Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials Yannis Haralambous

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Yannis Haralambous. Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials. Tugboat, TeX Users Group, 1991, Proceedings of TeX90, 12 (1), pp.129-138. hal-02099292

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HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials

Yannis Haralambous U. F. R. de MathCmatiques, UniversitC de Lille - Flandres - Artois, 59655 Villeneuve d'Ascq, France.

Abstract Typesetting in the old style, with the corresponding types, besides being an art, is also a real pleasure. METAFONT allows the creation of faithful copies of these types and T&K gives the possibility of using them in the most traditional manner. In this spirit, the necessary fonts and macros to typeset in the Old German types: Gotisch (also called Textur), Schwabacher and F'raktur are presented in this paper, together with an historical introduction to each of them. Also, a set of initials is described. Rules for typesetting in these types are given, together with extracts from the original sources.

pleasure to read (esp. typeset) Goethe's poems in This paper is dedicated to Breitkopf's Fraktur as to hear (esp. play) Mozart's D. E. Knuth. Sonatas on a Stein's Pianoforte.

Old German Types This article shows the first results of a longterm Gotisch project on reconstructing old types and typesetting following the old rules, with 7Ji'J and METAFONT. Gutenberg chose the Bible as his first work for The work presented in this paper has been done on merely commercial reasons: only the churches and a Mac SE/30 with Ozmand MacMETAFONT. monasteries could afford to buy quantities of books. Consequently, the first types he created had to imitate manuscript characters, to be able to concurre General Introduction to the Project: with the beautiful manuscript Bibles produced by What's the Use of Reconstructing the monasteries themselves. This explains the fact Old Types? that Gutenberg's font is so elaborate. A similar situation arose with Venetian Greek renaissance types. Old types are beautiful. Until now, one could find which had to imitate Alexandrinian and Byzantine either modernized copies of them (for decorative 7Ji'J Greek handwriting. Hundreds of ligatures were use) or facsimiles of historical books. With used. and METAFONT, at last we have the possibility Gutenberg's font had 288 characters: besides to approach these types in the manner-and with the 25 uppercase (there is no distinction between I the care-of a collectionneur. Since there is no and J) and 27 lowercase (there are two kinds of s), commercial scope, no compromise needs to be made all the others are variant types, accented characters in the creation of the fonts. And once the META- and ligatures. FONTing is done, we can bring the fonts back to The font ygoth presented here, is not an exact life, by using them in new or old typesetting texts. copy of Gutenberg's font. It merely follows Guten- m and METAFONT are strong enough to achieve a berg's guidelines on lowercase characters and selects faithful reproduction of old works, and what's more, the uppercase ones from different 15th century delicate enough to allow a personal tone and new types. Please note that these uppercase characters ideas. Thanks to D. E. Knuth's work, typesetting are not suitable for "all capitals" typesetting. Here becomes an interpretative art within the reach of are the basic upper and lowercase characters: everyone. You can believe me, it is the same

Proceedings of W9O Yannis Haralambous

Schwabacher The name comes from Schwabach, a little German town in the south of Niirnberg. According to Updike [1927]. in fifteenth century German gothic or black- letter fonts, a differentiation of type-faces began to show itself, as we have seen, in the klmnopqr last twenty years of the century, between Ls twbbrp~ types that were somewhat pointed and a For all old German types. there is no distinction rounder, more cursive gothic letter, with between I and J; also there are two kinds of s: the certain peculiarities - the closed a, looped middle and initial "long s" and the final "short s:" b, dl h, and 1, and a tailed fans s. The first type was called "fraktur." The second was L s ultimately known as "schwabacher. " In composite words, a short s is used when some Schwabacher was in some extent the "bold- component of the word ends on s: face" font, compared to the usual Fraktur. The font presented here is called yswab. It is based on lgth century types. Nevertheless, some charac- Since it's almost impossible for a computer to know ters (such as the "Hebrew-like" question mark 2) if some s is long or short, you have to do it manually; have been taken from a contemporary book: A. type s : for a short s, like in Aus: gang or Alles :. Wikenhauser [1948], Das Evangelium nach Johan- The following ligatures are part of the font: nes. where John's text is written in Schwabacher and comments in Fraktur. Here are the basic upper and lowercase characters:

