Italian scholars of the 14th and 15th century, followers of Petrarch in their reverence for classical culture, search through libraries for ancient texts. Copying out their discoveries, they aspire also to an authentic script. They find their models in beautifully written manuscripts which they take to be Roman but which are in fact Carolingian.
The error is a fortunate one. The script devised for Charlemagne's monastic workshops in the 8th century is a model of clarity and elegance. It is adapted for practical use, in slightly different ways, by two Florentine friends - Poggio Bracciolini and Niccolò Niccoli.
Bracciolini, employed as secretary at the papal court in Rome from 1403, uses the ancient script for important documents. To the rounded lower-case letters of the the Carolingian script he adds straight-edged capital letters which he copies from Roman monuments.
By contrast his friend Niccoli adapts the Carolingian script to the faster requirements of everyday writing. To this end he finds it more convenient to slope the letters a little (the result of holding the pen at a more comfortable angle), and to allow some of them to join up. Joining up is not in itself new. In several forms of medieval hand-writing the letters flow together to become what is known as a 'cursive' hand.
Printers in Venice later in the century, attempting to reflect the classical spirit of humanism, turn to the scripts of Bracciolini and Niccoli. The rounded but upright style of Bracciolini is first used by the French printer Nicolas Jenson shortly after his arrival in the city in 1470. This type face is given the name roman, reflecting its ancient origins.
In 1501 another great Venetian printer, Aldus Manutius, needs a contrasting and smaller type for a 'pocket edition' of Virgil. He turns to the script of Niccoli, in everyday use by fashionable Italians, and calls it accordingly italic. Roman and italic eventually become a standard part of every printer's repertoire.
Italian scholars of the 14th and 15th century, followers of Petrarch in their reverence for classical culture, search through libraries for ancient texts. Copying out their discoveries, they aspire also to an authentic script. They find their models in beautifully written manuscripts which they take to be Roman but which are in fact Carolingian.
The error is a fortunate one. The script devised for Charlemagne's monastic workshops in the 8th century is a model of clarity and elegance. It is adapted for practical use, in slightly different ways, by two Florentine friends - Poggio Bracciolini and Niccolò Niccoli.
Bracciolini, employed as secretary at the papal court in Rome from 1403, uses the ancient script for important documents. To the rounded lower-case letters of the the Carolingian script he adds straight-edged capital letters which he copies from Roman monuments.
By contrast his friend Niccoli adapts the Carolingian script to the faster requirements of everyday writing. To this end he finds it more convenient to slope the letters a little (the result of holding the pen at a more comfortable angle), and to allow some of them to join up. Joining up is not in itself new. In several forms of medieval hand-writing the letters flow together to become what is known as a 'cursive' hand.
Printers in Venice later in the century, attempting to reflect the classical spirit of humanism, turn to the scripts of Bracciolini and Niccoli. The rounded but upright style of Bracciolini is first used by the French printer Nicolas Jenson shortly after his arrival in the city in 1470. This type face is given the name roman, reflecting its ancient origins.
In 1501 another great Venetian printer, Aldus Manutius, needs a contrasting and smaller type for a 'pocket edition' of Virgil. He turns to the script of Niccoli, in everyday use by fashionable Italians, and calls it accordingly italic. Roman and italic eventually become a standard part of every printer's repertoire.
Roman and italic: 15th century
Italian scholars of the 14th and 15th century, followers of Petrarch in their reverence for classical culture, search through libraries for ancient texts. Copying out their discoveries, they aspire also to an authentic script. They find their models in beautifully written manuscripts which they take to be Roman but which are in fact Carolingian.
The error is a fortunate one. The script devised for Charlemagne's monastic workshops in the 8th century is a model of clarity and elegance. It is adapted for practical use, in slightly different ways, by two Florentine friends - Poggio Bracciolini and Niccolò Niccoli.
Bracciolini, employed as secretary at the papal court in Rome from 1403, uses the ancient script for important documents. To the rounded lower-case letters of the the Carolingian script he adds straight-edged capital letters which he copies from Roman monuments.
By contrast his friend Niccoli adapts the Carolingian script to the faster requirements of everyday writing. To this end he finds it more convenient to slope the letters a little (the result of holding the pen at a more comfortable angle), and to allow some of them to join up. Joining up is not in itself new. In several forms of medieval hand-writing the letters flow together to become what is known as a 'cursive' hand.
Printers in Venice later in the century, attempting to reflect the classical spirit of humanism, turn to the scripts of Bracciolini and Niccoli. The rounded but upright style of Bracciolini is first used by the French printer Nicolas Jenson shortly after his arrival in the city in 1470. This type face is given the name roman, reflecting its ancient origins.
In 1501 another great Venetian printer, Aldus Manutius, needs a contrasting and smaller type for a 'pocket edition' of Virgil. He turns to the script of Niccoli, in everyday use by fashionable Italians, and calls it accordingly italic. Roman and italic eventually become a standard part of every printer's repertoire.
