evonnid fße'ooß GEORGE MOORE tion of these elements. The genius of Bruce Rogers is that he knows when that end has been attained. A paper on the "Progress of Modern Printing in the United States" contributed to The London Times reflects BR s impressions forty years ago of the men and movements that were contributing to the better- ment of American printing. He did not on the whole consider William Morris a beneficial influence except that he did arouse a new interest in good printing. The efforts of a few early book publishers to give their books printing distinction, Stone Kimball, Copeland Day, Way Williams, as well as The Riverside Press where Rogers worked for fifteen years, were all doing praise-worthy work. And there is much of interest about BR's contemporaries who along with himself were to exercise so great an in fluence on American printing, Berkeley Updike, Fred Goudy, Will Bradley, William Rudge, W. A. Dwiggins, Carl Rollins—whose Dike Mill Press at Montague, Mass., preceded his long Service with the Yale University Press. Among other interesting things we learn that Rudge's printshop became al- most a training school for a long list of book de- signers, among them Frederic Warde, Peter Beilen sen, and Joseph Blumenthal. Rogers speaks warmly of Rudge's spirit of Cooperation and looks back 011 his time there as a happy and productive period. Thus we learn much about BR from these frag- ments, his friends, practically all of that group pledged to the belief that printing can be and should be better done—Henry Kent, Thomas Wood Stevens, J. van Krimpen, Goudy, Bradley, Updike, Ruzicka, and many others; that he thinks, or did once, that Jensen is the most beautiful type facebut that was before he designed his own beautiful Centaur; that he does not like sans serif letters or the word typography" or care much for collections even of his own works. There are even some samples of his playfulness with type and of his propensities for puns. Just how many books there are that his hand has guided I do not know, but the last bibliog- raphy I saw listed 167 and there certainly have been some since. This volume, which surely will bear the mark of his taste, I am forced to review in the undress of bound up proofs. There are to be thirty pages of BR's designs, some of which are referred to in the text. Many of his outside interests are touched on. The book jacket describes him as "book and type de- signer, printer, painter, yachtsman, map maker, sculptor." He is in addition to the taste given to type and printing an artist in the painting sense and his skill with the wood-carver's gouge is shown by his figurehead for the square-rigger "Tusitula," a like- ness of Joseph Conrad whom he greatly admired- head of his craft. He teils in his reply when pre- sented with the gold medal of the American Academy of Arts and Letters that he found in the first edition of Noah Webster's dictionary a definition of his own lifetime activity, the disposal of material to answer the purpose intended, for he never looked upon printing as an end in itselfas William Morris was inclined to do but as a medium which should first be legible and then as gracious and harmonious an arrangement as possible. It was a wise idea to preserve these fugitive pieces, for there is far too little about Bruce Rogers himself as a man and an artist. PL A Hodge-Podge of Letters, Papers, Addresses, written during a Period of 60 years. By Bruce Rogers. The World Publishing Com pany, Cleveland and New York. 1953. $8.00. 2 4

Print Magazine en | 1953 | | page 26