CHAPTER V. OF GENERAL PRINCIPLES IN DESIGNING BOOK ORNAMENTS AND

ILLUSTRATIONS: CONSIDERATIONS OF ARRANGEMENT, SPACING, AND TREATMENT.

It may not be amiss to add a few words as a kind of summary of general principles to which we seem to be naturally led by the line of thought I have been pursuing on this subject of book decoration.

As I have said, there is nothing final or absolute in Design. It is a matter of continual re-arrangement, re-adjustment, and modification or even transformation of certain elements. A kind of imaginative chemistry of forms, masses, lines, and quantities, continually evolving new combinations. But each artistic problem must be solved on its merits, and as each one varies and presents fresh questions, it follows that no absolute rules or principles can be laid down to fit particular cases, although as the result of, and evolved out of, practice, certain general guiding principles are valuable, as charts and compasses by which the designer can to a certain extent direct his course.

To begin with, the enormous variety in style, aim, and size of books, makes the application of definite principles difficult. One must narrow the problem down to a particular book, of a given character and size.

Apart from the necessarily entirely personal and individual questions of selection of subject, motive, feeling or sentiment, consider the conditions of the book-page. Take an octavo page--such as one of those of this volume.

Although we may take the open book with the double-columns as the page proper, in treating a book for illustration, we shall be called upon sometimes to treat them as single pages. But whether single or double, each has its limits in the mass of type forming the full page or column which gives the dimensions of the designer's panel. The whole or any part of this panel may be occupied by design, and one principle of procedure in the ornamental treatment of a book is to consider any of the territory not occupied by the type as a fair field for accompanying or terminating design--as, for instance, at the ends of chapters, where more or less of the type page is left blank.

Unless we are designing our own type, or drawing our lettering as a part of the design, the character and form of the type will give us a sort of gauge of degree, or key, to start with, as to the force of the black and white effect of our accompanying designs and ornaments. For instance, one would generally avoid using heavy blacks and thick lines with a light open kind of type, or light open work with very heavy type. (Even here one must qualify, however, since light open pen-work has a fine and rich effect with black letters sometimes.)

[Illustration: WALTER CRANE.

FROM SPENSER'S "FAERIE QUEENE." (GEORGE ALLEN, 1896.)]

[Illustration: WALTER CRANE.

FROM SPENSER'S "FAERIE QUEENE." (GEORGE ALLEN, 1896.)]

[Illustration: WALTER CRANE.

FROM SPENSER'S "FAERIE QUEENE." (GEORGE ALLEN, 1896.)]

My own feeling--and designing must always finally be a question of individual feeling--is rather to acknowledge the rectangular character of the type page in the shape of the design; even in a vignette, by making certain lines extend to the limits, so as to convey a feeling of rectangular control and compactness, as in the tail-piece given here from "The Faerie Queene."

[Sidenote: OF END PAPERS.]

But first, if one may, paradoxically, begin with "end paper" as it is curiously called, there is the lining of the book. Here the problem is to cover two leaves entirely in a suggestive and agreeable, but not obtrusive way. One way is to design a repeating pattern much on the principle of a small printed textile, or miniature wall-paper, in one or more colours. Something delicately suggestive of the character and contents of the book is in place here, but nothing that competes with the illustrations proper. It may be considered as a kind of quadrangle, forecourt, or even a garden or grass plot before the door.

We are not intended to linger long here, but ought to get some hint or encouragement to go on into the book. The arms of the owner (if he is fond of heraldry, and wants to remind the potential book borrower to piously return) may appear hereon--the book-plate.

If we are to be playful and lavish, if the book is for Christmastide or for children, we may catch a sort of fleeting butterfly idea on the fly-leaves before we are brought with becoming, though dignified curiosity, to a short pause at the half-title. Having read this, we are supposed to pass on with somewhat bated breath until we come to the double doors, and the front and full title are disclosed in all their splendour.

[Sidenote: OF FRONTISPIECES AND TITLE PAGES.]

Even here, though, the whole secret of the book should not be let out, but rather played with or suggested in a symbolic way, especially in any ornament on the title-page, in which the lettering should be the chief ornamental feature. A frontispiece may be more pictorial in treatment if desired, and it is reasonable to occupy the whole of the type page both for the lettering of title and the picture in the front; then, if richness of effect is desired, the margin may be covered also almost to the edge of the paper by inclosing borders, the width of these borders varying according to the varying width of the paper margin, and in the same proportions, _recto_ and _verso_ as the case may be, the broad side turning outwards to the edge of the book each way.

This is a plan adopted in the opening of the Kelmscott books, of which that of "The Glittering Plain," given here, may be taken as a type. Though Mr. Morris places his title page on the left to face the opening of first chapter, and does not use a frontispiece, he obtains a remarkably rich and varied effect of black and white in his larger title pages by placing in his centre panel strong black Gothic letters; or, as in the case of the Kelmscott Chaucer, letters in white relief upon a floral arabesque adapted to the space, and filling the field with a lighter floral network in open line, and enclosing this again with the rich black and white marginal border.

