Twilight of the Velocipede: Typesetting Races Before the Age of Linotype

On February 19, 1870, George Arensberg, a young compositor at The New York Times, set a world record by typesetting over 2,000 ems in one hour, a feat previously thought impossible.

This achievement sparked a nationwide craze for typesetting races, which became popular public spectacles among newspaper compositors until the late 1880s, just before Linotype machines began to revolutionize the industry.

Arensberg’s record of 2,064 ems in an hour was a significant milestone, surpassing the typical rate of 700 ems. His feat led to widespread interest in typesetting contests, with races held in printshops and dime museums, drawing large crowds and offering substantial prizes. The races became a symbol of the competitive, fast-paced culture of newspaper printing in the late 19th century, with notable figures like William C. Barnes and Joseph McCann challenging each other in formal tournaments. These competitions peaked around 1886-1887, with official rules published and trophies awarded, but declined as new typesetting technologies, notably the Linotype, emerged around 1887, rendering manual races obsolete.

Why It Matters

This period marks a unique intersection of technological innovation and cultural spectacle within the printing industry. The races exemplify the emphasis on speed and skill among newspaper compositors, reflecting broader societal values of competition and progress. The decline of these races signals a pivotal shift in printing technology, foreshadowing the end of manual typesetting and the beginning of mechanized typesetting with Linotype, which transformed the industry and labor practices.

Background

In the 1870s, manual typesetting was the dominant method in print production, with compositors competing informally and in organized tournaments. The rise of large city newspapers and dime museums helped popularize these contests. Notable figures like Arensberg and Barnes gained fame through record-setting performances. The formal competitions peaked around 1886-87, with official rules and prizes, but quickly diminished as Linotype machines, introduced in 1884 and commercialized in the late 1880s, began replacing manual typesetting, drastically reducing the need for competitive speed contests.

“The typesetting races of the 1870s and 1880s were a brief but intense cultural phenomenon that reflected the industry’s obsession with speed and innovation.”

— Historian of printing technology

“Arensberg’s record was the pinnacle of manual typesetting achievement before the Linotype revolutionized the industry.”

— Print historian

What Remains Unclear

It is not yet clear how quickly the industry transitioned fully to Linotype technology and how the decline of races affected the culture of compositors afterward.

What’s Next

Next, the industry shifted toward mechanized typesetting with Linotype machines, which rapidly replaced manual typesetting. The last formal races likely occurred in the late 1880s, as the new technology rendered manual speed contests obsolete. Further research may clarify how these technological shifts impacted labor and industry culture.

Key Questions

Why did typesetting races become so popular?

They were a way for compositors to showcase their speed and skill, gain fame, and win prizes, reflecting the competitive culture of the newspaper industry in the late 19th century.

Who was George Arensberg?

A young compositor at The New York Times who set a record in 1870 for typesetting over 2,000 ems in an hour, inspiring a nationwide racing craze.

When did the typesetting races decline?

The races declined in the late 1880s as Linotype machines began to replace manual typesetting, making speed contests less relevant.

What was the significance of the 1887 publication ‘Fast Typesetting’?

It formalized the rules and records of typesetting competitions, marking the peak of the racing culture before technological change made manual racing obsolete.