The Art & Practice of Typography / A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement

by Edmund G. Gress

EXAMPLE 475
The first line is set in Cloister Oldstyle; second reproduced from Elzevir page opposite; third set in Cadmus; fourth in Caslon Oldstyle. These lines are zinc-etched

John and Wendelin of Spires, Germans, began to print at Venice in 1469 with a type-face that was more Italian in character, yet it had Gothic characteristics. Nicholas Jenson, a Frenchman, who began to print in 1470 at Venice, was more successful, and he gave to the world the fine Roman type-face that he used on his first book, shown, together with a sample of contemporary lettering of similar design, as Example [470]. More facts about Jenson will be found on page [14].

EXAMPLE 476
Cheltenham Oldstyle, with the capitals a size smaller, set in imitation of the Plantin typography on page [16]

EXAMPLE 477
Type-faces used by Daniel Elzevir at Amsterdam in 1675. From “The American Printer” library

EXAMPLE 478
The Roman types of Fournier, the French founder, taken from his type book of 1766

EXAMPLE 479
A capital alphabet drawn by Joseph Moxon (1676) to a scale of forty-two small squares