. Canape, Chambolle-Duru, S. David, Charles Lanoë,
Marius Michel, G. Mercier, René Kieffer, and the fascinating execution
of the designs on vellum by André Mare. Yet it is not uncommon to
hear the travellers’ comment that books with an attractive outside
appearance are non-existent in Paris. Unlike England, France expends
little additional labour on the lasting, apart from the certain
attractive qualities of cloth or paper-covered board casings, while
modern end-papers, as known in other countries, have so far found
little consideration. Much energy is focussed on the _edition de luxe_,
embodying the work of popular artists, good paper and type, the result
being a limited number of paper-covered volumes, all excellently
produced, but very often disappointing in their page arrangement and
design and the suitability of text to type and type to illustration.
But this leads me into an explanatory discussion on the old printer’s
independence of other craftsmen whose art is now divided into separate
and recognised trades. And it is remarkable that it should be so
to such a great extent, for fewer places other than Paris are so
sympathetically enjoined to their artists. It may be the fault of the
artist who is more enwrapped in his craft than the art evolved in its
ultimate end.
Within the last few years, however, printing has vastly improved, and
this has been due in no small measure to the efforts of MM. G. Peignot
and Sons. As early as 1900 the Peignot type foundry introduced a new
typography with frankly modern tendencies, the best testimony of their
efforts at that time being the productions of “Grasset,” following
with the “Auriol,” and later on the Bellery-Desfontaines types and
ornaments. At the same time, not desiring to lose touch with that which
in typography of the past is most intrinsically valuable for to-day,
a little booklet issued lately, entitled “Les Cochins,” by the two
brothers Peignot, clearly demonstrates the results of their attainment.
This booklet, apart from being a catalogue of their research, has
behind it the primary desire that editors and printers should try to
realise the significance of a typographical revival in France, and the
influence it would have on all branches of the graphic arts.
Despite the remarkable progress that process work has made, apart from
the most ingenious inventions and machinery being of French origin,
wood-engravers and wood-engraving, as employed for illustrative
purposes, maintain a prominent and more unique position in France than
in any other European country. Amongst the most recent productions
of note “Daphnis et Chloé” (p. 190), printed and published by M. L.
Pichon, is uncommonly good, in fact all that issues from M. Pichon’s
little establishment is unusually refined. Then there are others, but
space will not permit me to dwell on each one’s excellent qualities.
However, I must not neglect to mention the remarkable edition of “Le
Grand Testament de François Villon,” which I have seen in preparation
by M. A. M. Peignot, with illustrations and especially designed
type by Bernard Naudin; also some thoughtful little volumes in the
series “Les Maîtres du Livre,” published by MM. Georges Crès et Cie
under the direction of M. Ad. van Bever; and if it were not for the
thoughtful, untiring efforts of such editors as M. Lucien Vogel, of
the “Gazette du Bon Ton,” and publishers of _éditions d’art_ as MM.
A. Blaizot, L. Carteret, H. Floury, F. Ferroud, Jules Meynial, R.
Helleu, René Kieffer, E. Rey, Octave Charpentier, E. Lévy, and H.
Piazza, the bibliophiles of Paris would have a poor output from which
to select. From amongst others the notable and varied publications
of the libraries Ollendorff, Larousse, Hachette et Cie, A. Fayard et
Cie, Caiman Lévy, Plon-Nourrit et Cie, Adrian Sporck, L. Michaud, E.
Flammarion and A. Vaillant should be noted. Finally I must not forget
to mention the powerful influence of the “Société des Amis des Livres,”
“Les Cent Bibliophiles,” the “Société Normande du Livre illustré,” and
the “Société du Livre d’Art Contemporain”; and without a prolonged
description of each _Société_ it must suffice to mention the prosperity
the “Société des Amis des Livres” enjoys under the presidency of M.
Henri Beraldi, the originator of the “Société des Bibliophiles de
Paris” and a publisher of note. Amongst his first efforts “Paysages
Parisiens,” by Emile Goudeau, and G. Montorgueil’s “Paris au Hasard,”
both illustrated by Auguste Lepère, are the most distinguished, and to
him my thanks are due for his kindly interest in my bibliographical
quest, and to the President of “Les Cent Bibliophiles,” M. Eugène
Rodrigues, for his generosity in placing at my disposal pages and
illustrations from his admirable collection.
After all, it is to men like these, and to the organizations to which
they belong, that France owes the prominent bibliographical position
she holds, and the freedom her excellent artists and craftsmen enjoy in
retaining for us in fitting garb the minds of the great, be they echoes
of the past or turbulent cries in the dark, the songs of the open and
sunlight, the sonnets of autumn and shade, or the love in the laughter
of children.
[Illustration: TITLE-PAGE DESIGNED BY P. E. VIBERT, FOR MM. GEORGES
CRÈS ET CIE]
[Illustration: PAGE PRINTED IN “GARAMOND” TYPE (ENGRAVED FOR FRANÇOIS
I), WITH WOODCUT BY PAUL EMILE COLIN, LENT BY MONS. R. HELLEU]
[Illustration: PAGE PRINTED IN ROMAN FACE TYPE DESIGNED BY GEORGE
AURIOL, CAST BY G. PEIGNOT ET FILS, PARIS]
[Illustration: PAGE PRINTED IN ITALIC FACE TYPE. DESIGNED BY GEORGE
AURIOL, CAST BY G. PEIGNOT ET FILS, PARIS]
[Illustration: PAGE PRINTED IN “NICOLAS COCHIN” TYPE, ADAPTED AND CAST
BY G. PEIGNOT ET FILS, PARIS]
[Illustration: TYPE AND ORNAMENTS DESIGNED BY GRASSET CAST BY G.
PEIGNOT ET FILS, PARIS]
[Illustration: PAGE FROM A. DE MUSSET’S “LES NUITS” (JULES MEYNIAL,
PARIS), PRINTED IN TYPE DESIGNED BY ADOLPHE GIRALDON CAST BY LA MAISON
DEBERNY]
[Illustration: PAGE FROM A. DE MUSSET’S “LES NUITS” (JULES MEYNIAL,
PARIS). PRINTED IN TYPE DESIGNED BY ADOLPHE GIRALDON CAST BY LA MAISON
DEBERNY]
[Illustration: PAGE FROM “DAPHNIS ET CHLOÉ.” PRINTED IN “JENSON” TYPE
BY L. PICHON, PARIS, WITH WOODCUT BY CARLÈGLE]
[Illustration: BOOKBINDING IN LEVANT MOROCCO, WITH INLAY AND TOOLING
DESIGNED BY ADOLPHE GIRALDON, EXECUTED BY G. CANAPE]
[Illustration: BOOKBINDING IN LEVANT MOROCCO, WITH INLAY AND TOOLING.
BY G. CANAPE]
[Illustration: BOOKBINDINGS IN LEVANT MOROCCO, WITH INLAY AND TOOLING.
BY CHAMBOLLE-DURU]
[Illustration: BOOKBINDING IN MOROCCO, WITH GOLD TOOLING. BY S. DAVID]
[Illustration: BOOKBINDING IN RED MOROCCO, WITH INLAY AND GOLD TOOLING.
