GOTHIC.
Plate [XII], heavy. Plate [LXXXVIII], light, pointed. Plate [XCII], heavy, ending in leaf-forms. Plate [XCIII], heavy, suggesting low relief, for stone-or wood-carving. Plate [C], black-letter.
CURSIVE
Plates [XIII] and [XV], foliated, embroidery. Plate [LXXXIII], continuous. Plate [LXXXIV], half-cursive, upright. Plate [LXXXV], slanting. Plate [LXXXVI], upright, uniform stroke. Plate [XC], cursive-Roman, thin, uniform stroke. Plate [XCIX], light, upright, flourish.
RUSTIC.
Plate [XI], jewellery. Plate [XX], two-colour. Plate [XXXV], flourish. Plates [XCI], [XCIV], [XCV], and [XCVI], upright. Plate [XCVIII], quill-rustic.
Monograms and Ciphers of three different letters will be found on Plates [CXIV], [CXV], and [CXVI]. On Plates [CXVII] to [CXXI] are firm-marks of two letters joined with the Ampersand, &. Plates [CXXII] to [CXXVII] show an alphabet with the '& Co.,' examples being given in round and square form. The last one of these plates contains also five examples of Numerals in Cipher, 1905, 1906, 1907, 1908, and 1909. Sacred Devices and Names fill Plates [CXXVIII] to [CXXXII]. Plates [CXXXIII] and [CXXXIV] are made up of Labels and three-letter Monograms. The letters for the Monograms are taken at random from a list of authors. The last plate, [CXXXV], is a suggestion for the decorative treatment of Sacred Inscriptions in Monogram and Cipher, following the style of the Italian Renaissance.
One plate has been added to the work, engraved by Mr. Thomas Moring, which shows some few ways in which these designs can be intelligently interpreted for a particular craft. It also shows how the character of a design may be preserved while a change is made in the letters or in their position. Plate [L] of the work was taken as the model. The PPF has been altered to EPF; the FQ transposed and made to read QF; FR to read FE; and RF to read RS. In the FFR the R has been made into a P, an R substituted for the reversed F, and with a slightly different treatment of the second F, the whole made to read RFP. In the sixth design the reversed R has been turned back, a very slight difference of treatment in all the letters being necessary to plan this well. The last three designs continue in the same way. A comparison of the engraved plate with Plate [L] will show with what little alteration a different character or reading can be introduced into a design.
I trust there will be found something in this book to please all tastes, if only a single device. For any errors there may be in the work I am alone responsible. In the drawing of the plates I have been ably assisted by different members of the studio. I am also indebted for the whole of Plate [X]. One error has passed me unnoticed till the part was published. What should have been DP, on Plate [XXXIV], I have drawn OP; this, though a correct Cipher, is out of place on this plate.