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Printing Press

By: History.com Editors

Updated: April 4, 2024 | Original: May 7, 2018

The printing press is a device that allows for the mass production of uniform printed matter, mainly text in the form of books, pamphlets and newspapers. Created in China, the printing press revolutionized society there before being further developed in Europe in the 15th Century by Johannes Gutenberg and his invention of the Gutenberg press.

When Was the Printing Press Invented?

No one knows when the first printing press was invented or who invented it, but the oldest known printed text originated in China during the first millennium A.D.

The Diamond Sutra , a Buddhist book from Dunhuang, China from around 868 A.D. during the Tang Dynasty , is said to be the oldest known printed book.

The Diamond Sutra was created with a method known as block printing, which utilized panels of hand-carved wood blocks in reverse.

Some other texts have survived from Dunhuang as well, including a printed calendar from around A.D. 877, mathematic charts, a vocabulary guide, etiquette instruction, funeral and wedding guides, children’s educational material, dictionaries and almanacs.

It was during this period of early printing that rolled-up scrolls began to be replaced by book-formatted texts. Woodblock printing was also used in Japan and Korea at the time, and metal block printing was also developed at some point during that period, typically for Buddhist and Taoist texts.

Moveable type, which replaced panels of printing blocks with moveable individual letters that could be reused, was developed by Bi Sheng, from Yingshan, Hubei, China, who lived roughly from 970 to 1051 A.D.

The first moveable type was carved into clay and baked into hard blocks that were then arranged onto an iron frame that was pressed against an iron plate.

The earliest mention of Bi Sheng’s printing press is in the book Dream Pool Essays , written in 1086 by scientist Shen Kuo, who noted that his nephews came into possession of Bi Sheng’s typefaces after his death.

Shen Kuo explained that Bi Sheng did not use wood because the texture is inconsistent and absorbs moisture too easily, and also presents a problem of sticking in the ink. The baked clay cleaned-up better for reuse.

By the time of the Southern Song Dynasty, which ruled from 1127 to 1279 A.D., books had become prevalent in society and helped create a scholarly class of citizens who had the capabilities to become civil servants. Massive printed book collections also became a status symbol for the wealthy class.

Woodtype made a comeback in 1297 when Ching-te magistrate Wang Chen printed a treatise on agriculture and farming practices called Nung Shu .

Wang Chen devised a process to make the wood more durable and precise. He then created a revolving table for typesetters to organize with more efficiency, which led to greater speed in printing.

Nung Shu is considered the world’s first mass-produced book. It was exported to Europe and, coincidentally, documented many Chinese inventions that have been traditionally attributed to Europeans.

Wang Chen’s method of woodblock type continued to be used by printers in China.

Johannes Gutenberg

In Europe, the printing press did not appear until 150 years after Wang Chen’s innovation. Goldsmith and inventor Johannes Gutenberg was a political exile from Mainz, Germany when he began experimenting with printing in Strasbourg (then part of the Holy Roman Empire) in 1440. He returned to Mainz several years later and by 1450, had a printing machine perfected and ready to use commercially: The Gutenberg press.

Gutenberg Press

Integral to Gutenberg’s design was replacing wood with metal and printing blocks with each letter, creating the European version of moveable type.

In order to make the type available in large quantities and to different stages of printing, Gutenberg applied the concept of replica casting, which saw letters created in reverse in brass and then replicas made from these molds by pouring molten lead.

Researchers have speculated that Gutenberg actually used a sand-casting system that uses carved sand to create the metal molds. The letters were fashioned to fit together uniformly to create level lines of letters and consistent columns on flat media.

Gutenberg’s process would not have worked as seamlessly as it did if he had not made his own ink, devised to affix to metal rather than wood. Gutenberg was also able to perfect a method for flattening printing paper for use by using a winepress, traditionally used to press grapes for wine and olives for oil, retrofitted into his printing press design.

Gutenberg Bible

Gutenberg borrowed money from Johannes Fust to fund his project and in 1452, Fust joined Gutenberg as a partner to create books. They set about printing calendars, pamphlets and other ephemera.

In 1452, Gutenberg produced the one book to come out of his shop: a Bible . It’s estimated he printed 180 copies of the 1,300-paged Gutenberg Bible , as many as 60 of them on vellum. Each page of the Bible contained 42 lines of text in Gothic type, with double columns and featuring some letters in color.

For the Bible, Gutenberg used 300 separate molded letter blocks and 50,000 sheets of paper. Many fragments of the books survive. There are 21 complete copies of the Gutenberg Bible, and four complete copies of the vellum version.

Gutenberg’s Later Years

In 1455, Fust foreclosed on Gutenberg. In an ensuing lawsuit, all of Gutenberg’s equipment went to Fust and Peter Schoffer of Gernsheim, Germany, a former calligrapher.

Gutenberg is believed to have continued printing, probably producing an edition of the Catholicon , a Latin dictionary, in 1460. But Gutenberg ceased any efforts at printing after 1460, possibly due to impaired vision. He died in 1468.

