The concert room had both an organ and a harpsichord, refreshments, on a sideboard, and excellent home-brewed ale. Guests left at twelve,
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to walk safely home under a full moon. This piure of Caslon’s comfortable and cultured domestic life is refleed in his types, or rather in the harmonious smaller sizes it is.
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T faces are oddly different in style. In his 1734 specimen Caslon showed several titling caps. Some of these were later given lowercases, one being adopted from an older face by Joseph Moxon. Of the sturdy romans that resulted, the two largest are particularly vigorous.
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Perhaps they were cut by the master himself in a funkier mood, or by William the younger, a chip off the old block, who joined the family foundry in 1734 and later cut a number of gargantuan poster types. Or could they be much older in origin, like Moxon’s 17th-century face? Caslon’s text types, unequalled in legibility, have often been revived; but the display sizes, forceful and a touch eccentric, have had no digital version up till now.⁽¹⁹⁹⁴⁾