BY S. DAVID]
[Illustration: BOOKBINDING IN GREEN MOROCCO, WITH INLAY AND GOLD
TOOLING BY RENÈ KIEFFER]
[Illustration: BOOKBINDING IN DARK BLUE FRENCH MOROCCO, WITH INLAY AND
GOLD TOOLING BY S. DAVID]
[Illustration: BOOKBINDING IN FRENCH MOROCCO, WITH INLAY AND GOLD
TOOLING DESIGNED BY ETIENNE DINET, EXECUTED BY DURVAND
(_In the possession of Mons. H. Piazza_)]
[Illustration: BOOKBINDING IN FRENCH MOROCCO, WITH GOLD TOOLING
DESIGNED BY J. DE LA NÉZIÈRE, EXECUTED BY DURVAND
(_In the possession of Mons. H. Piazza_)]
[Illustration: BOOKBINDING IN PARCHMENT, TOOLED AND COLOURED BY ANDRÉ
MARE
(_In the possession of Mons. Paul Adam_)]
[Illustration: BOOKBINDING IN PARCHMENT, TOOLED AND COLOURED. BY ANDRÉ
MARE
(_In the possession of Mons. L. Vauxcelles_)]
[Illustration: (_In the possession of Madame d’Aleman._)
BOOKBINDING IN PARCHMENT, TOOLED AND COLOURED. BY ANDRÉ MARE]
[Illustration: BINDING-CASE DESIGNED BY G. AURIOL. FOR MAISON LAROUSSE]
[Illustration: BOOKBINDING IN BLUE MOROCCO, WITH INLAY AND GOLD TOOLING
DESIGNED BY A. SEGAUD, EXECUTED BY P. SOUZE
(_Lent by Maison Hachette & Cie._)]
[Illustration: BINDING-CASE DESIGNED BY G. AURIOL FOR MAISON LAROUSSE]
[Illustration: BINDING-CASE DESIGNED BY LUCIEN LAFORGE FOR MAISON
LAROUSSE]
AUSTRIA
THE ART OF THE BOOK IN AUSTRIA. BY A. S. LEVETUS
[Illustration: TITLE-PAGE DESIGNED BY R. RŮŽIČKA.
PUBLISHED BY THE MANES SOCIETY, PRAGUE]
Like other countries Austria has, in all that relates to the book, gone
through periods of high developments, followed by a time of inactivity
which could but lead to eventual decay. That in the past many works
of a high artistic value as regards printing, illustrations, type,
and binding, in fact all the qualities which go to make an artistic
production, were issued by the various presses, many books still
existing go to prove. On the whole the printers of Austria were never
very numerous, and she has never been a book-producing centre, even in
the Capital itself, as have been many German cities, such as Nuremberg,
Augsburg and Leipzig. Under the Empress Maria Theresa the art of the
book flourished, for being possessed of a fine artistic nature, she
granted many privileges to the makers of books, and set great value
on such volumes as were real works of art. Her son, Joseph II, who
during his youth, following the custom of the time, adopted a trade,
chose printing, and mastered it thoroughly. He likewise granted certain
privileges to the printers and in every way encouraged the art. During
the second half of the eighteenth century the Art of the Book developed
considerably. New types were invented, woodcut engravings gave way to
copper engravings, the paper was of the best quality, the bindings of
the finest leather and of beautiful design, everything, including the
end-papers, reached the highest standard. But reaction was inevitable
in Austria as it was in other countries, for the age of machinery had
come. Hand-made paper, which had furnished a staple trade in Moravia
since 1520, when the first paper-mill was founded in Gross-Ullersdorf,
deteriorated; the printing-machine took the place of the hand-press;
the fine hand-tooled leather bindings were forced to yield to the more
commercial article.
[Illustration: TITLE-PAGE DESIGNED BY VLADIMÍR ŽUPANSKÝ. PUBLISHED
BY THE MANES SOCIETY, PRAGUE]
But in Austria, as elsewhere, the Art of the Book was to be reborn,
and it was William Morris who was to give the impulse, for the fame
of the Kelmscott Press had reached Vienna. The men of the new school,
Alfred Roller, Josef Hoffmann, Koloman Moser, Baron Myrbach, Rudolf
von Larisch, and others have spread the new teaching. The moment was
the right one, the need of reform in all and everything concerning
book-production was recognised as part of the programme when the
general question of the teaching of art was raised in 1897; but the
regeneration of the Art of the Book really dated from the beginning
of the present century. It must not be thought that no efforts had
been made to rescue the art previous to the great reform. Far from it.
