And in this connection, beware of practising with a fine nib, which tends to inaccuracy and the substitution of prettiness for character. Stick to definite pen strokes, and preserve the definite shapes and the uniformity of the serifs (p. [324]): if these be made clumsily, they become clumsy lumps. It may be impossible always to ascertain the exact forms—especially of terminals and finishing strokes—for the practised scribe has attained a great uniformity and some sleight of hand which cannot be deliberately copied. But—whatever the exact forms—we may be sure that in the best hands they are produced by uniform and proper pen strokes.
ITALICS Ex.: [Plate XXI.], and figs. [94], [177], [178] (enlarged).
Italics[79] closely resemble the Roman Small-Letters, but are slightly narrowed, slightly sloped to the [p314] right, and very freely written (commonly with a “slanted pen”). The serifs generally consist of slight natural terminal hooks, &c.—though in p and q a finishing stroke is sometimes added. Ascending and descending strokes (in b, d, f, h, k, l, g, j, p, q, y) are commonly rather long, and often end in curves, sometimes in flourishes (fig. [177]).
[Fig. 175.]—Italian Prayer Book: 16th century (see opp. p. & p. [345]).
[Fig. 176.]—(From same MS. as fig. [175], enlarged three times linear.)
The lines of writing are generally widely spaced—allowing for the long stems: the bodies of the letters being narrow are generally rather closely packed, and frequently the lines of writing appear [p315] as almost continuous light but compact writing, while the ascenders and descenders and parts of the Capitals may be flourished freely in the spaces between the lines—sometimes filling them with ornamental pen work, which contrasts strongly with the extreme plainness and regularity of the bodies.