Good taste important in production of books—Judgment perfect in one respect and erratic in others—Good taste and conservatism—Catering to fashion leaves unsalable stock—Conservatives are few—Printed things that please for the moment—Art reasons in book typography applicable to job typography—The job compositor drawing closer to his book brother—The book typographer governed by precedent—The conservative man constructive—The radical destructive—Masterpieces discarded for frivolous things—Morris set out to change book typography—He offered the good things of the old masters—Age not proof of merit—Good typography always good—Book industry in America tremendous—Carnegie at first ridiculed, now acknowledged a benefactor—The need of good books well printed—Majority of books poorly printed—Rarely do reading pages, title-page and cover harmonize—Cover only part given artistic attention— Should be honestly what it seems—A book model in its way—Not a line in capitals—Only two sizes of type on title-page—Chapter headings cling to type page—Margins—Surface covered—Proportion—Bruce Rogers—Designs books for the Riverside Press—Regard for the appropriate—The literary motive the cue—Suggesting a product of the middle nineteenth century—Two pages with faults—Inharmonious typography—The cost of an appropriate title-page ridiculously small—Provide display faces to match machine letters—Artist and typographer and the literary motive—Composite Colonial and modern—Unfinished effect—Books that lend themselves to decoration—Serious books—Typographic results exceptionally good—General use of border—Title page an excellent example—Reading matter close to border—One margin—Style of the modern novel—Modern book composition set on the linotype—An unconventional page—Page from a book written and illustrated by Will Bradley—Harmony between type-face and decoration— Effectiveness of a plain initial—Title-page of classic design—Dignified beauty—Classic feeling in a modern title-page—A serious effort by the Roycrofters—Page from a book by De Vinne—An ecclesiastical book by Updike—Improving typography in America—A book with a French motive— Avoiding commonplace types—Fonts from old matrices—Specially designed faces—Arrangement of a book—Fly leaf, sub-title, title-page, copyright notice, imprint, table of contents and illustrations, preface, frontispiece, dedication, index—Numbering the pages—The space under running titles—Lowering of the chapter headings—The space around initials—Position of a book page—Em-quad or en-quad between sentences? BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS _Page 75_