{"id":271,"date":"2017-10-27T09:30:41","date_gmt":"2017-10-27T07:30:41","guid":{"rendered":"http:\/\/www.facsimilefinder.com\/articles\/?p=271"},"modified":"2017-10-27T10:59:22","modified_gmt":"2017-10-27T08:59:22","slug":"how-it-all-began","status":"publish","type":"post","link":"https:\/\/www.facsimilefinder.com\/articles\/how-it-all-began\/","title":{"rendered":"How it All Began: The Story of Faksimile Verlag \u2013 part 4"},"content":{"rendered":"

It’s not easy to make a facsimile: a lot of \u00a0work goes into providing \u00a0libraries, book lovers <\/strong>and collectors<\/strong> with the volume of their dreams. How can publishers reach their goal of making a true facsimile of a precious ancient book<\/strong>, so that everyone can enjoy the beauty and the riches the written tomes provide? Let’s see how it all began.<\/p>\n

The Invention of Printing<\/h2>\n

Let us first approach the phenomenon of this book type from a historical perspective. Since the idea of making a facsimile is linked solely to the possibility of reproducing a manuscript for the first time as the relevant, existing technical means allow, then\u00a0we would\u00a0also\u00a0have to start the facsimile\u2019s history<\/strong> where our recording of printing begins.<\/p>\n

\"Hrabanus<\/a>
The image poems from the Hrabanus Maurus – Liber de laudibus sanctae Crucis in press have reshaped the Fulda manuscripts. The print from the year 1503 did not refer to a specific original, not even to the side with Louis the Pious form the \u00d6sterreichischen Nationalbibliothek<\/figcaption><\/figure>\n

Undoubtedly, the first printers strove to capture all the formal characteristics of the handwritten book<\/strong> in a form that could be reproduced ad infinitum<\/em>. At the beginning of the printed book<\/strong>,\u00a0the explicit wish was to have it match as closely as possible a handwritten codex<\/strong>. Originals were to be imitated and experienced vicariously.<\/p>\n

<\/span>The printed book was to appear as if written, not printed<\/span><\/div>\n

This meant that the new technology\u2019s possibilities were not used at their fullest. The\u00a0moveable type<\/strong> was employed too much \u2013 more than ten times the letters in the alphabet. Abbreviations, ligatures<\/strong>, which were technically superfluous now, were cast in great\u00a0abundance, just to approximate the manuscript<\/strong> look.<\/p>\n

\"Hrabanus<\/a>
The image poems from the Hrabanus Maurus – Liber de laudibus sanctae Crucis, form the \u00d6sterreichischen Nationalbibliothek<\/figcaption><\/figure>\n

At the dawn of the printing history<\/strong> we find many printed books that attempted to mirror the appearance of manuscripts, as is the case of\u00a0typological codices <\/strong>editions, the\u00a0Biblia pauperum<\/strong><\/a>\u00a0or the\u00a0Speculum humanae salvationis<\/strong><\/a>. The\u00a0Liber de Laudibus Sanctae Crucis<\/strong><\/a>\u00a0by\u00a0Hrabanus Maurus<\/strong>, first printed in 1503, represents a fine example whose 9th century marvelous picture poems<\/strong> had to be faithfully reproduced.<\/p>\n

What mattered here was not the reproduction of individual versions \u2013 such as those made for the archbishop of Mainz, for the pope or for the emperor \u2013 but only their shared content, which also imposed formal outward requirements.<\/p>\n

The Year 1600 \u2013 A New Kind of Book is Born<\/h2>\n

It is not until the 17th century that we encounter efforts to reproduce certain unica<\/em> in their individual form. The oldest example concerns a Carolingian manuscript<\/strong> that can be found in Leiden today, the Phainomena<\/strong> by Aratos of Soloi<\/em> (3rd century B.C.), in a Latin version dating from the second quarter of the 9th century.<\/p>\n

\"Leidener<\/a>
This picture comes from the 1660 printed Leidener Aratea, the first facsimile of the history book. Right from the model of the Carolingian manuscript, today in the Bibliotheek der Rijksuniversiteit, Leiden<\/figcaption><\/figure>\n

When he was just 17 years old, Hugo Grotius<\/em> acquired it and in the year 1600 had the manuscript printed according to the prevailing state of the art in those days. In doing so, he kept to the original\u2019s page makeup, laying out the pictures and text exactly as seen in the original, while having the text set normally in Antiqua<\/em> and placing the copperplate-engraved pictures<\/strong> next to it. He even adhered to the original dimensions. In his Aratea, Grotius laid out the pictures and text exactly as seen in the original.<\/p>\n

\"Leidener<\/a>
Leidener Aratea. Original in the Bibliotheek der Rijksuniversiteit, Leiden<\/figcaption><\/figure>\n

Today, this Aratea<\/a>\u00a0<\/strong>in the Latin translation by Claudius Caesar Germanicus<\/strong> \u2013 the very same famous Carolingian Leidner manuscript with its 39 full-page miniatures \u2013 exists in a contemporary facsimile edition<\/strong> published by Faksimile Verlag<\/strong>. Where the reproduction in 1600 caused damages to the original still visible to this day, modern methods of making facsimiles guarantee the complete protection of this repository of transmitted classical knowledge.<\/p>\n

Bumps on the Road<\/h2>\n

The 17th century also saw some less felicitous attempts at documenting individual manuscripts. For instance, the French antiquarian Nicolas-Claude Fabri de Peiresc<\/em>, circa 1620, desired to publish all the miniatures in the famous Cotton Genesis<\/strong>, which we can see today nearly destroyed due to a fire, and had the first copper engravings<\/strong> made. This edition, however, was just as little in evidence as the copper engravings edition of the miniatures from the Vergilius Vaticanus<\/strong><\/a> commissioned by the Roman antiquarian Cassiano dal Pozzo<\/em>. In the Acta Sanctorum<\/strong> (collected Acts of the Saints) of the 17th and 18th centuries there were also many attempts to emphasize individual manuscripts and to document their pictorial decorations<\/strong>.<\/p>\n

\"Picture<\/a>
Exact image of the label for the Emperor Friedrich III, from the volume the Golden Bull<\/figcaption><\/figure>\n

Th\u00fclemeyer’s Bulla Aurea<\/em><\/h2>\n

Only as the 17th century drew to a close it is possible to speak of another successful attempt at making a facsimile that resembles our modern conception. In 1697, the law historian Heinrich G\u00fcnther Th\u00fclemeyer <\/strong>published his Tractatio de Bulla aurea<\/strong><\/a> (Treatise on the Golden Bull) through Friedrich Fleischer<\/em> in Frankfurt. In the second part of this book we encounter the Copia Manuscripti Aureae Bullae Carolinae, quod in Augustissime Bibliotheca Caesarea Vindobonensis investitur \u2026.<\/em><\/p>\n

\"Colored<\/a>
We owe to H.G. Th\u00fclemeyer the first facsimile with a codicological commentary of a medieval illuminated manuscript. This is the cover of the handwritten original for king Wenceslaus<\/figcaption><\/figure>\n

For this edition, the publisher came up with a very clever process that respond to modern ideas of making a facsimile and built on the ideas of Hugo Grotius<\/em> from the Leidner Aratea<\/strong><\/a>.\u00a0First, he had all of the manuscript\u2019s miniatures<\/strong> engraved in copper in the original format and the text set identically line by line in Antiqua<\/em>.<\/p>\n

<\/span>Th\u00fclemeyer wrote a\u00a0detailed commentary\u00a0on the manuscript\u2019s documentation, as one would do for modern facsimile editions<\/span><\/div>\n

