41c. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME IV. JULY: THE SON OF CRŒSUS. THE WATCHING OF THE FALCON. AUGUST: PYGMALION AND THE IMAGE. OGIER THE DANE. Medium 4to. Golden type. In black and red. Borders 31a, 31, 29a, 29, 28a, 28, 30a, and 30. Dated Nov. 25, 1896, issued Jan. 22, 1897. Published at the Kelmscott Press. Bound in limp vellum.

41d. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME V. SEPTEMBER: THE DEATH OF PARIS. THE LAND EAST OF THE SUN AND WEST OF THE MOON. OCTOBER: THE STORY OF ACONTIUS AND CYDIPPE. THE MAN WHO NEVER LAUGHED AGAIN. Medium 4to. Golden type. In black and red. Borders 29a, 29, 27a, 27, 28a, 28, 31a, and 31. Finished Dec. 24, 1896, issued Mar. 9, 1897. Published at the Kelmscott Press. Bound in limp vellum.

41e. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VI. NOVEMBER: THE STORY OF RHODOPE. THE LOVERS OF GUDRUN. Medium 4to. Golden type. In black and red. Borders 27a, 27, 30a, and 30. Finished Feb. 18, issued May 11, 1897. Published at the Kelmscott Press. Bound in limp vellum.

41f. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VII. DECEMBER: THE GOLDEN APPLES. THE FOSTERING OF ASLAUG. JANUARY: BELLEROPHON AT ARGOS. THE RING GIVEN TO VENUS. Medium 4to. Golden type. In black and red. Borders 29a, 29, 31a, 31, 30a, 30, 27a, and 27. Finished March 17, issued July 29, 1897. Published at the Kelmscott Press. Bound in limp vellum.

45. THE WATER OF THE WONDROUS ISLES. BY WILLIAM MORRIS. Large 4to. Chaucer type, in double columns, with a few lines in Troy type at the end of each of the seven parts. In black and red. Borders 16a, 17a, 18a, 19, and 19a. 250 on paper at three guineas, 6 on vellum at twelve guineas. Dated April 1, issued July 29, 1897. Published at the Kelmscott Press. Bound in limp vellum.

41g. THE EARTHLY PARADISE. BY WILLIAM MORRIS. VOLUME VIII. FEBRUARY: BELLEROPHON IN LYCIA. THE HILL OF VENUS. EPILOGUE. L’ENVOI. Medium 4to. Golden type. In black and red. Borders 28a, 28, 29a, and 29. Finished June 10, issued Sept. 27, 1897. Published at the Kelmscott Press. Bound in limp vellum.

The colophon of this final volume of The Earthly Paradise contains the following note: ‘The borders in this edition of The Earthly Paradise were designed by William Morris, except those on page 4 of volumes ii., iii., and iv., afterwards repeated, which were designed to match the opposite borders, under William Morris’s direction, by R. Catterson-Smith; who also finished the initial words ‘Whilom’ and ‘Empty’ for The Water of the Wondrous Isles. All the other letters, borders, title-pages and ornaments used at the Kelmscott Press, except the Greek type in Atalanta in Calydon, were designed by William Morris.’

46. TWO TRIAL PAGES OF THE PROJECTED EDITION OF LORD BERNERS’ TRANSLATION OF FROISSART’S CHRONICLES. Folio. Chaucer type, with heading in Troy type. In black and red. Border 32, containing the shields of France, the Empire, and England and a half-border containing those of Reginald Lord Cobham, Sir John Chandos, and Sir Walter Manny. 160 on vellum at a guinea, none on paper. Dated September, issued October 7, 1897. Published at the Kelmscott Press. Not bound.