Peter Schoffer

Schoffer made use of Gutenberg’s press as soon as it was acquired, and he is considered to be a technically better printer and typographer than Gutenberg. Within two years of seizing Gutenberg’s press, he produced an acclaimed version of The Book of Psalms that featured a three-color title page and varying types within the book.

One notable detail about this edition is the inclusion of a colophon for the very first time in history. A colophon is the section of a book that details publication information. Ten copies of this edition of The Book of Psalms are known to still exist.

Printing Spreads Through Europe

The spread of printing as a trade benefited from workers in Germany who had helped Gutenberg in his early printing experiments and then went on to become printers who taught the trade to others.

After Germany, Italy became the next recipient of Gutenberg’s invention when the printing press was brought to the country in 1465. By 1470, Italian printers began to make a successful trade in printed matter.

German printers were invited to set up presses at the Sorbonne in Paris in 1470, and the librarian there chose books to be printed, mostly textbooks, for the students. By 1476, other German printers had moved to Paris and set up private companies.

Spain welcomed German printers in 1473 in Valencia, spreading to Barcelona in 1475. In 1495, Portugal invited printers to Lisbon.

Gutenberg’s invention was brought to England in 1476 by William Caxton, an Englishman who had lived in Bruges, in what is now Belgium, for years. Caxton went to Cologne to learn to print in 1471 in order to set up a press in Bruges and publish his own translations of various works.

After returning to England, he set up a press in Westminster Abbey , where he worked as a printer for the monarchy until his death in 1491.

Printing Press Changes the World

The worldwide spread of the printing press meant a greater distribution of ideas that threatened the ironclad power structures of Europe.

In 1501, Pope Alexander VI promised excommunication for anyone who printed manuscripts without the church’s approval. Twenty years later, books from John Calvin and Martin Luther spread, bringing into reality what Alexander had feared.

Furthering that threat, Copernicus published his On the Revolutions of Heavenly Spheres , which was seen as heresy by the church.

By 1605, the first official newspaper, Relation , was printed and distributed in Strasbourg. Newspapers appeared all across Europe, formalizing the printing press’ contribution to the growth of literacy, education and the far-reaching availability of uniform information for ordinary people.

HISTORY Vault: 101 Inventions That Changed the World

Take a closer look at the inventions that have transformed our lives far beyond our homes (the steam engine), our planet (the telescope), and our wildest dreams (the Internet).

The Invention of Printing. Theodore Low De Vinne . 500 Years of Printing. S.H. Steinberg . Printer’s Error: An Irreverent History of Books. Rebecca Romney . Science and Civilisation in China: Volume 5, Chemistry and Chemical Technology, Paper and Printing. Joseph Needham, Tsien Tsuen-Hsuin . Cambridge Illustrated History of China. Patricia Buckley Ebrey .

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The Printing Museum galleries and studios are open BY APPOINTMENT ONLY, Tuesday through Friday, 10am - 4pm. .

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The Printing Museum galleries and studios are open BY APPOINTMENT ONLY, Tuesday through Friday, 10am – 4pm.

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General admission, guided tours.

During your guided tour, you will learn of early forms of printing, may participate in the hands-on printing of a leaf of the Gutenberg Bible pulled from a replica press, print a copy of the Declaration of Independence on a 19th-century Columbian iron handpress, discover the importance of the Linotype machine, and witness advances in printing and self-publishing that came about in the 20 th century. Your tour concludes with a visit to our book arts studios, and temporary exhibitions (if offered at that time). General Admission is included in the price of a guided tour. Guided tours last about one hour.

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Guided tours for groups of 8 or more are also available by appointment. Try a Virtual Tour ! For more information, please call 713-522-4652 or email  [email protected] .

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Check the METRO web site for more information and any changes to these routes. This information is for general use only. The Printing Museum endeavors to keep the information as up-to-date and correct as possible. The Museum cannot accept any liability for errors or omissions or for loss or damage arising from accessing or using the content/information provided.

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The use of non-flash photography by the general public is permitted in all galleries, unless otherwise indicated. Photographs taken at the The Printing Museum are for personal use only, and are not to be used for commercial purposes. Visitors must receive permission by Museum staff to use tri-pods. Video is not allowed without prior permission.

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South Street Seaport Museum

Where New York Begins

One Printing Press and Three Museums

Deaccessioning as an essential part of museum practice.

A Collections Chronicles Blog by Martina Caruso, Director of Collections and Rob Wilson, Art Director and Operations Manager, Bowne & Co. June 10, 2021

The story we’re about to tell you came out of the process of inventory, research, and investigation of the history of collecting items related to printing history, often displayed, interpreted and used at Bowne & Co. It follows the life of one printing press and its connection to three different museums on two coasts. When we thought of telling a larger audience about this adventure we had a few points that we wanted to highlight: first, how impactful long-term loans can be; second, how important and healthy it is to refine a collection; and third, how critical it is to build a network of peers and professionals in our field(s).

The South Street Seaport Museum as a whole celebrates the community and economy that grew up around the port of New York. Throughout the 19th century, every business and transaction needed receipts, bills, advertisements, and certificates; printing offices like the historic Bowne & Co. filled that need. The Seaport Museum holds over 28,000 artifacts composed of a wide variety of mediums and topics, including a printing history collection built around a working variety of printing presses, as well as a vast holding of printing equipment, printing types, photo-engravings, and hand-cut wood blocks. This collection preserves the tradition of small-batch job printing in the 19th century, while keeping an open and active dialogue with contemporary practices of printmaking and graphic design communities.

