Latin Paleography
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Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
First Line of Title
HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2014 © 2014 Alexander Lawrence Ames All Rights Reserved HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames Approved: __________________________________________________________ Consuela Metzger, M.L.I.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Whom does one thank first for assistance toward completion of an academic project only brought to fruition by the support of dozens of scholars, professionals, colleagues, family members, and friends? I must first express gratitude to my relations, especially my mother Dr. Candice M. Ames and my brother Andrew J. Ames and his family, without whose support I surely never could have undertaken the journey from Minnesota to the Winterthur Program in American Material Culture nearly two years ago. At Winterthur, I found mentors who extended every effort to encourage my academic growth. Rosemary Krill, Brock Jobe, J. Ritchie Garrison, and Greg Landrey did much to help me explore new fields. I owe a particular debt to Winterthur’s art conservators. In one, Consuela Metzger, I found a thesis advisor willing to devote countless hours to guiding my intellectual exploration. -
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. -
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. -
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. -
Rotunda ROM Magazine Subject Index V. 1 (1968) – V. 42 (2009)
Rotunda ROM Magazine Subject Index v. 1 (1968) – v. 42 (2009) 2009.12.02 Adam (Biblical figure)--In art: Hickl-Szabo, H. "Adam and Eve." Rotunda 2:4 (1969): 4-13. Aesthetic movement (Art): Kaellgren, P. "ROM answers." Rotunda 31:1 (1998): 46-47. Afghanistan--Antiquities: Golombek, L. "Memories of Afghanistan: as a student, our writer realized her dream of visiting the exotic lands she had known only through books and slides: thirty-five years later, she recalls the archaeoloigical treasures she explored in a land not yet ruined by tragedy." Rotunda 34:3 (2002): 24-31. Akhenaton, King of Egypt: Redford, D.B. "Heretic Pharoah: the Akhenaten Temple Project." Rotunda 17:3 (1984): 8-15. Kelley, A.L. "Pharoah's temple to the sun: archaeologists unearth the remains of the cult that failed." Rotunda 9:4 (1976): 32-39. Alabaster sculpture: Hickl-Szabo, H. "St. Catherine of Alexandria: memorial to Gerard Brett." Rotunda 3:3 (1970): 36-37. Keeble, K.C. "Medieval English alabasters." Rotunda 38:2 (2005): 14-21. Alahan Manastiri (Turkey): Gough, M. "They carved the stone: the monastery of Alahan." Rotunda 11:2 (1978): 4-13. Albertosaurus: Carr, T.D. "Baby face: ROM Albertosaurus reveals new findings on dinosaur development." Rotunda 34:3 (2002): 5. Alexander, the Great, 356-323 B.C.: Keeble, K.C. "The sincerest form of flattery: 17th-century French etchings of the battles of Alexander the Great." Rotunda 16:1 (1983): 30-35. Easson, A.H. "Macedonian coinage and its Hellenistic successors." Rotunda 15:4 (1982): 29-31. Leipen, N. "The search for Alexander: from the ROM collections." Rotunda 15:4 (1982): 23-28. -
The Beneventan Script : a History of the South Italian Minuscule
US i. THE BENEVENTAN SCRIPT A HISTORY OF THE SOUTH ITALIAN MINUSCULE BY E. A. LOEW, Ph.D. RESEARCH ASSOCIATE OF THE CARNEGIE INSTITUTION OF WASHINGTON OXFORD AT THE CLARENDON PRESS 1914 OXFORD UNIVERSITY PRESS LONDON EDINBURGH GLASGOW NEW YORK TORONTO MELBOURNE BOMBAY HUMPHREY MILFORD M.A. PUBLISHER TO THE UNIVERSITY TO JAMES LOEB PATRON OF LIBERAL LEARNING AT HOME AND ABROAD THIS BOOK IS DEDICATED IN GRATITUDE AND DEVOTION Absit tamen ut hac in re magisterii partes mihi arro- gem. Quippe in republica litteraria omnes liberi sumus. Leges ac regulas proponere omnibus licet, imponere non licet. Praevalent istae, si veritate ac recto judicio ful- ciantur: sin minus, ab eruditis et recte sentientibus merito reprobantur. J. Mabillon. PREFACE The present work is an essay in regional palaeography. Its inception goes back to my student days at the University of Munich. My master, Ludwig Traube, had proposed to me the thesis ' Monte Cassino as a centre for the transmission of Latin classics \ After spending some time on this subject it became clear that adequate treatment of it would be possible only after acquiring such a knowledge of the peculiar script used at Monte Cassino as would enable me to make sound and independent judgements with regard to the dates of Monte Cassino MSS., that is, MSS. written in the Beneventan or South Italian minuscule. Thus I conceived the idea of making a careful study of the script employed throughout the lower half of the Italian peninsula. Traube made no objection to my working on a subject of my own choice ; but with characteristic generosity put at my disposal his entire library, his very large collection of facsimiles, and even some of his own notes. -
Arabic, Rilm" Coptic, Or Merely Greek Alphanumerical Notation? the Case Oc a Mozarabic Lo'h Century Andalusl Manuscript
