It was in his edition of Virgil, 1501, that Aldus first employed the new cursive or sloping letter which later came to be known in English printing as italic type. According to tradition he copied it closely from the handwriting of the Italian poet Petrarch. The type was very compact, covering many more words on a page than the roman of that day, and was used as a body type, not as in our day for isolated words and phrases set apart for emphasis or other distinction from the rest of the text. Aldus also, though not the first to cast Greek type, gave his Greek fonts an elegance which was soon imitated, like the italic, by other printers. By the introduction of small types which were at the same time legible, and by adopting for his classical texts a small format suitable for pocket-size books, Aldus invented the modern small book. No longer was it necessary for a scholar to rest a heavy folio on a table in order to read; he might carry with him on a journey half a dozen of these beautiful little books in no more space than a single volume of the older printers. Furthermore, his prices were low. The pocket editions or small octavos sold for about two lire, or forty cents in the money of that day, the purchasing power of which in modern money is estimated at not above two dollars.
This popularizing of literature and of classical learning did not meet with universal favor amongst his countrymen. We read of one Italian who warned Aldus that if he kept on spreading Italian scholarship beyond the Alps at nominal prices the outer barbarians would no longer come to Italy to study Greek, but would stay at home and read their Aldine editions without adding a penny to the income of Italian cities. Such a fear was not unfounded, for the poorer scholars of Germany and the Netherlands did actually find that they could stay at home and get for a few francs the ripest results of Italian and Greek scholarship. This gave Aldus no concern; if he could render international services to learning, if he could help to set up among the humbler scholars of other lands such a fine rivalry of competitive coöperation as already existed among such leaders as Erasmus and Sir Thomas More, he should be well content to live laborious days and to die poor. Both these he did; but he gathered around him such a company of friends and collaborators as few men have enjoyed; he must have breathed with a rare exhilaration, born of honest and richly productive toil, the very air of Athens in her glory; and he must have realized sometimes amid the dust and heat of the printing shop that it was given to him at much cost of life and grinding toil to stand upon the threshold of the golden age alike of typography and of the revival of learning. In 1514, the year before his death, Aldus wrote to a friend a letter of which I borrow a translation from George Haven Putnam's Books and Their Makers during the Middle Ages. This is the picture Aldus drew of his daily routine: