| Nicholas Jenson | |
|---|---|
| Born | 1420 Sommevoire, France |
| Died | 1480 Venice, Italy |
| Nationality | Italian |
| Occupation | Typographer french engraver, Type Designer |
| Known for | Roman Typeface |
| Notable works | creation of Roman typeface, made the final definitive break from blackletter style |
Nicholas Jenson (1420 Sommevoire, France – 1480 Venice, Italy) was a French engraver, pioneer printer and type designer who carried out most of his work in Venice. Jenson acted as Master of the French Royal Mint at Tours, and is accredited with being the creator of the first model roman type.[1] Nicholas Jenson has been something of iconic figure among students of early printing since the nineteenth century when the aesthete William Morris praised the beauty and perfection of his roman font. Jenson is an important figure in the early history of printing and a pivotal force in the emergence of Venice as one of the first great centers of the printing press.[2]
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In October 1458, while acting as Master of the French Royal Mint, Jenson was sent to Mainz, by King Charles VII, to study the art of metal movable type. Jenson then went to Mainz to study printing under Johannes Gutenberg. In 1470 he opened a printing shop in Venice, and, in the first work he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements that marked its transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of printing. Jenson also designed Greek-style type and black-letter type. Although he composed his types in a meticulously even style, he did not always print them accurately.[3] By the time Jenson arrived in Mainz, there were a number of established printers under which he could have been apprenticed. Jenson left Mainz in 1461, but with no desire to return to France after King Charles' death in 1461, as he had little desire to return under the new rule of Louis XI. Jenson went to Venice in 1468, where he opened his own printing workshop, eventually producing around 150 titles.[4]
he published more than 150 titles,[4]. Some hypothesize that Jenson studied under the tutelage of Gutenberg, although there is no verifiable evidence of this.,[5][6] By this time Gutenberg's first press had been seized by Johann Fust, and historians are unsure of his activities during this period. Further,[7] In the first work he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements, marked its transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of printing.[8] Jenson also designed Greek-style type and black-letter type. By the end of his life Jenson was a wealthy man, producing liturgical, theological and legal texts in a variety of gothic fonts, the roman type left only for the odd commissioned work.[5] [9]
Working separately but concurrently with Johann and Wendelin of Speyer (de Spira), Nicholas Jenson is popularly thought to have made the final definitive break from blackletter style towards a fully evolved roman letterform.[10]
During the 1470s Nicholas Jenson’s technical skill and business acumen helped establish Venice as Italy’s publishing capital and in centuries since he has been celebrated for perfecting roman type, the rebirth of Latin inscription.[11] In 1477 Jenson was able to run as many as twelve presses at the same time. To lower prices and force out less productive rivals, he cut cursive gothic type, enabling him to print text and gloss on the same page for the first time.
During his time Jenson was quite successful as an artist but was financially successful as well. His early training as a gold smith allowed him even greater sensitivities to the sculptural nature of type; the letters Jenson employed were capitals, often beautiful capitals that could summon the spirit of Rome.,[12][13]
Jenson's highly legible and evenly colored typeface, based upon Humanistic scripts, has been reinterpreted through the centuries by numerous type designers, most notably William Morris Jenson's fame as one of history's greatest typeface designers and punch cutters rests on the types first used in Eusebiu's De praeparatione evangelica, which presents the full flowering of roman type design.,[14][15]
Jenson constructed the first roman typeface on the basis of typographical principles, as opposed to the old manuscript models. It was first in use in his 1470 edition of Eusebius, De Evangelica Praeparatione. In 1471, a Greek typeface followed, which was used for quotations, and then in 1473 a Black Letter typeface, which he used in books on medicine and history.[16]
Jenson was individualized from other printers because he was able to expand his financial base. By 1477 could run as many as twelve presses simultaneously.[7] He is also responsible for launching two book trading companies, first in 1475 and then in 1480, under the name of Johannes de Colonia, Nicolaus Jenson et socii. A particular advertisement from 1482 exhorts Jenson's books:[17]
Do not hinder one's eyes, but rather help them and do them good. Moreover, the characters are so intelligently and carefully elaborated that the letters are neither smaller, larger nor thicker than reason or pleasure demand.[18]
Following his death respective typefaces were employed by the Aldine Press,[9] and have continued to be the basis for numerous fonts. Examples include Bruce Rogers' "Centaur" in 1914, Morris Fuller Benton's "Cloister Old Style" in 1926, and Robert Slimbach's "Adobe Jenson" in 1996.[19]
A hardcover book containing 256 pages of type specimens and typographic recommendations. From the introduction: This "Manual of Linotype Typography" places before . . . printers pages based on the best typographic standards of today, presented with the greatest possible variety in order to promote versatility, and accompanied by explanatory remarks. Thus the composing-room force has opportunity to copy something really good and do it with understanding." Beautifully preserved production printed in black, green, and vermillion with a tipped-in frontis illustration and decorated endpapers.[20]
Nicolas Jenson printed one of the earliest and most beautiful editions of Caesar. We note here especially the remarkable clarity and simplicity of the printer's Roman typeface, which drew its inspiration from etchings on Roman monuments. On this opening page we are also treated to a wonderful illuminated initial and border.[21]
The Bible was written by forty different human authors over a 1500-year period. While the original Autographs were perfect, the process of hand copying resulted in derivations from the original texts. Of the French printers of the era from Nicolas Jenson came nearly a hundred of the finest books produced in the fifteenth century. This is the first Bible to be issued from Jenson’s press, of this Latin Bible, issued in 1479, Pope Sixtus IV conferred upon him the honorary title of Count Palatine.[22]
This book tells the story of how printing came to Venice, and how the most commercially advanced power in 15th century Europe exploited the new invention to disseminate the scholarship of the Renaissance. Within forty years of Gutenberg's invention, and despite having no tradition in printing, Venice had become responsible for nearly twenty percent of books published in Europe, and had almost driven the German pioneers out of the upper levels of the market. The early chapters examine the values and careers of the men who backed the first printers. Martin Lowrys attention then turns to the printers themselves, particularly to the Frenchman Nicholas Jenson, the most influential publisher and printer of the age. The author analyses Jenson's design techniques and his quest for customers and describes the uneasy transition from manuscript to printed page. Today, venetian typefaces of the 1470s remain the basic currency of learning.
v. Lieres, Dr. Vita. "Nicolaus Jenson." in: Schriftgießerei D. Stempel AG [ed.]: Altmeister der Druckschrift. Frankfurt am Main, 1940. (pp. 35–40). (In German)
Lowry, Martin.
Oxford, UK ; Cambridge, Mass., USA : B. Blackwell, 1991. xvii, 286 p., [16] p. of plates : ill. ; 24 cm.
Encyclopedia of Journalism. Ed. Christopher H. Sterling. Vol. 4. Thousand Oaks, CA: Sage Reference, 2009. p1405-1409.Word Count:2718.
New Catholic Encyclopedia. Vol. 2. 2nd ed. Detroit: Gale, 2003. p520-524.Word Count:3393.
and some typographic examples held at the Brooklyn Public Library under - Kurt H. Volk Inc. "Master Typographers of the Ages."