Since 1975, Bowne & Co. have taken responsibility for holding artifacts and equipment in the public trust on behalf of the Seaport Museum. The nature of most items in this collection, particularly the printing presses, requires that they be operated by trained staff in order to better preserve them, and the staff at Bowne & Co. care for the working printing equipment in collaboration with the Museum’s Collections Department. These objects are considered part of the “Working Collections” of the Museum, used and put in action on a daily basis by trained staff members for the artifacts’ own preservation, and the preservation of the related traditional skills.

As part of the first wall-to-wall inventory of the Museum’s collections in over two decades, a full catalog of accessioned printing presses and printing equipment has been ongoing since the fall of 2015. The process includes looking at the equipment in the print shops, photographing them and assessing their condition, as well matching objects with their acquisition documentation, provenance, exhibition, publication, and loan history. Through this process we uncovered many old incoming and outgoing loans that provided us with a full picture of the curatorial scope of our entire collection.

Objects come into a museum’s collections because they are determined to have value—cultural value, artistic value, or educational value that gives us special understanding of the past. For the Seaport Museum, the origins and growth of New York City as a world port is integral to our mission. However, sometimes objects that were added to the collection are found to fall outside of our mission and have little New York City significance or storytelling value. The process of reviewing and removing items from a museum’s collection is known as deaccessioning. A healthy and necessary practice, deaccessioning allows museums to better care for the collections that best reflect their mission, to reduce duplicate items, and to better maintain safe environments for the collections that remain.

Bronstrup Philadelphia Iron Hand Press

The star of this deaccession adventure is a Bronstrup Philadelphia handpress, which represents a great technological shift in printing technology, moving away from presses made from wood, to presses made from iron. While iron presses were vastly heavier than their wooden counterparts, they were also much stronger, and allowed for bigger printable areas, and faster operation. The 1820s saw many competing patents for presses that sought to find balance between strength, simplicity, and ease of use. In the United States, the most popular style of iron hand press was the Washington, invented by Samuel Rust in 1821. The Washington Press became the favorite of many printers of the time due to the strength of the toggle mechanism, which produced a large mechanical advantage in a relatively simple and compact package.

The Bronstrup Philadelphia Press is a press with two names. Initially designed by Adam Ramage as the Philadelphia Press in 1833 or 1834, the press was designed as a wrought iron construction, rather than the popular cast iron as seen in the Washington. This allowed the press to retain its strength, while drastically reducing weight. This weight reduction saw the Philadelphia press rise in popularity with printing outfits setting up in western states.

Adam Ramage was succeeded by Frederick Bronstrup upon his death in 1850. Bronstrup made small changes to the Philadelphia press, mainly in modifying the toggle mechanism to more closely resemble that of the Washington Presses. This new press was sold as the Bronstrup Press until 1875.

Bronstrup Philadelphia Hand Press engraving by Jon DePol (1913-2004), published in “American Iron Handpresses” by Stephen O. Saxe, Oak Knoll Books, 1992.

This press was on view at Bowne & Co. between 1975 and 1982, and after only 7 years on-site it started its “career” as a representative of the Museum in two other cultural institutions.

Outgoing Loan History

The Bronstrup was on loan to the Fairleigh-Dickinson University, in Teaneck, New Jersey, from 1982-1999, and since 1999 it has been on loan to the Gomez Mill House, in Marlboro, New York.

Left: Bronstrup Press at Fairleigh-Dickinson University, 1982. Right: Bronstrup Press at the Gomez Mill House, 2018.

In the past, one of the key ways that the Seaport Museum allowed the public to access the collection around the United States, and particularly the East Coast, was through long-term loans. However, in recent years, long-term loans have been paused for a variety of reasons including but not limited to the fact that a number of states have passed old loan legislation in reaction to problems that arise where loans are left in museums for indefinite or long periods of time. Such problems include the amount of administrative work needed to properly manage the relationship and the required paperwork, the increasing opportunity of being “lost in translation” between staffing changes and the lender’s personal situation, and the confusion and misunderstanding that such objects could create if stored with collections items belonging to the borrowing institution.

Gomez Mill House

The Gomez Mill House in Marlboro, New York, in the central Hudson Valley, has a fascinating history, and it is thought to be the oldest Jewish residence still standing in the United States. Luis Moses (or Moises) Gomez bought the land that surrounded the house in 1714, but it’s unlikely that Mr. Gomez lived there, although it is likely that at least some of his four sons did, at least sporadically. He was the son of an influential Spaniard, Isaac Gomez, a wealthy man so well-positioned that he advised the King of Spain. He was educated in London, and then the family moved to the Caribbean—there is firm evidence of Gomezes in Jamaica—and he might have lived on other islands as well. Jamaica flourished as a commercial center until 1692, when a tremendous earthquake demolished its main city, Port Royal. So in 1700, Luis Moses Gomez and his wife, Esther, moved to the fast-growing financial center of New York, Lower Manhattan, and to be precise, Maiden Lane, just south of the seaport.

