Letters and Lettering

CORNELL UNIVERSITY
LIBRARY
BOUGHT WITH THE INCOME

OF THE SAGE
ENDOWMENT
FUND GIVEN IN 1 89 1 BY HENRY WILLIAMS SAGE
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3 1924 019 514 037
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PRINTED INU.S.A.
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Cornell University Library
The
tine
original of
tiiis
book
is in
Cornell University Library.
There are no known copyright
restrictions in
text.
the United States on the use of the
http://www.archive.org/details/cu31924019514037
Letters and Lettering
LETTE R S ^
Copyright, 1921, by
BATES & GUILD COMPANY
Printed by
The Davis Press

Worcester, Mass,
NOTE
This book
is
intended for those
who have
felt
the need of
a varied collection of alphabets of standard forms, arranged

for convenient use.
The
as to
alphabets illustrated, while primarily intended
to
exhibit the letter shapes, have in
most cases been so arranged
show
also
how
the letters
compose
into words, except to be used only
in those instances
where they are intended
as initials.
to
The
application of classic and medieval letters

as far as possible, suggested
in
modern usages has been,
by showing modern designs
which similar forms are

has been
employed.
In view of the practical aim of
this treatise
it
deemed advisable
lution
to include a larger
number of
illustrative
examples rather than to devote space to the

of the
letter forms.
historical evo-
To
letters
the artists,
kindly furnished
ând
American and European, who have so him with drawings of their characteristic without whose cordial assistance this book
would hardly have been possible
to the master-printers
who have allowed him

to
to
show
types specially designed for
them, and to the pubUshers
who have
given him permission
borrow from
their
books and magazines, the author wishes
to express his sincere obligations.
F. C. B.
3 2 1
3 8 7
LIST OF ILLUSTRATIONS
I
and 2
Alphabet AFTER Sebastian Serlio (1473-1 554). Reconstructed by Albert R. Ross . 4-5
. .
.
Width Proportions of Modern Roman Capitals. F. C. B 4 Drawing for Incised Roman Capitals. For cutting in
3
granite.
I
Letter forms based

F. C.
upon those shown
in figures
and
2.
B
. . .
10
Photograph of Incised Roman Capitals. Cut in granite from drawing shown in figure 4 .11 6 Incised Roman Capitals. From the Arch of Constantine, Rome. 315 A.D. From a photograph .12 7 Model for Incised Roman Capitals. Used for inscrip5
.
tions cut in granite
on Boston Public Library.
McKim,
cast
.
Mead & White, Roman Incised
Architects.
Photographed from a
Capitals.
From
fi-agments in marble.
,
National Museum, Naples. Rubbing Museo Civico, Bologna. 9 Roman Incised Inscription.
. .
'14
From
10
1
a photograph
Roman
From
Incised Inscription.
. .
Museo
.
Civico,
.
Bologna.
.
a photograph
Detail from a Roman Incised Inscription.

composition.
Showing
.
Redrawn
fi-om a rubbing.
F. C. B.
16
"
Rustic
'
'
Roman
Redrawn Museum, Naples. F. C. B. Roman Capitals from Fragments of

stone.
Capitals. Of pen forms, but cut in from a rubbing. From fragment in the
.
.
National
.16
Inscriptions.
Showing
14
various
characteristic
.
letter
.
forms.
.
Redrawn
.
firom rubbings.
F. C. B.
Modern Roman
stone.
Incised Capitals.
Executed
in sand-
bridge, Mass.
15
Harvard Architectural Building, CamMcKim, Mead & White, Architects Letters Shown in Alphabet and 2, in Composition. By Albert R. Ross .19
the
.
From
viii
PAGE
FIGURE
1
Cut in marble. Redrawn froin rubbings made in the Forum, Rome. zo-zi F. C. B and i g Classic Roman Capitals. Late period. Cut in 1 8 22-23 Redrawn from rubbings. F. C. B. marble. zo Portion of Roman Inscription. With supplied letters.
6 and 17
Classic
Roman
Capitals.
Redrawn from
21
Classic
a rubbing.
F. C. B.
24.
Roman
Inscription.
Incised in marble
. .
Redrawn
?S
F. C. B. . from a rubbing. . Redrawn from 22 Classic Roman Inscription. In stone. a rubbing. F. C. B 23 Italian Renaissance Inscription. Square-sunk in marble. . . From a photograph of a mortuary slab 24 Italian Renaissance Medal. By Vittore Pisano. 1 5th
26
'
.28
Century.
From
a photograph
.29
a pho-
25
Modern French Medal.
By Oscar Roty.
From
.
tograph of the original in the Luxembourg, Paris 26 Capitals Adapted from Renaissance Medals. F. C. B. By Juan de Yciar. 27 Spanish Renaissance Alphabet. From "Arte por la qual se esena a escrevir perfectamente." (Saragossa, 1550) 28 Renaissance Inlaid Medallion. From a floor-slab in
.
. .
.29
30
3'
Santa Croce, Florence.
Redrawn from
a rubbing.
F. C. B.
32
29 Italian Renaissance Capitals. From an inlaid floor-slab in Santa Croce, Florence. ( Compare figure 28.) Redrawn
30 Italian
3
from a rubbing. F. C. B. . . Renaissance Panel. From Raphael's tomb. Pantheon, Rome. From a photograph . . Italian Renaissance Incised Inscription. From the Marsuppini Tomb, Santa Croce, Florence, 1455. Rub. .
-33
-34
.35
-35
36
37
bing
32
Italian Renaissance Incised Inscription. From a floorslab .in Santa Croce, Florence. Early 15th Century.
Rubbing
Redrawn from inscrip33 Italian Renaissance Capitals. tion on the Marsuppini Tomb, Sahta Croce, Florence, F. C. B. . . . 1455. (Compare figure 31.) Redrawn from rubbings 34 Italian Renaissance Capitals. of inscriptions in Santa Croce, Florence. F. C. B. . Italian Renaissance Capitals. By G. A. 35 and 36
'
'
'
FIGURE
ix
PAGE
Tagliente.
From 'La
vera arte dello eccellento scrivere.'
(Venice, 1524) 38-39 By Albrecht 37 and 38 German Renaissance Capitals. Durer. Adapted from ' Underweyssung der messung,
mit
dem
1
zirckel,
un
richtscheyt, in Linien, etc'
(Nurem40-41
Sebastian
berg,
525)
Italian Renaissance Capitals.
39 and 40
By
Serlio. (1473-1554.) Compare figures i and z 42-43 41 German Renaissance Capitals. By Urbain Wyss. From
. scribendarum literarum genera (Zurich, 1549) . . . Italian Renaissance Panel. Above the door of the Badia, Florence. Redrawn by Claude Fayette Bragdon.
'
Libellus valde doctus
complectens. '
++
42
43
44
45
46
From 'Minor Italian Palaces.' (Cutler Manufacturing Company, Rochester, N.Y., 1898) -45 Modern Title in Anglo-Saxon Capitals. By Bertram G.Goodhue. (Compare figure 46.) From The Quest of Merlin.' (Small, Maynard & Co., Boston, 189 1) 46 Modern Title with Characteristics of i6th Century English Capitals. By Walter Crane. (Compare figure 49.) From 'The Story of Don Quixote.' (John Lane, New York, 1900) 4^ Title in Early English Capitals. By W. Eden Nesfield. From ' Specimens of Medieval Architecture. (Day & Sons, London, 1862) -47 Anglo-Saxon Capitals. 6th Century. From ' The
. .
'
......
. .
Rule of St. Benedict.'

Gospels of
St.
Bodleian Library, Oxford
47 Anglo-Saxon Capitals.
Cuthbert
7th
48 Anglo-Saxon Capitals.
an Anglo-Saxon Bible
.
.....
Century.
48
From
'
The
49
Early loth Century.

. . . .
From
.50
49 Early English
of Henry vii, 50 and 5 1 Scheme for the Cqnstruction of Roman Small

. .
Capitals. i6th Century. Westminster Abbey, London
From tomb
5
Letters.
F. C. B.
54-55
58
Letters. By Francisco Lucas. From 'Arte de Escrevirde.' (Madrid, 1577) . Showing use of 53 Spanish Roman Pen Drawn Letters. above. By Francisco Lucas. From ' Arte de Escrevirde.
52 Spanish Roman Pen
Drawn
(Madrid, 1577)
58
X
FIGURE
PAGB
Letters. By Francisco From 'Arte de Escrevirdc' (Madrid, 1577) Lucas. Showing use of 55 Sjpanish Italic Pen Drawn Letters. above. By Francisco Lucas. From 'Arte de Escrevirdc.'
54 Spanish Italic
Pen
Drawn
59
(Madrid, 1577) 56 Italian Small Letters.

fetto Scrittore.'
59
By
J.
F. Cresci.
. .
From
.
'Per-
(Rome, 1560)
. .
.
.60
From
57 English 17th Century Letters.

tombstones
.
Incised in
.
.
slate.
.
.61
58
Modern Small
alen Alphabete
Letters.
After C. Hrachowina's 'Initi-
und Randleisten verschiedener Kunstepo-
6i (Vienna, 1883) By Claude Fayette Bragdon. 59 Modern Small Letters. Based on Venetian types cut by Nicholas Jenson, 1 47 1 -8 1 63 60 Inscription from English 17th Century Tombstone. 1 69 1. From slate tombstone at Chippenham, England. . F. C. B . .64. 61 Roman and Italic Type. Designed by William Caslon. (London, 1734) From his Specimen Book. ^S 62 Modern Roman Type, "Montaigne." Designed by 66 Bruce Rogers for The Riverside Press, Cambridge, Mass. 63 Modern Roman Type, " Renner." Designed by Theo.
chen.'
L.
De
Vinne
for
The De Vinne
Press,
New
York
67
64 Modern Roman Type, " Merrymount." Designed by Bertram G. Goodhue for The Merrymount Press,
Boston, Mass.
65 Modern Roman Type, "Cheltenham Old Style. "Designed by Beriram G. Goodhue for The Cheltenham (Owned by American Type FoundPress, New York. ers Company and Linotype Company) 66 Modern Greek Type. Designed by Selwyn Image for The Macmillan Company, London Designed by C. R. Ashbee for 67 Modern Roman Type. a Prayerbook for the King of England 68 Modern German Capitals. After lettering by J. M.
. . .
. .
.......
. .
68
-70
T^
-73
74
Olbrich
69 Modern German Capitals. By Gustave Lemmen. From

'Beispiele Kunstlerische Schrift.'
Vienna)
........
(A. Schroll
&
Co.,
75
FIGVRB
xi
^
PAGE.
70 Modern German Capitals. Ludwig

. . .
After
. .
lettering
.
by Alois
.
-75
71
Modern German
Eckmann
.
.
Capitals.
.
.
After
.
lettering
.
by Otto
.
7(>
72
Modern German
'Beispiele
Vienna)
73
Modern German
'Beispiele
Vienna)
Stuck
74 Modern German Capitals.

75
Modern German
F.
........ .........
Kunstlerische
Schrift.'
Capitals.
By Otto Hupp.
(A. SchroU
From
Co.,
&
77
Capitals.
By Joseph
Plecnik.
From
Co.,
Kunstlerische
Schrift.'
(A. SchroU
&
78
After lettering
by Franz
79 80
81
Capitals.
Arranged from
originals.
C.B
76 Modern German Capitals. After lettering by Bernhard Pankok 'La Libre Esthetique.' By 77 Modern French Poster. Theo. van Rysselberghe By M. P. Vemeuil. 78 Modern French Book-cover. From 'L' Animal dans la decoration.' (E. Levy, Paris) 79 Modern French Letters. After lettering by M. P. Vemeuil 'La Revue Blanche.' By P. 80 Modern French Poster. Bonnard By George 81 Modern French Magazine Cover Design. . Auriol. From 'L'Image.' (Floury, Paris, 1897) By Alphons M. Mucha. 82 Modern French Capitals. From 'Beispiele Kunstlerischer Schrift.' (A. SchroU & Co., Vienna) By 83 Modern French Lettered Page in "Cursive." From ' Le Premier Livre des Cachets, George Auriol. etc' (Librairie Centrale des Beaux- Arts, Paris, 1 901) 84 Modern French Letters, "Cursive." By George
.
8z
8z
........
.
..83
84 84
....'...
.
8j
86
87
Auriol
85
Modern French Cover

From
'Art et Decoration.'
Design.
(Paris)
By Eugene
. .
Grasset.
.
88
86 Modern English Capitals.

Vienna)
By Walter Crane.
(A. SchroU
From
Beispiele Kunstlerischer Schrift.'
&
Co.,
88
87 Modern English Theatrical Poster.
By Walter Crane
89
xu
FIGURE
'
PAGE
88
Modern English
1899)
Capitals.
By Walter
Crane.
From
9
Alphabets Old and
New.'
(B. T. Batsford, London,
89 Modern English Letters.

Vienna)
.
.
By Walter
. .
Crane.
From
'Beispiele Kunsterischer Schrift.'

.
(A. Schroll
.
&
.
Co.,
-91
-91
.
90 Modern English Title. ByJosephW. Simpson. From (Williams & Norgate, 'The Book of Book-plates.'
. Edinburgh) . . Modern English Poster. By Joseph W. Simpson 92 Modern English Book-cover. By William Nicholson. From 'London Types.' (R. H. Russell, New York,
.
...
91
92
189?) 93 Modern English Magazine Cover.
92
By Lewis
From 'The Art Journal.' (H. Virtue & 94 Modern English Title. By Gordon Craig. From ' The Page (The Sign of the Rose, Hackbridge, Surrey) 95 Modern English Capitals. By Lewis F. Day. From (B. T. Batsford, London, 'Alphabets Old and New.'
'
Day. Co., London)

F.
93
93
1899) . 96 Modern English Title Page. By Robert Anning Bell. From 'Poems by John Keats.' (George Bell & Sons, London, 1897) 97 Modern English Book-cover. By Edmund H. New. From 'The Natural History of Selborne.' (John Lane, London, 1900) By Selwyn Image. 98 Modern English Book-cover. From 'Representative Painters of the 19th Century.' (Sampson, Low, Marston & Co., London, 1899) 99 Modern English Capitals. Anonymous. From an
-94
95
.......
.
-95
.
advertisement
100 Modern English Title. By Charles Ricketts. From 'Nimphidia and the Muses Elizium.' (The Vale Press, London) loi Modern American Title. By Edwin A. Abbey.
....... ........
New
York, 1899)
. . . .
95
96
96
From
102
'Selections from the Poetry of Robert Herrick.'
(Harper
er's
&
Brothers,
-97
Harp-
Modern American
Weekly.'
Title.
(New
Anonymous. York)
From
.
'
-97
FIGURE
xiii
PACK
By Edward From 'Harper's Weekly.' (New York) By Edward Penfield 104 Modern American Capitals. Modern American Small Letters. By Edward PenJ 05
103
Penfield.
.
Modern American Magazine Cover.
field
106 Modern American Cover Design. By H. Van Buren Magonigle .100 . By H. Van Buren 107 Modern American Capitals. Magonigle .101 . . . . . 108 Modern American Capitals. By Bertram G. Goodhue.
. . . . . .
.
.........
. .
97 98
99
.102 From Masters in Art.' (Boston, 1900) By Will Bradley. From 109 Modern American T'tle. ' The Book List of Dodd, Mead & Co.' (New York, 102 1899) no Modern American Capitals and Small Letters. By Will Bradley. From 'Bradley, His Book.' (The Wayside Press, Springfield, Mass., 1896) 103 By Will Brad111 Modern American Magazine Cover. ley. From 'The International Studio.' (New York) 104 112 Modern American Ticket. B.y A. J. lorio .104 After lettering by Will 3 Modern American Capitals. 1 1
. .
Bradley
1 06 114 Modern American Capitals. By Maxfield Parrish 115 Modern American Title. By Maxfield Parrish. From (R. H. 'Knickerbocker's History of New York.' Russell, New York, 1900) .107 By Addison B. Le BoutUlier 107 116 Modern American Title. By Addison B. Le 117 Modern American Capitals.
. .
. .
........
. . .
105
Boutillier
.108
B.
118
Modern American Small

.
.
Letters.
.
By Addison
.
.
Le BoutiUier 119 Modern American

Boutillier
.
.109
Le
Poster.
. .
By
.
Addison
.
B.
.
.110
.110
.Ill
.Ill
120 Modern American Book-Plate.

Bragdon
121
. . . .
By Claude
.
.
Fayette
.
Modern American
'
Title.
By Claude
.
Fayette Bragdon.
. .
From ' Literature. (New York) 122 Modern American Letter-heading. ette Bragdon
. .
By Claude Fay. .
xiv
FIGURE
PAGB
123
1
Modern American Advertisement.
By H. L.
Brid-
liz . well. (Strowbridge Lithographic Co., Cincinnati) 1 1 . 24 Modern American Capitals. By H. L. Bridwell 114. 1 By Franic Hazenplug 2 ; Modern American Capitals. By 126 Modern American Capitals, "Heavy Face." . . Frank Hazenplug . . . 5 By Frank Hazen127 Modern American Book-cover. plug. From ''Ickery Ann and other_ Girls and Boys,' .116 (Herbert S. Stone & Co., Chicago, 1899) 128 Modern American Title. By Edwârd Edwards. From
. .
"
'Harper's Pictorial History of the War with Spain.' .116 (Harper & Brothers, New York, 1899) . . By Frank 129 Modern American Catalogue Cover. Hazenplug. From the Catalogue of the Chicago Arts
'i? and Crafts Society. (Chicago) . . By Guernsey Moore. 130 Modern American Title. From 'The Saturday Evening Post.' (PhiJadelphia) . 117 By Harry Everett Towns131 Modern American Title. end. From 'The Blue Sky.' (Langworthy & Stevens,
.
Chicago, 1.901)
1
.118
From
32
Modern American Heading. By Howard

'Harper's Magazine.'
Pyle.
.
(New
. .
133 Modern American Letters. sources. F. C. B. 134 Modern American Capitals.

.
.118 York) Compiled from various . 119 After lettering by Orson

. . . .
.120 Lowell . . . .121 135 Modern American Small Letters. F. C. B. . 136 Modern American Titles. By Orson Lowell. From (New York) 'Truth.' 122 By Orson Lowell. From 137 Modern American Title. 'Truth.' (New York) 123 138 Modern American Letters. For rapid use. F. C. B. 124 139 Modern American Italic. For use in lettering architects' plans, etc. By Claude Fayette Bragdon . .125 For rapid 140 Modern American Letters, "Cursive." use. By Maxfield Parrish iz6 . After Lucan141 Italian Round Gothic Small Letters.
. . . . . .
Redrawn from ' Graduate Sanctae Romanae (Venice, 1500) . . . . .128 Italian Round Gothic Small Letters, i 6th Century. 1 42 Redrawn from Italian originals . . . .129
tonii Giunta.
Ecclesiae.'
FIGURE
.
xv
PAGE
143 Spanish Round Gothic Letters. By Francisco Lucas. From 'Arte de Escrevirde.' (Madrid, 1577) . 130 By Albrecht 144 German Blackletter Construction. Diirer. From ' Underweyssung der messung> mit dem (Nuremberg, iirckel, tin richtscheyt, in Linien, etc'
1525) '33 134 145 German Blackletters. Redrawn from manuscripts 146 German Blackletters. With rounded angles. Redrawn

from manuscripts . 147 Italian Blackletter Title-page.

. .
''35
pus Foresti (Bergomensis).

bus, etc'
By From 'De
.
.
Jacopus PhilipClaris
.
Mulieri.
-137 1497) 148 German Blackletter Page. By Albrecht Durer. From the Prayerbook designed by him for the Emperor Maximilian. (Nuremberg, 1515) -138 149 German Memorial Brass with Blackletter Inscrip(Ferrara,
. . .
tion.
sen,
Ascribed to Albrecht Diirer.
Cathedral of Meis-
1510.
From
.
'
Fac-similes of
Monumental
. .
Brasses
on the Continent of Europe.'

wich, 1884)
.
(W.
.
F. Creeney,
.
Nor-
139
150 Modern American Calendar Cover in Blackletter. By Bertram G. Goodhue. From ' Every Day's Date
Calendar.'
(Fleming, Schiller
&
Carnrick,
New York,
1897)
151
Modern German
Blackletters.
From 'Jugend.' (Munich) 142 By Otto 152 Modern German Title in Blackletter. Hupp. From ' Miinchener Kalendar.' (Munich, 1900) 142 153 Modern American Page in English Blackletter. By Edwin A. Abbey. From ' Scribner's Magazine.' (New York) 143 Redrawn from l zth Century I 54 Uncial GpTHic Initials. examples. F. C. B. 144 155 Uncial Gothic Initials. Redrawn from 13th Century F. C. B. examples. 14S 156 Uncial Gothic Capitals. Redrawn from 14th Century examples. F. C. B. .146
.
.....
By Walter
. .
.
HI
Puttner.
14th Century. After J. 157 Uncial Gothic Capitals. Weale. Redrawn from ' Portfolio of Ancient Capital Letters.' (London, 1838-9) 147
....
xvi
"FIGURE
PAGE
158 Italian Uncial Gothic Capitals, in the "Papal" Hand. From a Florentine manuscript of 1 3 1 5. British . .148 Museum, London. F. C. B. . . By Juan de Yciar. 1 59 Spanish Uncial Gothic Capitals. Adapted frpm 'Arte por la qual se esena a escrevir perfectamente.' (Saragossa,
1550)
160 Venetian
161
l6z
163
164
Panel, of Marble, Inscribed with Uncial From the Church of Gothic Letters. 1 5th Century. Rubbing . S. Giovanni e Paolo, Venice. . .150 Venetian Gothic Capitals. 15th Century. Redrawn F. C. B. from the rubbing shown in figure 160. '51 German Uncial Capitals. 1341. Redrawn from a ' 52 memorial brass in the Cathedral of Liibeck . . French and Spanish Gothic Capitals. 14th Century. After W. S. Weatherley . . 'S3 and 165 Italian Gothic Initials. After G. A. Tag-
Wall
....
149
...
.
liente, in
ice,
'La vera 1524)
arte dello eccellento scrivere.'
(Ven154-155
166 Italian Gothic
Initials!
s'
From ' Libro 1548)

167, 168 and 169"
nel qual
insegna a scrivere. '

Initials.
By Giovanni Battista Palatino. ( Rome,

156
German Gothic
60 1.
By
'
.
P. Frank.
Nuremberg,
Atlas.'
From
1889)
Petzendorfer's
. .
Schriften1
(Stuttgart,
57-1 58-1 59
170 Italian Gothic Capitals.
i6th Century.
Redrawn
from old examples . . . .160 . . i6th Century. 171 Gothic Capitals of English Form. Redrawn from old examples . .161 . . . 17th Century. Redrawn 172 Italian Gothic Capitals. from various examples . .162 . . . . 17th Century. Redrawn 173 German Gothic Capitals. " from various manuscripts . . . .163 German Gothic Capitals. From manuscripts . . 1 1 74 64 From manuscripts .. 165 175 German Gothic Capitals. 176 German Gothic Capitals, Heavy Faced .166 177 English Gothic "Text," Initials and Blackletters. From manuscripts . . 1 5th Century. .167 178 English Gothic Uncials^ and Blackletters. 15th Century. From Queen Eleanor's tomb. F. C. B. .168
.
FIGURE
:
xvii
PAGE
: 5th 79 English Gothic Capitals and Blackletters. Century. From tomb of Richard 11, Westminster Abbey, London. F. C. B. .169 German Blackletters. From a brass. Redrawn from J 80
. .
, . .
a rubbing.
F. C. B.
.170
181
German Blackletters. With

.
Albrecht Diirer's
. .
initials.
.
1 6th Century. F. C. B. 182 Italian Blackletters. By G. A. Taglienê.
17Z
From
'La
183
vera arte dello eccellento scrivere.'
German Blackletters.
Diirer.
After
.
lettering
(Venice, 1524) 172 by Albrecht
184 German
Durer.
185 German Century '75 186 English Gothic Blackletters. Late 15th Century. Redrawn from a brass. F. C. B. 1 76 187 Italian Inlaid Blackletters. From a marble slab in Santa Croce, Florence. Redrawn from a rubbing. F.C.B. 177 188 and 1 89 Modern American Blackletters with Gothic Capitals. By Bertram G. Goodhue 178-179 190 Modern German Blackletters. After lettering by Julius Diez .180 191 Modern German Blackletters, flourished. F.C.B. 181 By Gottlieb Munch. From 'Ord192 German Italic. nung der Schrift.' (Munich, 1744) .183 Spanish Script. By Torquato Torio. From ' Arte de 1 93 Escribir.' (Madrid, 1802) 184 By Torquato Torio. From ' Arte de 1 94 Spanish Scripts. Escribir.' (Madrid, 1802) 185 From 'Arte de 195 Spanish Script. By Francisco Lucas.
. .
. . . . '73 Blackletters. After lettering by Albrecht i6th Century . . . . . 174 Gothic Capitals. By Albrecht Diirer. i6th .
i6th Century
.,
Escrevirde.' (Madrid, 1577) .186 196 Spanish Cursive. By Francisco Lucas. From 'Arte de Escrevirde.' (Madrid, 1577) .187 By Claude Fayette !97 Modern American Script Title.
. .
. .
Bragdon.
From an
advertisement
.188
.
898 Modern American Script Title. By George Wharton Edwards. From 'Collier's Weekly.' (New York) 188 189 199 French Script Capitals, i 8th Century. F.C.B.
.
xviii
LIST
OFILLUSTRATIONS
PAGa
FIGURE
ZOO German Script.
201
Z02
203
204
205 206
207 208 Modern American Script Title. Anonymous. From 'Harper's Weekly.' (New York) 198 209 Modern American Script Title. By Edward Penfield. From 'Harper's Weekly.' (New York) . 198 210 Diagram to Snovif Method of Enlarging a Panel,
.
Adapted from C. Hrachowina's ' Initialen, Alphabete und Randleisten (Vienna, 1883) verschiedener Kunstepochen. .190 Spanish Script Capitals. Early i 8th Century. Adapted F. C. B. .191 from a Spanish Writing-book. Spanish Script Alphabets. Late 17th Century. Adapted F. C. B. .192 from Spanish Writing-books. Redrawn from inscriptions in English Incised Script. F. C. B. 193 slate and stone in Westminster Abbey, London. Modern American Script Book Title. By Bruce From cover design of ' The House of the Seven Rogers. Gables.' (Houghton, Mifflin & Co., Boston, 1899) 194 Modern American Script. By Bruce Rogers '95 Modern American Script Capitals. After lettering by ." Frank Hazenplug .196 Modern American Italic Capitals. F. C. B. 197
i8th Century forms.
' .
.
....
. .
from upper
2
1 1
left
corner
Diagram to Show Method of Enlarging a Panel,

from perpendicular center
line
.
......
. . .
204
.20;
End
Papers.
tury.
From an embroidered Altar-cloth. 17th CenChurch of St. Mary, Soest, Westphalia, Germany.
CONTENTS
CHA-PTBT-
PAGE
I.
ROMAN
CAPITALS
......
II.
MODERN ROMAN LETTERS ...

GOTHIC LETTERS
ITALIC
52
III.
127
182
IV.
AND
SCRIPT
V.
TO THE BEGINNER
199
CHAPTER
ROMAN CAPITALS
In speaking of the "
its
capital
Romans
cule"
form
will
Roman "
letter
throughout this chapter
monumental use among the always be implied. The small or "minusthe form in
letters,
the general
which present nomenclature includes under title of " Roman " letters, and which will be
and indeed only attained
considered in the following chapter, were of later formation
than the capitals
their definitive
and modern form

able types.
after the invention of printing
from mov-
The
first
point to be observed in regard to the general
form of the
Roman
its
capital
is
its
characteristic squareness.
Although the
portions from
letter as
used to-day varies somewhat in prois still
classic prototype, its skeleton
based
on the square.
Next
to this typical squareness of outline, the observer
should note that the

thin lines.
Roman
sight
it
letter
is
composed of thick and

that
At
;
first
may seem
lines
no systematic
rules determine
which of these
should be thick and
which thin
but closer investigation will discover that the
alternate widths of line
were evolved quite methodically,

the functions of making the
and that they exactly

letters
fulfil
both more legible and more decorative.
Arbitrary
rearrangements of these thick and thin
lines, differing
from
the arrangement of them in the classic examples, have,
; :
ROMAN CAPITALS
but
indeed, been often attempted;
such rearrangements
in eccen-
have never resulted

tric lettering,
in
improvement, and, except

complete disuse.
have
fallen into
The
classic
original thickening
and thinning of the
lines
of the
Roman
capitals wâs partly
due to the imitation in
stone inscriptions of the letter forms as they were w^ritten on
parchment with the pen.

stifF-nibbed reed
The
early Latin scribes held their
pens almost directly upright and at right
angles to the writing surface, so that a
down
stroke from left
to right and slanted at an angle of about forty-five degrees
would bring the nib across the surface broadwise, resulting

in the widest line possible to the pen.
On
the other hand,

still
a stroke drawn at right angles to this, the pen being held upright, would be. made with the thin edge of the
nib,
and would
this
result in
the narrowest possible line.
From
method of handling the pen the
variations of line width

;
in the standard
Roman
forms arose
and we may therefore
deduce three logical rules, based upon pen use, which will
determine the proper distribution of the thick and thin lines
I,
Never accent horizontal
lines,
ii.
Always accent the
sloping
down
strokes
ing the so-called
which run from left to right, includ" swash " lines, or flying tails, of Qând R
but never weight those which, contrariwise, slope up from

left to righty
with a single exception in the case of the letter

if rule i
z, in
which,
be followed, the sloping line
(in this
case
made with
down
stroke) will be the only one possible

directly perpendicular
to accent,
lines,
iii.
Always accent the
except in the n, where these lines seem originally to

;
have been made with an up stroke of the pen

line
and the
first
of the m, where the perpendiculars originally sloped in

letter (see 2).
towards the top of the
On
the round letters
ROMAN CAPITALS
the accents
virtually provided in rule ill, or
should occur at the sides of the circle, ds
on the upper
right
and
lower
left
quarters (see 1-2), where in pen-drawn letters the
accent of the
down
sloping stroke would naturally occur,

11.
as virtually determined in rule
The
ends of
"serif"
all
a cross-stroke or tick -^ finishes the free-
lines
used in making a
Roman
capital.
The
value of the serif in stone-cut letters seems obvious.

define the end of a free line a sharp cut
To
it
'
was made across

Serifs
with the chisel, and as the chisel was usually wider than
the thin line this cut extended
beyond
it.
were
added to the ends of the thick lines either for the sake of
uniformity, or
may have been

lines themselves.
suggested by the chisels
marked guide
Indeed in
late stone-cut
Roman work
the scratched guide lines along the top and

line
bottom of each
of the inscription are distinctly marked

serifs,
and merge into the

earlier
which extend
farther than in
in
it
examples.
The
serif
was adopted
pen
letters
probably from the same reasons that caused

to the stone-cut lettd-s, namely, that
it
to be added
definitely finished
the free lines and enhanced the general squareness and

finish
of the
letter's aspect.
An
excellent model for constructing the
Roman
capitals
in a standard
form
will be
i
found in the beautiful adaptation
by Mr. A. R. Ross,
and 2, from an alphabet of capitals

an Italian architect, engraver and
drawn by Sebastian
Serlio,
painter of the sixteenth century,
most refined variants of the

original
classic
who devised some of the Roman letter. Serlio's

in
forms, which
are
shown
;
39 and_ 40, were
intended for pen or printed use
but in altering Serlio's
scheme of proportions
it
will
be observed that Mr. Ross
ROMAN CAPITALS
mm
?i
111
~
ROMAN CAPITALS
ROMAN CAPITALS
it
has partially adapted the letter for use in stone, and has
further varied
in details, notably in serif treatment.
letters,
In
most modern stone-cut
however, the thin strokes

in this
would be made even wider than
example, as in 14.
Mr. Ross's adaptation shows

letters
excellently
how
far the classic
do or do not
fill
out the theoretical square.
Width
a
proportions, which
may be found
capital.
useful in laying
out lettering for lines of a given length, are
shown
in 3 in
more modern
style
of the
Roman
In the classic
exact center of
Roman
letter the cross-bar is usually in the
the letter height, but in 3 the center line has been used as
the bottom of the cross-bar in b, e, h, p, and R, and as the
top of the cross-bar in
and
in letters like K,
Y and x the
lines are
" waist
lines," as the
.
meeting points of the sloping

^lightly raised
sometimes
called,
have been
to obtain
more pleasant
effect.
The Roman
,
alphabet, although the one most in use,

difBcuPt
is
unfortunately the most

artistically, as the
to
compose
into
words
spacing between the letters plays a great
share in the result.
The
eflect
of even color over a whole
panel
is
obtained by keeping as nearly as possible the same

its
area of white between each letter and
neighbor ; but the
shape of this area will be determined in every case by the

letters
which happen
to be juxtaposed.
Individual letters
may, however, be widened or condensed to help fill an awkward " hole " in a line of lettering the lower lobe
;
of the B may be extended, the center bar of the e pulled

out (in which case the f should be
the lower slant stroke of the
tail,
made
to correspond),
k may
be used as a swash
and the r may have
its tail
ex-tended or
drawn
closely
back against the upright
line,
and so on.
Indeed, each and
ROMAN CAPITALS
PRDPORTIONAL.WIDTHJB\CIN.GOF-
MODERN-ROMANCAPITAL- IITTEBJ'3.
WIDTH PROPORTIONS OF MODERN ROMAN CAPITALS
F.C.B.
ROMAN CAPITALS
is
,^
icyery letter of the alphabet
susceptible, to such similar

it
modifications in shape as
left
may make
best suit the space
for
it
by
its
neighbors.
Observe, for example, the
spacing of the word meritae in 34, and notice how the tail of the r is lengthened to hold off the I because the t
on the other side
is
perforce held
away by
its
top.
In the
page of capitals, 124, by Mr. Bridwell, see also

<lifFerent
how
the
spacing of the word
French
in the first
and second
lines
is
managed.
In the advertisement, 123, also by Mr.

the letters are spaced close or wide in
effect.
Bridwell, note
how
order to produce a definite

spacing
is,
The whole
probleni of
however, one of such subtle interrelation and

it
composition, that
can only be satisfactorily solved by
the
artistic
sense of the designer.
Any
rules
which might
he here formulated would prove more often a drawback

than a help.
Certain optical illusions of some of the
Roman
letter
forms should be
caused by the
briefly
mentioned.
These
illusions
are
failure
of certain
letters to
impinge squarely
with determining
serifs against
the demarking top and botletters c, G,
tom
seem
in a
guide lines.
The
round
o and Q^ often
to be shorter
and smaller than the other characters

outsides of their curves run both
lines.
word unless the
above and below the guide
For the same reason

makes
is
should be sometimes slightly increased in height, though in

this case the narrowness of the letter
less increase
necessary; and
J,
on account
s,
.of its
kern,
governed by the
serifs
same conditions
as
save
it
when
letters
with distinct
come
this
is
closely against
at the
bottom.
Theoretically the
right side of
D would
require similar treatment, but actually
seldom found necessary.
The
pointed ends of
ROMAN CAPITALS
the letters
v and
should, for similar optical reasons,,
be extended
slightly
below the bottom guide

In the a, the
lines,
the
amount of
on eachfirst
this extension being determined
by the
letters
side of
them.
Roman
its its its
letterer at
got over the optical difficulty caused by

this letter also higher
pointed top
;
by running
he
than
neighbors
but
later solved the
problem by shaping
apex as shown
its
in I, thus apparently getting the letter into line with
companions while
to satisfy the eye.
still
obtaining a sufficient width of top

its
Because of
narrowness,
should
generally be allowed
either side of
it
more proportionate white space on

letters.
than the wider
Some
idea of the proportionate
variations
required to
counteract the optical illusions of the letters above
named
In
may be
to
first
obtained from the practice of type-founders.

for a fount of type,
letter at
a,
it
making the designs

draw each
has been customary
very large size.
Taking an
arbitrary height of twelve inches as a standard, the points
of A and V were made to extend about three-quarters of an

inch above or below the guides, the letter o was ruh over
about half an inch
at
both top and bottom, and the points
of the
w were
made
to project about the

it
same
distance.
In
to-
pen
lettering,
however,
is
possible
its
and preferable
adapt each
ings
letter
more
perfectly to
individual surround-
by judgment of the eye than to rely upon any hard

fast rules.
and
Certain variations between the stone-cut forms o the
Roman
be
letters
and
their
forms as drawn or printed should
understood before
an intelligent adaptation of stone

is
forms to drawn forms, or the opposite,
possible.
When
drawn or printed a character
is
seen in black against a
10
ROMAN CAPITALS
its
white ground with no illusory alterations of
line
widths
caused by varying shadows.
In stone-cut
letters,
on the
govern
other hand, where the shadows rather than the outlines
themselves reveal
the
the forms, different limitations

thin
lines
problem.
The
of a
letter
to
be v-sunk
4.
DRAWING FOR INCISED ROMAN CAPITALS
IN
GRANITE
F.C.B.
should generally be made slightly thicker in proportion to

the wide
.lines
than
is
the case with the pen-drawn letter,

is
especially as
the section
likely to
be
less
deeply and
sharply cut nowadays than
in the ancient
examples, for the

perfect
workmanship of to-day seems

materials used
to be less
and the
more
friable.
slight direct sinkage before

is
beginning to cut the v-sunk section
a useful
method of
ROMAN CAPITALS
partially atoning for
11
modern shallow
cutting, as
shadows
more
directly, defining the outlines are thus obtained.
The
all
student should, however, be warned at the outset that
6.
PHOTOGRAPH .FROM INCISED ROMAN CAPITALS SHOWN IN 4

from rubbings of ancient stone-cut
less deceptive, as all the acci-
repiroductitins or. tracings

letters are apt to
be more or
dental variations of the outlines are exaggerated,, and the stone of the original has been chipped or
it
where
had
worn away
letter
appears in the reproduction as though the
been actually so cut.
The
photograph of a panel of lettering from the upper
part of the
Arch of Constantine, Rome, shown

shadows
effect
in 6, well
indicates the effect of

letters
;
in defining the classic
Roman
may be
and the
of shadows on an
incised letter
5, the
clearly observed
by comparing 4 and
former show-
ing a drawing for an inscription in which the Serlio-Ross
M A N CAPITALS
13
^^HF
7.
MODEL FOR INCISED ROMAN CAPITALS.
MCKIM, MEAD & WHITE
14
ROMAN CAPITALS
being a photograph of the same inscription, as cut in
It
alphabet was used as a basis for the letter forms, and the
latter
granite.
will
be noted
how much narrower
the thin
8.
ROMAN INCISED CAPITALS

appear
FROM A RUBBING
shadow than
shows some
in
lines
when
defined only by
the
drawing.
The model
used for the lettering on the frieze of

interest-
the Boston Public Library, 7, which ing
modern forms intended
for cutting in granite, should be
studied for the effect of the cast
redrawing of inscriptions on
the
shadows; while 14, a Harvard Architectural
Building, Cambridge, Mass., exhibits an excellent type of

letter
with widened thin lines for v-cutting in sandstone.

special requirements of the stone-cut forms for either
The
incised or raised inscriptions are, however, quite apart from
the subject of this book, and are too various to be taken up

in greater detail here.
It is
important, nevertheless, that
the designer should be reminded always to

for the material in
make allowance
which
a letter
was
originally executed.
Otherwise,
if
exactly copied in other -materials, he"
may
find
the result annoyingly unsatisfactory.
ROMAN CAPITALS
The
sance
16
and Reilais-
examples of
Italian
letters
taken from
in
Roman
the
monuments, shown
pages of this
chapter, will illustrate the variety of individual letter forms
'AtT10-l5K)lt3Ni*
^
,
PATR'ONO
:7\NI<iAEAED-LStV\TlAE COMC:>ilSlNAE
' >
'
ttTTIVSLLSA LV1V5APOLT-
F
!
JMî9.
M'BITR
A ET EI-ATTK I-- 1 B
1
^J
ROMAN INCISED INSCRIPTION

by the
Classic
BOLOGNA
designers.
used
and
Renaissance
The
shape of the same letter will often be found to vary in

the
same
inscription
and
even in apparently analogous
VETER A N:VS-
COHORT
BOLOGNA
in
SECV N D A E'PRA ETOR !#

10.
ROMAN INCISED INSCRIPTION
cases.
The
designers evidently had
mind more than
the directly adjacent words, and sometimes even considered
16
ROMAN CAPITALS
This
is
the relation of their lettering to objects outside the panel

altogether.
Italian
in
especially true
is
in
the
work of the
Renaissance, which
almost invariably admirable
both composition and arrangement.
AB'POIVtaDC
11.
DETAIL FROM A ROMAN INCISED INSCRIPTION
F.C.B.
Figures 8 to 22
show examples, drawn from various

treatments of the classic
sources, which exhibit different
Roman
letter forms.
The
differentiation will be
found to
lAMIVSMfNmO
JMitiMKmiuid
SffiMlEDfMiIMWiaL
12.
ROMAN CAPITALS OF PEN FORMS CUT
IN
STONE
F.C.B.
lie
largely in the widths of the letters themselves,

serifs, angles,
treatment of the
Figures 11 to 13 and 16 to
and in the and varying widths of line. 22 are redrawn from rubbings
ROMAN CAPITALS
of
17
and,;
Roman
incised, inscriptions.
Figures i6
17 show
beautifully proportioned letters cut in marble with unusual
care and refinement, considering the large size of the originals.
A later Roman form of less
refinement but of greater
rfMiM
,5nvsaw
13.
ROMAN CAPITALS FROM INSCRIPTIONS, FROM RUBBINGS., F.C.B.

power, and for that reason
uses,
is
Strength and carrying
better
adapted to
many modern
shown
in
18 and 19.
In
this case the original letters
were cut about seven and
I
% O
H
iSl
0.
Z
<!
in
< H
b <l O Z
< s
o
a u u g z
OS u:
o S
o o S o o
12;
O'
H
i-i
20
ROMAN CAPITALS
16.
CLASSIC .CAPITALS CUT IN
MARBLE
ROMAN FORUM.
F.C.B.
17.
CLASSIC CAPITALS CUT IN MARBLE
ROMAN FORUM.
F. C.
22
ROMAN CAPITALS
(=7F=!P
18.
CLASSIC CAPITALS CUT IN
MARBLE
FROM RUBBINGS.
F.C.B.
19.
CLASSIC CAPITALS CUT IN MARBLE
FROM RUBBINGS.
F.C.B.
6 g
A^Û
(4
n S
14
<
o
12!
32rigp^
t=3
WH
ROMAN CAPITALS
one-half inches high.
27
are, curiously
The
letters
in
20
modern
ing
in character.
Part of the panel of
Roman
letter-
shown in 21 shown in 1 8 and

figure
1
exhibits the use of a 19.
form very
detail
like that
Figure 11 shows a
composed
in a quite representative fashion; while
on the other hand which
2 depicts a
Roman
letter
of quite unusual character,

in
and of a form evidently adapted from pen work,
the shapes are narrow and crowded, while the lines are
thickened as though they were of the classical square outline.
The
in
1
bits
of old
Roman
inscriptions
shown
in 8 to
10
and
3 are included to exhibit various different forms

classic capitals.
and treatments of
After the
fall
of
Rome
and during the Dark Ages the
practice of lettering, at least in so far as the
Roman form
the advent
was concerned, was distinctly retrograde.
With
of the Renaissance, however, the purest classic forms were

revived; and indeed the Italian Renaissance seems to have
_been the golden age of lettering.
With
to
the old
Roman
fragments of the best period constantly before their eyes

the Renaissance artists of Italy
true spirit of classicism
;
seem
have grasped the
and
their
work somehow acquired
a refinement and delicacy lacking in even the best of the
Roman examples. As much of the Italian Renaissance lettering was intended for use on tombs or monuments,
where
it
might be seen
at close range,
and wasi cut in
fine
marble, the increased refinement

part, to different conditions.
may
be due, at least in
The
pdTnel
from Raphael's tomb
in the
Pantheon, Rome,
30, shows a beautiful and pure form of.typipal Renaissance letter; and the compositionof the panel is as well worthy
28
ROMAN CAPITALS
tomb
in
of careful study as are the
from a
Figure 34, devised letter forms. Santa Croce, portrays a letter not only
beautiful in itself, but

(for the top bar of the
one which, with two minor changes
T might advantageously be shortened
SCR STD'PH0R\ > [M/WRVhTitiNCF !':

I
23.
ITALIAN RENAISSANCE INSCRIPTION
IN
MARBLE
to allow
its
neighbors to set closer, and the
might be
is
finished at the top with a serif, after the usual fashion),
exactly applicable to the purposes of the modern draughts-
man.
used
in
This type of
letter
appears to best advantage
when
from
such panel forms as those shown in the rubbing

in the floor slab
from the Marsuppini tomb, î, and

the same church, 32.
Two
very refined examples, 28 and
29, also from slabs in Santa Croce, Florence, date from
about the same period.

itself,
The
latter exhibits the letter
alphabet
and the former shows .a similar
form as actually
used.
The
itself,
letters in
33, redraw^n from rubbings from the
Marsuppini tomb, are shown for comparison with the rubbing
which
is
reproduced in
smaller size in
31.
Taken
32 will fairly represent not only ;he usual fashion of composing Reijaissance panels,
but capital forms which illustrate some of the most excellent
together, plates 30, 31 and
work of
this period.
"
30
ROMAN CAPITALS
A very different
and interesting type of
letter
was used on
many of the
best medals of the Italian Renaissance (see 24),

recently,
in
which has been

medal designers
adapted and employed by modern

exhibited
in
France, as
plain,
it
figure
25-.
Although absolutely
is,
when
properly composed,
it
much more
eiFective in the service for
which
was intended
WXZ-THI
2G.
CAPITALS ADAPTED FROM RENAISSANCE MEDALS

a
F.C.B.
than
more
elaborate
and
fussy
form
and
although
it
sometimes adapted with good
results to
other, uses,
is
particularly appropriate for casting in metal.
Similar forms
rendered in pen and ink are shown in 26.

Figures 27, and 35 to 41
show
various pen or printed
forms of capital
letters
redrawn from the handiwork of

capital letters
Renaissance masters.
The
shown
is
in
27 are
unusually beautiful, and their purity of form
well dis-
ROMAN CAPITALS
played in the outline treatment.
31
Perhaps the best
known
is
standard example of a Renaissance pen-drawn letter
that
by Tagliente, reproduced in 35 and 36. In spite of their familiarity it has seemed impossible to omit the set of capi-
.albcdefgks
mfflopqrfiiixyz
27.
SPANISH RENAISSANCE ALPHABET
JUAN DeYCIAR, 1550

for
tals,
with variants, by Albrecht Diirer, 37 and 38;
Diirer's letters
were taken ss a
basis
by nearly
all
such
Renaissance designers of lettering as Geoffrey Tory, Leonardo da Vinci, etc.

It
should be observed in the Diirer

,
32
alphabet that
ROMAN CAPITALS
among
the variant forms of individual letters
for
shown, one/ is usually intended

of the round
monumental
use, w^hile
another exhibits pen treatment in the characteristic swêlling

letters
etc.
28.
RENAISSANCE INLAID MEDALLION

Serlio's alphabet,
FROM A RUBBING.
F.C.B.
39 and 40, should be compared with Mr. Ross's modification of it, reproduced in i and 2. Ther
alphabet
shown
in
41
is
somewhat expanded form of

in various respects with
classic- capital, contrasting
markedly
more
typical forms.
ROMAN CAPITALS
33
ALZONE BCDEFG
HIKLMPR
STQVEY
FILIPPOX
29.
ITALIAN RENAISSANCE CAPITALS
SANTA CROCE.
F. C. B.
s o a
o w
<; Pi
o
H
1-1
<
P< ti
O
Pi 1^ iJ
M
13 <
P<
U
13
<1
Pi
IB
-J!
o
z
o
fa
m"
s u
< to
o o
S5
o
Pi
IZi
36-
ROMAN CAPITALS
ITALIAN RE
NAISSANCE LETTERING
ABCDEFGH URLMNOP
QE^STUW
VXY POLVS
OyE ERAT Z
33.
ITALIAN RENAISSAK CE CAPITALS
MARSUPPINI TOMB.
F.C.B.
ROMAN CAPITALS
37
ITALIAN LETTERS MERIT\E ABCDLFG HlJKLMN
OPQ^TU
VZWXY
FROM RUBBINGS.
34.
F. C. B.
38
ROMAN CAPITALS
35.
G. A.
TAGLIENTE.
1524
ROMAN CAPITALS
.f-rH
39
G. A.
TAGLIENTE, 1524
40
ROMAN CAPITALS
AABBB CCCDD DEETG
GHIKK KLLMM
37.
GERMAN RENAISSANCE CAPITALS
ALBRECHT DURER. 1525
ROMAN CAPITALS
41
NNNO
PPPRR
TTTVX
38.
GERMAN RENAISSANCE CAPITALS
ALBRECHT DURER. 1626
42
ROMAN CAPITALS
ABC GHI
TVW
SERLIO,
16th
CENTURV-
ROMAN CAPITALS
43
40.
DEF KLM XYZ

SERLIO,
16th
CENTURY
4A
ROMAN CAPITALS
[FySHW
41.
GERMAN RENAISSANCE CAPITALS URBAIN W YSS. 16th CENTURY
ROMAN CAPITALS
A
practically unlimited
45
number of other examples might
have been included to show various capital forms of Renaissance letters

;
but the specimens chosen will adequately
illustrate all the
more
distinctive
and refined types of the
individual letters.
Before, during and after the Renaissance

local
movement many
for instance,
and extraneous influences temporarily modified the
forms of the
Roman
traits are
letters.
There
are,
numerous examples of
lettering in
which Byzantine and
Romanesque
.into
strongly apparent, such as the free
manipulation of the letter forms in order to

given lines and spaces.
make them
fit
The drawing of the
panel over
the doorway of the Badia, Florence, 42, notable for the characteristic placing
and composition of the

is
letters, will serve as
a case in point.
it
This example
in stone
further interesting because

letter
shows how the Uncial form of the

and find a use
react
was beginning
to
at'
a state of affairs which
42.
ITALIAN RENAISSANCE PANEL, FLORENCE
C. F.
BRAGDON
first
glance might seem anomalous, for the Uncial letter was
distinctly a
its
pen-drawn form; but

it
it
was discovered
that
rounder forms made
particularly useful for inscribing
stones which were likely to chip or sliver, in carving-which

it
The Roman
was consequently desirable to avoid too acute angles. letter underwent various salient modifications
46
at the
ROMAN CAPITALS
hands of the scribes of extra-Italian nations.
We
find very crude variants of the
Roman
letter,
dating hunits
dreds of years after the
Roman form had
reached
highest
iJlI
RIC5ARDDOYEY
43.
MODERN TITLE
;
(Compare
48)
B.G.GOODHUE
development
and, on the other hand, some very beautiful
and individual national variants were produced.

tinual interchange of manuscripts
The
con-
among
the nations on the
continent of Europe probably explains the more' conventional character
and strong general resemblance of most of
the early Continental
work
but the scribes of insular Eng-
land, less influenced by contemporary progress and examples,
produced forms of greater individuality (see
46',
47,
44.
MODERN TITLE
In Ireland,
(Compare
48)
WALTER CRANE
early
48).
letter
forms originally derived from
Roman
no
models were developed through
many
decades with
ulterior influences,
and resulted
in
some wonderfully
distinctive
and beautiful variations of the
Roman
letters.
ROMAN CAPITALS
though the beauty of these
faintly
47
Irish
examples can only be

to
suggested
by reproductions limited
black and
white, and without the decorations of the originals.
Figures 43 and
44
illustrate, respectively,
modern employ-
ments of such strongly characteristic
letters as those
shown
nRcniTecTURe cMeFLY:seLecTeo FRQMBXKMPLeS

OF:The:i2rKNo:i3:
ceNTURies:iN:
FR;^ce:2d:iT;^LY
^no:orrwn:by
weoGNiNesFieLO
KRGMTeC1?LONO0ri
45.
TITLE IN EARLY ENGLISH CAPITALS
W.
E.
NESFIELD
in
46 and 49.
From
these ancient examples the designers
have evolved
letters suitable to the character
of their work.
In 44 Mr. Crane has engrafted upon a form quite personal to himself a characteristic detail of treatment borrowed
shown in 49. Figure 45 shows a similar and modernized employment of a standard form of Uncial
from the
letter
capital.
48
ROMAN CAPITALS
.flBCCh
^
I
(9t)Gbj
LcDJsIJU
O
-
PUTV
46.
PORS
ANGLO-SAXON CAPITALS
'
6th
CENTURY
ROMAN CAPITALS
49
AfibECO
D>EpGHhh IJllLWmW
RxjJriij
YYWXM
47.
7th
CENTURV
50
ROMAN CAPITALS
CDOGFE
gfptoHIcIK
LCDMNN
PQflRST
48.
EARLY
10th
CENTURY
ROMAN CAPITALS
51
EARLY ENGLISH CAPITALS
16th
CENTURY
"
CHAPTER
II
MODERN ROMAN LETTERS

The
small or " minuscule " letter that
its
we now
definitive
first
use in
all
printed books attained

after the invention
modern and
form only
of printing.
as
The
printed books
were made to imitate,

written
closely as possible, the hand-
work of the scribes of the early fifteenth century, and as pri-nting was first done in Germany, the earliest book types were those modeled upon German scripts, somewhat similar to that shown in 141, and their condensed or blackletter The Italian printers, of a more classical taste, variants. found the German types somewhat black and clumsy; for
though Gothic characters were also used
in Italy, they
had
become
lighter
and
more
refined
there.
The
Italians,
therefore, evolved a
new form of
type letter, based upon
the Italian pen letters then in use, which though fundamentally
an
earlier letter
Gothic in form had been refined by amalgamation with known as the " Caroline," from its origin
an imitation of the
first
Under the direction of Charlemagne.
was
in its turn
The " Caroline Roman " Half-uncial."
The
close relationship of the
small type letter forms
in Italy
with the current writing hand of the best Italian

well indicated by the legend that the
scribes
is
"
Italic," or
sloped small letter,
was taken
directly
from the handwriting
of Petrarch.
itals
The new
Italian types, in
which
classic cap-
were combined with the newly evolved minuscule

letters,
53
were
called
" Roman
" from the city of their origin,
and sprang into almost immediate popularity, spreading from Italy into England, France and Spain. In Germany,
on the other hand, the national

and
is still
blackletter form persisted,
in use to-day.
The
minuscule "
Roman "
;
letters
thus
evolved were
developed to their most perfect individual forms by the

master-printers of Venice
and
it
is
to the models
which
they produced that
we must
revert to-day
when we attempt
any con-
to devise or reproduce an elegant small letter of
servative form.
in
The modern
pen draughtsman should bear

letters
mind, however, that, perfect as such forms of
may
be for the uses of the printer, the limitations of type have

necessarily curtailed the freedom and variety of their serif
and swash
lines,
and that therefore, though accepting their
basic forms, he need not be
cramped by
their restrictions,
nor imitate the unalterable and sometimes awkwardly inartistic relations
of letter to
letter for
which he
finds precedents
in the printed page.
Indeed, the same general rules for

serifs,
spacing and the same freedom in the treatment of the
kerns and swash lines are quite as applicable to pen-drawn

small letters as to the capital forms.
progress
lies in this
The
;
only true path of
freedom of treatment
and
if
the same
fertile artists
of the Renaissance
who have
bequeathed to us
such beautiful examples of their unfettered use of the capital
had used the minuscule

those which
also,
we
should undoubtedly possess
small letters of far more graceful and adaptable forms than
In 50 and 51
we now have. may be found
an attempt to formulate a
scheme
to assist in the reconstrtiction of an alphabet of
Roman
small letters, after
somewhat the same fashion
as
d
1^
H H W
iJ
CO
<
oPS
o
o
H
o
Pi tn ^;
o
w K
PS
u
'
H
O
Pa
w s B
o 10
H H W J
<!
w
:zi
.<
a o lb o
:a
o H O
13
P4
H CO
O U
w K H
o
w
s
56

Roman
capitals
that devised for the
by Mr. Ross,
in
and
2.
small-letter diagram must, for obvious reasons, be less
exact and detailed than one for the more defined capital
form
but the diagram given will serve to determine
suffi-
ciently the
main outlines and proportions.
In their shapes
the letters
shown
in
best type forms
of the small
50 and 51 adhere fairly clc^êly to the letter; and the drawing will
the
serve, further, to
show
words.
space generally allowed

letter
is
by
modern founders between one lower-case
and another
when
k,
set into type
This spacing
based on the
all
of the fount employed.
The open
space between
letters
but
and y
(in
which the outlines of the
themselves
the
hold them further away from their
neighbors) and
round
of the
letters
being the space between the upright strokes
an interval represented in the diagram by a
square and a half.

said
in
The
it
round
letters, as
has already been
speaking of the capital forms, should be spaced

will
nearer together; and
be observed that they are only
separated by one square in the diagram.
Although suggesIn type,
tive, the rules which govern the spacing of types are not
to be blindly followed
by the pen
letterer.
for
instance,
it
would be impossible,
f, j
for mechanical reasons, to

far
allow the kerns of the
and y to project
in
over the body
of the next
letter,
and
these letters the kerns conse-
quently have either to be restrained or the letters spaced

farther apart.
In pen lettering, however, the designer
is
not
restrained by such limitations, arid his spacing of letters
should be governed solely
ty
the effect.
letters
The disposition
tals (see
of the accented lines in the small
follow the same general rules that govern those of the capi-
page 2); the only deviation being in the case of

been determined largely by the
It will
57
the g, in which the shading of the bottom seems to have

effect
upon the
eye.
be noticed in the diagram that the " ascenders " of
the smaller letters rise about three squares to their extreme top points above the body of the letter; that the body of
each letter is inclosed in a square that is three units high, and that the " descenders " fall but two squares below the
letter
body.
These proportions
are
not
is
by any means
fixed rule
invariable,
however, and indeed there
no
by
which the proportions of ascenders and descenders

body of the
to the
Roman
minuscule
may be
determined.
In
some forms of
the
letter.
the letter both are of the

is
same length, and

body height of
is
sometimes that length

In
the
same
as the result
general
better
obtained
less
by
making both ascenders and descenders of
than the
length of the body, and keeping the descenders shorter
than the ascenders in about the proportion of two-fifths

to three-fifths.
Parallel lines
of small
letters
cannot be spaced closer to
each other than the ascenders and descenders will allow j

the projections above
and below the
line are
awkward, and
interrupt the definite lines of demarkation at the top and
bottom of the letter-bodies

connection with the small
the line
the capitals necessarily used in

letters
add to the irregularity of

limit the
all
of which reasons combine to

for formal or
employ-
ment of minuscule
for the printed page,
to
monumental
is
uses.
On
the other hand, the small letter form
excellently adapted
capitals but tend
where the occasional

and increase the
break the monotony, while the ascenders and descendlegibility
ers strongly characterize

letter
of the
forms.
58

Aaabbccddeeffflgghhiijll m nn oo pp qqrr ffflss ft tt a vv uu xxjjryzz.6 ft xaegg 20 & Gcb :->
abcdefghil: mn o p qîls t v(T^-.x

cas
Yz x:^^
PEN DRAWN
1577
Letra antigua que efcreuia Fran Lu-
en Madrid. Ano de.m.d.lxxvii.
SPANISH ROMAN LETTERS FRANCISCO LUCAS,
TE D EV
!Tius:te
M LAVDA
confltemur.Tca;-
Dominum
ternum patrem omnis terra vcneratur.Tlbi omnes angcli.tibi cd^Sovniucrfic potellates .Tibi Cherubim &Sclaphinv in ceflibili voce prodamant, Sandus, Sanftus, Sandus Dominus Deus Sabaoth. Pleni liint cali&terra "maielktis gloriac tua: Te. ôn'ofus
JBi.
SPANISH ROMAN LETTERS FRANCISCO LUCAS,
PEN DRAWN
1577
MODEIiLN
ROMAN LETTERS
59
cAaahhccddeeffgghh iijllmmnnoop
GOf H HrâCcMM^
ArOOTP^QJ(JLSS'
TT'VVXXyYZZ
Letra
&So
delQn^
(jueefcreuia
Tran,
Lmms rEn-
54.
SPANISH ITALIC LETTERS FRANCISCO LUCAS,
PEN DRAWN
1577
IjVT
HiN CI
E-
rafêrbum, Cfyefhum cratapidT)eum,&
IDcm crat verbum Hoc emt inpijicipio d-
pud Deum: Omm'dperipfumja^tajunt, ^Jinejyfojaihime^ nihil. Quodf actum

eit intô'vitaerat.
&'viiaeratliahomi-
num. &lux intmebris biat. &tenebre eam non com^rehmderunt. Tuithomo mijfusa Teo cut nomen emt Joannes.^
i
65.
SPANISH ITALIC LETTERS \ FRANCISCO LUCAS,
PEN DRAWN
1677
60
Aabcd
efgbijk
Imnop
vxyz
61
ABCDEFG
hfijKLMNM
NpPQQRIl
SVTN)C'XYZ
57.
ENGLISH
17th
CENTURY INCISED LETTERS
FROM TOMBSTONES
62
abcdef
m
nopqst ruvxwy
ZJ23456
08.
MODERN SMALL LETTERS
AFTER HRACHOWINA
63
Venetian Alphabet abcde^hi
jklmnopq
rstuvwxyz
MODERN SMALL LETTERS
CLAUDE FAYETTE BRAGDON
64

Figures 52 to 59
show
in
several
forms of. small
letter
alphabets;
those
shown
52
to
56 being taken from

Italian writing masters.
" Writing books " by Spanish and
These writing masters

in the individual
often chose to
show
their skill
by imi-
tating type forms of letters with the pen, but though similar
forms of the
letters the written
examples
exhibit a freedom and

for type to equal,
harmony
in
composition impossible
and therefore are immeasurably more

Figure 61
illustrates a
interesting to the
modern penman.
study.
type form of minuscule which
may be commended
by modern designers
for
Other examples of small

will
Here
Body of Elizabet&y îfe oFmhaid

êfk^tfie
lee''s
be found in 105,
no, 118
and
in
told tf^So^ Anno DoiniJ 6

C)
60.
^31, where they are used
connection with their

forms.
capital
INSCRIPTION FROM ENGLISH SLATE TOMBSTONES, 1691: F.c.B.
Thc
minusculc alphabet by
Mr. Claude Fayette Bragdon,

59,
is
a carefully
worked-out form which
in its lines closely
follows a type face devised by Jenson, the celebrated Venetian printer
who
flourished toward the
end of the sixteenth

in 50, 51
century.
This example together with those shown
and 56 exhibits some conservative variations of the standard

models for minuscule
the
letters
;
and the same may be

63 and 64.
said of
modern type
original
faces
shown
in 62,
The various
other examples of the small-letter forms illustrated evidence
how
and interesting modifications of conservative

legibility.
shapes
may
be evolved without appreciable loss of

letter
Figure 61 shows the capital, small
and
italic
forms
of a type based on old Venetian models, cut by William Caslon in the early part of the eighteenth century, and ever
-(
r3
:^
"^
c^
'^..
cv..
r-i
.^.
C!
13
.55
o
CO <i
O S
jj>
<u t
t
cd
_,
:3
^
'î?
*^
13
C5
^3
c/5
.s
'-'-H
"^
C^
+^
?^
iJh
^.1'
O
o o n
w S
i?
P C ^
fl a>
"^
Hh
^
e^
(U
4-1
'rt
G S p -M
-aflT
-.=3
o H
K
G ^ i o a ^ a
-^ ;^
,i^
<L)
a o g
^^
^
'r^
5, Sj
^ ^
s
o
<;
5 G
'^
"Sop
^
o
o ;3 o.. .53 rG c^ 3 o ^ CJ r5 r _S <u ^ >4 g

c/5
< s o
Pi
66
DANTE IS WELCOMED BY HIS ANCESTOR.CACCIAGUIDA. CAO

CIAGUIDA TELLS OF HIS FAM. ILY AND OF THE SIMPLE LIFE OF FLORENCE IN OLD DAYS.
CANTO XV.
BENIGN wm, wherein the
love
spires
which righteously
in^
always manifests itself,

silence
as cupidity does in the evil

will,
imposed
on
that
sweet
tight.
lyre,
& quieted the holy strings which

slackens
the right
hand of heaven
& draws
unto just petitions shall those substances be deaf, who, in order to give me wish to pray unto them, were concordant in silence? Well is it that he endlessly should grieve who, for the love of thing which en^ dures not eternally, despoils him of that love. As, through the tranquil and pure evening skies, a sudden fire shoots from time to time, moving the eyes which were at rest SC with
62.
\
How
MODERN ROMAN TYPE "MONTAIGNE"
BRUCE ROGERS
67
ENGLISH PREFACE TO ROBERT STEPHENS
APOLOGIE FOR HERODOTUS ToTHE RIGHT HONORABLE LORDS WILLIAM, EARLE OF PEMBROKE PHILIP,EARLEOFMONTGOMERIE
Ourâtrons of Learning & Patterns of Honor
1
I^ht noble Lords Laertiustelleth vs, that in old time there

:
were but feuen wife men to be found in the world but now it feemes there are hardly feuen ignorant. For a man can no fooner fet faire marke, but euery bungler will out with a bolt (as though he could cornicum oculos configere), and like Roman Cenfor will îue his cenfure, though often no more to the
:
purpofe than Magnificat for Matins, as it is in are now fallen into the French prouerb. that criticall aê wherein Cenfores liherorum arebecome|3ENSORES LIBRORUM Lectores,
We
LICTORES and euery man's works and writings, (both prime inuentions and fecond-hand
:
tranflations) are arraigned at the tribunall of
each pedantical Ariftarchus vndcrftandin^.

The World
63.
of
Wonders, Imprinted for John Norton,

THEO.
L.
1607.
MODERN ROMAN TYPE "RENNER"
De VINNE
68
CORNELII TACITI DE VITA ET INCIPIT FELICITER ^? ^^^ Larorum virorum fadta

.^^
1
tum^nenostrisquidem
aetas omisit^ quotiens
gressaestvitium
tiam recfti et invidiam,
pronum magisque in
adprodendSn^virtutis tantum conscientiae pretio ducebatur.
potius morum quam adrogantiam
aut obtredlationi fiiit: adeo virtutes facillime gignuntur. at nunc narraturo quam non petissem incusaturus. tam cum Aruleno Rustico Paetus Thrasea^
dati essent^ capitale fiiisse^ neque in ipsos
saevitum^ delegate triumviris ministerio in comitio ac foro urerentur . scilicet illo senatus et conscientiam generis humani
pientiae professoribus atque
omni bona
BY
B. G.
tum occurreret dedimus profedlo

64.
MODERN ROMAN TYPE "MERRYMOUNT"
GOODHUE

since
69
known by
his
name.
This face has comparatively

;
recently been revived by

this revival has
modern type-founders
use, the
and though
provided us wîth a text letter far superior to
the
forms previously in
modern
imitation
falls
short of the beauty of Caslon's original, as
may be
seen by
comparing the
letters
shown
in 6 1,
which are reproduced
from Caslon's specimen-book, issued by him about the

middle of the eighteenth century, with the type used
printing this volume,
in
modern " Caslon." Figures 62 to 67 show some newly devised type faces, all designed by artists of reputation. Figure 62 illustrates a fount called the " Montaigne " which has been recently completed by Mr. Bruce Rogers for the Riverside Press,
which
is
a good
'
Cambridge, Mass., and cut under
his
immediate direction,
with especial insistance upon an unmechanical treatment of serifs, etc. As a result the " Montaigne " is, for type,
remarkable in
its artistic
freedom, and
its
forms are well
worthy the study of the designer.

letters suggest the purity
Both
its
capitals
and small
of the Italian Renaissance shapes.
The
letters
space rather farther apart than in most types,
and the
result
makes
for legibility.
Although several other
modern
lines,
faces of type have been designed
on much the same

because of
notably one for
The Dove's
Press in England, the

all,
its
" Montaigne " seems the best of them

freedom, and
its
absolute divorce from the overdone, exag-
gerated, heavy-faced effects of the Morris styles of type.
Mr. De Vinne of the De Vinne

has
introduced
a
Press,
New York
City,
new
type called the
"Renner",
63,
which was
publications.
originally cut for
some of
first
the Grolier Club's
The
letters
were
photographed from a
selected
page of Renner's " Quadrigesimale," then care-
70
MARCVS TVLLIVS CICERO DE SENECTUTE CATO MAJOR CAP. XXII APVDXENOPHONTEM AVTEM MO RIENS CYRVS MAJOR HAEC DICIT: |OLITE arbitrari, O mei carissimi
filii,
me, cum a vobis
discessei'o,
nusquam aut nullum fore. Nee enim dum eram vobiscum ani-
mum meum
videbatis, sed
eum
esse in hoc corpore ex iis rebus quas gerebam intellegebatis. Eundem igitur esse creditote.etiam si nullum videbitis. 80. Nee vero clarorum virorum post mortem honores permanerent, si nihil eorum ipsorum animi efficerent, quo diutius memoriam sui teneremus. Mihi quidem persuaderi numquam potuit animos dum
in corporibus essent mortalibus vivere, cessissent
cum
ex-
ex
eis
emori; nee vero tum
animum
libera-''
esse insipientem
sisset
;
cum ex
insipienti corpore eva-
sed
cum omni
Atque
admixtione corporis
tus purus et integer esse coepisset, tum esse
sapientem.
etiam,
eum
hominis natura
morte dissolvitur, ceterarum rerum perspicuum est quo quaeque discedat, abeunt enim illue omnia^ unde orta sunt; animus autem solus nee eum
65.
MODERN ROMAN TYPE "CHELTENHAM"
BY
B. G.
GOODHUE

fully
71
cut.
studied and
redrawn before the punches were

italics to
Mr.
italic
De Vinne
for those
has added small capitals and
the
fount, as well as dotted letters to serve as substitutes for the
who
prefer them.
effective
it
The " Renner "

;
type
would have been more

commercial usefulness
on a larger body
but for
to
is
generally
deemed expedient
employ
as small a
body as the face of a type

all
will allow.
Mr. De Vinne
notes, in this connection, that
the impor-
tant types of the early printers
were
large,
and that a fount

effectiveness
size.
designed to-day with regard only to
its artistic
would be cast upon a large body and be of good
Mr. Bertram G. Goodhue has designed two founts of Roman type, and is now at work on a Blackletter face. His first fount, cut for Mr. D. B. Updike, of the Merrymount Press, Boston, and known as the " Merrymount," is shown
in 64.
sarily
Intended for large pages and rough paper
it
neces-
shows to disadvantage
in the
example given, where
the blackness and weight of the letters
makes them seem

the other
It
clumsy, despite the refinement of their forms.
The " Cheltenham Old

Cheltenham Press of
present form
Style," 65,
is
Roman
for the
its
face recently designed by the
same
artist.
was cut
New York
City; and embodies in
many
ideas suggested
by Mr. Ingalls Kimball
of that press.
Observe especially the excess in length of the

Contrary to the usual custom in
ascenders over the descenders, and that the serifs have been
reduced to the minimum.

type cutting, the
the guide lines.
round
letters
do not run above or below

excellently
;
The
capitals
compose
but the
small letters are too closely spaced and seem too square for
the best effect, and weight has been obtained by so thicken-
ing the lines that
much
delicacy and variety has been lost.
72
MODERN ROMANLETTERS
is, is
The "Cheltenham Old Style" when composed into words, and
however, very
legible
effective
on the page.
Any attempt to get the effect of Blackletter with the Roman form is likely to result clumsily. The celebrated Roman faces designed by William Morris (too familiar to
require reproduction
here) are, despite their real beauty,
ABrAEZHIKAMNHOnPCTTt>XYQ
'Opu ucN
napoNTa
&
oNdpec
our
'AeHNaToi
nporiuiTa
noWHN
juonon
Ta ducKoXioN
exoNTQ Kai TapaxHN,

qOtcon
tw noXXa
npoeicecn Koi jUHdeN eTnoi npouprou nepi
cG \ereiN, aXXa xai nepl tun unoXoincoN Kara Taina UHde Koe' en to
-
cuJUfepoN noNTac HreTceoi, oXXa toTc jugn udi, ToTc d' êpooc doKeiN.
66.
MODERN GREEK TYPE
SELWYN IMAGE
over-black on the page, and

detail.
While the
awkward when examined in stimulus Morris's work gave to typogat that time, the present reaction
is
raphy was
much needed
toward more refined faces
most
gratifying.
By
precept
and example Mr. Morris produced a salutary revolt against

the too thin and light and mechanical type faces before in
use, but he
went too
P.
far in
the opposite direction, and
we
are
now
certainly falling
back upon a more desirable mean.

is
Mr. Herbert
Home
at
present designing a
new
fount of type for the
Merrymount
Press, Boston, to be

Known
some
as the
73
" Mont' Allegro," which seems, from the
designs so far as at present completed, likely to prove in

respects the
most scholarly and severe of modern
faces.
t9 Up, Lord, ai^d let Qot n)at) bave tbe upper bai^d : let the heaHyei) be judged ii> tt)y sisbt.
2o Put then) ix) fear, O Lord tbatfliie lêatBex) xpay kQow thei^selres to be but roet).
:
PSALME
X.
]HY stai^dest tbou so 1 Sr off, O Lord: ai)d
bidest tby fsice ix) the iêedful tiirê of trou^
UTQUID,DOMINE?
ble? 2 Tbeuijgod^yffirbis ovit) lust dotb persc'o

cuteftvepoor: lettbeiQ
be
baveiixjagiiêd.
takei)
ii?
tbe craf-~
ty wilirjess tbat
tb^
3 For ibe uijgodly batb )ade boast of biS owij beart's desire : aijd spcaketb goodof ftie covetotis^wboip God abborretb* 4 Tbe uijgodl)^ isso proud, tbat bccaretbijot for God : ijcitber is God it) all bis tbougbts.
67.
MODERN ROMAN TYPE
C. R.
ASHBEE
The Greek
to be
type designed for the Macmillan

is
Company
oi
England, by Mr. Selwyn Image, 66,
of sufficient interest
it
shown
here, despite the fact that

subject.
is
not strictly
germane to our
In this face
Mr. Image has
74
MODERN ROMAN LETTERS'

at first
returned to the more classic Greek form, although the result
may
glance seem illegible to the reader familiar with

cursive letters.
the more
common
shown in 67 is by Mr. C. R. Ashbee for

type
Interesting as
it is, it
The
new
Engli^'^fSce designed
for the
a .prayerbook
King.
seems
in
many ways
:
too extreme and
eccentric to be wholly satisfactory
the very metal of type
would seem
to postulate a less
"
tricky " treatment.
/^RGHlTE'CTv'R^L
LETTERyCER^^K)
ABCPCFGHllKL
y7A5"mA^-^Pie.
68.
MODERN GERMAN CAPITALS
AFTER
J.
M.
OLBRICH
It is interesting to
attempt a discrimination between the
various national styles of pen letters which the recently revived interest in the art of lettering
is is
producing
and
it
especially
in
worth while to note that the
activity seems,
even
Germany,
to be devoted almost exclusively to the
development and variation of the
Roman
forms.
It
is
noteworthy, too, after so long a period of the dull copying
of bad forms, and

the modern trend
is
particularly
of bad type forms, that of freedom
distinctly in the direction

is
though
this
freedom
more marked
in
French and German

than in English or American work.
this increased
75
Hand
in
hand with
freedom of treatment has naturally come a
CMLISAriOIS-jPRIX-
XffiIArURE^MORTJARON<irFLUIDITB
COLLE ^PASTORALE
;*\n?i^\iDorf'pzELiA
69.
GUSTAVE LEMMEN
;
clearer disclosure of the
much of
the best
mediums employed and indeed in mo.dern work the designer has so far lent
letter
himself to his tools that the tools themselves have, in great
measure, become responsible for the resulting
forms.
(?10DCnM
Mur^LiînoPQ
R3TUV>^WyZ
70.
MODERN GHRMAN CAPITALS
AFTER ALOIS LUDWIG
76

are
it
Moreover modern designers

tion to minuscule letters,
showing a welcome atteneven seems possible that

shall
and
before long
tively
some small
letter
forms that
be distinc-
of the pen
may be
developed, and that the use of type

letters will
models for minuscule pen

necessary or commendable.
no longer be found
i_
GCRmanbec
reRinGHBCD
CFGGHDKbm
nOPQRSUUDX
VV9Z
71.

in
AFTER OTTO ECKMANN
Another noticeable tendency

dignity of capitals, (see
modern
lettering
seems
to be the gradual promotion of small letter forms to the
same way
tives
as the Uncial letter
79 and 98 for examples) in much the and its immediate derivaletter.
produced the present small

this
It is surely to
be
it
hoped that
movement may not
lose vitality before
has had time to enrich us with some

forms.
new and
excellent
m
K 9P
CU cu
OP
i
I nn X

78
CARITAS d
CESANC BERT
ACVLTi^T
iYCHE
COTT
PALMETTE
fVX
73.
JOSEPH PLfiCNIK
79
BEND JI
NOTYU CAOFH LASTZ KRXWR

OyiPEM
74.
AFTER FRANZ STUCK
80
coopenn
fMSCPFTDl
JKLLHOPp
R5GUVCJ
23<j869751
76.
F. C. B.
81
MARCHM TCD GUX W\^6 JO:

KLfNF BR
QVYZAD
S'Ra23
76.
AFTER BERNHARD PANKOK
82

The influence of nationality
is
strongly
shown
in the
mod-
ern lettering of
all
countries
and
it
is
generally as easy to
recognize a specimen as the
work of
German, French,
artist,
English, or American
respectively,
no matter how
individual he
may
be, as
it
is
to tell the difference
between
different
the work
designers.
77.
of two
MODERN FRENCH POSTER

THEO. VAN RYSSELBERGHE
The modern German seems

to have an undeniable fresh-
ness of outlook on the

alphabet.
Roman
He
treats
it
with a freedom and variety and a
certain disregard of precedent
induced, perhaps,
by
his
schooling in Blackletter
often
if
that
produces
delightful,
it
though sometimes, be
direful
results.
added,
the
But
extreme and bizarre forms be
thrown aside the designer may

obtain
benefit
suggestions of great
and value from the

examples of
more
restrained
German work. Many eminent German draughtsmen,

whose work
is
all
too
little
78.
known
,
m
.
MODERNFRENCHCOVEK
m.
r.
this
country, are
verneuil
83
ABCDEF
GHUKLm
NOPQEST UVXZYDn
âbcdeî
klnpcjilStuyE
79.
MODERN FRENCH LETTERS
AFTER M.P.VERNEUIL
S4

using letters with the same distinction that has of late years
marked
work,
in
their purely decorative
as the
specimens shown
will
68
to
76
evidence.
Figures 68 and 75
show forms
especially
which are perhaps

representative
of the general
modern tendency in German work and many German artists

are using letters of very similar
MODERN FRENCH POSTER

P.
general forms to these although,
BONNARD
of course, with individual

ations.
vari-
Figures
70 and
73
show two very original and pleasing styles, also markedly German. In spite of the national drift toward the Roman, much modern German lettering
still
takes the Gothic and
Blackletter
forms
and
in
the
specimen
reproduced
71
shows a curious combination

of the
LIMAGE
Gothic, Uncial
and
Roman forms pervaded by the German spirit. The beautiful

lettering in
72 seems to have
been inspired from a stone-cut

Uncial.
Figure 74 shows an
strictly
is
almost
Roman
letter,
and yet
as
unmistakably
as
German
in handling
any
81.
MODERN FRENCH COVER

GEORGE AURIOL
of the other examples shown.
o
J
<
<i
u
o
<
3(
Pi!
O S
86
Among the examples of modern French lettering, those shown in 78 and 79 are perhaps the most typical of the modern school. This style of letter was given its most
"
jf V|^^\ ommenT
(
ISv^J
taLtiuw;
^liUtlol
I'
M
.
j!eR^lîI
'.
"
OuRobu
d<es
(^.tun-r
"^J
ob$<i^^ntb
d'akuembteR
Ictttwit.Oe
CvmbineK t>o
c-^chet^
d'avCrCncuR
dvs
mono-
(^S 'viC
6ue,
ntfti
Ix fois tut iu D'ArfTeT d'usbKiT-on
roaî )'>^ î^^^Rti^

JL
cumme
tute
l>io|TiMre({
^^ nouR unu intRieniome Qitinze An.
dtuxAnT', 1% RCcheRclie
sibnii
ek
pARÎlele du. OecOK

j
eT Ou
l(M
(iSk^Monni:
fiutua tA
^xtisîU
iw Tni-
(\iiRi6l
dep<^"^<i dAn> com(>teR,t!nt7rod>aue
RlMôuRclU
y wna
ima&inACion ^CRtitc.
cc rccmbiI
s'^^
l*humisi4R
cclAtent
en
pvr $urcro1T
leistflc OcCtftu
Svin.
AnteiiR
pnitii^.^^^
^le ti'aOailJait a-OccJuie

dit Con.)imtiori> OiitiUitfy
îU^m"^<l'oRRlS (uiwû'ii Oe|Vmt Tara siirfîCude .iK
eTmoiôîM'.JuecddA le
tibRC
f>i:.
ttp^nouisscment
O'un ch^Rme (:mnc>>

de 1^ RCchvRthf
lout pRVclMnc
r'ttnt)Mn
83.
MODERN FRENCH LETTERED PAGE
GEORGE AURIOL
consistent form by the joint efforts of
M.
P. Verneuil and
some of the
was
this
pupils of
Eugene Grasset,
after
whose
letter
it
originally modeled.
Grasset freely varies his use of

founds many
form
in his different designs, as in 85, but
of his best specimens upon the earlier French models.
8T
GEORGE AURIOL
his usual hlhrx.
i
2 3
4îllii\m the pilof Dublin flovOering ^<\Iel

.
zebna^ holiO^-^ i^ne(\s

\?<\n
D-^ck qu(\mt
joe
j(*o>:.
dej
IJKLMNO PQRSTU
567890. B CD Er GH
84.
MODERN FRENCH LETTERS "CURSIVE"
GEORGE AURIOL
88

M. George Auriol has
the
extended
use of
modern
letters
's^gl^Hfe iM Am.
drawn
by
publishing a
number of
4 Uecorivtioii
small books which he has handwritten

throughout, although the
form
pose
of. letter
he generpur-
ally uses
is
for this
purely modern
at all
like the
and not
texts
of
the
medieval
Auriol's
MAD. 5,
1897
scribes.
letter
is
M.
and
in
'
beautifully clear,
LIBRHUJIE
CENTRHLE DES
BEflUX JIRTi
PARli
readable
original
its
IS.RUE liaj-ayETTE
"brushy"
techfor
calls
85.
nique, yet suitable

rapid writing.
He
MODERN FRENCH COVER DESIGN EUGENE GRASSET
ARTHORIZONSTTLEWAX
FAVORJVLIVS- C?SARI
BOLINGBROKEDEFEAT
COASTLATITVDE-miGHT
SVCCESSPATRIOT- gVEEM
DOVBTPYGAT
86.
^-
MODERN ENGLISH CAPITALS
WALTER CRANE
89
COMEDTTHEATRE
SHAKESPEAREAN-SEASON
n^Fft-BENSON'SCaiPAfll
DECEMBEB19190OT0aPiaL91901l
87.
MODERN ENGLISH POSTER
WALTER CRANE
90
^BGD
KhMNQ
UWKTZ
SS.
WALTER CRANE

/ 11
91
X,
it
a "Cursive" letter, and has
i^Tu\Ui*fC !>.f,:\r.axiow- Symbol QeauK' Joy-acxD' ccsi2i3yr^

<^*akie TTotb. ^hest)
recently
made
designs for
its
use in type.
in
The page shown
83 is from the preface to book of his well-known
designs for
monograms, and
is
the entire text

this cursive
written in
form.
The
indi-
vidual letters of this
"Cureasily
MODERN ENGLISH LETTERS

WALTER CRANE
sive"
may
be
more
studied in 84.
The cover for
same
designer's use of a
"L'Image", 81, shows the more conventional Roman form.

van Rysselberghe shown in 77 French small letters that
The
exhibits
poster by
M. Theo.
two
interesting forms of
are worthy of study and sug-
gestive for development.
M. Alphons Mucha employs

a distinctive
fitted to his
letter, especially
TEB(n)K
technique, which
he uses almost invariably, 82.
Much
recent French letter-
ing inclines toward a certain

formlessness,
that,
although
sometimes
admirable
when
OF BOOK<3 PIATES
Q o
e
regarded merely from the point
cpvBLISHED
of view of harmony with the

design, has
wise.
little
QVARTERIYAT
2o FREDERICKS
value other-
A
in
IN
EDINBVRGH
ENGLISH TITLE
joseph w. simpson
typical
specimen of
6
such formless
letterine: is that " ""
90. MODERN
shown
the very charming
MODERN ROMAN LETTERS "Revue Blanche" poster, 80. WmH/at^9yin

92
Excellent
when considered
with the design, the lettering

alone makes but an indifferent
showing.
The
letters
Italian
designers
of
have not yet evolved

distinctive
any very
forms.
national
Italian
In
many ways
the
work resembles
It
has
less
German. originality, but

personality
<^PrenchCicancrs
ILcitiiWalkEMlllBlliiClH
91.
greater subtlety and refinement.
MODERN ENGLISH POSTER

JOSEPH W. SIMPSON
The
is
strongest
among modern
are
British letterers
Mr. Walter Crane. Characteristic examples of his work shown in 86, 87, 88 and 89. Although sometimes
merit and
apparently careless and too often rough, his lettering has the
charm of
invariably
disclosing the instrument and
the material employed.
Mr.
Crane
Uncial
is
especially fond of an
pen form, which he
varies with masterful freedom.

It
may be mentioned
is
in pass-
ing that he
designer
perhaps the only

has been able to
who
Londoniypes
ByWmiamNichoIsoa.
92.
make
the wrongly accented q^
seem consistent (compare 86), or who has conquered its

^wash
tail
MODERN ENGLISH COVER

WILLIAM NICHOLSON
whett the letter
is
accented in this unusual way.

on
lettering,
93
Mr. Lewis F. Day has become a recognized authority

both through his
writings
and his handiwork.

versatility
His great
difficult
makes
it
to
select a
specimen
as char-
which may be taken

acteristic
of his work; but per-
haps the lettering shown in 95

is
as representative as
any that
his
could be chosen.
Among
designs the magazine cover, 93, is an unusually free and effec93.

LEWIS
F.
DAY
tive composition,
and
its letter
forms possess the variety required to satisfy the eye
when
so
much of
the whole effect
of the design depends upon them.
The
Image
style
of lettering ordinarily employed by Mr. Selwyn
a style of
marked
originality
and distinction
is
well exhibited in the design for a
book cover, 98.

is
The name of Mr.

with
detail
Charles Ricketts
intimately associated
the Vale
Press.
The
of the title-page reproin
duced
100 shows a charof his work.
THE PAGE
Obristmas
acteristic bit
Mr.
J. VV.
Simpson, one of
1900
GORDON CRAIG
the younger British draughts-
men, uses
form shown
graceful and
interestingly linked
Roman
from
94.
in the panel
MODERN ENGLISH TITLE
a title-page, 90.
The
bizarre
94
ABCDE FGHIK LMNOP QRSTU VWXYZ

96.
LEWIS F.DAY

letter
is
95
by the same
artist,
91,
fairly
representative of a
POEMS
BY
style recently
come
into
vogue
among
to a
the
younger British
is
draughtsmen, which
related
form of
letter
brought
into fashion
lish "school
by the new Engof designers
BY WALTER RALEIGH
ILLVSTR.ATIONS BY ROBERT ANNING BELL AND INTRODVCTICnsr
JOHN KEATS
on
be
wood, among
olson and
whom may
mentioned Mr. William Nich-
Mr. Gordon Craig,

its
both o!f whom have ddne lettering distinguished by

tion of the
LONDON GEORGE BELL ^SONS YORK STREET COVENT GARDEN:NEW

:
YORK 66FIFTH/6/ENVE
indica96.
MDCCCXCVn
MODERK ENGLISH TITLE
ROBERT ANNING BELL
medium employed.
Figure 92 shows Mr. Nicholson's favorite type of letter
NATURAL- HISTORY
THE OFSELBORNEBY
GILBERT-^HITE
Edited by Grani Allen
Illustrated
JD JD f Bspreseodamve -painuers'^
ojune
xixceojury.
by
Edmund HNev
97.

EDMUND
H.
98.

SELWVN IMAGE
NEW
96
fairly,
title

and the
style
of Mr. Craig's work

in 94.
is
suggested by the
for a
book cover
The book
cover, 97, by
Mr. Edmund H. New, shows
ORIGINALITY- OF
DEJIGNGCDD CRAFUMAN-JHIPMODERATECHARGEy
CATALOGUEJFREE
variants of the
ANONYMOUS
Roman
capital
and minuscule forms, which
closely adhere to classic models.
Mr. Rqbert Anning

fairly representative
Bell has done
much
distinctive let-
tering in intimate association with design.
Figure 96
is
of his style of work.
NI IWrHM\^S
100.
MODERN
ENGLISH. CAPITALS
CHARLES RICKETTS
Messrs. Alfred Parsons,
Such other
British
artists
as
James Shaw, H. Granville

F. Sullivan.
better
Hugh Thompson,
Fell
Herbert Railton, Byam
and A. Garth Jones, although much
known
for their designs than for their letters, occa-

j-eiecuoorfroj
'oeiry o/
and excellent; but these
are
97
sionally give us bits of letter-
ing which are both unusual

bits
commonly
so subordinated
to the designs in
which they
are used and so involved with
them
as to be
beyond the scope
of the present book.

In illustrating the lettering
of American
101.
artists
it
has been
MODERN AMERICAN TITLE

EDWIN
A.
ABBEY
unfortunately found necessary
102.
ANONYMOUS
to
omit the work of
many
of
well-known designers, either

because their usual
lettering
is
style
too similar in fund-
WEEKLY
A Journal of Civilization
HARPER'S
Nhy^QKE. NOVEMatSii* 1900
amental forms to the work of
some other draughtsman, or because the letters they commonly employ are not
tive or individual.
distinc-
Mr. Edwin A. Abbey
is
notable example of an artist
who
has not disdained to

103.
expend both time and practice
on such
minor art as
lettering
MODERN AMERICAN COVER EDWARD PENFIELD
'
98
ABCDE
KLMN OPQR STUV WXYZ

104.
FGHIJ
MODERN AMERICAN CAPITALS
EDWARD PENFIELD
99
105.
MODERN AMERICAN SMALL LETTERS
EDWARD PENFIELD
100

that he might be able to
CKCKEMNG
letter his
own
designs, as
the beautifur page,
shown
in ,153 in the succeedi'ng.
chapter, will sufficiently

prove.
The
lettering of for
the
title-page
Her-
rick's
poems, loi, by the
sanie
draughtsman,
is
likewise excellent, being
both original and appropriate.
The
letters
in
both these examples are
modeled
after old
work,
and both display an unus106.
MODERN AMERICAN COVER DESIGN

H.
ually
keen grasp of the

and
possibili-
VAN
B.
MAGONIGLE
limitations
ties
of the forms
emof
ployed, especially- in the

capitals to
former, 153, where the
lise
form words
is
particularly noteworthy, while in
general composition and spacing the spirit or the letter used
(compare 179) has been perfectly preserved.
Mr. Edward
through the
er's
Penfield's
work
first
attracte^l.
attention
'
series
'
of posters. which he designed for

fertility
Harp-
Magazine
with unfailing
this
of invention for
several years.
During
fitted
time he evolved a style of letter
which exactly
design
the character of his work.
The
cover
shown
;
in
103 displays
his characteristic
letter in
actual use
while the two interesting pages of large and
small letter alphabets by him, 104 and 105,
show
the latest
and best development of these
letter forms.
The
heading
101
PEDGEAM. 'MCMIABCDEFG
HUKLMN
OPQFÎV
WKYZ
H.V^N
107.
B.
MAGONIGLE
102
MODERN ROMAN
slightly
LETTER-S
a
different
letter,
VANDYCK
TITIAN
shown in 102 exhibits
bvi-
dently based upon that used
VELASQYEZ
HOLBEINYX BOTTICELLI
by Mf. Penfield. The capitals by Mr. H.Vaii

B. Magonigle,
v^re derived
shown
in 107,
from classic
Roman
mod-
REMBRANDT
REYNOLDS MILLET
GiSi^BELLINI
forms' but treated with a
ern freedom that makes them
unusually
appear,
attractive.
They
use
in
however, to better
in
advantage
actual
conjunction with a design,
MVRILLO HALS
106, than
when shown
in thp
necessarily restricted form of
an alphabeticalpage panel.
RAPHAEL
108.
Mr. Bertr'am G. Goodhue,

whose designs
for type
have
is
MODERN AMERICAN CAPITALS ^ B. G. GOODHUE
already been mentioned,
ôddtS^Keaet &-'Oo
HOLIDAY
BOOK/S
109.
IIjLUSTI(ATD "
WILL BRADLEY
im
m
WM iffl
;:<'
HS
HH
IH
fffl+ffl ir
mttn
[4Bm
104

most
facile
and careful
his
letis-
srvDio
i4<o FiffheAve
terer.
Although
name
more intimately associated

with Blackletter (examples of
An Illustrated Monthly Maga zine of FINEga.APPLlEb
ARJ "Edited b^ Gharjubs

MoLMB Tublishedbi>iovm
LANBTheBodlev-nead at
NewYorkj
7*riceJ)^ctr<is 5(fearjy5ub jcriptionA^-^ po.st paid*
work in that style are shown in the following chapter), he has devised some very
his
interesting variations of the
Roman
forms, such as that
used in io8, as an example.
CHICKERING
O^ ^ L
111.
MODERN AMERICAN COVER

WILL BRADLEY
{ Opening Concerj on 'Fridtiy '^Veninj
Tubruavy tt}e. S^lÔl

tXjfa^ Past Eight
O'tHoch.
Mr. Will Bradley

capital,
liar
uses a very
individual style .of the
Roman
Admit One to the Balcony
often
marked by a pecu.
exaggeration in the width

letters,
tall
of the round with narrow

letters
contrasted
forms in such
as
e,
and
l.
Mr.
free
Bradley has become more
and unconventional
work, but
always
his
in his later
specimens have
CHICKE,RJNG
OPENING CONCERT Triday rEVenin^
Te-bruavy 8 i^1901
112.
been
noteworthy for
beauty of line and spacing; see

III.
Figure 109 shows his

a
employment of
variant of the
brush-made
form;
Roman
MODERN AMERICAN TICKET

A.
J.
lORIO
T
105
IÔ
LETTER^
MAN
I
ABCD E G H J K L M N O F aP^^ TV
WXCt-YZ
.113.
AFTER WILL BRADLEY
106
ODES OF
P
IN D A R
LONDON
A B C D E F K L M G H NOP Q^R S T V X Y Z
I
114.
MAXFIELD PARRISH

and
107
in his
no
shows both
capitals
and small
letters
drawn
earlier
and
less distinctive style.
RNICRERBOCRER'S
HISTORY OF NEW YORK

BY
115.
-^
WASHINGTON
IRVING

ticket, 112, designed
MAXFIELD PARRISH
suggests J. lorib,
The
by Mr. A.
what our theatre
tickets
might be made.
In spacing and
BIGELOW. KENNARD AND CQ WILL HOLD, IN THEIR ART ROOMS. MARCH 2J TO APRIL6 INCLUSIVE. A SPECL\L EXHIBl' TION AND SALE OF GRUEBY
POTTERY INCLUDING THE

COLLECTION SELECTED FOR THE BUFFALO EXPOSITION
MDCCCCi
116.
A.B.
LeBOUTILLIER
general arrangement of the letters and the freedom of treat-
ment, Mr.
lorio's
work may be compared with much of
the
108
MODIFIED ITALIAN CAPITALS
ABCDEFG HIJKLMN OPC^STU
VZWXY
A. B.
1134567S00
117.
Le BOUTILLIEK
109
Lower
hyklmn
opqrstu
vwxvz^
118.
A. B.
Lk BOUTILLIER
no

work of Mr. Bradley. Figure 113 shows a modern Roman capital form modeled upon the
GRUEBY
POTTERY
work of Mr. Bradley. Mr. Maxfield Parrish commonly employs a widely spaced
letter,
fashioned
closely after
the old
German
models, beau-
tiful in its
forms, arid displaying
the individuality of the artist in

its
composition.
The form
in
and use of Mr. Parrish's usual

letter
is
well
title
shown
114;
and the
from a book cover
GOLD MEDALS PARIS 1900

ST. PETERSBURG
design,
15,
shows yet another

in service.
example of the. letter
I9OI
GRUEBY FAIENCE
The
lettering of
Mr. A. B.
CaBOSTON MASS
libris
119.
MODERN AMERICAN POSTER

A. B.
LE BOUTILLIER
Le
Boutillier
is
always notable
for spacing
and composition. 118 exhibit and small-
ERNEST
IKSESSa
Figures 117 and

excellent
capital
WHTIE,
letter forms (which, by the
way, were drawn
at the
same
and
120.
size as the reproductions);
AMERICAN BOOK-PLATE CLAUDE KAYETTE BRAGDON

the
111
1
two other specimens of Mr. Le
Boutillier's
work,
16
and 119, which are reproduced to show

will
his letters in use,
be found exemplars for spacing, composition, balance
LITERATURE An GAZETTE
International
Price 10 cents a
121.
(^
CmTlClSM^^s^ Issuei/WeeA/y
copy /4.0b ayear
C. F.
BRAGDON
of weight and color, and, in the latter drawing, for harmony
between the lettering and the treatment of the design.
The form
Bragdon
is
of letter preferred by Mr. Claude Fayette
represented by the page of small letters, 59, which, as we have already said, are closely modeled on the
type alphabet designed by Jenson.
In Mr. Bragdon's ver-
MAKERS OF ENAMELED TERRA COTTA. TILES. GRUEBY POTTERY K AND HRST ST'S. BOSTON. MASS
122.
GRUEBY FAIENCE COMPANY
MODERN AMERICAN LETTER-HEAD
C. F.
BRAGDON
sion they represent an excellently useful and conservative

style
of small
letter.
They
are
shown
'
in use,
'
with harmo-
nious capitals and
italics, in
the
Litemture
cover design,
121.
In the small book-plate, reproduced in 120,
Mr.
112

for
its
Bragdon has used a very graceful variant, especially noteworthy

freedom of
serif
treatment;
and
in the
letter-heading, 122, he has
employed an
of
still
attractive capital
different character.
Mr. H. L.
Bridwfell
has originated the singularly excellent letter in
shown
124, which
is
founded
upon some of the modern

French architectural forms.
He
uses
it
with great free-
dom and
variety in spacing
according to the effect that
he desires to produce.
In
one instance he
will
jam
the letters together in an
oddly crowded line, while

in
another
we
find
them
spread far apart, but always
with excellent results as

regards
the
design
as
whole.
variation
123.
Something of this
of spacing
in
is
MODERN AMtRICAN COVER

H. L.
shown
ers
123.
In the
BRIDWELL
numerous
theatrical post-
which Mr. Bridwell has
designed
and which
too seldom bear his signature

lettering.
he
employs a great variety of

the freedom of his
Sometimes^ of course,
work
is
restricted
by the conservatism of
clients; but often the letter

style
forms here illustrated add to thd
and distinction of
his designs.
113
FUENCH
FR,ENCH
I
ABCDEFG H J KLMNO PQHSTUW

VXYZ 154 56769 &
I'M.
H. L.
BRIDWELL
114
ROMAN
LETTERS
ABCDEF GHIJRL MNOPQR STUVZW

XY&.
J2B.
FRANK HAZENPLUG
116
ABCD EFCHI JKLM NORQ STUV
WXY
120.
FRANK HAZENPLUG
116

much
clever decoi
Mr. Frank Hazenplug, the

author of
rative lettering, has evolved a
o t'h
to
ckerj'- a nn. er girlj'dK)
^
VK
oys
e a
1
1
e
e
Ha
very black and striking style
of capital that
grace.
P'igures
sets
still
retains
125 and 126
show two
of Mr. Hazen-
A book cover on which he has used small

plug's capitals.
letters
in
an original way
127.
is
reproduced in
Figure
129 shows the employment of

a heavy-faced letter similar to
that exhibited in alphabet 126,
but suggestive in
its
serif treat-
127.
ment of Mr.
Penfield's letter.
MODERN AMERICAN COVER FRANK HAZENPLUG
Mr. Edward Edwards employs a letter, 128, which, though rather conventional in
lines, is
its
noteworthy for
its
treatment of serifs and

letters
its
spacing.
Mr. Guernsey Moore's

the widely used " Post
shown
in
30
are naturally
better both in intrinsic form, spacing
and composition than
Old
Style " types
which were based

133
upon them.
The
large
and small
letters displayed in
show
a form that, at the pres-
HARPERS
PICTORIAL HISTORY
ent writing, seems to be in

considerable favor. It
ever, too
is, howextreme, and its
OF THE VS5\RwrraSPAIN
128.
peculiarities are too exagger-
ated to allow
it
to
become
MODERN AMERICAN TITLE EDWARD EDWARDS
permanent styk.
the extravagant
But like German forms

IE
117
has also
alrezdy referred to,
it
;
AGATALOGUE OF THE THIRD

EXHIBITIONOF
apparent advantages
and a
few of
its
characteristics are
not unlikely to survive in some
more conservative
letter
adaptation.
by Mr. Harry THE CHICAGO The Everett Townsend shown AKES&CRAmS most SOCIETY more form of
in
1
1 is
distinctive in effect
refined
the
rapidly
in 138.
drawn character shown
Mr. Howard Pyle often

gives us
charming bits of letter-
ing in connection with his illustrations.
The
heading, 132,
line.
shows a
129.
characteristic
MODERN AMERICAN COVER FRANK HAZENPLUG
Most of Mr.
is
Pyle's lettering
in
"Colonial" or Georgian
though the
initials
style,
he
uses with
early
it
are generally rendered in the fashions of the
German woodcuts, somesimilar to Holbein's init-
what
ials for
the "
Dance of Death."
Mr. Orlet-
MIDWINTER
One
of the most original of

letterers is
ROMANCE
American
NUMBER
130.
son Lowell.
Usually closely
An Illus't rated
Weelsly Magazine
conjoined with design, his

tering does not
show to its full when reproduced apart from its surroundings, for much of its charm depends
value
Founded A? 1^1728
6y Benj. Franklin
MODERN AMERICAN- TITIjr GUERNSEY MOORE
11

its
in line and color with the accompanying Mr. Lowell has talsen the same basic forms as those used by Mr. Penfield, and has played with them until
upon
harmony
drawing
be-ne-atli
tlio
llines
dC 5IR-
R.1CHARD LOyLIACE/ 'vT
POEM
on
131.
caH&d
'
lb Luoafta
ôfng"
to
xhs^
i
wars"
E.
vvKioK 5attK
he has developed a
letters.

series
HARRY
TOWNSEND
of most ingenious and fanciful
The
examples reproduced
inadequately
show
in 136 and 137 but few of the many' forms that Mr.
1
Lowell employs with remarkable

delightfully decorative effect
fertility
of invention and
of line.
shown opposite
his capitals,
135, 134, are not by Mr. Lowell,
The small letters,
Colonies and Nation.

