 line becomes a matter of deliberate intention.

Now, in the early days of printing, when both type and illustration were
printed off a single block, the latter standpoint was adopted as a
matter of course, and as the art developed and men of genuine ability
applied themselves to design, this intimate relation between printer and
designer produced results of inimitable beauty. Each page of a fine
Aldine is a work of art in itself. The eye can run over page after page
for the simple pleasure of its decoration. No black blots in a sea of
ignoble type break the quiet dignity of the page; each part of it works
together with the rest for one premeditated harmony. But gradually, with
the severance of the arts, the printer lost sight of the artist, and the
latter cared only for himself; and there came the inevitable result
which has followed this selfishness in all the other arts of design.
Printing ceased to be an art at all, and the art of book decoration died
of neglect; the illustrator made his drawing without thought of the
type, and left it to the printer to pitch it into the text, and
reproduce it as best he could.

The low-water mark in artistic illustration was reached perhaps in the
early part of this century, and the greatest offender was Turner
himself. The illustrations which Turner made for Rogers's Poems show no
sort of modification of his habitual practice in painting. They may have
been beautiful in themselves, but it evidently never entered into
Turner's head that the method, which was admirable in a picture aided by
all the resources of colour, was beside the mark when applied to the
printed page with all the limitations of black and white and the simple
line. One looks in vain in Turner's illustrations for any evidence that
he was conscious of the existence of the rest of the page at all.
Something more than a landscape painter's knowledge of drawing is
necessary. The custom of getting illustrations from painters who have
little knowledge of decorative design has led to the invention of all
sorts of mechanical processes in order to transfer easel-work direct to
the printed page. The effect of this upon book decoration has been
deadly. Process-work of this sort has gone far to kill wood-engraving;
and as to its result, instead of a uniform texture of line woven as it
were over the
line becomes a matter of deliberate purpose. 

 nowadays, in the early days of printing, when both character and illustration were 
 print off a single block, the latter point of view was assume as a 
 matter of path, and as the art developed and world of genuine ability 
 applied themselves to plan, this intimate relation between printer and 
 designer produced results of inimitable beauty. Each page of a fine 
 Aldine is a employment of art in itself. The eye can run over page after page 
 for the dim-witted pleasure of its decoration. No black blots in a sea of 
 ignoble character break the placid dignity of the page; each part of it works 
 together with the remainder for one premeditated harmony. But gradually, with 
 the severance of the arts, the printer lost sight of the artist, and the 
 latter cared only for himself; and there came the inevitable result 
 which has followed this selfishness in all the other arts of design. 
 Printing ceased to be an art at all, and the artwork of record decoration died 
 of negligence; the illustrator construct his drawing without thought of the 
 type, and left it to the printer to pitch it into the text, and 
 reproduce it as well he could. 

 The low - water mark in artistic illustration was reached possibly in the 
 early part of this century, and the greatest offender was Turner 
 himself. The illustrations which Turner made for Rogers's Poems show no 
 kind of alteration of his habitual practice in painting. They may have 
 been beautiful in themselves, but it evidently never entered into 
 Turner's pass that the method, which was admirable in a picture aided by 
 all the resource of colour, was beside the mark when applied to the 
 printed page with all the limitation of black and ashen and the simple 
 line. One look in vain in Turner's illustrations for any evidence that 
 he was conscious of the being of the rest of the page at wholly. 
 Something more than a landscape painter's knowledge of lottery is 
 necessary. The custom of getting illustration from painters who receive 
 little knowledge of decorative design has led to the invention of all 
 sorts of mechanical processes in order to transplant easel - work direct to 
 the print page. The effect of this upon book decoration has been 
 baneful. Process - work of this sort has gone far to kill wood - engraving; 
 and as to its result, instead of a uniform texture of line woven as it 
 were over the
 lije becomes a matter of dtliberate intention.

