The earliest books consisted of a number of lines of continuous writing in capital letters. There were seldom any divisions of the text—into paragraphs, chapters, or the like—or even of one word from another; nor were important words distinguished by larger initials. The first division of paragraphs was made by a slight break in the text and a mark; later, the first letter of the first complete line of the new paragraph was placed in the margin and written larger. When “small-letters” were evolved, capitals ceased to be used for the body of the text, and became distinguishing letters for headings and important words. [p113]
The capitals written at the beginnings of books, chapters, and paragraphs grew larger and more ornamental, and at length were made in colour and decorated with pen flourishes. Such letters, used to mark the beginnings of verses, paragraphs, &c., were called “Versals.”[23]
[Fig. 79.] (13th century).
In modern printing and ordinary writing the first line of a paragraph is generally indented (a, fig. [78]), but the earlier method of employing a special mark or letter (b or c) is more effective, and it might very well be used, even in modern printed books, for fine editions. Affording a legitimate opening for illumination and book-ornament, it was (and is) the natural method for the penman, who, starting with these useful capitals, by flourishing them—in their [p114] own colour, or by dotting, outlining, or ornamenting them, with a contrasting colour (see fig. [79], from an old MS.), evolved the Illuminated Initial.
Types of Versal Letters (examples: Plates [IX.], [X.], [XI.], [XII.], and fig. [1], [78] to [94], [150], [161], [165], [166], [189]).—The earlier Versals had very simple and beautiful pen shapes, and are the best models for the modern penman to follow. After the fourteenth century they were often fattened and vulgarised and overdone with ornament. In this way they not only lost their typical forms; but their “essential forms”—as letters derived from the Roman Alphabet—became much disguised and confounded (see fig. [128]).
GENERAL ANALYSIS OF VERSALS | |
|---|---|
| 1. THE LETTERS | (Pen-made), Built-up, Ornamental (coloured), “Gothic” Capitals (Roundand Square forms). |
| 2. HORIZONTALS— | |
| STRAIGHT: | Medium—commonly the width of the nib. |
| CURVED: | Thin—the thin stroke of the pen. |
| 3. PERPENDICULARS: | Built-up, slightly curved in on either side. |
| 4. SERIFS: | Long, thin, slightly curved. |
| 5. LONG STEMS: | Various (see p. [119], & figs.[84], [90]). |
| 6. SPACING— | |
| Letters & Words: | Various (see figs.[89], [92], [166]). |
| Lines: | Usually one or more of the line-spaces apart(see pp. [126], [128]). |
| 7. ARRANGEMENT: | Singly: set in text or margin, or part inboth (fig.[86]). |
| Grouped: after large initials (fig.[92]). | |
| In Lines: wide or close, often one word tothe line (fig.[89]). | |
| 8. MEASUREMENTS: | Stem width: commonly two or threewidths-of-nib across thinnest part (fig.[165]). |
| O height: commonly one,two, or more of the line-spaces. | |
| 9. COMPONENT PARTS: | A has approx. 10 strokes & filling. |
| B has approx. 8 strokes & filling. | |
| C has approx. 7 strokes & filling. | |
| and so on (see fig.[81]). | |
