Ascertaining the proper optical length, 510 Moxon’s Italic capitals of 1676, 511 Italic lower-case of Moxon, 512 Resetting in Cloister types, 513 Decorated capitals or Swash letters, 514 Roman and Italic compared, 515 A few representative Italic type-faces, 516 Complete Roman and Italic Caslon alphabets, 517 Text capitals of Moxon, 518 Text lower-case of Moxon, 519 Two standard German type-faces, 520 A half-Gothic and half-Roman type, 521 Several representative Text types, 522 Block types, serifless and of one thickness of stroke, 523 Modern art poster type, 524 A bold-face from French Oldstyle, 525 A few representative bold types, 526 Eighteenth-century ornamental types of Fournier, 527-A Early nineteenth-century ornamental types of English founders, 527-B Recent American types of the ornamental kind, 527-C IMPRINTS _Page 195_ The first “imprint,” as found on Fust and Schœffer’s Psalter, 1457, 528-A (insert) .pn=xx Colophon and imprint by Peter Schœffer, 1476, 528-B (insert) The first imprint-device, and three adaptations, 529 Aldus’s anchor and dolphin device, and adaptations by modern printers, 530 The most popular imprint-device as early used by printers, and modern interpretations, 531 Arms supposedly granted the Typothetæ, German master printers, 532 The imprint-device of England’s first printer, its probable derivation, and two notable devices evolved from it, 533 Two designs with ancient motifs, 534 The pun, as found in two ancient printers’ marks, 535 Devices used by notable printers of the sixteenth and seventeenth centuries, 536 A printer’s device and imprint that monopolizes two-thirds of the title-page, 536-A Colophon-imprint by D. B. Updike, 537 The Lion of St. Mark adapted to a book on Venetian life, 538 The Lion of St. Mark and its use by the Oswald Press, 539-A, 539-B Robert Estienne’s mark and Bruce Rogers’s adaptation, 540 An appropriate mark for a printer, 541 Use of oval shape in the designing of printers’ marks, 542 Modern imprints suggested by ancient forms, 543 Printers’ marks based upon architectural motifs, 544 An imprint that has to do with mythology, 545 The monogram is an attractive form for printers’ devices, 546 Representative of the large variety of devices in use by printers, 547 Decorative imprints constructed with typefounders’ ornaments and suitable type-faces, 548 Type imprints and the various effects possible with them, 549 Quaint book-ending as used by Elbert Hubbard, 550 APPENDIX HOLIDAY GREETINGS Reproductions of more than a hundred greetings, in various forms, received by the editors of “The American Printer.” LIST OF DESIGNERS PART ONE Aldus Manutius, p. 15