actually came about is easily understood by seeing how the nib of the
pen is slanted to write an old style letter like Caslon (_g_), as
against holding it at right angles to the written line for the modern
letter, such as Scotch (_h_):
[Illustration]
_g_ _h_
Differences in curve and finish are a natural result of these two pen
positions.
As Mr. Dwiggins explains: "In writing lower-case 'a,' for example, the
stroke begins at the little bulb at the upper left-hand corner, passes
over the arch at the top, descends to form the straight stem, and
finishes with an upward flick; a second motion forms the loop. As the
line moves, it swells and thins in accordance with the shape of the pen
and the direction of the movement.
[Illustration]
_i_ _j_
"In the Caslon letter (_i_), the swelling at the top begins at the bulb
or dot; the arch expands throughout its whole curve; the loop has a
decided tilt, as has the finishing stroke.
"In the Scotch letter (_j_), the arch is a thin line; the expansion
does not begin until the downward stroke of the stem; the swelling of
the loop is at right angles to the line of writing, and the letter ends
with a perpendicular flick.
"In the 'b,' one notices the difference in the loops and in the serifs
at the tops of the letters.
[Illustration]
_k_ _l_
"The typical 'old style' serif at the top (_k_) tilts as the pen is
tilted; the loop is a tilted sweep of the slanted pen; while the serif
and loop of the 'modern' letter (_l_) partake of the perpendicular
position of the pen. These characteristics of tilt or perpendicularity
appear in all the lower-case letters and to a limited extent in the
capitals."
To check the distinctions in different characters in the following
twenty types, a magnifying glass will be helpful.
"The artistic quality of a type letter," Mr. Dwiggins concludes, "is
determined by its degree of grace of line and proportion. The standards
of grace and proportion are to be looked for in the natural motions
of the pen. But the quality called art is dependent, too, upon the
artist's appreciation of the material in which he works--namely metal.
The draughtsman does not attempt to copy _exactly_ the form of his
pen-written model, but modifies the pen form to a shape suitable to its
final state--that of a metal punch."
NOTES ON THE TYPE FACES USED IN THIS BOOK
_By Paul A. Bennett_
NOTE: The following specimens are set in a 10 point type size, except
Centaur, in 14 point, and Eldorado, in 11 point, which were the only
sizes available for this book.
BASKERVILLE, the fine transitional face named for the
eighteenth-century English printer, is available in several
contemporary versions. The Linotype cutting used here, most faithful
to the original Roman, was produced from a complete font cast from
the original matrices, exhumed at Paris in 1929. For twenty years
Baskerville has been a favored type with American book-makers.
[Illustration: BASKERVILLE was used for setting _Benjamin Franklin:
Printer and Publisher_, pp. 352-367.]
BELL, the fine English transitional-modern, was cut by Richard Austin
about 1788 for John Bell, a leading English book and newspaper
publisher. The English Monotype version used here was reproduced
in 1931 from the original punches, then in possession of the
Stephenson-Blake foundry in Sheffield. Bruce Rogers used the type
(calling it Brimmer) for many fine Riverside Press books.
[Illustration: BELL was used for setting _Some Tendencies in Modern
Typography_, pp. 306-312.]
BEMBO, the fine Venetian old face, is a revival by English Monotype
of one of the earliest Aldine romans. That was cut before 1500 by
Francesco Griffo of Bologna, the designer responsible for the first
Italic type a half-dozen years later, and named for Pietro Bembo, the
humanist scholar (later Cardinal and secretary to Pope Leo X), whose
_De Aetna_ was printed by Aldus in 1495.
[Illustration: BEMBO was used for setting _Printing Should Be
Invisible_, pp. 109-114.]
BODONI BOOK, a light weight rendering of the popular A.T.F. Bodoni, is
widely used in the United States for book and periodical composition.
Introduced in 1910, it is not a copy of the types of the great Italian,
Giambattista Bodoni, but rather a version retaining his principle of
modern letter design. The lessened degree of contrast between its thick
and thin lines make it gain in reading ease.
[Illustration: BODONI BOOK was used for setting _Harsh Words_,
pp. 321-336.]
CALEDONIA, a contemporary Linotype face designed by W. A. Dwiggins,
was inspired by the work of Scotch type-founders, in particular by a
lighter weight, more slender transitional face cut by William Martin
for Bulmer around 1790. Christened for its forebears, Caledonia
resembles neither--though it has touches of both Bulmer's Martin and
Wilson's Scotch, and also "something of the simple, hard-working,
feet-on-the-ground quality of Scotch Modern."
[Illustration: CALEDONIA was used for setting _Author and Printer:
G.B.S. and R. & R. C._, pp. 381-401.]
CASLON, the great eighteenth-century English old style, has suffered
more from "improvement and refinement" by succeeding generations of
type founders than most celebrated types. A development based on Dutch
models rather than an original creation, Caslon has been eloquently
termed "the finest vehicle for the printed conveyance of English speech
that the art of the punch-cutter has yet devised." Monotype's excellent
rendering used here (No. 337) reflects the essential qualities of the
original.
[Illustration: CASLON was used for setting _Typographic Debut_, pp.
78-82 and _Metal-Flowers_, pp. 83-84.]
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.
[Illustration: 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.
[Illustration: 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.
[Illustration: ELDORADO was used for setting _What is a Private Press_,
pp. 175-181.]
ELECTRA, an original modern, designed for Linotype by W. A. Dwiggins,
reflects the warmth and distinction of his personal lettering. The
effort was to work into Electra letter shapes, where possible, some
of the twentieth-century spirit: electricity, high-speed steel,
streamlined curves, the readers' familiarity with newspaper and
type-writer faces ... to develop letters filled with energy, human
warmth and personality. Electra is available with either an oblique
Roman lower-case companion form, or the more familiar cursive.
[Illustration: ELECTRA was used for setting the _Investigation Into
the Physical Properties of Books_, pp. 129-144 and _Twenty Years
After_, pp. 145-152.]
EMERSON was designed by Joseph Blumenthal and cut by Monotype in
England in 1934. The face is a duplicate of his Spiral Press type,
designed several years earlier and cut for him by Louis Hoell in
Frankfort, Germany, in 1931. This face was initially used for a
limited edition of Ralph Waldo Emerson's essay on _Nature_, printed
on a hand press at Croton Falls in 1932, and privately published. The
accompanying Emerson Italic was designed in 1936.
[Illustration: EMERSON was used for setting _Typography of William
Morris_, pp. 233-238.]
FAIRFIELD, a slightly decorative, original and contemporary old style,
was designed for Linotype by Rudolph Ruzicka, the distinguished
American wood engraver. Sharply cut, as though the letters came from
the artist's graver rather than pen, Fairfield was designed for reading
by "one of the most knowledgeable men in the country about letter forms
and their style." To invite continuous reading, the designer feels,
"type must have a subtle degree of interest and variety of design."
[Illustration: FAIRFIELD was used for setting _The Fun and Fury of a
Private Press_, pp. 220-225.]
GARAMOND was introduced in America by ATF in 1919, when their cutting,
based on the _caractères de l'Université_ of the Imprimerie Nationale,
appeared. Since, at least eight other versions have been made: by the
English and American Linotype and Monotype, by Intertype, Ludlow, and
the Stempel foundry. A documented article considering the XVI and
XVII sources of the Garamond types, by Paul Beaujon, appeared in _The
Fleuron_, V. This version is the American Monotype.
[Illustration: GARAMOND was used for setting _Colophons_, pp. 31-44.]
GILL SANS, designed by Eric Gill in 1928, was patterned after lettering
done for the Douglas Cleverdon book-shop in Bristol. First offered by
English Monotype as a titling font (caps, figures and points only), the
lower-case was added as the face grew in favor. Today, Gill is the most
popular sans serif in England. It ranges through a variety of weights,
including light, normal, heavy, extra heavy, and shadow and outline
display and condensed versions.
[Illustration: GILL SANS was used for setting _Notes on Modern
Printing_, pp. 350-351.]
GRANJON was designed for Linotype by the late George W. Jones, one of
England's greatest printers. It is neither a copy of a classic face nor
an original creation, but rather something between the two, with its
basic design stemming from classic Garamond sources. An exceedingly
compact and useful old style, Granjon is exceptionally clear in
small sizes. Its space-saving virtues are important in the book and
periodical field.
[Illustration: GRANJON was used for setting _Printers as Men of the
World_, pp. 88-102.]
JANSON, the distinguished seventeenth-century old style face, is
presumed Dutch in origin. It was issued by Anton Janson, a Leipsic
punch-cutter and type-founder, between 1660 and 1687. Little is known
of Janson to supplement his first type specimen issued in 1675. The
original matrices, bought in Holland from the heirs of Edling, Janson's
successor, are possessed by the Stempel foundry in Frankfort, Germany.
The Linotype recutting of Janson was made from type cast from the
original matrices.
[Illustration: JANSON was used for setting all the essays in this book
excepting those indicated in other faces.]
MONTICELLO is a recutting of the famous Binny & Ronaldson Roman No. 1,
a distinguished early American face cut in 1796 in Philadelphia. Type
cast from the original matrices by A. T. F. has been favored for years
by such discriminating printers as D. B. Updike, Fred Anthoensen and
the Grabhorns. Linotype's remodeling of the type for modern use was
named for the _Papers of Thomas Jefferson_, a fifty-volume publishing
project by Princeton, for which the face was adopted.
[Illustration: MONTICELLO was used for setting the _First Work With
American Types_, pp. 65-77.]
PERPETUA was designed by Eric Gill, the eminent English sculptor and
maker of letters with pen, chisel and graver. Mr. Gill's account of
his type (cut in England): "from drawings made by me. Those drawings
were not made with special reference to typography--they were simply
drawn with brush and ink. For the typographical quality of the fount,
as also for the remarkably fine and precise cutting of the punches, the
Monotype Corporation is to be praised."
[Illustration: PERPETUA was used for setting _Typography_, pp. 257-266.]
POLIPHILUS is a literal reproduction of the Aldine Roman used in the
_Hypnerotomachia Poliphili_ in 1499, cut by Francesco Griffo. The
recutting, by the English Monotype organization in 1923 (from sheets of
the book) was attempted with the thought of providing a type to convey
an old-world atmosphere appropriate for reprinting fifteenth-century
classics. The accompanying Italic, named _Blado_, was the first of a
number of Chancery italics to come from European type-founders.
[Illustration: POLIPHILUS was used for setting _Some Collectors Read_,
pp. 191-211.]
TIMES ROMAN was designed by Stanley Morison for the London _Times_,
and first used in that great newspaper. Its masculine simplicity,
directness of design and excellent color makes it exceptionally useful
for periodicals and general commercial work. The basic design objective
of maximum legibility in minimum space has resulted in the larger
letter-structure that makes each point size seem the equivalent of a
size larger in most other types.
[Illustration: TIMES ROMAN was used for setting _The First Principles
of Typography_, pp. 239-251.]
INDEX
Adler, Elmer, 221
advertising card, 160-61, 167, 168
_Aesop_ (Parma, 1483), 57
Aldine Poets series, 156
Aldine type face, 241
Italic, 274
Aldus; _see_ Manutius, Aldus
alphabet
Greek, 4-14
Hebrew, 13-14
letters of, 6-13
Phoenician, 4-14
Roman, 4-14
sources of, 3-14
American Institute of Graphic Arts, xiv, 170
"Fifty Books of the Year," 165, 321-22
Trade Book Clinic, 164, 165
American Type Founders Co., 254
Ames, Joseph, _Typographical Antiquities_, 38, 78
Anabat, 154
Anne of Austria, 105
Anthoensen, Fred, 419
Antigone Greek type, 207
Apollo Press, 384
appendix, 163
Applegarth, Augustus, 27
Armitage, Merle, xii-xiv, 319
_Notes on Modern Printing_, 350
Arnoullet, Balthazar, 60
Arrighi type face, 414
Arrivabene, Georgius, 53
Ashbee, C. R., _The Private Press_, 180
Ashendene Press, 181, 188, 215
_Bibliography_, 181
_Virgil_, 209
Austin, Richard, 92, 99, 411
back matter, 163-64
Bagford, John, 64
Bailey, Francis, 76
Baldwin, Stanley, 197 n.
Barker-Mill, Peter, 218
_Barnacles from Many Bottoms_, 297
Barnhart Brothers & Spindler (Chicago), 254, 369
Bartlett, Edward E., 164
Baskerville, John, 60, 64, 92, 98, 186
letter-spacing of, 287-88
Baskerville type face, 155-56, 244, 404
specimen, 411
bastard title, 160, 168
Bauhaus School, typography of, 306-7, 319
Bay, Jacob, 69-77
Bayer, Herbert, xii, xiv
Beaujon, Paul, 417
Becker, Carl L., 363
Begg, John, xiv
Beilenson, Peter, xiii, 164, 165, 168
_Graphic Forms_, 313
Bell, John, 92, 411
_British Poets_, 100, 384
_British Theatre_, 78, 384
career of, 99-100
Bell type face, 403
specimen, 411
Belloc, Hilaire, 192
Bembo, Pietro, 53, 94, 412
Bembo type face, 403
specimen, 412
Beneti, Cyprian, 41
Bennett, Arnold, 203
Bennett, Paul A., xv, 290
Bensley, Thomas, 92
Benton, Linn Boyd, 254
Benton, Morris Fuller, 254
Berghen, Adrien van, 46, 48
Bernard, St., _Sermones_ (1481), 44
Berners, Juliana, comp., _Book of St. Albans_, 107
Berthelet, Thomas, 50
Besant, Walter, 387
Bible
Estienne, 97
first printed, 183-84
German (1478), 18
Gutenberg, 226-27
Latin (1456), 18
Plantin polyglot, 96
printing monopoly in England, 184 n.
Rogers _World_, 302-4
Sower's German, 67, 70
Vulgate (Venice, 1487), 53
bibliography, 163
binding, 119
binding, limp vellum, 230
Binny, Archibald, 76
Binny & Ronaldson (Philadelphia), 77, 252, 419
Birrell, Francis, 199
black-letter
Gutenberg, 274-76
modern, 241
Black Sun Press, 319
Blado, Antonio, 54
Blado Italic type face, 54, 420
Blaeu, Willem J., 89
Blumenthal, Joseph, 164, 165
Emerson, 255, 416
Blunt, Wilfrid, 192
Bocard, Andrieu, 41
Bodoni, Giambattista, 60, 64, 92, 98
_Manuale Tipografico_ (1818), 276
Bodoni Book type face
specimen, 412
Bodoni's 'soprasilvio,' 276-78, 284, 287
Bologna, Francesco da, 92
book, anatomy of; _see under individual headings_
book design, principles of, 115-28, 281-89, 350-51
_Book of St. Albans_, 107
Bourdillon, F. W., 79
Boydell, John, _Shakespeare_, 78
Braby, Dorothea, 218
Bradbury & Evans, 157
Bradford, Andrew, 356-57, 362
Bradford, William, 356, 358
Bradley, J. W., _Dictionary of Miniaturists_, 40
Bradley, Will, 253, 291
Bradley type face, 253
Bridges, Robert, 238
Brimmer type face, 411
Browning, Robert, 192
Buckland-Wright, John, 218
Buell, Abel, 65-66, 68, 71-73, 252, 255
Bull of Pius IX (Mainz, 1463), 42, 53
Bulmer, William, 92, 100, 413
Burn & Oates, 194, 196
Burne-Jones, Sir Edward, 233, 236, 238
Caledonia type face, 255, 404
specimen, 413
Calkins, Earnest Elmo, 368
calligraphy, 255, 337-43
defined, 337-38
Cambridge University Press, 51, 158, 184 n., 185, 291
Campbell, Dr. William J., _Collection of Franklin Imprints_, 354, 357,
360, 365
Canstein, Baron von, 29
Capell, Edward, _Prolusions_, 78
capital letters, 257-61
Cary, Mary, _Diary_, 197
Caslon, William, 63, 64, 89, 92
Caslon type face, 142, 156, 195, 204, 241, 254, 391
rediscovery of, 318
Shaw's preference for, 390
specimen, 413
Catherine de Médici, 106
Catherine the Great, 106
Caxton, William, 19, 29, 42, 49, 89, 92, 184-85
_Dictes or Sayengis_, 19, 80
Caxton Club, 33
Centaur type face, 220, 255-56, 403
specimen, 414
Central Type Foundry (St. Louis), 253
_Century Dictionary_, 34
Champollion, J. F., 3
Chapman, Dr. R. W., 392, 394
Chappe, Paulinus, 18
Charlemagne, 12
Charles, Thomas, 29
Cheltenham type face, 254
Chesterfield, Earl of (Philip Stanhope), 90
Chiswick Press, 217
Christie, E. D., 95
_Chronicles of the londe of England_, 40
Cicero, _Epistolae_ (Venice, 1469), 40
Clark, Edward, relations with Shaw, 382-401
Clark, Robert, 384-85
Clark, R. & R., Shaw's printer, 381-401
Claudin, Anatole, 176
Cleland, T. M., xiii, 112-13
_Harsh Words_, xi, 321
type ornaments, 297, 299
Cleve, Johann von, _Cantiones_, 42
Cloister type face, 254
Cobbett, William, _Rural Rides_, 208
Cobden-Sanderson, T. J., 180-81, 188, 229, 388
Cockerell, Douglas, 395
Cockerell, Sir Sydney, 233
Coleridge, S. T., _Table Talk_, 157
Colines, Simon, 185
Collins, F. H., _Authors' and Printers' Dictionary_, 392
Collins, Howard, 394
Colman, Morris, 164, 166-67
colophon, 32-44, 52
defined, 32-38
examples of, 38-42, 44
composition, defined, 242
Conkwright, P. J., 164, 166
Conrad, Joseph, 116
Cooper, Oswald, 254
Copland, Robert, 185
copyright, notice of, 161, 166, 167, 168
Coward, Noel, 208
Cowper, Edward, 26-27
Croce, Benedetto, _Autobiography_, 312
Crompton, 26
Currer, Mrs. Richardson, 107
Currie, Kent, 272
Daniel, Rev. C. H. O., 178, 187
Daniel Press, 187, 234, 238
Darton, F. J. H.; _see_ Sawyer, C. J.
Davies, Peter, 208
Davis, Southwick, 379
Dawson, Thomas, 51
Day, John, 50, 80
Daye, Matthew, 97
Daye, Stephen, 97
_Deceyte of Women, The_, 53, 61
Decretals of Gregory IX (Rome, 1474), 41
dedication, 161-62, 166-68
Deepdene type face, 223, 403
specimen, 414
de La Haye, Corneille, 60
Dent, J. M., 157
DeSancha, Antonio, 415
De Vinne, Theodore Low, x, 31
_Notable Printers of Italy_, 279
_Plain Printing Types_, 370
_Treatise on Title-pages_, 42-43, 274
De Vinne type face, 253
Diamond Classics, 156, 236
Diane de Poitiers, 106
Dibdin, T. F., 104
_Dictionary of American Biography_, 363
Didot, Firmin, 26
career, 100
Didot, François Ambroise, 92
Didot family, 64, 90, 92, 101
_Diui Athanasii_ (Paris, 1500), 41
Dolet, Etienne, 94-96
Donaldson, Alexander, 384
Dorici brothers, 53
double-page spread, 168
Doves Press, 117, 180, 188, 229
Du Barry, Countesse, 105
du Bois, Simon, _Hours_ (1527), 154
Dunlap, John, 76
Dunster, Henry, 98
Dunster, Mrs. Henry, 98
Dürer, Albrecht, 55, 92, 275, 277
Dwiggins, W. A., x
Caledonia, 255, 413
Eldorado, 415
Electra, 255, 415
_MSS by WAD_, 129, 405
"Shapes of Roman Letters," 405-7
Dyck, Christoffel van, 92
Edinburgh, publishing history of, 384-85
Ege, Otto, ix, 3
Eldorado type face, specimen, 415
Electra type face, 255-56, 403
specimen, 415
Elizabeth, Queen, 105-6
Elzevir family, 60, 92, 97
Emerson type face, 255-56
specimen, 416
_Encyclopaedia Britannica_, 35, 227, 239, 338
first edition, 384
engraving
for illustration, 218
invention of, 25
Enschedé Foundry, 221-22
Erasmus, Desiderius, 94
_Adagia_, 29
_Colloquia Familiaria_, 29
Essex House Press, 180
Estienne, Robert, 94 n.
career, 96-97
Estienne family, 92, 96 n., 185
Eugene, Prince of Savoy, 211
Evans, Sir Arthur, 4
Eve, Clovis, 105
Eve, Nicolas, 105
_Exercitium super Pater Noster_, 23
Fairfield type face, 255-56
Fairfield type faces, specimen, 416
Faques, William, 50
Farjeon, Herbert, 209
Farleigh, John, 399
Fell types, 178, 187, 196
Fichet, Guillaume, 153-54
Field and Tuer, 157
Figgins, Vincent, 92
Fine, Oronce, _Quadrans Astrolabicus_, 56
Finley, John, 378
_Fleuron, The_, x, 388, 391, 417
Flower, Desmond, 100, 153
Ford, Paul Leicester, _Many-Sided Franklin_, 354-55, 362, 363-64
foreword; _see_ preface
format; _see_ book design
Foulis, Andrew, 186
Foulis, Robert, 186
Fournier, P. S., 57, 59, 64
Fournier family, 92
Fournier type face, Shaw's choice of, 392
Fox, Emmanuel, 70, 76
Fox, Justus, 67-77
_Fragment of World Judgment_, 18
François I, 49, 94-95, 97
Franklin, Benjamin, 29
_Autobiography_, 366
career, 101-2; as printer, 352-67
_Dissertation on Liberty and Necessity_, 359
epitaph, 366-67
and Hall, 365
imprints, 357, 361, 364, 366
"Improvement of Printing Backwards," 227
_New England Courant_, 355-56
_Pennsylvania Gazette_, 362
_Poor Richard_ almanacs, 362-63
Franklin, Deborah Read, 362
Franklin, James, 353-56, 358, 362-63
imprints, 354-55
Franklin, Josiah, 352-53
_Freeman's Oath, The_, 97-98
Froben, Johann, 62
front matter
elements of, 160-63, 166-68
typography of, 246-49
Fuhrmann, Dr. Otto, 224
Funk & Wagnalls' _Standard Dictionary_, 34
Fust, Johann, 18, 38-39, 42, 49, 53, 91, 92, 183
Galesburg imprint, 378-80
Galloway, Joseph, 74
Garamond, Claude, 92, 93, 276
Garamond type face, 62, 223, 256
specimen, 417
Gardiner, Thomas, 51
Garnett, David, and Nonesuch Press, 191, 198-99, 205, 209
Garnett, Porter, xiii, 115, 178
Garnett, Richard, 37-38
Garvin, J. L., 194
Gaunt, Sydney, 254
_Geistliches Magazien, Ein_, 67-69, 71
Geminus, Thomas, _Anatomy_, 57
Gentry, Helen, _Chronology_, 91
Gering, Ulrich, 154
_Gesamtkatalog der Wiegendrucke_, 31
Gibbings, Robert, 218
Gilgamesh, epic of, 214
Gill, Eric, xiii, 218, 257, 417
Perpetua, 419
Gill Sans type face, specimen, 417
Glick, Milton, 164, 166
Glogoviensis, Johannes, 53
glossary, 163
Godfrey, Thomas, 362
Golden Cockerel Press, 212-19
imprints, 217-18
Golden Hind Press, 164, 220-25
imprints, 220-23
Goltzius, Hubert, 60
Gooden, Stephen, 199, 206
Goodhue, Bertram G., 254
Gordon, Watson, 129
Goudy, Frederic W., xiii, 222, 232, 267, 274, 279, 318
Deepdene, 414
_Half Century of Type Design_, 414
type designs, 222, 255
Grabhorn, Edwin, xiii, 226
Grabhorn Press, 181, 226-32, 419
Whitman, _Leaves of Grass_, 232
Graf, Urs, 55
Granjon, Robert, 57, 276
Granjon type face, specimen, 418
Granniss, Ruth Sheppard, 31, 107
Greene, Belle Da Costa, 107
Greenhood, David; _see_ Gentry, Helen
Grevill, Sir Foulk, 203
Grien, Hans Baldung, 55
Griffo, Francesco, 412, 420
Grimm, Baron Melchior von, 306
Grimm, Jacob, 307
Grimm, Wilhelm, 307
Grolier, Jean, 92, 94
Grolier Club, 51, 83 n., 107, 365
Dowson's _Pierrot of the Minute_, 297-98
Grotefend, G. F., 3
Gryphius, Sebastian, 95
Gutenberg, Johann, 18, 23-24, 90-92, 183
Bible, 226-27
Rushmore hoax, 223-24
types of, 274
Guthrie, James, 179
Hadrian type face, 255
Haebler, Dr. Konrad, 53
Haight, Anne Lyon, 103
half title, 163, 165, 167-68
Hall, D., 364-65
Han, Ulrich, 41