| The Proportions to be Considered in the Case of a Manuscript Book (see pp. 100–108, 341, &c.). | |
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| (1) Size and shape of the Book and its page (proportion of width to height) (see p. 103). | (Set by custom, use of Book, size of material, &c.) (see figs. 69, 70, and pp. 101, &c.). |
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| (3) Size of Writing— Proportion of height of letter to length of line. | (Set by page, and margin, and number of words in the line; usually more than four words to the line) (see pp. 107–8). |
| (4) Number of lines— Proportion of text to page. | (Set by page, margin, and height-of-letter, and modified by treatment of spacing) (see pp. 108, 262). |
| (5) Size of Large Capitals, Initials, &c. | (Set by Small-Letter; commonly one, two, three, or more of the writing-line-spaces high) (see footnote, p. 221). |
| (6) Size of Decorative Divisions of the Text (marked by different treatment, colour, ornament, &c.). | (Set by page, &c.; usually such Division is relatively small or large—as a definite “heading,” or a whole page) (see p. 132). |
SETTING OUT, & FITTING IN
Ruling.—The approximate sizes of margins and letters, and the number of lines of text, having been estimated, guiding lines are ruled on the surface (see p. 343)—a right and a left vertical marginal line, with the necessary number of horizontals between them. (In the case of a manuscript, these lines are ruled faintly (or grooved), and are left to form a feature of the page; for inscriptions on other materials than paper, parchment, &c., they are generally removed after setting-out.)
Setting-out.—An inscription of any size, or one requiring complex or very nice arrangement, is set-out in faint, sketchy outline of lead pencil or chalk. Simple writing is not set-out, but such slight calculation or planning as is necessary is carried out mentally, or on a scrap of paper. By practice the scribe, like the compositor, can fit his lettering to the given space with ease and accuracy. For writing and (to a large extent) printing, both combine setting-out and the act of “lettering” in one operation. And this shows how practice gives foreknowledge of the “mechanical” part of the work, leaving the mind free to take pleasure in its performance; and also how slight—if necessary at all—is the experimental setting-out of simple forms required by the practised workman.
Dividing Monosyllables.—In simple writing—the beauty of which depends on freedom rather than on precision—I think that even such an awkward word as “through” should not be broken. If the space at the end of a line is insufficient, it should be left blank, or be filled in with a dash of the pen. But in the case of words in LARGE CAPITALS, especially in title-pages and the like, where spacing [p259] is more difficult, and smooth reading less essential, any word may be divided at any point if the necessity is sufficiently obvious. But (even when the division is syllabic) breaking words, as interfering with the ease of reading, may often be avoided with advantage, and divisions which give accidental words, especially when they are objectionable, as [p260] “TH-ROUGH,” or “NEIGH-BOUR,” should not be allowed. Among other ways of dealing with small spaces, without breaking words, are the following:—
Ending with Smaller Letters.—The scribe is always at liberty to compress his writing slightly, provided he does not spoil its readableness or beauty. Occasionally, without harming either of these, a marked difference in size of letter may be allowed; one or more words, or a part of one, or a single letter, being made smaller (a, b, fig. 153; see also Plate V.).
Monogrammatic Forms, &c.—In any kind of lettering, but more particularly in the case of capitals, where the given space is insufficient for the given capitals, monogrammatic forms resembling the ordinary diphthong Æ may be used; or the stem of one letter may be drawn out, above or below, and formed into another (c, fig. 153).
Linking.—Letters which are large enough may be linked or looped together, or one letter may be set inside another, or free-stem letters may be drawn up above the line (d, fig. 153, but see p. 26).
Tying up.—One or more words at the end of a line of writing—particularly in poetry (see p. 95)—may be “tied up,” i.e. be written above or below the line, with a pen stroke to connect them to it (fig. 67).
Care must be taken that none of these methods lead to confusion in the reading. Their “Quaintness”—as it is sometimes called—is only pleasing when their contrivance is obviously made necessary.
“MASSED WRITING” & “FINE WRITING”
We may distinguish two characteristic modes of treating an inscription, in which the treatment of the letter is bound up with the treatment of the spacing (fig. 154). [p262]
“Massed Writing” (Close Spacing).—The written or printed page is very commonly set close, or “massed,” so that the letters support and enforce one another, their individual beauty being merged in and giving beauty to the whole. The closeness of the letters in each word keeps the words distinct, so that but little space is required between them,59 and the lines of writing are made close together (ascending and descending stems being shortened, if necessary, for this purpose).
“Fine Writing” (Wide Spacing).—An inscription in “Fine Writing” may be spaced widely to display the finished beauty of the letters, or to give free play to the penman (or letter-craftsman). It consists generally of a number of distinct lines of Writing (or other lettering).
The two modes may be contrasted broadly, thus—