Recent Specimens.

Herr Poppelbaum, of the Krebs Foundry, sends us No. 3 of the Typographische Neuigkeiten—the issue preceding the one already acknowledged. The leading feature of the present number is the « Albrecht-Dürer » border, 24-point, containing 39 characters. The design is mediæval, in the favorite German style of white figures on a dark ground. There are vertical and horizontal pieces, and a pleasing diversity of design as well as readiness of justification has been obtained. Numerous specimens of its adaptations are shewn, and an article devoted to the subject gives hints as to the proper use of the various pieces. Several of the sorts, representing fruit, are cast as a separate combination on a much larger scale—60-point—and form a bold and massive border. In the specimen before us—worked on a pale green ground, and enriched by a broad gold and thin red line, a simple silhouette border in black surrounding the whole—it has a superb effect. There is a page of original carnival vignettes, such as we find only in German specimen-books, and the somewhat puerile humor of which it is difficult for a foreigner to appreciate. There are eight of these sketches, at from five to seven shillings each. All the figures are caricatured, and absurdly attired. « Three good friends, » represents a clown dancing with two swine. A pair of cuts represents fiddlers astride on hogs— « the melancholy pig » (shedding tears) and the « merry pig » respectively. In another, two ridiculous figures are tossing Cupid in a sheet.—A fine original series of old-face letters is shewn in five sizes and in as many different languages. This style is not beautiful, but is very legible, and has sufficient individuality to make it readily recognizable wherever it may be used. It does the punch-cutter credit. « The punch-cutter » —he is often a true artist—when shall we see his signature attached to his works?

The Manhattan Foundry shews two new styles with lower-case, that will sell wherever they are seen. « Arlington, » (24-point) is one of the best Yankee eccentrics yet cut. It is legible as sanserif; there is not a distorted character in the line; but every letter is odd enough for the most « æsthetic » taste. In the caps the designer has given his original imagination free play, and the curly streamers from the V and W are very characteristic. « Progressive, » (36-point) is in much the same style; but the caps are on a larger body and somewhat more elaborated, while there are perhaps too many little wavy pieces to attach to them. Twenty-five of these are shewn, mostly on nonpareil em body.

Marder, Luse, & Co. shew a lined style with lower-case, called « Georgian. » In general character it resembles the « Art Gothic, » but the hair-line shade gives it an elegant and characteristic effect. They have also brought out a full series of very narrow « Skeleton Antique, » in which the lower-case letters are nearly as tall as the caps, and the descending portions are diminished almost to the point of disappearance.

Farmer, Little, & Co. have followed up their pretty but fancifully-flourished « Belle » script by the « Idyl » script. This is a more serviceable letter than the « Belle, » but has the same defect—the lower-case letters being small almost to illegibility.

The Illinois Typefounding Company have brought out a capital style (caps only) under the name of « Clipper Extended. » There is a great scarcity of wide ornamental letters, and many existing designs are very ugly. This is nearly as plain as sanserif, but is « æsthetic » and legible.