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