A SPECIMEN
Pira loiiicft,
Double Pica Itahck. „ ,
a r j , „ .,. ano be it futtfjee cnaacD Щ tbe йиібо».?
Щиои/que tandem abutere, Latiti- агогейів, C6at all ano enerp of m Гаіо №■■
By WILLIAM CASLON, Letter-Founder, in Chifwell-Street, LONDON
ABCD
ABCDE
ABCDEFG
ABCDEFGHI
ABCDEFGHIJK
Double Pica Roman.
Quoufque tandem abutere, Cari
lina, patientia noftra ? quamdiu na, 'patientia noflra ? quamdiu «Jfe«* ^ТвГав'Ат
nos etiam furor ifte tuus eludet? nos etiam furor ifie tuus eludei? ai8«C£)«Ejr«it>31Kl^Jl3©lp©iasa:
quem ad finem fefe efFrenata jac- quem ad finem fefe effrenata jac-
ABCDEFGHJIKLMNOP ABCDEFGHJIKLMNO
Great Primer Roman. Great Primer Italich
Quoufque tandem abutere, Catilina, pa- Циои/que tandem abutere, Catilina, pa-
tientia nbftra ? quamdiu nos etiam fu- tientia noßra ? quamdiu nos etiam fu-
хот ifte tuus eludet? quem ad finem fe- rar iße tuus eludet ? quem adfinemfefe ѴЛіКФЛі Ѵ'Л9Л 6INS SV6 ÏN hlMlNA
fé effrenata jaflabit audacia ? nihilne te effrenata ja&aiit audacia f nibilne te p.
noéturnum prasfidium palatii, nihil ur- noSlurnumpmfidium palatii, nihil ur- heK otaoyk ІФ+"вЛГ'' ~ 4e
ARr.nFFfíHTllTT bis vigilia, nihil timor populi, nihil con- bis vigilia, nihil timor populi, nihil con- n¡¡ ° "T. пе-"-пк-
J\B^UÌLÌ<^t U fvl- ABCDEFGHI TKLMNOPORS ABCDEFGHI JKLMNOPMR ¿L ¡?£ M "e """^ epoq ne 0TOa
n.u^ui.1. 4iiijivi.iYii-.vyj. v otmZ йтеф-f- ги-фишт ¿.ixeit пішют *■ o- Brevier Black. Pia Gothick. ЛТТД rwsAK (Jin ïn hiMiNAM ѵеігшЛі ABCDEFGHIKLMN French Cannon. Quoufque tan- 1 i fus bonorum omni dem abutere, abcdefgh;j 7 Pn Catilina, pati- patientia noßra ¡ ? Two Lines Great Primer. Quouíque tandem Two Lines Engliíh. Quouíque tandem abu¬ Quoufque tandem abutere, Catilina ¡patientia noßra? ., quamdiu nos etiam furor ІШІШШИ Ш 1 %f inawicpsniùl, « Hin imhLvj. tu- l«ni English Roman. :a Roman. Small Pica Roman. Not. Small Pica Roman. N02. Lonc Piume» Romah Noi. Lo «e Primer Roma к. No 2. Englifh Italick. Pica Italick. Small Pica Italìck. No t. Pica Armenian. Ur¿^4 ^ШЧ-ШІ-Пр bpltfli ¿. ÛVJi/m., npnj шЪХЬ b»k р.ш^ш к 4mmm$mt.a¡ 'A qbp ¿ш% juSj 'BCDEFGHIJKLMNOpQRSTr'fVÜXrZ Small Pica Italici. No 2. Nenmb. С. М*пііитіиіЬ(ісіі:сІ1і[етіцдеі£тЫЛгитіис? пит me fit felli t, ABCDEFGHI JKLMNOPQRSTVUWXYzJë НмірѵсІІ Вал;п. eut оотМт тс ndM». Fallii uniti ipud U«im ci r»Oc, Cliilinl 1 JiHrilMlill »mi, lu. ciucciai *гй,ііАПі min pitici M ukcMu. с«іКіиііЛ(. нМтЬлчі, eulna а .ііщі ABCOEFCHIKLMrtOFqKSTVUWXyZjÈ long Primer Italiti. No I. ABCD EFGHIJ KLM N ОР%_А ST Г UffXrZjE Long Primer Italici. No г. Brtviir lutiti. ABCOEFGUIJ KL M N ois^KSIfUnr XrZM £2g*i W j*-vf.i/d / nia-Mu Laabmf. ------таи, с-Зіч .'