[Illustration: FROM "THE STORY OF THE GLITTERING PLAIN."]

[Illustration: WILLIAM MORRIS AND WALTER CRANE.

(KELMSCOTT PRESS, 1894.)]

If I may refer again to my own work, in the designs to "The Faerie Queene" the full-page designs are all treated as panels of figure design, or pictures, and are enclosed in fanciful borders, in which subsidiary incidents of characters of the poem are introduced or suggested, somewhat on the plan of mediæval tapestries. A reduction of one of these is given above.

[Sidenote: OF OUTLINE AND BORDERS.]

A full-page design may, thus inclosed and separated from the type pages, bear carrying considerably further, and be more realized and stronger in effect than the ornaments of the type page, just as in the illuminated MSS. highly wrought miniatures were worked into inclosing borders on the centres of large initial letters, which formed a broad framework, branching into light floral scroll or leaves upon the margin and uniting with the lettering.

Much depends upon the decorative scheme. With appropriate type, a charming, simple, and broad effect can be obtained by using outline alone, both for the figure designs or pictures, and the ornament proper.

The famous designs of the "Hypnerotomachia Poliphili," 1499, may be taken as an instance of this treatment; also the "Fasciculus Medicinæ," 1495, "Æsop's Fables," 1493, and other books of the Venetian printers of about this date or earlier, which are generally remarkable for fine quality of their outline and the refinement and grace of their ornaments.

One of the most effective black and white page borders of a purely ornamental kind is one dated 1478, inclosing a page of Roman type, (_see_ illustration, Venice, 1478, Pomponius Mela). A meandering arabesque of a rose-stem leaf and flower, white on a black ground, springing from a circle in the broad margin at the bottom, in which are two shields of arms. A tolerably well known but most valuable example.

[Sidenote: OF DESIGNING TYPE.]

The opening chapter of a book affords an opportunity to the designer of producing a decorative effect by uniting ornament with type. He can place figure design in a frieze-shaped panel (say of about a fourth of the page) for the heading, and weight it by a bold initial letter designed in a square, from which may spring the stem and leaves of an arabesque throwing the letter into relief, and perhaps climbing up and down the margin, and connecting the heading with the initial. The initialed page from "The Faerie Queene" is given as an example of such treatment. The title, or any chapter inscription, if embodied in the design of the heading, has a good effect.

Harmony between type and illustration and ornament can never, of course, be quite so complete as when the lettering is designed and drawn as a part of the whole, unless the type is designed by the artist. It entails an amount of careful and patient labour (unless the inscriptions are very brief) few would be prepared to face, and would mean, practically, a return to the principle of the block book.

[Illustration: ITALIAN SCHOOL. XVTH CENTURY.

KETHAM'S "FASCICULUS MEDICINÆ." (VENICE, DE GREGORIIS, 1493.)]

[Illustration: ITALIAN SCHOOL. XVTH CENTURY.

POMPONIUS MELA. (VENICE, RATDOLT, 1478.)]

Even in these days, however, books have been entirely produced by hand, and, for that matter, if beauty were the sole object, we could not do better than follow the methods of the scribe, illuminator, and miniaturist of the Middle Ages. But the world clamours for many copies (at least in some cases), and the artist must make terms with the printing press if he desires to live. It would be a delightful thing if every book were different--a millennium for collectors! Perhaps, too, it might be a wholesome regulation at this stage if authors were to qualify as scribes (in the old sense) and write out their own works in beautiful letters! How it would purify literary style!

There is no doubt that great attention has been given to the formation of letters by designers in the past.

[Sidenote: THE DÜRER ALPHABETS.]

Albrecht Dürer, in his "Geometrica," for instance, gives an elaborate system for drawing the Roman capitals, and certainly produces by its means a fine alphabet in that type of letter, apparently copied from ancient Roman inscriptions. He does the same for the black letters also.[10]

[10] Reproduced in "Alphabets," by E. F. Strange (pp. 244-250), Ex-Libris Series. Bell.

For the Roman capitals he takes a square, and divides it into four equal parts for the A. The horizontal line across the centre gives the crossbar. The sides of the square are divided into eighths, and one eighth is measured at the top of vertical dividing line, one eighth again from each bottom corner of the square to these points, the limbs of the A, are drawn; the up stroke and cross-bar being one-sixteenth, the down stroke being one-eighth of the square in thickness. Circles of one-fourth of the square in diameter are struck at the top of the A where the limbs meet, and at lower corners, to form the outside serifs of the feet, the inside serifs being formed by circles of one-sixteenth diameter; and so the A is complete. Various sub-divisions of the square are given as guides in the formation of the other letters less symmetrical, and two or three forms are given of some, such as the O, and the R, Q, and S; but the same proportions of thick and thin strokes are adhered to, and the same method of forming the serifs.

