otros
made
in
THEIR DESIGN
III.
THE
of
Mrs.
J.
Montgomery
Sears,
Boston
19.
Pointed
Eiisebius^ De
Type.,
from
his
Specimen
of
1486
78
From
Burger's
Gering.,
1482
108
From
Siecle
of
Spain
Library
of
Mr.
J.
Pierpont
1578
142
From
Library
92.
Temporis:
Venice,
Library
116.
124.
Page
of
Library
Attaingnant,
Fine''s
De
145. Italic in Cousin''
in
Foy
Catho-
lique
Dtfendus:
Imprimerie
Royale,
Paris,
tion
of
Appiani
Alexandrini
Romanarum
Historianim:
Fstienru;
Fstienru;
Paris,
1551
238
(italic) used
of
italic)
246
Frotn
 
cienne. {b)
Desor-
meaux's
Histoire
de
Louis
11^
bibliographically, but
illustrates my
tament, Bowyer's
letter-founders'
catalogues.
While
be found
and
examining
their
as
is
described.
The
historical,
instruction
and
mechanical
description
pages.
In spite of the increasing interest in the history of
print-
many quarters
aver-
age
printer
printing
is
printing
excellence,
yet
has
never
considered
him,
him,
scripts on
relation of the French
and the types of the Italian
Renaissance.
It
is
very
much
the
of
a
little
earlier
date.
There
is
about
and
Didot)
1780
to
1820
niture introduced
eighteenth
century
by
Robert
be a
by
a
of contemporary printing,
famous at
as the characters
influence of
true t at
Hol-
Gutenberg
sense to
unable
to
explain
certain
aberrations
;
by
w^hich
of the
consider
fully reproduce in
metal all the
calligraphic
black-letter
i^rinted
distrib-
uted
l)ooks,
local
were
determined.
Jau-
geon,
by which
and even
1476
first part of the last century hand type-moulds were in use.
Into
such
a
mould
hot
metal
was
the crannies
ent that some
were
of the
moulds survived
of the
any
one
who
did
not
know
according
to
bronze
in
the punches or
themselves.
as
all
kinds
of
mechanics.
He
himself
been
properly
taught
tlirough
He issued
on
( useful for
and
for
those
him, that letters
the trades of
second
and
—
stance of the
valuable information
as
well
as
ornaments,
copper,
producing
its sides,
holds its
understood
as
early
adapted
(in
which
hand. This
from
it
an
unskilled
workman
principle
But a design for
be
machine-
which was the
so
carefully
that
why
modern
types
are
less
mellow
Avhen cut
too much
with
to
consider
'imperfections'
and
to
make
as
exact
size
of
the
will ever
vary
in
improvement
its
mech-
 
appear
to
align.
seems to
final
analysis
we
The
difference,
me-
chanical
type-casting
is
movement
of
a
pro-
tvpes
should
be
made
diagrams.
as
face,
counter,
stem,
{Jig.
3)
type is the metal
?i2ck
is
the
groove
across
the
and
which the
type-face.^
The
neck or face.
types, the
small
capitals
distinguish it from
&,
^,
i, i,
8, 9,
:
<?,
other
old
middle part
height
ascending
letters;
(6)
Ir-
as if they were
lisli
parallel
or
sign
sorts
It
it
may
be
called
Ratdoh's
fifteenth
centurv
specimen
letter
Q
other,
letters of
which
A
case
is
a
compart-
of
a
uniform
depth
of
and to
capitals,
arranged
like
the
type
in
acter
The
third
letters,
figures,
and
being used for U,and I for
J.
From
the
eleventh
to
the capital
I stood
for both
'
dis-
to facilitate the
to
the
present
form.
The
mod-
ern
English
under V.
under V.
languages.
In
from one
characters
the
simplifications
proposed
by
century were
pica, great
great
'For
illustrations
of
etc., see
and much unused
or
saved
by
on
the
trades
bourgeois origi-
English founders to
were
different
given
a
new
name.'
descriptive
of
For instance: English
understood
to
cut a
purposed
novelty
pearl
foot. The
tractate issued at
acteres
Technique
licme,
1913,
p.
names are
by
some
office,
be
those
two
he
says
in
his
Manuel^
proportions
which
typography
an
Rom.
1
1. Philofoph.
I
i
by
devised
an
acters
which
had shrunk
a
table
by adding
the different
His idea of correcting
types was excellent, but in
the
of the
Books at that period were printed
on
wet
de-
termining
sizes,
traditional
names
of
types
them
the
tvpe-body
covered,
as
we
gence.