AShttrtHiftary cf^jpPeojde of
the\ltxAe.A Stales.
132.
MODERN AMERICAN HEADING

in
HOWARD PYLE own

sAiall letters, of.
nor are they
any \yay equal to

in
his
which regrettably few appear

they
his published
work
but
may serve to exhibit a similar method of treating a much more conventional form of minuscule than Mr.
11
abcde^l^m.
flopqKsto^zx
\
\
IJKLMNOP
GRSTVdW
XYZARGET
133
MODERN AMERICAN LETTERS
F. C.
B.
120
QC^q iFMEJib
Wl^W^^f^
^^cc?.^
to
134.
AFTER ORSON LOWELL
121
135.
F. C.
122

work will show
that each letter has been developed
its
Lowell would himself use for the same purpose. Despite unconventionality, however, an examination of Mr. its
Lowell's
to
fit
the space between
neighbors and to balance and
OF
A'K>
OFFICE
BO^ m>m^
Q/immte^G
130.
MODERN AMERICAN TITLES

;
ORSON LOWELL
relieve their forms
and
that, fanciful as
some of the
shapes"
may
appear, they have invariably been knowingly worked

fit.
out, and always appear harmonious and
The
pages of letters shown in 138, 139 and 140 are
intended to suggest forms which, while suitable for rapid

use, yet possess
called
some individuality and character. The so"Cursive" letter by Mr. Maxfield Parrish, 140, is
such informal use
lies in its
iparticularly effective for
very charm
informality
and
in
fact, its
is
quite as distinctkind.
ively *'pen-ny " as
any of Mr. Crane's work of the same

field
A glance
over the
of modern examples will
disclose,
rst, a general tendency to break
away from the
older type
partiality
models in pen-drawn forms

for the small letter,
second, a growing
and
third, a sporadic disposition to use
capital
and minuscule forms interchangeably.
The
first

trend
123
may
is
be noticed by
com132,
after
paring the letter
shown
^ôwn
in
which
closely
'^^'
modeled
in
f J3^ IFME
M'Ô^^ÊILE.
^Tf i^lM ^ ^&^Mf M
ft?:^
|yp' ^''^
in
136,
is
which an opposite method

handling
followed, and the letters are so

treated
in
form and
color as to best harmonize with
\f
TRfTTTUT
ii
*^ "^^^'Sn
''self.
The
possibili-
ties latent in
the small letter are
k^3S3F
TrInlJEi
indicated by such interesting uses

^* '^*^ *''^" '" ^Sures 77, 89,
HCMlSIHIT OW TME (SOIL " "^ EK* MlfMSar 3Êi3Sô^C?

137.
and 131.
in the
letter.
98,101,1x1,112,121,127,130 American designers seem to be especially interested

development of the small
MODERN AMERICAN TITLE ORSON LOWELL
Of the
intermingling of
^^^ Capital and small letter shapes
examples
may be found
in figures
these examples
In 71, 75,. 77i 78, 79, 82, 83, 84, 98, 127 and 134. it will be noted that the minuscules seem to
be more easily transformed into capitals than do the capitals

into minuscules
;
only a few of the
latter
appearing to lend
themselvfes harmoniously to the small letter guise.
Such tendencies
as these, if allowed to develop slowly
and naturally, are certain to evolve new forms

of modification which
it
a process
should be fully as instructive and
entertaining to observe as any of the historical changes

that
have already become incorporated into our present
letter shapes.
124
ARCniTECTlRAL
LETTEL5'-DETAIL5
iJinallLetLerj'
dbcdc^
hjjklmnopqriTtuvwxyz
Free. ancTyet QdJiric in
effect dJid feelinO olso
ABCDEFGHI
JKLMNOPQ^ LJTUVXWYZ
Alwayj* to
be ijure/d
in
J38.
MODERN AMERICAN LETTERS. FOR RAPID USE
F.C.B.
125
AKALPhABEZ
r AJ^HITECTS
abcJeGbijUmnopii rstuvwxyz izj4^6j
Plan- ofSecondBoDr
II
A5CDEF<7H1JKLM
NOPQ^TUVWYZ
A qoal a/pham (or
Jetteriiy
139.
plans îc
FOR PLANS, ETC.
C. F.
MODERN AMERICAN
ITALIC.
BRAGDON
126
CHA PT E
III
GOTHIC LETTERS
The name
" Gothic " applies rather to the
spirit
spirit
than to the
exact letter forms of the style.
The same
of freedom
and restlessness characterises the architecture of the period

wherein
this
style
of
letter
was developed; and Gothic

effect
letters are
in
many ways
akin to the fundamental forms
of Gothic architecture.
Their
is
often tiring and
confusing to the eye because of the constant recurrence
of very similar forms with different

this
letter
meanings; yet
very similarity
is
the main cause of the pleasing aspect
of a page of Gothic
Unlike the
lettering.
letters,
Roman
which attained a complete

letters
and
final
development, Gothic
definitive
never reached authordid

-
itative
and
forms, any
more than
letter
Gothic
architecture.
Every individual Gothic
has several
quasi-authoritative shapes, and all of these variants
may
be
accepted, as long as they display an intelligent conception
of the
spirit
of the style as a whole.

it
Because of
this lack
of
finality,
however,
is
impossible to analyze each of the
letter
forms as
I
;
we were
able to do with the
Roman
alphabet
in
Chapter
yet this very variability and variety constituti?

difficulty
at
once the peculiar beauty of Gothic and the great

it
of so drawing
as to preserve
its
distinctive character.
Any letter of Gothic form is
usually called either "Gothic

is
"
or "Blackletter" indiscriminately, but this use
inexact
128
GOTHIC LETTERS
The term " Blackletter "
letters in
and confusing.
should,
strictly,
be applied only to
which the amount of black
in
the line overbalances the white; and the proper application
of the
title
should be determined rather by this balance or

letter
weight of the
than by
its
form.
Rlmnopqnf
ntroime
pzittitegiot
141.
ITALIAN
ROUND GOTHIC SMALL LETTERS

was
1500
The
originar Gothic letter
a gradual outgrowth from
the round
Roman
its
Uncial.
Its early
;
forms retained
all
the
roundness of
Uncial parent
but as the advantages of a

saving of space became
the
condensed form of
letter for the
manifest, (parchment
was expensive and bulky) and
GOTHIC LETTERS
129
abct)d
cfjby klmno pqrst

142.
ITALIAN
ROUND GOTHIC SMALL LETTERS
16th
CENTURY
130
GO THIC LETTER
"OlllineiX)!!!!!!'
nofrerqiiamad^
miiabileerrnoni tiiLimmvniucil^
IranXucaslp'^
D2icl.fGnotx:if7o
143.
SPANISH ROUND GOTHIC LETTERS
FRANCISCO LUCAS,
1S77
GOTHIC LETTERS
and descenders were shortened, with marked
that the lines of lettering
until a
131
beauty of the resulting blacker page was noticed, the round
Gothic forms were written closer and narrower, the ascenders

loss
of legibilty,
might be brought closer together,

in
form was evolved
the white
which the black overbalanced

still
the Blackletter which

text of to-day.
survives
in
the
common German
letter
Thus, though
a Gothic
is
may
not be a
it
Blackletter, a Blackletter
always
Gothic, because
is
Constructed upon Gothic lines.
On
the other hand, a

impossibility.
Roman Blackletter would be an obvious The very essential and fundamental quality
squareness or circularity of
of a
its
Roman
letter lies in the
skeleton form.
For clearness
will
and
convenience, then,
the
following
discrimination between the terms Gothic and Blackletter
be adopted in
this treatise:
it
When
it
a letter
is
Gothic
but not a Blackletter
will be called
"Round Gothic";
termed " Black-
when
it is
primarily a Blackletter
will be
letter," the latter
name being
restricted to such compressed,

letters
narrow or angular forms as the small

147 and 148.
142.
shown
in
in 144,
The name "Round Gothic"
will be applied
only to the earlier forms, such as those
shown
141 and been
Such a distinction has not,
I believe, hitherto
attempted ; but the confusion which otherwise results makes

the discrimination
seem
advisable.
The
exhibit
three pages of examples, figures 141, 142 and 143,
the
characteristic
forms and
lieu
standard
variations
of the
Round Gothic.
it
In
of any detailed analysis of

sufficient to say that
these letter shapes,
may perhaps be
they were wholly and exactly determined by the position of

the quill, which
was held
rigidly upright, after the fashion
132
GOTHIC LETTERS
Roman
lettering;
already described in speaking of
and that
the letters
were always formed with a round swinging

lines
motion of hand and arm, as their forms and accented

clearly evidence; for the medieval scribes used the
Round
Gothic as an easy and
legible handwritten form,
and linked
many of
the letters.
Figures 158, 170, 172 and
adapted for
173 show some capitals use with these Round Gothic letters; but the
capitals alone to
beginner should be extremely wary of attempting to use
any Gothic
form words, as
their outlines
are not suited for inter-juxtaposition.
Occasionally they
is
may
thus be used, and used effectively, as
shown,
for
instance, in the beautiful page of lettering
by Mr. Edwin
A. Abbey, 153; but so successful a solution is rare, and implies an intimate knowledge of the historic examples and
use of Gothic lettering.
The
rowed
late
Gothic or Blackletter
is
condensed and narare
in
the extreme.
No
As
circles
employed
in the
construction of the small

generally acute corners.
letters,
which have angular and

pen-drawn
letters, the
in all
broad lines are made on the
down
right-sloping strokes,
and the narrow
lines are at right angles to these.
Black-
letter shapes, like those
of the
Round Gothic,
letters
cannot, as
;
has been said, be defined by any set of general rules

intrinsic quality
the
of
all
Gothic
almost demands a
certain
freedom of treatment that would transgress any

Indeed the individual forms
laws that could be formulated.
should always be subservient to the effect of the line or page.
Observe
in almost every
example shown how the form of
the same letter constantly varies in
some minor
detail.
The
drawing by Albrecht Durer, reproduced
in 144, will.
GOTHIC LETTERS
133
A
r
K>
OO bob b b
000 Bo
OOP
zi:7
^ 00 ^^ A
O
/I
^
V
ot^
^17/1
OtK>
b b bp OVOiÔP/=
b
144.
GERMAN BLACKLETTER CONSTRUCTION
ALBRECHT DURER
134
GOTHIC LETTERS
which may
fairly
however, serve to show the construction of an excellent

Blackletter,
be considered as typical.
is
The
that
it
first essential
of a good Blackletter line or page
shall
be of a uniform color.
Unlike the Roman, the
Blackletter form does not permit that one
word be wider
of
spaced than others in the same panel.
The amount
white
left
between the several
letters
should be as nearly as
mmmUU
145.
GERMAN BLACKLETTERS
FROM MANUSCRIPTS
as the
possible the
same throughout, approximately the same
space between the perpendicular strokes of the minuscule

letters
themselves.
Usually, the less the white space the

its
.better will
be the general effect of the page, for
beauty
depends
let it
much upon
a general blackness of aspect;

it
and
be noted in passing that, for this reason,
is
doubly
difficult to
judge of the
final effect
of a Blackletter page
from any outlined pencil sketch.

guide lines
will be
Even
in the cases of
those capital letters that extend both above and below the
it
found possible to so adjust the spaces
GOTHIC LETTERS
color,
135
and blacks as not to interrupt the general uniformity of
and
it is
sometimes advisable to
although
flourishing,
fill
awkward blanks
Blackletter,
by
is
flourishes;
even in
an amusement that should be indulged in cautiously.

a general rule the
is
As
the
more
solidly black a panel
of Black-
letter
the better (a principle too often disregaided in
modern use of the form); though on the other hand,
mnoi)qr2f5ttt
146.
GERMAN BLACKLETTERS
WITH ROUNDED ANGLES
the less legible the individual letters will become.
The
designer should therefore endeavor to steer a middle course,
making
his panel as black as
he can without rendering the
individual letters illegible.
No
may
than
style permits
more of
liberty in the treatment
of
its
separate letter forms than the Blackletter.
The same
letter
require a different outline at the beginning of a

in
word
the
middle or at the end.
The
ascenders and
descenders
ii.he
may
be drawn so short as hardly to transcend
guide lines of the minuscules, or
may grow
into flour-
136
ishes
GOTHIC LETTERS
up and down, to the
blanks.
right
or to the
left,
to
fill
awkward
in
Indeed so variable are these forms that

it
ancient examples
is
often difficult to recognize an

its
individual letter apart from
context.
The two
Blackletter.
pages drawn by Mr. Goodhue, i88 and 189,
deserve careful study as examples of modern use of the

It will
be observed that almost as
many
vari-
ants of each letter are employed as the number used would

permit, thus giving the panel variety and preventing any
appearance of monotony or
rigidity.
Notice the freedom
and
of
variety of the
is
swash
lines in the capitals,
and yet
that
each version
.
quite as graceful, logical and original as any
its
variants.
The
examples of old lettering reproduced in figures 147,

most
148 and 149, together with the drawings by Mr. Goodhue,

will indicate the proper spacing of Blackletter; but in
of the pages here devoted
to illustrating the individual forms
the letters have been spaced too wide for their proper effect
that each separate shape might be
-style
shown
distinctly.
fill
The
appears at
its
best in compositions
which
a panel of
more or
less geometrical
form, as, for example, the beautiful

147.
its
title-page
reproduced
in
Could anything be more

design surely
delightful to the eye than
rich blackness, energetic lines,

th'is
and refreshing
virility
In
we
have a
its
specimen that, from the proportion and balance of

blacks,
is
more
effective than anything
which could have

rigid
been accomplished by the use of the more

letter;
Roman
but despite
its
many
beauties
it
suffers
from the
inherent weakness of the individual letter forms,
it
is
more
effective than readable
Another excellent example of the old use of

is
Blackletter
the page from the prayerbook of the
Emperor Maximilian,
GOTHIC LETTERS
137
147
ITALIAN BLACKLETTER TITLE-PAGE
JACOPUS FORESTI,
1497
138
GOTHIC LETTERS
in
shown
148, in which observe again the variety of the

Figure 149 shows the use of a
individual letter forms.
Blackletter on an admirable
monumental
brass,
which
is
tmemmmMtvm<!m
ptmtwaaquo^tnptotdg
m mmmm nmm mm mmixtMm

\
<tm\(C'
^' (feimrt mttr^g amu
148.
GERMAN BLACKLETTER PAGE
ALBRECHT DURER,
1515
reputed to have
similar
been designed by Albrecht Diirer.

is
A
at
Blackletter form, also from a brass,
shown
larger scale in i86.
GOTHIC LETTERS
uscule
139
Any of the minforms
of
Blackletter which
have been
trated
illus-
may be used
of figures
177,
with the Gothic

capitals
1
64.-5, 166,
179, 185, 188-9;

or with such
Un155
cial capitals as are
illustrated in
to 162; care being
taken, of course^
that these capitals
are
made
to agree
in style
and weight
let-
with the small

ters chosen.
Al-
though Uncial
capitals are historically
more
close-
ly allied
with the
Round Gothic, we have abundant

140.
GERMAN MEMORIAL BRASS
MEISSEN, 1510
precedent for their

use with the min-
uscule Blackletter in
many
of the best medieval specimens.
When
acter, as
the Gothic Uncial capitals were cut in stone and

in char-
marble there was naturally a corresponding change

is
shown
in the Italian
examples
illustrated in
160
140
and
1
GOTHIC LETTERS
61.
These examples, which
are
reproduced from
rubbings, exhibit the characteristic stone cut forms very

clearly.
A
is
Gothic Ûncial alphabet redrawn from a Gerillustrated in 162.
man
brass
The
group of specimens
from 154 to 159 exhibit the chronological growth of the

Uncial capitals, which were used, as has been
said,
with
the various small Blaclcletter forms, though they were also
used alone to
historical
form words,
as
is
shown
in
160.
is
The
most
progression in these Uncial examples
interesting;
and,
allowing for the variations of national

itself
temperament, traces
connectedly enough.
Figures
154 to 159 are pen forms, while 160 to 163 are from
stone or metal-cutJletters.
Figures 164 to 166 show alphabets of Gothic pen-drawn

capitals that will serve as a basis for
such adaptations as are
shown
to
in the modern examples 152 and 153. Figures 167 169 show a more elaborate but an excellent and typical
variety of this
form of
capital,
which
is
one of the most

Shorn of
virile;
its
beautiful
and
distinctive of
Gothic
is
letters.
fussy small lines the main skeleton
eminently
and,
though extremely
for
difficult
to draw,
it
cannot be surpassed
exhibit a
certain
limited
uses.
Figures
170 to 173
less allied
group of Gothic capitals more or
in character
and
all
pen
letters.
Figures 174 to 176
show forms
similar
to those of the previous group, but adapted for use in various
materials.
Figures 177 to 179
show some English Gothic

Figures 180 to 184
letters,
the last being that employed so effectively in the pen-drawn
page by Mr. Abbey, 153.

various forms of Blackletter:
illustrate
180
is
from a German
brass,
182
illustrates
an Italian pen form, and 183 and 184 show
GOTHIC LETTERS
Blackletters
plest
141
drawn by Albrecht
Diirer, the latter being the sim-
and strongest variant in

It is
this style.
the
same
let-
ter that is
employed to show
construction
in
Blackletter
diagram 144.
atconttngtotgE'S'îan
taSQgfJ&oTpaipto-lraill
shows the
unusually
designed
Figure 185 well-known and

initials
beautiful
by Diirer.
Figure
186
is
a Blackletter from an
brass,
English
although the
letter^forms in this example,

as well as those of
cani;i,iIISI|!,
%?6BaiI[toKai|P-lia
English brasses,
many other may perhaps
S(i!tJtDn:Sîi5![ueiml)mO-(tteQ!ta9s
have been derived from Flanders, as
qÊmirij,-gî(Bi<-itni-(Sai<ni<icR-M6
ttqipSulltnQ'S2ieiBPi^-m'fi'CCC:lt'Uu
many of the finest early
Continental brasses were im150.
IN
MODERN AMERICAN COVER BLACKLETTER B. G. GOODHUE
ported from the Netherlands.
The Italian
Blackletters are generally too fussy and
practical value for
forms of Gothic
finikin to be of
modern
use, though they often possess
suggestive
typical
value.
The
letters
shown
in
182 are
fairly
of the characteristic Blackletter minuscules of
Italy.
Figure 187 exhibits an example of beautiful lettering in the

Italian style, in Santa
redrawn from a rubbing of an
inlaid floor-slab
Croce, Florence.
is
The
omission of capitals in long,

Blackletter inscriptions, as
confined lines
typical of
many
may be
seen in 149, as well as in the plate just mentioned.

has been deemed
In view of the number of fine specimens of Blackletter
which have been handed down to
us,
it
142
GOTHIC LETTERS
many examples of its employment
unnecessary to reproduce
by modern draughtsmen.
The
pages by Mr. Goodhue,
188-9, ^^^^ already been referred to;
and figure
150
151.
MODERN GERMAN BLACKLETTER WALTER PUTTNER
letter
shows a very consistent and representative use of similar forms by the same designer. Figures igo and 191
illustrate
two modern
varieties
of BJackletter, one very
mmm\
152.
MODERN GERMAN BLACKLETTER
OTTO HUPP
small cuts, 151
simple and the other very ornate.
The
and 152, show excellent modern Blackletters ; the first, of unusually narrow form, being by Herr Walter Puttner, arid
the second, with
its
flourished initials,
by Herr Otto Hupp.
GOTHIC LETTERS
143
Ot
^m^M
153.
MODERN BLACKLETTER
EDWIN
A.
ABBEY
144
GOTHIC LETTERS
154.
UNCIAL GOTHIC INITIALS
12th
CENTURY.
F. C. B.
GOTHIC LETTERS
145
3 CD6|
155.
UNCIAL GOTHIC INITIALS
13th
CENTURY.
F. C. B.
146
GOTHIC LETTERS
JKIDIlOp
ctvtrix
156.
UNCIAL' GOTHIC CAPITALS
14th
CENTURY.
F. C. B.
GOTHIC LETTERS
147
157.
UNCIAt GOTHIC CAPITALS
14th
CENTURY.
F. C. B.
148
GOTHIC. LETTERS
nBcx) epeni
ji5Lmn
opaB STGV
Uth
luxyz
158.
ITALIAN UNCIAL GOTHIC CAPITALS
CENTURY.
F. C. B.
GOTHIC LETTERS
149
eoao eeon OOQQ neoa

