LIST OF ILLUSTRATIONS
[1] and [2] Alphabet after Sebastian Serlio (1473-1554). Reconstructed by Albert R. Ross.
[3] Width Proportions of Modern Roman Capitals. F. C. B.
[4] Drawing for Incised Roman Capitals. For cutting in granite. Letter forms based upon those shown in figures 1 and 2. F. C. B.
[5] Photograph of Incised Roman Capitals. Cut in granite from drawing shown in figure 4
[6] Incised Roman Capitals. From the Arch of Constantine, Rome. 315 A.D. From a photograph
[7] Model for Incised Roman Capitals. Used for inscriptions cut in granite on Boston Public Library. McKim, Mead & White, Architects. Photographed from a cast
[8] Roman Incised Capitals. From fragments in marble. National Museum, Naples. Rubbing
[9] Roman Incised Inscription. Museo Civico, Bologna. From a photograph
[10] Roman Incised Inscription. Museo Civico, Bologna. From a photograph
[11] Detail from a Roman Incised Inscription. Showing composition. Redrawn from a rubbing. F. C. B.
[12] "Rustic" Roman Capitals. Of pen forms, but cut in stone. Redrawn from a rubbing. From fragment in the National Museum, Naples. F. C. B.
[13] Roman Capitals from Fragments of Inscriptions. Showing various characteristic letter forms. Redrawn from rubbings. F. C. B.
[14] Modern Roman Incised Capitals. Executed in sandstone. From the Harvard Architectural Building, Cambridge, Mass. McKim, Mead & White, Architects
[15] Letters Shown in Alphabet 1 and 2, in Composition. By Albert R. Ross
[16] and [17] Classic Roman Capitals. Cut in marble. Redrawn from rubbings made in the Forum, Rome. F. C. B.-21
[18] and 19 Classic Roman Capitals. Late period. Cut in marble. Redrawn from rubbings. F. C. B.
[20] Portion of Roman Inscription. With supplied letters. Redrawn from a rubbing. F. C. B.
[21] Classic Roman Inscription. Incised in marble. Redrawn from a rubbing. F. C. B.
[22] Classic Roman Inscription. In stone. Redrawn from a rubbing. F. C. B.
[23] Italian Renaissance Inscription. Square-sunk in marble. From a photograph of a mortuary slab
[24] Italian Renaissance Medal. By Vittore Pisano. 15th Century. From a photograph
[25] Modern French Medal. By Oscar Roty. From a photograph of the original in the Luxembourg, Paris
[26] Capitals Adapted from Renaissance Medals. F. C. B.
[27] Spanish Renaissance Alphabet. By Juan de Yciar. From "Arte por la qual se esena a escrevir perfectamente." (Saragossa, 1550)
[28] Renaissance Inlaid Medallion. From a floor-slab in Santa Croce, Florence. Redrawn from a rubbing. F. C. B.
[29] Italian Renaissance Capitals. From an inlaid floor-slab in Santa Croce, Florence. (Compare figure 28.) Redrawn from a rubbing. F. C. B.
[30] Italian Renaissance Panel. From Raphael's tomb, Pantheon, Rome. From a photograph
[31] Italian Renaissance Incised Inscription. From the Marsuppini Tomb, Santa Croce, Florence, 1455. Rubbing
[32] Italian Renaissance Incised Inscription. From a floor-slab in Santa Croce, Florence. Early 15th Century. Rubbing
[33] Italian Renaissance Capitals. Redrawn from inscription on the Marsuppini Tomb, Santa Croce, Florence, 1455. (Compare figure 31.) F. C. B.
[34] Italian Renaissance Capitals. Redrawn from rubbings of inscriptions in Santa Croce, Florence. F. C. B.
[35] and [36] Italian Renaissance Capitals. By G. A. Tagliente. From 'La vera arte dello eccellento scrivere.' (Venice, 1524)
[37] and [38] German Renaissance Capitals. By Albrecht Dürer. Adapted from 'Underweyssung der messung, mit dem zirckel, ũn richtscheyt, in Linien, etc.' (Nuremberg, 1525)
[39] and [40] Italian Renaissance Capitals. By Sebastian Serlio. (1473-1554.) Compare figures 1 and 2
[41] German Renaissance Capitals. By Urbain Wÿss. From 'Libellus valde doctus ... scribendarum literarum genera complectens.' (Zurich, 1549)
[42] Italian Renaissance Panel. Above the door of the Badia, Florence. Redrawn by Claude Fayette Bragdon. From 'Minor Italian Palaces.' (Cutler Manufacturing Company, Rochester, N.Y., 1898)
[43] Modern Title in Anglo-Saxon Capitals. By Bertram G. Goodhue. (Compare figure 46.) From 'The Quest of Merlin.' (Small, Maynard & Co., Boston, 1891)
[44] Modern Title with Characteristics of 16th Century English Capitals. By Walter Crane. (Compare figure 49.) From 'The Story of Don Quixote.' (John Lane, New York, 1900)
[45] Title in Early English Capitals. By W. Eden Nesfield. From 'Specimens of Medieval Architecture.' (Day & Sons, London, 1862)
[46] Anglo-Saxon Capitals. 6th Century. From 'The Rule of St. Benedict.' Bodleian Library, Oxford
[47] Anglo-Saxon Capitals. 7th Century. From 'The Gospels of St. Cuthbert'
[48] Anglo-Saxon Capitals. Early 10th Century. From an Anglo-Saxon Bible
[49] Early English Capitals. 16th Century. From tomb of Henry VII, Westminster Abbey, London
[50] and [51] Scheme for the Construction of Roman Small Letters. F. C. B.
[52] Spanish Roman Pen Drawn Letters. By Francisco Lucas. From 'Arte de Escrēvirde.' (Madrid, 1577)
[53] Spanish Roman Pen Drawn Letters. Showing use of above. By Francisco Lucas. From 'Arte de Escrēvirde.' (Madrid, 1577)
[54] Spanish Italic Pen Drawn Letters. By Francisco Lucas. From 'Arte de Escrēvirde.' (Madrid, 1577)
[55] Spanish Italic Pen Drawn Letters. Showing use of above. By Francisco Lucas. From 'Arte de Escrēvirde.' (Madrid, 1577)
[56] Italian Small Letters. By J. F. Cresci. From 'Perfetto Scrittore.' (Rome, 1560)
[57] English 17th Century Letters. Incised in slate. From tombstones
[58] Modern Small Letters. After C. Hrachowina's 'Initialen Alphabete und Randleisten verschiedener Kunstepochen.' (Vienna, 1883)
[59] Modern Small Letters. By Claude Fayette Bragdon. Based on Venetian types cut by Nicholas Jenson, 1471-81
[60] Inscription from English 17th Century Tombstone. From slate tombstone at Chippenham, England. 1691. F. C. B.
[61] Roman and Italic Type. Designed by William Caslon. From his Specimen Book. (London, 1734)
[62] Modern Roman Type, "Montaigne." Designed by Bruce Rogers for The Riverside Press, Cambridge, Mass.
[63] Modern Roman Type, "Renner." Designed by Theo. L. De Vinne for The De Vinne Press, New York
[64] Modern Roman Type, "Merrymount." Designed by Bertram G. Goodhue for The Merrymount Press, Boston, Mass.
[65] Modern Roman Type, "Cheltenham Old Style." Designed by Bertram G. Goodhue for The Cheltenham Press, New York. (Owned by American Type Founders Company and Linotype Company)
[66] Modern Greek Type. Designed by Selwyn Image for The Macmillan Company, London
[67] Modern Roman Type. Designed by C. R. Ashbee for a Prayerbook for the King of England
[68] Modern German Capitals. After lettering by J. M. Olbrich
[69] Modern German Capitals. By Gustave Lemmen. From 'Beispiele Kunstlerische Schrift.' (A. Schroll & Co., Vienna)
[70] Modern German Capitals. After lettering by Alois Ludwig
[71] Modern German Capitals. After lettering by Otto Eckmann
[72] Modern German Capitals. By Otto Hupp. From 'Beispiele Kunstlerische Schrift.' (A. Schroll & Co., Vienna)
[73] Modern German Capitals. By Joseph Plécnik. From 'Beispiele Kunstlerische Schrift.' (A. Schroll & Co., Vienna)
[74] Modern German Capitals. After lettering by Franz Stuck
[75] Modern German Capitals. Arranged from originals. F. C. B.
