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A SHORT
HISTORY
OF T H E
P R IN T E D
WORD
,
Second Edition Revised and Updated
Except for brief reviews, no part of this book may be reproduced in any form
or by any means, electronic or mechanical, including photocopying, recording,
or by any information storage and retrieval system, without the written
permission o f the p ublisher.
Printed in Canada
m 9 8 7 6 5 4 3 21
In memoriam
ALFRED A• KNOPF
(1 8 9 2 - 1 9 8 4 )
CONTENTS
List o f Illustrations
p.xv
x
Preface to the First Edition
n1922, h a r v a r d u n i v e r s i t y p r e s s publishedPrintmgTypes:
I Their History, Forms and Use, by Daniel Berkeley Updike, the
outstanding American printer-scholar. The work is so thoroughly
admirable that it has seemed an impertinence for anyone to offer
another history of printing, if only out of fear of comparison. I ac
quired my copy of Printing Types in 1927, during the time 1 was
working with a New York printer in order to learn about type and
impression firsthand. More than forty years later, I am struck by the
timeliness of Updike’s brilliant presentation, and his conclusion
that printing can be
Updike was not a believer in the good old days. He knew that it
has always been hard to do fine work. The glowing examples that
mark the history of printing do not represent their periods so much
as their dedicated producers, who managed to perfect their trade
into an art. The breadth and depth and specialization of Printing
Types make it overpowering for most laymen, and I would venture
to say that like Cervantes’s Don Quixote it is better known by its title
than its text. The possibility that this is true provides a reasonable
excuse for a simpler work, which could serve as an introduction.
A Short History ot the Printed Word
XU
p Re fa c e to the First Edition
greatest aesthetic merit are also those that have contributed most
to the advancement of the craft. Among the influences on printing,
illustration has been an important one, because it has generated a
continuing search for methods of reproduction, in turn resulting in
techniques affecting the manner in which the word was printed.
And, after 1814, when the London Times used the first power press,
newspapers have been an important influence also, since they have
played a major role in the development of production tools of the
printing industry. It is my belief that both illustration and newspa
pers deserve important consideration in any history of the printed
word.
The strongest feelings I have about printing always return to
three simple concepts: the sculptural nature of type, the inevitable
ness of its arrangement on the page, and the authority of its impres
sion. I offer these to the reader not as a creed but as a working point
of view.
X lll
A Short History or the Fruited Word
and Judy Pomerantz, and I wish to thank them publicly for their
essential contributions. I also want to express my appreciation to
Alfred Fairbank for the glimpse of his friend Edward Johnston,
which he wrote especially for this volume.
I have thought of this as a book about an art, rather than an art
book, and of the illustrations as an integral part of the text. For this
reason, the printing is being done by offset, so that the plates can be
shown exactly at the point where they are referred to in the text.
The composition, on the other hand, is being done in metal - Lino
type for the body matter and captions, and handset Monotype for
the display half-titles, title page and chapter openings.1 The New
York Times assumed the arduous job of locating and photographing
most of the two hundred illustrations that are used. To those who
performed that task, and to the museums, libraries, publishers and
foundries that cooperated, I am very grateful.
WARREN CHAPPELL
Norwalk, Connecticut -1970
i This was true for die first edition of this book. As mentioned on page x and ex
plained in detail on pages 57-58, the type in this revised edition is digital. - rb
xiv
ILLUSTRATIONS
CHAPTER I C H A P T E R ÏI
xv
A 5ftort History ot the .Printed Word
chapter in CHAPTER IV
[t] Calligraphy and completed type. [1] Gutenberg Bible: the textblock.
Koch Antiqua, cast by the [2] Gutenberg Bible : th e type.
Klingspor foundry, Offenbach. [3] The Mainz Psalter o f Fust &
[2] Warren Chappell’s files and Schoffer. g m
gravers (photographed by Philip [4] Mainz Psalter: initial.
Van Daren Stern in 1972). [5] Mainz Psalter: the type.
[3] A typecutter’s graver. [6] Hartm sanitatis: the type.
[4] Diagram by Rudolf Koch [7] The first book with printed
showing the simple tools and illustrations: Etlelstein, by
gravers of a punchcutter. Albrecht Pfister, g m
[5] Rudolf Koch filing a punch [8] Lactantms, Opera. Subiaco,
against the pin. 1465. PML
[6] Diagrams of counterpunching [9] First type of Sweynheym &
by Rudolf Koch. Pannartz. 1465.
[7] Counterpunching stake. [10] Roman type o f Johann van
[8] Planer. Speyer (da Spira). Venice, 1470.
[93 Original “Janson” matrices, [irj Eusebius by Nicolas Jenson,
struck from punches cut by Venice, 1470. ny p l
Miklos Kis. ds f [12] Textblock from Jenson’s
[10] Handcasting mold, showing Eusebius {reduced).
inner construction. [13] Roman type of Nicolas Jenson.
[ti] Handcasting mold and gauges 1471.
(photographed by Philip Van Doren [14 ] Rotunda by Juan de Yciar.
Stern in 7972). [15] Type of Caxton’s first book in
[12] Plan and nomenclature of a English.
piece of t y p e , h u p [16] Caxton’s first dated work in
[13] Font of 12-point Linotype English: The Dictes and Sayings
“Janson” roman (based on Kis). o f the Philosophers. 1477. p m l
ILLU STRA TIO N S
[3] Star Chamber decree. Tide [27] Bay Psalm Book. Cambridge,
page. 1637. Mass., 1640. N Y P L
[4] Cervantes. Don Quixote. 1605. [28] First Bible in a Native American
NYPL language (Massachusetts 1663.
[5] Engraved illustration by Rubens N YPL
for Pompa introitus Ferdmandi. [29] Title pages for Molière (1671)
1641. N Y P L and Racine (1691).
[6 ] Rubens. Woodcut by Jegher.
[7] Respublica, sive Status regni CHAPTER v n
Poloniae. Leiden: Elzevir, 1627.
[8] The Fell types, roman and italic. ft] Title page, Médailles. 1702.
[9] Pressure system for intaglio [2] Ro'/nain du roi as rendered by
printing, Grandjean. 1702.
[10] Title page by Poussin. Engraved [3] Renaissance, Baroque,
by Claude Mellan. Paris, 1642. Neoclassical and Romantic
N YPL letterforms, showing the
[nj Etched illustrations by humanist vs the rationalist axis.
Rembrandt van Rijn. 1655. [4] Casl on’s Great Primer roman.
[12] Etching by Rembrandt remade 1734.
as a linecut. [5] Baskervitle’s Great Primer
[13] Aquatint by Francisco Goya. roman. 1762.
[14] Mezzotint by William Doughty- [6] Tide page of Baskerville’s quarto
after Joshua Reynolds, n y p l Virgil. Birmingham, 1757.
[15] Jacques Cailot. Illustration for [7] Fournier’s Manuel typographique.
Lux daustri. Paris, 1646. n y p l Paris, 1764,
[16] Avisa Relation oder 7xitung. 1609. [8] Fournier’s scale.
NYPL [9] Type cut by Pierre Simon
[17! Nathaniel Butter’s Corante of Fournier, used by François
1621. BM Didot. Paris, 1743.
[18] An English news sheet issued in [to] Title page by F.-A. Didot. 1783.
the Netherlands. 1620. n y p l [11] Type cut by Jacques-Louis
[19] The London Gazette. 1665. n y p l Vafflard for F.-A. Didot. 1781.
[20] Harris’s Publick Occurrences. ]i2j Type cut by Firmin Didot, used
1690. NYPL by his brother Pierre. 1799.
[21] The first publication o f the [13] Bodoni. Specimen.
Imprimerie Royale, Paris. [14] Bodoni’s posthumous Manmle
[22] Roman type cut at Sedan by Jean tipografico. Parma, 1818. n y p l
Jannon. [15] Fleischman’s Text roman and
[23] A plate by Simonneau tor die italic, Amsterdam, 1739.
romain du roi. b n p [16] Text type o f Juan de Yriarte’s
[24] Page from Francesco Pisani’s Obras sueltas. Madrid, 1774.
Tratteggiato da penna. 1640. n l [17] Defoe’s Weekly Review. London,
[25] Handpress from Moxon’s 1704. NYPL
Mecbafiick Exercises. 1683. [18] The Spectator. London, i y u.
[26] Excerpt from Chinook Texts, N YPL
transcribed and translated by [19] The New England Courant.
Franz Boas. 1894. Boston, 1721. N Y P L
XV111
I L LUST.R AT I O N S
XIX
A s n o r t History of the P rin ted Word
XX
A SHORT
HISTORY
OF THE
PRINTED
WORD
CHAPTER I
Prologue to Discovery
3
A S h o rt H isto ry o t the P rin te d W ord
5
A Short H isto ry of the Printed Word
5
A Short History of the Printed Word
vented it, a great change in the use and abuse of visible language
began. Gutenberg’s extraordinarily handsome 42~line Bible - so
named because a large part of th e text was set in two columns of 42
lines each - was printed between 1452 and 1455. It is far from being
the earliest printed book, but it was indeed a significant step in a
long, often slow, and finally worldwide typographic revolution.
W hat does printing mean? It is the process of duplicating images
onto or into a base, usually paper, and usually through some me
chanical means. There are three basic methods: letterpress, intaglio
and planographic printing. The first employs a raised image and pro
duces an indented one. The second employs an engraved (lowered)
image and produces one that is raised from the paper. In the third
method, the principle at work is one of chemical affinity. The image
printed from is level with the surface of the plate or stone, and the
image that results is likewise flat on the surface of the paper. Each
method requires a different kind of press, but the term impression is
6
c Ha f t e r i * Prologue to Discovery!
8
1.4 Copyright page o f a hook printed in China in 1194.
begin with the leaving of footprints. That kind of writing and print-
ing - involuntary but eloquent - goes back to the first terrestrial
animals, 35o,ooo,oooyears ago at least.
It is useful to remember that the phases of printing history are
not mutually exclusive. They are much more like die branches of
a tree. One phase doesn’t disappear, or cease to bear its fruit, be
cause another has begun. Printing from handcut woodblock pages
remained the primary method for Chinese, Japanese and Tibetan
text until the end of die nineteenth century. For nearly as long, it
remained a primary means of book illustration in Europe. Photo
polymer printing from digital type - a new artistic medium dis
cussed in the last chapter of this book - combines the use of com
puters with this oldest of Oriental printing techniques. Printing
from movable metal type, like the making of woodcuts, also re
mains a creative and vital artistic medium, even if commerce has all
but forgotten it.
Intelligent discussion of the changing directions in contempo
rary graphic art has to be viewed against the background of past
accomplishments, and especially in the context of those elements
that are seminal, reappearing in every period and every technique.
The continuity of printing need not, and should not, be drastically
altered by what appears to be a major change of means. Although
the new methods may seem to impose fewer restrictions, it is rea
sonable to assume that the most able artists and craftsmen, regard
less of the particular disciplines wi thin which they work, will always
seek the limits of their medium. More than one such artist has con
tended that these limits are essential. A world without boundaries is
a world without art.
Typographic printing did not drop into Europe from the heav
ens, although it must have been very much in the air, an d the air was
becoming increasingly charged, intellectually, with, the emerging
Renaissance. All of the necessary techniques and materials were
there in one form or another. It is worth noting in this regard that
10
Gutenberg, like other early European printers, was a goldsmith.
His training prepared him for sculpting a letter in steel, from which
a casting mold could be made. As long as type-punches were cut by
hand, the methods he adapted from his earlier experience changed
little in principle, and later techniques have contributed very few
aesthetic improvements.
11
i .5 S t Christopher. Block p rin t dated 1423,
12
1 .6 Fifteenth-century playing card.
blocks with, which to print it are still in existence. Texts could have
been printed from such blocks at any time, had there been readers
in Europe to read them. But the earliest known European xylo
graphie books - books in which the text is printed like a woodcut,
from handcarved slabs - belong to the time of Gutenberg and later,
rather than before. Europe was not, evidently, ready for printed
books before Gutenberg appeared.
14
1.-7 Dutch papermaker’s wire moldfor a i f ' x 22" (44 x 56 cm) laid sheet.
15
à Short History ot the Printed Word
i . 8 Papermaker’s watermark, ( The verticals represent the chain lines, and the
horizontals the laid lines,)
g h a pT E Ri * Prologue to Discovery
!7
A Short History of the Printed Word
19
A. Short H isto ry o f the Printed Word
their way - right down to the shapes of the letterforms they drew
and carved and wrote ~ extolled human values and accomplish
ments and sought to rediscover and preserve them. They stood
against the forces which had lost sight of man. in extolling the per
fection. and the power of God or the machine. The humanism
which had been the inspiration of the Renaissance, especially in
Italy, came out of the classical culture and cult of antiquity of the
fourteenth century. The poet-scholars who did so much to rescue
and spread the literature and language of Greece and Rome exerted
great influence on their times. They were leaders in cultural and
political affairs. They were also the architects of new educational
methods. In their persons, they were the repositories of the knowl
edge of antiqui ty.
One humanist who occupies a special place in the story of print
ing is the Dutch-bom Desiderius Erasmus. We will meet him more
than once in this brief history. Here, it is enough to say that among
his publications were grammars, dictionaries, a work on Greek and
Latin pronunciation, and a book on the art of letter writing. His
works had wide circulation. His Colloquies, for instance, went
through at least a hundred printings and a dozen different editions
during his own lifetime.
In addition to the linguistic disciplines developed and streng
thened by the study and use of Greek and Latin, the letterforms of
our alphabet were preserved for us by the devotion of the humanists
to classical culture. We owe them not only a literature and a culture
but the means to build new literatures and cultures of our own.
Benchmarks of Printing
What William Morris and his associates began at the Kelmscott
Press spread rapidly through Europe and North America. By the
end of World War I, the precious mannerisms and medievalisms of
the Pre-Raphaelites and that unfortunate manifestation known as
20
art nouveau had been sloughed off, and efforts to recapture basic
values in printing craftsmanship became less self-conscious. Cen
tral to the attitudes of the fifty years between 1890 and 1940 was a
desire to return to original printing surfaces or at least to learn to
understand them. That meant of course that artists and printers
wanted to circumvent the camera - later the computer - and if not
to circumvent it, then to control it precisely enough to maintain the
integrity of impression, the tactility of the object, and the scale of
the original design.
In the second half of the twentieth century, the evolving tech
nology in the field of printing far outstripped in scope and rapidity
anything known during the Industrial Revolution. Now more than
ever before, it is necessary to measure the new means against their
contributions to human values, not in order to oppose them but to
direct them effectively.
W hat are the benchmarks that can serve as references and
guides in tracing the history of printing? I would put first an under
standing of the alphabet, and an appreciation of its practical as well as
its aesthetic aspects. Second, a regard for the sculptural nature of type
as it was produced first in eleventh-century China and then by
European punchcutters of the fifteenth and sixteenth centuries. As
the third and fourth benchmarks I would suggest awareness of the
arrangement of type and the actual impression from it. These four to
gether determine the form and texture of a piece of printing, and
are outside the time flow of people, places, events, developments
and dates. It is possible to put the best piece of contemporary print
ing beside a page of the Gutenberg Bible, and to compare the two
without asking the slightest concession for the older piece, on ei
ther aesthetic or technical grounds, though it was made 550 years
ago. The best of the old books, like the best of the old paintings, are
that good.
3*
3
i
ïo
C H A P T E R II
=
?
The Alphabet
: : W Ê&&
A Short History of the Printed Word
23
A Short History of the Printed Word
24
c h a p t e r ii * T he Alphabet
25
À Short History of the Prin ted Word
2 .2 Trajan capitals set against, square fields to demonstrate the proportion and
rhythms o f roman.
space - like the space inside the O - which in type is called the
counter. This space is related, in composition, to the spaces between
letters. These counters are not only vital to tire color of a letterform
26
chapter n * The Alphabet
hijlm rxy h i j l m r x y
2.3 The intransitive, often bilateral serifs o f roman tie the letters to the line.
The transitive and unilateral serifs o f italic link the letters to each other.
L I T T E R A S C R I P T A M A N E T
27
A Short History o f th e Printed Word
2 .5 Square capitals.
Ameliorations of Roman
The more formal written letters of the Roman period are known
as square capitals (capitalis qiiadrata). These capitals were used for
important works from the second century into about the fifth cen
tury and their proportions had much in common with the lapidary
capitals. The principal differences lay in their strong contrasts of
thicks and thins, and the pen-derived serifs of the square capitals.
An intransitive roman serif is a terminal device, functionally em
ployed to strengthen lines which otherwise wtmld tend to fall away
optically. This is especially true of incised lines. By using a chisel in
such a way that the finishing cuts were wider, a craftsman produced
a strong terminal with a bracketed appearance. Performing a simi
lar function for type, roman serifs continue to be seen on the major
ity of faces in general use. They derive in large part from the
example of the chisel. Transitive italic serifs, by contrast, owe their
evolution wholly to the pen.
2 .6 Rustic capitals.
28
chapter n • The Alphabet
lÜ lA ii^ Â ^ f ià ÿ ^ O Î C A A D a t l h l A 1
2 .7 Rustic capitals.
Square capitals are not easy to write, and this limited their usage.
T he story of writing can be told in terms of the search for simpler
forms, requiring fewer strokes and pen lifts yet providing a beat or
rhythm of their own so that spacing - both for color and for legibil
ity - could be more easily controlled.
Such an amelioration is embodied in the rustic capitals which
belong to the same period, roughly, as the square capitals. These
rustic letters anticipate an ever-recurring tendency to condense,
usually to save space. Such economy was called for when the mater
ial being written on was rare and costly vellum. By holding a flat-
nibbed pen or wedge-shaped brush at an acute angle, the writer
thins the verticals to a point where they become little more than a
recurring beat, against which the round and diagonal strokes make
their pattern and the horizontals provide their accent. Much could
be learned from these early forms that would be of value in design
ing a condensed typeface for use in newspaper headlines. Forms es
sentially full and round cannot be accommodated to narrow usage
2.9 Uncials.
2 .1 0 Semiuncials.
c: h a p T e R 11 • The A lphabet
2 .i t Semiuncials.
forms flow directly and easily from a quill or reed, and therefore
have a natural authority, in addition to inherent legibility. The
change affected the forms of A, D, E, H ,M , U and Q. As noted ear
lier, angular pen-written joints are hard to keep clear and open.
They fill with ink and blight the texture of the page.
In these early years, Roman letters stood between two hypothet
ical horizontal lines. Early in the sixth century, the half uncial, or
semiuncial, came into use. This grew to be a script quite different
from the capitals. It was the beginning of what we now call lower
case. Four hypothetical guidelines, not two, are implied in the half
uncials; ascending and descending elements appear. This new vari
ation provided an alphabet that was easier to write and could have
great intrinsic beauty as well - witness the Irish and English ver
sions of the half uncial. A notable change in the curves of these al
phabets was caused by the manner in which the pen was held, often
perpendicular to the line, as opposed to die comfortable angle or
classical axis used for writing rustic and classical capitals. Half un
cials belong to the seventh, eighth and ninth centuries.
On the Continent, the calligraphic hands of this period had de
generated, especially in comparison to the best work being done in
England and Ireland. Under the influence of a corrupted Roman
31
A Short History of the Printed Word
32
c h a p t e r i i • The A lphabet
2 .1 3 Caroline mimtscuks.
33
À Short History of the Printed Word
have been serious losses in the quality and number of earlier texts
that reached the Renaissance.
Post-Caroline Hands
Despite the wide appeal and use of the Caroline minuscule, it
could not be everyone’s solution. Inevitably, national characteristics
and experience found their way back into letterforms. The large di
visions were essentially geographical, especially north to south.
Thus the writing in northern France, the Low Countries and Eng
land showed some kinship, at least for a time, and Italy, Spain and
southern France shared certain common characteristics of style.
