Latin Palaeography in Central Europe
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Understanding Handwriting, Abbreviations, Dates and More Dan Poffenberger, AG® British Research Specialist ~ Family History Library [email protected]
Understanding Handwriting, Abbreviations, Dates and More Dan Poffenberger, AG® British Research Specialist ~ Family History Library [email protected] Introduction Searching English records can be daunting enough when you are simply worrying about the time period, content and availability of records. A dive into a variety of records may leave you perplexed when you consider the handwriting styles, Latin, numbering systems, calendar changes, and variety of jurisdictions, record formats and abbreviations that may be found in the records. Objectives The objective of this course is to help you better understand: • Handwriting and Abbreviations • Latin • Numbers and Money • Calendars, Dates, Days, Years • Church of England Church Records Organization and Jurisdictions • Relationships Handwriting and Abbreviations Understanding the handwriting is the most important aspect to understanding older English records. If you can’t read it, you’re going to have a very hard time understanding it. While the term ‘modern English’ applies to any writing style after medieval times (late 1400’s), it won’t seem like it when you try reading some of it. More than 90% of your research will involve one of two primary English writing scripts or ‘hands’. These are ‘Secretary hand’ which was primarily in use from about 1525 to the mid-1600’s. Another handwriting style in use during that time was ‘Humanistic hand’ which more resembles our more modern English script. As secretary and humanistic hand came together in the mid-1600’s, English ‘round hand’ or ‘mixed hand’ became the common style and is very similar to handwriting styles in the 1900’s. But of course, who writes anymore? Round or Mixed Hand Starting with the more recent handwriting styles, a few of the notable differences in our modern hand are noted here: ‘d’ – “Eden” ‘f’ - “of” ‘p’ - “Baptized’ ss’ – “Edward Hussey” ‘u’ and ‘v’ – become like the ‘u’ and ‘v’ we know today. -
A Study of Kufic Script in Islamic Calligraphy and Its Relevance To
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 A study of Kufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century Enis Timuçin Tan University of Wollongong Recommended Citation Tan, Enis Timuçin, A study of Kufic crs ipt in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/ theses/1749 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. A Study ofKufic script in Islamic calligraphy and its relevance to Turkish graphic art using Latin fonts in the late twentieth century. DOCTORATE OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by ENiS TIMUgiN TAN, GRAD DIP, MCA FACULTY OF CREATIVE ARTS 1999 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, expect where due reference has been made in the text. Enis Timucin Tan December 1999 ACKNOWLEDGEMENTS I acknowledge with appreciation Dr. Diana Wood Conroy, who acted not only as my supervisor, but was also a good friend to me. I acknowledge all staff of the Faculty of Creative Arts, specially Olena Cullen, Liz Jeneid and Associate Professor Stephen Ingham for the variety of help they have given to me. -
Old Cyrillic in Unicode*
Old Cyrillic in Unicode* Ivan A Derzhanski Institute for Mathematics and Computer Science, Bulgarian Academy of Sciences [email protected] The current version of the Unicode Standard acknowledges the existence of a pre- modern version of the Cyrillic script, but its support thereof is limited to assigning code points to several obsolete letters. Meanwhile mediæval Cyrillic manuscripts and some early printed books feature a plethora of letter shapes, ligatures, diacritic and punctuation marks that want proper representation. (In addition, contemporary editions of mediæval texts employ a variety of annotation signs.) As generally with scripts that predate printing, an obvious problem is the abundance of functional, chronological, regional and decorative variant shapes, the precise details of whose distribution are often unknown. The present contents of the block will need to be interpreted with Old Cyrillic in mind, and decisions to be made as to which remaining characters should be implemented via Unicode’s mechanism of variation selection, as ligatures in the typeface, or as code points in the Private space or the standard Cyrillic block. I discuss the initial stage of this work. The Unicode Standard (Unicode 4.0.1) makes a controversial statement: The historical form of the Cyrillic alphabet is treated as a font style variation of modern Cyrillic because the historical forms are relatively close to the modern appearance, and because some of them are still in modern use in languages other than Russian (for example, U+0406 “I” CYRILLIC CAPITAL LETTER I is used in modern Ukrainian and Byelorussian). Some of the letters in this range were used in modern typefaces in Russian and Bulgarian. -
Faux Hands for Calligraphy Imitating Non-European Script
Faux Hands for Calligraphy Imitating Non-European Script THL Helena Sibylla – [email protected] As scribes in the SCA, we’re all familiar with a variety of European scripts from the Middle Ages. We’ve probably all dabbled at least a bit with calligraphic hands like Uncial, Carolingian Minuscule, Early Gothic, or Batarde. While many people in the SCA choose to portray European personas, there are an increasing number of people exploring non-European areas such as Islam and China. Beyond that, there are other scripts that exist around the main core of European writing that fit other personas such as Greek or Norse. If you have a scroll assignment for a person where a medieval European hand just won’t be suitable, there are a couple of options. One is to plug your text into a translation program and then writing in the original language. However, this runs the risk of someone who actually knows the language finding unintentional errors created by the translation software, which doesn’t always understand the quirks and idioms found in non-English languages. Creating a script with the look of a foreign hand that fits the culture of the recipient’s persona has the advantage of allowing the scribe to still write in English while creating a visual effect that is dramatically different from the typical SCA scroll. In addition to the examples provided here, I strongly recommend that you spend some time researching the script of the culture you’re planning to emulate. You will want to consider issues of punctuation and accent marks, as well as decorative letters, and upper and lower cases (if they are used). -
Carolingian Uncial: a Context for the Lothar Psalter
CAROLINGIAN UNCIAL: A CONTEXT FOR THE LOTHAR PSALTER ROSAMOND McKITTERICK IN his famous identification and dating ofthe Morgan Golden Gospels published in the Festschrift for Belle da Costa Greene, E. A. Lowe was quite explicit in his categorizing of Carolingian uncial as the 'invention of a display artist'.^ He went on to define it as an artificial script beginning to be found in manuscripts of the ninth century and even of the late eighth century. These uncials were reserved for special display purposes, for headings, titles, colophons, opening lines and, exceptionally, as in the case ofthe Morgan Gospels Lowe was discussing, for an entire codex. Lowe acknowledged that uncial had been used in these ways before the end of the eighth century, but then it was * natural' not 'artificial' uncial. One of the problems I wish to address is the degree to which Frankish uncial in the late eighth and the ninth centuries is indeed 'artificial' rather than 'natural'. Can it be regarded as a deliberate recreation of a script type, or is it a refinement and elevation in status of an existing book script? Secondly, to what degree is a particular script type used for a particular text type in the early Middle Ages? The third problem, related at least to the first, if not to the second, is whether Frankish uncial, be it natural or artificial, is sufficiently distinctive when used by a particular scriptorium to enable us to locate a manuscript or fragment to one atelier rather than another. This problem needs, of course, to be set within the context of later Carolingian book production, the notions of 'house' style as opposed to 'regional' style and the criteria for locating manuscript production to particular scriptoria in the Frankish kingdoms under the Carolingians that I have discussed elsewhere." It is also of particular importance when considering the Hofschule atehers ofthe mid-ninth century associated with the Emperor Lothar and with King Charles the Bald. -
Early Modern English Palaeography 1500-1700
Early Modern English Palaeography 1500-1700 Helpful Initial Reading: • Marshall, Hilary, Palaeography for Family and Local Historians (2004, repr. 2010) o Includesa selection of MS facsimiles (including transcriptions and notes on each manuscript), plus a very helpful collection of abbreviations and letter forms. • McKerrow, Ronald B., ‘A Note on Elizabethan Handwriting’ in An Introduction to Bibliography, by McKerrow (Oxford: Clarendon Press, 1927); reprinted in Gaskell's A New Introduction to Bibliography and including good specimen alphabets Literary Resources for Early Modern English Palaeography: • Index of English Literary Manuscripts. Vol.1: 1450-1625, compiled by Peter Beal, 2 vols (London: Mansel, 1980) • Index of English Literary Manuscripts. Vol.2: 1625-1700, compiled by Peter Beal, 2 vols (London: Mansel, 1987-1993) • Greg, W.W., English Literary Autographs, 1550-1650; part I, dramatists; part II, poets; supplement, scholars and archaeologists (Oxford, 1925-1932) • Petti, Anthony G., English Literary Hands from Chaucer to Dryden (London: E. Arnold, 1977) English Manuscript Culture: • Beal, Peter, In Praise of Scribes (Oxford: Clarendon Press, 1998) • Hobbs, Mary, Early Seventeenth-Century Verse Miscellany Manuscripts (Aldershot: Scholar Press, 1992) • Love, Harold, Scribal Publication in Seventeenth-Century England (Oxford: Clarendon Press, 1993) • Marotti, Arthur F., Manuscript, Print, and the English Renaissance Lyric (Ithaca: Cornell University Press, 1995) • Woudhuysen, H.R., Sir Philip Sidney and the Circulation of Manuscripts, 1558-1640 (Oxford: Clarendon Press, 1996) [esp. Part I, 'The Circulation of Manuscripts, 1558- 1640'] Online tools/resources: • EHOC: English Handwriting: An Online Course, https://www.english.cam.ac.uk/ceres/ehoc/index.html o Including practice materials, transcription tools, and extensive bibliographies. -
Part 1: Introduction to The
PREVIEW OF THE IPA HANDBOOK Handbook of the International Phonetic Association: A guide to the use of the International Phonetic Alphabet PARTI Introduction to the IPA 1. What is the International Phonetic Alphabet? The aim of the International Phonetic Association is to promote the scientific study of phonetics and the various practical applications of that science. For both these it is necessary to have a consistent way of representing the sounds of language in written form. From its foundation in 1886 the Association has been concerned to develop a system of notation which would be convenient to use, but comprehensive enough to cope with the wide variety of sounds found in the languages of the world; and to encourage the use of thjs notation as widely as possible among those concerned with language. The system is generally known as the International Phonetic Alphabet. Both the Association and its Alphabet are widely referred to by the abbreviation IPA, but here 'IPA' will be used only for the Alphabet. The IPA is based on the Roman alphabet, which has the advantage of being widely familiar, but also includes letters and additional symbols from a variety of other sources. These additions are necessary because the variety of sounds in languages is much greater than the number of letters in the Roman alphabet. The use of sequences of phonetic symbols to represent speech is known as transcription. The IPA can be used for many different purposes. For instance, it can be used as a way to show pronunciation in a dictionary, to record a language in linguistic fieldwork, to form the basis of a writing system for a language, or to annotate acoustic and other displays in the analysis of speech. -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
Detecting Forgery: Forensic Investigation of Documents
University of Kentucky UKnowledge Legal Studies Social and Behavioral Studies 1996 Detecting Forgery: Forensic Investigation of Documents Joe Nickell University of Kentucky Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Nickell, Joe, "Detecting Forgery: Forensic Investigation of Documents" (1996). Legal Studies. 1. https://uknowledge.uky.edu/upk_legal_studies/1 Detecting Forgery Forensic Investigation of DOCUlllen ts .~. JOE NICKELL THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 1996 byThe Universiry Press of Kentucky Paperback edition 2005 The Universiry Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine Universiry, Berea College, Centre College of Kentucky, Eastern Kentucky Universiry, The Filson Historical Sociery, Georgetown College, Kentucky Historical Sociery, Kentucky State University, Morehead State Universiry, Transylvania Universiry, University of Kentucky, Universiry of Louisville, and Western Kentucky Universiry. All rights reserved. Editorial and Sales qtJices:The Universiry Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com The Library of Congress has cataloged the hardcover edition as follows: Nickell,Joe. Detecting forgery : forensic investigation of documents I Joe Nickell. p. cm. ISBN 0-8131-1953-7 (alk. paper) 1. Writing-Identification. 2. Signatures (Writing). 3. -
JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands. -
Scribe Attribution for Early Medieval Handwriting by Means of Letter Extraction and Classification and a Voting Procedure for La
2014 22nd International Conference on Pattern Recognition Scribe attribution for early medieval handwriting by means of letter extraction and classification and a voting procedure for larger pieces Mats Dahllof¨ Dept of Linguistics and Philology and Dept of Information Technology, Division of Visual Information and Interaction, Uppsala University, Sweden E-mail: mats.dahllof@lingfil.uu.se Abstract—The present study investigates a method for the a discipline tend to be difficult to communicate, to reproduce, attribution of scribal hands, inspired by traditional palaeography and to validate (see Stokes [10]). By contrast, a computer- in being based on comparison of letter shapes. The system aided palaeography, making use of techniques inspired by was developed for and evaluated on early medieval Caroline those developed in forensic analysis of modern handwriting, minuscule manuscripts. The generation of a prediction for a page will be better equipped to characterize historical writing in image involves writing identification, letter segmentation, and precise and quantitative terms, and to work with models which letter classification. The system then uses the letter proposals to predict the scribal hand behind a page. Letters and sequences of can be objectively validated. connected letters are identified by means of connected component This paper describes a method for attributing pieces of labeling and split into letter-size pieces. The hand (and character) handwriting to scribes by extracting plausible letter candidates prediction makes use of a dataset containing instances of the from manuscript pages. The proposal is inspired by traditional letters b, d, p, and q, cut out from manuscript pages whose scribal origin is known. -
Scribes and Scholars (3Rd Ed. 1991)
SCRIBES AND SCHOLARS A Guide to the Transmission of Greek and Latin Literature BY L. D. REYNOLDS Fellow and Tutor of Brasenose College, Oxford AND N. G. WILSON Fellow and Tutor of Lincoln College, Oxford THIRD EDITION CLARENDON PRESS • OXFORD Oxford University Press, Walton Street, Oxford 0x2 6DP Oxford New York Athens Auckland Bangkok Bombay Calcutta Cape Town Dares Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madras Madrid Melbourne Mexico City Nairobi Paris Singapore Taipei Tokyo Toronto and associated companies in Berlin Ibadan Oxford is a trade mark of Oxford University Press Published in the United States by Oxford University Press Inc., New York © Oxford University Press 1968, 1974, 1991 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press. Within the UK, exceptions are allowed in respect of any fair dealing for the purpose of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, or in the case of reprographic reproduction in accordance with the terms of the licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside these terms and in other countries should be sent to the Rights Department, Oxford University Press, at the address above This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Scribes and scholars: a guide to the transmission of Greek and Latin literature/by L.