FINE Z 5931 .B84 1919 CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY COMMENTS UPON A FEW BOOKS DEALING WITH INDUSTRIAL ART AND HANDICRAFT. SELECTION AND COMMENT BY ARTISTS AND CRAFTSMEN "HAPPY IS HE WHO HAS BEEN APPRENTICED TO TRADE AND TAUGHT TO PREACH BEAUTY WITH HIS HANDS." — Book of St. Kavin BUFFALO PUBLIC LIBRARY 1919 ^t«6/>.. CORNELL UNIVERSITY LIBHAHY 3 1924 102 155 334 THE people responsible for this list include Miss Ella Cecelia McKinnon, President of the Guild of Allied Arts; Mr. Bryant Fleming, past President of the Guild, and Landscape Arch- itect; and other members of the Guild: Mr. Robert North, Architect, Miss Elise Bradford, Interior Decorator, Mr. Bernard Carpenter, Instructor in Design at the Albright Art School, Miss White, Instructor in Basketry and the Manual Arts at the Albright Art School, Mr. Grabau, Bookbinder; Mr. L. E. Bartlett, Lithographer; and Miss Becker, of the Public Library. All books named in^ this reading list may be found at the Buffalo Public Library and at the GrosveNor Library. Every resident of Buffalo or anyone engaged as a worker or student in Buffalo has the privilege of bor- rowing books from the Public Library or any of its Branches, for use at home or in the shop or studio. The Grosvenoe Library is a public reference library. Art in hjVeryday Life A RECENT writer in the Athenseum has spoken of Hopes AND Fears for Art by William Morris, as "that wise, noble and beautiful book which one could wish were in the hands of all whose minds are now filled with the thought of rebuilding our poor shattered world." While we must rec- ognize that his dream of a world where "every object of use shall be hand-made" is reactionary and impossible, we, never- theless, can find in the books of Morris and in those of Ralph Adams Cram, The Ministry of Art, The Substance of the Gothic, The Gothic Quest, arousing and stimulating expres- sion of "the power of art in producing right living and right thinking." Machinery has come to stay. The possibilities of its devel- opment are unlimited. This will be especially true when it becomes more and more the tool of the creative artist. Good design can be adequately reproduced by proper machinery directed with intelligence, and beautiful things made possible for a great number of people. Even in its limitations ma- chinery can serve an artistic and humane purpose. J. A. Hob- son points out in his significant book, Work and Wealth: a Human Valuation, that machinery, being limited to routine processes, is restricted in the outlet it gives to individuality. The growth of culture is marked by the self-assertion of the indi- vidual. Machinery performs invaluable service by doing work which would otherwise prove toilsome, painful and monoto- nous. If harnessed to social service it leaves the individual more time and energy for creative and productive activities. The correlation of beauty with utility in the industrial arts is the objective of a nation-wide movement created by the need of rebuilding a new world. In their unity of purpose designer and producer alike will profit by the study of books written by men with experience and artistic perception. Such study will help the architect, interior decorator, and craftsman to create designs more possible for reproduction and better suited to meet the requirements of public demand. The manufacturer can increase the value and extent of his business by a wiser understanding of the principles of design and their appropriate use. The layman, too, can find training and satisfaction m a sound knowledge of the qualities of good design and its pos- sible application. The work of designer and manufacturer is dependent for its practical artistic possibilities upon a dis- criminating taste in people at large. ^"^ 5931 HOME PLANNING '^'^^ ARCHITECTURE Architecture illustrates particularly well the relation between beauty and service. "Many of us," Morris tells us, "love architecture dearly and believe that it helps the healthiness both of body and soul to live among beautiful things." Walter Pater in The Child in the House speaks thus of a man re- calling his childhood's home, "The fashion of its doors, its hearths, its windows, the very scent upon the air, was with him in sleep for a season. . . In that half-spiritualized house he could watch over again the gradual expansion of the soul which had come to be there — of which, indeed, through