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
After the parchment was prepared and before beginning to write the
scribe would scratch his guide-lines upon it with an awl. The position
of the page and the lines of lettering were thus indicated, the page
guide-lines extending to the edge of the parchment. The scribe’s work
was principally that of copying (setting reprint, printers would say)
from a book on the reading desk at his side. He was supposed strictly to
“follow copy,” and his work was compared occasionally by a person known
as a corrector. The black writing finished, the skins were passed to the
rubricator or illuminator, if the manuscript was to be elaborately
treated.
The colored plate shown as a frontispiece is from an old print and
pictures a scribe at work. He is writing the text on a sheet of
parchment held in place by a weight. The book from which he is copying
is in front of him, above his writing desk, and his copy is indicated by
a guide such as printers still use. Ink pots and pens are in place and
an elaborate library is evidently at his disposal. The picture is
defective in perspective but is withal rather interesting.
[Illustration:
HALF-UNCIAL LETTERS
Demonstrating the transition of Roman capitals into small, or
lower-case, letters
]
The most beautiful and elaborate specimen of the illuminator’s art now
in existence is the famous “Book of Kells,” a copy of the Gospels
written about the seventh century. It is notable because of the
excellence of its decoration, the endless variety of initial letters it
contains, and the careful lettering. The scribes and illuminators of
Ireland have a lasting monument in this book, as it is supposed to have
been produced in the monastery of Kells, founded by St. Colombo.
Gold, red and blue were favorites with the illuminators, the burnished
gold leaf adding richness to the brilliancy of the effect.
Manuscript books were ordinarily bound in thick wooden boards, covered
with leather, but there are books yet preserved the boards of which are
of carved ivory, and others that are inlaid with precious stones.
The books associated with the Middle Ages most familiar to us are the
Missal (mass-book), containing the services of the celebration of the
mass; the Psalter (book of psalms), containing the psalms used in church
services; the Book of Hours, containing prayers and offices for the
several hours of the day, and the Donatus, a short Latin grammar, the
work of Ælius Donatus, a Roman grammarian of the fourth century.
* * * * *
[Illustration:
GOTHIC LETTERS OF THE FIFTH CENTURY
Also showing the decorative uncial-like initials used on manuscript
Missals
]
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