■
254 V* NOTES TO PAGES I3-I7
Literatur (PBB) 1976 (2009): 161; David Sacks, “K and its Kompeti-
tors,” in The Alphabet: Unravelling the Mystery of the Alphabetfrom A
to Z (London: Hutchinson, 2003), 206.
36. W. Clarysse, J. Clarysse, B. Van Beek, et al, “Leuven Database of
Ancient Books,” Trismegistos, http://www.trismegistos.org/ldab/
(last accessed June 22, 2012}; M. B. Parkes, “The Development of
the General Repertory of Punctuation,” in Pause and Effect: Punctua¬
tion in the West (Berkeley: University of California Press, 1993), 43.
37. André Vauchez, Barrie Dobson, and Michael Lapidge, “Capitu-
lum,” in Encyclopedia of the Middle Ages. 1, A-J (Paris: Editions
du CERF {etc.}, 2000), 278.
38. R. McKitterick, “Script and Book Production,” in Carolingian Cul¬
ture: Emulation and Innovation (Cambridge: Cambridge University
Press, 1994), 221-47.
39. M. A. Cassiodorus, The Letters of Cassiodorus (Teddington, UK:
Echo Library, 2007), 60.
40. Geoffrey A. Glaister, “Rubricator,” in Glossary of the Book (London:
George Allen & Unwin, i960), 361.
41. Parkes, “The Development of the General Repertory of Punctua¬
tion,” 43.
42. Lupton and Miller, “Period Styles,” 34.
43. Andrew Haslam, “Articulating Meaning: Paragraphs,” in Book
Design (London: Laurence King, 2006), 73-74.
44. Walter W. Skeat, Notes on English Eymology; Chiefly Reprinted from tht
Transactions of the Philological Society (Oxford, UK: The Clarendon
Press, 1901), 215-16.
45. Haslam, “Articulating Meaning,” 73-74; Jan Tschichold and Rob¬
ert Bringhurst, “Why the Beginnings of Paragraphs Must Be
Indented,” in The Form of the Book (London: Lund Humphries, 1991),
105-09.
46. Rosendorf, “Proofreaders’ Marks,” 68.
47. Eric Gill, An Essay on Typography (Jaffrey, NH: David R. Godine,
1993)-
48. Fiona MacCarthy, “Ditchling Village, 1907-1913,” in Eric Gill (Lon¬
don: Faber and Faber, 1989), 115.
■
NOTES TO PAGES I7-2I 255
49. Martin Hutner and Jerry Kelly, A Century for the Century: Fine
Printed Books from 1900 to 1999, Grolier Club edition (Jaffrey, NH:
David R. Godine, Publisher, 2004), xxxix.
50. Gill, An Essay on Typography.
51. Mark Thomson, “Visions of Joanna,” Eye Magazine 62,2006.
52. Fonts.com, “Joanna,” http://www.fonts.com/FindFonts/Hidden
Gems/Joanna.htm [last accessed March 20, 2011]; John Boardley,
“A Brief History of Type—Part 5,” I Love Typography,June 20,2008,
http://ilovetypography.com/2008/06/20/a-brief-history-of-type-
part-5/.
53. Robert Bringhurst, “11.2 Serifed Text Faces,” in The Elements of
Typographic Style: Version 3.2 (Vancouver, BC: Hartley & Marks,
2008), 234.
54. Patrick Rogers, “Stations of the Cross,” Oremus: Westminster Cathe¬
dral Magazine, March 2005, http://www.westminstercathedral.org.
uk/tour_stations.php [last accessed March 31,2011].
55. Fiona MacCarthy, “Ditchling Common, 1913-1924,” in Eric Gill
(London: Faber and Faber, 1989), 125.
56. Fiona MacCarthy, ‘“Mad About Sex,’” The Guardian, October 16,
2009.
57. “Ecstasy by Eric Gill,” Art and Artists, Tate Gallery, August 2004,
http://www.tate.org.uk/art/artworks/gill-ecstasy-to3477 [last
accessed March 21,2011}.
58. Douglas Cleverdon and Guy Brenton, “Portrait of Eric Gill,” BBC
Radio programme, 1961.
59. Fiona MacCarthy, Eric Gill (London: Faber and Faber, 1989).
60. Matthew Carter, “Big Caslon, 1994,” The Collection, Museum of
Modern Art, http://www.moma.org/collection/browse_results.
php?object_id=i393o8 [last accessed August 18, 2012}; Adrian
Frutiger, “Linotype Didot Font Family, 1991,” Linotype.com, http://
www.linotype.com/1012/linotypedidot-family.html [last accessed
August 18, 2012}; Hermann Zapf, “Zapfino Font Family, 1998,”
Linotype.com, http://www.linotype.com/en/1175/zapfino-family.
html [last accessed August 18,2012]; D. Earls, “Jonathan Hoefler,”
in Designing Typefaces (Hove, UK: Rotovision, 2002) 12-23.