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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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in being comparatively modern
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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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produced the block books which were the immediate predecessors of the true printed book
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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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and it is worth mention in passing that as an example of fine typography
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the earliest book printed with movable types the gutenberg or fortytwo line bible of about
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has never been surpassed
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printing then for our purpose may be considered as the art of making books by means of movable types
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now as all books not primarily intended as picturebooks consist principally of types composed to form letterpress
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it is of the first importance that the letter used should be fine in form
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especially as no more time is occupied or cost incurred in casting setting or printing beautiful letters
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than in the same operations with ugly ones
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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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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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the middle ages brought calligraphy to perfection and it was natural therefore
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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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the first books were printed in black letter ie the letter which was a gothic development of the ancient roman character
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and which developed more completely and satisfactorily on the side of the lowercase than the capital letters
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the lowercase being in fact invented in the early middle ages
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the earliest book printed with movable type the aforesaid gutenberg bible is printed in letters which are an exact imitation
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of the more formal ecclesiastical writing which obtained at that time this has since been called missal type
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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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but the first bible actually dated which also was printed at maintz by peter schoeffer in the year
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imitates a much freer hand simpler rounder and less spiky and therefore far pleasanter and easier to read
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on the whole the type of this book may be considered the neplusultra of gothic type
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especially as regards the lowercase letters and type very similar was used during the next fifteen or twenty years not only by schoeffer
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but by printers in strasburg basle paris lubeck and other cities
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but though on the whole except in italy gothic letter was most often used
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a very few years saw the birth of roman character not only in italy but in germany and france
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in sweynheim and pannartz began printing in the monastery of subiaco near rome
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and used an exceedingly beautiful type which is indeed to look at a transition between gothic and roman
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but which must certainly have come from the study of the twelfth or even the eleventh century mss
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they printed very few books in this type three only but in their very first books in rome beginning with the year
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they discarded this for a more completely roman and far less beautiful letter
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but about the same year mentelin at strasburg began to print in a type which is distinctly roman
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and the next year gunther zeiner at augsburg followed suit
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while in at paris udalric gering and his associates turned out the first books printed in france also in roman character
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the roman type of all these printers is similar in character
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and is very simple and legible and unaffectedly designed for use but it is by no means without beauty
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it must be said that it is in no way like the transition type of subiaco
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and though more roman than that yet scarcely more like the complete roman type of the earliest printers of rome
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a further development of the roman letter took place at venice
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john of spires and his brother vindelin followed by nicholas jenson began to print in that city
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their type is on the lines of the german and french rather than of the roman printers
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of jenson it must be said that he carried the development of roman type as far as it can go
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his letter is admirably clear and regular but at least as beautiful as any other roman type
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after his death in the fourteen eighties or at least by printing in venice had declined very much
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and though the famous family of aldus restored its technical excellence rejecting battered letters
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and paying great attention to the press work or actual process of printing
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yet their type is artistically on a much lower level than jenson's and in fact
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they must be considered to have ended the age of fine printing in italy
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jenson however had many contemporaries who used beautiful type
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some of which as eg that of jacobus rubeus or jacques le rouge is scarcely distinguishable from his
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it was these great venetian printers together with their brethren of rome milan
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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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and are worthy representatives of the eager enthusiasm for the revived learning of that epoch by far
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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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it must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries
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the roman letter was used side by side with the gothic
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even in italy most of the theological and law books were printed in gothic letter
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which was generally more formally gothic than the printing of the german workmen
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many of whose types indeed like that of the subiaco works are of a transitional character
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this was notably the case with the early works printed at ulm and in a somewhat lesser degree at augsburg
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in fact gunther zeiner's first type afterwards used by schussler is remarkably like the type of the beforementioned subiaco books
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in the low countries and cologne which were very fertile of printed books gothic was the favorite
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the characteristic dutch type as represented by the excellent printer gerard leew is very pronounced and uncompromising gothic
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this type was introduced into england by wynkyn de worde caxton's successor
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and was used there with very little variation all through the sixteenth and seventeenth centuries and indeed into the eighteenth
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most of caxton's own types are of an earlier character though they also much resemble flemish or cologne letter
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after the end of the fifteenth century the degradation of printing especially in germany and italy
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went on apace and by the end of the sixteenth century there was no really beautiful printing done
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the best mostly french or lowcountry was neat and clear but without any distinction
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the worst which perhaps was the english was a terrible fallingoff from the work of the earlier presses
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and things got worse and worse through the whole of the seventeenth century so that in the eighteenth printing was very miserably performed
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in england about this time an attempt was made notably by caslon who started business in london as a typefounder in
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to improve the letter in form
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caslon's type is clear and neat and fairly well designed
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he seems to have taken the letter of the elzevirs of the seventeenth century for his model
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type cast from his matrices is still in everyday use
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0082.wav
in spite however of his praiseworthy efforts printing had still one last degradation to undergo
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0083.wav
the seventeenth century founts were bad rather negatively than positively
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0084.wav
but for the beauty of the earlier work they might have seemed tolerable
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0085.wav
it was reserved for the founders of the later eighteenth century to produce letters which are positively ugly and which it may be added
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are dazzling and unpleasant to the eye owing to the clumsy thickening and vulgar thinning of the lines
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0087.wav
for the seventeenthcentury letters are at least pure and simple in line the italian bodoni and the frenchman didot
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0088.wav
were the leaders in this luckless change though our own baskerville who was at work some years before them went much on the same lines
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0089.wav
but his letters though uninteresting and poor are not nearly so gross and vulgar as those of either the italian or the frenchman
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0090.wav
with this change the art of printing touched bottom
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0091.wav
so far as fine printing is concerned though paper did not get to its worst till about
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0092.wav
the chiswick press in revived caslon's founts printing for messrs longman the diary of lady willoughby
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0093.wav
this experiment was so far successful that about messrs miller and richard of edinburgh
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0094.wav
were induced to cut punches for a series of old style letters
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0095.wav
these and similar founts cast by the above firm and others
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0096.wav
have now come into general use and are obviously a great improvement on the ordinary modern style in use in england which is in fact the bodoni type
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0097.wav
a little reduced in ugliness the design of the letters of this modern old style leaves a good deal to be desired
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0098.wav
and the whole effect is a little too gray owing to the thinness of the letters
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0099.wav
it must be remembered however that most modern printing is done by machinery on soft paper and not by the hand press
/root/.cache/huggingface/datasets/downloads/extracted/917ece08c95cf0c4115e45294e3cd0dee724a1165b7fc11798369308a465bd26/LJSpeech-1.1/wavs/LJ001-0100.wav
and these somewhat wiry letters are suitable for the machine process which would not do justice to letters of more generous design
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