Despite Dwiggins’ personal, untraditional hand, he achieves the formal dignity required by the text. Typeface design, decorations, illustrations, maps, lay-out, binding, the whole format complete to the dust wrapper, are Dwiggins’. On the title-page red and blue vibrate against each other in equal strength, suggesting stained glass. Note the free balance of the listings on pages 6–7; the well-drawn and well-lettered maps; the readability and compactness of the text, varying in one or two columns according to its nature; the small square illustrations which inject the reality of news photos; the W.A.D. abstract heading decorations, here assuming a Biblical flavor; the large capitals for the first line of text in section beginnings; and the blue and gold binding, with no hint of morocco gloom.

Peter Beilenson, Paul McPharlin, Ernst Reichl (Jurors)