Two Hundred Old-Time Songs. This volume contains the words and music of choicest gems of the old and familiar songs we used to sing when we were young. It has been arranged with great care, and we have no hesitation in saying that it is the best book of the kind published. This book of 176 pages, containing the words and music of 200 songs, will be sent by mail, postpaid, upon receipt of price. Paper cover, 25 cents; cloth, 75 cents. Any of the books advertised on this page will be sent to any address by mail, postpaid, on receipt of price. Postage stamps taken the same as cash; one-cent stamps preferred. Address all orders to J. S. OGILVIE PUBLISHING COMPANY, 37 Rose Street, New Send to us for Catalogue of Useful and Popular Books. Mailed free to any address. WEST SIDE CONNECTIONS WITH THE THIRD AVENUE (SURFACE) RAILROAD SYSTEM. STATIONS. Franklin St.. SURFACE RAILROAD SYSTEMS. Fare, Including Transfer, 8 Cents. .......... Grand St.... 42d St........ 53d St... 66th St.......... 125th St.... 135th St..... 155th S Cortlandt St. Desbrosses St... 42d St 66th St 125th St...... 135th St. 155th St..... SIXTH AVENUE LINE. West to Franklin, Desbrosses, Chambers, Barclay and Cortlandt St. East to Grand St., E. R. West to Desbrosses, Franklin, Barclay, Chambers and Cortlandt St. East to Grand, 10th and 23d St. Ferries, E. R. West to West Shore Ferry, N. R., and West to Broadway. North to Fort Lee Ferry and via Amsterdam Ave. to Fort George. North to Broadway and Fort Lee Ferry, N. R., and Amsterdam Ave. (South on Broadway line to 42d St., connecting East and North Rivers. f Broadway line to Fort Lee, N. R., and Amsterdam Ave, to Fort George. South, Broadway line to 42d St., E. R., and 34th St., E. R. (L. I. R. R.). West to Fort Lee Ferry, N. R., North to Fort George. East to 125th St. and 3d Ave. and E. R., and via St. Nicholas Ave. to 110th St., 3d Ave. and E. R. East to 138th St. and 3d Ave. and Bronx District. f East to 161st St. and 177th St., 3d Ave. and Bronx District. NINTH AVENUE LINE. West to Pennsylvania and Jersey Central Ferries, N. R. West to Franklin and Desbrosses St. Ferries, N. R. East to Grand St. Ferry, E. R. (West to Desbrosses St. Ferry, N. R. East to Grand, 10th and 23d St. Ferries, E, R. [West to West Shore Ferry, N. R. North, 10th and Amsterdam Ave. to Fort George and Broadway line to Fort Lee Ferry, N. R. East to 42d St., E. R., and 34th St., E. R. (L. I. R. R.). North, Broadway line to Fort Lee Ferry, N. R., and Amsterdam Ave. South, Broadway line to 42d St., E. R., and 34th St., E. R. (L. I. R. R.). East to 125th St. and 3d Ave. and E. R., and via St. Nicholas Ave. to .East to 138th St. and 3d Ave. and Bronx District. East to 161st St. and 177th St., 3d Ave. and the Bronx District. SECOND AVENUE LINE. Chatham Square J'e't...East to Grand, 10th and 23d St. Ferries, E. R. Canal St...... Grand St.. 14th St... 421 St.... West to Desbrosses, Franklin, Chambers, Barclay and Cortlandt St. East to Grand St. Ferry, E. R. West to Desbrosses, Franklin, Chambers, Barclay and Cortlandt St. East to Grand, 10th and 23d St. Ferries, E. R. East to 14th St., E. R., and 10th and Grand St. Ferries, E. R. East to E. R. and 34th St. (L. I. R. R.) Ferry. West to West Shore Ferry, N. R. East via 110th St. to E. R. and West via 110th St. and St. Nicholas Ave. to Fort Lee Ferry, N. R. THIRD AVENUE LINE. Chatham Square J'c't...East to Grand, 10th and 23d St. Ferries, E. R. West to Desbrosses, Franklin, Chambers, Barclay and Cortlandt St. East to Grand St. Ferry, E. R. (West to West Shore Ferry, N. R. East to 42d St.. E. R., and 34th St. (L. I. R. R.) Ferry. Via 110th St., St. Nicholas Ave. to Fort Lee Ferry, N. R., East to 110th West to Fort Lee Ferry and Fort George and East to E. R. East to Unionport and Bronx District. West to 135th St. and 8th Ave. and East to Port Morris and Bronx (East to Southern Boulevard and Bronx District. East to Unionport, Westchester and Bronx District. West to Jerome Ave., East to Unionport, Westchester and Bronx North to Bedford Park, Williamsbridge, Mt. Vernon, etc. some Roman letter, used in Venice in the Fifteenth Century, reached in the highest degree the necessary qualities of legibility and purity of line, and that the Twentieth Century can do no better than borrow its beauties for to-day's readers. N none of the arts is the advance of the beautiful more pronounced than in that of the art preservative of arts. And it is by a return to the past, idealizing the typography of the Fifteenth Century, that the highest form of the beautiful has been From the inception of printing from attained. Within ten years the greatest movable types, the masters who have changes for the better have been made. handed down the honorable calling have William Morris, of the noted Kelmscott taken pride in their work like all true artPress, is quoted as saying in 1890 that no ists. Pierre-Simon Fournier, in his Mangood book printing had been done since uel Typographique, wrote: the middle of the Sixteenth Century, and that the degradation of the art had been largely due to mean types. He urged the use of better types, a tolerance of quaintness, and the revival of medieval methods. The adverse criticism of 1890 does not hold good now. A revolution has taken place in ten years from the over-ornate to the attractive and restful in typography. America has not been behind in this regard. The Jenson type is, perhaps, the best-known illustration. Between Nicholas Jenson and the American Type Founders' Company stretch nearly 450 years. It was in 1458 that Jenson, an engraver of the Paris mint, was sent to Mainz by Charles VII., King of France, to learn the new art of printing. He studied for three years, and returned to Paris. In 1471 Jenson printed four books in Venice. He remained in that romantic city to the end of his life, in 1481. It is said that he was not the first printer to make Roman types, but that be made them better than did his rivals. In honor of this old typemaker the Jenson type of to-day is named. Like the French pioneer of the craft, the American type founders excel in their time in making the best faced type. On reflection, however, it seems strange that this hand 66 Type-founding is not like other arts, in which imperfect workmanship may find a use proportionate to its relative value. Printing should tolerate nothing that is bad, nor even that which is mediocre, Since it costs as much to found and print bad types as it does to found and print perfect ones." It is safe to say that the time will never come when the handicraft of the typefounder will be a lost art. The demand for the artistic in type, as well as in the other finer fancies of the age, is growing, and is being met by "the founders," by which appellation the printers of the entire country designate the American Type Founders' Company, embracing the bestknown and oldest established concerns of a dozen cities. This Company is the originator of all the leading type designs, and has unequalled facilities for supplying everything required in printing offices. It has lately which cover the widest range in type faces issued very attractive specimen books, in both plain and original designs. Among the new faces are the Jenson Condensed, the Abbott, the Tiffany Text, Engravers' Italic, and Arlington Italic. Additional specimen sheets are constantly being issued from the office, corner of Rose and Duane streets, New York City, showing the new faces as soon as they are brought out for the public verdict. |