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Printing, in the only sense with which we are at present concerned, differs from most if not from all the arts and crafts represented in the Exhibition | Printing, in the only sense with which we are at present concerned, differs from most if not from all the arts and crafts represented in the Exhibition | [
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in being comparatively modern. | in being comparatively modern. | [
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] | |
For although the Chinese took impressions from wood blocks engraved in relief for centuries before the woodcutters of the Netherlands, by a similar process | For although the Chinese took impressions from wood blocks engraved in relief for centuries before the woodcutters of the Netherlands, by a similar process | [
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produced the block books, which were the immediate predecessors of the true printed book, | produced the block books, which were the immediate predecessors of the true printed book, | [
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... | |
the invention of movable metal letters in the middle of the fifteenth century may justly be considered as the invention of the art of printing. | the invention of movable metal letters in the middle of the fifteenth century may justly be considered as the invention of the art of printing. | [
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And it is worth mention in passing that, as an example of fine typography, | And it is worth mention in passing that, as an example of fine typography, | [
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the earliest book printed with movable types, the Gutenberg, or "forty-two line Bible" of about 1455, | the earliest book printed with movable types, the Gutenberg, or "forty-two line Bible" of about fourteen fifty-five, | [
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has never been surpassed. | has never been surpassed. | [
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] | |
Printing, then, for our purpose, may be considered as the art of making books by means of movable types. | Printing, then, for our purpose, may be considered as the art of making books by means of movable types. | [
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Now, as all books not primarily intended as picture-books consist principally of types composed to form letterpress, | Now, as all books not primarily intended as picture-books consist principally of types composed to form letterpress, | [
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... | |
it is of the first importance that the letter used should be fine in form; | it is of the first importance that the letter used should be fine in form; | [
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especially as no more time is occupied, or cost incurred, in casting, setting, or printing beautiful letters | especially as no more time is occupied, or cost incurred, in casting, setting, or printing beautiful letters | [
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than in the same operations with ugly ones. | than in the same operations with ugly ones. | [
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And it was a matter of course that in the Middle Ages, when the craftsmen took care that beautiful form should always be a part of their productions whatever they were, | And it was a matter of course that in the Middle Ages, when the craftsmen took care that beautiful form should always be a part of their productions whatever they were, | [
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the forms of printed letters should be beautiful, and that their arrangement on the page should be reasonable and a help to the shapeliness of the letters themselves. | the forms of printed letters should be beautiful, and that their arrangement on the page should be reasonable and a help to the shapeliness of the letters themselves. | [
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The Middle Ages brought calligraphy to perfection, and it was natural therefore | The Middle Ages brought calligraphy to perfection, and it was natural therefore | [
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... | |
that the forms of printed letters should follow more or less closely those of the written character, and they followed them very closely. | that the forms of printed letters should follow more or less closely those of the written character, and they followed them very closely. | [
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The first books were printed in black letter, i.e. the letter which was a Gothic development of the ancient Roman character, | The first books were printed in black letter, i.e. the letter which was a Gothic development of the ancient Roman character, | [
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... | |
and which developed more completely and satisfactorily on the side of the "lower-case" than the capital letters; | and which developed more completely and satisfactorily on the side of the "lower-case" than the capital letters; | [
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the "lower-case" being in fact invented in the early Middle Ages. | the "lower-case" being in fact invented in the early Middle Ages. | [
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The earliest book printed with movable type, the aforesaid Gutenberg Bible, is printed in letters which are an exact imitation | The earliest book printed with movable type, the aforesaid Gutenberg Bible, is printed in letters which are an exact imitation | [
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of the more formal ecclesiastical writing which obtained at that time; this has since been called "missal type," | of the more formal ecclesiastical writing which obtained at that time; this has since been called "missal type," | [
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and was in fact the kind of letter used in the many splendid missals, psalters, etc., produced by printing in the fifteenth century. | and was in fact the kind of letter used in the many splendid missals, psalters, etc., produced by printing in the fifteenth century. | [
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But the first Bible actually dated (which also was printed at Maintz by Peter Schoeffer in the year 1462) | But the first Bible actually dated (which also was printed at Maintz by Peter Schoeffer in the year fourteen sixty-two) | [
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imitates a much freer hand, simpler, rounder, and less spiky, and therefore far pleasanter and easier to read. | imitates a much freer hand, simpler, rounder, and less spiky, and therefore far pleasanter and easier to read. | [
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... | |
On the whole the type of this book may be considered the ne-plus-ultra of Gothic type, | On the whole the type of this book may be considered the ne-plus-ultra of Gothic type, | [
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especially as regards the lower-case letters; and type very similar was used during the next fifteen or twenty years not only by Schoeffer, | especially as regards the lower-case letters; and type very similar was used during the next fifteen or twenty years not only by Schoeffer, | [
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but by printers in Strasburg, Basle, Paris, Lubeck, and other cities. | but by printers in Strasburg, Basle, Paris, Lubeck, and other cities. | [
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But though on the whole, except in Italy, Gothic letter was most often used | But though on the whole, except in Italy, Gothic letter was most often used | [
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a very few years saw the birth of Roman character not only in Italy, but in Germany and France. | a very few years saw the birth of Roman character not only in Italy, but in Germany and France. | [
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In 1465 Sweynheim and Pannartz began printing in the monastery of Subiaco near Rome, | In fourteen sixty-five Sweynheim and Pannartz began printing in the monastery of Subiaco near Rome, | [
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and used an exceedingly beautiful type, which is indeed to look at a transition between Gothic and Roman, | and used an exceedingly beautiful type, which is indeed to look at a transition between Gothic and Roman, | [
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but which must certainly have come from the study of the twelfth or even the eleventh century MSS. | but which must certainly have come from the study of the twelfth or even the eleventh century MSS. | [
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They printed very few books in this type, three only; but in their very first books in Rome, beginning with the year 1468, | They printed very few books in this type, three only; but in their very first books in Rome, beginning with the year fourteen sixty-eight, | [
4753,
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4431,
5396,
6933,
4386,
854,
2549,
25... | |
they discarded this for a more completely Roman and far less beautiful letter. | they discarded this for a more completely Roman and far less beautiful letter. | [
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6585,
2986,
2771,
... | |
But about the same year Mentelin at Strasburg began to print in a type which is distinctly Roman; | But about the same year Mentelin at Strasburg began to print in a type which is distinctly Roman; | [
4503,
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6001,
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2242,
4993,
7235,
6934,
17,
6572,
67... | |
and the next year Gunther Zeiner at Augsburg followed suit; | and the next year Gunther Zeiner at Augsburg followed suit; | [
6487,
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5538,
2605,
8101,
7549,
3364,
... | |
while in 1470 at Paris Udalric Gering and his associates turned out the first books printed in France, also in Roman character. | while in fourteen seventy at Paris Udalric Gering and his associates turned out the first books printed in France, also in Roman character. | [
260,
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282,
7172,
317,
5246,
4913,
691... | |
The Roman type of all these printers is similar in character, | The Roman type of all these printers is similar in character, | [
4615,
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2324,
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2237,
2261,
7549,
3910,
7323,
814,
67... | |
and is very simple and legible, and unaffectedly designed for use; but it is by no means without beauty. | and is very simple and legible, and unaffectedly designed for use; but it is by no means without beauty. | [
6582,
7059,
6999,
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600,
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5699,
1303,
4463,
1007,
... | |
It must be said that it is in no way like the transition type of Subiaco, | It must be said that it is in no way like the transition type of Subiaco, | [
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4668,
2853,
8002,
6873... | |
and though more Roman than that, yet scarcely more like the complete Roman type of the earliest printers of Rome. | and though more Roman than that, yet scarcely more like the complete Roman type of the earliest printers of Rome. | [
6834,
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3311,
884,
5551,
410,
1383,
2136,
25... | |
A further development of the Roman letter took place at Venice. | A further development of the Roman letter took place at Venice. | [
2341,
4221,
1055,
3863,
3599,
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3285,
5074,
6424,
1685,
7838,
... | |
John of Spires and his brother Vindelin, followed by Nicholas Jenson, began to print in that city, | John of Spires and his brother Vindelin, followed by Nicholas Jenson, began to print in that city, | [
2670,
6416,
2486,
5699,
5151,
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1669,
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5073,
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6278,
1777,
6509,
2475,
2803,
2249,
1581,
4128,
2180,... | |
1469, 1470; | fourteen sixty-nine, fourteen seventy; | [
272,
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2766,
4982,
1601,
1179
] | |
their type is on the lines of the German and French rather than of the Roman printers. | their type is on the lines of the German and French rather than of the Roman printers. | [
4741,
4657,
5428,
2707,
1975,
7011,
790,
395,
3952,
5988,
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4808,
6786,
2489,
3051,
3027,
... | |
Of Jenson it must be said that he carried the development of Roman type as far as it can go: | Of Jenson it must be said that he carried the development of Roman type as far as it can go: | [
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5417,
1645,
4369,
220... | |
his letter is admirably clear and regular, but at least as beautiful as any other Roman type. | his letter is admirably clear and regular, but at least as beautiful as any other Roman type. | [
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2195,
7227,... | |
After his death in the "fourteen eighties," or at least by 1490, printing in Venice had declined very much; | After his death in the "fourteen eighties," or at least by fourteen ninety, printing in Venice had declined very much; | [
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2197,
4370,
388... | |
and though the famous family of Aldus restored its technical excellence, rejecting battered letters, | and though the famous family of Aldus restored its technical excellence, rejecting battered letters, | [
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2883,
5850,
3846,
4572,
... | |
and paying great attention to the "press work" or actual process of printing, | and paying great attention to the "press work" or actual process of printing, | [
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7026,
5939,
7160,
... | |
yet their type is artistically on a much lower level than Jenson's, and in fact | yet their type is artistically on a much lower level than Jenson's, and in fact | [
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2966,
7451,
1533,
2556,
1933,
3... | |
they must be considered to have ended the age of fine printing in Italy. | they must be considered to have ended the age of fine printing in Italy. | [
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327,
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6521,
4519,
... | |
Jenson, however, had many contemporaries who used beautiful type, | Jenson, however, had many contemporaries who used beautiful type, | [
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302,
286,
7709,
... | |
some of which -- as, e.g., that of Jacobus Rubeus or Jacques le Rouge -- is scarcely distinguishable from his. | some of which -- as, e.g., that of Jacobus Rubeus or Jacques le Rouge -- is scarcely distinguishable from his. | [
6572,
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7940,
978,
1335,
269,
5861,
4641,
... | |
It was these great Venetian printers, together with their brethren of Rome, Milan, | It was these great Venetian printers, together with their brethren of Rome, Milan, | [
4788,
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239,
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5087,
4659,
5407,
... | |
Parma, and one or two other cities, who produced the splendid editions of the Classics, which are one of the great glories of the printer's art, | Parma, and one or two other cities, who produced the splendid editions of the Classics, which are one of the great glories of the printer's art, | [
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5400,
2958,
23,
6426,
2075,
139,
... | |
and are worthy representatives of the eager enthusiasm for the revived learning of that epoch. By far, | and are worthy representatives of the eager enthusiasm for the revived learning of that epoch. By far, | [
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5088,
7122,
3865,
3... | |
the greater part of these Italian printers, it should be mentioned, were Germans or Frenchmen, working under the influence of Italian opinion and aims. | the greater part of these Italian printers, it should be mentioned, were Germans or Frenchmen, working under the influence of Italian opinion and aims. | [
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4093,
1234,
3061,
... | |
It must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries | It must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries | [
2966,
624,
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6878,
42... | |
the Roman letter was used side by side with the Gothic. | the Roman letter was used side by side with the Gothic. | [
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... | |
Even in Italy most of the theological and law books were printed in Gothic letter, | Even in Italy most of the theological and law books were printed in Gothic letter, | [
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6565,
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7187,... | |
which was generally more formally Gothic than the printing of the German workmen, | which was generally more formally Gothic than the printing of the German workmen, | [
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7490,
2715,
4950,... | |
many of whose types, indeed, like that of the Subiaco works, are of a transitional character. | many of whose types, indeed, like that of the Subiaco works, are of a transitional character. | [
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677,
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531,
6078,
344,
106,
341,
... | |
This was notably the case with the early works printed at Ulm, and in a somewhat lesser degree at Augsburg. | This was notably the case with the early works printed at Ulm, and in a somewhat lesser degree at Augsburg. | [
3213,
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6963,
... | |
