But this statement is very dubious it would have passed as incredible in those times, and even to-day would be regarded as an ill-understood act of magnanimity. Montfaucon, with genial credulity, adopts this anecdote as authentic, and adds: Pliny pretends that Ptolemæus, out of the modesty and greatness of his soul, desired the architect’s name to be engraved upon the tower, and no reference to himself to be made. After a few years the cement and the name of the king disappeared, and revealed the inscription which gave all the glory to Sostrates. For this purpose Sostrates devised a stratagem which proved successful deep in the wall of the tower he cut the following inscription: “Sostrates of Cnidos, son of Dexiphanes, to the gods who Protect those who are upon the Sea.” But, mistrustful that King Ptolemæus would scarcely be satisfied with an inscription in which he was wholly ignored, he covered it with a light coat of cement, which he knew would not long endure the action of the atmosphere, and carved thereon the name of Ptolemæus. He wished to immortalize his name a blameless wish, if at the same time he had not sought to suppress that of the founder, whose glory it was to have suggested the erection. Our ignorance, he says, is owing to the knavery of Sostrates. Montfaucon, in his great work, endeavours to explain how it is that while we are thus informed as to the architect, we are so doubtful as to the founder, whom, for his part, he believes to have been Ptolemæus. It might naturally be supposed that the founder of so remarkable a monument of architectural skill would be well known yet while Strabo and Pliny, Eusebius, Suidas, and Lucian ascribe its erection to Ptolemæus Philadelphus, the wisest and most benevolent of the Ptolemean kings of Egypt, by Tzetzes and Ammianus Marcellinus the honour is given to Cleopatra and other authorities even attribute it to Alexander the Great.Īll that can with certainty be affirmed is, that the architect was named Sostrates. One of the most famous lighthouses of antiquity, as I have already pointed out, was the pharos of Alexandria, which ancient writers included among the Seven Wonders of the World. Shape of surrounding glyphs, slashed zero for when you need toĭisambiguate '0' from 'o', tabular numbers, and much more. Including contextual alternates which adjusts punctuation depending on the Many OpenType features are provided as well,

The larger 'display' optical-size designs offers clean lines, smooth curves and delicate details for excellent rhythm of large text. The smaller 'text' optical-size designs features a tall x-height to aid in legibility of lower-case text, with several contrast-enhancing details like ink traps and bridges. Inter is one of the world's most used typefaces with applications ranging from computer interfaces, advertising & airports, to NASA instrumentation & medical equipment. Optical size ranges from 'text' to 'display' and there is a true italic variant. Each glyph has three dedicated designs for weights 100, 400 and 900 to ensure excellent quality at any weight. Weights ranges from a delicate thin 100 all the way up to a heavy 900. The Inter typeface family features over 2000 glyphs

Inter is a workhorse of a typeface carefully crafted & designed forĪ wide range of applications, from detailed user interfaces to marketing & signage.

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