[76] Modern German Capitals. After lettering by Bernhard Pankok
[77] Modern French Poster. 'La Libre Esthétique.' By Theo. van Rysselberghe
[78] Modern French Book-cover. By M. P. Verneuil. From 'L'Animal dans la décoration.' (E. Lévy, Paris)
[79] Modern French Letters. After lettering by M. P. Verneuil
[80] Modern French Poster. 'La Revue Blanche.' By P. Bonnard
[81] Modern French Magazine Cover Design. By George Auriol. From 'L'Image.' (Floury, Paris, 1897)
[82] Modern French Capitals. By Alphons M. Mucha. From 'Beispiele Kunstlerischer Schrift.' (A. Schroll & Co., Vienna)
[83] Modern French Lettered Page in "Cursive." By George Auriol. From 'Le Premier Livre des Cachets, etc.' (Librairie Centrale des Beaux-Arts, Paris, 1901)
[84] Modern French Letters, "Cursive." By George Auriol
[85] Modern French Cover Design. By Eugène Grasset. From 'Art et Décoration.' (Paris)
[86] Modern English Capitals. By Walter Crane. From 'Beispiele Kunstlerischer Schrift.' (A. Schroll & Co., Vienna)
[87] Modern English Theatrical Poster. By Walter Crane
[88] Modern English Capitals. By Walter Crane. From 'Alphabets Old and New.' (B. T. Batsford, London, 1899)
[89] Modern English Letters. By Walter Crane. From 'Beispiele Kunsterischer Schrift.' (A. Schroll & Co., Vienna)
[90] Modern English Title. By Joseph W. Simpson. From 'The Book of Book-plates.' (Williams & Norgate, Edinburgh)
[91] Modern English Poster. By Joseph W. Simpson
[92] Modern English Book-cover. By William Nicholson. From 'London Types.' (R. H. Russell, New York, 1898)
[93] Modern English Magazine Cover. By Lewis F. Day. From 'The Art Journal.' (H. Virtue & Co., London)
[94] Modern English Title. By Gordon Craig. From 'The Page' (The Sign of the Rose, Hackbridge, Surrey)
[95] Modern English Capitals. By Lewis F. Day. From 'Alphabets Old and New.' (B. T. Batsford, London, 1899)
[96] Modern English Title Page. By Robert Anning Bell. From 'Poems by John Keats.' (George Bell & Sons, London, 1897)
[97] Modern English Book-cover. By Edmund H. New. From 'The Natural History of Selborne.' (John Lane, London, 1900)
[98] Modern English Book-cover. By Selwyn Image. From 'Representative Painters of the 19th Century.' (Sampson, Low, Marston & Co., London, 1899)
[99] Modern English Capitals. Anonymous. From an advertisement
[100] Modern English Title. By Charles Ricketts. From 'Nimphidia and the Muses Elizium.' (The Vale Press, London)
[101] Modern American Title. By Edwin A. Abbey. From 'Selections from the Poetry of Robert Herrick.' (Harper & Brothers, New York, 1899)
[102] Modern American Title. Anonymous. From 'Harper's Weekly.' (New York)
[103] Modern American Magazine Cover. By Edward Penfield. From 'Harper's Weekly.' (New York)
[104] Modern American Capitals. By Edward Penfield
[105] Modern American Small Letters. By Edward Penfield
[106] Modern American Cover Design. By H. Van Buren Magonigle
[107] Modern American Capitals. By H. Van Buren Magonigle
[108] Modern American Capitals. By Bertram G. Goodhue. From 'Masters in Art.' (Boston, 1900)
[109] Modern American Title. By Will Bradley. From 'The Book List of Dodd, Mead & Co.' (New York, 1899)
[110] Modern American Capitals and Small Letters. By Will Bradley. From 'Bradley, His Book.' (The Wayside Press, Springfield, Mass., 1896)
[111] Modern American Magazine Cover. By Will Bradley. From 'The International Studio.' (New York)
[112] Modern American Ticket. By A. J. Iorio
[113] Modern American Capitals. After lettering by Will Bradley
[114] Modern American Capitals. By Maxfield Parrish
[115] Modern American Title. By Maxfield Parrish. From 'Knickerbocker's History of New York.' (R. H. Russell, New York, 1900)
[116] Modern American Title. By Addison B. Le Boutillier
[117] Modern American Capitals. By Addison B. Le Boutillier
[118] Modern American Small Letters. By Addison B. Le Boutillier
[119] Modern American Poster. By Addison B. Le Boutillier
[120] Modern American Book-Plate. By Claude Fayette Bragdon
[121] Modern American Title. By Claude Fayette Bragdon. From 'Literature.' (New York)
[122] Modern American Letter-heading. By Claude Fayette Bragdon
[123] Modern American Advertisement. By H. L. Bridwell. (Strowbridge Lithographic Co., Cincinnati)
[124] Modern American Capitals. By H. L. Bridwell
[125] Modern American Capitals. By Frank Hazenplug
[126] Modern American Capitals, "Heavy Face." By Frank Hazenplug
[127] Modern American Book-cover. By Frank Hazenplug. From ''Ickery Ann and other Girls and Boys.' (Herbert S. Stone & Co., Chicago, 1899)
[128] Modern American Title. By Edward Edwards. From 'Harper's Pictorial History of the War with Spain.' (Harper & Brothers, New York, 1899)
[129] Modern American Catalogue Cover. By Frank Hazenplug. From the Catalogue of the Chicago Arts and Crafts Society. (Chicago)
[130] Modern American Title. By Guernsey Moore. From 'The Saturday Evening Post.' (Philadelphia)
[131] Modern American Title. By Harry Everett Townsend. From 'The Blue Sky.' (Langworthy & Stevens, Chicago, 1901)
[132] Modern American Heading. By Howard Pyle. From 'Harper's Magazine.' (New York)
[133] Modern American Letters. Compiled from various sources. F. C. B.
[134] Modern American Capitals. After lettering by Orson Lowell
[135] Modern American Small Letters. F. C. B.
[136] Modern American Titles. By Orson Lowell. From 'Truth.' (New York)
[137] Modern American Title. By Orson Lowell. From 'Truth.' (New York)
[138] Modern American Letters. For rapid use. F. C. B.
[139] Modern American Italic. For use in lettering architects' plans, etc. By Claude Fayette Bragdon
[140] Modern American Letters, "Cursive." For rapid use. By Maxfield Parrish
[141] Italian Round Gothic Small Letters. After Lucantonii Giunta. Redrawn from 'Graduale Sanctae Romanae Ecclesiae.' (Venice, 1500)
[142] Italian Round Gothic Small Letters. 16th Century. Redrawn from Italian originals
[143] Spanish Round Gothic Letters. By Francisco Lucas. From 'Arte de Escrēvirde.' (Madrid, 1577)
[144] German Blackletter Construction. By Albrecht Dürer. From 'Underweyssung der messung, mit dem zirckel, ūn richtscheyt, in Linien, etc.' (Nuremberg, 1525)
[145] German Blackletters. Redrawn from manuscripts
[146] German Blackletters. With rounded angles. Redrawn from manuscripts
[147] Italian Blackletter Title-page. By Jacopus Philippus Foresti (Bergomensis). From 'De Claris Mulieribus, etc.' (Ferrara, 1497)
[148] German Blackletter Page. By Albrecht Dürer. From the Prayerbook designed by him for the Emperor Maximilian. (Nuremberg, 1515)
[149] German Memorial Brass with Blackletter Inscription. Ascribed to Albrecht Dürer. Cathedral of Meissen, 1510. From 'Fac-similes of Monumental Brasses on the Continent of Europe.' (W. F. Creeney, Norwich, 1884)
[150] Modern American Calendar Cover in Blackletter. By Bertram G. Goodhue. From 'Every Day's Date Calendar.' (Fleming, Schiller & Carnrick, New York, 1897)
[151] Modern German Blackletters. By Walter Puttner. From 'Jugend.' (Munich)
[152] Modern German Title in Blackletter. By Otto Hupp. From 'Münchener Kalendar.' (Munich, 1900)
[153] Modern American Page in English Blackletter. By Edwin A. Abbey. From 'Scribner's Magazine.' (New York)
[154] Uncial Gothic Initials. Redrawn from 12th Century examples. F. C. B.
[155] Uncial Gothic Initials. Redrawn from 13th Century examples. F. C. B.
[156] Uncial Gothic Capitals. Redrawn from 14th Century examples. F. C. B.
[157] Uncial Gothic Capitals. 14th Century. After J. Weale. Redrawn from 'Portfolio of Ancient Capital Letters.' (London, 1838-9)
[158] Italian Uncial Gothic Capitals, in the "Papal" Hand. From a Florentine manuscript of 1315. British Museum, London. F. C. B.
[159] Spanish Uncial Gothic Capitals. By Juan de Yciar. Adapted from 'Arte por la qual se esena escrevir perfectamente.' (Saragossa, 1550)
[160] Venetian Wall Panel, of Marble, Inscribed with Uncial Gothic Letters. 15th Century. From the Church of S. Giovanni e Paolo, Venice. Rubbing
[161] Venetian Gothic Capitals. 15th Century. Redrawn from the rubbing shown in figure 160. F. C. B.
