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Printing types of Pierre Haultin (ca.1510-87) Part I: Roman types

Printing types of Pierre Haultin (ca.1510-87) Part I: Roman types HENDRIK D.L. VERVLIET Printing types of Pierre Haultin (ca.1510-87) Part I: Roman types He did not enjoy the celebrity of Claude Garamont, nor was he, as Robert Granjon, employed by the greatest printing offices of his time. Nonetheless the 'Pierre Haultin, taillieur des lettres d'impremerie' mentioned from the mid i54os on in archive documents, deserves attention. If one had to name the most out- standing names of the for that matter very fecund French sixteenth-century type design, surely he would be on the short list. Anyhow, being available for sale unto the first quarter of the nineteenth century, several of Haultin's typefaces exhibit the same extraordinary longevity as that of his two more renowned colleagues. In typographical history he played a double role. First he lend a hand with the vast printing and publishing campaign, launched by Calvin and Geneva from the 1550s on to provide the French-speaking world with pocket-sized devo- tional and scriptural books in the vernacular tongue. Secondly, as a designer he developed a new style of roman type, sturdier, heavier, perhaps less royal or elegant but certainly more economical than the earlier sixteenth-century romans of the Estienne or Garamont fashion. Thus he set the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Quaerendo Brill

Printing types of Pierre Haultin (ca.1510-87) Part I: Roman types

Quaerendo , Volume 30 (2): 87 – Jan 1, 2000

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Publisher
Brill
Copyright
© 2000 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0014-9527
eISSN
1570-0690
DOI
10.1163/157006900X00011
Publisher site
See Article on Publisher Site

Abstract

HENDRIK D.L. VERVLIET Printing types of Pierre Haultin (ca.1510-87) Part I: Roman types He did not enjoy the celebrity of Claude Garamont, nor was he, as Robert Granjon, employed by the greatest printing offices of his time. Nonetheless the 'Pierre Haultin, taillieur des lettres d'impremerie' mentioned from the mid i54os on in archive documents, deserves attention. If one had to name the most out- standing names of the for that matter very fecund French sixteenth-century type design, surely he would be on the short list. Anyhow, being available for sale unto the first quarter of the nineteenth century, several of Haultin's typefaces exhibit the same extraordinary longevity as that of his two more renowned colleagues. In typographical history he played a double role. First he lend a hand with the vast printing and publishing campaign, launched by Calvin and Geneva from the 1550s on to provide the French-speaking world with pocket-sized devo- tional and scriptural books in the vernacular tongue. Secondly, as a designer he developed a new style of roman type, sturdier, heavier, perhaps less royal or elegant but certainly more economical than the earlier sixteenth-century romans of the Estienne or Garamont fashion. Thus he set the

Journal

QuaerendoBrill

Published: Jan 1, 2000

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