MESSIEURS DAlVIES ,
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D'ANTOINE ALARD,
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PETRONILLE PACHET.L1 Pot.i..n1 ft �:.s:r�-=J-:: .:�c
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Not a design by a •book-artist• of the 2Cth century-but the work of a s�rno!e com:Jos,tor
m the 18 th century_ Also. not an InVItatiOn to a garden party but a funeral'new flowering of typography usually known today in the history of typogra
phy as the "classical" period.
Bodoni and Didot. lrke Aldus. developed their style of book design from
therr types and typographrcal material; but the greater clarrty and typo
graphic quality of their types enabled them to reach still greater perfection
in book typography than that achreved by Manutius.
This last flowerrng of the typography of the Mrddle Ages was followed by a
period of increasing decline which eventually. in the eig hties and nrnetres of
the last century. became quite unbearable. A certain organrc development of
classicistic typography can, it is true. be traced up to about 1850. at a drmrn
ishing rate; from that trme on. one untypographrc conceptron follows another.
It is often overlooked that one further typeface resulted from the develop
ment of the Franz6srsche Anfrqua - the sanserif. Its orrgrns can be found in
the type specimens of the first half of the 19th century. Sanserrf rs a logrcal
development from Drdot. The letters are free of all extra accessorres: their
essential shapes appear for the first trme pure and unadulterated.