Page:Cyclopedia of Painting-Armstrong, George D (1908).djvu/352

344 used, as the beauty of the character is lost when the space forbids the proper extension of the feet of the letters.

We would suggest to the letter painter the use of the Clarendon character in notice-boards, Fig. 75, where it is bolder than the Roman, and is perhaps more rapidly executed, as the thin lines do not require so much care as do the fine lines in the Roman.

Next in solidity to the Clarendon is the Egyptian, or,

as it is by some painters and printers called, the Antique. It is scarcely worth while asking which is the more correct name, as neither of them is in the slightest degree justifiable. The names seem to have arisen from the letters appearing as if made up of blocks, having thus some similitude to the massive Egyptian buildings.

The letter is a most useful one, the boldest there is, and is especially adapted for being rendered with thickness and shading. It differs from Clarendon in being heavier, and