Illustrations

Explore nearly 400 illustrations and specimens carefully curated by Daniel Updike that document almost 500 years of typographical history. This collection restored from Printing Types shows how letterforms evolved from the earliest printed books in the fifteenth century to the early twentieth century.

  1. Figure 1 Impression of a piece of Fifteenth Century Type 1476
  2. Figures 2 & 3 Diagram of Type and Plan of its Face
  3. Figure 4 A Pair of Printer’s Cases
  4. Figure 5 Fournier’s Table of Proportions of Bodies of Different Types 1742
  5. Figures 6 & 7 Fournier’s perfected Table of Proportions for his Point System 1764
  6. Figure 8 English lettre de forme
  7. Figure 9 French lettre de Somme
  8. Figure 10 French lettre Batarde
  9. Figure 11 Portion of 30-line Letters of Indulgence, Mainz 1455
  10. Figure 12 Portion of 31-line Letters of Indulgence, Mainz 1455
  11. Figure 13 Type of 36-line Bible, Mainz 1461
  12. Figure 14 Type of 42-line Bible, Mainz 1455
  13. Figure 15 Type used in Latin Psalter: Fust Schoeffer, Mainz 1457
  14. Figure 16 Advertisement issued by Koberger, Nuremberg 1480
  15. Figure 17 Round Gothic Type of Catholicon: Gutenberg 1460
  16. Figure 18 Type prefiguring Schwabacher, used in Hortus Sanitatis: Peter Schoeffer, Mainz 1485
  17. Figure 19 Pointed Gothic Type: Baemler, Augsburg 1474
  18. Figure 20 a & b Gothic Types used by Koberger at Nuremberg 1483
  19. Figure 21 Semi-Gothic Type: Mentelin, Strassburg 1460
  20. Figure 22 First Roman Type used in Germany: Rusch, Strassburg 1464
  21. Figure 23 Transitional Roman-Gothic: Holle, Ulm 1482
  22. Figure 24 First Type used in Italy: Sweynheym and Pannartz, Subiaco 1465
  23. Figure 25 Second Type of Sweynheym and Pannartz, Rome 1467
  24. Figure 26 John and Wednelin de Spire’s Roman Type, Venice 1470
  25. Figure 27 Jenson’s Roman Type used in Eusebius, De Præparatione Evangelica, Venice 1470
  26. Figure 28 Page of Hypnerotomachia Poliphili: Aldus, Venice 1499
  27. Figure 29 Ratdolt’s Gothic Type, from his Specimen 1486
  28. Figure 30 Ratdolt’s Roman and Greek Type, from his Specimen 1486
  29. Figure 31 Part of a page of Horace: Miscomini, Florence 1482
  30. Figure 32 First Roman Type used in France: Freiburger, Gering and Kranz, Paris 1470
  31. Figure 33 First Gothic Type used in France: Frieburger, Gering, and Kranz, Paris 1473
  32. Figure 34 Type used for first Bible printed in France: Frieburger, Gering, and Kranz, Paris 1476
  33. Figure 35 Roman Type used in Virgil by Gering, Paris 1478
  34. Figure 36 Lettre Batarde used in the first book printed in French: Bonhomme, Paris 1477
  35. Figure 37 Condensed Gothic Type used by Bötticher, Paris 1481
  36. Figure 38 Page from Book of Hours in Transitional style 1488
  37. Figure 39 First Roman type used in Lyons: Du Pré 1490
  38. Figure 40 Two pages of an Abecedarium 1460
  39. Figure 41 Gothic Type used by Printer of the Speculum 1471
  40. Figure 42 Mansion’s Ancienne Batarde, Bruges 1484
  41. Figure 43 Lettre Batarde used by Brito, Bruges
  42. Figure 44 Black-letter used by Bellaert, Haarlem 1485
  43. Figure 45 Fifteenth Century Saint Augustin Flamad: Enschedé’s Proef van Letteren, Haarlem, 1768 1470–1480
  44. Figure 46 Fifteenth Century Gros-Romain Flamand: Enschedé’s Proef van Letteren, Haarlem, 1768 1470–1480
  45. Figure 47 John of Westphalia’s Roman Type, used at Louvain
  46. Figure 48 Fifteenth Century Roman Type attributed to Schoeffer (as reconstituted by Enschedé) 1488
  47. Figure 49 First Roman Type used in Spain: Palmart, Valencia 1475
  48. Figure 50 Spindeler’s Roman Type, Valencia 1500
  49. Figure 51 Fadrique de Basilea’s Roman Type, Burgos 1499
