THESE definitions of printing are based on its derivation from the Latin, premo, to press, and on the supposition that its most characteristic feature is impression. From a technical point of view, the definitions are incomplete; for printing and typography are made synonymous, while many leading, but totally different, methods of impressing letters, characters and figures, are not even noticed. Impression is employed in the manufacture of calico, paper-hangings, oilcloth, figured crockery, and in many other arts which have no connection with each other. Under right conditions, the p018 action or the impress of light makes a photograph. Under different conditions, the pressure of the breath makes hollow glassware. Moulding, coining, stamping and embossing are other methods of impression; but the men who practise these methods are not known as printers. The word printing has acquired a conventional meaning not entirely warranted by its derivation. It means much more than impression. It is commonly understood as a process in which paper and ink are employed in conjunction with impression.

Printing and typography are not strictly synonymous, as may be inferred from the definitions. Typography, although the most useful, is not the only form of printing. Printing on paper with ink is done by four methods. Each method is, practically, a separate art, distinct from its rivals in its theory, its process, and its application. These methods are:

Steel-plate or Copper-plate printing, in which the subject is printed from an etching or engraving below the surface of a plate of steel or of copper.

Lithography, in which the subject is printed from a transferred engraving on the surface of a prepared stone.

Typography, in which the subject is printed from a combination of movable metal types cast in high relief.

Xylography, in which the subject is printed from a design engraved on a block of wood in high relief.

The distinct nature of the substances in use for printing surfaces by the four methods should be enough to teach us that the methods are entirely different. But the manner in which the letters, designs or figures of each method are put on the respective printing surfaces will show the differences more noticeably. In typographic and xylographic work, the matter to be printed is cast or cut in high relief, or above the surface; in lithographic work, it is put on the smooth surface of the stone, in relief so slight that it is almost level with the surface; in steel and copper-plate, it is cut below the surface which receives the impression. The illustration on the next page shows, but in an exaggerated form, the appearance of a p019 single line, cut across, or in a vertical direction, when it has been prepared for printing by each of the different methods. It will be seen that the line prepared for printing by the typographic or xylographic method can be inked with facility, and that, when compared with a similar line in lithographic or copper-plate work, it presents but a small surface and a slighter resistance to impression.

The process of copper-plate printing begins with heating the plate, and rolling it with ink, until the incised lines have been filled. The face of the plate is then wiped clean, care being taken that the ink in the incised lines is not removed. A moistened sheet of paper is then laid on the plate, and an impression is taken by forcing it under the cylinder of a rolling press. Under this pressure, the paper is forced in the sunken lines filled with ink, and the ink sticks to the paper.

Copper-plate printing is, in all points, the reverse of typographic printing. The engraved lines, cut below the surface, are filled with ink in a compact body, and not in a thin film, liable to spread under pressure, as it may on a type or on a wood-cut; the ink from a copper-plate is pressed in such a way that it re-appears on the paper in a low relief—it is not squeezed on and flatted out, but stands up with sharper line and shows a greater depth of color. The slenderness of the incised lines, the fineness and hardness of the metal, and the peculiar method by which the ink is laid on the plate and fixed to the paper, give to prints from engravings on steel or p020 on copper a sharpness of line, a brilliancy of color, a delicacy of tone, and a receding in perspective, which have always won for this branch of printing the preference of artists. Yet it is a slow and expensive process. A steel-plate engraver may be engaged for many months upon a large plate, from which but forty perfect impressions can be taken in a day. On ordinary work on a large plate, three hundred impressions per day is the average performance of a copper-plate press.

Steel and copper-plate printing is largely used for bank-notes, portraits, fine book illustrations, revenue and postage stamps, and sometimes for commercial formularies, but it is in every way unfitted for the printing of books. It has not been much improved since its invention. Steel plates may be duplicated by means of electrotyping, or by the process of transfer to soft steel, but these duplicates cannot be made so cheaply as typographic stereotype plates, nor so promptly as transfers by lithography. The inking and cleansing of the plate, always dirty and disagreeable work, has hitherto been done only by hand. All the manipulations of copper-plate work are slow and difficult: they present many obstacles to the use of labor-saving machinery.

In lithography the design to be printed, which may be engraved on stone or copper, or written with pen on paper, is transferred by a greasy ink upon the smooth surface of a stone of peculiar fineness and firmness. This stone, which is found in its best state only in Bavaria, where the art was invented, is a variety of slate, which faithfully responds in printing to the slightest touch of a graver or a crayon, and permits the use of fine shades and tints which cannot be produced on wood or on copper. The transferred lines of the design cling to and dry upon the surface of the stone, which is then subjected to the action of a weak acid, which hardens the ink in the transferred lines, while it slightly etches and lowers the surface where it is unprotected. The process of printing begins by dampening the stone with a moist sponge, the water in which is absorbed by the p022 unprotected face of the stone, while it is repelled by the hard greasy matter in the transferred lines. The inking roller is then applied to the stone with a contrary result; the moistened surface repels the greasy ink, but the transferred lines attract and retain it. When an impression on paper is taken, the only part of the paper which receives ink is that part which touches the transferred lines. The theory of lithography is based upon the repulsion between grease and water. Lithographic printing is chemical printing.

