1 00:00:15,410 --> 00:00:26,290 Speaker 1: Pushkin, November nineteen sixteen. The world has gone mad. Over 2 00:00:26,370 --> 00:00:29,850 Speaker 1: in northern France, the Battle of the Somme has been raging. 3 00:00:34,090 --> 00:00:37,770 Speaker 1: But here in West London, an old man has been 4 00:00:37,770 --> 00:00:42,530 Speaker 1: making his own crazy plans. If I am foolish, well 5 00:00:42,610 --> 00:00:46,050 Speaker 1: what can be more foolish than the whole world? He 6 00:00:46,130 --> 00:00:49,850 Speaker 1: writes in his journal. My folly is of a light kind. 7 00:00:51,410 --> 00:00:54,010 Speaker 1: It's true that what he's doing isn't as bad as 8 00:00:54,130 --> 00:00:57,930 Speaker 1: trench warfare, but that is the lowest of low bars. 9 00:00:59,330 --> 00:01:02,490 Speaker 1: Here he is now limping through the fog and the 10 00:01:02,610 --> 00:01:06,690 Speaker 1: darkness along the north bank of the River Thames, struggling 11 00:01:06,770 --> 00:01:09,890 Speaker 1: with the weight of the wooden box he's carrying. Look 12 00:01:09,930 --> 00:01:14,130 Speaker 1: at him. He's nervous, looking around, terrified that he might 13 00:01:14,210 --> 00:01:17,090 Speaker 1: be stopped by a policeman, that they might ask him 14 00:01:17,130 --> 00:01:20,770 Speaker 1: about his heavy burden. There are plenty of police around, 15 00:01:21,450 --> 00:01:25,890 Speaker 1: after all, there's a war on. Imagine if he was caught, 16 00:01:26,730 --> 00:01:31,810 Speaker 1: he'd imagined it himself many times. The police, the public, 17 00:01:32,090 --> 00:01:35,370 Speaker 1: the newspapers. What a weird business it is, but set 18 00:01:35,410 --> 00:01:38,730 Speaker 1: with perils and panics. I have to see that no 19 00:01:38,810 --> 00:01:43,450 Speaker 1: one is near or looking. Yes, don't look too closely, 20 00:01:43,810 --> 00:01:47,250 Speaker 1: or he'll get nervous, keep your distance, take your time. 21 00:01:48,330 --> 00:01:53,610 Speaker 1: There he goes down the riverside walk towards Hammersmith Bridge, 22 00:01:53,770 --> 00:01:58,450 Speaker 1: that elegant late Victorian suspension bridge across the river. Watch 23 00:01:58,570 --> 00:02:03,130 Speaker 1: him heave that box up onto the railings. What's he doing? 24 00:02:05,130 --> 00:02:08,770 Speaker 1: If you missed it, not to worry. He'll be back tomorrow, 25 00:02:09,610 --> 00:02:14,330 Speaker 1: maybe even later tonight. This is not a moment of madness. 26 00:02:15,010 --> 00:02:19,970 Speaker 1: It's a long term project. Hitherto I have escaped detection. 27 00:02:20,850 --> 00:02:24,490 Speaker 1: But in the vista of coming nights, I see innumerable 28 00:02:24,610 --> 00:02:27,890 Speaker 1: possibilities lurking in dark corners, and it will be a 29 00:02:27,930 --> 00:02:32,650 Speaker 1: miracle if I escape them all. If anyone figures out 30 00:02:32,730 --> 00:02:38,610 Speaker 1: what he's doing, it will ruin him. But what is 31 00:02:38,650 --> 00:02:44,410 Speaker 1: he doing? I'm Tim Harford and you're listening to cautionary tales. 32 00:03:09,810 --> 00:03:13,250 Speaker 1: To understand the old man and his folly, we need 33 00:03:13,250 --> 00:03:17,170 Speaker 1: to go back almost three decades further, to a lecture 34 00:03:17,330 --> 00:03:21,770 Speaker 1: given at the Arts and Crafts Exhibition Society in London 35 00:03:22,170 --> 00:03:27,010 Speaker 1: in November eighteen eighty eight. The Arts and Crafts Exhibition 36 00:03:27,130 --> 00:03:32,250 Speaker 1: Society was all about simple, beautiful design and above all 37 00:03:32,850 --> 00:03:37,610 Speaker 1: respectful of the skill of the artisan. In the audience 38 00:03:37,650 --> 00:03:40,250 Speaker 1: that evening were some of the greats of the Arts 39 00:03:40,250 --> 00:03:46,330 Speaker 1: and Crafts Movement. The lecturer was nervous. His name was 40 00:03:46,490 --> 00:03:51,010 Speaker 1: Emery Walker, and he wasn't used to public speaking, especially 41 00:03:51,050 --> 00:03:55,090 Speaker 1: not in front of such a distinguished crowd. But his friend, 42 00:03:55,330 --> 00:03:59,410 Speaker 1: Thomas Cobden Sanderson, the man who had given the Arts 43 00:03:59,450 --> 00:04:03,410 Speaker 1: and Crafts movement its name, had urged him to speak, 44 00:04:05,170 --> 00:04:12,370 Speaker 1: so Emory did. Thomas Cobden Sanderson and Emery Walker made 45 00:04:12,410 --> 00:04:17,010 Speaker 1: an unlikely couple of friends. Thomas Cobden Sanderson had gone 46 00:04:17,010 --> 00:04:20,970 Speaker 1: to Cambridge, trained to be a fancy lawyer, and married 47 00:04:21,090 --> 00:04:25,690 Speaker 1: an heiress. Emery Walker was working class, the son of 48 00:04:25,730 --> 00:04:28,850 Speaker 1: a coachmaker who dropped out of school at the age 49 00:04:28,890 --> 00:04:32,450 Speaker 1: of thirteen because his family needed him to get a job. 50 00:04:33,930 --> 00:04:39,050 Speaker 1: There's a wonderfully contrasting pair of portrait photographs of the two. 51 00:04:39,770 --> 00:04:44,370 Speaker 1: Walker has a hard wearing tweed three piece suit. It 52 00:04:44,370 --> 00:04:47,490 Speaker 1: looks as tough as barbed wire, and he looks like 53 00:04:47,570 --> 00:04:52,970 Speaker 1: he sleeps in it. His face, with bushy mustache, is carelined, 54 00:04:53,650 --> 00:04:58,010 Speaker 1: cheekbones prominent from under the brim of a black fedora. 55 00:04:58,570 --> 00:05:04,010 Speaker 1: His eyes stare almost haunted, and he's clutching a cat 56 00:05:04,530 --> 00:05:06,930 Speaker 1: like he's about to crush its rib cage with his 57 00:05:07,050 --> 00:05:13,250 Speaker 1: bare hands, and Thomas Copden Sanderson. He's wearing a big 58 00:05:13,290 --> 00:05:17,970 Speaker 1: white floppy beret so huge it looks like somebody accidentally 59 00:05:18,050 --> 00:05:21,930 Speaker 1: dropped the raw dove a pizza on his head. Instead 60 00:05:21,930 --> 00:05:23,890 Speaker 1: of a tie, he has a ribbon at his throat, 61 00:05:24,690 --> 00:05:28,930 Speaker 1: and he's wearing an artist's gown, like a preschooler heading 62 00:05:28,970 --> 00:05:32,690 Speaker 1: for the paint box, and a feat artist and a 63 00:05:32,770 --> 00:05:36,850 Speaker 1: hard man who's seen some hard times. That's how they 64 00:05:36,930 --> 00:05:43,650 Speaker 1: seem Emery Walker may not have gone to Cambridge, but 65 00:05:43,890 --> 00:05:48,330 Speaker 1: that evening at the Arts and Crafts Exhibition Society, he 66 00:05:48,410 --> 00:05:51,730 Speaker 1: knew what he was talking about. He'd made a career 67 00:05:51,850 --> 00:05:56,970 Speaker 1: in printing and photography, with a particular expertise in reproducing 68 00:05:57,130 --> 00:06:01,930 Speaker 1: images on the printed page. Despite his nerves, he was 69 00:06:02,130 --> 00:06:08,610 Speaker 1: rising to the occasion. Emory's talk was a magisterial history 70 00:06:08,770 --> 00:06:14,090 Speaker 1: of type design, printing and illustration from its very beginning 71 00:06:14,130 --> 00:06:18,970 Speaker 1: in the fourteen hundreds. In a darkened room, he projected 72 00:06:19,090 --> 00:06:24,610 Speaker 1: slides showing the printed page through the ages and highlighting 73 00:06:24,650 --> 00:06:28,770 Speaker 1: the way in which early printing existed alongside and in 74 00:06:28,850 --> 00:06:35,330 Speaker 1: harmony with manuscripts. Photographically enlarging the images, Emery was able 75 00:06:35,370 --> 00:06:40,170 Speaker 1: to show the exquisite craft of fifteenth century type designers 76 00:06:40,210 --> 00:06:43,970 Speaker 1: from Venice, the center of the new printing industry in 77 00:06:44,010 --> 00:06:51,210 Speaker 1: the fourteen seventies, Then Emory showed a sad decline. After 78 00:06:51,450 --> 00:06:55,170 Speaker 1: just a few decades, the quality of printing started to 79 00:06:55,290 --> 00:07:00,210 Speaker 1: fall apart. The printed page could be beautiful, but it 80 00:07:00,250 --> 00:07:05,210 Speaker 1: could also be cheap and mass produced, and printers increasingly 81 00:07:05,250 --> 00:07:10,970 Speaker 1: favored the cheap over the beautiful. Nobody had ever seen 82 00:07:11,130 --> 00:07:15,490 Speaker 1: such images projected in a lecture, and the content was 83 00:07:15,570 --> 00:07:20,410 Speaker 1: as important as the format. Emery Walker was telling the 84 00:07:20,410 --> 00:07:25,330 Speaker 1: great arts and crafts masters a story that echoed their 85 00:07:25,490 --> 00:07:31,210 Speaker 1: deepest convictions, a story about crude mass production crowding out 86 00:07:31,370 --> 00:07:36,490 Speaker 1: elegance and honest craft. With his enchanting slides and the 87 00:07:36,650 --> 00:07:43,650 Speaker 1: tragic tale they told, Emery Walker cast a spell. The 88 00:07:43,650 --> 00:07:47,810 Speaker 1: most prominent member of the audience fell under that enchantment. 89 00:07:48,890 --> 00:07:54,410 Speaker 1: He was William Morris, Oxford educated, wealthy, the creator of 90 00:07:54,610 --> 00:07:59,930 Speaker 1: gorgeous floral textiles and wallpapers that are the epitome of 91 00:08:00,170 --> 00:08:05,650 Speaker 1: arts and crafts. Inspired, William Morris himself decided to set 92 00:08:05,730 --> 00:08:09,290 Speaker 1: up a printing press, a printing press that would reclaim 93 00:08:09,370 --> 00:08:13,770 Speaker 1: the book itself as a work of art. Morris established 94 00:08:13,850 --> 00:08:18,170 Speaker 1: what became known as Kelmscott Press, and he did nothing 95 00:08:18,770 --> 00:08:26,410 Speaker 1: without first asking the advice of Emery Walker. Kelmscott Press 96 00:08:26,410 --> 00:08:31,130 Speaker 1: books were collector's items as soon as they were made. 97 00:08:31,290 --> 00:08:35,050 Speaker 1: One of Emory's contributions had been to help with the typeface, 98 00:08:35,490 --> 00:08:40,130 Speaker 1: based on a Venetian type. Emery photographed the Venetian Book 99 00:08:40,170 --> 00:08:44,250 Speaker 1: from the fourteen seventies, enlarging the letters so they could 100 00:08:44,370 --> 00:08:49,210 Speaker 1: form the basis for a beautiful, dense black type called 101 00:08:49,730 --> 00:08:56,010 Speaker 1: Golden type. It looked almost medieval, and it was undoubtedly beautiful. 102 00:08:57,210 --> 00:09:09,010 Speaker 1: But then William Morris died. What now? Thomas Cobden Sarder, 103 00:09:09,810 --> 00:09:13,370 Speaker 1: like William Morris, had fallen in love with the idea 104 00:09:13,490 --> 00:09:17,450 Speaker 1: of making beautiful books, but he had a different vision 105 00:09:17,530 --> 00:09:22,050 Speaker 1: for what a beautiful book could be. While Morris was 106 00:09:22,250 --> 00:09:27,170 Speaker 1: HARKing back to medieval manuscripts, Cobden Sanderson wanted something with 107 00:09:27,650 --> 00:09:31,770 Speaker 1: more space on the page, a simpler layout, and a 108 00:09:31,890 --> 00:09:35,690 Speaker 1: lighter typeface. He thought William Morris had made a mistake 109 00:09:35,810 --> 00:09:41,170 Speaker 1: in making a blacker, heavier version of Venetian type. Better 110 00:09:41,210 --> 00:09:45,730 Speaker 1: to get something finer, more like the original. As one 111 00:09:45,770 --> 00:09:50,050 Speaker 1: critic put it, William Morris's books were full of wine. 112 00:09:50,850 --> 00:09:56,330 Speaker 1: Early Venetian pages were full of light. Cobden Sanderson wanted 113 00:09:56,370 --> 00:10:01,250 Speaker 1: to make books that were full of light. Cobden Sanderson 114 00:10:01,450 --> 00:10:05,810 Speaker 1: shared his dreams with his journal I must, before I 115 00:10:05,930 --> 00:10:09,650 Speaker 1: die create the type for today of the book beautiful 116 00:10:09,890 --> 00:10:16,130 Speaker 1: and actualize it paper, ink, writing, printing, ornamant, and binding. 117 00:10:16,650 --> 00:10:20,130 Speaker 1: I will learn to write, to print, and to decorate. 118 00:10:21,650 --> 00:10:28,210 Speaker 1: An awe inspiring, daunting project, a project perhaps best undertaken 119 00:10:28,250 --> 00:10:34,050 Speaker 1: in company. And so Cobden Sanderson approached Emery Walker, the 120 00:10:34,170 --> 00:10:37,450 Speaker 1: man who he had inspired and who had inspired him 121 00:10:37,730 --> 00:10:43,050 Speaker 1: in turn. But Walker was more than a colleague, he 122 00:10:43,170 --> 00:10:48,330 Speaker 1: was a dear friend. Walker's family lived at three Hammersmith Terraces, 123 00:10:48,970 --> 00:10:54,210 Speaker 1: Cobden Sanderson's at seven Hammersmith Terraces. Their families became so 124 00:10:54,410 --> 00:10:57,610 Speaker 1: close that they rented a pair of summer cottages in 125 00:10:57,650 --> 00:11:00,530 Speaker 1: the country, so that when they went on summer holidays 126 00:11:01,050 --> 00:11:06,250 Speaker 1: they'd still be together. When one of his early experiments 127 00:11:06,330 --> 00:11:11,050 Speaker 1: went awrye with an element pre ninted upside down, Cobden 128 00:11:11,130 --> 00:11:15,090 Speaker 1: Sanderson gave it as a memento to Emery Walker, with 129 00:11:15,170 --> 00:11:21,650 Speaker 1: the inscription to a perfect friend an imperfect souvenir, and 130 00:11:21,690 --> 00:11:24,850 Speaker 1: the friends shared a political vision as well as an 131 00:11:24,930 --> 00:11:28,690 Speaker 1: esthetic one. They saw each other regularly, not only at 132 00:11:28,730 --> 00:11:32,850 Speaker 1: the Arts and Crafts Exhibition Society, but at the Hammersmith 133 00:11:33,010 --> 00:11:37,290 Speaker 1: Socialist Society. They believed in the dignity of honest work, 134 00:11:37,810 --> 00:11:42,490 Speaker 1: the fundamental quality of every person, on the importance of 135 00:11:42,730 --> 00:11:50,730 Speaker 1: sharing prosperity. Their perfect partnership would be called the Dove's Press. 136 00:11:51,490 --> 00:11:55,570 Speaker 1: It would produce some works of astonishing beauty and an 137 00:11:55,650 --> 00:12:02,890 Speaker 1: act of incredible ugliness. Cautionary tales will be back after 138 00:12:02,930 --> 00:12:24,770 Speaker 1: the break. What could be more fun than setting up 139 00:12:24,850 --> 00:12:31,050 Speaker 1: a new creative enterprise with your closest friend. Late in 140 00:12:31,210 --> 00:12:36,570 Speaker 1: October eighteen ninety nine, Cobden Sanderson was excitedly talking to 141 00:12:36,650 --> 00:12:41,410 Speaker 1: his journal again. Today, Mother and I have been tidying 142 00:12:41,490 --> 00:12:45,010 Speaker 1: upstairs in the attics, where in a few days we 143 00:12:45,090 --> 00:12:51,410 Speaker 1: hope to begin as printers. By mother, he didn't mean 144 00:12:51,770 --> 00:12:55,610 Speaker 1: his mother, He meant the mother of his children. Annie 145 00:12:55,730 --> 00:13:00,090 Speaker 1: Cobden Sanderson had been a huge influence on Thomas. She 146 00:13:00,170 --> 00:13:04,970 Speaker 1: gave him her family name Cobden, and her family inheritance, 147 00:13:05,130 --> 00:13:09,570 Speaker 1: which was a solid source of funds. Most importantly, she 148 00:13:09,890 --> 00:13:13,130 Speaker 1: urged him to quit being a lawyer and give himself 149 00:13:13,170 --> 00:13:19,930 Speaker 1: over to his real passion arts and crafts. Annie was 150 00:13:19,970 --> 00:13:22,930 Speaker 1: putting up all the money to pay for this new business. 151 00:13:23,650 --> 00:13:28,610 Speaker 1: Emery and Thomas were supplying well their expertise and enthusiasm. 152 00:13:29,370 --> 00:13:33,170 Speaker 1: Together the three of them would create the Dove's Press, 153 00:13:34,090 --> 00:13:37,530 Speaker 1: which we hope to make us famous as the Kelmscott Press. 154 00:13:38,050 --> 00:13:41,810 Speaker 1: Won't it be fun? A few days later he added, 155 00:13:42,490 --> 00:13:46,570 Speaker 1: soon mister Walker and myself, sitting on high stools, will 156 00:13:46,610 --> 00:13:51,170 Speaker 1: begin printing. Isn't that fun? Quite a new business. We 157 00:13:51,250 --> 00:13:54,490 Speaker 1: are wondering what great book we shall begin with. Perhaps 158 00:13:54,570 --> 00:13:59,810 Speaker 1: it will be the Bible. Oh to be in love. 159 00:14:00,570 --> 00:14:04,410 Speaker 1: Cobden Sanderson was in love, it seems, with Emery Walker 160 00:14:04,890 --> 00:14:10,010 Speaker 1: and the book Beautiful and the Doves Press. But the 161 00:14:10,050 --> 00:14:17,410 Speaker 1: first flush of love does not always last. The first 162 00:14:17,450 --> 00:14:21,930 Speaker 1: page of The Dove's Bible hits like a divine thunderclap 163 00:14:23,490 --> 00:14:28,890 Speaker 1: in the beginning fills the first line, big and red 164 00:14:28,970 --> 00:14:33,890 Speaker 1: and bold, all caps, like a tabloid newspaper headline decades 165 00:14:33,930 --> 00:14:38,610 Speaker 1: ahead of its time, even bolder. The eye of in 166 00:14:38,770 --> 00:14:43,410 Speaker 1: the beginning runs all the way down the page, alongside 167 00:14:43,490 --> 00:14:51,170 Speaker 1: the block of text, a strong red vertical line. Stunning, brave, 168 00:14:52,130 --> 00:14:56,210 Speaker 1: so beautiful. It is one of the most celebrated pages 169 00:14:56,610 --> 00:15:01,690 Speaker 1: in the history of printing. After the shock of that 170 00:15:01,890 --> 00:15:07,210 Speaker 1: bold red eye. The deeper beauty emerges from the typeface, 171 00:15:07,690 --> 00:15:13,890 Speaker 1: which was called simply Doves. Every Doves Press book was 172 00:15:13,930 --> 00:15:19,210 Speaker 1: set in the same font, Doves Type sixteen point. There 173 00:15:19,210 --> 00:15:23,610 Speaker 1: were no illustrations and only a few flourishes, such as 174 00:15:23,610 --> 00:15:28,970 Speaker 1: that read vertical. The first volume of the Doves Bible 175 00:15:29,250 --> 00:15:33,210 Speaker 1: was published in nineteen o three, but the effect is 176 00:15:33,490 --> 00:15:38,770 Speaker 1: shockingly clear and modern. Like the Venetian masterpieces before them, 177 00:15:39,090 --> 00:15:46,810 Speaker 1: Doves Press pages really were full of light. Doves Type 178 00:15:47,290 --> 00:15:52,290 Speaker 1: was a collective effort. Thomas Cobden Sandersen gave esthetic direction, 179 00:15:52,810 --> 00:15:56,570 Speaker 1: but Emery Walker had been the inspiration, as well as 180 00:15:56,650 --> 00:16:03,290 Speaker 1: overseeing production and photographically enlarging the work of the Venetian masters, who, 181 00:16:03,330 --> 00:16:07,650 Speaker 1: of course were themselves part of the collaboration. An employee 182 00:16:07,730 --> 00:16:12,130 Speaker 1: of Walker's actually drew the design, and a brilliant craftsman 183 00:16:12,250 --> 00:16:16,010 Speaker 1: cut the tiny type punches. And who paid for it 184 00:16:16,050 --> 00:16:21,970 Speaker 1: all Annie Cobden Sanderson. The result of this collective effort, 185 00:16:22,570 --> 00:16:26,450 Speaker 1: Doves is often said to be the most beautiful type 186 00:16:26,690 --> 00:16:32,090 Speaker 1: in the world. It's elegant, with clean lines and subtle seriphs, 187 00:16:32,730 --> 00:16:37,010 Speaker 1: and just the faintest suggestion of the human at work. 188 00:16:38,210 --> 00:16:42,490 Speaker 1: One writer described it as slightly rickety, as though somebody 189 00:16:42,490 --> 00:16:46,610 Speaker 1: had knocked into the compositor's plate and jiggled every letter 190 00:16:46,970 --> 00:16:57,250 Speaker 1: almost imperceptibly. It is unique. Nobody really knows why Emery 191 00:16:57,370 --> 00:17:01,970 Speaker 1: and Thomas fell out. A family friend later recalled of Walker, 192 00:17:02,730 --> 00:17:06,410 Speaker 1: he was the kindest and gentlest of men, and I 193 00:17:06,450 --> 00:17:08,770 Speaker 1: always found it hard to believe that he could have 194 00:17:08,770 --> 00:17:13,490 Speaker 1: had a with anyone. Perhaps the problem was that the 195 00:17:13,530 --> 00:17:19,530 Speaker 1: two men had different expectations. Emery Walker hadn't married into money. 196 00:17:19,930 --> 00:17:23,690 Speaker 1: He had other businesses to run. He knew printing. He 197 00:17:23,730 --> 00:17:27,050 Speaker 1: had sourced the machinery, found the right workers, dealt with 198 00:17:27,130 --> 00:17:31,210 Speaker 1: the practicalities of setting up Dove's press, but then he 199 00:17:31,330 --> 00:17:35,530 Speaker 1: trusted Thomas to handle the day to day printing. Thomas 200 00:17:35,530 --> 00:17:39,970 Speaker 1: Copden Sanderson may have joyfully imagined Emory at his elbow 201 00:17:40,210 --> 00:17:44,250 Speaker 1: as they sat together on high stools printing the book Beautiful. 202 00:17:45,050 --> 00:17:49,530 Speaker 1: Emery Walker had other things to do. Walker was a 203 00:17:49,570 --> 00:17:53,690 Speaker 1: professional printer. He thought it unnecessary to check every single sheet, 204 00:17:54,250 --> 00:17:58,650 Speaker 1: explains Robert Green, a type designer. Copdon Sanderson was not 205 00:17:58,690 --> 00:18:02,370 Speaker 1: a professional printer, but he was a perfectionist. This was 206 00:18:02,370 --> 00:18:06,930 Speaker 1: the problem between the two men. Cobdin Sanderson seems to 207 00:18:06,930 --> 00:18:12,010 Speaker 1: have resented Emery Walker's absence, but then again, when Walker 208 00:18:12,130 --> 00:18:18,650 Speaker 1: did offer an opinion, Cobden Sanderson was outraged. In nineteen 209 00:18:18,690 --> 00:18:23,130 Speaker 1: oh two, Cobden Sanderson set out his grievances in a 210 00:18:23,210 --> 00:18:27,370 Speaker 1: letter to Walker. You objected to the adoption of the 211 00:18:27,370 --> 00:18:31,850 Speaker 1: original edition of Paradise Lost for our edition. You objected 212 00:18:31,890 --> 00:18:34,850 Speaker 1: to the spelling, and you objected to the capitals in 213 00:18:34,890 --> 00:18:38,810 Speaker 1: the text, to my arranging of in the beginning, and 214 00:18:38,850 --> 00:18:42,250 Speaker 1: to the long initial eye, and said it will never do. 215 00:18:42,930 --> 00:18:45,290 Speaker 1: You objected to the position of the title of the 216 00:18:45,330 --> 00:18:48,170 Speaker 1: First Book of Genesis on the left hand page, and 217 00:18:48,210 --> 00:18:51,530 Speaker 1: said it was hateful. You objected to the table of contents, 218 00:18:52,090 --> 00:18:55,050 Speaker 1: and only the other day you objected to my arrangement 219 00:18:55,090 --> 00:19:00,090 Speaker 1: of Isaac's Address to his twelve Sons. He never sent 220 00:19:00,130 --> 00:19:07,490 Speaker 1: the letter. Instead, he sat simmering with frustration, but determined 221 00:19:07,490 --> 00:19:10,610 Speaker 1: to finish the work on the great Dove's Press books 222 00:19:10,690 --> 00:19:15,690 Speaker 1: they had begun together. The small team of printers and 223 00:19:15,770 --> 00:19:19,890 Speaker 1: typesetters at Dove's Press worked on nothing but the Bible 224 00:19:20,370 --> 00:19:26,370 Speaker 1: for three years. The result, said one critic, was dangerously 225 00:19:26,530 --> 00:19:34,490 Speaker 1: near to absolute perfection. While Dove's Press was winning plaudits 226 00:19:34,530 --> 00:19:39,090 Speaker 1: from the critics, it wasn't making money. The Bible project 227 00:19:39,290 --> 00:19:43,170 Speaker 1: was popular, all five hundred copies sold out in advance, 228 00:19:43,890 --> 00:19:47,530 Speaker 1: but there was a limited market for incredibly beautiful, yet 229 00:19:47,730 --> 00:19:52,970 Speaker 1: expensive books. The business only kept going because Annie was 230 00:19:53,050 --> 00:19:58,250 Speaker 1: subsidizing it from her inheritance, but that inheritance couldn't last, 231 00:19:58,610 --> 00:20:01,170 Speaker 1: and all three of them had reason to be frustrated. 232 00:20:01,810 --> 00:20:06,890 Speaker 1: Annie because she was effectively bankrolling Thomas's hobby, Thomas because 233 00:20:06,930 --> 00:20:10,650 Speaker 1: he was doing most of the work, and Emery because 234 00:20:10,650 --> 00:20:13,570 Speaker 1: he could see so much potential in the Dove's style 235 00:20:13,970 --> 00:20:17,250 Speaker 1: and the Dove's typeface, if only they could use it 236 00:20:17,370 --> 00:20:23,730 Speaker 1: for longer print runs of more affordable books. Four years 237 00:20:23,770 --> 00:20:28,850 Speaker 1: after his unsent rant, Thomas Cobden Sanderson finally wrote to 238 00:20:28,930 --> 00:20:35,490 Speaker 1: Emery Walker to explain that the relationship was over. My 239 00:20:35,610 --> 00:20:39,090 Speaker 1: dear Walker, Now that the Bible are a great work 240 00:20:39,210 --> 00:20:42,450 Speaker 1: is finished, and as moreover, the whole work of the 241 00:20:42,450 --> 00:20:45,650 Speaker 1: press does in fact fall upon me, I should like 242 00:20:45,690 --> 00:20:49,730 Speaker 1: to dissolve our partnership and to become solely responsible for 243 00:20:49,770 --> 00:20:53,490 Speaker 1: the press. It was agreed in the event of dissolution 244 00:20:54,170 --> 00:20:56,970 Speaker 1: you would be entitled to a fount of type for 245 00:20:57,050 --> 00:21:00,410 Speaker 1: your own use. This I would ask you to exchange 246 00:21:00,490 --> 00:21:03,570 Speaker 1: for some equivalent, because I do not think that either 247 00:21:03,610 --> 00:21:06,250 Speaker 1: of us would like to see two presses at work 248 00:21:06,730 --> 00:21:13,210 Speaker 1: with the type which has been hitherto unique. Ah. Yes, 249 00:21:14,410 --> 00:21:19,410 Speaker 1: that was a sticking point. Cobden Sanderson touched Dove's type 250 00:21:19,850 --> 00:21:23,650 Speaker 1: every day, obsessed over the perfection of the books he 251 00:21:23,730 --> 00:21:28,530 Speaker 1: was typesetting and printing, and hated the idea that Walker 252 00:21:28,650 --> 00:21:31,690 Speaker 1: might take the Dove's typeface and use it to make 253 00:21:31,730 --> 00:21:37,650 Speaker 1: something unworthy. He might print advertisements or use it for 254 00:21:37,850 --> 00:21:42,730 Speaker 1: product packaging. Who knew, in truth, Walker had done as 255 00:21:42,810 --> 00:21:46,170 Speaker 1: much as anyone to champion the book beautiful and as 256 00:21:46,250 --> 00:21:50,890 Speaker 1: much as anyone to create Dove's type. It seemed most 257 00:21:51,090 --> 00:21:54,730 Speaker 1: likely that he would use Dove's type to print elegant 258 00:21:54,770 --> 00:22:00,330 Speaker 1: but affordable books. There was no technical reason why both 259 00:22:00,450 --> 00:22:03,970 Speaker 1: men couldn't have a copy of the type, but Cobden 260 00:22:04,090 --> 00:22:07,890 Speaker 1: Sanderson couldn't bear the thought of Emery Walker using it, 261 00:22:08,370 --> 00:22:11,850 Speaker 1: and Emory Walker insisted that he had every right to 262 00:22:11,890 --> 00:22:16,370 Speaker 1: do so. Walker may have been the kindest and gentlest 263 00:22:16,410 --> 00:22:20,850 Speaker 1: of men, but he wasn't a pushover. If he didn't fight, 264 00:22:21,370 --> 00:22:23,970 Speaker 1: He wrote to a friend in nineteen oh nine. The 265 00:22:24,010 --> 00:22:27,130 Speaker 1: only alternative is to be a passive resistor and allow 266 00:22:27,210 --> 00:22:31,130 Speaker 1: him to despoil me, and that I don't like. A 267 00:22:31,170 --> 00:22:37,850 Speaker 1: few weeks later, he sued Copden Sanderson. Copden Sanderson shared 268 00:22:37,890 --> 00:22:41,890 Speaker 1: his reaction to that news with his journal. He wasn't 269 00:22:41,930 --> 00:22:46,650 Speaker 1: afraid of being fined or even imprisoned for nothing on 270 00:22:46,810 --> 00:22:50,330 Speaker 1: earth will now induce me to part with the type 271 00:22:50,610 --> 00:22:53,930 Speaker 1: I am what he does not appear to realize, a 272 00:22:54,050 --> 00:22:59,410 Speaker 1: visionary and a fanatic, And against a visionary and a fanatic, 273 00:22:59,890 --> 00:23:07,450 Speaker 1: he will beat himself in vain. Their mutual friends despaired 274 00:23:07,490 --> 00:23:11,450 Speaker 1: at the situation, but eventually one of them, Sidney Cockrell, 275 00:23:11,850 --> 00:23:17,250 Speaker 1: managed to broker a compromise. Thomas Cobden Sanderson was sixty 276 00:23:17,290 --> 00:23:21,610 Speaker 1: eight years old. Emery Walker was over a decade younger. 277 00:23:22,530 --> 00:23:26,490 Speaker 1: What if Cobden Sanderson had exclusive use of the doves 278 00:23:26,530 --> 00:23:30,370 Speaker 1: type until he died, and then the metal type and 279 00:23:30,450 --> 00:23:33,530 Speaker 1: the right to use it would pass to Emery Walker. 280 00:23:34,930 --> 00:23:38,210 Speaker 1: Cockrell's idea was a fudge, and it was not what 281 00:23:38,330 --> 00:23:44,810 Speaker 1: Walker had been promised, but reluctantly Walker agreed he might 282 00:23:44,850 --> 00:23:48,690 Speaker 1: not have done so had he realized what Thomas Cobden 283 00:23:48,770 --> 00:23:54,090 Speaker 1: Sanderson was planning. Thomas had already written to the company 284 00:23:54,130 --> 00:23:58,290 Speaker 1: who had manufactured the font a decade before. They had 285 00:23:58,330 --> 00:24:02,410 Speaker 1: in their storerooms up in Edinburgh the punches and matrices 286 00:24:02,530 --> 00:24:06,210 Speaker 1: for doves. The matrices were molds to make more copies 287 00:24:06,250 --> 00:24:09,410 Speaker 1: of the doves type. The punches were tools to make 288 00:24:09,490 --> 00:24:14,770 Speaker 1: more matrices. As long as they existed, Dove's type would 289 00:24:14,770 --> 00:24:19,850 Speaker 1: never die. Take the punches and matrices out of storage, 290 00:24:20,370 --> 00:24:26,250 Speaker 1: wrote Cobden Sanderson, and send them to me. Cautionary tales 291 00:24:26,250 --> 00:24:42,570 Speaker 1: will be back after the break. Thomas Cobden Sanderson was 292 00:24:42,690 --> 00:24:48,770 Speaker 1: capable of enraged outbursts of destruction. One day, for example, 293 00:24:49,130 --> 00:24:52,170 Speaker 1: he was binding a book and realized the leather for 294 00:24:52,210 --> 00:24:56,570 Speaker 1: the binding didn't fit. Here's what happened next, in his 295 00:24:56,610 --> 00:25:00,570 Speaker 1: own words, in a burst of rage, I took the 296 00:25:00,650 --> 00:25:03,690 Speaker 1: knife and cut the slips, and tore the covers and 297 00:25:03,850 --> 00:25:06,810 Speaker 1: boards off and tossed them to one side. Then, in 298 00:25:06,810 --> 00:25:10,250 Speaker 1: a very ecstasy of rage, seized one again saw the 299 00:25:10,330 --> 00:25:12,370 Speaker 1: leather off the board and cut it, and cut it 300 00:25:12,690 --> 00:25:17,690 Speaker 1: and slashed it with a knife. Then I was quite calm. 301 00:25:17,730 --> 00:25:23,290 Speaker 1: Again that was a fit of white hot rage. But 302 00:25:23,490 --> 00:25:29,010 Speaker 1: now Cobden Sanderson would act in cold blood. His plan 303 00:25:29,210 --> 00:25:33,650 Speaker 1: was simple. He had promised that after he died, Emory 304 00:25:33,690 --> 00:25:37,130 Speaker 1: Walker would get the Dove's type, but he never had 305 00:25:37,370 --> 00:25:43,450 Speaker 1: any intention of fulfilling that promise. Instead, he would destroy 306 00:25:43,650 --> 00:25:49,730 Speaker 1: the type utterly. That was no easy task. When Walker 307 00:25:49,810 --> 00:25:54,130 Speaker 1: and Cobden Sanderson referred to a fount of Dove's type, 308 00:25:54,450 --> 00:25:57,530 Speaker 1: or what we'd call a font, they were referring to 309 00:25:57,650 --> 00:26:02,530 Speaker 1: a set of metal letter slugs sufficient to typeset pages 310 00:26:02,570 --> 00:26:06,850 Speaker 1: of print. That meant several copies of each letter, perhaps 311 00:26:06,970 --> 00:26:10,410 Speaker 1: dozens of copies, as well as copy peers of punctuation 312 00:26:10,610 --> 00:26:15,050 Speaker 1: marks and other symbols. All things considered, a font of 313 00:26:15,250 --> 00:26:20,530 Speaker 1: type was a serious assemblage of heavy metal, and Thomas 314 00:26:20,610 --> 00:26:25,450 Speaker 1: Copden Sardison planned to bequeath that heavy metal to the 315 00:26:25,530 --> 00:26:31,050 Speaker 1: River Thames. So there we are, in the freezing fog 316 00:26:31,130 --> 00:26:36,570 Speaker 1: of November nineteen sixteen, watching a stubborn, stubborn old man 317 00:26:37,250 --> 00:26:41,450 Speaker 1: shuffling from the Dove's Press bindery the half mile or 318 00:26:41,490 --> 00:26:45,850 Speaker 1: so to the Green and Gold Towers of Hammersmith Bridge. 319 00:26:45,890 --> 00:26:48,530 Speaker 1: He's convinced that the police will stop him, that there 320 00:26:48,530 --> 00:26:52,890 Speaker 1: will be a national scandal. Of course, nobody has any 321 00:26:52,890 --> 00:26:56,210 Speaker 1: particular reason to stop an old man with a heavy burden. 322 00:26:56,810 --> 00:26:59,010 Speaker 1: And if they did stop him and find that his 323 00:26:59,050 --> 00:27:02,810 Speaker 1: wooden toolbox was packed not with tools, but with slugs 324 00:27:02,810 --> 00:27:08,410 Speaker 1: of metal type, then so what. Copden Sardarsan had been 325 00:27:08,490 --> 00:27:13,810 Speaker 1: planning this for years. The week before Easter nineteen thirteen, 326 00:27:14,410 --> 00:27:18,010 Speaker 1: he had made several trips to the bridge carrying some 327 00:27:18,090 --> 00:27:21,850 Speaker 1: of the punches and matrices that would let Emery Walker 328 00:27:22,370 --> 00:27:26,170 Speaker 1: make his own font of the Dove's type. At the 329 00:27:26,330 --> 00:27:31,770 Speaker 1: end of each trip the same scene, Cobden Sanderson looked 330 00:27:31,810 --> 00:27:37,090 Speaker 1: west towards the Dove's Press building itself and the setting sun. 331 00:27:38,250 --> 00:27:44,490 Speaker 1: Then he hurled the matrices into the river. He thus 332 00:27:44,650 --> 00:27:49,370 Speaker 1: controlled the only font of Dove's type that would ever exist, 333 00:27:50,130 --> 00:27:53,370 Speaker 1: and would use it to print the last few doves 334 00:27:53,410 --> 00:28:00,370 Speaker 1: Press books. Now late in nineteen sixteen, he would finish 335 00:28:00,450 --> 00:28:05,850 Speaker 1: what had started by destroying that font. But the sheer 336 00:28:06,090 --> 00:28:09,970 Speaker 1: scale of the task was incredible. There was over a 337 00:28:10,130 --> 00:28:15,570 Speaker 1: ton of metal type at Dove's Press, and Thomas Cobden Sanderson, 338 00:28:15,690 --> 00:28:20,370 Speaker 1: now seventy six years old, had to carry every ounce 339 00:28:20,450 --> 00:28:23,250 Speaker 1: of it to the bridge and throw it into the river. 340 00:28:24,210 --> 00:28:28,770 Speaker 1: His journals vividly record the act and give no hint 341 00:28:28,970 --> 00:28:32,650 Speaker 1: that he ever had doubts. I have to see that 342 00:28:32,850 --> 00:28:36,530 Speaker 1: no one is near or looking, then over the parapet, 343 00:28:36,810 --> 00:28:40,810 Speaker 1: a box full, and then the audible and visible splash. 344 00:28:41,530 --> 00:28:44,290 Speaker 1: One night, I'd nearly cast my type into a boat, 345 00:28:44,610 --> 00:28:49,770 Speaker 1: another danger, which unexpectedly shot from under the bridge. He 346 00:28:50,050 --> 00:28:54,570 Speaker 1: perfected the project, however, adapting his toolbox to the task. 347 00:28:55,810 --> 00:28:59,210 Speaker 1: At the bridge, I crossed the other side, take a 348 00:28:59,330 --> 00:29:01,930 Speaker 1: stealthy look round, and if no one is in sight, 349 00:29:02,250 --> 00:29:05,650 Speaker 1: I heave up the box to the parapet, release the 350 00:29:05,730 --> 00:29:10,170 Speaker 1: sliding lid, and let the type fall sheer into the river. 351 00:29:10,810 --> 00:29:16,250 Speaker 1: At work at a moment, he had plenty of opportunity 352 00:29:16,330 --> 00:29:21,050 Speaker 1: to practice. Marianne Titcomb, who wrote the definitive History of 353 00:29:21,130 --> 00:29:24,810 Speaker 1: Dove's Press, estimates that the old man could not have 354 00:29:24,850 --> 00:29:29,130 Speaker 1: carried more than fifteen pounds of type on each half 355 00:29:29,210 --> 00:29:32,850 Speaker 1: mile journey to the bridge. To carry the full ton 356 00:29:33,010 --> 00:29:37,450 Speaker 1: and more of metal would have taken at least one 357 00:29:37,530 --> 00:29:44,290 Speaker 1: hundred and seventy furtive trips. In any case, his journals 358 00:29:44,370 --> 00:29:48,050 Speaker 1: show that the whole business took almost six months. He 359 00:29:48,170 --> 00:29:53,610 Speaker 1: had plenty of time to stop and reconsider. He never did. 360 00:29:54,770 --> 00:29:57,530 Speaker 1: At the end of it all, the most beautiful type 361 00:29:57,570 --> 00:30:02,330 Speaker 1: in the world was gone, just so an old man 362 00:30:02,490 --> 00:30:06,650 Speaker 1: could be sure that nobody else would ever be able 363 00:30:06,650 --> 00:30:16,690 Speaker 1: to use it. The final publication of the Dove's Press 364 00:30:17,170 --> 00:30:19,930 Speaker 1: was a catalog of all the books the press had 365 00:30:19,970 --> 00:30:25,290 Speaker 1: published over its sixteen years of operation. On the last page, 366 00:30:25,850 --> 00:30:30,530 Speaker 1: the last page ever printed by Dove's Press, Thomas Cobden 367 00:30:30,610 --> 00:30:35,490 Speaker 1: Sanderson boasted of his deed to the bed of the 368 00:30:35,570 --> 00:30:39,210 Speaker 1: River Thames, the river on whose banks I have printed 369 00:30:39,250 --> 00:30:45,210 Speaker 1: all my printed books. I the Doves Press, bequeath the 370 00:30:45,250 --> 00:30:51,370 Speaker 1: Dove's Press, fount of type, the punches, matrices, and the 371 00:30:51,410 --> 00:30:54,490 Speaker 1: type in use at the Dove's Press at the time 372 00:30:54,530 --> 00:31:01,450 Speaker 1: of my death. Was he serious? It wasn't clear, but 373 00:31:01,530 --> 00:31:06,650 Speaker 1: their mutual friend, Sidney Cockrell feared the worst. He wrote 374 00:31:06,690 --> 00:31:09,490 Speaker 1: to Cobden Sanderson, telling him that it made made a 375 00:31:09,650 --> 00:31:13,610 Speaker 1: terrible mistake. I believe that you will come to see 376 00:31:13,810 --> 00:31:18,010 Speaker 1: that your sacrifice to the River Thames was neither a 377 00:31:18,090 --> 00:31:24,170 Speaker 1: worthy nor an honorable one. Cockrell was wrong. The historian 378 00:31:24,250 --> 00:31:30,810 Speaker 1: Marion Tidcomb wrote, Cobden Sanderson never regretted it. Indeed, he 379 00:31:30,890 --> 00:31:36,730 Speaker 1: took delight in it and found comedy in the tragedy. 380 00:31:37,290 --> 00:31:42,610 Speaker 1: Emery Walker eventually became Sir Emery Walker a pillar of 381 00:31:42,650 --> 00:31:46,970 Speaker 1: the art and design community. His house has been preserved 382 00:31:47,010 --> 00:31:51,330 Speaker 1: as a museum of arts and crafts. The playwright George 383 00:31:51,370 --> 00:31:57,650 Speaker 1: Bernard Shaw called him an almost reprehensibly amiable man. The 384 00:31:57,770 --> 00:32:03,570 Speaker 1: architect Philip Webb called him the universal Samaritan whose services 385 00:32:03,610 --> 00:32:07,890 Speaker 1: were laid on like water. The chief compositor at Dove's 386 00:32:07,930 --> 00:32:12,530 Speaker 1: Press said that he carried everywhere with him an atmosphere 387 00:32:12,610 --> 00:32:18,490 Speaker 1: of genial friendliness. Thomas Cobden Sanderson had a different description. 388 00:32:19,730 --> 00:32:23,210 Speaker 1: In a letter to his lawyers, he once wrote, mister 389 00:32:23,490 --> 00:32:29,450 Speaker 1: Emery Walker is and always has been, perhaps must be 390 00:32:29,490 --> 00:32:33,410 Speaker 1: a tradesman. It's a line that says more about Cobden 391 00:32:33,530 --> 00:32:41,930 Speaker 1: Sanderson than about Walker. In nineteen twenty two, five years 392 00:32:41,970 --> 00:32:48,050 Speaker 1: after destroying the Dove's type, Thomas Cobden Sanderson died. Emery 393 00:32:48,090 --> 00:32:51,690 Speaker 1: Walker asked Annie to hand over the type, and when 394 00:32:51,730 --> 00:32:57,210 Speaker 1: she could not, he sued it wasn't so much for compensation. 395 00:32:57,930 --> 00:33:01,570 Speaker 1: What compensation could there be but over the principle that 396 00:33:01,650 --> 00:33:05,810 Speaker 1: Cobden Sanderson did not create the Dove's type by himself, 397 00:33:06,810 --> 00:33:11,930 Speaker 1: and the Dove's type was not his to story, Annie 398 00:33:11,970 --> 00:33:16,930 Speaker 1: had to pay money that after years of subsidizing the press. 399 00:33:17,330 --> 00:33:23,690 Speaker 1: She could hardly afford both she and Walker, and indeed 400 00:33:23,690 --> 00:33:27,730 Speaker 1: the whole world had been impoverished by the stubbornness of 401 00:33:27,770 --> 00:33:34,170 Speaker 1: a man who was now beyond atonement. Annie died a 402 00:33:34,170 --> 00:33:37,890 Speaker 1: few years later, and her ashes were placed next to 403 00:33:37,970 --> 00:33:41,170 Speaker 1: his in an urn in the garden wall of the 404 00:33:41,250 --> 00:33:44,690 Speaker 1: house where they lived together and where the Dove's Press 405 00:33:44,730 --> 00:33:51,210 Speaker 1: had operated, next door to Emery Walker. Soon after the 406 00:33:51,330 --> 00:33:56,610 Speaker 1: River Thames burst its banks. The floodwaters carried both Annie 407 00:33:56,890 --> 00:34:05,570 Speaker 1: and Thomas away. Obsession is a strange thing. Almost a 408 00:34:05,690 --> 00:34:10,330 Speaker 1: century after Thomas sacrificed Dove's time to the spirit of 409 00:34:10,370 --> 00:34:15,170 Speaker 1: the River Thames, another type designer, Robert Green, went down 410 00:34:15,210 --> 00:34:20,050 Speaker 1: to the foreshore at low tide underneath Hammersmith Bridge and 411 00:34:20,170 --> 00:34:25,970 Speaker 1: poked around in the shingle. Cobden Sanderson had become obsessed 412 00:34:26,330 --> 00:34:31,250 Speaker 1: with destroying the Dove's type. Robert Green had become obsessed 413 00:34:31,330 --> 00:34:35,330 Speaker 1: with resurrecting it. At first, he did what Emery Walker 414 00:34:35,370 --> 00:34:39,970 Speaker 1: had done all those years before, photographing and enlarging the 415 00:34:40,010 --> 00:34:43,490 Speaker 1: printed pages and trying to discern the shape of the 416 00:34:43,530 --> 00:34:49,010 Speaker 1: metal that had produced those inked characters. In digital form, 417 00:34:49,290 --> 00:34:54,450 Speaker 1: Green drew and redrew Doves over one hundred and twenty times. 418 00:34:55,930 --> 00:34:58,290 Speaker 1: The obsession with the type has caused a lot of problems. 419 00:34:58,890 --> 00:35:00,770 Speaker 1: When you're up all night trying to get the right 420 00:35:01,050 --> 00:35:03,930 Speaker 1: curve in the leg of an r and you're spending 421 00:35:03,970 --> 00:35:05,970 Speaker 1: three and a half hours on it, it doesn't go 422 00:35:06,010 --> 00:35:10,810 Speaker 1: down too well with your wife. Annie Copped Sanderson would 423 00:35:10,810 --> 00:35:13,970 Speaker 1: have known the feeling. I'm not really sure why I 424 00:35:13,970 --> 00:35:18,330 Speaker 1: got started. In the end, it took over my life, 425 00:35:19,050 --> 00:35:23,690 Speaker 1: but perhaps there's no mystery. Green couldn't get over the 426 00:35:23,810 --> 00:35:28,050 Speaker 1: contrast between the beauty of the type and the ugliness 427 00:35:28,170 --> 00:35:33,570 Speaker 1: of Cobden Sanderson's long act of destruction. As Green says, 428 00:35:34,730 --> 00:35:37,730 Speaker 1: he claimed to believe in beauty, claimed to be a socialist, 429 00:35:38,050 --> 00:35:41,050 Speaker 1: Yet the most beautiful thing he created he doesn't want 430 00:35:41,050 --> 00:35:43,930 Speaker 1: to share, and he decides to throw it in the 431 00:35:44,050 --> 00:35:49,330 Speaker 1: river rather than share it with the world. There's only 432 00:35:49,410 --> 00:35:52,690 Speaker 1: so far you can get by copying the inked letters 433 00:35:52,690 --> 00:35:56,290 Speaker 1: on a page. Though everyone told Green that the Doves 434 00:35:56,370 --> 00:36:01,330 Speaker 1: type had never been found, but he wondered had anyone 435 00:36:01,570 --> 00:36:05,210 Speaker 1: really ever looked for it, which is why he found 436 00:36:05,290 --> 00:36:10,290 Speaker 1: himself turning over pebbles under Hammersmith Bridge, and there it 437 00:36:10,450 --> 00:36:16,490 Speaker 1: was a letter V still in good shape despite ninety 438 00:36:16,530 --> 00:36:21,770 Speaker 1: eight years being tossed around underwater. He found two more 439 00:36:21,810 --> 00:36:27,890 Speaker 1: pieces within twenty minutes with the help of professional divers. 440 00:36:28,330 --> 00:36:31,210 Speaker 1: Green has recovered a total of one one hundred and 441 00:36:31,330 --> 00:36:36,090 Speaker 1: fifty pieces based on the recovered type and his own 442 00:36:36,330 --> 00:36:41,970 Speaker 1: obsessive redraftings. Robert Green has now issued a digital version 443 00:36:42,290 --> 00:36:46,250 Speaker 1: of Dove's type, something that anyone can use for a 444 00:36:46,290 --> 00:36:51,850 Speaker 1: modest fee. He's donating half of the profits to the 445 00:36:51,890 --> 00:37:16,970 Speaker 1: Emery Walker Museum. Marion Titcomb's book The Doves Press is 446 00:37:17,010 --> 00:37:21,130 Speaker 1: the definitive scholarly history of the affair. For a full 447 00:37:21,130 --> 00:37:24,650 Speaker 1: list of our sources, see the show notes at Timharford 448 00:37:24,730 --> 00:37:34,050 Speaker 1: dot com. Cautionary Tales as written by me Tim Harford 449 00:37:34,130 --> 00:37:38,050 Speaker 1: with Andrew Wright, Alice Fines, and Ryan Dilly. It's produced 450 00:37:38,050 --> 00:37:41,770 Speaker 1: by Georgia Mills and Marilyn Rust. The sound design and 451 00:37:41,850 --> 00:37:45,770 Speaker 1: original music are the work of Pascal Wise. Additional sound 452 00:37:45,770 --> 00:37:50,090 Speaker 1: design is by Carlos san Juan at Brain Audio. Bend 453 00:37:50,090 --> 00:37:54,130 Speaker 1: A Daphaffrey edited the scripts. The show features the voice 454 00:37:54,170 --> 00:37:58,770 Speaker 1: talents of Melanie Guttridge, Stella Harford, Oliver Hembrough, Sarah Jupp, 455 00:37:59,050 --> 00:38:03,170 Speaker 1: the Sam Monroe, Jamal Westman and rufus Wright. The show 456 00:38:03,410 --> 00:38:06,690 Speaker 1: also wouldn't have been possible without the work of Jacob Weisberg, 457 00:38:06,850 --> 00:38:11,650 Speaker 1: Retta Cohne, Sarah Nix, Eric Sandler, Carrie Brody, Christina Sullivan, 458 00:38:12,010 --> 00:38:16,570 Speaker 1: Kira Posey, and Cohen Miller. Cautionary Tales is a production 459 00:38:16,690 --> 00:38:21,090 Speaker 1: of Pushkin Industries. It's recorded at Wardoor Studios in London 460 00:38:21,370 --> 00:38:24,930 Speaker 1: by Tom Barrin. If you like the show, please remember 461 00:38:24,970 --> 00:38:27,810 Speaker 1: to share, rate and review. It really makes a difference 462 00:38:27,850 --> 00:38:29,410 Speaker 1: to us and if you want to hear the show, 463 00:38:29,610 --> 00:38:32,770 Speaker 1: add free sign up to Pushkin Plus on the show 464 00:38:32,810 --> 00:38:36,810 Speaker 1: page on Apple Podcasts or at pushkin dot fm, slash 465 00:38:36,970 --> 00:38:39,210 Speaker 1: plus