shown in [148], in which observe again the variety of the individual letter forms. Figure [149] shows the use of a Blackletter on an admirable monumental brass, which is reputed to have been designed by Albrecht Dürer. A similar Blackletter form, also from a brass, is shown at larger scale in [186].
Any of the minuscule forms of Blackletter which have been illustrated may be used with the Gothic capitals of figures [164]-5, [166], [177], [179], [185], [188]-9; or with such Uncial capitals as are illustrated in [155] to [162]; care being taken, of course, that these capitals are made to agree in style and weight with the small letters chosen. Although Uncial capitals are historically more closely allied with the Round Gothic, we have abundant precedent for their use with the minuscule Blackletter in many of the best medieval specimens.
When the Gothic Uncial capitals were cut in stone and marble there was naturally a corresponding change in character, as is shown in the Italian examples illustrated in [160]
and [161]. These examples, which are reproduced from rubbings, exhibit the characteristic stone cut forms very clearly. A Gothic Uncial alphabet redrawn from a German brass is illustrated in [162]. The group of specimens from [154] to [159] exhibit the chronological growth of the Uncial capitals, which were used, as has been said, with the various small Blackletter forms, though they were also used alone to form words, as is shown in [160]. The historical progression in these Uncial examples is most interesting; and, allowing for the variations of national temperament, traces itself connectedly enough. Figures [154] to [159] are pen forms, while [160] to [163] are from stone or metal-cut letters.
Figures [164] to [166] show alphabets of Gothic pen-drawn capitals that will serve as a basis for such adaptations as are shown in the modern examples [152] and [153]. Figures [167] to [169] show a more elaborate but an excellent and typical variety of this form of capital, which is one of the most beautiful and distinctive of Gothic letters. Shorn of its fussy small lines the main skeleton is eminently virile; and, though extremely difficult to draw, it cannot be surpassed for certain limited uses. Figures [170] to [173] exhibit a group of Gothic capitals more or less allied in character and all pen letters. Figures [174] to [176] show forms similar to those of the previous group, but adapted for use in various materials.
