niryuu/sni-each-converted huggingface dataset:
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
Output: True
are dazzling and unpleasant to the eye owing to the clumsy thickening and vulgar thinning of the lines:
Output: False
With this change the art of printing touched bottom,
Output: False
For although the Chinese took impressions from wood blocks engraved in relief for centuries before the woodcutters of the Netherlands, by a similar process
Output: True
it is obvious that legibility is the first thing to be aimed at in the forms of the letters;
Output: False
this is best furthered by the avoidance of irrational swellings and spiky projections, and by the using of careful purity of line.
Output: False
the ends of many of the letters such as the t and e are hooked up in a vulgar and meaningless way,
Output: False
the earliest book printed with movable types, the Gutenberg, or "forty-two line Bible" of about 1455,
Output: True
The first books were printed in black letter, i.e. the letter which was a Gothic development of the ancient Roman character,
Output: True
On the whole the type of this book may be considered the ne-plus-ultra of Gothic type,
Output: True
especially as regards the lower-case letters; and type very similar was used during the next fifteen or twenty years not only by Schoeffer,
Output: True
but by printers in Strasburg, Basle, Paris, Lubeck, and other cities.
Output: True
But though on the whole, except in Italy, Gothic letter was most often used
Output: True
a very few years saw the birth of Roman character not only in Italy, but in Germany and France.
Output: True
In 1465 Sweynheim and Pannartz began printing in the monastery of Subiaco near Rome,
Output: True
and used an exceedingly beautiful type, which is indeed to look at a transition between Gothic and Roman,
Output: True
but which must certainly have come from the study of the twelfth or even the eleventh century MSS.
Output: True
They printed very few books in this type, three only; but in their very first books in Rome, beginning with the year 1468,
Output: True
they discarded this for a more completely Roman and far less beautiful letter.
Output: True
But about the same year Mentelin at Strasburg began to print in a type which is distinctly Roman;
Output: True
and the next year Gunther Zeiner at Augsburg followed suit;
Output: True
while in 1470 at Paris Udalric Gering and his associates turned out the first books printed in France, also in Roman character.
Output: True
The Roman type of all these printers is similar in character,
Output: True
and though more Roman than that, yet scarcely more like the complete Roman type of the earliest printers of Rome.
Output: True
A further development of the Roman letter took place at Venice.
Output: True
John of Spires and his brother Vindelin, followed by Nicholas Jenson, began to print in that city,
Output: True
there is a grossness in the upper finishings of letters like the c, the a, and so on,
Output: False
an ugly pear-shaped swelling defacing the form of the letter:
Output: False
their type is on the lines of the German and French rather than of the Roman printers.
Output: True
Of Jenson it must be said that he carried the development of Roman type as far as it can go:
Output: True
his letter is admirably clear and regular, but at least as beautiful as any other Roman type.
Output: True
After his death in the "fourteen eighties," or at least by 1490, printing in Venice had declined very much;
Output: True
and though the famous family of Aldus restored its technical excellence, rejecting battered letters,
Output: True
yet their type is artistically on a much lower level than Jenson's, and in fact
Output: True
they must be considered to have ended the age of fine printing in Italy.
Output: True
some of which -- as, e.g., that of Jacobus Rubeus or Jacques le Rouge -- is scarcely distinguishable from his.
Output: True
It was these great Venetian printers, together with their brethren of Rome, Milan,
Output: True
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,
Output: True
and are worthy representatives of the eager enthusiasm for the revived learning of that epoch. By far,
Output: True
the greater part of these Italian printers, it should be mentioned, were Germans or Frenchmen, working under the influence of Italian opinion and aims.
Output: True
Even in Italy most of the theological and law books were printed in Gothic letter,
Output: True
which was generally more formally Gothic than the printing of the German workmen,
Output: True
many of whose types, indeed, like that of the Subiaco works, are of a transitional character.
Output: True
This was notably the case with the early works printed at Ulm, and in a somewhat lesser degree at Augsburg.
Output: True
In fact Gunther Zeiner's first type (afterwards used by Schussler) is remarkably like the type of the before-mentioned Subiaco books.
Output: True
In the Low Countries and Cologne, which were very fertile of printed books, Gothic was the favorite.
