The fact that even the most knowledgeable typophiles are not familiar with the Aries face is due to a misidentification by Goudy himself. Goudy tells the story of the lineage of these faces in Half Century; however, the sample specimen he used for Aries is a broadside entitled “Aqua Vitae” hand-set by his wife, Bertha, using Village Text (Franciscan). We can forgive Goudy's lack of complete accuracy in recalling his own work since he was in his 80s and fell ill during the course of the production of his book. The authors of subsequent surveys of Goudy's work were remiss in not checking their work for accuracy; they reproduced the specimen shown in A Half Century of Type Design, perpetuating the misidentification of Franciscan as Aries. It is true that Franciscan and Aries are very similar but several characters are strikingly different. Additional research at the Cary Collection of the Wallace Library at Rochester Institute of Technology confirmed that "Aqua Vitae" is clearly credited as being printed in Village Text in the broadside itself. Melbert Cary correctly cites "Aqua Vitae" as having been printed in the Village Text font in item 202 in his A Bibliography of the Village Press, 1903-1938 (New York, 1938, pp. 175-76). P22's discovery of the Aries Press connection for the font known as Aries came as a result of the realization that the typesetter for the Aries Press was a man named Emil Georg Sahlin (1895-1983). Sahlin was the founder of Paradise Press in Buffalo, NY, a small letterpress studio maintained by Sahlin protégé Hal Leader. P22 designers used the Paradise Press as a therapeutic retreat into metal type for years and saw samples of Sahlin's work that had been boxed up alongside the crowded racks of type drawers. Leader possessed one of the rare copies of In Praise of My Lady using the Aries type. While the history of Aries is somewhat murky, its future is more assured because the font is now accessible as a twenty-first century revival.