Notes
n o t e s • introduction 1. In English, Douglas C. McMurtrie and Karl Schorbach, The Gutenberg Documents , with Translations of the Texts into English (New York: Oxford University Press, 1941). 2. For a list of these early references, see Jan Hendrik Hessels, ‘‘Typography,’’ in the 1911 Encyclopedia Britannica, www.1911encyclopedia.org. 3. Text and translation from Alfred W. Pollard, An Essay on Colophons with Specimens and Translations (Chicago: Caxton Club, 1905), 37. 4. W. J. B. Crotch, ed., The Prologues and Epilogues of William Caxton, EETS, OS, 176 (London, 1928), 7–8. 5. For examples, see below, Chapters. 1 and 2. 6. This feature of the manuscript is oddly far more obvious in the black-and-white facsimile by Israel Gollanz, ed., Pearl, Cleanness, Patience and Sir Gawain, reproduced in facsimile from the unique ms. Cotton Nero A.x of the British Museum (London: EETS, 1923) (reproduced here) than in the excellent images provided by the British Library. 7. Gottfried Zedler, Die älteste Gutenbergtype, mit Tafeln in Lichtdruck, VGG, 1 (Mainz: Gutenberg Gesellschaft, 1902). 8. See my ‘‘The Cataloguing of Early Book Fragments,’’ in The Myth of Print Culture : Essays on Evidence, Textuality, and Bibliographical Method (Toronto: University of Toronto Press, 2003), 57–82. 9. For problems in this simple assumption, see my Abstractions of Evidence in the Study of Manuscripts and Early Printed Books (Aldershot: Ashgate, 2009), 19–23. 10. See Albert Derolez, The Palaeography of Gothic Manuscript Books, from the Twelfth to the Early Sixteenth Century (Cambridge: Cambridge University Press, 2003), passim. 11. Daniel Berkeley Updike, Printing Types: Their History, Forms, and Use: A Study in Survivals, 2 vols. (Cambridge, Mass.: Harvard University Press, 1937), 1:57; cf. A. F. Johnson, Type Designs: Their History and Development, 3rd ed. (1934; Norwich: Andre Deutsch, 1966), chap. 1. 200 notes to pages 9–17 12. BMC, XI: England (2008), 335. 13. The term from Roland Barthes has been applied to typography most accessibly in the polemics surrounding the late twentieth-century use of Helvetica: see the 2007 documentary ‘‘Helvetica’’ dir. Gary Hustwit. 14. A. F. Johnson, ‘‘The Classification of Gothic Types’’ (1929), in Selected Essays on Books and Printing, ed. Percy H. Muir (Amsterdam: Van Gendt, 1970), 4: ‘‘The term Gotico-antique is new in typography, and even, I believe, in paleography. Not only that, but it represents an entirely new grouping of types, among which are the type of the Catholicon, and several standard types of Schoeffer, Gunther Zainer, Augsburg and his school, and the first printers at Basle.’’ See also Derolez, Gothic Script, 177. 15. See my ‘‘Bibliographical History Versus Bibliographical Evidence: The Plowman ’s Tale and Early Chaucer Editions,’’ Bulletin of the John Rylands University Library of Manchester 78 (1996): 47–61. 16. B. L. Ullman, The Origin and Development of Humanistic Script (Rome: Edizioni di Storia e Letteratura, 1960), 1–20. 17. G. W. Prothero, A Memoir of Henry Bradshaw (London: Kegan, Paul, Trench, 1888), 349; Paul Needham, The Bradshaw Method: Henry Bradshaw’s Contribution to Bibliography (Chapel Hill, N.C.: Hanes Foundation, 1998), 8. 18. Carl Wehmer, Mainzer Probedrucke in der Type des sogenannten Astronomischen Kalenders für : Ein Beitrag zur Gutenbergforschung (Munich: Leipniz, 1948), 31; Gottfried Zedler, Gutenbergs älteste Type und die mit ihr hergestellten Drucke , VGG, 23 (Mainz: Gutenberg Gesellschaft, 1934), 23–25, and below, Chapter 4; the passage is translated word for word by Hessels, ‘‘Typography.’’ 19. Paul Schwenke, Die Donat- und Kalender-Type: Nachtrag und Übersicht, VGG, 2 (Mainz: Gutenberg Gesellschaft, 1903), ‘‘Vorwort.’’ 20. Lucien Febvre and Henri-Jean Martin, L’Apparition du livre (1958), trans. David Gerard, The Coming of the Book: The Impact of Printing – (London: Verso, 1976), 9. 21. Elizabeth Eisenstein, The Printing Press as an Agent of Change, 2 vols. (Cambridge : Cambridge University Press, 1979), 1: 4. 22. Nicholas Barker, ‘‘Reflections on the History of the Book’’ (1990), rpt, in Form and Meaning in the History of Books: Selected Essays (London: British Library, 2003), 270. 23. William Sherman, Used Books: Marking Readers in Renaissance England (Philadelphia : University of Pennsylvania Press, 2008): ‘‘Anyone who turns to marginalia with high hopes of easy answers quickly discovers that the evidence they contain turns out to be (if not always thin, scattered, and ambiguous) peculiarly difficult to locate, decipher, and interpret’’ (xiii). chapter 1. on the continuit of continuit: print culture mtholog and the tpe of the gutenberg bible (b42) 1. Joseph A. Dane, The Myth of Print Culture: Essays on Evidence, Textuality, and Bibliographical...
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