ALPHABETS FOR STUDY, BASED ON HISTORICAL EXAMPLES
After the student has, to some extent, mastered the pen, and is able to
write fairly easily, it would be a good plan for him to study some of
the best historical examples, forming the letters in the same simple
manner.
The examples given here are free renderings of the various alphabets
used in the different periods. In the case of any of the letters being
missing to form the complete alphabet, these have been constructed
in a similar style. The reason for doing this is so that the student
should experience no difficulty in writing when using any one of these
alphabets, as would possibly be the case if an incomplete alphabet were
given. These alphabets are merely given for convenience, the object
not being in any way to keep the student from studying the original
manuscripts for himself. It was thought, however, that it might
possibly be helpful if the various letters were given in the form of
complete alphabets, as, after studying the various forms of lettering
in this manner, the student would be encouraged to study the actual
MSS. for himself.
[Illustration: FIG. 11.]
One of the most beautiful forms of simple pen-formed lettering is given
in Fig. 11. The uncial characters shown here (_a_) afford one of the
best examples for practice in writing with the reed or quill. These
letters are all formed with simple strokes made with the slanted-cut
pen. For the purpose of general writing it may be as well to change
the form of one or two of the letters, such as the A, for example,
and possibly the D. Forming these characters with a well-cut pen is
splendid practice for the student. He should endeavour to form the
letters with simple direct strokes, with no touching up afterwards.
After having practised the previous exercises well, he should be able
to form these letters quite easily. He should, as opportunity occurs,
examine carefully some of the fine uncial manuscripts, or at any rate
some good reproductions of them.
The alphabet shown next (_b_) is founded on the Irish half-uncials. The
one striking difference between this and the previous alphabet is that
this is written with a straight-cut pen instead of a slanted-cut pen.
This is plainly noticeable in the round letters such as a, c, e, o,
etc., the thickness coming in quite a different place. It will be found
that writing in this manner with the straight-cut pen is much slower
work than writing in the other way. It is, however, very good practice
for the student. The same remarks that were made about the uncial
letters apply also here; it would be as well to modernise some of the
letters, such as the “g” and the “n,” when writing with this alphabet.
In Fig. 12 some very beautiful alphabets are shown which are excellent
in every way as examples for study. These are all formed with quite
simple strokes made with the slanted-cut pen. The one shown in (_c_) is
a free rendering of the letters used in the famous “Benedictional of
Æthelwold.” As the “s” and the “t” given here are liable to be somewhat
unreadable, additional forms of these letters are suggested.
The example given in (_d_) is taken from a tenth-century Psalter, now
in the British Museum. This MS. is a very beautiful example of the
English writing of this period. The writing of this century should be
very carefully studied. The student should not be content with merely
working from the letters given here, but should study some of the MSS.
of this period for himself, noting carefully the spacing and the
arrangement of the lettering.
[Illustration: FIG. 12.]
The next alphabet (_e_) is taken from an Italian twelfth-century MS.
This is slightly stiffer in character than the preceding one, and the
writing tends to become more compressed. However, the lettering still
retains its round character. It is easy to mass the letters together
when using this alphabet.
The letters in Fig. 13 are still more compressed in character. The
alphabet shown in (_f_) is taken from a late twelfth-century MS. of the
French School. It is a very good form of lettering and will well repay
careful study.
[Illustration: FIG. 13.]
The next one (_g_) is a typical example of the style of lettering
largely employed in the thirteenth century. Although the letters
are shown here as large as in the preceding example, the lettering
generally was much smaller. If the student examines carefully any of
the thirteenth century MSS. he will notice this to be the case. He
should practise using this alphabet in the same way, cutting his pen
so that he is able to form the small letters quite easily. He will
probably experience difficulty in producing writing as small as the
mediæval scribe was able to do, as this comes only from a great amount
of practice, but he should be able to write quite easily with the lines
of lettering not more than 3/16 in. apart.
