The Art and Craft of Printing Part 1

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. c.o.c.kERELL, AND AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT.

Copyright, 1902 By H. M. O'Kane

[Ill.u.s.tration: PSYCHE BORNE OFF BY ZEPHYRUS, DRAWN BY EDWARD BURNE-JONES & ENGRAVED BY WILLIAM MORRIS]

[Ill.u.s.tration: 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 s.p.a.cing 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 s.p.a.cing: 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 s.p.a.ces 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 s.p.a.cing, 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 s.p.a.cing 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 ill.u.s.trated 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 ill.u.s.trated 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 ma.n.u.scripts, 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 ill.u.s.trated 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 t.i.tle-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.

[Ill.u.s.tration: 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 partners.h.i.+p 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 Sat.u.r.day, 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 ma.n.u.scripts 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 t.i.tle-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 t.i.tle-pages and initial words were printed direct from the wood. The ill.u.s.trations 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 ill.u.s.trations, 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 s.p.a.ce 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 repet.i.tion. 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 pa.s.sed into other hands, and the little house, with its many a.s.sociations, 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 t.i.tle 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 Ill.u.s.trated 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 Sh.e.l.ley'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.