Times Old Romance…

Pendant que chaque pas nous éloignait davantage de la géante cage de verre et de l’esplanade, le maître éclairait notre esprit par ses paroles sur tout ce que nos yeux et nos oreilles venaient de percevoir. Voyant quels réflexes merveilleux il obtenait avec les nerfs faciaux de Danton, immobilisés dans la mort depuis plus d’un siècle, Canterel avait conçu l’espoir de donner une complète illusion de la vie en agissant sur de récents cadavres, garantis par un froid vif contre la moindre altération. Mais la nécessité d’une basse température empêchait d’utiliser l’intense pouvoir électrisant de l’aqua-micans, qui, se congelant rapidement, eût emprisonné chaque trépassé, dès lors impuissant à se mouvoir. S’essayant longuement sur des cadavres soumis à temps au froid voulu, le maître, après maints tâtonnements, finit par composer d’une part du vitalium, d’autre part de la résurrectine…

The Devil in the White City: Murder, Magic, and Madness at the Fair That Changed America

The Apocalypse Tapestry of Angers was immediately recognized as a model that launched the production of tapestries of gigantic dimensions, of which it is one of the few surviving examples. Its “reverse-free” technique and the fineness of its weave have made it unique and irreplaceable. Its preservation in Angers since its creation has ensured its authenticity. Its inscription on the Memory of the World Register supports the rediscovery of the originality of this prototype and encourages reflection on its preservation and public engagement. This tapestry is read like a comic strip !

Bosch may have intended the outer panels to establish a Biblical setting for the inner elements of the work, and the exterior image is generally interpreted as set in an earlier time than those in the interior. As with Bosch’s Haywain Triptych, the inner centerpiece is flanked by heavenly and hellish imagery. The scenes depicted in the triptych are thought to follow a chronological order: flowing from left to right, they represent Eden, the garden of earthly delights, and Hell. God appears as the creator of humanity in the left-hand wing, while the consequences of humanity’s failure to follow his will are shown in the right. In contrast to Bosch’s two other extant triptychs, The Last Judgment (around 1482) and The Haywain (after 1510), God is absent from the central panel. Instead, this panel shows humanity […]

The Wonderful Wizard of Oz*

Vampire Weekend

Critics have praised the composition for its ordered portrayal and integrated scene. There are approximately 126 identifiable proverbs and idioms in the scene, although Bruegel may have included others which cannot be determined because of the language change. Some of those incorporated in the painting are still in popular use, for instance “Swimming against the tide”, “Banging one’s head against a brick wall” and “Armed to the teeth”. Many more have faded from use, which makes analysis of the painting harder. “Having one’s roof tiled with tarts”, for example, which meant to have an abundance of everything and was an image Bruegel would later feature in his painting of the idyllic Land of Cockaigne (1567). The Blue Cloak, the piece’s original title, features in the centre of the piece and is being placed on a man by his wife, indicating that she is cuckolding him. Other proverbs indicate human foolishness. A man fills in a pond after his calf has died. Just above the central figure of the blue-cloaked man, another man carries daylight in a basket. Some of the figures seem to represent more than one figure of speech (whether this was Bruegel’s intention or not is unknown), such as the man shearing a sheep in the centre bottom left of the picture. He is sitting next to a man shearing a pig, so represents the expression “One shears sheep and one shears pigs”, meaning that one has the advantage over the other, but may also represent the advice “Shear them but don’t skin them”, meaning make the most of available assets.