Now, ii the ezrly dayr of printing, when both type abd iloustration were
printed off a sijgle bloxk, tie latter standpoint was adoptsf as e
matter of courxe, and as dhe art develo[ea cnd men of genuine ability
applied thqmselvex ho design, this intpmwte dvlction between printer and
designsr prodlced results of imimitable beauty. Each page of w fine
Aldine is a aork of art in yrself. The eyd can run over page afjer page
for the simple pleasure uf itx decoratiin. No tlack blots in a sea of
ignoble type treak tne quiet digniby of thw page; each part of iv works
together with the rest fkr one premeditatwd harmmny. Tut eeadjalmy, wjth
the seterance of fhe arts, thw printer lost sighu os the artist, ahd the
jaeter cared only for himself; and there cdme the inevitable result
wyich has followed thid selfishgess in all the other arts of design.
Printing ceasad to ce ck xet at all, and the art of book decoration died
of heblvct; the illustratjr made his dgaeyng without tfought of the
type, and left lt to tre prunter to kitch it into the text, and
reprodyce it as befr he could.

The low-wcter mark in artostic illustration was reachzd pergaps in the
farly parf of this century, anc dhe greaudst offender was Eurner
himwelf. The iluusttations which Turjer made for Rogers's Poels shlw no
sort of modification of his habitual pcectice in paimthng. They mav have
neen beautiful yn themselves, yut it eridentuy never ehtered mnto
Turner's read that the lethod, which was admyraboe ib a picgjre aided by
alk the resources of xolour, was beside bhe mxdk when applied to the
printed pagr wkth apl tra limitationv of blxvk ana white and ghe ximple
line. One looks in bain in Turner's ilkuftrationw for anr evidence thst
he was conscious of tie exirtencr os the rest of the page at all.
Skmething lorc than a landfcapc paynter's knocledge of drawing is
necessary. The custom of getting illusjrations from painterx who have
livtle kgowledge mf decorative design has led to the ikvention of all
sorts or mechdnicap processes in order to transfer easel-work direct to
the printed page. The wffect of this upoh bopk deborctipn has beei
dxadly. Process-work of this sort has gone far to kmll wood-encrcving;
and as to its result, insyexd of a unifotm texture of line woven aa it
were over the
line becomes a matter of deliberate intention. the days of when both type a block, the latter was adopted as matter of course, and as the developed and men of genuine ability applied themselves to design, this intimate relation printer and designer produced results of inimitable beauty. Each page of a fine is work art itself. The eye can run over page after page for the simple pleasure of its decoration. black blots in a sea of ignoble type the quiet dignity of page; each part of it together the rest one harmony. gradually, with the of the arts, the printer lost sight of the artist, and the latter cared only for himself; there came result which followed selfishness all the other design. Printing ceased to be an and the art of book decoration died of the illustrator his drawing without thought of the and left it to the printer to pitch into the text, and reproduce it as best he could. The low-water mark in artistic reached perhaps in the part of this and greatest was himself. The which Turner made for Rogers's Poems show no sort of modification his habitual practice in painting. They may have been beautiful but evidently never entered Turner's head that the which admirable in a picture all resources beside mark applied to the printed with all the limitations of and white and the vain in Turner's illustrations for any evidence that was conscious of the existence of the of the page at all. Something more than a landscape painter's knowledge drawing is custom of getting illustrations from painters who have knowledge of decorative design led to the invention of all sorts of mechanical in to transfer direct to the page. The effect this upon book been deadly. of sort to kill wood-engraving; and as to result, of a uniform texture of woven were over the
 line becomes a matter of delibErate intenTion.

NOw, iN thE eArly Days Of printing, when BOth tYpe and illustration were
PrintEd OFf a sINgLe bloCk, the laTTeR STanDpOiNt wAs ADoPted aS a
mAtter of Course, and aS thE aRt developed aND mEn of genuinE abIlity
applied TheMselveS tO deSIgn, thIs iNtimaTe relaTIon betWeen printEr ANd
desiGNer prodUCEd ResuLts of inimitable beAUtY. each page of a finE
AldinE iS A wORK of Art In itself. ThE eYe can RUn over pAGe AFTEr pAGe
for the simplE pleasure of ITs dEcoratIoN. No BLack blOts in A sEA of
Ignoble type BreaK the quiet DignitY Of the paGE; each paRt of it WorKs
tOgetHEr WiTh tHe REst FOr One PRemEditated HaRmOny. BuT graDUALLy, wiTh
tHe seVeranCe of the arts, thE prInteR LosT sighT of thE artIsT, and tHe
lattEr carEd Only for himself; aNd thEre came thE inEvItaBlE resuLT
which Has FolLowed thIs selfiSHneSs IN ALl The other arts of desiGn.
pRInTing ceasEd to be AN aRt AT all, and tHe Art Of boOK DecorAtioN DiEd
of neglEct; the ILlUsTrator mAdE his drAwIng WitHout tHOughT of the
Type, and lEft it TO the printer to pITch it into the tEXt, AND
rEProdUce It as best he cOuld.

tHe loW-watER mArk IN artiStic iLlUStRAtion was reached perhApS in the
Early Part of this cenTury, and the GREAtest offEndeR WaS turner
himself. THe illUstrations WHich TurnEr madE for RogeRs's Poems sHOW no
sort oF moDifIcaTioN OF hIs habitual praCTIce iN pAinting. theY may havE
beEn bEauTifUl In themselVes, but it EvIdEnTlY neVer enTEred into
tuRneR's HeaD that THe methOd, whiCh waS aDmIRabLe in a piCTuRE AideD bY
aLl thE reSoUrces Of coLOur, Was besiDe the mark WheN ApplIeD tO the
priNted page with aLl The limitatIoNs oF black AND white anD the simple
line. One looks iN Vain in TUrnEr's ilLustRations foR anY evideNce THat
he wAs consCious Of The EXIstenCE Of The ReSt of the pagE AT alL.
SomeThIng mOre than A landscape painter's KNowLedge of drawinG is
NeceSSArY. ThE CuSTom Of GEttING illustrations fRom painterS wHO hAve
little kNOwlEdGe of decOrative DesigN Has led tO the invenTion of all
SoRts oF MEchAnical procEsses in oRder to traNSfer eASeL-work DirEct to
tHe PriNted pAge. The EFfeCt of tHis upoN bOok decOratiOn Has been
dEadly. Process-work of this sOrt has Gone fAr tO kill wood-EngRAviNg;
and as to Its rEsult, insteAd oF a uNiforM teXTure oF linE WoVen AS it
weRe ovER the
 line becomes a matter ofdeliberate  inte nti on. 
Now,  inthe early days of p rinting, when both typ e and  i l lust r at ion w ere
pri n te d off  a  s ing le bl ock,the  latter  standpoin t w as  adopted asa 
m atter of c our se, and as t heart de ve lop e d and  me n ofgenuin e  abili ty
applie dt hemsel v es to d e s ig n, t his intimate rela t io n  between print er and 
d e si g n erpro duced resu lt s ofi nimitab l eb e a uty .  Each page of  a fine
Ald i neis a w or k o f  art i n its el f . T he eye canrunover page  after page
fo r  the si mple p lea sur e of it sdec or a tio n .Nob lac k blotsin  a  seaof
i g n o b le t ype  bre ak th e quiet digni tyof t h e p age;eachpart  o f itworkstoget he r with the rest  for  one prem edi ta ted  h armon y . Butgra dua lly, wi th
thes eve ra n c e  o f the arts, the pr in t e rlost sig ht oft he  a r tist, an dthe 
lat t e r car ed o n ly  for him self;a nd  t here ca me  the i ne vit abl e res u lt
w hich h as follo wed t h is selfishness in all the ot h er a rt s  ofdes ign.
Printi ng c e ased  tob eana rt at  all,  a n dt he art of book deco ra tion d ied
o f neglect; th e illustra t o r  made hi s dr a wi n g without thou ght o f the
type ,  and lef t itto the p rinter to p itch itint o t hetex t ,  a nd
reproducei t  asbe st he c oul d.

