SY L L A BUS .

LE E C T UR I .

Histor 145 0— 1800 T h e o f — T s s— I d y . invention printing ype of the early printer ntro uction of

‘ iIlustratio ns d d a nd — Th e l 6th C erio d t s — N ew , woo cut bor ers initials entury a p of grea expan ion styles of type— Popular boo ks— The 17th C entury n o t favourable to the artistic develo pment o f the art— The pamphlet an d the n ewspaper supreme— Rigorous press laws— The 18 th C entury Rev ival C — G and — B B d D d — B and W d aslon type reat printers their styles askerville , o oni , i ot , Ibarra ewick oo a engr ving .

LE T E C UR II .

-

Tire 19 th C en tur 1801 du — S e ss— T e 1801—40 y. In no machine pro ction tanhop pre ype fac s

— - — Revival of o ld style printing and C aslon type Machine made paper Development of the printing a — — m chine Invention of photography Attempts at colour printing .

I I I LE C TURE .

I — The 19th and 2 0th C enturies con tinued W d u S t - . oo c ts of the ixties Inven ion of the half tone — — Revival of hand-press work for artistic production E ffect o f revival o n commercial work Type s

‘ ’ an - — d type founders Recent inventions in illustration .

E E V L C TUR I .

' Th istor o P n R - t — C - — h e la ter H y f C o lour rinti g. ise of chromo li hography hromo xylography T e - — - P a n t — The f three colour process Collotype hotogravure d its combina ions o fset process .

T he Histo ry and‘ Prac tic e 0 the A rt

f ri tin o P n g .

L E C T URE L — DE L J VE R E D [VO VE M BE R 1 1 9 4 .

PRI NTING with moveable types was invented experime nt and of failure to enable the printer

' either in Holland or Germany about the of the 14 5 4 Indulgence to arriv e at the fin al ‘

. . he i year L4 4 O . The name of t nventor and the solution of the problem From the press of i place of the invention are two of the most hotly Ma nz also was produced the first Latin Bible ,

‘ l k n as i b e u o . G cont sted q esti ns in history utenberg at original y now the Mazar ne Bi le , after M n e aldfo hel ut ai z , Cost r at Haarlem , W g at wards described as the G enberg Bible, and C F — e i b Avignon , astaldi at eltre all thes are now called by all good doubt ng bi liographers

e - i mentioned as claimants . The valu of their the forty two l ne Bible , which title commits u h r n e respective pretensions has been summed p by no one . T is Bible was p i t d before August , a well - in l 14 5 6 l e known authority the words Hol and , as a copy in the Bib ioth que Nationale ’ has r . 14 5 7 has books but no documents , France docu has a rub icator s date of that year In P the fi rst to ments but no books , Italy has neither books appeared the Mainz salter, book

' ' m a na nie of i e nor docu ents , while Germany has both books be r the its pr nt r, the name of the ” “ c ert aml ri and documents . There exist books y place where it was p nted , and the date of its

i ed in l held i pr nt Ho land which are by some to production . To add to this , it conta ned the , 4 fi 14 5 , e a ri be earlier than which is the first print d first ttempts at colour p— nting and the rst a i The n d te of the Mainz press . They are attributed ornamental in tials . printers were Johan

' ' ' Jansz o o n C Sc hoffe r hi r to the press of Laurens oster of Fust and Peter , and t s Psalte , , b ut i w Haarlem , th s is not supported by any together ith the other books from their press ,

di e . t e rect vidence As to the Avignon claim , this showed a great advance from h work of the s n hi rest upo some documents in the legal arc ves two first presses in Mainz .

. Waldfo hel s i of the town g , who was a goldsmith , The work of the e pioneer pr nters must have was in the possession of a method of artificial been much hampered by the poverty o f their i ‘ l writ ng which , by the description given , must implements . There is ittle doubt that the i l n - have been printing . No work done by him or earliest press used was a s mple i en press , b * i l y h s method has been identified . and a small one at that . The ink was an uven

o f C to i . The claim astaldi, of Feltre , appears tion , if not in itself, in its appl cation With i t l in t , _ rest upon very shal ow foundations , and, these poor ins ruments and w th ype that ffi u i u r fact , it is di c lt to see anyth ng but tradition must witho t doubt have been i regular and

in . n s n n art the story When we turn to Mai z we are on badly cast, the pioneer of the pri ti g

“ w e more solid ground . fi M z produced the magnifi cent works hich r ‘ From the rst ain press — it f n G i n is di ficult to associate Joh utenberg ma ned , perhaps unequalled, and certai ly

‘ — fi it a I nd l enc e was . de nitely with broadside ug not surpassed , for many years i 1i11te d 4 5 4 . issued with the printe d da te of 1 Through From the Ma nz press , with its colour p

u l . r the haze of tradition , theory and spec lation , initia s , we pass to Strassburg Here as ea ly as

‘ I r fa c t a nd 14 60 this ndulgence eme ges as a definite , , and perhaps two years earlier, Johann from this date begins the real histo ry of printing Mentelin was prin ting a nd using a typ e which with moveable what we know of began to show the first modification to wards

. th o o eratio ns u d we d “ t u p of typefo nding to ay can the roun or Roman ype ” Everything up to see that it . must have taken many years of this time had been printed in the type which is

3 2 2 10 5 . k l s the Ba tra cho m uo m a c hia H the nown generica ly a\ Gothic or Black Letter the of omer, and ~_

‘ r14 a s n . 6 type About the yea 4 _ pres was estab book also contai ed a Latin translation of the lishe d at Strassburg which used a definite Roman work . The development of Greek printing was T he it . w type pr n er, formerly kno n as the rapid in Italy, but slow in the other countries R t . prin er, owing to the curious form of the of Europe R and n n capital in the fount of type he used , whose Pri ti g began in Switzerland about 1468 at

' n ‘ in 14 7 in F n books were origi ally confused with those of Basel, and 0 ra c e at Paris . It is M entelin no w h , is identified as Adolph Rusc , strange that Paris was so late introducing the the -ih - M nt l Th e e in. e n son law of first Roman printi g press , as there is no doubt that speci 14 66 type , therefore , is found in Germany, although mens of the art had been seen there in , and i we have to look to Italy for its later develop t is believed that Jensen wassentby Charles VII .

. w 4 O n ment The next press to be mentioned as to learn the ne art as early as 1 5 8 . his showing development in the art is that return to Paris , finding his patron, the king , ‘ of ' fi ste r Pfi ster r . P Albrecht , of Bambe g is a dead , and encountering considerable opposition , r n myste ious person, bei g connected in some way from the scribes and copyists , he went to Italy

i i his . with the earliest presses in Ma nz , and by some and ultimately establ shed press at Venice

' is looked upon as the printer of the thirty -six The first Paris press wa s esta b lished under the is line Bible , which by most bibliographers patronage and by the exertions of professors of

r o f 14 5 4 . U f attributed to the p inter the Indulgence the niversity of Paris , and the press itsel was l

fi r i . The interesting point about P ste is that seven set up w thin the precincts The printers , of th his s w out of e nine books from press are illus course , were German , and their ork was t d i ra te . w th woodcuts , and form the first attempt largely reprints of classical texts The Roman at book illustration . None of them can be type used by these prin ters was of a very high

“

a Mr. f fa c 14 62 . No l r t placed later than more i lustrated artistic ch acter, Gordon Duf , in , going ’ books occur until about 14 70 . so far as to say that . it far surpasses Jensen s

“ ‘ The next important event is the establish in beauty.

we he 14 73 i l ment of prin ting in Italy . S yn ym and By printing was defin tely estab ished

‘ Pannartz m - in U , two German crafts en , started work the Low Countries , both trecht and Alost

14 s n . 14 75 in Subiaco near Rome in 65 . They u ed a produci g dated books in that year In

a - t v nd no e , occurs the first use of Hebrew type . Pio e di type which was not Gothic quit Roman ,

- and is generally described as Semi Roman . It Sacco and Reggio di Calabria in Italy, and W n was not based on the samestyle of writing as Esslingen in Germany , ere the tow s where it

. s the first German Roman , as will be seen when was first used Many Hebrew pre ses were

in I ta l the two are compared . Two years later, in set up y during the last quarter of the

14 67 e i , when these printers moved to Rome , their fifteenth c ntury , and several in Spa n and r type became still more Roman in characte ; Po fitugal.

‘ 14 71 14 75 in the but it was not until that the new character , In the art reached Austria, and which was really the older form of letter (this is same year Spain . The first book printed in i ll recognised by the Germans , who to this day England was ssued from the press of Wi iam

C 14 77. 14 68 call it Antiqua) , reached its highest point, in the axton in The false date appears ’ O Rufinus type used by Nicolas Jensen , a Frenchman , in an xford edition of on Jerome s

‘

r s . who printed at Venice . This type, pe fect in exposition of the ymbols of Apostles .the e has outlin and balance , held its a rtistic This date has given rise to a considerable amount A tk 1 6 . r n s 6 4 l supremacy to the present day . The Roman of controversy Richa d y in a leged i was i C o rsellis type failed , however , in its competition that th s book pr nted by Frederick ,

o f with the Gothic, which held the field all over a workman from the press Haarlem , who was

E . urope during the fifteenth century . bribed to come to England by order of Henry VI Up to 14 65 the Gothic and the Roman were This story was based on a manuscript alleged to

- . No the only type faces in use . In that year Greek be in the Libraryat Lambeth Palace one , ’ we nh m Panna rtz Atk ns type was used by S y ey and however, has seen that manuscript from y

'

Sc ho fle r . s is c ertain tha t at Subiaco , and by Fust and at Mainz time to the pre ent day, and as it Previously a space had been left where a Greek the book dated 14 68 was printed in 14 78 by the '

r O i a quotation was required , and it had been w itten first xford pr nter, I think it may be taken th t i s u J d in . do b t in by han , or in some cases stamped The the existence of the sa d manu cript is very

C . first book to contain a full Greek text was printed ful . However, the king ( harles II ) believed ’ F n la by errandus at Brescia about 14 73 . It was A tky s story and gave him the patent fo r w b n i . in ook pri t ng The press England was not they were not always used it was not becaus e s art re ponsible for any great advance in the they were not kn own . in rn fact, English p i ting of the fifteenth century

Wa s a THE " C of comparatively low order . SI TEENTH ENTURY . About 14 8 1 or 14 82 music is found printed With the opening of the sixteenth century 14 73 with ty e, In a few notes were printed p the art enters upon a period of steady progress .