159.
SPANISH UNCIAL GOTHIC CAPITALS
JUAN
I)e
YCIAR, loM
n n
>
Hi
<
Pi
<
m
z >
GOTHIC LETTERS
15L
iMtmmo
PORjSTD161.
VENETIAN GOTHIC CAPITALS
15lh
CENTURY.
F.
C B.
152
GOTHIC LETTERS
0<
MBdM
OKSW
162.
German uncial
(;:apitals,
from a brass
'uth
century
GOTHIC LETTERS
153
fflii;
154
GOTHIC LETTERS
164.
ITALIAN GOTHIC INITIALS
G. A.
TAGLIKNTE,
16th
CENTURY
GOTHIC LETTERS
155
(^^
S&S
165.
G. A.
TAGLIENTE,
16th
CENTURY
166
GOTHIC LETTERS
ICC.
GIOV. PALATINO,
16th
CENTURY
K H O o < O
<
O o
I?
<
160
GOTHIC LETTERS
BBC
IDOPQ
170.
ITALIAN GOTHIC CAPITALS
16th
CENTURY
GOTHIC LETTERS
161
^^f
171.
ENGLISH GOTHIC CAPITALS
16th
CENTURY
162'
GOTHIC LETTERS
172.
ITALIAN GOTHIC CAPITALS
17th
CENTURV
GOTHIC LETTERS
163
173.
GERMAN GOTHIC CAPITALS
17th
CENTURY
164
GOTHIC LETTERS
flBC2>(E
GOTHIC LETTERS
165
SET
375.
FROM MANUSCRIPTS
166
GOTHIC LETTERS
176.
FROM MANUSCRIPTS
GOTHIC LETTERS
169'
onili
MMi
179.
ENGLISH GOTHIC LETTERS
16th
CENTURY. F.C.B
170
GOTHIC LETTERS
180.
GERMAN BLACKLETTERS FROM A BRASS
F. C. B.
GOTHIC LETTERS
171
(Itmm
nimm
181.
GERMAN BLACKLETTERS
16th
CENTURY.
F.C.B.
172
GOTHIC LETTERS
>5ê6<
182.
ITALIAN BLACKLETTERS
C. A.
TAGLIENTE,
16th
CENTURY
GOTHIC LETTERS
173
183.
GERMAN BLACKLETTERS
ALBRECHT DURER
16th
CENTURY
174
GOTHIC LETTERS'
arrra
lifdrfirlitjk
?(l|itialirt
184.
GERMAN BLACKLETTERS ALBRECHT DURER,
16th
CENTURV
GOTHIC LETTER S
175
185.
GERMAN GOTHIC CAPITALS ALBRECHT DURER, 16th CENTURA
176
GOTHIC LETTERS
tramim
a htmiu
mnopats
tUtHBJPUa
186.
ENGLISH GOTHIC BLACKLETTERS
15th
CENTURY.
F. C. B.
GOTHIC LETTERS
177
nmmm tmmm mmmm mnmv

187.
ITALIAN INLAID BLACKLETTERS
FROM A RUBBING.
F.C.B.
178
GOTHIC LETTERS
188.
MODERN AMERICAN BLACKLETTERS
B. G.
GOODHUE
GOTHIC LETTERS
179
189.
MODERN AMERICAN BLACKLETTERS
B. G.
GOODHUE
180
GOTHIC LETTERS
190.
MODERN GERMAN BLACKLETTERS
AFTER JULIUS DIEZ
GOTHIC LETTERS
181
191.
MODERN GERMAN BLACKLETTERS, FLOURISHED

\
F. C.
CHAPTER
ly
ITALIC AND SCRIPT

The
regrettable
modern neglect of those
free
and very
Script,-
interesting forms of the
Roman
letter, Italic
and
seem to authorize consideration of them

importance.
in a separate
chapter, even at the risk of appearing to give
them undue
said,
The
of the
far
first Italic
type letter was derived,
it
is
from
the handwriting of Petrarch, and several admirable examples

style, variously treated,
have come down to us.

is,
As
as construction goes Italic
theoretically, only the
exact
Roman form
it
sloped,
and with such changes
as are
necessitated by the sloping of the letters.

ever,
will
Practically,
how-
be found that certain alterations in the outlines

letters
of the
Roman
;
must be made
to their
after giving
them
a slope
in order to adapt
them
new
requirements of inter-
juxtaposition
and, by a reflex action,
when words
in Italic
capitals are used in the

letters, certain variations
same panel with upright Roman

must be made
in the latter,
such
as accenting the
Roman
O in
the same fashion as the Italic
is
accented, an altered treatment of serifs, and other

detail.
changes in
The
in
Script
form of
letter
was developed out

retains a cursive
;
of the
running or writing hand, and

the linking together of
it
still
tendency
its
letters
although in some
forms
so closely approximates to Italic as to be almost
ITALIC AND SCRIPT

indistinguishable
greatest
at the
183
into
its
from
it.
Script
lettering
came
vogue during the Georgian period

in
in
England and
in carved
same time
France; and was extensively employed,
usually in conjunction with the upright
Roman,
panels of stone or wood, and in engraving..
The
Script
:xz
192.
GERMAN
ITALIC
GOTTLIEB MUNCH,
1744
forms are well worthy of the attention of modern designers

since
they offer
unusual opportunities
;
for
freedom and
this
vitality
individuality of treatment
and because of
and
adaptility to
modern uses the present chapter
will
be
devoted largely to the illustration of Script examples.
The
so
old Spanish' and Italian writing-books (referred to in
a previous chapter), which in a measure took the place filled
much
less artistically to-day
by our modern school copybeautiful Script, both
books, contain
capitals
many specimens of
letters.
and small
Figures 193 to 196

in Spain.
show pages
from such books published
184
ITALIC AND SCRIPT
193.
SPANISH SCRIPT
TORQUATO TORIO,
1S02
ITALIC AND SCRIPT
185
n encorejeum
aimt aue sonpere fio
luiAai/SKrott rien oJq)
avwttenr;
d amiim
on
1802
194.
SPANISH SCRIPTS
TOKQUATO TORIO,
186
ITALIC AND SCRIPT
Q)ifecrot( iominajancta
SUam mate/r Dcivktatc

dmipimaJummi msp
m
tio
maceraforiosifjima, m^-
wr onhmorum, codola^
moiatormyia crratp
jrm Jucas foefcmia m

Madrufm/cMD ixx
19S.
SPANISH SCRIPT
FRANCISCO LUCAS.
1677
ITALIC AND SCRIPT
187
(^
'.
JCeoonîlla
liana*.-'
Oseiioi con
Summaêuocion, con
aoiasaso amoi, con roao miapctp
de 3cssco\)orece6ii:como muuos
Sanrosvoeuotas pcisonas
ion en la coniunion:que
ion mui
"viou
re
reocssca
aaiaw,
mucno en la
Sanrioaooesu'-
V aiuicion
iieuocion oAOentissi
ma. Oaios mio.anaoi-^

/-rte^no'ir;
J.ian.
n^~ ûcaS(^;^|oo<sL;s"^ J \
uia
em jâouo ano^^Ô
196.
SPANISH CURSIVE
FRANCISCO LUCAS,
1577
188
ITALIC AND SCRIPT

A
in
QUISANTE'
ÂnmonyJiope
simple type of Spanish

Script letter
is
capital
shown
from a
201, while a corresponding
small letter, redrawn
Spanish
in
source,
It
is
illustrated
202.
should be noted in
Oliver Jlohhi >es

197.
the latter figure that the three
MODERN AMERICAN TITLES CLAUDE FAYETTE BRAGDON
lower
lines are further
removed
from the ordinary writing hand'
and are more interesting than

the lettets in the three upper lines.
The French
artists
and engravers were, as has been
said,
among the first to appreciate the qualities of Script, and used it in many of their engraved title-pages, especially during
the reigns of Louis xv. and xvi.
Figure 199 shows a
set
of French Script capitals of the time of Louis xv., highly

flourished but
more formal than those shown
in 201.
Italic
form of Script very nearly

in the churches
allied to the
was
frequently used for the lettering on headstones and wall
tombs
and churchyards
is
of' England.
Figure
203, in which the lettering
taken from a tomb in Westminster Abbey, illustrates this

style
of Script.
set
of Script small
letters
oJIar
MODERN AMERICAN TITLE GEORGE WHARTON EDWARDS
with some unusual characteristics, adapted by Hrachowina
from the German Renaissance form shown

is
in outline in 192,
198.
exhibited as a solid letter in
figure 200.
ITALIC AND SCRIPT
189
ornêf
109.
FRENCH SCRIPT CAPITALS
18th
CENTURY.
F. C. B.
190
ITALIC AND SCRIPT
zoo.
GERMAN SCRIPT AFTER HRACHOWINA
18th
CENTURY
ITALIC AND SCRIPT
191
201.
SPANISH SCRIPT CAPITALS
EARLY
18th
CENTURY.
F. C. B,
192
ITALIC AND SCRIPT
202.
SPANISH SCRIPT ALPHABETS
LATE
17th
CENTURY.
F. C. B.
ITALIC AND SCRIPT
193
203.
ENGLISH INCISED SCRIPT
FROM INSCRIPTIONS.
F. C. B.
194
ITALIC AND SCRIPT

Among modern American
designers, Mr.Bruce JRogers'has
admirably succeeded in catching

the French and Georgian spirit
in his
treatment of the Script

;
characters
yet,
nevertheless,
still
his lettering in this style is
modern
in feeling.
In the
title
from a book cover, 204, Mr. Rogers has allowed himself just
the proper
amount of
interlace-
ment and
flourishing
both of
which require the
restraint
of a
subtle taste or the result
may
prove to be over-elaborate.
The
is
page of lettering by the same

designer,
204.
shown
in
205,
successful solution of a difficult

BRUCE ROGERS
problem, and,
together
with
the book cover, will serve to

exhibit the possibilities of this style of Script.
Mr. George Wharton

designer
Edwards
style
is
another
modern
who
has a penchant for the Script form.
He
uses
one
distinctive
and personal
of
it
in
which the
larger
letters are
formed by two black
lines separated
by a narrow
white space, as exhibited in 198.
The
lines
from an advertisement, 197, by Mr. Claude
Fayette Bragdon, in which Script, Italic and

are combined, are of especial interest
Roman
letters
from the easy manone smÎ panel.
ner in which the three different styles have been adapted

to each other and
made
to
harmonize
in
JTALIC AND SCRIPT
195
205.
MODERN AMERICAN
SCPIPT
BRUCE ROGERS
196
ITALIC AND SCRIPT
200.
MODERN AMERICAN SCRIPT
AFTER FRANK HAZENPLUG
ITALIC AND SCRIPT
197
ITALIC
LEifEKS
.mCDEFGHI
JKLMKOPa AjfUWVXY
WJfl ZS
207.
MODERN AMERICAN
ITALIC CAPITALS
F.CT. B.
198
while
still
ITALIC AND SCRIPT

preserving
an
appropriate
Georgian
aspect.
The
interlacement and flourishing, too, are handled with

restraint.
commendable
208.

artists
ANONYMOUS
Italic
Few modern
have so successfully treated
capitals with Script
freedom as Mr. Will Bradley.
Some-
times employing forms of Italic capitals and small letters

little
removed from type, he
will again give us

Italic is
an example
of his handiwork in which

freedom, as
logue, 109.
is
used with examplary

cata-
shown in the specimen from a book The modern trick of wide spacing often
lends
itself aptly to the
swing and freedom of the swashed and
flourished lines of Script, as
may be
seen in figure 207.
209.

modern
EDWARD PENFIELD
from a design
Its
An
and
excellent
Script letter, adapted

is
by Mr. Frank Hazenplug,

originality of
shown
it
in
206.
heavy face
form make
a useful and pleasing variant.
The magazine
and the
suggest
line
^till
heading, by an
anonymous
designer, 208,
from the pen of Mr. Edward Penfield, 209, other useful varieties of the Script form.
CHAPTER
TO THE BEGINNER
The
beginner in any art or craft
is
likely to
have an undue
respect for the
mere instruments of
at first thinks
his trade.
less
He
is
will
eventually learn that tools play a

in his
much
;
important part
it
work than he
but, as
unlikely
it
that
any sudden change
in
human
nature will occur,
seems as well to devote here some consideration to the

tools
which the student
will
always believe to be an impor-
tant part of his equipment.
He
will ultimately ascertain for
himself what
is
best adapted to his
own
individual needs.
Though
every draughtsman will recommend a pen that

his
he has discovered to be especially suitable for
own
is
use,
few will be found to agree.
Perhaps
it
is
safe
to say,
however, that the best all-round pen for lettering

Gillot
in
is
the
No. 303.
use.
It
is
not too sharp, and
when broken
hand a large
flexible
and easy.
It is
The
crowquill pen will be found

at
of
little
an advantage to have
coarse pen of
little flexibility
and smooth point for drawing

In using water-color in place
heavy
lines
of even width.
of ink such a pen will be found more satisfactory than the

Gillot
to
303, as the thinness of the

is
fluid
causes the line
spread whenever pressure
applied to a limber and

is
finely pointed pen,
with the result that the line
not only
broadened, but when dry shows darker than was intended,

as
more color
is.
deposited than in a narrow line.
When
200
narrow
line
TO THE BEGINNER
of even width and sharpness
is
desired
it
js
best to use a
new pen; an
older pen will,
on the other
hand, allow of more ease in swelling and broadening the

line
under pressure.
thin dry line
may
it
be obtained by
turning the pen over and drawing with the back of the nib,
although
'"
if the
pen so used be worn
is
apt to have a
burr " over the point that
factorily in this
way.
may prevent its working satisnew hard pen is likely to be the

;
cause of a " niggling " line
a too liniber one of a careless
or undesirably broad
but
line.
On
rare
occasions, and for
obtaining certain effects, a stub pen

it
may
be found of value,
it is
cannot be recommended to the beginner, as

to find
very
difficult
one that has
sufficient
flexibility
of nib.
Quill pens are undoubtedly useful in drawing a few types
of
letters (see
some of
the designs by
Mr. Walter Crane
shown in previous pages, for examples) but, not to allude to

the difficulty of properly pointing a quill, which seems to be
-a
well-nigh lost art nowadays, the instrument possesses so

peculiarities that
it
many annoying
steel pens has
is
as well to avoid
its
use until a satisfactory
command
over the more dependable
been obtained.
of course, a necessity
in laying
pencil
is,
out the
first
scheme
for lettering.
The
softer the pencil the
more
felic-
itous will the composition
seem; but the beginner should
ûard against being too easily pleased with the effect thus
obtained, as
it
is
often due to the deceptive indefiniteness
of line and pleasant gray tone.
When
inked-in, in
uncom-
promising black against the white paper, the draughtsman

is
apt to find that his sketch has developed
many an imper-
fection, both in composition
and
in individual letter shapes,
that the vague pencil lines did not reveal.
"
TO THE BEGINNER
As
to paper, Bristol-board has the best
for lettering.
201
smooth surface
better
The
English board
is
in
some ways
than the American, but has the disadvantage of being

in smaller sheets.
The
difficulty
made with any smooth board k
that erasures, even of pencil lines, are likely to spoil its

surface.
The
rough " Strathmore " American board has a
very grateful surface upon which the pen
may
be used with
almost as
much freedom
as the pencil.
All rough surfaces,

lines, are
however, while tending to promote interesting

suited for careful lettering,
not
and the
classic
and Italian forms
especially require to be
surface.
drawn upon the smoothest possible

board
is
The American " Strathmore "

most Bristol-boards.
best
for the
may
also
be by
obtained in smooth finish; and, indeed,

erasures than
less injured
The
prepared India or carbon inks such as " Higgin's
or " Carter's " are
beginner ;
although
if
all
prepared inks have a tendency to get

to stand open,
easily
muddy
allowed
and the so-called " waterproof" inks are
smudged.
In devising a panel of lettering, such as a title-page for example, the draughtsman's

first
step
would naturally be to
sketch out the whole design at a very small size, say an
inch and a half high, in pencil.

determine,
first,
This small sketch should
the general balance of the page; second,
the inter-relations and spacings of the various lines and
words and
their relative
importance and
sizes.
From
this
full
thumb-nail sketch the design should be drawn out at

size in pencil,
and much more
carefully.
In this redrawing
the separate letter shapes and their harmonious relations to
each other should be determined, and such deviations
made
effect.
from the smaller
sketch as seem to benefit the
'
202
TO THE BEGINNER
sketch out each line of lettering sepaafter blackening the
it
Some draughtsmen
rately
this sheet, lay
on thin paper, and then,
back of
needed
each line over the place where
is
in the design, tracing the outlines
of the
letters
with a hard
point,
and thus transferring them to the design beneath.-
In this
line^
way
a page of lettering
may be
;
studied out line by
and accurately placed or centered

is
but the process
is
tedious, and there

efFect as a whole.
always danger of losing sight of the
In outlining
letters
which are ultimately intended
to be
solidly blacked-in, the beginner should guard against
making
his outlines too wide, especially as regards the thin lines,
for the eye in judging an outline sketch follows the insides
of the bounding
really
lines rather
than the outsides which will

letter, so that
be the outlines of the blacked-in

is
when
finished the letter
likely to look heavier
and more clumsy
than in the sketch.
When
every
the entire pencil scheme seems satisfactory in
detail,
and each
line has
been exactly determined, the In inking-in

letters
whole should be carefully inked-in.

the swing of the
possible.
arm should be
best result
as free
is
and unobstructed as
For the
it
absolutely necessary to
work at a wide board oh a solid table of convenient height and angle. It is inipossible to letter well in a cramped or
unsteady position.
One
thing cannot be too strongly urged

triangle
upon the beginner.

mately
Never use a T-square,

It will
or
ruling pen in inking-in lettering.
be found
ulti-
much
easier to train
hand and eye to make a
straight
and true
line
free-hand than to attempt, to satisfactorily

line.
combine a ruled and free-hand

method
is,
The
free-hand
be
it
acknowledged, both more lengthy and
TO THE BEGINNER
difficult
203
at
first,
but
when
the draughtsman does finally
gam
a mastery over his line he has achieved something

will find
which he
of the greatest value.
In a drawing to be reproduced by mechanical processes,

the proportions of the design are, of course, unalterably
determined by the required panel or page

the drawing
but the size of
may be such
as best suits the inclination
and
convenience of the draughtsman.

reduced in size (and that
general,
it
If the drawing
is
to be
is
the usual method, because, in

large rather than sm^ll), the
is
easier to
first
draw
draughtsman must
decide on the
amount of reduction
itself
is
to which his style of rendering and the subject
are
best adapted, remembering, however, that a drawing
sure
to suffer from excessive reduction, not only in general

effect but in interest, for the quality
of the line
is
sure in a
measure to disappear.
one-third
is
reduction of height or width by
the usual amount; but
many of our modern'

making
their
designers obtain their best effects by
drawings
but a
trifle
larger than the required reproduction.
Some
even make their drawings of the same size; others only
from a twelfth to a sixth
larger.
As
a rule, the less the
reduction the less the departure from the effect of the

original,
and the more certainly satisfactory the
result,
although more careful drawing and greater exactness of

line are necessary.
To
keep the outlines of a pan^l in the same proportion

its
while enlarging
area for the purpose of
making a draw-
ing for reproduction, lay out the K(\mTeA finished size of the
panel near the upper
left
hand corner of the paper, and draw

left
a diagonal line through the upper
hand and lower

it
right
hand corner of
this
panel, extending
beyond the panel
204
TO THE BEGINNER
boundaries.
From any
given
point along this diagonal, lines
drawn
I
parallel to the side
and
top lines of the original panel,

\ \
\
and extended
the extended
till
they intersect
left side line
and
top line of the original panel,

V
will give
\
an outline of the same
proportions as the required

panel.
\
\
By taking various
still
points on the diagonal, panels

\
%
of any height or width but

\
of the proper proportions
may
be obtained (see diagram 210).

