This leads to the subject of motive or reason in ornamentation. The styles of typography may be generally divided into two classes, one dominated by Roman or Italian influence and the other by Gothic or German influence. During the Middle Ages the Gothic influence was felt chiefly because the pointed style of architecture and embellishment was sanctioned by the Christian church. As art was practically dead outside the church, the art-workers absorbed the Gothic style.
Ornamentation as used by the Romans on an entablature and a Corinthian pillar, showing egg-and-dart, bead, and acanthus ornaments ]
When typography was invented Gutenberg’s first book was based upon the Gothic style—the type-face a pointed black letter, such as was then used on manuscript books, and the ornamentation pointed foliage (done by hand). It was some years after this that typography came under the influence of the Italian Renaissance, and both type-faces and decoration assumed the Roman style. In the old days there was sympathy between the various arts and crafts, and it worked for harmony in effects. Building-decoration, metal-carving and wood-engraving were governed by the same artistic motive, and were often done by the same man, much as the printer at one time was compositor, pressman, binder, typefounder, ink-maker and paper-maker, all in one. Now, many a piece of printing goes wrong because the ideas of several people, inharmonious from lack of relation, are injected into the work during the several stages necessary for its production.
The relation of typography to architecture is plainly shown in the formation of the Roman and Gothic alphabets. The letters of the Roman alphabet, dignified in their straight strokes and symmetrical in their rounded lines, suggest features of Roman architecture (Example 106; also see Example 43 of a previous article). In the interesting picturesqueness of the pointed black Gothic letter may be seen reflections of the graceful arches of the cathedral pointing upward like hands in prayer—and of the pointed leaf ornamentation of the Gothic period. (Example 107.)
Dainty, elaborate rococo ornament, as applied to a program title-page. Compare with the chair, Example 97 ]