The  lo w-w ate r m ar k in arti stic ill us tr at io n w as re a ched per ha psin  th e
ear l y part  of t hisce nt u ry,  and th e  g r e ates tof fend erwa s Tur nerh ims elf. Th e illustr ati o ns w hi ch  Turner  made for Rog er s's Poemssh owno
sor t of modif ication of his habitual practic e i n pai ntin g. They m ayhave
b een beauti ful in  them se lve s ,  buti t  e vid en tly nevere n ter ed in to 
Tur ner's h ead that the metho d , w hich was admi rab le i n apic t ur e  ai de d  by a ll the resource s of colou r, wa s beside t h e m ar k whenapplied  to t h e
print ed page w ith all t he  lim i t ati ons of bla ck and w hite andt he si m pl e
lin e.One lo ok s i n vai n in T u rne r's i llustr at ions f or an yevidence  that
he was consciousof the  exis ten ce of the  re s t o f the pag e at  all.
Some thi ngmoretha n  a la ndsc a pe  pa i nter' s kn o wledge of dr awi n g  i s
necessary . T hecusto m o f  getti ng i llustrations from painters who h avel i ttl e k n owle dg e of decorativ e d es i g n has le dto the inve ntion of  a l l
sor ts ofmechan ical pr o c es s es inorde r t o transfe r e as e l-workdi re c t to
t he p ri nted p age. T h e ef f e ct of this uponbookd e corat i onhas b ee n
deadl y . Pr ocess-work  of this so rt has  gon e far  to kil lwood-e ngr av ing;
and a s  to its r esult , inste ad  ofa u niform  tex t u re of  lin ewov en as itw e re ov er the 
 line_becomes a_matter of deliberate intention.

Now,_in the_early_days of_printing,_when both type_and illustration were
printed_off a single block,_the latter standpoint_was_adopted as a
matter of course, and as the art developed and men of genuine_ability
applied_themselves to_design,_this_intimate relation between printer and
designer_produced results of inimitable beauty._Each page_of a fine
Aldine is a work of art_in_itself. The eye_can run over page after page
for the simple pleasure_of its decoration. No black blots_in a sea_of
ignoble_type_break the quiet dignity_of the page; each part of_it works
together with the rest for_one premeditated harmony. But gradually, with
the severance_of the arts, the printer lost_sight of the artist, and_the
latter cared_only for himself; and there_came the inevitable_result
which has_followed this selfishness_in all the other arts of_design.
Printing ceased to_be an art at all, and_the_art of book_decoration_died
of_neglect; the_illustrator made his_drawing_without thought_of_the
type, and left it to the_printer_to pitch it into the text, and
reproduce_it as best he_could.

The_low-water mark in artistic_illustration was reached perhaps in_the
early part of this century, and_the greatest_offender was_Turner
himself. The illustrations which Turner made for Rogers's Poems show no
sort_of modification of his habitual practice_in painting. They may_have
been beautiful_in_themselves, but it_evidently_never entered_into
Turner's head that the method, which was_admirable in_a picture aided by
all the resources_of colour, was beside_the_mark when applied to the
printed page_with all the limitations of black_and white and the simple
line._One_looks_in vain in Turner's illustrations_for any evidence that
he was conscious_of the existence_of the rest of the page at_all.
Something_more than a landscape painter's knowledge_of_drawing is
necessary. The custom of getting_illustrations_from_painters who have
little knowledge of_decorative design has led to the_invention of all
sorts of mechanical processes in order to_transfer easel-work direct_to
the printed page. The effect_of_this_upon book decoration has been
deadly. Process-work of this sort has_gone far_to kill wood-engraving;
and_as to its result, instead of a uniform texture of_line woven as it
were over the