Formal carved inscriptions

HANG RIBLÍOTHECAM

î - DOMVS SANCII PETRI

ALVMNORVM SOCLORVM AMICORVM MVNÍFICENT1A]

IRMVSAEO OLIM.ARCHAEOLOGICO INSTRVCTAM

SOLLEMNÍTER INAVGVRAVIT

■PETRVS EPÍSCOPVS ELÍENSIS

COLLEGI! VISÍTATOR ET FVNDATORIS SVCCESSOP|.

DIE VHMENSÌS ÏVLII ANNO SALVTÍS MCM LXXXiVf

FVNDATIONIS DCG

This inscription, on green slate,
is in the library of Peterhouse
College, Cambridge and is
reproduced by permission of the
Master and Fellows of
Peterhouse.

Lida feels it important to see the
site first: 'You can adapt, then
the stone belongs and looks as
if it was there from the start.'
This Welsh slate memorial
(right) is in Canterbury
Cathedral.

MEMENTOTE CORAM DEO

WILLELMI GEORGI!

ETHVIVSECCLESIAE

METROPOLITICAE ET

VRBIS CANTVARIAE

CHARTOPHYLACIS

APVDOXONIENSES

PRAELECTORIS IN

PALAEOGRAPHIA

AVIAE SANCTI

EDMVNDI

soni

I9I3

981

102

MARTIN GLOSTEFl

SULLIVAN K.CVO

1910-19 80

Archdeacon of London

I963-I967

Dean of St Paul's

I967-I977

A much loved New Zeal ander

Speaker &Wrìter

Friend of tfieYouncj

To Lida, Roman capitals are the ultimate discipline:
'Letters that you can discuss, letters that are obviously
right or wrong. They give the background from which
everything else can flow.' She sees her purpose as a
letterer to be the constant refinement of letterforms and
feels that discipline is so necessary that you should aim
at perfection in one thing. That perfection would then
be transferable, in a way, to other work so that no
effort is wasted. (This would apply, of course, to other
things in life than lettering.)

103

This inscription on lithographic
stone, in St Paul's Cathedral,
was painted red and grey using
watercolour. This, of course, is
not possible if the inscription is
out of doors, but it gives a
purer colour and allows the
stone itself to show through.