The Art and Craft of Printing Part 5

A further development of the Roman letter took place at Venice. John of Spires and his brother Vindelin, followed by Nicholas Jenson, began to print in that city, 1469, 1470; their type is on the lines of the German and French rather than of the Roman printers. Of Jenson it must be said that he carried the development of Roman type as far as it can go: his letter is admirably clear and regular, but at least as beautiful as any other Roman type. After his death in the "fourteen eighties," or at least by 1490, printing in Venice had declined very much; and though the famous family of Aldus restored its technical excellence, rejecting battered letters, and paying great attention to the "press work" or actual process of printing, yet their type is artistically on a much lower level than Jenson's, and in fact they must be considered to have ended the age of fine printing in Italy. Jenson, however, had many contemporaries who used beautiful type, some of which--as, e. g., that of Jacobus Rubeus or Jacques le Rouge--is scarcely distinguishable from his. It was these great Venetian printers, together with their brethren of Rome, Milan, Parma, and one or two other cities, who produced the splendid editions of the Cla.s.sics, which are one of the great glories of the printer's art, and are worthy representatives of the eager enthusiasm for the revived learning of that epoch. By far the greater part of these Italian printers, it should be mentioned, were Germans or Frenchmen, working under the influence of Italian opinion and aims. It must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries the Roman letter was used side by side with the Gothic. Even in Italy most of the theological and law books were printed in Gothic letter, which was generally more formally Gothic than the printing of the German workmen, many of whose types, indeed, like that of the Subiaco works, are of a transitional character. This was notably the case with the early works printed at Ulm, and in a somewhat lesser degree at Augsburg. In fact Gunther Zeiner's first type (afterwards used by Schussler) is remarkably like the type of the before-mentioned Subiaco books.

In the Low Countries and Cologne, which were very fertile of printed books, Gothic was the favourite. The characteristic Dutch type, as represented by the excellent printer Gerard Leew, is very p.r.o.nounced and uncompromising Gothic. This type was introduced into England by Wynkyn de Worde, Caxton's successor, and was used there with very little variation all through the sixteenth and seventeenth centuries, and indeed into the eighteenth. Most of Caxton's own types are of an earlier character, though they also much resemble Flemish or Cologne letter.

After the end of the fifteenth century the degradation of printing, especially in Germany and Italy, went on apace; and by the end of the sixteenth century there was no really beautiful printing done: the best, mostly French or Low-Country, was neat and clear, but without any distinction; the worst, which perhaps was the English, was a terrible falling-off from the work of the earlier presses; and things got worse and worse through the whole of the seventeenth century, so that in the eighteenth printing was very miserably performed. In England about this time, an attempt was made (notably by Caslon, who started business in London as a type-founder in 1720) to improve the letter in form.

Caslon's type is clear and neat, and fairly well designed; he seems to have taken the letter of the Elzevirs of the seventeenth century for his model: type cast from his matrices is still in everyday use.

In spite, however, of his praiseworthy efforts, printing had still one last degradation to undergo. The seventeenth century founts were bad rather negatively than positively. But for the beauty of the earlier work they might have seemed tolerable. It was reserved for the founders of the later eighteenth century to produce letters which are positively ugly, and which, it may be added, are dazzling and unpleasant to the eye owing to the clumsy thickening and vulgar thinning of the lines: for the seventeenth-century letters are at least pure and simple in line. The Italian, Bodoni, and the Frenchman, Didot, were the leaders in this luckless change, though our own Baskerville, who was at work some years before them, went much on the same lines; but his letters, though uninteresting and poor, are not nearly so gross and vulgar as those of either the Italian or the Frenchman.

With this change the art of printing touched bottom, so far as fine printing is concerned, though paper did not get to its worst till about 1840. The Chiswick press in 1844 revived Caslon's founts, printing for Messrs. Longman the Diary of Lady Willoughby. This experiment was so far successful that about 1850 Messrs. Miller and Richard of Edinburgh were induced to cut punches for a series of "old style" letters. These and similar founts, cast by the above firm and others, have now come into general use and are obviously a great improvement on the ordinary "modern style" in use in England, which is in fact the Bodoni type a little reduced in ugliness. The design of the letters of this modern "old style" leaves a good deal to be desired, and the whole effect is a little too gray, owing to the thinness of the letters. It must be remembered, however, that most modern printing is done by machinery on soft paper, and not by the hand press, and these somewhat wiry letters are suitable for the machine process, which would not do justice to letters of more generous design.

It is discouraging to note that the improvement of the last fifty years is almost wholly confined to Great Britain. Here and there a book is printed in France or Germany with some pretension to good taste, but the general revival of the old forms has made no way in those countries.

Italy is contentedly stagnant. America has produced a good many showy books, the typography, paper, and ill.u.s.trations of which are, however, all wrong, oddity rather than rational beauty and meaning being apparently the thing sought for both in the letters and the ill.u.s.trations.