F n r . by C . y e at Esslingen The principal use It is true no great inventions either of machinery

in , i of music was service books and it was always or methods were ntroduced , but the increase prin ted in two impressions up to the end of the in the numberof works issuin g from the press no a re en rall . e fifteenth century The tes g y in was steady throughout the century .

i in . i black and the _ sta v e l nes red The earl er The most noticeable change is the reduction ’ e printers either left a blank spac for the rubri in the size of books generally, and this occurred u in 14 5 7 cator to write in the m sic, as the quite early in the century . As books became

' fe w n , Psalter, or in a cases pri ted in the stave more popular and cheaper they naturally i lines , leav ng the notes to be added later by hand . became smaller . The pocket volume, rare

- A further addition to the resources of the art almost to non existence in the fifteenth century, w was the cutting of Slavonic typ e , hich is found was almost common in the sixteenth . The in ‘ at least two varieties in C racow in 14 9 1 and small octavos and quartos were well in the ' ” M n r C ettin e in o nte e o . i at j , g , before the close of maj ority Even the fol os were less unwieldy, i the century . A Secretary type follow ng closely and the enormous volumes of the past were l n the French law hand is found used at Paris and a most unknow by the end of the first decade .

Rouen in the last decade of the century . A During this century it 1s remarkable to P nso n Rouen book printed for Richard y , of notice the enormous spread of the press as well ’ A b rid inent v London (Statham s g ) , is a good as its acti ity j ust referred to . During the years 15 0 1—15 2 specimen of this type . 0 no less than twenty town s in Germany the fi During the last few years of century set up presses for the rst time . In Italy , in in i 1 pr ting presses were established Portugal, dur ng the whole century, no less than 00 to wns

a nd . . Denmark , Sweden , Montenegro set up presses In England the progress was i We have a picture of the print ng press as not so apparent . O nly twelve towns set up o f e n improved by the close the c ntury in a Dance presses duri g the century , and most of these

in 14 99 . of Death , printed at Lyons A con attempts expired before its close . s ide ra b le change is seen from the plain s c rew The struggle between the Roman and Gothic

s . has in pre s of the earliest printers It assumed types was resumed early the sixteenth century, the familiar form of the wooden hand - press and a third competitor entered the lists in the

in . . known to all . There is certa ly a tympan shape of Italic It was cut for Aldus at Venice , s n f F A to the frisket, it is disti ctly probable that it is said , rom the designs of rancia and b - l this valua le addition to the press was the model ed upon the handwriting of Petrarch . invention of some one in the office of Schoder Aldus obtain ed a privilege for ten years for the

- M ainz r i w as at It is most likely that the dim nution sole use of this type face , and it first used in n of the number of pin holes the sheet which in the Virgil of 15 01. The success of the Aldi e

‘ occurs in the very early seventies is due to this Italic at once produced imitato rs . Forged in addition to the press . editions were issued at Lyons , and pr ters

At theclose of the fifteenth century the printer elsewhere produced varieties of the type . As a had almost emerged from the experimental result of the struggle between the Roman and e i n in stage . The press had assum d the form it was the Gothic , the Roman began to ga n grou d

300 . n to bold with very slight alteration for years the Latin countries , while Gothic still remai ed _

m a . T Books could be printed in Roman, and ny supreme in those of Germanic origin here

- sc ientific varieties of Gothic types , in Hebrew, Greek began in 15 09 that semi discussion of ’ f m usic t o Slavonic letters , and type (in two the proportions of print let ers by I accioli

n n e . C e nk Diire r ff e pri ti gs) was constantly us d olour d i s which was carried on by , Geo r y Tory,

i . r u i o ur were known , although very spar ngly used and late by Moxon , which has lasted nt l

' - The o f n alrno st wn l . technique book maki g had o day, and has produced such ittle real results in reached its height . The early books were The real problem is to design a fount of type

title a es n wa without p g , tables of contents , pagi ation , such a y that whatever combination of letters

n i n . in a impri t, s gnatures and illustratio s By the i s arranged no s gle letter will st nd out from

all - b e an 15 0 . year 0 these had been introduced , and if the rest This test should applied to y in . type which is put forward as an artistic triumph . a few books being illustrated this manner n u n Whether to these i vestigations should be The use of engravings d ri g the, sixteenth attributed the cutting of some excellent Roman century iii connection with letterpress printin g

" n fi e w typ es in France is uncertai , but it is suf cient increased to som extent, but the oodcut to say that such types were cut and used for retained its supremacy, and only to wards the

Ro man find an f . type was introduced into end of the century do we y e fective many years l i England in the early years of the s xteenth competition . The earliest copperplate work century and used first by Richard Pynso n. produced in England belongs to the period 4 out 15 0 . There were also , during the century , founts about

x The i of Arabic , Syriac , Armenian , Ethiopic , Anglo f print ng press is supposed to have been

’

. o iin ro v ed Saxon , Irish and music types The nly one p about the middle of the sixteenth of these which needs a word of explanation is century by a printer named Danner o f Nurem is the music type . In the fifteenth century music berg , who said to have introduced a metal n had been printed in two workings , the notes and spi dle in place of the wooden one used up to stave at different impressions . The new type that time . It is true that some improvement d was of a different character. Each note was cast must have been made to ren er the press more w s together ith the piece of stave that belonged rigid , as we find the maller typ e and more

li e i to it, so that the stave ne appeared to a close delicate woodcuts us d at this time com ng out observer to be broken in to as many pieces as quite sharp and clear . there were note s . This system was hardly ever In the technicalities of bookwork the printer used (if at all) for printin g the Plain chant or advanced considerably during the period under

. i a liturgical music , for which the old method of discussion The titlepage , wh ch only appe red

n n n . two pri ti gs was retai ed occasionally in the previous century, and then O ne extraordinary variety of Gothic type only in the label form (with o ne or two prominent

. n may be specially mentioned It occurs in exceptions), became an i tegral part of the book , “ ” " T heuerda nk c in , an epi poem celebrating the and the colophon necessarily decreased ’ r Emperor Maximilian s wedding j ou ney to importance . Woodcut initials and borders in e . Burgundy . It was probably composed were quit common i great part by Maximilian himself . Pr nted by The sixteenth century is not only noticeable

Sc honS er er w as u i p g , of Augsburg , it p bl shed at for the great expansion of the press in Europe

f . Nuremberg in 15 17. A special fount of type previously re erred to It was also the period

Dienec ker ‘ n r i was cut for it by Jost , of A twe p , when Asia and America rece ved and practised in with enormous flourishes , especially to the the art . In India (at Goa) and Japan the “ g ” “ ” letters and h ; for use when these Jesuit missionaries in troduced the printin g r in letters occurred in the fi st or last line of the press , and Mexico an offshoot from the press

C ro mb er er l 1 4 . page . Many authorities believed the whole of g in Sevi le was working before 5 0 book to be cut on wood . THE V T he use of coloured inks in the sixteenth SE ENTEENTH CENTURY . century was very slight . It was confined almost With the Opening of the seventeenth century

' ’ entirely to red, used as in the previous century a period begins in which the art o f printing

’ principally for service books . The various continues the process of degene ra tlo n from its i i ~ shades of brown and bistre were used by the artistic beg nn ngs , which was seen at the end n chiaroscuro pri ters in Italy and Germany , of the previous century . It is a period of great

n i k . n l i but any real colour pri t ng is almost un nown happeni gs in po itical l fe , of revolutions long a d This century may be described as the golden drawn out in England n France , and these

- a e . fi f es e c i g of the wood cutter In the rst hal , p inevitably left their impress upon the craft . l fif al y, numbers of great artists were producing The pamphlet, very little used in the teenth

fo r ll . work book ornament and i ustration Basel , century, and only making a sporadic appear s Nuremberg , Florence and Lyons are the four ance in the sixteenth century, mostly, of cour e , w t to ns hat stand out as producing some of the in connection with the Lutheran controversy ,

n . u i fi est work There is little doubt that soft became one of the normal methods of p bl city , w — metal blocks were also used , and these ere and the newspaper the genuine periodical, not — produced in the same way as woodcuts . the mere paper of news made its appearance . i n O ld he Copperplate engraving and pr nti g had been and damaged type was used , and t Dutch ‘ s invented in the early part of the fifteenth founder , who supplied a large portion of the century, but retained its special character , only demand for new type , had no type designers worthy of the name in their employ . Here and In France the characters but during th e ll there the old punches are rediscovered and previous century sti held their own , and the

n c ast f ro m t c a n e fou ts of type hem, and books Elzevier Bibl , although printed in Holland , is be found which preserve some of the older a good specimen of the finest French work of the

traditions of beauty and proportion . The period . Towards the close of the century a new

Roycroft Polyglot Bible is one of these books . type was cut and used largely, which showed

The Roman type used in the preface is that a degraded face from the fine models of the past , nk used by John Day, the famous London printer and formed a li between the early types and F of the sixteenth century . There is no new the modern effeminate rench face .

