Chapter XXI: Section C: shows a plain letter of modern cut known erroneously as (10)

An interesting feature of some early Venetian books is the use by printers of decorative devices designed upon the winged Lion of St. Mark. Recent adaptations of this device are the Oswald Press imprints (Examples 539-A and 539-B) and the ornament on a title by Bruce Rogers (Example 538). The Lion of St. Mark is interesting in its significance. Tradition has it that long ago, when John Mark, the missionary companion of Paul, was traveling by way of Aquileia (Roman Secunda) for the purpose of preaching the gospel of Jesus, he found himself, after a violent storm, on one of the Rialto Islands that now form the city of Venice. In a dream an angel appeared saluting him (_Pax tibi Marce Evangelista meus_) and announcing that on those islands his bones would some day find peace. In fulfilment of this prophecy, in the year 829, several Venetians went to Alexandria, where the body of Mark had been buried, removed it surreptitiously, and took it to Venice. Such was the enthusiasm caused by this event that St. Mark supplanted St. Theodore as the patron saint of the city. “_Viva San Marco_” was heard as the battle cry of the Venetians, and the winged lion, symbolic of St. Mark, became the glorious sign of the republic. In Venice today there are numerous statuary reproductions of the winged Lion of St. Mark, holding with one claw a book of the gospels. The exposed pages of the book usually contain the salutation of the angel. The story of St. Mark’s vision and of the bringing of the body to Venice is pictured in mosaic work in St. Mark’s Church, Venice, where his bones rest.

The four-winged beasts mentioned in the fourth chapter of Revelations are accepted as symbolic of the four evangelists, the winged lion typifying St. Mark.

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Example 543 shows four designs with motifs taken from ancient sources. The Matthews-Northrup device of the mythical phœnix rising from the fire is emblematic of immortality; the torch probably signifies the intellectual light resulting from the invention of printing. The Winthrop Press imprint has already been mentioned as having relation to the ancient Typothetæ arms. The Binner-Wells design suggests that of Froben, by the shape and lettering between lines. The possible derivation of the Gould Press device from the Venetian master printers’ emblem has been suggested.

The unique mark of the De Vinne Press (Example 545) probably pictures a page from a manuscript book. The legend connected with the Greek lettering is mythical and has to do with one Prometheus, who, while chained to a rock, tells of the benefits he conferred on mankind. A literal translation of the Greek at this point reveals the appropriateness of the quotation as used: “And further, I discovered for them numeration, most striking of inventions; and composition, nurse of the arts, producer of the record of all things.”

Three imprint-devices, based upon architectural motifs, are shown in Example 544. In the Rogers design the architectural panel is surmounted by a silhouetted heraldic figure that adds much to the attractiveness of the device. A Colonial architectural panel frames the title of the Bartlett-Orr Press. The Egyptian winged ball, asps and open book are well blended with the monogram circle that fits the Roman arch in the Trow imprint.

EXAMPLE 548

Decorative imprints constructed with typefounders’ ornaments and
suitable type-faces
]

Initials in monogram form are frequently adopted by printers, and three such devices are shown in Example 546. Reversing one of the initials is a favorite method when the nature of the letter allows it, as in the Patteson Press device. Fitting the initials to a general shape calls for clever work, as in the shield shape of the Corday & Gross design.

EXAMPLE 549

Type imprints, and the various interesting effects possible with them
]

Of the large variety of devices in use by other publishers and printers, those shown in Example 547 are representative.

The Griffith-Stillings device, as has already been mentioned, includes elements of the mark of the Society of Printers of Venice.

The _American Printer_ mark shows an American eagle standing on books, and the initials A. P. used decoratively in the upper right corner. The dimensions of this oblong and the background are borrowed from the Venetian mark.

Unusual in shape and in wording is the Stillson device, which develops attractiveness when printed in several colors and embossed.

EXAMPLE 550

Quaint book-ending, or colophon, as used by Elbert Hubbard
]

Notwithstanding the cumbersome size of the acorn, the Sparrell Print device is not unattractive.

With a decorative quality that suggests the sixteenth century, the Ginn device is appropriate in its use of the horn book, an old-time teaching help.

Rather clever is the manner in which Goudy has hung the ampersand decoratively on the double-T monogram that is part of the Taylor & Taylor mark.

The diamond-shaped Wright & Joys device, with its conventionalized tree, is also interesting.

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It is possible to construct really creditable decorative imprints with typefounders’ ornaments and suitable type-faces. Example 548 presents several such designs as demonstrations of what can be done in this respect. In building these imprints the author has kept in mind the rules that govern combinations of type and ornament, as explained in the chapters relating to harmony, appropriateness, tone, contrast and ornamentation. In the Church Press design the border is made in outline to reflect the ornament. The types used in the Smith-Brown, Willis Works and Gothic Shop imprints harmonize with the ornamentation in both tone and shape. Italic type and the fleur-de-lis are French in motif. The Caslon type-face and the old-style parentheses go well together. The block, or gothic, type-face in its plainness of stroke suggests early Greek letters, and blends with the plain illustration. The money-bag ornament is an attempt at a pun, in the Stuff imprint. The pleasing gray tone of the Horner & Wilburn device is due to harmony of ornament and type-face.

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The printer will more often be called on to use a small, inconspicuous type-imprint than the prominent decorative device, and it is just as desirable to have distinction in these small type lines as in the elaborate devices. There are grouped in Example 549, a variety of effects suggested for this purpose. The type used in an imprint should harmonize and blend with the typography of the work on which it is used. An imprint in old-style type would not blend with a page set in modern type. It was the custom at one time to electrotype imprint lines so that they could be easily handled, but now the linotype furnishes a convenient method of casting them. It is well, tho, to strengthen the face by having the slugs copper-faced, which work is done by electrotypers.