  50. Figure 52 Roman Type used by Ungut and Stanislaus, Seville 1492
  51. Figure 53 First Gothic Type used in Spain: Palmart, Valencia 1482
  52. Figure 54 Brocar’s Round Gothic Type, Pamplona 1499
  53. Figure 55 Gothic Type used by Pablo Hurus, Saragossa 1496
  54. Figure 56 Title-page of Gordonio’s Lilio de Medicina: Ungut and Stanislaus, Seville 1495
  55. Figure 57 Title-page of Leyes del Quaderno, etc., Salamanca 1496
  56. Figure 58 Title-page of Aurem Opus: Diego de Gumiel, Valencia 1515
  57. Figure 59 Caxton’s Type 1. From The Recuyell of the Historyes of Troye (first book printed in English), Caxton and Mansion, Bruges 1475
  58. Figure 60 Caxton’s Type 2. From The Dictes or Sayengis of the Philosophres, Westminster, 1477 1477
  59. Figure 61 Caxton’s Type 3. Used in his Handbill, Westminster 1477
  60. Figure 62 Caxton’s Type 4. From Godfrey of Boloyne, Westminster 1481
  61. Figure 63 Caxton’s Type 5. From The Doctrinal of Sapience, Westminster 1489
  62. Figure 64 Caxton’s Types 6 and 8 from Tretyse of Love, Westminster 1493
  63. Figure 65 Caxton’s Type 7. Used in Indulgence, Westminster 1489
  64. Figure 66 Gothic Types used by Wynkyn de Worde, Westminster 1499
  65. Figure 67 Lettres de Forme used by Notary and Barbier, Westminster 1498
  66. Figure 68 Transitional Gothic Type used in Andreæ Antonius, Quæstiones super Duodecim Libros Metaphysicæ Aristotelis: Lettou, London, 1480 1480
  67. Figure 69 Lettre Batarde used in The Fall of Pinces: Pynson, London 1480
  68. Figure 70 Lettre de Forme used by Pynson, London 1495
  69. Figure 71 Greek Type used in Philostratus: Aldus, Venice 1501
  70. Figure 72 Aldine Italic as used in Juvenal and Persius: Aldus, Venice 1501
  71. Figure 73 Type used in Diurnale: Schönsperger, Nuremberg 1514
  72. Figure 74 Type used in Teuerdanck: Schönsperger, Nuremberg 1517
  73. Figure 75 Title-page of Fundamentbuch: Jobin, Strassburg 1579
  74. Figure 76 a & b Alphabets of Fifteenth and Sixteenth Century Fraktur 1479 & 1566
  75. Figure 77 Cursive and Schwabacher used by Froschauer, Zurich 1567
  76. Figure 78 Types used by Hentzsken, Berlin 1578
  77. Figure 79 Roman Type used by Schoeffer, Mainz 1520
  78. Figure 80 Roman Type used by Froben, Basle 1526
  79. Figure 81 Italic in Erasmus’s New Testament: Froben, Basle 1521
  80. Figure 82 Specimen of J. Petri, Basle 1525
  81. Figure 83 Title page of Klopstock’s Messias: Halle 1749
  82. Figure 84 Title-page of Winckelmann’s Kunst des Alterhums: Dresden 1764
  83. Figure 85 Pages of Jacobi’s Iris, Düsseldorf, 1775 1764
  84. Figure 86 Title-page of first edition of Faust: Goschen, Leipsic 1790
  85. Figure 87 Title-page of Wilhelm Meister: Unger, Berlin 1795
  86. Figure 88 Fraktur, Schwabacher, and Cursive, as shown by Fournier le jeune 1764
  87. Figure 89 Title-page of Pater’s Dissertatio, Leipsic 1710
  88. Figure 90 Types from Pater’s Dissertatio, Leipsic 1710
  89. Figure 91 Fraktur and Schwabacher Types: Pater’s Dissertatio, Leipsic 1710
  90. Figure 92 Typographical Ornaments, probably from the Endters Printing-house, Nuremberg 1721
  91. Figure 93 Fraktur Types of Breitkopf’s Schrift-Probe, Leipsic 1739
  92. Figure 94 Roman and Italic Types: Breitkopf’s Schrift-Probe, Leipsic 1739
  93. Figure 95 Schwabacher and Fraktur: Trattner’s Abdruck dererjenigen Deutschen Schriften, etc., Vienna 1760
  94. Figure 96 Ornaments: Trattner’s Abdruck von denjenigen Röslein, etc., Vienna 1760
  95. Figure 97 a & b Neue Deutsche Lettern and Ornaments: Unger’s Schriftproben, Berlin 1791
  96. Figure 98 Unger’s and Didot’s Modifications of German Fraktur 1793
  97. Figure 99 Page of Ovid: Gorgonzola, Milan 1509
  98. Figure 100 Gothic Type in Opera of Boethius: Giunta, Venice 1536
  99. Figure 101 Italic in Dante’s Commedia: Marcolini, Venice 1544
  100. Figure 102 Opening of Paolo Giovio’s Historiarum sui Temporis: Torrentino, Florence 1550
  101. Figure 103 Types of Vasari’s Vite: Torrentino, Florence 1550
  102. Figure 104 Italic used in Nogarola’s Dialogus, Gryphius, Venice 1552
  103. Figure 105 Types in Dante: Sessa, Venice 1564
  104. Figure 106 Page from Decamerone: Giunta, Florence 1573
  105. Figure 107 Italic in Nannini’s Considerationi Civili, Venice 1582
  106. Figure 108 Roman types of Morosoini’s Historia Veneta: Pinelli, Venice 1623
  107. Figure 109 Address to the Reader: Stamperia Vaticana Specimen, Rome 1628
  108. Figure 110 Canon Grosso: Stamperia Vaticana Specimen, Rome 1628
  109. Figure 111 Ascendonica: Stamperia Vaticana Specimen, Rome 1628
  110. Figure 112 Corsivo Grosso: Stamperia Vaticana Specimen, Rome 1628
  111. Figure 113 Roman Capitals: Stamperia Vaticana Specimen, Rome 1628
  112. Figure 114 Alphabet of Greek Capitals: Stamperia Vaticana Specimen, Rome 1628
  113. Figures 115 & 116 Plain-Song: Stamperia Vaticana Specimen, Rome 1628
  114. Figure 117 Type used for Missals: Stamperia Vaticana Specimen, Rome 1628
  115. Figure 118 Page from La Clori: Pignoni, Florence 1626
  116. Figure 119 Roman and Italic Types showing “modern” tendency, used in Magalotti’s Saggi di Naturali Esperienze, etc.: Cecchi, Florence 1691
  117. Figure 120 Type imitating ancient Manuscript, used in Virgil: Manni, Florence 1741
  118. Figure 121 Types of Arrighi’s Life of Morosini: Comino, Padua 1749
  119. Figure 122 Page showing light types, openly set, in Versi Sciolti di Tre Eccellenti Moderni Autori: Fenzo, Venice 1759
  120. Figure 123 Italic in Dedication of Gerusalemme Liberata: Albrizzi, Venice 1745
  121. Figure 124 Page of Gerusalemme Liberata: Albrizzi, Venice 1745
  122. Figure 125 Pages from Gerusalemme Liberata: Zatta, Venice 1787
  123. Figure 126 Types showing “modern” feeling, used in Sardini’s Storia Critia di Nicolao Jenson: Bonsignori, Lucca 1796
  124. Figure 127 Types showing “modern” feeling, used in Poggiali’s Storia Letteraria di Piacenza: Orcesi, Piacenza 1789
  125. Figure 128 Testo and Palestina from Bodoni’s Fregi e Majuscole, Parma 1771
  126. Figure 129 Ornaments from Bodoni’s Fregi e Majuscole, Parma 1771
  127. Figure 130 a & b Ornamented Letters and Initials from Bodoni’s Fregi e Majuscole, Parma 1771
  128. Figure 131 a & b Page from Saggio Tipografico and Reverse of half-title of Fregi. Bodoni’s Fregi e Majuscole, Parma 1771
  129. Figure 132 Types from Zatta’s Saggi dei Caratteri, Venice 1794
  130. Figure 133 “Modern” Types from Zatta’s Saggi dei Caratteri, Venice 1794
  131. Figure 134 Borders from Zatta’s Saggi dei Caratteri, Venice 1794
  132. Figure 135 Lettres de Forme, Lettres de Somme, and Ancienne Batarde shown by Fournier le jeune 1764
  133. Figure 136 Portion of page from Tory’s Champfleury: Paris 1529
  134. Figure 137 Music Types combined with Lettre de Forme, used by Attaingnant, Paris 1532
  135. Figure 138 Roman of Ruel’s De Natura Stirpium: De Clines, Paris 1536
  136. Figure 139 Italic of Preface of Ruel’s De Natura Stirpium: De Clines, Paris 1536
  137. Figure 140 Page of Songe de Poliphile: Kerver, Paris 1546
  138. Figure 141 Types used by Vascosan, Paris 1556
  139. Figure 142 Granjon’s Civilité: Breton, Paris 1559
  140. Figure 143 Old Civilité from Lamesle’s Épreuves Générales des Caractères, Paris 1742
  141. Figure 144 Roman of Caousin’s Livre de Perspective: Le Royer, Paris 1560
  142. Figure 145 Italic in Cousin’s Livre de Perspective: Le Royer, Paris 1560