" Roman type to which attention can be drawn Germany and Scandinavia were by this time

s he during the period under discussion . To the the only countrie to retain t use of the Gothic 16 0 e types known before 0 there were added lett r for ordinary printing . ” ’ C optic and Samaritan There was little change There are no typefounders specimen books e in the methods of printing music , although known of the seventeenth c ntury, although engraving was occasionally used . The number several founders issued specimen sheets . But s of Hebrew presse increased considerably , several type specimen books were issued by

' . im especially in Eastern Europe The most printers, and the two best known are those of _ N 1 16 portant Hebrew fount cut in England was that Fuhrman , of uremberg , in 6 , and of the in 2 165 7 in 16 8 . for the London Polyglot , and this Vatican press Some copies of the latter _

o n . incurred considerable criticism . In Greek work are grey paper this countryhas at least one productio n to be The literature of the practical side of the

‘ proud of in the Eton C hrysostom in eight art begins in the seventeenth century . " ” r volumes and in folio . This work , although the The English typefounder and printe , Moxon , types were imported (or perhaps because they was the first to issue a , complete treatise on

h . were imported ) , takes rank with the finest Greek everyt ing connected with the art So good n it o f printi g . The type is similar to the Greek of was that at the end the eighteenth century

u -t the Stephanus press . it was republished as an original and p g ~ n The best printing done in England during the date treatise . Several books givi g schemes of seventeenth century was probably that in black imposition were also issued . letter . Acts of Parliament and proclamations A few words must be devoted to the earliest

” w M erc urie 15 8 8 ha ere printed in this letter up to quite recent newspapers . The English of s

- O ld e times , and the English or English Black , been prov d to be a forgery , and the first English which had got quite away from the Fractur newspaper with a definite title has been identified

a eekl N e wes 162 2 . N schrift of the Germ ns, and the Flamand of the as the W y of ewspapers c r Dutch , assumed ha acteristics of its own were issued earlier than this in Germany and

r Fra nk urter J o urna l and which rende ed it quite a handsome letter . Holland , the f the

' Joseph Moxon attempted to draw up rules Nieu we Tiydinge of Antwerp bein g among the

e . All for the scientific d sign of Roman type , but earliest newspapers of the Civil War period in they were unsuccessful, and , in fact , were more were a small quarto , the foolscap folio size not

'

i . adapted to signboards than type . Moxon praised becom ng common until after the Restoration

n the v the Dutch letter , and probably imported a great The press duri g se enteenth century n deal . It may be said that. there was no indigenous received a general overhauli g and improvement

h . t e c entur . Roman in England during _ _ y at the hands of Blaeuw of Amsterdam The The reason for the want of enterprise in exact improvements he made it is impossible to i u i im ll Engl sh typefo nd ng was the restrictions specify, as Moxon , who gives i ustrations of both posed upon the trade . By the Star C hamber the new and old presses , onlydescribes the new . ‘ 1 37 l a of 6 the number of founders was limited to Fina ly , as reg rds the seventeenth century, it i four, and a commission , consist ng of the Arch must be noted that printing was introduced into

o f C Ne w 1640 in all bishop anterbury or Bishop of London , England in . and that countries w n fill ith six others, was appoi ted to any vacancy . which were comparatively free from the stricter Free importation was the order of the day from press laws provincial presses became more and

164 0 164 3 164 3 1662 . to , and from to the trade more numerous w wa s free of restrictions . O ing to the C ivil War

1662 THE EIGHTEENTH C ENTURY . this did not help it much , and in an Act reimposed the restrictions of the Star C hamber We now come to the last 100 years of the

’

2 . Dec ree o f 1637 (cap ; 7 period I am dealing with In many respects it 10

is the most important , as although it did not a success artistically , his types never really see the great inventions which were to follow became popular, and after his death they were in en blo c his i so soon , yet the development of _ the great sold to Beaumarchais for pr nting dustrial revolution was steadily forcing the office at Kehl . Their history after their use at i n craft towards its reorgan sation as a machi e Kehl is misty in the extreme , and only recently ‘ w i ha v e turned industry . It ill be d fficult to do more than it has been rumoured that they up C mention any of the movements on the ontinent , in one of the largest provincial French printing as our attention must be concentrated on the houses . l English developments . The example of Baskervi le led to imitators d W ‘ In 1702 the firs t London daily paper appeare abroad , of hom the most famous was Bodoni ,

— t had . w e the Da ily C o ura n . There been a few of Parma His ork retain d the simplicity ’ st o the 1680 s s e th e a t s of the daily numbers o f the Po B y in , of Ba k rville without r i tic touch

n sh o o n e . e but the Go a/ra nt was the first ge nuine daily paper . E gli pri ter . B d ni b cam e printer to th a m e From that day the daily paper has been alw ys Grand Duke of Par a , and his specim n book 2 00 s with u s . Whether the daily paper of years shows an endle s series of Romans , Italics ,

- a . ago had more news than that of to day , or Greeks , all on the most m gnificent scale His whether the cens orship was working overtime Greek Homer in folio is one of the most mag n fi w fi i c ent . then as no , it is dif cult to say , but the limi works ever produced But all his ta tio ns of the press at that time only gave the magnificence does not seem to impress . His a nd to o e ink printer two foolscap folio pages to fill , so paper is whit , his is too black (if that there was not that wild desire for copy which be possible) , and his type is too scientifically

- characterises his descendant of to day . correct to please . Fo ulis Turning to type, the Dutch typefounders " In Scotland the press produced some the i W . . were st ll in the ascendant , and atson , fine editions from type cast by Dr Wilson

- 1713 u find well known Edinburgh printer , boasted in When we , t rn to France we all the that all his type and ornaments were Dutch . greatness (typograph ically speakin g) of the

. An improvement was, however , on the way previous centuries departed . French Roman

e . An William Caslon , the reviver of English type types had degenerat d greatly attempt n in 1692 his foundi g , was born , and served was made by Didot to follow the examples of

- in ll and wa apprenticeship to an engraver of gun barrels Baskervi e Bodoni , but his attempt n r d London . When he started in busi ess for him poor in compa ison , and French types resume ’ o f i self he added the engraving bookb nders their downward course . This is not to say that punches to his other trade . These were seen there were not fine books and fine specimens of n i in by the pri ter, John Bowyer, who introduced print ng produced in France the eighteenth ”

Caslon to James , the typefounder . After century . There were , but there was no great C studying the art , aslon set up in business as a revival such as took place elsewhere , and then

2 - n typefounder about 17 0 . His first type speci iri 1789 the Revolution diverted all printi g to wa in 1734 n s i . men sheet ssued , and this contai s the pamphlet and the newspaper the famous C aslon Roman types which form the The eighteenth century did not see coloured model for all the standard book types of to day . inks used freely in connection with letterpress

T he y were an instantaneous success , and until printing; but many processes were invented quite late in the eighteenth century were the and used for producing coloured prints . For

a . e le ding style They then dropped out of sight , the detailed history of these I must ref r to and later we shall see how they came to the my paper read before the Society in February front again . last . A great rival of C aslon was John Basker Book illustration of the eighteenth century

‘ f n o . C ville , Birmi gham , who was typ efounder and is very mixed opperplate, in conj uncti on and printer , who designed his own types and with typ e , even on the same page , is common . printed from them . His Romans were good , Woodcuts were at their lowest ebb until Thomas ’ i C a slo n s w but somewhat more st lted than , and his Be ick revived the art by adopting the graver

n i n - them i u the ma ner of pr nti g and hot pressing gave as his tool nstead of the knife , and sing

‘ all i k . a slimness of which people did not approve . end of the gra n instead of the plan By this ’ Ba skerville s great triumph was his set of Italic means -he obtained a delicacy of line which i in n capitals . These are beaut ful outli e and enabled him to give a world of detail even in the

. His wo rk effective in combination His first book was smallest vignette . rescued wood and 5 7 l 17 . the Virgil of Although Baskerville made placed it in a position successful y to rival copper . " 1 1

l th A word must be said as to the spread of the wood , sti l with the slow motion at only 300 ll a n v . l d i press . This may lmost be said to be u i ersal a lowe the qu ckest pressman to get pu s in i ll a In every part of the world , by the end of the a work ng day, and sti with the inking b lls

e . . eighteenth century , the press had pen trated of the early days To convey an idea of the Even in England the provincial press began to method of the printer of this tim e I give a list bear some relation to the importance of the of the operations necessary for making one various localities . A feeble attempt on the part impression

' ‘

179 3 1 n o r . of the Government in to insist on the . I king the balls , , as at present , the roller 2 I registration of all printers did not succeed , . nking the form .

3 L o n . but before the end of the century it became . aying the sheet the tympan ’ 4 F a nd d a nd . lying the frisket , fol ing it the tolerably c ommon for the printer s name to tympan down o n the form . appear on his work . For many years it had 5 R ni d . . un ng in the form un er the platen been the exception rather than the rule , perhaps 6 T d n the . aking the impression by epressi g because of the rigid press laws . platen .

A nd to . , . Ru now as the printing press itself We 7 nning out the form .