It was the intention of Mr. Morris to make this edition of what was since his college days almost his favourite book, a worthy companion to the Chaucer. It was to have been in two volumes folio, with new cusped initials and heraldic ornament throughout. Each volume was to have had a large frontispiece designed by Sir E. Burne-Jones; the subject of the first was to have been St. George, that of the second, Fame. A trial page was set up in the Troy type soon after it came from the foundry, in Jan., 1892. Early in 1893 trial pages were set up in the Chaucer type, and in the list for March 9 of that year the book is erroneously stated to be in the press. In the three following lists it is announced as in preparation. In the list dated Dec. 1, 1893, and in the three next lists, it is again announced as in the press, and the number to be printed is given as 150. Meanwhile the printing of the Chaucer had been begun, and as it was not feasible to carry on two folios at the same time, the Froissart again comes under the heading ‘in preparation’ in the lists from Dec. 1, 1894, to June 1, 1896. In the prospectus of the Shepheardes Calender, dated Nov. 12, 1896, it is announced as abandoned. At that time about thirty-four pages were in type, but no sheet had been printed. Before the type was broken up, on Dec. 24, 1896, 32 copies of sixteen of these pages were printed and given as a memento to personal friends of the poet and printer whose death now made the completion of the book impossible. This suggested the idea of printing two pages for wider distribution. The half-border had been engraved in April, 1894, by W. Spielmeyer, but the large border only existed as a drawing. It was engraved with great skill and spirit by C. E. Keates, and the two pages were printed by Stephen Mowlem, with the help of an apprentice, in a manner worthy of the designs.

47. SIRE DEGREVAUNT. Edited by F. S. Ellis after the edition printed by J. O. Halliwell. 8vo. Chaucer type. In black and red. Borders 1a and 1, and a woodcut designed by Sir Edward Burne-Jones. 350 on paper at fifteen shillings, 8 on vellum at four guineas. Dated Mar. 14, 1896, issued Nov. 12, 1897. Published at the Kelmscott Press. Bound in half holland.

48. SYR YSAMBRACE. Edited by F. S. Ellis after the edition printed by J. O. Halliwell from the MS. in the Library of Lincoln Cathedral, with some corrections. 8vo. Chaucer type. In black and red. Borders 4a and 4, and a woodcut designed by Sir Edward Burne-Jones. 350 on paper at twelve shillings, 8 on vellum at four guineas. Dated July 14, issued Nov. 11, 1897. Published at the Kelmscott Press. Bound in half holland.

49. SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY. Being thirty-five reproductions from books that were in the library of the late William Morris. Edited, with a list of the principal woodcut books in that library, by S. C. Cockerell. Large 4to. Golden type. In red and black. 225 on paper at thirty shillings, 8 on vellum at five guineas. Dated Dec. 15, 1897, issued January 6, 1898. Published at the Kelmscott Press. Bound in half holland.

Of these thirty-five reproductions twenty-nine were all that were done of a series chosen by Mr. Morris to illustrate a catalogue of his library, and the other six were prepared by him for an article in the 4th number of Bibliographica, part of which is reprinted as an introduction to the book. The process blocks (with one exception) were made by Walker & Boutall, and are of the same size as the original cuts.

50. THE STORY OF SIGURD THE VOLSUNG AND THE FALL OF THE NIBLUNGS. BY WILLIAM MORRIS. Small folio. Chaucer type, with title and headings to the four books in Troy type. In black and red. Borders 33a and 33, and two illustrations designed by Sir Edward Burne-Jones. 160 on paper at six guineas, 6 on vellum at twenty guineas. Dated January 19, issued February 25, 1898. Published at the Kelmscott Press. Bound in limp vellum.

An edition of Sigurd the Volsung, which Mr. Morris justly considered his masterpiece, was contemplated early in the history of the Kelmscott Press. An announcement appears in a proof of the first list, dated April, 1892, but it was excluded from the list as issued in May. It did not reappear until the list of November 26, 1895, in which, the Chaucer being near its completion, Sigurd comes under the heading ‘in preparation,’ as a folio in Troy type, ‘with about twenty-five illustrations by Sir E. Burne-Jones.’ In the list of June 1, 1896, it is finally announced as ‘in the press,’ the number of illustrations is increased to forty, and other particulars are given. Four borders had then been designed for it, two of which were used on pages 470 and 471 of the Chaucer. The other two have not been used, though one of them has been engraved. Two pages only were in type, thirty-two copies of which were struck off on Jan. 11, 1897, and given to friends, with the sixteen pages of Froissart mentioned above.

