688. Ricketts, Lettering and Ornament in The Printing Art

In 1907, Addison B. LeBoutillier (1872-1951) - an architect, who was famous for his pottery, and also known for his drawings and etchings - published an article in The Printing Art: A Monthly Magazine of the Art of Printing and of the Allied Arts, edited by Henry Lewis Johnson and published by the University Press, Cambridge, Massachusetts: 'Lettering and ornament' (volume 8, no. 6,  February 1907, pp. 385-392). [The Princeton Library copy can be found at Hathi Trust.]

Addison B. LeBoutillier

Addison B. LeBoutillier, 'Lettering and ornament'
(The Printing Art, February 1907, first page)

The article contains six examples of lettering and ornament of which one contains a quote from Charles Ricketts (p. [391]). The text comes from his polemical essay A Defence of the Revival of Printing (1899). The short passage (from pages 10 and 11) deals with the lack of decoration in early Italian printed books, William Morris's ideas about book decoration, and the use of ornamental type.

Addison B. LeBoutillier, 'Lettering and ornament'
(The Printing Art, February 1907, p. [391])

But the illustration is not a simple facsimile of the original edition. The text has been re-set from a letter not designed by Ricketts and placed in a border, with an initial T, which were neither drawn nor published by him.

The border and initial were originally designed for the Boston firm of Copeland and Day for their edition of D.G. Rossetti’s The House of Life (1894). Designed by Bertram Grosvenor Goodhue, they were later called ‘more cluttered than Morris’s ever were’.(*) They were also much heavier and denser than Ricketts's borders. Goodhue designed 3 borders and 114 initial letters for the Rossetti edition.

D.G. Rossetti, The House of Life (1894),
designed by B.G. Goodhue

The type is not designed by Ricketts nor by Goodhue - it is a copy of Morris's own Troy Type (mentioned by Ricketts in his quote), a version probably made by the American Type Founders, and called Satanick.

Why this text by Ricketts was chosen - he is not mentioned anywhere in the text (Morris, incidentally, is mentioned as an example) - and why it was set in a typeface based on Morris's and why the whole thing was placed in an ornamental border by Goodhue is a mystery. The result hardly qualifies as a typographic unit - at least not in the way Ricketts was striving for.

(*) Quote from William S. Peterson, The Kelmscott Press. A History of William Morris’s Typographical Adventure. Berkeley, California, University of California Press, 1996, p. 302.