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THE ART OF THE BOOK IN AMERICA BY WILLIAM DANA ORCUTT

THE Art of the Book in America received a tremendous impetus as a result of the work of William Morris in England. Previous to that time American printing showed no originality, the finest examples being based firmly upon the best English work of the period. The highest point of excellence was reached during the decade from 1860 to 1870, and no better example of orthodox printing could be cited than the “Life of Prescott,” produced by the University Press in 1864. After 1870, and down to the date of the Morris revival, well-made volumes were issued from the University, the Riverside and the De Vinne Presses, but the average quality deteriorated. The transition of book-making from a trade to an art dates from the appearance of the Kelmscott volumes.

Naturally enough, the early effect of the enthusiasm over Morris's work was the issuance of a series of monstrosities; but the very mistakes made by these zealous typographical disciples were educational, producing a momentum which finally brought excellent results. Those who copied Morris failed; those who were encouraged by his departure from the beaten track to think for themselves succeeded in retaining the basic principles upon which the work of the master printers has always firmly rested, applying them in the light of modern conditions, and giving them originality by their individual experiments. Morris's work made men think, broke down the smugness of precedent, and enabled printing to become an art.

Cobden-Sanderson's work accomplished much in helping American printing to assume a sane status after the hectic enthusiasm of the Morris period. Students of typography came to realize that William Morris belonged to the great decorators rather than to the master printers; that it was his superb presswork, and the general harmony of the factors which went into his books, rather than his typography overloaded with design, which represented his real contribution to the making of the Book Ideal. When the Doves Press, in continuing Morris's work, substituted a more classical fount of type, based upon an Italian model of the fifteenth century, there was a quick response in America in dropping the tendency towards the Gothic, engendered by the type faces cut by the Kelmscott Press. During the next ten years more original and better types were cut, and volumes were produced which carried printing as an art to a higher point than it had previously attained.

Of the types cut under the so-called Gothic influence, the “Renner” of the De Vinne Press is among the best. Theodore L. De Vinne, whose recent death removed the doyen of American master printers, was responsible for the well-sustained reputation of his Press during his active association with it. As a technical master of typography, and in his magnificent presswork, he translated himself into his books, but the exactness of his training is reproduced in his translation of Renner's design into the rigidity of modern type. The page which is reproduced here (p. 264), taken from one of the many superb Grolier Club publications produced by the De Vinne Press, shows both the Renner model and the modern expression of it as interpreted by Mr. De Vinne. The oblique serif of the e,the fancy curve to the h, and the superfluous curl at the top of the g introduce features which are foreign to the model, and give to the modern type a “jobbiness” which unquestionably detracts from the otherwise dignified appearance of the face.

The Gilliss Press, whose work is now suspended, has contributed its share to the renaissance of printing in America. Its limited editions of the books of William Loring Andrews and other volumes issued for private distribution show excellence of workmanship and harmony in conception rather than originality in treatment. Instead of specially designed type, these volumes are rich in decoration, the artistic quality of which ranks with the best.

At the Merrymount Press, Mr. D. Berkeley Updike has produced a number of volumes which have made their impress upon American typography because of his sincerity in carrying out his announced purpose of “undertaking the work of to-day in the spirit of the best days of printing.” Two special faces of type have been designed for the Merrymount Press, both of which are among the successful faces cut in America. The “Montallegro” type, designed by Herbert P. Horne, of London, is used in the volumes of the “Humanistic Library,” issued by Mr. Updike, of which a page is here given (p. 265). Of the type the London AthenÆum says: “We are inclined to say not only that it is better than any of the many attempts which have resulted from Morris's revival of the art of printing, but also that it is even more perfect than any of the fifteenth-century founts on the study of which that revival was based. It is ... absolutely without affectation ... and so perfectly are the proportions of the letters harmonized that every page is a thing of beauty. We regret that it was reserved for an American printer to bring out such an admirable fount.... It is the first time that a fount has been designed in modern times which satisfies at once practical and Æsthetic demands. Mr. Horne has solved a problem which has exercised us ever since we began to think again that printing was an art.”

The “Merrymount” type, designed by Bertram Grosvenor Goodhue, is based upon fifteenth-century models, and has attracted much favourable comment. The “Holy Bible” and the “Life of Benvenuto Cellini,” from which pages are here reproduced (p. 269), are representative examples both of the type and of the typographical standards of the Press.

The writer of this present article would hesitate to include his own design of “Humanistic” type except that it has come to be accepted by typographical students as representing an approach to the art from a standpoint entirely different from that of other designers. The first types were naturally based upon the best hand-lettering of their time, yet hand-lettering, as an art, reached its zenith after printing began, in the work of the Humanistic scribes. This type is based therefore not upon an early type, but upon hand-lettering at its highest point of perfection. The pages which are shown here (pp. 266 and 267) have been taken from “The Triumphs of Francesco Petrarch,” produced at the University Press under the writer's supervision. An examination of these pages will show that the principle upon which the fount is cut differs radically from that shown in regular modern types, namely, the ascending letters are short and the descending letters long. The designs of the letters closely follow those of the handwritten model, yet avoid the inevitable slight irregularity of such work, which would prove unpleasant in a printed page. Instead of a single character for each letter, a certain variety is introduced by having several characters, the compositor being trained to use the different forms exactly as the hand would automatically make a change in hand-lettering. Charles Eliot Norton says of this: “Most modern type lacks freshness and individuality, and the new fount to which the name 'Humanistic' has been given shows its contrast to the familiar dry, mechanical form. There is attractive freedom and unusual grace in its lines, derived immediately from the manuscript model, but adapted to the necessary rigid requirements of print.”

