The Garamond Types Considered in The Fleuron No. 5
2 Comments on “The Garamond Types Considered in The Fleuron No. 5”
Thanks for the images. The French government’s scan is a great service, but it’s beautiful to see the quality of the print in scans this good. And this was a rush-released addition to the magazine!
For anyone interested in getting a great view of Garamond’s actual work (and that of his contemporaries) in the best possible samples, The Palaeotypography of the French Renaissance by Hendrik Vervliet is as I understand it the state of the art. It’s particularly fascinating to see Robert Estienne’s very low x-height titling face (the balance of lower-case to the capitals in particular), quite unlike most “Garamond” display revivals.
I started getting interested in this when making a stab at rewriting the Wikipedia article on “Garamond”, but what rapidly became clear to me on reading academic histories on the topic is the extent to which Garamond/t was just one figure among many at period of rapid development in the art of printing. It’s only a few accidents of history, I think, that mean that we now call modern fonts in this style “Garamond” and not “Estienne”, “Constantin”, "Augereau" or “Hautin”.
This is food for my eyes.