La linéale géométrique dans un labyrinthe étranger  A typical
19th century French galerie... or is it?  Ikoku Meiro no
Croisée, or La croisée dans un labyrinthe étranger, was a
pleasant surprise and one of my favourite shows this season.
Even though Junichi Sato is only doing series composition, it
still feels like Aria. We have girls leaving their homes to go
to a strange foreign land and learn about it, set to classy
music. All we have to do is trade MANHOME for Japan, Space-
Venice for Paris, 23rd century for 19th century, and strings for
clarinets.  But there was one thing that caught my eye and has
bugged me ever since.  Why does this text on my window look so
round?  Now, I’m not a graphic design student or anything. I
just think typography is cool, so please bear with me as I play
amateur type historian. I’m also not that confident in my
ability to identify typefaces on the spot. I’m relying heavily
on Linotype’s excellent sans serif history articles and Robert
Bringhurst’s excellent The Elements of Typ