Page:Historic printing types, a lecture read before the Grolier club of New York, January 25, 1885, with additions and new illustrations; by De Vinne, Theodore Low, 1828-1914; Grolier Club.djvu/71

STYLES OF OTHER BRITISH TYPE-FOUNDERS. 67 of letter, which he made use of to good advantage in Boy- Boydell's dell's great edition of Shakspeare. snakspeare. Baskerville's workmanship had raised the standard of printing even higher than that of type-founding. Book buyers called for more neatly printed books, and the books were soon forthcoming. Millar Ritchie, a native of Scotland, A ne w 8Ch o1 of printers. led the way with a series of Latin classics, to be followed and distanced by the more fortunate, but not more skillful, Bulmer, Bensley, M'Creery, Corrall, and Whittingham. Type-founders were not entirely content with the new styles of light faces preferred by the new school of book printers. When they discovered that Bodoni of Italy was The competi- tion of Bodonl. printing a book 1 for an English author, in bold types, then supposed to be more beautiful than any in England, they made strong efforts to checkmate the skillful Italian printer. Imitations of the Bodoni style were attempted; the imita- tors exaggerated his peculiarities; they made sharp hair lines and longer body-marks and serifs, but the great Italian's style was never popular in Great Britain. Nor can it be said that the new style of light faces was popular with the great body of printers. It came before its time. Few printers could use delicate types with profit. The time for light-faced and delicate types came when Printers were needed improvements had been made in presses, paper, improvements and inks. The iron hand-press, which enabled the printer i Hansard specifies, on page 313 of Bodoni for English publishers between his Typographia, five books printed by the years 1791 and 1794.