51. THE SUNDERING FLOOD WRITTEN BY WILLIAM MORRIS. Overseen for the press by May Morris. 8vo. Chaucer type. In black and red. Border 10, and a map. 300 on paper at two guineas. Dated Nov. 15, 1897, issued Feb. 25, 1898. Published at the Kelmscott Press. Bound in half holland.

52. LOVE IS ENOUGH, OR THE FREEING OF PHARAMOND: A MORALITY. WRITTEN BY WILLIAM MORRIS. Large 4to. Troy type, with stage directions in Chaucer type. In black, red, and blue. Borders 6a and 7, and two illustrations designed by Sir Edward Burne-Jones. 300 on paper at two guineas, 8 on vellum at ten guineas. Dated Dec. 11, 1897, issued Mar. 24, 1898. Published at the Kelmscott Press. Bound in limp vellum.

This was the second book printed in three colours at the Kelmscott Press. As explained in the colophon, the final picture was not designed for this edition of Love is Enough, but for the projected edition referred to above, on page 5.

53. A NOTE BY WILLIAM MORRIS ON HIS AIMS IN FOUNDING THE KELMSCOTT PRESS, TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS BY S. C. COCKERELL, AND AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT. Octavo. Golden type, with five pages in the Troy and Chaucer types. In black and red. Borders 4a and 4, and a woodcut designed by Sir E. Burne-Jones. 525 on paper at ten shillings, 12 on vellum at two guineas. Dated March 1, issued March 24, 1898. Published at the Kelmscott Press. Bound in half holland.

The frontispiece to this book was engraved by William Morris for the projected edition of The Earthly Paradise described on page 5. This block and the blocks for the three ornaments on page 7 are not included among those mentioned on page 12 as having been sent to the British Museum.

VARIOUS LISTS, LEAFLETS AND ANNOUNCEMENTS PRINTED AT THE KELMSCOTT PRESS.

Eighteen lists of the books printed or in preparation at the Kelmscott Press were issued to booksellers and subscribers. The dates of these are May, July, and Dec., 1892; March 9, May 20, May 27, Aug. 1, and Dec. 1, 1893; March 31, April 21, July 2, Oct. 1 (a leaflet), and Dec. 1, 1894; July 1, and Nov. 26, 1895; June 1, 1896; Feb. 16, and July 28, 1897. The three lists for 1892, and some copies of that for Mar. 9, 1893, were printed on Whatman paper, the last of the stock bought for the first edition of The Roots of the Mountains (see p. 6). Besides these, twenty-nine announcements, relating mainly to individual books, were issued; and eight leaflets, containing extracts from the lists, were printed for distribution by Messrs. Morris & Co.

1. Two forms of invitation to the annual gatherings of The Hammersmith Socialist Society on Jan. 30, 1892, and Feb. 11, 1893. Golden type.

2. A four-page leaflet for the Ancoats Brotherhood, with the frontispiece from the Kelmscott Press edition of A Dream of John Ball on the first page. March, 1894. Golden type. 2500 copies.

3. An address to Sir Lowthian Bell, Bart., from his employés, dated 30th June, 1894. 8 pages. Golden type. 250 on paper and 2 on vellum.

4. A leaflet, with fly-leaf, headed An American Memorial to Keats, together with a form of invitation to the unveiling of his bust in Hampstead Parish Church on July 16, 1894. Golden type. 750 copies.

5. A slip giving the text of a memorial tablet to Dr. Thomas Sadler, for distribution at the unveiling of it in Rosslyn Hill Chapel, Hampstead. Nov., 1894. Golden type. 450 copies.

