A great deal has been learned in recent years about the economics of publishing in general, and it is possible therefore to document the financial circumstances under which many individual textbooks were produced. As with other kinds of books, we see a movement away from the subsidized production that characterized the earliest printing ventures and towards genuine market products in the sense of books produced on speculation. Increasingly publishers were betting on a large existing demand, on a ready market for new textbooks, or on their ability to create demand through advertising. (50)

In some ways, textbooks, particularly the perennial favorites inherited from the Middle Ages, were ahead of the market in this regard because at every period some of them could be produced cheaply for students every printer knew were out there. Even in the early years of printing, when teachers did not expect every student to have a textbook in hand, they could see the value of doing so if the text was an old standard and the booklet in question was cheap enough. As we will see in the chapters to follow, some of these smaller textbooks were bread-and-butter work for printers who could produce them quickly in the down time between larger and riskier projects.

Large texts and suites of textbooks designed to fit a particular teacher's course were among the earliest examples we know of collaborative publishing with shared risk among investors. The risks could be minimized by having a successful teacher as collaborator, since he could guarantee that his present and future students would buy the books. Sometimes these teachers also provided part of the cash needed to capitalize the venture, while in other cases, printers or their backers undertook all the financial risk on speculation that the reputation of a well-known teacher would create a market. This latter case was particularly likely for university-level textbooks, where the investment was large but the authors were genuine celebrities. Local grammar masters in the fifteenth century had less fame, so they often had to participate financially themselves if they wished to publish new and untried works. In the sixteenth century it was rarer for teachers to invest, but there are probable cases as late as the fifteen forties.  (51)

NOTES
Open Bibliography (330 KB pdf)
(50) On the direct involvement of grammar masters in early, subsidized printing ventures, see Balsamo 2006, 138-140. More generally on the organization of capital and labor in the Italian printing industry in the early years, ibid., 12-20.
(51) Priscianese 1540 and Cafaro 1546, for example, discussed in chapters two and seven. For a case of direct marketing to a teacher, see Signaroli 2006, 76-78.

Posted by admin on September 16, 2008
Tags: Introduction

Total comments on this page: 3

How to read/write comments

Comments on specific paragraphs:

Click the icon to the right of a paragraph

  • If there are no prior comments there, a comment entry form will appear automatically
  • If there are already comments, you will see them and the form will be at the bottom of the thread

Comments on the page as a whole:

Click the icon to the right of the page title (works the same as paragraphs)

Comments

No comments yet.

milestbird on whole page :

The growth in interest in publishing classics for universities and private gain must have brought about a discussion of copyright issues and infringement. When did our modern notion of copyright come about? Did it have its roots in this era?

October 11, 2011 11:59 am
milestbird on whole page :

During the growth in demand for classical texts to be used for educational purposes, a discussion of how to best copyright materials most likely arose as well – did our modern copyright laws originate during this time period? How grammar masters and teachers insure that their teaching would not be stolen?

October 11, 2011 12:01 pm
Paul Gehl :

Copyright as we know it, to protect the author, is really an 18th-century development. Before that there were various kinds of registrations and privileges that protected the publishers, who were assumed to have made an investment worth protecting commercially. A good intro to the whole issue is Elizabeth Armstrong’s book, Before Copyright (Cambridge U. Press, 1990).

October 11, 2011 8:05 pm

Comments are by invitation only.