tration: 196. SPANISH CURSIVE. FRANCISCO LUCAS, 1577]

[188]

A simple type of Spanish capital Script letter is shown in 201, while a
corresponding small letter, redrawn from a Spanish source, is illustrated
in 202. It should be noted in the latter figure that the three lower lines
are further removed from the ordinary writing hand and are more interesting
than the letters in the three upper lines.

[Illustration: 197. MODERN AMERICAN TITLES. CLAUDE FAYETTE BRAGDON]

[Illustration: 198. MODERN AMERICAN TITLE. GEORGE WHARTON EDWARDS]

The French artists and engravers were, as has been said, among the first to
appreciate the qualities of Script, and used it in many of their engraved
title-pages, especially during the reigns of Louis xv. and xvi. Figure 199
shows a set of French Script capitals of the time of Louis XV., highly
flourished but more formal than those shown in 201.

A form of Script very nearly allied to the Italic was frequently used for
the lettering on headstones and wall tombs in the churches and churchyards
of England. Figure 203, in which the lettering is taken from a tomb in
Westminster Abbey, illustrates this style of Script.

A set of Script small letters with some unusual characteristics, adapted by
Hrachowina from the German Renaissance form shown in outline in 192, is
exhibited as a solid letter in figure 200.

[Illustration: 199. FRENCH SCRIPT CAPITALS. 18th CENTURY. F. C. B.]

[Illustration: 200. GERMAN SCRIPT AFTER HRACHOWINA. 18th CENTURY.]

[Illustration: 201. SPANISH SCRIPT CAPITALS. EARLY 18th CENTURY. F. C. B.]

[Illustration: 202. SPANISH SCRIPT ALPHABETS. LATE 17th CENTURY. F. C. B.]

[Illustration: 203. ENGLISH INCISED SCRIPT. FROM INSCRIPTIONS. F. C. B.]

[194]

[Illustration: 204. MODERN AMERICAN TITLE. BRUCE ROGERS]

[Illustration: 205. MODERN AMERICAN SCRIPT. BRUCE ROGERS]

[Illustration: 206. MODERN AMERICAN SCRIPT. AFTER FRANK HAZENPLUG]

[Illustration: 207. MODERN AMERICAN ITALIC CAPITALS. F. C. B.]

Among modern American designers, Mr. Bruce Rogers has admirably succeeded
in catching the French and Georgian spirit in his treatment of the Script
characters; yet, nevertheless, his lettering in this style is still modern
in feeling. In the title from a book cover, 204, Mr. Rogers has allowed
himself just the proper amount of interlacement and flourishing--both of
which require the restraint of a subtle taste or the result may prove to be
over-elaborate. The page of