Gomez was a trader and an entrepreneur. He built the Mill House as an outpost, a place to stay as he and his sons oversaw the trade in timber and limestone, commodities available in profusion upstate. When the Gomez family began doing business in the central Hudson Valley, there was no Jewish community there, and wouldn’t be until more than a century later. After Gomez, the house had many owners, some of them notable.

From 1772 to 1799, the house was owned by Wolfert Ecker (1730-1799), descended from a prominent Dutch family that arrived in New Netherlands in 1655. Ecker was a Revolution-era patriot, and he set up a local committee for safety and inspection that, according to Gomez Mill’s director, Richie Rosencrans, was one of the tools that local leaders established—a form of ad-hoc government to keep society’s basic rules in place once the British began to lose power but before formal local, state, or federal government agencies could take over.

Next—after some gaps—came the artistic and civic-minded Armstrong family, landed gentry who lived in the Gomez Mill House from 1835 to 1904. Among the various generations of the family, David Maitland Armstrong (1836-1918) was particularly interesting. He was a diplomat, a painter, and a renowned stained glass artist, whose works are still visible in the house. Maitland was largely responsible for creating the Metropolitan Museum of Art, which opened on February 20, 1872. In his obituary, the New-York Tribune stated: “Not only did he, in company with Robert Gordon and Dr. Nevin, first start the agitation for a representative museum in this city, but he also drafted suggestions for the carrying out of the project, with the result that the Metropolitan Museum as it exists to-day is largely organized on the lines he laid out.”

Another gap, and then there was William Joseph “Dard” Hunter (1883-1966), whose tenure was short, from 1912 to 1918, but had many intriguing connections with our Museum’s mission and collection. Dard was a printer, bookbinder, and a paper craftsman. In 1913, he built a paper mill adjacent to the pond and dam across the road from the main house, fashioned after 17th-century Devonshire cottages. Until then all the world’s handmade books were made by different masters in sequence—papermakers, typographers, printers—working separately with apprentices. Dard’s creations were the world’s first handmade books designed and constructed by one person, and his success inspired other Americans to begin producing handmade paper again. 

Lastly, from 1918 to 1925, the house was owned by Martha Gruening (1889-1937), an American journalist, lawyer, and Civil Rights activist. With her, there was a bit of full-circle completion to her residency; like the Gomezes, Ms. Gruening and her family were Jewish.

Deaccessioning

In 2019, as part of the refinement of our printing history collection, we took a hard look at our collection of working printing presses, and when in 2020 the Gomez Mill House decided to end the loan, we had to make some decisions.

Over the past year or two, the debates, discussions, symposiums, and news about deaccessioning in museums flourished, but many misunderstandings about deaccessioning and museum collections remain both within and beyond the United States.

Here at the Seaport Museum we have been doing our part. We studied and analyzed some of the original and essential purposes of the deaccessioning process in museums, as well as looked at the process by which it has become—in some cases—a suspect practice. Among the many resources, webinars, and conversations we investigated is the recently published book by California museum consultant Martin Gammon, Deaccessioning and Its Discontents , which provided us with some wonderful guidance. One of the main findings of the publication is that deaccessioning has been an essential part of museum practice since the dawn of the museum experiment in the 17th century, and as curators manage the accumulation of multiple private collections into a growing public collection, they often come to realize the need to deaccession in order to refine the collection over time to ensure it has ongoing coherence and is improving through the evolution of each institution.

Deaccessioning has gotten a bad reputation only in the last three decades of the 20th century because of the significant pressure on leading museums to deaccession works in order to simply stay solvent and afloat—these pressures including decreased government funding, a detrimental U.S. tax reform act, and a booming art market. This burden has resulted in a situation where museums are more financially pressured than ever to sell off works for the wrong reasons—even though both the American Alliance of Museums and the Association of Art Museum Directors say that selling off artworks is only acceptable when the proceeds are used toward new acquisitions, not operating expenses, salaries, or capital projects.

The Seaport Museum chooses to deaccession objects for a few reasons. An item might not fit our mission or collections plan. Items with unknown provenance or otherwise lacking in historical value or usefulness are also candidates for deaccession. Poor condition or duplication are other reasons.

Since 2015, when we were both hired, we have approached both acquisitions and accessioning, as well as disposal and deaccessioning, in practical terms. We both believe deaccessioning is a fundamental business practice necessary for the responsible preservation and health of our collections. 

Assessing candidates for deaccession is a slow and deliberate process. We have set guidelines for careful selection, which involves gathering all the information known about the item and then making a recommendation. The information and recommendations are reviewed and approved by a Staff Collections Committee, then by the Museum’s Board of Trustees, and, overall, guided by state statute. Depending on the condition of the deaccessioned piece, it may be transferred to another educational institution, exchanged, destroyed, or sold at public auction. The proceeds are restricted and can only be used to obtain new collections items or for direct care of collections. Going through a deaccessioning process allows us to complete targeted research on the collection, often increasing our knowledge about the objects we hold. 

