. This face has
comparatively recently been revived by modern type-founders; and though
this revival has provided us with a text letter far superior to the forms
previously in use, the modern imitation falls short of the beauty of
Caslon's original, as may be seen by comparing the letters shown in 61,
which are reproduced from Caslon's specimen-book, issued by him about the
middle of the eighteenth century, with the type used in printing this
volume, which is a good modern "Caslon."

Figures 62 to 67 show some newly devised type faces, all designed by
artists of reputation. Figure 62 illustrates a fount called the "Montaigne"
which has been recently completed by Mr. Bruce Rogers for the Riverside
Press, Cambridge, Mass., and cut under his immediate direction, with
especial insistance upon an unmechanical treatment of serifs, etc. As a
result the "Montaigne" is, for type, remarkable in its artistic freedom,
and its forms are well worthy the study of the designer. Both its capitals
and small letters suggest the purity of the Italian Renaissance shapes. The
letters space rather farther apart than in most types, and the result makes
for legibility. Although several other modern faces of type have been
designed on much the same lines, notably one for The Dove's Press in
England, the "Montaigne" seems the best of them all, because of its
freedom, and its absolute divorce from the overdone, exaggerated,
heavy-faced effects of the Morris styles of type.

Mr. De Vinne of the De Vinne Press, New York City, has introduced a new
type called the "Renner", 63, which was originally cut for some of the
Grolier Club's publications. The letters were first photographed from a
selected page of Renner's "Quadrigesimale," then [71] carefully studied and
redrawn before the punches were cut. Mr. De Vinne has added small capitals
and italics to the fount, as well as dotted letters to serve as substitutes
for the italic for those who prefer them. The "Renner" type would have been
more effective on a larger body; but for commercial usefulness it is
generally deemed expedient to employ as small a body as the face of a type
will allow. Mr. De Vinne notes, in this connection, that all the important
types of the early printers were large, and that a fount designed to-day
with regard only to its artistic effectiveness would be cast upon a large
body and be of good size.

Mr. Bertram G. Goodhue has designed two founts of Roman type, and is now at
wor