The
was
not
made
the
sys-
tem
of
French metric
in full and
has been
with one another, being
a
plan
based
old
names
was
very
much
the
system
of
termining the
height of
old heights in combination
with those of the
point
Ameri-
can
point
system
that
all
difficulties
will
be
overcome.
Trouble
considered. In 1883 Mr.
width
—called
put
being
and the
the face
to the
effect
of
become
(excepting
pos-
sibly
in
Eng-
lish,
especially,
the
slanting
and
page
line
with
one
an-
to
to
nevertheless there
out a title or some
saHent feature
akin to
ill-fit to bodies
teenth
century,
was
made,
the
types
of
the
school
the
pseudo-classic
types
types com-
black-letter
learning,
were nothing
it
instead of things,
V representing
grasping
a
thunderbolt;
wiiilc
h
be enumerated
tlie crown
Greeks and
could
be
historically
alphabet.
In
the
Greek and Latin
author's Handbook
plough
as it does to-day.
^
;
subdivisions.
For
instance,
the
writing
capital
letters,
which
are
called
the
history
of
any
capital
So the next
which
we
and M.*
informal,
cursive
capital
hand
formal hand, and pro-
duced these uncial capitals,
in shape. This uncial hand
began
to
through
the marked difference
were between two
so. The
between the two
between
almost the
present type
period,
the
importance
of
all
the
different
traditional
any
peculiar
forms
of
letters,
uscript-hands.
were what
derived
from
English
and
French
manuscripts.
In
all
otherwise
Charlemagne.
ing works
its
Cliarlemagne was
the priest-
Their
Europe
classic spirit.
was
is
equally
important
the ugly
Mero\'ingian
bet, in
rap-
idly
by the
hands
such
as
the
Irish
period
loss
to us
for
'
Latin texts/ It was generally adopted in England after
the
for Tours—
these
came to make them.^
with this
as they
the
. . .
the Carolingian minuscule
multiplied,
DiflFerentiations
a
matter
of
tradition.
the
earliest
German
Gothic hands
in
western
Carolingian
minuscule
hand
as
then
of
learning
at
the
their
a
black-letter
to consult
Thompson's Greek
and Latin
second, that of the
says
of Petrarch and
1527. It
continuance
of
mediaeval
neglect,
while
ti*ansplanted from Byzantium
century before the final
Chapters
IV
this Human-
which
followed by
be
remembered,
however,
letter
a
Humanistic
examples
the
XVth
Century,
etc.
I/)ndon,
1896,
pi.
II.
said),
different
national
writ-
earh'
mediaeval
days
the
national
hands.
Roman
forms, through their fitness, survived
;
by
Charlemagne
and
partly
naissance
same
other
types
now.
writing
the
formal,
to
writings,
at
various
periods,
be no
how
the
same
book
almost a
pm-poses of
which it represents.
them all
its
progress
bers of
the Gothic
the manuscripts
of the
and,
too,
much
Roman, the
tua',
quia
importabilia
cat
magnificcntia
gloria:
minationi©
posu//
isti
pccnitentiam
fustis,
abral?am,
there
{Jig.
1
1),
of two sizes
printed. Nothing
period. It
is the
characteristic form
of the
Museum, London,
British Museum. The
plates
EJtvil to Trier
give only
the early
publication.
same pointed
Missal
printed
at
Bible. There are
itafionesof
1479.*
These
Canon of the
 
^
fi tiabis
road
with
a
stock
of
their
books,
and
being
the
publish it.
But at
last its
printing had
seen in
advertisements,
(without
much
Koberger's
German
Bible
printed
re-
cognizable
as
by
Johann
Baemler
in
nafaUe.DC platoc
et areftoKleralijamojal'.
ot renecamonulUe
iuenta
ftc^
cynctQc/
pu&tcte
was
not
of
Gothic
form.
Printer ),
who
printed
in
that the
nmiicrabiL
€t
frit
if he
nuity, and
very
choice of
gentle-
man's
library
should
be
without,
and
service
books
were
required,
etc.,
mostly
produced
avoid
mistakes
used
use
upright
and
and
a
dence, Rhode
great
charm
by
idea of the subject we are
considering.
of printing,
found it necessary to
by
the
on title-
themselves with
which he found him-
dependent on the
traceable. Italy
any
other
European
country.
