IN FRANCE ITALIC REACHED LYONS BY 1502–1503
the royal epistre satyricque from antwerp
In
1539,
barely three years after setting up his press
Throughout this evolution Black Letter was far behind
HE WAS THE BROTHER OF CORNELIS GRAPHEUS
the peak of erasmus-editions was reached
The musicians Guillaume Du Fay & Josquin Des Prez
Post
1520
, few works by Erasmus set in Black Letter
AMOUNTING TO SOME 260 EDITIONS IN LATIN
HE DID SO IN 1522; RATHER LATE IN COMPARISON
1527–1530, Roman & Italic made a notable advance
A notable sign of the times was the change in 1521
T
HE PRINTER
PLAYED
AN IMPORTANT
PART
in italy where italic originated in 1500–1501
Until about
1520
there was a modest output of Latin
And this development, there are three things to
remark
SHALL NOT SPECULATE ABOUT THE REASONS
A TRANSITION FROM GOTHIC TO ROMAN AND ITALIC
The vernacular versions of the
post
-incunabula types
Ther
e
was no easy acceptance of defeat by the Gothic
B
IBLIOGRAPHY OF NIJHOFF & KRONENBERG
THERE WAS PRESSURE FROM THE NEWER LETTERS
Ashamed
his countrymen could not read Roman
The vogue for Italic is of about ten years’ duratio
n
POST-INCUNABULA
a fresh agreement
Van den Keere’s Punches
Between
1520 and 1671
THE VERNACULAR
fere-humanisticas
8mm Roman Lowercase
Schwabacher
Q
uestion
LETTER-CUTTERS
NOTHWITHSTANDING
The Epistre Satyricque
Ba
sl
e, Venice, Cologne
DOUBLY
-SERIFF
E
D
imported typeface
Hori
z
ontal Cross-
st
roke
R
oman, Italic, Bastarda
N
ETHERLANDERS
london & Belgium
T.
de Borne, Deventer
Special
Characteristic
H. VAN DEN
K
EERE
blackletter cuts
J
oos Lambre
ch
t, Ghent
Aldegonde’s Byenkorf