The alphabet that follows this (_h_) is from a fourteenth century MS.
It will be noticed that the letters here are much more angular, and
they conform more to what is popularly known as “Old English.” This
form of writing can be quite easily formed with the slanted-cut pen.
There is no need to employ a fine pen for putting in the thin strokes,
as is so often the case, as the complete letter may be formed with the
same pen if it is cut with a nice chisel point. It is most important
that the student should form the whole of the letter with the same
pen, without any touching up afterwards. The practice of forming
letters roughly and shaping them up afterwards with a fine pen tends
to cultivate most unworkmanlike habits and cannot be too severely
censored. Also letters formed in this manner are always lacking in
character and vitality. If the student has become familiar with cutting
and handling the pen he ought to be able to form any of the letters
given here without the slightest difficulty.
The alphabets of capital letters given in Fig. 14 will be useful as
initials, etc., in connection with the small letters. It is quite
obvious that these letters are not formed with simple pen-strokes in
the same manner as the small letters are. These are built up with a
series of strokes, the body of the letter being then filled in with
either pen or brush. This method of building the letters up with
pen-strokes will be described in detail in a later chapter.
[Illustration: FIG. 14.]
The first alphabet given here (_i_), is based on the capital letters
used in the famous Book of Kells. These will serve well as initials
when using the Irish half-uncial characters for writing with. A good
many of the letters are given in a variety of forms. Some of these are
shown here and are liable to be somewhat unreadable if used in the
present day. For example, the Irish O is shaped more like D, and may
as well be used instead of this letter, which is not very distinct in
character. The letter G would be hardly recognisable if used in the
Irish form, so a simplified letter has been suggested. Some slight
modifications have also been suggested in the letters N and P. By
raising the cross-bar in N it conforms more to the modern shape of
this letter. It is necessary to simplify the Irish P, as this letter
resembles the letter R more than anything else.
The next alphabet, shown in (_j_), is based on capitals used in the
tenth century, a somewhat stiff and severe type of letter.
The last one (_k_) shows the type of capital used in the eleventh
century.
Some further alphabets will be given later on, when dealing with
illumination.
The student should not content himself merely with forming the letters
given here, but should study the subject for himself. He should,
if possible, examine some of the illuminated MSS. exhibited in the
various museums in London and elsewhere. He is specially recommended
to study the MSS. produced between the tenth and thirteenth centuries.
If he cannot possibly study the actual MSS. he should experience no
difficulty in obtaining reproductions of them. The British Museum
publishes an excellent series of collotype plates of a good number of
their choicest illuminated MSS., as well as some splendidly reproduced
in gold and colours. It will be found that a fair amount of time given
to the study of these old MSS. will well repay in the end. The way the
letters are massed together should be carefully noted, as well as the
formation of the individual letters. He should note also the freedom
displayed, the letters not being cramped in any way.
When studying lettering from photographs, or photographic
reproductions, the proportional compass is extremely useful for
measuring the exact size of the letters. The exact size of the page
is nearly always given, and it is quite a simple matter to adjust the
compass so that, when the measurement is taken with the smaller end,
the exact size of the lettering can be marked off with the opposite
end. This instrument is most useful when used in this manner, as
it is difficult to gauge the exact size of the lettering from the
measurements of the page. It is also always advisable to know, if at
all possible, the exact size of the lettering in the original when
studying a reproduction of a MS.
When examining MSS. in glass cases, when it is not convenient to have
them taken out, a magnifying lens of about five or six inches focus
is very useful for analysing the construction of fine lettering. This
depth of focus enables the lens to be used through the glass without
the necessity of having the case opened.
The student should seize every opportunity that may arise to examine
some of the best work of the mediæval period.
For the present he should confine his attention to the lettering. The
decoration will be considered later on, but, as this springs from the
lettering, it is essential that sufficient attention should be given
to the foundation before attempting to build upon it. He should also,
when opportunity arise, examine some of the best modern work in this
direction.