An all-caps design with horizontally hatched Egyptian top and
decorated Tuscan bottom halves, probably of French origin. Shown by
Renault et Robci as N. 227 [c.1870s
specimen]. Attributed by Gray to “Figgins, c.1870. French much
earlier.” [Gray
1976] Revived by Fonderie Typographique Française (FTF) as
Romantiques No. 5. [Reichardt
2011] Cast by Los Angeles Type Founders as Tuscan
Ornate, “also known as Romantiques No. 5,
Ornate No. 5, or Bracelet. It was
originally an English design of about 1850.” [McGrew
1993]
Shown as Bracelet by PLINC [PLINC
One-Liner] and Solotype. [Solotype
1992] Adopted as Romantiques No. 5 by Letraset
(with FTF credits) [1971 catalog] and VGC. [VGC
1972] Adopted by Mecanorma as Tuscan Ornate.
[1971
ad]
Digital interpretations include Bracelet Victorian
(Douglas Day, 2001. “Scanned from Tschichold’s Treasury of
Alphabets and Lettering (Norton)”), More…
An all-caps design with horizontally hatched Egyptian top and decorated Tuscan bottom halves, probably of French origin. Shown by Renault et Robci as N. 227 [c.1870s specimen]. Attributed by Gray to “Figgins, c.1870. French much earlier.” [Gray 1976] Revived by Fonderie Typographique Française (FTF) as Romantiques No. 5. [Reichardt 2011] Cast by Los Angeles Type Founders as Tuscan Ornate, “also known as Romantiques No. 5, Ornate No. 5, or Bracelet. It was originally an English design of about 1850.” [McGrew 1993]
Shown as Bracelet by PLINC [PLINC One-Liner] and Solotype. [Solotype 1992] Adopted as Romantiques No. 5 by Letraset (with FTF credits) [1971 catalog] and VGC. [VGC 1972] Adopted by Mecanorma as Tuscan Ornate. [1971 ad]
Digital interpretations include Bracelet Victorian (Douglas Day, 2001. “Scanned from Tschichold’s Treasury of Alphabets and Lettering (Norton)”), JFRingmaster (Jessica Slater, 2001, clean and regularized), Romantiques (Dieter Steffmann, 2002, rough; used for sample), and Egyptienne Zierinitialen (Dieter Steffmann, 2002, different and w/o numerals). Main Strike (FontMesa, 2003) adds a lowercase. Dusty Circus (Baseline Fonts, 2011) is a layered interpretation.
