realization of the advantages to be secured through the employment of new processes, they assuredly do not surrender that which they know is adequate for an unproven proposition. Jt The particular quality in the German bookmaking, as evidenced at the St. Louis Ex position, is the dependence upon the principles of graphic art; a dependence that gives to German typography a certain distinction not observable in the typography of any other nation. In particular do we observe that great attention is given to those principles of art which deal with composition, balance, harmony, tone, values, and color. The application of these art principles to the book page has some zealous advocates in America, and a few printers of books have begun to allow them to influence their work. But no bookmaker of note, in America or Great Britain, has as yet yielded to these canons such intelligent observance as characterizes the work of the Germans. Whether such observance would appeal to American readers of books, or whether they would tolerate it, we can only surmise. It is certain however that to the cultivated and knowing eye the German book presents a very grateful and satisfying appearance. It is remarked also that in the matter of type the German book printers are able to suggest something of value to the Americans. The transition from the old German gothic type faces to the modern romans is being effected in the characteristic German manner without haste and without nervous worry. There are compromises, and some of the compromises are so admirable as to suggest that the progress toward the conventional and the world-used roman faces be checked and the compromises be per manently adopted. One cannot view this showing of German books without inquiring how it came about, by what agency the principles exemplified became so widespread and so universal; how, in short, the standard has been set so high and is so influential. Cooperation is the ex planation. Cooperation by means of, and through, the great and wonderfully efficient Deutscher Buchgewerbevereinthe German Bookcraft Association. This great association, to which all considerable German publishers and printers belong, exerts a most powerful influence upon the craft of printing. It is steadily and always pressing for the recognition, by the printers, of the authority of the principles of graphic art; and it provides for the thorough training of apprentices by lectures and exhibitions in the different large cities of the empire. The Germans claim that the art of making beautiful books is better developed with them than elsewhere, and if the bookmakers of other countries are to be massed, and judged according to the mass of their product, I feel certain that this claim must be allowed. Genius is not, however, amenable to conditions created by prearrangement, and it is to be noted that while no country can justly claim to have established so high a general standard as Germany, there are isolated bookmakers in America, Great Britain, and France, whose work is at least equal to the superlative work of the Germans, and that there are more of these supreme artists in the countries named than there are in Germany. The glorious meed that must be awarded to Germany is that her bookmakers are massed about a standard of excellence that rises far above the average standard of excellence maintained by any other member of the great family of nations. Printed by Breitkopf Hartel, Leipzig

Archiv für Buchgewerbe und Gebrauchsgraphik de | 1904 | | page 48