De Gulden Passer. Jaargang 76-77

[p. 5]

[De Gulden Passer 1998-1999]

Roman types by Robert Granjon
Hendrik D.L. Vervliet

North of the Alps, the evolution away from the fifteenth-century blackletter into the modernity of romans and italics in the main originated with a number of French type designers working in Parisian artistic and scholarly circles of the 1530's and thriving on the interests, promises, largesses of Francis I and his court. Simon de Colines, Geoffroy Tory, Robert Estienne were on the crest of the first wave of typographic innovation. In the background operated two talented punchcutters: Claude Garamont (c. 1510-61) and Robert Granjon (1513-90). The first brought a lasting standard, one of a sober and immutable beauty to the old face roman. The second was the leading artist in the development of italic and script types. Both masters enjoyed a worldwide reputation, lasting over centuries.

Granjon's civilité, exotic, and italic types have been studied by Carter & Vervliet (1966), Vervliet (1981; 1998). Conversely, his romans, which a connoisseur such as Stanley Morison (1969, 131) thought to equal those of Garamont, have not been researched comprehensively.¹

The present article describes twenty-one roman typefaces.² Six of them belong to Granjon's earliest or Lyonese period (1542-50). They are not particularly attractive or elegant, especially when compared with the romans a more mature Garamont engraved to-

1 For an introduction to Granjon's life, works, and sources available, the reader is referred to Vervliet, 1998, 5-6 (full citations are quoted in the list of references, at the end of the article).

2 The author is indebted to the City Library Antwerp, the Plantin-Moretus Museum, the University Library Ghent for allowing generous access to the wealth of their collections. For their kindness in answering frequent demands for information, he wants to thank Mme Loup (Geneva), M. Parguez (Lyon), Mme Guilleminot-Chrétien and M. Coron (Paris). He is indebted to Prof. P. Lucas (Dublin) for textual suggestions.

[p. 6]

wards the end of his life (+ 1561) or with the late Granjon romans. But both points of reference may seem somewhat anachronistic and therefore unfair to a younger Granjon. Anyhow, one of these earlier typefaces, the Petit-canon (or Two-line English) of 1547 proved to be very popular; it stayed in use until well into the 1700's.

During the 1550-60's new Granjon romans escape observation. Ostensibly Granjon concentrated on his civilité, greek and italic types. Or maybe the market for romans was held by Garamont. The earliest roman of Granjon's late (or Antwerp) period dates from 1566, five years after Garamont's death. In total, we know of seven romans engraved during the years 1566-1583. These faces are coherently and brilliantly designed, full of a Baroque refinement, vitality and vigor; they wholly deserve the praise of Morison, quoted above. As an interlude Granjon made in the years 1566-68's for Plantin three adaptations of Garamont romans in order to allow the Antwerp printer to cast them on a smaller body.

Five typefaces of uncertain or debatable origin close this study. They have been assigned to Granjon on weak grounds or await further research for a more firm attribution. We do not expect that this first synthesis covers all Granjon romans. But it may lead to further attributions or discoveries.

The descriptions that follow are arranged by type size within each of the four chapters, viz.

A.	The early romans; 1542-50; §§ 1-6
B.	The late romans; 1566-83; §§ 7-13
C.	Granjon's adaptations of Garamont; 1566-8; §§ 14-16
D.	Romans of uncertain origin, possibly by Granjon; §§ 17-21.

The rubrics ‘Contemporary attributions’ and ‘History’ try to cover the genesis and earliest history of the typeface. Conversely, the paragraphs on ‘Early appearances’ and ‘Type specimens’ are only intended to give a general idea of the spread and lifetime of the face. They should be considered as indicative, not as exhaustive listings. Often borrowed from illustrations in secondary sources, they are

[p. 7]

open invitations for comment, additions and rectifications. Similarly the paragraph on ‘Early appearances’ mentions the names of printers, booksellers and publishers undiscriminatingly.

Two tables complete this article: the first displays Granjon's romans by period; the second by size.

[p. 8]

A note on the listings and illustrations

The following formula is used in the rubric on ‘Size’:

20 Measurement of 20 solid lines in mm
x height of lowercase x in mm
H height of capital H in mm.

All measurements are approximate. The values given in Anglo-American and Didot points are only rough equivalents to the sixteenth-century typesizes. Similarly the size names are at best approximate projections.

All illustrations are at actual size.

[p. 9]

A. The early romans (1542-50)

1. Granjon's Petit-romain or Long Primer (1542-)

Size Long Primer (Petit-romain); 9/8.5 Anglo-American/Didot points; 20 65 × 1.2 H 2 mm.

First seen in 1542, Lyons, S. Gryphius (Testamentum novum; Lyons BM, 804101; Baudrier, 8: 172).

Fig. 1: Granjon's early Perit-romain as it occurs in D. Richel, Monopanton, Lyons, S. Gryphius, 1549, p. 18-9.

[p. 10]

Early appearances

Lyons: 1547, J. de Tournes; 1549, M. Bonhomme; 1555, J. Faure;

Paris: 1548, M. Fezandat; 1549, J. Du Puys, M. Fezandat & R. Granjon.

Key letters Capital F with longer middle arm; narrow M without right upper serif; broad N; oversized Q; heavy T; top of lowercase c leaning to the right; dot of i leaning to the left.

Contemporary attribution Ung petit Romain nommé le petit Cicero (Contract Granjon-Martines, 1551).

History The Martines-Granjon contract of 1551 (Parent, 1974, 71-2) mentions a roman typeface of the size ‘petit Cicero’. It is described as being provided with two sets of capitals, viz. ‘petites et grandes’ and to be cast on the same mould as a small italic also with two ranges of capitals, viz. ‘droictes et couchees’. The reference to the italic makes it clear that a Petit-romain and not a Small Pica or Philosophie is meant (Vervliet, 1998, 13-14). Doubtlessly the quotation refers to a new Petit-romain appearing in Lyons from 1542 on and used by the Fezandat-Granjon partnership in 1549, where it appears fitted out with small capitals.

[p. 11]

2. Granjon's Cicéero or Pica roman (1544-)

Size Pica (Cicéro; Médiane); 12/11 Anglo-American/Didot points; 20 82 × 1.6 H 2.9 mm.

First seen in 1544, Lyons, G. Rouillé (H. Gigas, Tractatus de pensionibus ecclesiasticis; Ghent UL, Jur. 313; Baudrier, 9: 126).

Early appearances

Lyons: 1546, J. de Tournes; 1547, S. Gryphius; 1548, Th. Payen; 1549, M. Bonhomme; 1551, B. Arnoullet; 1554, J. Faure; 1564, T. Straton;

Venice: 1546, A. Manutii Filii, P. Manuzio; 1554, A. Pincio;

Salamanca: 1551, A. de Portonariis;

Vienne: 1552, B. Arnoullet;

London: 1553, N. Hill; 1557, J. Day, J. Wayland; 1572, H. Bynneman; 1589, R. Field (more references in Ferguson, 1989);

Barcelona: 1565, C. Bornat;

Zaragoza: 1572, Wid. B. de Nagera;

Angoulême: 1582; J. & O. de Minières.

Key letters Capital K with serifed lower diagonal; splayed M without right upper serif; large-bowled P; small-bowled R; parallel upper serifs of T; small-bowled lowercase g; dot of i somewhat slanting to the left.

Variant letters Portonariis (Salamanca) uses two ampersands, the long-tailed one being very near to the form used in the Cicéro of the Parisian printer D. Janot from about 1542.

Contemporary attribution Troys frappes de romain du blanc de cicero (Contract Granjon-Hus, 1548).

History This roman appears in the first (or one of first publications) of Guillaume Rouillé, later a regular customer of Granjon. It is attributed to the latter on the basis of the Granjon-Hus contract of 1548 (Paris, Arch. nat., MC Et. 49, 37; Parent, 1974, 72), and of the contemporary appearances of this typeface in Lyons, Spain and Italy, at presses which had acquired Granjon's italics or were to do so. Its capitals are stylistically

[p. 12]

Fig. 2: Granjon's early Cicéro as it occurs in Horatius, Ars poetica, Venice, Aldi Filii, 1546, p. 66.

[p. 13]

near to the upright ones of Granjon's first Petit-romain italic of 1545, a typeface whose attribution rests on firm grounds (Vervliet, 1998, 13-14, no. 2).

The typeface was quite popular in England from 1553 on. It may have been introduced there by the French typefounder Hubert d'Armilliers, apprenticed to Robert Granjon in the years 1545-7 and residing in England from about 1553 to 1594 (Kirk, 1900, 2: 5; Renouard, 1: 111; Reed, 1952, 96; Carter, 1969b, 537-8; Ferguson, 1989, 9-11; Lane, 1992, 364).

A bold titling of the same size as the capitals appears in Lyons printing from 1550 on (see § 5 below). On a different Cicero roman attributed by Johnson (1938, 173-4; Reed, 1952, 227-8) to Granjon, see § 17 below.

Literature Johnson, 1936, 74; Johnson, 1938, 168; Ferguson, 1989, 9-11.

[p. 14-15]

Fig. 3: Granjon's early Gros-parangon as it occurs in Biblia sacra, Lyons, S. Gryphius, 1550, f. aa4.

[p. 15]

3. Granjon's Gros-parangon or Double Pica (1545-)

Size Double Pica (Gros-parangon); 21/20 Anglo-American/Didot points; 20 150 × 3 H 5 mm.

First seen in 1545, Lyons, S. Gryphius (Rituel d'Autun; Lyons BM, 317578).

Early appearances

Lyons: 1547, J. de Tournes; 1553, B. Arnoullet; 1563, S. Honorat.

Key letters Capital E with long top arm and bold middle arm; K with lower diagonal serif; M without right upper serif; oversized Q; T with parallel upper serifs; lowercase a with rounded bowl; dot of i somewhat slanting to the left; low-dotted j.

History Although undocumented by archival sources, this roman can be attributed to Granjon on the ground of its stylistic affinity with the Petit-canon, which is surely ascribed to Granjon (see § 4 below). Moreover, it appears in the typography of Gryphius and De Tournes, two regular customers of Granjon. It is the main typeface used in Gryphius's typographical masterpiece, the Biblia sacra of 1550. In his dedication to cardinal Jean Du Bellay, the printer praises the bigger and nicer types (‘maioribus augustioribusque typis excusa’) of its book face. But frankly the type appears rather as a still immature exercise of a dawning great talent. In opposition to the great commercial success of Granjon's Petit-canon roman (see § 4 below), I have not seen this Grosparangon used outside the narrow circle of his Lyonese friends and customers.

[p. 16]

4. Granjon's Petit-canon or Two-line English (1547-)

Size Two-line English (Petit-canon); 27/25 English-American/Didot points; 20 190 × 3.4 H 6.2 mm.

First seen in 1547, Lyons, J. de Tournes (Margaret of Angouleme, Marguerites de la Marguerite; Lyons BM, 317559; Cartier, 1: 253-60, no. 105).

Early appearances (restricted to the earlier ones):

Lyons: 1548, S. Gryphius; 1550, B. Arnoullet; 1552, J. Chabin, S. Nivelle; 1553, J. Temporal;

Paris: 1549, N. Du Chemin, Ch. Guillard, M. Fezandat, P. Haultin & B. Prévost, J. de Roigny, G. Thiboust; 1550, L. Bégat, Ch. Langelier, R. Granjon & M. Fezandat; 1551, N. Buffet; V. Gualtherot, S. Nivelle; 1552, G. Merlin, A. Turnebus; 1553, Wid. M. de La Porte; 1554, A. Brière; A. Wechel; 1555, M. Boursette, G. Cavellat, B. Turrisan; 1556, M. David, A. Langelier; 1558, G. Le Bé, A. Le Roy & R. Ballard;

Zaragoza: 1550, P. Bernuz; 1552, M. de Capila; 1553, J. Millàn; 1577, J. Soler; 1586, J. & D. de Robles;

Reims: 1551, N. Buffet; 1557, N. Bacquenois;

Salamanca: 1551, A. de Portonariis; 1556, J. Canova; 1562, M. Gast; 1573, P. Laso;

Medina del Campo: 1553, G. de Millis; 1574, F. de Canto;

Vienne: 1553, B. Arnoullet;

Bordeaux: 1554, F. Morgain; 1576, S. Millanges;

Geneva: 1554, A. Cercia; 1561, J. Bourgeois;

Valladolid: 1554, B. de Sancto Domingo; 1565, F. Fernández; 1568, A. Ghemart

Barcelona: 1556, C. Bornat; 1562, J. Cortey; 1578, J. Malo;

Cuenca: 1560, J. de Casanova;

Alcala de Henares: 1561, A. de Angulo; 1563, S. Martinez;

Caen: 1563, P. Philippe;

Venice: 1563, G. Ziletti; 1564, R. Borgominieri, G.B. Sessa; 1565, Stagnini Fratres; 1567, N. Bevilacqua, F. de Franceschi & G. Chrieger, V. Valgrisi; 1571, P. Manuzio; 1574, G. Porro;

Antwerp: 1564, C. Plantin;

Toledo: 1564, M. Ferrer; 1567, F. de Guzman; 1574, J. de Ayala; 1585, J. Rodriguez;

[p. 17]

Naples: 1565, J.M. Scotto; 1567, J. de Boy; 1572, G. Cacchi; 1573, O. Salviani;

Orleans: 1565, L. Rabier;

Estella: 1567, A. de Anvers;

Ferrara: 1567, F. Rossi;

Mexico: 1574, P. Balli;

Madrid: 1578, F. Sanchez; 1583, A. Gomez.

Type specimens

1567,	Plantin, Index characterum, Antwerp, f. B3, ‘IIII. Tvscvl.’ (Vervliet-Carter, 1972, 3, no. 17);
1575,	Plantin, Inventaire des lettres, Antwerp, f. 66 vo, ‘Canon Romain Petit’ (Plant. arch. 43);
c. 1585,	Plantin, Folio Specimen, Antwerp, ‘Petit Canon Romain’ (Vervliet-Carter, 1972, 8, no. 7);
c. 1599,	Le Bé, [Le Bé-Moretus specimen], Paris ‘Petit Canon de la taille Rob. GranIon’ (Vervliet-Carter, 1972, 14, no. 20);
1592,	C. Berner, Specimen characterum, Frankfurt, ‘Petit Canon de Garamond’ (Mori, 1955, 3; Dreyfus, 1963, 2);
1622,	J. Berner, Specimen characterum, Frankfurt, ‘Petit Canon de Garamond’ (Mori, 1955, 4; Dreyfus, 1963, 3);
1628,	Stampa Vaticana, Indice de caratteri, Rome, 1628, f. 29, ‘Carattere detto Canoncino’ (Vervliet, 1967, 31, no. 29);
1643,	Imprimerie royale, [Spécimen], Paris, f. 8, ‘Petit Canon’ (Veyrin-Forrer & Jammes, 1958); lines 3-4 excepted;
1664,	J. Luther, Specimen characterum, Frankfurt, ‘Petit Canon Antiqua de Garamond’ (Mori, 1955, 5);
1664,	J.Ph. Fievet, Iehova, Frankfurt, ‘Klein Canon’ (Mori, 1955, 15; Dreyfus, 1963, 4);
1665,	J.E. Luther, AEABC, Frankfurt, [No. 6] (Mori, 1955, 6);
1682,	J.D. Fievet, Iehova, Frankfurt, ‘Klein Canon’ (Mori, 1955, 16; Dreyfus, 1963, 5);
1702,	Luther, Specimen characterum, Frankfurt, ‘Roman Antiqua No. 2’ (Mori, 1955, 10);
1704,	J. Pistorius, Ecce specimen, Basle, Title page, line 7 ‘Germanicorum, etc.’ (Mori, 1924, pl. 5); except capital U; f. 9, lines 16-7 ‘AEABC, etc.; except greek capitals and AE, J, U, W; f. 13 ‘Text Antiqua’; mutilated (Mainz, Gutenberg Museum);

[p. 18]

c. 1710,	J. Pistorius, Specimen typorum Hebraeorum, Basle, title page, lines 3 and 6; except capitals J and U;
1714,	J.H. Stubenvoll, Characterum seu typorum, Frankfurt, [Line 8] (Mori, 1955, 21);
1718,	Luther, Specimen characterum, Frankfurt, ‘Roman Antiqua No. 2’ (Mori, 1955, 13);
1742,	Cl. Lamesle, Epreuves générales des caracteres, Paris, f. G1 ‘Lettres de deux points de Cicero, Numero Quatriéme’; f. P4 ‘Petit Canon Numero LV’ (Johnson, 1965); capitals only; except J and greek capitals I, P, V;
1745,	Luther, Specimen... characterum, Frankfurt, ‘Petit Canon Rom: de Garamont No. 3’ (Mori, 1955, 14).
1755,	J.H. Schippelius, Specimen characterum, Frankfurt, ‘No. 2 Roman Antiqua’ (Mori, 1955, 27);
1758,	N. Gando, Epreuves générales des caracteres, Paris, f. G1 ‘Lettres de deux points de Cicero, Numero Quatrième’; f. P4 ‘Petit Canon Numero LV’ (Antwerp, Museum Plantin-Moretus, B 3051: 3); capitals only; except J and greek capitals I, P, V;
1773,	L. Delacologne, Les caracteres et les vignettes, Lyons, p. 46, ‘Palestine romain’; p. 119-21 (Carter, 1969a, 57-8).

Standing type preserved Antwerp, Plantin-Moretus Museum, R14 (Early Inv., 1960, 23-4, LMA 6);

Key letters Capital A with bold bar; E and F with bold middle arms; K with lower diagonal serif; T with parallel upper serifs; lowercase a with rounded bowl; g with broad loop; v extending under base line.

Variant letter Short lowercase v.

Contemporary attributions Deux aultres frappes petitz canons lettre antique (Contract Granjon-Molina, 1548); Troys frappes de petit canon (Contract Granjon-Hus, 1548); Petit Canon Romain de Granjon (Plantin, 1563); Petit canon de Granion (Plantin, 1566); Le petit Canon Romain de Granjon (Plantin, 1572); La Romaine [Petit Canon] de R. Granjon (Plantin, 1581); Lettre que nous appelons Petit Canon dela taille de Rob. GranJon (Le Bé, c. 1598); Petit Canon Romain Granjon (Le Bé, c. 1618).

[p. 19]

Fig. 4a: [Le Bé-Moretus specimen], Paris, G. II Le Bé, c. 1599, ‘Petit Canon de la taille Rob. GranIon’. By courtesy of the Plantin-Moretus Museum.

Fig. 4b: Granjon's early Petit-canon as it occurs in [Spécimen], Paris, Imprimerie royale, 1643, f. 8, ‘Petit Canon’; lines 3-4 excepted. By courtesy of the Bibliothèque nationale de France.

[p. 20]

History A Petit-canon roman to be supplied by Granjon is mentioned in two 1548 contracts, the first with Gaspar de Molina (Lyons, Arch, départ. Rhone, 3 E 3920, f. 246 vo; Baudrier, 1: 284-5), the second with Jacques Hus (Paris. Arch, nat., MC Et. 49, 37; Parent, 1974, 72). Both were Lyon traders. About the same time the new roman superseded at the Lyon press of J. de Tournes an older titling of Basle design. From 1550 on it appears in books printed by the Granjon-Fezandat association. It is shown in the specimens of Plantin; in his inventories it is regularly ascribed to Granjon (Early Inv., 1960, 23-4, LMA 6). According the c. 1618 Le Bé inventory (Morison, 1957, 18, 24), the Le Bé typefoundry owned the punches and a set matrices, both ascribed to Granjon. In a letter to J. Moretus c. 1598, Guillaume II Le Bé included a specimen of this typeface with the handwritten heading ‘Lettre que nous appelons Petit Canon dela taille de Rob. GranJon’ (Vervliet-Carter, 1973, 14, no. 20). Later it appears in many German specimens, sometimes (wrongly) attributed to Garamont (Dreyfus, 1963, 4).

Carter (1969a, 46-7) judged this typeface not good enough to be cut either by Garamont or Granjon (and certainly it differs much from the later and better romans of both masters) but there seems no reason to hesitate on an attribution to a young Granjon. His suggestion (1969, 99-100) that Granjon reworked some lowercase punches of Garamont to match them with his own capitals can hardly be retained in the light of the earliest appearances of this typeface. The uneven weight of capitals and lowercase sorts is reminiscent of Simon de Colines' Gros-parangon (1543-) which can have been the model for Granjon's typeface.

Especially in France, Spain and Italy, it became in this size the most popular roman from the mid-sixteenth century on. The ‘Early appearances’ above have been restricted to the earlier ones. Later in the century it had to compete with typefaces in the same size of Jacques de Sanlecque. Close but well-cut copies of Granjon's capitals appear in Poland at the Cracow press of A. Lazarus (1584-) in the sizes Canon (8.5 mm) and Petit-canon (6 mm). Possibly they were cut by Jan Januszowski.

Literature Early Inv., 1960, 23-4, LMA 6; Dreyfus, 1963, 4; Vervliet, 1967, 31, no. 29; Carter, 1969, 99-100; Carter, 1969a, 46-7; Vervliet-Carter, 1973, 3, no. 17; 14, no. 20.

[p. 21]

5. Granjon's bold titling on 2-line Nonpareil (1550-)

Size 2-line Nonpareil; 10/9.5 English-American/Didot points; H 2.9 mm.

Fig. 5: Granjon's bold titling on 2-line Nonpareil as it appears on the title page of J. Huttichius, Imperatorum & Caesarvm vitae, Lyons, B. Arnoullet, 1550.

[p. 22]

First seen in 1550, Lyons, B. Arnoullet (Imperatorum et Caesarvm vitae; Antwerp, Plantin-Moretus Museum, A 879: 2; Baudrier, 10: 123).

Key letters Capital M without right top serif; narrow N; T with paralel top serifs.

History A smaller version of the earlier bold titling described below in § 6 appears at the Lyon and Vienne presses of B. Arnoullet from 1550 on, a.o. in the works of his corrector Guillaume Guéroult, later a publishing partner of Arnoullet and Granjon.

[p. 23]

6. Granjon's bold titling on 2-line Brevier or 2 Points de Petit-texte (1543-)

Size 2-line Brevier (2 Points de Petit-texte); 13/12 English-American/Didot points; H 3-9 mm.

First seen in 1543, Lyons, J. de Tournes (Les prieres et oraisons de la Bible); Amsterdam UL, 2 D 12: 2; Cartier, 1: 173, no. 12).

Early appearances

Lyons: 1549, Ph. Rollet & B. Frein; 1550, B. Arnoullet; 1552, M. Bonhomme; 1555, Heirs J. Giunta, J. Faure; 1559, J. Saugrain, 1560, Heirs S. Gryphius; 1563, S. Honorat; 1565, J. Martin;

Geneva: 1552, Ph. Hamelin; 1568, J. Crespin.

Key letters Serifed capital C; small counter of P and R.

Fig. 6a: G. Paradin, De motibvs Galliae, Lyons, J. de Tournes & G. Gazeau, 1558, title page.

Fig. 6b: Granjon's bold titling on 2-line Brevier assembled from the work quoted in Figure 6a.

[p. 24]

Variant letters variant forms occur of capital E (one with the typical Granjon heavier middle arm) and M (the earlier one without right-hand top serif; the other one with splayed stems and two top serifs).

History In the 1540's Lyon printers began to move to a new typeface away from an older bold titling of this size (Johnson, 1927, pls. 42-3), which at the end of the 1520's originated somewhere between Cologne and Basle and was popular in the German-speaking countries and Lyons. Certain sorts of the newer typeface are reminiscent of Granjon's earliest style. On this ground it may be attributed tentatively to Granjon. Further research is needed to ascertain whether the variant sorts (Bonhomme, 1552; Giunta, 1556) are just a few changed letters of the existing alphabet or whether they belong to a duplicate.

The typeface must not be confused with a bold titling of the same size, which Guillaume I Le Bé cut in Venice for Zannetti in 1548 and which was the standard type for this size in Italy (Vervliet, 1967, 36, no. 53c) and Germany (Dreyfus, 1963, 8, n. 4) from the 1550's. Granjon himself put it to use in one of the works he printed in Rome (Guidetti, 1582; Bibl. Vatic., R I.v. 1039).

[p. 25]

B. The late romans (1566-83)

7. Granjon's Brevier or Petit-texte (1570-)

Size Brevier (Petit-texte); 7.5/7 English-American/Didot points; 20 54 × 1.1 H 1.7 mm.

First seen in 1570, Antwerp, A. Tavernier (Novum Iesu Christi Testamentum; Antwerp, Plantin-Moretus Museum, R 20.8) and 1570, Antwerp, R. Granjon, (Epreuue de la petite Antique; Antwerp, Plantin-Moretus Museum, Arch. 153, f. 20k; Vervliet-Carter, 1972, 14, no. 21).

Early appearances

Antwerp: 1574, C. Plantin.

Basle: 1581, S. Henricpetri

Type specimens

1570,	Antwerp, R. Granjon, (Epreuue de la petite Antique; Antwerp, Plantin-Moretus Museum, Arch. 153, f. 20k; Vervliet-Carter, 1972, 14, no. 21).
c. 1585,	Plantin, Folio Specimen, Antwerp, ‘Gaillarde sur la Garamonde’; ‘Gaillarde Romaine’ (Vervliet-Carter, 1972, 10, nos. 56, 67);
1592,	C. Berner, Specimen characterum, Frankfurt, ‘Rom. Galliard de GranIon’ (Mori, 1955, 3; Dreyfus, 1963, 5, pl. 2);
c. 1599,	Le Bé, [Le Bé-Moretus specimen], Paris, ‘Epreuue de la petitte Antique ou Romaine, de Rob, GranIon, nommée la Gaillarde. en Anvers 1570’ (Vervliet-Carter, 1972, 14, no. 21);
c. 1600,	[Anonymous], Per sanctorum, s.a.,s.l., ‘Breuier Romein van francoys Guiot’ (Antwerp, Plantin-Moretus Museum, R 63.8: 4, f. 217 [171]).
1622,	J. Berner, Specimen characterum, Frankfurt, ‘Rom. Gaillard de GranIon’ (Mori, 1955, 4; Dreyfus, 1963, pl. 3);
1664,	J.Ph. Fievet, Iehova, Frankfurt, ‘Petit Antiqua’ (Mori, 1955, 15; Dreyfus, 1963, pl. 4);
1681,	[C. van Dyck &] Wid. D. Elsevier, Proeven van letteren, Amsterdam, ‘Brevier Romeyn [2]’ (Dreyfus, 1963, pl. 12);
1682,	J.D. Fievet, Iehova, Frankfurt, ‘Petit Antiqua’ (Mori, 1955, 16; Dreyfus, 1963, pl. 5);

[p. 26]

c. 1684,	[C. van Dyck &] J. Bus & J. Athias, Proeven van letteren, Amsterdam, ‘Brevier Romeyn [2]’ (Hellinga, 1962, pl. 159);
1695,	Heirs J. Blaeu, Proeve der drukkerye, Amsterdam, f. B2 ‘Galjard Romeyn’ (Antwerp, Museum Plantin-Moretus, R 30.14);
c. 1695,	Wid. D. Voskens, Proef van Letteren, Amsterdam, ‘Galjard of groote Brevier Romeyn’ (Dreyfus, 1963, pl. 9);
c. 1700,	Adamsz. & Ente, Proef van Letteren, Amsterdam, ‘Groote Brevier Romyn’; ‘Brevier Romyn’ (Dreyfus, 1963, pl. 10);
p. 1701,	[Melchior van Wolsschaten], [Incipit; Dobbel Mediaen rom.], Antwerp, ‘Brevier Romeyn’ (Antwerp, Museum Plantin-Moretus, R 63.8: 2A, f. 94 [66]); except capitals J, U, W;
1704,	J. Pistorius, Ecce specimen, Basle, f. 14, ‘Mittel Antiqua’; ‘Grobe Cicero Antiqua’; small capitals only (Mainz, Gutenberg Museum);
ante 1718,	P. Esclassan, Epreuve de quelques matrices, Paris, ‘Petit Texte à gros oeil A’ (Paris, Bib. nat., Gr.f. W 1319 T; Howe, 1951, 32);
p. 1725,	[Balthasar van Wolsschaten], Proef van letteren, Antwerp, ‘Brevier’ (Antwerp, Museum Plantin-Moretus, R 63.8: 2B, f. 123 [82]);
c. 1730,	W. Goeree, Proeven van letteren, Amsterdam, [p. 25] ‘Brevier Romeyn’ (Leiden UL, 744 D 19);
1742,	Cl. Lamesle, Epreuves générales des caracteres, Paris, f. B1 ‘Petit Texte moyen Numero IX’ (Johnson, 1965);
ante 1748,	I. vander Putte, Proef van letteren, Amsterdam, ‘Galyart of Groote Brevier, No. 1’ (Antwerp, Museum Plantin-Moretus, R 63.8: 2A, f. 100 [70]); except capital J;
1758,	N. Gando, Epreuves générales des caracteres, Paris, f. B1 ‘Petit Texte moyen Numero IX’ (Antwerp, Museum Plantin-Moretus, B 3051: 3);
c. 1762,	J. Roman, Proeven van letteren, Amsterdam, ‘Brevier Romeyn’ (Dreyfus, 1963, pl. 13);
p. 1764,	J.P. Fournier l'aîné, [Fonderie], Paris, f. 66 ‘petit texte grosse de Granjon’ (Paris BN, ms. fr. 22189); lowercase only;
1767,	Ploos van Amstel, Proef van letteren, Amsterdam, ‘Galyard of Groote Brevier No. 1’ (Antwerp, Plantin-Moretus Museum, BM 30.102: 2); except capitals J and W;
1773,	L. Delacologne, Les caracteres et les vignettes, Lyons, p. 9 ‘Mignonne gros oeil romain’ (mutilated); p. 11 ‘Petit-texte a son oeil romain’; p. 110 ‘Petit-romain romain oeil de Petit-texte’ (Carter, 1969a, 43-4);
c. 1781,	A.G. Mappa, Proeven van letteren, Rotterdam, ‘No. XVIII Gailliard of Gr. Brev. Romyn’ (Plantin-Moretus Museum, BM 30.102); except lowercase a.

[p. 27]

Fig. 7a: Epreuue de la petite Antique, Antwerp, R. Granjon, 1570. By courtesy of the Plantin-Moretus Museum.

Fig. 7b: Granjon's Gaillarde as cast from matrices in the Plantin-Moretus Museum (MA 61). ©Plantin-Moretus Museum.

[p. 28]

Matrices preserved Antwerp, Plantin-Moretus Museum, MA 61, MA 63, MA 127, MA 159 (Early inv., 1960, 43-4; 63).

Key letters Capital A with acute top terminal; K with serifless tail; splayed M; v extending under base line.

Contemporary attributions La petitte Antique ou Romaine, de Rob, GranIon, nommée la Gaillarde (Granjon, 1570); 2 frappes de GranJon, La Romaine Gaillarde (Plantin, 1571); [Breviere] frappe de la Romaine de Granjon (Plantin, 1572); La petite Romaine de Granjon nommee la gaillarde (Plantin, 1579); [Byble] Gaillarde de R. Granjon (Plantin, 1581); vne frappe de petit romain de GrandJon nomme la Galliarde (Plantin, 1588); Galiarde Romaine granjon (Plantin, 1589); Rom. Galliard de GranIon (Berner, 1592, 1622); Deux petits Textes Granjon Gaillarde (Le Bé, 1618).

History The term ‘Gaillarde’ later refers to the slightly larger size of Bourgeois (60mm/20 lines), but in Plantin and Le Bé's inventories ostensibly points to a Petit-texte (or Bible, Brevier; 54 mm). This small roman is safely to be attributed to Granjon on the basis of the Granjon 1570 type specimen (Vervliet-Carter, 1972, 14, no. 21). This is corrobated by the quotations in the 1579 sale by Plantin of a strike to the Heirs of Gerlach at Nuremberg (Plant. arch. 962, f. 71; 74 vo), the 1592-1622 Berner specimens (Dreyfus, 1963, 5), and the Plantin (Early inv., 1960, 43-4) and c. 1618 Le Bé inventories (Morison, 1959, 20).

Garamont had an earlier typeface on this size, which cannot easily be told apart with Granjon's; spot letters of the latter's typeface are the broader capitals E and R, the smaller P, the K with serifless tail, and the descending lowercase v. The two designs are shown face-to-face in the 1742 Lamesle and 1758 Gando specimens (f. A4 vo-B1). The ‘Petit texte numero VIII’ is Garamont s; ‘Numero IX’ is Granjon's.

Literature Early inv., 1960, 43-4; Dreyfus, 1963, 5; Carter, 1969a, 43-4; Vervliet-Carter, 1972, 10, no. 67; 14, no. 21.

[p. 29]

8. Granjon's Long Primer or Petit-romain, named ‘La Granjonne’ (1569-)

Size Long Primer (Petit-romain); 9/8.5 English-American/Didot points; 20 64 × 1.4 H 2 mm.

First seen in 1574, Cologne, G. Calenius & Heirs J. Quentel (L, Surius, Commentarius brevis; Ghent UL, Hist. 8287);

Early appearances

Frankfurt: 1577, J. Feyerabend; 1592, Heirs A. Wechel;

Venice: 1580, F. Ziletti; 1587, Heirs G. Giolito;

Antwerp: 1593, J. Moretus; 1594, M. Nutius;

Leiden: 1595, F. Raphelengius;

Basle: 1594, S. Henricpetri;

Stockholm: 1682, H. Keyser.

Type specimens

c. 1593,	J. van Hout, [Type-specimen inc.] Ascendonica, Leiden, ‘Bourgois Romeyn’; Haarlem, Museum Enschedé;
c. 1600,	[Anonymous], Ad dvodecimvm, s.a., s,l., (Antwerp, Plantin-Moretus Museum, R 63.8(4), f. 216 [170]).
1664,	J. Luther, Specimen characterum, Frankfurt, ‘Garamond Antiqua [2]’ (Mori, 1955, 5);
1664,	J.Ph. Fievet, Iehova, Frankfurt, ‘Garmont Antiqua’ (Mori, 1955, 15; Dreyfus, 1963, pl. 4);
1682,	J.Ph. Fievet, Iehova, Frankfurt, ‘Garmont Antiqua’ (Mori, 1955, 16; Dreyfus, 1963, pl. 5);
1691,	H. Keyser, Specimen characterum, Stockholm, ‘Corpus Antiqua’ (Stockholm RL, 82 Aa 18/72; Bengtsson, 1956, 181-3);
c. 1695,	Wid. D. Voskens, Proef van Letteren, Amsterdam, ‘Garmont Romeyn [2]’ (Dreyfus, 1963, pl. 9); except capitals J, W, AE;
c. 1695,	J.A. Schmidt, [Fragments of type-specimens], Amsterdam, ‘Garmont Romeyn [2]’ (Dreyfus, 1963, pl. 14);
c. 1700,	Adamsz. & Ente, Proef van Letteren, Amsterdam, ‘Garmont Romyn No. 2’ (Dreyfus, 1963, pl. 10); except capitals J, K, U, W, AE;
p. 1701,	[Melchior van Wolsschaten], [Incipit: Dobbel Mediaen rom.], Antwerp, ‘Garramonde Romain’ (Antwerp, Museum Plantin-Moretus, R 63.8:2A, f. 94 [66]); except small capitals;

[p. 30]

1702,	Wid. J. Luther, Specimen characterum, Frankfurt, ‘Garmont Antiqua No. 16’ (Mori, 1955, 10);
1704,	J. Pistorius, Ecce specimen, Basle, f. 15, ‘Garmond Antiqua [right hand column]’; except small capitals (Mainz, Gutenberg Museum);
c. 1710,	[van Wolsschaten], [Incipit: Text Geschreven], Antwerp, ‘Garramonde Romain’ (Antwerp, Museum Plantin-Moretus, R 63.8:1, f. 81); except small capitals;
1714,	J.H. Stubenvoll, Characterum seu typorum, Frankfurt, ‘Garmont Antiqua’ (Mori, 1955, 21 );
p. 1725,	[Balthasar van Wolsschaten], Proef van letteren, Antwerp, ‘Garmont Romeyn’ (except capitals J, U, W and small capitals); ‘Bovrgois’ (Antwerp, Museum Plantin-Moretus, R 63.8:2B, f. 123 [82)];
p. 1728,	Voskes en Clerk, Proef van letteren, Amsterdam, ‘Kleine Garmont Romein’ (Antwerp, Museum Plantin-Moretus, R 63.8:4, f. 87 [63]);
c. 1730,	W. Goeree, Proeven van letteren, Amsterdam, f. C2 ‘Garmont Romeyn’ (Leiden UL, 744 D 19); except capitals J, W and lowercase w;
p. 1764,	J.P. Fournier l'aîné, [Fonderie], Paris, f. 66 ‘petit texte grosse de Granjon’ (Paris BN, ms. fr. 22189); capitals only; except J and small capitals;
1767,	Ploos van Amstel, Proef van letteren, Amsterdam, ‘Garmont No. 2’ (Antwerp, Plantin-Moretus Museum, BM 30.102:2);
1770,	J. Becker, Specimen characterum, Frankfurt, ‘No. 39 Garmont Antiqua’ (Mori, 1955, 32); except capitals J, U;
c. 1781,	A.G. Mappa, Proeven van letteren, Rotterdam, ‘N. XVI Kleine Garmont Romeyn’ (Plantin-Moretus Museum, BM 30.102); except capitals A, J, U, W.

Strikes preserved Antwerp, Plantin-Moretus Museum, MA 187 (Early inv., 1960, 88).

Key letters Capital A with acute top terminal; E with bold middle arm; narrow H and N; K with serifless tail; splayed M.

Contemporary attributions vne matrice granionne (sale Granjon to Plantin, 1569); Romaine dicte Granjonne (Plantin, 1572); vne frappe de petit Romain de Granjon nommee la granjonne (Plantin, 1579); Colineus Romaine van Granjon (Plantin, p. 1581); vne frappe de petit romain de GrandJon nomme la GrandJonne (Plantin, 1588); Colineus romein... van Robert Granjon (letter Th. de Vechter-J. Moretus, 1592); Granjonne

[p. 31]

Fig. 8a:: L. Surius, Commentarius brevis rerum in orbe gestarum, Cologne, G. Calenius & Heirs J. Quentel, 1574, f. 299.

[p. 32]

Romaine petite nommee la Granionne (Plantin, 1612); Petit romain la Granjour (Le Bé, 1618).

History Like the preceding Petit-texte, this Petit-romain can he assigned to Granjon on the strength of the 1569 compact with Plantin (Plant. arch. 31, f. 88 vo) and the subsequent attributions in the 1579 sale of a strike to the Heirs of Gerlach at Nuremberg (Plant, arch. 962, f. 71; 74 vo), in the 1592 correspondence of the Leiden typefounder Thomas de Vechter with Plantin's successor Jan Moretus, and in the 1572-1612 Plantin (Early inv., 1960, 50, 83, 88) and c. 1618 Le Bé inventories (Morison, 1959, 20).

We do not know at what date exactly Granjon cut this type. My earliest printed record is 1574; the earliest archival one is 1569. However, its ascending and descending letters are all but undistinguishable from the long sorts Granjon cut in 1566 to Plantin's order to cast Garamont's earlier Petit-romain on a smaller body, though they are a trifle (0.1 mm.) smaller. See below, § 14.

The 1664 Fievet specimen, s.v. ‘Garmont Antiqua? de GranIon’ misleadingly ascribes Garamont's earlier typeface on this size to Granjon (Mori, 1955, pl. 15; Dreyfus, 1963, pl. 4). Spot letters of the Granjon typeface are the narrower capitals H and N, and the K with serifless tail.

Literature Early inv., 1960, 50 (LMA 10); 83 (LMA 32); 88 (MA 187); Dreyfus, 1963, 9.

Fig. 8b: Granjon's ‘Granjonne’ as cast from strikes in the Plantin-Moretus Museum (MA 187). ©Plantin-Moretus Museum.

[p. 33]

9. Granjon's Large-face Pica or Gros Cicero (1568-)

Size Pica (Cicéro; Médiane); 12/11 English-American/Didot points; 20 84 × 1.9 H 3 mm.

First seen in 1569, Cologne, G. Calenius & Heirs J. Quentel (P. Canisius, Authoritatum sacrae scripturae...; after Johnson, 1965, 6).

Early appearances

Basle: 1570, P. Perna; 1571, E. Episcopius;

Paris: 1571, J. Kerver; 1576, N. Du Chemin; 1578, L. Cavellat; 1584, J. Mettayer;

Sevilla: 1572, H. Diaz;

Venice: 1572, P. Manuzio; 1573, F. dei Franceschi;

Cologne: 1574, M. Cholinus; 1591, J. Gymnicus;

Antwerp: 1577, W. Silvius;

Turin: 1578, F. Dolce; 1587, Heirs N. Bevilacqua;

Lyons: 1586, G. Rouillé;

Barcelona: 1587, P. Malo;

Mexico: 1636, J. Ruiz.

Type specimens

1582,	W. Silvius, Afdrucksel van alle de letteren, Leiden, ‘Avgvstiin romeyn’ (Valkema Blouw, 1983, 14, no. 6);
1664,	J. Luther, Specimen characterum, Frankfurt, ‘Media Antiqua’ (Mori, 1955, 5);
1664,	J.Ph. Fievet, Iehova, Frankfurt, ‘Grobe Cicero Antiqua’ (Mori, 1955, 15; Dreyfus, 1963, pl. 4);
1681,	[C. van Dyck &] Wid. D. Elsevier, Proeven van letteren, Amsterdam, ‘Augustijn Romeyn No. 2’ (Dreyfus, 1963, pl. 12); except capital and lowercase w;
c. 1684,	[C. van Dyck &] J. Bus & J. Athias, Proeven van letteren, Amsterdam, ‘Augustijn Romeyn No.2’ (Hellinga, 1962, pl. 159);
1691,	H. Keyser, Specimen characterum, Stockholm, ‘Mittel Antiqua’ (Stockholm RL, 82 Aa 18/72; Bengtsson, 1956, 181-3);
1702,	Wid. J. Luther, Specimen characterum, Frankfurt, ‘Mittel Antiqua No 10’ (Mori, 1955, 10);
1704,	J. Pistorius, Ecce specimen, Basle, f. 14, ‘Mittel Antiqua’; ‘Grobe Cicero Antiqua’; except small capitals (Mainz, Gutenberg Museum);

[p. 34]

1714,	J.H. Stubenvoll, Characterum seu typorum, Frankfurt, ‘Mittel Antiqua’; ‘Grobe Cicero Antiqua’ (Mori, 1955, 21);
1718,	Luther, Specimen characterum, Frankfurt, ‘Gr. Cicero Antiqua No 12’ (Mori, 1955, 13);
1727,	J.F. Halle, Specimen characterum, Frankfurt, ‘No 13 Mittel Antiqua’ (Mori, 1955, 24);
1740,	J.F. Halle, Specimen characterum, Frankfurt, ‘No 21 Mittel Antiqua’ (Mori, 1955, 25); mutilated;
1742,	Cl. Lamesle, Epreuves générales des caracteres, Paris, f. F2 vo, ‘Cicero gros oeil Numero XXXIV’ (Johnson, 1965); except capital J;
1745,	Luther, Specimen... characterum, Frankfurt, ‘Cicero Rom: à gros oeil No 19’ (Mori, 1955, 14);
1755,	J.H. Schippelius, Specimen characterum, Frankfurt, ‘No. 23 Cicero Antiqua’ (Mori, 1955, 27);
1758,	N. Gando, Epreuves générales des caracteres, Paris, f. F2 vo, ‘Cicero gros oeil Numero XXXIV’ (Antwerp, Museum Plantin-Moretus, B 305 1:3); except capital J;
1760,	Gando Père et Fils, Epreuves des caracteres, Paris, f. 12, ‘Saint Augustin Petit Oeil Numero XXII’ (Antwerp, Museum Plantin-Moretus, B 3051:1);
c. 1762,	J. Roman, Proeven van letteren, Amsterdam, ‘Augustijn Romeyn No. 2’ (Dreyfus, 1963, pl. 13);
1770,	J. Becker, Specimen characterum, Frankfurt, ‘No. 23 Mittel Antiqua’ (Mori, 1955, 32);
1773,	L. Delacologne, Let caracteres et les vignettes, Lyons, p. 29 ‘Cicero a gros oeil’; p. 118 (Carter, 1969a, 50-1).

Matrices preserved Antwerp, Plantin-Moretus Museum, MA 26a; MA 25b (ascenders and descenders only; Early inv., 1963, 42); MA 104b (incomplete and partially unjustified).

Key letters Capital A with acute top terminal; K with serifless tail; splayed M; lowercase g with broad loop.

Contemporary attributions Gros Cicero de Granjon, qui est du Sainct Augustin racourcy; Sainct Augustin racourcy ou gros Cicero de Granjon; Sainct Augustin racourcy ou gros Cicero qu'a fait Granjon (Letters of Le Bé to Mourier and Bouillant, 1614); Gros Cicero romain Granjon (Le Bé, 1618).

[p. 35]

Fig. 9a: L. Surius, Commentarius brevis rerum in orbe gestarum, Cologne, G. Calenius & Heirs J. Quentel, 1574, f. a2, with Granjon's Gros Cicero cast on St.-augustin.

Fig. 9b: Granjon's Gros Cicero as cast from matrices in the Plantin-Moretus Museum (MA 26). © Plantin-Moretus Museum.

[p. 36]

History Apart from its style which is decidedly Granjon's, a typeface of this size is attributed to Granjon by Guillaume II Le Bé in two letters to his Geneva and Lyon colleagues Pierre Mourier and Sébastien Bouillant, both dated 1614 (Paris, Bibl. nat. ms. fr. 22117, f. 10-11 vo; an eighteenth-century copy), and in his c. 1618 inventory (Morison, 1957, 19).

The typeface is very similar to a slightly larger English or St.-augustin roman cut by Granjon in Rome c. 1583. See below § 10. In the Pica size, there are three sets of matrices (two of them incomplete) present in the collection of the Plantin-Moretus Museum. The complete set (MA 26a) is not mentioned in the earlier Plantin inventories up to 1652. Probably it was acquired in the 1730's when Joannes Jacobus Moretus (1647-1757) revived the Plantin typefoundry and engaged Johan Michael Smit and Pierre Perreault as punchcutter and typefounder respectively. Anyhow, we known of no earlier use of this face by the Plantin press as in the Missale and Breviarium Romanum, both of 1736. The long sorts are all but undistinguishable from the long letters Granjon cut in 1566 for Plantin to cast Garamont's St.-augustin on a lesser body and preserved in MA 25b. Except for the long s + i ligature (which in the last set of matrices is about 0.1 mm shorter), differences could not be detected. Nevertheless, our earlier assumption that MA 25b derives from the same punches as MA 26a (Early inv., 1960, 42 and Vervliet-Carter, 1972, 9, no. 37) deserves a new scrutiny. See below, § 16.

The Pica shown in the 1616 Specimen of the Nuremberg printer, G.L. Fuhrmann, (Typorum & characterum officinae... designatio, f. D3, s.v. ‘Antiqua, quam vocant mediam, Norimbergae fusa’; Dresden UL, Techn. B. 175) is, as far as I can see, a close copy of Granjon's typeface. And the 1664 Fievet specimen, s.v. ‘Cicero Antiqua? de GranIon’ errs by ascribing Garamont's late Cicero to Granjon (Mori, 1955, pl. 15; Dreyfus, 1963, pl. 4).

The roman of the popular Monotype Plantin (Series 110, 1914) was modelled after the state of this face, the later Moretuses used (capitals J, U, W added and lowercase a remplaced by an eighteenth-century sort, probably engraved by J.M. Smit).

Literature Early inv., 1960, 42, MA 25b; Dreyfus, 1963, 9; Johnson, 1965, 6-7; Carter, 1969a, 50-1; Vervliet-Carter, 1973, 9, no. 37.

[p. 37]

10. Granjon's Large-face English or St.-Augustin (1583-)

Size English or St.-augustin; 13.5/12.5 English-American/Didot points; 20 95 × 2 H 3 mm.

First seen in 1583, Rome, R. Granjon (Arabici Characteres; Florence, Arch. di Stato, Misc. Med. St. Or. 4(5), f, 10; Vervliet, 1981, 32).

Early appearances

Rome: 1589, D. Basa; 1591, Tipografia Medicea;

Venice: 1591, Giunta.

Type specimens

1583,	R. Granjon, Arabici Characteres (Florence, Arch. di Stato, Misc. Med. St. Or. 4(5), f. 10; Vervliet, 1981, 32);
1628,	Stampa Vaticana, Indice de caratteri, Rome, 1628, f. 39 ‘Giubilate’ (Vervliet, 1967, 33, no. 39).

Key letters Capital A with acute top terminal; K with serifless tail; splayed M; lowercase g with broad loop.

History This typeface can be attributed on the ground of the Granjon specimen, mentioned above. It resembles the Large-face Pica (§ 9 above) but its extenders are a trifle longer. Capitals and short lowercase sorts are all but identical. Apart from its larger size, best spot letters are the H, T, Z, which are a bit larger in the St.-augustin size.

The type is used in the new Rituale Romanum, a project of Giulio Antonio Cardinal Santoro, Granjon's patron in Rome. The service book was never authorized but its proofs, dated 1584, are preserved in the Vatican Library (R I.iii.209). Granjon's new roman was its main text type. The hypothesis is not too bold that Granjon cut the typeface specially for this work in which his benefactor held such a large interest. I have not seen this face used outside Italy.

Literature Vervliet, 1967, 33, no. 39; Vervliet, 1981, 53.

[p. 38]

Fig. 10: Granjon's large faced St.-augustin as it occurs in A. Rocca, Bibliotheca apostolica Vaticana, Rome, Stampa Vaticana, 1591, p. 144-5.

[p. 39]

Fig. 10: Granjon's large faced St.-augustin as it occurs in A. Rocca, Bibliotheca apostolica Vaticana, Rome, Stampa Vaticana, 1591, p. 144-5.

[p. 40]

Fig. 11a: T. Livius, Romanae historae libri, Frankfurt, G. Rabe & S. Feyerabend, 1576, p. 971.

[p. 41]

11. Granjon's Paragon (1566-)

Size Paragon (Petit-parangon); 17.5/16.5 English-American/Didot points; 20 124 × 2.5 H 3.9 mm.

First seen in 1566, Frankfurt, M. Lechler (L. Fuchs, Operum tomus primus; after Johnson, 1965, 7).

Early appearances

Antwerp: 1568: A. Tavernier;

Frankfurt: 1568, Heirs C. Egenolff, S. Feyerabend; 1569, N. Bassée; 1578, G. Rabe; 1580, A. Wechel;

Basle: 1570, Th. Guarin; 1582, P. Perna; 1595, S. Henricpetri;

Leipzig: 1570, J. Rambau;

Venice: 1572, P. Manuzio; 1573, F. de Francheschi, D. & G.B. Guerra; 1585, J. Varisco;

Dillingen: 1580, J. Mayer;

Bergamo: 1582, C. Ventura;

Mantua: 1586, F. Osanna;

Rome: 1587, G. Tornieri;

Helmstedt: 1591, J. Lucius;

Madrid: 1622, Wid. F. Correa Montenegro. More references in Johnson, 1965, 7-8.

Type specimens

1616,	G.L. Fuhrmann, Typorum & characterum officinae... designatio, Nuremberg, ‘Antiqua, quam tertiam vocant’ (Dresden UL, Techn. B. 175);
1664,	J.Ph. Fievet, Iehova, Frankfurt, ‘Grobe Bibel Antiqua’ (Mori, 1955, 15; Dreyfus, 1963, pl. 4);
1669,	J. Moxon, Proves of several sorts, London, ‘Great Primmer’ (Davis & Carter, 1958, 362-3); except capitals and lowercase w;
1682,	J.D. Fievet, Iehova, Frankfurt, ‘Parangon Antiqua N’ (Mori, 1955, 16; Dreyfus, 1963, pl. 5);
c. 1700,	J. Rolu, Proeven van letteren, ‘Paragon Romeyn’; Amsterdam, (Dreyfus, 1963, 15);
p. 1701,	[Melchior van Wolsschaten], [Incipit: Dobbel Mediaen rom.], Antwerp, ‘Text Romeyn’; capitals only; except AE; ‘Paragon Romein’; except small capitals (Antwerp, Museum Plantin-Morerus, R 63.8:2A, f. 94 [66]);

[p. 42]

1704,	J. Pistorius, Ecce specimen, Basle, Title page, line 10 ‘Ac typographo, etc.’ (Mori, 1924, pl. 5); except capital U; f. 2, ‘Parangon Antiqua’ (Mainz, Gutenberg Museum);
c. 1710,	J. Pistorius, Specimen typorum Hebraeorum, Basle, title page, lines 7-10;
p. 1725,	[Balthasar van Wolsschaten], Proef van letteren, Antwerp, ‘Kleyne Paragon’; ‘Groote Text’; (Antwerp, Museum Plantin-Moretus, R 63.8:2B, f. 123 [82]); except AE;
1742,	Cl. Lamesle, Epreuves générales des caracteres, Paris, f. N4 vo, ‘Petit Parangon Romain Numero LI’ (Johnson, 1965, 7-8); except capital U;
1755,	J.H. Schippelius, Specimen characterum, Frankfurt, ‘No. 11 Tertia Antiqua’ (Mori, 1955, 27);
1768,	Widow J.H. Schippelius, Specimen characterum, Frankfurt, ‘Tertia Antiqua n. 2’ (Mori, 1955, 29);
1758,	N. Gando, Epreuves générales des caracteres, Paris, f. N4 vo, ‘Petit Parangon Romain Numero LI’ (Antwerp, Museum Plantin-Moretus, B 305 1:3); except capital U;

Matrices and strikes preserved Antwerp, Plantin-Moretus Museum, matrices: MA 14 and 84a (capitals only); strikes: MA 112, MA 125, MA 179 (Early inv., 1960, 47).

Key letters Capital A with cupped top terminal; narrow E, F, X, Y; K with serifless tail; splayed M; v extending under base line.

Fig. 11b: Granjon's Paragon as cast from matrices in the Plantin-Moretus Museum (MA 14). ©Plantin-Moretus Museum.

[p. 43]

Contemporary attributions Romain paragon de GrandJon (Plantin, 1588); Parangon Rom. GrandJon (Plantin, 1589); Rom. parangon de granjon (Plantin, 1590); Parangonne Romaine de Grandjon (Plantin, 1590).

History This elegant typeface can safely be attributed to Granjon on the basis of the Plantin inventories (Early inv. 1960, 47) and of its style, which matches that of the types described in §§ 7-10. It was popular in Germany and Spain, but I failed to spot it in sixteenth-century France, where the roman Paragon of Garamont (1560-) apparently was preferred. A close, well-cut copy of Granjon's typeface appears in Poland at the Cracow press of A. Lazarus (1584-). Possibly it was cut by Jan Januszowski.

Literature Early inv. 1960, 47; Dreyfus, 1963, 8; Johnson, 1965, 7-8.

12. Granjon's Double Pica or Gros-parangon (1570-)

Size Double Pica or Gros-parangon; 20/18.5 English-American/Didot points; 20 140 × 3 H 4.7 mm.

First seen in 1570, Antwerp, C. Plantin (F. Richardot, Sermon faicte en l'Eglise...; Antwerp, Plantin-Moretus Museum, R 11.35; Voet, 5: 2001, no. 2145); capitals only; and 1571, Antwerp, C. Plantin (Psalterium; Antwerp, Plantin-Moretus Museum, A 552; Voet, 4: 1961-3, no. 2115).

Early appearances

Toledo: 1571, J. de Ayala;

Venice: 1580, F. Ziletti; 1597, G. Bindoni;

Leiden: 1586, F. Raphelengius;

Bergamo: 1593, C. Ventura;

Cologne: 1594, H. Falckenburg.

[p. 44]

Fig. 12a: Psalterium, Antwerp, Plantin, 1571, f. *3 vo.

[p. 45]

Fig. 12b: Granjon's Gros-parangon as cast from matrices in the Plantin-Moretus Museum (MA 8). ©Plantin-Moretus Museum.

Type specimens

1575,	Plantin, Inventaire des lettres, Antwerp, f. 65 ‘Ascendonica Romaine’ (Plant, arch. 43);
1628,	Scampa Vaticana, Indice de caratteri, Rome, 1628, f. 31 ‘Ascendonica’ (Vervliet, 1967, 32, no. 31);
1658,	J. Elsevier, Specimen typorum, Leiden, ‘Ascendonica Romanum’ (Leiden UL, 743 f 44);
1695,	Heirs J. Blaeu, Proeve der drukkerye, Amsterdam, ‘Groote Paragon Romeyn’ (Antwerp, Museum Plantin-Moretus, R 30.14); except lowercase a;
c. 1695,	Wid. D. Voskens, Proef van Letteren, Amsterdam, ‘Parangon’ (Dreyfus, 1963, pl. 9); except lowercase a;
1706,	Oxford University Press, Specimen of the several sorts, ‘Paragon Roman’ (Hart, 1970, 69, 185); except capital W and lowercase a and w;
p. 1728,	Voskes en Clerk, Proef van letteren, Amsterdam, ‘Gr. Paragon Romyn’ (Antwerp, Museum Plantin-Moretus, R 63.8:4, f. 87 [63]); except lowercase a;

[p. 46]

c. 1730,	W. Goeree, Proeven van letteren, Amsterdam, f. A3 ‘Paragon Romeyn’; except capitals H, W, small capitals and lowercase a and w; [p. 21, line 8] ‘AKR...’; except H, J, U (Leiden UL, 744 D 19);
1749,	J.W. de Groot, Proeve der drukkerye, Leiden, W. Boot, f. D3 ‘Dubbelde Brevier Capitalen’ (The Hague RL, 3110 E 40); only capitals;
1767,	Ploos van Amstel, Proef van letteren, Amsterdam, ‘N. VI Groote Paragon Romein’ (Antwerp, Plantin-Moretus Museum, BM 30.102:2); except lowercase a;
c. 1781,	A.G. Mappa, Proeven van letteren, Rotterdam, ‘No. VI Groote Paragon Romein’ (Plantin-Moretus Museum, BM 30.102); except lowercase a.

Punches and matrices preserved Antwerp, Plantin-Moretus Museum, ST 9, MA 7 and MA 8 (Early inv., 1960, 37; 41).

Key letters Capital A with cupped top terminal; narrow X, Y; K with serifless tail; splayed M.

Contemporary attributions Rommaine petit petit Canon (contract Granjon-Plantin, 1569); Ascendonica Poinsons de la Romaine par Granjon (Plantin, 1572); Ascendonica La Romaine de Granjon (id.); Ascendonica Poinsons de la Romaine de R. Granjon (Plantin, 1581); Ascendonica La Romaine de Robert Granjon (id.); Assendonica romain GrandJon 1570 (Plantin, 1588); Ascendonica rom. granjon (Plantin, 1590); Ascendonica Romaine Granjon (Plantin, 1612).

History On 19 May 1569 Plantin advanced the sum of 2 £ and 2 patt. ‘a Me Robert Grandion a bon compte des poinsons et quatre frappes quil me promect de faire d'une Rommaine petit petit Canon’ (Plant. arch. 31, f. 88 vo). The expression ‘petit petit Canon’ is unusual, indicating that the later standard term ‘Parangon’ was as yet nor accepted fully in the 1560's. Later Plantin inventories variously describe the size as ‘Ascendonica’ or ‘Parangonne’. And when in 1570 Hendrik van den Keere justified its matrices, he reported it as a Two-line Small Pica roman (‘een groote Romeyn 2 regulen philosophi’; Plant. arch., 153, f. 43 and 71).

[p. 47]

The new type appeared from 1570 on in the Plantin books, among which the Biblia regia. It was the latest roman in a series of five which Granjon cut in Antwerp in the years 1566-70. Cf. §§ 7, 8, 11 and 13. Further research is needed to elucidate its later spread over the Netherlands, England, Italy. I have failed to spot the typeface in sixteenth-century French imprints. Seemingly the Parangon roman of Garamont (1558-) prevailed there.

Granjon's Gros-parangon was Matthew Carter's model for the roman of the Linotype Galliard of 1978 (Carter, 1985).

Literature Early inv., 1960, 37 (ST 9); 41 (MA 7-8); 88 (LMA 56); Dreyfus, 1963, 13; Vervliet, 1967, 32, no. 31.

13. Granjon's titling on 2-line Pica or 2 Points de Cicéro (1567-)

Size 2-line Pica (2 Points de Cicéro); 22/20.5 English-American/Didot points; H 6.9 mm.

First seen in 1567, Antwerp, W. Silvius, (L. Guicciardini, Description de tout le Païs Bas; Ghent UL, Acc. 2998) and 1567, Antwerp, C. Plantin (Horatius, Epodon liber; Antwerp, Plantin-Moretus Museum, A 1699; Voet, 3: 1167-9, no. 1380).

Early appearances

Basle: 1568, P. Perna;

Antwerp: 1570, A. Tavernier; 1573, Ph. Nutius;

Geneva: 1571, J. Crespin; 1580, J. Des Planches; 1581, J. Chouet;

Sevilla: 1571, H. Díaz;

London: 1572, J. Day; 1575, Th. Vautrollier;

Venice: 1573, F. da Franceschi, Giunta, A. Manuzio; 1580, F. Ziletti; 1585, G. Vincenzi; 1587, A. Gardano; 1588, G.B. Somasco; 1589, G.A. Rampazetto; 1590, G.B. Bonfadino; 1591, P. Meietti; 1594, N. Moretti; 1597, P. Dusinelli; 1599, G.B. Ciotti;

[p. 48]

Paris: 1574, D. Du Pré; 1575, G. Buon; 1576, N. Du Chemin; 1578, S. Nivelle; 1579, J. Kerver, J. Mettayer; 1580, Th. Brumen. J. Houzé & H. Le Bé, A. Langelier; 1581, M. Le Duc; 1585, L. Cavellat; 1586, J. Richer; 1587, J. Delas, D. Du Val; 1588, G. Linocier; 1589, G. Bichon, P. Des Hayes, D. Millot; 1591, P. Chevalier; 1605, Compagnie du Grand Navire; 1609, G. II Le Bé; 1617, Imprimerie royale;

Turin: 1574; Heirs N. Bevilacqua; 1588, A. Bianchi; 1589, E. Tomisi; 1596, A. Pizzamiglio; 1598, J.M. & J.F. Cavalleri; G.D. Tarino;

Cologne: 1575, G. Calenius; 1576, T. Baum; 1577, Heirs A. Birckmann;

Douai: 1578, J. Bogard;

Lyons: 1578, N. Guérin; 1581, G, Rouillé; 1584, J. Martin; 1588, B. Rigaud; 1590, J. Roussin; 1593, Th. Ancelin, H. a Porta;

Bordeaux: 1580, S. Millanges;

Naples: 1582, O. Salviani; 1585, G. Cacchi; 1592, G. Carlino; 1595, G. Napolitano; 1599, C. Vitale;

Leiden: 1583, J. van Hout;

Rome: 1583, F. Zanetti; 1587, B. Bonfadino; 1591, Stampa Vaticana; 1592, Tipografia Medicea; 1595, D. Basa; D. Gigliotti;

Cremona: 1584, C. Draconi;

Milan: 1584, M. Tini;

Reims: 1585, J. de Foigny;

Mantua: 1586: F. Osanna;

La Rochelle: 1587, P. Haultin, J. Haultin;

Strasbourg: 1587, G. Le Porché, O. Hengst;

Frankfurt: 1588, J. Wechel;

Macerata: 1588, S. Martellini;

Leiden: 1589, F. Raphelengius;

Ferrara: 1589, V. Baldini;

Genoa: 1590, G. Bartoli;

Florence: 1590, G. Marescotti;

Pons: 1590, Th. Portau;

Ferrara: 1591, V. Baldini;

Piacenza: 1592, G. Bazzachi;

Montbéliard: 1593, J. Foillet;

Treviso: 1593, D. Amici;

Brescia: 1594: V. da Sabbio;

Niort: 1594, Th. Portau;

Sedan: 1594, A. Rivery;

[p. 49]

Brussels: 1595, R. Velpius;

Pavia: 1598, A. Viani;

Middelburg: 1599, S. Moulert.

Type specimens

1567,	Plantin, Index characterum, Antwerp, f. A1, ‘Sive’ (Vervliet-Carter, 1972, 2, no. 2);
1592,	C. Berner, Specimen characterum, Frankfurt, ‘Specimen’ (Mori, 1955, 3; Dreyfus, 1963, pl. 2);
1608,	J. Hornschuch, Orthotypographia, Leipzig, Lanzenberger, 1608 (ed. J.-F. Gilmont, Paris, 1997, p. 115).
1622,	J. Berner, Specimen characterum, Frankfurt, ‘Specimen’ (Mori, 1955, 4; Dreyfus, 1963, pl. 3);
1643,	Imprimerie royale, [Spécimen], Paris, f. 5, ‘Patiens [lettres de deux poincts de Cicero]’ (Veyrin-Forrer & Jammes, 1958);
1658,	J. Elsevier, Specimen typorum, Leiden, [title-page, line 2], ‘Typorum’ (Leiden UL, 743 f 44); except capital U;
1664,	J. Luther, Specimen characterum, Frankfurt, ‘Specimen’ (Mori, 1955, 5);
1664,	J.Ph. Fievet, Iehova, Frankfurt, ‘Principio apvd Devm’ (Mori, 1955, 15; Dreyfus, 1963, pl. 4);
1665,	J.E. Luther, AEABC..., Frankfurt, [Line 5] (Mori, 1955, 6);
1670,	J.E. Luther, Specimen, Frankfurt, Probatissimorum’ (Mori, 1955, 8); except capital U;
1681,	[C. van Dyck &] Wid. D. Elsevier, Proeven van letteren, Amsterdam, ‘Dubbelde Mediaen Kapitalen’ (Dreyfus, 1963, pl. 12);
1682,	J.D. Fievet, Iehova, Frankfurt, ‘Principio apud Deum’ (Mori, 1955, 16; Dreyfus, 1963, pl. 5); except capitals J and U;
c. 1684,	[C. van Dyck &] J. Bus & J. Athias, Proeven van letteren, Amsterdam, ‘Dubbelde Mediaen Kapitalen’ (Hellinga, 1962, pl. 159);
1685,	H. Curio, Catalogus literarum, Uppsala, [line 2:] ‘Literarum’ (Bengtsson, 1956, 61); except capital U;
1692,	P. Boeyesz., Proeven Van... Letteren, Hoorn, ‘Dubbelde Mediaen Capitalen’ (Leiden UL, 744 D 19); except capitals J, Q, W;
c. 1700,	Adamsz. & Ente, Letteren en Bloemen, Amsterdam, ‘Dubbelde Descendiaan’ (Dreyfus, 1963, pl. 11);
1704,	J. Pistorius, Ecce specimen, Basle, f. 9, lines 14-5 ‘AECEABC, etc.; except capitals OE, J, U, W (Mainz, Gutenberg Museum);

[p. 50]

Fig. 13a: Biblia, Antwerp, Wid. J. Steelsius & A. Tavernier, 1570, f. *5.

Fig. 13b: 1643, Imprimerie royale, [Spécimen], Paris, f. 5, ‘Patiens [lettres de deux poincts de Cicero]’, By courtesy of the Bibliothèque nationale de France.

[p. 51]

1713,	A. Elzevier, Proeve der drukkerye, Leiden, [p. 20] ‘Dubbelde Augustyn Capitalen’; ‘Dubbelde Mediaan Capitalen’; (Leiden UL, 743 F 45);
1714,	J.H. Stubenvoll, Characterum seu typorum, Frankfurt, ‘Tam ipsi librorum’ (Mori, 1955, 21); except capital U;
p. 1725,	[Balthasar van Wolsschaten], Proef van letteren, Antwerp, ‘Dobbel Mediaen’ (Antwerp, Museum Plantin-Moretus, R 63.8:2B, f. 123 [82]); except capitals J and U;
p. 1728,	Clerk en Voskens, Proef van letteren, Amsterdam, ‘Dubbelde Mediaan’ (Antwerp, Museum Plantin-Moretus, R 63.8:2A, f. 106-8 [73-4]); except capital J;
c. 1730,	W. Goeree, Proeven van letteren, Amsterdam, [p. 21, line 5] ‘HAGD...’, (Leiden UL, 744 D 19);
1742,	Cl. Lamesle, Epreuves générales des caracteres, Paris, f. G1 ‘Lettre de deux points de Cicero Numero Premier’ (Johnson, 1965); except capitals J, U, AE, OE;
ante 1748,	I. vander Putte, Proef van letteren, Amsterdam, ‘Dubbelde Deszendiaan [2]’ (Antwerp, Museum Plantin-Moretus, R 63.8:2A, f. 98 [68]); except capitals J, Q, U, W;
1749,	J.W. de Groot, Proeve der drukkerye, Leiden, W. Boot, f. D2 ‘Dubbelde Mediaan Capitalen’ (The Hague RL, 3110 E 40);
c. 1749,	I. vander Putte, Proef van letteren, Amsterdam, ‘Dubbelde Deszendiaan No 2’ (Antwerp, Museum Plantin-Moretus, R 63.8:2A, f. 96 [67]); except capital J;
1758,	N. Gando, Epreuves générales des caracteres, Paris, f. G1 ‘Lettre de deux points de Cicero Numero Premier’ (Antwerp, Museum Plantin-Moretus, B 3051:3); except capitals J, U, AE, OE;;
1771,	J. Kannewet, Proeven Van... Letteren, Amsterdam, [f. D4] ‘Dubbelde Mediaen Capitalen’ (Amsterdam UL);
1773,	L. Delacologne, Les caracteres et les vignettes, Lyons, p. 47 ‘Petit Canon romain’; capitals only; p, 88 ‘[Lettre de deux points] Saint Augustin romain’ (Carter, 1969a, 58-9; 69); except J;

Key letters Capital A with cupped top terminal; narrow E, F, N; K with serifless tail; splayed M.

[p. 52]

Contemporary attributions Matrices des capitalles de deux regies sur le Median (sale by Granjon to Plantin, 1566); Capitales sur 2 Lignes du Cicero par Granjon (Plantin, 1572); Plaisante. Capitales de 2 lignes de mediane justifiées R. Granjon (Plantin, 1581); Lettres 2 points de Cicero rom. Granjon (Le Bé, 1618).

History This elegant titling (bar the strongly nosed capital A) is typical of Granjon's late romans. In August 1566 Christopher Plantin bought from Granjon a set of matrices (Plant. arch. 31, f. 88; 36, f. 110); he began to use the typeface from 1567 on. It is ascribed to Granjon in the Plantin inventories of 1572 and 1581; in the later inventories it appears unattributed; cf. Early Inv., 1960, 50, (LMA 13). The set of matrices disappeared fron the Plantin collection sometime in the eighteenth century. Known by Plantin under the name ‘La Plaisante’, it later became widely popular in Europe. The c. 1618 Le Bé inventory ascribes the punches to Granjon (Morison, 1959, 25). It does not mention matrices, probably by inadvertency, as the 1685 Le Bé inventory lists an (unattributed) ‘petite boëtte dans la quelle est 27 matrices de lettres de deux points de cicero’ (Paris, Arch. nat., MC Et. 70: 182).

We have not noticed this typeface before 1567. References to earlier appearances at the Lyon presses of the Beringi Fratres (H. Agrippa, Opera, s.a.; Baudrier, 3: 55) and Jean I de Tournes or at the Paris press of Federic Morel (1559) cannot be substantiated. The Beringen imprints are in all probability seventeenth-century reprints. The reference to 1549 or 1559 imprints of De Tournes (Carter, 1969a, 58-9; 1976, 77-8, nos. B 88-90) must be slips of the pen. The Morel reference is caused by an erroneous caption in Morison, 1924, 177; the reproduction, a Ronsard poem addressed to Henry III, is not to be dated 1559, but 1575 (Smith, 1975, 214).

It is possible that at the end of the 1570's Granjon cut a Petitcanon lowercase to be cast with these capitals. See below, § 19.

Literature Johnson, 1936, 78-9; Early Inv., 1960, 50, (LMA 13); Dreyfus, 1963, 4; Vervliet-Carter, 1972, 2, no. 2.

[p. 53]

C. Granjon's adaptations of Garamont.

In search for economy Plantin had in 1566-7 requested Granjon to provide shorter descenders and ascenders to adapt to a slightly smaller body, Garamont's Long Primer (Petit-romain), Pica (Cicero), and English (St.-augustin). See Vervliet-Carter, 1972, 9-10 (nos. 37, 45, and 59). In the main Granjon reduced the ascenders to the height of Garamont's capitals, which not uncommonly were a little lower than the original ascenders. For the Long Primer and English sizes Plantin noted the delivery of some 19 punches. We assume therefore that, although the sorts are nearly indistinguishable with those described above in §§ 8-9, Granjon cut duplicates.

14. Garamont's Petit-romain to be cast on Gaillarde (1566-)

Size Bourgeois (Gaillarde); 8.5/8 Anglo-American/Didot points; 20 61 × 1.5 H 2.1 mm.

First seen in 1568, Antwerp, C. Plantin (V. Cordus, Dispensatorium; Antwerp, Museum Plantin-Moretus, A 195; Voet, 2: 695-6, no. 1023;

Type specimen

c.1585,

Plantin, Folio Specimen, Antwerp, ‘Colineus Romaine’; ascenders and descenders only (Vervliet-Carter, 1972, 10, no. 59).

Matrices preserved Antwerp, Plantin-Moretus Museum, MA 47b (Early inv., 1963, 119).

Key letter Lowercase g with large loop; ascenders 2.1 mm high instead of Garamont's 2.4 mm.

[p. 54]

Contemporary attribution Paye 35 patt. pour chacun poinsons desdites 19 qui sont sur la garramonde petit Romain pour faire fondre sur le blanc de la lectre dicte Colinet (Payment of Plantin to Granjon, 1566)

History During the first two weeks of February 1566 Plantin paid Granjon for the delivery of 19 punches to cast a Petit-romain or Garamonde on the lesser body of Colineus or Bourgeois (Plant. arch. 31, f. 87 vo). The Petit-romain was Garamont's as appears from a payment to the local typefounder Laurent van Everbroek, dated 5 October 1567, of the justification of matrices and casting of a ‘Colineus Rommain fondue sur les matrices de Garramont’ (ibid., f. 69 vo). The typeface is reported (unattributed) in the 1572 and 1581 inventories (Early inv., 1960, 40 [LST 9; 119, MA 47b]) and is shown in the c. 1585 Folio Specimen (Vervliet-Carter, 1972, 10, no. 59). We have seen this combination of typefaces only at the presses of the Plantin and Raphelengius houses, respectively from 1568 and 1590 on. The punches are lost but a set of matrices (missing p and q) survives (MA 47b).

Literature Early inv., 1960, 40 (LST 9; 119, MA 47b; Vervliet-Carter, 1972, 10, no. 59.

Fig. 14a: Folio Specimen, Antwerp, Plantin, c. 1585, ‘Colineus Romaine’; ascenders and descenders only. By courtesy of the Plantin-Moretus Museum.

Fig. 14b: Granjon's shortened letters to cast Garamont's Petit-romain on Gaillarde as cast from matrices in the Plantin-Moretus Museum (MA 47b). ©Plantin-Moretus Museum.

[p. 55]

15. Garamont's Cicero to be cast on Philosophie (1566-)

Size Small Pica (Philosophie); 10/9.5 Anglo-American/Didot points; 20 72 × 1.6 H 2.5 mm.

First seen in 1568, Antwerp, C. Plantin (Horae beatissimae Virginis; Antwerp, Plantin-Moretus Museum, R 2.28; Voet, 3: 1148-9, no. 1355).

Type specimen:

c. 1585,

Plantin, Folio Specimen, Antwerp, ‘Vraye Mediane Romaine’; descenders only; ‘Mediane sur la Philosophie’; ascenders and descenders only (Vervliet-Carter, 1972, 9, nos. 38, 45).

Matrices preserved Antwerp, Plantin-Moretus Museum, MA 36b (Early inv., 1960, 40, LST 9; 43, MA 36b).

Key letter Lowercase g with large loop; ascenders 2.5 mm high instead of Garamont's 2.9 mm.

Fig. 15a: Folio Specimen, Antwerp, Plantin, c. 1585, ‘Mediane sur la Philosophie’; ascenders and descenders only. By courtesy of the Plantin-Moretus Museum.

Fig. 15b: Granjon's shortened letters to cast Garamont's Cicero on Philosophie as cast from matrices in the Plantin-Moretus Museum (MA 36b). ©Plantin-Moretus Museum.

[p. 56]

Contemporary attribution Poinsons sur le median qui sont court pour faire fondre sur la Philosophie (Payment of Plantin to Granjon, 1566).

History In June 1566 Plantin noted die payment to Granjon of some 19 punches ‘sur le median qui sont court pour faire fondre sur la Philosophie’ (Plant, arch. 31, f. 87 vo); the casting of a complete fount was paid to the local typefounder François Guyot in October 1566 (ibid., f. 65 vo). Punches and matrices were reported in the Plantin inventories of 1572 (‘Poinsons des lectres longues sur la Romaine de Garamond pour la mectre sur la Philosophie’) and 1581 (Early inv., 1960, 40, LST 9; 43, MA 36b). Plantin used this combination from 1568 on.

Literature Early inv., 1960, 40, LST 9; 43, MA 36b; Vervliet-Carcer, 1972, 9, no. 45).

16. Garamont's St.-augustin to be cast on Cicero (1568-)

Size Pica (Cicéro); 12/11 English-American/Didot points; 20 84 × 1.9 H 3 mm.

First seen in 1568, Antwerp, C. Plantin (S. Grzebski, De multiplici siclo; Antwerp, Plantin-Moretus Museum, A 880/2; Voet, 3: 1645-6, no. 1268; only ascending and descending letters.

Type specimen

c. 1585,

Plantin, Folio Specimen, Antwerp, ‘Augustine sur la Mediane (Vervliet-Carter, 1972, 9, no. 37); ascenders and descenders only;

Matrices preserved Antwerp, Plantin-Moretus Museum, MA 25b (Early inv., 1960, 42-3).

Key letters Lowercase g with large loop; ascenders 3 mm high instead of Garamont's 3.2 mm.

[p. 57]

History These shortened letters are attributed to Granjon on stylistic grounds; they are all but identical to the sorts of Granjon's large-faced Cicero (see above, § 9). They are not mentioned explicitly in the Plantin inventories but they appear in his printing from 1568 on and in his c. 1585 Folio Specimen.

Literature Early Inv., 1960, 42-3, MA 25b; Vervliet-Carter, 1972, 9, no. 37.

Fig. 16a: Folio Specimen, Antwerp, Plantin, c. 1585, ‘Augustine sur la Mediane’; ascenders and descenders only. By courtesy of the Plantin-Moretus Museum.

Fig. 16b: Granjon's shortened letters to cast Garamont's St.-augustin on Cicero as cast from matrices in the Plantin-Moretus Museum (MA 25b). ©Plantin-Moretus Museum.

[p. 58]

D. Romans of incertain origin, possibly by Granjon.

17. Fezandat's Pica or Cicero, possibly by Haultin (1548-)

Size Pica (Cicéro; Médiane); 11.5/11 Anglo-American/Didot points; 20 82 × 1.6 H 2.6 mm.

First seen in 1548, Paris, M. Fezandat (Flav. Josephus, Vita; Ghent UL, Hist. 6750:1).

Early appearances

Louvain: 1549, B. Gravius;

Paris: 1549, V, Gualtherot, P. Haultin & N. Pléau, 1550, M. Fezandat & R. Granjon; 1551, N. Du Chemin; 1561, G. Merlin; G. Guillard & A. Warancore;

Antwerp: 1553, J. Loe;

Venice: 1553, G. Scotto; 1556, P. Manuzio.

Type specimens

1664,	J.Ph. Fievet, Iehova, Frankfurt, ‘Cicero Antiqua’ (Mori, 1955, 15; Dreyfus, 1963, pl. 4);
1681,	[C. van Dyck &] Wid. D. Elsevier, Proeven van letteren, Amsterdam, ‘Mediaen Romeyn No. 2’ (Dreyfus, 1963, pl. 12);
1682,	J.D. Fievet, Iehova, Frankfurt, ‘Cicero Antiqua’ (Mori, 1955, 16; Dreyfus, 1963, pl. 5);
c. 1684,	[C. van Dyck &] J. Bus & J. Athias, Proeven van letteren, Amsterdam, ‘Mediaen Romeyn No. 2’ (Hellinga, 1962, pl. 159);
1695,	Heirs J. Blaeu, Proeve der drukkerye, Amsterdam, ‘Gemeene Med. Rom.’ (Antwerp, Museum Plantin-Moretus, R 30.14);
c. 1695,	Wid. D. Voskens, Proef van Letteren, Amsterdam, ‘Mediaen Romeyn’ (Dreyfus, 1963, pl. 9); with diverging sorts;
1713,	A. Elzevier, Proeve der drukkerye, Leiden, ‘Mediaan Romyn’ (Leiden UL, 743 F 45);
p. 1728,	Voskes en Clerk, Proef van letteren, Amsterdam, ‘Mediaan Romyn No. 2’ (Antwerp, Museum Plantin-Moretus, R 63.8:4, f. 87 [63]);

[p. 59]

Fig. 17: Fezandat's Pica or Cicéro as it occurs in Fla. Josephus, Vita, Paris, Fezandat, 1548, f. a2.

[p. 60]

c. 1740,	Cambridge University Press, A specimen of the letters; (Cambridge University Press); after Johnson, 1938a, 69-70;
c. 1762,	J. Roman, Proeven van letteren, Amsterdam, ‘Mediaen Romeyn No. 2’ (Dreyfus, 1963, pl. 13).

Matrices preserved Antwerp, Plantin-Moretus Museum (MA 75; incomplete set; not mentioned in the Plantin inventories nor specimens).

Key letters Capital E with longer lower arm; M without right upper serif; P smaller than other capitals.

History ‘Cicero Antiqua de GranIon’ is a heading in the 1664 type specimen of the Frankfurt typefounder J.P. Fievet, but this refers to a Garamont roman (Dreyfus, 1963, 9, pl. 4). Another Cicero roman in the same specimen, simply headed ‘Cicero Antiqua’ was attributed to Granjon by Johnson (1938, 173-4; 1938a, 69-70; 1943, 58; Reed, 1952, 227-8), because this was used in 1551 in a Fezandat-Granjon imprint. He retraced its first appearance to Gualterot (Paris, 1549) and its occurrence in many seventeenth-century type specimens. However, the editors of Dreyfus (1963, 9) suggest that the style of the typeface is more Haultin's than Granjon's. Probably they are right. Fezandat used this type from 1548 on, i.e. before his partnership with Granjon started. And I think I have seen this typeface in a Haultin-Pléau imprint of 1549 (Ordonnance sur le poix; Paris, Ste. Geneviève, F 8^o 838:8). Its design is very near to a Small Pica (or Philosophie; 72 mm) roman Haultin used from 1549 on in his earliest imprints. This typeface finally belongs to a group of half a dozen French types, bought about 1557 by Paolo Manuzio for use in his publications for the Academia veneta (1558-61). All (except a Petit-romain by Garamont) are ascribable to Haultin.

The Plantin-Moretus Museum owns an incomplete set of matrices of this roman (MA 75), which, however, it is not mentioned in the sixteenth- and seventeenth-century Plantin inventories.

Literature Johnson, 1938, 173-5; Johnson, 1938a, 69-70; Johnson, 1943, 58; Reed, 1952, 227-8; Dreyfus, 1963, 9.

[p. 61]

18. The Lyonese Paragon (1547-)

Size Paragon (Petit-parangon); 18.5/17.5 English-American/Didot points; 20 130 × 2.5 H 4 mm.

First seen in 1547, Lyons, J. de Tournes (Petrarca, Il Petrarca; after Mortimer, 2: 535-6, no. 427; Cartier, 1: 240, no. 99).

Early appearances

Florence: 1549, L. Torrentino;

Salamanca: 1549, A. de Portonariis; 1557, J. de Canova; 1562, M. Gast;

Lyons: 1550, S. Gryphius, Frères Senneton; 1553, G. Rouillé; 1554, M. Bonhomme; 1556, J. Temporal;

Basle: 1554, J. Oporinus; 1565, Frobenii Fratres;

Frankfurt: 1563, S. Feyerabend;

Rome: 1564, P. Manuzio; 1588, Typographia Vaticana;

Madrid: 1567, P. Cosin.

Type specimen 1628, Stampa Vaticana, Indice de caratteri, Rome, 1628, f. 33, ‘Parangone della Vaticana’ (Vervliet, 1967, 32, no. 33).

Key letters Capital B with large lower bowl; conspicuous middle arm serif of E; M without upper right serif; long-tailed R; upper right serif of T slanting to the right; broad lowercase a; hooked link of g; ampersand slanting to the right.

History Johnson (1943, 57-8; 1946, 55) attributes this typeface to Granjon. He mentions it as an early example of the thesis that in the course of the sixteenth century the trade of types had become international. Why exactly he attributed this typeface to Granjon, is unclear. One guesses he was impressed by its wide circulation over most of southern Europe, in the wake of the Lyon business influence, and by its acceptation at Lyon presses of De Tournes, Rouillé and others, who were regular customers of Granjon. However as this type belongs stylistically to a seemingly coherent group of half a dozen romans, all appearing in the 1540's and all quite different in style from Granjon's, the hypothesis of another, as yet unidentified punchcutter active in the Lyonese region cannot be ruled out.

Literature Johnson, 1939, 201, no. 14; Johnson, 1943, 57-8; Johnson, 1946, 55; Tinto, 1967, 30; Vervliet, 1967, 32, no. 33; Cruickshank, 1986, 57.

[p. 62]

Fig. 18a: The Lyonese Paragon as it appears in Missale Romanum, Rome, Stampa Vaticana, 1604, p. 592.

[p. 63]

Fig. 18b: Biblia sacra, Lyons, S. Gryphius, 1550, f. aa4 vo.

[p. 64]

Fig. 19: A Petit-canon lowercase, possibly by Granjon, as it occurs in P. Rebuffi, Explicatio ad quatuor primos Pandectarum libros, Lyons, G. Rouillé, 1589, f. *4.

[p. 65]

19. A Petit-canon lowercase, possibly by Granjon (1581-).

Size Two-line English (Petit-canon); 27/25 Anglo-American/Didot points; 20 190 × 4 H 6.9 mm.

First seen in 1581, Lyons, G. Rouillé (A. Tiraqueau, De utroque retractu; Ghent UL, Jur. 3916; Baudrier, 9:380).

Early appearances

Lyons: 1587, P. Roussin;

Turin: 1588, A. Bianchi; 1589, Heirs N. Bevilacqua;

Type specimens

1742,	Cl. Lamesle, Epreuves générales des caracteres, Paris, f. P4 vo ‘Petit Canon Numero LV’ (Johnson, 1965); lowercase only;
1758,	N. Gando, Epreuves générales des caracteres, Paris, f. P4 vo ‘Petit Canon Numero LV’ (Antwerp, Museum Plantin-Moretus, B 3051:3); lowercase only;
1773,	L. Delacologne, Les caracteres et les vignettes, Lyons, p. 47 ‘Petit Canon romain’; (Carter, 1969a, 58-9; 69); except J;

Key letters lowercase a rather broad; v descending below base line;

History This lowercase was used in France and Italy from the 1580's on in combination with Granjon's titling on 2-line Pica, described above in § 13. It stayed in use during the seventeenth and eighteenth centuries. It was introduced in the Rouillé's editions from the 1580s on together with other newer romans by Granjon (who was in Lyons at the end of years 1570 and arrived in Rome around October 1579). The first appearances of this typeface in Lyons just after Granjon's departure from this city make his authorship acceptable although there is an evident incongruity in weight between capitals and lowercase.

[p. 66]

Fig. 20: A titling on Two Points de St-augustin, perhaps by Granjon, as it appears in G. Bonifacio, Historia Trivigiana, Treviso, D. Amici, 1591, p. 1.

[p. 67]

20. A titling on 2-line English or 2 Points de St.-augustin, perhaps by Granjon (1583-).

Size 2-line English (2 Points de St.-augustin); 40/37 English-American/Didot points; H 8.5 mm.

First seen in 1583, Venice, G. Angelieri (Magagnò, La quarta parte delle rime; after Vaccaro, 1983, 46, pl. 25).

Early appearances

Treviso: 1590, A. Mazzolini; 1591, D. Amici.

Turin: 1596, L. Pizzamiglio; 1598, G.M. Cavalleri;

Venice: 1600, Heirs F. de Franceschi.

History In Italy a 8.5 mm titling occurs from about 1591 on, the style of which follows closely Granjon's titling described in § 13. Though it is hard to decide about its cutter on a few lines or occurrences, it is well cut. It seems good enough to be by Granjon or by an able imitator. More research on its earliest appearances is needed to make a decision.

[p. 68]

Fig. 21: A 12-line Pica roman, perhaps by Granjon, as it appears on the title page of J. Duvet, Lapocalypse figuree Lyons, J. de Tournes, 1561.

[p. 69]

21. A roman on 12-line Pica or 12 points de Cicero, possibly by Granjon (1551-).

Size 12-line Pica (Grosse Nompareille); 120/113 Anglo-American/Didot points; 20 1000 × 17 H 32 mm.

First seen in 1551, Lyons, J. de Tournes (S. Serlio, Livre extraordinaire de architecture; Lyons BM, 22893; Cartier, 1: 317, no. 205).

Early appearances

Lyons: 1560, G. Cotier & J. d'Ogerolles; 1566, S. Honorati.

History From 1550 on, both Jean I de Tournes and Sebastian Gryphius used occasionally a series of display capitals, respectively 10.5, 13, 15 and 20 mm. high; they are well designed and deserve more research. Besides these, there appears in 1551 at the De Tournes press a large display letter (H 32 mm.), the biggest I saw in French sixteenth-century typography, complete with capitals and lowercase. De Tournes uses them for the incipit of his folios, as a forceful entrance and a welcome change from the usual display in full lines of spaced capitals, either in the outmoded so-called Froben capitals of 8.5 mm. or in Granjon's Petit-canon.

The new typeface appears in many De Tournes folio editions from 1551 on; it was in use at their Geneva premises from 1585 on until well into the seventeenth century. It can be seen in their folio editions of the Latin and French Bible and of the works by Serlio, Bassantin, Duvet, Pavari, Canaye, Sleidanus, Paradin; the last occurrence I know of is the Bassantin of Geneva, 1613 (Cartier, 2: 698, no. 775).

It may seem a question whether these types were woodcut or cast types; the identity of the same sorts used on one page implies that they were cast, probably sand-cast from wooden or copper punches. This technique was used for producing printing types larger than, say, Two-lines Double Pica (Gros-canon) and is well documented (Vervliet, 1968, 81-5; 216; Carter, 1969, 15-6; Lane, 1993, 51-2). In French typography a large roman titling probably by Peter II Schoeffer (14.5 mm.) occurs from the 1530's on (Re-

[p. 70]

nouard, 2: 268, no. 679); it was followed by this typeface and later in the century by the large display types of Pierre Haultin and Guillaume I Le Bé. They must not be confused with woodcut lettering, mostly weakly designed (excepted, of course, the splendid title lines of Charles Estienne's Thesaurus Ciceronis (1556) which seem good enough to be Garamont's, and those of the Sainte Bible, by S. Nivelle (1566).

There is no documentary evidence that Granjon, rather than Haultin, cut or even designed these types. But their quality, the connection with De Tournes and the date of their first occurrence make it plausible that he had a hand in them. However, for a firm ascription it may be more prudent to wait until all large sized types and initials can be studied as a group.

[p. 71]

Table 1: Granjon's Romans by period

A. The early romans (1542-50)		20 lines/mm.
	1. Petit-romain or Long Primer (1542-)	65
	2. Cicéro or Pica (1544-)	82
	3. Gros-parangon or Double Pica (1545-)	150
	4. Petit-canon or Two-line English (1547-)	190
	Early titlings
	5. Bold titling on Two-line Nonpareil (1550-)	H 2.9
	6. Bold titling on Two-line Brevier or 2 Points de Petit-texte (1543-)	H 3.9
B. The late romans (1566-83)
	7. Brevier or Petit-texte (1570-)	54
	8. Long Primer or Petit-romain, named ‘La Granjonne’ (1569-)	64
	9. Large-face Pica or Gros Cicero (1568-)	84
	10. Large-face English or St.-Augustin (1583-)	95
	11. Paragon (1566-)	124
	12. Double Pica or Gros-parangon (1570-)	140
	A late titling
	13. Titling on 2-line Pica or 2 Points de Cicéro (1567-)	H 6.9
C. Granjon's adaptations of Garamont (1566-8)
	14. Garamont's Petit-romain to be cast on Gaillarde (1566-)	61
	15. Garamont's Cicero to be cast on Philosophie (1566-)	72
	16. Garamont's St.-augustin to be cast on Cicero (1568-)	84
D. Romans of incertain origin, possibly by Granjon
	17. Fezandat's Pica or Cicero, probably by Haultin (1548-)	82
	18. The Lyonese Paragon (1547-)	130
	19. A Petit-canon lowercase, possibly by Granjon (1581-)	190
	20. A titling on Two-line English or 2 Points de St.-augustin, perhaps by Granjon (1583-)	H 8.5
	21. A roman on 12-line Pica or 12 points de Cicero (Grosse Nompareille), possibly by Granjon (1551-)	1000

[p. 72]

Table 2: Granjon's Romans by size

		a^1	b
Brevier (Petit-texte; Bible)		7.5/7	54
	§ 7. Brevier or Petit-texte (1570-)
Bourgeois (Gaillarde)		8.5/8	61
	§ 14. Garamont's Petit-romain adapted to be cast on Gaillarde (1566-)
Long Primer (Petit-romain; Garamonde)
	§ 1. Early Petit-romain or Long Primer roman (1542-)	9/8.5	65
	§ 8. ‘La Granjonne’ (1569-)
Small Pica (Philosophie)		10/9.5	72
	§15. Garamont's Cicero adapted to be cast on Philosophie (1566-)
Pica (Cicero; Mediane)		12/11	82/84
	§ 2. Early Cicero or Pica roman (1544-)
	§ 17. Fezandat's Pica or Cicero, probably by Haultin (1548-)
	§ 5. Bold titling on Two-line Nonpareil (1550-)		H 2.9
	§ 9. Large-face Pica or Gros Cicero (1568-)
	§ 16. Garamont's St.-augustin adapted to be cast on Cicero (1568-)
English (St.-augustin)		13.5/12.5	95
	§ 6. Bold titling on Two-line Brevier or 2 Points de Petit-texte (1543-)		H 3.9
	§ 10. Large-face English or St.-Augustin (1583-)
Paragon (Petit-parangon)		17.5/16.5	124/130
	§ 18. The unattributed Lyonese Paragon (1547-)
	§ 11. The late Paragon (1566-)
Double Pica (Gros-parangon)		21/20	140/150
	§ 3. Early Double Pica or Gros-parangon (1545-)
	§ 12. Late Double Pica or Gros-parangon (1570-)
Two-line English (Petit-canon)		27/25	190
	§ 4. Early Petit-canon (1547-)
	§ 13. Late Titling on 2-line Pica or 2 Points de Cicéro (1567-)		H 6.9
	§ 19. Petit-canon lowercase, possibly by Granjon (1581-)
Two-line English (2 Points de St.-augustin)		40/37	H 8.5
	§ 20. Titling on Two-line English or 2 Points de St.-augustin, perhaps by Granjon (1583-).
Twelve-line Pica (12 points de Cicero, Grosse Nompareille)		120/113	1000
	§ 21. A roman on 12-line Pica or 12 points de Cicero, possibly by Granjon (1551-).

1 Column a presents the approximate values of the sizes in Anglo-American/Didot points; column b the approximate measurement of 20 solid lines/mm or the capital H.

[p. 73]

References

Axel-Nilsson, 1983: C. Axel-Nilsson, Type studies: the Norstedt collection of matrices in the typefoundry of the Royal Printing Office, Stockholm, 1983.

Baudrier: H. Baudrier, Bibliographie lyonnaise: recherches sur les imprimeurs, relieurs et fondeurs de lettres de Lyon au 16e siècle, Paris, 1964-65 (Reprint of ed. Paris, 1895-1921).

Bengtsson, 1956: B. Bengtsson, Svenskt stilgjuteri före år 1700, Stockholm, 1956.

Cartier: A. Cartier, Bibliographie des éditions des De Tournes, Paris, 1937.

Carter, 1969: H. Carter, A view of early typography up to about 1600, Oxford, 1969.

Carter, 1969a: H. Carter, The typespecimen of Delacologne: les caractères et les vignettes de la fonderie du sieur Delacologne, Amsterdam, 1969.

Carter, 1969b: H. Carter, ‘Huguenot typography’. Proceedings of the Huguenot Society of London, (1969), 532-44.

Carter, 1976: H. Carter, Catalogue of the Edward Clark Library, Edinburgh, 1976.

Carter, 1985: M. Carter, ‘Galliard: a modern revival of the types of Robert Granjon’, Visible language, 19 (1985), 77-97.

Carter & Vervliet, 1966: H. Carter & H.D.L. Vervliet, Civilité types, Oxford, 1966.

Cruickshank, 1986: D.W. Cruickshank, ‘Italian type in Spain and the Spanish empire in the 17th century’, Book production and letters in the Western European Renaissance. Essays in honour of Conor Fahy, ed. A.L. Lepschy, e.a., London, 1986, 47-63.

Davis & Carter, 1958: J. Moxon, Mechanick exercises on the whole art of printing; 1683-4; ed. H. Davis & H. Carter, London, 1958.

Dreyfus, 1963: J. Dreyfus (ed.), Type specimen facsimiles: reproduction of fifteen type specimen sheets, London, 1963.

[p. 74]

Early inv., 1960: M. Parker, K. Melis & H.D.L. Vervliet, ‘Early inventories of punches, matrices, and moulds, in the Plantin-Moretus archives’, De gulden passer, 38 (1960), 1-139.

Ferguson, 1989: W.C. Ferguson, Pica roman type in Elizabethan England, Aldershot, 1989.

Gilmont, 1997: J. Hornschuch, Orthotypographia, Leipzig, Lanzenberger, 1608 (ed. J.-F. Gilmont), Paris, 1997.

Hart, 1970: H. Hart, Notes on a century of typography at the University Press, Oxford; 1693-1794 (ed. H. Carter), Oxford, 1970.

Hellinga, 1962: W.Gs Hellinga, Copy and print in the Netherlands, Amsterdam, 1962.

Johnson, 1927: A.F. Johnson, Frühe Basler Buchdruckerkunst, Hellerau, 1927.

Johnson, 1936: A.F. Johnson, ‘Sources of roman and italic types used by English printers in the 16th century’, The Library, 4th s., 17 (1936-7), 70-82.

Johnson, 1938: A.F. Johnson, ‘Some types used by Paolo Manuzio’, The Library, 4th s., 19 (1938-9), 167-75 (Reprinted: Johnson, 1970, 255-9).

Johnson, 1938a: A.F. Johnson, ‘Typography at the Cambridge University Press, c. 1700’, The Penrose annual, 40 (1938), 68-71 (Reprinted: Johnson, 1970, 357-64).

Johnson, 1939: A.F. Johnson, ‘Some Cologne and Basle types, 1525-1552’, Gutenberg-Jahrbuch, 1939, 197-201 (Reprinted: Johnson, 1970, 238-45).

Johnson, 1943: A.F. Johnson, ‘The supply of types in the 16th century’, The Library, 4th s., 24 (1943), 47-65 (Reprinted: Johnson, 1970, 146-60).

Johnson, 1946: A.F. Johnson, ‘On re-reading Updike’, Alphabet and image, 2 (1946), 51-7 (Reprinted: Johnson, 1970, 281-7).

Johnson, 1965: A.F. Johnson, The type-specimen of Claude Lamesle, Amsterdam, 1965.

Johnson, 1970: A.F. Johnson, Selected essays on books and printing (Ed. P.H. Muir), Amsterdam, 1970.

[p. 75]

Kirk, 1900: R.E.G. Kirk & E.F. Kirk, Returns of aliens dwelling in the City and suburbs of London, Aberdeen, 1900-08.

Lane, 1992: J. Lane, ‘Identifying typefaces’, The Library, 6th s., 14 (1992), 357-65.

Lane, 1993: J. Lane, The Enschedé type specimens of 1768 & 1773, Haarlem, 1993.

Mori, 1924: G. Mori, Das Schriftgiessergewerbe in Süddeutschland, Stuttgart, 1924.

Mori, 1955: G. Mori, Frankfurter Schriftproben aus dem 16. bis 18. Jahrhundert, Frankfurt, 1955.

Morison, 1924: S. Morison, Four centuries of fine printing, London, 1924.

Morison, 1957: S. Morison, L'inventaire de la fonderie Le Bé selon la transcription de Jean Pierre Fournier, Paris, 1957.

Morison, 1967: S. Morison, John Fell: the University Press and ‘Fell’ types, Oxford, 1967.

Mortimer: R. Mortimer, Harvard College Library. Department of Printing and Graphic Arts. Catalogue of books and manuscripts. Part 1: French 16th century books, Cambridge, Mass., 1964.

Parent, 1974: A. Parent, Les métiers du livre à Paris au XVIe siècle, Paris, 1974.

Renouard: P. Renouard, Imprimeurs et libraires parisiens du 16e siècle, vol. 1-5; suppl. 1-3, Paris, 1964-91.

Smith, 1975: M.C. Smith, ‘The first edition of Ronsard's Estreines au Roy Henry III’, Bibliothèque d'humanisme et renaissance, 37 (1975), 213-5.

Tinto, 1967: A. Tinto, ‘I tipi della Stamperia del Popolo Romano’, Gutenberg Jahrbuch, (1967), 26-38.

Vaccaro, 1983: E. Vaccaro, Le marche dei tipografi ed editori italiani de secolo XVI nella Biblioteca angelica de Roma, Firenze, 1983.

Valkema Blouw, 1983: P. Valkema Blouw, The Leiden ‘Afdrucksel’: a type specimen of the press of Willem Silvius in its last days (1582), Leiden, 1983.

[p. 76]

Vervliet, 1967: H.D.L. Vervliet, The type specimen of the Vatican Press, Amsterdam, 1967.

Vervliet, 1968: H.D.L. Vervliet, Sixteenth-century printing types of the Low Countries, Amsterdam, 1968.

Vervliet, 1981: H.D.L. Vervliet, Cyrillic & oriental typography in Rome at the end of the sixteenth century, Berkeley, 1981 (revised edition of an article published in the Bulletin de l'Institut belge à Rome, 38 (1967), 177-231).

Vervliet, 1998: H.D.L. Vervliet, ‘The italics of Robert Granjon’, Typography papers, 3(1998), 5-59.

Vervliet & Carter, 1972: H.D.L. Vervliet & H. Carter, Type specimen facsimiles; 2: Reproductions of Christopher Plantin's Index sive specimen characterum 1567 & Folio specimen of c. 1585; together with the Le Bé-Moretus specimen c. 1599, London, 1972.

Veyrin-Forrer & Jammes, 1958: Les premiers caractères de l'Imprimerie royale: étude sur un spécimen inconnu de 1643, Paris, 1958 (Reprinted from: Caractère Noël, 1957).

Voet, 1980: L. Voet, The Plantin press, Amsterdam, 1980-3.

Samenvatting

This paper attempts to survey the roman types of Robert Granjon (1513-90), a Parisian typographer better known for his italic and civilité types. It describes twenty-one roman typefaces; six belong to a first or Lyonese, seven to a late or Antwerp period. Moreover three adaptations of Garamont romans and five provisionally unattributed ones are reported.

Dit artikel tracht de romeinen te beschrijven van Robert Granjon (1513-90), een Parijse lettersteker, in de eerste plaats bekend voor zijn italieken en civilités. Eenentwintig romeinen worden behandeld. Zes behoren tot een eerste of Lyonese periode, zeven tot een latere of Antwerpse periode. Daarenboven worden drie adaptaties van een Garamont en vijf voorlopig ontoewijsbare romeinen beschreven.

Woudlaan 13,

B-2610 Antwerp

E-mail: [e-mail]