The first event of significance which followed the renewed recognition of the decorative value of the printed letter was the issue of some new types designed by Otto Eckmann and Peter Behrens respectively, the former slender, delicate, and round, the latter bold, distinguished, and angular, but both alike quite free, natural, and easily legible. It was these founts that really inaugurated the new development; and the foundry of the Gebr. Klingspor which issued them, placed itself by so doing at the head of all those enterprising type-foundries which have since enriched our printing press with a wealth of new and valuable founts. It had come to be recognised that lettering and ornament were closely correlated; that the ornamentation of printed matter could not be regarded as an end in itself, but must be adapted to the character of the lettering in order that the rectangular space of a page should be so filled as to achieve a good general effect and satisfy the sensitive eye. Nothing remained, therefore, but to entrust the designing of new types to artists who had already accomplished good and original work as book decorators; and as none of the numerous German type-foundries desired or indeed could afford to be behindhand in a movement of this kind, it resulted that in the course of a few years the printing presses of the country were inundated with a flood of new "artist" types, of which, nevertheless, only relatively few have been able to survive till now. To design a new type or to re-mould the old forms of "Antiqua" (Roman) or "Fraktur" (German Gothic), so that the new forms should not only have a good black-and-white effect but that the eye should be able to grasp with ease the sequence of "word-pictures" as well as each individual letter and to read the lines quickly and comfortably, is a task of extraordinary difficulty which many who have attempted to grapple with have under-estimated. To obtain an idea of the multitude of difficulties that have to be overcome, one must bear in mind that the fundamental forms of the individual letters are fixed, and that only small changes are possible in the general shape, in the proportions of the component parts, in the alternation of the upright, horizontal, and oblique lines, in the curvature of the so-called "versal" or capital letters, in the serifs, and in the sweep of preliminary or terminal flourishes; that the printed letter, unlike manuscript, is bound up with fixed laws, and that in order to justify its claim to consideration it should, while expressing the artistic individuality of its designer, not be too original and personal if it is to be employed for general use. Further, it should conform to the spirit and ideas of the age, and yet again it ought not to be wholly conditioned by contemporary considerations if it is to survive to a later age, as have many fine founts which the seventeenth and eighteenth centuries have bequeathed to us.