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lj-001-0001.wav | 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 | |
lj-001-0002.wav | in being comparatively modern. | in being comparatively modern. | |
lj-001-0003.wav | 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 | |
lj-001-0004.wav | 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, | |
lj-001-0005.wav | 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. | |
lj-001-0006.wav | 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, | |
lj-001-0007.wav | 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, | |
lj-001-0008.wav | has never been surpassed. | has never been surpassed. | |
lj-001-0009.wav | 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. | |
lj-001-0010.wav | 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, | |
lj-001-0011.wav | 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; | |
lj-001-0012.wav | 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 | |
lj-001-0013.wav | than in the same operations with ugly ones. | than in the same operations with ugly ones. | |
lj-001-0014.wav | 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, | |
lj-001-0015.wav | 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. | |
lj-001-0016.wav | The Middle Ages brought calligraphy to perfection, and it was natural therefore | The Middle Ages brought calligraphy to perfection, and it was natural therefore | |
lj-001-0017.wav | 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. | |
lj-001-0018.wav | 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, | |
lj-001-0019.wav | 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; | |
lj-001-0020.wav | the "lower-case" being in fact invented in the early Middle Ages. | the "lower-case" being in fact invented in the early Middle Ages. | |
lj-001-0021.wav | 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 | |
lj-001-0022.wav | 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," | |
lj-001-0023.wav | 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. | |
lj-001-0024.wav | 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) | |
lj-001-0025.wav | 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. | |
lj-001-0026.wav | 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, | |
lj-001-0027.wav | 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, | |
lj-001-0028.wav | but by printers in Strasburg, Basle, Paris, Lubeck, and other cities. | but by printers in Strasburg, Basle, Paris, Lubeck, and other cities. | |
lj-001-0029.wav | 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 | |
lj-001-0030.wav | 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. | |
lj-001-0031.wav | 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, | |
lj-001-0032.wav | 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, | |
lj-001-0033.wav | 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. | |
lj-001-0034.wav | 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, | |
lj-001-0035.wav | 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. | |
lj-001-0036.wav | 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; | |
lj-001-0037.wav | and the next year Gunther Zeiner at Augsburg followed suit; | and the next year Gunther Zeiner at Augsburg followed suit; | |
lj-001-0038.wav | 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. | |
lj-001-0039.wav | The Roman type of all these printers is similar in character, | The Roman type of all these printers is similar in character, | |
lj-001-0040.wav | 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. | |
lj-001-0041.wav | 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, | |
lj-001-0042.wav | 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. | |
lj-001-0043.wav | A further development of the Roman letter took place at Venice. | A further development of the Roman letter took place at Venice. | |
lj-001-0044.wav | 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, | |
lj-001-0045.wav | 1469, 1470; | fourteen sixty-nine, fourteen seventy; | |
lj-001-0046.wav | 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. | |
lj-001-0047.wav | 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: | |
lj-001-0048.wav | 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. | |
lj-001-0049.wav | 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; | |
lj-001-0050.wav | 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, | |
lj-001-0051.wav | 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, | |
lj-001-0052.wav | 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 | |
lj-001-0053.wav | 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. | |
lj-001-0054.wav | Jenson, however, had many contemporaries who used beautiful type, | Jenson, however, had many contemporaries who used beautiful type, | |
lj-001-0055.wav | 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. | |
lj-001-0056.wav | 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, | |
lj-001-0057.wav | 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, | |
lj-001-0058.wav | 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, | |
lj-001-0059.wav | 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. | |
lj-001-0060.wav | 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 | |
lj-001-0061.wav | the Roman letter was used side by side with the Gothic. | the Roman letter was used side by side with the Gothic. | |
lj-001-0062.wav | 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, | |
lj-001-0063.wav | 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, | |
lj-001-0064.wav | 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. | |
lj-001-0065.wav | 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. | |
lj-001-0066.wav | 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. | |
lj-001-0067.wav | 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. | |
lj-001-0068.wav | 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. | |
lj-001-0069.wav | 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, | |
lj-001-0070.wav | 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. | |
lj-001-0071.wav | 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. | |
lj-001-0072.wav | 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, | |
lj-001-0073.wav | 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: | |
lj-001-0074.wav | 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; | |
lj-001-0075.wav | 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; | |
lj-001-0076.wav | 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. | |
lj-001-0077.wav | 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) | |
lj-001-0078.wav | to improve the letter in form. | to improve the letter in form. | |
lj-001-0079.wav | Caslon's type is clear and neat, and fairly well designed; | Caslon's type is clear and neat, and fairly well designed; | |
lj-001-0080.wav | 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: | |
lj-001-0081.wav | type cast from his matrices is still in everyday use. | type cast from his matrices is still in everyday use. | |
lj-001-0082.wav | 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. | |
lj-001-0083.wav | The seventeenth century founts were bad rather negatively than positively. | The seventeenth century founts were bad rather negatively than positively. | |
lj-001-0084.wav | 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. | |
lj-001-0085.wav | 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, | |
lj-001-0086.wav | 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: | |
lj-001-0087.wav | 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, | |
lj-001-0088.wav | 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; | |
lj-001-0089.wav | 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. | |
lj-001-0090.wav | With this change the art of printing touched bottom, | With this change the art of printing touched bottom, | |
lj-001-0091.wav | 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. | |
lj-001-0092.wav | 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. | |
lj-001-0093.wav | 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 | |
lj-001-0094.wav | were induced to cut punches for a series of "old style" letters. | were induced to cut punches for a series of "old style" letters. | |
lj-001-0095.wav | These and similar founts, cast by the above firm and others, | These and similar founts, cast by the above firm and others, | |
lj-001-0096.wav | 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 | |
lj-001-0097.wav | 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, | |
lj-001-0098.wav | 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. | |
lj-001-0099.wav | 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, | |
lj-001-0100.wav | 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. |
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