page 53

Design in Typography.
Allegorical Vignettes.

Some of the miscellaneous Vignette combinations, though as a rule containing trivial and practically useless sorts, may often be used with good effect. In the full-page advertisement of Berndt & Co., in the present number, some of them may be found. The birds, all on 2-line pica body, belong to three separate series — one English and two American. Ornaments of this kind, judiciously used, prevent any appearance of stiffness, and come in well to occupy otherwise vacant spaces. They do not necessarily have any reference to the subject of the work which they adorn.

This is not the case with what are known as « Allegorical » Vignettes, representing usually such general subjects as science, art, wisdom, justice, or specific arts and sciences such as literature, music, sculpture, or painting. The earliest of these series with which we are acquainted is found—in part, at all events—in the old Caslon & Livermore specimen-book (about 1830) to which we have already referred. It occupies a page in the Caslon book of 1857, and appears to have since dropped out. We intended to have illustrated this early series; and had sent for a fount chiefly for this purpose, but owing to its having no specific title or number, the founders did not succeed in identifying it. It contains 35 characters, from one em to about seven ems pica. It is very miscellaneous in character, containing three religious emblems, besides amorets, sphinxes, cockatrices, a gorgon's head, an Egyptian mummy, &c. Four of the pieces are cupid medallions, representing architecture, sculpture, painting, and music, and four very small ovals are devoted to the same arts. Two pieces, about great primer size, represent respectively an hour-glass and a death's-head with cross-bones. In the older specimen-book there is a border of these two pieces alternated, which has a peculiarly grim effect. In several respects this old series anticipated the more highly-finished modern designs.

Another old series (of French origin?), to emerald bodies, is to be found, with slight variations, in Figgins's and MacKellar's specimens.

It contains 35 characters, consisting entirely of ecclesiastical emblems and architectural pieces. By itself it is of very little use, requiring a variety of emerald « flowers » to form the foundation and border of the designs.

In the more recent productions of this kind, Schelter & Giesecke are pre-eminent. Their large combinations, such as the « Grecian » and the « Acanthea, » contain numerous emblematical pieces; but their special series is the one numbered 59b and 59c, corresponding with their combination border 59. Series 59b, containing 24 characters, relates to art, science, and commerce. Three large pieces, two of which we shew, represent music, the drama, and science; five oblong vignettes are devoted to architecture, science, poetry, painting, and sculpture; four circular panels represent banquetting, dancing, industry, and trade; and the series is completed by twelve smaller medallions (five of which we illustrate), emblematical of the same subjects. This series appeared in 1880, and came into immediate and deserved popularity. It was followed in 1884 by series 59c, containing 15 characters. With the exception of a freemasonry emblem, and figures representing Justice and Wisdom, they are all intended for ecclesiastical jobs, and are unsuited for secular work.

These pieces are designed to correspond with the combination No. 59, with which they may be very effectively combined, as shewn in the central ornament above, and in the title-page of our first volume. Among still later series we may note the medallion combination, also by Schelter & Giesecke, shewn in our supplement last month.

There are several other series of the kind, in the form of corners, by Caslon of London, Reed of London, Conner of New York, &c. Caslon's « Classic » corners are well known, and in the last number of his Circular are 12 sets of new emblematic corners, already noted in these pages. A practical instance of these ornaments in use may be seen in the title to our first volume, in which may be found centre vignettes by Schelter & Giesecke, and corner ornaments by Reed.