The Invention of Printing.: A Collection of Facts and Opinions, Descriptive of Early Prints and Playing Cards, the Block-Books of the Fifteenth Century, the Legend of Lourens Janszoon Coster, of Haarlem, and the Work of John Gutenberg and His AssociatesDe Vinne, Theodore Low
History
The Invention of Printing.: A Collection of Facts and Opinions, Descriptive of Early Prints and Playing Cards, the Block-Books of the Fifteenth Century, the Legend of Lourens Janszoon Coster, of Haarlem, and the Work of John Gutenberg and His Associates
De Vinne, Theodore Low
Incunabula -- Bibliography; Printing -- History -- Origin and antecedents
There is no evidence that these prints were made by the monks
themselves. There is a statement current in German books of
bibliography that one Luger, a Franciscan monk in Nordlingen, engraved
on wood at the end of the fourteenth century. But this statement
needs verification. It is not at all certain that the word which is
here translated engraver on wood was written with clear intention to
convey this meaning. The earliest typographers were not monks, nor were
they favored with the patronage of the church.[22] It is not probable
that any monk who had been educated for the work of a copyist or an
illuminator, would forsake his profession for the practice of engraving
on wood or printing. Prints, as then made, were coarse, mechanical
copies of meritorious originals. The artistic scribe rightfully felt
that engraving was beneath him. He must have looked on the people who
bought image prints with the same pitying scorn that a true artist
feels for the uneducated taste of those who now buy glaring lithographs
of sacred personages, and he must have felt as little inducement to
engage in their manufacture.
And yet the multitude received them gladly. Wealthy laymen who could
afford to buy gorgeous missals, and priests who daily saw and handled
manuscript works of art, might put the prints aside as rubbish;
but poor men and women, whose work-day lives were unceasing rounds
of poverty and drudgery, unrelieved by art, ideality or sentiment,
must have hailed with gladness the images in their own houses which
shadowed ever so dimly the glories of the church and the rewards of
the righteous. The putting-up of the image print on the wall of the
hut or the cabin was the first step toward [p087] bringing one of the
attractions of the Catholic church within the domestic circle. It was
the erection of a private shrine, an act of rivalry, pitiable enough
in its beginning, but of great importance in its consequences. For
it was the initiation of the right of private judgment, and of the
independence of thought which, in the next century, made itself felt in
the formidable dissent known in all Protestant countries as the Great
Reformation.
Public-domain text, read in full here on John Shaqi.
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