Stanford White pp 242-248 | Cite as

Magazine and Book Covers

  • Charles C. Baldwin


Today, in the book and magazine trades, the cry is for attention. Sales quotas—not beauty—supply the measure of success. From every bookstall, on dust wrappers and magazine covers, pretty girls and desperate men, gangsters and bathing beauties, flaunt their smiles, their arms and legs and torsos. There are, of course, exceptions. Typography and paper, advertising and illustrations have improved; but with the mob in the saddle they count for little. In the nineties it was the mob that did not count. The artist was just then coming into his own, and he demanded—if the search was to be for beauty—the right to lead. Let us agree that the search proved futile. Still it was made. Old chests were rubbed, old manuscripts were studied, old lace was copied. Somewhere, they said—perhaps in the opium dens of Nanking or the tombs of the pharaohs, in the ruins of Troy or the boudoirs of Versailles —somewhere, some day, men will come upon the parent pattern, the perfect design from which all beauty stems. But ... no—the search proved futile. Yet it still goes on. It has lost something of its excitement. It has lost, for one thing, the enthusiastic support of White. It has gained decorum and order. It has become a business.


Regular Designer Parent Pattern Book Cover Perfect Design Magazine Trade 
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  1. 1.
    George Fletcher Babb was another.Google Scholar
  2. 2.
    The cover of the present volume was re-drawn from the cover designed by White for a de luxe edition of She Stoops to Conquer, illustrated by Edwin A. Abbey, and published by Harper Brothers. White’s bookplate, one of the very few bookplates he designed, is used on the end papers.Google Scholar

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© Charles C. Baldwin 1931

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  • Charles C. Baldwin

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