The ideal book or book beautiful
Date: 2023-12-05T00:00:00+00:00
Keywords: Printing; Book design; Calligraphy

The Project Gutenberg eBook of The ideal book or book beautiful

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The ideal book or book beautiful

A tract on calligraphy printing and illustration & on the book beautiful as a whole

Author: T. J. Cobden-Sanderson

Release date: December 5, 2023 [eBook #72320]

Language: English

Original publication: Hammersmith: The Doves Press

Credits: Terry Jeffress and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE IDEAL BOOK OR BOOK BEAUTIFUL ***

THE IDEAL BOOK OR BOOK BEAUTIFUL A TRACT ON CALLIGRAPHY PRINTING AND ILLUSTRATION & ON THE BOOK BEAUTIFUL AS A WHOLE

THE DOVES PRESS

№ 1 THE TERRACE HAMMERSMITH

MDCCCC

THE IDEAL BOOK OR BOOK BEAUTIFUL is a composite thing made up of many parts & may be made beautiful by the beauty of each of its parts—its literary content, its material or materials, its writing or printing, its illumination or illustration, its binding & decoration—of each of its parts in subordination to the whole which collectively they constitute: or it may be made beautiful by the supreme beauty of one or more of its parts, all the other parts subordinating or even effacing themselves for the sake of this one or more, & each in turn being capable of playing this supreme part and each in its own peculiar and characteristic way. On the other hand each contributory craft may usurp the functions of the rest & of the whole and growing beautiful beyond all bounds ruin for its own the common cause. I propose in this brief essay, putting aside for the moment the material, paper or vellum, the binding & decoration, & the literary content of the Book Beautiful, to say a few words on the artistic treatment of the vehicle of expression—Calligraphy, Printing, & Illustration—and on the Book Beautiful as a whole.

CALLIGRAPHY

HANDWRITING and hand decoration of letter & page are at the root of the Book Beautiful, are at the root of Typography & of woodcut or engraved Decoration, & every printer, & indeed every one having to do with the making of books should ground himself in the practice or knowledge of the Art of Beautiful Writing or Calligraphy, and let both hand and soul luxuriate and rejoice for a while in the art of Illumination. Such practice would keep Type alive under the influence of an ever living & fluent prototype. It would supply a stock of exemplars & suggestions from which the Typographer might cautiously borrow, converting into his own rigid stock such of the new beautiful growths of Calligraphy as commended themselves to him for the purpose.

¶ In the making of the Written Book, moreover, in which various modes of presentment are combined, symbolical and pictorial, the adjustment of letter to letter, of word to word, of picture to text & of text to picture, and of the whole to the subject matter & to the page, admits of great nicety and perfection. The type is fluid, and the letters and words, picture, text, & page are conceived of as one and are all executed by one hand, or by several hands all working together without intermediation on one identical page and with a view to one identical effect. In the Printed Book this adjustment is more difficult. The type is rigid and implacable. The labour is divided and dispersed: the picture or illustration, for example, is too often done quite independently & at a distance, without thought of the printed page, & inserted, a stranger, amid an alien type. Yet in the making of the printed book, as in the making of the written book, this adjustment is essential, & should be specially borne in mind, and Calligraphy and immediate decoration by hand and the unity which should be inseparably associated therewith would serve as an admirable discipline to that end.

¶ Perhaps the most interesting things to note historically in this connexion are (1) that all Calligraphy in Italy, Spain, France, Germany & England would seem to be a development, with many subdivisions, of Roman Calligraphy, itself a development of Greek, and that the beautiful formation of the letters and their orderly placement in sequence upon the rectangular page are but modes of that general delight in the making of order and beauty which is the note of unity throughout all the arts: and (2) that in Calligraphy, as in all the arts, a beauty of decoration once started on its way, proceeds to throw off the conditions of its birth and where it was meant to be only a minister to make itself master. The stages in this usurpation in the case of Calligraphy are singularly well marked & apparent. At the outset, Calligraphy was uniform writing only, a succession of SQUARE CAPITALS all of equal value. Then came the enlargement of the sphere of action, so to speak, of letters in prominent positions, of initial letters & their decorative treatment: then, in consequence of this very enlargement, a further enlargement or emphasis which ended in ceasing to be adjective decoration & becoming a substantive beauty, as of a picture, framed by the adjacent illumination & writing, but superior to them as the flower to the leaf. Each of these stages has a beauty of its own, and each in its turn constitutes a Book in some sense a Beautiful Book. But in the passage from the image created in the mind by abstract symbolism to the image expressed on the page by verisimilitude, the book itself underwent a change & became in the process, not a vehicle for the conveyance of an image, but itself the image, to be appreciated not so much by the imagination, the inner eye, as directly by the outer eye, the sense of sight itself; just as on the stage the scenery created at first imaginatively by the spectators, in obedience to the influence of the actor, is now presented externally by the scene painter & costumier in simulated reality. I apprehend that when the illuminator, passing on from the decoration of significant or initial letters, took to the making of pictures in this fashion within the folds of them, he was pressing his art too far. He was in danger, as the event showed, of subordinating his Text to himself, of sacrificing the thing signified to the mode of its signification, for in the end the written communication became as it were nothing, or but the framework or apology to support a succession of beautiful pictures, beautiful indeed, but beautiful at the expense of the Text which they had set out to magnify.

¶ And we may in this connexion safely moralize & say that when many arts combine, or propose to combine, to the making of one thing, as the process continues, & the several arts develop, each will attempt to assert itself to the destruction of the one thing needful, to the making of which they at first all combined in a common subordination. Thus in our own case the illuminator destroyed by over relative development the purely written text, & the moral is that every artist, in contributing to the Book Beautiful, must keep himself well in hand and strictly subordinate both his art and his ambition to the end in view. He must remember that in such a case his art is a means only & not itself an end.

¶ It is worthy of remark that the Church fought against the idolatry of its Scribes, & sought to curtail the too exuberant beauty of their illuminators, & a similar attempt was made to keep down the idolatry of the Binder. The Church has perhaps lost all pretension even to influence in this respect. But artists should not need the guidance of anything outside themselves as artists. They should, as artists, realise that the world of art is a commonweal, and that the most beautiful art is a composite work, higher than the art of each, and that the art of each is contributory, only to be exercised in due subordination to the ideal which is the creation of all.

TYPOGRAPHY

THE PASSAGE from the Written Book to the Printed Book was sudden & complete. Nor is it wonderful that the earliest productions of the printing press are the most beautiful & that the history of its subsequent career is but the history of its decadence. The Printer carried on into Type the tradition of the Calligrapher & of the Calligrapher at his best. As this tradition died out in the distance, the craft of the Printer declined. It is the function of the Calligrapher to revive & restore the craft of the Printer to its original purity of intention & accomplishment. The Printer must at the same time be a Calligrapher, or in touch with him, & there must be in association with the Printing Press a Scriptorium where beautiful writing may be practised and the art of letter-designing kept alive. And there is this further evidence of the dependence of printing upon writing: the great revival in printing which is taking place under our own eyes, is the work of a Printer who before he was a Printer was a Calligrapher & an Illuminator, WILLIAM MORRIS.

¶ The whole duty of Typography, as of Calligraphy, is to communicate to the imagination, without loss by the way, the thought or image intended to be communicated by the Author. And the whole duty of beautiful typography is not to substitute for the beauty or interest of the thing thought and intended to be conveyed by the symbol, a beauty or interest of its own, but, on the one hand, to win access for that communication by the clearness & beauty of the vehicle, and on the other hand, to take advantage of every pause or stage in that communication to interpose some characteristic & restful beauty in its own art. We thus have a reason for the clearness and beauty of the text as a whole, for the especial beauty of the first or introductory page and of the title, and for the especial beauty of the headings of chapters, capital or initial letters, & so on, and an opening for the illustrator as we shall see by and by.

¶ Further, in the case of Poetry, verse, in my opinion, appeals by its form to the eye, as well as to the ear, & should be placed on the page so that its structure may be taken in at a glance and distinctively appreciated, and anything which interferes with this swiftness of apprehension and appreciation, however beautiful in itself, is in relation to the book as a whole a typographical impertinence.

ILLUSTRATION

ILLUSTRATION, the other expressive constituent of the Book Beautiful, is a part of the whole subject matter, in process of symbolical communication, picked out, isolated, & presented pictorially. Besides its relation in the field of the imagination to the rest of the subject matter, the thought of the book, it has a relation & a most important relation, in the field of the senses, to the vehicle of communication, the immediate typographical environment, amid which it appears. And here comes in the question, which has sometimes been confused with the question of relationship, the question of the mode in which the pictorial illustration may be produced & transferred to the page, by woodcut, by steel or copper engraving, or by process. But this seems to me to be an entirely subordinate though important question. The main question is the aspect which the illustration shall be made to take in order to fit it into and amid a page of Typography. And I submit that its aspect must be essentially formal and of the same texture, so to speak, as the letterpress. It should have a set frame or margin to itself, demarcating it distinctly from the text, and the shape & character of the frame, if decorative, should have relation to the page as well as to the illustrative content; and the illustrative content itself should be formal and kept under so as literally to illustrate, and not to dim by over brilliancy the rest of the subject matter left to be communicated to the imagination by the letterpress alone.

THE BOOK BEAUTIFUL AS A WHOLE

FINALLY, if the Book Beautiful may be beautiful by virtue of its writing or printing or illustration, it may also be beautiful, be even more beautiful, by the union of all to the production of one composite whole, the consummate Book Beautiful. Here the idea to be communicated by the book comes first, as the thing of supreme importance. Then comes in attendance upon it, striving for the love of the idea to be itself beautiful, the written or printed page, the decorated or decorative letters, the pictures, set amid the text, and finally the binding, holding the whole in its strong grip and for very love again itself becoming beautiful because in company with the idea.

This is the supreme Book Beautiful or Ideal Book, a dream, a symbol of the infinitely beautiful in which all things of beauty rest and into which all things of beauty do ultimately merge.

¶ The Book Beautiful, then, should be conceived of as a whole, & the self-assertion of any Art beyond the limits imposed by the conditions of its creation should be looked upon as an Act of Treason. The proper duty of each Art within such limits is to co-operate with all the other arts, similarly employed, in the production of something which is distinctly Not-Itself. The wholeness, symmetry, harmony, beauty without stress or strain, of the Book Beautiful, would then be one in principle with the wholeness, symmetry, harmony, and beauty without stress or strain, of that WHOLE OF LIFE WHICH IS CONSTITUTED OF OURSELVES & THE WORLD, THAT COMPLEX AND MARVELLOUS WHOLE WHICH, AMID THE STRIFE OF COMPETITIVE FORCES, SUPREMELY HOLDS ITS OWN, AND IN THE LANGUAGE OF LIFE WRITES, UPON THE ILLUMINED PAGES OF THE DAYS, THE VOLUMES OF THE CENTURIES, & THROUGH THE INFINITUDES OF TIME & SPACE MOVES RHYTHMICALLY ONWARD TO THE FULL DEVELOPMENT OF ITS ASTONISHING STORY THE TRUE ARCHETYPE OF ALL BOOKS BEAUTIFUL OR SUBLIME.

This Tract, written by T. J. Cobden-Sanderson, was printed by him & Emery Walker at The Doves Press and finished Oct. 19, 1900. Compositor J. H. Mason. Pressman H. Gage-Cole. Sold at The Doves Press.

*** END OF THE PROJECT GUTENBERG EBOOK THE IDEAL BOOK OR BOOK BEAUTIFUL ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- THE IDEAL BOOK OR BOOK BEAUTIFUL A TRACT ON CALLIGRAPHY PRINTING AND ILLUSTRATION & ON THE BOOK BEAUTIFUL AS A WHOLE

- CALLIGRAPHY
- TYPOGRAPHY
- ILLUSTRATION
- THE BOOK BEAUTIFUL AS A WHOLE
- THE FULL PROJECT GUTENBERG LICENSE