The Bronstrup was the third similar type of press after the R. Hoe Washington Hand Press, on view and used for demonstrations at Bowne & Co. at 207-209 Water Street, and the Cincinnati Washington Hand Press that we were also considering deaccessioning for redundancy reasons. As part of the refinement of the Museum’s printing history collection, the Bronstrup was then deemed not to be essential to tell the history of Bowne & Co. and printing in New York, due to her manufacturer and limited history at the Museum. So, after having her deaccession approved by the Collection Committee, we started to look for a new home for it. 

International Printing Museum

Much of this story was made possible by a visit to Bowne & Co. from Mark Barbour of the International Printing Museum in Carson, California. The letterpress community is mighty but small, and smaller yet is the printing museum community. In early April of 2021, Mark happened to be on a trip to New York to install a press for a film shoot. The South Street Seaport Museum and the International Printing Museum have had an open dialogue for many years, but being on opposite coasts, it’s a rare treat to be able to physically visit each other’s collections. Mark had not visited Bowne & Co. for at least a decade, and a lot had moved around the Museum in that time. It was a great opportunity to reorient both the collections and mission of the Seaport Museum with a similar institution.

Part of what came out of his visit was a deeper understanding of where the missions of both museums cross over, and where they differ. The South Street Seaport Museum’s mission is fundamentally rooted in telling the story of the rise of New York as a port city. Printing plays a huge role in that story, but its role is in the service that printing offices offered to the financial growth of the city, and the technology that supported that rapid growth. The mission of the Seaport Museum is not to encapsulate the minutiae of technological development amongst similar printing equipment.

The Bronstrup is much better suited in the collection of the International Printing Museum—a collection which covers the incremental advancements in printing technology made throughout history. Transferring the Bronstrup from the Gomez Mill House to the International Printing Museum both helped the Seaport Museum refine its collection to best express its mission and increased the breadth of the collection at the International Printing Museum. We are thrilled that this press found such a good home, and we look forward to working together in the future.

Inventorying, reexamining old loans, and refining the collection can be a long, but rewarding process. Not only do staff rediscover lost collection items, they can also uncover lost stories that help us better understand the people who’ve lived and worked in the port of New York over the centuries. Removing an item that no longer supports the Museum’s mission leaves more collection care resources, storage space, and conservation budget for those pieces that still have research and education potential. When a collections item can better tell its story at another institution, like the Bronstrup Philadelphia Hand Press with our friends at the International Printing Museum, deaccessioning is especially rewarding.

Additional readings and resources :

American Alliance of Museums Code of Ethics

“Typographia, 3rd Edition” by Thomas F. Adams, Philadelphia 1845, p.272.

“ The Cultural Logic of the Late Capitalist Museum ” by Rosalind Krauss, The MIT Press, October, Vol. 54 (Autumn, 1990), pp. 3-17.

“American Iron Handpresses” by Stephen O. Saxe, Oak Knoll Books, 1992.

“ Printing on the Iron Handpress ” by Richard-Gabriel Rummonds, Oak Knoll Press & The British Library, 1998.

“Things Great and Small: Collections Management Policies” by John E. Simmons, American Association of Museums, 2006.

“Managing Previously Unmanaged Collections: A Practical Guide for Museums” by Angela Kipp, Rowman & Littlefield, 2016.

“ Collection Ranking: Making deaccessions work for you ” by Caitlin Podas, posted on October 23, 2019 on American Alliance of Museum Blog.

Bowne & Co.

Bowne & Co. is New York’s oldest operating business under the same name. Using seven historic presses from the Museum’s working collection, our resident printers continue the age-old tradition of job (or small batch) printing, creating individual designs using custom plates or historic fonts.

Visit Our Online Shop

We’re excited to announce our new  Bowne & Co. Online Shop  with a special selection of core offerings from Bowne & Co.

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Take the tour of Hatch Show Print and learn all about the history of this iconic letterpress poster shop. Listen to the presses run. See the century-and-a-half’s worth of brilliantly colored posters printed for your favorite entertainers. Smell the ink. Handle the tools of the trade to print your own keepsake poster in our print shop-within-a-print shop Universal Music Group Space for Design.

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King Fahd Glorious Quran Printing Complex - Madinah

Description.

King Fahd Glorious Quran Printing Complex is a printing press in Medina. This complex exclusively prints more than 10 million copies of the Holy Quran every year. These prints are not just in the Arabic language but also include translations in languages such as English, Indonesian, Russian, Japanese, Persian, Urdu, Bengali, Korean and many more. The size of the Quran copies available in the complex range from pocket-size to much bigger ones.

Printing Mechanism

The complex prints the most authentic Quran copies that are distributed all over the world. The Quran is no ordinary book, and its printing is also very much different from that of any other book as it is highly sacred in Islam. The staff working at the press consists of experts that check the prints word by word to make sure there are no typing errors, ensuring there is not even a single word misprinted.

Visiting the Complex

The Holy Book cannot be touched without wudhu (ablution) which is why visitors can only view the printing process from above. The complex has different types of Qurans displayed in glass cases. While leaving the complex, a copy of the Holy book is also gifted to visitors. Everyone receives a small Quran apart from older people who are given bigger copies.

