The appeal of an old picture book is rarely to its beauty, though beautiful it often is, but rather to its humanity.
Context: Alfred W. Pollard, in his essay 'Old Picture Books,' highlights the primary charm of early illustrated books, suggesting their allure lies not just in aesthetics but in their deep connection to human history and the lives of their creators and original audience.
The coming of printing marked no sudden revolution in the history of books, but rather a gradual evolution, a quickening of processes already in being.
Context: Pollard, in 'The Printed Book,' challenges the popular notion of printing as an abrupt, transformative invention. He argues instead that it was a continuous development building upon centuries of manuscript tradition and scribal practices.
Good illustration is not merely a decoration super-added to the text, but an interpretation, an amplification, and sometimes even an argument.
Context: In 'The Illustration of Books,' Pollard articulates his perspective on the profound role of book illustration. He asserts that it serves a deeper purpose than mere adornment, actively engaging with and enriching the written content through visual means.
To the bibliographer, the incunabula are not merely curiosities of age, but vital documents for tracing the infancy of typography.
Context: From his essay 'Incunabula,' Pollard explains the scholarly significance of books printed before 1501. He emphasizes their crucial role as primary sources for understanding the earliest stages and developmental history of printing technology.
True decoration should grow out of the book itself, reflecting its spirit and aiding its purpose, never overwhelming its essential character.
Context: Pollard, discussing 'The Decoration of Books,' outlines a guiding principle for effective book design. He advocates for decorative elements that are integral to the book's identity and function, rather than extraneous embellishments.
A book, rightly considered, is a complex organism, wherein matter, form, and spirit are indissolubly wedded.
Context: In 'The Book as a Work of Art,' Pollard expresses a holistic view of the book as an artistic entity. He suggests that its physical components, design, and intellectual content are inseparable elements contributing to its overall artistic merit and identity.
The passion for collecting is an instinct as old as humanity, varying only in its objects and the intensity of its manifestation.
Context: From 'English Book Collectors,' Pollard reflects on the fundamental human drive behind collecting, specifically books. He frames it as a timeless desire for accumulation and preservation that finds unique expression in the pursuit of rare and significant texts.
The Gutenberg Bible stands as a monument, not only to typography but to human endeavour and the enduring power of sacred text.
Context: In his essay on 'The Gutenberg Bible,' Pollard describes its profound significance. He recognizes it not only as a pivotal achievement in printing technology but also as a testament to human ingenuity and the lasting impact of religious scripture.
Whatever changes the future may bring, the intrinsic value of the printed word, carefully arranged and beautifully presented, will never wholly pass away.
Context: Speculating on 'The Future of the Book,' Pollard asserts his belief in the enduring importance and aesthetic appeal of well-crafted physical books. He maintains that their inherent worth will persist despite potential technological advancements.
An old book has a voice, though silent, that speaks of generations past, of hands that turned its pages, and minds that absorbed its wisdom.
Context: In 'Books and their Association,' Pollard personifies old books, attributing to them a quiet yet powerful ability to evoke their history. They connect the present reader with past owners and the intellectual lineage they represent.
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