at the same time. To lower prices and force out less productive rivals, he cut cursive gothic type, enabling him to print text and gloss on the same page for the first time. Jenson's printing During the time of his arrival in Venice Jenson was quite successful as an artist but was financially successful as well. His early training as a goldsmith allowed him even greater sensitivities to the sculptural nature of type; the letters Jenson employed were often beautiful capitals that could summon the spirit of Rome. Jenson's highly legible and evenly coloured typeface, based upon Humanistic scripts, has been reinterpreted through the centuries by numerous type designers, most notably William Morris. Jenson's fame as one of history's greatest typeface designers and punch cutters rests on the types first used in his edition of Eusebius's Praeparatio Evangelica, which presents the full flowering of the roman type design. Jenson's letters are clearly borrowing their shapes from the calligraphic shapes that preceded them, called littera Antica. These were in turn based on Carolingian minuscules, to which serifs, borrowed from the Imperial Roman capitals, were added. It was first in use in his 1470 edition of Eusebius. In 1471, a Greek typeface followed, which was used for quotations, and then in 1473 a Black Letter typeface, which he used in books on medicine and history. In distinction to his contemporary printers, Jenson was able to expand his financial base. By 1477 he could run as many as twelve presses simultaneously. He was also responsible for launching two book trading companies, first in 1475 and then in 1480, under the name of Johannes de Colonia, Nicolaus Jenson et socii. Following his death respective typefaces were employed by the Aldine Press, and have continued to be the basis for numerous fonts. Examples include William Morris's Golden Type, Bruce Rogers' "Centaur" in 1914, Morris Fuller Benton's "Cloister Old Style" in 1926, and Robert Slimbach's "Adobe Jenson" in 1996. Published works The Manual Of Linotype Typography, Published 1923 by Linotype Company A hardcover book containing 256 pages of type specimens and typographic recommendations. From the introduction: "This "Manual of Linotype Typography" places before . . . printers pages based on the best typographic standards of today, presented with the greatest possible variety in order to promote versatility, and accompanied by explanatory remarks. Thus the composing-room force has the opportunity to copy something really good and do