CENTAUR, a distinguished Italian Renaissance face designed by Bruce Rogers, was cut by Robert Wiebking of Chicago in 1914, in the 14 point size. Its first use by BR was in a limited edition of De Guerin's The Centaur, printed at Carl Rollins' Montague Press. The face, recut by English Monotype in 1929, seemed to D. B. Updike to be "one of the best Roman founts yet designed in America." The Italic is Arrighi, designed by Frederic Warde, used since there is no Centaur Italic.
CENTAUR was used for setting Paragraphs On Printing, pp. 281-289, and B.R.: Adventurer With Type Ornament, pp. 290-305.
DEEPDENE, designed and cut by Frederic W. Goudy in 1927, was named for his estate at Marlboro-on-Hudson. In his A Half Century of Type Design, Mr. Goudy mentions the face was "suggested by a Dutch type (the Lutetia of Van Krimpen) which had just been introduced ... but as with some of my previous designs, I soon got away from my exemplar to follow a line of my own." The Monotype recutting, done later, is used here.
DEEPDENE was used for setting Types and Type Design, pp. 267-273.
ELDORADO, the latest Linotype face designed by W. A. Dwiggins, was developed through the war years and completed in 1951. It was suggested by an uncommonly compact and distinctive eighteenth-century face used in Madrid by the Spanish printer, DeSancha. In no sense a copy, Eldorado retains in its letter anatomy something of the treatment of curves, arches and junctions that brought distinction to its antecedent, as well as flavor of Spanish typographic tradition.
ELDORADO was used for setting What is a Private Press, pp. 175-181.