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The Palaeotypography of the French Renaissance (2 vols.)

Selected Papers on Sixteenth-Century Typefaces


Hendrik Vervliet

This collection of thirteen essays examines sixteenth-century type design in France. Typefaces developed during this period were to influence decisively the typography of the centuries which followed, and they continue to influence a great many contemporary typefaces. The papers' common goal is to establish the paternity of the typefaces described and critically to appraise their attributions, many of which have previously been inadequately ascribed. Such an approach will be of interest to type historians and type designers seeking better-documented attributions, and to historians, philologists, and bibliographers, whose study of historical imprints will benefit from more accurate type descriptions. The papers and illustrations focus on the most important letter-cutters of the French Renaissance, including Simon de Colines, Robert Estienne, Claude Garamont, Robert Granjon, Pierre Haultin, and also include a number of minor masters of the period.


Carter Vaughn Findley

measure about 1.8–2.0 mm. high. Smaller type sizes and possibly other inconsistencies appear in the 1820s volumes. Using the system of measuring eighteenth-century type sizes defined in Gaskell ( Bibliography , 12–16), the body size of the type in the first two folios is 150, reduced to 142 in the third

G. Willem Ovink

. Ser. 3, Printer's manuals 2, London 1965), pp. 22 ff. 100 TABLE I Body sizes according to Moxon and Smith in ems/foot Sizes missing in Moxon's table are given between brackets as interpo- lated by Smith. See also Table XI in part 2 of this article. * Figures originally given by Smith as

Frans A. Janssen

Rousseau typographe ). This book focuses on the ‘rhétorique matérielle’, on all aspects that contribute to the transmission of the text such as format, type faces and body sizes, layout of title-page and text-pages, headlines, initials, indication of paragraphs, leading, marginalia, paratext (including

require a new edition. Only the industrial techniques have changed. Letterpress printing from composed metal types had to give way to electronic composition for laser 'image-setters' and offset printing. The obvious differences are quantitative. More typefaces are available in more body-sizes on more

Frans A. Janssen

– after c .1850 (with Pickering among others). 13 Preliminaries . Bertrand-Quinquet follows a tradition when he states that prefaces must be set in a larger body size than that of the main text, while a dedication – to be placed right after the title-leaf – is set in italics; he turns against the

Gerard Unger

Épître, Fran?ols-Ambroise also observes typographical practices which feature prominently in Baskerville's work, such as its sober and uncomplicated typography and its title-pages with their text set in widely spaced capitals and a carefully weighed-up progression from large to small body sizes. Unlike

G. Willem Ovink

G.WILLEM OVINK From Fournier to metric, and from lead to film 2* Developments in the U.K. and the U.S.A.-Standard line-Metrication §11. Great Britain As we have already seen, there was no shortage in Great Britain of com- plaints about the chaos in body sizes - inadmissible differences in dimen

PETER ,J. Lucas

): d, f, g, H, i, r, s, t; p, 6; E, S, D; P 'J. They are combined with Haultin's Pica Roman, but whereas the Pica Roman on its own has a body size of 84 mm per 20 lines, when combined with the Anglo-Saxon special sorts the body size is 96 mm, i.c. English-size. Even then there is overlap between lines

Paula P. Witkam

Officina had brought out at least seven other Lucan editions, three editi- ones maiores in 8° with, among other things, variae lectiones by Poelman,12 and four editiones minores in small formats (16°, 32°) and a small body size (roughly 6-point).13 The editio maior which Grotius produced in 1614 came with