lettering, those shown in 78 and 79 are
perhaps the most typical of the modern school. This style of letter was
given its most consistent form by the joint efforts of M. P. Verneuil and
some of the pupils of Eugene Grasset, after whose letter it was originally
modeled. Grasset freely varies his use of this form in his different
designs, as in 85, but founds many of his best specimens upon the earlier
French models.

[Illustration: 83. MODERN FRENCH LETTERED PAGE. GEORGE AURIOL]

[Illustration: 84. MODERN FRENCH LETTERS "CURSIVE". GEORGE AURIOL]

[Illustration: 85. MODERN FRENCH COVER DESIGN. EUGENE GRASSET]

[Illustration: 86. MODERN ENGLISH CAPITALS. WALTER CRANE]

[88]

M. George Auriol has extended the modern use of drawn letters by publishing
a number of small books which he has handwritten throughout, although the
form of letter he generally uses for this purpose is purely modern and not
at all like the texts of the medieval scribes. M. Auriol's letter is
beautifully clear, readable and original; "brushy" in its technique, yet
suitable for rapid writing. He calls [91] it a "Cursive" letter, and has
recently made designs for its use in type. The page shown in 83 is from the
preface to a book of his well-known designs for monograms, and the entire
text is written in this cursive form. The individual letters of this
"Cursive" may be more easily studied in 84. The cover for "L'Image", 81,
shows the same designer's use of a more conventional Roman form.

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 [92] "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.

[Illustration: 87. MODERN ENGLISH POSTER. WALTER CRANE]

[Illustra