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284 $<► NOTES ТО PAGES 124-29
11. Paul Saenger, “The Circle of Sedulius Scottus,” in Space Between
Words: The Origins of Silent Reading (Palo Alto: Stanford University
Press, 1997), 109-15.
12. Murphy, “Hyphens in Greek Manuscripts,” 296-99.
13. Ibid.
14. Saenger, “Silent Reading,” 367-414.
15. N. R. Ker, “Introduction,” in Catalogue of Manuscripts Containing
Anglo-Saxon, volume 1 (Oxford, UK: Clarendon Press, 1957), xxxv-
xxxvi; Paul Saenger, “Traits d’Union,” in Space Between Words: The
Origins of Silent Reading (Palo Alto: Stanford University Press, 1997),
65-67.
16. E. A. Lowe, “Punctuation,” in The Beneventan Script: A History of
the South Italian Minuscule (Oxford, UK: Clarendon Press, 1914),
277-79; Saenger, “Traits d’Union,” 65-67.
17. Paul Saenger, Telephone interview, April 2012.
18. Rabinovitch, “Thousands of Hyphens Perish as English Marches On.”
19. Morimichi Watanabe, “An Appreciation,” in C. M. Bellitto, T. M.
Izbicki, and G. Christianson, eds., Introducing Nicholas of Cusa: A
Guide to a Renaissance Man (Mahwah, NJ: Paulist Press, 2004), 24.
20. Brian A. Pavlac, “Reform,” in Ibid., 112.
21. John Man, “A Hercules Labouring for Unity,” in The Gutenberg
Revolution: How Printing Changed the Course of History (London:
Transworld Publishers, May 2010), 84-104.
22. John Man, “In Search of a Bestseller,” in Ibid., 141-62.
23. British Library, “The Three Phases in the Printing Process,” Guten-
bergBible, http://www.bl.uk/treasures/gutenberg/threephases.html
[last accessed May 30,2012}.
24. John Boardley, “The Origins of ABC,” I Love Typography, August
7, 2010, http://ilovetypography.com/2010/08/07/where-does-the-
alphabet-come-from/; S. Fiissel, “The ‘Work of the Books’: The
42-Line Bible,” in Gutenberg and the Impact of Printing (Farnham,
UK: Ashgate Pub., 2005), 18-22.
25. British Library, “The Copy on Vellum—The Decoration,” Guten-
bergBible, http://www.bl.uk/treasures/gutenberg/vellumdecoration.
html [last accessed March 13,2012}.
■
NOTES TO PAGES I29-33 §<► 285
26. H. Zapf, “About Micro-Typography and the Hz-Program,” Elec¬
tronic Publishing 6, no. 3 (1993): 283-88.
27. Ibid.
28. B. L. Ullman, “The Gothic Script of the Late Middle Ages,” in
Ancient Writingandits Influence (Lanham, MD: Cooper Square Pub¬
lishers, 1963), 118-30.
29. “The Appearance of the Bible,” The Gutenberg Bible at the Ran¬
som Center, http://www.hrc.utexas.edu/exhibitions/permanent/
gutenberg/html/6.html [last accessedjune 24,2011].
30. R. G. C. Proctor and F. S. Isaac, An Index to the Early Printed Books
in the British Museum with Notes of Those in the Bodleian Library (n.p. :
BiblioBazaar, 2010).
31. S. Fiissel, “Bringing the Technical Inventions Together,” in Guten¬
berg and the Impact ofPrinting (Farnham, UK: Ashgate Pub., 2005),
15-18.
32. Johannes Gutenberg, “Latin Bible (the ‘Gutenberg Bible’),”
Special Collections and Archives, http://smu.edu/bridwell_tools/
specialcollections/Highlights2oio/o6ii7-Gutenberg-Bible-Leave.
jpg [last accessed August 27, 2012]; University of Chicago Press,
“Word Division,” in The Chicago Manual of Style, 16 th edition (Chi¬
cago: University of Chicago Press, 2010), 358-61.
33. Gutenberg, “Latin Bible (the ‘Gutenberg Bible’)”; R. M. Ritter,
“Punctuation,” in The Oxford Style Manual {Oxford: Oxford Uni¬
versity Press, 2003), 133-40.
34. John Man, “The Bible,” in The Gutenberg Revolution: How Printing
Changed the Course of History (London: Transworld Publishers, May
2010), 169-70.
35. Geoffrey A. Glaister, “Hand Composition,” in Encyclopedia of the
Book (New Castle, DE: Oak Knoll Press, 1996), 216-18.
36. Harry McIntosh, Personal interview, April 2012.
37. T. L. De Vinne, “Notes and Illustrations,” in The Practice of Typogra¬
phy: Modern Methods of Book Composition (New York: Century, 1904),
276-88; A. Hutt, “The Birth of the Newspaper,” in The Changing
Newspaper: Typographic Trends in Britain and America 1622-1972
(London: Gordon Fraser, 1973), 15-42; R. Wendorf, “Unnoticed: