Fig. 262. Ruby Black Letter no. 549, cut by Fleischman

in 1760. Resetting of part of the type-specimen of

Johannes Enschedé, 1768.

NON PLUS ULTRA,

Gezegt

tyaIelii-За. 3tltpfj. 3tß fai brn ©сеоЗйаЗ tifava bn íantftljrr Timen: *ött!j
in Ьгп cact cube berna b cri іщс ber optatiteli. 2 lOlmcl. H*t \uercicit bei 0£С*
fi¿.0 vin ijriiur: Äijlfiii. fu ìiiDibni QCftitfit ban allr bii'ber luftln Ijcöüi'ii. 36c
£І\п burn l? inajrftrnr eiibe ljrtrlftf([]cjit : Pau. rnbr jì|nc ijrrtfitnjliciit (irjrartln
ber rrutoloficnt. 4 ¿adi. lt)n fjccft fijneii tooiibeccii cru ßcbatlirciiliTc НЯШК&С:
€Det. be Oíífií ip [tmabinû enbe tianiiljertlaf). 5 bie fjem nirefeu/ fpijfe gcfjebcii: 5,0b. O" fltùnirht In ber eeuìBltitjcntaei)fi|nbcc.
6ont. 6 ¿api). On ficeft be ftracfjt fijiict tatAfH fijiicn boltfic Eiclmit nciuarriit*
Tameb. firn gebeubc be cebe bee Ipnbnicii. y .lEcni. T>e tamben |'i¡nee tiauben
im biaeefjent cube фоіЬгсі: .Gun. alle fijne ücbrelcn ШЯ ntWtttot. 8 ¿îamerfi.
Äp 3ÍJ11 onberfteunt booj altooi [en] in eetitaialicnt. Sfili МШИ itcbacn in bjacr«
fiept enbe opretlitiflljept. 9 Pe. Oy Fjccft fifncn boftfie becloffinge gefonben : i¡£fa<
bf, Dn fiEcft fifn bciiioiit in eeiibitfilirpt gebotenI Hopf), iijn млеше іё Г]ііИп;Г) enbe
brerflïcn; 10 ficfefj. 3?e b;eefe bej OííRí^Í lp net bcninfel ber ÍPíjflicnt;
¿ti](11. alle blcfc boni/ fieblien joet becfraut: вфШ.Щв lof licftact toi in bcrc'eu*
tolBDtpt. píalm Crj. %%€9&ЗФ93Ъ%шЛфмШЯаП1»ітІЯЪ
eefiiebcn ©ooj 3. ЛЗ. j?lttftl}mani7ct2

Fig. 266. Pearl Black Letter no. 93, cut by Fleischman

in 1762. Resetting of part of the type-specimen of

Johannes Enschedé, 1768.

Parel Romein No. 2.

Dicet ailquis ex vobii ; Quomodo rcfurjlcnt mortui ? & quali corpore veulent TStulte, lernen quod tu (ê-
minaî, (1 non moriatur, non revivilcit. Et in quod tcminas.ncquaquam illud con>ui quod futurum cá ièminai,
led granum nutum tritici aut tiordci.aut rcliquorum (èminum. Drui auccm datci согрш qiicmadmodum vult:
cc unicuiquc ex ІЬгліпіЬц, софіи natune fus Nequáquam enim omne софіи ell «quale, aliud enim eil corpus
Hominis, & aliu li bcltise, aliud volatili', & aliud pifeium. Et funt corpora calcfüca, funt corpora te-reftria-
Scd alia cil gloria С(ЕІсПіит, & alia tei redi ¡um. Et alia cil ejona Sol, alia ci'; gloria Lunas, alia gloria dell:!
rum. ПсІІа cxccllcntoir eli «ellain «ABCDEFGHJIKLMNOPQRSTVUWXYZ &ЩЩРЙ№>
ІЫШсШсіІІ;ІП! ï'n, 134156709!) ж abc» rfg fijiklm;no|'c;rstvl-\vx ïz àél-u aeióll aeidú'áeüoV lüöiirnü

J. M. Fleifchman fculpfit. 17S1

Fig. 265. Ruby Roman no. 92, cut by Fleischman in 1761.
Resecting of part of the type-specimen of Johannes Enschedé, 1768.

A year later, in 1760, Johannes Enschedé once more gave proof of a determination
not to be outdone. I have said that in 1754 Fleischman cut a Ruby Black Letter for
Martin Weyer, of Amsterdam (see p. 231). As was to be expected, it was much better
than the type of the same description which Fleischman cut in 1733 (see p. 197)
which Enschedé acquired in 1743 by buying Wetstein's foundry. In the intervening
twenty years Fleischman's art had developed, and it is understandable that the
typefounder at Haarlem chafed at the thought that there should be on sale at
Amsterdam a type far better than one of his own cut by the same hand. Moreover,
Weyer's stock had in the mean time been bought by the Brothers Ploos van Amstel,
who were benefiting by the current vogue for anything that Fleischman made. As
soon as the music-type was finished, therefore, a new small Black Letter was put in
hand. It is now our Ruby Black Letter N0.549 (fig. 262).

The year 1761 was spent in cutting three new types, the Small Pica Roman N0.90, the
Small Pica Italic No. 91 (figs. 263,264), and the Ruby Roman N0.92 (fig. 265) of our inventory.
The last, cut in the same style as the Small Pica, was a valuable accession, because

240

JOHANN MICHAEL FLEISCHMAN

up to that time the foundry could offer only a Nonpareil face on Ruby body.
In 1762 Fleischman cut small capitals for the Pica italic No. 59 (see fig. 188, p. 204),
designed, no doubt, for a particular piece of printing. When those were done
Enschedé decided to have another small Black Letter, now our Pearl віасіг Letter No.
23 (fig. 266), so that he might be able to supply printers with the fullest range
of Black Letter ever offered by one typefounder. From Two-line Great Primer to
Pearl he had an uninterrupted series of these types and it was one that greatly
enhanced the reputation of his business. Of this he was naturally proud, and he
must be forgiven if he could not always resist a tendency to vaunt himself in his
advertising. In his specimen-book of 1768 he drew special attention to the Black
Letters and put a note to this efFeci: after the last of them.

On these pages printers may see a range of Black Letter from Two-line Great Primer to Pearl
and all by the great J. M. Fleischman. The Ruby No. 1 was the first of them that he cut and the
Pearl was the last. When, in 1754, he made a new Ruby Black Letter for another founder and
the face was hailed as an improvement on that of 1733,1 conceived a desire to have my second
made by this letter-cutter in which by skill and application he might surpass even his achieve¬
ment of 1754. The new face (marked No. 2) was cut in 1760. Furthermore, to round off his series
of these types, in 1762 the same artist cut the Pearl shown above, astonishing for its elegance
and refinement.

All the Black Letters, from Pica to Pearl, are eminently suitable for setting Bibles, New
Testaments, prayer-books, and other works, and they outdo anything previously to be seen.
With them it will be possible to print more copies by several thousands than with types from
other foundries, because they are cut so much deeper that they will resist impression much
longer.

The three Black Letter types, on English body, Pica, and Small Pica, by Christoffel van Dijck
came to us by purchase, and they, too have great merits. т Ь F h c\ '

However, by this time the health of the 60-year-old punchcutter was failing, and
his capacity for work was afFecLed. When he lost his wife in 1749, he had left Edam
and had made his home once more in Amsterdam; in 1763 he moved to Haarlem,
hoping to find relief from the chest-trouble that was weakening him. In spite of
his illness, he did all he could for the typefoundry that by now had a strong hold
on his affections. It was in 1763 that he cut an Italic, the Bourgeois italic No. 94 of
our inventory (fig. 267, p. 242), needed to fill a gap in the range of his types for
bookwork.

The next year he was worse, and he could do no more than make the ligatures
for his English-bodied Greek cut in 1740 (seep. 207). In the spring of 1765 he finished
the ligatures for his Small Pica Greek (see p. 217).

He was spared a few more years. An improvement in his health allowed him
later in 1765 to set to work on a Brevier Roman and Italic for the Brothers Ploos
van Amstel. They are now the Brevier Roman No. 53 and the Brevier Italic No. 173 of our
inventory (figs. 268,269, p. 242).

241