666699Two Poetshttps://www.gandhi.com.mx/two-poets-5/phttps://gandhi.vtexassets.com/arquivos/ids/1286770/df609c53-9b60-46c6-ab01-aeeced5d9aef.jpg?v=63833778940203000092102MXNLibrary of AlexandriaInStock/Ebooks/At the time when this story opens, the Stanhope press and the ink-distributing roller were not as yet in general use in small provincial printing establishments. Even at Angouleme, so closely connected through its paper-mills with the art of typography in Paris, the only machinery in use was the primitive wooden invention to which the language owes a figure of speech"the press groans" was no mere rhetorical expression in those days. Leather ink-balls were still used in old-fashioned printing houses; the pressman dabbed the ink by hand on the characters, and the movable table on which the form of type was placed in readiness for the sheet of paper, being made of marble, literally deserved its name of "impression-stone." Modern machinery has swept all this old-world mechanism into oblivion; the wooden press which, with all its imperfections, turned out such beautiful work for the Elzevirs, Plantin, Aldus, and Didot is so completely forgotten, that something must be said as to the obsolete gear on which Jerome-Nicolas Sechard set an almost superstitious affection, for it plays a part in this chronicle of great small things. Sechard had been in his time a journeyman pressman, a "bear" in compositors slang. The continued pacing to and fro of the pressman from ink-table to press, from press to ink-table, no doubt suggested the nickname. The "bears," however, make matters even by calling the compositors monkeys, on account of the nimble industry displayed by those gentlemen in picking out the type from the hundred and fifty-two compartments of the cases....662291Two Poets92102https://www.gandhi.com.mx/two-poets-5/phttps://gandhi.vtexassets.com/arquivos/ids/1286770/df609c53-9b60-46c6-ab01-aeeced5d9aef.jpg?v=638337789402030000InStockMXN99999DIEbook20219781613100639_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_At the time when this story opens, the Stanhope press and the ink-distributing roller were not as yet in general use in small provincial printing establishments. Even at Angouleme, so closely connected through its paper-mills with the art of typography in Paris, the only machinery in use was the primitive wooden invention to which the language owes a figure of speechthe press groans was no mere rhetorical expression in those days. Leather ink-balls were still used in old-fashioned printing houses; the pressman dabbed the ink by hand on the characters, and the movable table on which the form of type was placed in readiness for the sheet of paper, being made of marble, literally deserved its name of impression-stone. Modern machinery has swept all this old-world mechanism into oblivion; the wooden press which, with all its imperfections, turned out such beautiful work for the Elzevirs, Plantin, Aldus, and Didot is so completely forgotten, that something must be said as to the obsolete gear on which Jerome-Nicolas Sechard set an almost superstitious affection, for it plays a part in this chronicle of great small things. Sechard had been in his time a journeyman pressman, a bear in compositors slang. The continued pacing to and fro of the pressman from ink-table to press, from press to ink-table, no doubt suggested the nickname. The bears, however, make matters even by calling the compositors monkeys, on account of the nimble industry displayed by those gentlemen in picking out the type from the hundred and fifty-two compartments of the cases....(*_*)9781613100639_At the time when this story opens, the Stanhope press and the ink-distributing roller were not as yet in general use in small provincial printing establishments. Even at Angouleme, so closely connected through its paper-mills with the art of typography in Paris, the only machinery in use was the primitive wooden invention to which the language owes a figure of speech"the press groans" was no mere rhetorical expression in those days. Leather ink-balls were still used in old-fashioned printing houses; the pressman dabbed the ink by hand on the characters, and the movable table on which the form of type was placed in readiness for the sheet of paper, being made of marble, literally deserved its name of "impression-stone." Modern machinery has swept all this old-world mechanism into oblivion; the wooden press which, with all its imperfections, turned out such beautiful work for the Elzevirs, Plantin, Aldus, and Didot is so completely forgotten, that something must be said as to the obsolete gear on which Jerome-Nicolas Sechard set an almost superstitious affection, for it plays a part in this chronicle of great small things. Sechard had been in his time a journeyman pressman, a "bear" in compositors slang. The continued pacing to and fro of the pressman from ink-table to press, from press to ink-table, no doubt suggested the nickname. The "bears," however, make matters even by calling the compositors monkeys, on account of the nimble industry displayed by those gentlemen in picking out the type from the hundred and fifty-two compartments of the cases....9781613100639_Library of Alexandrialibro_electonico_47ff25d9-10fe-35d1-b803-750f632725ae_9781613100639;9781613100639_9781613100639Honore deInglésMéxicohttps://getbook.kobo.com/koboid-prod-public/markmoxford-epub-81651c05-8445-4685-834c-ba1ae9a63181.epub2021-02-24T00:00:00+00:00Library of Alexandria