By Harry Carter
A View of Early Typography has lengthy been considered as the vintage textual content at the construction and use of kind within the first a hundred and fifty years of printing. by way of concentrating on style, Harry Carter is going to the center of layout, the purpose at which the cloth techniques of printing meet the highbrow issues of publishers and the character of the texts they submit. one of the subject matters coated: the variety of letterforms (blackletter, roman, italic, and more); the tensions among Latin and the vernacular languages; and the institution of criteria of norms in variety layout. it is a facsimile of the unique variation, of 1969, augmented through a brand new advent during which James Mosley explains the importance of the publication and offers a brief account of Carter's existence and paintings.
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B. C. : Catalogue of Books printed in the XVth Century now in the British Museum, Parts i (1903 )-ix (1962 ) . -L. and J. Baudrier, Bibliographie lyonnaise (Lyons and Paris, 1 895-192 3 ) , with the Tables by G. Tricou (Geneva and Lille, 1950) . Bibl. Nat. : BibliotMque Nationale, Paris. Bodl. : Bodleian Library, Oxford. Burger : K. Burger, Monumenta Germaniae et Italiae typographica: Deutsche und Italienische Inkunabeln in getreuen Nachbildungen (Berlin, 1 892-1 9 1 3 ) . CA : M . F. A. G. Campbell, Annates de la typographie neerlandaise au XV' siecle (The Hague, 1 8 74) and Supplements (1 878-90) .
He took it as his cue for drawing attention to gaps in knowledge of typography that he specially wanted to be ftlled. An answer to the question could only be given if there were a coherent, well-organized, and well-documented body of know ledge about type from its origin until now. How far have we gone towards it ? That is my theme. Rather than say we do not know this or that I had better attempt an outline of what we think we know. The gaps will be apparent, and if lecturing would tempt people with specialized knowledge to narrow them or improve on my account in other ways, it would be justified.
2 . , vol. 92, fol. 1 1 3 ( I S March 1 601 ) . 1 2 T H E T E C H NI C A LITIE S OF TYPE II whose trade was mainly casting were famous for justifying or making moulds. PWlchcutters in the late sixteenth century were so few that to generalize about them is difficult. Plantin dealt with the best of them in Paris and the Netherlands, and there is little sign of the production of new typefaces elsewhere at that time. Of the most famous, Claude Garamond of Paris (b. c. I 49 5, d. I 56 I ) , it is known that he had the matrices for the Greek types that he cut to the order of King Francis I j ustified by a workman called Paterne Robelot, who was clever at it, 1 but it is likely that the master himself, whose types were used in many cities during his lifetime, did it too.