Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum præsidium palatii, nihil urbis vigilia, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ubi fueris, quos convocaveris, quid consilii ceperis, ABCDEFGHIJKLMNOPQRSTUVWXYZÆ ABCDEFGHIJKLMNOPQRSTUVWXYZÆŒ Quousque tandem abutere, Catilina, patientia nostra? quamdiu nos etiam furor iste tuus eludet? quem ad finem sese effrenata jactabit audacia? nihilne te nocturnum præsidium palatii, nihil urbis vigilia, nihil timor populi, nihil consensus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque moverunt? patere tua consilia non sentis? constrictam jam omnium horum conscientia teneri conjurationem tuam non vides? quid proxima, quid superiore nocte egeris, ABCDEFGHIJKLMNOPQRSTUVWXY 50 51 0000000000 52 53 54 55 56 57 58 338. Types and Ornaments of Period of Caslon Revival Caslon Son and Livermore and Henry Caslon Specimens, 1844 Specimen issued in Paris in 1828, for like French types; for similar Italian fonts, the 1838 Specimen of Cartallier, of Padua, in which some characters show this tendency. Enschedé's Letterproef,' issued at Haarlem in 1841, as compared with older Enschedé specimens, is another telling but dismal document in the annals of this change of style-a few good fonts being buried in pages of uninteresting or ugly letterforms. The Second and Third Parts of Enschede's Letterproef, issued in 1850 and 1855, leave one nothing to say, except that nothing good can be said! But if this great house sold or threw away interesting ancient types to buy Didotschen rubbish, it must be remembered that the Caslon foundry had sacrificed to False Gods its own Children! (fig. 338). I have said that Grandjean, Baskerville, Bodoni, and the Didots had a mischievous influence on type-forms; for the derivations from types that their work made popular culminated in a kind of letter which was capable of greater vulgarity and degradation than was ever the case with older fonts. The ordinary English, French, or Italian book printed between 1830 and 1850 was very often a cheap and meanlooking production. Perhaps Bodoni and other great persons were not wrong in their own day; but they put typeforms on the wrong track. Their "recovery" in England is the subject of another chapter. 'Proeve van Drukletteren. Lettergieterij van Joh. Enschedé en Zonen. Haarlem, 1841. CHAPTER XXI REVIVALS OF CASLON AND FELL TYPES EVIVALS of type-forms are periodical. They are usually brought about by dissatisfaction caused R by too intimate knowledge of the disadvantages of types in use, and ignorance of disadvantages which may arise in the use of types revived. In other words, one set of types falls into neglect through certain inherent drawbacks; and it is not revived until the difficulties known to those who formerly employed it are forgotten and only the advantages appear. A constant factor also is a natural love of variety and change. The best early work of the nineteenth century was the result of a sincere effort toward the betterment of printing, according to the standards of that day; but before the midcentury, English typography, except here and there, had again fallen behind. The fine editions printed by Bulmer and Bensley were things of the past. Bulmer was dead in 1830 -Bensley in 1833. Several other publishers brought out well-printed books, but they were without the distinction of those issued some years earlier. There was, however, an exception in the work done by the two Charles Whittinghams -uncle and nephew at the Chiswick Press, founded in 1789, though established at Chiswick in 1810. This press is famous in the annals of English typography, the soundest traditions of which it has upheld for over a century. Its best books were printed by the younger Whittingham for the publisher Pickering. In 1844, Pickering and Whittingham proposed to issue an edition of Juvenal (in contemplation since 1841), and requested the Caslon foundry to cast some of the original Caslon types which they wanted for it. This Latin edition of the Satires of Juvenal and Persius, in her Cheeke by fome Query respecting a particular Piece of Needle-work in hand; and added, on perceiving the Effect she had produced, she had heard S. Erasmus de la Fountain much commend the delicate Paterne: whereat poore Margaret attempted to look up unconcern'd, but was obliged to fmile at her Sister's Pleasantry. I was discreet, and led the Conversation back to the Spinning. The Days paffe smoothly, yet Time seemeth very long fince my deare Lord departed on his Journey. We heare no News. Armstrong will perchance gain fome Tydings at Colchester: and I must await his Return with fuch Patience I can. Since my little Fanny's long Sickneffe I have continued the Habit of remaining by her at night, sometime after she is in Bed: these are Seasons peculiarly sweet and foothing; there feemeth fomething holy in the Aire of the dimly lighted Chamber, wherein is no Sound heard 339. Caslon Type as revived by Whittingham, London, 1844 1641. |