[162] German Uncial Capitals. 1341. Redrawn from a memorial brass in the Cathedral of Lübeck
[163] French and Spanish Gothic Capitals. 14th Century. After W. S. Weatherley
[164] and [165] Italian Gothic Initials. After G. A. Tagliente, in 'La vera arte dello eccellento scrivere.' (Venice, 1524)
[166] Italian Gothic Initials. By Giovanni Battista Palatino. From 'Libro nel qual s'insegna a scrivere.' (Rome, 1548)
[167], [168] and [169] German Gothic Initials. By P. Frank. Nuremberg, 1601. From Petzendorfer's 'Schriften-Atlas.' (Stuttgart, 1889)
[170] Italian Gothic Capitals. 16th Century. Redrawn from old examples
[171] Gothic Capitals of English Form. 16th Century. Redrawn from old examples
[172] Italian Gothic Capitals. 17th Century. Redrawn from various examples
[173] German Gothic Capitals. 17th Century. Redrawn from various manuscripts
[174] German Gothic Capitals. From manuscripts
[175] German Gothic Capitals. From manuscripts
[176] German Gothic Capitals, Heavy Faced
[177] English Gothic "Text," Initials and Blackletters. 15th Century. From manuscripts
[178] English Gothic Uncials and Blackletters. 15th Century. From Queen Eleanor's tomb. F. C. B.
[179] English Gothic Capitals and Blackletters. 15th Century. From tomb of Richard II, Westminster Abbey, London. F. C. B.
[180] German Blackletters. From a brass. Redrawn from a rubbing. F. C. B.
[181] German Blackletters. With Albrecht Dürer's initials. 16th Century. F. C. B.
[182] Italian Blackletters. By G. A. Tagliente. From 'La vera arte dello eccellento scrivere.' (Venice, 1524)
[183] German Blackletters. After lettering by Albrecht Dürer. 16th Century
[184] German Blackletters. After lettering by Albrecht Dürer. 16th Century
[185] German Gothic Capitals. By Albrecht Dürer. 16th Century
[186] English Gothic Blackletters. Late 15th Century. Redrawn from a brass. F. C. B.
[187] Italian Inlaid Blackletters. From a marble slab in Santa Croce, Florence. Redrawn from a rubbing. F. C. B.
[188] and [189] Modern American Blackletters With Gothic Capitals. By Bertram G. Goodhue
[190] Modern German Blackletters. After lettering by Julius Diez
[191] Modern German Blackletters, flourished. F. C. B.
[192] German Italic. By Gottlieb Münch. From 'Ordnung der Schrift.' (Munich, 1744)
[193] Spanish Script. By Torquato Torio. From 'Arte de Escribir.' (Madrid, 1802)
[194] Spanish Scripts. By Torquato Torio. From 'Arte de Escribir.' (Madrid, 1802)
[195] Spanish Script. By Francisco Lucas. From 'Arte de Escrēvirde.' (Madrid, 1577)
[196] Spanish Cursive. By Francisco Lucas. From 'Arte de Escrēvirde.' (Madrid, 1577)
[197] Modern American Script Title. By Claude Fayette Bragdon. From an advertisement
[198] Modern American Script Title. By George Wharton Edwards. From 'Collier's Weekly.' (New York)
[199] French Script Capitals. 18th Century. F. C. B.
[200] German Script. 18th Century forms. Adapted from C. Hrachowina's 'Initialen, Alphabete und Randleisten verschiedener Kunstepochen.' (Vienna, 1883)
[201] Spanish Script Capitals. Early 18th Century. Adapted from a Spanish Writing-book. F. C. B.
[202] Spanish Script Alphabets. Late 17th Century. Adapted from Spanish Writing-books. F. C. B.
[203] English Incised Script. Redrawn from inscriptions in slate and stone in Westminster Abbey, London. F. C. B.
[204] Modern American Script Book Title. By Bruce Rogers. From cover design of 'The House of the Seven Gables.' (Houghton, Mifflin & Co., Boston, 1899)
[205] Modern American Script. By Bruce Rogers
[206] Modern American Script Capitals. After lettering by Frank Hazenplug
[207] Modern American Italic Capitals. F. C. B.
[208] Modern American Script Title. Anonymous. From 'Harper's Weekly.' (New York)
[209] Modern American Script Title. By Edward Penfield. From 'Harper's Weekly.' (New York)
[210] Diagram to Show Method of Enlarging a Panel, from upper left corner
[211] Diagram to Show Method of Enlarging a Panel, from perpendicular center line
[End Papers]. From an embroidered Altar-cloth. 17th Century. Church of St. Mary, Soest, Westphalia, Germany.