11
See H. D. L. Vervliet, Sixteenth-century printing types of the Low Countries (Amsterdam, 1968), p. 301.
12
Vervliet, op. cit., pp. 288-9.
13
Type specimen facsimiles I, ed. John Dreyfus (London, 1963), no. 2 (notes, p. 5), etc.; Type specimen facsimiles II (London, 1972), no. 16, item 22 (notes, p. 3); no. 17, items 16, 19, 20 (notes, p. 8); and no. 18, items 15, 16 (notes, p. 14).
14
See Type specimen facsimiles I, nos. 4 (notes, p. 8) and 15 (notes, p. 22).
15
See Type specimen facsimiles I, no. 2 (notes, p. 4), and Type specimen facsimiles II, no. 16, item 17 (notes, p. 3); no. 17, item 7 (notes, p. 8).
16
See the illustrations in Vervliet, op. cit., p. 241.
17
Vervliet, op. cit., pp. 230-3.
18
For a particularly well-documented example, see M. Pollard, «"Borrowed twelve cuts": a Cork printer lends and borrows», Long Room, 8 (1973), 19-28.
19
Type specimen facsimiles I, no. 2 (notes, p. 4), etc.; Type specimen facsimiles II, no. 16, item 21 (notes, p. 3).
20
The fact that the second S is set upside-down without being out of line with the other letters indicates that it was not cast for use in conjunction with lower-case letters, but only for titling (capitals cast for use with lower-case letters need to be cast higher than dead centre on a body which is larger than the face, to allow for the descenders of the lower case).