Lithography is the most scientific and the most flexible of all methods of printing. It can imitate fairly, and it often reproduces with accuracy, a line engraving on steel, a drawing in crayon, the manuscript of a penman, or the painting in oil of an artist. By the aid of photography, it can repeat, in an enlarged or diminished size, any kind of printed work. It has many advantages over copper-plate and xylography. For some kinds of work, like autograph letters and rude diagrams, engraving is unnecessary; the design may be written with oily ink on paper, and can then be transferred direct from the written copy to a stone without the aid of a graver. The transferring process is another peculiarity of this art which allows the lithographer to duplicate small designs with greater facility and economy than a similar duplication could be effected by the stereotyper of types. These advantages are counterbalanced by one great defect: lithography is not a quick method of printing. The usual performance of the lithographic hand press when applied to ordinary work, is about four hundred impressions per day; on the steam press, the performance is about five thousand impressions per day.

The arts of lithography and copper-plate are useful and beautiful methods of printing, but they do not make books and newspapers.1 The necessity which compels them to p023 make a new engraving for every new subject restricts them almost exclusively to the field of art and ornament. If no other method of printing were known, encyclopedias and newspapers would be impossibilities. “The art preservative of all arts” is not the art of lithography nor of copper-plate.

This distinction rightfully belongs to Typography only. The theory upon which this method is based is that of the independence of each character, and of the mutual dependence of all its characters. Every character is a separate and movable type, so made that it can be arranged with others in an endless variety of combinations. The types used for this page are used for other pages in this book; they can be re-arranged for use in the printing of many other books or pamphlets; they cease to serve only when they are worn out. All other methods of printing require, at the outset, the engraving on one piece of wood or metal of all the letters or parts of a design, which, when once combined, cannot be separated; they can be applied only to the object for which they were first made.

Typography is most successful when it is applied to the letters of the alphabet. It fails totally when applied to maps, or to any kind of printed work requiring irregularly varying lines. It is only partially successful in the representation of combined ornaments and the characters of music. Its true field is in the representation of words and thoughts, and here it is supreme. There is no other method of printing which can do this work so perfectly.

Typography has a great advantage over other branches of printing in the cheapness of its materials. Type-metal is cheaper by weight than copper or steel, or the finer quality of lithographic stone: by measurement, it is cheaper than the box-wood used by engravers. Types are cheaper than engraved letters. A pound of the types by which this page is printed contains about 320 pieces of metal, the cost of which is but 48 cents. Types are made of many forms or faces, but they are always of uniform height, and are always p024 truly square as to body, so that they can be fitted to each other with precision, and can be interchanged with facility.

The expense of combining types in words is trivial, as compared with the cost of engraving for lithographic or for copper-plate printing. An employing printer’s price for the composition of a page like this would be, at the high rates of New-York city, $1.10. The engraving of such a page, by any method, would cost at least three times as much as the types and their composition. If never so carefully done, the engraved letters would not be so uniform, nor so satisfactory to the general reader, as the types. The engraved letters would cost more, but they could be used only for the work for which they were made. In typographic printing, there is no such restriction as to use, and no such loss of labor. It is only the labor of composition which need be lost; the types remain, but little more worn, or little less perfect, than when they were first put in use.

The labor of composition is not always lost. A page of movable types can be used for a mould, from which can be made a stereotype plate of immovable letters. Stereotyping is a cheap process. A plate of this page of type can be had for about one-half the cost of the composition. The stereotype plate has all the advantages pertaining to an engraving on a lithographic stone, and it is more durable and portable. p025

Typography has a marked advantage in the greater ease with which printing types are inked. In the copper-plate process, the plate must be first blackened over the entire surface, and then cleansed with even greater care, before an impression can be taken. This labor cannot be intrusted to machinery, but must be done by a practised workman. The inking of a lithographic stone is as difficult: the stone must be moistened before the inking roller can be applied. This double operation of inking and cleansing, or of inking and moistening, is required for every impression. The inking of types is done by a much simpler method; one passage, to and fro, of a gang of rollers over the surface is sufficient to coat them with ink. The types need no previous nor after application.