-■-■■ •wn /—и I pi. reyj. Ы«о / j T fa1 л. mi, men, ; ht, tu II Iia^raaj fau A m, aa.lnHf ut tac: }S£û sdirsi', -■.'■hVhh^T^SËsu. ¿acDcftutT'iHHorajÍTvuti/ry к іЧІ ¡if іліі/<ш, *aam p^JmtmJmm ÏÏffttffXrjgZ Long PrimerSaxon. pica c^^. Vi he ы nue summum i» Da he Ъа mio тпіттит ріеиве п1ттапеут>езсРУ'«Ь« ГФЧ1™ 1 tuirne^um pœ e ahrn ар ce0 Р^Г "3 be eaÛe Jja piru Engliíh Syriack. )pa^xba)oi^ ' OLÒ 4iO.(?LbO, vio ЧкЭ, VvJ La, Pia Samaritan. алтага /«ал asm мчи! атвта»« чітал ИаЧі лііла Sat ита^а ib/va аітіпл шит 12 іл -ta-ïirta n M°s Englüh Arabick. >—*$І&У}*>p*>&i¿uyaçjpfiih¿a^ ji л.7ьіі '-гУ* S*?1 * Л? >^ ¿¿Я Ч-Ѵ11 1-<І ¿Ч VJÑrn ! ifiKn mi own л» о<фк tna n;»'tn3 Hebrew without Points. Гкяі i ркп лт Qtxm га mm n-іл rmra І niíí-Vn TW 'Л» OrÙH IDífl Í D'On »аЛ ñamo -mp fa огЫ Vû'i atro.TTWTTw tythtt m Brevier Hebrew, Englifh Greek. 1,6 Ч Й "£« ЙОИ Щцуп"-""** -..IT,-........ J„^..-... 3--------\. i ijíi; oúJoKoxTooeq yiño'fiwoi Syhis-i,, ítrs tijh Pica Greek, TljóSitoe »7 13еЯ<опье j-op b-HUN al Long Primer Greek. 4¿¡"*J * *"f»f Ь 'S »v>T{«ítvtJi li «{i т5 Hf«»í»í (i4f( ti •! а-ы^*г ¡- &Й^е б Ott W de Jong PREFACE Type Specimens A Book about Diverse Letters and Ornaments, by Cees W. de Jong 1923, William Caslon's Type Specimen Сот/мну, New York William Caslon was most successful in England. In 1720, his first year of He printed sample pages so that he could sell the new typeface to other Collector Jan Tholenaar has assembled one of the greatest private Extremely diverse fantasy letters and ornaments, with examples of artistic Type specimen in letterpress, not in lithography. Here we see magnificent Until the beginning of the 20th Century, the names of only a handful It was Klingspor, in particular, who attracted and credited famous Berthold employed designers such as Louis Oppenheim, Georg Trump, F. W Kleukens and Hermann Zapf for Stempel. Some designed type for The Germans were trendsetters in this area. But in other countries, German foundries often had a branch either in Moscow or St. Peters¬ For 500 years, the same methods were used for printing—and, suddenly, This book would not have been possible without Jan Tholenaar and I also wish to thank Alston W Purvis, professor at the Boston University The medium is the message; the typeface is the message. Preface — 7
Япо be it fiittptr maHro ЪгЧГ atitíojite atòitfaio, Œto! all ani] fMre
сіфг biö elícbíquír Billa lo btmotitfonfjV üiilutoíibieatt, OMO
man? of Ibtm яо ГоаІІ Гют lima to timt itrnaln iitmifcfjatetn ano unían,
tfHfl), imtii tlji Bitaraina ano tancilluin tíje famf puifiiant lo i&ia 33,
ндмя феш шмді ifiincXiNASsns ipems
§upuß[ue
abutere, Catilina,
patientia noftra ?
quamdiu nos etiam
Quoujque tandem a-
butere, Catilina, pa-
tientta noßra ì quam¬
diu nos etiam fitror
tere, Catilina, patientia
noftra ? quamdiu nos e-
tiam furor ifte tuus elu-
Quouíque tandem abutére, Catilina, patíentía
noftra? quamdiu nos edam fiiror ifte tuus eludet?
quem ad finem fefe effrenata jaíbbit audacia ?
nihilne te nofturnum prafidium palatii, nihil
urbis vigilias, nihil timor populi, nihil coníen-
fus bonorum omnium, nihil hic muniüflimus
KLMNOPQRSTVUW
Melium, novis rebus ítudentem, manu fuá occídit.
Fuit, fuit i ila quondam in hac repub. virtus, ut viri
fortes acrioribus fuppliciis civem perniciofum, quam
acerbiífimum hoftem cocrcercnt. Habemus enim k-
natufconfulcum in te, Catilina, vehemens, & grave:
non deeft reip. confiJium, neque autoritas hujus or-
dinis : nos, nos, dico apene, confulcs defumus. De-
ABCDEFGHIJKLMNOPQRSTVUWX
At nos vigefimum jam diem patimur hebeftere acìem honim
autoritatis. habemus enim hujufmodi fenamfcon ful turn, vc-
nimtamen inclulum in tabulis, tanquam gladium in vagina
itcondicum: quo ex fenatufconfulioconfeñimintcríeftum te
efle, Catilina, convenit. Vivís : & vivis non ad deponen-
dam, fed ad confirmandam audaciam. Cupio, P. С., тс
clic dementem : cupio in tamis reìpub. pcriculis non dif-
ABCDEFGHIJKLMNOPQRSTVUWXYZ
At nos vigefimum jam diem patimur hcbcfccre acìem ho rum
autoritatis. habemus enim hujufmodi ГспаШІсопГиІшт, ve-
rumumcn incluïum in tabulis, tanquam gladium in vagina
reconditum : quo ex fenatufconfulto confeffim interfeftum te
clTe, Catilina, convenit. Vivís : & vivis non ad deponcndam,
fed ad confumandam audaciam. Cupio, Р. (..'.. me cfTe
dementem : cupio in tarais reipub. pcriculis non diiìblutum
ABCDEFGHIJKLMNOPQRSTVUWXYZ
Verum ego hoc, quod jampridem faftum eue oportuît, certa de
cauÚa nondum idducor ut faciara. tum denique interficiam te, cum
jamnemoum improbuj, um perdinu, tam tui fimilu ìnveniripo¬
tent, qui id поп jure fa&um euefáteatur. Quamdiu quifquam eric
qui te defenderé audcat, vives: í¡ vives, ita ut nuncvivu, multis
mcii&firnui prefidiisobfelTuí, ne commovete te contra rempub.
poffis. multorum te etiam oculi& aurei non fentieotem, ficutadhuc
fecerunt, Ipeculabuntur, atquccuflodJenc. Etenim quideit, Cati-
ABCDEFGHIjKLMNOPQRSTUVWXYZiE
Verum ego hoc, quod jampridem factum elfe oportuit, certa de
cauflä nondum idducor ut lactam, tum denique interficiam te, cum
jam nemo lam шргоЬш, tampeiditui, tam tui fimiJù іпѵепІгІ pote¬
ri!, qui id non jare fiflum ehe fateitur. Quamdiu quirquam cric
qui te defenderé audeat, vives : & vives, ita ut nunc vivís, multis
mtis U firmb pradldiis obfcuus, ne commovcre te contra rempub.
poffis. multorum te etiam oculj (e aure» non fenticntem, ficut adhuc
fecerunt, fpeculabuntur, atque eullodicnt. Etcnimquid efl. Cauli-
ABCDEFGHIJKLMNOPQ.RSTVUWXYZ£
Ìfyoujèjue tandem abutere, Catilina, patientia nof-
tra? quamdiu nos etiam furor iße tuus eludet?
quem ad finem fefe effrenata jaBabìt audacia ?
nihilne te noSlurnum prafidium palatii, nihil ur¬
bis vigilia, nihil timor populi, nihil confenfus bo¬
norum omnium, nihil hic munitißmus habendi fe-
ABCDEFGHIJ KLMNOPgjLSrVU
Ыеіінту novis rebus fiudentem, manu fuá oecUit.
Fuit, fuit ifia quondam in bac repub. virtus, ut viri
fortes acrioribus fuppliciis ctvem permciofumy quam a-
cerbiffmum hofiem coercerent. Habemus enim fenatuf-
confultum in te, Catilina, vehemens, (àgrave: non deefl
reip. confilium, neque autoritas bujía ordinis : nos, nos,
dico aperte, confides defumus. Decrevit quondam fenatus
ÁBCDEFGHIJKLMNOPQjtSTVUWXYZ
At nói vigefimum jam diem patimur htbefiere aciem farum
autoritatis. habemus enim bujiifmodifenatufconfiutum, verum-
tamtn inclufum in tabulis, tanquam gladium in vagina reten-
dttum: quo ex fenatufconfulto confeßm interfeHum te effe, Ca¬
tilina, convenit, Vivis : is" vivit mn ad aepenendam, fed ad
confirmandam audaciam. Cupio} P. C, me effe dementem :
cupio in tantis reipub. ttriauu non dìfli/utum viderì : fed jam
рш^шипршд. L. ,Гшш3 tat/UupF, шГ£шф kptjLp
At noi vlrtfimum jam diem patimur bebefctre actem horum au¬
toritatis. habemus enim hujufmodi fenatufcenfultum, vtrumtamen
inclufum in tabulis, tanquam gladium in vagina reconditum :
quo ex fenatufconfulto confe/lim ¡nterfeclum te èffe, Catilina, con¬
venit. Fruii : (tf vivis non ad aepenendam, fed ad confirman¬
dam audaciam. Cupio, P.C., me effe dementem ; cupio in tamii
reipub. periculis non diffolulum videri: fed jam meipfum inertia
ABCDEFGHIJKLMNOP^RSTyUfVXrZ
Citillni, поп шепоте! unu,Um ¿trox. Um inctcdibilit, verum, id {nod multo
nut" eft id mirandi! m, día ' Dixi c¡o idem In fauni, etilem (с орЕІпШиш con¬
te] ¡!Ге in wiU diati v Kjlcnd. Novtmb. tum cum multi principes dvitiüs Rom.
non um fai conlcrvindi, ijium lucrum солІШогит кргіігкЫошт ciulli profu-
gtrunt. numinficiin potei, te Uto iptb die meiipneßdiii, mudilicentlsdreuni-
cl'jjura, commoven te tonirj re'mpub. пол potuiUé; cum tu diücitu octerorum,
noftri Omca, qui геітпІіІГетиі, czde ConUntum te clic diabu l Quid ' сцщ te
О dii ІтамЫІсі I ubi-usi [ешілп leu г цаіт ttespub. hibeinu I In iu nine rtrhual
hit, kicfuoi [«воагепщмт», f Ç..h h« eini icrrs intlillaiu вшгШт^ш ЯиЙЦ qsi
f..;í;;. г::"::.;.- ..
'■■-- '--■■■■ , .. LMM idSn (JEM кем«
ШЕаЮШ effe cium MMN, que-le». .,.і„я. Reperii hu du» C4UÌI11 Идецг ■ - '
nu cui» libnticM, li leb lili iplt np£te pulls une Ікев не in meo, lee?-'-
вечиетмл. Itcccju «unii. .,.-..::
Verum ego hae, quoi jampridem faOam effe oportuit, eerte de eauffa
nondum eitJutor utfaciam. tuoi denique interficiam te, cum jam nemo
tam ImfnmU, tarn perJitnj, tarn tui fiailii inveeiri poterit, qui id
non jure fati um effe fateatur. ^Quamdiu quifquam crii qui te defen¬
deré audeat, -vivei: У vi-ves, ita ut nunc •vivit, multìt ¡seit tä
firmit pr,efidiit obfeffìii, ne commovere te contra rempub. pofft. multo¬
rum te etiam octtli & aurei non fentienUm, fitut adbue fecerunt, fpe¬
culabuntur, atque fuflsdieat. Elmi m quid ejì, Catilina, quod jam
Venta ego hoc, quid jampridem fauum effe oportuit, eerta de eauffa
nmdum eddtuor ut fac'tam. tum denique interfietam te, cum jam пет»
tam impnbui, tant perditu/, tam luifimilis invenir i poterit, qui id ma
jurt fatlum effe fateatur. Quamdiu quifquam erti qui te defenderé
audeat, vivei : Ü v'tvet, ita ut nunc vivit, multis meii У firm'ts
frorfidiis obfeffus, ne commovcre te contra rempub. pstfit. multorum te
etiam eculi tí aure» non fenlienttm, ficut adbue fecerunt, fpctulabuntur,
atque eufiodicnt. Etenim quid efl, Catilina, quod jam ampliai exfpetlei,
A ВС D E FG H1J К L MN О P $_RSTVU ¡V XrZ AS
Nrvtmi. С. ЛІиЛав mdicitt fitillilin alpi oiinnifirum lug t
Câli/іы, ammulini testa, Umetnx, tam icotáibitit, vtram, iJpisdì
tfiaJaàrantbm, ¿taf Dixi tp ¡dim in ¡тлен, tuina ¡t фімяііатіаяііі
di« v Kettad. ¡Ятмті. lam cam malli principa сгѵішіі Sor, яая lam fii caifer-
vmJi, juam lamm tvf/itnin rtfrimiadiniin caaffa pnfifenoa. nun lafiiîari petit
■Hill, ipJtJii mil fntUBt, ata J,!i¡mie tinamt/фт, сяжяпнті It сниы rtapji.
штраф! carni* ¿fifa atora«, aeratemi», ^inmaafiffimat, Г«П*ѴпшІЩгШ
ti tßi Лсііаі Т Skid T cam ti Ргапф» Ai W. ipfii NavtmMt ЛЛЛНи/ѵиі aethrm
W ,<*.. 1ПШ/«atta,»™ jT^wJ-,.,*, „
------. iyît-/14-''iia"/.i, <■: J.
І- U S, f Ji.) ¿. ¿ß\ i_ ц ьву ¿. ,ГгД| L.
Hebrew with Point].
onSjí nini вілл ур-^з? Ч^ЛІ Ш1 ѴІЛ ПЛ'Л
пт>г^п^х>л;о'лЬк-1СХ'1 ів&уіфѵ лзгпр
•щ va ощ ^йааівгч "Щрщ афц «ja
rhh nig ^гхгаѵ пікЬ афх ntjhi | цгіпл j'ai
агЫ mm Dwi 'JiT^ ytm inni nn тѵѵп
rbb ну ynum two Dm» nvi : чіупл pi
inn пгѵл гют :ркл nui cmisTi лх стби нчз гтьѵиіз
: tran >i¡n¡/ fioro ОггЫ плі ovin ww -\vm im
aiop Тжггти опт nt) !Ж'П'і im it emu nam
•pitrer "iw D-rftN ктр-i гурт i*ai тип гз ѵтон ran
Псб^одс o tTotbcc; ¿и tu wyf(¡áituc¿]i ты trio, тк Hook-
Xí»c (ottío í^ к, ffAûj-Oif ¿та£шѵ)еи) vtoç wéaÌ tÍJc*
«Çi/if вятЫрии^ш, Sos тгыс ле/іл-, ó'tra fy« ціріщііси'
flV> /it* НМСЛМ, unì ík 4ПМ%Н« ас *ëw ыриата,
.lèc || ты отфГсарркЪ ты wííÍ tí HfajcAÍíf
(•■» At J& »Аійпи* IWtóavIai) ¿Vwf ml tÏî <¡((7w ¿ire.
Çaufltu, «j; vue Xf'Ew, óVa íj« ШІПШМ' ^щт) ііЛ
npAcfr temjit i> tJ о-ітГр^иТ. TÙ «p t5 И(алАі'« (»V» |) к}
**|lra( milenî«!) ftuç *riî т« ¿Лц élwf^lAi, мГ ти AJÍ»-, cea.
ijv N4fur Çvi uh НрыАЬ, U ie n¡b ,¡f Í.V ^тв, {.V
и « «и A іАкафф уІЩим Mm, ím ™- fi ^Щс IX, і$Аі
eJkfuJci) im vit> іщ.аіТч; UM_U_j >Ul «к ІіГи, Вм 1)2 иішщма,.
with Examples of Artistic Printing
Sheet (Facsimile), Mergenthaler linotype
business, he produced a new typeface for the Society for the Propagation
of Christian Knowledge to be used for a Bible in Arabic.
printers. On these sheets was his name, William Caslon, in roman letters
designed specially for the purpose. This new typeface design was the begin¬
ning of the popular style we now know as Caslon Old Style. Following this
style, Caslon cut a number of non-roman and exotic styles, including Coptic,
Armenian, Etruscan, and Hebrew. Caslon Gothic is his version of Old Eng¬
lish, or black letter. He published the first and extensive catalog for his type
foundry in 1734, presenting a total of 38 typefaces. William Caslon died in
1766, aged 74.
collections of type specimens in the world. With his individual preferences
setting the tone, the collection focuses on specimens produced between
1830 and 1930.
printing. The two volumes of this publication display some wonderful
examples, with dazzling construction and color combinations.
examples of setting, all made up of letters, lines, or intricate ornaments.
Applications were devised for all of this material being offered for sale, set,
and printed by hand. This chapter in the history of type specimens is
endearing, and the infinite variety is glorious.
of famous type designers, such as Garamond, Bodoni, and Foumier, were
known. The thousands of typefaces introduced by foundries in the 19th
Century were designed and engraved by anonymous workers. In type
catalogs, these are referred to as "im Hause" or "Hausschnitt."
designers in the early 20th Century: Otto Eckmann, Rudolf Koch, Walter
Tiemann, Imre Reiner. Bauer engaged the services of Heinrich Wieynk,
F. H. Ehmcke, Lucian Bernhard, E. R. Weiss, Paul Renner, and F. H. Ernst
Schneidler.
and Herbert Bayer. Important designers also worked for the Ludwig und
Mayer type foundry, including Heinrich Jost, J. Erbar, and J. V. Cissarz.
Georg Belwe and Jan Tschichold designed for Schelter & Giesecke, and
more than one firm.
too, there were excellent designers working for type foundries. Georges
Auriol and E. Grasset worked for Peignot, for example; A. M. Cassandre
and Adrian Frutiger for Deberny & Peignot; Roger Excoffon for Olive;
Aldo Novarese for Nebiolo; Warren Chappell and Morris F. Benton for
American Type Founders; Rudolph Ruzicka, W A. Dwiggins, and Walter
Tracy for Linotype; and E W. Goudy, Bruce Rogers, Berthold Wolpe, and
Eric Gill for Monotype. S. H. de Roos and Dick Dooijes were employed
by Lettergieterij Amsterdam, and J. van Krimpen and S. L. Hartz worked
for Enschedé.
burg to serve the Russian market. Also from Berthold is a Hebrew speci¬
men from 1924 with various faces and wonderful color illustrations. In
1925, a similar specimen was published in Eastern languages, including
Arabic, Turkish, and Hindi.
it was over, owing to new developments. Type foundries that made only lead
type have disappeared. Some changed with the times and are still part of
the creative process of artistic presentation of messages in the global digital
world.
his international private collection of type specimens, his admiration and
love for diverse letters and ornaments, and his examples of artistic printing.
College of Fine Arts. He has written on a variety of topics relating to graph¬
ic design, and now, once again, we have worked together on this book.