Typefoundry: Scotch Roman
William Miller, A specimen of printing types. Edinburgh, 1822 In his Typographia, 1825, p. 361, T. C. Hansard wrote that the English punchcutter Richard Austin ‘executed’ most of the founts of the two Scotch foundries of Alexander Wilson in Glasgow and William Miller in Edinburgh. In his Practical hints on decorative printing (1822) William Savage had made the comment that Miller’s types ‘so much
Typefoundry: A lost Caslon type: Long Primer No 1
When the 18th-century types of the Caslon foundry were recast from surviving matrices in the 19th century, not all of the original types were revived. One of these missing types is the subject of this essay. The first surviving Caslon type specimen sheet, issued from Ironmonger Row and bearing the date 1734, shows two roman types with the body of Long Primer (very approximately ten points), No 1 a
Typefoundry: Recasting Caslon Old Face
The heading to the image above claims authentic historical origins for the type that is shown. Something like it was often used in presenting the Caslon ‘Old Face’ types to the customers of the typefounders H. W. Caslon & Co. The example is from a finely-printed large quarto specimen that the foundry produced in about 1896 in order to promote the type more widely. The title page reads, Specimens o
Typefoundry: Roman tragedy
A decade ago the great collection of Roman inscriptions at the Museo Nazionale in Rome, not far from the Termini railway station, was expertly reorganized. The inscriptions are now beautifully shown in a context that explains their purpose, and a very full guide is available, the work of Rosanna Friggeri, one of the organizers of the new display. To many former visitors one of the most visible tre
Typefoundry: Big brass matrices again: the Enschedé ‘Chalcographia’ type
In the post of 19 March 2007 it was suggested that existing brass matrices for big types could not have been struck with steel punches in so hard a hard metal as brass, but were probably reproductions cast in brass of strikes that had been made in lead with steel punches. Examples that were cited were the ‘large capitals’ of Garamond at the Museum Plantin-Moretus, titling capitals among the ‘Fell
Typefoundry: Long s
In most works printed before about 1800 two forms of the lower-case s were used. One was the s that is still in use today; the other was the long s, a character which looks like f without the right-hand part of its crossbar. The italic form of long s usually lacks the ‘crossbar’ altogether. (The image above is a detail of the showing of Pica No. 2 in William Caslon, Specimen of Printing Types, Lon
Typefoundry
Typefoundry documents for the history of type and letterforms Some types that were made in the first decade of the 19th century by the punchcutter Richard Austin for use by the University Press at Cambridge provided a model for most of the types that were used by British printers for printing Greek for more than a century. This is the title page of the second edition of the Alkestis of Euripides,
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