Inscriptions together, and approximately equal in length, and
in Stone form a mass (see fig. 205). Absolute equality is
quite unnecessary. Where the lines are very long
it is easy to make them equal; but with lines of
few words it is very difficult, besides being deroga¬
tory to the appearance of the Inscription. In the
“Symmetrical” Inscription the length of the lines
may vary considerably, and each line (often com¬
prising a distinct phrase or statement) is placed in
the centre of the Inscription space (see fig. 204).

Short Inscriptions, such as those usually on Tomb¬
stones or Foundation Stones, may well be arranged
in the “Symmetrical” way, but long Inscriptions
are better arranged in the “Massed” way, though,
sometimes, the two methods may be combined in
the same Inscription.

THE THREE ALPHABETS

The Roman Alphabet, the alphabet chiefly in use
to-day, reached its highest development in Inscrip¬
tions incised in stone (see Plate I).

Besides ROMAN CAPITALS, it is necessary
that the letter-cutter should know how to carve
Roman small-letters1 (or “Lower case”) and Italics,
either of which may be more suitable than Capitals
for some Inscriptions.

Where great magnificence combined with great
legibility2 is desired, use large Roman Capitals,

1 With which we may include Arabic numerals.

1 It should be clearly understood that legibility by no means
excludes either beauty or ornament. The ugly form of “Block ”
letter so much in use is no more legible than the beautiful Roman
lettering on the Trajan Column (see Plates I, II).

354

Incised or in Relief, with plenty of space between
the letters and the lines.

Where great legibility but less magnificence is
desired, use “Roman Small-Letters” or “Italics.”
All three Alphabets may be used together, as, for
instance, on a Tombstone, one might carve the
Name in Capitals and the rest of the Inscription in
Small-Letters, using Italics for difference.

Beauty of Form may safely be left to a right use
of the chisel, combined with a well-advised study
of the best examples of Inscriptions: such as that
on the Trajan Column (see Plates I, II) and
other Roman Inscriptions in the Victoria and Albert
and British Museums, for Roman CAPITALS;
and sixteenth and seventeenth century tombstones,
for Roman small-letters and Italics.x If the simple

“A” with &
without
serifs.

Fig. 209.

1 Roman small-letters and Italics, being originally pen letters,
are still better understood if the carver knows how to use a pen,
or, at least, has studied good examples of manuscripts in which
those letters are used.

355

Inscriptions
in Stone