k on a Blackletter face. His first fount, cut for Mr. D. B. Updike, of
the Merrymount Press, Boston, and known as the "Merrymount," is shown in
64. Intended for large pages and rough paper it necessarily shows to
disadvantage in the example given, where the blackness and weight of the
letters makes them seem clumsy, despite the refinement of their forms.

[Illustration: 66. MODERN GREEK TYPE. SELWYN IMAGE]

[Illustration: 67. MODERN ROMAN TYPE. C. R. ASHBEE]

The "Cheltenham Old Style," 65, is the other Roman face recently designed
by the same artist. It was cut for the Cheltenham Press of New York City;
and embodies in its present form many ideas suggested by Mr. Ingalls
Kimball of that press. Observe especially the excess in length of the
ascenders over the descenders, and that the serifs have been reduced to the
minimum. Contrary to the usual custom in type cutting, the round letters do
not run above or below the guide lines. The capitals compose excellently;
but the small letters are too closely spaced and seem too square for the
best effect, and weight has been obtained by so thickening the lines that
much delicacy and variety has been lost. [72] The "Cheltenham Old Style"
is, however, very legible when composed into words, and is effective on the
page.

Any attempt to get the effect of Blackletter with the Roman form is likely
to result clumsily. The celebrated Roman faces designed by William Morris
(too familiar to require reproduction here) are, despite their real beauty,
over-black on the page, and awkward when examined in detail. While the
stimulus Morris's work gave to typography was much needed at that time, the
present reaction toward more refined faces is most gratifying. By precept
and example Mr. Morris produced a salutary revolt against the too thin and
light and mechanical type faces before in use, but he went too far in the
opposite direction, and we are now certainly falling back upon a more
desirable mean.

Mr. Herbert P. Horne is at present designing a new fount of type for the
Merrymount Press, Boston, to be [73] known as the "Mont' Allegro," which
seems, from the designs so far as at present completed, likely to prove in
some respects the most scholarly and severe of modern faces.

The Greek type designed for the Macmillan Company of England, by Mr. Selwyn
Image, 66, is of sufficient interest to be shown here, despite the fact
that it is not strictly germane to our subject. In this face Mr. I