The
were in their turn
compare
Carolingian
rich
and which so
influence,
which
be-
Sweynheym
and
Pan-
1467,
followed
by
the
Lactantius
worked together
Roman
influence,
dis-
tinctly
varying
degrees
of
purity
Cicero's
Epistulx
year
Charles
VII
of
But
if
Jenson
Venice.
The
characteristics
evenness
for, as an
est
point.
quidemantedi uutumfueranc:pol^diluuuimauteinaliiquoruunus
lege(feptima efm
the
va-
riety
of
uses is another
be
that
Master
Nicolas
easily
surpasses
Virgil
to narrate briefly
of all
should buy
a
letter.
From
although the
prompto
hu-'
mileparendo,checum
in 1515,
tremely fine borders and
Vl
the
vary
types before or
those employed
*
roman fonts in the last half of the fifteenth cen-
tury
had
an
fine Italian
It is not fair,
however, to take the
a general idea
ence
of
divide
groups under
in facsimiles thus ar-
from the
does not
with
the
Italian
with
other
national
scripts,
says
is
manuscripts
ing,
as
He
declared
under
oath
upon
Waldfoghel, though
hook
printed
menedotius
uefter^
J
dc/
uendcndo-'
fuu
dumtaxac
student
anything,
they
it
furnishes
characters
by
of
posterity.
next year, Fichet having
very
little
space.
The
in
imposing
the i is a feature to be noticed. In the
smaller
font
Gering
combined.
The
work
produced
by
execution and
apparent.
that the
More than 300
f^t^^
(ccn5iflt:^t
fafwS facetee
maria*
38. Page
pa-
tron
was
Barthelemy
somewhat
the
same
calling
Wendelin
types.
If
Lyons
printing
seems
puzzling
because
of
others
types
had
begun
to
eign
origin
of
which
fonne
was
the
ac-
tually
by
the
invitation
of
Italian
form
but
also
the
be seen in the work
of
Mathieu
Husz
and
of
Du
Pre.
The
latter's
plate forms
page
countries,
but
the
As
a
Italy.
best early French
French, is charming.^
Imjirimerie
en
France
au
XVe
hich
we
have
any
knowledge,
which
may
be
called
 Costeriana
(z.e.,
the
editions
this
book
could
have
known
anything
the
plates
trations.^ Although some
out
very
little
time between
in
1473,
were
print-
ing.
Two
of
four
a
books.
rare. The lettre
Three black-letter
types used
in the
coarse
batarde
character
used
by
Colard
should
be
by
a
by
Henric
the
came
from
Peter
Schoeffer.
This
point
cannot
be
decided
but
the
Messrs.
existing
characters,
press
is
historically
interesting,
and
are
1908, 30, 31,
«t/k1««<n««(«
jlHitaocuUDlucrouoIum0tjolumt:iipfc
J^
^1
cu
fi^.
4i
I©
^^i
f^
§1
~
afferre:
Sed
ftudio ac
cu
uiderem
non
nullos
librorum
magno
ditati
occurrerem:
allefti: ad
eiufmodi
introduction
as
time continued
offices
clergy were
themselves printers
expense
printing
existed
that al-
early as
printers
enjoyed
 privileges
which
protected
their
masters [in printing]
showed their national origin.
adopted
others
of
a
to count up the
true
that
only
one
of
all
the
printing-
antiquity,
 
The
finest
are second to
particularly, perhaps, in these incunabula. But it is
also
in the production of the first
modern
Spanish
type-cutters,
who
of Bas-
up
to
takes up
lished from
at Valencia in
notes
describing
for
that
particularly
Spanish
quality
which
would not
consisting
of
but
in
all
was
a
title
to
the
decoration
In
other
words,
the
characteristic
lencia were
round
to
style.^ In Villanova's
manca
employed
a
about 1497
by Fadrique
a
font
used
in
the
the
the
Manuale
atq^ppctua
definitione
Ggnificareuoles
Lucretius
character
were
produced
by
1496.
The
latter
has
that
55.
Gothic
with
reproductions
tlie
nineteentli
centuiy.
It
is
Spanish
Spanish
books
printers—he
manding
a
commanding
figure
single
book.
