TYPOGRAPHY IN THE NINETEENTH CENTURY _Page 27_ William Morris’s declaration—The first printed book a testimony to genius—The first cylinder press and first linotype were crudely constructed—Typography at its highest point—Italian and German styles contrasted—These styles blended into the Colonial—Franklin as a typographer compared to Aldus and Plantin—Beginning of the nineteenth century—Utility and art—William Nicholson plans a cylinder press—Dr. Kinsley constructs a model—A new roman type-face designed—Ornaments and borders discarded—Style of typography becoming uninteresting—Transition illustrated by four title-pages—Charles Whittingham and William Pickering—Artistic qualities introduced—Punches of Caslon Oldstyle recovered—A page in Colonial style—Punctuation marks omitted—Fifty years ahead of their time—Job printing of modern development—Newspaper, book and job work—Typography should be based upon art foundations—A Book of Common Prayer—Title-pages without ornamentation—Job printers take to fancy typography—Imitations of copperplate engravers’ work—A business card and a bill of fare—Changing styles applied to commercial headings— MacKellar, Smiths & Jordan—A card with apologies—A longing for pictures, color and decoration—Brass rule and tint blocks—Remarkable skill exhibited—The “Modern Renaissance”—Machinery led typography away from art—Printers thought they were doing artistic work—Inspiration wrongly interpreted—Forming of a curious chain of events—The Kelmscott Press— William Morris, artist, poet, designer and craftsman—Franklin and the Franklin stove—Morris and the Morris chair—The influence of Morris on house furnishing and typography—His home—Learned to print and to make paper—Designs type-faces—“Golden”—“Troy”—Draws decorative initials and borders—Additional designs by Burne-Jones—Morris criticised— Revolutionizes typography—Aubrey Beardsley—Will Bradley—A country printer—Studies art in Chicago—The “Wayside Press”—“Bradley: His Book”— Inspired by both past and present—A new typography—Combines with the University Press—Becomes an interesting subject for discussion—An opinion by George French—Attempts another new style of typography— Profuse ornamentation—Works rapidly—Bradley and his clients—His personality—Influence upon the American style of typography—Other influences-Theodore L. De Vinne—Has a college degree—Apprentice in a country printshop—Job compositor with Francis Hart—Takes charge of the business—A writer on printing subjects—Exponent of the conservative and dignified in typography—Should be no conflict between the styles of Morris, De Vinne and Bradley—For different purposes—The compositor must decide—De Vinne a leader in perfecting modern methods—Designs a type-face—Persuades printers to group wording—Charles T. Jacobi—Has done much for typography in England—Responsibilities of the modern typographer—Underrating the value of history—All knowledge is valuable.