Twenty-five years ago the first steps were taken by the founding of
the Imperial “Lehr- und Versuchsanstalt für graphische Kunst,” an
institution for teaching and experimenting in graphic art, where from
the first excellent work was done under Hofrat Eder. The “Hof- und
Staatsdruckerei” (Imperial and State Printing Office) had been called
into existence eighty years previously. But the great impetus was given
some dozen years ago when men trained in the new school of thought
in decorative art were appointed teachers in the various schools and
institutions.
[Illustration: TITLE-PAGE DESIGNED BY J. BENDA. PUBLISHED BY THE
ŽENSKÝ KLUB, PRAGUE]
[Illustration: PAGE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL
GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA]
[Illustration: PAGE DESIGNED BY BERTA BINDTNER, FOR THE IMPERIAL
GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA]
The Art of the Book in Austria in its modern aspect is but young, but
its development is most interesting. All that is best in graphic art
of the past served as the ground-work on which to build the art of our
time; and this artistic basis being of so fine a calibre, sound and
sure, has led to very satisfactory results. First, in the teaching
of ornamental writing under Professor Rudolf von Larisch. He has
expounded his tenets in his “Unterricht in ornamentaler Schrift,” a
work of great value to all interested in this subject. What he aims
at is form, configuration and spacing, to add rhythm to the letters
themselves, and to harmonise one with another in the building-up of
the word; for even the simplest of words rightly rendered should be
decorative. He does not consider the creating of new forms of paramount
importance, but sets much store on the relation of the letter to the
word, the word to the sentence. These should fit into one another
in the same manner as the component parts of a perfect piece of
architecture, for, as in architecture we see the foundation of all
art, so in lettering the basis of all book decoration is to be sought.
This theory is supported by the study of early printed works and more
particularly so in those printed towards the end of the sixteenth
century. Here we see the aim was to achieve harmony in type, ornament
and illustration. This, too, is the aim of those who produce artistic
books other than those issued by the ordinary publisher. Unfortunately
there are but few of the former class in Austria. But many of the
Austrian artists are engaged in illustrating books for German and
other publishers. In Vienna, Artur Wolf has published some very fine
works illustrated by Franz von Bayros, Ferdinand Staeger, and other
artists; Konegen’s series of children’s books, illustrated by Marianne
Hitschmann-Steinberger, are full of charm and understanding of child
life; Gerlach and Wiedling’s books for children have been illustrated
by various artists: Professor Czeschka, Karl Fahringer, F. Staeger,
Franz Wacik, Fräulein Frimberger among others. That excellent work
is being done may be gathered from our illustrations. Fräulein C.
Hasselwander has done very good work as an illustrator of children’s
stories; C. Köystrand has won renown as an illustrator of refined
humour; Ferdinand Staeger is one of the best-known illustrators of the
“Münchner Jugend,” and a draughtsman of great variety and vitality;
Wenzel Oswald and Gustav Kalhammer are past students of the Imperial
“Kunstgewerbeschule” in Vienna and are essentially decorative in their
art; while Dagobert Peche hails from the Imperial Academy and his work
is of a highly decorative character. Alfred Keller is an architect by
profession, as is Dagobert Peche, but he is also an illustrator of
books, his chief _forte_ lying in line drawing.
Some of the Austrian artists excel in the designing of book-bindings,
and it is safe to say their work will achieve lasting fame. The mention
of names such as Professors Josef Hoffmann, Koloman Moser and Czeschka,
are sufficient to vouch for this assertion; Anton Hofer and Rudolf
Geyer, both past students of the Imperial Arts and Crafts School, have
also done some very beautiful work which will live. All these artists
have produced bindings which in quality of design, material, and
workmanship are all that could be desired.
In the designing of new types excellent results have been achieved.