Certain areas of the facility have restrictions that do not allow women to visit. Admission of visitors is restricted so it is better to get permission and make arrangements beforehand. People interested in visiting the complex should plan an early trip as long queues begin to form with time. It is a good educational trip for those who are interested in the printing of the Quran and the mechanics that happen behind the scenes.

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BHS journalism students visit printing press

Published 7:23 am Friday, March 7, 2014

By Staff Reports

In an effort to take learning out of the classroom, Bassfield High School journalism teacher, Melissa Martin, organized a field trip on Wednesday to the Brookhaven Daily Leader to see how a newspaper is printed.

Prentiss Headlight President and Publisher Karen Sanford / The Prentiss Headlight—Otis Raybon holds out a paper hot off the press for BHS journalism teacher Melissa Martin to see.

The small class of nine students were accompanied by Prentiss Headlight editor Karen Sanford. Once in Brookhaven, the group was greeted by Otis Raybon, president and publisher of the Leader and printer for The Prentiss Headlight . A broad overview of the newspaper industry was presented with students asking questions about the impact of social media and the future of the industry.

“The actual printed paper will not disappear in our lifetime,” said Raybon, “but the Internet has definitely changed how we get our news, and it will continue to change at a rapid pace as you graduate, go to college and enter the workforce.”

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A tour was given of the sales, graphics and news departments with the final stop at the printing press. Press operator Malcolm Stewart was setting up to print the Daily Leader . ( The Headlight is printed at 7:30 a.m. on Wednesday mornings, so scheduling did not allow for them to see it printed.)

Karen Sanford / The Prentiss Headlight—Press operator Malcolm Stewart demonstrates to Bassfield journalism students the process for printing a newspaper.

Stewart demonstrated how news copy arrives and is printed onto metal plates which are then inserted into the press where large rolls of paper is threaded through to receive the ink.

Once papers began rolling off the press, students were awestruck at the printed and folded product.

Karen Sanford / The Prentiss Headlight —Longtime friend of The Headlight and Daily Leader employee, Virgil Roberts, pulls papers off the press once printed.

At the end of the tour, the inserting team led by Cindy Foster demonstrated the speed at which sales circulars can be inserted into thousands of newspapers.

Students were able to get a first-hand demonstration of folding, banding and bagging of The Prentiss Headlight home delivery papers by the Headlight ’s new distribution manager, R.D. Polk.

After the tour bus driver, Lance Mancuso drove everyone to a restaurant for a hearty lunch before the trip back home.

“This was a great experience for the students,” said Martin. “Hands-on learning is the key to classroom instruction.

Bassfield High School journalism students toured the Brookhaven Daily Leader during a recent field trip. Pictured above, Shania Hosey, Shalea Copeland, Quashuna Parkman, Kiana Merritt, Prentiss Headlight editor Karen Sanford, Tedrina Hall, Prentiss Headlight President and Publisher Otis Raybon, BHS journalism teacher Melissa Martin, Tyler Thompson, Rebecca McNeese, Fred White, and Curtis Mikell.

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VLADIMIR NIKOLAEVICH MEGRE

Author of the series The Ringing Cedars of Russia

Little is known about Vladimir Megre's early background, apart from a few experiences he himself describes in the context of his writings. One of these occurred in the 1960s when over the course of a year the teen-aged Megre made periodic visits (as inconspicuously as possible) to a monk named Father Feodorit at the Trinity-Sergiev Monastery in the town of Sergiev Posad (then known as Zagorsk), just east of Moscow. These meetings (described in Chapter 24 of Book 2, The Ringing Cedars of Russia (pp. 119-31) left a lasting impression on the young Vladimir's consciousness, and can perhaps be taken as a prelude to his later spiritual transformation during his meetings, as he describes them, with Anastasia in the Siberian taiga.

We know that by the mid-1980s Megre was married with a daughter and living in Novosibirsk, where, like many other budding Russian capitalists, he took advantage of perestroika and the subsequent collapse of the communist system to launch into an entrepreneurial career. Even before perestroika he had shown his business acumen in finding ways to significantly increase the profits of a photographic collective. He went on to form a number of commercial co-operatives and by the late 1980s had leased a fleet of river steamers which plied the waters of the Ob River north of Novosibirsk. (see Chapter 1 of Book 1, Anastasia).

On one of these trips north in 1994, he encountered two elderly gentlemen who told him of a cedar tree (kedr in Russian, more commonly known as the Siberian pine in English) deep in the taiga forest that was making a 'ringing' or humming sound, which meant it was near the end of its centuries-old life and was ripe for cutting up and giving out pieces to those interested in its remarkable healing properties. He decided to return to the area the following year (1995) on his own to investigate. In place of the two elderly gentlemen he discovered a young woman in her twenties who said they were her grandfather and great-grandfather, and offered to take him to the cedar they had described. She turned out to be a recluse who lived all alone in the taiga, with no other company or facilities (including housing and food supply) than those provided by Nature.