In fact Gunther Zeiner's first type (afterwards used by Schussler) is remarkably like the type of the before-mentioned Subiaco books. | In fact Gunther Zeiner's first type (afterwards used by Schussler) is remarkably like the type of the before-mentioned Subiaco books. | [
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559,
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3379,
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7115,
3058,
7568,
... | |
In the Low Countries and Cologne, which were very fertile of printed books, Gothic was the favorite. | In the Low Countries and Cologne, which were very fertile of printed books, Gothic was the favorite. | [
5008,
7351,
2957,
2174,
2246,
4421,
284,
2786,
1847,
8007,
8072,
7967,
4721,
278,
7710,
6237,
6902,
1635,
6879,
722,
2316,
3140,
6580,
2452,
461,
7302,
7552,
6649,
7096,
6729,
2818,
5304,
5184,
4840,
383,
5500,
1773,
5687,
1831,
1834,
4... | |
The characteristic Dutch type, as represented by the excellent printer Gerard Leew, is very pronounced and uncompromising Gothic. | The characteristic Dutch type, as represented by the excellent printer Gerard Leew, is very pronounced and uncompromising Gothic. | [
517,
7150,
6918,
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163,
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5719,
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5712,
1409,
6464,
7425,
342,
4089,
6455,
92... | |
This type was introduced into England by Wynkyn de Worde, Caxton's successor, | This type was introduced into England by Wynkyn de Worde, Caxton's successor, | [
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4753,
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2203,
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1130,
1463,
5282,
6078,
7702,
7296,
533,
52... | |
and was used there with very little variation all through the sixteenth and seventeenth centuries, and indeed into the eighteenth. | and was used there with very little variation all through the sixteenth and seventeenth centuries, and indeed into the eighteenth. | [
6578,
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7023,
2521,
2515,
1469,
308,
272,
4429,... | |
Most of Caxton's own types are of an earlier character, though they also much resemble Flemish or Cologne letter. | Most of Caxton's own types are of an earlier character, though they also much resemble Flemish or Cologne letter. | [
2455,
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2338,
5088,
3364,
817,
7... | |
After the end of the fifteenth century the degradation of printing, especially in Germany and Italy, | After the end of the fifteenth century the degradation of printing, especially in Germany and Italy, | [
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8066,
6934,
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5439,
3603,
3740,
4848,
... | |
went on apace; and by the end of the sixteenth century there was no really beautiful printing done: | went on apace; and by the end of the sixteenth century there was no really beautiful printing done: | [
413,
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3866,
6590,
1815,
658,
6332,
718,
5042,
75... | |
the best, mostly French or Low-Country, was neat and clear, but without any distinction; | the best, mostly French or Low-Country, was neat and clear, but without any distinction; | [
7195,
1607,
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443,
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3000,
908,
2827,
5617,... | |
the worst, which perhaps was the English, was a terrible falling-off from the work of the earlier presses; | the worst, which perhaps was the English, was a terrible falling-off from the work of the earlier presses; | [
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1521,
6635,
7130,
3027,
5304,
6548,
615... | |
and things got worse and worse through the whole of the seventeenth century, so that in the eighteenth printing was very miserably performed. | and things got worse and worse through the whole of the seventeenth century, so that in the eighteenth printing was very miserably performed. | [
7073,
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3866,
6590,
6791,
5907,
7751,
3... | |
In England about this time, an attempt was made (notably by Caslon, who started business in London as a type-founder in 1720) | In England about this time, an attempt was made (notably by Caslon, who started business in London as a type-founder in seventeen twenty) | [
3958,
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5213,
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5597,
6928,
5040,
342,
5138,
1668,
7081,
4942,... | |
to improve the letter in form. | to improve the letter in form. | [
3022,
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4479,
4975,
2334,
447,
7525,
5611,
145,
5267
] | |
Caslon's type is clear and neat, and fairly well designed; | Caslon's type is clear and neat, and fairly well designed; | [
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3865,
6558,
254,
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791,
7297,
1835,
4479,
6928,
7446,
2332,
... | |
he seems to have taken the letter of the Elzevirs of the seventeenth century for his model: | he seems to have taken the letter of the Elzevirs of the seventeenth century for his model: | [
4374,
310,
6590,
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1485,
4690,
7484,
7172,
6799,
5435,
6045,
... | |
type cast from his matrices is still in everyday use. | type cast from his matrices is still in everyday use. | [
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6591,
6332,
748,
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2234,
917,
3267,
18... | |
In spite, however, of his praiseworthy efforts, printing had still one last degradation to undergo. | In spite, however, of his praiseworthy efforts, printing had still one last degradation to undergo. | [
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7985,
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7477,
5899,
3723,
6584,
11,
2927,
3036,
7... | |
The seventeenth century founts were bad rather negatively than positively. | The seventeenth century founts were bad rather negatively than positively. | [
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6999,
5713,
5662,
5999,
4403,
2719,
3411,
7362,
... | |
But for the beauty of the earlier work they might have seemed tolerable. | But for the beauty of the earlier work they might have seemed tolerable. | [
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7152,
616,
5399,
3055,
6558,
5106,
5... | |
It was reserved for the founders of the later eighteenth century to produce letters which are positively ugly, and which, it may be added, | It was reserved for the founders of the later eighteenth century to produce letters which are positively ugly, and which, it may be added, | [
5653,
538,
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6742,
7549,
... | |
are dazzling and unpleasant to the eye owing to the clumsy thickening and vulgar thinning of the lines: | are dazzling and unpleasant to the eye owing to the clumsy thickening and vulgar thinning of the lines: | [
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2257,
6128,
4597,
495,
5106,
6118,
2707,
5... | |
for the seventeenth-century letters are at least pure and simple in line. The Italian, Bodoni, and the Frenchman, Didot, | for the seventeenth-century letters are at least pure and simple in line. The Italian, Bodoni, and the Frenchman, Didot, | [
1301,
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1979,
1318,
4117,
317,
7518,
4949,
7369,
6584,
6294,
... | |
were the leaders in this luckless change, though our own Baskerville, who was at work some years before them, went much on the same lines; | were the leaders in this luckless change, though our own Baskerville, who was at work some years before them, went much on the same lines; | [
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108,
976,
6483,
293,
5484,
6486,
2... | |
but his letters, though uninteresting and poor, are not nearly so gross and vulgar as those of either the Italian or the Frenchman. | but his letters, though uninteresting and poor, are not nearly so gross and vulgar as those of either the Italian or the Frenchman. | [
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5606,
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3209,
6907,
30,
2362,
5383,
7447,
1587,
... | |
With this change the art of printing touched bottom, | With this change the art of printing touched bottom, | [
285,
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49,
3501,
100,
3850,
7967,
2011,
1467,
5145... | |
so far as fine printing is concerned, though paper did not get to its worst till about 1840. | so far as fine printing is concerned, though paper did not get to its worst till about eighteen forty. | [
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2988,
2891,
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5321,
2949,
268,
2289,
813,
6932,
1553,
3453,
30... | |
The Chiswick press in 1844 revived Caslon's founts, printing for Messrs. Longman the Diary of Lady Willoughby. | The Chiswick press in eighteen forty-four revived Caslon's founts, printing for Messrs. Longman the Diary of Lady Willoughby. | [
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201,
746,
2838,
6834,
6733,
462... | |
This experiment was so far successful that about 1850 Messrs. Miller and Richard of Edinburgh | This experiment was so far successful that about eighteen fifty Messrs. Miller and Richard of Edinburgh | [
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2883,
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6691,
1616,
2979,
3... | |
were induced to cut punches for a series of "old style" letters. | were induced to cut punches for a series of "old style" letters. | [
61,
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1012,
7297,
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5419,
3337,
4094,
420,
2474,
1049,
6605,
6591,
26... | |
These and similar founts, cast by the above firm and others, | These and similar founts, cast by the above firm and others, | [
5013,
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4598,
5632,
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2733,
4447,
1295,
... | |
have now come into general use and are obviously a great improvement on the ordinary "modern style" in use in England, which is in fact the Bodoni type | have now come into general use and are obviously a great improvement on the ordinary "modern style" in use in England, which is in fact the Bodoni type | [
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5390,
951,
5910,
15... | |
a little reduced in ugliness. The design of the letters of this modern "old style" leaves a good deal to be desired, | a little reduced in ugliness. The design of the letters of this modern "old style" leaves a good deal to be desired, | [
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3330,
773,
3709,
2693,
6418,
2838,
4... | |
and the whole effect is a little too gray, owing to the thinness of the letters. | and the whole effect is a little too gray, owing to the thinness of the letters. | [
6487,
5589,
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296,
756,
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2433,
2581,
3717,
5417,
4219,
192... | |
It must be remembered, however, that most modern printing is done by machinery on soft paper, and not by the hand press, | It must be remembered, however, that most modern printing is done by machinery on soft paper, and not by the hand press, | [
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171,
3430,
3306,
3731,
5968,
... | |
and these somewhat wiry letters are suitable for the machine process, which would not do justice to letters of more generous design. | and these somewhat wiry letters are suitable for the machine process, which would not do justice to letters of more generous design. | [
7041,
5585,
2973,
4578,
7706,
6681,
5064,
6303,
2358,
5535,
437,
2762,
5242,
5326,
4144,
6916,
7972,
3438,
4934,
2154,
6934,
7692,
7477,
8004,
6590,
499,
6521,
3055,
2942,
2483,
4404,
4375,
5946,
6590,
2567,
5148,
3598,
5549,
496,
889,
... |
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This dataset uses focal codec to tokenize audio in JL speech dataset.
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