Aldis, M.A.
Cambridge: at the University Press 1916
Press those in Caslon letter are the more pleasing, though
the Prayer Book of King Edward VII (1903), printed in Mr
Ashbee's 'Prayer Book' and 'Endeavour' types, is a very
striking volume.
The first break in the monotonous use of this uninteresting
fashion in type was made by the younger Charles
Whittingham, of the Chiswick Press, who, in conjunction with
his friend William Pickering, the publisher of the miniature
editions known as Diamond Classics, revived the use of
Caslon letter in 1844. An awakening of interest in the artistic
aspect of typography followed this innovation, and the
modified form of the older type, known as 'old style,' which
was shortly afterwards introduced, has steadily grown in
favor, though 'modern face' is still generally used for many
the use of ornamental initial letters and drew upon some of the best French models for this purpose.
The founding of the Kelmscott Press, which marks the next important epoch, gave progressive force to what may be
regarded as the renaissance of printing. Among the many private presses which have borne a part in this movement,
the Kelmscott and the Doves take a prominent place, both for the quality and the quantity of their work and as
representing the extremes of decoration and simplicity. William Morris's' Golden' type, which was used in his first book
(The Story of the Glittering Plain, 1891), was based on the roman letter of Nicolas Jenson, the Venetian fifteenth-
century printer. His other types, the 'Troy' and the 'Chaucer,' were two sizes of a simplified gothic character, designed
under the influence of early German founts. Of the fifty-three books produced during the seven years' activity of the
press, the highly extolled Ohaucer takes a preeminent place. It cannot be denied that the Kelmscott books are
examples of triumphantly excellent workmanship; but, at the same time, it is impossible not to feel that they are
achievements in decorative art rather than in typography. The books of the Doves Press, eschewing all ornament, rely
for their effect upon perfection of letter-press, and in this respect they resemble the Foulis books of the eighteenth
century. In their simple dignity they present a strong contrast to the Morris books in which lavish decoration and
restless borders distract attention from the text, which is, after all, the essential element of a book.
The books of the Vale Press (1896-1904) were printed at the Ballantyne Press under the direction of Mr Charles
Ricketts, who designed the three special founts and most of the decorative cuts used in these volumes. From the
Ashendene Press Mr C. H. St John Hornby has sent out several fine books printed in a type modelled after that of
Sweynheym and Pannartz, the first printers in Italy. This bold, well-balanced type finds its best expression in the
books of larger format, such as the Dante of 1909, and the Morte d'Arthur of 1913.
< Chapter Index >