- s 8 L and . have seen it as a simple screw press u ed by the . ifting the tympan frisket

i W 9 . R and earliest pr nters, developing ithin a very few eleasing the sheet placing it on the n years into the wooden hand - press complete with ba k .

li r . in i rol ng bed , tympan and f isket We notice It will always astonish those who exam ne ” the earliest pictures the inking balls of the this practical side of the history of printing that

. No w, the , and pressmen _ at the close of eighteenth with such slow methods the great books 35 0 il h century, years after the first printer sent st l more the great newspapers , of the eighteent the first proof to press , we leave the press still century could ever have been produced . — ‘ L E C T URE l f r D E L I VE R E D JVO VE /ll b E R 0 T H 1 1 3 , 9 4 .

THE NI NE T E E N T H . EARLY CENTURY been made in the art, and when we consider

I T f in e 1800 in n is curious to re lect that the y ar , the enormous gam rigidity we can u derstand

35 0 y n . at least ears after the i vention of printing , what Morris meant The power press did not him the art had developed so little mechanically exist for , but he wanted the best possible

- that a fifteenth century printer would have effect from the hand press . The story of the found himself quite at home in a printing offi ce hand press and its development after this date i i t he . . n of the last year of eighteenth century He is an eng neer ng one Better castings , fi er w i il i ould have found the same wooden press , w th fitting , st l more rigid ty, and the proving perhaps some slight additions of metal screws press used tod ay by photo -engravers produces w i l l and levers , hich would be qu te clear to his those real y wonderfu proofs which their

i f il . m nd a ter one trial . He would see the same customers va n y try to emulate i in in ld k nd of k g balls used , and he wou note that

PAPER . the paper , although of a quality not up to his

i i - n i i 1 standard for book pr nt ng , was produced in The paper maki g mach ne nvented in 803

s - the same mann er as in his o wn day . The was in most of its essential the paper making

i - type would perhaps appear to him better mach ne of to day . Up to this date all paper i was s fin shed than that he recollected . But in all made in single sheet by hand . The pulp i ffi 1800 essentials the print ng o ce of was the was put into the mould by the workmen , and n printi g office of 300 years before . Everything then the mould was shaken to distribute the

- i we know to day in the art has come into use pulp evenly, and the result ng sheet removed in e since 1800 . for dry g and pr ssing . The principle of the The printed sheet of to - day is printed on invention was to substitute endless woven wire

- a nd machine made paper . It is either set by a sheets for the mould , as the paper was

- machine or set with machine made type . It formed by the felting of the fibres to lead it l n is either printed from this type or stereotyp ed between heated cy i ders to dry and press it .

‘ by machinery . The press is a power press, and As it came from the machine the paper was s i . the result ng printed sheets are sewn , glued , and cut into sheets of the tandard sizes The no bound by machinery . My task wis to trace continuous web of paper was being made in 1803 the development of the machine industry of , but it was not to be used as a web for i 1 868 . tod ay from the handicraft of the earlier period . rotary pr nting until The three great in ventions which made the C E present machine production possible were the PRINTING MA HIN RY .

- k n n T he i paper ma i g machi e , invented by the Brothers next great nvention which attracts the n 18 3 i Fourdri ier in 0 ; the pr nting machine , notice of the student is the development of

18 11 i . invented by Koenig in and photography, the printing press into a mach ne invented by D a guerre and Fox Talbot in The three pri nciples of printing machinery

Previous to these , however, an improvement are , first, the platen action in which the pressure which amounted to an invention had been is applied by one flat surface acting on another . “ the - C 3 rd . made in the press by harles , Earl This was hand press method Then follows

Stanhope . The great change he introduced the cylinder, round which the paper is led , was to substitute iron for wood in the frame of rolling over the flat bed on which the type is

l . n the press , and add mu tiplying levers between placed The third pri ci ple is the rotary

a n the bar and the platen so that the work of the method , where both type d paper are placed in s . f pressman was much reduced William Morris on cyl der geared together . O the two

‘ was wont to say that this substitution of iron latter the third was the the first to be invented ,

was . l N for wood the only improvement that had but the last to be used Wil iam icholson ,

' ‘ 1790 * in , took out a patent for a rotary printing 1h e l ast date m ust b e read in c o nj unc ti o n wi th th e - re arks o n t he sto r o f o to en rav n in ec ture I I I . i m hi y ph g i g L mach ne which , however, was never made for 6 I J

.H a use. e lso specified a flat bed cylinder the forme for a fresh coat of ink , which itself _ m - in achine similar action as regards position again distributes to the ensuing sheet, now

' of type and paper to the later invention of advancing for impression ; and the whole of ni no Koe g . But really practical methods of these complicated acts is performed with such

' using them iwere added to either of these a velocity and simultaneousness of movement inventions . that no less than are impressed in o ne a h - T imes N 2 9 th 18 14 Before we come to the cylinder m c ines we The , ovember , . must deal with the attempts to apply power to s tim e after 18 10 I have said that ome ‘ April, , l s 1803 the hand pres . Frederick Koenig in , at Koenig gave up entirely the idea o f the mo difi c a ' s s Suhl, attempted this . He substituted leather tion of the crew pres , and became a convert

“

i ro . i rollers for the nking balls , and int duced to the cylinder principle It is alleged, w th e the n m chanism to take carriage under the inki g some background of j ustification , that Koenig e ’ rollers and then under the platen . Ko nig borrowed the idea from Nicholson s patent of

‘

n s n 1790. N came to Londo and ucceeded in i ducing He certainly met icholson , who helped

'

df all and . Bensley, VVo o Taylor to finance him him to prepare his patents B 18 10 O ne e e . , in his xperiments y he took out a oth r type of machine , constructed

18 11 . 18 14 patent, and in April he printed sig H of during the period ending , remains to be

was m o difi . N o rw . ic h M ercur the Annual Register This a mentioned The printer of the y,

' ’ s . . . c cation of Koenig first attempt to apply Mr R M Ba on, together with Bryan Donkin , power to the old form of press , and was designed a machine in which the types were n

i 18 1 - patented b y h m in England in 0 . arranged and fixed on a revolving four sided

‘

e 18 11 . ll The next y ar, , he took out another prism The ink was applied by one ro er, - s c patent , thi time for the machine whi h was which rose and fell to meet the irregularities of to be the parent of all flat bed cylinder machines the prism .

f . . 375 7 18 13 rom that day This patent, No of , contains the T imes i i John Walter, of the , ordered two f rst reference to composition rollers , w thout s c r machines after eeing the new cylinder ma hine , which apid machine printing would have been ’ s and presumably after hearing Koenig ideas impracticable . ’ T i es fo r . s m the future The i sue of the for After Nicholson s , this was the first rotary N 2 9th 18 14 n i the ovember , , was pri ted entirely by machine as aga nst flat bed cylinder machines ’ steam power. Mr. John Walter s own account of Koenig .

’ of the innovation is interesting It is difficult to sa y when Bacon and De nkin s e C ur j ournal of this day presents to the public machin was fi rst used . The E urop ea n M a ga z ine 18 15 the practical results of the greatest improvement for January, , claims the invention n ‘ connected with pri ting since the discovery of for them as against Koenig , and goes on to the art itself . state that another inventor had produced

‘ The reader o f this paragraph now holds - in a printing machine at Plymouth about ten is his hands one of the many thousand impressions years since , which has been and still used ” T imes o ff i of the newspaper which were taken by a tradesman there for pr nting his bills . ’ last night by a mechanical apparatus . A Koenig s final effort in this country was to s hi n n T imes ystem of mac nery, almost orga ic, has been tra sform his machine, which printed

‘ i s devised and arranged , which , while it rel eve on one side only, into one that perfected the human frame from its most laborious efforts the sheet or printed it on both sides h in printing , far exceeds all uman powers in during the progress of the paper through the rapidity and despatch . That the magnitude of machine .

ne the invention may be j ustly appreciated by His patent for this is dated 18 14 . O large its e may l fforts , we inform the pub ic that after machine of this sort was made for Bensley in o 18 15 the letters are placed by the c mpositors , and , but it was too heavy and expensive , and ’ ‘ inclosed in what is called the forme , little this was the only one made . It produced e a 75 0 im more r m ins for man to do than to attend up on perfected sheets per hour, or and watch this unconscious agent in its opera pressions . m ir ~ 18 17 tions . This achine is the merely supplied Koenig finally left England in , and l “ with paper, itself p aces the forme , inks it, started the firm of Koenig and Bauer at

“

O . adj usts the paper to the newly inked type , Kloster berzell , where it still flourishes n a c c orn lished h stamps the sheet , and gives it forth to the hands The inventio was now p , mac ine

the t w n of attendant , at the same time wi hdra ing printi g was a fact , and although the hand 4

' press still held its own it must ha v e felt the the axis of the main cylinder was horizontal

beginning of the severe competiti on . and the type held by a Special device known as ” - We hav e followed the development of the the Turtles These Hoe machines in this form l u 1868 i flat bed cy inder machine for newspaper purposes lasted ntil , when the final great nvention 4 to 18 1 . The machines then built by Koenig in newspaper printing was introduced and the for T imes 182 7 182 4 the were used until by . ( _ Walter press was set up u h they were printing per ho r) , althoug

A le a th C PRINTING TYPES. pp g and owper, who had succeeded

the T imes s Koenig at , had modified them Turning to the types of thi early part of the

