Designed by William Morris and “first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called ‘Troy Type’ and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called ‘Chaucer Type’ for use in The Order of Chivalry and The Works of Geoffrey Chaucer.” — HiH/MyFonts

“American Type Founders made an unauthorized version of Troy, ‘Satanick,’ 189?, contrary to Morris’s wish that it not be made available commercially. (Legend has it that the naming of Satanick comes from William Morris telling the agent inquiring about making copies of his fonts available to go to hell).” — P22/MyFonts

Many German foundries created clones and close interpretations, including Morris-Gotisch (Berthold, before 1902), Morris-Gotisch (Stempel, before 1905) AKA Faust Gothisch (Roos & Junge), Morris-Gotisch (Ludwig & Mayer), Archiv-Gotisch (AG für Schriftgießerei; with light and open styles), Uncial-Gotisch (Woellmer), with open and black styles). Gans from Spain had it as Gótico Uncial.

Digital revivals include Richard Kegler’s P22 Morris Troy (P22, with initials and ornaments; used for the sample), Tom Wallace’s Morris Gothic (HiH, 2007, with ornaments and 2 sets of initials), Gerhard Helzel’s Morris-Gotisch (2004, with an open style) and, less commendable, Chet Gottfried’s Troy3Roman (1992), David Nalle’s series Morris Black Letter, Morris Initials, Kelmscott (Scriptorium), and Chaucerian Initials (all: Scriptorium, 1993), Marty Snyder’s Satanick (1994), Dan X. Solo’s Morris Black (Dover Publications, 1998), Dieter Steffmann’s Morris Roman Black (2002). Boris Kahl’s Chaucer is a limited version with irregular outlines (Volcano Type, 2001).