abcbefg@ijEImn opqre ftuvwrp3. ~PpePJ@QlgJ The following ligatures are included in the font: Rfliftf kbthr ff, ffl IT1 121 f'J Beside the ones shown above, there are variant For the vowels a, e,o, u with Umlaut, you have forms the choice between two forms: for the older one (a small "en over the letter) you need to type a * + at positions '052, '057, '075 of the font. Because of vowel combination, and for the newer one a " + vowel combination. So, by typing *a, *e, *o: *u: the many ligatures. there is no place left for special "a. "e, "0, "u, you get characters (I used only 128-character fonts). You'll dt6uii20ii have to switch to CM for #, $, %, &. *. +$,=. etc. For the vowels a, e, o, u with Umlaut and for the 8, respectively. I followed Partl's [I9881 convention: just type "a, "e, "0, "u, "s (e is used in Flemish) to obtain: Fraktur diiifit. The first Fraktur type was created by Johann The difference with Partl's approach is that Schonsperger in Augsburg to typeset the book of in our case "a, "e, etc.. are ligatures. Since 8 prayers of Kaiser Maximilian (1513). Some years historically comes from the ligature s+z (8 is called later, Hieronymus Andreae created a new Fraktur es-zet), by typing either "s or sz, you get the same type, used by Diirer for the printing of his theoretical output. works. In the 17th century, Fraktur had a period In Appendix A you can find a sample of the of decline. It was only in the fall of the lath font: it is an extract of Luther's Bible (1534), in the century that some progressive typographers like original orthograph. G. I. Breitkopf and J. F. Unger gave Fraktur a new breath, by creating new fonts with the aesthetic

Proceedings of W9O Typesetting Old German

trend of uniformisation of Nazism didn't leave much place for zsthetic improvements or changes. Texts like %arum beutfcfy Ocfyift? (Why german type?) by G. Barthel [1934], and QerauB au5 ber (?5c$riitWelenbung! (No more degenerate writ- ing!) by T. Thormeyer [I9341 (. ..bie 8unbungen baben nicbtO mlt bem beutfcben OpannungBbebiirfn[5 gemein (am. DaB @c$melgen in abgrrunbeten Barmen Eann man anbern gationen iiberlafen ...) show that Nazis tried to use Fraktur as a symbol of the German nation. But - an historical paradox-it was the Nazis themselves who abolished Fraktur in 1941*. In a recent edition of the Brockhaus, one can find the sentence "Die nationalsozialist. Regierung lief3 die Frakt ur 1941 aus ZweckrnaBigkeitsgriinden von Arnts wegen abschaffen. Ob sie damit eine Entscheidung traf, die ohnehin im Zuge der Entwicklung lag, ist schwer zu beurteilen ..." (it is hard to say if the Nazi decision of abolishing Fraktur was really in the sense of development...): there is a certain nostalgic in these words. Today Fraktur is used mainly for decorative purposes (a nice counterexample is the dtv pocket edition of Mozart's correspondence: his letters are in Fraktur and the comments in Antiqua). Also. there are methods for the old German handwriting (Siiterlin) which also includes Fraktur (for example,%ir leien beutfcbe Ocbrift, bei A. Kiewel et a1 [1989]). Let's return now to TEX: the font yfrak which I propose is in the old Breitkopf style. Here are the standards of their time. Especially Cnger's font seems to lay more in the lgth century spirit. abcbefgbiiflmn Gottlob Immanuel Breitkopf (1719 - 1794) lived opqr8 (tubmrqd. in Leipzig. He travelled a lot, studied French, It contains the same ligatures and Umlauts as English and other foreign fonts and wrote an article yswab. The symbols 2C (which means "etc") and (Breitkopf [1793]) on the situation of typographers 8 (an attempt to differentiate I and J) are in font and typography in Leipzig at the time. In 1754, he positions '044 and '1 00 respectively. You can find a was first to use removable types to typeset music. sample of the font in Appendix B. It is the begining His name is familiar to all musicians and friends of of the second part of Carl Philipp Emanuel Bach's music, because of the famous Breitkopf & Hartel treatise on the true art of playing the keyboard editions of complete works of Bach, Beethoven, etc. (which meant the harpsichord and/or clavichord) After Breitkopf, the "official" version of Fraktur "%erfuct) iibrr bie roaljre art bag &labier du (pielen" 117621. (newspapers and official documents) didn't evolve very much. In the lgth century, with all its social- * There seems to have been some secrecy around and artistic - turbulence, many decorative Fraktur this decision of the Nazis. The only data I types were made. most of them monstrous (for could find is a short and cryptical reference in example. see Knebel [1870]). A final renovative the 1941 DIN-booklet on typographic standards: effort was made in the 1920s by artists like Walter "Bekanntgebung 11 EM 8408141 vom 26 Juli 1941 Tiemann and others. Unfortunately, the destructive des Reichswirtschaftsministers an den Deutschen Normenauschlul3". I would be very obliged if some reader could provide me with more information.

Proceedings of W9O Yannis Haralambous

Initials eindelborfc$riften fur ben &$riftfat, The chancery initials, which you can see in Ap- pendix B and C, are a revival of baroque designs. (Sn biefem Ubfcbnitte tellen mir einige Eingelborfcljriften This makes them suitable for both old and new aufammen, beren allgemeine Qefolgung fiir bie Einbeitlicbfeit texts. They form the font yinit. You have bei ber $)erfteIlung bon 9rucffacben feljr miinfct)enBmert mare. the choice of creating characters with depth zero, Qigaturen IE, ae, (E, oe ftatt Ae, ae, Oe, oe. fSn Iateinifcben %ortern finb bie eigaturen nicbt angumenben, or characters with height equal to cap-height of 8. cmrl0 (with the corresponding magnification) and a. Caelius mons, Asa foetida. fSn franadfifcben the biggest part of the character under the baseline. %ortern, bie im beutfcben @a$ bertreut borfommen, mu%, For this, there is a boolean parameter zero-depth mie im frangofifcben Oat, iiberbaupt, fie10 (E unb ae gefe$t in the yinit .mf parameter file. To typeset the merben, i. %. auvres, sceur. Oelbff bei jJrafturfa$ barf initial D of Appendix B, I used the macro \yini- auf bad fleine la nicbt bergicbtet merben, 8, %. $)orBb'laubre. t ialCD) as follows (with zero-depth : =false) 6onwge Qigaturen. fSn %ortberfcbme[dungen mie @ct)ifa$rt, @cljnellaufer, alliebenb, b. 6. alfo in %ortern, \def\yinitial#l bie bon brei gleicben %itlauten einen auBgeffo$en baben, iff bie C\hangindent=2.54cm eigatur andumenben, menn fie in ber betrefenben Ocbriftgattung \hangaf t er=-4 borbanben it. Die eigatur iff ferner iiberall ba angumenben, \hskip-3.24cm mo fie bie fprac$lic$e 9Iicbtigfeit nicbt ffort, 4. %. benulen, \lower-2.7mm abflauen, Billarb, nicljt aber in einfacben '&fammenfet,ungen \hbox(\yinit #I) mie entamei, Raufleute, bielleicbt. \hskipl.5mrn) Ber 3ucIjftabe tj in frembfprac~icIjem6at3. Of course, all these parameters will need some %enn au8 einem Deutfcben %amen, in bem $ borfommt, burcb adjustment, according to the interline skip and the Bnfiigung einer &ateinifcben enbung ein 2ateinifcbeB sort textfont you are using. Note also that \par stops gebilbet mirb, fo bIeibt bag $ erbalten, e0 erfc$t.int aIfo the execution of \hangafter. It wouldbe better to aiB J3 (in Bntiqua). 60mirb a. @. aul %titenburg: use \hf ill\break\indent instead. Weifienburgensis (ber Codex Weifienburgensis) . Eben, fo mirb J3 gefetjt, menn beutfcbe Eigennamen mil $ in fremb. Typesetting Rules fpracblicbem @a$ erfcbeinen, a. %. : Monsieur Afimann a 6t6 B Paris. Ho trovato il Signor Grofie a Venezia. In the following text, taken from the Duden ufw. - 2c - etc. (Sm beutfcben @ate iff ,,unb fo meiter" (Mulsing and Schmidt [1919]) many fine points ber amtlicben %orfc$rift #ma$ burcb ufm. abiufiiraen, unb gmar of typesetting in Fraktur are explained. The essen- forno!$ in graftur mie in Bntiqua. Die Sorm tc, bit ficb inner. tial points are the following: 1) don't use ligatures balb ber eautfcljrift mie eine $)ieroglt)pbe, mie ein gertreter ber in Latin Antiqua words, use them in French Antiqua 3eicljenfc$rift, aufnimmt, iff beraltet unb nicbt mebr angumen# and in French Fraktur: 2) in a composite word, do ben. not use ligatures between adjacent letters of two Die etc barf nur im antiquafa$ angemanbt merben, components 3) the antiqua fi is to be used in Ger- germ mirb aber befer burcl) USW.erfe$t. Biir Iateinifcben @a$, alfo man words and names regardless of the language; innerbalb loteinifcben ZeyteB, iff etc. felbffbertanblicb. gerner 4) the Latin "etc" is to be translated as ufm.. and fei ermabnt, ba$ bie Sraniofen unb Englanber &c., bie 3taliener its older form 2c should not be used anymore; 5) ecc. unb bie Opanier etc. bermenben, unb imar fet,en alle concerning foreign words in German. use Raktur Pet0 einen Beiffricb bor biefe Ubfiirgungen, ma0 im Deutfcben when the word has been "germanized", otherwise nicbt iiblicb ifi. use antiqua: 6) the hyphen should always be used Unwenbung ber Untiqua im fratturfatj. Um in Fraktur, except when it appears between two bem bifberigen Ocbmanfen in ber %a$[ imifcben Untiqua unb antiqua words; 7) in 1879, Daniel Sanders proposed graftur ein Enbe gu macben, empfieblt eB ficb foigenbe @runb+ as an alternative to fS for the letter J; it would be 3 fate beobacbten: nice if authorities recognized it. au 1. UIle @rembmorter romanifcben UrfprungB, bit nlcbt burcl) Unnabme beutfcber aiegung ober beutfcber $autbegeic$p nung a10 eingebeutfcbt erfcbeinen, fete man auB Untiqua, i. %. en avant, en arrikre, en vogue, in praxi, in petto; a conto, dolce far niente; ferner %binbun. gen mie Agent provocateur, Tempi passati, Lapsus linguae. Agnus Dei. %ucb alle italienifcljen tecbnifcljen

Proceedings of m9O Typesetting Old German

'Uu8briicfe au8 ber Zonfuntl, mie andante. adagio, mod- References erato, vivace. fege man 'Untiqua. .Die bor-lateinifiben Bach, Carl Philipp Enlanuel. Versuch iiber die @'prac$e ontllammenben %egeic$nungen Dur unb Boll finb a18 wahre Art das Clavier zu spielen. Zweyter Theil, eingebeutfcbte f3auptmorter aufjufa1Ien unb baber grofi iu fegen, in welchem die Lehre von dem Accompagnement j. 23. ~.%ur. und der freyen Fantasie abgehandelt wird. Berlin: 2. Senn ein Srembmort beutfche fautbejeicbnung ober G. L. Winter, 1762. beutfcbe Biegung annimmt ober mit einem beutfcben Borte Barthel, Gustav. "Warum deutsche Schrift?" Schrift jufammengefeijt mirb, fo fete man e8 ai8 graftur, j. #. und Schreiben 4, pages 98- 130, 1934. adagio, aber: ba8 'Ubagio, bie %agio$; a conto, aber: bie Breitkopf, Johann Gottlob Immanuel. "Ueber Buch- 'Ufontoja$lung; dolce far niente, aber: ba8 %olcefarniente. Unwenbung bee 23inbeftriclje in fraPturfat3, druckerey und Buchhandel in Leipzig." Journal 5, ber mit Untiqua vermipbt ift. Senn in Srafturfatj bei fiir Fabrik, Manufaktur und Handlung pages 1 - 57, 1793. %or$ufammtnfegungen ber eine %il ber Sufammenfegung au8 Faulmann. Carl. Das Buch der Schrift, enthaltend 'Untiqua gefegt merben mufi, fo finb etma borfommenbe %inbe+ die Schriftzeichen und Alphabete aller Zeiten und fricbe nu8 ber %tfc$rift, alfo au8 fjraftur, fegen, %. $u !,. aller Volker des Erdkreises. Wien: Druck und CGS+%a$fqlem. Eine au8nabme mirb nur bann gemacbt, Verlag der kaiserlich-koniglichen Hof- und Staats- menn ber mit bem %inbefiric$ {cbliefienbe erte (antiquad) %e. druckerei, 1880. fianbteil an bag Enbe einer '@le ober in 8lammern feben du Glaister, Geoffrey Ashall. Glaister's Glossary of the fommt; in biefem Salk if ber %inbefric$ au8 antiqua du fetjen. Book. London: 1960. 3n befonberen Sillen fann aucb eine 23ermifcbung bon Braftur. Kiewel, Albert, Eberhard Dietrich, Inghild Stolting, unb Untiquabinbeflricljen fattfinben, j. 8. $oftbeater.Corps- and Heinold Wachtendorf. Wir lesen deutsche de-ballet; benn innerbalb be8 au8 antiqua gefeijten %orte8 Schrift. Hannover: Kallmeyer'sche Verlagsbuch- miifen aucf) bie %inbefiric$e nu8 'Untiqua gefetjt merben. handlung, 1989. 3 (Selbfllaut) unb 3 (lllitlaut) in ber lad Knebel, P. Sammlung der gebrauchlisten Schriftgat- teinifcben brucEF6rift. 3n ber lateinifcfyn 9rucffcbrift tungen. Landshut: Verlag der Jos. Thomann'schen mirb jmifcben bem Oelbflaut unb bem %itlaut 3 genau unter. Buchhandlung, 1870. fcbieben, unb dmar fie@ I au8fc$liefilicb fur ben Celbfilaut, J Miilsing, Ernst and Schmidt Alfred. Duden, Recht- au8fcbliefilicb fur ben Bitlaut. 3iefe Unterfcbeibung macben schreibung der deutschen Sprache und der alle neueren Opracben. Dafi bie beutfcbe arucffcbrift einen Fremdworter. Leipzig und Wien: Bibliographis- Unterfcbieb dmifcben 3 (Celbfilaut) unb 3 (%itlaut) nicbt ches Institut. 1919. fennt, ifl ein grofier Bangel. Diefen Bango1 iu befeitigen ber. Partl, Hubert. "German w."TUGboat 9 (I), fucbto fcbon 1879 aaniel OanberB, inbem er fur ben %itlout pages 70 - 72. ba8 $eic$en 9 empfabl. 9iefe8 8eicben if $cute nur bereinjelt Stiebner, Erhardt. Helmut Huber and Heribert in Brucfen du finben, bat PC$ aifo nicbt alIgemein eingebiirgert Zahn. Schriften + Zeichen. Miinchen: Bruckmann. unb if aucb nicbt amt1icb anerfannt morben. E8 mare fe$r ju 1987. miinfc$en, bafi aucb in beutfcber &$rift ein Unterfcbieb jimb Thormeyer. Traugott . 'LHeraus aus der Schriftver- fcben (OeIb$iaut) unb (Bitlaut) gefcbafen unb bon ber 3 3 elendung!" Schrift und Schreiben 4, pages 131 - juflanbigen aeborbe anerfannt murbe, unb jmar um fo mefir, 136, 1934. a18 er bei ben fleinen %uc$faben fomobl in beutfcber (it i) Updike, D. B. Printing Types. 1927. mie in lateinifcber (i, j) Ocbrift bereit8 feit langem befebt. Walther, Karl Klaus. Lexikon der Buchkunst und Bibliophilie. Leipzig: Bibliographisches Institut. Availability 1987. Following a tradition of my friend Klaus Thull. Wikenhauser, Alfred. Das Evangelium nach Johan- these fonts are in the public domain. They should nes. Regensburg: Friedrich Pustet, 1948. be available at the Aston and Heidelberg archives. Also, you can obtain them at my address. The status of this software is postcard-ware: each satisfied user could send me a nice local postcard for my collection.

