The Printed Book: Its History, Illustration and Adornment: From the Days of Gutenberg to the Present TimeBouchot, Henri
History
The Printed Book: Its History, Illustration and Adornment: From the Days of Gutenberg to the Present Time
Bouchot, Henri
Bookbinding -- History; Books; Books -- History; Illustration of books; Printing -- History
Wynken de Worde continued printing up to 1534, and issued over four
hundred works. He used no less than nine different marks, all of them
bearing Caxton's initials, evidencing the regard of the pupil for his
master; the mark which we reproduce is one of rare occurrence. Richard
Pynson began in 1493, and continued well into the sixteenth century, and
was one of the first of the "privileged" printers, authorised to issue
the legal and parliamentary publications. One of the marks used by him
is here reproduced. Julian Notary began in 1498. The only style of
illustration used by any of these early printers was the woodcut, and of
this there was very little beyond the title-page and printer's mark. The
artistic form of the Book originated on the Continent, but England was
not slow to adopt it and fashion it to her own ends.
[Illustration: Fig. 41.--Mark of Richard Pynson.]
Thus was printing spread abroad, carrying with it to the countries where
it was established the rules of an unchangeable principle; but,
according to its surroundings, it was so transformed in a few years that
its origin was no longer recognised. It was light in Italy, heavy in
Germany, gay in France. Painting, of which it was accidentally the
issue, returned to it under the form of illustration a short time after
its first and fruitful essays. The Gothic character, generally used in
Germany, continued in France with the Vostres, the Verards, and others
up to the middle of the sixteenth century, although the first artisans
before this used Roman type; it was also the prevailing type used in
English books. In Italy it was Jenson, a Frenchman, who gave to the
matrix the alphabet preserved to the present time; and it was the
Venetians and Florentines who learned before all others the art of
judicious ornamentation of the Book. The French came very near
perfection, thanks to their printers and booksellers, at the end of the
century; and the Germans found illustrious artists to scatter their
compositions in their large, heavy works.
[Illustration]
CHAPTER III.
1500 TO 1600.
Public-domain text, read in full here on John Shaqi.
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