Which is also why in the early days, different versions of a Roman or Italic version would simply be differentiated by Roman No.1 or Roman No.2. Perhaps the most endearing thing here was finding out about nicknames for typefaces from cities:
In Bodoni’s epic Manuale Tipografico of 1818, over one hundred romans and italics are shown with the name of a city as a kind of nickname, though the real name was still a size and a number. Trieste is really Ascendonica (22 point) No. 9, Palermo is Sopracanoncino (28 point) No. 3, and so on.
Because of cultural differences, mostly (I presume) based on language necessities, the designations came to mean very different things for different “markets”. For example, Antique means “slab serif” in the United States or Britain, but “sans serif” in France. In Germany, Antiqua would take on another meaning, of modern or oldstyle serif. Because, Germany.
Fast-forward a few decades, and we get Lawrence Johnson’s 1857 specimen with a much more decorated design under the name “National”. Being an adjective like all the other genre names, it’s not clear if this was meant as a unique name, or the start of yet another novelty genre. But its specimen leaves no margin for doubt as to why it’s named National: