Labor-Saving Mailer Type (Central)
Central Type Foundry. Filed as Labor-Saving Mailer Type (Central) in the L section.
Merrymount
1895. Cut by August Woerner in 18 point only to a design by Bertram Grosvenor Goodhue. "The original punches and matrices are preserved by the Providence (Rhode Island) Public Library as a part of its extensive Updike collection..." { McGrew 215, no specimen}
Mid-Gothic [Midgothic] (Central)
Designed and cut for Central by Nicholas J. Werner. McGrew dates this face to "just before" Central was amalgamated into ATF. Saxe/Loy dates it to "circa 1894" and identifies it as "Central/ATF". (While Central became part of ATF in 1892, several of the various foundries of ATF operated quasi-independently for several years.) Shown in the Saxe/Johnston edition of Loy, p. 109, where its date is given as circa 1894.
Minerva, Minerva Bold (Linotype UK)
For Linotype & Machinery (UK), 1954. Reynolds Stone.
See McLean, Ruari. True to Type (New Castle, DE: Oak Knoll / London: Werner Shaw, 2000), pp. 134-135. McLean cites its first appearance as Linotype Matrix No. 21 (January 1955), but Jaspert, Berry and Johnson list it as 1954. They show Minerva and Minerva Bold. McLean also cites it as a face intended to provide display sizes (he defines these as over 14pt) to complement Pilgrim (a version of Eric Gill's Bunyan) issued by Linotype & Machinery in 1953 in sizes from 8 to 14 point (but, McLean says, unsuitable for larger sizes).
Modern Antique
Lanston Monotype No. 26, Modern Antique. An Egyptian face adapted by Lanston Monotype in 1909 {McGrew 218-219}. No corresponding italic.
McGrew gives Mergenthaler Linotype Antique No. 4 as an equivalent, and compares it to Ionic No. 4. See also Lanston No. 76, Modern Antique Condensed, which was introduced simultaneously.
Modern Antique Condensed
Lanston Monotype No. 76, Modern Antique. An Egyptian face adapted by Lanston Monotype in 1909 {McGrew 218-219}. No corresponding italic.
McGrew gives Mergenthaler Linotype Antique No. 3 and Intertype Antique No. 3 as equivalents. See also Lanston No. 26, Modern Antique, which was introduced simultaneously.
Montaigne
Designed by Bruce Rogers in 1901. Cut by John F. Cumming. Privately cast [by whom?] (for the Riverside Press) in 16 point only. { McGrew 223, no specimen} { Lawson. Anatomy of a Typeface , 53, 56}
Moorish
Barnhart Brothers & Spindler. Reviewed in The American Bookmaker Vol. 12, No. 5 (1891-05): 133-135.
Morning Glory
Central Type Foundry, St. Louis. 1882 (?). one of several faces the matrices of which were engraved by machine at this very early date. Gustave F. Schroeder cut the working patterns and William A. Schraubstädter did the matrix engraving.
MoT Serif (New Zealand)
Designed in 1952 by David Kindersley as lettering (not type) intended for street signs. Cut in 2016 at 60 pt. by Fraser Engineering (formerly the J. J. Fraser Engineering Group Ltd.) of Lower Hutt, New Zealand (a general engineering firm with a strong presence in fire engine manufacturing) by CNC matrix milling. Cast in March 2016 at the Mangaroa Foundry of the Printing Museum of New Zealand on the Monotype Super Caster; Michael Curry, casterman. Its cutting and casting in metal was a part of a sculptural and video art project, "Dilutions and Infinitesimals," by Sonya Lacey.
Mountjoye
Type from matrix strikes by Stephenson, Blake (matrix justifier unknown) obtained by Daniel Berkeley Updike in 1903. Called "Brimmer" by Bruce Rogers while at the Riverside Press, and "Mountjoye" by Updike. Matrices now [1979] at the Bancroft Library, UC Berkeley. Discussed in a letter to the editor by Roger Levenson in Fine Print, Vol. 5, No. 2 (April 1979): 41-42.
Recut by Lanston Monotype as Bell
Multiform (Central)
Cut for the Central Type Foundry by Schroeder & Werner using a non-Benton pantograph matrix engraver. Date unclear. Saxe gives it as circa February 1893, but it was cut during the existence of the Schroeder & Werner partnership, from 1889 to 1891. Shown in the Saxe/Johnston edition of Loy, pp. 109 and 111.
Mural (Boston)
In his biographical sketch of Julius Herriet, Jr., Loy notes that "[Herriet Jr.] cut [but did not design] several sizes of Mural and Façade, some of them to the point set and uniform-lining system, which had been advocated in a series of articles written by N. J. Werner and published in Artistic Printer."
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