To initiate a movement, combining as it does artistic and practical knowledge, a passionate idealist is required. Such an idealist is Waldemar Zachrisson, a printer of Gothenburg (born 1861). He studied in Sweden and at the best printing firms in Hamburg, Leipzig, Vienna, Berlin, and St. Petersburg, and developed his taste by constant study of the masterpieces of great times and the new English and American fine printing practised by Morris and De Vinne. As soon as he had secured his own great business he began to work for the raising of the whole trade. He founded a union of experts, "Allmänna Svenska Boktrycka-reföreningen" (Swedish Printers' Society), which worked for the establishment of the Museum of Industrial Art in Stockholm and the Technical School for Industrial Art in Gothenburg. In a number of ways, through artistic advertisements and articles in the trade papers, he tried to prepare the ground for a higher standard in the printing-trade generally, and his distinct practical outlook made his efforts eminently successful.
Lately in Sweden the common feature in the aims for developing the art of the book has been the accentuation of the national character. The difficulties have here been considerable. As yet we do not possess a fount designed by a Swedish artist, but the types we have are founded on an old predilection for the Roman type. Already in 1550 the Roman type had been introduced into Sweden. During the seventeenth and eighteenth centuries Swedish taste was concentrated upon Dutch and French models. The Roman type which is now used in Sweden, and which is cut in Hamburg, suggests Caslon's somewhat modernized type. It is called "Mediæval-Roman," and has many advantages, is easy to read, and has an unassuming simplicity. The light tone may perhaps sometimes seem monotonously grey. English readers will certainly find its resemblance to the English type, but will also easily discover the differences.
It is characteristic of Swedish printing that it appears to best advantage and is most personal in publications of an occasional character intended for a select public. The rest of the productions are on a considerably lower level. To English and French tastes our _belles lettres_ show an astonishing lack of typographical unity. There is a great variety in the size and makeup, and also various many-coloured paper covers, both of good and bad style, are used. However, an improvement has occurred in the last few years, a quieter taste has manifested itself. A good step forward is the excellent publication of Swedish classics issued by the "Svenska Vitterhetssamfundet" (the Swedish Literature Society), and printed at Albert Bonnier's works. Here a severe and pure style is combined with exquisite material, and great care is bestowed upon the typography. An undertaking like this would be a credit to any country. In equally good style is the Swedish edition of Olaus Magnus's "Historia de Gentibus Septentrionalibus," published by another society, the "Michaelisgillet" (the Michael Guild). It was written about 1550 by the last Catholic Archbishop of Sweden, who was one of the greatest travellers and most interesting writers of the Renaissance. The text is illustrated by old woodcuts, which had been carried out according to Olaus Magnus's own designs. Two volumes of this splendid work have been printed by Almqvist and Wiksell, Uppsala.