210.
DIAGRAM TO SHOW METHOD OF ENLARGING A PANEL

>
Diagram 211
illustrates a vari-
ation of the previous method
of enlarging the proportions of a panel, in which, by the

use of two diagonals, both perpendicular and horizontal
center lines are retained.
When
it is
necessary to lay out a border of a predeter-
mined width within the required panel, the foregoing method

can only be used to determine the
border, and
it
outside lines
of such
a.
becomes necessary to make the drawing some
numerical proportion, say, one-half as large again, or twice

as large as the finished panel.
will then be of the
The
width of the border
same proportionate width.

it
The
beginner will find
always wise to base his lettering

lines,
on penciled top and bottom guide

add "waist" guide
lines, as in
and occasionally to
it is
193.
Indeed,
rare that
aids.
even accomplished
letterers dispense
with these simple
These guide
lines
should invariably be laid-in with the
TO THE BEGINNER
205
; ;
206
treatment of
etc., its
TO THE BEGINNER
serifs, angles,
height
of
waist and cross lines,
width and outlines
may
be varied and arranged to
help out the spacing without interfering, to any noticeable

extent, with the uniform appearance of the line.
In
Roman
lettering
emphasis
its
may be
obtained for any
special
word by spacing
letters farther apart.
This has
something of the same emphasizing

Italic,
effect
as the use of
line.
without so greatly breaking the harmony of the
Much
of the lettering of the Italian Renaissance shows
a very subtle appreciation of this use,
and
in
some of the
most beautiful inscriptions the important words are often

so differentiated, while others are emphasized by slightly
larger characters.
As
a general rule, and within certain limits, the wider a
letter the
more
legible
it
is
likely to be.
Blackness and
letter readable.
boldness of stem alone will not
make
Width, boldness of
hair lines
and
serifs,
and a proper
amount of surrounding white space are more essential. The Roman letter is more legible than the Blackletter mainly because it is black against a roomy white ground while Blackletter, on the contrary, is really defined by small interrupted areas of whites upon a black ground.
'
A common
limitation of
many draughtsmen
it
is
that they
become accomplished
letter,
in the rendering
of but one style of
and find themselves obliged to use

whether
it
on
all
occa-
sions,
be suited to the work in hand or not,
because they can
command no
both
other.
In the case of
certain designers, of course, the individuality of their

is
work
strong enough to bind
lettering
and design so
at
closely together that they can never
seem
dissonance
but, speaking generally, the adherance to the use of but
TO THE BEGINNER
one type of
is
207
beginner
letter
can be but narrowing.
The
urged, therefore, to practice the use of
many
styles,
even
at the
expense of gaining an immediate mastery over no
one form.
He
will find himself
amply repaid
in the
end
by the increase in freedom and variety.
While the student should possess enough knowledge of the historic styles and examples of lettering to prevent
him from using incongruous or anachronous forms
in the
same design,
historic accuracy
need not prevent him from
engrafting the characteristics of dissimilar styles upon one
another, provided that the results prove harmonious and

appropriate.
Finally, the draughtsman's
his lettering readable
:
first
aim should be to make

been accomplished he
is
after this has
should strive to give
it
beauty.
Art in lettering
only to
be attained by solving the problem of legibility in the
way
most pleasing to the eye.
Good
lettering should appeal
both to the eye and to the mind.

legibility
Only when
it
combines
with beauty can
it
be excellent.
INDEX
A., 6, 9.
of,
Abbey, Edwin A., 97,
132, 140. Accenting, of Blackletters, 132; Capitals, z ; of / of Roman Minuscules, 56; of Round
Gothic,
Script,
of,
1 3 I ; effect of page 132; with Roman letters, 727-even color of, 134; flour-
128,
'
ishes,
3S
individual letter
132;
182.
of
Italic
and
American Lettering,
Modern
Roman, 53, 64, 75, 82, 97; Classic Roman, 3,14; Gothic,
132, 136, 140, 142;
Italic,
136; illegibility of, 135, 136, 206; apartRoman form, 84; a narrow form, 132; old examples of, 136; in panel forms, 136; used solidly, 134, 135; spacing of, 134, 136; variety of,
82, 132, 135, 136. Bonnard, Pierre, 91, 92.
Border, to lay out a, 204.
forms, 132,
194, 198; Script, 194, 198.
Anglo-Saxon
46, 47 ; 46. Ascenders, height above body,
Letters,
of,
modern use
57;
in
"Cheltenham Old
Boston Public Library, 14. Bragdon, Claude Payette, 64, III, 194.
Brasses, Blackletters from, 138,
Style" type, 71; in Gothic,
131; in Blackletters, 135. Ashbee, C. R., 74. Auriol, George, 88.

B., 6.
140.
Bridwell,
H. L.,
8, iiz.
Bristol-board, 201.
Byzantine influence on
lettering,
Italian
45.
Badia, Florence, lettering from,
45Robert Anning, 96. Blacked-in letters, 202.

Bell,
C,
8.
Capitals, used with

uscules,
Roman min-
57;
with Round
Blackletters,
127,131,132,140,. 141, 142; accents of, 1312;
ascenders and descenders of^
Gothic, 132; with Blacklet136, 13,9; (see also under Blackletter, Roman,
ters,
135;
capitals
for use with,
Gothic,Italic,
134, 136, 139; a condensed form of Gothic, 128; construction of, 132,
Capitals, Script,
Gothic, Uncial).
Modem Roman Round
141; definition
"Caroline" Text, 52.
210
INDEX
E., 6, 104.
Caslon, William, 64; his type,
69. Centering lines of lettering, zoz.
Early Gothic, (see Round

Gothic).
Early Printing, 52, 64, 71. Edwards^ Edward B., 116.
Charlemagne, 52.
"Cheltenham Old Style"

7'.
type,
Cheltenham
Press,
The, 71.
Edwards, George Wharton, 194. Emphasis in lettering, placing of,
Chisel-cut guide lines, 3. Classic Capitals, see

Capitals.
206
English
(see also Accenting).
Roman
6
Brasses
derived
from
Flanders, 141.
Classic forms of letters, to draw,

3, 6,
English Gothic,
zo
I ;
composition
of,
1 40, 141. English lettering, modern,
75,
Italian
Renaissance,
15, 27,
8i, 92.
English, Letters, 47; Script, 188, (see also, Anglo-Saxon).
3-
"Colonial"
Constantine,
lettering,
117.
lettering
Arch
of
of,
Engraved Title-pages,
188.
French,
from,
1 1
Construction,
Blackletters,
Enlarging Drawings, 203, 204.

F., 6, 104.
Fell,
13Z; of Roman Capitals, 3, 6 ; of Roman Minuscules,

53. 56. Craig, Gordon, 95, 96.
H.
Granville, 96.
Crane,Walter, 47,92,20o,zo5. .Cross-bar in Roman Capitals, 6. "Cursive" Letters, 91, izz. Cursive tendency in Script lettering, 182.
Flanders, Brasses from, 141.

Flourishing, of Blackletters, 135;
D., 8. ' Dance of Death,' Holbein's,

117.
of Script, 194, 198. Free-hand lines, zoz. French, modern lettering, 74, 82, 86; Script, 188, 194. Freedom, in lettering, 53, 74,
82, 92, 102, 118, 122, 20 1;
in Blackletters,
ic,
136;
in
Day, Lewis F., 93.

Descenders, (see Ascenders).
127;
,
in Italic,
Goth198; in
letters,
kerns, serifs
etc.
and swash-lines,
De
Vinne, Theo. L., 69. Dove's Press, The, 69. Drawing of letters, zoi, 202,
for reproduction, 203, ; 204. Durer, Albrecht, 31, 132, 138, 141.
53;
in
Roman
82
in Script, 183.
205
G.,
8.
g., 57-
Georgian English
lettering,
117,
183, 194, 198.
'
. ;
INDEX
German
lettering, modern, 74, 82, 84, 92 ; early, 1 10, I 17; Script, 52, 188; types, 52. Goodhue, Bertram Grosvenor,
211
Incised letters in stone, Gothic,
139,
14,
40 ;
;
45
Classic Roman, 9, (see also Granite,
Inlaid,
Marble,
Sandstone,
71, 102, 136, 142. Gothic Capitals, for use with

Blackletters,
1
V-sunk and Stone-cut).

Ink, 201. Inking-in lettering, 200, 202.
Inlaid lettering, Gothic, 141.
40
139; pen drawn, not to be used to form
words, 132. Gothic, English, (see English Gothic). Gothic lettering, 127, 131,134,
Interlacement of Script letters^
194.
Inter-relation of letters, 6, 135,
lorio,
205
cut in stone, 140; (see
also Blackletters
and Uncial).
J., Irish letters, (see
20 1. Adrian
107. Anglo-Saxon).
Granite, letters cut in, 11, 14, (see also Stone-cut, V-sunk
Italian, Blackletters,
139, 141
modern
lettering,
92
Renais-
and Incised). Grasset, Eugene, 86. Greek type, 73. Grolier Club, 69. Guide-lines, 3, 204.
sance (see Renaissance);
Ro;
man
52
Italic,
;
small letters,
64
types,
writing-books, 64, 183
letters,
drawing
of,
201.
H., 6. "Half-Uncial," 52. Harvard Architectural

lettering on, 14.
52, 182, 188, 194, 198 182, 198; drawing of, 205 ; emphasis of, 206.
capitals,
Building,
J., 8.
j.,
Hazenplug, Frank, 116, 198. Historic styles of lettering, Vnpwledge of, 207. Holbein's Dance of Death
117. Home, Herbert P., 72. Hrachowina, C, 188.
initials,
56. Jenson, Nicholas, 64. Jones, A. Garth, 96.
K., 6.
k., 56.
Kerns, 53, 56. Kimball, H. IngaUs, 71.
Hupp, Otto, 142.

space around, 205.
L., 104. Late Gothic, (see Blackletter)
I.',
8,
Illegibility
of Blackletters, 135,
Laying out,
lettering,
200, 201,
136. Imige, Selwyn, 73, 93.
203,204, 205;
a border, 204.
Le
Boutillier,
Addison B.,
no.
212
Legibility of lettering, zo6,
INDEX
Modern Roman
Capitals,
207; of Round Gothic, 132. Letters, outlines of, 202, zo6 ; widths of, 206 ; to lay out, 205; execution of in various materials, 14; (see also Brasses, Inlaid, Marble, Granite, Pen and Printed forms.
Sandstone, Type).
Lines, heavy, 199; narrow, 199;
thin,
(see Chapter II)
Modern type, (see Type). "Montaigne" type, 69. "Mont' Allegro" type, 73.
Moore, Guernsey, 116. Morris, William, 72; types
69.
of,
Mucha, Alphons M., 91.

-
200
;
in water
color,
;
N.,
2.
200
freehand,
202, 203
Netherlands, brasses from, 141.
ruled, 202.
New, Edmund H.,

136;
Linking, of Blackletters,
96. Nicholson, William,. 95.
of
Round Gothic, '132; of

of Script,
Roman Capitals, 4.5;

l8z. Lowell, Orson, 117.
O., 8, 182. O., 182

Optical Illusions in
tals,
Roman Capi-
8.
letters,
M.,
2, 28.
Outline
cut in, 17, 27,
202.
m., 56. Marble,
letters
P., 6.
(see also Incised, Inlaid).
Marsuppini tojnb, Florence, 28. Magonigle, H. Van Buren, 102. McKim, Mead & White, architects, 14.
Pantheon, Rome, tomb, 27.

Papers, drawing,
Raphael's
20 1.
Parchment, I 28. Parrish, Maxfield,
no,
122.
Medals,
lettering on, 30.
Merrymount Press, The, 71,72. " Merry rnount " type, 71. Minuscule, I ; modern Roman, 52, 53, 56, 57, 64; monumental uses, 57; composition of, 64; growing use of, 76,
Parsons, Alfred, 96. Pens, 199, 201; crowquill, 199; reed, 2 ; ruling, 202 ; stub,
.
200; quill, 200. Pen drawn forms of letters, 9, 27. 30. 31.45. 56.64, 74.
Pencils,
122;
also,
spacing
of,
57;
(see
Italic,
76, 12 2, 140, 182, 199, 202. 200, 201.
Roman, Gothic,
lettering,
Penfield,
Edward,
52
;
100,
116,
of,
Script).
118, 198.
(see
Modern
under
Petrarch,
handwriting
countries, American, English,
i8z.
Pisano, Vittore, 30.
French, German, Italian).
; ;
INDEX
"Post Old Style"
Presses, (see
213
type,
u6.
ness of, I, 6, 131; peculiarities of,
Merrymount,Vale, Riverside, Cheltenham, Dove's, and De Vinne). Printed forms of Roman letters,
9. 3. 52. 53. 56. 64, 69,
6, 8.
Roman
136; with 182; combined with Script and Italic, 194; cross bars of, 6 definition of, 1
lettte, 127,
Italic,
;
122.
Printers,
5 2,
lish,
legibility of,
206
waist line:
German,
52
Italian,
;
of,
64 ; American, 69
Eng-
Roman
cule)
width proportions of, 6. minuscules, (see Minus.
64, 69, 72, 73 ; Venetian, 53, 64. Proportions of a design, 203. Puttner, Walter, 142.
Pyle,
Roman
forms, Gothic Spirit in,

Italian
84; Uncial, 128. Romahesque influence on

lettering,
Howard, 117.
Qi.
z> 8, 92.
"Quadrigesimale," 69.
Quill pens,
45. Ross, Albert R., 3, 11, 32, 56. Roty, O., 30. Round Gothic, analysis of, 1 3 1
definition of,
I
200; method of
131.
I ;
capitals to
;'
holcfing, 2,
use with, 132, 139.
Round
letters,
capitals,
2,
Minuscules,
56,
71;
stone-
R., 2, 6,
8.
cut, 3, 9-
Railton, Herbert, 96.
Rubbings, from inscriptions, 11,

16.
Raphael's tomb^ lettering from,

27.
Ruling pen, 202.

letters,
53
;
Reduction ofdrawings, 203, 204.

Renaissance,
artists
15, 27, 30;

lettering
S., 8.
of the,
of
Sandstone,
letters cut in,
14.
the Italian,
206; medals, 30;
Santa Croce, Florence, lettering from, 28, 141.

Script,
purity of letter shapes, 69. Renner, 69.
182,
183,
188,
194,
Renner type, 6g.

Reproduction of drawings, 203.
Ricketts, Charles, 93. Riverside Press, The, 69.
Rogers, Bruce, 69, 194.
Roman
also
Capitals,
i,
27;
(see
Modern Roman); thick and thin lines of, 1,6; model

for, 3
;
i88j cursive tendency in, 182; developed from writing hands, 182; French, drawing of, 20 5 188; German, 188; on English headstones and wall tombs, 188; Spanish, 188; used in engravings, 188 ; used with
198;
capitals,
rules for, 2
square-
upright
Roman, 182, 183.
'
214
Serifs,
INDEX
8,
1
6;' definition of,letters,
in
Minuscule
.in
3; 53, 69,
Type models
for
pen
lettering,
use of, 74, 76, 122.
71;
Italic
letters,
182;
Uncial
i
treatment of, zo6.

Serlio, Sebastian,
letters,
45, 76, 84, 92,

;
3, 11, 32.
letters,
Shadows
in
V-sunk
o,
forms
II, 14.
Shaw, Byam, 96.

Simpson, Joseph W., 93. Small letters, (see Minuscule,
also
139; metal pen forms of, 140; stone-cut, 140; stone and marble, 139.
of,
1
128;
Gothic,
40
Updike, D. Berkeley, 71. v., 9. Vale Press, The, 93. Van Rysselberghe, Theo., 91. Venetian printers, 53, 64.
Verneuil,
Modern Roman,
Gothic,
and Italic). Spacing, of Classic Roman letters, 6, 8 ; of Blackletters, 128, 134, 136; of MinusScript
cules,
M.
P., 86.
56 ; 69; of " Cheltenham " type, 71; of letters and words, 201, 205 ; emphasis obtained by,
206.
Spanish,
letters,
53, 56, 57; of type, of " Montaigne" type,
Vinci, Leonardo da, 31.
V-sunk Roman
14; (see
lettering, 9,
10,
also Incised).
W.,
9.
w., 56.
Script,
188;
Roman
Waistlines,
letters,
6,,
204; of Roman
64;
writing-books,
6, 204, zo6.
64, 183. Stone-cut letters,

1
Roman,
3, 9,
( see
(i-anite.
also Incised, V-sunk, Marble, Sandstone).
Westminster Abbey, England, 188. Width proportions, of Roman

Capital letters, 6.
Sullivan,
James F., 96.

53, 136.
Swash
T.,
lines, 2,
Writing-books, 64, 183. Writing hand, 188 ; of Petrarch,
182
8, 28.
Script developed from,
182.
G. A., 31. Thompson, Hugh, 96.

Tagliente,
X., 6.
Tory, Geoffrey, 3 1 Townsend, Harry Everett, 1 1 7. Transferring of lettering, fo2. Type, 9, 52. 64, 74.
Type-founders, 9, 56, 64.
Y.,
6.
y., 56.
Z.,
2.
'
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it
'
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R. Tkowbbidge
Altoona, Pa.
two that I could hardly get along without." LoaEN O. FCiKK Minneapolis, Minn.
few yeara I have purchased from you at least 25 or 30 copies. .customers are
the
last
My
"The
best
book of
its
kind on
well pleased with it."
It is concise, practithe market. ' cal, saves time and gives new ideas. S. R. Qoicic
Thomas Henry
Book Dealer
Toronto, Ont.
Fort Collins, Col,
" The most practical work on

subject there
is,
the
" It
is
saves
me
considerable time,
or at least that I
twice worth the price I paid for
have seen.
it,
and
also gives
me
endless
num-
ber of
new
ideas."
the money I is always near at hand."
I have never regretted paid for it, and the book
John Schier Milwaukee, Wis.
H. A. GonDSPEED Providence, R.
I.
PRICE,
144
POSTAGE PREPAID,
$2.00
BATES
iff
GUILD COMPANT'S PUBLICATIONS
ARCHITECTURAL
SHADES
By
SHADOWS
book
is
.
HENRY McGOODWIN
usefulness of this
first,
The purpose and

twofold
:
it
is
intended,
as
practical
reference hand-book for the architect's office a " dictionary," as it were, of all the shades and
shadows of those architectural forms and details and which are used in rendering drawings
;
second, as a clear a;nd accurate course of study

in the
in schools, offices,
methods of determining shadows, for use and ateliers. As a text-book for draughtsmen it is the clearest and most thorough work that has ever been written on the subject. The study is approached from the standpoint and in the
language of the architect rather than of the geometrician; and great pains have been taken to demonstrate every problem in the simplest terms and by the simplest methods. The book measures 9^ x I2j^ inches, and
is
substantially
bound
in cloth,
PRICE. EXPRESS PAID, 33.00
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CORNELL UNIVERSITY

BOUGHT WITH THE INCOME

FUND GIVEN IN 1 89 1 BY HENRY WILLIAMS SAGE

IMiMii'SlSffi ^ ""^aHse with 200

3 1924 019 514 037

Cornell University Library

Cornell University Library.

There are no known copyright

the United States on the use of the

Letters and Lettering

BATES & GUILD COMPANY

The Davis Press

intended for those

a varied collection of alphabets of standard forms, arranged

alphabets illustrated, while primarily intended

exhibit the letter shapes, have in

most cases been so arranged

into words, except to be used only

where they are intended

application of classic and medieval letters

modern usages has been,

by showing modern designs

which similar forms are

examples rather than to devote space to the

would hardly have been possible

who have allowed him

types specially designed for

them, and to the pubUshers

given him permission

books and magazines, the author wishes

to express his sincere obligations.

Letter forms based

upon those shown

tions cut in granite

on Boston Public Library.

Mead & White, Roman Incised

Detail from a Roman Incised Inscription.

Redrawn Museum, Naples. F. C. B. Roman Capitals from Fragments of

Modern French Medal.

Santa Croce, Florence.

vera arte dello eccellento scrivere.'

richtscheyt, in Linien, etc'

Libellus valde doctus

Rule of St. Benedict.'

Bodleian Library, Oxford

Early loth Century.

of Henry vii, 50 and 5 1 Scheme for the Cqnstruction of Roman Small

Capitals. i6th Century. Westminster Abbey, London

52 Spanish Roman Pen

(Madrid, 1577) 56 Italian Small Letters.

57 English 17th Century Letters.

After C. Hrachowina's 'Initi-

und Randleisten verschiedener Kunstepo-

69 Modern German Capitals. By Gustave Lemmen. From

70 Modern German Capitals. Ludwig

74 Modern German Capitals.

Modern French Cover

86 Modern English Capitals.

Beispiele Kunstlerischer Schrift.'

87 Modern English Theatrical Poster.

Alphabets Old and

(B. T. Batsford, London,

89 Modern English Letters.

'Beispiele Kunsterischer Schrift.'