Among other important volumes produced at the University Press are those decorated by Bertram Grosvenor Goodhue and Will Bradley, two artists whose work in book-decoration stands in a class by itself. Much of Goodhue's work reflects the Morris influence, as will be seen in the page shown from “Esther” (p. 268); but his ability in original design is indicated by the border and initial of the “Songs of Heredia,” which is given on the same page.

Bradley's work evidences the greatest versatility of any decorative artist America has produced. Some of his work shows Beardsley's influence, but no single influence could control so original a genius as Bradley has proved himself to be. The two examples reproduced here (pp. 270 and 271) represent the extremes in his work—one drawn with a delicacy and accuracy of line which is marvellous in its execution; the other bold and heavy, giving a woodcut effect.

No one artist-printer has contributed so much to American typography as Bruce Rogers, whose “Montaigne” type is easily the best and most practical of any special face, and whose productions while associated with the Riverside Press are marked by an originality and a consistency of excellence beyond what has been attained by any other American printer. He, better than anyone else, through his knowledge of types and his skill as a designer, has given expression to the basic principles of the old-time master printers awakened by modern conditions. His monumental folio edition of Montaigne—pages of which are reproduced here (pp. 272 and 273)—demonstrates a harmony of effect eminently appropriate to the style and period of its contents. The type itself is based upon an early French model, and the decorations and the initial letters (p. 274) are free renderings by Rogers of the original designs by Tory, in which the retention of the designer's spirit is admirably accomplished.

During the past five years the Plimpton Press has contributed much to elevate the standard of printing and binding by abolishing to a large extent the prevalent custom of publishers to produce their volumes by “piecemeal.” This has resulted in changing the making of books from a contracting to a manufacturing business, and has had its effect in raising the quality of the so-called “trade” volumes. When the composition, presswork, and binding of a book are divided up among as many firms, the result of the divided responsibility often means a general deterioration of quality; but by the “complete manufacture” method the volume is planned out in advance, even to the paper, cover design, and illustrations, by a single mind. This places the printer in the position of expert manufacturing man to a large number of his customers, and enables him to preserve standards and to introduce economies by purchasing supplies in larger quantities, and by combining forms of text and illustrations in the manufacture.

The influence which a publisher can exert upon the Art of the Book is shown by the series of classics issued in exquisite form by Mr. Thomas B. Mosher, at prices within the reach of all. These volumes are distinct evidences of his own taste and knowledge rather than triumphs of the printer, for Mr. Mosher has expressed himself in the type, margins, paper, and the general format of his admirable publications.

It would be difficult to estimate the far-reaching results in the general advance in typographical standards due to two magazines, The Printing Art and The Graphic Arts. The monthly issues of these publications have shown ordinary printers how to produce work above the average by placing before them actual examples of the best combinations of type, paper, and colour harmonies. They have been educational in the extreme, teaching buyers of printing as well as printers how to secure the effects desired.

In the matter of domestic production America shows little originality in book-papers, the “Old Stratford” being the only distinctive exception. No hand-made book-paper is now produced in America, owing principally to the high cost of labour. This makes it possible to import from England, France, and Italy cheaper than to manufacture at home. The “Old Stratford” paper, however, is a unique product, and is used much in volumes of de luxe format, and in books where lasting qualities are demanded. In cover-papers, on the other hand, America produces a bewildering line, which quite excels those of other countries, offering a variety of selection which is a tremendous aid to the printer in securing artistic results.

Fine bookbinding in America is at present confined to a small number of individual workers, mostly pupils of the famous English and French binders, and their principal claim to originality of processes may be said to be an effort to combine the workmanship of the English with the artistic skill in decoration of the French. The Club Bindery, which flourished in New York during the lifetime of Mr. Robert Hoe, could scarcely be called an American institution, as its best workmen were brought to this country for this special purpose. Since his death this bindery has been broken up, and the finest work is to-day being done by women. Their skill and workmanship rank high, but they are handicapped by the excessive cost of labour and by the fact that all their leathers must be imported. The inevitable higher price makes it natural that American book-collectors should continue to send their volumes abroad for fine bindings. Amongst those whose work is most highly prized may be mentioned Miss Sears and Miss St. John of Boston, and Miss Lahey of New York.

In ordinary trade bindings the processes are more and more reduced to machine production, but in the best binderies this standardization has by no means proved a deterioration in quality. American trade books as a whole compare favourably with those of other countries, but it is quite true that the constantly increasing cost of every phase of book manufacture is in some instances causing American publishers to economize, and to accept a grade of work inferior to what they would have considered a few years ago. This, however, should not be regarded as a reflection upon American workmanship, but rather upon American conditions which force it. In cover design plain lettering still obtains for books of fiction and for serious works, but considerable elaboration is used upon smaller volumes issued as seasonable publications, or with a specific appeal. A few characteristic examples are reproduced on pp. 275 and 276.

It is impossible, within the scope of this article, to do more than chronicle some of the results of the remarkable advance made in the standards of book-manufacturing in America during the past ten years. The knowledge of what constitutes a well-made volume is much greater than ever before, and the ability of the buying public to discriminate is the most hopeful promise for the future. In the omission of other examples of printing and binding, and of mention of other artists entitled to credit for the part they have played in advancing the Art of the Book in America, the writer pleads the limitations imposed by space.

PAGE FROM “TITLE-PAGES” (THE GROLIER CLUB) PRINTED IN THE “RENNER” TYPE DESIGNED BY THEODORE LOW DE VINNE