. B considerably nineteenth century , as Mr . Talbot aines Reed 182 7 ‘ In they built a new machine still printing said , Bodoni and Didot killed the old style and

t he on one side only, but raising the rate of impres left the modern Roman . But new Roman _ n 4 000 e . i sio s to between , and per hour had hardly establ shed itself when a d mand for li Perfecting had been abandoned . As C owper fat face type arose . All the founders supp ed d says, The principal obj ect in a news machine the deman , and the specimen books of this is to obtain a great number of impressions from period are full of types with these broad faces . s the same forme on one side of the heet, and The usual reaction set in , and from an attempt s s not from two forme on both side as in books . to condense type after the French fashion arose h ih This mac ine required eight attendants , four the Scotch letter. The Engl s founders , how I a d ff. n o . to lay on four to take These machines ever , retained the rounder forms of letters ” s T imes 184 8 2 were u ed by the until , when the The period about 18 0 was noted for good

l . n n wa s flat bed principle was final y abandoned printi g , but the Roma type used not as ’ 18 15 182 5 The failure of Koenig s machine , for legible as the old style . Hansard said , in ,

wa - s . perfecting , not the end of perfecters the specimen of a British letter founder is a A pple ga th and C owper turned their atten heterogeneous compound made up of fat faces

‘ t e p f a nd c o nside ra b l e tion to this yp machine y and lean faces , wide set and close set , pr por ”

i d . improved it . With little alteration it developed t o ne and disproportioned This style was into the perfecter of recent times . maintained with some slight improvement as

Up to 185 0 the j o b or book printer was regards book faces until the forties . content to use the hand press and the power For this period one is always to ld . to refer to C w and platen machine , and the big houses used the the his ick Press for the best printing , i . a n u perfecters mentioned above Here d there , the books iss ed by Picker ng are generally s s of course , variou experimental cylinder referred to . The work of Charle Whittingham

i . t he C mach nes were used the elder, the founder of hiswick Press , his The invention by Main in 185 0 of his cylinder. possesses few claims to distinction . It was ’ machine formed the first step in the sequence nephew who founded the press at Took s C ourt,

i a n w . of Wharfedale type machines . His cyl nder d to whom his uncle left the Chis ick Press

‘ did not rotate fully, but after making three He it was who printed books for Pickering quarters of a revolution reversed itself and at which have always been looked upon as excel l the same time was raised to c ear the type lent work . Corrall, who printed most of the i carriage on its return j ourney . The bed also Diamond Classics for the same publ sher, also “

and . it had a new drive , being a crank with multiplying did good work, here was , no doubt, the n gear attached . publisher who was responsible for the excelle ce 1 4 In 8 8 news and book printing m achin es of the volumes. Pickering was an artist in

A le a th i parted company. pp g in that year book production, and the simplic ty and dignity l introduced once more the rotary principle . of his pub ications had a great influence on the N 17 90 . The failures of icholson in , and Bacon work of his time

18 13 o t and Donkin in , were at last avenged , and The c mbina ion of Pickering and the younger rotary printing has been the method for printing Whittingham produced most excellent results in the newspapers ever since that date . He placed a later years ; in fact , until death of the

w 18 5 4 . great cylinder with its axis vertical , and ith former in ’ as many f aces as there were columns to be In 184 4 C a slo n s were asked to supply type

- nal n in printed . The type was held by wedge shaped for a Juv e to be prin ted for Pickeri g old

’ ‘ l n s . C a s o rules , and as many feeders were arra nged round faced Roman discovered the old ’ C aslo n s the machine as the space permitted . The punches of the original Roman type , — w . v next improvement was the Hoe machine , here from which a fount was cast The Ju enal i the e n rav m i not be ng ready, type was used for Lady Senefelder in two forms g g on stone n ’

i l . 1796 W lloughby s Diary, pub ished by Messrs , and the chemical method or true litho in 1 4 4 a nd e 1 8 79 8 . is s in o Longman , at onc the old face graphy in It unnece sary to go t l t e c . l s yp be ame popular, and began to oust the the history of this art, as Mr Penne l has o fa t . compressed and face varieties Some people , recently and so elaborately explained it to you . to o 1800 however, considered it somewhat archaic , It was brought to England in , and gradually \ l " i and Messrs . Mi ler Richard began cutt ng a attained popularity. Its use for book illustra

‘ series o f revived old style faces . They were tion was not very frequent, as it necessitated r d ffe followed by the other founde s , and from about two printings on i rent machines ; and it 185 0 w the better class of book ork has been in was , therefore , not a formidable rival to wood

‘ one or other of these types . engraving . O ccasional b ooks occur with illustrations

A N D . ENGRAVING ILLU STRATION a s printed by unknown processes , such acro w I have now to deal ith the methods of graphy, which was probably a method of surface

l n i . il ustration and engraving . printi g etch ngs ’ Be wic k s development of illustration on wood Colour printing during the first half of the gave an impetusto the art which lasted until nineteenth century was almost entirely of a n e x e ri fi tal the rise of the photographic reproduction p me character . Always there was the

c in a b e pro esses the middle eighties . It did not attempt to get colour process that could the di preserve the high character which Bewick gave printed in or nary press or machine . ‘ - i i . it, but gradually degenerated nto a trade Savage developed wood block colour pr nting to l k w w c o There was a slight revival, artistical y speaking , an extent hitherto un no n , but ith no m

1835 m erc ial . Was about , but the effect of this soon passed . results Baxter , of course, the

‘ Ar s re a t c o lo ur r his tisan had taken the place of artists . g p inter of the period , and work

Woodcuts, of course , could be printed at the was special to himself . His delicacy of treat i ' i same time as the text, and the whole h story o ment and wonderful eye for colour , together illustration during the nineteenth century is a with a patience that must have been almost i i l f search after a process wh ch would mechan ca ly superhuman, places his work in a di ferent

w . produce from pictures or dra ings blocks which category from any other It was a personality ,

in . could be printed the same way . not a process The invention of photography in 1839 led to This hurried surve y of a period roughly di di t half o f ni no imme ate result in this rection, al hough corresponding to the first the neteenth Fox Talbot and others thought and e xperi century leaves printing at a point when it had m ented t di 1800 much on the subj ec . However, the definitely developed from the han craft of e a l a i f y history of the development of p hoto into the m chine industry. With mach ne i w in a hi nl graphic engrav ng is dealt ith the next made paper and m c ne printing , it o y

“ ne it— lecture . The period under discussion does not wanted o thing to complete mechanical s l contain any real commercial development in illustration . By thi time it was wel on the i th s direction . way, and the principal topic of my next lecture

w l . Lithography had been invented by J . A . il be this final development — L E C T UR E [ I L D E UVE R E D D E C E M BE R T H 1 1 7 , 9 4 .

TEE N . The INETEENTH CENTURY (PART II ) factors in this revolution. buyers of modern

~ A ND F . A TER books , many of whom perhaps had never seen THE d evelopment of printing during the a fifteenth century book , were simply taken off second half of the nineteenth century was their feet by the magnificence of the Kelmscott the rapid in the extreme , at least on mechanical Press books . We , of course , know them so

. we side Machine succeeded machine , each more well that take them for granted but imagine rapid and effective than the last . Processes of the collector of the editions de luxeof the 1890 illustration were born and died , giving place to period , with their thin type and almost finic kin g

- . U u n d more rapid and accurate methods p to get p , seei g the Gol en Legend for the first

' a 1 0 b e sa id a 89 . about the ye r it cannot that time Morris set a fashion . of good printing , t similar advance took place as regards ype and and even of plain printing, because although type design . If this period showed no develop the Kelmscott Press books are decorated, they t ' ment in the printed book , it at leas was a period are decorated , as it were , in addition to the in which the book was produced in a solid printed page . I do not think there is much u l manner. In the decent class of book the type was do bt that Morris wou d h ave preferred to O ld O ld Revived Style or Caslon Face , the paper illuminate every copy himself, but this being was a sound printing paper without any mixture impossible he allowed his designs to be printed ’ - l of wood pu p , china clay, or any of the other at the same time as the letterpress . Morris s s abomination of a later period , and the binding designs were personal to himself, and it is perhaps

- cloth was good and strong . The one volume as well that all the ornaments of the Kelmscott i novel of the sixt es or seventies will be found Press were withdrawn from use on his death . The

- i to day in good order , showing signs of age type can be used accord ng to his rules , and has ut e b . perhaps , wearing out , not falling to pieces , been so used with effectiv results The types as our modern books do after about three people of the Kelmscott Press were three in number . ’

le . have hand d them The Golden type , a Roman based on Jensen s In the late eighties there was a curious letter but with a slight admixture of Gothic G and epidemic among printers of the use of colour in style ; the Troy type , a round othic ;

S . l _ etterpress work . This was , of course , mostly the Chaucer, a maller Gothic The Golden in j ob work, but it spread to book work , and type has been copied and modified by many there are monstrosities to be found in the way typefounders , and , of course , often spoiled in n t of decorated titlepage s in many colours which appearance . The Gothics have o had so are calculated to make anyone interested in much attention paid to them .

n d . good printing feel very ill . This curious move The Doves Press was fou de by Mr Emery

W and . C m r . ent was known , for some obscure reason , as alke Mr obden Sanderson The type i o ut was Art Printing . These printers l ked to use tint for them a very plain and handsome

’ blo cks and scroll work and ornamented initials Roman with a thinner face than that of the

“

all G l . and borders , and without any idea of the Kelmscott o den type The style of the Doves

‘ real value or balance of the printed page . The Press is one of great restraint . O rnament is “ ” l artist printer of this period was the man unknown , and on y here and there is found an wh o a o got most eccentric designs and colours initial in red f striking and effective character.

l . . . a l on to the sheet of paper Luckily for us , The type used by Mr St John Hornby at a change was caused by the foundation of the his A shendene Press is based on the Subiaco e we nhe m Pannar z . . S t Kelmscott Press by Mr William Morris The typ of y y and , and is

- influence of this Press cannot be overestimated . therefore to be described as a semi Roman .