By the eleventh century there was a general tendency toward
34
c h a p t e r ii * The Alphabet
smaller and more condensed letters. Again, this was surely due in
part to a desire to economize on parchment and on time. However,
compression of forms for style’s sake is one thing; quite another is
the development of a more measured system of spacing by usin g an
alphabet of greater homogeneity. In first reducing the full round
forms and then finally eliminating them, calligraphers imparted to
their pages a completely different rhythm. Roman capitals have
been described as having a breathing rhythm; the new script had
the pattern of a picket fence. To some degree, the achievement of
even color throughout the page was partly mechanical, due to the
regular beat of the verticals and the evenness of the counters. The
diagonal couplings and footings of the letters gave them a pointed
effect, but they also served as terminal accents, similar in function to
serifs. This gothic script acquired many forms and names. It was
known in fourteenth-century Germany as Textur, in France as lettre
de forme, and in England as black letter. Because of their relative
darkness, all these forms are known in modern English as blacklet-
ter scripts. The particularly sharp, northern form - in which the 0
and the bowls of letters such as b, d andp have a condensed hexago
nal shape, and the serifs look like little diamonds - is known as tex
tura. A textura of the fifteenth century served as a model for the type
used in Gutenberg’s 42-line Bible.
Southward, in Italy and Spain, there was strong resistance to the
strict angularity of the northern scripts. There, a rounder kind of
blackletter, known as rotunda, was developed. It was as rich in color
as textura, but its style was reminiscent of classic roman, especially
as expressed in the Caroline minuscule. In general, the gothic or
35
A Short History of the Printed Word
36
c h a p t e r il « The Alphabet
'KiCS ï t  t ‘l Is tl.%
Ih o
rtm e C r u . v u t u m a g t u a r g r u t c a cur.-i i c i
u i l ' b i t 1norm s ui .auo H
.-*■ J ■ ■ .H u S H
i.w iu ' 'i h r g u 'H S M u tr c n f o !
2 .1 9 Scrittura umanistica.
37
A Short H isto ry of the Printed Word
C a n t t m n s c w
38
chapter ii * The Alphabet
roman capitals were used with this script, hut they were small in
relationship to the overall height of the four-line system
39
A Short History of the Printed Word
or eight pages. This is quarto form. Fold it yet again and there are
eight leaves or sixteen pages, the octavo form. A fourth fold produces
sixteen leaves or thirty-two pages, which is the sextodecimo form. Sig
natures of six and twelve leaves (called sexto and duodecimo forms)
are feasible as well.
In any of these formats, the book can be sewn through the spine
and protectively encased. If the text, script, paper and binding are
sound, the book can be safely stored, comfortably read and easily
referenced for centuries.
40
g h AP T e:r ii • The Alphabet
The library of Urbino, now in the Vatican, was wholly the work of the
great Federigo of Montefeltro. As a boy he had begun to collect; in after
years he kept thirty orforty scrittori employed in various places, and spent
in the course of time no less than 30,000 ducats on the collection. It was
systematically extended and completed, chiefly by the help of Vespasiano,
and his account ofit forms an idealpicture of a library of the Renaissance.
A t Urbino there were catalogues ofthe libraries ofthe Vatican, of St Mark
at Florence, of the Visconti at Pavia, and even of the library at Oxford.
It was noted with pride that in richness and completeness none could
rival Urbino. Theology and the Middle Ages were perhaps mostfully rep
resented. There was a complete Thomas Aquinas, a complete Albertus
Magnus, a complete Bonaventura. The collection, however, was a many-
sided one, and included every work in medicine which was then to be had.
Among the “modems? the great writers of the 14th centmy - Dante and
Boccaccio, with their complete works - occupied the first place. Then fol
lowed twenty-five select humanists, invariably with both their Latin and
Italian writings, and with all their translations. Among the Greek man
uscripts the Fathers of the Churchfa r outnumbered the rest; yet in the list
of classics wefind all the [.survivingJ works of Sophocles, all of Pindar, all of
Menander. The last codex must have quickly disappearedfrom Urbino,
else the philologists would have soon edited it.
We have, further; a good deal of information as to the way in which
manuscripts and libraries were multiplied. The purchase of an ancient
manuscript, which contained a rare, or the only cmnplete, or the only exist
ing text of an old writer, was naturally a lucky accident of which we need
take nofurther account. Among the professional copyists, those who under-
41
A Short History of the Printed Word
stood Greek took the highest place, and it was they especially who bore the
name of scrittori. Their number was always limited, and the pay they re
ceived very large. The rest, simply called copisti, were partly mere clerks
who made their living by such works, partly schoolmasters and needy men
of learning, who desired an addition to their income. The copyists at Rome
in the time of Nicholas V were mostly Germans and Frenchmen - “bar
barians”as the Italian humanists called them, probably men who were in
search offavours at the papal court, and who kept themselves alive mean
while by this means. When Cosimo de' Medici was in a hurry toform a li
brary for his favourite foundation, the Badia below Fiesole, he sent for
Vespasiano, and received from him the advice to give up•all thoughts of
purchasing books, since those that were worth getting could not be had eas
ily, but rather to make use of the copyists; whereupon Cosimo bargained to
pay him so much a day, and Vespasiano, withforty-five writers under him,
delivered zoo volumes in twenty-two months..,.
The material used to write on when the work was ordered by great or
wealthy people was always parchment; the binding, both in the Vatican
and at Urbino, was a uniform crimson velvet with silver clasps. Where
there was so much care to show honour to the contents of a book by the
beauty of its outwardform, it is intelligible that the sudden appearance of
printed books was greeted at first with anything but favour. Federigo
of Urbino [said the scribe Vespasiano da Bisticci] “would have been
ashamed to own a printed book ”
42
CHAPTER III
h e n G u t e n b e r g b e g a n hi s s e a rc h f o r a p ra c tic a l way to
43
A Short History of the Printed Word
ï * 6' ‘ t / * u * v * w a x ^ -î- ft j 5 A
S in g e Je n C S r o I / o C S o t t i n , J e s FeleussoLnes A L I I eus
D e r, etn V erd e rte r, erscKuf unendlidie N o t / den A c k â ern/
U n d viel tapfere Seelen gewaltiger Streiter zum H a d e s
Sendete.
0 ° A B C D E F G H I J K I M N O P Q R
si uvwxyz
a t c d e f g k i j l < [ m n o p q r s t u v w x y ? ! o ^
3.1 Calligraphy and completed type. Koch A n tiqu a, cast by Klingspor.
44
3 .2 W arrm Chappell's files and gravers.
45
À Short History of the Printed Word
3 .3 A typecutter V graver.
fo r
atritenjl tl|eDuriap-£>
46
Files are of three kinds: big, fast-cutting files used in the prelim
inary dressing and shaping of the punch; medium size files, fine tex
tured for the most part; and small size ones that take a minimum
bite from die steel. The gravers used in typecutting are straight-
bellied; they do not have the sweeping keel of those used by wood
engravers. Many of the early typecutters also used counterpunches.
These are small steel punches which, when hardened, are struck
into the face of the unhardened punch itself. The depression thus
3 .5 Rudolf Koch filin g a punch against the pin. {In the foreground: heavier
files, gravers and a stake fo r counterpunching. A t the rear can he seen- a vise, a
torch fo r hardening the finished punches, and the stones on which the surfaces
are planed.)
47
A Short History of the Printed Word
The Counterpunch
As an example of counterpunching techniques, a roman capital
H is chosen to take through the process. This allows us to use a
set of illustrations which were made by Rudolf Koch in 1932. Here
the inner space - the counter of the H - is divided into two parts by
the crossbar. To achieve the crossbar, the counterpunch must be
shaped with a trench across the middle. This trench will leave the
crossbar standing after the punch is struck. Such a trench could be
shaped by filing. A11 accomplished punchcutter, however, might
prefer to use a wedge-shaped counter-counterpunch to make the
trench. Thus, in this case, the counterpunch starts out looking like
a rectangle with a depression across it. The surface of the counter
punch is disturbed by the strike and has to be replaned. The first,
rough-shaping file cuts are made in a vise. Then the counterpunch
can be worked against the pin and given its form.
The face of a counterpunch shapes the floor of the final coun
ters. The rims of these counters, at a depth equal to the strike, will
form the inner margins of the letter. To test progress, the counter-
punch is struck, after each revision, into a piece of lead. Such a lead
surface may be hammered out, after it has been filled with strikes,
and used again.
W hen a counterpunch has been brought to its final form, it must
be hardened before it is used for striking. First it is heated to a
49
A Short History of the Printed Word
cherry red and chilled. In that stage the steel is glass-hard and
brittle. It must be annealed by reheating it to a straw color in order
to keep it from cracking tinder stress.
To strike the counter into the face of the punch stock, it is best to
have some sort of stake to hold the two steel rods steady in their re-
3 .7 Counterpunch m g stake.
50
c h a pT e R i n * Type: C u ttin g and C asting
in. the process, a proof of the work is easily taken by bringing the
punch up close to the flame of an alcohol lamp. This causes the face
of the punch to sweat, and when plunged into the flame, its tip
acquires a coating of lampblack. W hen touched to a piece of chalky
cameo paper, the punch leaves a brilliant image.
3 .8 Planer.
51
A Short History of the Printed Word
direct aiid plastic means. Even in the use of engraving tools, type
cutting calls for handling that is much more related to scraping and
paring than to delineating. Punchcutting as it was practiced in the
earliest days of printing, coupled with the high state of calligraphy
during the fifteenth and sixteenth centuries, produced a series of
faces which are still the major models for many of the types we use
today.
Once the smoke proofs show that the desired form has been
achieved, the angle of the punch, from face to sides, is made steeper.
For purposes of correction an obtuse angle was needed; for striking,
a steeper one is obviously more practical. Finally, the punches are
hardened and annealed.
S t r i k in g a n d J u s ti fy i n g th e M a t r i x
52
c h a F T E R 11 î * Type: C u ttin g and C asting
3.9 Original “Janson" matrices, struck fro m punches cut by Miklos Kis
(enlarged).
53
A Short Hi stow of the Printed Word
use. It consists of two halves that fit togedier to form a casting box of
adjustable dimensions. When the matrix is placed in this mold, it
blocks one end and is held in position by a strong horseshoe-shaped
spring. The other end of the mold is flared so that it forms a funnel
shape when the two halves are put together. This device aids the
drop of the type metal into the mold. The flared shape, known as
the jet, was not present in the first molds.
54
ch a pTeR in * Type: C u ttin g and Casting
stick and finished with a planelike tool. This assures that the letter is
type-high (0.918 inch high in America), and it cuts the basal groove
as well as smoothing the feet. The finished product is composed of
55
A Short History of the Printed Word
Hair-line
Stem- -Counter
Serifs Beard of
Neck
Shoulder
In the early years, printers cast their own types. There were no
uniform standards and some printers favored nonconforming
typographic material to discourage pirating of their designs. The
sixteenth century saw the establishment of independent type
foundries, and as these increased in number there were demands for
more uniformity. But there were many problems, and solutions to
them were few and slow in coming, and not always happy ones. The
American point system finally gave some order to typographic mea
surements, but it was not generally adopted until the 1870s - at
which point the mechanization of typecutting, through the use of
standard patterns, was only a few years away.
The idea of a point system originated in 1737 with Pierre
Fournier, a French typefounder. In the present system, based on
his, there are approximately 72 points to the inch or 28.5 points per
centimetre. A point, in other words, is 0.0138 inch or 0.35 mm.
Twelve points make one pica, which is 4.22 mm or a sixth of an inch.
56
Before the adoption of the American point system, type sizes were
indicated by names, such as nonpareil, brevier and pica. W ith the
point system, those sizes became 6-point, 8-point and 12-point.
And with the shift to digital composition in the 1980s, another
change was made: the typographic point, in computerized environ
ments, was redefined as precisely the 72nd part of an inch.
The Font
A font of type is the complete collection of its characters. In dig
ital or photographic type, the font is a set of patterns that can usually
be rendered in any size. A font of foundry type, however, exists in
one size only. The design may be recut in other sizes, but no two
sets of handcut punches can ever be the same. Matrices for hot-
metal composing machines are often cut mechanically from pat
terns, or are made from mechanically cut punches. There may be
several sets of patterns, each of which is used for several sizes.
(Fount, incidentally, is an alternative spelling offont, but these two
spellings have the same pronunciation.)
As an example, the text of this book is set in 11-point Linotype
Janson Text. This is a digital type based on a set of punches cut at
Amsterdam near the end of the seventeeth century by the Hungar
ian punchcutter Miklos Totfalusi Kis. Early in the twentieth cen
tury these punches were acquired by the Stempel foundry in
Frankfurt. They were at first misidentified as the work of the Dutch
typefounder Anton janson, and unfortunately for Kis, the misiden-
tification became a convention of typographic commerce.
Until the Stempel foundry closed in the 1980s, metal type cast
from matrices struck with Kis’s punches could still be purchased for
handsetting. In 1954, Hermann Zapf adapted Kis’s design for hot-
metal setting on the Linotype machine. (That was the typeface and
composing system used for the first edition of this book.) Forty
years later, Linotype commissioned Adrian Frutiger to create a dig-
57
À Short History of the Printed Word
A B C D E F G H IJK L M N O P Q R S T U V W X Y Z
A B C D E F G H IJK L M N O P Q R S T U V W X Y Z
abcdefghijkimnopqrstuvwxyz
Æ Œ Æ Œ æ œ hflffffiffl
AÂA EÊ ÎI
ÂÀÂA Ç ÉÈEË Ï 6 U
âàâââââ^âà çc éèêëëëeêê min nh ôôôoôôôô
do do s§ üùûüüüûû
1234567890 1234567890
A flf>@ & &( ) . -------- [ ] U H
Ta Te To Tr Tu Tw Ty Va Ve Vo Wa We
Wï Wo Wr Ya Ye Yo
Pa % 3/b A % % % 2/?
3 .1 3 Font ofiz-point Linotype “Janson ” roman ( based on Ris).
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijkimnopqrstuvwxyz
ÆŒæœf i f l f f f Ji f f l
AAÂEÊIÎ
âàâaâaâqââ çc éèêëëëeêê uîïïï rm ôoôdôôôô
oô 00 s$ üùûüüüûû
12H H 1890 1234567890
Ta Te To Tr Tu Tw Ty Va Ve Vo Wa We
Wî Wo Wr Ya Ye Yo
g jp q y gjpqy
ital version of the design. That (with some further handtooling and
improvement) is the typeface you are reading. The type is still sold
as Linotype Janson Text, though it is not Jansen’s design, it is Kis’s
design, and it is set on a computer, not a Linotype machine.
chap T e R n i » T y p e : C u t t in g a n d C a stin g
H a n d Composition
3.16 Composing sticks: earliest type, single measure, made of wood; modem
style, adjustable in measure, made of steel.
well. Letters are cast according to the frequency of their use, and
this, of course, will van7with the language. In fonts that are cast for
setting English, there will be more ris than cfs or ads. In a font for
setting French, there will be é ’s and è:s and As.
A font of type is stored in a subdivided case or, often, a pair of
cases. I11 one, there are C A P IT A L S , s m a l l c a p i t a l s and vari
ous special characters. In the other are small letters (descendants of
scrittura umanistica), numerals and spacing material. W here cases
are used in pairs, they are usually set one above the other on a slop
ing frame that rests on the type cabinet, high enough so the com
positor can work standing. From the working position of the two
cases comes the now7familiar terminology: majuscules (capitals) are
in the upper case and minuscules in the lower.
A line of foundry type is still set, or composed, in a hand-held, ad
justable frame called a stick, just as it has been for centuries. Since
the letters read in reverse, right-to-left, they are assembled upside
down, allowing left-right progression by the compositor. An ad
justable stop on the stick is set to the line length required, and when
the approximate maximum number of letters has been assembled,
the line can be justified by altering the spacing between words.
60
----------------------------------------------------- i
^ y
After several lines have been composed in die stick they are trans
ferred to a long steel tray, open at one end, called a galley. Type is
worked and stored in dais form until made up into pages. The first
proofs, pulled on long sheets of paper, are called galley proofs.
The Handpress
Handpresses, such as the one Gutenberg developed, are for the
most part platen presses. Essentially, what is involved is the lowering
of a heavy iron plate, the platen, under controlled pressure, against
the horizontal, firmly supported type form. Although it is known
that a cabinetmaker named Konrad Saspoch built Gutenberg’s
press, no detailed descriptions of it or other very early models have
survived. The general style of it is known, however, and is well illus
trated in the reconstruction on exhibit at the Gutenberg Museum
in Mainz. A complete fifteen th-centmryprintshop is also effectively
reproduced there.
The bed of the press is the part that holds the form for inking
and printing. The type form is made up of pages locked into a metal
frame, called a chase, by means of wooden or metal wedges, known
À S h o rt History o f the Printed Word
62
as quoins. Blank areas in a page or along margins are filled in with
blocks known as furniture. The arrangement of the pages in the
chase, with the printed pages in proper sequence for folding, is
called the imposing scheme. The two sides of an octavo (16-page) sig
nature could be locked in the chase like this:
63
A Short History of the Printed Word
Incunabula: 1440-1500
66
piuDt ftlt mt btfcïplraâpris tut tt nt
htratttas Irarat rarie tutrmaiifcatur
gratia rapmtuon toupttotollo tun*
fftli tttUt tt laffanffîntpttQtf0:ntat?
qrndtas tfe»^t OtjEtdtotot nohîfrü*
4.2 Fony-two-line Bible: the type.
time he borrowed 800 gulden, at six per cent interest, from Johann
Fust, a wealthy Mainz merchant. T he loan was secured by a mort
gage on Gutenberg’s equipment. After still another borrowing, the
agreement was foreclosed. By that time, 1455, the loans and interest
had reached more than 2,000 gulden, a sum Gutenberg was unable
to pay. His books and tools were forfeited to satisfy the debt. The
irony of this misfortune lay in the imminent appearance of his mas-
terwork, the 42-line Bible.
W ithin a few decades after his Bible was printed, presses began
to produce the grammars and dictionaries that were to be the basic
tools for increasing literacy. Vespasiano, with those forty-five writ
ers in his employ, needed almost two years to finish 200 books. A
crew of forty-five Renaissance editors, compositors, proofreaders
and pressmen could do about the same - but they could make those
books in several hundred copies each.
We must turn now from Gutenberg, to contemplate the man
who would help Johann Fust carry on the Gutenberg venture. His
name was Peter Schôffer, and he was a calligrapher who was work
ing in Paris at the beginning of the second half of the fifteenth
century. From Paris he moved to Mainz, where he met and married
Fust’s daughter. H e designed and apparently cast type, and he
became at first Fust’s working partner, then his heir.
A Short History of the Printed Word
68
chapter iv • Incunabula: 1440-1500
letters. In both these books the types are large in size, especially in
the body of the Psalter. Like all texturas, they are angular and
pointed, but as texture types go, they possess an exemplary simpli
city. The letterforms are sharp, but they are less jagged and spiky
than many other fonts that followed.
The lines from the Fust and Schoffer Psalter reproduced in
figures 4.4 and 4.5 show two sizes of type. In both sizes, capitals ap
pear. They are quite different from the lower case - round instead of
angular, and drawn with a vertical axis instead of written with the
pen held at a comfortable angle. Nonetheless, they too are charac
teristic of the time. They are also generous in their forms, especially
against the close-packed vertical rhythm of the lower case. T he
lines, dots and other decorative touches often added to such capitals
are not solely for ornament. These additions help to reduce the
large counters which could otherwise open up holes in the overall
texture and color of the type mass.
69
A Short History of the Printed Word
fifgtmapüimmum
(AmîrfrmDûtinare
4 .5 M a in z Psalter: the type.
The large, decorative letters which stand out from the body of
the text are known as versais. In manuscripts, they were compound,
or built-up forms, drawn rather than written. Here they indicate
the degree to which the early printers were committed to imitating
the illuminators as well as the calligraphers. Naturally, these letters
also serve quite practical purposes. They indicate textual breaks and
stresses.
Peter Schoffer led a long and productive life; not so his father-
in-law, Fust, who died of the plague in 1466 on a visit to Paris. Two
of Schoffer?s most famous works - the Hortus sanitatis (a German
herbal) and Chronik der Sachsen (a history) - did not appear until
1485 and 1492. Both were extensively illustrated with woodcuts.
71
A Short H isto ry of the Printed Word
73
A Short History of the Printed Word
7 4
c hapte R iv • Incunabula : 1440-1500
Printing in Venice
T he first book printed in Venice was completed in 1469. It was
Epistolae ad familiares by Cicero, and its printer w'as Johann van
Speyer (Giovanni da Spira). It was followed by Pliny’s Historia nat~
uralis. In 1470, Johann died, leaving his brother Wendelin to finish
his edition of St Augustine’s De Civitate Dei, the first European
book in which page numbers are printed.
The type used by the Van Speyers has extraordinary clarity. It
consists of purely roman forms that are directly recognizable as
such even by narrower modern standards. The brothers made great
claims for their design, seeking in fact to patent it as a new inven-
75
A. Short History of th e Printed Word
NicolasJenson
Jenson was bom about 1420 at Sommevoire, in northern Bur
gundy. Between 1470 and 1480 he printed some 150 books and
established a lasting reputation for his types. Before learning type-
making at Mainz, he was a mintmaster, possibly at Tours. He too, in
other words, had training as a goldsmith. He already knew how to
cut punches, make molds and cast metal with precision and
efficiency at very small sizes. And he knew and loved letters.
76
chapter iv * Incunabula: 1440-1500
The Eusebius type is a marvel, but its maker attained his mas
tery and knowledge little by little. There are clues connecting
Jenson with Frankfurt, and some which place Gutenberg there
from the time he lost his equipment in Mainz until 1468. It is not at
all impossible that Jenson had some direct contact with Gutenberg.
Certainly, Jenson was associated with Frankfurt merchants, espe
cially with booksellers. One of these, Peter Ugelheimer, who was
involved in the book business as early as 1455, appears in Venice
twenty years later, at the height of Jenson’s Italian career. It is also of
interest to note that among the shareholders in Jenson’s last part
nership were Dona Paula, the widow of Johann van Speyer, and her
two children. The presence of these three lends weight to the
theory thatjenson cut the types of the Van Speyers. He died in 1480
in Rome, where he had gone at the invitation of Pope Sixtus IV.
Jenson was a success in his own time, both artistically and finan
cially. Beyond his time, he has remained an inspiration. It is my be
lief that his influence came partly from early training, which gave
him even greater sensitivity to the sculptural nature of type than
one would otherwise expect in a goldsmith-turned-punchcutter. In
making coins and medallions, the letterforms Jenson employed
qui omnibus ui aquarum fubmcrfïs aim filiis fuis fimul ac nuribus
mirabili quodi modo quafi femen h u à n i generis confèruatus efttque
urina quafi uiuam quandam tmaginem imitari nobis contmgat:& hi
quidem ante diluuium fucrunt:poft diluuiumautem alii quorüunus
altifïimi dei facerdos iuftitix acpietatis miraculo rex mfhis lingua he-
brxom appellatus efbapud quos nec dromafionis nec mofaicx legis
ulla menao erat. Quare nec iudæos(pofteris enî hoc nomcn fuir)neqj
gentiles :quoniam non urgentes plural itatem deorum inducebantfea
hebrxos pro prie noiamus autab Hebere utdidxî cfhaut qa id nomen
cranficiuos fignificat.Soii qppe a creaturis naturali rone éc lcge mata
nô fcnpta ad cognitioni uen dei trifiere:& uoluptate corporis côtépca
ad redam uitam puenifïe fcribuntkum quibus omibus prxdarus ille
tottus generis origo Habraam numerâdus efhcui fcriptura mirabilem
iuftitiâ quâ non a mofaica lege(feprima efm pofi: Habraa generatione
Mopfes nafdtur)fed naturali fuit ratione confecutus fuma cum laude
atteflatur. Credidic emm Habraam deo Ôdreputatû eft ei in iuftitiam.
Quare multarum quoq? gentium patrem diuina oracula futurüuac m
ipfo benedicédas oés genres hocutdelicSd ipfum quod iam nos uideüs
aperce pnedicÆumeft:cuius ille iuftttiæ pcrfedaoém non mofaica lege
fed fide côfecutus eft:qui poft muitas dei uifiones legitrimum genuic
filium:quern primum omnium diuino pfuafus oraculo drcuâdit:ô£
cxteris qui ab eo nafceretur tradidit:uel ad manifeftum mulatudinis
eorum future fignum:uel uthocquafi patemxuirtutis îftgnefiîù re>
rinétes maiores fuos imitari conaretrauc qbufcüqj aliis decaufis.Non
enim id fcrutâdum nobis modo eft,Poft Habraam films eius Ifaac in
pietace fucceiïït:fœlice hac hxreditate a parétibus accxpta:q uni uxorî
coniunchis quum geminos genuifiet caftitatis amore ab uxore poftea
didturabftinuifTe.Ab ifto natus é Iacob qui ^pptcr cumulatu uirtutis
prouetum Ifrael eriam appellatus eft duobus noibus ^ppterduphcem
uirtutis ufü.Iacob efm athlerâ ôc exercécem felatinedicerepoflumus:
quam appellations primû habuic:quû prafticis operaaoîbus multos
pro pietate labo res ferebat.Quum autéiam uidorludando euafit:&
fpecularionis fruebat bonis:tue Ifraelem ipfedeus appellauit æterna
premia bearitudméqj ulrimam qux i n uifione dei confiait ei largiens:
hommem enim qui deum uideat Ifrael nomen fignificat. Ab hoc.xih
iudxorum tribus ,pfedtx füt.Innumerabiîia de uita îftorum uirorum
forticudine prudenria pietateqj did pofïuntiquorum alia fecundum
feripture uerba hiflorice confiderantur:aIia tropologice ac allegorice
interprctâtîde qbus multi côfcripferût;& nos in hbro que infcnpfiûs
78
Et ptds in morem ad digitos ietitefdt habendo* Eiufmodi
figuratioparumadmiTit ex feperf«îhim:nec conuenitad
mittere uc aut pofïït:au t debeat cum cxteris temporibus p
totam declinauonem uim incipiendi figmficare• Abfurdu
i ergo ea quse funt închoatiua perfe^o tempore defm{re:6£
mox fucurum deciinando inchoadua efle demoftrare'Ncc
enimpoteftcum tota uerbi fperies inchoatma dfcatur alia
4 .1 3 Roman type o f Nicolas Jenson. 1471.
were capitals, often beautiful capitals that could summon the spirit
of Rome. It is reasonable to assume that Jenson’s Latin background
and his proficiency in roman forms were of incalculable impor
tance in translating humanistic script from manuscript to type.
Some critics have complained that Jenson’s type lacks perfection
in detail. The answer to this charge lies plainly on the page, where
the even color of the type mass and the great legibility of the forms
prove without a further word that the punchcutter and printer
achieved his aims. Dressmaker details and elegant touches do not
bear constant repetition. It is the elusive inevitability of Jenson’s
forms that has made them models for over 500 years. Part of the
character of a Jenson page derives from the fitting of the letters;
there is sufficient space between them to match the space within the
counters.
In 1471 Jenson produced an excellent Greek type - the first com
plete Greek type and still one of the best - though he used it only to
print excerpts and quotations. In 1474 he began to cut a series of ro
tundas, used in his expanding production of medical and historical
works. His fame nonetheless now rests on his contribution to the
form of roman type and to its mise en page, its composition and
arrangement on the page.
In spite of the success of the Venetian printers, Florentine bib
liophiles remained aloof from the press. It was a time of high attain-
79
A Short History of th e Printed Word
80
l‘ . Tflû» i i T R A ;^ F O R M A D A
>$---------1------ ï ' S|
toIT & -2 # 1 ®
t l I
I 0 0
k = = j s f c : ....
T R U m o 9
\Y 5 lt M T
1 'v----------- T 2-------------'■>
jx..... ........ ■T.- V. ......................Xj . ]
____ ___ . -J
however, Spain became both the source and the preserver of some
of the world’s finest roman types- And at Alcala de Henares, near
Madrid, in 1510, Arnaldo Guillén de Brocar cut the Complutensian
Greek: a piece of typographic art stylistically in tune and fully on
par with the work of Nicolas Jenson.
The earliest firm date for printing in the Netherlands is 1473.
This date is established by two books, produced in Utrecht in that
year, by Ketelaer and de Leempt. There are some undated works,
presumed to have been printed several years before, perhaps as
early as 1471. A few years after the Utrecht books appeared, printing
shops were opened in Deventer, Delft, Gouda and elsewhere in the
Netherlands, and printing was introduced in neighboring Belgium.
Bi
A Short History of the Printed Word
William Caxton
At Brugge, in Belgium, in 1473 or early 1474, William Caxton
printed the first book in. English. It was his own translation of Raoul
Le Fèvre’s Le Recueil des histoires de Troyes, and he called it Recuyett of
the Historyes ofTroye. (A recueil or recuyell is a compilation or collec
tion.) Caxton was born about 1422. In 1438, he apprenticed to the
wealthy Robert Large, soon to be Lord Mayor of London, and
there made connections helpful in advancing his future career as a
printer-publisher. In the 1440s, he was in business in Brugge.
W ithin a dozen yeai's he was prominent in the Mercers’ Company,
rising to the governorship of the Guild of English Merchants.
Caxton began his translation of Le Fèvre’s Recueil in the 1460s
and completed it at Kdln in 1471. It was there, evidently, that he first
82
c h a. P T e R i. v ® Incunabula: 1440—1500
1477, he printed his first dated work: Dictes and Sayings of the Philoso
phers, translated, by way of Spanish, Latin and French from an
eleventh-century Arabic original. T he first dated book in the Eng
lish language, printed nine years after Gutenbergs death, was actu
ally written in Egypt by Mubashshir ihn Fâtik at the same time as Bt
Shëng, in China, was inventing movable type.
At his death in 1491, Caxton had printed nearly a hundred
ivorks. It is interesting to speculate how the style of English and
American printing might have developed if Caxton had learned to
work type, and to print from it, in Venice instead of Koln. Had he
done so, there might have been, in England, an earlier release from
the thralldom of the blackletter and an earlier appreciation of the
full resources of roman.
If he was not a model typographer, Caxton has nevertheless
served England well as a model printer-publisher, combining as he
did scholarship, craftsmanship, dedication and business acumen
enough to make his chosen calling pay.
E r h a r d R a td o lt
handsome type specimen sheet, possibly the first font catalog ever
produced. It shows a generous selection for a fifteenth-century
printer: ten sizes of rotunda, three of roman, one of Greek, and a
sample ornamental capital. (Rotunda was then more popular than
roman, even in Venice itself.) In Augsburg, Ratdolt kept on printing
for more than thirty years. He died there in 1527 or 1528, about
eighty years of age.
85
A Short History of the Printed Word
86
Leipzig, Munich, Stockholm, Lisbon, Hamburg and Copenhagen.
In London, John Lettou, William de Machlinia and Richard Pyn-
son were early printers. Pynson had a sense of style that raised him
above other English printers of the fifteenth century. He also began
England’s slow conversion from blackletter to roman type. (These
are two reasons why he was memorialized four centuries later by the
American typographer Elmer Adler, who named his press in New
York the Pynson Printers.)
Pynson was bom in Normandy and learned printing in Rouen.
He took over the shop of De Machlinia about 1490, and in 1494 he
issued Boccaccio’s Fall of the Princes, in a transl ation by John Lyd
gate. He printed until 1528 and died in 1530.
O f the three printers brought to the Sorbonne in 1470, two,
Freiburger and Kranz, returned to Germany in 1477. The third, the
Swiss Ulrich Gering, remained. Pie was joined later by Berthold
Rembolt, and their office continued to make significant contribu
tions to printing until the end of the century.
From the standpoint of activity, Lyon came close to matching
Paris. Like Venice, Lyon was a great commercial center. It was also
relatively free from ecclesiastical censorship. Guillaume Le Roy in
troduced printing there in 1473. Five years later, Le Mirouer de la
rédemption was printed in Lyon, using types and woodcuts imported
from Basel. This is the first French book with printed illustrations.
Most fifteenth-century French books are set in blackletter,
though Gering cut whiteletter types for the Sorbonne. In time,
some of the finest roman types ever made were made in Paris and
Lyon, but early French taste favored pointed gothics, round goth
ics, and especially the cursive vernacular lettres bâtarde.
Among the notable aspects of French manuscript production
were the Horae, or Books of Hours. The writing and illumination of
such books provided some of the most magnificent examples of
French calligraphy and miniature painting. Several French print
ers, it would seem, set out to match that achievement in type and
87
A Short History of die Printed Word
89
A Short History of the Printed Word
tacular example of the latter than the cuts made by Albrecht Dürer
in 1498 for the Apocalypse, printed in Nürnberg by Anton Koberger.
They represent a great aesthetic achievement as well as a technical
one. An unnamed artist - perhaps Benedetto Bordon - made an
equally impressive set of woodcut illustrations for Francesco
Colonna’s Hypnerotomachia Poliphili, printed by Aldus Manutius in
Venice in 1499. Each of these books attains, as in polyphonic music,
a perfect marriage of two independent voices: type and illustration.
These are forward-looking books that begin the sixteenth century
more than they end the fifteenth.
Aldus Manutius, or Aldo Manuzio, was born at Bassiano, near
Rome, about 1450. His studies at Rome and Ferrara included
Greek, and he envisioned the use of printing in a revival of classical
wisdom. In Venice in 1494, he founded the Aldine Press. In 1502 he
adopted his printer’s mark: the dolphin and anchor, an old Roman
symbol for the popular motto,festina lente, “Hurry slowly.”
90
PBJ MVS
9*
A. Short History of the .Printed Word
92
CHAPTER V
ï in v e n to r y o f t h e p h y s i c a l a n d m a t e r i a l progress of
printing until the year 1500 would reveal more than 1,100
shops in 200 cities, in which some 12,000,000 books, in some
30,000 editions, had been produced. On the aesthetic side, the high
state of calligraphy during that period provided an atmosphere of
understanding and taste for letterforms that has been of lasting
benefit in establishing the classic models for type families. Mechan
ically, very little had changed since the time of Gutenberg. The ap
pearance of technical progress stemmed from increased skill in the
craft. Peter Schôffer the elder, as an example, died in 1502, though
he had relinquished control of his shop a few years earlier. He rep
resented, in one lifespan, the full course of printing history, with all
the experience that implies. In 1500, however, presses still used
wooden screws to deliver the force for the impression. It was not
until 1550 that a Nürnberg mechanic fitted a press with a metal
thread for the power action.
In the new century, printing was to spread to many countries:
Turkey, 1503; Rumania, 1508; Mexico, 1534; Ireland, 1550; Russia,
1553; India, 1556; Palestine, 1563; Peru, 1584. Mexico had a printing
press a full century before the first in the British colonies, at Cam
bridge, Massachusetts ~ and along with the press had a substantive
culture of publishing.
The religious, political, social and economic ferment that
93
I
5,1 Virgil, Opera. Venice: Aldus, 1501, with italic type by Francesco Griffo.
94
c Ha p t er v * The Sixteenth Century
GEORGÏCOR.VM,
L I B E R QV A .R.TV 5-
9
5-3 L etter w ritten by Raphael, A p ril 1508.
A Short History of the Printed Word
Among the writing masters of the period, there are three whose
names stand out: Ludovico Vicentino degli Arrighi, Giovanantonio
Taghente and Giovanni Battista Palatino. AU three of them pro
duced writing manuals, the first two in 1522 and 1524, the third in
cdaimsOBaju^tafatims Smdtfaf
r ~ B ^ o m y i(ÿ u d r P c r tflr in m
J b im o
M DXXXX
5.6 Chancery cursive from Palatino }s w ritin g m-anual. y
1540,1545, and again in 1566. These books were cut on wood, like
the earliest Chinese printing. Beautiful as they are, they have given
too many students a false impression of the rhythm of the chancery
hand. The flow of the hand is not caught in the plates of these
books. This is due as much to problems in getting the writing onto
the wood blocks as it is to stiffening of forms in the cutting.
In 1523, Arrighi, a papal scribe, published a second manual, also
executed hi wood blocks - but this book also contained several
pages printed from italic type of his design. This type, the first of six
that Arrighi designed, was more formal than Griffo’s first italic, cut
for Aldus. It had longer extenders, and so consumed in vertical
space everything it saved in the horizontal measure.
Though more extravagant in form, Arrighi’s type was open, leg
ible, and required fewer ligatures than Griffo’s. It also differed in its
treatment of the capitals. Griffo had at first adopted the contempo
rary scribes’ use of small, upright roman capitals with a cursive
lower case. Arrighi preferred upright capitals of an intermediate
99
A. Short History of die Printed Word
size, as Griffo had in his later italics, which he cut for the great Jew
ish printer Gershom Soncino and for his own use at Bologna. But
after simplifying his fonts by reducing the number of ligatures,
Arrighi introduced a new calligraphic complication: decorative,
swash italic capitals. His types, and many others which followed,
belong to the later phase of the Renaissance which is known to art
historians as the Mannerist phase.
The Woodcut
Aldus Manutius was a businessman as well as a scholar-printer
and typographic innovator. He foresaw, with the increase of liter
acy and printing, the decline of monumental formats in favor of
cheaper and more manageable editions. Yet he could view such
changes from the vantage point of one who had produced a land
mark among the incunabula: the Hypnerotomachia Poliphili, contain
ing some of the finest woodcut illustration and related typography
of the Renaissance.
In the closing years of the fifteenth century, the woodcut
reached a new, high level of excellence in the hands of Albrecht
Dürer. W ith him, the independent print takes on added signifi
cance in the history of printing. Black-and-white line is made to
carry a richer freight of texture and graphic color. Outstanding
craftsmen were required to cut D tirer’s designs. Talent attracts tal
ent; it also trains it. I have no doubt that Dürer could cut anything
he drew. In his early teens he had worked with Michael Wohlge
muth, the illustrator of many of Koberger’s books. After extensive
travel, including an extremely valuable visit to Italy, Dürer returned
to a uniquely productive life in Nürnberg. Because he bridged the
gothic and humanistic traditions, Dürer is harder to catalog than
Andrea Mantegna, the Italian he admired so much. Vasari recalls
Raphael’s appraisal that if he had known the antique, Dürer would
have surpassed them all.
IOO
chapter v * The Sixteenth Century
101
A Short History of the Printed Word
cherry, and in Europe pear. The chief tool has been the knife, held
upright in the East and like a pencil in the West. Auxiliary tools are
gouges and chisels, for clearing the spaces between and around the
lines of the design.
The drawing may be made directly on the block of wood or
transferred from paper by nibbing the back of a tracing made in soft
lead or any similar material. It was once common practice to paste
the drawing onto the block, but then, just as with direct drawing on
wood, the original was sacrificed in the cutting.
After the design is satisfactorily prepared, a light tint is usually
rubbed over the block. A good transparent blue works well for this
purpose. Freshly cut passages thus will show up dearly and to ad
vantage. The positions of the knife, Oriental and Occidental, can
best be described in a simple diagram (figure 5.9).
It is worth remembering that while this technique is rarely used
now for anything other than illustration or decoration, it is the orig
inal means for making plates to print the text of books, not just the
illustrations.
102
c h a p T e r v • The Sixteenth Century
5. i o Gouge fo r woodcutting.
Technique ofWoodcutting
T he shape of the knife to he used is determined by the angle of
cutting, the governing factor being die amount of metal to be
drawn through the block. Obviously, the minimum amount is more
desirable.
If a curved line is to be cut, its outside rim can be done with rela
tive ease. The block is rotated, usually on a sand-filled leather pad,
so the working hand need not be turned. The power and control of
the woodcutter’s stroke are dius increased. An inside curve de
mands greater care in the cutting, because the back of the knife
blade is constantly in danger of injuring the wood as it follows the
edge of the design in the cutting.
A first incision is made, along the line, at a 20° to 30° angle off
the vertical. After the block is revolved half a turn, a second incision,
to remove wood adjacent to the line, is made at an angle of 40° to
6o°. At this angle, a larger surface section can be removed.
T he wood remaining in the spaces between the lines is removed
103
A Short History of the Printed Word
5 .11 Two states ofa Rembrandt drawing cut on wood by Jan Li evens.
io4
gh a p t e r v • The Sixteenth C entury
with gouges and chisels. Gouges work best when they are sharp
ened so that the sides of the U or V form of the tool are in advance of
its belly. Such sharpening makes possible an action similar to two
knives at work, and enables the woodcutter to move easily against
and across, as well as with, the grain. Repairing broken or rejected
lines is an important capability of the woodcutter, and this he does
by trimming and gluing in a fresh piece of wrood, then refinishing it.
This patch may be so shaped that it is locked into the block, thus be
ing doubly strengthened.
An example of a masterly job of repairing can he seen in the two
states shown here of a small head by Rembrandt cut by Jan Lievens.
