It is rare for individuals who carve lettering to be remembered. I have carved a number of public inscriptions in the UK and I doubt anyone in a thousand years time will pause to reflect on the hand behind the cut. I would not expect otherwise. So I was taken aback when browsing Alan Bartram’s indispensable Lettering on Architecture (one of two books that should be on the bookshelf of any serious student of lettering – the other is Nicolete Gray’s A History of Lettering – see here for an earlier post on her) of the revelation that certain monumental inscriptions in Roman can be identified with one Luca Horfei and Matheo de Meli, in or around the late 16th century. Now I would like to write more on these characters, and Nicolete Gray gives a hint as to where to find further information – none other than James Mosley. For those who have not stumbled across that name before take note. He was librarian of the famous St Bride printing library in central London for many decades (until 2000) and what he didn’t know about printing history could…well, it could be written on the back of a postage stamp. He is a legend and I remember visiting that library when I was working in Fleet Street and being awed by the great man’s presence. Of Mosley, and this is a digression, a long one, I quote from Bulletin 32 [page 19] of the Printing Historical Society that I happen to have to hand: ‘After lunch, the company reassembled for James Mosley’s “Morris and the ‘Rugged’ School of Typography”. The most invigorating and original of the day’s offerings, this included a particularly fine and telling sequence of slides and [unscripted] commentary bringing to life an apparently neglected context of Kelmscott typography lying in some of the freehand drawn lettering of its period.’ You get my drift. Anyhow, regarding further commentary on Horfei and de Meli, that can be found in Mosley’s 1964 article ‘Trajan Revived’ printed in Alphabet. However, Gray offers a glimpse when she writes that Horfei followed the style of the writing master, G.F. Cresci, and designed ‘much of the lettering connected with the great town planning works in Rome inaugurated by Pope Sixtus V (1585-90)’ [p.147]. The illustrations below show: Luca Pacioli B; a B based on Trajan from Cresci (1570); and lettering designed by Horfei and cut by de Meli (1588).
Now I am not going to say these two local examples (Murwillumbah, NSW, Australia) are wonderful evidence of type, yet I am always fascinated when I come across pieces like this to consider the architect’s (or builder’s) intentions.
In the case of the Budd sign, probably simple advertising, although it is not easy to see and I have passed by that shop for years now without noting it. In fact, it was only when I was on the balcony of the recently renovated adjacent cinema a few weeks back that I spotted it.
It reminds me of the illustration taken from Alan Bartram’s wonderful Lettering on Architecture (1975), shown here. I also think of Rome with its multitude of monumental signage, also pictured in Bartram’s text (pp 154-155).
Also see this blog on Ralph Beyer.