[107] See specimen No. 27, post.
[108] See specimen No. 52, post.
[109] See specimen No. 73, post.
[110] See specimen No. 51, post.
2. THE LEARNED, FOREIGN, AND PECULIAR CHARACTERS
[111] Thus, Ὁτι ἶσα τὰ ἁμαρτήματα appears Oτίcaτaaκaρτηaκaτa.
[112] Lascaris caused to be printed at Florence, in 1494, an Anthologia Græca, and several other works wholly in Greek capitals, “litteris majusculis.” In the preface to the Anthologia he vindicates his use of these characters, which he says he has designed after the genuine models of antiquity to be found in the inscriptions on medals, marbles, etc.
[113] Robert Estienne was not the first to hold this title, Conrad Néobar, his predecessor, having enjoyed it from 1538–40. In some of his early impressions before 1543, Estienne used occasionally Greek types, apparently the same as those of Badius.
[114] The Imprimerie Royale at the Louvre, of which the present Imprimerie Nationale is the direct successor, was not founded till 1640, by Louis XIII. Francis I granted the letters patent in 1538, whereby Néobar and his successors received the title of Royal Printers, but did not create a royal printing establishment.
[115] Renouard states that the last of the Greek founts of the Aldine press was without doubt designed from Garamond’s models.