“Czeschka’s Antiqua,” the invention of Professor Czeschka, is extremely
beautiful in its simplicity. It has been acquired by Messrs.
Genzsch and Heyse, of Hamburg, and is illustrated on page 211.
[Illustration: COVER DESIGN BY F. KYSELA, FOR NOVA EDICE, PRAGUE]
Dr. Rudolf Junk’s new type is characterized by the same high qualities
though it differs widely in form from that of Professor Czeschka;
Herr Mader’s type is less clear, though it is interesting. For this
Professor Hoffmann has made the borders and ornament. Fräulein Schmidt
may also be counted amongst those who have created new and interesting
types. These have all been published by the “Hof-und Staatsdruckerei.”
In the provinces Bohemia holds the first place in the Art of the Book,
which is but natural considering how high a prestige Prague, Pilsen,
Kuttenberg, and other of her towns enjoyed in bygone ages. In modern
graphic art and book-decoration many Czech artists have distinguished
themselves. The various reproductions here show that their inspirations
are those of the true artist. To these must be added Zdenka Braunerová,
Adolf Kašpar, and Vojtěch Preissig. That the publishers are
collaborating with the artists is a good sign, and the next few years
will no doubt see further developments. The fact that the modern
movement in Bohemia in the Art of the Book is still in its infancy, and
that, in spite of this, so much that is good has already been done,
speaks well for the future.
[Illustration: TAILPIECE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL
GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA]
[Illustration: ORNAMENT BY WENZEL OSWALD]
[Illustration: TITLE-PAGE DESIGNED BY F. KYSELA. PUBLISHED BY THE “NOVA
EDICE,” PRAGUE]
[Illustration: DEDICATION PAGE DESIGNED BY V. H. BRUNNER, FOR PUSHKIN’S
“HISTORY OF THE CZAR SALTAN.” PUBLISHED BY THE “SPOLEK ČESKÝCH
BIBLIOFILŮ”]
[Illustration: TITLE-PAGE DESIGNED BY J. BENDA. PUBLISHED BY HEJDA A
TUČEK, PRAGUE]
[Illustration: TITLE-PAGE DESIGNED BY VLADIMÍR ŽUPANSKÝ.
PUBLISHED BY THE “SPOLEK MANES,” PRAGUE]
[Illustration: PAGES OF TYPE AND BORDER DESIGNED BY PROFESSOR C. O.
CZESCHKA, CAST BY GENZSCH AND HEYSE, HAMBURG]
[Illustration: EXAMPLES OF ORNAMENTAL WRITING BY PROF. RUD. VON LARISCH
FROM “UNTERRICHT IN ORNAMENTALER SCHRIFT”]
[Illustration: BOOKBINDING IN RED SHAGREEN, WITH EMBOSSED GOLD
ORNAMENTATION DESIGNED BY RUDOLPH GEYER, EXECUTED BY ALBERT GÜNTHER]
[Illustration: BOOKBINDING IN BLACK SHAGREEN, WITH EMBOSSED GOLD
ORNAMENTATION DESIGNED BY RUDOLPH GEYER, EXECUTED BY ALBERT GÜNTHER]
[Illustration: BOOKBINDING IN RUSSIAN LEATHER, WITH INLAY AND TOOLING.
DESIGNED BY HENRYK UZIEMBLO, EXECUTED BY ROBERT JAHODA]
[Illustration: BOOKBINDING IN RUSSIAN LEATHER, WITH INLAY AND TOOLING.
DESIGNED BY HENRYK UZIEMBLO, EXECUTED BY ROBERT JAHODA]
[Illustration: (_In the possession of H. E. Dr. Friedrich
Piffl, Prince-Bishop of Vienna_)
SILVER BOOKBINDING, WITH LEATHER INLAY AND GOLD TOOLING. BY ANTON
HOFER]
[Illustration: LEATHER BOOKBINDING, WITH INLAY AND GOLD TOOLING.
