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|---|---|---|---|---|
LJ001-0001 | 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 | in being comparatively modern. | [
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LJ001-0003 | 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 | produced the block books, which were the immediate predecessors of the true printed book, | [
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LJ001-0005 | 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 | And it is worth mention in passing that, as an example of fine typography, | [
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LJ001-0007 | the earliest book printed with movable types, the Gutenberg, or "forty-two line Bible" of about fourteen fifty-five, | [
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LJ001-0008 | has never been surpassed. | [
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LJ001-0009 | 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 | Now, as all books not primarily intended as picture-books consist principally of types composed to form letterpress, | [
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LJ001-0011 | it is of the first importance that the letter used should be fine in form; | [
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LJ001-0012 | especially as no more time is occupied, or cost incurred, in casting, setting, or printing beautiful letters | [
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LJ001-0013 | than in the same operations with ugly ones. | [
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LJ001-0014 | 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 | 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 | The Middle Ages brought calligraphy to perfection, and it was natural therefore | [
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LJ001-0017 | 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 | 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 | and which developed more completely and satisfactorily on the side of the "lower-case" than the capital letters; | [
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LJ001-0020 | the "lower-case" being in fact invented in the early Middle Ages. | [
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LJ001-0021 | 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 | of the more formal ecclesiastical writing which obtained at that time; this has since been called "missal type," | [
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LJ001-0023 | 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 | But the first Bible actually dated (which also was printed at Maintz by Peter Schoeffer in the year fourteen sixty-two) | [
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LJ001-0025 | imitates a much freer hand, simpler, rounder, and less spiky, and therefore far pleasanter and easier to read. | [
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LJ001-0026 | On the whole the type of this book may be considered the ne-plus-ultra of Gothic type, | [
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LJ001-0027 | 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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212,
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LJ001-0028 | but by printers in Strasburg, Basle, Paris, Lubeck, and other cities. | [
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313,
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268,
442,
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56,
1895,
312,
333,
1968,
657,
251,
560,
743,
1790,... | 75 | 8 |
LJ001-0029 | But though on the whole, except in Italy, Gothic letter was most often used | [
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LJ001-0030 | a very few years saw the birth of Roman character not only in Italy, but in Germany and France. | [
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213,
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LJ001-0031 | In fourteen sixty-five Sweynheim and Pannartz began printing in the monastery of Subiaco near Rome, | [
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LJ001-0032 | and used an exceedingly beautiful type, which is indeed to look at a transition between Gothic and Roman, | [
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LJ001-0033 | but which must certainly have come from the study of the twelfth or even the eleventh century MSS. | [
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LJ001-0034 | They printed very few books in this type, three only; but in their very first books in Rome, beginning with the year fourteen sixty-eight, | [
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LJ001-0035 | they discarded this for a more completely Roman and far less beautiful letter. | [
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LJ001-0036 | But about the same year Mentelin at Strasburg began to print in a type which is distinctly Roman; | [
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LJ001-0037 | and the next year Gunther Zeiner at Augsburg followed suit; | [
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1992,
1... | 54 | 8 |
LJ001-0038 | while in fourteen seventy at Paris Udalric Gering and his associates turned out the first books printed in France, also in Roman character. | [
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797,
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LJ001-0039 | The Roman type of all these printers is similar in character, | [
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LJ001-0040 | 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 | It must be said that it is in no way like the transition type of Subiaco, | [
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LJ001-0042 | 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 | A further development of the Roman letter took place at Venice. | [
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597,
17,
526,
1260,
536,
2003,
877,
1984,
1571,
774,
1677,
518,
1895,
832,
262,
716,
664,
1015,
... | 49 | 8 |
LJ001-0044 | John of Spires and his brother Vindelin, followed by Nicholas Jenson, began to print in that city, | [
[
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LJ001-0045 | fourteen sixty-nine, fourteen seventy; | [
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1374,... | 38 | 8 |
LJ001-0046 | their type is on the lines of the German and French rather than of the Roman printers. | [
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1948,
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LJ001-0047 | 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 | his letter is admirably clear and regular, but at least as beautiful as any other Roman type. | [
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LJ001-0049 | After his death in the "fourteen eighties," or at least by fourteen ninety, printing in Venice had declined very much; | [
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LJ001-0050 | and though the famous family of Aldus restored its technical excellence, rejecting battered letters, | [
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LJ001-0051 | and paying great attention to the "press work" or actual process of printing, | [
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LJ001-0052 | yet their type is artistically on a much lower level than Jenson's, and in fact | [
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LJ001-0053 | they must be considered to have ended the age of fine printing in Italy. | [
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LJ001-0054 | Jenson, however, had many contemporaries who used beautiful type, | [
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LJ001-0055 | some of which -- as, e.g., that of Jacobus Rubeus or Jacques le Rouge -- is scarcely distinguishable from his. | [
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410,
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... | 108 | 8 |
LJ001-0056 | It was these great Venetian printers, together with their brethren of Rome, Milan, | [
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912,
284,
206,
1943,
... | 69 | 8 |
LJ001-0057 | 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 | and are worthy representatives of the eager enthusiasm for the revived learning of that epoch. By far, | [
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245,
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823,
213,
14... | 93 | 8 |
LJ001-0059 | 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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797,
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... | 114 | 8 |
LJ001-0060 | It must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries | [
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1787,
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272,
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907,
1896,
1896,
383,
... | 85 | 8 |
LJ001-0061 | the Roman letter was used side by side with the Gothic. | [
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1959,
1532,
1506,
1477,
839,
1628,
1187,
... | 44 | 8 |
LJ001-0062 | Even in Italy most of the theological and law books were printed in Gothic letter, | [
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485,
1296,
1914,
277,
283,
1741,
981,
1708,
1473... | 66 | 8 |
LJ001-0063 | which was generally more formally Gothic than the printing of the German workmen, | [
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312,
868,
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657,
... | 58 | 8 |
LJ001-0064 | many of whose types, indeed, like that of the Subiaco works, are of a transitional character. | [
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604,
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597,
1713,
1591,
1273,
1063... | 74 | 8 |
LJ001-0065 | This was notably the case with the early works printed at Ulm, and in a somewhat lesser degree at Augsburg. | [
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722,
997,
168,
1034,
984,
1762,... | 89 | 8 |
LJ001-0066 | In fact Gunther Zeiner's first type (afterwards used by Schussler) is remarkably like the type of the before-mentioned Subiaco books. | [
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347,
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LJ001-0067 | In the Low Countries and Cologne, which were very fertile of printed books, Gothic was the favorite. | [
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323,
660,
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... | 88 | 8 |
LJ001-0068 | The characteristic Dutch type, as represented by the excellent printer Gerard Leew, is very pronounced and uncompromising Gothic. | [
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LJ001-0069 | This type was introduced into England by Wynkyn de Worde, Caxton's successor, | [
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657,
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... | 70 | 8 |
LJ001-0070 | and was used there with very little variation all through the sixteenth and seventeenth centuries, and indeed into the eighteenth. | [
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501,
501,
594,
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1172,
1852,... | 98 | 8 |
LJ001-0071 | Most of Caxton's own types are of an earlier character, though they also much resemble Flemish or Cologne letter. | [
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986,
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117... | 93 | 8 |
LJ001-0072 | After the end of the fifteenth century the degradation of printing, especially in Germany and Italy, | [
[
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832,
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868,
657,
419,
... | 82 | 8 |
LJ001-0073 | went on apace; and by the end of the sixteenth century there was no really beautiful printing done: | [
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1415,
1996,
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1992,
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418,
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... | 89 | 8 |
LJ001-0074 | the best, mostly French or Low-Country, was neat and clear, but without any distinction; | [
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875,
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645,
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1754,
227,
1787,
... | 82 | 8 |
LJ001-0075 | the worst, which perhaps was the English, was a terrible falling-off from the work of the earlier presses; | [
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296,
1251,
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1516,
1536,
1939,
1939,
112,
1336,
... | 86 | 8 |
LJ001-0076 | 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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678,
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2001,
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617,
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1960,
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474,
147,
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272,
977,
907,
190,
719,
... | 113 | 8 |
LJ001-0077 | In England about this time, an attempt was made (notably by Caslon, who started business in London as a type-founder in seventeen twenty) | [
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111,
578,
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1339,
654,
382,
740,
1881,
... | 118 | 8 |
LJ001-0078 | to improve the letter in form. | [
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654,
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1800,
257,
714,
515,
539,
1893,
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LJ001-0079 | Caslon's type is clear and neat, and fairly well designed; | [
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300,
1011,
0,
1778,
1108,
1039,
579,
295,
1968,
1743,
85... | 56 | 8 |
LJ001-0080 | he seems to have taken the letter of the Elzevirs of the seventeenth century for his model: | [
[
1692,
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1195,
1930,
597,
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130,
184,
184,
996,
1231,
2014,
... | 68 | 8 |
LJ001-0081 | type cast from his matrices is still in everyday use. | [
[
1698,
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75,
527,
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590,
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59,
1067,
636,
1448,
788,
1515,
913,
1211,
... | 57 | 8 |
LJ001-0082 | In spite, however, of his praiseworthy efforts, printing had still one last degradation to undergo. | [
[
613,
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1945,
334,
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371,
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560,
1734,
73,
1117,
168,
1813,
418,
1733,
1781,
784,
588,
... | 87 | 8 |
LJ001-0083 | The seventeenth century founts were bad rather negatively than positively. | [
[
472,
1945,
252,
784,
213,
994,
1207,
1113,
611,
1945,
252,
443,
227,
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205,
636,
797,
1375,
168,
155,
1188,
1166,
101,
1222,
1197,
... | 63 | 8 |
LJ001-0084 | But for the beauty of the earlier work they might have seemed tolerable. | [
[
108,
2012,
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2043,
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9,
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559,
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168,
1034,
1327,
1640,
832,
262,
1544,
1746,
1144,
351,
1407,
... | 53 | 8 |
LJ001-0085 | It was reserved for the founders of the later eighteenth century to produce letters which are positively ugly, and which, it may be added, | [
[
1182,
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382,
83,
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294,
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2014,
597,
272,
1026,
560,
1230,
442,
1014,
1781,
1516,
1412,
1207,
1113... | 104 | 8 |
LJ001-0086 | are dazzling and unpleasant to the eye owing to the clumsy thickening and vulgar thinning of the lines: | [
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529,
10,
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1939,
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1919,
1547,
329,
1754,
713,
858,
1344,
1571,
1534,
150,
342,
579,
664,
1066,
1513,
1530,
1676,
1477,
999,
1628,
1020,
832,
832,... | 85 | 8 |
LJ001-0087 | for the seventeenth-century letters are at least pure and simple in line. The Italian, Bodoni, and the Frenchman, Didot, | [
[
1698,
1813,
1591,
1532,
1334,
1383,
268,
1207,
1113,
957,
1135,
766,
1361,
268,
227,
1787,
1229,
862,
1984,
1655,
212,
1443,
641,
929,
874,
1776,
307,
473,
96,
1472,
1658,
574,
1540,... | 104 | 8 |
LJ001-0088 | 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; | [
[
1415,
1102,
349,
1003,
473,
1655,
212,
1443,
1231,
648,
1786,
330,
1751,
1026,
383,
447,
1363,
1939,
112,
1326,
1658,
908,
921,
921,
274,
627,
271,
636,
797,
1955,
1743,
1544,
1584,
... | 110 | 8 |
LJ001-0089 | but his letters, though uninteresting and poor, are not nearly so gross and vulgar as those of either the Italian or the Frenchman. | [
[
108,
2012,
749,
414,
482,
1125,
1428,
383,
1984,
1655,
774,
212,
1067,
636,
797,
797,
1607,
384,
419,
421,
920,
1754,
1754,
1536,
994,
1124,
1765,
1571,
1615,
798,
851,
1437,
1919,
... | 109 | 8 |
LJ001-0090 | With this change the art of printing touched bottom, | [
[
1415,
622,
1786,
1277,
330,
1424,
883,
1053,
921,
274,
627,
1336,
271,
797,
797,
1607,
940,
1656,
1530,
114,
1610,
793,
1347,
1265,
1997,
268,
1389,
1932,
266,
1081,
221,
1741,
327,
... | 41 | 8 |
LJ001-0091 | so far as fine printing is concerned, though paper did not get to its worst till about eighteen forty. | [
[
472,
421,
1801,
1991,
929,
1405,
1527,
591,
935,
157,
918,
1852,
313,
202,
268,
851,
1437,
1892,
1527,
1238,
1054,
1135,
1506,
1393,
616,
1702,
993,
1173,
486,
2039,
1728,
1375,
246,... | 84 | 8 |
LJ001-0092 | The Chiswick press in eighteen forty-four revived Caslon's founts, printing for Messrs. Longman the Diary of Lady Willoughby. | [
[
1182,
1578,
1053,
1063,
1274,
46,
1740,
1860,
1363,
313,
1370,
10,
280,
1534,
1803,
1516,
1230,
1207,
1113,
1416,
1525,
1192,
1192,
471,
530,
1406,
299,
731,
505,
526,
655,
1417,
147... | 100 | 8 |
LJ001-0093 | This experiment was so far successful that about eighteen fifty Messrs. Miller and Richard of Edinburgh | [
[
995,
1102,
330,
1232,
1040,
1040,
1945,
1161,
1577,
321,
1839,
1531,
1531,
905,
1117,
382,
382,
2026,
1032,
1112,
715,
1801,
1184,
67,
128,
895,
1040,
252,
1571,
1215,
1137,
1137,
11... | 90 | 8 |
LJ001-0094 | were induced to cut punches for a series of "old style" letters. | [
[
1415,
1657,
1479,
1536,
1158,
1063,
1274,
1424,
912,
912,
284,
1705,
221,
1918,
1188,
1056,
1023,
1741,
320,
1451,
1443,
1067,
2043,
2043,
80,
1945,
937,
777,
902,
1141,
110,
1231,
4... | 54 | 8 |
LJ001-0095 | These and similar founts, cast by the above firm and others, | [
[
1692,
1869,
1242,
110,
1231,
1919,
1299,
1135,
766,
1334,
1939,
719,
1767,
1721,
1768,
247,
343,
1039,
2033,
205,
797,
797,
1028,
657,
522,
1662,
1899,
280,
1615,
794,
1695,
1695,
15... | 53 | 8 |
LJ001-0096 | 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 | [
[
799,
1085,
812,
495,
860,
1705,
623,
1729,
1788,
1732,
1479,
1143,
1071,
908,
1041,
1611,
682,
1823,
1293,
1293,
70,
1274,
1326,
1602,
1669,
1109,
513,
180,
1078,
1560,
254,
107,
122... | 121 | 8 |
LJ001-0097 | a little reduced in ugliness. The design of the letters of this modern "old style" leaves a good deal to be desired, | [
[
2018,
349,
755,
1864,
539,
665,
1186,
170,
54,
1063,
1326,
1658,
6,
683,
1992,
1930,
811,
831,
885,
112,
910,
1602,
1602,
636,
797,
797,
262,
663,
1301,
1301,
1926,
175,
7,
246,
... | 103 | 8 |
LJ001-0098 | and the whole effect is a little too gray, owing to the thinness of the letters. | [
[
678,
1047,
977,
907,
190,
719,
121,
1721,
1768,
1580,
238,
1039,
1846,
1846,
322,
460,
1237,
349,
755,
1864,
1538,
603,
990,
887,
573,
109,
1670,
1670,
1575,
198,
185,
1992,
1519,
... | 59 | 8 |
LJ001-0099 | It must be remembered, however, that most modern printing is done by machinery on soft paper, and not by the hand press, | [
[
1182,
1578,
1409,
540,
1424,
362,
1057,
1470,
325,
1881,
1988,
615,
1373,
1010,
507,
1290,
812,
774,
1677,
394,
486,
2039,
333,
311,
1836,
1212,
1011,
1722,
1650,
1615,
1264,
1407,
1... | 101 | 8 |
LJ001-0100 | and these somewhat wiry letters are suitable for the machine process, which would not do justice to letters of more generous design. | [
[
678,
1804,
1513,
1778,
110,
32,
1032,
1506,
1052,
1052,
2023,
1736,
1187,
997,
927,
75,
1839,
1141,
862,
1026,
1984,
1235,
774,
212,
1900,
797,
797,
486,
1728,
660,
1411,
180,
1858,
... | 108 | 8 |
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