But that was just the beginning. During the three days Megre spent with her in the taiga, she revealed to him not only the secrets of the ringing cedar, but many mysteries of Nature and the Universe - especially their role in the Divine order of things - that had been known to people in so-called ancient times but subsequently lost to mankind. Much of the earlier knowledge had been deliberately consigned to oblivion by so-called 'wise men' who felt their own sophisticated world-view threatened by the simple wisdom of their forebears.

At his new acquaintance's insistence he reluctantly abandoned his business career and set about writing a book about his taiga experiences (but only after he became penniless trying to set up a league of ethical entrepreneurs and only after his marriage failed, although he received help from a number of Moscow university students as well as his grown daughter Polina). The book, entitled Anastasia, was published in 1996 - largely thanks to the generosity of the manager of a print shop Megre had shown it to - and sold by the author himself in Moscow subway stations.

Then an incredible turn of events suddenly took place. A great number of those who purchased the book returned right after they finished reading it (or even before) to buy copies for their friends and neighbors, and the first print-run of 2,000 copies sold out in a very short time. A generous donor financed the next printing, before a recognized publisher caught wind of its success and launched it into mass production. (The Russian editions of the Ringing Cedars Series are now published by Dilya Publishers in Moscow & St-Petersburg.) And one copy of the first printing even ended up in the United States Library of Congress collection.

The success of Book 1 prompted the author to write a second volume, The Ringing Cedars of Russia, which offers, among other things, a fascinating behind-the-scenes look at the story of how Anastasia came to be published, as well as a deeper exploration of the concepts revealed in the first book. Subsequent visits to Anastasia in the taiga - including conversations with the son she had conceived together with the author - engendered even more books, which now number eight in the original (the last one running into two volumes). By 1999, only three years after the first book appeared, Vladimir Megre had become modern Russia's most widely read author, with his writings selling in the millions.

At the end of Book 3, The Space of Love, may be found a thumbnail sketch of the "Series at a glance", as well as a brief description of the background to the series and profiles of the author, translator and editor.

It is interesting to note the change in the author's style over the course of the books. According to his own admission, before his taiga adventure this hard-nosed businessman had never written a word of prose or poetry before in his life, but he reluctantly launched into writing a book at the insistence of Anastasia. He admits his initial prose did not sound professional, which only aggravated his difficulty in getting his first book to press. This prose may well be described as 'choppy' and simplistic, but over the first few books - under the influence, he says, of Anastasia - his writing gradually developed into a style more and more polished and professional. By the latter part of Book 3, entitled The Space of Love, and throughout a good part of Book 4, Co-creation, his dialogues with the Siberian recluse take on the quality of poetic prose, including elements of met re and even rhyme. These features have been preserved as much as possible in the English translation.

John Woodsworth, Slavic Research Group, University of Ottawa

For more information on the book and their availability in English and other languages, see Publications section of this web-site.

Electrostal History and Art Museum

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Electrostal History and Art Museum - All You Need to Know BEFORE You Go (2024)

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The German chancellor presses China on Russia’s invasion of Ukraine

In this photo released by Xinhua News Agency, Chinese President Xi Jinping, second from left, and German Chancellor Olaf Scholz, second from right, walk together in Beijing, China, on Tuesday, April 16, 2024. (Ding Haitao/Xinhua via AP)

In this photo released by Xinhua News Agency, Chinese President Xi Jinping, right and German Chancellor Olaf Scholz pose for a photo at the Diaoyutai State Guesthouse in Beijing, China, on Tuesday, April 16, 2024. (Xie Huanchi/Xinhua via AP)

German Chancellor Olaf Scholz speaks during a press conference in Beijing, China, Tuesday, April 16, 2024. German Chancellor Olaf Scholz is on a 3 day visit to China. (Andres Martinez Casares, Pool Photo via AP)

In this photo released by Xinhua News Agency, Chinese President Xi Jinping, right and German Chancellor Olaf Scholz pose for a photo in Beijing, China, on Tuesday, April 16, 2024. (Xie Huanchi/Xinhua via AP)

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BEIJING (AP) — German Chancellor Olaf Scholz said he asked Chinese leader Xi Jinping on Tuesday to pressure Russia to end its “insane campaign” in Ukraine, the latest in a parade of European leaders and senior officials to make such an appeal.

The Chinese side gave no sign of any change in its position, which has been to blame Europe and the U.S. for prolonging the fighting by supplying Ukraine with weapons and calling for peace negotiations that recognize Russian as well as Ukrainian concerns.

“China is not a party to the Ukraine crisis but has consistently promoted talks for peace in its own way,” read a Chinese statement following talks between Xi and Scholz in the Chinese capital.

Scholz, winding up a three-day visit to China, told journalists that he believes “a building block has been put in place” that will contribute to discussions on diplomatic efforts to end the war .

Earlier, he said in a post on the social media platform X that he had asked Xi to use his influence with Russia.

“China’s word carries weight in Russia. So I asked President Xi to bear upon Russia so that Putin finally breaks off his insane campaign, withdraws his troops and ends this terrible war,” he wrote.