6. Scholarship certificates for the Technical Education Board of the London County Council, printed in the oblong borders designed for the pictures in Chaucer’s Works. One of these borders was not used in the book, and this is its only appearance. The first certificate was printed in Nov., 1894, and was followed in Jan., 1896, by eleven certificates; in Jan., 1897, by six certificates; and in Feb., 1898, by eleven certificates, all differently worded. Golden type. The numbers varied from 12 to 2500 copies.

7. Programmes of the Kelmscott Press annual wayzgoose for the years 1892-5. These were printed without supervision from Mr. Morris.

8. Specimen showing the three types used at the Press for insertion in the first edition of Strange’s Alphabets. March, 1895. 2000 ordinary copies and 60 on large paper.

9. Card for Associates of the Deaconess Institution for the Diocese of Rochester. One side of this card is printed in Chaucer type; on the other there is a prayer in the Troy type enclosed in a small border which was not used elsewhere. It was designed for the illustrations of a projected edition of The House of the Wolfings. April, 1897. 250 copies.

Other works announced in the lists as in preparation, but afterwards abandoned, were The Tragedies, Histories, and Comedies of William Shakespeare; Caxton’s Vitas Patrum; The Poems of Theodore Watts-Dunton; and A Catalogue of the Collection of Woodcut Books, Early Printed Books, and Manuscripts at Kelmscott House. The text of the Shakespeare was to have been prepared by Dr. Furnivall. The original intention, as first set out in the list of May 20, 1893, was to print it in three vols. folio. A trial page from Lady Macbeth, printed at this time, is in existence. The same information is repeated until the list of July 2, 1895, in which the book is announced as to be a ‘small 4to (special size),’ i. e., the size afterwards adopted for The Earthly Paradise. It was not, however, begun, nor was the volume of Mr. Watts-Dunton’s poems. Of the Vitas Patrum, which was to have been uniform with The Golden Legend, a prospectus and specimen page were issued in March, 1894, but the number of subscribers did not justify its going beyond this stage. Two trial pages of the Catalogue were set up; some of the material prepared for it has now appeared in Some German Woodcuts of the Fifteenth Century. In addition to these books, The Hill of Venus, as stated on p. 38, was in preparation. Among works that Mr. Morris had some thought of printing may also be mentioned The Bible, Gesta Romanorum, Malory’s Morte Darthur, The High History of the San Graal (translated by Dr. Sebastian Evans), Piers Ploughman, Huon of Bordeaux, Caxton’s Jason, a Latin Psalter, The Prymer or Lay Folk’s Prayer-Book, Some Mediæval English Songs and Music, The Pilgrim’s Progress, and a Book of Romantic Ballads. He was engaged on the selection of the Ballads, which he spoke of as the finest poems in our language, during his last illness.

THE IDEAL BOOK: AN ADDRESS BY WILLIAM MORRIS, DELIVERED BEFORE THE BIBLIOGRAPHICAL SOCIETY OF LONDON, MDCCCXCIII.

By the Ideal Book, I suppose we are to understand a book not limited by commercial exigencies of price: we can do what we like with it, according to what its nature, as a book, demands of art. But we may conclude, I think, that its matter will limit us somewhat; a work on differential calculus, a medical work, a dictionary, a collection of a statesman’s speeches, or a treatise on manures, such books, though they might be handsomely and well printed, would scarcely receive ornament with the same exuberance as a volume of lyrical poems, or a standard classic, or such like. A work on Art, I think, bears less of ornament than any other kind of book (“non bis in idem” is a good motto); again, a book that must have illustrations, more or less utilitarian, should, I think, have no actual ornament at all, because the ornament and the illustration must almost certainly fight.

Still whatever the subject matter of the book may be, and however bare it may be of decoration, it can still be a work of art, if the type be good and attention be paid to its general arrangement. All here present, I should suppose, will agree in thinking an opening of Schœffer’s 1462 Bible beautiful, even when it has neither been illuminated nor rubricated; the same may be said of Schussler, or Jenson, or, in short, of any of the good old printers; their books, without any further ornament than they derived from the design and arrangement of the letters, were definite works of art. In fact a book, printed or written, has a tendency to be a beautiful object, and that we of this age should generally produce ugly books, shows, I fear, something like malice prepense—a determination to put our eyes in our pockets wherever we can.

Well, I lay it down, first, that a book quite unornamented can look actually and positively beautiful, and not merely un-ugly, if it be, so to say, architecturally good, which, by the by, need not add much to its price, since it costs no more to pick up pretty stamps than ugly ones, and the taste and forethought that goes to the proper setting, position, and so on, will soon grow into a habit, if cultivated, and will not take up much of the master printer’s time when taken with his other necessary business.

Now, then, let us see what this architectural arrangement claims of us. First, the pages must be clear and easy to read; which they can hardly be unless, Secondly, the type is well designed; and Thirdly, whether the margins be small or big, they must be in due proportion to the page of the letter.

For clearness of reading the things necessary to be heeded are, first, that the letters should be properly put on their bodies, and, I think, especially that there should be small whites between them; it is curious, but to me certain, that the irregularity of some early type, notably the roman letter of the early printers of Rome, which is, of all roman type, the rudest, does not tend toward illegibility: what does so is the lateral compression of the letter, which necessarily involves the over thinning out of its shape. Of course I do not mean to say that the above-mentioned irregularity is other than a fault to be corrected. One thing should never be done in ideal printing, the spacing out of letters—that is, putting an extra white between them; except in such hurried and unimportant work as newspaper printing, it is inexcusable.

This leads to the second matter on this head, the lateral spacing of words (the whites between them); to make a beautiful page great attention should be paid to this, which, I fear, is not often done. No more white should be used between the words than just clearly cuts them off from one another; if the whites are bigger than this it both tends to illegibility and makes the page ugly. I remember once buying a handsome fifteenth-century Venetian book, and I could not tell at first why some of its pages were so worrying to read, and so commonplace and vulgar to look at, for there was no fault to find with the type. But presently it was accounted for by the spacing: for the said pages were spaced like a modern book, i. e., the black and white nearly equal. Next, if you want a legible book, the white should be clear and the black black. When that excellent journal, the Westminster Gazette, first came out, there was a discussion on the advantages of its green paper, in which a good deal of nonsense was talked. My friend, Mr. Jacobi, being a practical printer, set these wise men right, if they noticed his letter, as I fear they did not, by pointing out that what they had done was to lower the tone (not the moral tone) of the paper, and that, therefore, in order to make it as legible as ordinary black and white, they should make their black blacker—which of course they do not do. You may depend upon it that a gray page is very trying to the eyes.

As above said, legibility depends also much on the design of the letter: and again I take up the cudgels against compressed type, and that especially in roman letter: the full-sized lower-case letters “a,” “b,” “d,” and “c,” should be designed on something like a square to get good results: otherwise one may fairly say that there is no room for the design; furthermore, each letter should have its due characteristic drawing, the thickening out for a “b,” “e,” “g,” should not be of the same kind as that for a “d”; a “u” should not merely be an “n” turned upside down; the dot of the “i” should not be a circle drawn with compasses; but a delicately drawn diamond, and so on. To be short, the letters should be designed by an artist, and not an engineer. As to the forms of letters in England (I mean Great Britain), there has been much progress within the last forty years. The sweltering hideousness of the Bodoni letter, the most illegible type that was ever cut, with its preposterous thicks and thins, has been mostly relegated to works that do not profess anything but the baldest utilitarianism (though why even utilitarianism should use illegible types, I fail to see), and Caslon’s letter and the somewhat wiry, but in its way, elegant old-faced type cut in our own days, has largely taken its place. It is rather unlucky, however, that a somewhat low standard of excellence has been accepted for the design of modern roman type at its best, the comparatively poor and wiry letter of Plantin and the Elzevirs having served for the model, rather than the generous and logical designs of the fifteenth-century Venetian printers, at the head of whom stands Nicholas Jenson; when it is so obvious that this is the best and clearest roman type yet struck, it seems a pity that we should make our starting-point for a possible new departure at any period worse than the best. If any of you doubt the superiority of this type over that of the seventeenth century, the study of a specimen enlarged about five times will convince him, I should think. I must admit, however, that a commercial consideration comes in here, to wit, that the Jenson letters take up more room than the imitations of the seventeenth century; and that touches on another commercial difficulty, to wit, that you cannot have a book either handsome or clear to read which is printed in small characters. For my part, except where books smaller than an ordinary octavo are wanted, I would fight against anything smaller than pica; but at any rate small pica seems to me the smallest type that should be used in the body of any book. I might suggest to printers that if they want to get more in they can reduce the size of the leads, or leave them out altogether. Of course this is more desirable in some types than in others; Caslon’s letter, e. g., which has long ascenders and descenders, never needs leading, except for special purposes.