To say a few words on the principles of design in typography: it is obvious that legibility is the first thing to be aimed at in the forms of the letters; this is best furthered by the avoidance of irrational swellings and spiky projections, and by the using of careful purity of line. Even the Caslon type when enlarged shows great shortcomings in this respect: the ends of many of the letters such as the t and e are hooked up in a vulgar and meaningless way, instead of ending in the sharp and clear stroke of Jenson's letters; there is a grossness in the upper finis.h.i.+ngs of letters like the c, the a, and so on, an ugly pear-shaped swelling defacing the form of the letter: in short, it happens to this craft, as to others, that the utilitarian practice, though it professes to avoid ornament, still clings to a foolish, because misunderstood conventionality, deduced from what was once ornament, and is by no means useful; which t.i.tle can only be claimed by artistic practice, whether the art in it be conscious or unconscious.

In no characters is the contrast between the ugly and vulgar illegibility of the modern type and the elegance and legibility of the ancient more striking than in the Arabic numerals. In the old print each figure has its definite individuality, and one cannot be mistaken for the other; in reading the modern figures the eyes must be strained before the reader can have any reasonable a.s.surance that he has a 5, an 8, or a 3 before him, unless the press work is of the best; this is awkward if you have to read Bradshaw's Guide in a hurry.

One of the differences between the fine type and the utilitarian must probably be put down to a misapprehension of a commercial necessity: this is the narrowing of the modern letters. Most of Jenson's letters are designed within a square, the modern letters are narrowed by a third or thereabout; but while this gain of s.p.a.ce very much hampers the possibility of beauty of design, it is not a real gain, for the modern printer throws the gain away by putting inordinately wide s.p.a.ces between his lines, which, probably, the lateral compression of his letters renders necessary. Commercialism again compels the use of type too small in size to be comfortable reading: the size known as "Long primer" ought to be the smallest size used in a book meant to be read. Here, again, if the practice of "leading" were retrenched larger type could be used without enhancing the price of a book.

One very important matter in "setting up" for fine printing is the "s.p.a.cing," that is, the lateral distance of words from one another. In good printing the s.p.a.ces between the words should be as near as possible equal (it is impossible that they should be quite equal except in lines of poetry); modern printers understand this, but it is only practised in the very best establishments. But another point which they should attend to they almost always disregard; this is the tendency to the formation of ugly meandering white lines or "rivers" in the page, a blemish which can be nearly, though not wholly, avoided by care and forethought, the desirable thing being "the breaking of the line" as in bonding masonry or brickwork, thus: [Ill.u.s.tration] The general solidity of a page is much to be sought for: modern printers generally overdo the "whites" in the s.p.a.cing, a defect probably forced on them by the characterless quality of the letters. For where these are boldly and carefully designed, and each letter is thoroughly individual in form, the words may be set much closer together, without loss of clearness. No definite rules, however, except the avoidance of "rivers" and excess of white, can be given for the s.p.a.cing, which requires the constant exercise of judgment and taste on the part of the printer.

The position of the page on the paper should be considered if the book is to have a satisfactory look. Here once more the almost invariable modern practice is in opposition to a natural sense of proportion. From the time when books first took their present shape till the end of the sixteenth century, or indeed later, the page so lay on the paper that there was more s.p.a.ce allowed to the bottom and fore margin than to the top and back of the paper, thus:

[Ill.u.s.tration]

the unit of the book being looked on as the two pages forming an opening. The modern printer, in the teeth of the evidence given by his own eyes, considers the single page as the unit, and prints the page in the middle of his paper--only nominally so, however, in many cases, since when he uses a headline he counts that in, the result as measured by the eye being that the lower margin is less than the top one, and that the whole opening has an upside-down look vertically, and that laterally the page looks as if it were being driven off the paper.

The paper on which the printing is to be done is a necessary part of our subject: of this it may be said that though there is some good paper made now, it is never used except for very expensive books, although it would not materially increase the cost in all but the very cheapest. The paper that is used for ordinary books is exceedingly bad even in this country, but is beaten in the race for vileness by that made in America, which is the worst conceivable. There seems to be no reason why ordinary paper should not be better made, even allowing the necessity for a very low price; but any improvement must be based on showing openly that the cheap article is cheap, e. g., the cheap paper should not sacrifice toughness and durability to a smooth and white surface, which should be indications of a delicacy of material and manufacture which would of necessity increase its cost. One fruitful source of badness in paper is the habit that publishers have of eking out a thin volume by printing it on thick paper almost of the substance of cardboard, a device which deceives n.o.body, and makes a book very unpleasant to read. On the whole, a small book should be printed on paper which is as thin as may be without being transparent. The paper used for printing the small highly ornamented French service-books about the beginning of the sixteenth century is a model in this respect, being thin, tough, and opaque.

