Type-faces not easily remembered—Naming and numbering—Six representative standard Roman type-faces—Legible and good-looking and possessing character—Caslon Oldstyle—Scotch Roman—Cheltenham Oldstyle—Cloister Oldstyle—Bodoni Book—French Oldstyle—Private type-faces not considered— Permanency and investment—Cloister Oldstyle based on Jenson’s Roman letter—Not the first Roman type—Caslon Oldstyle—A historic American type-face—Approved by good printers as the best and most useful Roman face available—Difficulties in machine composition—Not an entirely new Roman letter—Story of its designing—Ill-treated by modern founders—The revival—Bodoni Book—Refined and legible—Its history—Modern ideas of improvement—Scotch Roman—The link connecting the graceful old-style and the severe modern Roman—French Oldstyle—Capitals especially pleasing— Cadmus, the Mayeur letter—Cheltenham Oldstyle—Designed in America and developed into a numerous family—The space above the line emphasized by long ascenders—Used for narrow booklets—Capitals awkwardly large— Development of the Roman type-face—In the beginning Roman letters were in capitals only—Lower-case letters in formation—Black Letter and White Letter—Jenson fortunate in the selection of a model—Comparisons—A change in form—Moxon’s drawings of the alphabet—Made into type—Baskerville’s types rival Caslon’s in beauty—Bodoni threw typography out of gear—His types not so dressed up and finished as at the present time—Modernized Oldstyle—Characteristics of Roman type-faces—The serifs—Has a decorative quality—Oldstyles and Moderns distinguished by serifs—Thick and thin strokes—Makes lettering interesting—Their distribution—Characteristics of pen-made letters—Ascenders and descenders—Beauty in the strokes—False logic—Proportion of letters—Old Roman capitals as models—Uniformity in width revealed in typewriter type—Legibility of type-faces—Type matter should be easy to read—Tests for legibility—Printing on a hard-finished paper and a soft-finished paper—Decided contrasts tire the eye— Lower-case more legible than capitals—Space between lines necessary— Space between words—Advantage of close spacing—Possible in machine composition—Words more easily read than letters—Group of words almost as easily read as one word—Length of line—Recommendations—Size and kind of type should be considered—Measuring one and a half alphabet—Technical and optical reasons—Testing newspaper types—Approved type sizes and leading—Dr. Cohn’s measurements—Italic types—The mate of Roman types—Was first cut by Francia for Aldus—Not merely an inclined Roman—Moxon’s Italic letters, including Swash capitals—Text faces—Fashioned after Black Letter writing—Other names—Block types—An unfinished Roman letter— Poster rendering in black tones—Bold types—Many could be dispensed with— Ornamental types—Types for special purposes—The influence of Frederic W. Goudy on typography. IMPRINTS _Page 195_