I have hitherto had a fine and generous roman type in my mind, but after all a certain amount of variety is desirable, and when you have gotten your roman letter as good as the best that has been, I do not think you will find much scope for development of it; I would therefore put in a word for some form of gothic letter for use in our improved printed book. This may startle some of you, but you must remember that except for a very remarkable type used very seldom by Berthelette (I have only seen two books in this type. Bartholomew, the Englishman, and the Gower, of 1532), English black-letter, since the days of Wynkin de Worde, has been always the letter which was introduced from Holland about that time (I except again, of course, the modern imitations of Caxton). Now this, though a handsome and stately letter, is not very easy reading; it is too much compressed, too spiky, and so to say, too prepensely gothic. But there are many types which are of a transitional character and of all degrees of transition, from those which do little more than take in just a little of the crisp floweriness of the gothic, like some of the Mentelin or quasi-Mentelin ones (which, indeed, are models of beautiful simplicity), or say like the letter of the Ulm Ptolemy, of which it is difficult to say whether it is gothic or roman, to the splendid Mainz type, of which, I suppose, the finest specimen is the Schœffer Bible of 1462, which is almost wholly gothic. This gives us a wide field for variety, I think, so I make the suggestion to you, and leave this part of the subject with two remarks: first, that a good deal of the difficulty of reading gothic books is caused by the numerous contractions in them, which were a survival of the practice of the scribes; and in a lesser degree by the over-abundance of tied letters, both of which drawbacks, I take it for granted, would be absent in modern types founded on these semi-gothic letters. And, secondly, that in my opinion the capitals are the strong side of roman and the lower-case of gothic letter, which is but natural, since the roman was originally an alphabet of capitals, and the lower case a gradual deduction from them.

We now come to the position of the page of print on the paper, which is a most important point, and one that till quite lately has been wholly misunderstood by modern, and seldom done wrong by ancient printers, or indeed by producers of books of any kind. On this head I must begin by reminding you that we only occasionally see one page of a book at a time; the two pages making an opening are really the unit of the book, and this was thoroughly understood by the old book producers. I think you will seldom find a book produced before the eighteenth century, and which has not been cut down by that enemy of books (and of the human race), the binder, in which this rule is not adhered to: that the binder edge (that which is bound in) must be the smallest member of the margins, the head margin must be larger than this, the fore larger still, and the tail largest of all. I assert that, to the eye of any man who knows what proportion is, this looks satisfactory, and that no other does so look. But the modern printer, as a rule, dumps down the page in what he calls the middle of the paper, which is often not even really the middle, as he measures his page from the head line, if he has one, though it is not really a part of the page, but a spray of type only faintly staining the head of the paper. Now I go so far as to say that any book in which the page is properly put on the paper is tolerable to look at, however poor the type may be (always so long as there is no “ornament” which may spoil the whole thing), whereas any book in which the page is wrongly set on the paper is intolerable to look at, however good the type and ornaments may be. I have got on my shelves now a Jenson’s Latin Pliny, which, in spite of its beautiful type and handsome painted ornaments, I dare scarcely look at, because the binder (adjectives fail me here) has chopped off two-thirds of the tail margin: such stupidities are like a man with his coat buttoned up behind, or a lady with her bonnet on hind-side foremost.