Morris restored handmade paper, black ink , and It is effective , and the great Dante of the good press work to a position that they had A shendene Press is worthy to rank with the a C lost for many years . The archaic ch racter Kelmscott haucer and the Doves Bible.

a s i of his types , which one must admit was carried These three books may be described the deal s almost to excess, was one of the mo t important books of modern typography.

18

was set up by the Kastenbein machine for many on them . A new attachment to the keyboard

' - years , latterly with new type daily made by enables the operator to set two editions of a

C . th e 3 . the Wicks Rotary Type aster The Thorne book at same time , say a 6 novel and the o o o k 7d machine was a considerable success in the same J in . form . The edition can

a all - eighties . These m chines took type as it then be set up by the caster and when the time d 7 . came from the founder . The type was arranged comes for the edition the other roll of paper in ‘ funn els and fell into place when a key wa s can be at once put in hand without a ny further ,

r . _ struck . They generally had a subordinate work on the keyboa d

' machine called a distributor to arrange the These two machines have revolutionised -

. All type in proper order. The invention of the printing our newspapers and cheap books — i Linotype in 1884 85 brought a new principle are produced in th s manner. For display work

o e - into play . Instead of using type , the pressure and important books,h w ver , hand setting still — O wn of a key brings down a matrice of that letter . holds its , and although it is dangerous to d A line of these matrices automatically j ustified prophesy, especially in an in ustry like printing — w o i e is carried to the front of the metal pot , where a ith its rapidity change , I cannot h lp thinking ’ hO in l n line of type is cast in solid form from it . During (and p g) that it wi l conti ue to be supreme . - this time the operator is assembling the next C e PHOTOGRAPHI ILLUSTRATION . line of matrices . Wh n the operation of casting is complete , the slug is automatically shot into I now turn to the second division of my d a tray and the matrices are taken up by an subj ect, the evelopment of the processes of arm to the back of the machine and hung on a illustration .

' l wha t We - bar . As they are pushed along this bar they A though know to day as photo

l o f ic tu fall automatical y into their right boxes , and graphy , namely, the production p res by O f was are ready to be used again when required . The the agency light, brought to a successful

o 18 39 s lid lines of type or slugs are arranged in a issue by , the action of light on a sensitised

‘ - galley , and after correction are ready to be surface was known long before . Experiments E printed from . Most newspapers are set up in had been made by Wedgwood in ngland , but ~ “

- s . thi way to day After stereos have been made he failed to fix the images he produced .

” from them the slugs can go back to the metal Niepce in France was the first to produce a pot and be used over again . permanent photographic image . He coated The Lauste n Monotype is on a different metal plates with a varnish of bitumen dis

i - in O il pr nciple . It is a type casting machine casting solved of lavender, and when dry he .

‘ t es an a - separate yp d actuated by perforated exposed them to the camera , afterwards develop roll of paper on the Jacquard principle . The ing the image by the solvent in which the

b een disso lv e d keyboard is used for perforating the paper , and bitumen had , so that he o h \ th e operator at the keyboard has nothing to do ta ine d plates with the design in bare metal on a

wi . th the caster, which may be in another room varnish ground He also exposed his plates under lZ n e s or another country . In fact , the perforated engravings , and these plate he etched , so paper can be sent to America instead of sending that he was able to print from them in a copper

. exain le stereos , and can be put on a caster there , and plate press The earliest known p of his ’ w b e d d A b o e the type ill produced in exactly the sam e work is a portrait of the Car inal m is , i ’ manner as if it had gone straight to the caster said to have been printed in 182 4 . N ép c e s p ro e here . Both machines are actuated by com cess was perfected by his nephew Ni pce de

' re ssed a ir . . p , and the action of the paper on the St Victor The bitumen process first used by caster can be compared to the same kind of Niepce was afterwards developed and exten

sivel perforated paper used on a pianola . The y used for the production of printing

e 4 u in t e . xt i . ne m matrix used is a plate of st el about ins square . s rfaces in aglio and reli f The _ O n u u b the this is fo nd the f ll alpha et, together with portant discovery was that combination t ‘ the various sor s nec essary. It is actuated by of gelatine and bichromate of potash after a very wonderful series of levers , which enable it to exposure to light became more or less in h take position so t at any letter or figure may soluble , and therefore impermeable to an

. ri be cast The work is very rapid; and corrections etching solution such as perchlo de of iron .

' - b e SO late . o f o r can made by substituting single types , by coating a p steel copper _ whereas in t he Linotype the complete line has with a film of these materials and exposing

t. T im es se t li to be recas The is by Monotype it to ght through a photographic negative , it l m‘ machines , and a great deal of book work is done became possible to etch the p ate i proportion 19

‘ g ’ ie F xT a lb o s — e o . T o t b ut t t exp sure his is method screens of crape and similar fabrics , with O f 185 2 185 8 c . r he of photographic engraving and , out much su cess Somewhe e in t early

s O f m - e and also forms the ba is odern photogravure eighties glass ruled screens w re introduced , i s introduced by Karl Kl c in 1879 . Thi type of which were turned round during the exposure

n n . film is also u absorbe t of water in proportion and finally Mr Ives, in the winter of 5 l c 1885 86 s - c to the action of ight, and if placed in old water , ealed two single line s reens together after expo sure will swell up unevenly and form a nd made the cross -line screen which is used i a relief or mould from which casts can be made tod ay . Th s screen varies from 5 0 lines to

' 4 00 to - in plaster or byelectrotyping . This forms the lines the inch . This made the half tone ’ Pre t h s 185 4 s . l d f basis of sc process in , and generally proces possible The on y if erence between

- l e t - of photo galvanography or ph o to lec rot ypy. the actual preparation of the half tone plate

‘ the n e is same. type of film exposed to light and li e plate previously describ d that

d h l - take n un er a negative , t en moistened with water the negative for the ha f tone is through

e i - lik a l thographic stone , and inked with a the cross line screen , thereby breaking up the

“

i . roller and printing ink, w ll only take up picture into a series of dots

- - the ink in the exposed parts in proportion as A The latest development of photo engraving the action of“ light has rendered the film unab has been in the direction of mechanically

’ '

O f . s is . b a se d p n sorbent water Thi Poitevin s process of printed photogravure This process ,

“ ’ ’ direc t ho to Klic s d p If the exposed Talbot s and iscoveries , is an intaglio

film be inked up without wetting and then method and not relief . A print is made through

all o f i placed in warm water, the unexposed gelatine a screen transparent thin l nes and crossing

l e . will dissolve , leaving ink on y on the image , which each other on photogravure carbon tissu m ay be transferred to stone or printed from This tissue is laid down on a copper plate fO r ‘ d t irec , in which latter case it corresponds with flat printing , or a copper cylinder for rotary ’ M t a h . Tessie de o y s photocollotype work It is then developed and etched . The Parallel with these efforts for the repro duc lines of the screen being so fine are j ust suffi cient ff tion of tones , there were similar e orts for the to hold the ink on the cylinder ; but when

and n s reproduction of line work, , followi g the printed the ink run slightly , with the result

d f - iscovery o photo lithography , these were at that in the deep tones the screen lines are last successful . invisible . By the most recent developments 1 2 l s It was discovered by Gillot in 87 that it is possible to print , not on y the picture in T ’ Fox albot s old m ethod of making intaglio a magazine or newspaper , but the letterpress

n . plates could be utilised for maki g relief blocks . as well This is set up and photographed at

The following description will be seen to be the same time as the pictures . It is generally m n al ost the same as the earlier method . possible in the inscriptions under the pri ts to n A zi c or copper plate sensitised with albumen see the lines o f the screen . and potassium bichromate is placed in a print

i O THER METHODS O F ILLUSTRATION . ing frame w th the negative , and the picture

to ~li ht - Obtained by exposure g . The plate is Revival of wood engraving took place in d then inked and washed , the surplus ink comes the sixties ; but although great artists rew

- d the away , and the picture remains visible . Asphaltum for the wood and on the woo , wood d no t the o is then usted on to the plate , which is then engraver himself did rise to occasi n , etched to~ a sufficient depth to give a printing and it was a period of great illustration not always

“

ne . surface . This is O of many methods which successfully carried out I will quote what ' f i in dif er only in the chemicals used and the Mr. Gleeson Wh te says his important work elaborations introduced for special work . on this period “ Many processes were in use by the seventies Soon after this revival wood - engraving as and early eighties , but none of them really a trade began to feel the photog raphic com

— ‘ reproduced all the tones of a picture from the petition . By the time the half tone process

h wa s high lig ts to the deep shadows , and at the established it was dying , and it was very ” same time produced a block which could be soon quite dead . w has printed ith letterpress and by the ordinary Lithography, on the other hand , ac quired

e h e machin . W at was want d was some method additional strength during the photographic

’ of breaking up the tones of a photograph into period . The most adaptable of reproductive

l h a s . lines and dots so that a relief block could be methods itse f, it adapted photography

. e made from it The early experimenters us d As printing machinery developed so lithography , - it was cheap enough , and then using great cylinder makes two revolutions to each t o and i sheets of it in a rotary machine for printing fro motion of the bed , but dur ng the reverse posters and other large work . Finally, an move ment of the bed the cylinder is lifted

the - accident led to invention of the offset clear of the type . The two colour machine

‘ " i a c l r t method of printing , which enables l thogr phs enables two o o u s o be printed on the one

s . to be printed on any surface of paper The sheet before it leaves the press . There are two l s offset press has a rubber cy inder introduced forme , one at each end of the bed . between the stone or alum inium sheet and the The final section of flat - bed cylinder m achines d the impression cylin er so that, instead of hard is that of Perfecters . These machine s print

d surface of the stone or plate coming in contact single sheets o nboth sides during their traverse

~ - a with the paper , the yielding surface of the from the feed board to the delivery bo rd . e and tra nsfe rs rubber tak s up the design it to They have two large cylinders instead of one .

