close resemblance between the Roman of the Wiedenbach monks and that of the _Eusebius_ is, M. Madden considers, clear evidence that the same hand had trained itself on the one for the marvellous perfection of the other.[79] Jenson’s fount is on a body corresponding to English. The form is round and clear, and differing in fashion only from its future progeny. The capital alphabet consists of twenty-three letters (J, U, and W not being yet in use); the “lower-case” alphabet is the same, except that the “u” is substituted for the “v,” and in addition there is a long ſ, and the diphthongs æ and œ. To complete the fount, there are fifteen contractions, six double letters, and three points, the . : ? making seventy-three punches in all.[80] Jenson’s Roman letter fell after his death into the hands of a “firm” of which Andrea Torresani was head. Aldus Manutius subsequently associated himself {42} with Torresani, and, becoming his son-in-law and heir, eventually inherited his punches, matrices, and types. The Roman founts of Aldus were eclipsed by his Italic and Greek, but he cut several very fine alphabets. Renouard[81] mentions eight distinct founts between 1494 and 1558. GERMANY.—Whether the fount of the Wiedenbach monks was the progenitor of the Venetian Roman, or whether each can claim an independent origin, there seems little doubt that the fount of the “[symb] bizarre” is entitled to rank as the first Roman letter in Germany. The accompanying facsimile from the _Sophologium_ will give a good idea of the form and size of this most interesting fount, and will at the same time show how slightly the form of the Roman alphabet has changed since its first introduction into Typography. [Illustration: 7. From the _Sophologium_ “à l’[symb] bizarre.” Wiedenbach (?), 1465–70.] Roman type was adopted before 1473 by Mentelin of Strasburg, whose beautiful letter placed him in the front rank of German printers. Gunther Zainer, who settled at Augsburg in 1469, after printing some works in the round Gothic, also adopted, in 1472, the Roman of the Venetian School, founts of which he is said to have brought direct from Italy. The German name of Antiqua, applied to the Roman character, has generally been supposed to imply a reluctance to admit the claim of Italy to the credit of introducing this style of letter. As, however, the Italians themselves called the letter the “Lettera Antiqua tonda,” the imputation against Germany is unfounded.[82] The French, Dutch, and English called it “Roman” from the first. {43}