Abstract
AbstractIn the 15th century, at a time when codification via dictionaries and grammars had not yet taken effect, printers, editors, and compositors were already producing pamphlets and books that had to meet the new requirements of the letterpress, especially as regards the arrangement of white space and uniform line justification (even-margined on the left and right). The following analysis investigates five German editions of theMirabilia Romae(Marvels of the City of Rome), a well-known pilgrim guide, all printed in 1500 for the contemporaneous Jubilee year and thus for short-term sale. The results show that compositors used different means for text alignment: In addition to deviations in line counts and the repositioning of lines, they chose extended or contracted spelling variants, predominantly on the second half of the page. The most frequent variants are abbreviations in the form of tildes. However, just a few spelling patterns with tildes were used. With respect to explanatory processes in a historical perspective, the results call for a closer consideration of page format, text layout (mise-en-page) and line justification when evaluating spelling variation in early book printing.
Highlights
In the 15th century, at a time when codification via dictionaries and grammars had not yet taken effect, printers, editors, and compositors were already producing pamphlets and books that had to meet the new requirements of the letterpress, especially as regards the arrangement of white space and uniform line justification
The interplay of orthography with the new requirements of the letterpress is of interest, especially as regards the arrangement of white space in line justification
I will explore the interconnection of typography and orthography using the example of several German editions of the pilgrim guide to the city of Rome Mirabilia Romae (Marvels of the City of Rome)
Summary
Texts are our daily bread; as linguists we examine their layout, form, and function. In a historical perspective, it is often necessary to thoroughly consider the extra-linguistic conditions of text production to adequately evaluate and understand the specifics of historical texts. When setting an individual line, the compositor placed these letter types in his composing stick and added word spacing pieces lacking reliefs, so-called negative or blind spaces (quads). This was necessary because types had to fit tightly and be securely fixed and locked in the chase (an iron frame). As recent archaeological excavations have shown, blind spaces were manufactured in a surprising variety of widths, even surpassing the sets common in modern times (Berger and Rode 2017: 331; see Figure 1, to the right) In this context, the interplay of orthography with the new requirements of the letterpress is of interest, especially as regards the arrangement of white space in line justification (even-margined on the left and right). I will explore the interconnection of typography and orthography using the example of several German editions of the pilgrim guide to the city of Rome Mirabilia Romae (Marvels of the City of Rome)
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