No new type face approaching that of Jenson appeared until almost the close of the century. In 1495 Aldus Manutius, a scholar interested in the editing of greek texts set up a press in Venice, and issued in that year a tract by the Renaissance humanist Pietro Bembo printed in a variation of the roman letter, which was in a comparatively short time to supersede Jenson's. In this type we have, says Mr Stanley Morison 'the origin of all old-faces'1 though he remarks that it represents only a 'first-state'. It is marred, among other things by over-large capitals and by poor cutting. But in its final and perfected form it is a face of great beauty: the capitals are smaller and both these and the lower-case are lighter. The cutting is greatly improved. Our illustration on page 33 is from the beautiful Aldine book in which it was first used, the famous Hypnerotomachia Poliphili by Francesco Colonna published by Aldus in 1499. A year later, Aldus, who has been named as the greatest of all the Venetian printer-publishers, designed, with the help of his typecutter, the first italic type face. We shall return to this famous type shortly under the section on italics.
Aldus's fame rests in part on his scholarship: his texts were correct and his books were widely distributed throughout Europe. Not only were his texts copied in all the important printing centres but the types in which they were set were copied also.Thus French printers were soon employing their variations of the Aldine roman. One of the first and most famous typecutters to use Aldus's letter as a model was the____________________