. the paper A much softer impression is obtained This type of machine is gradually dying out ,

s. t with good result Like all new processes , it being a tacked by the fast Wharfedale machine no t was set at once to do work which it was on the one hand and by the rotaries on the other. . adapted for , with disastrous results ; but as O f late years the addition of automatic paper i li pr nters have got to know the mits as well as feeders , mostly pneumatic in action , has i the possib lities of the method , they have quickened up the action of printin g machines n succeeded in obtai ing better and better using flat sheets .

0 . o s I e results Turning to R tary machine , carri d their PRI NT I NG C MA HINES . history up to the introduction of the Walter this ' le c ture The third section of deals with machine into the Tim es o ffice in 1868 . This the development in printing machinery from was the first machine to print on the roll of

. about the middle of the nineteenth century paper, from curved stereos , to perfect the sheet l We have still to deal with the three classes of and produce a comp ete newspaper . These

fi - i t , at Tim es l 189 5 mach nes the pla en the bed cylinder, and machines were used by the unti .

he . l t rotary A though it is not strictly correct Folding mechanism h a d been attached to them I chronologically, propose to take them in that about 1885 . order . The hand press it is unnecessary to deal The development of the newspaper machine wa s last m . with , as its history finished in y lecture during the twenty years following the , intro

But the platen machine is a development from duction o f the Walter Press was slow . Single the hand press . The platen and the bed are roll machines were the rule rather than the b ut . wa s still there , no longer horizontal , but vertical exception, and the increasing circulation

The original inventor of this machine was an met by putting in fresh machines . The news — a . P . . 1870 7 90 Americ n , Geo Gordon The bed is fixed papers during the period were only it and the platen is forced up to by steel arms four to eight pages , and this was the limit of the

. The m a c hine s t hen . on either side The platen then returns to used competition , however, its open position , and remains so long enough added to the cheapness of paper, resulted in an take t he h for the operator to printed sheet out enlargement to twelve pages . Suc enlarged

_

‘ -h his le ft - and wit hand lay on another with his issues could not be printed on one machine .

h . rig t This press in its various forms is pre The extra pages had to be added by hand . This l h eminently the sma l j obbing press, although the resulted in the construction of machines t at heavier presses are used considerably for colour would produce newspapers of a varying number all work . of pages , from four to twelve or sixteen , inset ,

fi a t - its c ut The bed cylinder machine began period at the head , and folded in a more convenient

185 0 . a s of great success soon after The Main form . It w found to be impracticable to i “ of machine , prev ously referred to , is dated about produce these different sizes from a single web * 1 m i 85 0, and fro that time progress has been con paper ; therefore several pr nting presses were i ’ tinuo us . Koen g s continuously revolving cylinder I n E ngland th e di sti nc tio n b etwee n th e words press is 1 11 is re ss is o n a e to th e a of h 8 machine now found in the drum a nd m ac hi ne is d efi nite . P ly ppli d h nd

h e a en A ll o e s are ac ne s. I n A er c a r press and t pl t . th r m hi m i cylinder machines , p incipally used in America . ll I ave b e en so ew a t th e wo rd press is a ppli e d to a . h m h - The single revolution or Wharfedale machine , n in m use o f th e wo r s nc n n o re i ndiscri m i ate y d , i li i g m n c . combi ed in one ma hine , each printing from a end , and the supplement press at right angles a i separ te roll or web of paper and all convey ng was rendered unnecessary .

t w 18 95 th e im e the printed shee s to the same folder, here In the same year, , T s replaced ’ - in . s they were incorporated the one newspaper the Walter pre ses by Hoe s three roll machines . ’ - I - Such is the multiple web machine of to day . Llo yd s i re three roll single _ were ‘ mach nes A c lassific a tio n fo f these combined machines placed in 1901 by the thre e double -width roll m a l y be made as fo lows or sextuple typ e . These produced double the 1 Tw . o presses at right angles to one another output of the single machines and necessitated

f r . 1902 and o ming one machine These are known the use of two folders instead of one . In

. as supplement or quadruple presses the order was given by Messrs . Lloyd to Messrs . 2 r i . Two or more p esses work ng one above Hoe for the first of the present battery of seven

W n . the other ith co nection between each These double octuple machines . These machines ,

’ - - Llo d s Weekl N ews a er re are known as two decker and three decker which now print y y p p , a machines . the most powerful newspaper printing machines

3 . ve o ne b ehind Ty or more presses another at work in this country at the present moment . and capable of being coupled together to form They take four double - width reels of paper at

. l h a combined machine This is ca led the tandem each end , are four decks hig , and are constructed

. system in such a manner that another deck still can , if

4 . s Two pre ses arranged with a Space between necessary, be added at the top . The capacity

e nis . i th m where the folding mecha m is placed of each of these mach nes is per h our,

is - It may be said that there no standard up to sixteen pages from eighteen to thirty two

hi . r . pattern of newspaper printing mac nes The pages , per hour, and so on in propo tion conditions in each othee vary so greatly as The papers are delivered folded and automatically a reg rds Space , both in area and shape , that each counted . case is treated on its merits and special designs The latest improvement in newspaper print are made . ing machinery is the making of the stereotype

‘ no w resum e — We the history of the newspaper . f plates by machinery _ A ter the flong that is , i — printing machine where we left it at the ntro the paper matrix has been made by pressin g es T im n - duction of the Walter Press into the it on to the typ e , it is placed in the casti g box

in 1868 . was auto late office The Marinoni machine intro of th e p , and as many plates as are duc ed in 1868 c e in Paris in for the purpose of p g necessary are cast from it . They are trimmed with the increasing circulation of Le P etit automatically and are ready to go on to the J o urnal. i This was not a web pr nting machine , press . 0 but was the last and most rapid o f the sheet -fed Rotary machines are also used for the big

w . a l ne spaper machines Two of the machines runs of popul r j ournals , and if the j ourna

fo r - Echo were bought the , and that paper was has a coloured cover this is printed on a smaller

1872 . 1874. printed by them early in About rotary at right angles . The body of the

Mr . Edward Lloyd introduced the first open paper and the cover are brought together at c delivery Hoe machine , which printed from the the folding me hanism , and the complete -

‘ web . Hoe rotaries had been used for some time paper stitched in its cover is counted out in

‘

in . i previous to this date America The Hoe qu res . Double Suppleme nt Press was introduced So we have seen in the last hundred years 1887 i l about , and eight m achi nes were nstal ed the development of the art we saw emerge from ’ '

Llo d Weekl N ews a er. to print y s y p p This obscurity some 4 5 0 years ago . All the speed m e achine turn d out four, six , eight, ten, and and wonderful power of production we have

e - u . tw lve page papers at per hour , and seen it gather is unfort nately not all gain sixte en a e - p g papers at per hour , the odd Worse printing can be and is done to day than ' pages b eing in every case accurate ly inserted ever has been done but at the same time there a c ut a and pasted in , and the p pers at the top and ppears to be some light in the darkness , some i r the i del ve ed fo lded . This machine is o f right indication that the printer is taking more nterest ’ o i angled variety menti ned above, and prints from in his craft and is beginning to real se more of f ls t he li . two rol , one on the long side being twice its possibi ties The good e fects of the work w e i lli the idth of the oth r, wh ch is only, one page of Wi am Morris and Emery Walker are ’ wi . 1895 di de In these were superseded by Hoe s stinctly visible, and there is hope for the “ “ - - u in w . t A r e three roll presses , s g single idth webs artis ic future of the t pres rvative of all ” c These ma hines had three reels of paper at on e Arts . TH E recent history of colour printing is divided — easily into two sections non - photographic and photographic . Each section comprises three i methods intaglio , rel ef , and planographic , so that the subj ect is comprised in these main headings

- NO N PHOTOGRAPHI C .

' I n a l o — i t g i . Etch ngs and copperplate prints of

k n . all i ds , in colour

— - Relie . f C hromo "ylography.

P no — la ra i hr i a h . g p h c . C o m o L tho gr p y

PHOTOGRAPHI C .

— I nta lio . g Photogravure .

- ~ Re ie . l f Half tone .

Pla no ra hic — - C hro m o L itho ra h g p Photo g p y,

- Chromo Collotype .

Doubtful and combination processes , of

add . course , to the number

M - O HRo o LITHOGRAPHY . The period I am dealing with in this lecture

- begin s with the rise of chrome lithography .

- By 185 0 the problem .o ithe super imposition had of colours been solved , and the art started 18 —5 7 i . 5 6 on its tr umphal course In Lemercier , “ I mitatio of Paris , printed an edition of the ” Christi for which illuminated borders were m copied fro early manuscripts , and every page d . O was decorate In England , wen Jones was “ ” working on his Grammar of O rnament . It was

wh o printed by Day Son , were at this time

- the leading chrome lithographers in London . The most important non -commercial applica tion of chrome -lithography was begun in 185 6 n by the Aru del Society, which issued prints of

Italian frescoes until quite recent years . They n were not all pri ted in England , some well known German firms producing many of the later prints . T he oleograph , a rather distressing form

hr e - i o fe e rm an i of the c om l thograph , was G orig n The ' finished print was thickly coated with varnish and then passed between patterned

vi i rollers gi ng the mpression of canvas .

lithe In the early days of chromo work , the lines is f . colour, and~ secondly for the actual of the of printing quite dif erent from any other Th i b O n f etching . espec mens shown y Hugh Paton a large cylinder are astened the various

ffi . and V . Preisler su ciently indicate the scope printing blocks , one for each colour A series and method of this process . of inking devices apply the correct colour to each s block as the cylinder revolves . These block - ' WOOD BLO C K COLOUR PRINTING . ll transfer their colours to composition ro ers , l “ In re ief printing the most interesting process which in turn apply it to the form block .

- after 185 0 is wood block colour printing . This s s _ All the colours are by thi mean superimposed s ' process , where separate blocks are u ed for each whic h the n on this form block , comes in contact s colour, give an impression of transparency with the paper and deposits the whole of the

b . e which cannot be obtained y any other colours at one impression . It might be imagin d r This method of colour wo k was carried to a that this process of superimposition of wet considerable pitch of excellence by Savage about ‘ colours would cause smudging or blurring, but ] 82 0 a ' , and it was probably fter seeing his work work produced by the O rlo fi pre ss is noticeable

' w ail that Thomas Be ick suggested the printing of for clearness of outline and delicacy o f de t .

- i b . p ctures in colours y means of wood blocks The machine has been put on the English market 185 0 It was not , however , until about that o r . once twice , but has never been adopted

- wood block printing became at all common . Another recent process of interest is stencilling ff li The two most e ective Eng sh workers in by machine . This method has been considerably chromo - xylography were Edmund Evans and used for roughly colourin g plates . It has now Benj amin Fa wc ettfi T he latter is a striking been made possible to stencil by machine , w ’ instance of unaided genius orking alone and O rso nis A q uatyp e having been invented in is s s ff v . H producing e ecti e work illu tration to 1898 and since perfected . The sheets or prints Morris ’ s “ British Birds will alone suffice to to be coloured are fed on to a travelling band , his s keep name in the annal of great colour which carries them in turn under as many ' printers . The book illustrations of Edmund stencils as there are colours to be applied , when v E ans are , perhaps , the best examples of pure another portion of the mechanism passes a

- wood block colour work carried out in this colour br ush over the stencil then in position on country . the sheet . Some of the French fashion papers The most typical works of Evans in later have their plates tinted by this machine , which s s year have been the book of Walter Crane , l s is a so exten ively used for picture postcards .

Kate Greenaway, and Randolph Caldecott ,

w, C C Specimens of whose works are on sho together PHOTOGRAPHI PRO ESSES. with some earlier productions for the purpose The whole of the photographic colour pro ' of comparison . i cesses may be div ded into two series . The Chromo -xylography is not prominent in the first includes all those in which the photograph colour work of the Continental printers . But i is merely the bas c plate or outline , and the K fler is . no there one exception The firm of , o col urs are selected by eye and printed over it . n 185 6 of Vien a, founded about , has produced are Postcards , for instance; frequently printed work of the highest character by this process . with a collotype basis and lithographic colour Religious prints of all kin ds have been their 1 85 8 . ing . As far back as Geo Baxter patented and speciality, the transparency of the colours a method of colouring photographic prints and the general beauty of their work give the lithographically . These combinations are too fi rm a very high place among colour printers . numerous to mention . he h he o f . t the paintings of G F . Watts have been an optical lantern through t ree filters , h s “ k in . produced by Messrs . Emery Wal er t i obtained a coloured image of the ribbon This w n . v n r as wi man er Before lea i g photogravu e it must image not perfect, o ng to the fact that be mentioned that constant attempts have been photographic plates were not at that time

n . made to pri t photogravures in colour by sensitive to red and green , It was suggested ,

i . i has e i l mach ne Th s process be n adapted to very shortly after, to apply the pr ncip e to f flat i i ast rotary printing in monochrome, and colour pr nting , but the photograph c p late i f ul 1873 bed mach ne photogravure is common ; but di fic ty was not removed until , and then l d with the exception of a few experiments , only partia ly, while the complete iscovery machine - prin ted photogravure in colours belongs of the principle of colour sensitive plates did

f . o . to the history the future , and is therefore not come about until the early eighties Dr

d . . in . i a n F. outside the scope of this paper . E Vogel n Germany, Mr E Ives

w e o m . There is , however, one process hich has not America , were proce ding n very si ilar lines

- . in yet been made public that I may refer to . Mr Ives had already invented the cross l e his i i w T is a comb nation of the ntaglio and offse t screen , and it is o ing to his researches that the

- methods , and the experimental prints have been three colour block process became possible . il . . . e hi made by Mr Geo W Jones . The machin is He exhibited at the Ph adelphia Ex bition of ‘ 1885 is called the Renaissance , and is made by Lino prints made by th process , but thought so i l type Mach nery, Ltd Instead of a copper ittle of it that he did not trouble to patent it . i in‘ i fil cyl nder, as the ord nary photogravure At that time the colour ters and the half w machines, a strip or sheet of copper is used , and tone screens ere comparatively imperfect , and

h ll i o ff. the picture etc ed on the flat sheet , which is commercial work was sti some d stance

i No t i 189 1 w r ‘ u then bent round the cylin der . The wip ng is unt l was any commercial o k p t di done with rollers instead of the or nary steel forward , and in the latter part of this year

i i O ne kn fe , and the impression is taken on a rubb er several Engl sh firms took the pro c ess up . ’

in - . i in cyl der, which transfers it to the paper The of the first three colour pr nts produced first experiment made in colour on this machine this coun try was a — plate representing the

- - 1 was a reversed half tone three colour, but later famous racehorse that won the Derby in 890.

r wi wa a te rlo w photogravu e negatives have been used th This s produced by Messrs . W Son

f - . 1892 very ef ective results A high grade softness in February , , as a supplement to the

i La nd nd Wa t r in a e . of colour is produced , and the high l ghts are paper The improvements better cleaned than with the pure photogravure the process that have taken place since that w method . It ill be very interesting to see the time are purely technical, the character of the later work of this machine . The colour prints process remaining the same . ni by the Rembrandt Intaglio Engra v ing C o . in The tech cal description of the process which ’ two and three printings are by a secret photo follows is taken from Gen . Waterhouse s intro

- gravure process . duction to the catalogue of the photo engraving exhibition at South Kensington

- THREE C OLOUR Ps o c s ss . The problem to be solved in photographic

t ir - - i i I now have o deal ith the three colour three colour print ng is a compl cated one , a process , and describe how the autom tic because the light reflected from the obj ects to selection of colour was m v ented and developed . be reproduced must first be analysed and divided

- n i " The idea of three colour pri t ng was not new , into its three components , red , green, and blue i l hav ng been used by Le Blon in the eighteenth violet , by means of carefu ly selected coloured century . His ideas were based on the investiga screens or filters , so that each of them may

p - tions of Sir Isaac Newton . Further researches im ress a negative image , or colour record , upon in the early part of the nineteenth century by three suitably sensitised‘ photo graphic plates of Y u n the Dr . Thomas o ng led him to put forward the the parts of the obj ect contai ing it, densities theory of three primary colour sensations ; but of the three images being proportionate to the ‘ until Helmho ltz re v iv ed it in 185 3 it had been quantity of each light passin g through the

‘ 18 60 C a a nd its . e shelved . In lerk M xwell made a com screens luminosity These thre images

le te u h p study of the subj ect , with the result that m st correspond exactly in size , so t at they in 186 1 he was able to take three photographs may register correctly . b h r- s of a piece of coloured rib on through three From these t ree colou sen ation negatives , coloured light filters By superimposing the positive prin ts are made suitable for the process three images obtained , and proj ecting them in selected , whether by superposition of transparent

- e xc e on the whole the process was received so coldly rival , chromo xylography . With the p t few e that the inven or has not pushed it further. tion of a experiments , th se two methods hold their o wn until the c oming of three

C colour work about 18 90 . The triumphal march OLLOTYPE . — u c of the three colo r process , with its ae om Experiments with a view to using the collotype panyin g disadvantages of clay -coated paper process for colour printing were made by iks n Albert in Munich and Husnik of Prague in and fugitive n , still co tinues , but there are

i r . O s gns of imp ovement The development of the early seventies , and the State Paper ffice lithe O ff v s in Petrograd was producing colour collotypes the set and photogra ure proces es are all fer the betterment of colour work . The 18 78 . . in by H W . Vogel troduced colour i same disadvantages do not apply to them , and sensitive photographic plates about th s time , so there is a hope that we may presently have a nd prints in collotype by this means were extensively made in Germany in the late a process of colour reproduction that will be i s accurate , cheap , pr nted in fast colour , and eighties . Several firms in England adopted w s 1 on paper that ill not fall to pieces after a 890 . the proce s about , among them Messrs a 1 — 1 few years or turn into a clay brick if it gets W terlo w Sons . In 890 9 this firm

l damp . produced some very exce lent work , but the N — process was not suitable for the English climate , [ OT E Each lecture was illustrated by and the introduction of the three - colour half lantern - slides and an exhibition of specimens

a s . tone resulted in its abandonment far as of printing The exhibits were individually , rapid commercial work was concerned . O f described after the lecture ]

14 DA Y USE RET URN T O DESK FRO M WHIC H BO RRO W ED

LI BRARY SCHO O L LI BRARY

T s o due o n th e st te st d b e w hi bo k is la da amp e lo , or w c on the date to hi h re ne we d . ar t i m i Renewed b o o ks e sub j ec t o m ed at e rec all .

NO V2 9 1963

MAY2 5 1964

Ge n eral L b ra ry LD 2 1- 5 O m i ( D 6 4 718 10 ) 4 76 Be rke ley