TYPE DESIGNS OF THE PAST AND PRESENT PART III WE have seen that the sixteenth century gave us the types which we call 'old-face.' The seventeenth century re produced these letters—though in most cases not without some loss of beauty. This is a charge that cannot be urged against the singularly beautiful types made by Christopher van Dyck, a freelance punch-cutter in Amsterdam who worked for several foundries. Though they are not as important to the historian as those of Garamond, they are certainly more beautiful. It is often the fact that the faces fashioned after the model of a certain historically important letter are noticeably superior iu design to their prototype. In Garamond's case, that design was improved upon first by Robert Granjon and next by Christopher van Dyck. The fame of Dutch types is intimately connected with van Dyck, largely because his types were used by the Elzevirs to the exclusion of all others. The editions of this famous firm of publishers in Leyden are slighter in inter est than the work of the preceding century, but their types are undeniably superior in design and technique. Other en gravers, such as Bartholomew Voskens and his brother Dirck, contributed to the renown of Dutch typefounding. English craftsmanship remained all this time in its infancy thanks to the repressive legislation of the Crown. In Moxon's time it was the custom to commend a book by remarking that it was printed in Dutch letter, and he himself thought van Dyck's 17 BY STANLEY MORISON

PM Magazine en | 1937 | | page 19