Humanist Italic

Neocarolingian minuscules and Gothic
scripts are equal contributors to the
scripts of the Renaissance. The pages of
the Italian humanists speak of strength,
pride, and valor. Masters like Ludovico
Vicentino (Arrighi), Giovanni Antonio
Tagliente, Giambattista Palatino, and
the Spaniard Francisco Lucas elevated
the italic script under the name of
cancellaresca, or chancery cursive, to a
formal art.

The connected version, in which flour¬
ishes decorate ascenders, uses strictly

vertical capitals. In unconnected styles
capitals are slanted, ascenders are short¬
er and have serifs. Mixed forms exist,
and highly decorated initials are popular.
The Spanish style is somewhat softer
than the Italian.

Cursive typefaces, called italic, have
been produced since 1500. Francesco
Griffo cut the first one for the Venetian
printer and publisher Aldus Manutius.
Between 1524 and 1526 Arrighi cut type
that had a great influence on the details
of other contemporary types. Both
models are responsible for the French

character of the Renaissance italics. In
France Granjon, with his type of 1543,
must be mentioned as eminent master of
the italic.

An independent book type in its ori¬
gins, created to save space, the italic sank
to the level of a supplementary type to¬
wards the end of the sixteenth century. To
this day it is used primarily for emphasis.

Figure 286

fájente totnw ¿Dectmírú, W cpootl nos Л
JUijfpcjtg vecftUttti suiim*,rttmeinur>fi&nfiwtw

аш> wíhv nomme m to (wi/hvt. et cum ob nud

<у ■ I

yrnfepümentA у*£ fo&immtUtin caçipifo ferset

¿rtwMMdß sit oomwutiUrt лкеш cof0rectn',t>t &fuu

ІЫш locum m to. &ш&?. Oonfei d¿ smmlarí ft

re ^""tt ôxuilj. <2kt&èerti Sctkwdtc &wû

#odfai emsdtm oirdrnts, ne? im dedemus, ethenp,

ЫЬиш,, (ШЬогіШт,, tt-Jbwktáenu, etc тамМ

wrwmt пуо st cuidûm:^rtcCi/hfn fo¿¿it ptse%

atimtùbu* m ctjHüiU çrejnto ad tvA/htndwn, n

derbdwH опии* $ta tpit ione {fem ordñíñ widel

etùfm,ut fosfit\prc¿*ntart schedem iííoty, (fws

dont etttyantwr m яшсаМі socúbiti, ttjreti

[fitam miktMK, suit aynfatnmi tuu огеСшб ton

Figure 287

LITERA DA BREVI

JLafaùe'Jjj&iiCmnofqrsJtuxyz

-+> :JHarcusAntonius faajtom :—
fî iety'yMSjG^mJiojtemi/titmtrenturj

Uraxfaftnoßro carmina fauta ùtë*
CHonfaet ßoej ftofirijnetas (audanda ßrytieftj

({iájfóat bœcjnjfi'vMJvrfan itftrf mmt;
sbéetùjafam Dys cartním,m'qucj},rt jßs

{lia (Ш, im ws imtiïajaxajwnus ♦

К^ІЬД M 9Nf N О Р d? <^ROL5

J^mcus^VfcmunuiJcr^dae scorna? anno

fictif M DXXIII

Diteci o filio Luiouicö HeHenriàilaia
Vicenäo ßtmiliffi ttoflro*

112

Шиш fimi

\ rBastamajmná flam >
' fomína fancta

Ш«ШШ

SUaria mater Dei vietate

enwima, ummi reais

lia, materaiorwstfima, m
tur orvhamorum, eonfola*

w

'atonim,yiavrran

ucas io eicreuia m

wadníañoieMT) ix

Figure 288

Figure 289