  143. Figure 146 Robert Granjon’s Italic used in La Vita et Metamorfosio d’Ovidio: De Tournes, Lyons 1584
  144. Figure 147 Moreau’s Calligraphic Types used in Les Saintes Metamorphoses, Paris 1644
  145. Figure 148 Old Italics from Sanlecque’s Épreuves des Caractères, Paris 1757
  146. Figure 149 Old Italics from Sanlecque’s Épreuves des Caractères, Paris 1757
  147. Figure 150 Old Music Types, from Sanlecque’s Épreuves des Caractères, Paris 1757
  148. Figure 151 Seventeenth Century Ornaments from Lamesle’s Épreuves Générales des Caractères 1757
  149. Figure 152 Early Types (œil maigre): Delacolonge’s Caractères et Vignettes, Lyons 1773
  150. Figure 153 Early Types (œil gras): Delacolonge’s Caractères et Vignettes, Lyons 1773
  151. Figure 154 Old Style Types used by Coignard, Paris 1719
  152. Figure 155 Fournier le jeune’s Types: Didot, Paris 1743
  153. Figure 156 Fournier le jeune’s Types and Ornaments, Barbou, Paris 1759
  154. Figure 157 Fournier le jeune’s Music Types: Barbou, Paris 1765
  155. Figure 158 Roman Type in Saint Lambert’s Saisons, Paris 1775
  156. Figure 159 Italic in Saint Lambert’s Saisons, Paris 1775
  157. Figure 160 Roman Types used in Géorgiques de Virgile: Didot l’aîné, Paris 1782
  158. Figure 161 Page employing Firmin Didot’s Italic Type, from Didot’s Épître sur les Progrè de l’Imrimerie, printed by F. A. Didot, Paris 1784
  159. Figure 162 Types used by F. A. Didot in Prospectus of Peintures Antiques, Paris 1782
  160. Figure 163 Caractère Maigre used in Œuvres de Fénelon: F. A. and P. Didot, Paris 1787–92
  161. Figure 164 Caractère Gras used in Aventures de Télémaque: Pierre François Didot, Paris 1787
  162. Figure 165 Baskerville’s Types used in Voltaire’s La Pucelle, Kehl 1789
  163. Figures 166 & 167 Page and Types of folio Horace: Pierre Didot, Paris 1799
  164. Figure 168 Garamond’s Caractères de l’Université, c. 1540, used in Richelieu’s Les Principaux Poincts de la Foy Catholique Défendus: Imprimerie royale, Paris 1642
  165. Figure 169 Roman Type (Garamond?) used in Giovio’s Vitæ: Estienne, Paris 1549
  166. Figure 170 Garamond’s Grecs du Roi (three sizes) used in Greek edition of Appiani Alexandrini Romanarum Historiarum: Estienne, Paris 1551
  167. Figure 171 Page of Grec du Roi from Greek edition of Appiani Alexandrini Romanarum Historiarum: Estienne, Paris 1551
  168. Figure 172 Garamond’s Roman and Italic Types used in Richelieu’s Les Principaux Poincts de la Foy Catholique Défendus: Imprimerie Royale, Paris 1642
  169. Figure 173 Grandjean’s Romain du Roi used in Médailles sur les Principaux Événements du Règne de Louis le Grand: Imprimerie Royale, Paris 1702
  170. Figure 174 Grandjean’s Romain du Roi (italic) used in Cuivres de Cochin destinés à l’Histoire de Louis XV par Médailles: Imprimerie Nationale, Paris 1889
  171. Figure 175 Luce’s Types Poétiques compared with Old Style types of Imprimerie Royale 1771
  172. Figure 176 Luce’s Types Poétiques (roman and two versions of italic) 1771
  173. Figure 177 Luce’s Ornaments 1771
  174. Figure 178 Luce’s Employment of his Types and Ornaments 1771
  175. Figure 179 Page of Course de principaux Fleuves et Rivières de l’Europe, composed and printed by Louis XV when a Child: Paris 1718
  176. Figure 180 Title-page of Fournier le jeune’s Modèles des Caractères, Paris 1742
  177. Figure 181 Roman and Italic from Fournier le jeune’s Modèles des Caractè, Paris 1742
  178. Figure 182 Use of Typographical Ornaments in Fournier le jeune’s Modèles des Caractères, Paris 1742
  179. Figure 183 Fournier le jeune’s Types Poétiques (cicéro, romain and italic) 1764
  180. Figure 184 Fournier le jeune’s Types dans le goût Hollandois (cicéro, romain and italic) 1764
  181. Figure 185 a & b Fournier le jeune’s Italique moderne, Italique ancienne, and Shaded Letters 1764
  182. Figure 186 Fournier le jeune’s Ornamental Capitals used in Desormeaux’s Histoire de Louis II, Prince de Condé: Lottin, Paris 1768
  183. Figure 187 Fournier le jeune’s Vignettes de Fonte, Paris 1764
  184. Figure 188 Batarde Types shown by Fournier, Paris 1764
  185. Figure 189 Financière: Delacologne’s Caractères et Vignettes, Lyons 1773
  186. Figure 190 Method of Displaying Ornaments: Briquet’s Épreuve de Caractères, Paris 1757
  187. Figure 191 François Gando’s Italique, goût nouveau, cut in 1754: Épreuves de Caractères, Gando, Paris 1760
  188. Figure 192 Title-page of Caractères de l’Imprimerie de M. Pierres, Paris 1785
  189. Figure 193 Music Types employed in De La Hèe’s Masses: Plantin, Antwerp 1578
  190. Figure 194 Roman and Italic Types: Plantin Specimen, Antwerp 1567
  191. Figure 195 Roman and Italic Types: Plantin Specimen, Antwerp 1567
  192. Figure 196 Roman, Italic, and Cursive Types: Plantin Specimen, Antwerp 1567
  193. Figure 197 Canon d’Espagne from Plantin Office 1905
  194. Figure 198 Calligraphic Initials from Plantin Office 1905
  195. Figure 199 Page from Biblia Polyglotta: Plantin, Antwerp 1572
  196. Figure 200 Text-page and Title in Plantin&rsuo;s early manner, Antwerp 1567
  197. Figure 201 Page from Rariorum Stirpium Hispaniæ Historia: Plantin, Antwerp 1576
  198. Figure 202 Page of Rechten, end Costumen van Antwerpen, Plantin 1582
  199. Figure 203 Page of Italic from Rembert Dodoen’s Stirpium Historia: Plantin Office, Antwerp 1616
  200. Figure 204 Title-page, Contents, and Text-page of one of Elzevir’s Republics, Leyden 1627
  201. Figure 205 Pages of Cicero: Elzevir, Leyden 1642
  202. Figure 206 Page of Caesar (octavo): Elzevir, Amsterdam 1661
  203. Figure 207 Sale-Specimen of Elzevir Types: Amsterdam 1681
  204. Figure 208 Dutch Type used in Temple des Muses, Amsterdam 1733
  205. Figure 209 Type used in De Stad Haarlem en haare Geschiedenissen: Enschedé and Bosch, Haarlem 1765
  206. Figure 210 Script Type: Enschedé’s Proef van Letteren, Haarlem 1768
  207. Figure 211 Fleischman’s Roman Types cut in 1734, 1753, and 1761: Enschedé’s Proef van Letteren, Haarlem 1768
  208. Figure 212 Fleischman’s Black-letter: Enschedé’s Proef van Letteren, Haarlem 1768
  209. Figure 213 Seventeenth Century Civilité: Enschedé’s Proef van Letteren, Haarlem 1768
  210. Figure 214 Rosart’s Caractère de Finance, from his Épreuve, Brussels 1768
  211. Figure 215 Rosart’s Music Types, from his Épreuve, Brussels 1768
  212. Figure 216 Rosart’s Ornaments, from his Épreuve, Brussels 1768
  213. Figure 217 Dutch Roman Types: Erhardt Foundry Specimen, Leipsick 1739
  214. Figure 218 Dutch Italic Types: Erhardt Foundry Specimen, Leipsick 1739
  215. Figure 219 Round Spanish Black-letter, from Lucas’ Arte de Escrivir, Madrid 1577
  216. Figure 220 Antique Black-letter: Specimen of La Fabrica del Convento de S. Joseph, Barcelona 1777
  217. Figure 221 Title-page of Bordazar’s Plantificacion, Valencia 1732
  218. Figure 222 Texto, Atanasia, and Lettura Espaciosa from Boradzar’s Plantificacion, Valencia 1732
  219. Figure 223 Page of Sallust: Ibarra, Madrid 1772
  220. Figure 224 Gothic Types: Hagenbach, Toledo 1504
  221. Figure 225 Gothic Type: Coci, Saragossa 1520
  222. Figure 226 Gothic Type used by Cromburger, Seville 1527
  223. Figure 227 Roman and Gothic Types used in Complutensian Polyglot Bible: Guillen de Brocar, Alcalá 1514–17
  224. Figure 228 Greek Type used in Complutensian Polyglot Bible (New Testament): Guillen de Brocar, Alcalá 1514–17
  225. Figure 229 Roman Type used by Sancho de Nebrija, Granada 1545
  226. Figure 230 Roman Type used by Andres de Angulo, Alcalá 1569
  227. Figure 231 Types used in first edition of Don Quixote: Juan de la Cuesta, Madrid 1605, 1615
  228. Figure 232 Opening of Solis’ Conquista de Mexico (first edition): Villa-Diego, Madrid 1684
  229. Figure 233 Italic used for Spanish text of Sallust: Ibarra, Madrid 1772
  230. Figure 234 Title-page of Academy Edition of Don Quixote 1780
  231. Figure 235 Types used in Academy Edition of Don Quixote: Ibarra, Madrid, 1780 1780
  232. Figure 236 Type used by A. de Sancha, Madrid 1774
  233. Figure 237 Opening of Solis’s Conquista de Mexico: Sancha, Madrid, 1783 1783
  234. Figure 238 Type used in Bayer’s De Numis Hebræo-Samaritanis: Monfort, Valencia 1781
  235. Figure 239 Page from Yriarte’s Obras Sueltas: Mena, Madrid 1774
  236. Figure 240 Italic in Prefatory Address: Espinosa’s Murestras de los Caracters, etc., Madrid 1771
  237. Figure 241 Texto Gordo (roman): Espinosa’s Murestras de los Caracters, etc., Madrid 1771
  238. Figure 242 Texto Gordo (italic): Espinosa’s Murestras de los Caracters, etc., Madrid 1771
  239. Figure 243 Italic of Letura Chica: Espinosa’s Murestras de los Caracters, etc., Madrid 1771
  240. Figure 244 Entredos (roman and italic): Espinosa’s Murestras de los Caracters, etc., Madrid 1771
  241. Figure 245 Roman cut by Gil: Specimen Real Biblioteca, Madrid 1787
  242. Figure 246 Italic cut by Gil: Specimen Real Biblioteca, Madrid 1787
  243. Figure 247 New Italic of Texto (showing French influence): Specimen Real Biblioteca, Madrid 1787
  244. Figure 248 Peticano, cut by Eudaldo Pradell, Muestras de la Viuda é Hijo de Pradell, Madrid 1793
  245. Figure 249 Ornaments from Muestras, etc., Pedro, Ifern, Madrid 1795
  246. Figure 250 Roman tending to “Modern Face,” from Muestras, etc., Imprenta Real, Madrid 1799
  247. Figure 251 Italic tending to “Modern Face,” from Muestras, etc., Imprenta Real, Madrid 1799
  248. Figure 252 Ornaments from Muestras, etc., Imprenta Real, Madrid 1799
  249. Figure 253 Ornaments from Muestras, etc., Imprenta Real, Madrid 1799
  250. Figure 254 Court Hand, Secretary, and Scriptorial Types from Sale Catalogue of the James Foundry, London 1782
  251. Figure 255 Roman Types used in Horman’s Vulgaria: Pynson, London 1519
  252. Figure 256 Roman Type used in Æfredi Regis Res Gestæ: Day, London 1574
  253. Figure 257 Italic used in Horman’s Vulgaria: Pynson, London 1650
  254. Figure 258 Earliest English Specimen-sheet: Nicholas Nicholls, London 1665
  255. Figure 259 Roman and Italic given by Dr. Fell to the University Press, Oxford 1695
  256. Figure 260 Black-letter given by Dr. Fell to the University Press, Oxford 1695
  257. Figure 261 Dutch types used in England: Watson Specimen, Edinburgh 1713
  258. Figure 262 First Broadside Specimen issued by William Caslon 1734
  259. Figure 263 Roman and Italic: William Caslon & Son’s Specimen, London 1763
  260. Figure 264 Black-letter: William Caslon & Son’s Specimen, London 1763
  261. Figures 265 & 266 Ornaments: William Caslon & Son’s Specimen, London 1763
  262. Figure 267 Page of Bakerville’s Preface to Milton, Birmingham 1758
  263. Figure 268 Title-page of Baskerville’s Virgil, Birmingham 1757
  264. Figure 269 Baskerville’s Type used in Virgil, Birmingham 1757
  265. Figure 270 Baskerville’s Broadside Specimen (without border), Birmingham 1762
  266. Figure 271 Types from Baskerville’s bordered Broadside Specimen, Birmingham 1762
  267. Figure 272 Advertisement of Sales of Baskerville’s Types, Paris 1789
  268. Figures 273 & 274 Ornaments used by Baskerville 1775
  269. Figure 275 Portion of Wilson’s Broadside Specimen, Glasgow 1783
  270. Figure 276 Broadside Specimen of Isaac Moore and Co., Bristol 1766
  271. Figure 277 Roman and Italic: Fry and Steel’s Specimen, London 1795
  272. Figure 278 Ornaments: Fry and Steel’s Specimen, London 1795
  273. Figure 279 Transitional Types: Caslon Specimen, London 1798
  274. Figure 280 Ornaments: Caslon Specimen, London 1798
  275. Figure 281 Types used on Gower’s Confessio Amantis: Berthelet, London, 1532 1532
  276. Figure 282 Lettre Batarde used in first complete edition of Chaucer: Godfrey, London 1532
  277. Figure 283 Lettre de Forme used in second complete edition of Chaucer: Pynson, London 1542
  278. Figure 284 Page of Cunningham’s Cosmographicall Glasse: Day, London 1559
  279. Figure 285 Page of Ascham’s Scholemaster, showing Roman, Italic, and Black-letter: Day, Londo 1751
  280. Figure 286 Type and Ornaments in Tasso’s Godfrey of Bulloigne: Hatfield, London 1600
  281. Figure 287 Page of Walton’s Lives: Newcomb, London 1670
  282. Figure 288 Page of English-Saxon Homily: Bowyer, London 1709
  283. Figure 289 Roman used in Latin edition of Caesar: Tonson, London 1712
  284. Figure 290 First use of Caslon’s Roman Type, in Selden’s Opera: Bowyer, London 1726
  285. Figure 291 Engraved Text of Pine’s Horace, London 1733–1737
  286. Figure 292 Type of Hanmer’s Shakespeare: University Press, Oxford 1743–1744
  287. Figure 293 Bastard Title-page of Hanmer’s Shakespeare: University Press, Oxford 1743–1744
  288. Figure 294 Page of Sir Joshua Reynolds’ Royal Academy Discourse: Cadell, London 1782
  289. Figure 295 Type of folio Pope: Foulis, Glasgow 1785
  290. Figure 296 Title-page of Letters of Charlotte, London 1786
  291. Figure 297 William Martin’s Type used in the “Boydell Shakspeare”: Bulmer, London 1792–1801
  292. Figure 298 William Martin’s Two-line Small Pica Roman and Italic used in Poems by Goldsmith and Parnell: Bulmer, London 1795
  293. Figure 299 William Martin’s Great Primer Roman (Goldsmith and Parnell) and Italic (Somervile’s Chase): Bulmer, London 1795–1796
  294. Figure 300 William Martin’s Pica Roman and Italic used in Somervile’s Chase: Bulmer, London 1796
  295. Figure 301 Binny & Ronaldson’s Type used in The Columbiad, Philadelphia 1807
  296. Figure 302 Black-letter: Binny & Ronaldson’s Specimen, Philadelphia 1812
  297. Figure 303 Ornaments: Binny & Ronaldson’s Specimen, Philadelphia 1812
  298. Figure 304 Title-page: Isaiah Thomas’s Specimen, Worcester 1785
  299. Figure 305 Greek from Iscrizioni Esotici: Bodoni, Parma 1774
  300. Figure 306 Roman and Italic from Bodoni’s Specimen, Parma 1788
  301. Figure 307 a & b Title and Text of Lettre à De Cubières: Bodoni, Parma 1785
  302. Figure 308 Page of Signora Bodoni’s Discorso: Manuale Tipografico, Parma 1818
  303. Figure 309 Page of Signora Bodoni’s Prefazione: Manuale Tipografico 1818
  304. Figure 310 Specimen of Bodoni’s Ducale in three weights: Manuale Tipografico, Parma 1818
  305. Figure 311 Largest, medium, and smallest Roman and Italic Capitals shown in Bodoni’s Manuale Tipografico, Parma 1818
  306. Figure 312 Ornaments: Bodoni’s Manuale Tipografico, Parma 1818
  307. Figure 313 Borders: Bodoni’s Manuale Tipografico, Parma 1818
  308. Figure 314 Roman in Epithalamia Exoticis Linguis Reddita: Bodoni, Parma 1775
  309. Figure 315 Italic in Epithalamia Exoticis Linguis Reddita: Bodoni, Parma 1775
  310. Figure 316 Roman and Italic: Amoretti’s Saggio de’ Caratteri, Parma 1811
  311. Figure 317 Ornaments: Amoretti’s Saggio de’ Caratteri, Parma 1811
  312. Figure 318 talic in P. Didot l’aîné’s Spécimen des Nouveaux Caractères, Paris 1819
  313. Figure 319 Roman in P. Didot’s Spécimen etc., Paris 1819
  314. Figure 320 Borders: Specimen of Gillé fils, Paris 1808
  315. Figure 321 Broadside Specimen of Gillé fils, Paris 1808
  316. Figure 322 Sheet from folio Specimen of Molé jeune, Paris 1819
  317. Figure 323 Broadside Specimen of L. Léger, Paris 1806
  318. Figure 324 Borders: Léger’s Spécimen des Divers Caractères, Paris 1831–1844
  319. Figure 325 “Classic” Types: Épreuves de Caractères, Fonderie Générale, Paris, 1843 1853 1853
  320. Figure 326 French Old Style revived by De Berny, Paris 1852
  321. Figure 327 Comparative Table of Types used by the French National Printing House from its foundation to 1825 1847
  322. Figure 328 Types used in The Sovereign: Bensley, London 1800
  323. Figure 329 Types used in Poetry of the Anti-Jacobin: Bulmer, London 1801
  324. Figure 330 Types used in Freylinghausen’s Doctrine of the Christian Religion: Stereotype Office, London 1804
  325. Figure 331 Page of Bibliographical Decameron: Bulmer, London 1817
  326. Figure 332 Julian Hibbert’s Uncial Greek Types used in Book of the Orphic Hymns, London, 1827 1827
  327. Figure 333 Modern Face Types: Alexander Wilson & Son’s Specimen, Glasgow 1833
  328. Figure 334 Roman and Italic: W. Thorowgood’s Specimen, London 1824
  329. Figure 335 Black-letter: W. Thorowgood’s Specimen, London 1824
  330. Figures 336 & 337 Ornaments to accompany “Fat-Face” Types: Henry Caslon, London 1844
  331. Figure 338 Types and Ornaments of Period of the Caslon Revival: Caslon Son and Livermore and Henry Caslon Specimens 1844
  332. Figure 339 Caslon Type as revived in Lady Willoughby’s Diary by Whittingham, London 1844
  333. Figure 340 Caslon Type used in “Pickering edition” of The Temple, by George Herbert: Whittingham, London 1850
  334. Figure 341 First use of Fell Types by the Daniel Press, Oxford 1877
  335. Figure 342 Fell Types as used in Songs by Margaret L. Woods: Daniel Press, Oxford 1896
  336. Figure 343 Fell Types as used in Trecentale Bodleianum: Oxford University Press 1913
  337. Figure 344 Modernized Old Style Fonts as used in Wotton’s Elements of Architecture: Chiswick Press, London 1903
  338. Figure 345 Type used in The Hobby Horse: Chiswick Press, London 1890
  339. Figure 346 Morris’s Golden Type: Kelmscott Press 1893
  340. Figure 347 Morris’s Troy Type: Kelmscott Press 1898
  341. Figure 348 Morris’s Chaucer Type: Kelmscott Press 1898
  342. Figure 349 The Vale Fount: Vale Press 1904
  343. Figure 350 The Avon Fount: Vale Press 1904
  344. Figure 351 The King’s Fount: Vale Press 1904
  345. Figure 352 Doves Type: Doves Press 1908
  346. Figure 353 Type used by the Ashendene Press 1903
  347. Figure 354 Book Type: Eragny Press 1903
  348. Figures 355 a, b & c Herbert Horne’s Montallegro, Florence, and Riccardi Types 1904–1914
  349. Figure 356 Selwyn Image’s Greek Type 1895
  350. Figure 357 Proctor’s “Otter” Greek Type 1904
  351. Figure 358 Bruce Rogers’ Montaigne Type 1908
  352. Figure 359 Bruce Rogers’ Centaur Type 1915
  353. Figure 360 Bertram Grosvenor Goodhue’s Merrymount Type 1904
  354. Figure 361 “Inkunabula” type, as used in Risorgimento Grafico: Bertieri and Vanzetti, Milan 1921
  355. Figure 362 Distel Type: Zilverdistel Press, The Hague 1918
  356. Figure 363 Zilver Type: Zilverdistel Press, The Hague 1915
  357. Figure 364 French Lettre Batarde, Paris 1890
  358. Figure 365 Le Cochin: G. Peignot & Files, Paris 1914
  359. Figure 366 Arabic Figures used by Simon de Colines in 1536 (top) with Arabic Figures, Non-Ranging and Ranging (bottom) 1536
  360. Figure 367 Examples of Transitional Types