Also I’ve investigated into where have Victorian typefaces evolved to in our time.
Trilby designed by Jonathan Ross is a 19th-century French Clarendon, with its unorthodox reversed stress, never achieved the versatility of its sans and slab siblings.
Ivbe also looked at another French Chlaredon based typeface called Amasis. Designed by Ron Carpenter is a slab serif design which has been drawn with a humanist approach, rather than the traditional geometric construction associated with this style of letter. The result is a typeface that has an affinity with the Ionics, although in character it belongs to the latter decades of the twentieth century. The Amasis italic fonts, rather than being sloped roman or cursive in nature, are related more to the Old Style italics. Amasis works particularly well in small sizes where readability is important. Amasis has proved excellent for use on low resolution printers and for facsimile transmissions.
What has interested me here is that Amasis works perticulary well in small sizes and could be used for continuous text, which is vital for my project.
Another choice for continuous text would be Serifa, as it is a slab serif and has a good legibility at all sizes. From http://www.typedia.com “Serifa was designed by Adrian Frutiger for the Bauer foundry in 1966. The letterforms are based on those of Frutiger’s earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.
Usually, slab serif types are blocky and difficult to read in text, but Serifa has more humanistic forms that are highly readable for both text and display applications such as headlines, captions, or corporate logos.”