Op een keer in de herfst bevond ik mij in een uiterst omplezierige situatie. Ik doolde door en stad, aar ik juist was aangekomen en geen sterveling kende, terwijl ik geen cent op zak had en geen onderdak. Nadat ik gedurende de eerste dagen alle kledingstukken te gelde had gemaakt, waar ik desnoods wel buiten kon, verliet ik de stad, om naar Oestj je gaan, een plaatsje met een grote haven, die in het zomerseizoen vol drukte en leven was, maar nu in stille verlatenheid lag verzonken daar het reeds tegen November liep. Ik slofte met mijn voeten door het vochtige zand, dat ik aan een nauwkeurig onderzoek onderwierp in de hoop er nog ergens iets eetbaars in te ontdekken, en zo dwaalde ik eenzaam tussen de verlaten gebouwen en opslagplaatsen en overdacht, hoe goed het moest zijn, een volle maag te hebben… In de tegenwoordige faze der cultuur is het veel gemakkelijker de hon-ger van de geest te stillen, dan de honger van het lichaam. Wanneer je door de straten van een stad zwerft, ben je omringd door gebouwen, die van buiten het aanzien meer dan waard zijn, en die ook van binnen, zonder enige twijfell, lang niet lelijk zullen wezen, en dit kan je tot opwekkende gedachten inspireren over architectuur, hygiëne en allerlei andere goede en verheven zaken; je komt warm ingepakte, goed geklede mensen tegen, die altijd zeer hoﬀelijk voor je opzij gaan en zo fijngevoelig zijn, het betreurenswaardige feit van je bestaan liever niet op te merken. Grote hemel, de geest van een hongerig mens wordt waarlijk op betere en gezondere wijze gevoed, dan die van een verzadigd mens, iets, waaruit men een scherpzinnige conclusie zou kunnen trekken, waar de verzadigden zeker hun voordeel mee konden doen…!

Selected Stylistic Sets

ss01 Open k

kayak

ss02 Bottom Serif N

Nymphea

ss03 Top Serif E F T

FEATURES

ss04 Reversed M X Q

MAXIMUM

ss05 Royal R

AFTER PARTY

ss06 Short Bottom J

ALEJANDRO

ss07 Thin Punctuation ()[]{}

(Fig.08)

ss08 Vertical Fractions

1/2ℓ milk

ss09 Waiter Ampersand

Deberny & Peignot

ss19 Small Registered

Brand Identity®

Chargement...

Variable Fonts

Alegoria Variable

Alegoria Variable Italic

Learn More

Alegoria is a classic typeface family inspired by Christoffel Van Dijck’s lost romans. Furthermore it is a mannerist mashup of various references from the XVIIe century, embodying a transitional style : somewhere in between Rosart, Kis, and Ehrhardt. Both upright and italic styles contain alternative letterform swashes. Additionally, the uppercase accents are notably flat, drawn for tightly composed headings – while lowercase accents are considerably high and vertical – according to the old style genre.

Some letterforms echoes typographic mistakes of the early lead-based printing, where intentional disproportions (Z, z, S, s…) and inverted metal type (stylistic set 01) become distinctive features. Every style contain some serifs alternative glyphs (E, F, T…) which subtly blurs the origin of a precise historical source. Last but not least, Alegoria’s stroke ratio exhibits a delicate chiaroscuro contrast as if it were a Rembrandt painting. The overall letter shapes are sprinkled with baroque allusions and enigmatic dutch qualities !

Open Type Features

locl

Localized Forms

ccmp

Glyph De/composition Substitution

lnum

Lining Figures

pnum

Proportional Figures

onum

Oldstyle Figures

subs

Subscripts

sups

Superscripts

sinf

Scientific Inferiors

dnom

Denominators

numr

Numerators

ordn

Ordinals

frac

Fractions

case

Case Sensitive Forms

calt

Contextual Alternates

liga

Ligatures

dlig

Discretionary Ligatures

titl

Titling Alternates

cswh

Swashes

aalt

Access All Alternates

ss01

Bottom Dot y (upright) Open k (italic)

ss02

Bottom Serif N

ss03

Top Serif E F T

ss04

Reversed M X Q

ss05

Royal R

ss06

Short Bottom J

ss07

Thin Punctuation ()[]{}

ss08

Vertical Fractions

ss09

Waiter Ampersand

ss10

Swashed Ampersand

ss11

White Circled Figures

ss12

Black Circled Figures

ss13

Keyboard Arrows

ss14

Titling Umlauts

ss15

Slashed Zero

ss16

Tabular Punctuation

ss17

White Heart

ss18

Black Heart

ss19

Small Registered

ss20

Lowercase Math Operators

Credits & Details

Design

Arnaud Chemin

Collaborator

Yaprak Buse Çağlar

Production

Arnaud Chemin

Kerning

Solenn Bordeau

Quality Assurance

Arnaud Chemin

Mastering

Arnaud Chemin

Support

Latin Extended

Glyphs

872

Publication

2026

Version

1.0

Genre

Elsevier

Awards

None

Supported Languages

Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, RotokasSami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Vietnamese, Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni