He was asked why he did not use types after the style of the lettering in some of his title-pages, but he said this would not be reasonable, as the lettering of the titles was specially designed to fit into the given spaces, and could not be used as movable type.
The initial letters are Gothic in feeling, and form agreeably bold quantities in black and white in relation to the close and rich matter of the type, which is still further relieved occasionally by floral sprays in bold open line upon the inner margins, while when woodcut pictures are used they were led up to by rich borderings.
The margins of the title and opening chapter which faced it are occupied by richly designed broad borders of floral arabesques upon black grounds, the lettering of the title forming an essential part of the ornamental effect, and often placed upon a mat or net of lighter, more open arabesque, in contrast to the heavy quantities of the solid border.
The Kelmscott Chaucer is the monumental work of Morris's Press, and the border designs, made specially for this volume, surpass in richness and sumptuousness all his others, and fitly frame the woodcuts after the designs of Sir Edward Burne-Jones.
The arabesque borders and initial letters of the Kelmscott books were all drawn by Morris himself, the engraving on wood was mostly done by Mr. W. H. Hooper—almost the only first-rate facsimile engraver on wood left—and a good artist and craftsman besides. Mr. Arthur Leverett engraved the designs to the "The Glittering Plain," which were my contribution to the Kelmscott Press, but I believe Mr. Hooper did all the other work, while Mr. Fairfax Murray and Mr. Catteson Smith drafted the Burne-Jones designs upon the wood.
It was not, perhaps, generally known, at least before the appearance of Miss May Morris's fine edition of her father's works, published by Messrs. Longman, that many years before the Kelmscott Press was thought of an illustrated edition of "The Earthly Paradise" was in contemplation, and not only were many designs made by Burne-Jones, but a set of them was actually engraved by Morris himself upon wood for the "Cupid and Psyche," though they were never issued to the public.
I have spoken of the movement in art represented by William Morris and his colleagues as really part of a great movement of protest—a crusade against the purely commercial, industrial, and material tendencies of the day.
This protest culminated with William Morris when he espoused the cause of Socialism.
Now some have tried to minimize the Socialism of William Morris, but it was, in the circumstances of his time, the logical and natural outcome of his ideas and opinions, and is in direct relation with his artistic theories and practice.
For a thorough understanding of the conditions of modern manufacture and industrial production, of the ordinary influences which govern the producers of marketable commodities, of wares offered in the name of art, of the condition of worker, and the pressure of competition, he was in a particularly advantageous position.