[78] M. Philippe, in his Origine de l’Imprimerie à Paris, Paris, 1885, 4to, p. 219, mentions two books printed in this fount, which contain MS. notes of having been purchased in the years 1464 and 1467 respectively.
[79] Lettres d’un Bibliographe, iv, 60.
[80] For a full account and analysis of Jenson’s Roman and other type, the reader is referred to Sardini’s Storia Critica di Nic. Jenson. Lucca, 1796–8, 3 parts, fol.
[81] Annales de l’Imprimerie des Alde. Paris, 1803–12, 3 vols., 8vo.
[82] Sardini (iii, 82) cites an interesting document wherein Zarot, in forming a typographical partnership with certain citizens of Milan, covenants to provide “tutte le Lettere Latine, e Greche, antique, e moderne.” Bernard points out that “antique” undoubtedly means Roman type, the traditional character of the Italians, while “moderne” applies to the Gothic, which was at that time coming into vogue as a novelty among Italian printers.
[83] Renouard and others claim that these famous characters were cut by the French artists Garamond and Sanlecques. This legend is, however, disposed of by Mr. Willems, in his work, Les Elzevier. Brussels, 1880, 8vo.
[84] Pynson was the first to introduce diphthongs into the typographical alphabet.
[85] Garamond’s Roman was cut for Francis I. The Roman character was an object of considerable royal interest in France during its career. In 1694, on the re-organisation of the press at the Louvre under Louis XIV, arbitrary alterations were made in the recognised form of several of the “lower-case” letters, to distinguish the “Romain du Roi” from all others, and protect it from imitations. The deformity of the letters thus tampered with was their best protection.
[86] Amongst which should be named Vautrollier’s edition of Beza’s New Testament in 1574, which, both in point of type and workmanship, is an admirable piece of typography. The small italic is specially beautiful. Renouard says this type was cut by Garamond of Paris.
[87] History of the Art of Printing. Edinburgh, 1713. 8vo.