For the black letter (lower case German) text the proportions are five squares for the short letters i, n, m, u, the space between the strokes of a letter like u being one-third the thickness of the stroke, the top and bottom one being covered with one square, set diamond-wise. Eight squares for the long letters l, h, b; the tops cut off diagonally, the feet turned diamond-wise.

This is interesting as showing the care and sense of proportion which may be expended upon the formation of lettering. It also gives a definite standard. The division of eighths and fourths in the Roman capital is noteworthy, too, in connection with the eight-heads standard of proportion for the human body; and the square basis reminds one of Vitruvius, and demonstration of the inclosure of the human figure with limbs in extension by the square and the circle.

Those interested in the history of the form of lettering cannot do better than consult Mr. Strange's book on "Alphabets" in this series.

It might be possible to construct an actual theory of the geometric relation of figure design, ornamental forms, and the forms of lettering, text, or type upon them, but we are more concerned with the free artistic invention for the absence of which no geometric rules can compensate. The invention, the design, comes first in order, the rules and principles are discovered afterwards, to confirm and establish their truth--would that they did not also sometimes crystallize their vitality!

I have spoken of the treatment of headings and initials at the opening of a chapter. In deciding upon such an arrangement the designer is more or less committed to carrying it out throughout the book, and would do well to make his ornamental spaces, and the character, treatment, and size of his initials agree in the corresponding places. This would still leave plenty of room for variety of invention in the details.

The next variety of shape in which he might indulge would be the half-page, generally an attractive proportion for a figure design, and if repeated on the opposite page or column, the effect of a continuous frieze can be given, which is very useful where a procession of figures is concerned, and the slight break made by the centre margin is not objectionable.

The same plan may be adopted when it is desired to carry a full-page design across, or meet it by a corresponding design opposite.

[Sidenote: OF HEAD AND TAIL-PIECES.]

Then we come to the space at the end of the chapter. For my part, I can never resist the opportunity for a tailpiece if it is to be a fully illustrated work, though some would let it severely alone, or be glad of the blank space to rest a bit. I think this lets one down at the end of the chapter too suddenly. The blank, the silence, seems too dead; one would be glad of some lingering echo, some recurring thought suggested by the text; and here is the designer's opportunity. It is a tight place, like the person who is expected to say the exactly fit thing at the right moment. Neither too much, or too little. A quick wit and a light hand will serve the artist in good stead here.

[Sidenote: OF TAIL-PIECES.]

Page-terminations or tailpieces may of course be very various in plan, and their style correspond with or be a variant of the style of the rest of the decorations of the book. Certain types are apt to recur, but while the bases may be similar, the superstructure of fancy may vary as much as we like. There is what I should call the mouse-tail termination, formed on a gradually diminishing line, starting the width of the type, and ending in a point. Printers have done it with dwindling lines of type, finishing with a single word or an aldine leaf.

Then there is the plan of boldly shutting the gate, so to speak, by carrying a panel of design right across, or filling the whole of the remaining page. This is more in the nature of additional illustration to carry on the story, and might either be a narrow frieze-like strip, or a half, or three-quarter page design as the space would suggest.

There is the inverted triangular plan, and the shield or hatchment form. The garland or the spray, sprig, leaf, or spot, or the pen flourish glorified into an arabesque.

The medallion form, or seal shape, too, often lends itself appropriately to end a chapter with, where an inclosed figure or symbol is wanted. One principle in designing isolated ornaments is useful: to arrange the subject so that its edges shall touch a graceful boundary, or inclosing shape, whether the boundary is actually defined by inclosing lines or frame-work or not. Floral, leaf, and escutcheon shapes are generally the best, but free, not rigidly geometrical. The value of a certain economy of line can hardly be too much appreciated, and the perception of the necessity of recurrence of line, and a re-echoing in the details of leading motives in line and mass. It is largely upon such small threads that decorative success and harmonious effect depend, and they are particularly closely connected with the harmonious disposition of type and ornamental illustration which we have been considering.

[Sidenote: THE END.]

It would be easy to fill volumes with elaborate analysis of existing designs from this point of view, but designs, to those who feel them, ought to speak in their own tongue for themselves more forcibly than any written explanation or commentary; and, though of making of many books there is no end, every book must have its end, even though that end to the writer, at least, may seem to leave one but at the beginning.

[Illustration]

[Illustration: ARTHUR HUGHES.

FROM "GOOD WORDS FOR THE YOUNG." (STRAHAN, 1871.)]

[Sidenote: NOTES FOR NEW EDITION.]

Chap. IV. Of the Recent Development, etc., p. 189. In addition to the names of the modern printers and presses mentioned in this chapter must now be added those of several workers in the field of artistic printing who have distinguished themselves since the Kelmscott Press.

Mr. Cobden Sanderson has turned from the outside adornment of the book to the inside, and, in association with Mr. Emery Walker, whose technical knowledge and taste was so valuable on the Kelmscott Press, has founded "The Doves Press" at Hammersmith, and has issued books remarkable for the pure severity of their typography, founded mainly upon Jenson.

