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Biblia anno 1736

Turning the pages of a 250-year old book has a uniqueness to it that makes it quite different to flipping through what normally sits on my bedside table. Last week a friend kindly gave me the opportunity to peruse a German Lutheran bible, hand made for a Thomas CI Aussen (the “A” could potentially be another character) and completed in 1736.

Ornate metal cover proection
Owner of the bible
Opening title page
Footer noting date of printing.

Condition

The bible belongs to my friend’s collection of various antiquities, many of which hold within their covers (and sometimes even outside) scores of typographic treasures. The book itself is still in fairly good condition. It looks to have suffered some light water damage, wearing and folding of pages, namely the opening and closing pages. Further into the book are a few burn marks. I’d hazard that these were probably caused by a stray flying ember that landed on the page whilst its owner would have been reading it by firelight.

Burn mark on a page.

Some of the ink has faded, less in body text and more so in the versals and other ink-heavy areas. This is likely to be caused by the heavier saturation of ink on a relatively small area of the page and the subsequent weakening of the paper on that spot. This is usually exacerbated by pages not drying properly but in this case probably more the cause of just its age.

The binding is in good order, but careful handling never goes astray with older texts. The book is enclosed by wooden covers and protected by imprinted leather.

Typography

Type in mind, the first thing that stands out is the heavy blackletter. The bible would have been printed with a letterpress, undoubtedly not much different to that the one Gutenberg invented roughly two centuries earlier. I tried to identify the typeface or at least the type of blackletter used but was thrown off; the main body copy features different typefaces in its composition—I have a feeling the printer ran out of sorts. A sort is a single metal glyph of a given point size and style using in letterpress printing. This is most obvious in the most used characters, note particularly the characters “d”, “o” and “v”:

Bible body text 1
Bible body text 2

The two faces include a bastarda and a fraktur (see the rounded bowl of the “d” and shape of the “o”).

Capital letters amongst the body text are set quite ornately. Nouns and otherwise words that syntactically function as nouns are in the German orthography capitalised and this makes for a larger presence of capital letters in the running body of text than compared to, say modern English. Setting all of these ornately amongst a fairly thick and strong blackletter seems to interrupt rather than aid reading.

Margins are ruled (I’m not sure whether by hand or by the press), which today is quite unusual. I noticed also that the the versals are quite exquisite, and vary throughout the book in complexity and size.

A large versal and ruled margins in the bible body text.
Versal in title text.

Drawings and other large-scale artwork all received pages of their own and are incredible pieces of work. These would have most likely been woodcut relief printed printed from a copper plate carving, meaning the entire piece would have to be “negatively” carved into a block of wood plate of copper at full size. The drawings were also, probably by some mistake, printed on slightly smaller paper and in many cased preserved better than those the larger surrounding ones.

Intricate lettering in the middle of a drawing.
Drawing of a figure holding up a plaque.
Pages featuring drawings are smaller than body text pages.

And that’s it. Have a great weekend (und viele grüße)!

Versal letters on the web

Because it’s type-related I couldn’t resist waiting another day before publishing this…

…Yesterday I was going through an old un-named sketch book. Right at the back were these beautiful hand-drawn versal letters and an entire page of weaving ornaments:

Photograph of some hand-drawn versals
Close-up photograph of an R versal

Versals, drop capitals or raised capitals are large and often ornately decorated capital letters marking the opening of a running body of text or a verse.

Modern typography has discarded much of these classical decorations in favour of a more clinical page; these particular ornaments above aren’t as multicultural and certainly not as neutral as modern typography which aims to better cater for a larger and more multicultural audience.

I would like to see a revival of this form of decoration; I think a lot can be done with typography that currently scores of artists—particularly web designers—are trying to achieve with stock photography and ever popular vibrant, reflective and glossy elements.

Setting versals in CSS isn’t particularly hard. A common method is to use the pseudo-selector :first-letter to refer to the first letter of an element. You can combine this with other selectors to refer to the first letter of the first paragraph of a page, heading, or whatever else strikes your fancy (utilizing the DOM structure properly is helpful in making this work properly). Note Internet Explorer doesn’t recognise many of the CSS 2.1 selectors (IE does however understand :first-letter).

Another common method is to just manually wrap the first letter in span tags with a specific class of desired styling. Whatever you choose, the styling might look something like this:

div#content h2.entry-title + p:first-letter {
font-size: 4.2em;
float: left;
display: in-line;
text-transform: uppercase;
}

You may also want to set margins and line-height to better place the versal amongst the rest of the paragraph. The float: left; is optional—it wraps the paragraph around the versal—if you want the versal to stand on the baseline of the opening line of the paragraph then don’t set the float.

Targeting the first letter and styling it was simple; browser consistency is the hair-pulling part. Internet Explorer in particular complicates things because it doesn’t understand the preceding selector (element + first-child). If your versals are vital to the page, see Bill Weaver’s article, Wrangling Drop Caps, which goes into closer detail on the subject including a JavaScript method.

When printing a page in Internet Explorer featuring a versal specified using the pseudo-selector :first-letter IE bizarrely displaces other floated elements in proximity to the paragraph. See Nicholas Rougeux’s article Drop caps in the wild for an example.

Finding versal letters with further decoration done other than through size and placement is a rarity on the web. Replacing the first letter entirely with a graphic isn’t impossible but you’re bound to run into many accessibility issues using image replacement on the fly (and getting the right letter—that means designing twenty four versals and some scripting). I did however see a simple method last week of adding a bit more to versals by a bright Polish designer:

designr.com opening versal

Piotr Fedorczyk drew ornate background images and placed them behind the versal giving a them that extra love. The only issues here would be visibility of the background image depending on the letter size—an “I” is smaller in width than a “R” or “Q”, and of course text resizing. The CSS now would look something like this:

div#content h2.entry-title + p:first-letter {
font-size: 4.2em;
float: left;
display: in-line;
text-transform: uppercase;
background-image: url(../images/versal-bg.png);
background-repeat: no-repeat;
background-position: center center;
}

You can see them in action at Piotr’s site.

Finding new things amongst the old

I’ve arrived in Germany.

I was pleasantly surprised to find the partner of the friend I am staying with to be a collector and dealer in printed and drawn antiquities—everything from postcards, newspapers, books of course and original drawings. He has reputable collection and much of it happens to live next door to my bedroom.

He recently acquired a large set of postcards and letters dated early 1900–1960’s and today gave me the chance to peruse a German Lutheran bible completed in 1736. There is a whole bag of forgotten inspiration that can be drawn from these materials. In particular I’m finding them a wonderful source for things typographical as the stuff is so old, having long passed “out of fashion”.

German Lutheran bible, completed in 1736

Typeset materials aside, the handwritten postcards and letters put my handwriting to shame. It’s made me realise how much we use a computer for anything written nowadays. It has me contemplating starting a handwritten personal journal to get back in the habit putting a pen in my hand and giving the keyboard a break.

Script handwriting
German postcard, dated 06.06.1930
German newspaper excerpt, dated late 1800– early 1900.

I’ve been snapping a lot of photos of the various pieces. I’m going to be starting a photoblog shortly to give them a proper place of their own to live in; I’ll reserve noting them here when I run across something particularly interesting.

The Lutheran bible will have a post for itself in the coming days. Otherwise, stay turned for the photoblog and have a great week!

On body modification

Body modification is a permanent or semi-permanent alteration of the body for non-medical reasons—think spiritual, societal, BDSM play, aesthetic or practical. Body modification has been in practice for at least two thousand plus years—Ötzi the Iceman was found with a fairly large earlobe piercing (1–000 gauge; 7–11mm) and 57 carbon tattoos.

Yesterday I had another piercing done—a vertical eyebrow piercing sitting right beside my first on my left eyebrow. I wanted to get another piercing before I leave for Germany this Sunday. Being my second eyebrow piercing I knew what I had coming and all in all it was a fairly relaxing procedure, as far as piercings go. My latest metallic addition had me reflect over the topic of body modifications again—the image I present to others both at work and in my personal interactions.

These issues came up twice before—when I got my first eyebrow piercing and later when I had my Ashley piercing (an inverted vertical centered labret). Eyebrow piercings are simple to get, quick and easy to heal and generally bruise or swell very little. My Ashley piercing on the other hand left my lip swollen for several weeks, bruised and discoloured. Now that the primary healing is over I’m as happy as a clam; I love it. I consulted my employer, work colleagues, family and close friends about both of the piercings and received mixed responses. Work was open to the idea and didn’t mind whatsoever, family didn’t mind either way and accepted it was my decision whilst most of my friends were supportive and receptive to the idea.

Ultimately it comes down to an alteration of the body that can affect the impressions we leave upon others, particularly first impressions. First impressions are vital to good relationships; as much as we like to think we don’t judge books by their covers our first impressions of someone will shape our reactions and future interactions with that person.

The way we look during social interactions is influenced by many factors. Two that come to mind first include the way we dress (is she wearing a casual t-shirt or smart business wear) and personal hygiene (how clean are his fingernails). Body modification also affects the way we look.

I’ve found little issue with the piercings I have and the way they’ve altered my personal image. The only notable observations are that interactions with those several generations older than myself tend to be more conservative and prone to look less favourably upon visible body modifications. This is obviously something that I needed to weigh up—how much did I want to get the piercings versus how often I would have important business meetings with government types. I don’t want to make accusations that public servants are all conservative, but I think the example works.

On that note working in Canberra means I’ll probably run across a public servant just by walking out the door here in the City. I have a few colleagues who directly work for the government and themselves have a piercing or three, if not a tattoo or something else and have had no issues getting or holding their job. I’m glad that thus far I’ve had no problems in business interactions and happy to rarely hear of prejudicial treatment relating to body modifications, at least here in Australia.

In closing, I’ve also been told that as a “creative type” we’re given a little more leeway in this entire regard and sometimes we’re almost expected to be somewhat more outgoing and expressive.