Those are good points to be sure. I think it's also true that part of what creates this longing is the fact that in type ( or even just letter work) so much just depends* that it is very easy to feel lost or at least insecure. That along with the fact that some insights can suddenly make things seem so much clearer - like learning about overshoots for instance - combine to create a hunger for authority and the seeming instant magic "rightness". But part of what's great about letter design, and font design as a subset of that; is that not only is it a hard nut to crack properly, but I it can be cracked very very well in more than one way. So this longing is unhealthy. I am not trying to convince you but just writing down what your post made me think of.

* on the purpose, the medium, the culture, the paper, the size, and so on

That's well put.

Hi Celeste
1-One can easily find some examples of both styles at Google Images. I compare the more naive style of Griffo with Botticelli, and the more refined, flourished style of Arrighi et al with Michelangelo.

In a more specific analysis, the main diferences are the a (which has a prominent tip in Aldine) and the g (which is very crooked in Aldine, like someone has kicked its lower part to the right).

For having traits of both styles, Garamond can be compared with Raphael.

2- I don't know any aldine italic font to be used today, and for that reason I am making my own version of it.

Jeansou