Typefoundries in the Netherlands from the Fifteenth to the Nineteenth century 65

THE SEVENTEENTH CENTURY

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Notice by the Brothers Proops, printers and dealers in books. On
Wednesday, 21 Adar 5521 (25 February 1761), we acquired what has long
been hidden away as a most precious treasure, that is to say the matrices,
moulds, etc. made by those famous printers Joseph, Emanuel, and
Abraham Athias.

They are for all manner of square Hebrew letters, for use with or
without vowels and tonic accents, and for a number of Rashi and
German Rabbinical faces, large and small.

These types were used by Athias to print, among others, the follow¬
ing books.

Rambam [the works of

Maimonides]
Sileni liinot ha-berit
Shiilhan 'araldi, 4 vols.
Rabbi Moshe Ribkas
The big Bible
The little Bible with and without

commentary by Rashi in the

edition of the learned David

Nuñes Torres
Sefer Beni Yehoshua
The little psalms

The little Pentateuch with and

without commentary by Rashi
Yalquat Reubeni
The big Maggidim with

commentary by Rashi and in

Judaeo-German
The little Mahzor
'Olat shabbat
The litde prayer book with

Hosha'anot and Ma'arabot
The Bible in Judaeo-German
Qitsnr shelah

These types were used for all the other works with the imprint of
Athias besides those mentioned above. Even the flowers and ornaments
used by these printers to give prominence to their titles, in short
everything that can be found in their printing, has come, thanks to the
Almighty in his immense kindness, into our exclusive possession. So it
is impossible for printing which looks exaftly like that of Athias to be
done by anyone but us, Brothers Proops, by divine favour owners of
the authentic types.

Shortly we shall offer to the public a remarkable work, a new publi¬
cation, as soon as we have finished casting the Athias types.

Our services are available to any who may wish to have printing done
in our office.

An appreciation of
Van Dij'cli 's types

Cj¿ Some appreciation of the style of Van Dijck must be attempted. It cannot be
based solely on the original material surviving at Haarlem.

The Great Primer (Text) Italic is somewhat out of character and the design has an
agreeable novelty and robustness.

Van Dijck showed a mastery of intricate punchcutting in his Black Letters, and
they found great favour in Holland for a long time. They are, however, too elabo¬
rate : the finely rendered details distraci: attention from the essential forms of the
letters, so that by comparison the Black Letters in a similar convention cut in the
previous century by Hendrik van den Keere at Ghent are restful to the eye, clear,
and readable.

Judging by the Romans and Italics of the Widow Elsevier's specimen that are
attributable to Van Dijck, that is to say the Kleene Kanon, the Ascendonica, and the (first)
Augustijn, he rendered the familiar faces with much grace and fluency and brought
them into accord with the decorative taste of his time. This style of lettering,
described by Stanley Morison as 'the authentic Dutch national version of the

TYPEFOUNDING AT AMSTERDAM:

CHRISTOFFEL VAN DIJCK'S TYPES

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Fig. 69. Long Primer Hebrew no. 619. Resetting of a page ofthe Biblia en dos colimas Itebrayco y español,
Amsterdam, Joseph, Jacob, Abraham de Salomon Proops, 1762.

Garamond Roman and the Granjon Italic' and by Moxon as 'Dutch letters',1 has
never been displaced in the affeftions of English book-designers.

It is certain that Van Dijck won a reputation as an outstanding letterer in his
lifetime. Not only does the Englishman, Joseph Moxon, give the highest praise to
his types and take them as his models2 but, writing in 1676, he records a personal
recollection ofthe artist testifying to his standing in his own country.

'When the Stadthouse at Amsterdam was finishing' [Moxon wrote], ' such was the
Curiosity of the Lords that were the Overseers of the Building, that they offered
С van Dijck aforesaid 80 Pounds Sterling (as himself told me) onely for drawing
in Paper the Names of the several Offices that were to be painted over the Doors,
for the Painter to paint by'.3

[1] Type Specimen Facsimiles 1, p. xiii; Moxon pp. 22-23. See also [3] J-Moxon, Regtilae trium ordinimi literarum typographicarum :

S. Morison, John Fell, 1967, pp. 65—66. or, the rules ofthe three orders of print letters, London 1676, p. 4.

[2] Moxon pp. 23—24.