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Cawelti, Andrea. “It’s Good to Be the King: Head-Pieces in
Ballard Folio Scores.” The Library Quarterly: Information, Community, Policy, vol. 84, no. 2, 2014, pp. 209–18. JSTOR,
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On his return to France, he established a type foundry which lasted through two generations until the 18th century. Le Bé supplied types to
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types for various printer/publishers, notably Marc'Antonio
Giustiniani, Carlo Querini and Meir di Parenzo.
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in Paris. He also supplied music type to the publishing house of Robert
Ballard (his son-in-law) and
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and left two annotated scrapbooks of his and other typefaces, which are now in the
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decodeunicode.org . decode . LEFT-POINTING DOUBLE ANGLE QUOTATION MARK
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in the 1550s. This type was used well into the 18th century, when
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in Paris. After completing his apprenticeship, he was active in
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69:from c. 1540 to 1550, where he produced Hebrew,
57:to a notable family of paper merchants and
149:Character design standards - Punctuation 1
39:; 1525–1598) was a French punchcutter and
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198:16th-century French businesspeople
16:French publisher and type designer
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137:https://doi.org/10.1086/675333
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100:ran the publishing house.
103:The typographical symbol
139:. Accessed 24 Feb. 2024.
90:Bibliothèque Nationale
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23:Guillaume Le Bé, 1599.
178:16th-century printers
117:France-Asia relations
32:French pronunciation:
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107:is named after him.
43:who specialised in
36:[ɡijomləbe]
193:People from Troyes
98:Christophe Ballard
82:Christophe Plantin
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172:Categories
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105:guillemet
48:typefaces
111:See also
41:engraver
86:Antwerp
67:Venice
55:Troyes
45:Hebrew
75:Greek
71:Latin
73:and
84:in
61:to
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