The recutting of the mouth required reestablishment of that sur
face area and represents, to me, the height of die woodcutter’s craft.
I also discover in these works a fundamental comment on the nature
of art and craftsmanship: the fact that Lievens could cut a drawing
by Rembrandt gave him invaluable objectivity in cutting works of
his own design.
The sixteenth century saw the introduction of many new tech
niques in the printing of illustrations. There were chiaroscuro prints
(prints in which the composition depends at least in part on the pat
tern of light and shade), and multiple blocks were printed together
to create grisaille illustrations (illustrations composed entirely of
varying shades of gray) as well as other tonal effects. The simple
technique was to make a key block; this carried the design. The sec
ond block provided a tone for the whole, and into this block lights
were cut to relieve and model the forms.
A more subtle method is shown in Ugo da Carpi’s Diogenes, cut
after Parmigianino’s drawing. In Da Carpi’s approach, the key
block becomes the accent of the design, but it is incomplete and
would not stand alone. Music of the period was often written so that
no voice seemed to dominate the others, and many a palazzo was
designed with no grand entrance. In a series of seemingly equal
doors, one was marked by subtle clues.
105
A Short History of the Printed Word
106
c h a pT e r v * The Sixteenth Century
5.15 Cresci. Roman upper and lower casefro m II Perfetto scrittore. 1556.
108
ch a pTer v * The Sixteenth C e n tm y
L.Fencftellæ de
M A G I S T R A T I B V S , S A C E R,
dotii'% RomanorurnUbdius #iampn«sum
nirori fuo reftiruruî.
Potnponîj larri iridein de magiftradbux êf
facerdorijî, & prseterea de diuerQs Icgi»
bus Ronunorum.
P A R U I I î
DE T R A N S I T V
Hcllenilmi ad Chrifti-
aniunum, Lib.primus.
O N S I D E R A N T I M I-
hi &pmumcro,Fricifcc rex po-
tcti{fimc,ad eamquc mentis inte
none vehetneter incûbcri.quod-
nam dignum operarpreem ex vfia
philologist, atquc cliterarum co
fuetudinc ferre poffem: Be verè
feire aacnti quo pado poriflïmu
meliorc hominis intenoru con-
ditionc ,cx co laborc ftudiqq; cfficcrc,cui extenia & cor
poris bona qua; dida fun t, pofthabcda,aetate quoque flo-
rcneilfima duxcratrucupidicas inedEEt adcundsr tandemde
confided* philofophiar. Philofophia ante finquit apod
PJatoncni Socrates in Phxdone)morris eft meditario, cà
demum ipfa fpedans, vt anima corpori nunc cofociata*
bine tandem fublimis abeat.corpornque contagioncde-
funda morte factli, ad dcum creatorc fuum rapiatur, cu
ius ilia fimilitudine abeodem ipfo praedifa cft,quàm fie
ri poteft integerrima ab ipfius corporis focietatc. & qui-
dem ipfius philofophix munuseRidquod homines no-
runt difeendi cupidifltmi, animam vt hominis doccdam
fufcipiat.corpori ailigatam.atque illi congbcinatam, &
vero nccdTario coaftam,quafipcr carcerem quendam.fic
A.i.
5.18 Robert Estienne. Chapter opening. Text by Guillaume Bud 0 type by
Simon de Colines; initial by Geofroy Tory. Paris, r y j y
IIO
CHAPTER V The Sixteenth Centtiry
y jg Robert Estiennes Cicero, with type by Simon de Colines. Paris, 1543 50.
11 î
A Short History of the Printed Word
112
r x 7iXeîovoç fMpoiç-<fjci 3 7^ Hç g t x ^ e l w
5.21 G aram ond’s grec du roi: the largest size (21 point). Paris, 1546.
D I ON Y S H HALÎ CÂRNÂSSEI
P RÆCEP T À DE O R A T I O N E P A N E G Y R I C A,
M Asto k io A htim acho ik t e r p r e t e .
cumhuii
panegyrics aliquo modo prsfe,& tiufdem eft nominis ; vt, Olympiorum,
Olytnpius lupicer : eius autem quod in Pythiis fiteertaminis, ApoUo, Prin-
cipium igitarhuiufmodi orarionis,quzcumq; fueritjUus dei nobis fît, tam-
quam vultus feu perfona quzdam (pîendida, in (êrrnonh inino pofita arque
conflimta. Latidandi autem exordium, ab iis que dco infîmt, tique actri-
4° bounttir,proutrès copiant fuppeditent,fumes.Siquidem ïupiter focrit, ad-
docendum erit, deorum regem,rerumquc omnium opificem efTe: Sivero
ApoUojmufices inuctorem ejcfUrifTe,&eundem eflè cum foie; SoEemautem
omnium omnibmbonorumauâorem.Pîztercafî Hercules «it, louis elfe
filium: & ca quæ mortaüum vies przbuit, conumerabw.Et locus ferme co-
plebitut exijsquzquiiibet aut inucnerit,aur hominibus tradiderit. Verum
nzebrembusnarraois-, ne przeedens orario fequenri maior euaderc vidca-
nir. Dcinccps vrbis laudes,inqua publicusconucntus ceiebratur.ve} afitu.
5.23 Garamond s type, used by the H eirs o f Andreas Wechel. Frankfurt, 1586.
I T4
CHAPTER V The Sixteenth Century
H 5
A Short History of the Printed Word
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5.25 Jean de Tournes. M étam orphose d ’O vide figurée. Lyon, r j y 7.
5.26 Robert Granjon. Title page using civilité. Lyon, 1557.
117
A Short History of the Printed Word
REGNI NEAPOLITAN!
P 8 r n L E G I V M,
they are called àvilit0 s because one of them was used to set La Civt-
Ut0 pu&nk, the French translation of a book that Erasmus wrote
originally in Latin.
Plantin was in many ways the antithesis of Tournes. While
Tournes was an artist with a dedicated sense of purpose, Plantin
was, in the main, a businessman with a keen sense of publishing. He
was born near Tours, in France, about 1520 and studied in Caen, b ut
he made his reputation in Antwerp, where the Plantin-Moretus
Museum remains as a monument to his legacy. Plantin established a
118
bindery in Antwerp in 1549, and six years later added printing and
publishing to his undertakings. After his death in 1589, the business
was continued by his widow and his son-in-law, Jan Moretus.
Plantin s talent seemed to lie in the size of editions, rather than
their typographic excellence, and he might be described as one of
the earliest practitioners of merchandising. He made books with a
look of opulence, profusely illustrated, but utilizing artists and de
signers more for their names than for their understanding of the
basic nature of letterpress printing.
Between 1568 and 1572 the printing o ce of Plantin was en
gaged in a large undertaking commissioned by Philip II of Spain; an
eight-volume publication whose title was Biblia regia. Printed in
ve languages Hebrew, Greek, Aramaic, Latin and Syriac it
came to be known as the polyglot Bible. The edition consisted of
thirteen sets on vellum for the king and 1,200 on paper for general
sale: a large undertaking indeed, considering the capacity of the
presses available.
Plantin was generous in his use of copper engravings. Even as
early as the polyglot Bible, some of the illustrations were engraved.
In 1559, the Plantin shop had done the letterpress text for a com
memorative book marking the death of Charles V. The illustrations
for this were designed, and probably printed, by J 0 r me Cock,
Pieter Brueghel s father-in-law. Use of engraved or etched intaglio
prints necessitates an additional impression, made with a dUerent
kind of press. Despite the added cost of production, copper began
to supplant wood, and Plantin and his descendants led the way.
Antwerp was better supplied with engravers than most centers.
Cock was a leading gure in this eld and engraved a large body of
Brueghel s work. W hen Rubens s studio was in full operation, it
employed not only painters but a group of engravers especially
trained to translate his paintings into prints. Balthasar Morteus,
grandson of Plantin and friend of Rubens, brought the great Flem
ish painter into several collaborations with the Plantin shop.
119
A Short History of the Printed Word
120
a punchcutter from Lyon, also affected the course of German
typography. In 1571, he married the granddaughter of Christian
Egenolff and opened Germany’s first independent type foundry.
Among his collection of matrices were some that were struck from
Garamond’s punches.
In the 1510s Richard Pynson introduced roman type into Eng
land, and in the 1520s Wynkyn de Worde, who had learned his skills
with Caxton, introduced italic. These events marked the beginning
of the end of black! etter type for the text of English books.
121
à Short History of the Printed Word
ess+sfs
DE M IC H EL
D E MONTAI-
G K E.
t fv seç o
'B O F R D E A F S.
Par S. Mil langes Imprimeur ordinaire du Roy.
t J M . D . L X X X.
a v e c r r if il e g e d v Ror,
5.2 9 Title page o f M ontaigne s Essais. Bordeaux, iy8 o .
122
CHAPTER VI
I deny not, but that it is of greatest concernment in the Church and Com
monwealth to have a vigilant eye how books demean themselves, as well as
men; and thereafter to con ne, imprison, and do sharpestjustice on them
^T:‘oîÎjOX'>*■V
"•
as malefactors. For hooks are not absolutely dead things, but do contain a
potency of life in them to be as active as that soul whose progeny they are;
nay, they do preserve as in a vial the purest e cacy and extraction of that
living intellect that bred them. I know they are as lively, and as vigorously
productive, as thosefabulous dragon s teeth; and being sown tip and down,
;
may chance to spring up armed men. And yet, on the other hand, unless
wariness be wed, as good almost kill a man as kill a good book: who kills a
man kills a reasonable creature, Gods image; hut he who destroys a good
book, kills reason itself kills the image of God, as it were in the eye. Many
a man lives'a burden to the earth; but a good book is the precious lifeblood
of a masterspirit, embalmed and treasured up on purpose to a life beyond
life. Tis true, no age can restore a life, whereofperhaps there is no great
loss; and revolutions of ages do not oft recover the loss of a rejected truth,
ffi
123
A Short History of the Printed Word
for the want of which whole nations fire the worse. We should- be wary,
therefore, what persecution we raise against the living labours of public
men, haw toe spill that seasoned life of man preserved and stored up in
books; silice we see a kind of homicide may be thus committed, sometimes a
martyrdom; and if it extend to the whole impression, a kind of massacre,
whereof the execution ends not in the slaying of an elemental life, but
strikes at that ethereal andfifth essence, the breath of reason itself slays an
immortality rather than a life....
c h a p i e r v ï % The Seventeenth C entury
[S H 'A : ï t E S F E A & E s
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Censorship in England
In 1637 the number of print shops and foundries in England had
been limited by decree. In the cradle years of printing, opposition
came chiefly from organized calligraphers and illuminators whose
livelihood was threatened. The content of manuscripts was seldom
in question; most were classics or ecclesiastical writings and many
were in Greek or Latin, which made them inaccessible to all but a
few scholars and churchmen. But with the coming of the seven
teenth century, printing was seen as a threat to established power,
I25
A Short History of the Printed Word
both religious and political. The opposition took the form of cen
sorship. Miltons words did not bear immediate fruit, hut Parlia
m ents Declaration of Rights in 1689, issued just before the
proclamation of William and Mary as King and Queen, foretold his
triumph. In 1694 the Licensing Act expired. It was not renewed, and
censorship of the press ended.
As the debates over censorship continued, typographic printing
continued its expansion. It was introduced to the Philippines in
1602, Lebanon in 1610, Bolivia in 1612, Ecuador in 1626, the not-
yet-formed United States in 1639, Iran in 1640, Finland in 1642,
Norway in 1643, Guatemala in 1660, Indonesia in 1668.
A
DECREE
OF
Starre-Chamber,
CONCERNING
P r i n t i n g ,
tbeelmentb day o jftfo
hftpajl. i 617*
126
c h a p T e R v i The S e v e n te e n th C e n tu r y
127
A Short History of the Printed Word
128
c h Ap T e r v ï * The Seventeenth Century
129
A Short History of die Printed Word
130
CHAPTER Vï
:0 tL^rfA^ f eu.^
'Wit vitïftÿÿi»siiiy «<■,.:»''•" '•";’ :!;•'; ';■:'"$:;;;:'=■'_■'■■■ ?y-
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-M M Æ .
fr
6.7 Respublica, sive Status regni Poloniae. Leiden; Elzevir, ïÔ2j.
Intaglio
ABCDEFGHIKLMNOPQJR.
S T V U W X Y Z ABCDEFGHIK-
Ater nofter qui es in cœlis, ian-
P étificetur nomen tuum. Veniat
regnum tuum :fiat voluntas tua,ficut
in coelo, ita etiam in terra. Panem no-
ftrum quotidianum da nobis hodie.
iA A B C D E F G H I J K L lM M
NO T > §£ST P T T W X rZ ^£Æ
^T^Ater nofter qui es in cœlis, fanBifi*
cetur nomentuum. Veniat regnum
tuum : fiat voluntas tua,ficut in cœh, ita
etiam in terra. Fanemnoftrum quotidia
numda nobis hodie. E t remitte nobis de-
6.8 Fell types, rom,an and italic.
The press consists of a bed that travels between two steel rollers. A
felt blanket, positioned between the upper roller and the paper and
plate on the bed, acts as the makeready, a self-adjusting overlay.
There are several methods of preparing intaglio plates, worth con
sidering each in turn.
T33
A Short History of the Printed Word
134
6 .i i Etched illustrations hy Rembrandt van Rijn. 1655.
I 35
A Short History of the Printed Word
There are several ways to etch a plate. The biting of the plate, by
exposing it to acid, can begin before the drawing is complete. In this
event, the darkest lines are drawn first and the lightest portions last,
so that the latter are least exposed to the acid. As an alternative, the
design can be drawn in its entirety, then the plate put in the acid
bath for its initial biting. W hen the lightest lines have sufficient
depth, the plate is removed and the light sections painted over with
stopping-out varnish. The plate is put in the acid bath again. Now
the next-to-the•'Ughtest lines determine the timing. This is contin
ued until the work is fully bitten, or etched.
136
Etching is the intaglio method used by Rembrandt, and he car
ried it to extraordinary heights. The etchings he made late in his life
for La Piedra gloriosa, o De la estatua de Nebuchadnesar, by Samuel
Manasseh ben Israel (Amsterdam, 1665), are among his few illustra
tions specially made for books.
137
À Short History of the Printed Word
138
C H A P T E R VI The Seventeenth Century
eacy of line that is the hallmark of engraving. But this virtue can be
compromised by the di culty of transferring the ink completely
and cleanly from the surface of the pla te.
Perhaps the most in uential as well as proli c of the seven
teenth-century illustrators was Jacques Callot, a French engraver
and etcher who received his early training in Italy. It was probably
Callot who developed the hard varnish ground and instituted the
practice of successive biting. While most of his prints were sold in
dependently or as collections of etchings with engraved titles or
captions, he did several books with illustrations in intaglio, the text
being printed by letterpress. Such a volume is his Lux claustri of
I 39
À Short History of the Printed Word
m.
piimvïpns obsta
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140
c h .Ap T e r v i ® T h e S e v e n te e n th C e n tu r y
Avfifa L
Relation
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144
The London Gazette
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I
A Short History of the Printed Word
p m tra its
O C e U R E E N Ç Î I S : ;
*•* f **.X*r4M p* p-afutlst'k. ' i , '■
W* VtwB^ ,*#C\ .
6 ,2 0 H /z m W P u b lic k O c c u r re n c e s . 1 6 9 0 .
146
c h a p T e r vi * The Seventeenth C entury
147
A Short History of the Printed Word
23 £ ....
IMITATIONE
CHRISTI
LIBER PRIMVS.
Admomtiones ad fpkkqabra mats vxiles.
C A PVT I
De trnmmne Ckri$h& emtemft»
omnium ntamtatum mundi
I leqmtur me, non
d n$S\'o'dmbul.at in tencbris ;
!% $$$$ dicic Dominus. Hæc
■If verba Chnfti,qui'
bus admonemur »quatenus vitam
148
c Ra pt er v i * The Seventeenth Century
lenfeignemet de ta mere.
ITALIQVE GROS CANON.
C a r i l s f e r o n t g r a c e s e n f l e e s
e n fe m b le à to n c h e f, c a r -
149
A Short History of the Printed Word
1 50
6.23 A plate by Simonneaufor the rom ain du roi.
151
A Short History of the Printed Word
152
Literature and Printing in North America
Printing in Native American languages began in Mexico in 1614,
but the language thus honored -Tim ucua, then spoken in northern
Florida - has not been permitted to survive, and the text thus pre
served is not a Native American text; it is a catechism translated into
Timucua by the missionary Francisco Pareja. Substantial works of
Native American oral literature were transcribed into manuscript
as early as 1550, but very little of this work was printed for another
three centuries. Early ventures in this direction include the eight
volumes of Daniel Brin ton’s Library of Aboriginal American Litera-
153
A Short History of the Printed Word
8 aLE'xax.
it did.
Aqiô'IXam ikjâ'ôtEüî ((Â'mElaxta te; ex u s'x a!”
He was told squirrel: “ Yon neat break do it!-’
n NaxLô'lExa-it
She thought
kaX {Po'kuiî: “Â, qô iâ'xka te;Ex tclEtx P
that woman: "1, witt ho break he does i t / '
Q i«t
Love
6.26 Excerpt from C h in ook Texts. N ative American oral literature dictated
by Q llti; transcribed and translated by Franz Boas. Washington, D C , 1894.
4
c h a p T' e R v i * The Seventeenth Century
I t w a s n o t f r o m l a c k o f p r i n t e r s , a n y m o r e t h a n la c k o f w o r k s t o
p r i n t , t h a t n o N a t iv e A m e r ic a n te x ts w e r e p u b l is h e d u n t i l la te in t h e
ï 8 o o s . L 1 1 6 3 8 , S t e p h e n D a y , w h o h a d j u s t a r r iv e d f r o m E n g la n d ,
MKr æ»
r «* (3 g M A At V S S E
i>®8
bo*
l4 j W H O L E W U N N E E T U P A N A T a MWE iHs>
r ^BOOKEOFPSALMBS
FiitbfuB} - ,r J
§| U P~B I B L U M G O D f
h ik TRANSLATED me ENGLISH rÀ f* • NAN'EESWE
xJHetre.
>* .
! NUKKONE TESTAM ENT g
J Whereunto ii prefixed* difeoarfede- - j l ;
i
'idârint* notoalv the Uwfullnes* but#lfo<?5k2 RAH W O N E
W U SK U TESTA M ENT-
God.
cw/. m. pxj
^ ^ Letiit**rdefG edbeetfU xtm flyi* Ne <^ao&kinaan>ui nafiipc Wnttioaeomob ££FRI$Y
nob ifwwdit
.■:>"’V-» **f <mf **ether»« P/Wwf/,ro**<l, *nd
« the Lerdmtb JO H N ELIOT-
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eNi Idmet v , - j,;.,
rA>* ' **j heefpicted, let Urn fram ed if r j t l
« 7 hemerrj I» 1 CA MB R I DGE . -
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i <r s 5.
m m m r c fm m m m m m m m ttf
6.2 7 Bay P salm B ook. Ca?nbridge, Massachusetts, 1640.
6.28 First Bible in a N ative Am erican language {Massachusett) . 1663.
155
A Short History of th e Printed Word
But I thank God we have notfree schools nor printing; and I hope we shall
not have these three hundredyears. For lemming has brought disobedience
and heresy and sects into the world, and printing has divulged them and
libels against the government.
156
c h a pT ER v i * The Seventeenth Century
B O V R G EO IS
L E
ATHALIE
GENTILHOMME. TRAGEDIE
CO M E D J E - S A L E T ,
Tirée de l'Ecriture fatnte.
F A I T E ‘h C H A M B O IV T ,
p o u r îc D i v e r t i H e m e n c d u R o y »
Par J B . P . M O L I E R E .
g t f i “v tn d f i » r f jtu tk e m r
A PARI S» A P ARI S .
Clin PIERRE LF MONNtER. F.ii*fi,vM-i.Ttf
U Porte tie I'Eghfc de U $a*me Chapelle, Chez D e my s THi Ei ur , rue faimJacques,
a l'Image S ,L o u tj ,& au f e « D iv in . à ia vifie de Paris.
M. DC. LXXt. M. DC. X C I-
A r e c r u r i n e z &r %j>T, AVEC PRIVILEGE D V ROT.