China has broken with the West in refusing to criticize Russia’s invasion. While the government says it is not sending military aid to Moscow, it has provided an economic lifeline by growing trade with Russia, helping it cope with Western sanctions. A U.S. intelligence report last week found Beijing has increased equipment sales to Moscow to indirectly boost its war effort against Ukraine.

Scholz said the talks had addressed China’s exports of so-called dual-use goods, which can have both civilian and military purposes.

“There is an absolute insistence that there be no weapons exports, but the question of dual-use also must not be ignored,” he said. “And it was possible to bring up everything that is necessary here in a way that it can’t be misunderstood.”

Scholz also said the use of nuclear weapons should not even be threatened, according to a German government transcript of his remarks at the start of the meeting with Xi.

Russian President Vladimir Putin warned last month that his government is ready to use nuclear weapons if its sovereignty or independence is threatened, his latest such threat since invading Ukraine.

A Chinese statement said the two leaders noted that China and Germany stand committed to the U.N. Charter and oppose the use of nuclear weapons.

“China encourages and supports all efforts that are conducive to the peaceful resolution of the crisis, and supports the holding in due course of an international peace conference that is recognized by both Russia and Ukraine and ensures the equal participation of all parties and fair discussions on all peace plans,” the Chinese statement said.

On trade, Xi told Scholz that their two countries should stay vigilant against the rise of protectionism and take an objective view of the issue of manufacturing capacity, according to the statement.

The German leader’s visit has underscored trade-related tensions as the European Union and the United States complain that China is competing unfairly through the use of subsidies that have created massive production capacity, particularly for solar panels, electric cars and other green-energy products.

The EU is mulling tariffs to protect its producers against cheaper Chinese electrical vehicle imports , which some fear will flood the European market.

Scholz, meeting separately with Chinese Premier Li Qiang, called for concrete improvements in several areas for German companies operating in China, including market access, fair competition, intellectual property protection and the legal system.

“In order for these companies to be able to continue doing so, they need the right conditions,” he said.

Despite the political and trade frictions, China was Germany’s top trading partner for the eighth straight year in 2023, with 254.1 billion euros ($271 billion) in goods and services exchanged between the sides, slightly more than what Germany traded with the U.S. but a 15.5% contraction from the year before.

This is Scholz’s second trip to China since he became chancellor in late 2021. It is his first visit since the German government last year presented its China strategy, which met with criticism from Beijing . Li, the Chinese premier, visited Berlin in June.

Associated Press writers Geir Moulson in Berlin and Christopher Bodeen in Taipei, Taiwan, contributed to this report.

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Principal Deputy Assistant Secretary Mooney Highlights Wildfire Resilience Funding, Native Seed Supply from President Biden’s Investing in America Agenda During Georgia Visit

Date: Thursday, April 18, 2024 Contact:  [email protected]

ATHENS, Ga. — Principal Deputy Assistant Secretary for Policy, Management and Budget Joan Mooney was in Georgia today to highlight how President Biden’s Investing in America agenda is supporting wildland fire management.

During a visit to the State Botanical Garden of Georgia at the University of Georgia, Principal Deputy Assistant Secretary Mooney highlighted the collaborative partnership between the Botanical Garden, the Department’s U.S. Fish and Wildlife Service, the Southeastern Grasslands Institute, and the U.S. Department of Agriculture, which is establishing the Georgia Native Seed Network to produce locally adapted seeds and other plant materials across much of the Southeast. 

Much of the Southeast lacks an adequate supply of genetically appropriate seeds and plants materials, which can hinder wildfire recovery and habitat restoration efforts. The solutions created through this collaborative partnership will be used to meet future wildfire recovery and other land management needs while minimizing cost, creating jobs, and bolstering the native plant industry in the private sector. Principal Deputy Assistant Secretary Mooney was briefed on seed collecting and processing and how the Georgia Native Seed Network is growing the plants from seed. These efforts build on the Department’s National Native Seed Strategy Keystone Initiative , focused on securing enough native seeds and plants to restore lands impacted by wildlife and other climate impacts.

Principal Deputy Assistant Secretary Mooney also highlighted the Department’s recent announcement of $79 million to expand wildfire detection capabilities, reduce risk from wildfires, help rehabilitate burned areas and enhance radios and other technology used by wildfire incident management teams. She discussed with stakeholders how $44 million from that investment will help to develop locally adapted seeds and plant materials to revegetate areas that are so severely impacted by wildfires that the lands are unlikely to recover naturally.

These wildland fire investments build on more than $780 million previously allocated by the Interior Department under the Bipartisan Infrastructure Law since it went into effect in fiscal year 2022. Through the President’s Bipartisan Infrastructure Law, the Department is investing $1.5 billion over five years to better support its wildland firefighting workforce and increase the resilience of communities and lands facing the threat of wildfires. These critical investments, along with accompanying funding for the U.S. Department of Agriculture, are supporting the nation’s wildland fire workforce, accelerating the pace and scale of fuels management and burned area rehabilitation, and advancing wildland fire science. These investments will promote more accurate wildfire risk assessments and mitigation, faster wildfire identification and strategic responses, and responses that are both safer and more effective.

Visit the Department’s interactive map to track funding invested so far from the Bipartisan Infrastructure Law across thousands of projects nationwide.

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