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LJ001-0001.wav | Printing, in the only sense with which we are at present concerned, differs from most if not from all the arts and crafts represented in the Exhibition | [
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LJ001-0002.wav | in being comparatively modern. | [
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LJ001-0003.wav | For although the Chinese took impressions from wood blocks engraved in relief for centuries before the woodcutters of the Netherlands, by a similar process | [
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LJ001-0004.wav | produced the block books, which were the immediate predecessors of the true printed book, | [
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LJ001-0005.wav | the invention of movable metal letters in the middle of the fifteenth century may justly be considered as the invention of the art of printing. | [
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LJ001-0006.wav | And it is worth mention in passing that, as an example of fine typography, | [
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LJ001-0007.wav | the earliest book printed with movable types, the Gutenberg, or "forty-two line Bible" of about 1455, | [
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LJ001-0008.wav | has never been surpassed. | [
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LJ001-0009.wav | Printing, then, for our purpose, may be considered as the art of making books by means of movable types. | [
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LJ001-0010.wav | Now, as all books not primarily intended as picture-books consist principally of types composed to form letterpress, | [
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LJ001-0011.wav | it is of the first importance that the letter used should be fine in form; | [
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LJ001-0012.wav | especially as no more time is occupied, or cost incurred, in casting, setting, or printing beautiful letters | [
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LJ001-0013.wav | than in the same operations with ugly ones. | [
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LJ001-0014.wav | And it was a matter of course that in the Middle Ages, when the craftsmen took care that beautiful form should always be a part of their productions whatever they were, | [
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LJ001-0015.wav | the forms of printed letters should be beautiful, and that their arrangement on the page should be reasonable and a help to the shapeliness of the letters themselves. | [
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LJ001-0016.wav | The Middle Ages brought calligraphy to perfection, and it was natural therefore | [
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LJ001-0017.wav | that the forms of printed letters should follow more or less closely those of the written character, and they followed them very closely. | [
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LJ001-0018.wav | The first books were printed in black letter, i.e. the letter which was a Gothic development of the ancient Roman character, | [
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LJ001-0019.wav | and which developed more completely and satisfactorily on the side of the "lower-case" than the capital letters; | [
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LJ001-0020.wav | the "lower-case" being in fact invented in the early Middle Ages. | [
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LJ001-0021.wav | The earliest book printed with movable type, the aforesaid Gutenberg Bible, is printed in letters which are an exact imitation | [
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LJ001-0022.wav | of the more formal ecclesiastical writing which obtained at that time; this has since been called "missal type," | [
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LJ001-0023.wav | and was in fact the kind of letter used in the many splendid missals, psalters, etc., produced by printing in the fifteenth century. | [
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LJ001-0024.wav | But the first Bible actually dated (which also was printed at Maintz by Peter Schoeffer in the year 1462) | [
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LJ001-0025.wav | imitates a much freer hand, simpler, rounder, and less spiky, and therefore far pleasanter and easier to read. | [
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LJ001-0026.wav | On the whole the type of this book may be considered the ne-plus-ultra of Gothic type, | [
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LJ001-0027.wav | especially as regards the lower-case letters; and type very similar was used during the next fifteen or twenty years not only by Schoeffer, | [
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LJ001-0028.wav | but by printers in Strasburg, Basle, Paris, Lubeck, and other cities. | [
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LJ001-0029.wav | But though on the whole, except in Italy, Gothic letter was most often used | [
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LJ001-0030.wav | a very few years saw the birth of Roman character not only in Italy, but in Germany and France. | [
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LJ001-0031.wav | In 1465 Sweynheim and Pannartz began printing in the monastery of Subiaco near Rome, | [
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LJ001-0032.wav | and used an exceedingly beautiful type, which is indeed to look at a transition between Gothic and Roman, | [
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LJ001-0033.wav | but which must certainly have come from the study of the twelfth or even the eleventh century MSS. | [
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LJ001-0034.wav | They printed very few books in this type, three only; but in their very first books in Rome, beginning with the year 1468, | [
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LJ001-0035.wav | they discarded this for a more completely Roman and far less beautiful letter. | [
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LJ001-0036.wav | But about the same year Mentelin at Strasburg began to print in a type which is distinctly Roman; | [
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LJ001-0037.wav | and the next year Gunther Zeiner at Augsburg followed suit; | [
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LJ001-0038.wav | while in 1470 at Paris Udalric Gering and his associates turned out the first books printed in France, also in Roman character. | [
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LJ001-0039.wav | The Roman type of all these printers is similar in character, | [
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LJ001-0040.wav | and is very simple and legible, and unaffectedly designed for use; but it is by no means without beauty. | [
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LJ001-0041.wav | It must be said that it is in no way like the transition type of Subiaco, | [
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LJ001-0042.wav | and though more Roman than that, yet scarcely more like the complete Roman type of the earliest printers of Rome. | [
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LJ001-0043.wav | A further development of the Roman letter took place at Venice. | [
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832,
262,
716,
664,
1015,
... |
LJ001-0044.wav | John of Spires and his brother Vindelin, followed by Nicholas Jenson, began to print in that city, | [
[
61,
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1991,
371,
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LJ001-0045.wav | 1469, 1470; | [
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LJ001-0046.wav | their type is on the lines of the German and French rather than of the Roman printers. | [
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LJ001-0047.wav | Of Jenson it must be said that he carried the development of Roman type as far as it can go: | [
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LJ001-0048.wav | his letter is admirably clear and regular, but at least as beautiful as any other Roman type. | [
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539,
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LJ001-0049.wav | After his death in the "fourteen eighties," or at least by 1490, printing in Venice had declined very much; | [
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LJ001-0050.wav | and though the famous family of Aldus restored its technical excellence, rejecting battered letters, | [
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LJ001-0051.wav | and paying great attention to the "press work" or actual process of printing, | [
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LJ001-0052.wav | yet their type is artistically on a much lower level than Jenson's, and in fact | [
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LJ001-0053.wav | they must be considered to have ended the age of fine printing in Italy. | [
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LJ001-0054.wav | Jenson, however, had many contemporaries who used beautiful type, | [
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LJ001-0055.wav | some of which -- as, e.g., that of Jacobus Rubeus or Jacques le Rouge -- is scarcely distinguishable from his. | [
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LJ001-0056.wav | It was these great Venetian printers, together with their brethren of Rome, Milan, | [
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1943,
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LJ001-0057.wav | Parma, and one or two other cities, who produced the splendid editions of the Classics, which are one of the great glories of the printer's art, | [
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LJ001-0058.wav | and are worthy representatives of the eager enthusiasm for the revived learning of that epoch. By far, | [
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LJ001-0059.wav | the greater part of these Italian printers, it should be mentioned, were Germans or Frenchmen, working under the influence of Italian opinion and aims. | [
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LJ001-0060.wav | It must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries | [
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LJ001-0061.wav | the Roman letter was used side by side with the Gothic. | [
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1655,
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1959,
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1187,
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LJ001-0062.wav | Even in Italy most of the theological and law books were printed in Gothic letter, | [
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1692,
1978,
1383,
1948,
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125,
1781,
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1939,
1825,
705,
582,
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1914,
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283,
1741,
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LJ001-0063.wav | which was generally more formally Gothic than the printing of the German workmen, | [
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382,
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132,
1005,
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722,
8,
690,
875,
1721,
1721,
299,
1184,
1348,
1939,
831,
1194,
160,
1477,
1560,
917,
981,
1327,
1640,
312,
868,
868,
657,
... |
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