The History of Ink, Including Its Etymology, Chemistry, and Bibliography
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Introductory page, with Cuneiform, Rustic, a fat face, and Madisonian for text. The drop cap with vine branches might be from the “First Series” of initial letters shown in the 1869 catalog of the Bruce foundry.
I stumbled across The History of Ink while browsing the bookshelf of a friend. It was published in 1860 by Thaddeus Davids and Company, one of the largest ink manufacturers in the world at that time.
I was instantly captured by the book’s title page, which contains no type but is a lesson in Victorian maximalist lettering. Perhaps even more impressive is the wide array of typefaces used throughout the text. You know you’ve got a winner when Rustic No. 2 isn’t even the second-weirdest typeface on a page.
The main text face is Madisonian, an unusual script-italic hybrid and ancestor of the slightly-tracked script. It was published by the Bruce Foundry around 1860, meaning this book might have been an early use of the typeface. Some might argue that Madisonian is not really a typeface for body text, but it certainly looks fantastic and connects nicely to the pens and inks that are the subject of the book.
The book also features a handful of decorative typefaces from the catalog of L. Johnson & Co., renamed MacKellar, Smiths, and Jordan shortly thereafter. Hairline Italic makes prominent appearances in running heads and supporting text. Lutetian, Southern Cross, Cicero, an open Tuscan, an outlined and contoured Tuscan, and Cuneiform are used for headers and other miscellaneous roles. (This book is actually how I discovered Cuneiform, which served as the inspiration for my latest typeface.)
This book’s type choices challenge every piece of conventional wisdom that I learned about book typography. In characteristic Victorian excess, everything feels like it is shouting. But if you think of this less as a book and more as a showpiece for ink by one of the primary players in the industry, it all begins to work and I am loving every minute of it.
Cover (lettering).
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Title page (lettering), featuring the Latin motto Vox dicta perit, litera scripta manet (“A heard voice perishes, but the written letter remains.”). Lithography by Snyder, Black & Sturm, 92 William St., New York.
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Half-title featuring an open Tuscan (“History”), an outlined and contoured Tuscan with hatch fill (“Ink”), Cicero (“Etymology”), Italian Text / Cuneiform (“New-York”), and Hairline Italic (“Thaddeus Davids & Co.”).
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An example of Lutetian in use for headers, and Hairline Italic for running heads.
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The italic used for the smaller text is unidentified.
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“Conclusion” is set in Southern Cross. Note that the larger size used for the sample has less spurs.
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Cicero and Hairline Italic used for the description of the plates.
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Part of a list of how to say “ink” in 50 different languages. (This is lettered as far as I can tell.)
8 Comments on “The History of Ink, Including Its Etymology, Chemistry, and Bibliography”
Cuneiform may have English roots. According to Nicolete Gray, it was cast by Besley in c. 1857 as Italian Text. Besley “claims that this face will enable the letterpress printer to compete with the engraver.” The same name, Italian Text, was also used by the American type foundries Boston and Bruce in the 1860s.
There’s another interpretation of Cicero by Jules Durand as Archangel. I think they have dots on each letter.
Thanks, Jay!
Cicero is also seen in a 1967 Photoscript catalogue of Art Nouveau and Ornate Typefaces.
Thank you!
The Eduard Haenel type foundry in Berlin showed the design also known as Cuneiform and Italian Text as No. 321, in a specimen dated 1847. Even if that date is not entirely accurate for the page in question, this showing probably predates the one by Besley from c. 1857.
As prior to that comment posted November 8th, 2021, Jules Durand’s Archangel changed its name to Ciceron (picture below).
Thanks, Jay. I updated the page. Have you spotted Ciceron in use yet?