the law which makes material objects about them so large an element in children's lives, it had actually become a part." To have such homes that we should desire them to become a part of us we must recognize the claims of consistent beauty and structural necessity as dictated by the accepted canons of architecture. The Mistress Art, Blomfield calls architecture in his wise little book, where he emphasizes that architecture is not mere decoration or ornamental building. To appreciate what is desirable in the house we live in, we must know at least a little something of good architecture in general. Although no book can give in a nutshell what it has taken architects years of patient study to learn and express, we can find in such books as How TO Know Architecture, by Frank E. Wallis; How TO Judge Architecture, by Russell Sturgis, and How to Study Architecture, by Charles Caffin, guides to awakening appreciation. Enjoyment of Architecture, by Talbot F, Hamlin is "not so elementary in its approach, yet it may be read with a certainty of increased vision along archi- tectural lines by one with the merest scattered knowledge in the field." The same is true of Essentials of Architecture, by John Belcher. The Practical Book of Architecture, by Charles Matlack Price, is divided into two parts: a practical guide to styles and a practical guide to building. All these books may be followed by a simple one-volume history such as A. D. F. Hamlin's History of Architecture. No less essential than the assimilation of the principles of architecture is a study of original sources from which all that is best in American architectural expression has been derived. For such study search should be made among books which reproduce adequately examples of EngHsh farm houses, cot- tages and manors of the 15th and 16th centuries, and of the 17th and early 18th centuries for colonial work. Just such joyful and regardful study has been the foundation of the best work of American architects. Setting aside details of arrangement and practical equipment, English domestic architecture pre- sents those qualities of sincerity and unaffected beauty Amer- ica still seeks, the essentials which fit a house to become a loved and lovely home. After such study of principles and examples the home- builder can use to much better advantage the so-called prac- tical books on American architecture. Few are excellent in all respects and many require a careful selection of their con- tents to be of any value at all. The Honest House, by Goodnow and Adams, stands out as a singularly satisfactory book. It presents examples of the usual problems which face the home builder, in addition to an exposition of the simple architectural principles which under- lie such problems, arranged especially in reference to small house design. "Their discussion of the house as a work of art is shot through with common sense, a quite refreshing common sense, even with a liberal sense of humor." A Book of House Plans, by Butterfield and Tuttle, is to be commended for its simple and artistic designs, its ex- cellent interior arrangements and the practical good sense of its suggestions. The Livable House, Its Plan and Design, by Aymar Embury 11, shows the high standard of architecture possible for the small house. Embury's other books: The Dutch Colonial House and One Hundred Country Houses: Modern American Examples are also valuable. The books by or edited by H. H. Saylor, editor of Country Life in Amer- ica, such as Inexpensive Homes of Individuality, and Archi- tectural Styles For Country Houses and Bungalows, can be counted on as practical and architecturally sound. Low Cost Suburban Homes, edited by Richardson Wright, is a book of helpful suggestions for the man with a moderate purse. The Colonial House, by Joseph Everett Chandler, is the best book on the subject for the general reader. Charles Edward Hooper's Reclaiming the Old House has prac- tical value for the man who wishes to restore an old house in keeping with its original style. The White Pine Series of Architectural Monographs, ed. by Russell F. Whitehead, and published by the White Pine Bureau of St. Paul, illustrates how possible it is for commercial manufacturers to recognize artistic values. They are excellent in every detail. Other commendable books pub- lished by manufacturers are EARLY Stucco Houses and Building a Bungalow, published