Before I finish I should like to say a word concerning large-paper copies. I am clean against them, though I have sinned a good deal in that way myself, but that was in the days of ignorance, and I petition for pardon on that ground only. If you want to publish a handsome edition of a book, as well as a cheap one, do so, but let them be two books, and if you (or the public) cannot afford this, spend your ingenuity and your money in making the cheap book as sightly as you can. Your making a large-paper copy out of the small one lands you in a dilemma even if you re-impose the pages for the large paper, which is not often done, I think. If the margins are right for the smaller book they must be wrong for the larger, and you have to offer the public the worse book at the bigger price; if they are right for the large paper they are wrong for the small, and thus spoil it, as we have seen above that they must do; and that seems scarcely fair to the general public (from the point of view of artistic morality) who might have had a book that was sightly, though not high-priced.

As to the paper of our ideal book, we are at a great disadvantage compared with past times. Up to the end of the fifteenth, or indeed, the first quarter of the sixteenth centuries, no bad paper was made, and the greater part was very good indeed. At present there is very little good paper made and most of it is very bad. Our ideal book must, I think, be printed on hand-made paper as good as it can be made; penury here will make a poor book of it. Yet if machine-made paper must be used, it should not profess fineness or luxury, but should show itself for what it is: for my part I decidedly prefer the cheaper papers that are used for the journals, so far as appearance is concerned, to the thick, smooth, sham-fine papers on which respectable books are printed, and the worst of these are those which imitate the structure of hand-made papers.

But, granted your hand-made paper, there is something to be said about the substance. A small book should not be printed on thick paper, however good it may be. You want a book to turn over easily, and to lie quiet while you are reading it, which is impossible, unless you keep heavy paper for big books.

And, by the way, I wish to make a protest against the superstition that only small books are comfortable to read; some small books are tolerably comfortable, but the best of them are not so comfortable as a fairly big folio, the size, say, of an uncut Polyphilus or somewhat bigger. The fact is, a small book seldom does lie quiet, and you have to cramp your hand by holding it or else put it on the table with a paraphernalia of matters to keep it down, a tablespoon on one side, a knife on another, and so on, which things always tumble off at a critical moment, and fidget you out of the repose which is absolutely necessary to reading; whereas, a big folio lies quiet and majestic on the table, waiting kindly till you please to come to it, with its leaves flat and peaceful, giving you no trouble of body, so that your mind is free to enjoy the literature which its beauty enshrines.

So far then, I have been speaking of books whose only ornament is the necessary and essential beauty which arises out of the fitness of a piece of craftsmanship for the use which it is made for. But if we get as far as that, no doubt from such craftsmanship definite ornament will arise, and will be used, sometimes with wise forbearance, sometimes with prodigality equally wise. Meantime, if we really feel impelled to ornament our books, no doubt we ought to try what we can do; but in this attempt we must remember one thing, that if we think the ornament is ornamentally a part of the book merely because it is printed with it, and bound up with it, we shall be much mistaken. The ornament must form as much a part of the book as the type itself, or it will miss its mark, and in order to succeed, and to be ornament, it must submit to certain limitations, and become architectural; a mere black and white picture, however interesting it may be as a picture, may be far from an ornament in a book; while on the other hand a book ornamented with pictures that are suitable for that, and that alone, may become a work of art second to none, save a fine building duly decorated, or a fine piece of literature.

These two latter things are, indeed, the one absolutely necessary gift that we should claim of art. The picture-book is not, perhaps, absolutely necessary to man’s life, but it gives us such endless pleasure, and is so intimately connected with the other absolutely necessary art of imaginative literature that it must remain one of the very worthiest things toward the production of which reasonable men should strive.