Monteverdi actually began with its own italic, and Lars Bergquist did not design that. Robert Granjon did, for this is really his own Ascendonica Cursive, cut for Christopher Plantin in 1571. The roman was designed by Mr. Bergquist to go with it. It is no orthodox "Garamond" by any reckoning, but the spirit of the late French Renaissance is still there. Monteverdi has the proportions of a titling font, with long ascenders and descenders, and a correspondingly small x-height. In sizes from 14 points and up it is however in its own element. As this is really a titling face, some advanced logical and mathematical notation is missing, but everything required to set text is there.

Monteverdi has a roman (with small caps and an italic, but a boldface would have been vandalism: Renaissance type does not survive fattening with its good looks intact. There are not only the "classical" f-ligatures, but also others ligatures – equally desirable.