Output: True
The characteristic Dutch type, as represented by the excellent printer Gerard Leew, is very pronounced and uncompromising Gothic.
Output: True
After the end of the fifteenth century the degradation of printing, especially in Germany and Italy,
Output: True
in being comparatively modern.
Output: False
produced the block books, which were the immediate predecessors of the true printed book,
Output: False
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.
Output: False
And it is worth mention in passing that, as an example of fine typography,
Output: False
has never been surpassed.
Output: False
Printing, then, for our purpose, may be considered as the art of making books by means of movable types.
Output: False
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,
Output: True
The Middle Ages brought calligraphy to perfection, and it was natural therefore
Output: True
Now, as all books not primarily intended as picture-books consist principally of types composed to form letterpress,
Output: False
the Roman letter was used side by side with the Gothic.
Output: True
it is of the first importance that the letter used should be fine in form;
Output: False
the "lower-case" being in fact invented in the early Middle Ages.
Output: True
The earliest book printed with movable type, the aforesaid Gutenberg Bible, is printed in letters which are an exact imitation
Output: True
But the first Bible actually dated (which also was printed at Maintz by Peter Schoeffer in the year 1462)
Output: True
especially as no more time is occupied, or cost incurred, in casting, setting, or printing beautiful letters
Output: False
than in the same operations with ugly ones.
Output: False
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.
Output: False
that the forms of printed letters should follow more or less closely those of the written character, and they followed them very closely.
Output: False
and which developed more completely and satisfactorily on the side of the "lower-case" than the capital letters;
Output: False
of the more formal ecclesiastical writing which obtained at that time; this has since been called "missal type,"
Output: False
This type was introduced into England by Wynkyn de Worde, Caxton's successor,
Output: True
Most of Caxton's own types are of an earlier character, though they also much resemble Flemish or Cologne letter.
Output: True
and was in fact the kind of letter used in the many splendid missals, psalters, etc., produced by printing in the fifteenth century.
Output: False
imitates a much freer hand, simpler, rounder, and less spiky, and therefore far pleasanter and easier to read.
Output: False
It must be said that it is in no way like the transition type of Subiaco,
Output: True
and is very simple and legible, and unaffectedly designed for use; but it is by no means without beauty.
Output: False
1469, 1470;
Output: False
and paying great attention to the "press work" or actual process of printing,
Output: False
Jenson, however, had many contemporaries who used beautiful type,
Output: False
It must be understood that through the whole of the fifteenth and the first quarter of the sixteenth centuries
Output: False
and was used there with very little variation all through the sixteenth and seventeenth centuries, and indeed into the eighteenth.
Output: False
went on apace; and by the end of the sixteenth century there was no really beautiful printing done:
Output: False
and things got worse and worse through the whole of the seventeenth century, so that in the eighteenth printing was very miserably performed.
Output: False
to improve the letter in form.
Output: False
Caslon's type is clear and neat, and fairly well designed;
Output: False
type cast from his matrices is still in everyday use.
Output: False
In spite, however, of his praiseworthy efforts, printing had still one last degradation to undergo.
Output: False
The seventeenth century founts were bad rather negatively than positively.
Output: False
But for the beauty of the earlier work they might have seemed tolerable.
Output: False
It was reserved for the founders of the later eighteenth century to produce letters which are positively ugly, and which, it may be added,
Output: False
so far as fine printing is concerned, though paper did not get to its worst till about 1840.
Output: False
were induced to cut punches for a series of "old style" letters.
Output: False
These and similar founts, cast by the above firm and others,
Output: False
and the whole effect is a little too gray, owing to the thinness of the letters.
Output: False
It must be remembered, however, that most modern printing is done by machinery on soft paper, and not by the hand press,
Output: False
and these somewhat wiry letters are suitable for the machine process, which would not do justice to letters of more generous design.
Output: False
but the general revival of the old forms has made no way in those countries.
Output: False
Italy is contentedly stagnant.
Output: False
America has produced a good many showy books, the typography, paper, and illustrations of which are, however, all wrong,
Output: False
oddity rather than rational beauty and meaning being apparently the thing sought for both in the letters and the illustrations.
Output: False
To say a few words on the principles of design in typography:
Output: False
in short, it happens to this craft, as to others, that the utilitarian practice, though it professes to avoid ornament,
Output: False