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
The work of these engravers was almost exclusively in etching, biting
with acid a copper plate covered with varnish, on which the drawing was
made by means of a point. This process, always previously used for
sketches, served also for finishing vignettes, which up to then had been
finished by the burin. The suppleness of the work was greater, and the
artist remained more himself than he could be with the stiff cutting
instrument of the seventeenth century.
The sizes of books had not yet all come to octavo or duodecimo. The
works of Molière published by Prault in 1734 in six volumes quarto,
under the direction of Marc Antoine Joly, give the idea of an important
work, not at all of theatrical pieces. To tell the truth, these somewhat
exaggerated dimensions allow artists more room for illustration; later,
when smaller forms predominated, text and engravings were so compressed
that they were not always clear and readable to every eye; but the
quarto was not graceful, it was not in harmony with the finikin, the
pastoral pieces, then presented, and it had to disappear as a current
size in illustrated publications.
The class of artisans employed on the Book is not identical in the
eighteenth century with that of printers and publishers. In the
beginning, as we have seen, the cutters of wood blocks and the printers
were often the same people, preparing their characters or their blocks,
and afterwards putting them under the press. Large printing offices had
very quickly changed that. Each particular work had its special workman.
Typography had its type-founders, compositors, forwarders, inkers, and
pressmen. In the eighteenth century this was complicated by designers,
engravers, plate-printers, and these different professions occupied
themselves on the Book in manipulating the sheets in their turn. In the
midst of this crowd, the designers and engravers, esteemed as was their
collaboration, were not the most honoured. Their homes often reflected
the effect of their life as clever artists, quick to spend the money
earned during the week; and we shall have occasion to name some of the
more miserable among them.
Public-domain text, read in full here on John Shaqi.
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