The poster by M. Theo. van Rysselberghe shown in [77] exhibits two interesting forms of French small letters that are worthy of study and suggestive for development.
M. Alphons Mucha employs a distinctive letter, especially fitted to his technique, which he uses almost invariably, [82].
Much recent French lettering inclines toward a certain formlessness, that, although sometimes admirable when regarded merely from the point of view of harmony with the design, has little value otherwise. A typical specimen of such formless lettering is that shown in the very charming
"Revue Blanche" poster, [80]. Excellent when considered with the design, the lettering alone makes but an indifferent showing.
The Italian designers of letters have not yet evolved any very distinctive national forms. In many ways Italian work resembles the German. It has less originality, but greater subtlety and refinement.
