In another installment in Bibliomania's series on how books were made in the 15th-18th centuries, this post describes the processes of making woodcut illustrations, copperplate engravings, and etchings.
In 1540, humanist polymath, mathematician, astronomer, and cartographer, professor, and printer, Peter Apian (1495-1552) published one of the most lavishly illustrated scientific books ever printed. Dedicated to German Emperor Charles V and Ferdinand I, King of Bohemia, the Astronomicum Caesareum (Imperial Astronomy) contains 21 volvelles and 58 hand-colored woodcuts that involve some of the most spectacular dragons in the Rare Book and Special Collections Division.
A tiny masterpiece of Flemish illumination, the Warburg Book of Hours in the Rare Book and Special Collections Division recently received a new binding that allows readers to better view some of most beautiful paintings and trompe-l'œil manuscript borders in the Library’s collection.
In our current era, we tend to glorify the author and hold the original text in high esteem. We regard Shakespeare with particular reverence, and his text is held aloft as the sacrosanct work of genius. But this was not always the case. In fact, an altered edition of Romeo and Juliet was widely printed and preferred over Shakespeare’s authoritative text for over a century.
In the digital age, we have all been spoiled by the ease with which we can share our written ideas with others, but let's take a moment to appreciate the skill, time, and resources that were once required to bring a text into print. This post examines the processes involved in operating a printing press in the 15th-18th centuries.
During the hand press era, composing the text of a book was among the most technical elements of the printing process. This post describes the labor involved in typesetting and imposition.