CHAPTER VI

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.

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.

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.

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.

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.