His concept of making a facsimile went so far as to match exactly the text and picture areas to the original format. Only the initial capitals<\/strong> were not individually engraved in copper, but instead were taken from the printer\u2019s inventory. The rubrications<\/strong> were accentuated as well by setting them in cursive type. Th\u00fclemeyer only made an exception when it came to the Golden Bull<\/strong><\/a>\u2019s title page: here he had the text and picture reproduced in the original size by a single copper engraving.<\/p>\n

\"Black<\/a>
1697 Frankfurt Print of the Golden Bull<\/figcaption><\/figure>\n

As is usual and mandatory for modern facsimile editions, Th\u00fclemeyer wrote a detailed commentary<\/strong> on the manuscript\u2019s documentation, which today forms part of the holdings of the \u00d6sterreichische Nationalbibliothek<\/strong> under shelf number 338. In his commentary, Th\u00fclemeyer even had the ex libris<\/em> of Emperor Friedrich III<\/strong>, from year 1444 \u2013 the famous AEIOU \u2013 reproduced, this too in the original size, in order to clarify the manuscript\u2019s history and its outward appearance. He was thus also the first one to make the book\u2019s cover part of the creation of a facsimile.<\/p>\n

Conclusions<\/h2>\n

The history of facsimiles doesn’t end with the end of the century, but whatever innovation the following years have brought must wait till next time. Have some more info on this topic? Let us know and don’t forget to visit facsimilefinder.com to see an example of the very special Golden Bull<\/strong><\/a>!<\/p>\n

Coming Next..<\/h2>\n
    \n
  1. The Story of Faksimile Verlag, Publisher of Fine Facsimile Editions \u2013 part 1<\/em><\/a><\/li>\n
  2. Facsimiles and the Role of Illuminated Manuscripts: the Story of Faksimile Verlag \u2013 part 2<\/em><\/a><\/li>\n
  3. \u00a0<\/strong>What is a Facsimile: the Story of Faksimile Verlag \u2013 part 3<\/em><\/a><\/li>\n
  4. How it All Began: the Story of Faksimile Verlag \u2013 part 4<\/em><\/li>\n
  5. From Analog to Digital: the Story of Faksimile Verlag \u2013 part 5<\/em><\/li>\n
  6. The Making Process of a Facsimile: the Story of Faksimile Verlag \u2013 part 6<\/em><\/li>\n
  7. Challenges and Magic of Facsimile Production: the Story of Faksimile Verlag \u2013 part 7<\/em><\/li>\n
  8. Binding, Paper, and Commentary: the Story of Faksimile Verlag \u2013 part 8<\/em><\/li>\n
  9. Treasures of the Past: the Story of Faksimile Verlag \u2013 part 9<\/em><\/li>\n
  10. Gems of the Middle Ages: the Story of Faksimile Verlag – part 10<\/em><\/li>\n
  11. Flemish, Burgundian, and Biblical Art: the Story of Faksimile Verlag \u2013 part 11<\/em><\/li>\n
  12. Middle Ages through the Manuscripts: the Story of Faksimile Verlag \u2013 part 12<\/em><\/li>\n
  13. The Challenges of Gothic Art: the Story of Faksimile Verlag \u2013 part 13<\/em><\/li>\n
  14. Ottonian and Charlemagne\u2019s Art: the Story of Faksimile Verlag \u2013 part 14<\/em><\/li>\n<\/ol>\n

    Subscribe to Our Newsletter<\/h2><\/span><\/p>\n

    <\/div><\/div><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

    The invention of printing is what primarly made the facsimile production possible, but the road was a long and hard one. What difficulties did the printers of the 15th century have to face, and what rewards did they eventually gain?<\/p>\n","protected":false},"author":13,"featured_media":4657,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[7,4],"tags":[121,16,45,12,10,96],"yoast_head":"\nThe story of Faksimile Verlag: how it all began<\/title>\n<meta name=\"description\" content=\"The history of facsimiles is a very interesting, albeit not an easy, one. What problems were encountered, what rewards were gained? 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