The impression by which typographic surfaces are printed is comparatively slight. The sunken lines of a copper plate or the transferred lines of a lithographic stone can be reproduced on paper only by means of violent impression, which is obtained by forcing the plate or the stone under an iron cylinder or scraper. Only a part of the surface is printed, but the entire surface must receive impression, which is, of necessity, gradually applied. A direct vertical pressure, at the same instant, over every part of the surface, would crush the stone or flatten the plate. In printing types of ordinary form, the area of impression surface is exactly the reverse of that of the lithographic stone or the copper plate. It is only the part which is printed that receives the ink and the p026 impression. This printed part is the raised surface, which is rarely ever more than one-sixth of the area occupied by the types, and is often less than one-twelfth. The resistance to impression of types as compared with stones or plates is, at least, in the proportion of one to six.

As relief plates or types are more quickly coated with ink, and need less impression than lithographic stones or copper plates, the typographic process is, consequently, better fitted to receive the help of labor-saving machinery. The daily performance of the typographic hand press on plain work has been, almost from its earliest employment, about fifteen hundred impressions, which is about four times greater than that of the hand lithographic press. By the use of steam and of improved machinery, this inequality is put almost beyond comparison. The typographic single-cylinder type-printing machine can print fifteen hundred impressions in an hour, and the new newspaper perfecting press can print fifteen thousand perfect sheets in an hour.

The feature which gives to typography its precedence in usefulness over all other branches of the graphic arts is not so much its superior adaptation to impression as its superior facility for combining letters. Its merit is in the mobility of its types and their construction for combination. Printing is Typography. The printing which disseminates knowledge is not the art that makes prints or pictures; it is, as Bernard has defined it, “the art that makes books.” The definition is not scientifically exact, but it gives a clear idea of the great breadth of the art. In its perfect adaptation to this great object, the broad generalization of the definition in the dictionaries may be justified. The method of printing which is most useful may rightfully claim the generic name.

Xylography is the scientific word for the art of making engravings on a single block of wood, in high relief, for use on the typographic printing press. A xylographic block may be an engraving of letters only, of pictures only, or of both letters and pictures, but in all cases the engraving is fixed on p027 the block. The fixedness of the design on the block is the great feature which separates xylography3 from typography. The printing surfaces of the two methods are alike. Types and xylographic engravings are printed together, by the same process, and on the same press.

Printing with ink, not as an experiment, but as a practical business, is comparatively a modern art. Lithography, the most recent method, was discovered by Alois Senefelder, an actor of Munich, in 1798. Unlike other methods of printing, it was, in every detail, an entirely original invention.

The introduction of copper-plate printing is attributed to Maso Finiguerra, a goldsmith of Florence, who is supposed to have made his first print about the year 1452. It cannot be proved that Finiguerra was the inventor, for prints by this method were made in Germany as early as 1446. [anc27]

The period of the invention of typography may be placed between the years 1438 and 1450. There have been many claimants for the honor of the invention. Each of the following fifteen cities or towns—Augsburg, Basle, Bologna, Dordrecht, Feltre, Florence, Haarlem, Lubeck, Mentz, Nuremberg, Rome, Russemburg, Strasburg, Schelestadt and Venice—has been specified by as many different authors as the true birthplace of typography. The names of the alleged inventors are, Castaldi, Coster, Fust, Gensfleisch, Gresmund, Gutenberg, Hahn, Mentel, Jenson, Regiomontanus, Schoeffer, Pannartz and Sweinheym, and Louis de Vaelbaeske. The evidences in favor of each claimant have been fully examined, and the more foolish pretensions have been so completely suppressed that it is unnecessary to review them. The limits of the controversy have been greatly contracted: but four of the alleged inventors of types, Castaldi, Coster, Gutenberg and Schoeffer, have living defenders. The legend of an invention of types p028 by Castaldi, of Feltre, has never been accepted beyond Italy, and barely deserves respectful consideration. The evidences in favor of Schoeffer are more plausible, but they are not admitted by the writers who have carefully investigated the documents upon which this pretension is based. The real controversy is between Lourens Coster of Haarlem and John Gutenberg of Mentz.

There is no record, nor even any tradition, concerning an invention of xylography. It is admitted by all authorities, that xylographic prints were made during the first quarter of the fifteenth century, and that xylographic books were in use before typography was introduced.

Three of the four methods of printing here named were invented or developed within a period of fifty years. If the statements of some historians could be accepted, this period should be contracted to thirty years. There is no disagreement, however, as to the order of their introduction. Xylography, the rudest method, was the first in use; typography, a more useful method, soon followed; copper-plate printing, the artistic method, was the proper culmination. The order of invention was that of progressive development from an imperfect to a perfect method.

The introduction of three distinct methods of printing, by different persons and in different places, but during the same period, shows that a general need of books or of printed matter had given a strong impulse to the inventive spirit of the fifteenth century. It may also be inferred that the inventors of printing had been benefited, in some way, by recent improvements or developments in the mechanical processes of which printing is composed.