268 NOTES ТО PAGES 67-7О

33. Jan Tschichold, Die neue Typographie: Ein Handbuch für zeitgemäss
Schaffende (Bildungsverband der Deutschen Buchdrucker, 1928).

34. “Jan Tschichold (German typographer and author),” Encyclopaedia
Britannica, http://www.britannica.com/EBchecked/topic/607663/
Jan-Tschichold [last accessed June 18,2011}.

35. Otl Aicher, “Typographical Warfare,” in Steven Heller and
Philip B. Meggs, eds., Texts on Type: Critical Writings on Typography
(New York: Allworth Press, 2001).

36. Jan Tschichold, Formenwandlungen der ir-Zeichen (Frankfurt am
Main: D. Stempel AG, 1953); Tschichold andPlaat, The Ampersand.

37. Frederic W. Goudy and Frederic W. Goudy Collection, Library of
Congress, Andsir Ampersands,FromtheFirst Century b.c. tothe Twen¬
tieth a.D. (New York: Typophiles, 1936); Paul Standard and Typo-
philes (New York, N.Y.), The Ampersand: Sign of Continuity (New
York: George Grady Press, 1936).

38. Daniel B. Updike, “Type and Type-Forms of the Fifteenth Century
in Italy,” in Printing Types, Their History, Forms, and Use: A Study in
Survivals, With Illustrations (Cambridge, MA: Harvard University
Press; Humphrey Milford; Oxford University Press, 1927), 70-81.

39. Clark, “How Our Roman Type Came to Us,” 546-49; Amy Tik-
kanen, “Roman Script (calligraphy),” Encyclopaedia Britannica,

http://www.britannica.com/EBchecked/topic/508323/roman-

script [last accessed August 16,2012]; Wilkinson, “The Humanistic
Minuscule and the Advent of Roman Type,” 12.

40. Robert Bringhurst, “7.2.1 The Renaissance Roman Letter,” in The
Elements ofTypographic Style: Version3.2 (Vancouver, BC: Hartley &
Marks, 2008), 122-23.

41. B. L. Ullman, “A Rival System—Niccolò Niccoli,” in The Origin
and Development of Humanistic Script, Storia e Letteratura (Rome:
Edizione di storia e letteratura, 1974), 59 “77-

42. Daniel B. Updike, “The Aldine Italie,” in Printing Types, Their His¬
tory, Forms, and Use: A Study In Survivals, With Illustrations (Cam¬
bridge, MA: Harvard University Press; Humphrey Milford; Oxford
University Press, 1927), 125-32.

NOTES TO PAGES 7О-75 269

43. Robert Bringhurst, “7.2.2 The Renaissance Italic Letter,” in The
Elements ofTypographic Style: Version 3.2 (Vancouver, BC: Hartley
& Marks, 2008), 124-25.

44. Robert Bringhurst, “3.4 Tribal Alliances and Families,” in The Ele¬
ments ofTypographic Style: Version 3.2 (Vancouver, BC: Hartley &
Marks, 2008), 57; Updike, “The Aldine Italic,” 125-32.

45. Jonathan Hoefler, “Our Middle Name,” typography.com, April 28,
20o8,http://www.typography.com/ask/showBlog.php?blogID=98.

46. Bernhard Bischoff and University of Cambridge, “Latin Hand¬
writing in the Middle Ages,” in Latin Paleography: Antiquity and the
Middle Ages (Cambridge, UK: Cambridge University Press, 1995),
127-36.

47. Wilkinson, “The Humanistic Minuscule and the Advent of Roman
Type,” 12.

48. Albert Kapr, The Art of Lettering: The History, Anatomy, and Aesthet¬
ics of the Roman Letter Forms (Munich: Saur, 1983).

49. “The Appearance of the Bible,” The Gutenberg Bible at the Ran¬
som Center, http://www.hrc.utexas.edu/exhibitions/permanent/
gutenberg/html/6.html [last accessed June 24,2011}.

50. Tschichold and Plaat, The Ampersand.

51. Isidore and Stephen A. Barney, “Common Shorthand Signs [De
notisvulgaribus], in The Etymologies of Isidore of Seville (Cambridge,
UK: Cambridge University Press, 2006), 51.

52. Paul Saenger, “Tironian Notes,” in Space Between Words: The Origins
of Silent Reading (Palo Alto, CA: Stanford University Press, 1997),
115-19.

53. Russon, et al, “History and Development of Shorthand (shorthand).”

54. Bernhard Bischoff and University of Cambridge, “Latin Script in
Antiquity,” in Latin Paleography: Antiquity and the Middle Ages (Cam¬
bridge, UK: Cambridge University Press, 1995), 80-82.

55. Theodore Rosendorf, “Blackletter,” in The Typographic Desk Refer¬
ence (New Castle, DE: Oak Knoll Press, 2009), 100.

56. G. Reuveni, “From Reading Books to Consumption of Books and
Back Again,” in Reading Germany: Literature and Consumer Culture