ee PRINTING TYPES ‘THEIR HISTORY, FORMS, AND USE, 4 STUDY IN SURV IVALS DANIEL BERKELEY UPDIKE, cnoige stn grr” vounie 1 DOVER PUBLICATIONS, INC. NEW YORK.CHAPTER XIX [NINETEENTH CENTURY “ CLASSICAL” TYPES Passes types which were in fll pos: Nrsion of the European feld in the first years of the nineteenth century, and which we best recog tay the term “Dit” had ther origin (1) i some special tendencies or inflences in typography, and (2) in politcal tnd arta movements’ which must be described at some Tength if we ere t understand the typographical revolution which they brought about Ta eypography, the ft and dariest influence was the form of sei introduced into the French romain du roi by Grandjean in the reign of Louis XIV. This thi, staight tei dazfing to the eye, rendered the romain dri letter form quite unlike anything that preceded it. Grandjean’ rif was discarded by Luce in the types cut by him in the tine of Lauia XV; but twas revive intypescat after LLnce’s period, notably by the Didoss. “The sccond influence was the fashion for more modelled ‘ype, with ight strokes in greater contrast to heavy strokes, Ftroduoad in England by Baskerville, This sty although itrnever tok root deeply in England, was greatly admired fon the Contigent, expecially in France and aly. For, 25 ‘Baskerville said when he offered his fonts to the Académie dee Sciences" Thave never sold my Types, nor do T intend to sll any to London printers, as my Labours have ways toma trated with more Honour abroed than in my native (Country? To France Baskervill's types ultimately went ‘and ia inflence on both Bodoni and Didot is undeniable. "ore ft dnnimef tar Loi Hates oe ena VEE ea SP Sr a 133160 PRINTING TYPES ‘Athi intoene wath condensation of type form 1 exhibited by Lice in his eocre pti aby aber Founder in the fonts calle soe o appiché—by which letera appeared tal and narower “And ill these enero were acetate bythe tute thoughtut Earope fora lighter and more deleate fy of gporaphys sometimes arrved at by acl cut {ing lighter ler, sometimes by greater fading ofthe type. ‘Chie among the rnc and plc movement hich Meio type-trma ws the rerral of appreciation ofthe fntsque which by 1800 dominated every ase of ar This ‘evivalwas the rel of something over udred years of uscoscos preperation. Lang bre the covery of Her ‘aneum sn Pompei excavations had been rad in the teighbourhood of Roms aod the “grand tour” hed mate Roman antiques falar wo avers, Altiough the fest Alscoeris at Pompei wee made as erly ae 113 foes not unl 1745 thn Heralaneum was uncovered end ot ‘1764 thatthe greater part of Pompainn antigen sere found! Even before the nitrate pbc intrest an Conseraby sre and ths discern were dacs inkaredpubleatons-~Cochin hosted ly with Mae Figny and’ Sout, ring on Herculaenm in 171, ad Circe IL in 1757 promoting Bair atch i Bre dana The vogue of enigue at was heightened by Points Printings, Prenesis engravings andthe skeches of Ha. bere Rabe; encouraged bythe Pench Academy t Rome td the new Academies Nope, London, Madi Para, Soho nee RStcnoaes “CLASSICAL” TYPES ter ‘and elsewhere; and further stimulated by the sale of Sir ‘Witam Hamilton's Etruscan vast the British Muscom, the installation of Roman collections of sculpture te and ‘hejourneyingsof the erudite to Naples, Past, andSiclly. Phe popularization ofall these wonders by publications iyarating and describing them—by Caylus St. Non, Vis- ‘cont, Winckelmana, Mengs, and others—Ied people 0 ‘consider Rom, inthe language of the day, “the unique Emporium of the Beautiful and the Temple of Taste” "Th architecture, paintingand seulpture men son formu tated arhat was supposed tbe the underlying theory of an fique art Artists searched Plotarch for subjects; seulptors chose living models on account oftheir likeness to antique Sates; and the Beau Zdfl was to be attained by stady~ fg antiquity rather than Fife. In painting, these ideas were ‘caemplifed by such pictures as Le Serment des Horace of ‘David, by Flesman’siustrations forthe Hid, and by An~ ‘glia Kaufmann’ pictures of antiquity 2 made In sulp~ fare, Canova held fist place inthis revival and made his reputation by work which because i was thought the last tvord in classci then, makes us smile now. "And in the minor arts al the forms of antique ornament were presse into the service of decoration. In furniture, Iarble or mahogany Was encumbered or enticed by las Seal ornaments in metal In porcelain, Etruscan maf were ‘ed at Sevres; Wedgorond named his potteriesBiruris,and {or bim Flaxman made classical designs. Ruins beesmeink- ‘stands ipods turned into Boxrer stands potcoes formed ‘ck and sphinxes, anditons. Play's Doves in moss be- Came table-tps, paper-weighs, or brooches, buttons were 2 Pantigu, nd even fabrics were printed from Het de- signs of Roman ruins, : "By the year 1790, Greek and Roman antique art had com-162 PRINTING TYPES pletely captured public aste—socal and palical events and ‘ways of thinking in France being perticulerly favourable ‘osucha development; though French students and artis resident ia Rome became so unpopular because of their revolutionary opinions and license of expresion that they ‘were driven out! But by 1796, the Pontifial States were invaded by France, and the rage for antiquity showed it. self in French demands. Paris must bea new Rome; and ‘0 it was needful to make Paris what Rome had been the ante centre of Europe. To eft this worthy we must, said the French, possess Romsa monuments; as they pro” ‘ceuded to possess them. The Laocedn the Dying Gladistny, ‘the Faun of Praxiteles,allset out for Pari acoompanied by Raphael's Transfiguration, Domenichio's St Jerome, and 42 mixed company of goddesses, saint, nymphs, martyrs, and emperors. There was even a pln tocery off Trajave Colum, which proved, on ivestgation, so much to heavy that lighter obelisk was sent instead, The greatest works of Kalin art arvived in Paris by 1801, where they were reecived with public rejoicing. For by that time, ples, literature, ar, all recalled the antique work, Government ‘was confided to senator, tribunes, and consule—and, more Romana, a victorious general was made Emperor. ‘Tous nowadays the antique seems aomething very hack- nneyed, but itwas tothe men of those days brill and thrillingly new—a resurredon from the dead: and, by an ‘sociation of ideas antique art —and even sterile and fig imitations oft — symbolized that private virtue and public wisdom which was thea hopefully supposed to have made its home on earth. The psendo-clssical tendency in pint “Tye Pmt ators he“ st ws fre wrk eto une iota) Sogo ae ‘Thats and Apso tmgg ot bt Spe “CLASSICAL” TYPES 169 {ng and sculpture made itself elt also in oratory ad liter- ture. And thus it seemed nesesary, in typography, t0 clothe new mes of expression in a new way, and new ‘ype-forms were demnded wo doit! Itrequied only aman sf thehour®toaccomplish this —in France Dido, in Taly Bodoni. Thus artistic movements, politcal reforms, and dy taste changes, together with certain tendencies in design, contributed to the popularization of a kind of type which, weve far om chic seems us a represent 'o the bibiopile of thatepoch a returnto“antque vet 1 iin en hn ns pi to, Teta we! gat gly infer eo indi ops r n nl tbed i ‘Re peta gon frat fen hal png fo Sint "Giamatti Bodoni, the son of a printer, was born at Sa~ soit cue ons a esting ne easel appari os Scie er elec “sciretahraoeah raring ERED cortege empracn es eects eer ‘lr Pad borat une reyes Oy Mra, Repeccasrmsaar teeswhen quand who ui how comment Typography Typographie Typographie icnvon Friedrich Fried! Nicolaus Ott Bernard Stein Tents The Teal To 9p uid ie Werzeuge Text: Les Outs KénemannLES AVENTURES DE TELEMAQUE,Firmin Didot ABCDEFGHIS KLMNOPQRS TUVWXYZ abedefghijklmno pqrstuvwxyz 1234567890 fell Imprimerie{ THE ELEMENTS of TYPOGRAPHIC STYLE second eition Robert BringhurstDeine / tmasss moni (94s ) Aman ypogmpber sl, s/n and st Colne wih Res Toc fhe 1a amy snchanto nive® (76-1838) Sth mig w he Usa He strane punches in Edun Wet Jams Raion ste Sti mien he ex Tipe ied he Bey Ronson Fecny te Pada here hecat Boge Newt and Rome ype saan nionsan (iss- Dutch raped cher the Dutch Type vay sero es ~ ida Rees Docent cupanarnsia nopont Graori) Fel punches, Printer and pie sgn of working ore nd Parma Boa! is bat nos faked asap amaneromat as mete wily ramen Gres bt e abo designed ane ge mune of Neal ots ase Bodom Beta Bot nd dame ofthe ote fs wlohe based on Iwo spans the odo seam, arma eoott soncitonr (e1470~ 591) flu mean ‘tnd engine, Aor ofthe fs nt of Optic pe ‘hich he etn eka 90 te per Sea pot ti cums wnax (92% ) Blan clipe Designer of A ‘era bee, raat Copan es sear canven(193~ ) Eagle dest punch ‘ir ad cho, woking prima in Eup ad th a: Hitt es nde Aug, Char sad ala ig inde Manin td Sop vinta easton (060-1768) Engh ope, poncho terand pounder sur nay Boron a 15. Ghel and oe oan fae 0 Calon Mon type Cb, and Carl use Calo se cosy beton hi work A collation fb panches own he Se ring iby London, vwarney cHAPPEL (904-1991), Amesn designs and “hol tained Gey ere he led wl oa / Roc is ypeaesncde Tana idan de sl smantatredichenne snow oe cous (enabo-n4) each pects mer "wpoepher sn prin Ato’ odors moe onan Tose sel Bac anda ine care { Grek Calines s mac a any single prion apeas tb reponse for creating the rpopapic tla the French frlden ae Gaamonts roman dere drly fom Cole Ses thogh aes ate quite eieret None of Calne faces ba evident yt bon trast o dg fo, rangers amenotse 1007 (730-tHos) Pebian prot Min per Desgner of sverl Nepal romans and «Type fate cat under hi supevsion by Pire-Lous Vad. ~ Desine FatherofFrmin Dido an founder ofthe Didt dys i ringed pops ngs orbor (764-1836) Pari pines and punchct- Terjson ofA. Dit an staden of Plere-Louls Vr Inter of Ambsise Flmin-Didt Author of seve Neo ‘sc aes wel a the Romantic fonts for which ei. prsthameacy known, Monotype Dist ad Lory Eig dot (ew by Adrian Paige) are based on is werk wait ve Does (1934-,) Bath yporrpher,formeny cit “signer a Joh Enschede en Zonen, Hatem, Designer of the int nd Lenco ames, vwnuinas apbesow pecans (80-1956) American de Tignr aad ypopapher, Digs desigoed eypefaces ‘Shel forthe Linorype machine Inthe 9305 and 19908, heal tested the yporaphic house syle a Aled Koop, ‘No York. Hi serfed faces inde Caledonia, Eo, ‘Beis snd Falon His only completed sae s Met. ‘is unc Winchester Many of spe eawings ate ow inthe Boston Pabli Lbrary. suena eatneane (95-1983) Eoplh aligapher and de ne ft aban aie soansoin stnnanpipar (790-1876) Bene schol pe ter ao pela, He wate on of Fein Dido whose fal sume he tok a his own surname) apd grandson of / ‘rang Ambroise Dio. Asbo ofthe Dior Grek ons, sows micas pistscnnase (7011768) Geman i ‘mint othe Netherande A prolic and sled eter of Fans abs nd ornamental biceters Also he author koe Asse and Gresk fon Heschman’s ex ‘ans and tlc ae Baron, but inthe 30s ect = Tisof tet fants oynratic and seleconscons enough to ‘called Rocce Mos of his suring mater sat the Enachede Mase in Haale.PRINTING TYPES ‘THEIR HISTORY, FORMS, AND USE 4 STUDY IN SURFIVALS DANIEL BERKELEY UPDIKE "Mme hm tei een lo ets et ‘semi ue geran™ vou 1 DOVER PUBLICATIONS, INC. NEW YORK,“CLASSICAL” TYPES at disfigured by it. None ofthese characters (save possibly ‘Wallar’s) prepare us forthe fonts cut by Firmin Didot bout 1800 forthe Racine snd slo used in the eompzsition (ofthe Consittion de kr Repaliigque The famous dion de Laveve of Racine (1801-8) was printed by Piere Didot ia thee folio volumes, and con ‘ered his chef Pavore. “The splendid exceuion of this book,” says Bouchot, was a true typographical revlution. [Never in any country had serupalous perfection of det been joined to so masterly a knowledge of arrangement and form of characters The great artists ofthe Davidian school ‘were anxious of the honour of seeing their drawings repro- duced as illustrations, and designed the fifty-seven pates ‘with which the edition was-adoened.” Two hundred and Fifty copies were printed, one hundred of which had proofs ofthe plates befor lester. Ie was published by subscription ‘at 1200 francs forthe ordinary eition, and with profs at 1900 francs. "The series of typical “Dido” characters used in it is dis- tinguished by the violet contrast of their thick and thin Tine, ‘The heavy strokes of the leters are very strong, the thin lines and the serfs are exaggerate snd lightened to ‘a mere barline. The italic is almost as if engraved. The cect ws a whole is perfect, but dazaling; i sticks int, rather than strikes, the eye Allthe agreeable, mellow fel. ing of the letr of Jenson and Garamond i gone * Didotin- ‘contestbly realized says Thibaudeau, “a pompous roman tphabet instinct with majestic grandeur, but of extreme dryness and absolutely glacial rigidity of line” He adds that « whole schoo of typography sprang up around this Didot “formula-ype” There existed, however, a minority who did not accept Dido's fonts without ertiism and protest.