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 printer 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 the headlines often robbed
the page of its beauty of design. The type used by the Pall Mall was, we
are glad to say, rightly approved of.

With regard to illustration, the essential thing, Mr. Walker said, 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 which cannot be printed in the same way as the type. For his
warnings he produced Rogers'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 Mr.
Horne.

The lecture was listened to with great attention by a large audience, and
was certainly most attractive. Mr. Walker has the keen artistic instinct
that comes out of actually working in the art of which he spoke. His
remarks about the pictorial character of modern illustration were well
timed, and we hope that some of the publishers in the audience will take