Proceedings of m90 Yannis Haralambous

Appendix A 8# 11

An extract from Luther's Bible

Proceedings of w90 Typesetting Old German

Appendix B

it Q)rgel, btr f If gel, bag fortepiano unb baa Cia, picorb finb bit gtbrlucblifltn Blabitrinflrumtntc bum %I. compagnement . 6. 2. e8 it Ocbabe, bafj bit Fbdnt erfinbung btf' 30lfelbifcben 3ogkdaoiere nocb nicbi gtmtinni$ig gtmorbtn ifl; man fann babtro btftn btfonbtrt inorbigt bierinnen nocb nicht gtnau btflimmtn. e8 ifl gtmif, ju glaubtn, baB t8 fie$ aucb beg btr btgltitung gut aulntbmtn merbe. $. 3. %it argel ifl btq ~irc$tnfac$tn,mtgtn btr Bugtn, fladtn Bbdrt, unb lbtrbaupt btr Binbung megtn untntbebrlicb. @it befdrbtrt bit Pracbt unb trbdlt bit Drbnung. 5. 4. @o balb abtr in btr 8ircbt 8tcitatibe unb %ritn, btfonbtr8 folcbt, mo bit Ritttlflimmtn btr Qingflimme, burcb tin flmptl %ccompagntmtnt alle grtq$eit bum intrdnbtrn laftn, mit borfommtn, fo muf, tin flllgel babep ftqn. %an bdrt leqbtr mtbr al8 ju oft, mit fa$[ in bieftm Balk bit %ulfii$rung obne Btgltitung be8 @lugel%au8fillt. $. 5. %it$$ itpert lnflrumtnt ifl auftrbtm beqm Sbtattr unb in btr eammtr mtgtn fokbtr %ritn unb 8tcitatibt untntbebrliclj. $. 6. %a8 fortepiano unb ba8 Claoicorb unttrfll$tn am btfltn tint UuBfiibrung, loo bit grdfltn Btinighittn be8 btfc$macf8 b~rf~fnj?Itn.%ur molltn gtmife @anger litbtr mit btm Claoicorb obtr fhigel, a18 mit itntm Inflrumtntt accompagnirt ftgn. $. 7. &an fann alfo obnt btgltitung tint8 Blabitrinflrumtnt8 ftin Oticf aufibrtn. %uc$ beg btn fllrffltn %ufiftn, in Dptm, fo gar unttr frtt)tm $)immtl, DO man gemif, glaubtn foltt, nicbt ba8 gtringflt tom fjllgtl ju bdrtn, atrmif,t man iljn, mtnn tr mtgbltibt. $drt man in btr $)dl)( bu fo fann man itbtn Son btftlbtn btutlicb btrntbmtn. 3cl) fprtcbt au8 btr drfabrung unb itbtrmann fann t8 betfucbtn. 8. Cinigt laftn fie@ btgm bolo mit btr bratfcfy obtr gar mit ioline obnt Blabitr begleiten. %tnn bitpa au8 %otb, megtn %angel an guten Blabitrifltn, gtfc$itbtt, fo mu6 man fie tntfcbulbigtn; (on@ abtr gtbtn beg bit/tr ht bon Uu8fll)rung bitle Unglticbbtittn or%u8 btm bolo mirb tin %uttt, mtnn btr BaB gut gtarbtittt ifl; iP tr fc$kct)t, mie An extract from C. P. E. Bach's Treatise on the true Art of playing the Keyboard

Proceedings of W9O Yannis Haralambous

Appendix C

The font yinit scaled 1728

Proceedings of W9O Typesetting Old German

Appendix D Late Breaking News

I would like to thank Frau Franziska Kaiser Rather a sad way for such a beautiful type to for finding me (after many attempts) a copy of the die, especially if one considers all the masterpieces official order of the German Nazist Party, abolishing of the first centuries of typography! Of course the Fraktur and Schwabacher from all printed items. real reasons of this event -which occured exactly The argumentation given is typical of the Nazist 50 years ago- are not the ones mentionned in Party (antisemitic and illogical) : the document ... perhaps historians will find them "...It is ordered that from now on only the some day. My personal opinion is that even if an normal type is to be used for all printed documents. analogous reform would be applied sooner or later As normal type, the antiqua type is meant. The so- it should have a completely different argumentation called gothic type (Fraktur) is not a german type but (for example the readability of Fraktur in com- goes back to the schwabacher jew-letters. This type parison to Antiqua) and should leave printers the has been strongly used in Germany because Jews freedom of choice: uniformization by force always owned the printing works already since typography brings flatness and sterility. was introduced, and later on the newspapers ..."

Proceedings of w9O Yannis Haralambous

Order of the Nazist Party Forbidding the use of Fraktur

Proceedings of W9O