89 
Holbein designs, printed at Basle in 1556, and other interesting 
books were also exhibited on the screen, the size of course being 
very much enlarged. He spoke of Elzevir in the seventeenth 
century, when handwriting began to fall off, and of the English 
typefounder Caslon, and of Baskerville, whose type was possibly 
designed by Hogarth, but is not very good. Latin, he remarked, 
was a better language to print than English, as the tails of the 
letters did not so often fall below the line. The wide spacing 
between lines occasioned by the use of a lead, he pointed out, 
left the page in stripes, and made the blanks as important as the 
lines. Margins should of course be wide, except the inner 
margins, and head lines often robbed the page of its beauty of 
design. 
Referring to illustration, the essential thing, Mr. Walker said 
in concluding, is to have harmony between the type and the 
decoration. He pleaded for true book-ornament as opposed to 
the silly habit of putting pictures where they are not wanted, 
and pointed out that mechanical harmony and artistic harmony 
went hand in hand. No ornament or illustration should be used 
in a book that cannot be printed in the same way as the type. 
For his warnings he produced Rogeyr’s “ Italy ’’ with a steel-plate 
engraving, and a page from an American magazine which, being 
florid, pictorial, and bad, was greeted with some laughter, For 
examples we had a lovely Boccaccio printed at Ulm, and a page 
out of ‘‘ La Mer des Histoires,” printed in 1488. Blake and 
Bewick were also shown, and a page of music designed by 
Horne. 
