xiv Descriptive List of Illustrations.

43- inscription—The letters, cut out in silver and rivetted on
to silver. Early Gothic.

44. raised letters—Carved in stone, from Bishop West's

Chapel in Ely Cathedral. Ca. 1534. (Compare 115.)

45. lombardic letters—From a stained glass window. From

a drawing by C. Winston. Early Gothic.

46. lombardic letters, executed in cut leather. From an

early Gothic book binding in the Hamburg Museum.

47. capital letters, in stone, grounded out. St. Margaret's,

King's Lynn, 1622.

48. inscription, painted on glass. From a drawing by C.

Winston.

49. alphabet — From the inscription on a drinking cup,

engraved on silver. Engraved lines shown in black.

50. embroidered letters—Worked in gold over parchment

upon velvet. From the leading strings of James I.

51. greek inscription, incised in marble upon an antique

bust of Aristophanes in the Uffizi at Florence.

52. crowned lombardic letters — From a stained glass

window in Winchester Cathedral. From a drawing by
С Winston. The fine lines are picked out of the solid
paint with a pointed stick.

53. letters cut out of glazed tiles and embedded in cement.

From an inscription in the Cathedral at Cordova.

54. greek—From an Athenian stele. Marble. Cut in with a

chisel. Characteristically right-lined. Certain strokes
fall short of the full length. The two sides of the stroke
not always parallel, but inclining occasionally to wedge-
shape. The top stroke of T is not stopped by cross-cut,
but runs out. 394 b.c. -

55. greek initials—From a book printed at Basel. Wood

engraving. The serif fully developed. 16th century.

56. roman letters cut in marble—From inscriptions in the

Forum at Rome. Characteristically chisel work.

Descriptive List of Illustrations. xv

57. roman—From fragments in the British Museum. Cut in

stone. In E, F, L, P, R, T strokes run out. Note variety
in rendering the same letter. 2nd and 3rd centuries.

58. English, irish, or anglo-saxon—From illuminated MSS.

Curves inclined to take a spiral direction. Considerable
freedom of penmanship. Various forms of the same letter.
Note long tails and unequal length of letters. 6th century.

59. from a codex in Latin—Written between ruled marginal

lines. Considerable variety in the form of the same letter.
Note the square С and G, and the deep waist of the В and
R, which compare with alphabet 1. 7th or 8th century.

60. GALiciAN capitals—MSS. 8th century. (Compare В and

R with alphabets i and 59.)

61. irish—From the Book of Kells. Illuminated. Note square

form of certain letters—the curious D-shaped О and the
general thickening of the upright strokes at the starting
point. Various forms of same letter. 8th century.

62 and 63. anglo-saxon—Various MSS. Forms sometimes
rigidly square, sometimes fantastically flowing. Strokes
developing occasionally into spirals, or into interlacing,
which ends perhaps in a grotesque head. 8th and 9th
centuries.

64. saxon and anglo-saxon Mss.—The outline penned and filled

in with various tints. The scribe has not made up his
mind as to any logical use of thick and thin strokes.
Note square С and S, and looser T and U. 7th, 8th, and
9th centuries.

65. ms. letters—More nearly resembling the orthodox Roman

character, with exception of D, E, G, P, U, in which
Gothic characteristics begin to appear, and perhaps a hint
of future minuscule forms. 10th century.

66. French ms.—Initials in colours. More Gothic than Roman,

flourishing into tails of foliation. 12th century.

67. French—From the doors of the Cathedral at Le Puy.

Wood, simply grounded out. Several varieties of letter.
The curved lines characteristically cusped. Probably
12th century. (Compare with 19.)