The Art & Practice of Typography: A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement — John Shaqi
The Art & Practice of Typography: A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of ArrangementGress, Edmund G. (Edmund Geiger)
History
The Art & Practice of Typography: A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement
Gress, Edmund G. (Edmund Geiger)
Advertising layout and typography -- United States; Graphic design (Typography) -- United States; Printing -- United States -- History
Ordinarily these rods were made of wood, but for highly-prized
manuscripts, rods made of ivory with gold balls at the ends were used,
and the writing in such cases was on purple-colored parchment,
elaborately decorated with gold or red ink.
The present style of flat sheet books might have originated with the use
by the Romans of tablets of wood or metal, wax-coated, on which
memoranda were scratched with the stylus. Several tablets were hinged
together and the wax surface was protected by raised edges in the manner
of the modern school slates (see illustration). This led to the use of
several leaves of vellum fastened together and enclosed by richly carved
ivory covers, a form that came into use about 300 A.D., shortly before
Constantine removed the Roman capital to Constantinople. Constantinople
naturally became the center of civilization, and the work of
transcribing manuscripts was taken up in that city. In the eighth
century the reigning emperor, in order to punish the transcribers for
insubordination, caused the library at Constantinople to be “surrounded
by vast piles of fagots, which being fired at a given signal, the whole
building was totally destroyed, along with its twelve scribes and chief
librarian and more than thirty thousand volumes of precious
manuscripts.” It seems to have been a favorite method of punishment
during the Middle Ages for those in authority to destroy valuable
manuscripts.
* * * * *
While, as we have seen, with the fall of the Western Empire of Rome, the
drift of literature was toward the East, there remained in the West a
dim light that was kept burning thru the six hundred years so fittingly
called the Dark Ages. This light came from the monasteries of Europe, in
which little bands of devoted men were transcribing and decorating the
holy writings used by the Christian church.
[Illustration:
THE FAMOUS “BOOK OF THE DEAD”
Part of the seventeenth chapter of the “Book of the Dead,” showing
hieroglyphics and illustrations. This book was written upon papyrus,
and copies were placed by ancient Egyptians in tombs with their dead
]
The Christian church as an organization became powerful after the Roman
Empire declined, and the monopoly of learning which the church possessed
during the Dark Ages gave it such a superior knowledge and power that
the Church of Rome granted authority to kings, and took it away, at its
pleasure. A memorable instance of this power took place in the eleventh
century, when Hildebrand, who as head of the church was known as Pope
Gregory VII., forced Henry IV. of Germany, who had offended him, to seek
pardon in a most humiliating manner. Henry stood barefoot in the snow
for three days, before Hildebrand would pardon him.
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