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And so I think I have omitted nothing
% Et ainsi ie pense n'auoir rien omis des elemens,
that is necessary to an understanding of curved lines.
% qui sont necessaires pour la connoissance des lignes courbes.
--REN\'E DESCARTES {\sl La G\'eom\'etrie\/} (1637) % p369

I might compare the high-speed computing machine
to a remarkably large and awkward pencil
which takes a long time to sharpen and
cannot be held in the fingers in the usual manner so that it
gives the illusion of responding to my thoughts,
but is fitted with a rather delicate engine
and will write like a mad thing
provided I am willing to let it dictate pretty much
the subjects on which it writes.
--R. H. BRUCK {\sl Computational Aspects of Certain
  Combinatorial Problems\/} (1956) % AMS Symp Appl Math 6, p31

On the breast of her gown,
in elaborate embroidery and
fantastic flourishes of gold-thread,
appeared the letter A.
--Hawthorne, Scarlet Letter % chapter 2

nub [interesting word]

Plot It Yourself [title of novel by Rex Stout]

It is hoped that Divine Justice
may find some suitable affliction
for the malefactors who invent
variations upon the alphabet of our fathers.\thinspace.\thinspace.
The type-founder, worthy mechanic, has asserted himself
with an overshadowing individuality,
defacing with his monstrous creations and revivals
every publication in the land.
--AMBROSE BIERCE {\sl The Opinionator. Alphab\↑etes\/}
  (1911) % vol 10 of his collected works, p69
  % probably written originally in 1898 or 1899

Midnight wags are diligently studying the alphabet
to see how many of the letters are susceptible
to mutation into something new and strange. .\thinspace.\thinspace.
There are two schools of M-sters;
when their warfare is accomplished we shall know
whether that letter is to figure henceforth as
two sides of a triangle or three sides of a square.
--AMBROSE BIERCE {\sl The Opinionator. Alphab\↑etes\/}
  (1911) % vol 10 of his collected works, pp69--70
  % probably written originally in 1898 or 1899

Note from Moxon's Mechanick exercises:
   Roman "Fat stroaks" were 5/42 em u.c., 3.5/42 em l.c.;
		h-height 30/42 em, x-height 18/42 em.
   Italic "Fat stroaks" were 4/42 em u.c, 3/42 em l.c.; 20 degree slope.

Answers:
Calle these foule Offendors to their Answeres.
	[2 Hen VI, II.i.203]
We that have good wits, have much to answer for.
	[As You Like It, V.i.13]

Summary:
This is of you verye well remembred and well and sommarily rehersed.
	MORE, Dyaloge II, Wks 178/1 (1528)

Running MF: look up book on jogging

Errors:
The road to wisdom? Well, it's plain
and simple to express:
	Err
	and err
	and err again
	but less
	and less
	and less.
--PIET HEIN, {\sl Grooks} (1966) % p34

No one compositor will have all the signs and symbols available.
The number of special signs and symbols is almost limitless,
with new ones being introduced all the time.
	U CHICAGO Manual of Style (when?)

What designer in the development of his drawing
does not know those spooky, stubborn antipathetic shapes
that maverick-like will not join the type family?
	ZAPF, About Alphabets

The type face ... that American founders
used to call ``gothic'' ... ``sans-serif'' ... has been
reproduced lately in almost innumerable versions,
none of them fit for the printing of books.
	BRUCE ROGERS, Pi (1953)

Here, where we reach the sphere of mathematics,
we are among processes which seem to some
the most inhuman of all human activities
and the most remote from poetry.
Yet it is here that the artist
has the fullest scope of his imagination.
--HAVELOCK ELLIS {\sl The Dance of Life\/} (1923) % where? p2?

There are lots of quotes in Luckombe (cited in TeXbook)
	neat one on ligatures, p460; braces p284; history(?) p270

This was the noblest Roman of them all.
	[Julius Caesar V.v.68]

The awesome memory of thy ever attentive computer
accepts all words as truth.
Think, therefore, in analytical, modular steps,
for the truth or untruth spoken through thy fingertips
will be acted upon unerringly.
--HERMANN ZAPF, {\sl The Ten Commandments of Photo-Typesetting\/}
	(1982) % 2nd Commandment

[Tinguely] made some large, brightly coloured open reliefs,
juxtaposing stationary and mobile shapes.
He later gave them names like
{\rm Meta-↑{Kandinsky}}\kern-1pt and\/ {\rm Meta-↑{Herbin}},
to clarify the ideas and attitudes
that lay at the root of their conception.
--K. G. PONTUS ↑{HULT\'EN}, {\sl Jean ↑{Tinguely}: M\'eta\/} (1972)
 % translated from German by Mary Whittall, 1975, p46

Can the new process yield a result that, say,
a Club of Bibliophiles would recognise
as a work of art comparable to
the choice books they have in their cabinets?
--STANLEY ↑{MORISON}, {\sl Typographic Design in Relation to
	Photographic Composition\/} (1958) % pp 4--5