by the Atlas Portland Cement Co.; The Average Man's Home and Practical Homes, published by The Complete Building Show Co. interior decoration and furniture An effectively planned home is incomplete unless its interior decoration is in keeping with the architectural background 6 and expressive of the character and manner of life of the people who live in it. Several books published during the past few years are helpful. Interior Decoration, by Frank Alvah Parsons, is a useful book for amateurs, written by an expert on his own subject. George Leland Hunter has two uncommonly good books for the well-to-do layman, which are suggestive also to those of limited means. They are Home Furnishing and Inside the House That Jack Built, the latter a conversational story of how two homes were furnished. The House in Good Taste, by Elsie De Wolfe, is another useful book by an experienced decorator, deaUng chiefly with expensive decorations but with many practical suggestions which would be helpful in furnishing the simplest apartment. The book on The Decoration and Furnishing of Apart- ments, by B. Russell Herts, serves its purpose admirably. Good Taste in Home Furnishing, by Maud Ann Sell and Henry Blackman Sell, sets forth in an intimate easy style, free from the technical terms of the decorator, the principles of decoration and furnishing that will make a simple home beautiful as well as comfortable and cheerful. Interior Deco- ration for Modern Needs, by A. F. Wright, and Interior Decoration for the Small Home, by Amy L. Rolfe, are two comparatively recent books that successfully combine and exemplify simplicity and good taste. Walter A. Dyer's Handbook of Furniture Styles, Harold Donaldson Eberlein's and Abbot McClure's Practical Book of Period Fltrniture, Virginia Robie's Historic Styles in Furniture, and Helen Churchill Candee's Decorative Styles are some of the attractive simple handbooks on period furniture. Furnishing the •House in Good Taste, by Lucy Abbot Throop, shows their practical apphcation. Arthur Hayden's Chats on Cottage and Farmhouse Furniture is an interesting, authentic account of the evolution and styles of furniture produced by the old village cabinet makers of England. Other books on special periods are Helen Churchill Candee's Jacobean 7 Furniture; Reveirs-Hopkins' Sheraton Period, and J.iP. Blake's Chippendale and His School — the last two in the series, Little Books About Old Furniture. More elaborate books, valuable to the connoisseur and pfofessional decorator, are Esther Singleton's Furniture op Our Forefathers; French and English Furniture, and Dutch and Flemish Furniture, and Lady Dilke's French Furniture. In- teresting, also, to the connoisseur and professional decorator is Edward J. Duveen's Colour in the Home. The pro- fessional upholsterer will find useful John W. Stephenson's Cutting and Draping and Richard Bitmead's Practical Upholsterer and Cutter Out. landscape architecture In a list of books dealing with art in everyday life, space must be given to at least a few written upon Landscape Archi- tecture. Landscape architecture, design or gardening does not concern merely the layout of a pretty garden, or the crea- tion of mere beauty. It is a practical art dealing with the arrangement of landscape and its accompanying buildings for "human use, habitation and convenience." A real knowledge of the profession is quite dependent upon an understanding and appreciation of several inter-related subjects, such as engineering, horticulture, forestry and the like. General principles, however, and a quickened apprecia- tion may be obtained from the following books. Humphry Repton's Landscape Gardening and Land- scape Architecture is unquestionably the first book which should be read. This is an early English work and has been the subject of a modem reprint by the American Society of Landscape Architects. The new title is The Art of Land-^ SCAPE Gardening. The reprint is good, and should be owned by anyone interested, but a fuller knowledge and greater in- spiration will be had from the original work. Edward Kemp's How to Lay Out a Garden (new edition edited by F. A. Waugh, Landscape Gardening) is another of the earlier books eminently worth while. So is A. J. Downing's Rural Es- says. These three books are in no sense antiquated or obsolete. Charles Eliot, Landscape Architect, by Charles W. Eliot, of Harvard, is without doubt the most valuable of contemporary books. It deals delightfully with many sides and phases of the subject, and the reader is made acquainted with a worker whom it is a privilege to know. If but one book on the subject can be owned and read, it should be this. An Introduction to the Study of Landscape Design, by Henry Hubbard, is recent and valuable, both for gen- eral and specific knowledge. Other books interesting and worth while reading are Art Out-of-Doors, by Mrs. Schuy- ler Van Rensselaer, the Reports and Writings of Fred- erick Law Olmsted, and Modern Civic Art, by Charles MuLFORD Robinson. THE CRAFTS " The craftsman whose labors are the result of his enthusiasm and joy in his work must lead the way in the improvement of the so-called 'Art manufactures.' The factory cannot copy his methods, or even imitate them, with success, but it can benefit greatly by observance of the general principles under- lying his work, by his choice of colors, his honest treatment of texture, and his freshness of outlook." In Scribner's Magazine for May, 1919, James Parton Haney says, "The lay mind has been led by the painter's mind and the sculptor's mind until it has very definitely the studio point of view. It scarcely dreams that each one of us is in his own right an artist, and that, while he may not design textiles, he must use them, must decorate his home, set out his shop window, plan his manufactured product, lay out his advertising and conduct every one of a thousand activities in the light of the principles of color and pattern." "Back of the entire industrial art movement stands the manu- facturer. Until he realizes his responsibility there can be no great industrial art system in this country." In The Artist's Way of Working in the Various Handi- crafts AND Arts of Design, Russell Sturgis shows the contribution made by the artist to our inheritance of so much that makes for joy in living. The two volumes cover carving, staining and dyeing, ceramic art, vitreous art, metal work, leather work, textile art, embroidery, mosaic, engraving, cal- igraphy, printing and various allied subjects. There is untold suggestion in the Arts and Crafts Essays by Members of the Arts and Crafts Exhibition Society of London, with a preface by William Morris. The group of craftsmen who formed the society aimed at a renaissance of the decorative arts, based and dependent upon more humane conditions of life. Among the leaders of the guild were Wil- liam Morris, Walter Crane, W. R. Lethaby, and Lewis F. Day. POTTERY Of all the crafts, pottery represents the closest sympathy between craftsman and manufacturer. The Story of the Potter, by Charles Binns is a short history of the develop- ment of handwork and commercial processes. DOURIS and the Painters of Greek Vases, by Edmond Pottier, is an interesting and delightful presentation of the art of the Greek vase painters and the conditions under which they worked. In The Art of the Old English Potter, by L. M. Solon, the development is traced from the traditional point of view. Of the practical books on pottery. How To Make Pottery, by Mary White, is the simplest and most elementary. The Potter's Craft, by Charles F. Binns, is a short, practical guide for pottery students who aim at a complete technical knowledge. It is thorough and reliable and contains excellent glaze formulas. Pottery For Artists, Craftsmen and Teachers, by D. J. Cox, gives complete and detailed infor- mation on the necessary equipment for making pottery. The Art Primers, by Edwin Atlee Barber, are concise and ac- curate, and adapted for student's use. Grand Feu Cer- amics, by Taxile Doat, is a book of advanced technology. 10 It can be accepted as the authority on porcelain, gres and other high-fire ceramics. Pottery Decorating, by Hain- BACH, has technical points on lustre and other methods of pottery glazing and decorating. There are other attractive books of interest to the lover of fine old pottery, as well as suggestive to the potter of to-day. A pleasing series. Masterpieces of Handicraft, is edited by T. Leman Hare, and written by Eganmew. Individual volumes cover Old Bow China, Old Chinese Porcelain, Royal Sevres, Japanese Porcelain, Dresden Porcelain, and Chelsea and Chelsea-Derby China. A Book of Porcelain, by Bernard Rackham, has many illustrations in color of fine examples in the Victoria and Albert Museum, showing the finest types of Oriental, Italian, French and Eng- lish porcelains. Majolica, by Fortnum, is old, but authentic, with careful drawings. Old Pottery and Porcelain, by Burgess, has good photographic illustrations. The Hand- book OF Marks on Pottery and Porcelain, by Burton and Hudson, tells how to identify pottery and porcelain, where made, and by whom. JEWELRY AND METALWORK The most practical work on jewelry is Jewelry: Its Mak- ing AND Design, by Rose and Cirino. A wider field is covered by Herbert Maryon in Metalwork and Enamelling Upon Metals. Henry Cunynghame shows some delightful possibilities in his book On the Theory and Practice of Art Enamelling Upon Metals. It is an English publi- cation, and so is Silverwork and Jewelry in The Artistic Craft Series of Technical Handbooks, edited by W. R. Lethaby. Dinanderie: a History and Description of Mediaeval Art Work in Copper, Brass and Bronze, by J. Tavenor Perry, is a joy to handle and browse over. Lead- work Old and Ornamental and for the Most Part Eng- lish has the excellence we can expect of every book for which Lethaby is responsible. 11 WO,OD,C|ARVIN,G WooDCARViNG, by George Leland, W. P. Lethaby says in his preface, "treats of one branch of the great art of sculp- ture, one which in the past has been in close association with architecture. This book deals thoroughly with craftsmanship and is concerned with the theory of design and the subject matter. It contains some of the best suggestions as to archi- tectural ornamentation under modern circumstances known to me." Wood Sculpture, by Alfred Maskell, is a large book on the history of wood sculpture with beautiful illustrations, fascinating and suggestive to the woodcarver. Charles G. Leland ,tis -the [author W a practical Manual of Wood- carving. ITEXTILIEiS AND HAN|D!M[A|DiE RjUlGIS There is an article on wood block printing applied to cloth in Mabel Tuke Priestman's Handicrafts in the Home. This is a useful book, even if it has little artistic merit. It con- tains also an article on batik. There are other chapters on batik in Florence Buchanan's Homecrafts of To-day and Yesterday and Charles E. Pellew's Dyes and Dyeing. This last book gives a clear and adequate treatment of the five chief classes of dyes used to-day, with lists of tried and tested dyes, and of silk dyeing, silk weighting, tests for silk adulteration, and imitations and artificial silks. It has a val- uable chapter on "tied and dyed work." A fourth article on batik can be found in Amy Mali Hicks' The Craft of Handmade Rugs. This practical book de- scribes and gives rules for making braided, scalloped, knitted, crocheted, hooked, needlewoven and rag rugs, and instruc- tions for dyeing and stenciling. This book and that by Can- dace. Wheeler, How To Make Rugs, are the best books on rug weaving. The only good book in English on Hand-loom Weaving is by Luther Hooper. It is a complete and practical manual 12 covering in three separate sections, plain weaving, simple weaving, and complete pattern weaving. LACE AND EMBROIDERY The standard book on lace is The History of Lace, by Mrs. Bury Palliser. Old Lace, by M. Jourdain empha- sizes the technical and artistic side of lace making. It traces the influence of contemporary art and design. Point and Pillow Lace, by A. M. S. (Mary Sharp), and The Lace Book, by N. Hudson Moore, are also especially recommended. Pillow Lace, by Elizabeth Mincoff and Margaret S. Marriage, is a practical handbook. Laces, by "Carita" gives instructions in filet brod6 or darning on net. The book by Mrs. A. H. Christie in the Artistic Craft Series, on Embroidery and Tapestry Weaving, is chiefly valuable as a book of stitches. Diagrams show most admir- ably the application of the stitches and the texture of mate- rials. Art in Needlework, by Lewis F. Day and Mary Buckle, is a practical handbook on embroidery, describing many stitches and designs. Embroidery, or the Craft of the Needle, by W. G. Paulson Townsend, is another attrac- tive book. basketry The professional basket maker, as well as the amateur, can profit by the ownership and use of Indian Basketry, by George Wharton James, and Aboriginal Basketry, by 0. T. Mason. Both contain many effective Indian designs. Raffia Basketry as a Fine Art, by G. P. and M. P. Ash- ley, has several delightful illustrations in color of original patterns. The beginner in the craft, although he can gain more from an able instructor, will find in How To Make Baskets, and More Baskets and How To Make Them, by Mary White, practical guides describing materials, tools, preparation of material, different forms of weaving and dif- ferent articles which may be made. The Basket Maker, 13 by Luther Weston Turner, and Basketry, by Anna A. Gill, are also serviceable. DESIGN IN THEORY AND PRACTICE All the books mentioned demonstrate how the principles of design are applied to art or craft. The sense of enjoyment of the qualities of a design and a true discrimination for the proprieties of its use can be increased by a knowledge of its theory. The thread of theory runs so consistently through all the manual arts and the appUcation of it is so varied and personal that its study offers a field of unlimited research, speculation and interest. Even though strict application to theory may be discarded later by those who have attained the power of individual expression it always remains a fasci- nating basis of comparison. Theory must not be confused with the capacity for personal expression and must by no means be permitted to smother it. The Theory of Pure Design, by Denman Ross, is the result of a long life of re- search by a man who recognizes no slipshod short cuts to art. Mixed with pure theory is an eminently practical acknowl- edgment of the modern mechanical aids to artistic achieve- ment. Mr. Ross recognizes tremendous possibilities in modern chemistry, physics and photography as first hand aids to the searcher in design. While this book is academic, the intelli- gent layman, as well as the artist, will be enlightened and stimulated by it. The Principles of Design, by Batchelder, also will interest the thoughtful reader. The Flight of the Dragon, by Lawrence Binyon, gives a poetic interpretation of the principles of Oriental (Chinese and Japanese) decorative art. Composition, by Dow, is of interest to all who recognize the necessity of composition in design. It has helpful suggestions for form and color. Design in Theory and Practice, by Batchelder, is particularly interesting in the stress laid on utility as a natural basis of design, and includes a constructive study of historic ornament. The books by Walter Crane, 14 The Bases of Design, and The Claims of Decorative Art, are examples of the English school, followers of Morris, and have a great deal of individual charm. The Art of William Morris, by Lewis F. Day, has delightful illustrations, some in color, of the work of Morris. There is an inviting book by G. WooLiscROFT Rhead, on The Principles of Design. His Modern Practical Design gives excellent illustration of design applied to various practical forms. A Textbook of Design, by Charles Fabens Kelley, and William Luther MOWLL, is worthy of more than passing notice. All the books on applied design published by The Studio should be known and studied. Besides The Studio Year- book, which covers an extensive field, there are some interest- ing books edited by Charles Holme on Peasant Art, in Italy, in Russia, in Sweden, Lapland, and Iceland, and in Austria and Hungary. Another Studio publication is Arts and Crafts, a review of the work executed by students in the leading art schools of Great Britain and Ireland. It sets a good example of what could be done in America. There are many other books of design of practical value in various directions. A few of these only can be noted. Stud- ies in Plant Form and Design, by Lilley and Midgley, shows many possibilities in the conventionalization of plant form. Any designer who uses heraldic forms should study Heraldry for Craftsmen and Designers, by W. H. St. John Hope, in The Artistic Craft Series of Technical Hand- books, or some other similar book. Glazier's Manual of Historic Ornament is a fine introduction. The references are complete and there are excellent illustrations. Color in Everyday Life, a Manual For Lay Students, Artisans, AND Artists, by Louis Weinberg, is a recent book on the principles of color combination and color arrangement, and their applications in dress, home, business, the theater, and community play. Posters, by Charles Matlack Price is especially useful because of its unusually good examples of posters, many of them reproduced in color. 15 On lettering, The Essentials of Lettering, by French and Meiklejohn, is satisfactory for the beginner. Letters AND Lettering, by Frank Chouteau Brown, is interesting reading for any lover of books and of great practical value to the designer. Alphabets Old and New, and Lettering in Ornament, both by Lewis F. Day, show many illustrations not found in Brown and other recent books. Alphabets, by Strange, is very good for unusual and picturesque letter- ing and has many examples not found elsewhere. Edward Johnston's Writing, Illuminating and Lettering, in the Artistic Craft Series is the most valuable on the subject from a purely artistic standpoint. The Art of Illuminating, by Tymms, with an essay and instructions by Wyatt, gives quite a number of illustrations in color, and is, in consequence, one of the most usable of the smaller books on illuminating. ADVERTISING The main purpose of the present national campaign of industrial craftsmanship is to bring together the manufacturer and the artist and to interest the public at large. In somewhat the same sense advertising is the medium between the manu- facturer and the public. There are quite a number of books on the subject of advertising which are instructive and interest- ing to the producer, the consumer, and to all who are in any way connected with this branch of business. Advertising has a great many aspects. The most obvious is the physical makeup or the picture side. It is with this that the layout man, the commercial designer, the typogra- pher, the paper maker, the photo-engraver are concerned. The pictorial side of advertising is dealt with in almost every book on the subject, but practically always by men who have been copy writers. The Principles of Advertising Ar- rangement, by F. A. Parsons, and How to Advertise, by George French, are perhaps the only two books which deal with the subject from the standpoint of art. 16 Making Type Work, by Benjamin Sherbow, and The Typography of Advertisements That Pay, by Gilbert D. Farrar, will interest the printer. Morgan's Half Tone, by Stephen Horgan, will help the photo-engraver. The best general book on lithography is The Art of Lithography, by Henry J. Rhodes. Offset Lithography, by Warren C. Browne, discusses the latest improvement in the process. Advertising has also to do with psychology. There are many studies' along this line. Among them. Psychology of Advertising, by Walter Dill Scott; Imagination in Business, by Lorin F. Deland, and Advertising and Sell- ing, by Harry L. Hollingworth. The business side of advertising is handled in other books. The Business of Advertising, by Ernest Elmo Calkins, will interest those who are "Sellers of Space, Sellers of Adver- tising, and Buyers of Advertising." Productive Adver- tising, by Herbert W. Hess; Advertising, Its Principles, Practice and Technique, by Daniel Starch; and Adver- tising AND Selling Practice, by John B. Opdycke, all give a good all-round knowledge of the subject. The last liamed includes a bibliography of advertising. THE PRINTED BOOK Books on the makeup of the book itself should not be ne- glected in the consideration of craftsmanship applied to articles in general use. The Book, by Cyril Davenport, is a popular account of "its history and development," containing informa- tion on paper, bookbinding, printing and illustration. Of practical value to the compositor is Modern Methods of Book Composition, by Theodore Low DeVinne, a treatise on type setting by hand and by machine, and on the proper arrangement and imposition of pages. The same material in condensed form can be found in Book Composition in the Typographic Technical Series for Apprentices. On bookbinding the most practical books are The Art of Book- binding, by Zaehnsdorf, and Bookbinding, by Cockbrell, 17 in The Artistic Craft Series. The Art of the Book, edited by Chaeles Holme, is a "review of some recent European and American work in typography, page decoration and bind- ing." Bookbindings Old and New will interest the general reader, while The Booklover and His Books, by Harry Lyman Koopman, gives a librarian's point of view. 18 BUFFALO PUBLIC LIBRARY MAIN BUILDING Lafayette Square WILLIAM IVES BRANCH 1079 Broadway JOSEPH P. DUDLEY BRANCH 503 South Park Avenue LAFAYETTE BRANCH Lafayette High School ''jubilee library 1936 Niagara Street UTICA STREET BRANCH 306 East Utica Street WILLIAM STREET BRANCH 326 William Street S. V. R. WATSON BRANCH 682 Elk Street GROSVENOR LIBRARY (For Reference Use Only) Franklin Street, corner of Edward Street DATE DUE QAYLORD PRINTED IN U.S.A.