Mr. St. John Hornby also must be named, more particularly for his revival of a very beautiful Italian type founded upon the type of Sweynheim and Pannartz, the first printers in Italy. The Greek type designed by the late Robert Proctor, based on the Alcala fount used in the New Testament of the Complutensian Polyglot Bible of 1514, should be mentioned as the only modern attempt to improve the printing of Greek, with the exception of Mr. Selwyn Image's, which perhaps suffered by being cut very small to suit commercial exigences.

Mr. C. R. Ashbee, too, has established a very extensive printery, "The Essex House Press," which he has since transplanted to Chipping Camden. He had the assistance of several of the workers from the Kelmscott Press, and has produced many excellently printed books of late years, such as the Benvenuto Cellini, and including such elaborate productions as Edward VI.'s Prayer Book, with wood-engravings and initials and ornaments as well as the type of his own design.

An interesting series of the English poets, also, with frontispieces by various artists, has been issued from this press.

P. 218. The death of Aubrey Beardsley since the notice of his work was written must be recorded, and it would seem as if the loss of this extraordinary artist marked the decadence of our modern decadents.

A perhaps equally remarkable designer, however, whose work has a certain kinship in some features with Beardsley's, is Mr. James Syme, whose work has not before been noticed in this book. He has a powerful and weird imagination associated with grotesque and satirical design, and considerable skill in the use of line and black and white effect.

P. 267. In writing of book illustrators in France, a leading place should be given to M. Boutet de Monvel, whose delicate drawing, tasteful colouring, and sense of decorative effect, combined with abundant resource in variety of costume, and skilful treatment of crowds, mediæval battle scenes, and ceremonial groups are seen to full advantage in his recent "Ste. Jean d'Arc," although no particular relationship between illustration and type is attempted.

P. 268. A recent proof of the revival of taste in book-decoration and artistic printing in Italy may be referred to here as showing the influence of the English movement. I mean the edition of Gabriele d'Annunzio's "Francesca da Rimini" with illustrations or rather decorations by Adolphus de Karolis, printed by the Fratelli Treves in 1902. This book shows unmistakable signs of study of recent English work, as well as of the early printers of Venice, and it is strange to think how sometimes artists of one country may come back to an appreciation of a particular period of their own historic art by the aid of foreign spectacles. Among the original designers of modern Italy may be mentioned G. M. Mataloni, who shows remarkable powers of draughtsmanship and invention, largely spent upon posters and ex-libris.

Italy, too, has an able critic and chronicler of the work of book-designers of all countries in Sig. Vittorio Pica of Naples, whose "Attraverso gli Albi e le Cartelle" (Istituto Italiano d'arti grafiche editore Bergamo) is very comprehensive.

In Vienna Prof. Larisch recently published a book of Alphabets designed by various artists of Europe; Germany, France, Italy, and England being represented. The group of Viennese artists known as the "Secession" have issued "Ver Sacrum," a monthly journal, or magazine, giving original designs of various artists more or less in the direction of book-decoration. Latterly the designs offered seemed to lose themselves either in an affectation of primitiveness and almost infantine simplicity, or the wildest grotesqueness and eccentricity.

APPENDIX.

[Illustration: HEADPIECE BY ALAN WRIGHT.]

[Illustration: I. IRISH. VITH Century.

BOOK OF KELLS. [_See page 13._]

[Illustration: II. ENGLISH. XIVTH CENTURY.

ARUNDEL PSALTER, 1339. [_See page 16._]

[Illustration: III. ENGLISH. XIVTH CENTURY.

ARUNDEL PSALTER, 1339. [_See page 16._]

[Illustration: IV. ENGLISH. XIVTH CENTURY.

ARUNDEL PSALTER, 1339. [_See page 16._]

[Illustration: V. FRENCH. XIVTH CENTURY.

EPISTLE OF PHILIPPE DE COMINES TO RICHARD II. [_See page 23._]

[Illustration: VI. FRENCH. XVTH CENTURY.

BEDFORD HOURS, PAGE OF CALENDAR, A.D. 1422.

[_See page 23._]

[Illustration: VII. FRENCH. XVTH CENTURY.

BEDFORD HOURS, A.D. 1422. [_See page 23._]

[Illustration: VIII. ENGLISH. LATE XVTH CENTURY.

ROMANCE OF THE ROSE. [_See page 29._]

[Illustration: IX. ITALIAN. XVTH CENTURY.

INITIAL LETTER, CHOIR BOOK, SIENA (1468----1472-3). [_See page 30._]

[Illustration: X. JAPANESE. XIXTH CENTURY.

HOKUSAI. [_See page 163._]

[Illustration: XI. JAPANESE. XIXTH CENTURY.

HOKUSAI. [_See page 163._]

INDEX.

ABBEY, Edwin, 166.

_Æsop's Fables_ (Venice, 1493), 293.

---- (Ulm, 1498), 53.

---- (Naples, 1485), 55.

