e 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 Duerer. A similar Blackletter form, also
from a brass, is shown at larger scale in 186.

[139]

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 [140] 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.

[Illustration: 151. MODERN GERMAN BLACKLETTER. WALTER PUTTNER]

[Illustration: 1