However, the fact must not be blinked that machine-made paper cannot in the nature of things be made of so good a texture as that made by hand.

The ornamentation of printed books is too wide a subject to be dealt with fully here; but one thing must be said on it. The essential point to be remembered is that the ornament, whatever it is, whether picture or pattern-work, should form part of the page, should be a part of the whole scheme of the book. Simple as this proposition is, it is necessary to be stated, because the modern practice is to disregard the relation between the printing and the ornament altogether, so that if the two are helpful to one another it is a mere matter of accident. The due relation of letter to pictures and other ornament was thoroughly understood by the old printers; so that even when the woodcuts are very rude indeed, the proportions of the page still give pleasure by the sense of richness that the cuts and letter together convey. When, as is most often the case, there is actual beauty in the cuts, the books so ornamented are amongst the most delightful works of art that have ever been produced.

Therefore, granted well-designed type, due s.p.a.cing of the lines and words, and proper position of the page on the paper, all books might be at least comely and well-looking: and if to these good qualities were added really beautiful ornament and pictures, printed books might once again ill.u.s.trate to the full the position of our Society that a work of utility might be also a work of art, if we cared to make it so.

NOTE TO THE PRESENT EDITION: The following pages showing the Troy and Chaucer types are printed from process blocks to insure fidelity to the originals. The frontispiece and first page of text are also reproduced in the same manner; page one, within the border, showing the Golden type, the only other type used by William Morris.

[Sidenote: This is the Troy type]

The following pa.s.sages are given to show the Troy & Chaucer types, and four initials that were designed for the Froissart, but never used.

The land is a little land, Sirs, too much shut up within the narrow seas, as it seems, to have much s.p.a.ce for swelling into hugeness: there are no great wastes overwhelming in their dreariness, no great solitudes of forests, no terrible untrodden mountain-walls: all is measured, mingled, varied, gliding easily one thing into another: little rivers, little plains, swelling, speedily-changing uplands, all beset with handsome orderly trees; little hills, little mountains, netted over with the walls of sheep-walks: all is little; yet not foolish and blank, but serious rather, and abundant of meaning for such as choose to seek it: it is neither prison, nor palace, but a decent home.

All which I neither praise nor blame, but say that so it is: some people praise this homeliness overmuch, as if the land were the very axle-tree of the world; so do not I, nor any unblinded by pride in themselves and all that belongs to them: others there are who scorn it and the tameness of it: not I any the more: though it would indeed be hard if there were nothing else in the world, no wonders, no terrors, no unspeakable beauties. Yet when we think what a small part of the world's history, past, present, & to come, is this land we live in, and how much smaller still in the history of the arts, & yet how our forefathers clung to it, and with what care and

[Sidenote: This is the Chaucer type]

pains they adorned it, this unromantic, uneventful-looking land of England, surely by this too our hearts may be touched and our hope quickened.

For as was the land, such was the art of it while folk yet troubled themselves about such things; it strove little to impress people either by pomp or ingenuity: not unseldom it fell into commonplace, rarely it rose into majesty; yet was it never oppressive, never a slave's nightmare or an insolent boast: & at its best it had an inventiveness, an individuality, that grander styles have never overpa.s.sed: its best too, and that was in its very heart, was given as freely to the yeoman's house, and the humble village church, as to the lord's palace or the mighty cathedral: never coa.r.s.e, though often rude enough, sweet, natural & unaffected, an art of peasants rather than of merchant princes or courtiers, it must be a hard heart, I think, that does not love it: whether a man has been born among it like ourselves, or has come wonderingly on its simplicity from all the grandeur over-seas.

And Science, we have loved her well, and followed her diligently, what will she do? I fear she is so much in the pay of the counting-house, the counting-house and the drill-sergeant, that she is too busy, and will for the present do nothing.

Yet there are matters which I should have thought easy for her, say for example teaching Manchester how to consume its own smoke, or Leeds how to get rid of its superfluous black dye without turning it into the river, which would be as much worth her attention as the production of the heaviest of heavy black silks, or the biggest of useless guns. Anyhow, however it be done, unless people care about carrying on their business without making the world hideous, how can they care about art? I know it will cost much both of time and money to better these things even a little; but I do not see how these can be better spent than in making life cheerful & honourable for others and for ourselves; and the gain of good life to the country at large that would result from men seriously setting about the bettering of the decency of our big towns would be priceless, even if nothing specially good befell the arts in consequence: I do not know that it would; but I should begin to think matters hopeful if men turned their attention to such things, and I repeat that, unless they do so, we can scarcely even begin with any hope our endeavours for the bettering of the Arts. (From the lecture called The Lesser Arts, in Hopes and Fears for Art, by William Morris, pages 22 and 33.)

[Ill.u.s.tration: Kelmscott

William Morris]