Note: In this post, I discuss the Fraktur typeface, a blackletter script known among other names as Gothic script. It originated in the early 16th century during the Holy Roman Empire and was widely used in Europe until the early 1940s. An 1820 publication typeset in Fraktur bears the names of two of my Bruck ancestors who attended the inaugural gymnasium class in Ratibor in 1819. In working out the name of one of these ancestors, I came to learn that two upper-case Fraktur letters of the early 19th century are indistinguishable.
Related Posts:
POST 60: 200 YEARS OF THE ROYAL EVANGELICAL HIGH SCHOOL IN RATIBOR & A CLUE TO THE BRUCK FAMILY
Readers may rightly wonder how the Fraktur typeface (Figure 1) remotely relates to my family history. I will explain in due course.
First, let me briefly describe Fraktur’s characteristics and provide some brief background on its origin and history. Fraktur is defined “as a calligraphic hand of the Latin alphabet and any of several blackletter typefaces derived from this hand.” Letters are designed so that the individual strokes are broken apart, in contrast with typefaces where the letters are connected and flow together in an unbroken fashion, setting them apart from the flowing curves of more common Antiqua typefaces. The word “Fraktur” derives from the Latin word frāctūra (“a break”), which is also the root of the English word “fracture.” The nomenclature is appropriate given that Fraktur letters are spaced apart, not continuous. Fraktur is a notable type of so-called blackletter script, known among other names as Gothic script, with sometimes the entire group of blackletter faces being referred to as Fraktur.
Essentially, Fraktur is characterized by the 26 letters of the basic Latin alphabet, along with additional characters: the Eszett ⟨ß⟩ in the ⟨ſʒ⟩ form; vowels with umlauts, ä, ö, and ü; a long S (ſ), a unique character found in Fraktur; and a variant form of the letter r known as the r rotunda featured in some Fraktur typefaces. It is worth noting that not all blackface typefaces exhibit these specific Fraktur characteristics.
The first Fraktur typeface originated in the early 16th century, when Maximilian I, the Holy Roman Emperor from 1508 until his death in 1519, commissioned the design of the “Triumphal Arch” wood cut by Albrecht Durer and had a new typeface created specifically for this purpose. The Triumphal Arch was a composite image printed on 36 large sheets of paper from 195 separate wood blocks; as one of the largest prints ever produced it was intended to be pasted to walls in city halls or the palaces of princes, basically as propaganda.
From the late 18th century to the late 19th century, in most countries that had previously used Fraktur it was gradually replaced by Antiqua (Figure 2), as a symbol of the admiration for and emulation of the classical artistic and literary heritage of Greece and Rome. This transition was vigorously debated in Germany, where it was referred to as the “Antiqua-Fraktur dispute.” The shift affected mostly scientific writing, whereas most literature and newspapers continued to be printed in Fraktur.
Until the early 20th century, typesetting in Fraktur was still quite common in all German-speaking countries and regions, as well as in Norway, Estonia, and Latvia, and to a lesser extent in Sweden, Finland, and Denmark.
Fraktur remained popular in Germany and much of Eastern Europe far longer than elsewhere in Europe so is often referred to as “the German typeface.” Prior to 1941 Hiter viewed Fraktur as a German script that was widely used in Third Reich propaganda publications. While official Nazi documents and letterheads employed the font, in fact the most popular fonts in Nazi Germany were more modernized versions of blackletter typefaces that had been designed in the early 20th century, mainly in the 1930s.
The shift to using these more modernized fonts was controversial, with the press at times admonished for using “Roman characters” under “Jewish influence.” On the 3rd of January 1941, the Nazi Party ended the controversy by switching to international scripts such as Antiqua. With this declaration, the Nazis prohibited the use of Fraktur and the Sütterlin-based handwriting, declaring them to be Judenlettern, Jewish letters. The irony cannot be lost on readers that the Nazis did a complete turnabout from decreeing Fraktur, in which many earlier Nazi propaganda publications had been written, to be Jewish letters, after previously having characterized the fonts to which they shifted to also be under “Jewish influence.”
A few European newspapers, such as the German Frankfurter Allgemeine (Figure 3) as well as the Norwegian Aftenpoſten, still print their name in Fraktur on the masthead, which today is used mostly for decorative typesetting.
So much for the background. The genesis of this post begins in 2019 when Paul Newerla, my recently deceased friend from Racibórz, Poland, the town formerly in Germany to which my family had a three-generation connection, was writing about the 200th anniversary of Ratibor’s gymnasium, high school. While researching the topic, Paul happened upon a publication dated the 2nd of June 1820 entitled “Denkschrift über die feierliche Eröffnung des Königl. Evangel. Gymnasium zu Ratibor am 2. Juni 1819. . .,” “Memorandum on the solemn opening of the Royal Evangelical High School in Ratibor on June 2, 1819. . .” (Figures 4a-b) archived at the British Museum. It is noteworthy that this document was typeset in Fraktur. More on this below.
Knowing that several of my relatives had attended Ratibor’s high school, Paul sent me a copy of the report. Along with illustrations and maps Paul sent me, this formed the backbone for Post 60. The 1820 publication was written by Dr. Carl Linge, who I would later learn was the school’s first director from the 11th of May 1819 until Easter 1828. Along with an introduction, the publication contained five pages of names of male students, the only enrollees at the time, who attended the inaugural class, including two Bruck siblings. (Figure 4c) Their surnames were listed along with their first initials, what I thought were “J” and “S.”
For reasons that in retrospect seem completely illogical, I assumed that “J” stood for Jonas Bruck and that “S” referred to Samuel Bruck. These siblings, sons of Jacob Nathan Bruck (1770-1836) and Marianne Bruck, née Aufrecht, have been mentioned in multiple earlier posts, most recently in Post 153. Their birth and death years are well known to me. Jonas lived from 1813 to 1883, and Samuel from 1808 until 1863. Knowing Jonas was born in 1813, his attendance in the gymnasium’s inaugural class in 1819 at six years of age should immediately have raised a red flag; instead, I blissfully assumed he was very precocious.
As Paul was continuing his research related to the 200th anniversary of Ratibor’s gymnasium, he managed to track down the original handwritten roster of students who’d attended the school from the 11th of May 1819 until the 13th of April 1849. Astonishingly, he found this roster among the old files of the gymnasium, which today is a technical trade school. The fact that these originals survive given the turmoil during World War II is miraculous.
Among the roster of students who attended the school between 1819 and 1849, I discovered the following Bruck ancestors:
SUMMARY OF FAMILY NAMES FROM RATIBOR GYMNASIUM ALBUM, 1819-1849
| Year/
Date of Admission |
Line Number/Name | Where From | Father’s Profession
(German & English) |
Age or Date of Birth of Student |
| 1819
|
74. Isaac Bruck
74. Samuel Bruck |
Ratibor | “Arrendator”
Leaseholder |
13
10 |
| 4 April 1823
|
402. Heimann Bruck | Ratibor | “Destillateur”
Distiller |
11 |
| 21 April 1824
|
440. Jonas Bruck | Ratibor | “Destillateur”
Distiller |
10 ½
|
| 19 May 1829
|
1829. Marcus Braun | Ratibor | “Wirth”
Innkeeper |
12 ½
|
| 22 May 1845
|
1752. Oscar Bruck | Ratibor | “Kaufmann”
Merchant |
8 October 1832 |
| 3 January 1846 | 1772. Heimann Bruck | Ratibor | “Sattlermeister”
Saddler |
26 December 1833 |
| 27 April 1848
|
1961. Fedor Bruck | Ratibor | “Kaufmann”
Merchant |
30 September 1834 |
While it seems obvious in retrospect, I did not immediately make the connection between the names in the handwritten roster and Carl Linge’s published list of students who attended the gymnasium in its inaugural year in 1819. Regrettably, Paul sent me the page with Isaac and Samuel Bruck’s names separately, cutting off the year they attended the school, initially confounding me. (Figure 5)
Recall that in the published list, only the first letter of the students’ forenames is listed. Wanting to confirm whether the Fraktur letter in Carl Linge’s book was an “I” or a “J,” in other words whether the student was Isaac Bruck or Jonas Bruck, I turned to my friend Peter Hanke. As a trivial matter to most readers, but as a curious fact to me, Peter explained that in Fraktur typefaces of the early 19th century, the “I” and “J” fonts are indistinguishable. I found a few examples of early 19th century Fraktur typefaces that confirm this. (Figures 6a-b)
Additionally, the Wikipedia discussion of Fraktur speaks to this exact point. I quote: “Most older Fraktur typefaces make no distinction between the majuscules ⟨I⟩ and ⟨J⟩ (where the common shape is more suggestive of a ⟨J⟩), even though the minuscules ⟨i⟩ and ⟨j⟩ are differentiated.” Linge’s roster list uses majuscules, or upper-case letters, for the forenames of students meaning that absent the handwritten list found by Paul Newerla, I might never have been certain which Bruck sibling attended the gymnasium in 1819 with Samuel Bruck.
At the time I wrote my earlier posts about Ratibor’s student rosters, I had not yet ascertained when Isaac was born. I’m still not certain though it’s likely in 1805 or 1806. In the 1819 handwritten roster, it’s written that Isaac was 13 years old, a much less precocious age to be attending the gymnasium than at six years which would have been his younger brother Jonas’s age at the time.
REFERENCE
Linge, Carl (1820). “Denkschrift über die feierliche Eröffnung des Königl. Evangel. Gymnasium zu Ratibor am 2. Juni 1819. . .”
Fraktur. “Wikipedia.” https://en.wikipedia.org/wiki/Fraktur