Suggestion approved by Henry O. Shephard, printer and publisher, and the series is started--an innovation, the first occasion when a monthly magazine changes its cover design with each issue. One cover, nymph in pool, is later reproduced in London _Studio_. Another, a Christmas cover, has panel of lettering that four American and one German foundry immediately begin to cut as a type. Later the American Type Founders Company, paying for permission, names the face “Bradley.” A poster craze is sweeping the country. Only _signed_ copies are desired by collectors and to be shown in exhibitions. Designs by French artists: Toulouse-Lautrec, Chéret, Grasset, etc., some German and a few English, dominate displays. Edward Penfield’s _Harper’s Monthly_ and my _Chap-Book_ designs are only American examples at first available. Will Davis, manager of the Columbia Theater, has just completed the Haymarket, out on West Madison at Halstead. You design and illustrate the opening-night souvenir booklet. This you do for Mr. Kasten, of McClure’s. Thus you meet Mr. Davis. He introduces you to Dan Frohman who commissions you to design a twenty-eight sheet stand for his brother, Charles, who is about to open the new Empire Theater in New York. So you design a poster for _The Masqueraders_, by Henry Arthur Jones. This is probably the first _signed_ theatrical poster produced by any American lithographer. Then Dan suggests that you visit New York. You do, and meet Charles. Dan takes you to the Players for lunch. There you see show-bills set in Caslon. They influence all of your future work in the field of typography. We now move to Geneva, Illinois, and I have my studio in a cottage overlooking the beautiful Fox River. Holiday covers for _Harper’s Weekly_, _Harper’s Bazaar_, _Harper’s Young People_, later named _Harper’s Roundtable_, page decorations for _Vogue_, a series of full-page designs for Sunday editions of _Chicago Tribune_, Herbert Stone’s _Chap-Book_ article and other favorable publicity--plucking me long before I am ripe, cultivate a lively pair of gypsy heels; and believing myself, perhaps excusably, equal to managing a printing business, editing and publishing an art magazine, designing covers and posters, I return to Boston, then settle in Springfield, start the Wayside Press, and publish _Bradley: His Book_. [Illustration] SPRINGFIELD: THE WAYSIDE PRESS Typography, with nothing to its credit following Colonial times, had reached a low ebb during the Victorian period; and by the mid-Nineties typefounders were casting and advertising only novelty faces void of basic design--apparently giving printers what they wanted; while, adding emphasis to bad taste in type faces, compositors were never content to use one series throughout any given piece of display but appeared to be finding joy in mixing as many as possible.