Year: 1875

TITLE PAGES.


The modern subscription book has curiousS
shown tho revival OF ancient custom IN the
matter Of title pages. The plausible book
agent who at the proper point, opens his book
at the title, smooths it down with his broad
hand and proceeds to read it, underscoring the
lines with his fore-finger, knows well the
virtue of a full, descriptive and eloquent tltie'
To be sure he has committed IT to memory,
the better to aid his tongue, but he allows
his customer to enjoy with him tho
unctuous feast which the title by foretaste
gives. His eye, his finger and his tongue
travel slowly and with duo emphasis down
the meandering stream, and the pook
must be meager one indeed that
cannot thus spread its tempting Dill
of fare before the reader Compare
with such title page any one OF the
ordinary title pages of modern fashion. and
how reserved is the latter. "Verses," it may
be, at the head of the page, "a b." in the
middle, and the publishers modest imprint at
the foot Formerly, and now also in the ex-
ceptiOn named, the contents of the book were
more than merely limited at on the title page.
That was the very advertisement itself OF the
book, telling what might be found in 1t, who
wrote it, to what learned societies, may be, he
belonged, at how many shops the book might
be had and who printed it.


The printer who has an eye for Topographic
display is avid of full title-pag He delights
in those inverted pyramids, hour-glasses or
winged creatures which he can construct by
means of skillfully arranged lines OF
type. He wants abundance of matter, broken
ND into brief outlines, which he may dispose
according to the inherent Importance of the
several phrases. Ii he is true master OF his
art, he docs not take refuge in fantastical.y
cut type, or seek variety by the use of many
kinds of letter, but depends for the effect he
is to produce upon the proportions OF his page
and the proper breaking up of his lines. lie
likes moreover to study the color OF his pa5;S,
and selects his type with reference to It's har-
mony of tone and the gentle emphasis which
may now and then be attained by bolder
face. Especially he is glad if the contents of
shho page warrant the use Of line of rich
CaxtOn type, shining, so to speak, hke
black diamond, lighting the page


The basis of good title page is no doubt
in the selection of type and the adjustment of
lines, but upon this groundwork may be built
very beautiful and ornate effects. The use OF
red ink is enc of the most common and effec
tive appliances, and where the ink is a bril-


liant carmine, there is 0 boldness and beauty
which captivate the eye, if only it is properly
used. 1t is not enough that two rcd lines
should avoid proximity; it is important that
the type used for taking the red should give
a clear, full impression; a block letter does
not do this well, and a skeleton letter is apt
to look too meager under it, A red rule
about the page is often Of value, but gen.
orally when there is little other uso Of
red on the page, and indeed little other
matter at all. Fer it may be said
of rules about page that they are Of
value in proportion to the scantiness of type
matter. Then they inclose the page and make
the contracted matter appear more as if ad
justed to narrow limits. Another choice means
of securing pleasing effect is in the use of q
vignette, coat Of arms or monogram. Of these
three the vignette allies the page most closely
to decorative art and is unquestiOnably the
most attractive. 1t may be said that with
rare exceptions confined vignette is better
on q title page than q free one. The use Of
type above and below necessarily gives the
page geOmetrical form, and the intro
duction of flowing design IN the center is apt
to destroy the harmony. A coat OF arms
or monogram is the most typo
graphic of ornaments, and the introduction
Of either of them calls for less percep-
ton of artistic fitness. The ornament helps
out the page, but is not likely, as in the case
of the vignette, to be the center of the whole
design. head piece has sometimes been well
used especially when the lines beneath form
a pendant to it, and some of Whttingham's
books, which arc notable for the beauty of
their title pages, show q deep arabesque bor-
der inclosng the entire page, which is very
suitable to books whose general characteristic
is quaintness.


The question Of pointing title-pages is
grave one. To our eye, the effect of leaving
out points is undeniably good, where the book
is one of elegance or of severe taste; but we
deprecate the too common use of sign
manual of high art in printing. The leaving
out of points il most effective when the dis
position of lines does not call Tor any internal
division by marks to define the sense; but we
hold that the rule which governs the omission
of points at the end of the line calls for their
insertion frequently in the center of the line.
We conceive, moreover, that very artistic
effect could be produced on a title-page by
the employment OF the dot, ranging with the
middle of the letters and dispersed over the
page in q manner to be governed both by the
eye and by tho sense of the matter. Inscrip-
poDs. 1t Will bc noticed. are W a1yasseL