*57
CHAPTER VII
P romain du roi, in 1698. The full set of eighty-two fonts was not
completed until 1745. After Grand] ean’s death in 1714, the work was
continued by jean Alexandre and his son-in-law Louis-René Luce.
The new face met with admiration, but to ride this wave of popu
larity, printers and founders had to skirt the laws decreeing heavy
penalties for copying or selling the royal designs.
The romain dît roi marks a significant new stage in the long
process of typographic withdrawal from the heritage of calligraphy.
This process began, in a gentle way, in the sixteenth century, accel
erated slowly in the seventeenth, and in spite of a vigorous return to
calligraphic roots in the type designs of the early twentieth century,
this process of withdrawal has never entirely ceased. W hen printing
types cut themselves adrift from the physical vigor of actual writing,
the page changes as well. Printing formats also slip away from the
age-old heritage of manuscripts.
Typographic Rationalism
T he folio volume of 1702 celebrating the medals of Louis XIV
was intended to look monumental. It succeeds. The page is full of
clarity, mechanical perfection both in form and fitting, and has a
strong horizontal and vertical reach. The letters themselves, like
158
A Short History of the Printed Word
the pages they compose, are addicted to symmetry, and they cling
to the vertical and horizontal lines of their imaginary grid. The ser
ifs are thin and abrupt, more evocative of drypoint engraving than
of any kind of writing. This is the first type ever cut with bilateral
serifs on top of the stems of lowercase b, d, h, i, j, k, 1. All previous
T59
A Short H i s to r y of the Printed Word
C O N D À T U M ET M a L B O D I U M CAPTA. M
C a n d i à r d e M a u b cu g e. 1 6 4 p .
160
c h a p T e r v il * The Eighteenth Century
William Caslon
There are handsome examples of English printing from the late
sixteenth century. On the whole, though, for two and a half cen
turies after Gutenberg, English printing and founding lagged
substantially behind their counterparts in Italy, Spain, the Nether
lands, Switzerland and France. Given that the English had pro
duced fine manuscripts and, through Alcuin of York, had shared in
the development of the all-important Caroline script, such a record
is hard to account for. The climate of the seventeenth century pro
vides some explanations: civil war, a lack of patronage, an abun
dance of oppressive regulations. In the eighteenth century, the style
161
A Short History of the Printed Word
162
chapter vu * The Eighteenth Century
John BaskerviUe
John BaskerviUe was eight years younger than William Caslon
and came from the same region in central England. His training,
however, was wholly different. He was a Birmingham writing mas
ter and designer of decorative headstones, trained to think in ink
A Short H i s to r y of the Printed Word
A N D E M aliquando, Quirites î L.
T Catilinam furentem audacia, fcelus
anhelantem , peftem patriae nefarie moli-
cn tem , vobis atque huic urbi ferrum flam-
A B G D E F G H I J K L M N O P .
16 4
c h aptes vu * The Eighteenth Century
P U B L I 1 V Ï R G I L I I
M A R O N I S
BUCOLICA,
GEORGICA,
e r
AE N E I S.
BI R M I N G H A M I AE.
Typis J O H A N N 1 S BASKERVitLB.
MDCCLVU,
165
A. S h o r t History of the Printed Word
MANUEL
TYPO G RAPHÏQUE,
tnt m:
A03CCENSCEUTTaES,
<S>•*f««*<*i «tiff** fn Jifhaur*
WWWfiA
■fti: .JrOTïK.SJt«, ÏCifOM
\r TOM£ f,
«*$>»•
:A PA RIS,
ife^œtptfAssirr, «ssfeM*.
«■/• R»rf
Cki ft* * * <jb , t«>l Jsajaft
ïCècîSïS.iv?
B B S
The Fourniers
In France, in the 1760s, Luce was working on his condensed
types, the Poétiques. At the same time, Madame de Pompadour was
engaged in printing Corneille with the help of a group of profes
sional printers ordered in by the king from the Imprimerie Royale.
Two distinguished printing families were also at work in France,
the Fourniers and the Didots. Members of both are remembered
for their types, their books, and also for their efforts toward more
orderly means of typographic measurement.
In 1764 Pierre Simon Fournier published two of the intended
four volumes of his Manuel typographique. This included a detailed
166
c h a P T ER v u * The Eighteenth Century
ÉCHELLE FIXE
de 144 points Typographiques.
iiSiiïditiiiiiîj i u i j I i i i iTTTTTTT
7 .8 Fournier’s scale.
rices and molds. His father was manager of the Le Bé type foundry
in Paris, which then still owned substantial quantities of Renais
sance material, and Renaissance documentation to go with it. jean
Pierre Fournier, the eldest brother of Pierre Simon, who was also a
punchcutter, bought this foundry in 1731, after his father’s death,
and ran it in his turn. The middle brother, Michel François, took
charge of his grandfather’s printing house in Auxerre. Pierre
Simon, who w'as the youngest, opened a foundry of his own in Paris
in 1739, and in 1742 issued a handsome specimen book, Modèles des
caractères de l’imprimerie et des autres choses nécessaires au dit an.
As independent founders, the eldest and youngest Fournier
brothers were competitors, not always on friendly terms, hut Pierre
Simon demanded from his brother, and received, the access he re
quired to historical materials. Until his death in 1768, he pursued
with equal vigor his three dreams. One was cutting type in every
size; another was learning all that could be known about the cutting
and casting of type; the third was fame, which he achieved in some
degree through ceaseless self-advertisement
The Didots
The Didot dynasty begins in Paris in 1713, when twenty-four-
year-old François Didot set up shop as a bookseller and publisher.
He numbered among his authors the best-selling novelist, ladies’
man and priest Antoine François Prévost, The family was active for
several generations in founding, printing and papermaking, often
making outstanding contributions. François Didot’s eldest son,
François-Ambroise, and two of his grandsons, Pierre l’aîné and Fir-
min, are those who most require a place in the story of eighteenth-
century French printing.
François-Ambroise Didot, who was born in 1730, was a typog
rapher and printer as well as publisher. He employed a master of
the craft, Jacques-Louis Vafflard, to cut his types, and François-
168
ch a p t er vu * The Eighteenth Century
LES AVENTURES
DE T É L É M A Q U E ,
S S ffltf
F I L S D' ULYSSE.
P A R M. D E F Ê N É L O N .
IMPRIMÉ PAR O R D R E D U R O I
pour l'é d u c a tio n
DE MONSEIGNEUR LE D A U P H I N .
A PARIS,
DE L'IMPRIMERIE DE FRÀNÇ. AMBR. DIDOT L’A [NÉ.
M. DCC L X X X I H
Ambroise took an active part in their design. These types owe much
to the example of Fournier but are more purely Neoclassical, like
Baskerville’s, in form. Didot was well aware ofBaskerville’s achieve
ments, and he introduced to France smooth, highly finished wove
papers, similar to those that Baskerville had used.
In François-Ambroise’s time the power of the church in France
had waned, and François-Ambroise suffered none of the various
handicaps - religious, political or social - that had complicated life
for the Estiennes, for Colines, Jannon, Fournier and Baskerville.
169
À Short H i s to r y of the Printed W o r d
P R O S P E C T U S .
170
c h a p T e r v i i * The Eighteenth Century
ODE I.
AD VENEREM.
I n t e r m ï s s a , V e n u s , d iu
’sus b e lla m o v es. P a r c e , p r e c o r , ]
N o n su m q u a lis eram b o n i
7,12 Type cut by F ir min Didot, used by his brother Pierre. 1795}.
Pierre was offered the space in the Louvre that had formerly been
used by the Imprimerie Royale, and there he printed and published
his luxurious, cold éditions du Louvre. His younger brother, Firmin,
apprenticed with Vaffiard and then methodically recut the family
fonts to give them greater contrast. In the technical sense of the
terms (explained on page 161), he transformed them from Neoclas
sical to Romantic, and this transformation stuck. “D idot type,”
nowadays, almost invariably means type in the manner of Firmin
Didot, not in the manner of François-x\mbroise and Vaffiard.
Giambattista Bodoni
Giambattista Bodoni was born in Italy in 1740. He was the son of
a printer and served his apprenticeship in Rome, where he began
experimenting with typecutting. W hen he was twenty-eight years
old, he was invited to take charge of the Stamperia Reale, which be
longed to the Duke of Parma, and more commissions followed.
Bodoni bought his first types from Fournier, and some of his
early punches show how closely he had studied what he bought.
Like Fournier, he cut font after font, size after size, obsessively, as if
A S h o r t History of the Printed W o r d
it were the type itself that mattered, not the stories, poems, percep
tions, meditations that the type might serve to print. His early type
is Neoclassical; his later work is fervently Romantic.
As printer to Carlos HI of Spain and other patrons, Bodoni en
joyed a kind of fame that is rarely accorded to living printers. This
172
g h a p t e b v 11 * The Eighteenth Century
173
A Short H i s to r y of th e Printed Word
174
C H A P T E R VIT The Eighteenth Century
This plant one of the most reliable and durable in Europe con
tinued its letterpress operations well into the twentieth century,
maintaining in the process one of the largest collections of handcut
punches and matrices in the world. The Ensched0 s most favored
typecutter in the eighteenth century was Johann Michael Fleisch-
man. He was born in 1701 near N rnberg and learned his trade
there, but he spent his working life in Frankfurt, the Hague, Ams
terdam and Edam. He cut romans, italics, blackletter, Greeks and
Arabics with extraordinary skill. Fleischman is an unfamiliar name
compared to Caslon and Bodoni, in part because his type was not
revived in any form until the very end of the twentieth century.
Fournier, however, thought him a very clever typecutter. Rudolf
Koch and Paul Renner admired him too. Koch may have felt some
kinship with Fleischman because both came from the N rnberg
vicinity, but chie y he was aware of their common sculptural atti
tudes toward punchcutting.
Printing in Spain
Works by Joaqu n Ibarra, Gabriel de Sancha, Francisco Manuel
de Mena all of Madrid and Benito M ontfort of Valencia repre
sent the best of eighteenth-century Spanish printing. The in terest
of Carlos III in printing was shown when he gave Bodoni his special
patronage. At the same time, the king encouraged printing in his
own country, especially in those cities where the craft had long been
practiced.
The edition of Don Quixote that Ibarra printed for the Royal
Spanish Academy in 1780 is a four-volume quarto (a book made
from press-sheets of only four leaves or eight pages each, thus about
twice the size of a normal octavo). Its straightforward text pages are
set in a ne Neoclassical type cut and cast for the Biblioteca Real by
G er ni mo Gil. The type in Juan de Yriarte s Ohras sueltas. Inciden
tal Works, (1774) is an older letter, cut two centuries earlier at
A Short History of the Printed Word
a
176
c h APT e r v 11 * The Eighteenth Century
[ i 3 Nawk i»
A
WeeklyReview
T heof
Adairs o f T R / i N C E :
firtKiï the. Errowftnd. Partiality of Nmf-
Wttitif O' afi Site,
%9 . Ï 704.
'.:■■■■.Tfa ■ÏHTStOtSKCtïOS. ■
. î VPâpt* h of a Vütt fliïf.t s*A»fe.
1 M Dt%r,, wiitis, ■JfSxpfev.sri#»
■y ■■'' tsgwawî, sfitiix,Wimfeïti&k ëiksb-
.wny «ifitfibstc *9
' («àtsjt tf« A&fes «rf &*t*b *Ctawr UgM, «rf to pt*.
vttâKtë Wbi» AtnxHM, «d 4<Partial Rmfti.
■ses of imt SïmfcSrtîikts, «ri» Dili} W Maate Aswe
•. Miftiïnà srèB»toriw of Orrai Viâasi®fetea wt.art iktira,
lüif*d»«*»«** Cd»i«w. md'a îWoit&üdetif
■i»*a)ivw»îftc« Swrf«, wfcîrt lan tf Mft Tte
Tftttmïe *1* poffrS rritN wto** N«da»î «f Ttet®*, n i Mr-
>*>#»Whiwiaf wbrUerr Was&afesoiCmMtm'-a-
A M
177
A Short History of the Printed Word
178
C H A P T E R VI I The Eighteenth Century
24 April 1704 employed the printing press rather than the pen.
Campbell s venture was not highly popular; even after years of pub
lication he could report a circulation of only 250 copies. Neverthe
less, he continued the News-Letter until 1723, when it passed into
the hands of its printer, Bartholomew Green. W ith further changes
in editorship, the paper lasted more than seventy years.
In 1719 Campbell s successor as postmaster, William Brooker,
established the Boston Gazette. He considered the paper part of the
postmastering job, and ve subsequent postmasters treated it die
same. It naliy became the property of Benjamin Edes and John
Gill, Boston printers, who turned it toward its eventual role as a
179
A Short History of the Printed Word
leading patriot organ. The first printer of the Gazette was James
Franklin, whose apprentice was his younger brother, Benjamin.
W hen Brooker lost the postmastership, the Franklins lost the job of
printing the paper. In 1721, James Franklin took on the publication
of another new paper, the New-England Courant. Despite a short life
- only five and a half years - the Courant, with its human interest es
says, represented a more creative approach to journalism. It did not
rely on news alone, which in those conditions was inevitably days,
weeks, and even months old. Unlike the Gazette, the Courant made
no claim to be “published by authority.” In style, it owed a great deal
to the example of Steele and Addison.
In 1722, during his five-year term as apprentice to his brother
Janies, Benjamin Franklin contributed his “Do-Good Papers” to
the Courant H e was then sixteen years old. The following year, he
ran away from Boston and settled in Philadelphia. After a short pe
riod in London, where again he worked in a printshop, Franklin re
turned to Philadelphia and started the Pennsylvania Gazette, which
ran from 1729 until 1766. In 1741 he published the short-lived Gen
eral Magazine. It was planned as the first magazine in the colonies.
It became instead the second, after the editor-to-be departed sud
denly and joined a rival printer to issue The America??. Magazine.
William Bradford, who established the first press in Philadel
phia in 1693, later became the official royal printer in New York. In
1725 he began publication of that colony’s first newspaper, The
New-York Gazette. Newspapers were also founded in Charleston,
South Carolina (1731): Williamsburg, Virginia (1736); Flalifax,
Nova Scotia (1752); Savannah, Georgia (1763); and Hartford, Con
necticut (1760) - just to mention a few. The bilingual Quebec Gazette
was founded in the city of Québec in 1764 and continued for over a
century.
Freedom of the press was a major issue for these fledgling publi
cations, and the trial, in 1735, of John Peter Zenger for “seditious
libels” was a major event in American journalism. Zenger had
180
c h a p t e r v i: ï « T h e E ig h te e n th C e n tu r y
182
chapter vn The Eighteenth Century
An All-Iron Press
For at least three centuries, the press as Gutenberg designed it
was virtually unchanged. In 1772, Wilhelm Haas of Basel built one
in which all of the parts subject to heavy stress including, of
course, the platen and the bed were made of iron. In 1800,
Charles, Earl of Stanhope, designed an all-iron press that was used
at the Boydell & Nicol Shakespeare Printing O ce in London.
William Bulmer, master printer for this press, commissioned new
types from the punchcutter William Martin, who was probably
trained in Baskerville s foundry. These fonts, cut in the 1790s, were
the rst Romantic types produced in England.
O ther implements of cultural importance were undergoing
similar transformations at precisely the same time. The harpsi
chord is to the lute as the wooden handpress is to the pen, and the
piano is to the harpsichord as the iron and steel handpress is to the
older instrument made entirely of wood. The piano, with its highly
complex action, developed little by little beginning in the early
eighteenth century. Pianos wi th a one-piece iron frame the musi
cal equivalents of the Stanhope press were nally produced by
Jonas Chickering in the 1840s and by the Steinway rm thereafter.
The piano was used by Romantic composers Schumann,
Chopin, Liszt and others to play music in which strong dynamic
contrast, leaping from soft (piano) to loud (forte) and back again, is
of fundamental importance. Beginning late in the eighteenth cen
tury, printers such as Bulmer used the iron handpress for very simi
lar ends: to print Romantic types, like William Martins, Firmin
Didot s and Bodoni s. Exaggerated contrast between dark and light,
or thick and thin, is crucial to these letterforms.
A Short History of the Printed Word
•-.1
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i • Rear the triumphal arch, rich wkh the exploit* :
*' : ; ;01:'^sÿ;i ï :.
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1 The prke <>( sttastto&d., hail thee with a sang.
184
c h a pT es vïi « The Eighteenth Century
Wood Engraving
Wood engraving as practiced by Bewick represented a new tech
nique, and it played an important role in every kind of illustration
printed in letterpress from the end of the eighteenth century until
the successful introduction of photoengraving nearly a century
later. Instead of the plank, wood engraving requires a cross section
of the tree. Turkish boxwood has been the most satisfactory source
of endgrain wood, and to obtain a block of any great size requires
gluing sections together. There was always the danger that the sec
tions would open up.
The new practice of wood engraving became known as “white
line.” The phrase denotes a method of producing shapes and tints
that is not unlike drawing on a blackboard with chalk rather than
substituting graver for knife and working toward a facsimile of a
drawing. But as late as 1766, Papillon, the famous French woodcut
ter and author of a manual of techniques, belittled stories he had
heard of using a graver upon the endgrain of box.
Gravers for wood engraving are much like those used for metal.
A Short History o f the Printed Word
The curved shape of the tools facilitates the lifting of the point.
Since wood, being softer than metal, has less tendency to cause a
graver to hang, the tool used on wood can have a more acute point
than one intended for cutting copper or steel. In both instances, the
work is turned and the tool is so held that the thrust of a stroke is de
livered from the pad of the palm, with the thumb as guide and rest,
rather than from the ngers.
186
CHAPTER Y II The Eighteenth Century
dom to choose the way in which he created his various textures and
tones. He was also able to make use of some of the tricks of block
printing, where sections are lowered to cause them to print with a
grayer eaect, or, through the use of overlays, pressures at given
points can he stressed and thus provide accents in the print. Such
operations require much understanding and cooperation from the
pressman.
187
A S h o r t History of the Printed Word
; .À»*We *
j ! -mûi w-ixë. q m - t m t 1m m««r. -^ J
length, even the largest houses set, printed and redistributed the
text in sections. As literacy increased, so did the number of printed
works and the length of the runs. Thus the pressures for mecha
nized solutions were steadily increasing.
189
A Short H i s to r y o f th e Printed Word
190
CHAPTER VIII
192
chapter vin * The Nineteenth Century
194
CHAPTER VI O The Nineteenth Century
8.2 The T im e s (London), the rst newspaper p rin ted on a power press, 1814.
I 95
A Short History of the Printed Word
19 6
c h a P T ER v i n $ The Nineteenth Century
197
À Short H i s to r y o f th e P r in t e d W o r d
iq8
C H A P T E R VI I I The N ineteenth Cmtury
8.3 The spirit o f the broadnib and the spirit o f the pointed quill. The humanist
axis o f the letters on the left re ects the trace ofa broadnib pen, in which the
thickness o f the stroke depends on the orientation o f the nib, aligning w ith the
forearm . The rationalist axis o f the letters on the righ t suggests a exible,
Pointed quill. The thickness o f its stroke depetids prim arily on pressure,
The shift begins in earnest with the romain du roi and continues
in the work of Luce, Fleischman, Baskerville, Bodoni, Martin and
the Didots. It. is part and parcel of the process by which letterforms
mutated from Renaissance reserve to Baroque activity to Neoclassi
cal restraint to Romantic conceit and dramatization.
Fran ois Tourte s new violin bow, introduced in the 1790s, did
for music what the new pens did for script. Tourtes bow is longer
and di“erently shaped, with its center of gravity farther away from
the hand. It distinguishes more sharply between upbow and down-
bow (pushstroke and pullstroke) and modulates more readily from
one dynamic level to another. Such bows were standard throughout
the nineteenth century, for playing older music as well as new. Only
late in the twentieth century, with the vogue of original instru
ments, has there been some return to bows of the older style.
Napoleonic Typography
Books and letters in the eighteenth and nineteenth centuries
were also a“ected by new visions of the classical and the antique
that were emerging in all the arts. These visions were fed by excava
tions at Pompeii and Herculaneum, and by archaeological work in
Greece. In the 1750s, for example, two Englishmen, James Stuart
and Nicholas Revett, spent three years making careful measure-
A Short History of the Printed Word
8.4 Title page ofspecimen issued by thefoundry ofPiem Didot. Paris, 1819.
->nn
him in Paris. After his death in 1813, his widow, Margherita
dair Aglio, and his foreman, Luigi Orsi, completed several books he
had begun. One of these was the final edition of his Manuale tipo-
grafico. It is a thick but almost textless book: a shrine to the purity of
letters.