Arabic, Rilm" Coptic, or merely Greek Alphanumerical Notation? The Case oC a Mozarabic lO'h Century Andalusl Manuscript Rosa Comes l. Introduction The aim of this paper is to analyse the natatian ibat appears alongside the Reman numerals in tbe Latin manuscript MDU·604 of the Capitular Libnuy in Urgell (Northem Catalonia. Spain)l, which was copied in 938. Unlil now, this notation (see Table II and Fig. 1) has beeo considered to be 1 tbe oldest testimony of Hindu·Arabic cipbers in the lbenan Peninsula . However, an examination of lhe entire manuscript, featuring al least two I The See afthe Diocese of Urgcll is allesled alleasl since the 6· e:entury. 2 Pujol i Tubau [1917: 12.14) scems not to recognize the somewhal dislorted Greek lettm in the rnanuscript as ciphers, judging by his tIanscription of folio 19v. Mund6 [1994: 140 & 1998: 514-515] inlerprets the Grcek alpbanumerical figures written nexllo the Roman numbers (see table II) as unrelatcd Arabic ciphers and, hence, considcrs them to be the oldest testimony of Hindu·Arabic figures in the lberian Peninsula. This opinion is sharcd, among othcrs, by Alturo i Perucho (2003: 124). Nevertheless, the Greek alphanumerical ciphers agree in al1 cases (except for 3 errors in a total ofmore than ISO correspondences) with Roman figures. Confusion between Hindu·Arabic and Greek (or romí) figures is not uncommon. JusI as a sample, Menendez Pidal [19S9: fig 3) did not recognize as Greek notation the ciphm in manuscript El Escorial R.lLl8. which are extremely similar to the ones in the Urgell manuscript. -
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. -
Numerical Notation: a Comparative History
This page intentionally left blank Numerical Notation Th is book is a cross-cultural reference volume of all attested numerical notation systems (graphic, nonphonetic systems for representing numbers), encompassing more than 100 such systems used over the past 5,500 years. Using a typology that defi es progressive, unilinear evolutionary models of change, Stephen Chrisomalis identifi es fi ve basic types of numerical notation systems, using a cultural phylo- genetic framework to show relationships between systems and to create a general theory of change in numerical systems. Numerical notation systems are prima- rily representational systems, not computational technologies. Cognitive factors that help explain how numerical systems change relate to general principles, such as conciseness and avoidance of ambiguity, which also apply to writing systems. Th e transformation and replacement of numerical notation systems relate to spe- cifi c social, economic, and technological changes, such as the development of the printing press and the expansion of the global world-system. Stephen Chrisomalis is an assistant professor of anthropology at Wayne State Uni- versity in Detroit, Michigan. He completed his Ph.D. at McGill University in Montreal, Quebec, where he studied under the late Bruce Trigger. Chrisomalis’s work has appeared in journals including Antiquity, Cambridge Archaeological Jour- nal, and Cross-Cultural Research. He is the editor of the Stop: Toutes Directions project and the author of the academic weblog Glossographia. Numerical Notation A Comparative History Stephen Chrisomalis Wayne State University CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521878180 © Stephen Chrisomalis 2010 This publication is in copyright. -
A Brief History of the Blackletter Font Style
A Brief History of the Blackletter Font Style By: Linda Tseng ● Blackletter font also called Fraktur, Gothic, or Old English. ● From Western Europe such as Germany, Germany use Gothic until World War II. ● During twelfth century to twenty century. ● Blackletter hands were called Gothic by the modernist Lorenzo Valla and others in middle fifteenth century in Italy. ● Used to describe the scripts of the Middle Ages in which the darkness of the characters overpowers the whiteness of the page. ● In the 1500’s, blackletter became less popular for printing in a lots of countries except Germany and the Countries that speaking German. ● The best Textura specimen in the Gutenberg Museum Library’s collection is comes from Great Britain. Overview ● Rotunda types, the second oldest blackletter style never really caught on as a book type in German speaking lands, although twentieth century calligraphers, as well as arts and crafts designers, have used it quite well for display purposes. ● Cursiva- developed in the 14th century as a simple form of textualis. ● Hybrida( bastarda)- a mixture of textualis and cursiva, and it’s developed in the early 15th century. ● Donatus Kalender- the name for the metal type design that Gutenberg used in his earliest surviving printed works, and it’s from the early 1450s. Blackletters are difficult to read as body text so they are better used for headings, logos, posters and signs. ● Newspaper headlines, magazine, Fette Fraktur are used for old fashioned headlines and beer advertising. ● Wilhelm Klingspor Gotisch adorns many wine label. ● Linotext and Old English are popular choices for certificates. -
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.