The Book Will Kill the Edifice? Mechanics Manuals and Learning to Draw in the Early and Mid-Nineteenth Century
In Notre-Dame de Paris, Victor Hugo (1802–1885) wrote, “the book will kill the edifice.” Spoken by Archdeacon Claude Frollo, this phrase signified the view that the Renaissance was “that setting sun we mistake for a dawn.”1 Understood as a revolution in tectonics away from the organic and toward the classical, the Renaissance had separated sculpture, painting, and architecture—carved and parceled them out from what was formerly a single edifice of Gothic construction. The mechanism? Printing. Whereas Gothic architecture had reflected and affirmed the entire intellectual investment of society, the various arts and sciences were now contained in books.
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Timing the Textbook: Capitalism, Development, and Western Knowledge in the Nineteenth-Century
Circa 1835, following a survey of recent Dutch publications in shogunal collections, the Japanese physician Koseki San’ei (1787–1839) concluded that among the strengths of new European approaches to education, a proactive attitude toward the power of cheap pedagogical print was paramount. European countries, Koseki declared, “produce affordable and easy-to-understand books on all arts and sciences, give them to impoverished scholars, and by doing so verse them in the arts and sciences.” “It is through this,” he maintained, “that they foster talent.”1
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Career Options in 1938
The Librarian: Vocational Film from 1947
This vocational film is interesting in a few different ways, including for its normative gender roles.