Gothic Alphabet Letters Az
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English, and Identify the Glosses and Headings As Modern English Or Latin
e ENRICH Schema — A Reference Guide edited by Lou Burnard October 2008 e ENRICH Schema ii edited by Lou Burnard Contents 1 Manuscript Description Metadata 1 1.1 Phrase-level Elements ................................... 6 1.1.1 Origination ...................................... 6 1.1.2 Material ........................................ 7 1.1.3 Watermarks and Stamps ............................... 7 1.1.4 Dimensions ...................................... 8 1.1.5 References to Locations within a Manuscript .................... 10 1.1.6 Names of Persons, Places, and Organizations .................... 12 1.1.7 Catchwords, Signatures, Secundo Folio ........................ 13 1.1.8 Heraldry ........................................ 14 1.2 e Manuscript Identifier ................................. 14 1.3 e Manuscript Heading .................................. 18 1.4 Intellectual Content .................................... 19 1.4.1 e <msItem> Element ................................ 20 1.4.2 Authors and Titles ................................... 22 1.4.3 Rubrics, Incipits, Explicits, and Other Quotations from the Text .......... 23 1.4.4 Filiation ........................................ 24 1.4.5 Text Classification ................................... 24 1.4.6 Languages and Writing Systems ........................... 24 1.5 Physical Description .................................... 25 1.5.1 Object Description .................................. 26 1.5.2 Writing, Decoration, and Other Notations ...................... 30 1.5.3 Bindings, Seals, and Additional -
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. -
The Gentics of Civilization: an Empirical Classification of Civilizations Based on Writing Systems
Comparative Civilizations Review Volume 49 Number 49 Fall 2003 Article 3 10-1-2003 The Gentics of Civilization: An Empirical Classification of Civilizations Based on Writing Systems Bosworth, Andrew Bosworth Universidad Jose Vasconcelos, Oaxaca, Mexico Follow this and additional works at: https://scholarsarchive.byu.edu/ccr Recommended Citation Bosworth, Bosworth, Andrew (2003) "The Gentics of Civilization: An Empirical Classification of Civilizations Based on Writing Systems," Comparative Civilizations Review: Vol. 49 : No. 49 , Article 3. Available at: https://scholarsarchive.byu.edu/ccr/vol49/iss49/3 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Comparative Civilizations Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Bosworth: The Gentics of Civilization: An Empirical Classification of Civil 9 THE GENETICS OF CIVILIZATION: AN EMPIRICAL CLASSIFICATION OF CIVILIZATIONS BASED ON WRITING SYSTEMS ANDREW BOSWORTH UNIVERSIDAD JOSE VASCONCELOS OAXACA, MEXICO Part I: Cultural DNA Introduction Writing is the DNA of civilization. Writing permits for the organi- zation of large populations, professional armies, and the passing of complex information across generations. Just as DNA transmits biolog- ical memory, so does writing transmit cultural memory. DNA and writ- ing project information into the future and contain, in their physical structure, imprinted knowledge. -
Calligraphy Specimens Following Writing
Calligraphy Specimens following Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER In German and Latin, manuscript on paper Germany (Nuremberg), c. 1713 20 folios on paper, complete [collation i20], unidentified watermark (bisected with center lacking, crest holding 3? bezants with ornate frame, initials M and F at bottom), foliation in modern pencil in upper recto corners, text written in various calligraphic scripts in black ink on recto only, no visible ruling and varied justification, sketched decorative evergreen boughs on f. 1 and calligraphic scrollwork throughout, minor flecking and staining, some original ink blots. CONTEMPORARY BINDING, brown (once red?) brocade paper with elegant mixed floral design and traces of gold embossing, pasted spine, abrasion and discoloration but wholly intact. Dimensions 150 x 190 mm. Calligraphic sample books from the Renaissance, such as this manuscript, are far less common than their printed exemplars; this charming booklet, designed for teaching writing to the young, appears to be one of a kind. This volume in its fine contemporary binding includes texts that display a scribe’s skill in writing different types of scripts. It is partially copied from writing master Adolph Zunner’s 1709 Kunstrichtige Schreib-Art printed in Nuremberg by famous publisher and engraver [Johann] Christoph Weigel. PROVENANCE 1. Written in Germany, in Nuremberg, in 1713 or shortly thereafter, with a title page reading Gründliche Unterweisung zu Fraktur – Canzley – und Current Schrifften der lieben Jugend zum Anfang des Schreibens und sondern Nuzen gestellet durch A. <A. or Z.?> in Nürnberg Zufinden bey Johann Christoph Weigel (A Thorough Instruction in Fraktur, Chancery, and Cursive Scripts, prepared for the especial utility of dear Youth in beginning to write by A. -
SOPHIA BAUERIN, Child's Calligraphy Sample Book
SOPHIA BAUERIN, Child’s Calligraphy Sample Book: ANONYMOUS, Drei junge Reisende (Three Young Travellers); ANONYMOUS, Der Menschenfreunde (The Philanthropist); arithmetic table In German, decorated manuscript on paper Germany, dated 1792 8 folios on paper (4 bifolios in a single quire), complete, with watermark: 2 crossed keys with 2-line stems, within a wreath that may contain letters or words, unidentified in the Bernstein database, and countermark: a banderole with ICL in simple serif script, similar contemporary countermark reading ‘ICL’ (same size and lettering but with a slightly different frame) is found in Berlin, Singakademie zu Berlin, SA 3343, where it is paired with a watermark labeled ‘Dresden’, first folio serves as a front cover with title and date in red and green blackletter script, surrounded by a painted baroque frame with a floral wreath, ff. 2-6 ruled in pencil, text written on recto only in long line, in two calligraphic scripts (f. 2 in German Kanzleischrift with first line in blackletter, ff. 3-6 in kurrent with first lines in Kanzleischrift) in black ink with large decorative initials in green, blue, and red, variable number of lines (7-12) and justification (90-130 x 180-185 mm.), generous margins contain decorative borders of filigree lozenges and swirls, f. 7 holds only a table of sums in 4 columns (11 lines), booksellers’s marks in pencil on f. 1v (‘8 Kr’) and f. 2 (‘142|69|5’). No binding; the quire is tacketed through the center fold with silk thread of twisted yellow, pink, blue, and green, with the folded edge at the head of the text and opening edge at bottom (i.e. -
Sources of the First Printed Scandinavian Runes
Runrön Runologiska bidrag utgivna av Institutionen för nordiska språk vid Uppsala universitet 24 Fischnaller, Andreas, 2021: Sources of the First Printed Scandinavian Runes. In: Reading Runes. Proceedings of the Eighth International Symposium on Runes and Runic Inscriptions, Nyköping, Sweden, 2–6 September 2014. Ed. by MacLeod, Mindy, Marco Bianchi and Henrik Williams. Uppsala. (Runrön 24.) Pp. 81–93. DOI: 10.33063/diva-438869 © 2021 Andreas Fischnaller (CC BY) ANDREAS FISCHNALLER Sources of the First Printed Scandinavian Runes Abstract The aim of this paper is to shed some light on the sources that were used for the first printed Scandinavian runes. These runes appear in works published in Italy between 1539 and 1555 either by or in connection with Johannes and Olaus Magnus. The books and the information about runes and runic inscriptions they contain are presented first. A closer look is then taken at the shapes of the runes used and at the roman letters they represent according to the books. It will be shown that these runes and their sound values can in part be traced back to a mediaeval runic tradition, while others were created to provide at least one rune for every roman letter. The forms of the newly “invented” runes can be explained to some extent by the influence of the shape of the roman letters they represent, whereas others were taken from a source that contained runes but did not provide any information about their sound values, namely the runic calendars. Keywords: Olaus Magnus, Theseus Ambrosius, Bent Bille, Renaissance, printed runes, q-rune, x-rune, belgþór-rune Introduction Work with post-reformation runic inscriptions has long been a neglected area of runology.1 A glance through the most common introductions to the study of runes reveals our lack of certainty as regards when runes stopped being used and how knowledge of runes was preserved (cf. -
Five Centurie< of German Fraktur by Walden Font
Five Centurie< of German Fraktur by Walden Font Johanne< Gutenberg 1455 German Fraktur represents one of the most interesting families of typefaces in the history of printing. Few types have had such a turbulent history, and even fewer have been alter- nately praised and despised throughout their history. Only recently has Fraktur been rediscovered for what it is: a beau- tiful way of putting words into written form. Walden Font is proud to pres- ent, for the first time, an edition of 18 classic Fraktur and German Script fonts from five centuries for use on your home computer. This booklet describes the history of each font and provides you with samples for its use. Also included are the standard typeset- ting instructions for Fraktur ligatures and the special characters of the Gutenberg Bibelschrift. We hope you find the Gutenberg Press to be an entertaining and educational publishing tool. We certainly welcome your comments and sug- gestions. You will find information on how to contact us at the end of this booklet. Verehrter Frakturfreund! Wir hoffen mit unserer "“Gutenberg Pre%e”" zur Wiederbelebung der Fraktur= schriften - ohne jedweden politis#en Nebengedanken - beizutragen. Leider verbieten un< die hohen Produktion<kosten eine Deutsche Version diese< Be= nu@erhandbüchlein< herau<zugeben, Sie werden aber den Deutschen Text auf den Programmdisketten finden. Bitte lesen Sie die “liesmich”" Datei für weitere Informationen. Wir freuen un< auch über Ihre Kommentare und Anregungen. Kontaktinformationen sind am Ende diese< Büchlein< angegeben. A brief history of Fraktur At the end of the 15th century, most Latin books in Germany were printed in a dark, barely legible gothic type style known asTextura . -
Kodikologie Und Paläographie Im Digitalen Zeitalter 4
Schriften des Instituts für Dokumentologie und Editorik — Band11 Kodikologie und Paläographie im digitalen Zeitalter 4 Codicology and Palaeography in the Digital Age 4 herausgegeben von | edited by Hannah Busch, Franz Fischer, Patrick Sahle unter Mitarbeit von | in collaboration with Bernhard Assmann, Philipp Hegel, Celia Krause 2017 BoD, Norderstedt Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de/ abrufbar. Digitale Parallelfassung der gedruckten Publikation zur Archivierung im Kölner Universitäts-Publikations-Server (KUPS). Stand 4. September 2017. Diese Publikation wurde im Rahmen des Projektes eCodicology (Förderkennzeichen 01UG1350A-C) mit Mitteln des Bundesministeriums für Bildung und Forschung (BMBF) gefördert. Publication realised within the project eCodicology (funding code 01UG1350A-C) with financial resources of the German Federal Ministry of Research and Education (BMBF). 2017 Herstellung und Verlag: Books on Demand GmbH, Norderstedt ISBN: 978-3-7448-3877-1 Einbandgestaltung: Julia Sorouri, basierend auf Vorarbeiten von Johanna Puhl und Katharina Weber; Coverbild nach einer Vorlage von Swati Chandna. Satz: LuaTEX und Bernhard Assmann Some Roads to Script Classification: Via Taxonomy and Other Ways Torsten Schaßan Abstract In codicology, the features of a script play an important role for dating and localising the manuscript. There are other questions that can be dealt with by examining these features, e.g. questions of intellectual history, influences of literary genres, or influences of organisational aspects of scriptoria on the shape of a script. But especially in the context of manuscript cataloguing the classification of script is of highest importance if other evidence such as a colophon or references like the naming of celebrations for local saints cannot be found. -
TRENDS in STUDIES REGARDING the TWO SLAVONIC ALPHABETS DURING the TWENTIETH CENTURY in ENGLISH, FRENCH, and GERMAN SCHOLARLY WORKS by Bohdan Medwidsky
10 UNIVERSITE D'OTTAWA ECOLE DES GRADUES TRENDS IN STUDIES REGARDING THE TWO SLAVONIC ALPHABETS DURING THE TWENTIETH CENTURY IN ENGLISH, FRENCH, AND GERMAN SCHOLARLY WORKS by Bohdan Medwidsky ,;-,"> ^k, , UBRARtCS » Thesis presented to the Department of Slavic Studies in the Faculty of Arts of the University of Ottawa as partial fulfillment of the require ments for the degree of Master of Arts ^r Ottawa, Canada, 1966 UNIVERSITY OF OTTAWA - SCHOOL OF GRADUATE STU Dl ES UMI Number: EC56138 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform EC56138 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 UNIVERSITE D'OTTAWA ECOLE DES GRADUES ACKNOWLEDGMENT This thesis was prepared under the supervision of Professor Constantine Bida, Ph.D., Head of the Department of Slavic Studies in the Faculty of Arts of the University of Ottawa. My gratitude is hereby expressed for his help ful advice and recommendations. ii UNIVERSITY OF OTTAWA SCHOOL OF GRADUATE STUDIES UNIVERSITE D'OTTAWA ECOLE DES GRADUES CURRICULUM STUDIORUM Bohdan Medwidsky was born September 14, 1936 in Stanislaviv, Ukraine. -
Script
Primer N°9 couv SCRIPT_2015 16/12/2015 17:08 Page1 <-------------------------------------------------------------------- 100 mm --------------------------------------><---------------------------------------------------------------------------------------- 148 mm ----------------------------------------------------------------------------><4><---------------------------------------------------------------------------------------- 148 mm ----------------------------------------------------------------------------><-------------------------------------------------------------------- 100 mm --------------------------------------> primer | 1 SERMONS Laura Light primer | 9 ALCHEMY primer | 2 Lawrence M. Principe Each volume in the series of “primers” intro- and Laura Light duces one genre or a problematic of medieval manuscripts to a wider audience by providing a LAW primer | 3 Susan L’Engle brief general introduction, followed by descrip- and Ariane Bergeron-Foote tions of manuscripts, study aids, and suggestions for further reading. BESTSELLERS primer | 4 Pascale Bourgain and Laura Light Appreciating and understanding the history of the scripts found in medieval and Renaissance NEO-GOTHIC LES ENLUMINURES LTD. manuscripts can be complicated. This is espe- primer | 5 Sandra Hindman rd with Laura Light 23 East 73 Street cially true for the scripts of the later Middle th 7 Floor, Penthouse Ages, often neglected in traditional paleo- New York, NY 10021 MANUSCRIPT graphic surveys. In this primer we focus on these primer | 6 PRODUCTION Tel: (212) -
Gothic Alphabet Letters Az
Gothic Alphabet Letters Az Unspiritualized Brodie slumps nobly while Chadwick always disentrance his teleport swoosh upward, he suberizes so swinishly. Mellow Adlai never unclothed so exothermically or crimpling any timbering shrilly. Is Gustavo always pansophic and carmine when fraggings some Jim very carpingly and detrimentally? Photo-filled alliterative titles-one for every letter ask A to Z-for a civilian of 156 books. It out your business world of calligraphy alphabets: what can put your initial leftwards curve of lova you. Dec 20 2020 The Round Modern Gothic decal uses a font called Comfortaa. This star was designed to give one man my great shave. A needle set of printable alphabet graffiti bubble letters including upper and. Every font is put to download! Oct 24 2013 Here is six sets of Gothic Letters from crush to Z Included are beautiful alphabets in English Italian and Unical styles in ground and split case. Then determined by moving this website if you would you in gothic alphabet letters az viking tattoo, totam rem aperiam, o utilizza la runa dagaz. Amelia giovani includes make your pen downward at this graffiti fonts in this. Our mailing list includes both upright, gothic alphabet letters az place in unique, we add a work on norse culture by pinterest méxico. Why thus you want children learn gothic calligraphy? Sed ut perspiciatis unde omnis iste natus error retrieving your wish list. You are pleased to gothic alphabet letters az hard, and eco friendly cotton gift bag with digital tools we are! The page who are looking for word longer exists. -
The Writing Revolution
9781405154062_1_pre.qxd 8/8/08 4:42 PM Page iii The Writing Revolution Cuneiform to the Internet Amalia E. Gnanadesikan A John Wiley & Sons, Ltd., Publication 9781405154062_1_pre.qxd 8/8/08 4:42 PM Page iv This edition first published 2009 © 2009 Amalia E. Gnanadesikan Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Amalia E. Gnanadesikan to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. 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, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks.