Roman, called it “Cursiv.” The Italians also adopted the Latin name, “Characteres cursivos seu cancellarios.” The Italic was at first intended and used for the entire text of a classical work. Subsequently, as it became more general, it was used to distinguish portions of a book not properly belonging to the work, such as introductions, prefaces, indexes, and notes; the text itself being in Roman. Later, it was used in the text for quotations; and finally served the double part of emphasising certain words[98] in some works, and in others, chiefly the translations of the Bible, of marking words not rightly forming a part of the text. In England it was first used by De Worde, in _Wakefield’s Oratio_, in 1524. Day, about 1567, carried it to a high state of perfection; so much so, that his Italic remained in use for several generations. Vautrollier, also, in his _New Testaments_, made use of a beautiful small Italic, which, however, was probably of foreign cut. Like the Roman, the Italic suffered debasement during the century which followed Day, and the Dutch models were generally preferred {52} by English printers. These were carried down to a minute size, the “Robijn Italic” of Christopher Van Dijk being in its day the smallest in Europe. [Illustration: 9. Robijn Italic, cut by Chr. van Dijk. (From the matrices in the Enschedé foundry.)] It is not easy to fix the period at which the Roman and Italic became united and interdependent. Very few English works occur printed wholly in Italic, and there seems little doubt that before the close of the sixteenth century the founders cast Roman and Italic together as one fount. The Italic has undergone fewer marked changes than the Roman. Indeed, in many of the early foundries, and till a later date, one face of Italic served for two or more Romans of the same body. We find the same Italic side by side with a broad-faced Roman in one book, and a lean-faced in another. Frequently the same face is made to serve not only for its correct body, but for the bodies next above or below it, so that we may find an Italic of the Brevier face cast respectively on Brevier, Bourgeois, and Minion bodies. These irregularities were the more noticeable from the constant admixture in seventeenth and eighteenth century books of Roman and Italic in the same lines; the latter being commonly used for all proper names, as well as for emphatic words. The chief variations in form have been in the capital letters, and the long-tailed letters of the lower-case. The tendency to flourish these gradually diminished on the cessation of the Dutch influence, and led the way to the formal, tidy Italics of Caslon and the founders of the eighteenth century, some of whom, however, consoled themselves for their loss of liberty in regard to most of their letters, by more or less extravagance in the tail of the [*Q] which commenced the _Quousque tandem_ of their specimens. As in the