Fraktur

I thought I’d return to the theme of Nazism. This is from Alexander Lawson, Anatomy of a Typeface:

The classifiers of type place all informal gothics under the French heading lettre bâtarde. … A. F. Johnson, the English expert on early types, prefers simply to use the term bastard, although the Latinized bastarda is more generally employed by historians. … 

By 1490 bâtardes were in wide use in Germany, where the name applied to them, apparently arbitrarily, was Schwabacher (there is no evident reason why the Bavarian town Schwabach was thus memorialized, as there was no typefounding or even printing at that location). 

Until the middle of the sixteenth century the Schwabacher style was what was most used for German-language printing; it was saliently used at Basel in Switzerland, then a center of scholarly printing. The next important bâtarde to be developed in Germany was the Fraktur design, which for the following four centuries served as the German national type. 

Fraktur is a more condensed letter than the Schwabacher, and varies from the earlier type in being more pointed, with sharply tapered ascenders; printers naturally had a fondness for this narrower form, which made the type more economical in book work. The design of Fraktur is credited to the Nuremberg calligrapher Johann Neudörferr, and at the request of Emperor Maximilian it was cut in metal for type in 1513. Within the next decade a number of other Frakturs were produced, and by the 1540s it was beginning to replace Schwabacher as the preferred letter for German printing. … 

In the long run it was the classical influence of the Renaissance that spelled the end of the prevalence that the gothic hands had maintained in northern Europe since the twelfth century. Only in Germany did it remain a convention, where it survived as a text type even into the twentieth century. Elsewhere, by the close of the eighteenth century black letter was being used primarily for headings and for specialized liturgical printing. In every other instance the roman letter forms had taken over the world of printing. 

Even in Germany, where Fraktur was the national type, the black letter has had a curious history. During the middle years of the nineteenth century, a great period of European nationalism, the use of Fraktur was inevitably strengthened — sufficiently, in fact, to offset the modernizing influence of the Industrial Revolution, particularly through the dominance of German technical and scientific literature. With the growth of international advertising in the early years of the present century, the use of roman type in Germany increased, but even as late as 1930 almost sixty percent of the new books being published were still composed in the German black letter (also called Deutsche Schriften), and almost every newspaper stayed with the Fraktur. 

When Adolf Hitler came to power, his National Socialist Party decreed that the Fraktur be considered the only appropriate form for the German language. This resulted in a wider use of Fraktur in the twentieth century than in earlier times. In 1940, however, it was officially determined that Fraktur interfered with the German plan of world domination, since outside Germany the roman forms prevailed. Thus, the Nazis then issued a proclamation that roman would henceforth be the German standard type, the explanation given being that Fraktur was a ‘Schwabacher-Jewish type.’ 

In postwar Germany roman has become the standard type, although with some difficulty, as the schoolbooks through which all adults had learned their alphabet were composed in black letter. But there is little likelihood that Fraktur will ever again be the national type; now less than one percent of German books appear in that hand. As a display letter, however, the face has been revived.