In 1913, the Fonderie Peignot achieved a wonderful success by the launching of the Cochins, Nicolas Cochin, Moreau le Jeune, Vignettes Fournier. In the preface of a book let about these productions, which is a model of good taste, the Fonderie Peignot explains the reason and manner of producing these works first of all modern art since 1900 "has realised that it must fall into line with tradition. Taking a further step the reader will easily see that the attempts at linking up with the past are in fluenced strongly by the periods of CHAP1TRE VIII Louis XVI and the Directoire. The eighteenth century is not the only French style, but it is the one in which foreign influence is the least marked. It is still alive in that it continues to develop, and that is the reason why we offer the public to-day types and vignettes revived from the eighteenth century." The war interrupted print ing and the bringing out of the Cochins, and they were not finished until 1920 by the successors of MM. Georges and Lucien Peignot, who gave their lives for their country shortly after the death of two other brothers who were also killed on the field of battle. The success of the Cochins at home and abroad caused the Fonderie Peignot to continue their efforts. They completed a series which Bernard Naudin had begun designing as far back as 1912. In the preface of the booklet on Naudin the master founders definitely state the spirit of their work. After recalling tbe success of the Cochins and l'Astree, which were revivals from the eighteenth century they add We must now prove that we are capable of creating a typography of our period as purely French as that of Luce, Garamond, Fournier, Grand- jean and Didot, which will carry on the traditions of simplicity, balance and taste which we have inherited from our predecessors, in a word, which will in our descendants' eyes carry on the line of tradition." Le Naudin ou caractere jranQais dit le tradition," with the accompany ing vignettes designed by Naudin is a triumph of style. To meet the needs of modern pub licity the Fonderies Deberny et Peignot have recently brought out the Sphinx, the elements of which existed under the name of double gras at the Fonderie Doublet. At the begin ning of the war the author Jean Cocteau returned to the Normandes style, a species of Didotlarge and very thick. The Sphinx from a purely typographical point of view is not de- 242 HYLAS dispute uvec SILVANDRE devant la nymphe LÉONIDE. Votez, s'ecria Hylas, quelle outrecui- dance est celle de ce bergerLui seul sait aimerC'est lui qui donne des lois a 1'Amour, qui Pa fait venir du ciel parmi Les .bommes, et qui mesure la grandeur et perfe&ion de nos volontes I Belle Nympbe, si ce ne vous est cbose ennuyeuse, pcrmet- tez-moi que je lui montre son erreur. Et lors, enfonfant son cbapeau et relevant un peu l'ailc qui lui couvrait le front, mettant une main sur les cotés et de l'autre accom- pagnant par des gestes la violence de ses- Specimen from VAstree Type Book. Pro duced by Deberny et PeignotParis •-'P

Commercial Art / Art and Industry en | 1927 | | page 259