But
expect. He
Of
this
he
completed
but
on
Caxton visited one of
boke
111
up
in
the
dyuerce
gentilmen
^^'ere begonne
persuaded
Mansion
to
angular,
awkward
like
than
would
be
square-set
a
considerable
extent,
Westminster
Red
Pale
Caxton's Type 2 and its variant
2*,
being of
the simplest
no(
affieS5w
m
euetg
ne^
8g
om
counctiOPout
affon^/
Jf
oc
font
^gme
§1^
&^ue(^
6> &
cotmcegffctij
0g
cept
Dictes
or
Sayengis
cf
the
come
to
know,
both
in
collection
{Jig.
46),
though
by
Caxton
1480.
passed into the
letters of
has
some
In the Godjreij
Type
4,
letter,
resembling
some
used
by
Machlinia
endi
of
1490,
—
the
time
Caxton
first
started
print-
various
improvements.
Westminster^ c.
14^77
C^^cffafic^piitcttcaafi^^®
his
books.
 Such
improvements
his
lasting mark in the
certain
to
to fall,
Sometimes, when a word
a
types,
must
make
up
for
Caxton
but with
Caxton's types,
is followed
of libi-aries
])lcte
by
later
lish
Printing
and
Life
of
Caxton
Ricci's
Census
5»octis aliquot ^ccipatractarc
clever
progress of time
Notary, who
worked in
connection with
other
a
pure
lettre
de
forme}
asso-
ciation
with
of
a
heavy,
square
lettre
de
forme,
be
said
that
they
Caxton
and
ployed by
characters
acteristic of purely
tnouttf
all
feucr d
Aldus
some-
thing
of
the
intellectual
sort of
Rome,
when
copies
which
to
been named
supplied
by
'
icou
.TVLOTd^
elMdb&
word,
following
use in connection
these
of
imperfection
graphically,
one
of
italic
type,
but
the
many
forms,
But any
if
types
if
we
are
not
familiar
with
that
often
unfit
them
that we must
glean from types used in different countries in the sixteenth,
seventeenth,
and
of
books
vari-
ious
countries
from
neces-
sary
to
consider
their
manuscript
sources
them. The exchange or sale of types between different
printer type-founders was
not very common.
a
lower
class
teenth
century
vice of any
out no
 specimens
of them. It was at this period, too, that the division between
printer and publisher first appears.
For knowledge
of type
1525
Tyfiografihica, pi.
all
forty-one
yarieties
of
Cardinal
Ferdinand
though this
could hardly
somewhat similar
to the order
know
As to
Fuhrmann^
was
of
Dan-
iel
Elzevir
published
a
 
may
be
called
foundries
which
be
as
true
^
it took,
'
by time interested
as in the first
but
in
the spread
printers
were
were
no
longer
hostile.
little
help and advice,
and at least
badly paid.
—
these
two
type-families,
survives
a
long
time
*
types
from
1500
of
shown in the
indifferent
of
Maximilian
and
printed
at
as is
imitate the work of the
pen,
the
result
tour
deforce^
type-work.^
In the pages of the Teuerdanck the style of gothic type
changed
entirely,
characteristically German—
i in the
seventeenth
centur)')
was
proljably
cut
by
3).
The
Loneissen's Von
sixth
decorated
find
printers,
and
The
76 a
shall leave it, for the moment, to
consider
the
character
acter,
which
is
tortured
and the
work
of
the
great figure
his books
and recalls
an
interesting
example
 sing. The
by
Holbein
Greek,
Latin,
and
German
are
squarish
roman
type
affected
by
of small spaced
is
its
de-
lightful
outline
plates
truthfulness
A
full-length
der
Renaissance,
ecclesiastical
modes
identical
like
is
very
characteristic
1525,
the
use
of
roman
und
any
library
years of
the seventeenth
but
a title-page
of
Broctes's
Irdisches
Vergnugen
tion, and
wood-engraving declined
still
published
in
1793,
as in J. G.
attempt to imitate
things
Parma
were
acters
called
necessary to
of the
1714,
belonged
to
most
interest-
number and
ac-
cured
other celebrated pi-inters bought its types and punches. Toward tlie
end
of
of
which
is
made
up
of
to M.
Haas, a
with
the
gave orders to
taking, wrote and
named Jean-Michel
type-cutter in
of the
I
u£,
Apud
JO.FRIDER.
GLEDITSCH
ET
FILIVM.
erw<td)je»
SBerIm \;)om
tur,
starting
with
the
shaded
have some
the larger
in shape
and quite
neyman
poet's
earliest
poems
were
considerable
of the
case roman in
italic when
plates following
of
this
period.
been
seems to be a
ornaments,
mostly
copied
period,
a really
contained the
popularize
to
the
to
speak.
treuen
,
SBic
oft
^at
euc§
5[^p
@5
trei^
rather
than
pages and the
it a
roman
letter
100).
Alessandro
Vellutello's
pica
tion'f
rifundimmus.CrMedufximoltTi.cerbericanisl
blocks
the
notice,
in
three sizes
of capitals,
printing
later
fell.
text,
in
a
composed
and a seven-line
dis-
courses
on
is
printing. The text is set in
italic surrounded
amor
notes,
so
and
is
with
cop-
per-plates
by
of
Raimondi;
or
Nannini's
Coiisklej'atiojii
Civiii
on
Guicciardini's
Isforia,
published
in
Venice
—for
its
or less the manner
a decline
on
(and it was
ized
this
were
not
method of making
the
writes,^
conditions
plate illustrations
1477,
This
volume
was
printed
by
Duke of Tuscany.
T
at Rome
rini,
whose
the chief
probably cut
may
sizes
The hulice
Clori, a pastoral
adorned
the
roman
capitals
used
as the
such
celebri Stampe.
Another
work
of
a
grotesque
headings
and
Arts, we
have the
and
Powers,
dis-
object
This overblown
instance, developed
century
often disagreeable
rough
look coarser
than they
too
in
the
picture.
§3
of
sizes
Florence,
the
life
of
Mauroceni)^ a
volume brought
out by
spaced.
The
type-
setting
is
roman capitals
new
sections,
of
taste
which,
on
1760,
though
a
somewhat
heavy
example
parently its
ai
fanti
Segni
ridufTe
1788),
Liberata
in
with
three
verses
to
so much
of
course
then
In
the
to
1770. At
first he
decorated work
;
e
dini's
though still
old style,
forecast
eighteenth
century
ItaHan
eenth
century,
Italian
sixteenth
a
generation
had
typography;
even
in
the
Le
iJvre
printed from
beauty of its Latin
is worth
commenced
about
1578
by
the
types, suffices
to a
of
 
travelled from
 About
twenty
some matrices
purpose.
who worked
Blado
to
italic.
He
also,
by
chosen to take
in
1
562,
was
a
work
Its
output
was
and decrees
of the
in
part
defrayed
by
a
for some
the
folio
cording Fontana's
from
Rome which
under
the
train-
ing
from
Ruggeri,
cut
some
office, and
always retained
suc-
cessor,
Libronim qui
ex. Typographio
then follow lists of
sionally
appeared
up
types is
and issued
at Rome
office
in
the
Propaganda
office
Pope,
a
Linguse
Char-
acteribus
material,
but
noth-
ing
merie
Nationale
of his career.
fashio ; as in
approach to
As has
%
5^^t^^?M:^f K^^fK^ff^^tf^4:^fi^^?K^^
^2
 
^
that
we
fundamental
I am
private presses
the
first
half
made
in
books,
in
the
second
quarter
the
of
title-pages.
In
short,
 accomplished
Scholar
in
both
Latin
and
pub-
lication
was
borne
by
Ambroise
one hand,
and the
should
reflect
the
a
delicacy
Estienne,
of
handy
Jbrmats,
and
cheap
books,
epoch;
as
in
Geofroy
Tory's
such
Gothic
volumes
not much
ways
of
utilizing
the
page has
Renaissance
details
was
precisely
analogous
to
classical
Paris
A good instance
mostly
of
Gothic
details
make
this
at Paris
in 1529.
and
institutes
a
contains
Tory's
for drawing
a series of al-
a
free
rendering
the
Lettres
Tourneures
and
are
very
dis-
tinguished.
The
to its
'
an
analysis
earlier
reminds
one
to
the
issued in 1532
to
print
and
sell
books
and
them
Italian
in
printed
by
Josse
Bade
III, are composed in
Ruel's
De
Natura
Stirpium
he made popular in
editions of
Jean Fernel's
pub-
1538-39.
delicacy in its running
French rather
is
in composition, the
and
less
Italian.
titles of various
amination,
as
well
set in
monumental,
Renouard's Dihlio-
charm is
italic, with
Tournes. The book
arrangement.
through
its
evenness
of
line
{Jig.
14l).
A
Paris
edition
of
a
book
on
format.
The
first
is
printed
less
peulc
rendrcgrandelumiereriem'en
acquiderayleplus
requis pour voz
predecelfeurs
fen
eft'troiiue'de
telz,qui
par
difpofition
diuine
over-leaf. The title-page
decoration is attributed
date
addresses
to
the
reader
are
composed
in
a
beautiful,
lively
italic
{fig.
145).
Le
Rover's
address
decorations and
delightfully
f^)r'''2J
/nicSiftb
£a
vtmt
a^
tamt
£tvti2
j
ft
^-'^VoMiS'
of
arms
the
page,
immediately
beneath
a
running-title
below
them,
leaving
the
lower
but
roman
The
are
brilliantly
printed
from
text is
delicate roman
font; a
ert
Granjon
(designer
unsur-
passed
epoch
for the
Be
bought
in
1561,
the
year
of
and business
tells
us,
 sustained
by
his
French
seventeenth
century
printing—
heavy
time
ographer
to
Louis
XIII,
on
types, fine paper, am-
make
a  trick
of Vir-
gil's jEneidoi
fonts.
Moreau
to have
Gui
neither belongs, nor
Jay
used,
though
of
a
somewhat
specially
good,
and
the
typog-
a
very
superb
book
in
the
best
printer to
to Jean
Camusat, first
ver}'
in
va-
rious
Le
Petit
with
text
in
a
one
trans-
lation
is
a
characteristic
period,
set in
page
showing
1691. A title
an
enormous
woodcut
of
the
cus-
 Scenes
book-making
was
that the
with
weights of face.
few of books
very
Paris
of
1
740,
printed
by
Le
that
are
\\here
it
was
a
specially
century, but which
The rank and file of eighteenth
century
quartos
looked
of
effect,
for their
accompani-
ment
woodcut
tail-pieces
by
ily,
promoter
of
the
Le Roy,
a friend
of my
with
Mr.
Didot's
younger
publisher of the
neo-classical
movement
in
print-
ing,
and
and critics of Bodoni
England, Italy,
very lucid,
feeling,
century,
the
century.
The
first
is
reminiscent
Fables, the
heavy tail-
tial letter,
and
ably Frangois), in three large quarto volumes, is in its
massive qualities
almost a
century did
decorations by
made
by
manner
is
not
kept
up,
none
the
Jbnjiat^
I
have
though the
French
deco-
published
but frigid full-page
Fables are
beneath
running-titles.
To
my
they must
reading,
I
V.^
I
recommend
by
De
Quer-
lon,
and their
the head
its
typographic
head-bands
Joseph Gerard
bers
preface
to
this
of its pre-
are
famous.
its beautiful
 Amsterdam
—really,
I
suppose,
Paris.
—
shows
every
points about
are the
Preliminaire
The book
throughout.
The
com-
type
Lille's
Georgiques
publisher,
Bleuet,
a
Combien il
imites
admi-
longueur
precipitc
ou
le
travail
parmi nous
de Dieu
conservant oracles
Pour la
made
in
de Firmin
 by order of
illustrations.
It
it
is
beautifully
imposed
and
printed
completed.
The
octavo
is
the
better
affaires
de
son
con-
seil
profitoit
de
leur
Les
trois
interesting
in
composi-
financially
a
complete
failure.
And
Vers^ et CEuwes
modern
in
printed
in
1
79
1-94
quarto series
types, full of warmth
of
over-modelled
late
the cen-
tury was
designs by
belonged to
to read, but
of capital letters
books, \\t
was slowly
driven out
;
century. In
the seventeenth
earlier
historical
Audin's
Le
Livre
in
vogue
printed
types and
1538
made
in
Hebrew,
College
de
France.
royal
readers
followed
authority or
imfirimeur
du
roi
furthermore
particularly
practice
I that Claude
1540,
the two
roman types of the De Spires) the most successful roman
letter that
however, it
the
grave
simplicity
and, Jenson
their design. His
capitals.
Garamond
is
nearer
to
both fonts,
a
italic. The initials are the work of
Geofroy Tory, and the
is
printed
the
gothic
character
Histoire de
fashion
that
a
German
type-body
same time.^
cut
the
direction
that
of view,
cut.
... I
believe,
he
adds,
of the
Prxparatio Evangelica
of Eusebius,
issued by
New
est
of
them
that
together into a narrow compass books of large
volume,
he
bade
engrave
these
gance
rival
of
good
of
the
of
Appiani
Alexandrini
Romananim
Historianim^
decorations
used
in
the
sixteenth
century.
Garamond's
became
the
nucleus
date of
trices
by
such
a
sense,
Francois
I
was
for, as Bernard says, the
types
early
Royal
Paris
Polyglot
the
Elzevirs
were
books in
st}ie,
the seventeenth
,
y>
number
of
printers
in
Blaen,
glad
to
workmen in
said printing-
them
say that it
is Monsieur Cramoisy,
In
1642,
a
volume
appeared
Royale
in
Garamond's
be
placed
is printed from
tions
engraved title-page
clever
and
distinguished.
It
 divers
classic
Councils,
etc.,
Jaugeon, in
collaboration witli
entitled
Descrifition
et
Perfection
of cutting
Though some of
work
ever
since.
It
has
for
a
set
of
a sim-
it, however,
something that
ments,
very
unfriendly
to
the
is
not
all.
In
the
capitals
—
many squares to make
Luce
letter. It
probably originated
ters terminated without some
advertisement
to
his
Essai
cVune
Nouvelle
Typographie^
of
1771
(beautifully
printed
by
Barbou),
dessines,
ilf
executes
par
L.
Luce,
shank; in
use
{Jig.
176).
royal subventions, and thereby
Imprimerie
du
Louvre
and
des fubflances
,
: car
quoi
quon
die
7
pieces.
2^^^^^\\
c
c
in
and
Madame
de
DaupJiin.
At
fashionable
and
manded
more
work
Ecclesiastes
b\-
the eighteenth
century, see
Rue
remained
pears to
she died, and only
ployed by
on he engraved
cut
on
wood.
He
continued
fonte^
1737;
he
amplified
His
earliest
sort
Histonqiies
composers
and sister
Villeneuve, a
old-world quarter of
Etienne
du
Mont
would have been inconvenient
 Rue des
Rue I'Homond.^
8,
'
his nieces, tlie
Demoiselles Founiier, also lived in tlie Place de I'F^sti-apade in 1811.
Tlie
locality
seems
to
 
(from
material
furnished,
apparently,
by
one
of
eimui.
and friendship,
and
finally
rendered
the
advice
And
other
authorities
imply
that
he
of his own
1766;
les
plus
consommees
dans
I'art
de
rim-
having
been
specially
interested
older son,
Simon Pierre
business
relations
 I
who for
in
effort to continue
Postes, April
by
trade,
lejeune^s
Mineur emancifie d^Qge,
audit
alludes,
Simon
I
ing in France in
intelligent owner, of a wonderful collection of ancient
types,
wherewith
he
was
called.
The
youth, and being
Fournier
le
His roman
The
ordinaire
Personally, I
a
sloping
priate, and annex, but never  
And to all
or
Jilets
touched
the fashion
with such foresight
as well
to the
a
delightful
way
by
his
writings
branches of the Art
about
and
sold
by
Barbou
cjui
exercent
lefi
differentes
fiarties
de
VArt
de
V
Imfirimerie
Barbou, rue
S. Jacques,
reconstitute French
that
a
given
polices
num-
employed in the
for a
this
allowed
Postes.
On
his
of
the
book.
Music
and
kinds of
class
{Jig.
183),
and
the
had
air
them,
 superannu-
ated )
styles
de-
to
make
type
more
air
that
is
extremely
disagreeable
{Jig.
as
with
italic
characters.
The
^
should be
examined. A
final section
ments
he
designed,
of
the
point
system
he
invented,
For
he
was
neither
is mentioned
year
to
date
noticed
I am familiar with
Parchemmerie^
Fournier foun-
had as an associate
1751 Epreuve
death.
Briquet
continued
the
'
distinguished
Parisian
printer,
Pierres.
ordinaire
du
Roi,
the
any
specimen
announced
one
to
follow
Avith
through
than any
other the
is remarkably
open
thoroughly
seven-
teenth
century
French
type-forms
of
the
of
Grandjean,
about
1705.
And
another
Gando,
Frangois
(a
appeared
in
and additions.
The order
his customers
name of the
It displays the
1785,
signed
by
the page
style
forms but
very
coarse,
political
changes
in
France.^
these
XIV
le
roi
Soldi
— to
protect
themselves
of
Louis
XV.
and military
of Louis XVI's
begin to
Loi et
le Roi.
Below were
of
the
an amiable bird
was
a
return
fleurs-de-lis
of
Louis
Philippe's
reign,
a
Gallic
and replaced it