"Aglaia," cover for, 154, 157.

Alciati's Emblems, 109.

Aldus, 62, 63, 65, 108.

Alphabet (Dürer's), 299.

_Alphabets_ (Bell, 1894), 299, 300.

Amman, Jost, 96.

American Wood-engraving, 148, 164.

_Andersen's Fairy Tales_ (Allen, 1893), 199.

Anglo-Saxon MSS., 14, _et seq._

Apocalypse, MS., 14th Cent., 19.

_Arabian Nights_ (Dent, 1893), 241, 242.

Arndes, Steffen, 47.

_Art in the House_ (Macmillan, 1876), 160, 162-165.

Arts and Crafts Exhibition Society, 207.

Arundel Psalter, MS., 16.

Aulus, Gellius (Venice, 1509), 73.

Bämler, 15.

Bateman, Robert, 160, 162-165.

Batten, J. D., 222, 241, 242.

Beardsley, Aubrey, 218, 221, 225, 226, 227.

_Beauty and the Beast_ (Dent, 1894), 245.

_Bedford Hours_, MS., 23, 24, 38.

Beham, Hans Sebald, 96, 113.

Bell, R. A., 222, 243, 245.

Bellini, Giovanni, 62, 69.

Bernard, Solomon, 110.

Bewick, Thomas, 140, 145.

Bible (Cologne, 1480), 21.

---- (Lübeck, 1494), 47.

---- (Mainz, 1455), 49.

---- (Frankfort, 1563), 53, 131.

Bible Cuts (Holbein), 92, 95, 96.

Birmingham School, 203, 204, 207.

Blake, William, 136-139.

Block Books, 46.

Blomfield, Reginald, 207.

Boccaccio's _De Claris Mulieribus_ (Ulm, 1473), 7, 11; (Ferrara, 1497), 54.

Bonhomme, 110.

_Book of Carols_ (Allen, 1893), 209.

Books of Hours, 23, 24, 38, 54, 107.

Borders, 204, 293.

_Bracebridge Hall_ (Macmillan, 1877), 158.

Bradley, Gertrude M., 207, 213.

---- Will. H., 274, 275, 277, 278.

Brown, Ford Madox, 154.

_Buch von den Sieben Todsünden_ (Augsburg, 1474), 15.

Burgmair, Hans, 92, 95, 99, 101, 103, 105.

Burne-Jones, Sir Edward, 193.

Burns, Robert, 226, 259.

Caesenas, Stephanus, 59.

Caldecott, Randolph, 158.

Calepinus, Ambrosius, 121.

Calvert, Edward, 139-143.

"Card-Basket Style," The, 165.

Carroll, Lewis, 154.

Castle, Egerton, _English Book-plates_, 185.

Caxton, William, 49, 80.

_Chaucer_ (Kelmscott Press, 1896), 193, 288.

Cheret, M., 267.

_Child's Garden of Verse_ (Lane, 1895), 235, 237, 239.

Children's Books, 154, 156.

China, Early Printing in, 164.

Chiswick Press, The, 186.

Chodowiecki, D., 136.

_Christ, Life of_ (Antwerp, 1487), 31.

_Chroneken der Sassen_ (Mainz, 1492), 41.

_Chronica Hungariæ_ (Augsburg, 1488), 35.

_Cinderella_ (Dent, 1894), 254.

_Cinq Fils d'Aymon, Les_, 268.

Clark, R. and R., 186.

Columna, Francisco, 79.

Constable, T. and A., 186.

_Contes Drolatiques_, 150.

"Convito," Il, 270.

Copper-plate Engraving, 116, 129, 130.

"Cornhill," The, 172.

Cousin, Jean, 79.

Craig, Gordon, 228.

Cranach, Lucas, 95.

Crane, Walter, 174, 179, 181, 183, 191, 269, 281, 283, 285, 288, 290, 291.

Cremonese, P., 56.

_Crystal Ball, The_ (Bell, 1894), 227, 261.

"Daily Chronicle," Illustrations in the, 165.

Dalziel Brothers, The, 150.

Dalziel's _Bible Gallery_, 152.

_Dance of Death_ (Holbein's, 1538), 91, 92, 115.

Daniel, Rev. H., of Oxford, 189.

Dante, _Divina Commedia_ MS., 10.

Dante (Venice, 1491), 56.

_Daphnis and Chloe_ (Vale Press, 1893), 223, 224.

Davis, Louis, 170, 171.

Day, Lewis, 166.

_De Claris Mulieribus_ (Ulm, 1473), 7, 11; (Ferrara, 1497), 54.

De Colines, Simon, 127.

De Gregoriis, 59, 295.

_De Historia Stirpium_ (Basel, 1542), 119, 123.

_Descent of Minerva, The_ (1508), 71.

Destrée, Oliver Georges, 241.

De Vinne Press, The, 189.

"Dial," The, 218.

_Dictes and Sayings of the Philosophers_ (1477), 80.

Dijsselhof, G. W., 265.

Dinckmut, Conrad, 27.

_Discovery of the Indies, The_ (Florence, 1493), 57.

Doré, Gustave, 149.

Duff, Gordon, _Early Printed Books_, 185.

Duncan, John, 226, 255, 257.

Du Pré, 54.

Dürer, Albrecht, 49, 80, 81, 83, 85, 87, 89, 95; his _Geometrica_, 294.

_Early Italian Poets_ (Smith, Elder, 1861), 152.

Edgar, King, Newminster Charter, 14.

Emblem Books, 109, 110, 115, 116.

End-Papers, 285.

"English Illustrated Magazine," The, 170, 171, 173, 195.

Evans, Edmund, 156.

"Evergreen," The, 226, 255, 257, 259.

"Ex-Libris Series," The, 185.

Finé, Oronce, 91, 126, 127.

_Fasciculus Medicinæ_ (Venice, 1495), 293.

Fell, H. Granville, 227, 254.

Feyrabend, Sigm., 131.

_Fior di Virtù_ (Florence, 1493?), 58.

Flach, Martin, 108.

Flaxman, 136.

Flemish School, XVth Cent., 31.

Florence, Mary Sargant, 227, 261.

Ford, Henry, 222.

_Formal Garden, The_ (Macmillan, 1892), 204, 205.

Foster, Birket, 150.

France, Modern Illustration in, 267.

_Frangilla_ (Elkin Mathews, 1895), 233.

French MSS., 19, 37.

French School, XVth Cent., 37, 51, 126, 127.

Frontispieces, 286.

Froschover, 120.

Fuchsius, _De Historia Stirpium_ (Basel, 1542), 119, 123.

Gaskin, Arthur, 199, 203.

---- Mrs., 203, 207.

Georgius de Rusconibus, 69, 75.

Gerard's Herbal, 120.

Gere, C. M., 195, 197, 203.

German School, XVth Cent., 3, 7, 11, 15, 17, 21, 25, 27, 35, 39, 41, 47, 53.

---- XVIth Cent., 81-117, 119, 131, 147.

Germany, Early Printing in, 46, 49.

---- Modern Illustration in, 172, 265.

Gesner, Conrad, 120.

Gilbert, John, 150.

Giolito, G., 133.

Giovio's Emblems, 116.

Girolamo da Cremona, 30.

_Glittering Plain, The_ (Kelmscott Press, 1894), 191, 288, 289.

_Goblin Market_ (Macmillan, 1862), 152.

"Good Words for the Young," 304.

Gospels, The, in Latin, MS., 14.

Grasset, M., 267, 268.

Greenaway, Kate, 158, 159.

Grimani Breviary, The, 29, 43, 45.

_Grimm's Household Stories_ (Macmillan, 1882), 174, 179.

Grün, Hans Baldung, 96, 107, 108, 109, 110.

Halberstadt Bible, The, 49, 117.

Hardouyn, Gillet, 54, 107.

Harvey, William, 145.

Herbals, 16, 119, 120.

_Hero and Leander_ (Vale Press, 1894), 219.

"Hobby Horse," The, 186, 270.

Hogarth, 135.

Hokusai, 163.

Holbein, Hans, 49, 80, 91, 92, 93, 95, 96, 115.

---- Ambrose, 92, 97.

Holiday, Henry, 154, 157.

Holland, Illustration in, 242, 265.

Holst, R. N. Roland, 265.

Horne, H. P., 186.

_Hortulus Animæ_(Strassburg, 1511), 107, 108, 109, 110.

_Hortus Sanitatis_ (Mainz, 1491), 39.

_House of Joy, The_ (Kegan Paul, 1895), 231.

Housman, Laurence, 222, 231.

Hughes, Arthur, 159-161, 304.

Hunt, Holman, 150.

_Hunting of the Snark, The_, (Macmillan, 1876), 154.

_Huon of Bordeaux_ (Allen, 1895), 211.

Hupp, Otto, 174, 263.

Illuminated MSS., 5-10 _et seq._

Image, Selwyn, 187, 189.

_Indulgences_ (Mainz, 1454), 49.

"Inland Printer," The, 278.

Isingrin, Palma, 108, 119, 123.

Italian MSS., 10, 30.

Italian School, XVth Cent., 54-65.

---- ---- XVIth Cent., 67-78, 121, 133.

Italy, Modern Illustration in, 268, 269.

Japan, Early Printing in, 163, 164.

Japanese Illustration, 156-164.

Jones, A. Garth, 226, 249.

"Jugend," 266.

Keene, Charles, 169, 172.

_Kells, The Book of_, 10, 13.

Kelmscott Press, The, 189, 190, 193, 194, 288, 290, 291.

Kerver, Thielman, 54, 79, 107.

_King Wenceslas_, 203.

_Kleine Passion, Die_ (1512), 80, 81, 83, 85.

"Knight Errant," The (Boston), 189, 273.

Knopff, Fernand, 254.

Kreuterbuch (Strasburg, 1551), 120.

