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・ Bembidiomorphum
・ Bembidion
・ Bembidion (Eurytrachelus)
・ Bembidion adygorum
・ Bembidion caucasicum
・ Bembidion ephippium
・ Bembidion laticeps
・ Bembidion nigropiceum
・ Bembidion testaceum
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・ Bembix rostrata
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Bembo
・ Bemboka River
・ Bemboka, New South Wales
・ Bembol Roco
・ Bembos
・ Bembou
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・ Bembridge Airport
・ Bembridge Beds
・ Bembridge Down
・ Bembridge Fort


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Bembo : ウィキペディア英語版
Bembo

Bembo is a 1929 old style serif typeface based on a design cut by Francesco Griffo around 1495. It is named for the poet Pietro Bembo, an edition of whose writing was its first use. The revival was designed under the direction of Stanley Morison for the Monotype Corporation around 1929, as part of a revival of interest in the types used in renaissance printing. It has held lasting popularity since as an attractive, legible book typeface. Prominent users of Bembo have included the Everyman's Library series, Penguin Books and Edward Tufte.
==History==

Griffo cut punches for the Venetian press of the humanist printer Aldus Manutius. The face was first used in February 1496 (1495 ''more veneto''), in the setting of a book entitled ''Petri Bembi de Aetna Angelum Chabrielem liber'', a 60-page text about a journey to Mount Aetna written by the young Italian humanist poet Pietro Bembo, later a Cardinal and secretary to Pope Leo X.
Six years later Griffo was responsible for the first italic types, cut for Aldus.
A second version of the roman face followed in 1499 and this type was used to print the famous illustrated ''Hypnerotomachia Poliphili''. This typeface served as a source of inspiration for typefaces of the Parisian typefounder Claude Garamond, for Voskens and many others, which were themselves the sources for Caslon types and many other European types of the sixteenth and seventeenth centuries.〔The Monotype Corporation limited, specimen blade 5-64, Bembo 270〕
Griffo was the first punch-cutter to fully express the character of the humanist hand that contemporaries preferred for manuscripts of classics and literary texts, in distinction to the book hand humanists dismissed as a gothic hand or the everyday chancery hand. One of the main characteristic that distinguished Griffo's types from earlier Venetian forms is the way in which the ascenders of the lowercase letters stand taller than the capitals. Modern font designer Robert Slimbach described Griffo's work as a breakthrough leading to an "ideal balance of beauty and functionality."

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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