DESIGNED BY PROF. JOSEF HOFFMANN EXECUTED BY THE WIENER WERKSTAETTE]
[Illustration: BOOKBINDING IN BUCKSKIN, WITH INLAY AND TOOLING.
DESIGNED BY PROF. JOSEF HOFFMANN EXECUTED BY THE WIENER WERKSTAETTE]
[Illustration: PAPER COVER DESIGNED BY DORA GROSS]
[Illustration: PAPER COVER DESIGNED BY HANSI BURGER-DIVECKY, PRINTED IN
THE IMPERIAL GRAPHISCHE LEHR-UND-VERSUCHSANSTALT, VIENNA]
[Illustration: PAPER COVER DESIGNED BY ROBERT FUCHS, PRINTED IN THE
IMPERIAL GRAPHISCHE LEHR-UND-VERSUCHSANSTALT, VIENNA]
[Illustration: PAPER COVER DESIGNED BY GUSTAV KALHAMMER]
[Illustration: PAPER COVER DESIGNED BY ANTON HOFER. FOR THEYER UND
HARDTMUTH]
[Illustration: PAPER COVER DESIGNED BY F. KOBLIHA]
[Illustration: TAILPIECE AND COVER DESIGN BY HEDWIG SCHMIEDL]
[Illustration: BORDER AND END-PAPER DESIGNS BY ALFRED KELLER. FOR L.
STAAKMANN, LEIPZIG]
[Illustration: ORNAMENTS AND END-PAPER DESIGN BY DAGOBERT PECHE]
[Illustration: INITIAL LETTER AND BORDER DESIGNED BY PROF. C. O.
CZESCHKA. FOR GENZSCH AND HEYSE, HAMBURG]
[Illustration: ORNAMENTS AND TAILPIECES BY WENZEL OSWALD]
[Illustration: ORNAMENTS BY GUSTAV KALHAMMER]
[Illustration: DECORATIVE ILLUSTRATIONS BY FERDINAND STAEGER]
[Illustration: DECORATIVE ILLUSTRATIONS BY FERDINAND STAEGER]
[Illustration: DECORATIVE ILLUSTRATIONS BY ALFRED KELLER, FOR R. H.
BARTSCH’S “BITTERSÜSSE LIEBESGESCHICHTE” PUBLISHED BY L. STAAKMANN,
LEIPZIG]
[Illustration: DECORATIVE ILLUSTRATION BY ALFRED KELLER FOR “DAS BUCH
DER KLEINEN KLEINEN” PUBLISHED BY L. STAAKMANN, LEIPZIG]
[Illustration: DECORATIVE ILLUSTRATION BY C. HASSELWANDER]
[Illustration: DECORATIVE ILLUSTRATION BY C. KÖYSTRAND FOR “PIERROT ALS
SCHILDWACHE.” PUBLISHED BY S. CZEIGER]
[Illustration: INITIAL LETTER BY GUSTAV MARISCH]
[Illustration: DECORATIVE ILLUSTRATIONS BY MARIANNE
HITSCHMANN-STEINBERGER FOR “KONEGEN’S KINDERBÜCHER.” PUBLISHED BY
KONEGEN, VIENNA]
THE ART OF THE BOOK IN HUNGARY
[Illustration: TITLE-PAGE WRITTEN IN CORK. BY BLASIUS BUSAY (ARTS AND
CRAFTS SCHOOL, BUDAPEST)]
The development of art in Hungary reached its highest point in the
fifteenth century. The influence of the Italian renaissance made itself
felt in this country sooner than anywhere else, for Mathias Corvinus
gathered round him at his Court a great many Italian artists and
humanists, and acquired numerous finely painted books and manuscripts.
The few remaining treasures of his library, called _corvinas_, are
wonderful examples of renaissance book-illustrations, mostly the work
of Italian miniaturists, for it would seem that Hungarian artists were
not employed by the King. Political conflicts and wars put an end to
the progress of art, and then came the domination of the Turks, who
destroyed, or allowed to perish, the existing monuments of art.
There are many reasons to account for the long period of depression in
book-production and illustrative art which followed. Up to as late as
the middle of the nineteenth century the educated classes in Hungary
adopted Latin for conversation, and it was also the official and legal
language of the country. Students went to Italy and Germany to acquire
culture. Consequently foreign influences were paramount, and only the
cheapest books were produced at home. The native typography could not
compete with that of other countries, the art of the book fell into
decay, and Hungarian artists were only employed in work of lesser
importance.
The books which have been published in Hungary during the last few
years show a distinct advance when compared with those previously
produced. This is in a large measure due to the training offered at
the National Arts and Crafts School at Budapest, where opportunity
is given for the study of typography, and characters based on the
national art have been introduced and popularized. There is a special
class for designing script based upon the best of the old national
manuscripts which combine the most desirable qualities—legibility and
artistic form. Three excellent examples of the work of the students are
reproduced on pages 237 to 239.
[Illustration: HEADPIECE AND INITIAL LETTER BY ALEXANDER NAGY.
PUBLISHED BY THE “JÓKAI” PRINTING OFFICE]
Hungary is happy in possessing a number of really clever book
decorators, though many of them have settled outside their native
country, and their work has in some respects little of the
purely national characteristics. A notable example of this is to be
found in the drawings of the Marquis Franz von Bayros, a Hungarian
by race, Croatia being his native province, whose work bears no
relation to his nationality. Delicate, refined, and eminently
decorative, it possesses a grace which recalls the poetic charm of
the _fêtes galantes_, and is yet, in its technical dexterity and
subtle comprehension of the requirements of black-and-white, modern in
feeling. We reproduce some charming examples of this artist’s work.
Very different in conception and treatment, but more national in
character, is the decorative illustration by Charles Kós (page 236) for
his poem, “The Death of Attila”; while other eminent book-decorators
are Willy Pogány, many of whose drawings have been published in
England, Alexander Nagy and Kriesch-Körösföi, both leaders of the
famous Gödöllö group of artists. Nagy is a master of line, endowed with
a poetic imagination, and he adopts with wonderful success those forms
in which the Hungarian nation is so rich. Characteristic of his art is
the headpiece shown on this page. A quaintly treated frontispiece by
Blasius Busay is also reproduced. The original design was executed in
burnt cork.
[Illustration: TITLE-PAGE DESIGNED BY FRANZ VON BAYROS PUBLISHED BY
ARTUR WOLF, VIENNA]
[Illustration: DECORATIVE ILLUSTRATIONS BY FRANZ VON BAYROS PUBLISHED
BY ARTUR WOLF, VIENNA]
[Illustration: DECORATIVE ILLUSTRATION BY FRANZ VON BAYROS FOR VON
SCHLOEMPS’S “DER PERVERSE MAIKÄFER” PUBLISHED BY GEORG MÜLLER, MUNICH]
[Illustration: BOOK-COVER DESIGN BY FRANZ VON BAYROS, FOR L. H.
ROSEGGER’S “VON KÖNIGEN UND JAKOBINERN” PUBLISHED BY SEIFFERT,
KOSTRITZ]
[Illustration: “DEATH OF ATTILA.”—DECORATIVE ILLUSTRATION BY CHARLES
KOS]
[Illustration: EXAMPLE OF WRITING WITH REED PEN. BY PAUL BENCSIK
STUDENT OF THE ARTS AND CRAFTS SCHOOLS, BUDAPEST]
[Illustration: EXAMPLE OF WRITING WITH REED PEN. BY IMRE KATONA STUDENT
OF THE ARTS AND CRAFTS SCHOOL, BUDAPEST]
[Illustration: EXAMPLE OF WRITING WITH REED PEN. BY IMRE KATONA STUDENT
OF THE ARTS AND CRAFTS SCHOOL, BUDAPEST]