TWO PAGES FROM “POOR RICHARD’S ALMANACK”’
Printed by Benjamin Franklin in 1732
The title-page of the “Compleat Ambassador,” showing the actual size of the original, is constructed in a severely plain manner, a style known as the “long and short line,” with catchwords.
The “Midsommer Nights Dreame” title-page is one of the most artistic of Colonial pages, printed when Shakespeare was in the midst of his famous literary labors (1600). To get contrast the compositor alternated lines of roman with lines of italic. The spacing material could not have been accurate, and two capital V’s were used for a W, as in the Daye title-page.
The “Paradise Lost” title-page is a poor specimen of composition and presswork. It was common in Colonial days to surround the type-page with a double rule border, and in this specimen the rules are bent and battered. Printed in 1667, it is a part of the first edition of Milton’s famous book.
The London Times heading is interesting, representing as it does the first number, under the new name, of a newspaper which has since become world-famous. The heading mentions that the Times was printed “logographically.” Logotypes (two or three letters cast together) were being experimented with to facilitate type composition, but did not prove successful.
ITALIAN SPECIMEN OF 1776
Showing use of decoration
The printers “At the Peacock in the Poultrey near Cornhil” surely were good workmen. The “Pilgrim’s Progress” title-page is a finished bit of printing.
The custom of using decorative border units to make printed books attractive was seemingly practiced thruout Europe. The Italian page of 1776 is an example of this, as is also the French specimen of 1742.