Firmin Didot took control of his father’s foundry in 1785, and his
elder brother Pierre took over the printing house. Pierre used
Firmin’s type for twenty years. In 1809, he began designing his
own, which were cut under his direction by Joseph Vibert. In 1811,
Firmin started a new series of Romantic types for the Imprimerie
Impériale with body sizes based on the metric system.
2 OX
À Short H i s to r y of the Printed Word
8.6 Scotch Roman fro m Alexander Wilson & Sons. Edinburgh, 1833,
founders were especially successful in this period, and it was for the
Glasgow foundry of Alexander Wilson & Sons that Richard Austin
cut the rst Scotch Roman.
There were also, of course, reactions against, the excesses of Ro
mantic types and typography. In the 1840s the Lyon printer Louis
Perrin designed what he called caractlres Augustaux, with the mod
erate contrast and humanist axis of Renaissance forms. These were
cut for him by Jean-Michel FugLre. In the same decade, the London
publisher William Pickering commissioned the Caslon foundry to
recast William Casions original designs. Pickering, like Perrin,
found inspiration in the work of sixteenth-century French printers,
though he chose to work with type that was closer to home, being •;
English and Baroque. H e borrowed Aldus s device, the dolphin and
anchor, often adding the motto Aldi discip. anglus, English disciple
of Aldus, to leave no doubt about his meaning. His rst publication
202
L a d y W illoughby,
1
77
h e r C h e e k e b y fom e Q u e ry refpe£ting a p a rti 1641.
c u la r P ie ce o f N e e d le -w o rk in h a n d ; a n d
a d d e d , on p e rc e iv in g th e E ffect fh e h a d p ro
d u c e d , fh e h a d h e a rd S rt Erafmus de la Foun
tain m u c h c o m m e n d th e d e lic ate P a te rn e :
w h e re a t p o o re Margaret a tte m p te d to look u p
u n c o n c e rn ’d , b u t w as ob lig ed to fm ile a t h e r
Sifter’s 'P le a fa n try , I w as d ifcreet, a n d le d th e
C o n v erfatio n b a c k to th e S p in n in g .
Illustration
If the books of the early nineteenth century were often barren
typographically, they offer a rich harvest of outstanding graphic art
in the form of illustrations. From the early seventeenth century on,
the role of illustration in hook publishing grew steadily in impor
tance. Intaglio engraving continued to be popular, and it was made
more practical in 1818 by Charles Heath and Jacob Perkins, who to
gether developed the technique of etching and engraving on steel
rather than copper. This greatly lengthened the life of the plate.
Many artists mastered lithography. Eugène Delacroix’s great
lithographs for Faust (1828) and Honoré Daumier’s for the Paris
204
chapter vin * The Nineteenth Century
5
A Short History of the Printed Word
2 0 6
J chapter v m * The Nineteenth Century
The illustrations of this English Pastoral are by the famous Blake, the
, illustrator of Young's Night Thoughts and Blair's Grave, who designed
and engraved them hi?nself. This is mentioned, as they display less of art
than genius, and are much admired by some eminent painters.
207
A Short History of the Printed Word
208
c Ha f t e r v i n * The Nineteenth Century
2 0 9
A Short History of the Printed Word
210
chapter vin • The Nineteenth Century
2î I
À Short History of the Printed Word
212
C H A P T $
U V
213
A Short History of the Printed Word
bling devices. But as early as 1830, there were devices for casting
type in bulk for hand composition. By 1862, typecasting machines
could produce completely finished sorts (individual pieces of type)
that were ready for the printer’s cases.
The Linotype machine requires only a single operator. It has a
composing mechanism with a keyboard resembling that of a type
writer. In response to the opei'ator’s keystrokes, it assembles indiv
idual matrices from the magazines in which they are stored. The
casting mechanism justifies the line - adds the necessary spacing
between words - and then casts it in one piece. A distributing mech
anism then returns the matrices to the magazine for reuse.
T he inventor of this machine was born in Stuttgart in 1854 and
moved to the US in 1872. He built his first mechanical typesetting
214
machine in 1884, but the first production model was that used in
1886 by the New York Tribune. W ith the Simplex Linotype of 1890,
Mergenthaler achieved a reliable device for setting text.
The importance of such a typesetting device went far beyond its
contribution to speeding up composition. The machine cast type as
well as setting it, and the fact that it cast a line at a time made com
position easier to handle and kept individual letters from working
up. It also gave the printer the equivalent of an inexhaustible type
case. W ith the Linotype, type became disposable, and every job the
printer set was made of fresh, new type, unused, unworn.
So much could not be gained without significant losses. The
price paid was that of flexibility in type design. Like its cousin the
typewriter, the Linotype system imposes various restrictions on
the possible shapes of letters. Most Linotype mats carry two letters
rather than one - usually the same letter in roman and in italic.
Wherever such letters share a matrix they must have a common
width, and this makes the design restrictions all the more apparent.
The competing device, the Monotype machine, consists of two
units - a keyboard and a caster - each requiring an operator. The
basic principle of operation is the preparation of a perforated tape
on the keyboard. This is fed into the caster, where it is read by
means of jets of compressed air. As the tape is read, matrices are se
lected and letters are cast, one by one. The letters are cooled and as
sembled in a channel until a line is completed.
The Monotype too restricts the type designer’s freedom, but
less stringently. Roman and italic can have independent widths, and
letters such asf which often kern (overlap) against their neighbors,
are no problem to the Monotype machine. On the Linotype, such
kerning is all but impossible.
Both these machines were made for cheap commercial work and
were adapted only later to the making of fine hooks. They both re-
main in use for making books today - though they are now the tools
:, of art instead of commerce.
A Short History of th e Printed. W o rd
216
c h a p T e R v r i t. * The Nineteenth Century
217
A Short History of the Printed Word
218
ifc■-:->C■
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2 2 0
ch ap T Er v n j • The N i n e t e e n t h C e n tu r y
221
A Short History of t h e Printed Word
222
newspaper business in America has involved the manufacture of
news as well as its reportage.
Machine-set type and power-driven presses make large runs and
fast production possible. At the same time, they necessitate large
sales. Yet news-sheets supported by their readership alone have not
been seen in public since the eighteenth century. In general, as the
frequency of a publication rises, so does its dependence on advertis
ing revenue. Under these conditions, the price of Raymond’s dream
- the price of accurate reportage, if that can be attained - is a com
panion diet of biased, inaccurate claims. The newspaper’s function
is twofold : to deliver news to the reader, and to deliver the reader to
advertisers. They, not the reader, pay the wages of the editors and
journalists and die publisher’s considerable bills.
William, M oms
Among those who disliked the steady conquest of craftsmanship
by the machines was the Englishman 'William Morris. He was bom
in 1834 and educated at Oxford, first for the church, then for a ca
reer in architecture. He took up painting, but was unhappy with an
art focused more on the museum than on living a good life. He
turned then to design - as applied to illumination, stained glass,
wallpaper, rugs and furniture. Morris also wrote both poetry and
prose throughout his life. Before he set up his own press, he had one
book printed by the Chiswick Press, a shop affiliated with Pickering
and so with the Caslon revival. Morris’s socialism and romantic
ideas of the nobility of labor were practiced at a safe distance from
any knowledge of financial hardship. He had sufficient means to al
low him to satisfy his reasonable desires.
Morris established the KelmscottPress in 1891. It was named for
224
Kelmscott Manor House, in Oxfordshire, which he had shared with
Dante Gabriel Rosetti twenty years before, but it was located at
another Kelmscott House, in Hammersmith, London. This was
Morris’s home from 1878 until his death in 1896.
His advisor and associate in the press was Emery Walker, an
English engraver and printer who was one of the most versatile de
signers, and one of the best typographic scholars, ever to work in
England. Edward Prince, a punchcutter chosen by Walker, cut the
three types - Golden, Chaucer and Troy - that Morris designed.
The printing was done on a handpress, the Albion, devised by
Richard Cope in 1823. Such a press lowers the platen by a toggle ac
tion rather than a screw. This gives a clearer tactile sense of the mo
tion of the platen and makes possible more sensitive adjustments of
impression. It also lessens wear and tear on the pressman.
226
C H A P T E R IX
■jm;
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229
A Short History of the Printed Word
9.5 Updike. The Wedding Journey of Charles and Martha Amory. 1922.
1
The United States : Updike, Rogers and Goudy
I
Prince also cut three types for H erbert Horne, a designer asso- •
elated with Morris. O f the three, Montailegro had its initial use in
Condivi’s Life of Michelagnolo Buonarotti, printed by the Merry-
mount Press in Boston. Merrymount was established in 1893
Daniel Berkeley Updike, one of America’s most distinguished and
able printers. His two great achievements were the operation of
press as a commercial establishment with impeccable standard,
and his book entitled PrmtingTypes: Their History, Forms and Use.
230
The Early Twentieth Century: 1900-1940
■ ■ ■ ■ ■ ■ I
I H ü iiM
; A^fc?]*.V':;
Mmiay, OS&'r.fs&mt,
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ABOUT th<*e o'dock aftaraooft, 1
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îoNcw-Hwchi bring about ram iHun*
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9 .7 Rogers, j o u r n a l o f M a d a m K n ig h t. 1920.
À Short H is to r y o f th e Printed Word
tW a s b o m in a c a v e rn o f th e s e m o u n ta in s . ?
Like t h e river in y o n d e r v alley ,w h o se first
drops S o w f ro m so m e cliff that w eeps in a j
deep grotto, the first moments o f my life ;
sped amidst t h e sh a d o w s of a secluded re/
treat, nor vexed its silence. As our mothers ;
draw near their term, they retire to th e c a v /
erns, and in the innermost recesses of the
wildest of them all, where the darkness is
most dense, they bring forth, uncomplaining, offspring as silent as!
themselves. Their s tr e n g tf v g m n g m ilk enables us to endure with/
out weakness or dubious struggles the first difficulties of life; yets
9 .8 Rogers. Centaur type, uj 15.
e r p ftp lp b e t
Chapter L W fmt Letters Are
233
À Short His tow of the Printed Word
I recall Edward Johnston as a serious and courteous man, weary from ill :
health, but with a startling and delightful clarity o f mind. He was a per- \
fectionist. Once, too briefly and inadequately, I said to him that I did not \
believe in perfection. His immediate response was: “1 believe in the Book o f
Kells/ ”Always he was in search ofthe Truth and his integrity often caused \
him to confess defects in his work. His last 'message to the Society ofScribes ï
and Illuminators was this: ^Study your dictionaries. For instance, look up I
the word aùôévTtjs (authéntes), ‘one who does things himself;first hand; \
234
:•' c h a p t e r i x ® The Early Twentieth Century : 1900-194 o
235
A S h o r t H i s t o r y o f th e P r in t e d W o r d
236
chapter i x * The Early Twentieth Century: 1900-1940
usecunmmmm acnwi
irdltflir ft rougir de bcmm, ear « jeune adepte
238
c h a p t e r ix * The Early Twentieth Century: 1900-1940
240
; ch a pt er ix • The E arly Tw entieth C a n a ry : ip 0 0 -1 9 4 0
ijklmnopqrst
fuvwxyz
i
llif
|cj,i23456789ol2j345:67:89:0|
9 ,1 5 Eichenauer. Proof o f roman type designed by Warren Chappell and cut in
dead by Gustav Eichenauer. 1955.
III
9MÊÊÈÈÊÏËÈÊBÏt t S Î É ^ liliS i
242
c h a p t e r ix * T h e E a r ly T w e n tie th C e n tu r y : 1 9 0 0 - 1 9 4 0
T y p e D e s ig n in th e 1 9 2 0 s
243
A Short Hi s t o r y of the Printed W o r d
It seems to me that the call igraphic forms of the Troy font fail to '
achieve the naturally organic characteristics of a rotunda, and in
stead only imitate the models on which they were based. J
In addition to Eichenauer, who worked for the Klingspor
foundry, there were other able punchcutters during the 1920s ami
early thirties. PaulHelmuth Radisch, already mentioned, worked at
the Enschedé foundry in Haarlem, where he cut most of the types
designed by Jan van Krimpen. Louis Hoell, at the Bauer foundry in
Frankfurt, cut die types designed by Emil Rudolf Weiss. He also
cut, on private commission, fonts for Willi Wiegand of the Bremer
244
; : j \ Chapt er i x • T h e E a r ly T w e n tie th C e n t u r y : i ÿ o o —i y f .o
i:SM$MtCéâîtmu *
jjg f^ G pS C
g fg ft felifBm titfelhe ; ■■:" •
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246
9U 9 W illi Wiegand. Bremer-Presse D iv in a C o m m e d ia . 1921.
247
A Short History of the Printed Word
248
. c h a p t e r i x * The Early Tw entieth C entury: 1900-1940
250
c h Ap T e r i x * T h e E a r ly T w e n tie th Century : 1 9 o 0 - 1 9 4 o
Offset Lithography
The pace of mechanical improvements did not slow with the
coming of a new century. In 1904, in New York, a printer named Ira
Rubel developed an offset press for planographic printing on paper.
The offset principle had been used for printing from stone onto tin,
A Short H i s to r y of the Printed Word
but for printing on paper, flexible metal plates are used. These are
wrapped around a cylinder which runs against a second, rubber-
covered cylinder (the blanket). T he image is offset or transferred
from the printing plate to the blanket and from there transferred to
paper. The printed image lies upon the surface of the paper instead
of being driven into the paper as it is with a letterpress. It was by this
means that printing in the tw entieth century lost its sculptural qual
ity, its three-dimensionality, and became quintessentially flat. At
the same time, printing lost its tactile sense of scale. Offset printing
plates are created through a photographic process that shrinks and
enlarges type and other images at will.
252
c h a p t e r i x * T h e E a r ly T w en tie th C en t u r y : 1 9 0 0 - 1 9 4 0
2 54
CHAPTER X
255
A Short History of the Printed Word
meant that he ordered his type like yardgoods and no longer had the
opportunity for immediate adjustments to the type in the compos
ing stick. Foundry type is made of hard metal, but that metal lives in
the stick. The endless adjustability and im provability of a handset
page is part of the ambience of hand composition.
256
Penguin took a great leap forward in 1947, when Lane hired a
refugee from Leipzig named Jan Tschichold to take charge of all
typography and design. Tschichold bore this burden only for two
years, but in that time he upgraded and transformed the books of
Lane and his successors, evidently once and for ail. The four-page
set of “Penguin Composition Rules” that he prepared on his arrival
has been plagiarized and borrowed, to good effect, by typographers
and publishers at many other firms and in many other countries -
and could, with good effect, be borrowed by many more.
The success of Penguin Books rests partly upon technical re
sources, partly upon human ingenuity, and partly on a social revolu
tion which has all too quickly passed. There was a moment when
the appetite for literature equalled, if it did not quite surpass, the
appetite for mindless entertainment. Printed food then outsold
printed drugs. But other revolutions were also underway.
The technological lurch that began in the early 1940s, and is still
in progress, did not make itself felt in the general area of communi
cations for a number of years after the war. Replacement of plants
and equipment that had been destroyed, or had simply worn out,
was usually first on the list of priorities. The legacy of war research,
however, led to the sophisticated machinery that dominated print
ing in the 1960s. T he Industrial Revolution had consisted above all
in the application of power to tools. In the second half of the twen
tieth century, it was instead the Electronic Revolution - or the In
formation Revolution, as it is fondly, perhaps fatuously called - that
most affected what was done and how.
During the war, television and computers were mere promises
for the future. It was the immediate demand for boohs which
chiefly influenced production. Restrictions on materials and equip
ment were naturally greater in England and France than in the
United States; nevertheless the appetite for books was great in all
three countries. Books brought news of other times and other
modes of life on which the papers could not report. They brought
257
A Short History of the Printed Word
258
and printers were governed at this time by a set of self-imposed
rules which established size of type and the proportion of the page
to be occupied by text. T he constant attrition of plant equipment
and a shortage of labor made their task more difficult still. Paper
rationing did not end in England until 1949.
The production of new types effectively ceased, but type design
continued even so. During the German occupation of the Nether
lands, Sem Hartz, an artist whose principal work had been engrav
ing postage stamps for the Haarlem firm of Enschedé, was forced to
go underground. He used that period to make a study of type de
sign, The result was a set of punches for a 12-point roman font,
which he completed just as the war ended. Hartz added an italic,
and the type, issued in 1948 by Enschedé, was christened Emergo
(“I emerge")- His second type, Juliana, is a livelier and more mature
design but lacks its own designer’s final touch. It was commissioned
by Linotype in 1951 and released in 1958. Hartz supplied the draw
ings, but Linotype produced the patterns and the matrices.
The huge demand for books during the war led to the publica
tion not only of paperbacks but also of illustrated classics. This was
partly a result of the success enjoyed by the special editions pub
lished by Macy’s Limited Editions Club and Heritage Club, and by
Peter Beilenson’s Peter Pauper Press. In addition, the wartime price
controls protected manufacturing costs, and the excess profits tax
encouraged more liberal expenditures on design and plates.
260
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261
A Short H i s to r y of the Printed Word
Postwar Printing
Because the design and manufacture of new machinery was re
tarded by the war, small, individually owned shops, when they sur
vived, were as a rule little changed from the preceding decade.
262
Joseph Blumenthars Spiral Press, Peter Beilenson’s Walpole Print
ing Office, and Fred Anthoensen’s Southworth Anthoensen Press
are examples. Such shops are usually projections of the personali
ties who operate them. Perhaps no printing office of this kind has
survived so long, or kept its commitment to fine printing as consis
tently, as Mardersteig’s Officina Bodoni - still active in Verona, and
still in Mardersteig family hands.
The specimen-printing department of the Stempel foundry was
Euripides
Lafi erst mich doch r.u t'ndc sagt-n den ganzen Vers 1
Erstlingc opfernd* —
107
264
chapter x * T h e S ec o n d W o r ld W a r a n d A f t e r : 1 9 4 .0 -1 9 n
Postwar Design
One factor of importance in the postwar years was a continued
T interest in calligraphy. Type design both before and after World
.'.War II was fundamentally revitalized by the physical and intellec
tual pleasure that comes from the study and the practice of, in the
265
A Short History of the Printed Word
literal sense, w r itin g in its finest form. A large number of fine text
faces were designed and produced around the middle of the twenti
eth century, and the practice of calligraphy is cruci a.l to all but a few.
Spectrum, designed in the Netherlands by Jan van Krimpen; j
Palatino and Aldus, designed in Germany by Hermann Zapf, and
Diotima, designed by Gudrun Zapf-Von Hesse; Figurai, designed
in Czechoslovakia by Oldfich Menhart; Dante, designed in Italy by i
Giovanni Mardersteig; Méridien, designed in France by Adrian
Frutiger; and Berling, designed in Sweden by Karl-Erik Forsberg
are all products of die 1940 s and 1950s. Each of these type families
is made for book work and includes both a roman and an italic. N ot
one of the italics could have been designed without direct practice
in writing a Renaissance italic hand. And not one of the romans :
could have been designed without close study of Renaissance ro
mans, which likewise owe their form to direct and daily experience
writing with a broadpen.
W ith one or two exceptions, all these types were cut by hand in ;
metal first and only afterward adapted for setting by machine. N ot
one of them, however, was cut by its designer. Type design, at this
stage in its history, had largely reverted to calligraphy, while the
handcutting of punches - always a rare skill - had become much
rarer than it was. Artists such as Sem Hartz, able to design a good
text type and also cut it, were as rare in 1950 as astronauts in 1961.
Trade and academic publishing of a superior kind also spread
and persevered in the postwar years. The years 1950-75 were the \
heyday of such houses as Einaudi in Milan, Gallimard in Paris,
Suhrkamp in Frankfurt, McClelland & Stewart in Toronto and its •;
then-eminent neighbor the University of Toron to Press, and also of ;
the Bollingen Foundation, whose books after 1967 were published
under the imprint of Princeton University Press. From his studio in
Tuscany Alley, San Francisco, Adrian Wilson was designing fine )
books for publishers across N orth America, and at the same time >j
training a new generation of typographers. David Brower, in die
2 6 6
'chapter x * T h e S e c o n d W o r ld W a r m id A f t e r : 1940-19 75
same years, was creating a new breed of illustrated books for the
Sierra Club, of wdiich he was then the executive director.
Photocomposing Machines
For some years after the popularization of the offset press, it re-
>mained a common practice to set the text of books in metal - often
:r with the Linotype machine - and then to pull a set of reproduction
7 proofs, which were pasted up and photographed. This procedure
; kept metal type alive, yet rendered it a marginal technology. Offset
: printing is based on the technology of photography, and so the fu
ture seemed to lie in setting text by photographic means. In fact,
phototypesetting machines were built before the end of the nine
teenth century, though they did not come into general use until af
ter World War IL
The scale of foundry type is tactile as well as optical. Each letter
y is cut by hand in its one and only actual size. If multiple sizes are cut,
y' each size is inevitably weighted and finished differently. This basic
craft practice was greatly compromised late in the nineteenth cen-
h fury by the employment of pantographic engraving machines,
which use large standard patterns to produce mechanically reduced
punches or mats. W ith photocomposition, the compromise goes
v farther. A single master alphabet in film form is made from oversize
drawings. The master film is placed in a machine and used to gener-
§.. ate letters of all sizes, from footnote size to headlines. Under these
fe conditions, Eric Gill’s principle is put to a hard test. Letters are
ftth in g s, not pictures of things - but the things that phototypesetting
produces arc pictures of letters.
^ Letters are not the only things simulated and distorted in this
|fway. In his i960 Reith lectures for the BBC, the art historian Edgar
fyWind focused on the ways in which “our vision of art has been
^transformed by reproduction” and on André Malraux’s enthusiastic
lynotion of a “museum without walls.”
267
A Short History of the Printed Word
2 6 8
ü f:
f§X
IA
W:ÿ.'.
iÿ c h a p t e r x • T h e S e c o n d W o r ld W a r a n d A f t e r : 1 9 4 0 - 1 9 yy
books printed four and five hundred years ago, on good rag paper
with sewn bindings, can still be read with pleasure, and can also be
expected to last another thousand years, while books only four or
five years old are crumbling to pieces.
G roundw oodpaper (as paper made from woodpulp is called) came
into use in the nineteenth century, and it took a hundred years for
paper manufacturers to learn how to make it acid-free and flexible
enough to be of any value as a cultural preservative. Papers of high
acidity can yellow within weeks and may turn brown within a year.
Late nineteenth-century groundwood papers were often vigor
ously bleached and remain pale in color even now - but they were
made from short and brittle fibers mixed with particles of clay. After
269
A S h o r t H i s t o r y o f th e P r in t e d W o r d
270
c h a p T e r x • The S e c o n d W o r ld W a r a n d A f t e r : 1 9 4 0 - 1 9 75
sky, like Jan Tschichold, left Germany early in the 1930s. He was
welcomed in the world to which he came, and he spent nearly the
whole of the rest of his life at the Institute for Advanced Study in
Princeton. As an art historian in a country with too little faith in art
and too much faith in science, Panofsky did not attain the fame of
his neighbor Albert Einstein, but those who knew them both have
described them both as persons of equal genius.
It was at Princeton in the early 1950s that Panofsky wrote his
book on meaning. It was published first in 1955 by Doubleday in
New York as a ninety-five-cent paperback. Larger-format paper
backs appeared in 1970 from Penguin and in 1982 from the Univer
sity of Chicago Press, but the Doubleday edition was for fifteen
years the only one around. It was part of a marvelously portable and
7 inexpensive series called (in honor of Aldus Manutius) Anchor Pa-
* perbacks. This is the edition you will find most often now on North
American university library shelves. The odds are good, however,
that more than half the copies you will find will be unreadable. The
Anchor Paperback edition of this book was meant as a disposable
: edition, not sturdy enough to borrow but cheap enough to buy
without a thought. It was 10.5 x 18 cm (a little over 4" x 7 "), and the
margins were on average 6 mm (a quarter of an inch). Students by
y the thousands were assigned to read the book, and the librarians
who bought it often sent it to the bindery. There the books were
J flatstitched, trimmed and cased. One end of every line, in conse-
; quence, is buried by the stitching; the other end has gone to the
binder’s knife. The middle of each line can still be read.
271
A Short History of the Printed Word
took their toil upon the quality of hardbound books and altered the
practicability of publishing small editions. Rising costs also helped
to put an end to many magazines and newspapers that had domi
nated the publishing scene earlier in the century.
It is possible that printed books as repositories of human experi
ence and creativity may in time be overshadowed or even replaced
by digital replicas. Once made, such replicas are very quickly copied
and easily stored in a small space - but they cannot be read without
a prosthesis. They are invisible and useless without the intervention
of an exceedingly complex, electrically powered machine. Such a
scheme may look good to accountants and to marketers. But for au
thors and for readers, there can he no substitute for a well-designed,
well-printed, well-bound book that one can see and feel as well as
read. A tangible, stable, well-made page is just as desirable, and just
as useful, now as it was in the fifteenth century.
When Gutenberg set out to make books, his purpose was to
compete with the copyists of his time, by cutting the cost of produc
tion. His approach was innovative and imitative, both at the same
time. He was, however, surrounded by good calligraphic models.
So were his predecessors in China; so were his early successors in
Venice and Rome. Literacy in the days of the early printers was a
power and a skill possessed by relatively few7. The skill, of reading,
and the power it conveyed, were also then cemented - indissolubly,
it seemed - to the physical skill of making shapely and powerful let
ters with a pen. Writing, like speaking, wras for real. Reading was
not passive. Printing could not be passive either in such a world.
In the 1970s and 1980s, the practitioners of photocomposition
and offset printing were, like Gutenberg, engaged in a simultane
ously innovative and imitative act. But they were not imitating writ
ing; they were imitating printing - and were doing so in a world
where reading had become, for most, a passive, cerebral act, uncon
nected with any physical sense of the making of letters, and uncon
nected with any sense of the intellectual urgency of publishing.
272
chap T ER x * The Second World War and After: 194o~ig 75
Reading had become more and more a passive act, and printing had
become more and more just a form of mass production.
Assimilating Mechanization
T he phrase littera scripta manety “the written word remains,” is
frequently attributed to Horace. The phrase does not appear in any
of his works. Neither does the sentiment, which properly belongs
to Pontius Pilate. To Horace, writing was preparatory to speaking.
Delere licebit [ quod non edideris, he says, nescit vox missa revend. “You
can cut what you haven’t said aloud ; a voice set loose doesn’t know
its way home.”
Speaking and hearing can combine the intellectual and physical
in an unforgettable way. A story or a statement or a song can plant
ideas with the potency of seeds and with the force and durability of
physical impressions. A sentence, as we say, can be striking; a phrase
can land a blow. Script and print can do so too - and printed words,
like seeds, can lie at rest for generations before they finally sprout.
To those concerned with a long reach in time and space, writing and
printing may seem more powerful than speech. To those who deal
person-to-person, the spoken word and the facial expressions and
gestures that frame it remain the fundamental reference. But to a
person who is trained in the scribal tradition, a written letter is as
physical as a handshake - and, if firmly made and clearly meant, is just
as difficult to forget. To a person truly initiated to printing, the
printed word can also share that power and physical presence. Lan
guage is part of the mind and part of the body. Until it loses either
its mental or physical balance, it links the two like a bridge.
Speech, script and printing are alike in that their power drains
away when they become mere simulacra, it is only then that writing
and printing cease, in fact, to speak. It is only then that they cease to
evoke what they are about. If all modernity can do is produce more
printing more rapidly, then modernity has lessened, not increased,
273
À S h o r t History of the Printed Word )
the power of print in the realm of mind and spirit - even while mul
tiplying its power as a bureaucratic or administrative force,
A machine or a technique that offers too little resistance encour
ages slickness. It yields what Baudelaire described as chic, which he
compared with “the work of those writing masters who, with an el
egant hand and a pen shaped for italic or running script, can shut :
their eyes and boldly trace Christ’s head or Napoleon’s hat in the
form of a flourish.” Yet the new techniques are here to stay and will '
certainly find their masters just as the earlier methods did.
As far as type is concerned it is helpful to realize that the letters
of the alphabet, being symbols and abstract in themselves, are most
successful when their forms come closest to being free from idio
syncrasy. W ith such a realization, type designing becomes a search
for the obvious and universal, not for what is branded as original but
Is really improvisational.
These are among the reasons why modern presswork should
constantly be measured against the earliest printing. The dwell of
the handpress, when the metal rests momentarily deep in the paper,
and the resilience of stiff ink, still set standards for the power of
printed words. The key to the comparison should rest in the answer
to the question : “Does the page look like an original ?” A good page
of letterpress printing is an original. It is not a picture of a page of
type, and it is not a simulation; it is a typographic print, made from
the type itself. In this simple fact lies the integrity and permanent
importance of letterpress.
274
C H A P T E R XI
next month's issue of Better Homes and Gardens was dropping out like
rabbit turds,
More words are now being printed every second than were
printed per year during the fifteenth and sixteenth centuries. The
result is that the world is in many ways different than it was. The
printer and the reader are also very often, though not always, differ
ent persons than they were. W hen so many words are printed, it is
no surprise they float upon the surface of the paper like breath on
the windowpane rather than entering into the paper, crimping it,
making a permanent change in its shape that suggests a permanent
change in its meaning.
W r itin g Tools
Life in Flathnd
j The ambivalence, in letterforms, of the continuous and the dis-
: continuous, the flowing and the abrupt, is a permanent condition. It
f.: is inherent not only in letterforms themselves but in making almost
any kind of mark. The oldest decorated pottery is marked with a
£ combination of flowing lines and imprinted dots, reminiscent of the
t tracks of lizards, who drag their tails but lift and plant their feet. A
i scribe writing cuneiform presses a triangular-tipped stylus into the
, clay page, then tilts and drags the stylus. The result is a stroke that
ÿ combines the glyphic and the graphic, the sculpted and the drawn. In
the manuscript era, in Asia and Europe alike, two-dimensional
written forms were dominant over three-dimensional carved ones.
À. Short History of the Printed Word
280
chapter xi * The Digital Revolution
282
c h a p te r xi * The Digital Revolution
afgep afgep
afgep afgep
. 11.3 Four unserifed types: Eric Gill’s Gill Sans and Paid Renner’s Futura
\ (above); Hermann Zapf’s Optima and Hans-Eduard Meier’s Syntax {below).
only used in advertising work. Sanserif types for setting text are a
twentieth-century phenomenon, and a slow-blooming one at that.
Important steps along the way include Eric Gill’s Gill Sans (1927),
Paul Renner’s Futura (1927), Adrian Frutiger’s Univers (1957),
Hermann Zapf’s Optima (1958) and Hans-Eduard Meier’s Syntax
{1969). Gill Sans was die first sanserif type designed on a humanist
model, and Syntax, forty-two years later, was the second. Even
• these types, however, were issued without the usual accoutrements
. of humanist text faces. They had no text figures (123 instead of 123)
and no small capitals. For that reason alone, skilled typographers
; seldom used them for setting books. (W ithout text figures and small
caps, such things as dates and times stand out like prices in an adver
tisement rather than blending into the text.)
In the 1990s, several digital foundries issued large type families
f which include matching serifed and unserifed forms with a full
typographic palette. Some of diese families of type are essentially
humanist in form. Others owe their basic structure to the Dutch
Baroque. In each of them, however, the design has been successfully
translated across the boundary between serif and sanserif. One of
these families was designed by jean-François Porchez for the lead-
283
A. Short H isto ry of the Printed Word
a% P afgep
afgep afgep
11.4 Scala Serif and Scala Sam, designed by Martin Majoor, issued by
Font-Shop, Berlin, 1991-94.
284
c h a p t e r xï ♦ T h e D ig i t a l R evo lu tio n
Computerized Design
As the twentieth centuiy ends, close to 50,000 different type
fonts are available in the marketplace. This is a dumbfounding
number by incunabular standards, though in the terms of modem
commerce it is modest. Far more than 50,000 books are published
every year. The vice president of marketing could worry there is not
enough new type to go around. Shoddy workmanship and plagia
rism are rampant, in type design as elsewhere, but the best type
available covers a large range. ïn spite of this variety, the books
and other documents that pour from the world’s laser printers
and presses look astonishingly bland. One reason is that many of
these documents are set in a few bland faces (Times Roman and
Helvetica, together with their many imitations, such as Arial and
Geneva, are most common). Another reason is, again, that all these
, documents are flat. They lack the dawmark of meanings which the
y letterpress, in skillful hands, so readily provides,
y To those who learn to use it, the computer gives considerable
control over type and its placement on the page. It gives no control
at all over paper and presswork, and only the illusion of control over
afgep afgep
I afgep afgep
y n . 5 Quadrant Serif and Quadraat Sans, designed by Fred Smeijers, issued by
g FontShop, Berlin, ujgi-yb.
285
A Short History of the Printed Word
ink and color. Yet these factors lie at the heart of the book, along
with type and text.
The computer is a simulator of tools and can simulate much else,
but it cannot, at present, simulate everything well. It cannot, for in
stance, do a decent job of turning one type design into another.
That is a task not for a tool but for the mind and eye and hand of a
designer. Good typographers know that when the computer offers
to simulate a bold weight, italic, or small caps, they must turn this
offer down. The software is incapable of doing everything it claims.
The typographer who wants text figures and italic and small caps -
as nearly every text typographer will - must buy or make a digital
simulation of the real thing, not accept a simulation of a simulation.
28 6
11.7 Paul Blackburn^ T h e O m itted Journals. W alter Hamady, Perishable
Presi\ M tH o reb , Wisconsin, 1983.
287
V;
288
11.9 W .S. M etsvin, T h e Real World o f M anuel C ordova. Cardee
Campbell, N inja Press, Los Angeles,
289
À Short History o f the Printed Wbi d
N o m atter how short the ru n and how careful th e p rin ter, m etal
type wears as it is used. W orn type prints p o o rly I t n eed s to b e
melted and recast. As the foundries closed, th e supply o f g e n u in e
foundry type available to letterpress p rin ters th ro u g h o u t th e w o rld
dwindled severely. M any turned to M o n o ty p e and L in o ty p e, b u t
these alternatives were dw indling as w e ll K n ow ing th ey co u ld n o t
replace their type made m any prin ters nervous a b o u t u sin g w h a t
they had. M any also observed w ith som e envy th e in creasin g a rray
290
I c h a p t e r xi « The Digital Revolution
of good digital text types. A link between the handpress and com-
V; puter seemed in order. Photopolymers provided it.
Early photoengravings were made from metal, usually zinc. A
photopolymer printing plate is a photoengraving made instead
/ from a photosensitive resin, rather like a slab of solid nylon. The
technology involved was developed in the 1950s and is regularly
used to print commercial packaging. In the late 1980s, artist print
ers in San Francisco, Los Angeles and Colorado Springs began ex
periments with other ends in mind,
t The advantage of photopolymer over metal photoengraving is
that the machinery required is modest and no toxic chemicals are
used. The only solid substances involved are rubber, steel, and the
photopolymer itself; the only fluids are printing ink and water. The
polymer block as it comes from the manufacturer is water soluble
and photosensitive. If the blank block is covered with a photo
graphic negative and exposed to a strong light, the character of the
polymer in die exposed areas changes. These areas lose their solu
bility, T he unexposed areas can then be washed away, leaving a pre
cise three-dimensional mirror image of whatever was on the film.
After drying and curing, the block is ready to be inked and printed.
Blocks are usually mounted in the press with a rubber or magnetic
steel backing.
The starting point can be anything photographable - a hand
written text or a drawing, for instance - or anything produced by
any means in photonegative form. That is precisely the form in
which digital type is usually generated for high-grade printing.
In Merwins Manuel Cordova, printed by Carolee Campbell, the
river that runs beside the poem and gives the text its shape is printed
from photopolymer blocks, but the text is handset metal. Some
other books of interest have been built the other way around: the
text set on a computer and printed from photopolymer side by side
a*. with illustrations that were cut bvv hand - in wood or linoleum,7or in
blocks of synthetic resin.
291
À Short History o f the Printed Word
292
chapter x i * The Digital Revolution
fm
g In 198 6, the University of Nebraska Press issued an English ver-
%> sion of Glasy recreating with great care the design of the original.
:: Other works have followed, in English as in French, which likewise
mate complex and sometimes lively typography with dense and of-
" " ten turgid academic prose. But Derrida’s book owes its typographic
" form (and its textual turgidity) to the Medieval manuscript tradi-
, tion, in which texts are frequently encrusted with a commentary
g and learned annotations. Other books in the same vein, especially
y; those produced in the English-speaking world, have been more bla-
tant, mating academic prose with the typography of advertisement.
|K There is nothing new and unusual in writers, including acad-
jj; emies, having outsized egos and an appetite for fame. W hat is new
in the twentieth century is the way in which these yearnings have
m: come forward in their published works. Derrida’s self-indulgence is
r immense, but its visual manifestations have been relatively subtle.
This is not the case with Avital Ronell’s Telephone Book, a study of
293
A Short H i s to r y of the Printed Word
294
fr c h a p t e r xi * The Digital Revolution
295
A S h o r t H i s to r y o f t h e P r in t e d W o r d
296
•c h a p t e r x i # The Digital Revolution
A charter of sorts for all this creative and inquisitive use of typo
graphic space was provided at the end of the last century by the poet
Stéphane Mallarmé. His poem Un Coup de des, published in Paris in
1897, seemed in its time the most visually daring work of literature
ever published. Mallarmé’s preface to the poem reveals quite a bit
about what he and his successors have been doing.
The white spaces do indeed assert themselves, insistently at first. The ver
sification required them, like a surrounding hush. It is usually the same
with a short lyric or apoemjust afew measures long; which on the average
occupies about a third ofa page. I donH departfrom that proportion; I only
spread it out. The paper intervenes whenever an image halts or recedes of
its cram accordletting others take their turn. It is not a matter - as always
in the past - of regulated elements of sound (that is, ofverse), but rather of
prismatic subdivisions of the Idea, whenever they appear.; andfor as long as
their conjunction lasts, in this or that specific spiritual setting. Here and
there, closer to or farther away from the invisible connecting thread, the
text sets itself, wherever seems most true. The - i f I may say so - literary
advantage of this reiterated distance, mentally separating word-clusters or
wordsfrom one another, is this: it appears now to accelerate, now to retard,
movement. The poem is scanned and transmitted in terms of a simultane
ous vision of the Page. This is apprehended as a unity, the same way a
stanza or a self-sufficient line would be in other writing. The fiction wells
up and ebbs away, quickly, keepingpace with the mutability ofthe writing.
It flows around thefragmentary rests in one uppercase sentence that starts
with the title and goesfrom there. Everything happens throughforeshort
ening, hypothetically; narrative is eschewed. Moreover, when thought can
operate naked in this way, with retreats; delays,jumps, or in whatever way
it will, it produces a musical scorefor anyone wishing to read it aloud. The
use of differentfontsfor dominant and secondary and supplemental themes
reveals the weight appropriate to each in speaking the poem, and the tack
the text takes - across, upward or downward over the page - will tell
whether intonation rises orfalls.
298
II.15 D e// Hymes, “Victoria Howard's ‘Gitskux and H is O lder Brother’” in
S m ooth in g the G round, edited by Brian Swann. Typography by Charles
Bigelow. University o f California Press, Berkeley, ipS y.
300
INDEX
A 31, 282 Bancroft, John Sellers 213
Addison, Joseph, 176-78 Barbarian Press 287
Adler, Elmer 87, 250 Baroque type 130,148,161,163,176,199,
Adobe Systems 278 203, 227, 249, 283
advertising 195, 212, 223, 283 Basel 1x5
Alenin of York 33,161 Baskerville, John 163-65
Aldine Press 90—92 Baskerville type, Great Primer 164.
Aldus (type) 266 Baskin, Leonard 260
Alexandre, Jean 158 bastarda types 43, 71, 83. 87, T20
Alphabet, The (Goudy) 233 bâtarde types: sec bastarda
alphabets 21, 22-38 Bauer type foundry 244, 246
American Magazine, The 180 Bauhaus 246
American Type Founders 260 Bay Psalm Book (Day) 155
Anchor Paperbacks 271 Beardsley, Aubrey 2x9
annealing 50, 52 bed 31,133
Antiquities of Athens (Revett) 200 Beilenson, Peter 259, 263
Antwerp 1.18-19 Belgium, printing in 81-82,118-19,129
Apocalypse (Dürer) 8ç, 101 Bell (type) 249
aquatint; see etching Bembo (type) 249
Areopagitka (Milton) 3,123-24 Bender, Richard 241
Arrighi, Ludovico Vieenti.no degli 98, 99, Bentley s Miscellany 209
108 Benton. Linn Boyd 221, 223
art nouveau 21 Benton, Morris Fuller 221
Arte subtilissi?na (Yciar) 80 Berling (type) 266
Ashendene Press 227,128 Berner, Konrad 120
Athalie (Racine) 157 Bernstein, Dennis 289-90
Atlantic Monthly 220, 221 Bevington, Stan 296
Augereau, Antoine 113 Bewick, Thomas 184-87, 218
Augsburg 75 Bi Shêng 5, 84
Austin, Richard 202 Bibles: Biblia regia 118,119; Gutenberg 6,
Aventures de Télémaque, Les (Fénelon) 187 65-67 ; King James 124,12 7-2 8;
Avisa Relation oder Zeitung 141, iq i Native American 155; Oxford Lectern
axis 160—61,198,199; classical 31; vertical 231, 232
69,150 Biblia regia (Plantin) 118, 119
Biblioteca Real 775
Baldung, Hans (Hans Grien) 101 Bienewitz, Philipp X2i
ballpoint 276 binding 268-71, 275, 280
302
•Bktney, Archibald 187 Callot, Jacques 131,139,140
Blackburn, Paul 2#7 Cambridge University Press 232
: falackletter 35, 36,120-21; see also fraktur; cameras 21
lettre deforme; rotunda; textura Campbell, Carolee 287-89, 291
Blado, Antonio 108 Campbell, John 178
Blaeu, Willem 152 Canada, printing in 180,183, 220
- Blake, William 7, 206-7 Canadian Magazine 220
block printing: see woodblock printing Canadian Review 220
Bluntenbucb, Das (Koch) 242 cancellaresca: see chancery script
Blumenthal, Joseph 245, 250-51, 263 Cantos, The (Pound) 297
-Boas, Franz 154, 299 capitals: roman 22, 35, 40, 74; round 69;
Boccaccio, Giovanni 17, 72, 87 rustic 28, 29, 31; square 27-29,57,-
Bodoni, Giambattista 171-74, 200-201 Trajan 22,26, 27; see also small caps
Bodoni types 772 Capricbos (Goya) 190
body 48, 52, 54,170, 201 caractères A ugustaux 202
Bollmgen Foundation 266 caractères de l’Université 147
Book o f Hours: see Horae Cardinal, The (Lievens) 106
Book of Job (Blake) 206,207 Caricature, La 210
Book o f Ruth and Esther (Pissarro) 228 Caroline minuscules, the 3 2-34
Bordon, Benedetto 90 Carr, Dan 279
Boston Gazette 179-80 Carter, Matthew 279
Boston News-Letter 178-79 Caslon, William, foundry of 161-63
Bourgeois gentilhomme (Molière) 157 Caslon (types) 162, 202-3, 249> 282
bdustrophedon 23 casting 8, 52, 53-56, 214-15, 222
bowls 35,160 Catholicon (Balbus) 71
Boydeil & Nicol Shakespeare Printing Caxton, William 82-84
Office 183 censorship: in England 123-26,143; in
Bradford, William 156,180 Europe 113-15,147; in France 113-15,
breathing 25, 35,174 147-49; in Germany 142-43; in the
Bremer Presse 245, 247, 248 United States 145-47,5^; see also
brevier 57,170 press, freedom of
Brinton, Daniel 153 Centaur (type) 232
broadpen 27,198-99,277 Century' (type) 221
Brower, David 266-67 Century Illustrated Monthly 220, 221
Buckley, Samuel 181 Cervantes, Miguel de 127-28
.Buffon, George Louis 258 Champfleury (Tory) 107,113
Bullen, David 296 chancery' script 38-39, 95,9 S’, 99
fiulmer, William 183,184-85 Chappell, Warren, type by 241
:Burckhardt, Jacob 41-42 character set 8, 23, 57; see also alphabets
Burne-Jones, Edward 226 Charivari, Le 210
Butter, Nathaniel 141,143 Charlemagne 32-33
chase 61, 63
Caflisch, Max 281 Chase, The (Somerville) JS4
Caflisch (type) 281 chasing tools: see punches
Gài Lun 14 Chaucer, Geoffrey (Kelmscott Press
calendering 165,196 edition) 224, 226
calligraphy 27-39, 40-42, 87,106-7, Chaucer (type) 225
198-99, 234, 265-66; see also Chef-d’œuvre inconnu, Le (Picasso) 237
alphabets; scribes; scripts Chicago Tribune 253
A Short History of the Printed Word
3 °4
Dutch Type Library 278 Fairbank, Alfred 234
Dwiggins, William Addison 249, 250 Fall of the Princes (Boccaccio) 87
Faust (Goethe) 190, 204
' E 27» 31 Feder tend Stichel (Zapf ) 245
Eckersley, Richard 294 Fell types 130, 132
Eclogues (Virgil) 160, 207, 275-76 Figurai (type) 266
Edelstein (Pfister) 72 figures 283
Edinburgh Review 218 files 45, 47, 50
éditions du Louvre (Racine) 157 First Folio (Shakespeare) 125,127
Eichenauer, Gustav 240, 241, 243-44 Fischer, Samuel 247
Eichenberg, Fritz 25 2 Fleischman, Johann Michael 174,175
Eickhoff, j.G.A. 2T2 jHong 197
Einaudi, Giulio, editore 266 Florence, printing in 40, 80
Electronic Revolution, T he 257 floret 108
electrotyping 198 font 57-60, i n
Elements (Euclid) 84 FontShop 278
Elements of Lettering (Gaudy) 233 form 194
Elzevir family Ï30, xpi Forsberg, Karl-Erik 266
Emerge (type) 259 42-line Bible: see Gutenberg Bible
. Emerson, Ralph Waldo 220 Foudrinier papermaking machine 196, 222
?■ England, printing in, 83-84, 86-87, Four Gospels, The (Gill) 248
161-63 Fournier (type) 249
- , English Monotype Corporation 249; see Fournier family x66-68,187
;; also Monotype Fournier’s scale 56,167
/-'•. English n" 2 type 201 fraktur type 43, 120, 190
engraving ï.29,133-34,139,192, 204; France, printing in 8 p -8 8 ,116-18, 238-40
> aquatint 137-38; copper 119; François 1 1x3,156
'■/.) pantographic machines 234, 255, 267; François peints par eux-mêmes, Les (Gavarni)
\\ “white line,” 185; wood 185-87 210
. Enschede, Isaak Johannes 174-75 Franklin, Benjamin 170,180,187
7:. . Enschedé en Zonen 243, 244, 259, 262 Franklin, James 180
-, Epistolae adfamiliares (Cicero) 75 French Fries (Lehrer ir Bernstein) 289-90
epistolary scripts: see italics ffisket 64
Eragny Press 227,228 Froben,Johan 115
?.. Erasmus, Desiderius 20, 91,115 Frosche, Die (Aristophanes) 263, 264, z65
Essais (Montaigne) 121, 122 frotton printing 12
Estienne, Henri 1x0 Frutiger, Adrian 57, 266, 279, 283
fs)'- Estienne, Robert 109, n o , in , 112-15 Fugère,Jean-Michel 202
etching 135-37, tp2, 204, 208; aquatint furniture 63
iS? I37“ 3^, 208, 258; mezzotint 137-39 Fust, Johann 67-70
|y, ' Euvres (Labé) 116 Fust i f Schoffer Psalter: see Mainz Psalter
Evans, Edmund 218 Future (type) 246, 284
Everson, William 287
)|y ; Ex Ponto (type) 282 galleys 61
f T eyes 160 Gallimard, Gaston 247,266,290
Garamond, Claude 109,149; type of 113;
'VV Fabiani 258 canon size type 114; grecs du roi 113;
I ■- Faber & Faber 252
!> face 46, 47, 50, 51
italic 113
gauges 46
305
A Short History of the Printed Word
306
Industrial Revolution, the 19, 21,193, 247 Koberger, Anton 90,100
Information Revolution, the 277 Koch, Peter Rutledge 287-88
initials 68, 69, 248 Koch, Rudolf 43, 49, 240-42, 243
inking 64,132,133,139,192 Koch Anti qua (type) 43, 240
InselVerlag 237,242 Konig, Friedrich 194
intaglio 6, 7,119,131-40,190, 204; .tee also Kfinig Agilulf(Boccaccio) 245
engraving Koran 1x5
Ionesco, Eugène 290 Korea 5, 8
Isingrin, Michel 115 Kranz 80, 87
italics 38,94, 95-100; capitals 99-100, Kredel, Frite 241, 242, 2 43-44,1Sl
213; lowercase 98 Kretzchmar, Eduard 212
Italy, printing in 72,73-74 Krimpen: see Van Krimpen
307
A Short H i s to r y of the Printed Word
308
Nash, Ray, 260 Opera (Horace) 134
Nation, The 222 Opera (Virgil) 94
Native American languages 22,153-55, Oporinus, Johannes 115
299-300 Optima (type) 245, 283
Native American literature 153-55 ornaments 69, 226
n e o Caroline letters 36-39 overlays 64,133,187
Neoclassical type 150,160,161,164,169, Oxford Gazette 144
ty2>l75> l99> H 9 Oxford Lectern Bible 231,232
Neuîand (type) 240,242 Oxford University Press 130, 232, 247,
New Directions 297 282,
New England Courant 179, 180
New Testament (Froben) 115 Padoli, Luca 24,107
New York Advertiser 222 page, invention o f 39-40
New York Evening Post 221-22 Palatino (type) 245, 261, 266
New York Herald 22.2 Palatino, Giovanni Battista 98
New York Sun 222 Pannartz, Arnold 72, 73-74
New York Times 220, 222, 253 Panofsky, Erwin 270-71
New York Tribune 215, 222 pantographic machines 223, 234, 255,
New York World 222 267
New-York Gazette 180 paper 5,14-17,164-65,196, 269
New Zealand 212 paperbacks 269-71, 292
newspapers; in Canada 180,183; in China Papillon 185
141; in England 141,143-44,181-82, Parallèlement (Verlaine) 238
2ï 8, 254; in France 142; in Germany parchment 5
141,142-43; in Holland 141; in the Parmigianino 104,105
United States 145-47, 278-81, 220-23, Pareja, Francisco 153
253-54 Paris 72, 87,109-12
Nicholson, William 197 Pasiphaé (Montherlant) 258
nick 48 Patterson, Joseph M. 253
niello 88 Pelican History ofA rt 256
Night Thoughts (Young) 207 Penguin Books 256-57
Ninja Press 287 pens 27, 29,198-99, 276, 277
Nonesuch Press 253 Pennsylvania Gazette 180
nonpareil 57,170 Perfetto scrittore, II (Cresci) 108
North Briton 182 Perishable Press 287
N orth Point Press 296 Perkins, Jacob 204
Nouvelles ordinaires de divers endroits 142 Perpétua (type) 245
Nürnberg 17 Perrin, Louis 202
Nuthead, William 156 Peter Pauper Press 259
Petitot, Emile 154
O 26 Pfister, Albrecht 72
Oath of a Free Man, The 155 Phaednis (Plato) 287
Ohms sueltas ÇÏriarte) 175, 176 Philipon, Charles 210
octavo 40,175 phonograms 22
Offenbacher Werkstatt 240-42 photocomposition 267-69, 272
Offieina Bodoni 249, 261, 263 photoengraving 185, 216-17, 29z
offset printing 7, 205, 212, 251—52, 280 photography 205, 216-17
Oliver Twist (Dickens) 208-9 photogravure 217
Omitted Journals, The (Blackburn) 2Sy photolithography 217
3°9
À Short History of the Printed Word
3 ÎO
quoins 63 Rue Transonian (Daumier) 205
Racine {éditions du Louvre) 157 Ruppd, Berthold 75
Radisch, Paul Helmuth 243, 244 Rûzicka, Rudolph 249
Raphael 95, 96-97
Ratdok, Erhard 84 -85,115 S 27
rationalism 158-61,164 Sabon, Jacques 262
Raven, The (Poe) 279 Sabon (type) 261
:Raymond, Henry Jam s 230, 222 Saint Christopher, the xx, 12
reading vs looking 174 Saint Christopher c'a Horseback 88
Real World o f Manuel Cordova (Merwin) St John Hornby, C. H. 227
288-89, 29* Salomon, Bernard xx6
Recueil des histoires de Troyes (Le Eèvre) 82 Salter, George 252-53, 260
Reatyell o f the Historyes ofTroye (Caxton / Sancha, Gabriel de 175
LeFèvre) 82-83 sanserif types 163, 246, 282-85
Reiner, Imre 269, 264, 26y Sanvito, Bartolomeo 280,281
Rembolt, Berthold 87 Sanvito (type) 280, 281
Rembrandt ï o i , 104,131,135,136,137 Saspoch, Konrad 61
Renaissance xo, 18-20, 36,176; type 42, Scala (type) 284
99-100, m -14, i6ï, 176,199, 201, 227, Schneidler, Ernst 243, 264
249, 278 Schôffer, Peter, the elder 67-71, 93
Renner, Paul 243, 246, 283 Schoffer, Peter, the younger 71,115
Respublica (Elzevir) 131 Schônsperger, Johann 120
Review, The 176-77 schwabacher 43, 71,120
Revue canadienne 220 Scotch Roman type 202
Reynolds, Joshua 138 scribes 36, 40-42, 279; see also calligraphy
Ricketts, Charles 226 Scribner's Magazine 220, 22Ï
Riverside Press 232 Scribner's Monthly 221
Robert, Nicolas Louis 196 scriptorium 4
Robinson Crusoe (Defoe) 176 scripts 30-39,317, 280
Rockner, Vincenz 120 script types 281-82
Rogers, Bruce 19, 231-32, 249, 250, 255 scrittura umanistica 36-38, 74
romain du roi Louis X I V (type) 150-52, Sedan, Académie de 148
158,160 semiuncials 30, 31
roman letters 24-29, 40, 43 Senefelder, Aloys 191—92
roman type 76, 79, 87, 91-92, 114,149, serifs 27, 28,150,159-60, 282, 284
I5 O -5 Ï, l 6 z 7 202 Shakespeare, William 122, 125
Romantic type ï6i, 171,172-73,183,199, shank: see body
200-201, 227-28 ShënKuô 5
Rome 72 Shepard, Ernest 218
Ronaldson, James 187 Shoemaker,Jack 296
Rosenberger, August 245, 261 Shortest Way with the Dissenters, The
rotogravure 132, 253-54 (Defoe) 176
rotunda 35, 43, 79, 80, 81 Siegen, Ludwig von 137
Rouault, Georges 238, 264, 265- Sierra Club Books 267
Rowlandson, Thomas 207-8 Sigl, George 212
Ruhei, Ira 251-52 signature 39-40
Rubens, Peter Paul tox, 1x9, iz8, 129, 130, Simonneau, Louis 150, iyi
G1 Simons, Anna 234, 248
Rudge, William 232 Sinibaidi, Antonio 80
3ïî
A Short History of the Printed. Word
312
: unserifed types: see sanserif types Weekly Review of the Affairs of France: see
Unzclmann, Friedrich Ludwig 212 Review
Updike, Daniel Berkeley xi, 230 Weiss, Emil Rudolf 243, 244
Wesley, Edward 222
(§422 whiteietter types 36-39, 87, n o
Vâffiard, Jacques-Louis 168, 170 Wiegand, Willi 244, 247, 248
Vale Press 226 Wilkes, John 182
Vallet, Jacques 130 Wilson, Adrian 266
van Calcar, Jan. Stevenszoon 115 Wilson, Alexander, & Sons 202
van de Velde, Henry 246 Wind, Edgar 267-69
van den Keere, Hendrik vj6 Winnie the Pooh (Shepard) 218
van Dijck, Christoffel 130 Woellner, Etoile 242
van Dijck (type) 249 Wolpe, Berdiold 241, 252
van Krimpen, Jan 242. 243, 244, 249, 261, woodblock printing 8,10,11, 1 2 ,15, 68,
266 9#, 99, 206-7, i n , 242
van Speyer, Johann & Wendelin 72, 75-76 woodcuts 14, 70, 72, 75, 84, #9, too—5,
Van Vliet, Claire 287 140, 203, 255, 236, 243-44
Vasari 100 Worde, Wynkyn de 121
Vatican Library 18,41 World War I 236, 240, 243
Veljovic, jovica 282 World War II 252, 256, 270
vellum 5,14, 29 wove paper 164-65,169,196
Venice, printing in 11, 75-76, 84 writing: see calligraphy
Vergikios, Angelos .113 Writing and Illuminating, and Lettering
versais 70 (Johnston) 234
Vesalius, Andreas 115, 116
Vespasiano Amphiareo, frate 107 x-b eight 36
Vespasiano da Bisticci, Fiorentino 42, 67 xylographie books 14
Viart, Guyonne n o
Vibert, Joseph 201 Y 22
Vicar of Wakefield, The (Goldsmith) 20H Yale University Press 247
Village Press 233 Yeiar, Juan de 8o-8t
violin bows 199 Yellow Book 218-19
Virgil 9 4 ,16% 206, 207, 235 Yriarte, Juan de 175,276
Virta, Marjaana 294-95
Visual Studies Workshop 289-90 Z 22
Vollard, Ambroise 238-40, 253, 255 Zainer, Gimther 75
Zainer, Johann 72-73
W 22, 277 Zapf, Hermann 57, 245, 260-62, 266, 279,
Walker, Emery 19, 225, 227, 229, 232, 283
236-37 Zapf-Von Hesse, Gudrun 266, 279
Wallau (type) 243, 244, 245 Zdanevich, Ilya 290
Walpole Printing Office 263 Zell, Ulrich 83
Walter, John 218 Zenger, John Peter 180-81
Warde, Frederic 245 Zilver Distel Press 249
watermarks 16, 17,196 Zwicky,Jan 297
Wechel, Andreas 114,120
WeddingJourney of Charles' and Martha
Ammy, The 230
Weeckelycke Courante van Europa 141
w arren chappell w as b o r n in R ic h m o n d , V irg in ia , in 1 9 0 4 .
H e g r a d u a te d f r o m th e U n iv e r s ity o f V irg in ia , i n 1 9 2 6 a n d f o r th e
n e x t te n y e a rs c o n tin u e d h is s tu d ie s , firs t a t d ie A r t S tu d e n ts
d ie B a u e r fo u n d ry in F ra n k fu rt, a n d w ith B o a rd m a n R o b in s o n in
C o lo r a d o S p rin g s . T h e r e a f te r , h e d e v o te d h im s e lf to th e d e s ig n
f o r fifte e n y e a r s a n d in n e a r b y N o r w a lk , C o n n e c tic u t, f o r a n o th e r
ty p e s : L y d ia n ( n a m e d f o r h is w ife L y d ia ) a n d T r a ja n u s . I n 1 9 7 8 h e
m o v e d t o C h a r l o t t e s v i l l e a s t h e U n i v e r s i t y o f V i r g i n i a ’s a r t i s t - i n -
Ro b e r t b r i n g h u r st w a s b o r n in L o s A n g e le s in 1 9 4 6 a n d
r a is e d in A lb e r ta , M o n ta n a , U ta h a n d W y o m in g . H e is th e a u t h o r
c lo s e ly in v o lv e d w ith th e n o w - le g e n d a ry S a n F r a n c is c o m a g a z in e
d e n t o f b o th th e o r a l a n d th e v is u a l fa c e s o f lite r a tu r e . H is b o o k
in a re v is e d a n d e x p a n d e d e d itio n in 1 9 9 5 . I t h a s n o w b e e n tr a n s
la t e d i n t o s e v e r a l l a n g u a g e s a n d is u s e d a r o u n d t h e w o r l d a s t h e
s ta n d a rd re fe re n c e in its fie ld . A p r o g r a m o f re se a rc h th a t h e