Roman letter, in England: introduction of, [44], [91]; Pynson’s, [44]; [92]; De Worde’s, [91]; Redman’s, [94]; Day’s, [47], [96], [97], [98], [144]; Vautrollier’s, [46], [98]; degeneration of, [44], [232]; called ‘White letter,’ [91]; mixed with Black, [45], [97]; followed Dutch models, [46]; first Bible in, [46]; in Scotland, [46]; Roycroft’s, [47], [173], [176]; Ogilby’s, [47]; Field’s, [47]; Moxon’s rules for, [47], [182], [184], [185]; Caslon’s influence on, [47], [249], [284], [301], [303], [305]; narrow faces, [46]; Baskerville’s influence on, [47], [284], [299], [305], [332], [333]; French influence on, [48]; Bodoni’s influence on, [48], [331]; revolutions in, [48], [251], [253], [301], [328], [332], [340]; French obligations to, [48]; heavy faced, [48]; revival of the Old Face, [49]; Rusher’s improved, [119]; Motteroz ideal, [48]
——— and Italic matrices: Oxford, [148], [152]; Polyglot, [173], [176]; Moxon, [181]; Andrews, [195]; Grover, [198], [199]; Mitchell, [206]; ‘Anon,’ [207]; James, [213], [214], [217], [223]; Caslon, [47], [159], [235], [240], [247], [251], [252], [253]; Wilson, [48], [260], [263], [264], [265]; Baskerville, [47], [48], [263], [270], [271], [275], [276], [277], [279], [280], [284]; Cottrell, [48], [289], [290], [291], [292]; Fry, [48], [299], [300], [301], [303], [305], [306], [310]; Jackson, [48], [317], [323]; Figgins, [48], [336], [337], [340]; Thorne, [291], [293], [295]; Thorowgood, [295]; Martin, [332], [333]; Ilive, [347]; Stephenson (S. and C.), [353]; Miller, [355], [356]
Rood (Theo.) Oxford printer, [137], [138]
Rosart, music type of, [78]
Rouen, an early type market, [91], [93], [103]
Rowe (Sir T.) family of, [200]
Rowe (Eliz.) married H. Caslon, [200], [250]
Roxburghe Club, works printed for, [312], [334]
Royal Typography in England, proposal for a, [263]
Roycroft (Thos.) printer of the London Polyglot, [171], [172]; distinction conferred on, [176]; printing house of, [217]; fire of his office, [177]; epitaph, [176]; types used by, [47], [64], [66], [173]–177