Larisch, M., 266.

Lawless, M. J., 172, 177.

Leeu, Gheraert, 31.

_Leiden Christi_ (Bamberg, 1470), 3, 53.

Leighton, Sir Frederic, 152.

Lettering, 268.

Levetus, Celia, 207, 217.

Liberale da Verona, 30.

Linnell, John, 140.

Linton, W. J., 146-149, 151.

Lübeck Bible, The, 47.

Macdonald's _At the Back of the North Wind_ (Strahan, 1871), 159-161.

Mainz, Early Printing at, 49.

---- Indulgences, The, 49.

---- Psalter, The, 50, 51.

Margins, 194.

Marks, H. S., 156.

Mason, F., 207, 211.

Matthiolus, 120.

Mazarine Bible, The, 49.

_Meerfahrt zu Viln Onerkannten Inseln_ (Augsburg, 1509), 105.

Meidenbach, Jacob, 39.

Menzel, Adolf, 172.

_Mer des Histoires, La_, MS., 37.

_Midsummer Night's Dream, A_ (Dent, 1895), 223, 243.

Millais, Sir J. E., 150.

_Milton's Ode on Christ's Nativity_ (Nisbet, 1867), 155.

Minuziano, Alessandro, 67.

Missals, 29.

_Monte Santo di Dio, El_ (Florence, 1477), 119.

Monvel, Boutet de, 268.

Moore, Albert, 154, 155.

Moore, Sturge, 218.

Morris, William, 189, 191, 193, 194, 288, 290, 291.

_Morte D'Arthur_ (Dent, 1893), 221, 225, 227, 228.

_Mother Goose_ (Routledge), 159.

Muckley, L. Fairfax, 222, 233.

_Munchausen, Baron_ (Lawrence and Bullen, 1894), 226, 251, 253.

Neues Testament (Basel, 1523), 97.

New, Edmund H., 201, 203, 207.

Newill, Mary, 207, 215.

_Newminster, Charter of Foundation of_, MS., 14.

Niccolo di Lorenzo, 119.

Nicholson, W., 228.

Northcote's _Fables_, 145.

_Nursery Rhymes_ (Bell, 1894; Allen, 1896), 227, 263, 265.

Omar Khayyam, 166.

"Once a Week," 169, 172, 175, 177.

Ongania, Ferd., 269.

Otmar, Johann, 145, 147.

Ottaviano dei Petrucci, 77.

Paganini, Alex., 121.

Palmer, Samuel, 140.

_Papstthum mit sienen Gliedern_ (Nuremberg, 1526), 113.

_Paris et Vienne_, 1495, 51.

Parsons, Alfred, 166.

Payne, Henry, 207, 209.

Peard's _Stories for Children_ (Allen, 1896), 167, 170.

Pennell, Joseph, 165, 185, 221.

Petri, Adam, 91, 107.

Pfister, Albrecht, 3, 53.

Philip le Noir, 108.

_Philippe de Comines, Epistle of_, MS., 23.

Photography, influence of, 174, 178.

Pierre le Rouge, 37.

Pigouchet, 54.

Pletsch, Oscar, 174.

Pliny's _Natural History_ (Frankfort, 1582), 103.

Plutarchus Chæroneus (1513), 87; (1523), 89.

_Poliphili Hypnerotomachia_ (1499), 62, 63, 65, 293.

----, French Edition, 79.

Pollard, A. W., _Early Illustrated Books_, 185.

_Pomerium de Tempore_ (Augsburg, 1502), 147.

Pomponius Mela, 293, 297.

Poynter, E. J., 152.

Pre-Raphaelites, The, 150.

_Princess Fiorimonde, Necklace of_ (Macmillan, 1880), 174, 181.

Printers' Marks, 96.

Psalters, MSS., 16, 20, 24.

Psalter (Mainz, 1457), 50, 51.

"Punch," 170, 172.

Pyle, Howard, 271, 273, 274.

_Quadrupeds, History of_ (Zurich, 1554), 120.

Quarles' Emblems, 115, 116.

"Quarto," The, 226.

Quatriregio, 71.

Queen Mary's Psalter, MS., 20.

Quentel, Heinrich, 21.

"Quest," The, 203.

Quintilian (Venice, 1512), 75.

Ratdolt, Erhardt, 35, 297.

_Reformation der bayrischen Landrecht_ (_Munich_, 1518), 116.

Renaissance, The, 61.

René of Anjou, Book of Hours of, 38.

Rethel, Alfred, 172.

Ricketts, C. S., 218, 219, 223.

Rijsselberghe, M., 254, 266.

Robinson, Charles, 222, 224, 235, 237, 239.

Rogers' _Poems_, 136, 146.

---- _Italy_, 136, 146.

_Romance of the Rose_, MS., 29, 43.

Rossetti, Christina, 152.

Rossetti, D. G., 150, 153.

Rylands, Henry, 173.

Sambourne, Linley, 170.

Sandys, Frederick, 172, 175.

_Sartor Resartus_ (Bell, 1898), 228.

Sattler, Josef, 265.

Savage, Reginald, 218.

"Savoy," The, 221.

Schöffer, P., 41, 49, 50.

Schürer, Mathias, 111.

Schwind, M., 172.

"Scottish Art Review," The, 187.

Seitz, Professor A., 265.

Shannon, C. H., 218, 224.

Siena, Choir Books of, 30, 43, 45.

_Sirens Three, The_ (Macmillan, 1886), 183.

Sleigh, Bernard, 207.

Smith, Winifred, 207.

_Songs of Innocence_ (1789), 137.

_Speculum Humanæ Vitæ_ (Augsburg, 1475), 17.

Spence, R., 224, 247.

_Spenser's Faerie Queene_ (Allen, 1896), 269, 281, 283, 285, 288, 294.

_Spiegel onser Behoudenisse_ (Kuilenburg, 1483), 25.

Steyner, Heinrich, 87.

Stothard, Thomas, 136, 146.

Strang, William, 226, 251, 253.

Strange, E. F., _Alphabets_, 185, 300.

Stück, Franz, 265.

"Studio," The, 221.

Sullivan, E. J., 227, 228.

Sumner, Heywood, 166, 167, 171.

Tacuino, Giov., 73.

Tail-pieces, 301.

Talbot Prayer-book, The, 26.

Tenison Psalter, The, MS., 16, 38.

Tenniel, Sir John, 150.

Tennyson's _Poems_ (Moxon, 1857), 150, 151.

Terence, _Eunuchus_, German translation (Ulm, 1486), 27.

Thomas, F. Inigo, 204, 205, 207.

Title Page, development of the, 80.

Tory, Geoffroy, 126.

_Tournament of Love, The_ (Paris, 1894), 249.

Treperel, Jehan, 51.

_Triumphs of Maximilian, The_, 95.

Tuppo's Æsop, 1485, 55.

Turner, J. M. W., 146.

Type as affecting design, 267, 280, 294.

Vedder, Elihu, 166.

Veldener, Jan, 25.

Ver Sacrum, 266.

Vérard, 54.

Virgil Solis, 131.

Wächtlin, Hans, 96, 111.

_Walton's "Angler"_ (Lane, 1896), 204.

Wandereisen, Hans, 113.

_Weiss König, Der_ (1512-14), 95, 99.

White, Gleeson, 221.

Wilson, Patten, 221, 229.

Witney's Emblems, 116.

_Wood-Engraving, Masters of_ (1889), 149.

Woodroffe, Paul, 227, 263, 265.

Woodward, Alice B., 227.

Zainer, Johann, 7, 11.

---- Günther, 17.

[Illustration: HEADPIECE BY ALAN WRIGHT.]

[Illustration]

Transcriber's Note

Illustrations have been moved near the relevant section of the text.

I have used "=" to denote bolded text.

[:Y] is used in the text to represent Y with an umlaut above it.

Page headers varied depending on the subjects under discussion. Where the headers did not match the chapter title, I have treated the headers as sidenotes.

Inconsistencies have been retained in formatting, spelling, hyphenation, punctuation, and grammar, except where indicated in the list below:

- Right bracket added before "Augsburg" on Page x - "Lubeck" changed to "Lübeck" on Page x - Single quote changed to double quote before"Morte" on Page xiii - Page number changed from "233" to "283" on Page xiii - Page number changed from "305" and "335" to "309" and "341" on Page xiv - "Liege" changed to "Liège" on Page 19 - "chiaro-oscuro" changed to "chiaroscuro" on Page 30 - Period added after "SCHOOL" on Page 71 - Period added after "1508" on Page 71 - Period added after "CENTURY" on Page 73 - Period added after "CENTURY" on Page 87 - "Fusch" changed to "Fuchs" on Page 119 - "fuschia" changed to "fuchsia" on Page 119 - "Wood-cuts" changed to "Woodcuts" on Page 130 - "caligrapher" changed to "calligrapher" on Page 138 - Period added after "1827-8-9" on Page 143 - Period added after "HOLIDAY" on Page 157 - "HEAD-PIECE" changed to "HEADPIECE" to match Table of Contents on Page 158 - "see" italicized on Page 163 - Double quotes changed to single quotes around "Epitome of the Eighteen Historical Records of China." followed by a double quote on Page 164 - "occured" changed to "occurred" on Page 164 - Period added after "STRANG" on Page 251 - "opportunites" changed to "opportunities" on Page 269 - "see" italicized on Page 293 - "mediaeval" changed to "mediæval" on Page 306 - "R.A" changed to "R. A." on Page 335 - Comma added after "MS." on Page 339 - "Lorenza" changed to "Lorenzo" on Page 339 - Colon changed to semicolon after "1894" on Page 339 - "Pomponious" changed to "Pomponius" on Page 340 - Repeated line deleted on Page 341 - "Vèrard" changed to "Vérard" on Page 341