_In 1898 the name "De Vinne" meant little more to me than the name of a then popular display printing type, until the day, in a book-shop in Detroit, I chanced on a copy of_ The Book-lover's Almanac _for 1896. Of the eight or ten articles listed in the table of contents one was by Theo. Low De Vinne. The article was written in the form of a discussion between "Senex" and "Juvenis" on the comparative merits of the early type faces and those of Bodoni and his successors. This was, I believe, my first realization that "De Vinne" was the name of a living personality._
_I was just becoming interested in the history of the typography of books and was making also a closer study of type design, but it did not occur to me that such study would ever lead to the actual practise of the art I have since made peculiarly my own...._
_When I first read Mr. De Vinne's article it seemed to me that "Senex" had rather the better of the argument, indeed, I have not found, during the nearly two score years that have elapsed, any statements elsewhere that have changed materially the opinions then formed as to the soundness of his asseverations...._
_If I were asked to say what I think has been the greatest single influence in my work as a type designer I would be hard put to find a satisfactory reply; but there is no doubt in my mind that the principles set forth in this article and in his book_ Notable Printers of Italy During the 15th Century _have certainly loomed large in crystallizing the character of my types. The consistency of thought he displayed, his sound knowledge of old types, his fairness in the consideration of each moot point, the simple yet lucid presentation of his ideas and opinions interested me; they influenced my own thought, and in turn are reflected in my work._
_If, to my more mature consideration of this discussion there is any lapse of the author's pen, it seems to me it is, that "Senex" failed to stress more strongly a demand for greater grace and beauty in types in closer combination with legibility. I feel that the proper standard of beauty in types basically resides in their utility, but there are, nevertheless, secondary esthetic attributes which may be included without any sacrifice of life and vigor and legibility. A certain rugged beauty is perceived without difficulty, and irregularities which in isolated or individual characters, might seem objectionable from the standpoint of grace alone, may prove highly desirable in the composed line. Readability is of course to be considered above every other quality, because, failing this it fails utterly, regardless of every other excellence; yet, while striving for legibility, beauty of form should also be given almost equal consideration.... I venture to disagree with Senex's statement that "the lapidary letters of old Rome are uncouth and ... unfit for types"...._